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Dissertations / Theses on the topic 'Little magazine'
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1
Bratton, Francesca Amelia. "Hart Crane and the little magazine." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/11996/.
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This thesis examines Hart Crane’s oeuvre through a detailed appraisal of his publishing history in little magazines. The main contention of this thesis is that Crane’s relationships with his periodical publishers shaped his poetic development, and that new light is shed on these works through their recontextualisation in their original periodical contexts. This raises a secondary question: how does Crane’s publication in journals and his relationships with editors affect the reception of his poetry, and can patterns established in his immediate reception be found in later criticism. This study takes a new approach in its methodology, both in relation to existing studies of Crane, and as a way of dealing with a writer’s body of work. By examining, as D. F. McKenzie has put it, ‘the sociology of texts’ and their ‘processes of transmission, including production and reception’, forgotten contexts of Crane’s poetry are able to emerge. As well as uncovering new works by Crane, an examination of Crane’s periodical networks highlights the influence of particular strands of Modernism on his development, such as ‘post-Decadent’ forms advanced in Greenwich Village journals, the American Futurist experiments active in American magazines based in Europe, and the proto-Surrealist experiments with metaphor that inform Crane’s own associative aesthetic. This study also traces the interconnections between poetic form and publishing. Crane’s long poems, 'The Bridge', ‘For the Marriage of Faustus and Helen’ and the ‘Voyages’, were all published in fragments in a number of different journals, and these publishing formats are found to be aesthetically significant for these texts, and articulate Crane’s wider interest in fragment and collage forms.
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Murphy, Terry. "Dissident culture : the little magazine in England, 1894-1941." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368660.
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Kane, Louise. "The little magazine in Britain : networks, communities, and dialogues (1900-1945)." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10237.
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This thesis examines several lesser-known British modernist magazines published between 1900-45 within the context of networks, communities, and dialogues. The magazines it examines are T. P.'s Weekly (1902-16), The Acorn (1905-6), The Tramp (1910-11), Rhythm (1911-13), The Blue Review (1913), Signature (1915), To-day Incorporating T. P.'s Weekly (1916-7), To-day (1917-23), The Athenaeum (1919-21), The Apple (1920-22), The Adelphi (1923-55), Close-Up (1927-33), Seed (1933) and Life and Letters To-Day (1935-45). Primarily, the thesis aims to 'test out' different types of methodologies that critics have used to interpret literary texts (and sometimes non-literary texts) as possible routes or avenues into periodical study. My approach is cross-disciplinary and adapts many different approaches, some of which have been previously applied to periodicals, but most of which have not. The commonality between these methodologies is the fact that they all participate, to some degree, in a sense of network(s), a concept that, this thesis contends, offers a lens through which we can develop, extend, and refine the study of little magazines. The Introduction provides a more detailed outline of these methodologies and a survey of literature relating to the study of little magazines. Chapter 1 explores magazines through the high/low culture dichotomy that continues to dominate our conception of the modernist field and considers how the dichotomy's implied idea of networks of difference impacts upon how we study, consider, and categorise little magazines. Chapter 2 uses quantitative methods to probe the possibility that a periodical can 'shift' between networks and applies a diachronic methodology which considers periodicals as operating within 'longitudinal' networks. Chapter 3 utilises an editor-based methodology to show how this figure is key in generating a periodical's sense of network. Chapter 4 explores the little magazine as a nexus point for different groups of writers and artists and examines the ways in which networks exist on and between the pages of magazines. Chapter 5 reverses the second chapter's focus by using a synchronic methodology to explore how three late modernist magazines participate in a 'lateral network'. The Conclusion evaluates the efficacy and feasibility of the various approaches tested in each chapter and proposes some new methodologies through which we might continue to study and discuss periodicals.
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Deysel, Jurgens Johannes Human. "The subversive Afrikaner an exploration into the subversive stance of the little magazine Stet (1982-1991) /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10082008-092133.
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Irvine, Dean J. (Dean Jay). "Little histories : modernist and leftist women poets and magazine editors in Canada, 1926-56." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37900.
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This study incorporates archival and historical research on women poets and editors and their roles in the production of modernist and/or leftist little-magazine cultures in Canada. Where the first three chapters investigate women poets who were also magazine editors and/or members of magazine groups, the fourth chapter takes account of women magazine editors who were not themselves poets. Within this framework, the dissertation relates women's editorial work and poetry to a series of crises and transitions in Canada's leftist and modernist little-magazine cultures between 1926 and 1956. This historical pattern of crisis and transition pertains at once to the poetry of Dorothy Livesay, Anne Marriott, P. K. Page, and Miriam Waddington and to the little-magazine groups in which they and other women were active as editors and/or contributing members. Chapter 1 deals with Livesay's editorial activities and poetry in the context of two magazines of the cultural left, Masses and New Frontier, between 1932 and 1937. Chapter 2 concerns Livesay, Marriott, their involvement in poetry groups in Victoria and Vancouver, and their publications in Contemporary Verse and Canadian Poetry Magazine, between 1935 and 1956. Chapter 3 addresses the poetry of Page and Waddington published in Preview and First Statement from 1942 to 1945, their poetry appearing in Contemporary Verse from 1941 to 1952--53, and their editorial activities in and/or relationships to these Montreal and Victoria - Vancouver magazine groups between 1941 and 1956. Chapter 4 documents the histories of some often forgotten women who edited modernist or leftist little magazines in Canada between 1926 and 1956. These core chapters are prefaced and concluded by histories of the antecedents to and descendants of Canadian modernist and leftist magazine cultures.
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Weaver, Angela L. "Public Negotiation: Magazine Culture and Female Authorship, 1900-1930." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1259611809.
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Vowles, Christopher George. "The little become big? : Ambit and London's little magazines, 1959-1999." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434911.
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Kingham, Victoria. "Commerce, little magazines and modernity : New York, 1915-1922." Thesis, De Montfort University, 2010. http://hdl.handle.net/2086/3899.
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This thesis examines the theme of commerce in four magazines of literature and the arts, all published in New York between 1915 and 1922. The magazines are The Seven Arts (1916-1917), 291 (1915-1916), The Soil (1916-1917), and The Pagan (1916-1922). The division between art and commerce is addressed in the text of all four, in a variety of different ways, and the results of that supposed division are explored for each magazine. In addition ‘commerce’ is also used in this thesis in the sense of conversation or communication, and is used as a way to describe them in the body of their immediate cultural environment. In the case of The Seven Arts, as discussed in Chapter 1, the theme of commerce with the past, present, and future is examined: the way that the magazine incorporates the European classical past and rejects the more recent intellectual past; the way it examines the industrial present, and the projected future of American arts and letters. In the case of The Soil and 291 (the subjects of Chapters 2 and 3) there is extensive commerce between them in the sense of intercommunication, a rival dialogic demonstrating both ideological and economic rivalry. These two chapters comprise an extensive examination of the relationship between the magazines, and shows how much of this involves commerce in the financial sense. The fourth magazine, The Pagan, is concerned with a different sense of commerce, in the form of its rejection of the American capitalist system, and is critically examined here for the first time. The introduction is a survey of examples from the whole field of American periodicals of the time, particularly those immediately relevant to the magazines described here, and acts to delineate the field of scholarship and also to justify the particular approach used. The conclusion provides a summary of the foregoing chapters, and also suggests ways in which each magazine approaches the dissemination, or ‘sale’ of the idea of the new.
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Date, Naoyuki. "Ezra Pound's editorship of the American 'little magazines', 1912-19." Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423777.
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Wheeler, Belinda. "EXPANSIVE MODERNISM: FEMALE EDITORS, LITTLE MAGAZINES, AND NEW BOOK HISTORIES." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/411.
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The resurgence of modern periodical studies has expanded our understanding of “littleqrdquo; magazines and the editors behind them, but many studies continue to be restricted to the 1920s, examine male editors, and focus on well–established literary journals, rather than the subversive magazines that expanded the reign of modernism in the years from 1910 to 1950. These studies, though fascinating, privilege a select few and leave many lost to the archive. The new theory of book history and those who evaluate the book as a material object that is designed to circulate among a range of publics provide powerful and useful frameworks for recognizing the significance of what had previously been considered mere data. This study focuses on several neglected female little magazine editors who, despite various obstacles, powerfully intervened in the modernism debates throughout the 1910s through to the late 1940s by shaping successful publications to invite public appreciation of values they espoused. Unlike canonical modernist figures such as Ezra Pound and T.S. Eliot who championed an elite style of modernism that was usually inaccessible to most, Lola Ridge, Gwendolyn Bennett, Caresse Crosby, and Kay Boyle encouraged diversity and fostered heterogeneity by selecting and juxtaposing material by new writers and artists who moved easily around and over the borders separating high art and mass culture, who recovered marginalized voices from history, and who appealed for social justice. Further, their traditional and non–traditional roles while they served as editors show that in many cases being an editor meant more than just choosing works and arranging them. One chapter is devoted to Lola Ridge, the American literary editor of Broom (1922-1923). Ridge was a cosmopolitan modernist who welcomed a broad audience to Broom and invited readers to champion styles of writing and artwork that contained strong social commentary with American subjects, instead of copying European models that many argued were created for art's sake. Another chapter focuses on African American poet, graphic artist and literary columnist, Gwendolyn Bennett, who held several editorial roles at Opportunity, Fire!!, and Black Opals, from the mid–1920s until the early 1930s. A heterodox modernist, Bennett skillfully discussed and placed artistic work by members of the New Negro movement next to the work by their forefathers, subsequently fostering congeniality between the two conflicting literary groups and promoting a united front during the development of the Harlem Renaissance. She also promoted co–operation between black and white artists and writers with her universally themed poetry, graphic art, and literary column. Chapter four centers on Black Sun Press book publisher, novelist, and poet, Caresse Crosby, owner and editor of Portfolio (1945-1948), who challenged artistic reception on both sides of the Atlantic by bringing glamorous modernism to her unbound journal of eclectic work. Crosby promoted co–operation between artists and writers from conflicting World War II countries through the placement and types of materials she published on the pages of her magazine. The epilogue calls for scholars to expand their view of the modernist project and recover the often “hidden” work by overlooked female little magazine editors. Like Ridge, Bennett, and Crosby before her, Kay Boyle (This Quarter 1927-1929), who can be linked to each editor (directly or indirectly), relied on her trusted network of friends as she edited This Quarter. Her editorial support for young and experienced artists who used innovative styles and her commitment to social justice parallels her colleagues' dedication to the modernist project. These women's labor, the significant literary time periods they worked in, the different genres, critical content, and styles of modernism they championed, and the social formations their journals produced expanded the base of modernism and reinvigorated American art and literature between the Wars, leaving a legacy for future artists and writers.
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Crespo, Charles J. "The McSweeney's Group: Modernist Roots and Contemporary Permutations in Little Magazines." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/985.
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The purpose of this project centered on the influential literary magazine Timothy McSweeney’s Quarterly Concern. Using Bruno Latour’s network theory as well as the methods put forth by Robert Scholes and Clifford Wulfman to study modernist little magazines, I analyzed the influence McSweeney’s has on contemporary little magazines. I traced the connections between McSweeney’s and other paradigmatic examples of little magazines—The Believer and n+1—to show how the McSweeney’s aesthetic and business practice creates a model for more recent publications.
My thesis argued that The Believer continues McSweeney’s aesthetic mission. In contrast, n+1 positioned itself against the McSweeney’s aesthetic, which indirectly created a space within the little magazines for writers, philosophers, and artists to debate the prevailing aesthetic theories of the contemporary period. The creation of this space connects these contemporary magazines back to modernist little magazines, thereby validating my decision to use the methods of Scholes and Wulfman.
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Luskey, Matthew Christian. "Modernist ephemera : little magazines and the dynamics of coalition, passing and failure /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102177.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 218-226). Also available for download via the World Wide Web; free to University of Oregon users.
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Toms, Gail. "'On mentioning the unmentionable' : feminism, little magazines, and the case of Rebecca West." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11379.
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Recent projects conducted by The Universities of De Montfort, Nottingham, and Sussex, U.K. and Brown University in Providence, U.S.A., have highlighted the wealth of under-researched material contained in early twentieth-century little magazines. These niche periodicals, in a cultural materialist sense, provide a useful entry point for the research, analysis, and recreation of the zeitgeist of what can be loosely termed ‘the Modernist movement.' One area in which these magazines are particularly useful is in uncovering the genesis of modern or contemporary feminist thought. In some respects it can be argued that despite their small circulation figures and limited readership, magazines such as The Freewoman, The New Freewoman, and BLAST reveal a groundbreaking shift in, and towards the ‘Woman Question'. Women editors and writers such as Dora Marsden and Rebecca West, embraced new continental philosophies and aesthetics, and used them to deconstruct the concept of ‘Woman.' Grasping the idea of individualism, Marsden challenged the essentialist language that controlled women through oppressive gender stereotypes. This thesis will map out the feminist topography that influenced and encouraged Dora Marsden in her quest for a more wholesale, psychological, female emancipation, as opposed to continuing the singular pursuit of the franchise. Through The Freewoman journals Marsden, and her protégée West, began to articulate new modes of feminism that challenged the grand narratives of Edwardian society and exposed the cultural and linguistic fault lines that created ‘woman' as ‘the helpmeet'; a subordinate and commodified adjunct to man. Far from being outmoded or forgotten, Marsden's ideas – particularly those concerned with language – have filtered their way into modern consciousness through feminist writers such as West, and at times prove prescient of the groundbreaking work of Simone de Beauvoir, Monique Wittig, Judith Butler, and Julia Kristeva. Complementing the stimulating research of Lucy Bland, Peter Brooker, Cary Franklin, Sandra Gilbert, Susan Gubar, Gillian Hanscombe, Sheila Jeffreys, Jane E. Marek, Maroula Joannou, Janet Lyons, Jean-Michele Rabaté, Robert Scholes, Andrew Thacker, Virginia L. Smyers, and Clifford Wulfman, this thesis will examine how Freewoman individualism helped shape the early fiction of Rebecca West and influenced the masculinist ethos of its contemporary little magazine, BLAST.
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Matsumoto, Lila. "Poetic experiments and trans-national exchange : the little magazines Migrant (1959-1960) and Poor.Old.Tired.Horse. (1962-1967)." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9446.
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Migrant (1959-1960) and Poor.Old.Tired.Horse.(1962-1967) were two little magazines edited respectively by British poets Gael Turnbull and Ian Hamilton Finlay. This thesis aims to explore the magazines’ contributions to the diversification of British poetry in the 1960s, via their commitment to transnational exchange and publication of innovative poetries. My investigation is grounded on the premise that little magazines, as important but neglected socio-literary forms, provide a nuanced picture of literary history by revealing the shifting activities and associations between groups of writers and publishers. Drawing on Pierre Bourdieu and Pascale Casanova, I argue that Migrant and Poor.Old.Tired.Horse were exceptionally outward-looking publications bringing various kinds of poetic forms, both historical and contemporary, local and international, to new audiences, and creating literary networks in the process. A brief overview of the post-war British poetry scene up until 1967, and the role of little magazines within this period, will contextualize Turnbull’s and Finlay’s activities as editors and publishers. Migrant is examined as a documentation of Turnbull’s early years as a poet-publisher in Britain, Canada, and the US. I argue that Turnbull’s magazine is at once a manifestation of the literary friendships he forged, a negotiation of American poetic theories, and a formulation of a new British-American literary network. Identifying Charles Olson’s ‘Projective Verse’ manifesto as a particular influence on Turnbull, I examine aspects of Olson’s conceptualization of poetry as a dynamic process of unfolding in the content and ethos of Migrant. Finlay’s attitudes to internationalism and use of vernacular speech in poetry are compared to those of Hugh MacDiarmid to demonstrate that Poor.Old.Tired.Horse. emerged out of both a rejection and engagement with an older generation of Scottish writers. The content and organisation of the magazine, I argue, bear Finlay’s consideration of art as play. Drawing on Ludwig Wittgenstein’s positing of language as games, I examine the magazine as a series of playful procedures where a variety of formal experimentations were enacted.
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McKay, Kali, and University of Lethbridge Faculty of Arts and Science. "Gertrude Stein and her audience : small presses, little magazines, and the reconfiguration of modern authorship." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2010, 2010. http://hdl.handle.net/10133/2479.
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This thesis examines the publishing career of Gertrude Stein, an American
expatriate writer whose experimental style left her largely unpublished throughout much
of her career. Stein’s various attempts at dissemination illustrate the importance she
placed on being paid for her work and highlight the paradoxical relationship between
Stein and her audience. This study shows that there was an intimate relationship
between literary modernism and mainstream culture as demonstrated by Stein’s need for
the public recognition and financial gains by which success had long been measured.
Stein’s attempt to embrace the definition of the author as a professional who earned a
living through writing is indicative of the developments in art throughout the first
decades of the twentieth century, and it problematizes modern authorship by reemphasizing
the importance of commercial success to artists previously believed to
have been indifferent to the reaction of their audience.iv, 89 leaves ; 29 cm
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Tildesley, Matthew Brinton. "The century guild hobby horse and Oscar Wilde : a study of British little magazines, 1884-1897." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/2449/.
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This thesis is a detailed examination of subversive aesthetic and decadent British periodicals from 1884 until 1897. Viewed as cultural documents, the magazines The Century Guild Hobby Horse, The Dial, The Yellow Book and The Savoy are explored with particular reference to their positioning of the artist in relation to society. Major secondary sources are the works of Oscar Wilde and Walter Pater's The Renaissance: Studies in Art and Poetry. The Hobby Horse is viewed as being the origin of a particular discourse on the importance of the artist for society at large, and its editorial bias is examined as being a product of certain Hellenic elements in Oxford of the 1860s and 1870s. Wilde's The Picture of Dorian Gray features heavily in the first section. The book is initially used as a touchstone for exploring the issues of the Socratic master-pupil relationships, clandestine and subversive sexuality, the duality of subversive literary texts, and the transition from aestheticism into decadence, after which Wilde's only novel is shown to have been inspired in part by specific writings within the Hobby Horse itself. The second section examines the importance of Catholicism to a renaissance of the Hellenic within artistic communities of the 1880s and '90s, and the third and final section explores the legacy of these elements of the Hobby Horse in the later magazines The Dial, The Yellow Book and The Savoy. Specific attention is paid to the perceived relationship between Oscar Wilde and the Yellow Book in the final chapters, where the erroneous nature of the supposed links between Wilde and the Yellow Book is exposed, and Wilde's true connection with the little-known Century Guild Hobby Horse is revealed.
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Scanlan, Patricia Hope. "English surrealism in the 1930s, with special reference to the little magazines and small presses of the period." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368111.
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Kerninon, Julia. "Figures du romancier américain : l'entretien littéraire selon The Paris Review (1953-1973)." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3094.
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Cette thèse présente une réflexion sur les multiples figures du romancier américain qui émergent des entretiens littéraires de The Paris Review entre 1953 et 1973, soit les deux premières décennies d'existence de la revue. Afin de mieux saisir les spécificités et l'impact du modèle d'entretien littéraire créé par une poignée de rédacteurs aussi inspirés que débutants, cette étude revient tout d'abord sur l'histoire des little magazines, sur le contexte de la création et le fonctionnement interne de The Paris Review, avant de retracer l'histoire complexe de l'entretien littéraire. Grâce à l'analyse des archives de la revue, elle met en évidence la collaboration de l'équipe de rédacteurs et des romanciers interviewés dans un processus novateur de réécriture des entretiens. Car l'entretien littéraire est un lieu de négociation de différentes autorités, entre l'« ethos préalable » de l'écrivain utilisé par l'interviewer et les diverses stratégies (scénographies auctoriales, postures, « prêt à être écrivain ») déployées par le romancier pour asseoir sa légitimité. Derrière le portrait à deux voix que semble être l'entretien littéraire apparaît bientôt l'autoportrait de l'écrivain. L'entretien littéraire de The Paris Review donne lieu à une forme de fiction biographique, à travers laquelle l'écrivain que The Paris Review était venu interroger sur « l'art de la fiction » laisse la parole à l'auteur pour construire et défendre son imageThis dissertation examines the various figures of the American novelist which takes form in the famous literary interviews published by The Paris Review during the first two decades of its existence (1953-1973). In order to analyze the specificities and the impact of the new model of literary interview created by the inspired, yet inexperienced editors and interviewers of the review, this dissertation first traces the history of "little magazines" as well as the context in which the Paris Review interviews were shaped and polished, and then analyzes the complex history of the literary interview as a genre. Through the study of the archives of the review, the author casts a light on the collaboration between the editorial board and the interviewed novelists during the demanding rewriting process of the literary interviews. The literary interview thus appears as a space where negotiations take place, opposing the preconceptions of the interviewer to the various strategies displayed by the novelist in order to assert his legitimacy. What was originally designed as a single portrait composed by two instances actually turns into the novelist's controlled self-portrait.Ultimately The Paris Review literary interview becomes a form of biographical fiction, in which the writer, initally questioned on "the art of fiction", leaves center stage to the author, who takes great care of his own public persona
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Ibanez, Léticia. "L'habitant des seuils : Mauṉi (1907-1985) et son œuvre dans la construction de la modernité littéraire tamoule." Thesis, Paris, INALCO, 2020. http://www.theses.fr/2020INAL0026.
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Pionnier du récit introspectif en tamoul, Cupramaṇya Maṇi Aiyar dit Mauṉi (1907-1985) laisse une œuvre aussi dense que rare : 27 nouvelles publiées de 1936 à 1971 dont 21 retracent, dans un style élégiaque, les états d'âme de personnages en quête de sens. Ces récits, étroitement associés au milieu des « petits magazines » qui les ont promus, suscitent depuis les années 1930 une importante production de textes critiques dépeignant l'auteur tour à tour sous les traits d'un saint de l'écriture, d'un dilettante et d'un brahmane réactionnaire. L'objectif de cette monographie est double : expliquer ces discours et dégager leurs enjeux dans la construction de la modernité littéraire tamoule ; présenter à partir de nombreuses explications d'extraits une analyse des motifs et stylèmes propres à définir l'originalité de l'auteur. Cette dernière consiste pour nous en une poétique de l'entre-deux, dont chaque partie du développement étudie un aspect. La première mesure l'apport de Mauṉi sous l'angle de son hybridité culturelle. Elle décrit le contexte littéraire des années 1930, fournit une présentation d’ensemble des nouvelles et retrace leur réception critique. La seconde se concentre sur le travail du style pour montrer comment l'auteur, usant d'un lexique restreint, élabore une prose poétique reposant sur l'usage de modalisateurs, de paysages-états d'âme et de descriptions symboliques. La troisième étudie les principaux aspects de son mysticisme de la liminarité : intérêt pour les états modifiés de conscience, création de personnages oscillant entre le moi psychologique et le Soi impersonnel, descriptions d’extases esthétiques conçues comme des aperçus de l’infini. Enfin, la quatrième partie décrit les paradoxes qui constituent le sujet mauṉien dans son être-au-monde, sa conception de l’amour et son rapport à l’HistoireA pioneer in the lyrical story in Tamil, Mauṉi (1907-1985) published 27 short stories, 21 of them exploring, in an elegiac tone, the characters moods as they search for ultimate meaning. These writings, closely associated with the little magazines that promoted them, generated an important production of critical texts alternately depicting the author as an ascetic of serious writing, a dilettante and a reactionary Brahmin.This monography aims both at explaining these discourses' implications in the construction of Tamil literary modernity and presenting an in-depth study of Mauṉi's writings. We argue that Mauṉi's originality lies in a poetics of the in-between, and each part of the thesis analyses a facet of his craft. The first one, which highlights Mauṉi's cultural hybridity, tries to assess his contribution to Tamil literature. It introduces the writer's cultural milieu, gives an overview of his writings and delineates their critical reception. The second part focusses on stylistics to show how Mauṉi develops a poetic prose based on the use of blurring effects, spirituality-oriented metaphors and symbolic landscapes. The third part describes the main aspects of his mysticism as an experience of liminarity : the depiction of altered states of consciousness, the creation of a character oscillating between the psychological I and the universal Self, the sacralization of the aesthetic experience as a glimpse of the Absolute. The fourth part describes the paradoxes constituting the mauṉian subject with reference to his way of being in the world, his conception of love, his viewpoint on culture and History
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Wheeler, Belinda. "At the center of American modernism Lola Ridge's politics, poetics, and publishing /." Connect to resource online, 2008. http://hdl.handle.net/1805/1683.
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Thesis (M.A.)--Indiana University, 2008.Title from screen (viewed on June 2, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Jane E. Schultz, Thomas F. Marvin. Includes vita. Includes bibliographical references (leaves 57-61).
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MacLeod, Kirsten Jessica Gordon. "The other little magazine revolution American little magazines and fin-de-siècle print culture, 1894-1904 /." 2009. http://hdl.handle.net/10048/658.
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Thesis (M.L.Sc.)--University of Alberta, 2009.A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Library and Information Studies, School of Library and Information Studies, University of Alberta. "Fall 2009." Title from pdf file main screen (viewed on October 30, 2009). Includes bibliographical references.
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HUANG, CIAO-SIOU, and 黃巧秀. "A Study on Editing and Style of Taiwan Little Magazine." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/eekzv6.
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碩士明志科技大學
視覺傳達設計系碩士班
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Taiwan boasts a plethora of magazines in variegated areas; in recent years, a “small magazine” trend has taken over the publishing market. In Taiwan, a “small magazine” is defined as a magazine issued by a smaller-scale publisher, boasts a smaller circulation, and of which the content and topics focus more on self-related issues. The emergence of “small magazines” has brought new energy to the decaying magazine market of these past years. This study focuses exploring non-mainstream “small magazines” – what information or ideas they aim to bring their readers and how these “small magazines,” that do not discuss mainstream topics and include very little advertising , attract readers. Additionally, this study also investigates how these publishers run their business and how their publication procedure works, in order to understand the types of problems one may encounter when publishing “small magazines” and how to resolve the issues. This study examines five “small magazines” and conducts the research by applying the document analysis method and qualitative research’s depth interview method. Through a semi-structured in-depth interview, the study explores various “small magazine” publishers and analyzes the obtained data and information. The interview participants, who were all editors and publishers of small magazines, provided their experience and advice concerning publishing a “small magazine.” Based on the interview results, the study has come to four conclusions: (1) by extending the topics to integrating social issues, the magazines overcame challenges of blandness in topic and increased readership; (2) by adjusting staffing, the magazines relieved editors’ burdens and increased stability in business operation; (3) if a magazine is challenged with homogeneity, they can improve themselves by conducting a thorough preprocess, establishing distinct style, and understanding the consumer’s market for a long-term business plan; and last but not least, (4) for long-term managing purposes, they can increase the advertising ratio in their magazine and advertise themselves adequately to better their business.
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Deysel, Jurgens Johannes Human. "The subversive Afrikaner : an exploration into the subversive stance of the little magazine Stet (1982–1991)." Diss., 2008. http://hdl.handle.net/2263/28538.
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This study explores the subversive stance taken by the Afrikaans little magazine Stet (1982–1991) against the then current ideologies of Afrikaansness, apartheid, and censorship in South Africa during the 1980s. A narrative exploration of the context and circumstances from which the publication emerged, provides a base from which the visualisation of the subversive stance on the covers of Stet is semiotically analysed. The oppositional and alternative nature of the covers of Stet is discussed from within the Barthesian paradigm of myth construction and the discipline of social semiotics.Dissertation (MA)--University of Pretoria, 2008.
Visual Arts
unrestricted
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McKnight, David. "An annotated bibliography of English-Canadian little magazines: 1940-1980." Thesis, 1992. http://spectrum.library.concordia.ca/4821/1/MM90866.pdf.
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Bowles, Gabriel Alexander. "Designs in Chinese color China in the galleries of modernist little magazines, 1912-1935 /." 2007. http://purl.galileo.usg.edu/uga%5Fetd/bowles%5Fgabriel%5Fa%5F200708%5Fma.
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Mushett, Travis Michael. "The Bohemian Horizon: 21st-Century Little Magazines and the Limits of the Countercultural Artist-Activist." Thesis, 2016. https://doi.org/10.7916/D8G160RV.
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This dissertation examines the emergence of a cohort of independent literary, intellectual, and political publications—“little magazines”—in New York City over the past decade. Helmed by web-savvy young editors, these publications have cultivated formidable reputations by grasping and capitalizing on a constellation of economic, political, and technological developments. The little magazines understand themselves as a radical alternative both to a journalistic trend toward facile, easily digestible content and to the perceived insularity and exclusivity of academic discourse. However, the bohemian tradition in which they operate predisposes them toward an insularity of their own. Their particular web of allusions, codes, and prerequisite knowledge can render them esoteric beyond the borders of a specific subculture and, in so doing, curtail their political potency and reproduce systems of privilege. This dissertation explores the tensions and limitations of the bohemian artist-activist ideal, and locates instances in which little magazines were able to successfully transcend subcultural boundaries to productively engage in a broader politics.
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Rall, Suzanne. "Veranderende tendense in die dokumentontwerp van Suid-Afrikaanse letterkundige tydskrifte van die 1960’s, 1980’s en 2000’s (Afrikaans)." Diss., 2004. http://hdl.handle.net/2263/28804.
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The 1930s and 1940s were characterised by considerable interest in research on literary magazines. Relevant studies were undertaken by A.M. Uys (1933, UCT), P.J.J. Dry (1939, UOFS) and W.G. Combrinck (1945, UW). This interest dwindled until J.H. Venter registered a doctorate at UNISA (1991), which he never completed. Today there is a vast gap in the field of research on Afrikaans literary magazines in general. Since no other research has yet been undertaken on the document design of literary magazines in particular, this study may be regarded as groundbreaking. Document design focuses on the utilisation of design elements to purposely create a document for optimal use by the reader. Renkema’s CCC model was chosen to serve as a generic, theoretically founded model for document analysis. In accordance with this model, texts were analysed and reviewed with regard to genre, content, structure, style and layout. Renkema’s model was adapted in order to fine-tune it for reviewing the document design of literary magazines in particular. In this study the choice of genre fell on literary magazines and little magazines of the 1960s (Sestiger, Wurm, Kol and Standpunte), the 1980s (Spado, Graffier, Stet and Standpunte) and the era of 2000 (Driepootpot, PENorent, seepdoos, Tydskrif vir Letterkunde and Spilpunt). The object of this study was to determine whether the parameters governing the document design of literary magazines changed over a period of forty years. The content of these magazines was analysed by classifying it in various subgenres and then comparing the number of writers who contributed to every subgenre in every magazine; the internal and external structure of the various magazines were defined and compared; the style of the various magazines was established and compared; and, lastly, the layout of the twelve magazines was explored and similarities, differences and progression were established. The results indicated that some of the parameters of document design have indeed changed over the past forty years, but that a large number of principles also remained unchanged. The content expanded significantly as a result of the addition of new subgenres. The internal structure remained consistent. The quality of the external structure and layout improved in such a way that it supports the internal structure much better. The style of the content remained unchanged for those magazines that belong to the same era, but changed through the decades to reflect the actualities and struggles of the day. Layout is the area in which the greatest measure of progression was recorded, mainly as a result of the expansion of knowledge in the field of document design, the evolution of technology in the form of the Internet, the layout process, the printing process, et cetera. These developments have, in the course of time, made it substantially easier to design documents for a specific purpose and target audience.Dissertation (MA)--University of Pretoria, 2006.
Unit for Academic Literacy
Unrestricted
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To, Philippe Shane. "Performing femininity within masculine circles : a study of negation in the works of Mina Loy." Thèse, 2017. http://hdl.handle.net/1866/20671.
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Wheeler, Belinda. "AT THE CENTER OF AMERICAN MODERNISM: LOLA RIDGE’S POLITICS, POETICS, AND PUBLISHING." Thesis, 2008. http://hdl.handle.net/1805/1683.
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Indiana University-Purdue University Indianapolis (IUPUI)Although many of Lola Ridge's poems champion the causes of minorities and the disenfranchised, it is too easy to state that politics were the sole reason for her neglect. A simple look at well-known female poets who often wrote about social or political issues during Ridge's lifetime, such as Edna St. Vincent Millay and Muriel Rukeyser, weakens such a claim. Furthermore, Ridge's five books of poetry illustrate that many of her poems focused on themes beyond the political or social. The decisions by critics to focus on selections of Ridge's poems that do not display her ability to employ multiple aesthetics in her poetry have caused them to present her work one-dimensionally. Likewise, politically motivated critics often overlook aesthetic experiments that poets like Ridge employ in their poetry. Few poets during Ridge's time made use of such drastically varied styles, and because her work resists easy categorization (as either traditional or avant-garde), her poetry has largely gone unnoticed by modern scholars. Chapter two of my thesis focuses on a selection Ridge's social and political poems and highlights how Ridge's social poetry coupled with the multiple aesthetics she employed has played a part in her critical neglect. My findings will open up the discussion of Ridge's poetry and situate her work both politically and aesthetically, something no critic has yet attempted. Chapter three examines Ridge’s role as editor of Modern School, Others and Broom. Ridge's work for these magazines, particularly Others and Broom, places her at the center of American modernism. My examination of Ridge's social poetry and her role as editor for two leading literary magazines, in conjunction with her use of multiple aesthetics, will build a strong case for why her work deserves to be recovered.