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Dissertations / Theses on the topic 'Marvelous in literature'
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Nathan, Vetri Janak. "Marvelous bodies : ambivalence in contemporary Italian literature and cinema of immigration /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Ogunfolabi, Kayode Omoniyi. "History, horror, reality the idea of the marvelous in postcolonial fiction /." Diss., Connect to online resource - MSU authorized users, 2008.
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Armand-Gouzi, Nathalène. "Le réalisme merveilleux dans les Contes de Jacques Ferron ; suivi de, Contes à rebours /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26716.
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Marvelous Realism is a continuous source of debate in the world of research. Restricted to latino-american literature for ones, open to all literatures for others, this style suffers from a lack of unanimity. This is the reason why I have chosen to begin my thesis with a panoramic view of this style and identify its founders. Subsequently, I will try to establish the distinctions between Magic and Marvelous Realism through the thesis of Charles Scheel and Ook Chung.<br>Those precisions made, I shall analyse the presence of Marvelous Realism in Ferron's Contes with the stylistic and/or structural traits of Mary-Ellen Ross, Charles Scheel, Cecilia Ponte and Irlemar Chiampi among others.<br>The second part of my thesis is composed of short stories that will enlightened, by the events, or by the narration, certain aspects of Marvelous Realism.
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Hess, Erika E. "Cross-dressers, werewolves, serpent-women, and wild men : physical and narrative indeterminacy in French narrative, medieval and modern /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.
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Thesis (Ph. D.)--University of Oregon, 2000.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 245-255). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.
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Durst, Uwe. "Das begrenzte Wunderbare : zur Theorie wunderbarer Episoden in realistischen Erzähltexten und in Texten des "Magischen Realismus" /." Berlin ; Münster : LIT-Verl, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3132528&prov=M&dok%5Fvar=1&dok%5Fext=htm.
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Prud'homme, Annie-Claude. "Le réel merveilleux chez Yves Thériault et Alejo Carpentier /." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79972.
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This thesis is concerned with the "Americanity" of Quebec literature and the existence of a cultural formation specific to the New World, based on a context of renewal, distancing and rupture with respect to European influence. The "real maravilloso" is perceived as an inherent American mode of expression, and its presence is examined in the work of Yves Theriault and Alejo Carpentier. An analysis of the short stories, Contes pour un homme seul (1944) by Theriault and "Histoire de lunes" (1933) by Carpentier, and of the novels Agaguk (1958) and Le royaume de ce monde (1949), allows us to compare the evolution from primitivism to the "real maravilloso americano", revealed in the novel through the "figures of the Other" and the status of the character, characterized by duality (contrast between the primitive forces and civilized world), its quest, its integration with nature, and the importance of sacred ritual.
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Leskinen, Saara. "Reliable knowledge of exotic marvels of nature in sixteenth-century French and English texts." Thesis, Warburg Institute, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.564418.
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Caliendo, Luis Claudio Kinker. "Orelhas de elefante, olhos de coruja, dentes de javali: maravilhoso e descritivo em Yvain ou le chevalier au lion, de Chrétien de Troyes." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-22022010-163214/.
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No final do século XII, Chrétien de Troyes considerado por muitos críticos o maior poeta francês da chamada Idade Média compõe um poema narrativo Yvain ou le Chevalier au Lion no qual se percebem elementos tidos como característicos do gênero maravilhoso, tais quais objetos mágicos e seres extraordinários, como monstros e gigantes. Esses elementos entre outros fatores levaram boa parte da crítica a enxergar na poesia medieval, durante muito tempo, uma certa ingenuidade, típica de uma infância da literatura. Rejeitando uma perspectiva evolucionista, o presente trabalho pretende olhar para esse texto antigo respeitando sua alteridade, mas, ao mesmo tempo, trazendo-o para o centro dos debates atuais relativos à literatura. Um olhar atento ao poema permite constatar a íntima relação entre o maravilhoso e o descritivo, a qual constitui o objeto deste estudo. Por meio da leitura do retrato de um camponês monstruoso tomado em sua textualidade, evitando-se uma separação artificial entre forma e conteúdo , promove-se um deslocamento do conceito de maravilhoso, não mais visto como conjunto de motivos, mas como um efeito provocado por operações discursivas.<br>At the end of the twelfth century, Chrétien de Troyes considered by many critics the greatest French poet of the so-called Middle Ages produced a narrative poem Yvain ou le Chevalier au Lion in which one perceives elements considered characteristic of the genre known as marvelous, such as magical objects and extraordinary beings, like monsters and giants. These elements among other factors led much of the criticism to see in medieval poetry, for a long time, some innocence, typical of a childhood of literature. Rejecting an evolutionary perspective, this study aims at looking at this ancient text respecting its otherness, but at the same time, bringing it to the center of current literature debates. A close look at the poem brings out the intimate relationship between the marvelous and the descriptive, main subject of the present study. Through the reading of the portrait of a monstrous peasant taken in its textuality, avoiding an artificial separation between form and content a shift is promoted in the concept of marvelous, no longer seen as a set of motifs, but as an effect of discursive operations.
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Vieira, Felipe de Paula Góis 1985. "De Macondo a McOndo : os limites do Real Maravilhoso como discurso de representação da América Latina (1947-1996)." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278674.
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Orientador: José Alves de Freitas Neto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-20T14:36:09Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: O presente texto de dissertação analisa os limites do Real Maravilhoso como conceito e discurso estético-político de representação da América Latina. A intenção é buscar nos debates entre os principais expoentes da chamada nova narrativa hispano-americana reflexões sobre a identidade do continente. Essa literatura iniciada nos anos de 1950 e continuada nas décadas seguintes é responsável por fomentar uma ideia de unidade latino-americana, criando um pastiche sobre aquilo que seria a América. Como salienta grande parte dos estudiosos do tema, a narrativa desse período, de maneira consciente, tentou realizar a busca de um centro do espaço americano e começou propensa a dar uma versão típica da nossa realidade: a América como espaço do maravilhoso. Divergindo dessa representação, na década de 1990 tem início o movimento McOndo, criado pelos escritores chilenos Alberto Fuguet e Sergio Gómez, para definir uma geração de novos escritores latino-americanos cuja principal característica era rechaçar o aspecto mágico que passou a ser o ?selo? dos autores do Real Maravilhoso. Analisar os limites e as implicações políticas desses discursos, assim como as formas através das quais os intelectuais da década de 1960 e 1990 representaram a América Latina, é o principal objetivo do trabalho<br>Abstract: This dissertation explores the limits of the Real Maravilhoso as a concept and an esthetic-political speech of Latin America representation. The purpose of it is looking for reflections about the continent identity through discussions among the main exponents of the new Spanish American narrative. This literature that was introduced in the 1950s and has been proceeded in the following decades is responsible for promoting a concept of Latin-America unity, creating a common sense of what would be America. As emphasized by many literary critics and historians, the narrative of this period, in a conscious way, tried to achieve the search of a center of an American space and began tending to give a typical version of our reality: America as a place of wonder. Diverging from this representation, in the 1990s the movement McOndo has begun, created by chilean writers Alberto Fuguet and Sergio Gómez, to define a generation of new Latin American writers whose main feature was to reject the magical aspect that became the "seal" of the Real Maravilhoso's authors. Analyze the limits and political implications of these speeches, as well as the intellectuals of the 1960s and 1990s represented Latin American, is the main objective of this study<br>Mestrado<br>Historia Cultural<br>Mestre em História
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Platt, Peter G. "Reason diminished : Shakespeare and the marvellous." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336158.
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Ernster, Gretchen Marie Lewis Trudy Swick Marly A. "On marvellous things seen and heard." Diss., Columbia, Mo. : University of Missouri-Columbia, 2009. http://hdl.handle.net/10355/6773.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 26, 2010). Thesis advisors: Dr. Trudy Lewis and Dr. Marly Swick. Vita. Includes bibliographical references.
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Thompson, Darren A. "Sad Marvels." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1512049927883215.
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Mueller, Thomas B. "The marvellous in Gervase of Tilbury's Otia Imperialia." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304899.
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Bardari, Sersi. "A alquimia do \"adultescer\": a literatura para juventude como rito de passagem." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-15122008-094701/.
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Por meio deste trabalho, inserido na área de Estudos Comparados de Literaturas de Língua Portuguesa, objetivou-se estudar o modo como a Literatura para Juventude representa a passagem da adolescência para a idade adulta, tendo em vista a contribuição que os textos literários podem prestar para o processo de formação da subjetividade dos jovens, seja de modo realístico ou simbólico. Em termos de referencial teórico, trabalhou-se com o pensamento de diversos estudiosos da Psicologia do Desenvolvimento, tanto daqueles cujos trabalhos ativeram-se à investigação do ego, quanto dos que foram além e professaram teorias a respeito do self e do processo de individuação. No sentido de demonstrar a validade do mito do herói como estrutura narrativa simbólica do adultescer, empreendeu-se estudo comparativo de O relógio do mundo, do autor brasileiro Lino de Albergaria, com Aventuras de João Sem Medo: panfleto mágico em forma de romance, de José Gomes Ferreira, obra clássica da Literatura Portuguesa. Por meio da análise dos textos, construídos com base nas invariantes do conto maravilhoso, procurou-se demonstrar que, do ponto de vista da natureza psíquica, a conquista da maturidade é processo universal e atemporal, porém, o modo desta expressar-se no mundo está diretamente ligado com a cultura de cada lugar e época.<br>Placed within the field of Comparative Studies on Literature Written in Portuguese, this work has studied how youth literature can represent the passage from adolescence to adulthood, considering the contribution that literary texts may give to the formative process of a youths subjectivity, be it through realism or symbolism. Regarding its theoretical background, the research relies on the ideas of several authors from the field of Developmental Psychology, both those whose works concentrated on investigating the ego, and those who took a further step towards theorizing on the self and the individuation process. For the purpose of demonstrating how the myth of the hero serves as narrative structure to the process of adulting, a comparative study has been undertaken between O relógio do mundo, by the Brazilian author Lino de Albergaria, and Aventuras de João Sem Medo: panfleto mágico em forma de romance, a classic work from Portuguese literature by José Gomes Ferreira. Such works, built upon invariable elements of the marvelous structure, reveal that reaching maturity, in terms of its psychic nature, is a universal and timeless process, nonetheless, the way it is expressed in the world is directly connected to the culture of each specific time and place.
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Tiffin, Jessica. "Marvellous geometry : narrative and metafiction in modern fairy tale." Doctoral thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7963.
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Bibliography: leaves 190-201.<br>Despite the age of the fairy-tale tradition, and its focus on fairly primitive aspects of human experience, fairy tale is able to adapt itself to a range of cultures and contexts, including numerous examples in the twentieth century. Various authors and film-makers are reasserting the power and value of the fairy tale as a response even to the uncertain and ironic experience of contemporary culture. The suitability of fairy tale to modern texts rests partially in its qualities of inherentmetafictionality, the extent to which it self-consciously denies mimesis. This gives it particular relevance to postmodernism, as does the structuredness which facilitates self-aware play with genre. At the same time, the status of oral fairy tale as a folk form connects interestingly with postmodernism's blurring of the boundaries between high and low culture. This has particular implications for the presence of fairy tale within texts traditionally considered as popular culture, herethe fantasy/science fiction ghetto, and the Hollywood film. This thesis chooses to focus on texts which attempt to write actual fairy tale, rather than those which use fairy-tale motifs thematically. In making this distinction, attention is paid to particular aspects of recognisable fairy-tale texture, that is, overall effect, which relies on elements of pattern, structure, simplification, symbolism, ahistorisicim, the construction of a removed and marvellous world, and a tone of certainty which necessitates a response of accepting wonder in the reader.
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Sérane, Alice. "Éléments du fantastique dans l’oeuvre durassienne : deux exemples : L’Amant et La Pluie d’été." Thesis, Högskolan Dalarna, Franska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-34345.
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Le but de ce mémoire est d’analyser deux oeuvres de Marguerite Duras : L’Amant et La Pluie d’été. L’étude est effectuée avec l’aide des éléments d’un genre littéraire précis : le fantastique. Ce mémoire examine les conditions pour qu’une oeuvre puisse appartenir à ce genre littéraire ; il en liste les critères, et étudie comment ces derniers sont en partie applicables à ces deux oeuvres. Le mémoire examine les prérequis pour qu’une oeuvre soit considérée comme fantastique, ainsi que les éléments qui placent une oeuvre à la limite de divers genres, tels que le conte, le merveilleux ou encore le réalisme magique. Une analyse des stratégies narratives employées pour persuader le lecteur à hésiter entre le réel et l’irréel est ici appliquée à L’Amant et La Pluie d’été, ainsi qu’une mise en avant des éléments qui peuvent faire entrer ces oeuvres dans la catégorie du fantastique. Les deux oeuvres sont ensuite étudiées séparément. Des personnages sont analysés, ainsi que les lieux, le temps et les actions. La technique narrative, avec la frontière floue entre rêve, retours en arrière et souvenirs, participe du genre fantastique. Les personnages phares, ainsi que des objets classiques du registre du fantastique, peuvent participer eux aussi de cette classification. Bien que les deux oeuvres ne soient pas explicitement classifiées par l’auteur comme appartenant au genre fantastique, il en émane une certaine atmosphère qui permet de mettre en avant des éléments qui contribuent au genre étudié, mais aussi au mode merveilleux, du réalisme merveilleux ou encore du conte.<br>The aim of this study is to analyze two works by Marguerite Duras: The lover and Summer rain. The study is carried out using elements of a specific literary genre: the fantastic (le fantastique). This study presents the elements needed for a work to belong to this literary genre; it lists the criteria, and studies how they partially are applicable to these two works. The conditions for a work to be considered fantastic, as well as the elements that place a work at the border of various genres, such as the folk tale, the marvelous (le merveilleux) or even the magic realism. This text presents an analysis of the narrative strategies, showing how the reader is led to doubt what is real and what is not. This study investigates The lover and Summer rain. It also highlights the elements that classify a book in the fantastic category. The two works are then studied separately. The characters are analyzed, as well as the setting, the time and the plot. The narrative technique, with the blurry borders between dreams, flashbacks and memories, belongs to the fantastic genre (le fantastique). The most important fictional4characters, as well as classic objects, can also contribute to the classification of the texts in the fantastic genre. Although the two works are not precisely classified by the author as belonging to the fantastic genre, a certain atmosphere created by Duras makes it possible to highlight elements that contribute to the genre studied, but also to the folk tale or the magic realism.
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Wallace, Joy E. "A study of adventure, the fantastic and the marvellous in some medieval French and English romances." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385784.
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Molberg, Jenny 1985. "Marvels of the Invisible." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801890/.
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This dissertation is comprised of a collection of poems preceded by a critical preface. The preface considers the consumed animal body as a metaphor in contemporary American poetry, specifically in the works of Galway Kinnell, Li Young Lee, and Brigit Pegeen Kelly. The consumption of the mute creature allows the poet to identify the human self in the animal other, and serves as a metaphor for our continuity with the natural world. I revise Owen Barfield’s notion of “original participation,” positing that through imaginative participation, the poet and the reader can identify the animal within the self, and thus approach a fuller understanding of both the self and the outside world. We identify the animal other within the human self, and in of this act of relating, we are able to temporarily transgress the boundaries of the individual self to create art that expresses continuity with the outside world. This argument brings about a discussion of text as an act of consumption, and the way and which this can symbolize the ways in which the self is altered through the act of reading. The book-length collection of poems, entitled Marvels of the Invisible, won Tupelo Press’s 2014 Berkshire prize for a first or second book of poetry. The poems look to sources like 17th and 18th century scientific letters, modern and contemporary art, and recent studies in biological phenomena in order to parse the intersection between personal experience and the outside world. The title of the collection points to the conceptual interests of the book: through the lens of scientific phenomena, memory, and personal history, one begins to see that what seems very small (the ant under a microscope, a Russian nesting doll, two people on horseback) are, in fact, individual offerings that articulate one’s place in the cosmos. The collective voice I advocate in the critical preface appears in these poems, especially “Echolocation,” “My Name in Sleep,” “Civilization,” and “Narrative,” all of which make use of the animal-as-metaphor. This collective voice is particularly female, and deals with motherhood, loss, and childhood experience. Poetry, as part-myth, longs to transgress the felt boundaries of the self; it must see that self as inextricably dependent on the natural world.
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Vanderplas, Steven Elworthy. "Cromwell and Augustus: Non-Partisan Historical Comparisons in andrew Marvell's "An Horatian Ode"." W&M ScholarWorks, 1988. https://scholarworks.wm.edu/etd/1539625462.
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Kelly, Caralyn J. "Thrilling and marvellous experiences, place and subjectivity in Canadian climbing narratives, 1885-1925." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape4/PQDD_0010/NQ53500.pdf.
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Arantes, Judith Tonioli. "Vampiros na literatura: limites do gênero fantasia na série Twilight." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2315.
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Previous issue date: 2010-06-02<br>Universidade Presbiteriana Mackenzie<br>Being part of the human imaginary, the vampires found their way into literature in the end of the eighteenth century, and remained there throughout the nineteenth century, being the
climax of the narratives they were present known as Dracula, written by Bram Stoker. Over the twentieth century, the vampires experienced moments of fame in literature, through works such as Anne Rice s The vampire Chronicles; in the movies, through makings and remakings of Bram Stoker s Dracula and other vampires from TV series, such as Blade , and the movie made based on Anne Rice s Interview with the vampire. In the beginning of the twenty-first century, a North American author wrote a series of four books, the Twilight series, which constitute a dialogue with the literary myth crystallized by Bram Stoker s Dracula. Such dialogue, though considered to be intentionally denying the previous literary myth, confirms it in a number of ways. In order to study the presence of the literary myth in Stephenie Meyer s works, it is first necessary to study the possible origins of the myth in the human imaginary, moving, then, to a study of the types of narratives in which the vampires are present in literature, such as the fantastic, a mode found in fantasy, a literary gender. Once the possible origins and types of narrative are studied, it is possible to analyze the vampire myth renewed
presented by Stephenie Meyer and the relation between her work, the Twilight series, and the fairy stories.<br>Presentes no imaginário humano há séculos, os vampiros encontraram seu caminho para a literatura no final do século XVIII e ali permaneceram durante todo o século XIX, culminando na obra que consolidou o mito literário do vampiro em Drácula, escrito por Bram Stoker. No decorrer do século XX, os vampiros viveram momentos de fama na literatura, por
meio de obras como The Vampire Chronicles, de Anne Rice, no cinema, por meio de filmagens e refilmagens de Drácula e de outros vampiros de seriados, como Blade , por exemplo, além do filme baseado na obra Interview with the vampire, de Anne Rice. No início do século XXI, uma autora norte-americana publicou uma série composta por quatro livros, a série Twilight, que dialogam com o mito literário consolidado pela obra de Bram Stoker. Tal diálogo, embora pareça, em um primeiro momento, ter a intenção de renovar completamente
o mito literário do vampiro, acaba, em diversos aspectos, confirmando este mito. Para estudar a presença do mito do vampiro literário na obra de Stephenie Meyer, é necessário fazer, em primeiro lugar, um estudo das possíveis origens do mito no imaginário humano, passando em seguida para os tipos de narrativa nos quais os vampiros aparecem na literatura, como o fantástico, por exemplo, que se insere no gênero fantasia. Uma vez que as possíveis origens do mito no imaginário humano e os tipos de narrativas literárias nas quais os vampiros são utilizados são tratados, é possível analisar a questão do mito renovado do vampiro apresentado por Stephenie Meyer e a relação entre a narrativa da série Twilight e as histórias de fadas.
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Carpenter, Brian L. ""A Marvelously Big Stone": Geological Objects and Mythological Experience in the Writing of Charles Olson." Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/CarpenterBL2005.pdf.
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Le, Roux Selene. "Poetry of revolution : the poetic representation of political conflict and transition in Milton’s Paradise Lost and Marvell’s Cromwell Poems." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2869.
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Thesis (MA (English Literature))--University of Stellenbosch, 2007.<br>Seventeenth-century England witnessed a time of radical sociopolitical
conflict and transition. This thesis aims to examine how
two writers closely associated with this period and its
controversies, John Milton and Andrew Marvell, represent events
as they unfold. This thesis focuses specifically on Milton’s
Paradise Lost and Marvell’s Cromwellian poems in order to show
how these poets reinterpret established literary conventions and
invoke traditional Puritan practices in order to explain and
legitimise the precarious new dispensation of post-Civil War
England. At the same time, their work produces ambiguities and
tensions that threaten to undermine the very discourse that they
attempt to endorse. Both poets’ work indicates an active
involvement in the political embroilments of their time while
retaining its aesthetic value. Therefore, these texts do not only
function on an aesthetic level but also within the historical
framework of political ideologies.
The focus of this thesis is a discussion of the relationship
between politics and poetry, with the emphasis on poetry of conflict and transition in civil society. In other words, it is not
only considered how different poetic genres reflect social and
political change in different ways but also how these genres in
turn contribute to political rhetoric. During the English Revolution Milton and Marvell try to provide solutions for the
political disturbance, even while remaining aware of the new
conflicts produced in the attempt.
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Le, Roux Selene. "Poetry of revolution : the poetic representation of political conflict and transition in Milton's Paradise Lost and Marvell's Cromwell poems /." Link to the online version, 2007. http://hdl.handle.net/10019/1760.
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Magnabosco, F. M. M. "Unfading wonder : 'Meraviglia' as a path to poetic knowledge in Dante's Commedia and Ariosto's Orlando Furioso." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:8c090321-2fd8-4787-a9c6-50897140f3ab.
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My thesis considers wonder (meraviglia) as a path towards poetic knowledge as it appears in Dante’s Commedia and Ariosto’s Orlando furioso. In my textual analyses, I pursue manifestations of wonder as indicative of a specific moment of intellectual and philosophical inquiry that fills the gap between the dimension of the subject and that of the object, namely man and his world. Before embarking on close readings, in chapter one I disentangle the different components of wonder, tracing wonder’s earliest formulations back to Plato and Aristotle, and I re-define the fields of meraviglia’s neighbouring terms (stupore and ammirazione). My research aims to reassess the areas of wonder and of the marvellous, which literary critics have for too long confused, as active parts of the speculative discourses underlying both the Commedia and the Orlando furioso. As a result, in chapters two and three, I offer a picture of wonder which, in the Commedia, leads to experience of the divine dimension, bridging the human and the divine, but, in the Furioso, opens up a new interpretation of the earthly dimension, bridging the distances between men on earth and revealing the gnoseological bearing of its contradictions. This analysis demonstrates how differently the two authors relate to tradition: while Dante offers the first formulation of a redemptive Christian marvellous, linking pagan marvels to divine truth, Ariosto’s marvellous is to be seen as a climax to the liberation of wonder from medieval theological tenets, a process that gives birth to modern wonder. Through a diachronic and comparative investigation, I illuminate nuances of wonder that one could not discern by focussing on just one author or just one cultural period. The comparison between the two texts in light of wonder allows us to discover new paths within the poems, which show the connections between their marvellous features and their speculative drives.
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Pettersson, Fredrik. "Le fantastique dans Le Spectre large de Gérard Prévot : Une analyse basée sur la théorie de Tzvetan Todorov." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79278.
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Ce mémoire est centré sur les caractéristiques fantastiques dans le Spectre large de Gérard Prévot (1975) et par la suite, sur une comparaison avec les caractéristiques d’un autre recueil de Prévot, la Nuit du Nord (1974), étudié par Ricci en 1993. Notre analyse est basée sur la théorie du fantastique de Tzvetan Todorov qui met en avant l’hésitation à savoir si le phénomène énigmatique provient de l’étrange ou du merveilleux. L’étude de l’œuvre littéraire de Prévot est intéressante car, comparé aux autres fantastiqueurs belges comme Jean Ray ou Thomas Owen, Gérard Prévot reste relativement inconnu et peu étudié. Pour ce qui est du résultat, nous trouvons que les contes du recueil ont des qualités variées relativement à la théorie fantastique. Les principales caractéristiques fantastiques du Spectre large naissent surtout grâce à une narration à point de vue limité et au narrateur obscur, parfois inconnu. Le fantastique naît aussi grâce à l’intrigue qui fait venir la force perturbatrice, souvent à la toute dernière page. En comparant nos résultats avec l’étude de Ricci (1993), nous trouvons plusieurs points en commun mais aussi de divergence. Prévot a écrit les deux livres en utilisant un lexique similaire et les contes se déroulent souvent dans des lieux similaires, dans le Nord — un lieu ayant des connotations mystiques. Un fantastique dit « social » se trouve aussi dans les deux recueils. La principale différence entre les deux livres est la narration. Tandis que le narrateur de la Nuit du Nord possède un savoir absolu qui lui donne le statut omniscient, il est clairement limité dans son point de vue et parfois anonyme dans le Spectre large.<br>This thesis is centred on the fantastic features in Le Spectre Large by Gérard Prévot (1975) and subsequently on a comparison with the features from another collection by Prévot, La Nuit du Nord (1974), studied by Ricci in 1993. The analysis is based on Tzvetan Todorov’s theory of the fantastic, which puts its emphasis on the hesitation whether the enigmatic phenomena has its origins in the natural (uncanny) or the supernatural (marvellous) world. The research of Prévot’s literary work is interesting given that, compared to other Belgian fantastic writers such as Jean Ray or Thomas Owen, Gérard Prévot is still rather unknown and not much studied. With regard to the results, it is found that the stories have a mixed qualities in relation to fantastic theory. In the better tales, the fantastic is born out of a narration with a limited point of view and a vague and sometimes unknown narrator. It is also born out of the plot which introduces the disruptive elements at the very last page. When comparing the corpus with Ricci’s study (1993), several common features are found, but also a few differences. Prévot has written the two books using a similar vocabulary and the stories often take place in related environments – the North, a place with mysterious connotations. A fantastic which Ricci calls “social” can also be found in both collections. The main point of difference between the books is the narration. While the narrator in La Nuit du Nord has an omniscient status, the one in Le Spectre Large is clearly limited and anonymous.
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Servier, Alicia. "La représentation des figures féminines dans les images enluminées du roman en prose de Lancelot du Lac (XIIIe -XVe siècle)." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30018.
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Le sujet de notre thèse porte sur la représentation des personnages féminins dans les enluminures décorant les manuscrits du roman en prose de Lancelot du Lac, appartenant au cycle littéraire arthurien du Lancelot-Graal, réalisés entre le second quart du XIIIe siècle et la fin du XVe siècle. Ce roman courtois de chevalerie, qui connaît un grand succès aux XIIIe-XVe siècles, contient un nombre et une variété remarquables de personnages féminins. L’objectif est d’étudier comment l’ambivalence ou l’ambiguïté qui caractérisent la plupart, pour ne pas dire l’ensemble, de ces personnages – à cause, entre autres, de leurs liens évidents ou latents avec un Autre monde merveilleux et d’une nature féminine pensée globalement de manière équivoque au Moyen Âge – se manifestent dans les images. Pour cela, nous procédons à une analyse à la fois iconographique, stylistique et comparative des enluminures ornant vingt-neuf manuscrits du Lancelot du Lac. Nous nous intéressons aussi à la représentation de figures féminines dans d’autres œuvres d’art et littéraires médiévales, pour la mettre en regard avec celle du Lancelot. L’interprétation picturale du roman, opérant la transition entre le personnage littéraire et la figure iconographique, les relations complexes qui se nouent entre les catégories ontologiques (humain/féerique ; féminin/masculin...) dans la conception de ces derniers, sont au cœur de notre travail. Les représentations révèlent une image complexe, mouvante et contrastée de la femme et du féminin marqués par l’altérité, où les éléments issus du texte interfèrent avec la créativité et la culture visuelle des enlumineurs. Elles nous conduisent, de fait, à aller au-delà des stéréotypes imposés notamment par l'Église, au-delà des réalités sociales et historiques, pour améliorer nos connaissances sur l'imaginaire qui se développe autour du genre féminin à l'époque médiévale<br>The subject of our thesis concerns the representation of female characters in the illuminations decorating the manuscripts of the prose romance of Lancelot du Lac, which belongs to the Arthurian literary cycle of the Lancelot-Grail, produced between the second quarter of the 13th century and the end of the 15th century. This courtly chivalric romance, which was a great success in the 13th-15th centuries, contains a lot of female characters of a remarkable variety. The objective is to study how ambivalence and ambiguity that characterize most, if not all, of these characters - because of, among other things, their obvious or latent links with a marvellous Otherworld and a feminine nature thought generally equivocally in the Middle Ages - are shown in the pictures. For it, we proceed to an iconographic, stylistic and comparative analysis of the illuminations in twenty-nine manuscripts of the Lancelot du Lac. We are also interested in the representation of female figures in other artistic and literary works of the Middle Ages, to compare it with that of the Lancelot. The pictorial interpretation of the text, making the transition between the literary character and the iconographic figure, the complex relationships between ontological categories (the human/the fairy ; the feminine/ the masculine) in the conception of these, are at the heart of our work. The representations reveal a complex, unstable and contrasting image of the woman and the feminine marked by alterity, where the elements of the text interfere with the creativity and the visual culture of illuminators. In Fact, they lead us to go beyond the stereotypes imposed mainly by the Church, beyond the social and historical realities, to improve our knowledge about the imagination that is developed around the female gender in medieval times
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Petereit, Elisabeth. "Beunruhigungen vom Rand ˸ Weiblichkeit, Phantastisches und Ornament in der Literatur des deutschsprachigen Realismus (Keller, Storm, Fontane)." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030054.
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Cette thèse propose une lecture de textes canoniques du réalisme germanophone selon le prisme des inquiétudes que provoquent les éléments placés à la marge : le féminin, le fantastique et l’ornement. La base commune qui permet de relier ces catégories esthétiques, anthropologiques et sociales est qu’elles se définissent en tant qu’Autre dans une bipolarité : homme – femme, réel – fantastique, ›grand‹ art – ornement. La hiérarchie qui sous-tend ces oppositions s’avère néanmoins peu stable, de telle sorte que ces éléments marginalisés troublent le centre normatif. Le fantastique est abordé comme élément constitutif pour la mise en forme littéraire de problèmes sociaux actuels et ›réels‹, et les rapports entre les sexes tels que définis par la société bourgeoise, sont montrés comme mis en mouvement et ambivalents. L’analyse détaillée des textes de Theodor Fontane, Gottfried Keller et Theodor Storm se concentre d’abord sur la femme comme ›principe esthétique‹ et comme ›genre‹, capté et fixé dans l’image, et montre que ce féminin imagé et idéalisé se convertit au contraire en déclencheur d’une imagination débridée et déréglée, qui s’inspire de sources littéraires et mythologiques (Pénélope, Cendrillon, sorcières etc.). Elle s’attache ensuite aux modèles, aux rôles et aux normes liés au mariage bourgeois et aux enjeux qu’ils constituent pour l’acceptation ou le rejet de la femme comme égale. La troisième partie étudie enfin les rapports entre l’idéal familial bourgeois et la société patriarcale. Dans les romans le mariage bourgeois est hanté par les fantômes de rôles sexuels encore en vigueur, mais désormais obsolètes, ce qui confère aux foyers une inquiétante étrangeté au sens Freudien<br>This dissertation offers an analysis of canonical texts from German literary realism using the anxiety that is felt by readers and writers in what constitutes the margins of realist literature in the 19th century: the feminine, the fantastic and ornamentations.These aesthetic, anthropologic and social categories are linked as they are all defined by a binary opposition that turns them into the Other or the Inessential: male-female, reality-fantastic, art-ornamentation. The hierarchy upon which these oppositions are built is however not that stable as these elements at the margin do trouble and replace what constitutes the society’s normative core. The fantastic elements in the works of the authors are used as constituting materials to engage the literary discussion on present and real social problems at the time of writing. The relationships between the sexes and genders which were so clearly described in the bourgeois era are seen as ambivalent and in motion.The three parts of this dissertation provide an in-depth analysis of the works of Theodor Fontane, Gottfried Keller and Theodor Storm. The first section of the work will focus on the figure of the woman as an aesthetic which is both captured and fixed in the image. It will show that this idealised and pictured feminine becomes the catalyst for unbridled and unruly imagination. Then, the traditional roles and behaviours within patriarchal marriage will then be shown to be largely inspired by literary tradition, and in particular in the myths and the fairy-tale (Penelope, Cinderella, the Witch, etc.). Lastly, the relationships between the ideal bourgeois family and the patriarchal family will be analysed in the work of Fontane and Storm. As the era of German realist literature ended, patriarchal marriage was haunted by the ghosts of gender roles, which however obsolete, were still predominant. This paradox made families unheimlich in the Freudian sense
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Alzati, Valentina. "Les contes de Mme d’Aulnoy et leur fortune en Europe (France ; Italie ; Grande-Bretagne ; Allemagne)1752-1935." Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLV050/document.
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Dans cette thèse, on examine les différents aspects de la réception et de la fortune des contes de la baronne d’Aulnoy à la fin du XIXe siècle, permettant d’enrichir les analyses critiques à propos des contes de fées classiques et de leur perception en époque moderne. L’étude porte, en un premier temps, sur le domaine de nouvelles éditions des contes qui voient le jour à partir de premières années du XIXe siècle, jusqu’aux premières années du XXe. La composition des volumes et la forme des textes permettent de comprendre comment c’est uniquement à la fin du XIXe siècle que Mme d’Aulnoy commence à être considérée comme une auteure classique : une écrivaine qui propose aux lecteurs des contes merveilleux originaux et non pas une simple transcriptrice de contes folkloriques. L’analyse des réécritures et des transpositions permet, en revanche, de comprendre le rôle de la baronne et de son œuvre dans le renouvellement du merveilleux de la fin du siècle, car les réécritures complètes de certains de ses contes présentent des traits stylistiques propres au genre du merveilleux perverti. Cela permet de saisir l’intérêt que les auteurs de cette époque portent sur la figure de l’écrivaine : elle est perçue comme un modèle, au même niveau que Charles Perrault, ce qui justifie la présence de réécritures complètes de son œuvre. D’un autre côté, certaines reprises de thèmes, motifs et personnages, permettent de mieux comprendre l’importance du souvenir littéraire dans le renouvellement du genre merveilleux. Les transpositions pour le théâtre sont, enfin, présentes uniquement dans la culture anglaise. Les contes de la baronne d’Aulnoy qui participent à ce phénomène permettent un profond renouvellement de certains genres du théâtre classique et la création de nouveaux, qui présentent, pour la première fois, le thème du grotesque. Ce travail permet, donc, de souligner la portée et l’importance de la production d’une écrivaine qui a été, pendant longtemps oubliée et de mettre en relief en quel sens ses contes merveilleux ont contribué à enrichir plusieurs genres et plusieurs modèles relevant de la culture de la fin du siècle<br>In this thesis, the variousaspects of the reception and the fortune of the fairy tales of the baroness of d’Aulnoy at the end of the 19th century are examined, allowing enriching the critical analyses about classical fairy tales and their perception in modern time. In first place, new editions of the tales, printed from from first years of the 19thcentury, until the first years of 20th are examined. The composition of volumes and the shape of the texts make it possible to understand how it is only at the end of the 19th century that Mrs. d'Aulnoy starts to be regarded as a classical author. She begins to be considered as a writer that proposes to the readers original marvelous tales and not a simple rewriter of folk tales. The analysis of the rewritings and the transpositions allows, on the other hand, to understand the role of the baroness and her work in the renewal of marvelous literature at the end of the century. In fact, the complete rewritings of some of its tales present some stylistics features that can be connected with the perverted marvelous, typical of the end of the century. That makes it possible to seize the interest which the authors of this time carry on the figure of the writer. She begins to be perceived as a model, on the same level as Charles Perrault, which justifies the presence of complete rewritings of its work. On the other hand, the presence of some themes and characters that can originally be found in Mrs. d’Aulnoy’s works inside new works allows to better understand the importance of the literary memory in the renewal of marvelous literary genre. In the end, the transpositions for the theater can only be found in the English culture. The tales of the baroness d’Aulnoy which take part in this phenomenon allow a deep renewal of certain genres of the classical theater and the creation of new ones, presenting, for the first time, characters and topics linked to grotesque. This work allows therefore, to stress the range and the importance of the production of a writer which, has been forgotten for a long time and to highlight in which direction its tales contributed to enrich the marvelous at the end of the century
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Sauvé, Stephanie. "The marvelous in stories and the magic of the mind : the role of the imagination in learning and knowing." 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94984&T=F.
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Destafney, John Watford. "The dialectic of the marvelous : Graça Aranha's fictional philosophizing." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3246.
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This essay considers the relationship between the creative and philosophical writings of Graça Aranha, in part as response to the critical tendency to exclude the majority of his works when analyzing his oeuvre. Aranha’s major work of philosophy, The Aesthetic of Life, proclaims that aesthetic experience is the “basis of perfection”: the solution the alienation initiated by the duality of consciousness. Yet, the aestheticism of his philosophical treatise is ruthlessly tested through the dramatic embodiment found in his three works of fiction: Canaan (novel), Malazarte (play), The Marvelous Journey (novel). Aranha’s interest in philosophical dialectic is manifested most effectively in the drama of ideas which runs through his fiction. Consequently, Aranha’s works should be evaluated and explicated with attention to the ways in which they comment on each other. In particular, the fictional works suggest a negative aspect to Aranha’s aesthetic concept of the marvelous. The three creative works employ and anticipate ideas found in Psychoanalytic theory, Marxist theory, and Existentialism in order to illustrate that the marvelous experience is a kind of death of the subject. Additionally, this essay contributes to the critical dialogue over Aranha’s place in or outside of Brazilian modernism. The representation of Brazilian dance and ritual found in the two novels are explored as a noteworthy modernist approach to the questions of cultural and aesthetic decadence that influenced the modernist period in both Europe and Brazil.<br>text
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Heady, Margaret Loren. "From marvelous to magic realism: Modernist and postmodernist discourses of identity in the Caribbean novel." 1997. https://scholarworks.umass.edu/dissertations/AAI9737535.
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Caribbean authors, due to the unique geographical, social and historical contexts of their work, have long been preoccupied with the notion of authenticity. Yet the project of uncovering or inventing an "authentic" Caribbean discourse has repeatedly confronted difficulties resulting from the intrinsic hybridity and dynamism of the region. In particular, discourses of origin and belonging based on national boundaries or ethnic essentialism have proven inadequate for rendering the "essence" of the Caribbean experience. This problem has been exacerbated by the fact that such discourses are generally dependent on European literary forms to be their vehicle. For each of the three novelists studied in this dissertation, the discourse of the marvelous seemed to offer a path for creating a fictional identity quest which would be able to capture something of this unique but elusive Caribbean "essence". The dissertation argues that by tracing the transcultural route taken by Marvelous Realism and later Magic Realism through three novels by Jacques Stephen Alexis of Haiti, Alejo Carpentier of Cuba, and Simone Schwarz-Bart of Guadeloupe, one becomes aware of an evolution in the use of the marvelous which reflects different approaches to the dilemma faced by the Caribbean artist coping with the seemingly contradictory demands of a Parisian intellectual formation and an authentic "Caribbean" sensibility. This evolution reveals an emerging "postmodernist" consciousness in the quest for an authentic Caribbean discourse, suggesting a growing acceptance on the part of Caribbean writers of the hybrid nature of their intellectual and cultural heritage. Using analysis based on writings by Antonio Gramsci, Edouard Glissant, Gayatri Spivak, Regine Robin, Stephen Slemon and Paul Gilroy among others, the dissertation explores the ways in which these three novelists, poised uneasily between two continents, have through their fiction and essays struggled and/or come to terms with the "decentered" positionality which seems to be so "central" to the Caribbean experience.
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Belleroche, Jean Élie 1968. "The nature of the marvelous in René Depestre’s Hadriana dans tous mes rêves." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2893.
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My goal is to study the nature of the Marvelous in René Depestre's Hadriana dans tous mes rêves. I want to demonstrate that René Depestre, in his novel, combines a number of surrealist or neo-surrealist premises that have influenced him as a Haitian writer. This goes beyond differences that can be discerned between the "Surrealist marvelous" endorsed by André Breton and the surrealists, and Alejo Capentier's "marvelous real"later proposed by Jacques Stephen Alexis as "marvelous realism" Depestre adapts Haitian natives' perceptions deep-rooted in their historical and social, cultural and religious past and ever-existing political and economical struggle. Taking into account both the surrealist perspective and the Haitian context, I shall address the complexity of the concept of the Marvelous and discuss Depestre's use of "zombification"as a form of metamorphosis, which preserves the mystical nature of Vodou as a religion that syncretizes the Roman Catholic ritual of exorcism of the Christian West and the animist and magical practices inherited from Africa. Scholars have explored the Marvelous and marvelous realism in Depestre's works as a whole, but not in Hadriana dans tous mes rêves specifically. The exclusive nature of this study will show that Depestre draws from Haiti's complex cultural ethos as well as from surrealism'es key principles, to create a hybrid Marvelous typical of Haiti and Depestre'es aesthetic as a writer.<br>text
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Jeřábková, Zlatina. "Západoevropské impulsy bulharského diabolismu (Pohled na bulharskou literaturu ve 20. letech XX. století)." Doctoral thesis, 2012. http://www.nusl.cz/ntk/nusl-307975.
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West European Impulses of Bulgarian Diabolism (A Look at the Bulgarian Literature of the 1920s) Abstract Keywords: Bulgarian literature, expressionism, avant-garde, diabolism, horror fiction, marvelous, uncanny, Menippean carnival discourse, romanticism, naturalism, individualism Svetoslav Minkov (1902-1966), Vladimir Poljanov (1899-1988), Georgi Rajčev (1882 - 1947), Čavdar Mutafov (1889-1954) Contrary to its generally innovative potential for Bulgarian literature, the phenomenon called Bulgarian diabolism has been a marginal one from the point of view of literary discourse. The interest of postmodern writers and reviewers has given rise to accentuating some of the partial aspects of the works of Svetoslav Minkov, Vladimir Polyanov, Georgi Raychev and Chavdar Mutafov. However, with the exception of Thomas Martin's monograph Der bulgarische Diabolismus. Eine Studie zur bulgarischen Phantastik zwischen 1920 und 1934, published in 1993, works explicating the nature of the phenomenon in Bulgarian literature have been missing. Due to their novelty and impurity, the syncretic writings of Bulgarian diabolists, blending fading individualistic modernist tendencies together with elements of romantic fiction of horror in the generally expressionist roots of their works, were a phenomenon difficult to rank for their...
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Roblés, Ana Paula Dos Reis Alves. "The fantastic and the marvellous in Mia Couto's narrative = O fantástico e o maravilhoso na narrativa de Mia Couto." Thesis, 2007. http://hdl.handle.net/10500/2280.
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SUMÁRIO
Esta dissertação busca demonstrar a presença do fantástico e do maravilhoso na narrativa de Mia Couto.
Para tal, apresenta-se uma discussão teórica acerca desses dois géneros, retomando-se o que de mais importante se tem escrito sobre o assunto.
A seguir, procede-se à análise do fantástico e do maravilhoso na narrativa de Mia Couto, recorrendo a exemplos dos seus contos e romances. Esta análise inclui uma definição de cada um destes géneros, adequada à especificidade da obra do escritor; um estudo dos temas fantásticos e maravilhosos mais frequentes; e, por fim, uma caracterização dos discursos fantástico e maravilhoso.
SUMMARY
This dissertation aims to demonstrate the presence of the fantastic and the marvellous in Mia Couto's narrative.
In order to achieve these objectives, the first step is to contextualize these two genres, making a brief reflexion about the most important theories on this subject.
After this theoretical chapter, this thesis analyses the fantastic and the marvellous in Mia Couto's work by giving examples from his short stories and novels. This chapter also includes a definition of each genre, specifically adapted to the writer's narrative; a study of most frequent fantastic and marvellous themes;
and, finally, a description of fantastic and marvellous discursive features.<br>CLASSICS & WORLD LANGUAGES<br>MA(ROM LANG)- SPEC PORTUGUES
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Sacré, Sébastien Richard Ghislain. "Spiritualité et réalisme merveilleux dans la littérature caribéenne francophone: la (re)construction d'une identité." Thesis, 2012. http://hdl.handle.net/1807/33825.
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Si pour les ethnographes les mythes sont essentiels à la survie de toute société, cela pose problème quand on considère la Caraïbe et la rupture de l’esclavage. Une étude de la littérature antillaise réaliste merveilleuse nous montre que si les romans sont imprégnés par la spiritualité et le folklore, nous n’y trouvons aucun mythe des origines. Comment une société peut-elle subsister sans ces éléments fondamentaux ? Combinant une approche mythocritique à une mythanalyse des oeuvres d’auteurs antillais contemporains, nous émettons cette hypothèse : en s’inspirant de multiples héritages, ils se constituent une identité par la reconstruction de mythes spécifiquement
antillais.
Vu l’absence de romans antillais contemporains dans les études du magical realism et du réalisme merveilleux, notre première partie explore ce dernier concept pour en proposer une nouvelle catégorisation : le réalisme mystique. Notre deuxième partie examine les principes narratifs des romans en se demandant comment les auteurs parviennent à concilier un double héritage oralité/écriture et à sauvegarder leur identité. Notre dernière partie illustre enfin comment, par l’utilisation de schémas mythique spécifiques et un recentrement sur l’île natale, les textes mettent en place sa (re)mythisation.Cette étude permet la mise à jour de nouveaux paradigmes dans la littérature antillaise contemporaine. Elle montre comment le réalisme mystique est une modalité rattachée au magical realism qui, combinant réalisme historico ethnographique et folklore local, s’applique spécifiquement à la région des Antilles. Dépassant l’impossibilité théorique de transition de l’oralité vers l’écriture, nous révélons aussi que l’utilisation de l’ « oraliture » par les écrivains et le rôle de « guerriers de l’imaginaire » associé à certains d’entre eux propose une harmonisation oralité/écriture de même qu’une sauvegarde identitaire. Enfin, nous voyons qu’un certain nombre de romans réalistes mystiques proposent, outre une mise à distance de l’Afrique et de la France, un nouveau mythe originel centré sur la traversée de l’océan et un passage matriciel par la cale des négriers. Nous voyons également comment, loin de territoires d’acculturation comme les plantations, les auteurs développent une restructuration mythique de l’espace, notamment par une mise en valeur de la nature primordiale devenue propice à une renaissance identitaire.
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Griffith, Asheley Randolph. "Four approaches to Marvell's "Upon Appleton House": Poetic patterns, estate lands, retirement of a hero, and education of a young woman." 1996. https://scholarworks.umass.edu/dissertations/AAI9709600.
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Today Andrew Marvell's poetry is thought to offer a window onto mid-seventeenth-century English literature and culture, yet scholars find the poet's richly allusive early works puzzling: we often do not know what prompted these compositions, or how to interpret them. Marvell probably wrote much of his early verse in 1651-1652 while working as a tutor at the Fairfax family's Yorkshire estate, Nun Appleton. Four approaches to Marvell's major early work, the estate poem Upon Appleton House, help to clarify the poet's methodology, the Yorkshire cultural and landscape milieus of his 1651-1652 poems, the prominent family for which he worked, and the pedagogic content of the poem itself. In the first approach, textual analysis and pattern-tracing reveal that Marvell developed Upon Appleton House from short poetic studies in Latin and English, and reveal too some ways in which Marvell represented his employer, Thomas Fairfax; his student, Mary Fairfax; and himself, as tutor-poet persona. Next, research on central Yorkshire's historical geography and lore and especially on Fairfax family lands helps explicate Upon Appleton House and shows that Marvell himself was a researcher and close observer of the outdoors. Third, information about the career and retirement of Thomas Fairfax--who in 1650 was nominally Interregnum England's highest-ranking leader--partially demystifies both Fairfax's retirement motives and Marvell's poem. A final approach analyzes Upon Appleton House as a poem for the instruction of thirteen-year-old Mary Fairfax. Marvell apparently drew on ideas from advice-to-a-prince poems, education manuals, puritan theology, and other sources to prepare Mary Fairfax for her future roles as Protestant heiress, dynastic perpetuator, and "natural ruler." Moreover, Marvell lyrically transformed the lands she would inherit into a medium for learning. Each approach to Upon Appleton House includes attention to literary and visual arts' traditions and to Marvell's evolution as a poet. Together, the four approaches go far toward explaining Marvell's 1651-1652 compositional chronology and self-presentation, his descriptions of nature and Yorkshire landscapes, his praise and instruction of Fairfax family members, and his evocations of post-civil-war England.
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Laporte, Jacinthe. "De la guivre au crapaud : l'analyse du motif merveilleux du baiser désenchanteur à la bête, dans le roman médiéval et dans le conte." Thèse, 2008. http://hdl.handle.net/1866/7254.
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