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1
Lafleur, Sylvie. "Procédés humoristiques dans l'oeuvre romanesque de Robert Soulières." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69562.
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This thesis studies the way in which Robert Soulieres uses, in increasing complexity, four forms of humour in his novels for adolescents. The novels studied are: Le visiteur du soir, Un ete sur le Richelieu, Casse-tete chinois, and Ciel d'Afrique et pattes de gazelle.These forms of humour are defined, identified, and classified. How they are used and interact with other components of the works are examined.
The thesis is divided into four chapters. The first looks at the way in which the author manipulates language. The second analyses the role of the narrator and the different narrative levels. The third section scrutinizes discursive intertextuality and literary styles, while the final chapter focuses on visual plays. The latter includes the use of original typographical characters and unusual formatting.
In studying these aspects of the novels, it becomes apparent that the author uses them to establish and maintain contact with his young readers.
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Papillon-Boisclair, Antoine. "L'école du regard : poésie et peinture chez Saint-Denys Garneau, Roland Giguère et Robert Melançon." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102821.
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From the artistic experience of Saint-Denys Garneau, who decided to devote himself to painting and writing at the beginning of the 1930's, to the poetry and essays on art of Claude Gauvreau, Roland Giguere, Jacques Brault or Robert Melancon, Quebec's poetry maintains a fertile dialogue with the art of painting. Whatever form it takes, discourse on art allows the poet to reinforce or refine aesthetic sensibilities, to question the links or the disparities between texts and images, but also to conceive a theory about visual perceptions. Despite all that separates these two expressive modes, literature and painting both produce "visibility": even if some pictures are not figurative or some poems do not contain imagery, visual arts, beyond the topics or themes they provide to writers (landscape, portrait, still life, etc.), contribute to the development of "ways of seeing", ways of perceiving sensitive reality and of inserting oneself as a subject in the world. This is particularly true in the works of the three poets around which the main parts of this study are centered: Saint-Denys Garneau, for whom painting is a way of "learning to see" (apprendre a voir), Roland Giguere, whose poetic and artistic works share a desire to "give to see" (donner a voir), and finally Robert Melancon, who borrows from painters ways to "make see" (faire voir). By using notions and concepts that come from disciplines close to Aesthetics, this work proposes to circumscribe those "ways of seeing" and to assess how painting acts as a "seeing school" (ecole du regard) for these three authors. More broadly, since discourse on painting can be found throughout Quebec's modern poetry, this study also constitutes a point of view on the history of poetry in Quebec since Saint-Denys Garneau.Keywords: Quebec poetry, painting, Aesthetics, visual perception, history of literature.
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Plamondon, Marc. "Music in the poetry of Robert Browning." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26304.
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This thesis attempts to characterize the musicality of Robert Browning's poetry. There has been much debate about whether or not Browning may be said to be a musical poet, but neither side has effectively characterized the musicality or lack thereof in his poetry. This study does not concentrate on Browning's "philosophy" of music, nor on the musical allusions in his poetry. Instead it attempts to identify aspects of Browning's art that share an affinity with music.First, the state of music in nineteenth-century England is briefly discussed, followed by a discussion of Browning's musical background and an attempt to identify some general characteristics of musical poetry. The balance of the study is devoted to a discussion of the musicality of ten poems, among them "A Toccata of Galuppi's" and "Master Hugues of Saxe-Gotha". Emphasis is placed on these last two poems' ability to approximate a musical form: the toccata and fugue in the first, and the fugue in the second. The study concludes with a more general discussion of music in Browning's poetry.
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Gorelik, Peter. "Robert Herrick and the poetical book." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25413.
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Robert Herrick's complete works appeared in one large volume of poetry entitled Hesperides: or the Works both Humane and Divine (1648). The number and range of Herrick's poems are astonishing. Herrick's more than one thousand "humane" poems range in subject matter and verse form from the carpe diem lyric and polite compliment to meditations on death and immortality, from the satirical and moralistic epigram to the formal ode and epithalamium. A critical problem arises here: is there any unity among all this diversity, or is Hesperides just a haphazard collection of lyrical gems? Herrick's status as a poet and place in English poetry depends very much on the answer to this question.
This study sets out to demonstrate that Hesperides is a well wrought poetical book. Herrick had behind him an ancient and well-defined tradition when he undertook the composition of Hesperides. Horace and the Latin elegists provided him with classical models of the poetical book, while Herrick's own master Ben Jonson established a precedent for the poetical book in English with The Forest and Epigrams. Indeed, the fact that the "Metaphysicals" Herbert, Crashaw and Vaughan composed poetical books demonstrates that the tradition of the poetical book transcends the familiar dichotomy between "Metaphysical" and "Cavalier."
Herrick makes poetry and his book one of his major subjects. He calls his book, among other things, an "expansive Firmament" and an "immensive Sphere" metaphors which suggest that Hesperides was conceived as a microcosm which reflects the diversity-in-unity of the Renaissance world-view. Herrick also regards his book, as the poems on fame demonstrate, as a bulwark against mutability and his personal guarantee of immortality. He is thus not the singer of transience, as his popular image would have it, but a poet who celebrates permanence and cosmic order.
Hesperides is structured according to a Neo-Platonic scale of love, which ascends step-by-step from profane to sacred love. Herrick's amatory ideal harmonizes profane and sacred love in the paradox of "cleanly-wantonnesse." Herrick sees himself as a poet-priest celebrating a "Poetick Liturgie" and performing the rites of "Loves Religion." Many of his poems display a subtle use of biblical allusion and liturgical symbolism. Therefore, Herrick's poems are not, as the title-page of Hesperides suggests, entirely "humane," but rather represent a synthesis of the "humane" and the "divine" in a unified world-view.
Herrick's aesthetic ideal of "wilde civility," like his amatory ideal, balances freedom and discipline. Herrick sees himself as both an inspired vates, or "Lyrick Prophet," and a responsible craftsman. His idea of decorum allows for slight deviations in syntax, rhythm and phrasing. Therefore, his verses display greater freedom and subtlety in their design than Jonson's. Herrick is no slave of his master Jonson, but has his own unique voice and sensibility.
In conclusion, Herrick should be ranked with Jonson, Donne and Herbert and not with the "Cavaliers." In fact, Herrick is not as far removed from Herbert as is usually thought. This thesis, then, attempts a reevaluation of Herrick by treating Hesperides as a complex but unified whole, a poetical book, and by calling attention to the "metaphysical" dimension of his verse.Arts, Faculty of
English, Department of
Graduate
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Moon, Geoffrey. "The inner musical workings of Robert Schumann, 1828-1840 : in two volumes." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm817.pdf.
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A thesis which examines Schumann's secret musical language and the development of that language into a highly complex system of extra-musical meanings expressed in tones, special motifs, harmonic progressions and keys. This study traces the development of Schumann's procedures by first analysing the songs of 1840 to see which repeated musical devices connected with texts. Once they have been identified, the application of these devices is then examined, retrospectively, in selected works for solo piano. Relying heavily on Schumann's diaries and letters, as well as a detailed analysis of selected works for voice and solo piano, this study shows the extra-musical meaning to be ultimately concerned with Schumann's wish to marry Clara Wieck and her father's unyeilding opposition to the idea.
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Fero, Alanna Carlene. "The Robert Kroetsch alphabet book : sketches of a thesis." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/30554.
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Robert Kroetsch, a contemporary Canadian novelist, poet, and critic, can often be found investigating systems of ordering: he examines their contrasting characteristics of symmetry and arbitrariness; necessity and inanity; their potential to be both banal and surprising. My thesis on Robert Kroetsch's aesthetic comprises twenty-six chapters, each corresponding to a letter of the alphabet.
Kroetsch's work has increasingly come to be affiliated with the "language poets"; his absorption with system invariably leads him back to the nature of the linguistic sign, and the possibilities and limitations of significance. For example, both Kroetsch's most recent novel, What the Crow Said, and "The Sad Phoenician," a long poem in which he reflects upon his identity as a writer, focus on the alphabet. In Crow, the nature of the alphabet as a paradoxically enabling and confining structure is explored thematically; in "Phoenician," the alphabetization of stanzas forms the enabling and confining structure of the text. Thus, the form of my thesis responds to those of Kroetsch; it is a form which becomes, finally, a thesis in itself.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Hickey, Sean. "The Vichy regime and its National Revolution in the political writings of Robert Brasillach, Marcel Déat, Jacques Doriot, and Pierre Drieu La Rochelle." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61117.
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This thesis examines the campaign waged against Vichy's National Revolution by Robert Brasillach, Marcel Deat, Jacques Doriot, and Pierre Drieu La Rochelle. It explores the particular issues of contention separating Vichy and the Paris ultras as well as shedding light on the final evolution of a representative segment of the fascist phenomenon in France.
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Mason, Jean S. "The figure that love makes : a study of love and sexuality in the poetry of Robert Frost." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66249.
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Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
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This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.
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Faull, Lionel Peter. "Robert Herrick's self-presentation in Hesperides and his Noble numbers." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002250.
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Literature has tended to be cut from the moorings of its authorial origins under the influential literary criticism of the past forty years. This thesis is an attempt to re-moor a work of literature to its authorial origins; particularly a work of literature in which the author-poet‘s self-referential markers are so overtly and persistently present as is the case in Hesperides and His Noble Numbers. Although there is a significant overlap between the real-life Herrick and the Hesperidean Herrick, the two figures cannot be regarded as identical. Instead, Herrick‘s deployment of specific genres and not of others, his chosen conventions for ordering a collection of miscellaneous poems, and his adoption of certain conventional poetic stances provide him with a semi-fictionalised way of declaring who he understands himself to be and how he wants himself to be understood. At the same time, the rich classical mythological associations of Herrick‘s title, Hesperides, declare his status as an inheritor of the classical literary tradition, whose hallmark during the Renaissance was the melding of classical, Christian and secular associations into new and complexly polyvalent literary works. For example, Herrick‘s appropriation of the classical mythological figure of Hercules provides him with both a narrative way and an allegorical way of reconciling the so-called secular, or profane poetry of Hesperides with the so-called religious, or divine poetry of Noble Numbers. In Noble Numbers, Herrick reveals new facets of his self-presentation to the reader, whilst also making explicit the theological congruencies between the two works. Herrick‘s religious self-presentation demonstrates his expansive scholarly interests, as well his instinct to include, rather than to exclude, the religious beliefs of others within his syncretistic sense-of-self. Finally, the placement of Noble Numbers after Hesperides is not a signal that Herrick privileged the former, or took his religion less seriously than he did his love for classical poetry, but rather that in Herrick‘s understanding of his world, man‘s fleeting glimpses of God in the secular sphere give way to a fuller comprehension of Him in the divine sphere.
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CARTER, STEVEN MICHAEL. "EPISTEMOLOGICAL MODELS SHARED BY AMERICAN PROJECTIVIST POETRY AND QUANTUM PHYSICS." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/187927.
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The American Projectivist verse of Jack Spicer, Charles Olson, and Robert Duncan contains within its poetics many epistemological assumptions shared by quantum physics. These assumptions exist in three broad categories: perception, process, and wholeness. In physics, the epistemology of perception has been profoundly altered by the Heisenberg Uncertainty Relation, which creates a symbiotic relationship between the observer and the observed. At least one photon of light is necessary to observe an electron; one photon is sufficient to alter the electron's momentum or position; therefore, a physicist affects an electron's "fate" in the act of observing it. Similarly, in Projectivist poetics, the perceptions of the reader are often enlisted to help "compose" the poem which is offered to him in "pieces," or, as in Robert Duncan's poetry especially, in self-reflexive segments. By "self-reflexive," we further mean that the Projectivist poem often "mirrors itself" as an electron "mirrors itself" as wave or as particle, while it is paradoxically both. A Projectivist poem may pause halfway through and "unravel" itself, i.e., study its own etymology. The reader thus must participate in "putting the poem back together," as the physicist participates in the phenomena he observes. The second epistemological model in physics and poetry stresses becoming, rather than being. Matter at the subatomic level has been defined as energy-in-flux. Similarly, the Projectivist poems of Charles Olson especially often exist as "fields" with no syntactical beginnings or endings. Moreover, the "I" of the Maximus Poems is often seen in a perpetual process of becoming the world of spacetime in the poems, creating a system similar to the being-and-becoming model of particle-and-field in quantum mechanics. Third, wholeness is a premise governing poetry and physics separately and together. Jack Spicer's thematics blend matter and consciousness, as "love and death matter/Matter as wave and particle." Similarly, Robert Duncan's poetics describes a "dancing organization between personal and cosmic identity." In physics, wholeness is seen primarily in an "implicate order" which attempts to overturn the old paradigms of fragmentation and connect matter and consciousness, including language, as interrelated systems of information.
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Davis, Robert. "The origin, evolution, and function of the myth of the white goddess in the writings of Robert Graves." Thesis, University of Stirling, 1987. http://hdl.handle.net/1893/2265.
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This is a study of the development of the myth of the White Goddess in the work of Robert Graves, a subject related to the wider field of the place of myth in modern culture. It begins by looking at the conditions which promoted Graves' interest in myth, principally his experience of the Great War. The responses of other writers are examined to provide a context for understanding Graves' transition from Georgianism to myth, as reflected in his early poetry, autobiography and writings on psychology. Before looking at how Graves' myth was formed, the history of the concept of myth is examined, from primitive peoples to civilized religion. Focus is centred upon the dual tendency of myth to reinforce and to undermine authority. Some of the figures behind Graves' interest in myth and anthropology are subject to scrutiny. An account of the relations between myth, literature and psychology permits the survey of Graves' gradual transition from psychological theory to mythographic speculation. The gradual emergence in his poetry of devotion to a Love Goddess can also be traced. Detailed interpretation of The White Goddess, its arguments and procedures, brings to light Graves' theories of the single poetic theme and the primitive matriarchy, both of which can then be evaluated and set in the context of his dedication to non-rational forms of thought. This leads into a close reading of Graves' major mythological poems, followed by reflections upon the myth's application in his critical writings and cultural commentaries. Finally, consideration is given to Graves' later writings, especially his attraction to Orphism and the adoption of mythic personae in his verse. The influence of the Black Goddess of Wisdom over these later works is interpreted and assessed.
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Massie, Eric. "Stevenson, Conrad and the proto-modernist novel." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/21610.
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This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.
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Bernier, Lucie 1958. "The Chinese maze : le circuit interdiscursif du récit dans les romans policiers de Robert Hans van Gulik." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63916.
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Berger, Aimee E. "Dark Houses: Navigating Space and Negotiating Silence in the Novels of Faulkner, Warren and Morrison." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2732/.
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Poe's "The Fall of the House of Usher," as early as 1839, reveals an uneasiness about the space of the house. Most literary scholars accept that this anxiety exists and causes some tension, since it seems antithetical to another dominant motif, that of the power of place and the home as sanctuary. My critical persona, like Poe's narrator in "The House of Usher," looks into a dark, silent tarn and shudders to see in it not only the reflection of the House of Usher, but perhaps the whole of what is "Southern" in Southern Literature. Many characters who inhabit the worlds of Southern stories also inhabit houses that, like the House of Usher, are built on the faulty foundation of an ideological system that divides the world into inside(r)/outside(r) and along numerous other binary lines. The task of constructing the self in spaces that house such ideologies poses a challenge to the characters in the works under consideration in this study, and their success in doing so is dependant on their ability to speak authentically in the language of silence and to dwell instead of to just inhabit interior spaces. In my reading of Faulkner and Warren, this ideology of division is clearly to be at fault in the collapse of houses, just as it is seen to be in the House of Usher. This emphasis is especially conspicuous in several works, beginning with Faulkner's Absalom, Absalom! and its (pre)text, "Evangeline." Warren carries the motif forward in his late novels, Flood and Meet Me in the Green Glen. I examine these works relative to spatial analysis and an aesthetic of absence, including an interpretation of silence as a mode of authentic saying. I then discuss these motifs as they are operating in Toni Morrison's Beloved, and finally take Song of Solomon as both an end and a beginning to these texts' concerns with collapsing structures of narrative and house.
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Asakura, Naomi. "Language Policy and Bilingual Education for Immigrant Students at Public Schools in Japan." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2519.
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This thesis discusses the current Japanese language (nihongo) education for immigrant students at public schools in Japan and provides recommendations through the study of language policy and the comparison of bilingual education in the United States. The current situation of a decreasing birth rate and increasing aging population in Japan has led to the acceptance of more foreign workers. Due to this change, language education in Japan has increasing development. The focus of chapter 1 is on the theories of language policy. This paper particularly focuses on the ideas of Wright (2004), Neustupný (2006), Spolsky (2004), and Cooper (1989), and discusses similarities and differences between them. By applying these theories to language policy in Japan, chapter 1 shows how language policy changed throughout Japanese history. Chapter 2 discusses the current environment surrounding immigrant students. It includes a description not only of the expanding population of foreign students, but also the history of Japanese language education and the laws related to it. This chapter also presents the present movement of language policy in Japan and how the movement affects Japanese language education for language minority students. Chapter 3 compares bilingual education in the United States to bilingual education in Japan, and makes three suggestions to improve Japanese language education at public schools in Japan, particularly addressing the classification of language levels for immigrant students, teaching styles, and the limitation of qualified bilingual teachers.
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Cakuls, Tom. "The individual, property and discursive practice in Burton and Locke /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56959.
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This thesis attempts a critical analysis of modern individualism through an examination of its origins in the seventeenth century. In this thesis I discuss the notion of autonomous and self-responsible individuality as a culturally constructed and culturally specific idea. Furthermore, I describe autonomy as only one of a complex of related features of the modern individual, including a withdrawn and objectifying stance toward the natural world, values and other human beings.In this thesis, I examine two seventeenth-century authors--Robert Burton and John Locke--each of whom represents a different conception of individuality. Burton emulates communal conceptions of identity characteristic of the Middle Ages and Renaissance, while Locke describes an essentially modern, analytical individuality based on the control and possession of an objectified "other".
The theoretical framework for this analysis is derived from Michel Foucault and Timothy Reiss' description of the transition from the Renaissance to the seventeenth century as a transition between different epistemes or discourses. Throughout this thesis, I supplement this essentially structuralist approach with perspectives from Medieval, Renaissance and seventeenth-century cosmology, literary theory, political theory and epistemology.
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Dunsmore, Patricia Berard. "Robert Louis Stevenson and Scotland: A most complicated relationship." CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/847.
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Howitt, Caroline Ailsa. "Romance in the prose of Robert Louis Stevenson." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4208.
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This thesis provides a wide-ranging account of the work of Robert Louis Stevenson, tracing an unyielding preoccupation with the mode of romance throughout his famously diverse body of writing. It argues that Stevenson's prose retools romance in several important ways; these include modernization, disenchantment, and the reinterpretation of romance as a practical force able to reach beyond textual confines in order to carve out long-lasting psychological pathways in a reader. In its pursuit of these arguments, the thesis draws upon and appends a significant amount of archival material never before used, including excerpts from The Hair Trunk – Stevenson's first extended piece of fiction, still unpublished in English. More widely, it analyses the appearance of romance within four major aspects of Stevenson's prose: aesthetic theme, structure, setting, and heroism, each of which is the focus of a discrete chapter. The introduction engages with the history and definition of romance itself, arguing that it is most usefully approached as mode rather than genre in the context of Stevenson's writing. Chapter I then assesses Stevenson's direct critical engagement with romance, and appraises his wider literary aesthetic in that light. Romance is shown to be built in to the way he writes about writing, adventure being intrinsic to his authorial quest for adequate expression. Chapter II goes on to examine Stevenson's relationship with structure, and argues that self-reflexivity interacts with romance to form the habitual core of his creative writing. Chapter III investigates the use of cities, forests and seas as sites of modern romance within Stevenson's oeuvre, arguing that he eschews descriptive Romanticism and instead lauds a primarily practical approach towards the navigation of these environments. Finally, Chapter IV demonstrates Stevenson's perception of a relationship between authorship and the heroic, charting his use of romance as part of a progressive evocation of the failure of heroism itself as a sustainable modern ideal.
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Bento, Regina Thaise Ferreira. "Um estudo das geometrias prática e teórica presentes em The Pathewaie to Knowledge de Robert Recorde: possíveis diálogos." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21657.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In this work we present the English mathematician Robert Record (1512-1558) and his treatise on geometry titled The Pathewaie to Knowledge, written in modern English and whose first edition was printed in the year 1551. We analyze in this treatise the presence and possible dialogue established between the geometric knowledge from ancient traditions linked to practice and the theoretical geometry that is studied in the universities and is based on the geometric treatise written by Euclides. To do so, we analyze the context in which the work and its author were inserted, identify what mathematical knowledge is present in this treatise and how they relate to the mathematical practices and the scholarly knowledge of the time. In addition, we sought indications that would allow us to evidence the presence of other geometric. This analysis was made use of the articulation between three spheres: the historiographical, the contextual and the epistemological. This combination gave us a broader look at the possible motivations that would have led Recorde to write the treatise in question. We find that Record was a man cultivated and attentive to the demands of his people and his time. Sixteenth-century England was at a time of social, political, and religious transformation; there was a great demand for investments in the practical-oriented sciences such as artillery, horology, navigation, and land measurement. Thus, professionals such as land surveyors and navigators assumed a determining role for the development of England and needed greater mathematical knowledge to advance their practices. However, access to education was restricted to most of the population and the little available material was written in Latin. This demand for mathematical knowledge practiced in this period, such as arithmetic, algebra, and geometry, made professionals who mastered their craft begin to produce materials written in the vernacular. Recorde, with his privileged background, was the first to produce a collection of textbooks in English with basic mathematics aimed directly at the interests of these professionals. The Pathewaie to Knowledge was the first treatise on practical geometry written in English. At that time practical and theoretical geometry were independent. With the results of this work it is concluded that in fact Robert Record established a dialogue between practical and theoretical geometries, contributing to the dissemination of speculative mathematical knowledge and the validation of geometry used for centuries by mathematicians. This analysis indicates that the understanding of the process that involves the construction of mathematical knowledge can effectively aid in a more critical learning by mathematical educators
Neste trabalho, apresentamos o matemático inglês Robert Recorde (1512-1558) e seu tratado sobre geometria entitulado The Pathewaie to Knowledge, escrito em inglês moderno e cuja primeira edição foi impressa no ano de 1551. Analisamos neste tratado a presença e possível diálogo estabelecidos entre os conhecimentos geométricos provenientes de antigas tradições ligadas à prática e a geometria teórica que era estudada nas universidades e baseada no tratado geométrico escrito por Euclides. Para tanto, analisamos o contexto no qual a obra e seu autor estavam inseridos, identificamos quais os conhecimentos matemáticos estão presentes nesse tratado e como se relacionam com as práticas matemáticas e o saber erudito da época. Além disso, procuramos indícios que nos permitissem evidenciar a presença de outras tradições geométricas. Esta análise utilizou-se da articulação entre três esferas: a historiográfica, a contextual e a epistemológica. Essa junção permitiu-nos um olhar ampliado sobre as possíveis motivações que teriam levado Recorde a escrever o tratado em questão. Verificamos que Recorde era um homem culto e atento às demandas de seu povo e de seu tempo. A Inglaterra do século XVI estava em um momento de transformação social, política e religiosa, havia uma grande demanda por investimentos nas ciências voltadas às questões práticas, tais como a artilharia, horologia, navegação e medição de terras. Assim, profissionais tais como os agrimensores e navegadores assumiram um papel determinante para o desenvolvimento da Inglaterra e necessitavam de maiores conhecimentos matemáticos para avançarem em suas práticas. Contudo, o acesso ao ensino era restrito para a maioria da população e o pouco material disponível era escrito em latim. Essa demanda por conhecimentos voltados às matemáticas praticadas neste período, tais como aritmética, álgebra e geometria fez com que profissionais que dominavam seus ofícios começassem a produzir materiais escrevendo-os na língua vernacular. Recorde, com sua formação privilegiada, foi o primeiro a elaborar uma coleção de livros textos em inglês com matemática básica voltada diretamente aos interesses desses profissionais. The Pathewaie to Knowledge foi o primeiro tratado sobre geometria prática escrito em inglês. Nesse período a geometria prática e teórica eram independentes. Com os resultados desse trabalho conclui-se que de fato Robert Recorde estabeleceu um diálogo entre as geometrias prática e teórica, contribuindo com a disseminação dos conhecimentos matemáticos especulativos e a validação da geometria utilizada há séculos pelos praticantes das matemáticas. Essa análise indica que a compreensão do processo que envolve a construção de conhecimentos matemáticos pode auxiliar de forma efetiva em uma aprendizagem mais crítica pelos educadores matemáticos
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Mendes, André Sposito. "Colisão de princípios no Sistema Constitucional Brasileiro: uma proposta de fórmula do peso brasileira." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20529.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This research intends to present rigorously the theory of the German jurist Robert Alexy, who contributed so much to one of the most delicate questions of contemporary constitutional law: the collision of legal principles. With the assumption that the Supremo Tribunal Federal could not use proportionality adequately to deal with the subject of collisions in Brazil, the research investigates the work of the theorist to expose the concepts and methods used to arrive at a reasonable resolution of legal cases involving fundamental rights principles on opposite sides. For that, what is understood by norm, normative statement, principles, rules, values, subjective rights, collective interests, legal argumentation and maximum of proportionality are exposed. At a later moment, with the assumption that brazilian jurists who had dialogues with Alexy's theory ignored a significant part of the work, which presents a reformulation of the maximum of proportionality to answer the criticism on decisionism, the research demonstrates the functioning of the weight formula and how its magnitudes are measured, such as the intensity of the intervention, the importance of satisfaction, the abstract weight, the safety of empirical assumptions and the safety of normative assumptions. The research also intends to propose an adaptation of Alexy's theory to the Brazilian Constitutional System, since the maximum of proportionality was developed for german law and does not consider the daily life of the brazilian courts. With the proposition of balancing between subjective and objective magnitudes in the Brazilian weight formula, the method reaches a level of rationality adequate for everyday application in brazilian courts
Essa pesquisa pretende apresentar de forma rigorosa a teoria do jurista alemão Robert Alexy, que tanto contribuiu para uma das questões mais delicadas do Direito Constitucional contemporâneo: a colisão de princípios jurídicos. Com o pressuposto de que o Supremo Tribunal Federal não conseguiu utilizar a proporcionalidade de maneira adequada para tratar sobre o tema das colisões no Brasil, a pesquisa investiga a obra do teórico para expor os conceitos e métodos utilizados para chegar a uma resolução razoável de casos jurídicos que envolvam princípios de direitos fundamentais em lados opostos. Para isso são expostos o que se entende por norma, enunciado normativo, princípios, regras, valores, direitos subjetivos, interesses coletivos, argumentação jurídica e máxima da proporcionalidade. Em um momento posterior, com o pressuposto de que os juristas brasileiros que dialogaram com a teoria de Alexy ignoraram parte significativa da obra, que apresenta uma reformulação da máxima da proporcionalidade para responder a crítica sobre o decisionismo, a pesquisa demonstra o funcionamento da fórmula do peso e de como são aferidas suas grandezas, como a intensidade da intervenção, a importância da satisfação, o peso abstrato, a segurança das suposições empíricas e a segurança das suposições normativas. A pesquisa pretende também propor uma adaptação da teoria de Alexy ao Sistema Constitucional Brasileiro, uma vez que a máxima da proporcionalidade foi desenvolvida para o direito alemão e que não considera o cotidiano dos tribunais brasileiros. Com a proposição do balanceamento entre as grandezas subjetivas e objetivas na fórmula do peso brasileira, o método atinge um patamar de racionalidade adequado para a aplicação cotidiana nos tribunais do país
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Farley, Stuart. "Copious voices in early modern English writing." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11904.
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This thesis takes as its object of study a certain strand of Early Modern English writing characterised by its cornucopian invention, immethodical structure, and creatively exuberant, often chaotic, means of expression. It takes as its point of departure the Erasmian theory of ‘copia' (rhetorical abundance), expanding upon it freely in order to formulate new and independent notions of copious vernacular writing as it is practised in 16th- and 17th-century contexts. Throughout I argue for the continuity and pervasiveness of the pursuit of linguistic plenitude, in contrast to a prevailing belief that the outpouring of 'words' and 'things' started to dissipate in the transition from one century (16th) to the next (17th). The writers to be discussed are Thomas Nashe, Robert Burton, John Taylor the ‘Water-Poet', and Sir Thomas Urquhart. Each of the genres in which these writers operate–prose-poetry, the essay, the pamphlet, and the universal language–emerge either toward the end of the 16th century or during the course of the 17th century, and so can be said to take copious writing in new and experimental directions not fully accounted for in the current scholarship. My contribution to the literature lies principally in its focus on the emergence of these literary forms in an Early Modern English context, with an emphasis on the role played by copiousness of expression in their stylistic development and how they in turn develop the practice of copia.
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Yoder, Rachel M. "Performance Practice of Interactive Music for Clarinet and Computer with an Examination of Five Works by American Composers." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33219/.
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Since the development of interactive music software in the 1980s, a new genre of works for clarinet and computer has emerged. The rapid proliferation of interactive music resulted in a great deal of experimentation, creating a lack of standardization in both the composition and performance of this repertoire. In addition, many performers are reluctant to approach these works due to unfamiliarity with the genre and its technical and musical considerations. Performance practice commonly refers to interpretation of a written score, but the technology involved in interactive music requires a broader definition of performance practice; one that also addresses computer software, coordination between the performer and computer system, and technology such as microphones and pedals. The problems and potential solutions of interactive music performance practice are explored in this paper through review of the relevant published literature, interviews with experts in the field, and examination of musical examples from works for clarinet and computer by Lippe, May, Pinkston, Rowe, and Welch. Performance practice considerations of interactive music fall into the categories of notation, technology, collaboration, interpretation, and rehearsal. From the interviews and the literature, it is clear that the performance of interactive music requires specific knowledge and skills that performers may not encounter in other genres of contemporary music, including microphone technique, spatialization, sound processing, and improvisation. Performance practice issues are often mediated by close collaboration between performers and composers, but they can inhibit the accessibility of these works to new performers, and may be detrimental to the long-term viability of interactive music. Recommendations for resolving these issues are directed at both composers and performers of interactive music. A listing of over one hundred interactive works for clarinet and computer is also included.
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Sutton, Peter David. "'The trade of application' : political and social appropriations of Ben Jonson, 1660-1776." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16547.
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This thesis is an analysis of the manner in which the persona and works of Ben Jonson were appropriated – between the Restoration, in 1660, and the retirement of David Garrick, in 1776 – to reflect the political and social concerns of the age. Unlike previous studies, rather than primarily focusing on the stage history of Jonson, I analyse a wide range of sources – produced both within and outwith the theatre – in order to explore, across a variety of media, a breadth of material which appropriates the playwright and his works. I shall consider in my first main chapter the appropriations of Jonson within the Restoration court, in particular noting the assimilation of the playwright's work to what might be styled a proto-Tory ideology, as well as the way in which his plays could mirror the destabilising effects of the king's romantic liaisons. In my second chapter, I explore the moral reformation at the turn of the eighteenth century, in which we can see appropriations of Jonson which cast his works as being primarily didactic. The third chapter moves the narrative of the thesis into the years of the premiership of Sir Robert Walpole. I shall consider the way in which the playwright's works – especially The Alchemist and Eastward Ho! – were seen as being especially relevant to an age of speculation and mercantile endeavour, as well as examining the manner in which the figures of Sejanus and Volpone were appropriated to mock the increasingly unpopular premier. In the final chapter, I shall offer an analysis of Garrick's seminal portrayal of Drugger in the contexts of the political philosophy of the mid-eighteenth century, considering the manner in which it was interpreted alongside the character's further appropriations by Francis Gentleman. The thesis concludes by exploring political appropriations of Jonson up to the present day.
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McFadden, Jane Porter 1972. "Practices of site : Walter de Maria and Robert Morris,1960-1977." 2004. http://hdl.handle.net/2152/12802.
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Zwar, Natalie. "The perspective of the composer and performer: the interpretation and performance of selected flute works by Lowell Liebermann and Robert Beaser." 2009. http://hdl.handle.net/2440/57908.
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This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009
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Christison, Grant. "African Jerusalem : the vision of Robert Grendon." Thesis, 2007. http://hdl.handle.net/10413/2172.
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This thesis discovers the spiritual and aesthetic vision of poet-journalist Robert Grendon (c. 1867–1949), a man of Irish-Herero parentage. It situates him in the wider Swedenborgian discourse regarding African ‘regeneration’. While preserving the overall diachronic continuity of a literary biography, it treats his principal thematic preoccupations synchronically. The objective has been to show the imaginative ways in which he employs his rich and diverse religio-philosophical background to account for South Africa’s social problems, to pass judgement upon the principal players, and to point out an alternative path to a brighter future. Chapter 1 looks at Emanuel Swedenborg’s mystical revelations on the heightened spiritual proclivity of the ‘celestial’ African, and the consequences of New Jerusalem’s descent over the heart of Africa, which Swedenborg believed to be taking place, undetected by Europeans, around 1770. It also examines how those pronouncements were received in Europe, America, and—most particularly—in Africa. Chapter 2 examines the circumstances surrounding Grendon’s birth and childhood in what is today Namibia. It takes note of a family tradition that Joseph Grendon married a daughter of Maharero, a prominent Herero chief, and it looks at Robert Grendon’s views on ‘miscegenation’. Chapter 3 deals with Grendon’s schooling at Zonnebloem College, Cape Town. Chapter 4 describes his cultural, sporting, and political activities in Kimberley and Uitenhage in the 1890s, bringing to light his editorship of Coloured South African in 1899. It also considers his conception of ‘progress’. Chapter 5 looks at some early poems, including the domestic verse-drama, ‘Melia and Pietro’ (1897–98). It also contextualizes a single, surviving editorial from Coloured South African. Chapter 6 treats Grendon’s tour de force, the epic poem, Paul Kruger’s Dream (1902), as well as his personal involvement in the South African War, and his spiritualized account of the ‘Struggle for Supremacy’ in South Africa. Chapter 7 relates to Grendon’s fruitful Natal period, 1900–05: his headmastership of the Edendale Training Institute and of Ohlange College, and his editorship of Ilanga’s English columns during the foreign absence of the editor-in-chief, John L. Dube, from February 1904 to May 1905. Chapter 8 analyzes some of the shorter and medium-length poems written in Natal, 1901–04. Chapter 9 is a close examination of the poem, ‘Pro Aliis Damnati’, showing its Swedenborgian basis, and how it dramatizes Swedenborg’s concept of ‘scortatory’ love. Chapter 10 describes Grendon’s early years in Swaziland from 1905. Chapter 11 deals with his period as editor of Abantu-Batho in Johannesburg, 1915–16. Chapter 12 describes his last years in Swaziland, and his relationship with the Swazi royal family.Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.
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Morley, John. "The art of Jasper Johns and Robert Rauschenberg during the 1950s and 1960s : the transition from modernism to postmodernism." Thesis, 1998. http://hdl.handle.net/10413/5922.
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This dissertation is intended as an investigation into the art of Jasper Johns and
Robert Rauschenberg.The aim of thisinvestigation is to assess the possibility that the art produced by Johns and Rauschenberg during the 1950s and 1960s
constitutes a transition from modernism to postmodernism in the visual arts in
America. This dissertation is introduced by means of a broad outline of relevent
developments within the visual arts during the1950s and 1960s in America. This
outline also contains explanations of modernism and postmodernism and looks at how these terms are presented throughout this text. In the outline I describe how Johns and Rauschenberg can be identified with a shift that occurred in the visual arts in America during the mid 1950s away from two prominent modes of painting within modernism, namely' action' painting, as described by Harold Rosenberg (1982:28), and Clement Greenberg's 'American-type' painting (1973:208). Both Johns and Rauschenberg actively produced art during the 1970s and 1980s the period in which postmodernism is generally regarded to have been most prominent. However, in an attempt to assess the possibility that their art is transitional from modernism to postmodernism, this investigation focuses upon a selection of artworks produced during the 1950s and 1960s. I intend to discover whether or not these works signalled a departure from modernism and if they did, at what point this occurred and what the specific nature of this departure was. These works are examined from conceptual, formal, iconographical, stylistic and technical viewpoints.
Throughout this dissertation I attempt to describe how Johns and Rauschenberg
anticipated and embraced various postmodem tendencies that have subsequently emerged in the arts and other related disciplines. Parallels are drawn between the artworks of Johns and Rauschenberg and the disciplines of architecture and literary theory. These parallels are drawn with the intention of aligning Johns and Rauschenberg's attitude towards making art in the 1950s and 1960s with a relatively widespread mood in literary theory, philosophy and the social sciences concerning the inability of these disciplines to deliver totalising theories and doctrines, or enduring answers to fundamental dilemmas and puzzles posed by objects of inquiry, and a growing feeling, on the contrary, that chronic provisionality, plurality of perspectives and incommensurable appearances of the objects of inquiry in competing discourses make the search for ultimate answers or even answers that can command widespread consensus a futile exercise. (Boyne and Rattansi 1990: 12).Thesis (M.A.)-University of Natal, Pietermaritzburg, 1998.
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Oliver, John Duncan. "A comparison of the varying conceptions of the term "democracy" in the writings of R.A. Dahl and C.B. Macpherson." Thesis, 2014. http://hdl.handle.net/10210/10241.
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M.A. (Politics)What is democracy? In the second half of the twentieth century the term, which may relate either to a form of government or a form of society, has become much used and, in the writer's opinion, misused. Indeed, Macpherson believes there is "a good deal of muddle about democracy" (Macpherson 1972:1). At the start of the century's last decade this process appears to have accelerated as the term has become ever more topical, encouraged hugely as the process is by the predominance of mass media communication. The writer considers that democracy is not only a topical term but an important concept, for students of politics as well as for the pub Li.c at large. It is a term which surely requires better understanding of its meaning if the concepts and principles to which it relates are to be valued and appreciated appropriately. At the beginning of his enquiries, which result in this dissertation, the writer assumes "democracy" to mean a form of government Which ensures an equal say in its direct control for all citizens of sound mind. Franchise qualifications should provide for a reasonable minimum age but must disregard any other differences, such as sex, race or religion. This dissertation is undertaken in an endeavour to clear away some of the confusion, or "muddle", which exists regarding democracy. The writer anticipates that elucidation will enhance not. only the possibility of wider understanding but also prospects for meeting the need for concerted, tenacious and widespread efforts to obtain meaningful improvement in levels of democratization. The writings of two prominent political theorists, Robert Allen Dahl and Crawford Brough Macpherson, will be examined to ascertain and compare their views on democracy, with the subsidiary objectives of clarifying the meaning of democracy and ascertaining whether real democracy exists in any sizeable political system. It is the writer's hypothesis that although the basic conceptions of democracy found in the writings of Dahl and Macpherson indicate major differences, certain similarities have been perceived: and that these similarities will prove valuable in stabilizing the meaning of democracy, and in establishing to what extent (if any) true, that is direct, democracy exists.
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Cochrell, Timothy Robert. "Foundations for a Biblical Model of Servant Leadership in the Slave Imagery of Luke-Acts." Diss., 2015. http://hdl.handle.net/10392/4961.
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This dissertation proposes that secular paradigms of servant leadership, rooted in the writings of Robert Greenleaf, are deficient theologically based on their humanistic presuppositions and deficient biblically based on their misunderstanding of the biblical language of service. This study proposes a model of slave leadership articulated in seven principles which are rooted in the slave language employed in Luke-Acts.
First, the slave leader becomes God's own possession through redemption and therefore the leader belongs to God and is placed under the Lord's absolute authority. Second, the leader's identity is found exclusively in his relationship to the Master which entails great responsibility as the leader represents God in his service. Third, a slave leader exercises delegated authority from the Master, therefore his words and actions carry weight, not because of who he is, but because of whom he serves. The leader is both in authority and under authority, accountable to the master and responsible for the people he serves.
Fourth, the slave leader focuses on pleasing the Master by subordinating his own will to that of the Master. The slave leader is expected to internalize the will of the Master so that he demonstrates the character and priorities of the Master in every leadership situation, even in the absence of explicit commands. Fifth, the leader as slave is compelled to give complete and unconditional obedience to God as Master. The leader may not pick and choose which of the master's commands to obey. The faithful slave carries out the will of the master, calling Him Lord and living it out. Sixth, just as a slave was entirely dependent upon the master for provision and direction, so a slave leader is constantly dependent upon the Lord and His indwelling presence for empowerment and discernment. Finally, the slave may be susceptible to abuse or mistreatment as a result of his unconditional obedience to the Master's will.
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Fossey, Natalie. "Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge." Thesis, 2012. http://hdl.handle.net/10413/10623.
Full textAbstract:
Key words:
William Hogarth
Exhibition; Hogarth in Johannesburg (1987-1988)
Series; A Rake’s Progress, Marriage-a-la-Mode and Industry and Idleness
Artists; Robert Hodgins Deborah Bell William Kentridge William Hogarth
Caversham Press, KwaZulu-Natal, South Africa
Printmaking
Printmaking in South Africa
Resistance art
Narratology, narrative, discourse, story, plot, Transference of narratives
Sequential art narrative and comics
This dissertation considers the prints by South African artists, William Kentridge,
Deborah Bell, and Robert Hodgins for the Hogarth in Johannesburg exhibition (1987) in
the context of William Hogarth’s historical suites of prints referred to in the title of the
exhibition, and contemporary theories about Sequential Art and Narrative.
Produced for the artists at The Caversham Press of Malcolm Christian in KwaZulu-Natal,
particular emphasis is placed on the images created by Deborah Bell, Robert Hodgins and
William Kentridge (such as Industry and Idleness, Marriage-a-la-mode and A Rake’s
Progress), and shown in their combined exhibition Hogarth in Johannesburg, in 1987.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.
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Yannacci, Christin Essin. "Landscapes of American modernity: a cultural history of theatrical design, 1912-1951." Thesis, 2006. http://hdl.handle.net/2152/3444.
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Keep, Carol Julia. "Insubstantial pageants fading : a critical exploration of epiphanic discourse, with special reference to three of Robert Browning's major religious poems." Diss., 1994. http://hdl.handle.net/10500/17061.
Full textAbstract:
This dissertation examines the nature of epiphanic discourse in
three of Robert Browning's religious poems, namely, 'Christmas-
Eve', 'Easter-bay' and 'La Saisiaz'.
Chapter 1 investigates epiphany from religious, historical
and theoretical perspectives, followed by a discussion of
Browning's developing Christian beliefs. Chapters 2 and 3
explore the epiphanic moment in the companion poems, 'Christmas-
Eve' and 'Easter-Day'. Chapter 4 explores how the double epiphany
initiated from Browning's personal experience recounted in 'La
Saisiaz', finds its resolution in 'The Two Poets of Croisic'.
Browning's 'good minute' or 'infinite moment' originates
in Romanticism and reverberates into the twentieth century mainly
in the writing of James Joyce, who first used the word 'epiphany'
in its literary sense.
Because Browning's faith allowed continual interrogation of
Christian doctrine, his experience and reading of epiphanic
moments avoid any attempt at closure. Thus they offer the reader
both a human image for recognition and a coded legend for
individual interpretationM.A. (English Studies)
M.A. (English)
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Potter, Mary-Anne. "Arboreal thresholds - the liminal function of trees in twentieth-century fantasy narratives." Thesis, 2018. http://hdl.handle.net/10500/25341.
Full textAbstract:
Trees, as threshold beings, effectively blur the line between the real world and fantastical alternate worlds, and destabilise traditional binary classification systems that distinguish humanity, and Culture, from Nature. Though the presence of trees is often peripheral to the main narrative action, their representation is necessary within the fantasy trope. Their consistent inclusion within fantasy texts of the twentieth century demonstrates an enduring arboreal legacy that cannot be disregarded in its contemporary relevance, whether they are represented individually or in collective forests. The purpose of my dissertation is to conduct a study of various prominent fantasy texts of the twentieth century, including the fantasy works of J.R.R. Tolkien, C.S. Lewis, Robert Holdstock, Diana Wynne Jones, Natalie Babbitt, and J.K. Rowling. In scrutinising these texts, and drawing on insights offered by liminal, ecocritical, ecofeminist, mythological and psychological theorists, I identify the primary function of trees within fantasy narratives as liminal: what Victor Turner identifies as a ‘betwixt and between’ state (1991:95) where binaries are suspended in favour of embracing potentiality. This liminality is constituted by three central dimensions: the ecological, the mythological, and the psychological. Each dimension informs the relationship between the arboreal as grounded in reality, and represented in fantasy. Trees, as literary and cinematic arboreal totems are positioned within fantasy narratives in such a way as to emphasise an underlying call to bio-conservatorship, to enable a connection to a larger scope of cultural expectation, and to act as a means through which human self-awareness is developed.English Studies
D. Litt. et Phil. (English)
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Jones, Stephen Matthew. "Frank Miller's Ideals of Heroism." Thesis, 2007. http://hdl.handle.net/1805/898.
Full textAbstract:
Thesis (M.A.)--Indiana University, 2007.Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 103-110)
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Mahala, Siphiwo. "Inside the house of truth : destruction and reconstruction of Can Themba." Thesis, 2017. http://hdl.handle.net/10500/25231.
Full textAbstract:
This study is, by its intention at any rate, an attempt at assembling the scattered fragments of
Can Themba’s life to make a composite being out of the various existing phenomena that
shaped the contours of his life in both literary and literal senses.
Given the disjunctive manner in which Can Themba and his work have been represented thus
far, a combination of Historical and Biographical research methods will underpin the approach
of this study. The resultant approach is the Historical-Biographical method of research.
According to Guerin et al (2005, 22) the Historical-Biographical approach “sees the work
chiefly, if not exclusively, as the reflection of author’s life and times or the life and times of
the characters in the work.”
This research is premised on the conviction that an individual is a constellation of multiple
factors that play a pivotal role in the construction of their persona. These factors will be traced
from his family background, early schooling, tertiary education, socio-economic conditions as
well as his contribution to various newspapers and journals.
While so much has been written about Themba and his work, there is no comprehensive
biography of Can Themba as a person. Most importantly, the factors that contributed to his
making as well as his breaking, or destruction, have not been interrogated in a form of
comprehensive academic research.
Rightly or wrongly, Themba’s meteoric rise into the South African literary canon is often traced
from the moment he won the inaugural Drum Magazine short story competition. Themba
became one of the most popular journalists and rose within the ranks of Drum to become the
Assistant Editor. However, my research demonstrates that winning the Drum short story
competition was the culmination of a literary talent that was developed and had been simmering
for a number of years. Themba studied at the University of Fort Hare between 1945 and 1951
alongside the likes of Dennis Brutus, Ntsu Mokhehle, Robert Mangaliso Sobukwe,
Mangosuthu Buthelezi, and many other prominent individuals. He was a regular contributor to
The Fortharian, a university publication that published opinion pieces, poems and short stories.
This is a vital component of Themba’s intellectual growth and it remains the least explored
aspect of his life. As a result, what has been discursively documented by various scholars,
writers and journalists, thus far, is a very parochial representation of Can Themba’s oeuvre.English Studies
D. Litt. et Phil. (English Literature)
37
Scott, Douglas Walter. "Hatten’s theory of musical gesture : an applied logico-deductive analysis of Mozart’s Flute quartet in D, K.285." Diss., 2009. http://hdl.handle.net/10500/6733.
Full textAbstract:
This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development.Art History, Visual Arts & Musicology
M. Mus.
38
Andrews, Chad Michael. ""Minds will grow perplexed": The Labyrinthine Short Fiction of Steven Millhauser." Thesis, 2014. http://hdl.handle.net/1805/4023.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)Steven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction. Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form. Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.
39
Grobler, Susanna Elizabeth. "Letterkunde en die reg : die verhoor as romangegewe in enkele tekste van Andre P. Brink." Diss., 2014. http://hdl.handle.net/10500/18482.
Full textAbstract:
Summaries in Afrikaans and EnglishIn hierdie navorsingsverslag word die representasie van die reg en die verskynsel van die verhoor as romangegewe in enkele tekste van André P. Brink ondersoek. Die studie vind plaas binne die interdissiplinêre konteks van die reg en die letterkunde. Die studie: (i) fokus op die rol wat die reg in die literêre teks vervul; (ii) ondersoek uitbeeldings van die verhoor soos wat dit in Brink se romankuns aangetref word; en (iii) ondersoek die fiksionalisering van historiese en dokumentêre regsbronne met spesifieke verwysing na sekere eksemplariese Brink-‐romans.
In this research report, representations of the law and of the trial, as embedded in certain novels by André P. Brink, are explored. The study is structured within the interdisciplinary field of law and literature. This study: (i) focuses on the role of law within the literary text; (ii) explores the legal delineation of a trial in novels by Brink; and (iii) explores the fictionalisation of historic and documentary judicatory resources with specific reference to exemplary texts by Brink.
Afrikaans & Theory of Literature
M.A. (Afrikaans)