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Frawley, Oona. "Irish pastoral : nostalgia and twentieth-century Irish literature /." Dublin : Irish academic press, 2005. http://catalogue.bnf.fr/ark:/12148/cb400138598.
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Turner, Kerry Lynn. "Pagan Nostalgia and Anti-Clerical Hostility in Medieval Irish Literature." Youngstown State University / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1008344167.
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Ross, Simon David. "Nostalgia in postmodern science fiction film." Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23472741.
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Nel, Louis David. "Die rol van nostalgie binne die konsep van ontluistering in die werk van N.P. van Wyk Louw." Master's thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/21396.
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Bibliography: pages 166-172.The reason for this study was to determine if there is any connection between nostalgia and the debunking effect in the work of N.P. van Wyk Louw Starting with a thorough explanation of the term nostalgia to establish any implications the word might have. They can be summarised as: A longing for a simple life without loneliness where the person will feel at home. A desire to reach a better understanding of God and the primordial as the source of all life. Nostalgia develops as a result of a interrelationship between the past, present and the future and an interrelationship between the abstract and concrete aspects of nostalgia. In short: Nostalgia is a desire to establish an Utopian existence. It was found that the secondary literature on the topic is of a limited nature. The literature relating to Van Wyk Louw concentrates mostly on Nuwe Verse and Tristia and especially on the type of language used in "Klipwerk" and the fact that the author resided in the Netherlands while writing these two books. To outline the developement of nostalgic tendencies, the theme-poem of every book was looked at and it was found that Alleenspraak, Die Halwe Kring and Gestaltes en Diere encompasses the desire aspect of nostalgia, while Nuwe Verse and Tristia have a bearing on the remembrance aspect. The study of the love-, monologue- and prophet-figures showed that the search for certainty and unity leads has a debunking effect. Innocence brings the primordial into play which was studied using the poem "Die Swart Luiperd". The study showed that it is impossible to return to origin of life. With the debunking of the abstract aspects of nostalgia, attention was given to the earthly aspects. In this regard it was also found that the human being is isolated. Lastly, the poem "Groot Ode" was looked at to see if the poet has any answer to the debunking effect of nostalgia. Here irony was suggested as an answer to the debunking effect of nostalgia and as something that would make nostalgia bearable.
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Scott, Jennifer A. "You can go home agian : re-constructing nostalgia in the American imagination /." View abstract, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3250715.
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Gao, Qian. "Remembering the Cultural Revolution : history and nostalgia in the marketplace /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421604431&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 182-204). Also available for download via the World Wide Web; free to University of Oregon users.
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Ladino, Jennifer K. "Back to nature : American nostalgia from the closed frontier to the end of nature /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/9492.
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Stoffer, Heidi Marie. "Nostalgia and Materialism: Negotiating Modernity through Houses in Wharton, Fitzgerald and Cather." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429543427.
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Dyer, Sarah. "Impossible returns : fictions of memory, nostalgia, and maternity in twentieth century America." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360498.
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Villamandos-Ferreira, Alberto. "De la subversion a la nostalgia: El intelectual de la Gauche divine en su literatura." Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/29376.
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This dissertation studies the Gauche divine, a progressive upper class elite from Barcelona during the 1960's, and its reflection in five novels by leading contemporary Spanish authors. The Gauche divine performed their ideological agenda through a cosmopolitan, ironic stance defying the Franco regime and its traditional morality. Moreover, these intellectuals and professionals---architects, publishers, movie directors, designers, writers, poets---connected to the newest trends in critical thinking, arts and literature in Europe and updated Spanish culture. On the other hand, this intellectual group offered an alternative discourse to orthodox Marxism. In order to frame this intelligentsia in its historical and social context, we review the concept of the committed intellectual, according to the texts of Antonio Gramsci and Jean-Paul Sartre. However, in the 1960's---with arising counter-cultural movements, along with the sexual revolution---the committed intellectual becomes spectacular, in a cultural milieu ruled by mass media.
Since their cultural production in literature and visual arts shows a narcissistic attitude, the Gauche divine cannot only be considered spectacular, but specular as well. Once the group dissapeared, their narcissism turned into a self indulgent nostalgia, as we can see in the remarkable number of their autobiographies up to date. However, we can find a critical counterpart in fiction by authors in the margins of the group.
Our analysis of Ultimas tardes con Teresa (1966), by Juan Marse, and Los alegres muchachos de Atzavara (1987), by Manuel Vazquez Montalban focuses on the frustrated relationship between the committed intellectual and the Southern immigrant in Catalonia or charnego, whose body is seen as a political and a sexual fetish. Therefore, we propose a poscolonial approach to the representation of the charnego, as a racialized character.
Luis Goytisolo's Recuento (1973) illustrates the process of political commitment of the middle-upper class intellectual in Franco's Spain, from ideological conversion to disenchantment. Through Michel Foucault's discourse analysis, we discuss the position of the critical intellectual within the Communist Party. Finally, we explore historical memory, nostalgia and the conflict between ethics and aesthetics in Felix de Azua's Historia de un idiota contada por el mismo (1986) and Momentos decisivos (2000).
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DiGiovanni, Lisa Renee. "Longing for resistance : nostalgia and the novel in postdictatorial Spain and Chile /." Connect to title online (ProQuest), 2008. http://0-proquest.umi.com.janus.uoregon.edu/pqdweb?did=1678702801&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 194-206). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Cassidy, Camilla Mary. "Iron times and golden ages : nostalgia and the Mid-Victorian historical novel." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:f09f822b-9732-467c-ba2c-785890fee64f.
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This thesis examines nostalgia as a central literary trope of burgeoning modernisation in the mid-Victorian historical novel. Nostalgia began as a pathological form of homesickness and rapidly engaged with the perceived distancing from the past brought about by accelerated modernisation. This thesis suggests that literary representations of social, cultural and technological change echo nostalgic reactions of loss and longing. Charles Dickens, William Makepeace Thackeray, Elizabeth Gaskell and George Eliot are the primary focus of this study. Selected works by these authors are situated within the wider context of Victorian historical fiction which – following Walter Scott’s phenomenal success at the beginning of the century – became, as Franco Moretti put it, a ‘key genre’ in the Victorian era. Nostalgia’s first victims were soldiers and students displaced from home by new opportunities for mobility and new reasons to travel long distances and live away from home; it was a disease that responded to modernisation or, as Kevis Goodman has put it, ‘historical growing pains’. Nostalgia’s combination of historical and psychological dimensions, I argue, made it an aesthetic peculiarly suited to the historical novel. This thesis suggests that nostalgia was an important novelistic trope during the nineteenth century and argues that it quickly became enmeshed with the historical novel in a way that has seldom been acknowledged. Because of its medical origins, alongside its continued development as a poetic trope, nostalgia provided a language with which to intertwine emotional and psychological reactions to change with the fictional representation of real historical events. The thesis begins with a detailed account of nostalgia’s etymological history, scientific entanglements and early literary manifestations; the introduction establishes the theoretical and historical framework for the thematically organised chapters that follow. Chapter 1 explores the interlacing of personal and historical subject matter in Thackeray’s historical fiction. This chapter suggests that these interactions took place in Thackeray’s historical fiction through the mingling of nostalgic tropes in the person of his central protagonists. These figures frequently follow Scott’s Edward Waverley in being insipid spectator-participants who have been displaced from their homes and (directly or indirectly) mediate events from a perspective of nostalgic exile. Chapter 2 considers the transformation of landscape as a node of nostalgic representation. It explores the confusion of time and place in the original case studies collected by doctors studying nostalgia as a disease in relation to nineteenth-century representations of past landscapes. It suggests that part of the historicising potential of geographical places comes from this instinctive association of time with place. This overlap is exploited in the historical novel to represent changing times via changing places. Chapter 3 takes George Eliot’s Romola, frequently criticised both by contemporary commentators and subsequent critics for being too full of minutely researched objects, as a illustrative example of how things can become ‘memorative signs’ around which to build a narrative. This ‘clutter’ is reinterpreted as a system of souvenirs, artefacts and mementoes through which public history is reconstructed from excavated fragments of private life. Chapter 4 explores how mid-Victorian historical fiction tested the limits of its own nostalgic tropes. It uses Sylvia’s Lovers to probe the point at which forgetfulness overtakes the most carefully memorialised people and events. It discusses the ways in which these novels use nostalgia to represent a perilous closeness between memorialisation and erasure. It considers whether a trope premised on loss might require the threat of encroaching historical oblivion to complete its own metaphors. The thesis concludes with a coda looking forward to later nineteenth-century uses of nostalgia in historical fiction through a reading of Thomas Hardy’s The Trumpet Major (1880) and The Mayor of Casterbridge (1886).
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Hay, Rebecca Cecilia. "Nostalgia: Movement and Stasis in Contemporary American Poetry." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3475.
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A remarkable amount of award-winning contemporary American poetry incorporates nostalgia as a prominent idea discussed. This poetry appears to use nostalgia as means to a greater end. In other words, nostalgia, while a dominant theme within different works, is more a way to treat concepts such as representation and memory, more so than the work being an actual commentary on nostalgia itself. Given the poetry's predominant concept, it seems poets such as Carl Dennis, Natasha Trethewey and Ted Kooser could be representative of a literary historical moment. This moment is one which comments heavily on the past's presence within the present. While each poet's writing is heavily influenced by nostalgia, I posit the theory that these poets are speaking to a greater literary historical moment found in both the literature itself as well as current trends in literary theory. It is not that these poets are writing to a specific theory, rather, their Pulitzer-prize winning poetry is rooted in a trend of yearning for the past. As overt a connection between contemporary poetry's treatment of nostalgia and nostalgia theory itself, little, if any, literary criticism has connected these two. In his essay "Theorizing Nostalgia Isn't What It Used to Be," Paul Grainge contends, "Since the late 1980s, when memory became a topic of concerted critical interest, nostalgia has been taken up in critiques of reactionary conservatism, in accounts of retro phenomena, in relation to the growing memorial tendencies in Europe and America, and as central to particular theories of postmodernism" (20). Grainge continues on to describe two forms nostalgia takes: "mood" and "mode." Similarly, Svetlana Boym suggests nostalgia as either "reflective" or "restorative" (41). This type of current scholarship addressing nostalgia seems to set up a nostalgic reading of texts as more the end game of the literature—the literature is nostalgic. However, if literature then ends as only nostalgic, there seems to be a lack of nostalgic theory's breadth. Dennis, Trethewey and Kooser all address this gap through their poetry—expanding the notion of nostalgia as being more the vehicle leading one through the landscape of memory. Suggesting nostalgia as merely reflective or restorative, as Boym and Grainge have done, seems to create a sense of nostalgia as stagnant rather than as a dynamic movement within the literature, and even the act of recollection itself. The three poets addressed in my project all suggest at some level that this residue of the past can lead one to see that perhaps experience itself delights in memory. Furthermore, nostalgia's dependence upon present memory indicates not just a longing for the past, but rather the past's presence in the present. The act of remembering serves as a type of catalyst which transforms memories to manifestations in present circumstance.
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Ara?jo, Francisco Magno Silva de. "O Ateneu e a nostalgia na forma." Universidade Federal do Rio Grande do Norte, 2011. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16200.
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Previous issue date: 2011-05-25Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The actual study proposes Raul d‟?vila Pomp?ia‟s O Ateneu (1888) among the most significant works in Brazilian Literature panorama, according to the perspective of verbal materiality of the Romanesque genre under a form nostalgia sign that, in its turn, ascends to the archaic origin poetry of fable. Along with large rereading of pertinent bibliography, it is gone here toward narrator Sergio‟s cr?nica de saudades on pursuit of showing it, firstly, as poetic language allegory updated in the novel technique; secondly, as radical metalanguage that still renders problematic several aspects of modern fictional prose
O presente estudo prop?e O Ateneu (1888) de Raul d‟?vila Pomp?ia dentre as obras mais significativas no panorama da Literatura Brasileira, segundo a perspectiva de materialidade verbal do g?nero romanesco sob o signo de uma nostalgia da forma que, por sua vez, remonta ? poesia da origem arcaica da f?bula. A par de ampla releitura da bibliografia pertinente, envereda-se aqui pela cr?nica de saudades do narrador S?rgio em busca de mostr?-la, primeiro, como alegoria da linguagem po?tica atualizada na t?cnica do romance; segundo, como metalinguagem radical que ainda problematiza v?rios aspectos da moderna prosa de fic??o
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Olivier, M. "Ghosts in the machine : nostalgia and technology under the Ancien Régime /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/8290.
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Leader-Hastorun, Francesca. "Beauty and the feast: nostalgia, consumption, and the Shojo in the works of Yoshimoto Banana." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1413381286.
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Townsend, Tamara Laura. "Memory in the narrative works of Soledad Puértolas." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1186510784.
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Berberich, Christine. "A sense of nostalgia? : Englishness and the image of the English gentleman in twentieth-century literature." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403767.
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Mazzeo, Maren. "Visions of the Past: Engagement and Avoidance Through Nostalgia in My Ántonia." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5797.
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In Willa Cather's My Ántonia, nostalgia marks both the ambience of the novel and its critical focus. This thesis illuminates Cather's self-aware deployment of nostalgia as an artistic tool and nostalgia's role in Jim Burden's agenda-driven narrative. Jim adopts nostalgic narrative as propaganda to justify and glorify his past and present life, presenting his past as a simplified and romanticized origin myth. However, through the novel's frame narrative and the frequent, jarring vignettes of violence and discord, Cather undermines Jim's authority as a narrator and prompts reconsideration of Cather's endorsement of his nostalgic creation. By appreciating the complex deployment of nostalgia within the text we are prompted to reconsider assumptions about nostalgia, Cather, and Cather's interest in representations of the past.
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Douglas, Kate. "Remembering childhood : nostalgia, trauma, and the child self in recent Australian and British autobiography /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17552.pdf.
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Stone, Brian James. "Martin McDonagh's The lieutenant of Inishmore : nostalgia, mythology, terrorist violence, and the impossibility of a national literature /." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1594480581&sid=4&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Taylor, Elspeth Anne. "Disruption and disappointment: relationships of children and nostalgia in British interwar fiction." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1090.
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Children in modernist literature have been largely ignored in critical study; an odd oversight, since children in Victorian and contemporary literature have been sources of rich material for literary critics. In novels published from 1930 until 1934, Wyndham Lewis, Virginia Woolf, and Evelyn Waugh address the relationships between children/childhood and nostalgia in The Apes of God (Lewis), The Waves (Woolf), and A Handful of Dust (Waugh). Their complicated and often conflicting depictions of childhood and desire for the past reveal children's overlooked importance in British modernism, as well as a lack of singularity in the manifestations of children and nostalgia that is crucial to contemporary understandings of both terms.
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Delisle, Jennifer. "The Newfoundland Diaspora." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/859.
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For over a century there has been a large ongoing migration from Newfoundland to other parts of Canada and the US. Between 1971 and 1998 alone, net out-migration amounted to 20% of the province’s population. This exodus has become a significant part of Newfoundland culture. While many literary critics, writers, and sociologists have referred to Newfoundland out-migration as a “diaspora,” few have examined the theoretical implications of applying this emotionally charged term to a predominantly white, economically motivated, inter-provincial movement. My dissertation addresses these issues, ultimately arguing that “diaspora” is an appropriate and helpful term to describe Newfoundland out-migration and its literature, because it connotes the painful displacement of a group that continues to identify with each other and with the homeland. I argue that considering Newfoundland a “diaspora” also provides a useful contribution to theoretical work on diaspora, because it reveals the ways in which labour movements and intra-national migrations can be meaningfully considered diasporic. It also rejects the Canadian tendency to conflate diaspora with racialized subjectivities, a tendency that problematically posits racialized Others as always from elsewhere, and that threatens to refigure experiences of racism as a problem of integration rather than of systemic, institutionalized racism.
I examine several important literary works of the Newfoundland diaspora, including the poetry of E.J. Pratt and Carl Leggo, the drama of David French, the fiction of Donna Morrissey and Wayne Johnston, and the memoirs of Helen M. Buss/ Margaret Clarke and David Macfarlane. These works also become the sites of a broader inquiry into several theoretical flashpoints, including diasporic authenticity, nostalgia, nationalism, race and whiteness, and ethnicity. I show that diasporic Newfoundlanders’ identifications involve a complex, self-reflexive, postmodern negotiation between the sometimes contradictory conditions of white privilege, cultural marginalization, and national and regional appropriations. Through these negotiations they both construct imagined literary communities, and problematize Newfoundland’s place within Canadian culture and a globalized world.
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Carter, Elizabeth Lee. "Taming the Gypsy: How French Romantics Recaptured a Past." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064929.
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In this dissertation, I examine the evolution of the Gypsy trope in Romantic French literature at a time when nostalgia became a powerful aesthetic and political tool used by varying sides of an ideological war. Long considered a transient outsider who did not view time or privilege the past in the same way Europeans did, the Gypsy, I argue, became a useful way for France's writers to contain and tame the transience they felt interrupted nostalgia's attempt to recapture a lost past.
My work specifically looks at the development of this trope within a thirty-year period that begins in 1823, just before Charles X became France's last Bourbon king, and ends just after Louis-Napoleon declared himself Emperor of France in 1852. Beginning with Quentin Durward (1823), Walter Scott's first historical novel about France, and the French novel that looked to it for inspiration, Victor Hugo's Notre-Dame de Paris (1831), I show how the Gypsy became a character that communicated a fear that France was recklessly forgetting and destroying the monuments and narratives that had long preserved its pre-revolutionary past. While these novels became models in how nostalgia could be deployed to seduce France back into a relationship with a particular past, I also look at how the Gypsy trope is transformed some fifteen years later when nostalgia for Napoleon nearly leads France into two international conflicts and eventually traps the French into what George Sand called a dangerous "bail avec le passé." In new readings of Prosper Mérimée's Carmen (1845) and George Sand's La Filleule (1853), I argue that both authors personify the dangers of recapturing the past, albeit in two very different ways. While Mérimée makes nostalgia and the Gypsy accomplices, George Sand gives France an admirable Gypsy heroine, a young woman who offers readers a way out of nostalgia's viscous circle. I conclude by arguing that nostalgia and this Romantic trope found their way back into France at the dawn of a new millennium, and the Gypsy has once again been typecast in art and politics as deviant for refusing to dwell in or on the past.Romance Languages and Literatures
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Forero, Gomez Andres Fernando. "Crítica y nostalgia en la narrativa de Fernando Vallejo: una forma de afrontar la crisis de la modernidad." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/964.
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My dissertation examines three novels by Colombian author Fernando Vallejo: La virgen de los sicarios (1994), El desbarrancadero (2001), and La rambla paralela (2002). Vallejo is considered by many to be the most controversial Latin American novelist of our time. His literary work is filled with harsh criticism towards key pillars of civilization, from religion and democracy to motherhood, making him a symbol of the "politically incorrect" in contemporary Latin American narrative.
This dissertation proves that there is much more to Vallejo's work than the controversy it generates, which has been the focus of much of the literary criticism on him. I show that the discourse of Vallejo's narrator focuses on criticism and nostalgia as a way of dealing with the crisis of modernity in contemporary Colombia. This allows me to establish the origin of the author's critical view of the world in his narrative work: a deep sense of nostalgia for the values of modernity in the midst of the chaos of contemporary life in Colombia, as well as a profound feeling of frustration upon the discovery that they might have actually existed only in the realm of discourse. My research also explores the reasons behind the radical turn in the narrator's view of the world that is evidenced in Vallejo's latter works, as his disillusionment eradicates his belief in criticism and replaces it with a state of nihilism that can only lead to death. Ultimately, my dissertation establishes how Vallejo's narrative reaches its limits by destroying the very arguments on which it once relied.
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Johanson, Kristine. "A rhetoric of nostalgia on the English stage, 1587-1605." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1001.
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In locating the idea of nostalgia in early modern English drama, ‘A Rhetoric of Nostalgia on the English Stage, 1587-1605’ recovers an influential and under-examined political discourse in Elizabethan drama. Recognizing how deeply Renaissance culture was invested in conceptualizing the past as past and in privileging the cultural practices and processes of memory, this thesis asserts nostalgia’s embeddedness within that culture and its consequently powerful rhetorical role on the English Renaissance stage. The introduction situates Elizabethan nostalgia alongside nostalgia’s postmodern conceptualizations. It identifies how my definition of early modern nostalgia both depends on and diverges from contemporary arguments about nostalgia, as it questions nostalgia’s perceived conservatism and asserts its radicalizing potential. I define a rhetoric of nostalgia with regard to classical and Renaissance ideas of rhetoric and locate it within a body of sixteenth-century political discourses. In the ensuing chapters, my analyses of Shakespeare’s drama formulate case studies reached, in each instance, through an exploration of the plays’ socio-political context. Chapter Two’s analysis of The First Part of the Contention contextualizes Shakespeare’s development of a rhetoric of nostalgia and investigates connections between rhetorical form and nostalgia. I demonstrate the cultural currency of the play’s nostalgic proverbial discourse through a discussion of Protestant writers interested in mocking the idea of a preferable Catholic past. Chapter Three argues that Richard II’s nostalgic discourse of lost hospitality functions as a political rhetoric evocative of the socio-economic problems of the mid-1590s and of the changing landscape of English tradition instigated by the Reformation. In Chapter Four, Julius Caesar and Ben Jonson’s Sejanus constitute a final analysis of the relationship between a rhetoric of nostalgia and politics by examining the rise of Tacitism. The plays’ nostalgic language stimulates an awareness to the myriad ways in which rhetoric questions politics in both dramas.
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Cheung, Wai Lam. "The Jaded Garden:a cross-cultural comparison of nostalgic female characters by Pai Hsien-yung and Tennessee Williams." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/341.
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This study consist of a comparative analysis of the nostalgic female characters in Pai Hsien-yung's two short stories: "Wandering in a Garden, Waking from a Dream," and "A Celestial in Mundane Exile," and Tennessee Williams's two plays: The Glass Menagerie and A Streetcar Named Desire. Beginning with a brief discussion of the
socio-historical background of Pai's Republican China and Williams's American South, a general analysis of previous scholarship on Pai and Williams's works follows. The analysis of the selected works focuses on the stylistic and symbolic features in Pai and Williams's characterizations, such as Pai's use of stream-of-consciousness, reference to the k'un opera Peony Pavilion, elaboration over descriptive details of the setting, symbolic use of clothing and accessories, and Williams's symbolic use of music genres: "Blues Piano" and the "Varsouviana Polka," and his use of rhythm and other poetic elements in his characters' speech, in the style of "personal lyricism."
My study is based on a close-reading analysis of the selected works by Pai and Williams. Their humanistic approach to their respective declining aristocratic cultures and their sympathy for the nostalgic female characters' tragedies will be more apparent when the study focuses mostly on the texts themselves. Their similar belief in the universal values, such as compassion, sacrifice, and courage, has made their works comparable. In the discussion of themes, the idea of the humanistic role of literature articulated by William Faulkner in his Nobel Prize Speech is also used to connect Pai and Williams's sympathetic approach to their characters.
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Townsend, Tamara L. "Memory in the narrative works of Soledad Puértolas." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1186510784.
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Steiger, Krystyna. "Satire, parody, and nostalgia on the threshold : Viktor Pelevin's Chapaev i Pustota in the context of its times." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85205.
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This thesis analyzes Viktor Pelevin's Chapaev i Pustota (1996) from the perspective of its (extra-)literary context, and status as a threshold text on various levels. It argues that through the expression of satire, parody, and nostalgia, Pelevin's novel exemplifies and transcends the threshold between the Soviet and post-Soviet literary narrative. Against the background of various comparison texts, by such precursors and contemporaries as Kaledin, Makanin, Petrushevskaia, P'ietsukh, Sorokin and Tolstaia, Pelevin's novel is shown both to conform with and diverge from the (post-)glasnost' literary text. Common features on the levels of theme and motif are identified, in order to establish both the notion of literary threshold, and a link to its extra-literary counterpart, in keeping with the crises of national transition from late- to post-Soviet status. Using Bakhtinian theory as a point of departure, the notion of threshold is identified on various levels of Pelevin's text, including theme, motif, and bifurcated structure in the form of dual time frames and plotlines. Through satire, Pelevin is shown to reconcile the notion of threshold as change, with that of frozen transition.Overtly parodic, Chapaev i Pustota manipulates three principal constructs of Socialist Realism: the positive hero, the mentor/disciple relationship, and the spontaneity/consciousness dialectic. The thesis traces the role and development of these constructs in the four (un-)official versions of the so-called 'Chapaev myth' before examining Pelevin's own manipulation of the constructs against three distinct models of parody by Gary Saul Morson, Linda Hutcheon, and the Russian Formalists.
As an aesthetic manifestation of the extra-literary threshold state, the expression of nostalgia is examined in various texts of the (post-)glasnost' period. Pelevin's parody and satire of nostalgic expression attests to the evolution in his novel from Socialist Realism to sots-art, and beyond.
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Grodent, Michel O. L. "De nostos à xenitia: recherches sur la nostalgie de l'exil dans la littérature grecque ancienne et byzantine." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211694.
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Brown, Lauren Poet. "Crossing the "Great Gulf": Narration, Nostalgia, and "Contraband Memory" in Edith Nesbit's The Story of the Treasure Seekers." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8490.
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During the nineteenth-century “Golden Age” of children’s literature, many British writers conceptualized childhood through the lens of restorative nostalgia, writing books that attempted to re-create an idealized version of childhood that never actually existed. This has led critics of children’s literature from this era to characterize many Victorian authors’ depictions of childhood as a fictionalized adult product that serves to colonize child readers, interpellating them into adult narratives and ideologies. Edith Nesbit was well aware of this tendency, and in The Story of the Treasure Seekers (1899), she attempts to subvert it with her child narrator, Oswald Bastable. With Oswald, Nesbit works to create a version of childhood that crosses what she calls the “great gulf” separating adult writers and child readers by activating “contraband memory.” Contraband memory is, for Nesbit, memory lacking the cloying nostalgia that makes other authors’ versions of childhood falsely idealized. Oswald begins the novel seeking to mimic the idealized memories he finds in children’s books, stealing them and reshaping them to fit his everyday life. But he soon discovers that many of these stolen memories do not play out in real life as they do in books, and Oswald ends the novel with an archive of unidealized memories that offer readers a model of resistance to the literary colonization common in children’s literature. By archiving his childhood memories before they have time to be distorted by adult nostalgia, Oswald creates the kind of contraband memory that Nesbit feels will lead to something new: the representation of more realistic versions of childhood.
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Lombard, Erica. "The profits of the past : nostalgic white writing of post-apartheid South Africa." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:bb2c9ae1-e551-4931-9a44-3197fdc6e010.
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Drawing on relevant theory from memory studies, literary criticism, sociology, reception studies and book history, this thesis examines the prevalence of nostalgia in white South African writing of the post-apartheid period. It identifies the numerous and remarkably conventional texts by white authors that proliferated in this time which might be described as nostalgic, arguing that these constitute a key genre of post-apartheid South African literature. In seeking to offer an explanation for why these nostalgic forms predominated in this period, this study takes into consideration the full "communications circuit" of a book i.e. the life-cycle of a book from production to consumption. Consequently, it employs an interdisciplinary framework to examine nostalgic literature from the perspectives of both the producers and consumers of texts. It is argued, ultimately, that post-apartheid nostalgic writing was particularly involved in the protection of certain formulations and structures of whiteness at individual, collective and institutional levels. The argument unfolds in three phases, each of which explores the value of nostalgia and nostalgic white writing in a different but related sphere: namely, literature, memory, and the market. The first phase of the argument provides a literary critical reading of the generic hallmarks of these novels, considering a range of representative texts, including works by Mark Behr, André Brink, Justin Cartwright, J. M. Coetzee, Lisa Fugard, Christopher Hope, Jo-Anne Richards, and Rachel Zadok. The second examines the allure of nostalgia and nostalgic books for the writers and readers of this literature, drawing on sociological studies of post-apartheid white South African identity and reader-response theory to analyse a selection of online and print reviews by readers. In the third phase, the thesis utilises a book historical approach to investigate the influence of various literary markets and the publishing industry, both local and global, in shaping the nostalgia trend.
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Rodríguez, Sieweke Lara María. "Text, Image, and Nostalgia in Two Versions of F. Scott Fitzgerald's "The Rich Boy"." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-75937.
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Abstract This thesis attempts to contribute to both intermedial studies and F. Scott Fitzgerald scholarship by studying the text-illustration interplay in two versions of “The Rich Boy”. Intermediality, which pays close attention to media interactions, is a natural method to explore the word-image relations in these texts: the first version, published in Red Book Magazine in 1926, and an illustrated Spanish translation from 2012. Lars Elleström’s definition of media as a combination of modes and modalities, plays a central role in the analysis, where I study how these interact in each text: For instance, in terms of the material and sensorial modalities, both illustrators try to simulate depth and convey the senses in a flat interface. In terms of the spatiotemporal modality, the anachronies in the time placement of Gruger’s images intensify the nostalgic mood in the text, while Ágreda’s adherence to the text’s time relays a certain autonomy. Both their treatments of space are often symbolic; thus, regarding the semiotic modality, the images are symbolic besides iconic. Each text is colored by the reading of the illustrator, who is also a reader and interpreter. The theoretical framework also comprises of an approach to nostalgia: While Fitzgerald’s story is nostalgic per se, the illustrators display variations of nostalgia: Gruger’s work mirrors and enhances the nostalgic mood of the text, and while to a certain extent, Ágreda’s also does this, his nostalgia is most manifest in how he attempts to recreate a particular picture of the Jazz Age.
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Kruger, Thomas J. A. "From the "death of literature" to the "new subjectivity": examining the interaction of utopia and nostalgia in Peter Schneider's «Lenz», Hans Magnus Enzensberger's «Der Kurze Sommer Der Anarchie», and Bernward Vesper's «Die Reise»." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32407.
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ABSTRACT This project seeks to clarify the complex interrelation of utopia and nostalgia in post World War II German literature, as the nineteen sixties student protest movement develops into what has become known as the 'New Subjectivity' of the nineteen seventies. The introductory chapter frames the historical context of this development, problematizing the idea of '1968' as its climax or turning point, while establishing the interrelationship of the concepts of utopia and nostalgia as the principal methodological and interpretative foil for the literary readings that follow. In three subsequent chapters I propose close readings of this theme in Peter Schneider's Lenz (1973), Hans Magnus Enzensberger's Der kurze Sommer der Anarchie (1972), and Berward Vesper's Die Reise (1977). These, I argue, texts demonstrate a trajectory of utopian thinking toward nostalgic reflection that exposes a dialectical tension between utopia and nostalgia. Through their literary texts as well as their essays in one another's periodical publications, such as the Voltaire Flugschriften and Kursbuch, the three authors address this tension as a common experience of the transitional period between the sixties student protest movement and the dawn of the 'New Subjectivity' of the seventies. I read Lenz as road narrative that mobilizes the metaphor of the road as the locus of the utopia-nostalgia dynamic; the road is a transitional space that embodies the uncertainty of the post-revolutionary moment when reflective nostalgia seems to replace the disillusioned utopia. Der kurze Sommer der Anarchie engages the literary discourses of utopia and nostalgia via the documentary form, after its pre-1968Résumé Ce travail se propose de clarifier l'interrelation complexe entre utopie et nostalgie dans la littérature allemande d'après-guerre, lorsque le mouvement estudiantin de protestation des années soixante se transmue en ce qu'on nommera la 'nouvelle subjectivité' des années soixante-dix. Notre introduction reconstruit le contexte historique de ce développement, contestant la notion que '1968' en constitue le sommet ou la péripétie, et présente l'interrelation des concepts d'utopie et de nostalgie comme cadre à la fois méthodologique et interprétatif des lectures littéraires qui suivent. Au cours des trois chapitres suivants, nous proposons des lectures détaillées de ce thème chez Peter Schneider (Lenz, 1973), Hans Magnus Enzensberger (Der kurze Sommer der Anarchie, 1972) et Bernward Vesper (Die Reise, 1977). Ces trois textes dessinent une trajectoire de la pensée utopiste vers une réflexion nostalgique, exposant ainsi la tension dialectique entre utopie et nostalgie. A travers leur production littéraire ainsi que les essais publiés dans leurs revues respectives, telles Voltaire Flugschriften et Kursbuch, les trois auteurs en question traitent et thématisent cette tension en tant qu'expérience collective de la période transitoire entre le mouvement contestataire des années soixante et l'aube de la 'nouvelle subjectivité' des années soixante-dix. Nous proposons d'abord une lecture de Lenz en termes de récit de la 'grande route' (road narrative), mobilisant la métaphore de la route comme lieu de la dynamique utopie-nostalgie ; la route est un espace transitoire incarnant l'incertitude de la période postrévolutionnaire où la réflexion n
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Nannavecchia, Tiziana. "Translating Italian-Canadian Migrant Writing to Italian: a Discourse Around the Return to the Motherland/Tongue." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35220.
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A two-way bond between translation and migration has appeared in the most recent texts in the social sciences and humanities: this connection between the two is exemplified by the mobility metaphor, which considers both practices as journeys across cultural, linguistic and geographical borders. Among the different ways this mobility metaphor can be studied, two particular areas of investigation are of interest for this research: firstly, migrant writing, a literary genre shaped from the increasing migratory movements worldwide; the second area of interest is literary translation, the activity that shapes the way these narratives are disseminated beyond the linguistic borders they were produced in.
My investigation into the role of literary translation in the construction and circulation of a migrant discourse starts with the claim that writing and translation in itinerant contexts are driven by, and participate in, the idea of the journey: an interlingual and intercultural flow regulated by social/economic/artistic constraints, a movement in which the migrant experience is ‘translated’ in writing and then ‘migrated’ across languages and spaces.
The present analysis focuses on the representative case study of migrant narratives by Canadian writers of Italian descent: their shared reflections on the themes of nostalgia and the mythical search for roots, together with a set of specific linguistic devices – hybridity, juxtaposition of languages, idiolects and registers – create a distinctive literary migrant discourse, that of the return to the land of origin.
Guided primarily by the theoretical framework of Cultural Studies, the first part of this work seeks to illustrate how thematic and linguistic elements contribute to the construction of a homecoming discourse in original migrant narratives, and how this relates to the translation practice. Subsequently, the analysis moves to the examination of how these motives are reproduced in the translated texts, and what is/are the key rationale/s behind the translation of this type of works. Ultimately, my research takes a sociologically informed interest in the influence of translation and its agents in endorsing and/or manipulating this rationale in the receiving culture. In fact, this research aims to represent equally the human and cultural-linguistic aspects that affect these translational journeys, concentrating, firstly, on the actors (authors and literary translators) and the social and artistic environments that surround the production of both the source and target texts and, subsequently, on the texts themselves.
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Chen, Qin. "Allegories and Appropriations of the “Ghost”: A Study of Xu Xu’s Ghost Love and Its Three Film Adaptations." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281931832.
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Sandbacka, K. (Kasimir). "Utopia derailed:Rosa Liksom's retrospection of the modern project." Doctoral thesis, Oulun yliopisto, 2017. http://urn.fi/urn:isbn:9789526216027.
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Abstract Rosa Liksom is one of the most internationally recognized contemporary Finnish authors and leading Finnish postmodernists. Indeed, the postmodernist aesthetics of her works have received most of the academic attention: features such as irony, dark humor, intertextuality, and parody have been convincingly studied. Liksom’s singular public image has been connected to these aesthetics, but although her cosmopolitanism is often mentioned, her postmodern nonconformity has usually been read in a local and a national context. Liksom’s engagement with modernity has been only implicitly and insufficiently explicated. This dissertation focuses on Liksom’s works and public image in the broader historical context of the modern project in its 20th century legacy. The study of Liksom’s engagement with the utopianism of the modern project is paramount to a deeper understanding of the politico-ethical underpinnings of Liksom’s works and image. To examine Liksom’s retrospection of the modern project, this dissertation makes use of a broad range of theoretical approaches, which can be collectively summarized as contextual close reading. The central theoretical framework is Fredric Jameson’s theory of postmodernism. Other important theories are Linda Hutcehon’s theories of postmodernism and irony, Svetlana Boym’s typology of nostalgia, as well as Krishan Kumar’s theory of utopia. This study elucidates the complexity of Liksom’s engagement with the modern project and bestows new importance on the positive, constructive elements of Liksom’s works that have hitherto gained less attention. Liksom’s works try to salvage something from the history of the modern project instead of merely lingering in the negative attempt to deconstruct historical truths and dismantle the very possibility of such truths. Below the irony and criticism of utopianism in Liksom’s artistic ethos runs a mournful undercurrent that broods over the lack of agency and political choices we seem to face in our present historical condition, and a nostalgia that reflects upon the lost utopian potentialities of the past. Liksom’s works suggest this process of mourning may result in a tentative prospect of communion between people and cultures based on an understanding of their shared situatedness in a postmodern, uncertain worldTiivistelmä Rosa Liksom on kansainvälisesti tunnetuimpia suomalaisia nykykirjailijoita ja keskeisiä postmodernisteja. Akateeminen kiinnostus onkin keskittynyt ensisijaisesti hänen teostensa postmoderniin estetiikkaan: teosten ironiaa, musta huumoria, intertekstuaalisuutta ja parodiaa on tutkittu ansiokkaasti. Liksomin ainutlaatuinen taiteilijakuva on kytketty tähän estetiikkaan, mutta vaikka hänen kosmopoliittisuutensa usein mainitaankin, hänen postmodernia epäsovinnaisuuttaan on yleensä tulkittu lokaalissa ja kansallisessa viitekehyksessä. Toistaiseksi Liksomin suhdetta modernin ajan ihanteisiin on pohdittu vain välillisesti ja riittämättömästi. Tässä väitöskirjassa Liksomin teoksia ja julkisuuskuvaa käsitellään laajemmassa viitekehyksessä, nimittäin modernin projektin ja sen 1900-luvun perinnön kontekstissa. Ymmärtääksemme Liksomin teosten ja julkisuuskuvan poliittis-eettisiä perustuksia syvällisemmin on välttämätöntä tarkastella hänen suhdettaan moderniin utooppisuuteen. Tässä väitöskirjassa selvitetään monipuolisen teoreettisen välineistön avulla, kuinka Liksom retrospektiivisesti tarkastelee modernin projektia. Teoreettista lähestymistapaa voidaan kutsua kontekstuaaliseksi lähiluvuksi. Keskeinen teoreettinen viitekehys on Fredric Jamesonin postmodernismin teoria. Muita keskeisiä teorioita ovat Linda Hutcheonin teoria postmodernismista ja ironiasta, Svetlana Boymin nostalgian typologia, sekä Krishan Kumarin ja utopia-teoria. Liksomin taiteellisen eetoksen ironisuuden ja utopiakritiikin alla kulkee surumielinen pohjavire, joka pohtii nykyisessä historiallisessa tilanteessa kohtamaamme toimijuuden ja poliittisten vaihtoehtojen puutetta, ja nostalginen pohjavire, joka mietiskelee menetettyjä utooppisia mahdollisuuksia. Liksomin teoksiset antavat ymmärtää, että tämän suruprosessin tuloksena voi olla mahdollisuus löytää ihmisten ja kulttuurien välinen yhteys, joka perustuu ymmärrykseen siitä, että me kaikki paikannumme postmoderniin, epävarmaan maailmaan
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Krason, Monica M. "You Can Go Home Again: The Misunderstood Memories of Captain Charles Ryder." Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu1560934108115459.
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Skogberg, Lundin Anja. "A Journey Greater Than You Think, Unknown in Its Details, But More Loving Than Nostalgia : -An Analysis of F. Scott Fitzgerald’s The Great Gatsby." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-31134.
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Abstract This essay is an analysis of F. Scott Fitzgerald’s The Great Gatsby and it explores how identity and ideology always exist in a context of time. The American 1920s society was influenced by theories brought by Marxism, Albert Einstein and Freud. This era was highly influenced by cultural influencers, individuals such as Fitzgerald who became one of the greatest to mould and describe the era he lived in. When reviewing Fitzgerald’s text almost a century later, and at the verge of entering the 2020s, it becomes clear that some fundamental features of culture remain ever-present in the American culture. The multifaceted perspective presented to readers by Fitzgerald raises important questions regarding where the real is overruled and transformed by the ideal. The American 1920s was an era of contradictions which also is reflected in Fitzgerald’s ironic tone and in Gatsby’s smile. Fitzgerald offers an understanding which reaches as far as anyone would want to understand. Linchpins in this essay are the interaction between identity, ideology and social codes and the morality which drives actions and reactions and forms a link between the coexistence of contradictions. Social structures are part of history and the impact history possesses over culture, via nostalgia, is relevant for ideas today. Which clues do history and Fitzgerald’s text provide and store for us and can old ideas enlighten us to bring new solutions, or clarity, to apprehend anything about the future? There is a correspondence, a red thread, between eras such as the 1920s and the year of 2019 in the American society today, which explains why the ideas and ideals Fitzgerald portrayed as important parts of identity and culture a hundred years ago, also matter today.
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Cerretti, Lauren. "Connecting to Cuban national identity through literature an examination of memory, nostalgia, trauma and exile in Oscar Hijuelos's Our House in the Last World and A Simple Habana Melody /." [Ames, Iowa : Iowa State University], 2008.
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Chen, Jou-An. "Airship, Automaton, and Alchemy: A Steampunk Exploration of Young Adult Science Fiction." Thesis, University of Canterbury. Humanities, 2012. http://hdl.handle.net/10092/7423.
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Steampunk first appeared in the 1980s as a subgenre of science fiction, featuring anachronistic technologies with a veneer of Victorian sensibilities. In recent years steampunk has re-emerged in young adult science fiction as a fresh and dynamic subgenre, which includes titles such as The Girl in the Steel Corset by Kady Cross, The Hunchback Assignment by Arthur Slade, and Mortal Engines by Philip Reeve. Like their predecessors, these modern steampunk novels for teens use retrofuturistic historiography and innovative mechanical aesthetics to dramatize the volatile relationship between man and technology, only in these novels the narrative is intentionally set in the context of their teen protagonist's social and emotional development. However, didactic conventions such as technophobia and the formulaic linearity of the bildungsroman narrative complicate and frustrate steampunk's representation of adolescent formation. Using case studies of Leviathan by Scott Westerfeld and The Alchemy of Stone by Ekaterina Sedia, retrofuturism and technological hybridity are presented as defining features of steampunk that subvert
young adult science fiction's technophobic and liberal humanist traditions. The dirigible and the automaton are examined as the quintessential tropes of steampunk fiction that reproduce the necessary amphibious quality, invoking new expressions and
understanding of adolescent growth and identity formation that have a distinctly utopian, nostalgic, and ecocentric undertone.
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Pugh, Marie Reine. "“There is no God and we are his prophets”: The Visionary Potential of Memory and Nostalgia in Cormac McCarthy's No Country for Old Men and The Road." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5803.
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Memory and nostalgia work in complex, paradoxical ways in Cormac McCarthy's No Country for Old Men and The Road, both haunting the main protagonists, Sheriff Ed Tom Bell and the father, as well as bringing them to crucial realizations. These men give up the traditional hero role for the more meaningful and generative image of “carrying the fire,” which unites these two novels. Carrying the fire represents a memorial and nostalgic longing for home and family. Bell and the father attain this vision because of their obsession with the past, and because of their struggle with memory and nostalgia. Memory, for these characters, has both personal and collective dimensions. Nostalgia, likewise, has a dual function, following Svetlana Boym's definition of nostalgics as being capable of restorative and reflective longing for the past. Family, or Paul Ricœur’s theory of close relations, bridges the gap between the conflicts of memory and nostalgia, acting as the means by which they understand this vision of carrying the fire while also embodying it. Additionally, the duality of both memory and nostalgia drive Bell and the father to seek for a prophetic vision, for stability in the past to deal with the threats in the present, which appears in the narrative structures of each novel.
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Molander, Christoffer. "Amiable Humor and Dual Address in The Adventures of Tom Sawyer." Thesis, Stockholms universitet, Engelska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144102.
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The humor of Mark Twain has long fascinated his readers. Critics such as Messent (2007), Budd (2005), Gerber (1988) and Camfield (2005) have all analyzed Mark Twain’s humor to reveal nuances and to help further the understanding of what makes Twain’s writing humorous. However, there is a distinct gap in the research so far conducted investigating Twain’s humor in relation to young readers, which this paper will begin to address. Twain’s novel The Adventures of Tom Sawyer (2007) poses a relevant subject for this research as Twain explicitly (in the preface to the novel) professes to write both for children and adults simultaneously. Writing in such a way can be categorized as either “double address” or “dual address”, understanding these terms according to the definitions of Barbara Wall (1991). In this paper I will argue that Mark Twain manages to create “dual address” in Tom Sawyer by using what Greg Camfield (2005) calls “amiable humor” and constructing scenes out of childhood in order to produce delight and nostalgia. By reading closely excerpts of the book and analyzing Twain’s specific use of humor through three prominent theories—superiority theory, relief theory and incongruity— it becomes possible to identify what the implied reader is meant to find humorous, and therefore if Twain manages to establish a “dual address”. An understanding of Twain’s humor from the perspective of both young and adult reader furthers our understanding of the novel by revealing Twain’s implementation of complex “dual address” narration and its implications.
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Roux, Rowan Pieter. "Experiencing loss : traumatic memory and nostalgic longing in Anne Landsman's The Devil's Chimney and The Rowing Lesson, and Rachel Zadok's Gem Squash Tokoloshe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006854.
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This thesis examines the experience of loss in Anne Landsman’s novels The Devil’s Chimney (1997) and The Rowing Lesson (2008), and Rachel Zadok’s Gem Squash Tokoloshe (2005). Positing the Truth and Reconciliation Commission (TRC) as an impetus for emerging literary traditions within contemporary South African fiction, the argument begins by evaluating the reasons for the TRC’s widespread impact, and considers the role that the individual author may play within a culture which is undergoing dramatic socio-political upheavals. Through theoretical explication, close reading, and textual comparison, the argument initiates a dialogue between psychoanalysis and literary analysis, differentiating between two primary modes of experiencing loss, namely traumatic and nostalgic memory. Out of these sets of concerns, the thesis seeks to understand the inextricability of body, memory and landscape, and interrogates the deployment of these tropes within the contexts of traumatic and nostalgic loss, examining each author’s nuanced invocation. A central tenet of the argument is a consideration, moreover, of how the dialogic imagination has shaped storytelling, and whether or not narrative may provide therapeutic affect for either author or reader. The study concludes with an interpretation of the changing shape of literary expression within South Africa.
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Miranda, Lenir de. "Nostos : a nostalgia de todos nós." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2003. http://hdl.handle.net/10183/12130.
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Sob o título de NOSTOS – A NOSTALGIA DE TODOS NÓS, esta dissertação é uma reflexão poética que se desenvolve na dualidade entre literatura e artes plásticas. Estende-se, todo o trabalho, na passagem de uma semântica literária, para um semântica visual, evidenciando-se uma cumplicidade entre palavras e imagens. Assim é manifestada uma visão de mundos, expressados a partir de Ulisses, de James Joyce, precisamente sobre sua Terceira Parte (Nostos), Episódio 17-Ítaca. Projeções visuais, através de pinturas e livros de artista, vêm emanadas do pensamento em torno de Nostos, ou seja, a vontade de regressar e identificar-se com um lugar do próprio Eu, dado pela obra de arte. Nesta reflexão há o descobrir onde se espelhar, como um regresso a si mesmo, possibilitada pela obra que se dispõe também ao olhar do Outro. Há o regressar pelo percurso da obra, intermediada pelo olhar do Outro. Desenvolvendo a conexão fundada pela palavra joyceana e instaurando, a partir dela, um signo visual. O texto, nesta dissertação, refere-se à dialética estabelecida no processo da formação da obra, manifestada na sua poiética.This text, whose title is “Nostos - The Nostalgia we all have”, is a poetic reflexion upon the duality between literature and visual arts. The whole work reflects upon this passage between literary and visual semantics, revealing the intimacy between words and images. A vision of worlds is thus expressed, taking as starting point James Joyce’s “Ullysses”, especially its 3rd part (Nostos), and its 17th episode (Ithaca) Visual projections, through the artist’s paintings and books, are emanations of nostos, ie, the longing for return and identification with the locus of the self, given by the work of art. In this reflection dwells the finding out of a place to replicate, as if through a looking-glass, as if it were a return to the self, made possible through the work which presents itself to the Other´s gaze. There is a return through the itinerary of the work, mediated by the Other’s gaze, building upon the connection established by Joyce’s words and construing, upon it, a visual sign. The text, in this work, refers to the dialectics established in the process of formation of the work, made visible trough its poiesis.
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Killgore, Benjamin Moroni. ""Twenty or Thirty or Forty Years Ago": Time, Posthistory, and the Hyper-Present in Patrick McCabe's The Butcher Boy." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6405.
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This thesis is a commentary on Patrick McCabe's novel, The Butcher Boy, which was published in 1992. The novel is told through the perspective of the main character, Francie Brady, who through the majority of the narration is depicted as a young boy. Francie's life is riddled with tragedy with his moving from the loss of one important person in his life to another until the pain of these losses triggers a violent paranoid outburst resulting in the murder of the fixation of an obsession of his, Mrs. Nugent. This thesis looks at the events of the novel through the perspective and insight provided by Ursula K. Heise's theories of "posthistory" and the "hyper-present," as well as Paul Grainge's concepts of the "Mood" and the "Mode" of nostalgia.
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Hedenmalm, Li. "A Paradise Fading : Perceptions of Wild Nature in Alfred, Lord Tennyson's Idylls of the King and Howard Pyle's Story of King Arthur and His Knights." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76274.
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This thesis explores representations of wild nature in two Arthurian texts – one British and one American – produced in an age characterised by rapid social transformation: Alfred, Lord Tennyson’s Idylls of the King (1859-1885) and Howard Pyle’s Story of King Arthur and His Knights (1903). By investigation of the textual descriptions of wilderness and the portrayals of characters living there, the study aims to investigate what attitudes towards unkempt nature are displayed in the two texts. While both narratives give evidence of a powerful nostalgia for a vanishing paradise, the yearning for Eden is expressed quite differently. Pyle’s text fuses the concepts of wilderness and paradise together by depicting the unkempt landscape as a place of splendour and spiritual enjoyment. Such a celebration of nature might well be seen a reaction against the rapid loss of wild spaces across America (and Britain) during the life-time of the author. In the Idylls, paradise is represented in the domesticated yet green landscape of the faraway fairy island of Avilion. Wilderness, on the other hand, is depicted as a harmful disease progressively spreading across the realm, arguably bringing about a moral degeneration among the human characters. In the end, however, it is not wilderness, but the corruption of the supposedly civilised characters that causes the collapse of Arthur’s empire. On closer inspection, the real danger thus seems to come from culture and material conditions rather than from nature.
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Clark, Rachel Ellen. "Textual Ghosts: Sidney, Shakespeare, and the Elizabethans in Caroline England." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1312205135.
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Lott, Monica L. "Seventy Years of Swearing upon Eric the Skull: Genre and Gender in Selected Works by Detection Club Writers Dorothy L. Sayers and Agatha Christie." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366152840.
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Lopez, Soriano Maria Jesus. "¿PERO TÚ QUÉ TE HAS CREÍDO, QUE LA GUERRA ES UNA BROMA? LA SERIEDAD DEL HUMOR EN DIFERENTES REPRESENTACIONES CULTURALES DE LA GUERRA CIVIL ESPAÑOLA." UKnowledge, 2016. http://uknowledge.uky.edu/hisp_etds/25.
Full textAbstract:
This dissertation analyzes selected pieces of work related to the Spanish Civil War (1936-39) produced during the twenty-first-century as cultural artifacts to be considered in their historical and socio-political context. Specifically, my dissertation focuses on the relationship between the way the conflict is depicted and the message it conveys. Parting from the premise that there has been an overproduction of lieu de mémoire that has transformed the Spanish war into a cultural trend, the civil war-esque, I study a number of humor works. Precisely, these humorous works deconstruct such trend by considering its most common characteristics: the use of metafiction and nostalgia.
The Introduction presents the socio-political situation of contemporary Spain, the civil war-esque trend, and different categories of humor. In the first chapter I focus on the TV-series Plaza de España (2011). By combining the theoretical framework of the sitcom and the Critical Analysis of Discourse, I demonstrate that the program reinforces the official message in regard to the Spanish recent past. In the second chapter I examine the novel La comedia salvaje (2009) by José Ovejero. This parody, understood by the lens of Bakhtin, invites the readers to be skeptical about what they know and what they have been told about the war. In the third chapter I study the film The Last Circus I (2010) by Álex de la Iglesia. Departing from an esperpento, the film leaves this genre behind and transforms itself into a satire which demythifies the traditional research method, such as visiting archives or interviewing witnesses, and opts for imagination to reproduce a traumatic past.
Finally, the goal of this dissertation is to help envisage that a wider, and at the same time critical representation, of the Spanish Civil War its possible, and in turn could lead on to a potential change in the Spanish current cultural production as well as its social and political situation.