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Dissertations / Theses on the topic 'Postmodernism (Literature)'

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Published: 4 June 2021
Last updated: 31 July 2024

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1

Viires, Piret. "Postmodernism eesti kirjanduskultuuris /." Tartu : Tartu Ülikooli Kirjastus, 2006. http://dspace.utlib.ee/dspace/bitstream/10062/763/5/viirespiret.pdf.

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2

Sawada, Chikako. "Muriel Spark's postmodernism." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1561/.

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This study explores the shifting notions of postmodernism developed through Muriel Spark’s fiction, and thereby clarifies this artist’s own postmodernism. I use Jean-François Lyotard’s definition of the notion in his The Postmodern Condition (1979), that there is no grand narrative, as my starting point, and deploy various postmodernist theories, which can illuminate Spark’s art and can in turn be illuminated by her art, in my arguments. Throughout the thesis, I focus on two of Spark’s most important themes as crucial keys to understanding her postmodernism: the theme of individual subjectivity and the theme of the interplay of life and art. The thesis begins with the claims Spark makes for her individuality and her individual art through the voice of “I”. Chapter I considers issues about being a woman and an artist, which Spark raises around the narrator-heroine of a fictional memoir, A Far Cry from Kensington (1988). Here I present this heroine as a definition of the strength of Sparkian women who liberate themselves by practicing art. Chapter II discusses Loitering with Intent (1981), a fictional autobiography of a fictional woman novelist, alongside Spark’s own autobiography and her various biographical works. This section illustrates Spark’s notion of the “author” in relation to the “work” - and an author in control in her sense - by investigating the dynamic interplay of life and art in the form of this novel. Chapter III analyses The Driver’s Seat (1970), the novel which most shockingly elucidates the postmodern condition according to Spark and demonstrates her postmodernist narrative strategies. Her concern with the crisis of the “subject” in the world in its postmodern phase is observed in the figure of the heroine, a woman who has tried and failed to be an author in control. I argue that Spark here theorises the notion of subject, by providing her own version of the psychoanalytical “death drive” and also represents the Lacanian real as the unfigurable with this figure. Chapter IV and Chapter V follow the developments of Spark’s discussion of the crisis of the “subject” in two of her later novels. Chapter IV concentrates on the theme of Otherness in Symposium (1990). Chapter V discusses Reality and Dreams (1996), in which Spark pursues the theme of excess and opens up the contradictions inherent in this notion to bring about a new philosophy of life by art as excess.
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3

Tracey, Thomas. "David Foster Wallace : American literature after postmodernism." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543596.

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4

Cagney-Watts, Helen. "The contradictions of postmodernism : a feminist critique of postmodernism." Thesis, University of Hull, 1991. http://hydra.hull.ac.uk/resources/hull:6975.

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5

Wattenbarger, Melanie. "Reading Postcolonialism and Postmodernism in Contemporary Indian Literature." Ohio Dominican University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=odu1351102017.

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6

Charles, Alec. "James Joyce, modernism and postmodernism." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284287.

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7

Gorelova, Olena. "Postmodernism, Native American literature and issues of sovereignty." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/gorelova/GorelovaO0509.pdf.

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Criticism of Native American literature is barely two centuries old, while criticism of Western literature boasts a history that is quite a bit longer. The questions on how to read and interpret tribal narrative and modern American Indian fiction are still urgent topics that trigger numerous debates among literary scholars. What theories to employ and what approaches to use to dispel misinterpretations of the literature are still matters open to suggestion. Postmodernism, the new world trend, has influenced all spheres of life, not excluding literature. Although it does seem to better account for American Indian voices as it shifts attention to local narratives and re-evaluation of history, the issue of whether it is applicable and favorable to Native American literature and its cause is a debatable one. Postmodern theory claims to liberate the suppressed voices including those of Native Americans, but at the same time presents the danger of limiting Native American literature to another set of frames while denying it its purpose, i.e. achievement of the establishment of Native American national literature. Many American Indian scholars insist that American Indian literature should not be interpreted using mainstream approaches, such as postmodernism, since they have already done enough damage, but implementing American Indian philosophies instead, such as nationalism. It also seems premature to apply postmodern theory since it deconstructs history and identity, which are still to be constructed in Native American literature. Tribal literature and tribal realities are closely connected and, therefore, the fight for Native American literature and how to interpret it appears to be a part of a bigger fight, the one for sovereignty, both national and intellectual. The "post" of postmodernism, as well as the "post" of post-colonialism, might simply not be present for Native American literature yet and, therefore, theories offered by nationalism can at the given moment be more promising to American Indian literature and its purposes.
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8

Cheung, Man-wai, and 張文薀. "Postmodernism in the works of Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26758635.

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9

Coughran, Christopher John. "Literary ecology and the fiction of American postmodernism /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18752.pdf.

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10

McAllister, Catriona Jane. "Rewriting independence in contemporary Argentine literature : postmodernism, politics and history." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648742.

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11

Mason, Francis Andrew. "Narrative and postmodernism : politics and contemporary American fiction." Thesis, University of Southampton, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386656.

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12

Slocombe, Will. "Postmodern nihilism : theory and literature." Thesis, Aberystwyth University, 2003. http://hdl.handle.net/2160/740d7998-8998-4ef7-9514-4174d05cec4a.

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This thesis examines the relationship between nihilism and postmodernism in relation to the sublime, and is divided into two parts: theory and literature. Beginning with histories of nihilism and the sublime, the Enlightenment is constructed as a conflict between the two. Rather than promote a simple binarism, however, nihilism is constructed as a temporally-displaced form of sublimity that is merely labelled as nihilism because of the dominant ideologies at the time. Postmodernism, as a product of the Enlightenment, is therefore implicitly related to both nihilism and the sublime, despite the fact that it is often characterised as either nihilistic or sublime. Whereas prior forms of nihilism are 'modernist' because they seek to codify reality, postmodernism creates a new formulation of nihilism – 'postmodern nihilism' – that is itself sublime. This is explored in relation to a broad survey of postmodern literature through a series of interconnected themes. These themes – apocalypse, the absurd, absence, and space – arise from the debates presented in the theoretical chapters of this thesis, and demonstrate the ways in which nihilism and the sublime interact within postmodern literature. Because of the theoretical and literary debates presented within it, this thesis concludes that it cannot be a thesis at all.
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13

Dvorak, Robert Michael. "(Chaos of) reading (chaos) : the fuzzy logic of postmodernism /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487847761307161.

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14

Ye, Qing. "Masculinity in Yu Hua's fiction from modernism to postmodernism." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66852.

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The Tiananmen Incident in 1989 triggered the process during which Chinese society evolved from so-called "high modernism" to vague "postmodernism". The purpose of this thesis is to examine and evaluate the gender representation in Chinese male intellectuals' writing when they face the aforementioned social evolution. The exemplary writer from the band of Chinese male intellectuals I have chosen is Yu Hua, one of the most important and successful novelists in China today. Coincidently, his writing career, spanning from the mid-1980s until present, parallels the Chinese intellectuals' pursuit of modernism and their acceptance of postmodernism. In my thesis, I re-visit four of his works in different eras, including One Kind of Reality (1988), Classical Love (1988), To Live (1992), and Brothers (2005), to explore the social, psychological, and aesthetical elements that formulate/reformulate male identity, male power and male/female relation in his fictional world. Inspired by those fictional male characters who are violent, anxious or even effeminized in his novels, one can perceive male intellectuals' complex feelings towards current Chinese society and culture. It is believed that this study will contribute to the literary and cultural investigation of the third-world intellectuals.
Les événements de la Place Tiananmen en 1989 a déclenché le processus durant lequel la société chinoise a évolué d'un soi-disant "haut modernisme" vers un vague "post-modernisme". Le but de cette thèse est d'examiner et d'évaluer la représentation des sexes dans l'écriture des intellectuels chinois mâles quand ils font face à l'évolution sociale mentionnée ci-dessus. L'auteur qui exemplifie bien le groupe d'intellectuels masculins chinois que j'ai choisi est Yu Hua, un des romanciers les plus importants et prolifiques de la Chine d'aujourd'hui. Bonne coïncidence, sa carrière d'écrivain qui couvre la période commençant au milieu des années 1980 jusqu'à maintenant, trace des parallèles entre la poursuite du modernisme des intellectuels chinois et leur acceptation de post-modernisme. Dans ma thèse, je revisite quatre de ses travaux dans des périodes différentes, y compris One Kind of Reality (1988), Classical Love (1988), To Live (1992) et Brothers (2005). Le but est d'explorer l'aspect social, les éléments psychologiques et esthétiques qui formulent/reformulent l'identité masculine, le pouvoir masculin et la relation homme/femme dans son monde fictif. Inspiré par ces personnages masculins fictifs qui sont violents, anxieux ou même effeminés dans ses romans, on peut percevoir les sentiments complexes des intellectuels masculins envers la société et la culture chinoise actuelle. Je crois que cette étude contribuera à l'enquête sur la littérature et la culture des intellectuels des pays du Tiers-Monde.
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15

Eyuboglu, Selim. "Four films : crossing the boundaries of modernism and postmodernism." Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305245.

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16

Min, Eung-Jun. "Toward assimilations of political economy and postmodernism with cultural studies /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487759055156781.

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17

Dickson, Samuel John. "The persistence of postmodernism and the sixties." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13374.

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This thesis argues that postmodernism is best understood as an aftereffect, extension or reaction to the 'sixties'. However, what this term designates is not a period of calendar time coterminous with its namesake decade but a set of historical conditions whose period logic doesn't 'end' until the early 1970s. The textual features of postmodernism are interpreted as a response to the sixties as a historical moment of the possibility, and subsequent foreclosure, of a particular mode of radical emancipatory politics. Each chapter identifies the postmodern form as a register of this foreclosure, with cinematic and literary texts ranging from the sixties to present day. Michelangelo Antonioni’s 1966 film Blow-Up is located as a ‘primal’ text for how this political moment is recurrently figured as an intermedial allegory in future postmodernist texts, including his own subsequent film Zabriskie Point (1971) and early features by American director, Brian de Palma (including Woton’s Wake [1962] and Greetings (1968). Joseph McElroy’s novels Hind’s Kidnap (1969) and Lookout Cartridge (1974) are analysed for their unique literary representation of the mass-mediated world of the sixties through an anti-allegorical poetics. Instead, McElroy experiments with a new ‘realist’ means of portraying the immense cognitive activity involved in apprehending and thinking the complexity of the new global economy. Two chapters trace the changes in Thomas Pynchon’s recent fiction into a more explicitly political ‘late style’. The first of these focuses on his ‘California Trilogy’ (The Crying of Lot 49 [1966], Vineland [1990] and Inherent Vice [2009]), where the repeated portrayal of the sixties as a site of failure asserts the period’s unfinished relation to the present. The second chapter explores the use of violence and genre in his 2006 epic Against The Day, arguing that its extensive use of myth, when situated alongside Walter Benjamin’s idea of ‘divine violence’, signifies utopian desire by way of textual exhaustion. The final chapter features an allegorical reading of David Fincher’s Zodiac (2007) as a registration of the transition from the turmoil of the sixties into a melancholic period of the seventies. This period logic is repeated in its own context of the late 2000s which are marked by numerous declarations of the ‘death’ of cinema, a transition locatable in the feature’s own hybrid form of filmic and digital cinematography. In each chapter, the political significance of postmodernism as the registration of lost utopian possibilities, and the perceived persistence of this closure, is allegorised at sites of inter-medial conjuncture. Within each of these meetings of separate media, including written text, photography, cinema and digital images, is an auto-referential, inter-medial allegory whose recurrent content is the anxiety attendant to the lost possible futures since the end of the sixties; the persistence of postmodernism.
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18

Jarvis, Matthew Rodger. "Aspects of postmodernism in a range of contemporary English poetry." Thesis, Aberystwyth University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247413.

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19

Machado, Christina. "Watchmen: Comics and Literature Collide." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/496.

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This thesis will explore Watchmen as an event in postmodern art and literature. When a postmodern event occurs, no language game exists at that moment to make the event comprehensible. Limitations therefore of incommensurable language games are exposed and scholars are left without language, scrabbling to decipher what happened. This is the case with Watchmen. Comics and literature collided and there is no language to discuss what has come out of that collision. Through chapter analysis, character study, and inquiry into the postmodern mood this project will demonstrate Watchmen as a turning point in the discussion of comics and literature.
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20

Shagufta, Iqra. "Postmodernity and Pakistani Postmodern Literature." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707404/.

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Though scholars have discussed postmodernism in Islam and South Asia before, they tend to (i) assume Muslims as a monolithic group, bypassing the diversity of different cultures and the interaction of these cultures with indigenous practices of Islam; (ii) study postmodernity synchronically, thereby eliding histor(ies) and the possibility of multiple temporalities; and (iii) compare postmodernity in non-Western countries with Western standards, and when these countries fail this test, declare them not-yet-postmodern, or even modern. Negligible and scant discussions of postmodernity that do take place inside Pakistan, most of which are published in newspaper articles, tend to focus on Western postmodernity and its evolution and contemporary position. There is no book-length discussion of postmodernity and postmodernist literary texts from Pakistan and its curious sociopolitical blend of Indo-Muslim and Anglo-Indian influences and interaction with the Islamic political foundations of the country. This project discusses postmodernity and postmodern literature in Pakistan. I argue that, because of a different political, cultural, and literary climate, postmodernity and postmodern literature in Pakistan are distinct from their Western counterparts. Because of technological advancement and neoliberal globalization, Pakistan experiences a different kind of postmodernity resulting in the production of a different kind of postmodern literature. I trace the historical employment of postmodern literary tropes from Indo-Islamic genres, i.e. dastan, to contextualize this conversation. Then I discuss experimental works of fiction like Sultana's Dream (1908), Bina Shah's Before She Sleeps (2018), and Soniah Kamal's Unmarriageable (2019). The last chapter explores the relationship of postmodernity, postmodern politics, and Pakistani and Muslim historiographic metafictional literary texts: The Satanic Verses (1988) and A Case of Exploding Mangoes (2008). Hence, the work is regional and national, as well as comparative and transnational.
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21

Chace, Tara. "In case of emergency, break glass : ontological metamorphoses in Norwegian and Finnish postmodern literature /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6578.

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Sáez, Villarino Alberto. "La narrativa de Rodrigo Fresán y la vertebración de una poética afterpop." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672926.

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El presente estudio analiza la obra del escritor argentino Rodrigo Fresán desde una perspectiva omnímoda que considera y cuestiona la relevancia de las prácticas culturales contemporáneas, con especial detenimiento en el impacto que los medios de comunicación de masas tienen en su narrativa. Esta tesis se propone, así, examinar las implicaciones de su obra respecto a tres factores del siglo XXI: la omnipresencia de las nuevas tecnologías, el distanciamiento afectivo que generan y la imposición de un modelo de vida superficial. Con el propósito de lograr una mayor claridad expositiva, el trabajo queda dividido en dos bloques fundamentales: en el primero, se realiza una revisión del marco teórico, ejercicio que permite vislumbrar la consolidación de una nueva narrativa llamada a modificar, junto a otras propuestas, el viejo eje alta-baja cultura. Esta nueva literatura, denominada afterpop o mutante, se acerca a una estética mucho más actual mediante la primacía de la imagen sobre el texto, para lo cual recurre a una sobresaturación referencial y al registro de multitud de motivos pop con los que nutrir el relato a partir de alusiones de gran explicitud gráfica. En el segundo bloque se examina cómo Fresán utiliza todos estos recursos afterpop en la construcción de sus ficciones por medio de tres estrategias: 1. Temática: la manera con la que el escritor argentino vincula todas sus obras a partir del concepto de memoria, logrando una relación casi circular que permite leer su producción como si se tratara de una obra viva. 2. Procedimental: el empleo de los diferentes recursos que utiliza el autor en la construcción de su universo referencial para desautomatizar el eje alta-baja cultura, a través de la ficcionalización de la realidad, la fragmentación, la ironía o la hibridación genérica. 3. Teórica: los ensayos que respaldan esta forma de narrar y sitúan a Fresán como referente de esta nueva literatura. Nos referimos aquí a Afterpop y Homo Sampler, de Fernández Porta; Teoría general de la basura, de Fernández Mallo; La luz nueva, de Vicente Luis Mora; Radicante, de Bourriaud, Apocalípticos e integrados, de Eco; o No-lugares, de Augé. Finalmente trataremos de evidenciar cómo la obra de Fresán supera el modelo hegemónico representado por la gran novela del Boom hispanoamericano, y lo actualiza hacia derivas de mayor inmediatez y honestidad con el lector actual. Para ello, el escritor no solo recurre a la iconografía pop y al eclecticismo multidisciplinar, sino que además, tomando como referente a escritores norteamericanos contemporáneos como David Foster Wallace, Thomas Pynchon o Philip Roth, consigue avanzar hacia una narrativa que se inscribe de lleno, de manera crítica, en los cauces de la posmodernidad.
This study analyses the work of the Argentinian writer Rodrigo Fresán from an omnimode perspective that considers and questions the relevance of Contemporary cultural behaviors, specifically the impact of mass media in his narrative. This thesis investigates the implications of his work based on three 21st Century factors: the omnipresence of new technologies, affective distancing and the imposition of a superficial lifestyle. With the aim of providing demonstrative clarity, this work is divided into two key parts: the first one, carries a revision of the theorical framework that allows the consolidation of a new narrative whose goal is to eliminate the barrier between the highbrow and lowbrow culture concept. This new literature, coined Afterpop o mutant, is closer to a more current aesthetic where image comes before text by using an oversaturation of references and Pop motives to nourish the tale with great visually explicit allusions. The second part examines how Fresán uses all these Afterpop resources when creating his fictional work by implementing three strategies: 1. Theme: the way in which the Argentinian writer links all his work to the concept of memory. 2. Procedural: the use of different resources by the author in the construction of his referential universe. 3. Theoretical: the essays that support this narrating style and that make Fresán a referent of this new literature. Finally, this study proves how Fresán’s work surpasses the hegemonic model represented by the great Hispano-American Boom novel, and updates it to provide more closeness and honesty with the current reader. To achieve that, the writer does not only resorts to Pop iconography and multidisciplinary eclecticism, but also to Contemporary North American writers such as David Foster Wallace, Thomas Pynchon or Philip Roth. With this, he shifts to a narrative that endorses a Postmodern aesthetic.
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23

Sutassi, Smuthkochorn Renner Stanley W. "Postmodernism and comparative mythology toward postimperialist English literary studies in the Thailand /." Normal, Ill. Illinois State University, 1996. http://wwwlib.umi.com/cr/ilstu/fullcit?p9721398.

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Thesis (D.A.)--Illinois State University, 1996.
Title from title page screen, viewed May 26, 2006. Dissertation Committee: Stanley W. Renner (chair), Ronald Strickland, William W. Morgan, Jr. Includes bibliographical references (leaves 140-146) and abstract. Also available in print.
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24

Bould, Mark Douglas. "Cyberpunk in retrospect : postmodernism and transcendence in science fiction after 1980." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297701.

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25

Sears, John. "Gothic times : feminism and postmodernism in the novels of Angela Carter." Thesis, University of Sheffield, 1993. http://etheses.whiterose.ac.uk/1816/.

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The problematic relationship between feminism and postmodernism manifests itself, in contemporary fiction by women, as a conflict between political and aesthetic practices which is ultimately waged upon the ground of subjectivity. Angela Carter's novels offer an extended exploration of subjectivity which utilises, in many ways self consciously, the ongoing theorisation of subjectivity and related notions - notably desire, gender and power - which characterises contemporary feminist and postmodernist philosophy. This thesis offers a series of readings of Carter's novels which traces their engagement with particular aspects of the theorisation of subjectivity. It attempts to present Carter's novels as examples of how the aesthetic and the political can to a certain extent be combined, and of how feminist political practice can be both represented and problematised in the postmodernist fictional text, while postmodernist aesthetic practices are also exploited but problematised in and by that exploitation. The Introduction explores the relationship between feminist and postmodernist theories of the subject, through a survey of theorists from both 'camps' and a brief survey of contemporary women novelists, before discussing the critical neglect of Carter's fiction. Chapter 2 explores more extensively the confluence of feminist, postmodernist and psychoanalytic models of the subject and offers an exemplary reading of a short story by Carter, in order to demonstrate certain stylistic and thematic characteristics of her fiction. In particular, psychoanalytic models of subjectivity are examined. The succeeding two Chapters address Carter's early (pre-1972) novels in order to explore the development of her fictional career from its context of 1960s British fiction, and trace the progressive elaboration of certain thematic preoccupations in their nascent form. Three further Chapters individually address each novel in Carter's 'trilogy' so as to demonstrate how each text explores a particular aspect of the construction of the postmodern self. The Conclusion offers a reading of Carter's fiction as extensively engaged, both at a formal and a thematic level, with the deconstruction of conventional notions of the self in order to expose the political interests invested in those notions. Carter's last novel is also addressed in the context of this discussion, as are the ways in which Carter's fiction offers contributions to the feminist/postmodernist debate as discussed throughout the thesis. Throughout the thesis, extensive reference is made to critical and theoretical works which elucidate or impinge upon the themes addressed in Carter's novels, and Carter's own comments in interviews and in her critical texts are also utilised.
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Lopez, Seir Garcia-Corales Guillermo. "Gestos posmodernos en la novela latinoamericana : los casos de Cristina Rivera Garza, Ana Maria Shua y Laura Restrepo /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4014.

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27

Sung, Mei-yee, and 沈美怡. "Likeness and unlikeness in postmodern fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B26791973.

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Lau, King, and 劉兢. "Postmodern performance in Tom Stoppard's Travesties and Arcadia." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26832501.

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Tam, Siu-man, and 譚兆文. "Sense of loss in post-modern Japan as depicted in Murakami Haruki's Trilogy: "Hear the wind sing", "Pinball 1973" and "A wild sheepchase"." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29948708.

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Reive, Ronald James. "Crossing boundaries: postmodern realities in the selected works of Haruki Murakami and Rana Dasgupta." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B4670114X.

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31

Ma, Ming-Qian. "Poetry as re-reading : American Avant-garde poetry and the poetics of counter-method /." Evanston Illinois : Northwestern University Press, 2008. http://www.loc.gov/catdir/enhancements/fy0809/2008000308-t.html.

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Ip, Sui-lin Stella. "The phenomena of post-modern culture in contemporary Chinese literature Zhongguo dang dai wen xue zhong de hou xian dai wen hua xian xiang /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31245390.

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Partovi, Tazeh Kand Parviz. "Adaptations of Hamlet in different cultural contexts : globalisation, postmodernism, and altermodernism." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/19264/.

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Although there has traditionally been a resistance to the study of adaptations, adaptation studies as a subsection of 'intertextuality‘ currently has a significant place in academic debates. Hamlet is "the Mona Lisa of literature" (T.S. Eliot), and has been the subject of constant scrutiny, mythologizing and adaptation. Hamlet has been adapted and appropriated into and by various cultural contexts. Even confining our attention to the same medium as Shakespeare‘s text, there exists an array of theatrical adaptations in languages and cultures as diverse as Persian, Korean, Arabic, German, Russian, and Turkish. Borrowing Ludwig Wittgenstein‘s metaphor of 'family resemblance,‘ I argue the usefulness of his idea, enabling us to examine not simply a small number of common properties among adaptations of Hamlet, but rather to explore the 'complicated network of similarities overlapping and criss-crossing‘ (Philosophical Investigations, §66). I further propose subdividing the 'global family‘ of Hamlets from around the world that participate in this/these web-like resemblances into 'local families‘ of adapted Hamlets, to enable better intercultural and cross-cultural studies. In this thesis I analyse seven theatrical adaptations of Hamlet in Turkish, Russian, Arabic and Persian cultural contexts, from the perspectives of postmodernism, globalisation and altermodernism. I also scrutinise the Persian family of Hamlet in the light of 'intertextuality‘. Given that each adaptation per se brings together 'self‘ and 'other‘ at the same time, I go on to coin two new terms: homointertextuality and heterointertextuality, in order to explore fully the various connections of the adaptations of Hamlet in Iran with the 'cultural self‘ (Persian culture) and the 'cultural other‘ (Anglophone culture).
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34

Thompson, Lucas Jesse. "Global quotations: David Foster Wallace and world literature." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13149.

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The central argument of this thesis is that Wallace’s current cultural and scholarly position, as a parochial and emphatically American figure, needs to be reconsidered. This is because his work, although frequently preoccupied with particularly American concerns, uses world literature in important ways. Time and again, Wallace’s fiction draws on a diverse range of global texts, appropriating various forms of world literature in the attempt to craft fiction that critiques US culture from a slightly oblique, unexpected vantage point. Although I take issue with the US-centric interpretation generated by many scholarly readers of Wallace’s work, my argument is not intended as a corrective to this strain of criticism but as a complementary, adjacent approach. This is because Wallace’s engagements with world literature so frequently feed back into his idiosyncratic critiques of American culture. Individual chapters of my thesis reassess Wallace’s body of work in relation to five broadly construed geographical territories: Latin America, Russia, Eastern Europe, France, and Africa. By expanding the geographical coordinates of Wallace’s work in this way, we begin to see the ways in which he played particular literary traditions off one another, appropriating radically varied global texts within his own fiction. Simultaneously, my argument also develops five complementary theories concerning the ways in which artistic influence functions in Wallace’s fiction, showing how Wallace’s engagements with world literature are mediated via specific strategies of artistic appropriation.
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35

Nicol, Rhonda M. Harris Charles B. "The spaces between feminism and postmodernism in contemporary women's fiction /." Normal, Ill. Illinois State University, 2004. http://wwwlib.umi.com/cr/ilstu/fullcit?p3196671.

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Thesis (Ph. D.)--Illinois State University, 2004.
Title from title page screen, viewed May 23, 2006. Dissertation Committee: Charles Harris (chair), Christopher Breu, Janice Neuleib. Includes bibliographical references (leaves 151-163) and abstract. Also available in print.
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Dawkins, Sabrina Y. "Postmodernity and the history of African American religious representations a Foucauldian approach /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1505Dawkins/umi-uncg-1505.pdf.

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Thesis (M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Mar. 11, 2008). Directed by Steven R. Cureton; submitted to the Dept. of Sociology. Includes bibliographical references (p. 103-115).
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37

Masrour, Joe. "Innocent bystanders." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64037.

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38

Adams, Brittany N. "From Postmodernism to Psychoanalysis: Thomas Pynchon’s The Crying of Lot 49." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1302656178.

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39

Wong, Chi-keung Frederick. "Postmodernism, drama, language : Waiting for Godot and Inadmissible evidence revisited /." [Hong Kong] : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13793901.

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40

Kong, Kim-Por Paul, and 江劍波. "The child in time: postmodern representationsof childhood in the novels of Ian Mcewan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952045.

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41

Myers, Tony. "Postmodernism and historicity : narrative forms in the contemporary novel." Thesis, University of Stirling, 1998. http://hdl.handle.net/1893/1809.

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This study proposes that modernity is constitutively based upon a synchronic temporality which perpetuates the present of the ego. Within this matrix, history is subject to the processes of subjectivization and the 'otherness' of the past disappears. Postmodernism, it is argued, designates the attempt to disinter a properly historical thinking, or historicity, from the recursive temporality of the modern. This attempt is predicated upon the retroactive temporality of the future perfect which, whilst also a synchrony, arises from a productive tension between the past, the present and the future. The self-divisive time of the future perfect expedites the discomfiture of the ego and its concomitant subjectivization of the past and, by so doing, registers the historicity of that past. The relation between the modern and the postmodern forms of temporality is expressed by the Lacanian distinction between the imaginary and symbolic orders. It is argued, moreover, that this distinction is manifest in the narrative forms of the contemporary novel. Whilst the modern form of the contemporary novel replicates the structures of an egocentric repletion of synchrony, the postmodern novel displaces this imaginary problematic to the symbolic. By employing a variety of techniques founded upon retroactivity, postmodern novels are thereby shown to foster a disclosure of the structure of historicity. Within this rubric five novels are given extended consideration: William Gibson's Neuromancer, Bret Easton Ellis's American Psycho, Thomas Pynchon's The Crying of Lot 49, Kurt Vonnegut's Slaughterhouse-Five and John Banville's Doctor Copernicus.
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42

Turcot, Marie-Pierre. "Le récit au fondement d'un moi entre modernité et postmodernité /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79812.

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This thesis intends to describe the contemporary self as drawn by literary theory and writing practice. This objective implies defining the human being considering its history as well as studying its representation in narratives.
In order to circumscribe today's self, we undoubtedly have to study its historical evolution. Exploring the diametrically opposed conceptions suggested by modernity and postmodernity will lead us to a better understanding of the hybrid composition of the contemporary self, which is characterized by a search for coherence and meaning to a multidimensional and constantly evolving individual.
This definition, so far theoretical, will have to be confronted with the representations of the self found in autobiographies. The study of such self-narratives will provide the opportunity to observe in concrete terms the conception of the human being today.
The essential role of narratives will be identified beforehand. Narrative form certainly allows the representation of the self, but moreover it enters in the constitution and definition of the being itself. Self-narrative permits to establish the coherence of the self, hence it clearly appears at the basis of the identity. Overall, the narrative constitutes the foundation of the contemporary self amidst modernity and postmodernity.
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Flavell, Helen. "Writing-between : Australian and Canadian ficto-criticism /." Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051222.114143.

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44

Wong, Chi-keung Frederick, and 黃志強. "Postmodernism, drama, language: Waiting for Godot and Inadmissible evidence revisited." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.

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Stelmakh, Katsiaryna Georgieuna. "Andrei Bitov's "Pushkin House" as an example of the Russian postmodernist novel." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172779087.

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46

Ingvarsson, Jonas. "Bo G Jansson, Postmodernism och metafiktion i Norden. Hallgren & Fallgren Studieförlag AB. Uppsala 1996." Uppsala : Svenska Litteratursällskapet, 1997. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-201071.

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47

Lynn, Marie Elizabeth. "The Place of Story and the Story of Place: How the Convergence of Text and Image Marks the Opening of a New Literary Frontier." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/lynn/LynnM0507.pdf.

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While certain scholars are lamenting that literature has become less relevant in these postmodern times, I have found that this is not at all the case. What is actually happening is that literature is the process of change, due in no small part to our blossoming visual culture. Interweaving Native American and dominant culture literatures, this document explores the ways narrative has historically played a critical role, not only in constructing human identity, but also in defining our relationship with place. More recently, new literary hybrids, with various degrees of intertwining text with image, are proliferating. These literatures of image are propelling us beyond postmodernism into a new era.
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Wheeler, Wendy Jayne. "From the sublime to the domestic : postmodernism in the novels of Graham Swift and Peter Ackroyd." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386014.

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49

Zapata, Ana I. "La postmodernidad en Mal de amores de Ángeles Mastretta." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1150258321.

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50

Thoday, Heather Frances. "Lived spaces of representation : thirdspace and Janette Turner Hospital's political praxis of postmodernism /." Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09pht449.pdf.

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