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Dawson, Charles Robert Eliot. "Writing the memory of rivers : story, ecology and politics in some contemporary river writing." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/NQ46337.pdf.
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Gooch, Catherine. "“I’VE KNOWN RIVERS:” REPRESENTATIONS OF THE MISSISSIPPI RIVER IN AFRICAN AMERICAN LITERATURE AND CULTURE." UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/97.
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My dissertation, titled “I’ve Known Rivers”: Representations of the Mississippi River in African American Literature and Culture, uncovers the impact of the Mississippi River as a powerful, recurring geographical feature in twentieth-century African American literature that conveys the consequences of capitalist expansion on the individual and communal lives of Black Americans. Recent scholarship on the Mississippi River theorizes the relationship between capitalism, geography, and slavery. Walter Johnson’s River of Dark Dreams: Slavery and Empire in the Cotton Kingdom, Sven Beckert’s Empire of Cotton: A Global History, and Edward Baptist’s The Half Has Never Been Told: Slavery and the Making of American Capitalism examine how enslaved black labor contributed to the expansion of capitalism in the nineteenth century, but little is known about artistic representations of the Mississippi in the twentieth century. While scholars point primarily to the Mississippi River’s impact on slavery in the nineteenth century, I’ve Known Rivers reveals how black writers and artists capture the relationship between slavery, capitalism, and the Mississippi River. I consider a wide variety of texts in this study, from Richard Wright’s Uncle Tom’s Children and early 20th century Blues music, to late 20th century novels such as Toni Morrison’s Sula. This broad array of interdisciplinary texts illustrates a literary tradition in which the Mississippi’s representation in twentieth-century African American literature serves as both a reflection of the continuously changing economic landscape and a haunting reminder of slavery’s aftermath through the cotton empire. Furthermore, I’ve Known Rivers demonstrates how traumatic sites of slavery along the river are often reclaimed by black artists as source of empowerment, thereby contributing a long overdue analysis of the Mississippi River in African American literature as a potent symbol of racial progress.
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MacKenzie, Garry Ross. "Landscapes in modern poetry : gardens, forests, rivers, islands." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5910.
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This thesis considers a selection of modern landscape poetry from an ecocritical perspective, arguing that this poetry demonstrates how the term landscape might be re-imagined in relation to contemporary environmental concerns. Each chapter discusses poetic responses to a different kind of landscape: gardens, forests, rivers and islands. Chapter One explores how, in the poetry of Ian Hamilton Finlay, Douglas Dunn, Louise Glück and David Harsent, gardens are culturally constructed landscapes in which ideas of self, society and environment are contemplated; I ask whether gardening provides a positive example of how people might interact with the natural world. My second chapter demonstrates that for Sorley MacLean, W.S. Merwin, Susan Stewart and Kathleen Jamie, forests are sites of memory and sustainable ‘dwelling', but that deforestation threatens both the ecology and the culture of these landscapes. Chapter Three compares river poems by Ted Hughes and Alice Oswald, considering their differing approaches to river sources, mystical immersion in nature, water pollution and poetic experimentation; I discuss how in W.S. Graham's poetry the sea provides a complex image of the phenomenal world similar to Oswald's river. The final chapter examines the extent to which islands in poetry are pastoral landscapes and environmental utopias, looking in particular at poems by Dunn, Robin Robertson, Iain Crichton Smith and Jen Hadfield. I reflect upon the potential for island poetry to embrace narratives of globalisation as well as localism, and situate the work of George Mackay Brown and Robert Alan Jamieson within this context. I engage with a range of ecocritical positions in my readings of these poets and argue that the linguistic creativity, formal inventiveness and self-reflexivity of poetry constitute a distinctive contribution to contemporary understandings of landscape and the environment.
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Wu, Yuen-wai Helena, and 胡婉慧. "Beyond rivers and lakes: a cultural study of jianghu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46290230.
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Oliveira, Marcela Marrafon de. "Paquequer, São Francisco e Tiete : as imagens dos rios e a construção da nacionalidade." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281858.
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Previous issue date: 2007<br>Résumé: Cette dissertation analyse comment la nationalité brésilienne a été représentée à travers des images- textueles, iconographiques et monumentales- des fleuves. La nature, surtout la nature tropicale, a été associée à l¿identité nationale, spécialement à partir du
Romantisme. Avec ce présupposé, des oeuvres classiques des auteurs brésiliens renommés, comme O Guarani, de José de Alencar; Capítulos de História Colonial, de Capistrano de Abreu; et Relatos monçoeiros, de Affonso Taunay, ont été choisis comme sources d¿analyse pour ce travail.
Le ¿territoire de la mémoire¿ de la nation à travers des fleuves se développe dans ces oeuvres, originant de fortes images textuelles, mais il acquérit plus de vivacité par le moyen du monument aux fleuves, qui a été erige dans le grand escalier du Musée Paulista, à l¿époque où Affonso Taunay l¿a dirigé. Outre la construction des amphores avec des eaux de principaux fleuves brésiliens, Taunay a conçu une salle dans le Musée Paulista où le fleuve Tietê figure comme protagoniste dans les tableaux qui enregistrent les épisodes des ¿monções¿. L¿élection de certains fleuves par les auteurs transmet aussi la manière dont ils ont compris la nationalité, qui est comprise dans cette recherche comme une construction affirmée, contestée et reformulée le long du temps, depuis son invention<br>Resumo: Esta dissertação analisa como a nacionalidade brasileira foi representada através das imagens- textuais, iconográficas e monumentais- dos rios. A natureza, sobretudo a natureza tropical, foi associada à identidade nacional, especialmente a partir do Romantismo. Com este pressuposto, elegeu-se como fontes de análise para este trabalho, obras clássicas de renomados autores brasileiros, como O Guarani, de José de Alencar; Capítulos de História Colonial, de Capistrano de Abreu; e Relatos monçoeiros, de Affonso Taunay. O ¿território da memória¿ da nação através dos rios desenvolve-se nestas obras, originando fortes imagens textuais, porém adquire maior vivacidade por meio do
monumento aos rios, erigido na escadaria do Museu Paulista, à época da direção de Affonso Taunay. Além da construção de ânforas com águas dos principais rios brasileiros, Taunay concebeu uma sala no Museu Paulista em que o rio Tietê figura como protagonista em telas que registram episódios das monções. A eleição de determinados rios pelos autores reflete também a forma como entenderam a nacionalidade, que é compreendida, nesta pesquisa, como uma construção afirmada, contestada e reformulada ao longo do tempo, desde sua invenção<br>Mestrado<br>Politica, Memoria e Cidade<br>Mestre em História
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Todd, Helen Elizabeth. "Rewriting the Egyptian river : the Nile in Hellenistic and imperial Greek literature." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:ed3c2d53-f7d6-4208-8a4c-cb84b5c27854.
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This thesis explores Hellenistic and imperial Greek texts that represent or discuss the river Nile. The thesis makes an original contribution to scholarship by examining such texts in he light of the history of Greek discourse about the Nile and in the context of social, political and cultural changes, and takes account of relevant ancient Egyptian texts. I begin with an introduction that provides a survey of earlier scholarship about the Nile in Greek literature, before identifying three themes central to the thesis: the relationship between Greek and Egyptian texts, the tension between rationalism and divinity, and the interplay between power and literature. I then highlight both the cultural significance of rivers in classical Greek culture, and the polyvalence of the river Nile and its inundation in ancient Egyptian religion and literature. Chapter 1 examines the significance of Diodorus Siculus' representation of the Nile at the beginning of his universal history; it argues that the river's prominence constructs Egypt as a primeval landscape that allows the historian access to the distant past. The Nile is also seen to be useful to the historian as a conceptual parallel for his historiographical project. Whereas Diodorus begins his universal history with the Nile, Strabo closes his universal geography with Egypt; the second chapter demonstrates how Strabo incorporates the Nile into his vision of the new Roman world. Chapter 3 presents a diachronic study of Greek discourse concerning the two major Nilotic problems, the cause of the annual inundation and the location of the sources. It examines first the construction of the debates, and second the transformation of that tradition in Aelius Aristides' Egyptian Oration. The functions of the Nile in Greek praise-poetry are the subject of chapter 4; it is shown that the Nile and its benefactions are used by poets to lay claim to political, religious or cultural authority, and to situate Egypt within an expanding oikoumene. The fifth and final chapter turns to Greek narrative fictions from the imperial period. The chapter demonstrates that the Nile is more familiar than exotic in these texts. It is shown that Xenophon of Ephesus and Achilles Tatius play with the trope of 'novelty' in this very familiar literary landscape, while Heliodorus articulates a more profound disruption of the expected Egyptian tropes, and ultimately replaces Egypt with Ethiopia as a new Nilotic environment.
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Fernández, Taryn M. "Two rivers from the same rain : the ideology of José Martí in the literature of Cubans on the island and in exile /." Abstract Full Text (HTML) Full Text (PDF), 2009. http://eprints.ccsu.edu/archive/00000562/02/2002FT.htm.
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Thesis (M.A.) -- Central Connecticut State University, 2009.<br>Thesis advisor: Antonio García Lozada. "... in partial fulfillment of the requirements for the degree of Master of Arts in Spanish." Includes bibliographical references (leaves 85-93). Also available via the World Wide Web.
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Grapin, Scott. "Grind the ink, wet the brush, dance the pine tree reading and writing nature with Gary Snyder's Riprap and Mountains and rivers without end /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1564017691&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Majeed, Masnoon. "Environmental Consciousness in Joachim du Bellay's Divers jeux rustiques and 'Au fleuve de Loire'." Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1533077251523474.
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Kirkland, Graham. "From Rivers to Gardens: The Ambivalent Role of Nature in My Ántonia, O Pioneers!, and Death Comes to the Archbishop." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/78.
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Though her early writing owes much to nineteenth-century American Realism, Willa Cather experiments with male and female literary traditions while finding her own modern literary voice. In the process Cather gives nature an ambivalent role in My Ántonia, O Pioneers!, and Death Comes to the Archbishop. She produces a tension between rivers and gardens, places where nature and culture converge. Like Mary Austin and Sarah Orne Jewett, Willa Cather confronts the boundaries between humans and nature.
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Volkmann, Abigail J. "River Basin Management and Restoration in Germany and the United States: Two Case Studies." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/165.
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The uses and management of water resources play an important role in the development of a culture and the health of its environment and population. Humans throughout history have consistently exploited rivers, which degrades water quality and leads to water scarcity. This thesis is an examination of two river restoration projects, one on the Oder River in Germany and the other on the Klamath River in the United States, that represent each country's efforts to reverse river exploitation. These cases in Germany and the United States demonstrate the importance of achieving a better understanding of the political instruments and strategies for mitigating environmental issues on a global scale.
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Vidal, Elizabete de Lemos. "Mem?rias de rios e de lagos na constru??o romanesca: leitura de narrativas da Amaz?nia paraense." Universidade Federal do Rio Grande do Norte, 2008. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16298.
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Previous issue date: 2008-11-19<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior<br>This study focalizes the memoirs of rivers and of lakes in the romantic construction starting from the romances Chove nos campos de Cachoeira (1941), Maraj? (1947) and Tr?s casas e um rio (1958), of writer Dalc?dio Jurandir; of the book of memoirs Maraj?, minha vida (1998), of writer Dita Acatauassu; of the story "A Feiticeira", published in the book Contos Amaz?nicos, written by Ingl?s de Sousa (1883); of the short story "O Peixe", published in O carro dos milagres, (1990), of writer Benedicto Monteiro; of the oral narratives Honorato: Cobra Grande , O encanto de Honorato and A Lenda da Cobra Norato , picked up by the project named The Imaginary in the Shape of Oral Narratives of Paraense Amazon (IFNOPAP) of the Federal University of Par?. In those speeches, the voices of the memory detach the multiple functions of rivers and lakes represented as space, atmosphere, scenery, route and route, thread and fabric, re-elaborated in the narrators' memoirs, characters and narrators/character of the fiction and in popular narratives<br>Este estudo focaliza as mem?rias de rios e de lagos na constru??o romanesca a partir dos romances Chove nos campos de Cachoeira (1941), Maraj? (1947) e Tr?s casas e um rio (1958), do escritor Dalc?dio Jurandir; do livro de mem?rias Maraj?, minha vida (1998), de Dita Acatauassu; do conto A feiticeira , publicado no livro de Contos Amaz?nicos, de Ingl?s de Sousa (1883); do conto O peixe , publicado n O carro dos milagres, (1990), do escritor Benedicto Monteiro; das narrativas orais Honorato: Cobra Grande, O encanto de Honorato, A lenda da cobra Norato, recolhidas pelo projeto da Universidade Federal do Par?, O Imagin?rio nas Formas Narrativas Orais da Amaz?nia Paraense (IFNOPAP). Nesses discursos, as vozes da mem?ria destacam as m?ltiplas fun??es de rios e lagos representados como espa?o, ambiente, cen?rio, rota e roteiro, fio e tecido, re-elaborados nas mem?rias de narradores, personagens e narradores/personagens da fic??o e em narrativas populares
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Schaupp, Anne-Catriona. "Repression and articulation of war experience : a study of the literary culture of Craiglockhart War Hospital." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31553.
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Prior study of Craiglockhart War Hospital has focused on the hospital's two most famous patients, Wilfred Owen and Siegfried Sassoon, along with the work of the psychotherapist W. H. R. Rivers. Craiglockhart's literary culture is studied in detail for the first time in this thesis and the hospital's therapeutic ethos used as a framework by which the creative work produced at the hospital can be examined. This thesis argues that the British Army's lack of consensus regarding the best treatment of war neuroses facilitated the development of Craiglockhart's expressive culture, in which patients were encouraged both to articulate their wartime memories and return to purposeful activity. The hospital's magazine, The Hydra, is examined at length; both in terms of its links to the wider genre of wartime soldier publications and as a telling document of the hospital's therapies in action. Owen and Sassoon's time at the hospital is also discussed, with particular emphasis on the hospital's central importance in Owen's poetic development and its troubling legacy in the post-war life of Sassoon. Finally, readers are introduced to George Henry Bonner, a patient of the hospital whose creative work is discussed here for the first time. This study makes clear the fact that, for the hospital's literary-minded patients, creative endeavour was an ideal means by which to negotiate the movement away from repression to the articulation of their wartime experiences.
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O'Reilly, Noelle. "By the Big Big River." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492707144983958.
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Santos, César Augusto Alves dos. "A (des)estruturação da identidade dos chicanos em ...y no se lo tragó la tierra, de Tomás Rivera /." São José do Rio Preto, 2019. http://hdl.handle.net/11449/182479.
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Orientador: Giséle Manganelli Fernandes<br>Resumo: Este trabalho objetiva analisar como as personagens dos episódios presentes na obra da literatura chicana ...y no se lo tragó la tierra, de Tomás Rivera (1992), têm sua identidade (des)estruturada, exemplificando a (des)estruturação identitária dos chicanos, imigrantes mexicanos nos Estados Unidos e seus descendentes. Por meio dos conceitos de nação e nacionalismo adotados por Ernest Gellner (1983), Eric Hosbsbawn (2008) e Benedict Anderson (2008), averiguar-se-á o contexto histórico e os eventos ocorridos a fim de entender como esses conceitos estão relacionados ao processo de formação da comunidade chicana nos antigos territórios mexicanos conquistados pelos EUA, intensificado pelo movimento diaspórico. Após esse levantamento histórico, pretende-se comprovar o processo de estruturação/consolidação da identidade chicana, associando-a com o conceito de identidade de subclasse, definido por Bauman (2005) como a negação do direito de um indivíduo reivindicar uma identidade que não seja a que lhe foi imposta por outros; e o de desestruturação dessa identidade, articulando-a com a ideia de identidade fragmentada do sujeito pós-moderno defendida por Hall (2005). Os trechos e passagens dos episódios validarão as características e experiências das personagens como instrumentos tanto de apresentação como de ruptura dos estereótipos estabelecidos à identidade chicana.<br>Abstract: This thesis aims at analyzing how the characters of the episodes presented in the Chicano Literature novel ...y no se lo tragó la tierra, by Tomás Rivera (1992), have their identity de/structured, exemplifying the identity de/structuring of the Chicanos, Mexican immigrants in the United States and their descendents. Through the concepts of nation and nationalism addressed by Ernest Gellner (1983), Eric Hosbsbawn (2008) and Benedict Anderson (2008), the historical context and the occurred events will be discussed in order to understand how these concepts are related to the process of the Chicano community formation in the former Mexican territories conquered by the U.S., itensified by the diasporic movement. After the historical data, it is intended to prove the process of structuring/consolidating the Chicano identity, associating it to the concept of underclass, defined by Bauman (2005) as the denial of the right of an individual to reclaim an identity different from the one that was imposed by others; and also the one of destructuring this identity, articulating with the idea of fragmented identity of the post-mordern subject defended by Hall (2005). The excerpts and passages from the episodes will validate the characters’ features and experiences as tools for both presenting and rupturing stereotypes given to the Chicano identity.<br>Mestre
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Beck, Nicholas H. "No Joy on Shiloh River." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron149160483808708.
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Madden, Ruth. "River People." TopSCHOLAR®, 1989. https://digitalcommons.wku.edu/theses/2567.
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In the introduction to The World of the Short Story, Kay Boyle challenges the short story writer "to invest a brief sequence of events with reverberating human significance by means of style, selection and ordering of detail, and -- most important -- to present the whole action in such a way that it is at once a parable and a slice of life, at once symbolic and real, both a valid picture of some phase of experience, and a sudden illumination of one of the perennial moral and psychological paradoxes which lie at the heart of la condition humaine." River People is my attempt to meet that challenge. It is a creation of short stories about people I know or might know, small-town, seemingly ordinary people whose characters and activities are universal expressions of truth and humanity.
The short story genre allows me to inculcate variety in form, style and character. This collection includes several points of view, limited and omniscient, objective and unreliable. It offers brief revelations and more thorough studies. It deals with the past as well as the present. Lastly, it touches the lives of the young and the aged, men and women, the respected and the scandalous, the romantic, the tragic, the realistic.
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Wåke, Anders. "Crossing the River : An Example of Black Politics of Resistance." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36245.
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Caryl Phillis’s novel Crossing the River tells a story of the African diaspora caused by the slave trade. The novel not only depicts the physical aspect of diasporic life, but also sheds light on the cognitive aspects. It is visible separately in the four chapters, but also in the prologue and epilogue through Phillips’s use of the mystical voice of the disembodied father who addresses all his children of the African diaspora. This essay argues that Crossing the River is an example of black politics of resistance from two different perspectives. Firstly, Phillips uses the African diaspora to exemplify the hybrid identity, and to reject a binary colonial discourse and racism that have caused tremendous suffering for the African diaspora. Secondly, by not only rejecting the binary colonial discourse but also contesting and taking part in shaping a discourse that synthesizes different worlds, Crossing the River takes part in creating a more diverse and equal sense of the world.
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Frodyma, Judyta Julia Joan. "Wordsworth's scriptural topographies." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:113ea195-dd48-4cbc-b26e-6572989392d6.
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In 1963, M.H. Abrams suggested that the ultimate source of Wordsworth's poetry is the Bible, and, in particular, the New Testament. This thesis, however, demonstrates the importance of the Old Testament and offers the first extended analysis of Wordsworth's use of Old Testament rhetoric. It examines both his affectionate perceptions of the natural world, and the Biblical recollections that saturate his writing. The purpose is to align two critical discourses - on Scripture and topography - and in doing so, situate Wordsworth's sense of himself as a poet-prophet in both Britain and America. The four chapters are structured topographically (Dwelling, Vales, Mountains, Rivers), and organised around a phenomenological experience of lived space, as expressed in key poems. Close analysis of Wordsworth's poetic language from Descriptive Sketches to Yarrow Revisited reveals the influence of the Bible (and the recent analysis of sacred Hebrew poetry undertaken by Lowth), while the theories of Heidegger and Bachelard provide a conceptual approach to Wordsworth's investment in nature. The epilogue opens questions of Wordsworth's reception in America by exploring the awareness of cultural and physical geography and sense of Wordsworth's prophetic ministry amongst his heirs. The thesis concludes that Wordsworth's extensive recourse to scriptural language and the physical landscape strengthened his claim to be a Prophet of Nature. His poetry self-consciously adopted the universal 'language of men' - that of the King James Bible.
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Chen, Shuo. "Ángeles Mastretta, Cristina Rivera Garza y Sandra Cisneros: literatura de mujeres, memoria y resistencia." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/458672.
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El presente trabajo puede considerarse una continuidad de mi investigación sobre la literatura de mujeres mexicana contemporánea, en concreto, de la tesis del máster realizada en la Universidad Autónoma de Barcelona en 2013, titulada “La otra historia mexicana, narración en Mal de amores de Ángeles Mastretta”. En este sentido, presentaré una propuesta de aproximación a esta que se ha caracterizado por reapropiarse de la ficcionalización de los temas históricos, buscando deconstruir la imagen tradicional de las mujeres mexicanas en la literatura, así como desentrañar, cuestionar y reformar la situación social y política de estas en la actualidad a través de la recuperación y la reivindicación de su papel imprescindible en la historia de México.
El corpus de novelas escogidos para esta investigación: Mal de amores (1996) de Ángeles Mastretta (1949), Nadie me verá llorar (1999) de Cristina Rivera Garza (1964) y Caramelo (2002) de Sandra Cisneros (1954) presenta puntos en común, pero también notables diferencias. Debe destacarse que la inclusión de la chicana Sandra Cisneros y su obra en esta investigación se debe a su contribución como contrapunto chicano, en el que nos deja ver de forma más clara las contradicciones culturales y los traumas históricos que han experimentado las mujeres mexicanas desde la distancia del otro lado de la frontera.
Además, teniendo en cuenta la historia mexicana que se relee y reescribe continuamente en la literatura contemporánea y las temáticas por las que se interesa especialmente la literatura escrita por mujeres en el cambio de siglo, encontramos tres temas esenciales: la Revolución Mexicana, la modernidad y la diferencia cultural.
Asimismo, lo que este trabajo intenta explorar es el valor que tienen los textos literarios en el proceso de restauración de la memoria alternativa de los diferentes grupos sociales y étnicos. En el caso específico de la literatura de mujeres, además de ofrecer un corpus abundante de ejemplos para la crítica literaria, sobre todo para la crítica feminista y los estudios culturales, nos ayuda a reconocer las huellas discursivas de los procesos de subalternización, que condenan a las mujeres subalternas a la marginalidad y al silencio, así como su reivindicación de una memoria femenina existente y vívida en la historia mexicana.
Por último, para poder cumplir con los propósitos arriba enumerados, se trazará inicialmente un recorrido por ciertos ensayos vinculados a los estudios de la posmodernidad, así como por trabajos de crítica literaria específicos, tanto feministas como poscolonialistas, siempre teniendo en cuenta su relación con la literatura de mujeres, lo que no impide eludir la dimensión filosófico-política de nuestra lectura.<br>The present work is a continuation of my research on the literature of contemporary Mexican women in the fifties and sixties, who gain great fame for their works published during the last two decades of the twentieth century and the early twenty-first century. Their uniqueness is characterized by the fictionalization of historical themes. In this sense, the present work aims to deconstruct the traditional image of Mexican women in literature, as well as unravel, question and improve their current social and political situation by restoring and defending their essential roles in the history of Mexico.
Thus, the novels chosen for this research are: Mal de amores (1996) by Ángeles Mastretta, Nadie me verá llorar (1999) by Cristina Rivera Garza and Caramelo (2002) by Sandra Cisneros, which bear similarities in themes and writing techniques as well as noticeable differences. The inclusion of Sandra Cisneros’ novel is due to her contribution to a Mexican counterpoint, which allows us to probe into the cultural contradictions and historical traumas that Mexican women have experienced.
In consideration of the Mexican history that has been continually rewritten and reinterpreted in contemporary literature and the themes that women writers at the turn of the century are particularly interested in, we find three essentials: the Mexican Revolution, modernity and cultural differences.
The present study reveals the value that literary texts have in the process of restoring the alternative memory of different social and ethnic groups. In addition to offering an abundant corpus of examples for literary criticism, especially for feminist critique and cultural studies, it helps us recognize the discursive traces of subalternization processes—subaltern women’s marginality and silence as well as their claim to an existing and vivid female memory in Mexican history.
In order to fulfill the above-mentioned purposes, the study initially traced previous studies of postmodernity, focusing on theories about subalternity and spatiality, such as spatial turn and the third space. Then, some responses, regarding the threat of transculturation, were proposed involving decolonial turn, ambivalence, mimicry and hybridization. The neohistoric perspective, which focuses on the study of the relationship between history and literature, facilitates the understanding of the importance and meaning of feminine writing. The literary theories and the corresponding methodologies mentioned above, bearing the close relationship with the literature of women, serve to make a more effective literary analysis.
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Philpin, Selina Jayne. "An ecocritical reading of the River Thames in selected fin de siècle literature." Thesis, Cardiff Metropolitan University, 2018. http://hdl.handle.net/10369/9915.
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Our interaction with the natural environment plays a pivotal role in our survival as a species on earth. By foregrounding the River Thames, this thesis demonstrates how nature plays a part in our everyday recreation, in what way it can aid in the construction of our identities and finally how our treatment of it can have an adverse or beneficial effect on our own existence. These exchanges with nature are revealed by ecocritically examining the central themes of leisure, national identity, and sanitation from ten underexplored literary texts that represent the Thames during the fin de siècle. From the primary research, two dominant narratives were seen to be associated with the River: progress and decline, with the former having been overstated by critics. Therefore, the Thames is critically examined amid a sphere of Victorian progress. This thesis contributes to the field of Victorian ecocriticism, a discipline that Mazzeno and Morrison argue has the potential to unlock “the canon to include new works that contribute to an overall understanding of the period” (2016, p.10). Thus, by adopting the novel approach of ecocriticism, this thesis enables a ‘new’ understanding of fin de siècle literature that centralises the natural environment. Through an analysis of Leslie’s Our River, the Pennells’ The Stream of Pleasure, and Ashby-Sterry’s A Tale of the Thames, the first chapter reveals how, through the theme of leisure, the Thames was part of a thriving Victorian consumerist culture where an aestheticisation, a reification and a hierarchical usage of the waterway was prominent, suggesting a social ecology along the River. Chapter Two builds on these ideas of capital and leisure by viewing the Thames in the wider context of nationhood through the exploration of De Vere’s ‘To the Thames’, Blind’s ‘To the Obelisk’, Gosse’s ‘The Shepherd of the Thames’ and Davidson’s ‘The Thames Embankment’. Through an ecocritical analysis of national identity within these poems, I claim that all four of the works can be read as ecopoems. I then interrogate the stability of an English and British identity that is often associated with the Thames. From this, I question how sanitation played a role in the River’s literary image by examining Barr’s ‘The Doom of London’, Allen’s ‘The Thames Valley Catastrophe’, and White’s ‘The River of Death’ within Chapter Three, where I consider a metaphorical sanitation (via natural forces), and a literal sanitation that can be traced to nineteenth-century public health reform. I also adopt the ecocritical theory of the post-pastoral to explore the powerful impact that nature imposes upon humanity. This thesis contributes to our understanding of how the Thames was represented in a positive way within literature during the fin de siècle, by suggesting that it was bound with three dominant themes: leisure, national identity, and sanitation. I also suggest that through reading the River, we can gain a cultural understanding of humanity’s relationship with the natural world by highlighting three ecocritical relationships that exist along a continuum: anthropocentric, symbiotic, and ecocentric. I further claim that, through numerous connections, there existed a “network” of writers who, together, through their writings, popularised the Thames during the late nineteenth century and early twentieth century. Ultimately, I argue that literature has the potential to enable a more widespread knowledge and understanding of how nature functions and coexists alongside humanity.
22
Pratt, Scott. "River on Fire: Disscussion/Study Guide Included." Digital Commons @ East Tennessee State University, 2013. https://www.amzn.com/B01N3UMM5E/.
Full textAbstract:
River on Fire" is the story of Randall Smith, a foundling orphan growing up in the midwestern United States in the late 1960s. Without the intimate guidance of loving parents, Randall struggles to understand a dangerous and confusing world during one of the most tumultuous times in modern history. Immensely readable and filled with humor and irony, "River on Fire" will both warm and break your heart. A Discussion/Study Guide is included at the end of the novel.<br>https://dc.etsu.edu/alumni_books/1031/thumbnail.jpg
23
Faulkner, Marie-France. "Belonging-in-difference : negotiating identity in Anglophone Caribbean literature." Thesis, Anglia Ruskin University, 2013. http://arro.anglia.ac.uk/294464/.
Full textAbstract:
Through the critical discourse analysis of Anglophone Caribbean literature as a polyrhythmic performance, this research sets out to examine the claim that, in a world in a state of constant flux, emerging Caribbean voices are offering a challenging perspective on how to negotiate identity away from the binary constructs of centre and margin. It argues that the Caribbean writer, as a self-conscious producer of alternative discourses, offers an innovative and transcultural vision of the self. This research consists of three stages which integrate critical discourse and literary analysis with colonial/postcolonial and socio-cultural theories. Firstly, it investigates the power of language as an operation of discourse through which to apprehend reality within a binary system of representation. It then examines how the concept of discourse, as a site of contestation and meaning, enables the elaboration of a Caribbean counter-discourse. Finally, it explores the role, within the Caribbean text, of literary techniques such as narrative fragmentation, irony, dialogism, intertextuality, ambivalence and the carnivalesque to challenge, disrupt the established order and offer new perspectives of being. My study of Anglophone Caribbean texts highlights the power of language and the authority of the ‘book’ as subtle, insidious tools of domination and colonisation. It also demonstrates how, by allowing hitherto marginalised voices to write themselves into being, Caribbean writers enable linear narratives and monolithic visions of reality to be contested and other perspectives of understanding and of meaning to be uncovered. It exposes the plurality and the interweaving of discourses in the Caribbean text as a liberating, dynamic force which enables new subject positions and realities to emerge along the lines of similarity and difference. At a time when the issue of identity is one of the central problems in the world today, the research argues that this celebration of the plural, the fluid and the ambivalent offers new ways of being away from the stultifying perspective of essentialist forms.
24
Faulkner, Marie-France. "Belonging-in-difference: negotiating identity in Anglophone Caribbean literature." Thesis, Anglia Ruskin University, 2013. https://arro.anglia.ac.uk/id/eprint/294464/1/Belonging-in-Difference%202013.pdf.
Full textAbstract:
Through the critical discourse analysis of Anglophone Caribbean literature as a
polyrhythmic performance, this research sets out to examine the claim that, in a
world in a state of constant flux, emerging Caribbean voices are offering a
challenging perspective on how to negotiate identity away from the binary constructs
of centre and margin. It argues that the Caribbean writer, as a self-conscious
producer of alternative discourses, offers an innovative and transcultural vision of the
self.
This research consists of three stages which integrate critical discourse and literary
analysis with colonial/postcolonial and socio-cultural theories. Firstly, it investigates
the power of language as an operation of discourse through which to apprehend
reality within a binary system of representation. It then examines how the concept of
discourse, as a site of contestation and meaning, enables the elaboration of a
Caribbean counter-discourse. Finally, it explores the role, within the Caribbean text,
of literary techniques such as narrative fragmentation, irony, dialogism,
intertextuality, ambivalence and the carnivalesque to challenge, disrupt the
established order and offer new perspectives of being.
My study of Anglophone Caribbean texts highlights the power of language and the
authority of the ‘book’ as subtle, insidious tools of domination and colonisation. It
also demonstrates how, by allowing hitherto marginalised voices to write themselves
into being, Caribbean writers enable linear narratives and monolithic visions of
reality to be contested and other perspectives of understanding and of meaning to be
uncovered. It exposes the plurality and the interweaving of discourses in the
Caribbean text as a liberating, dynamic force which enables new subject positions
and realities to emerge along the lines of similarity and difference.
At a time when the issue of identity is one of the central problems in the world today,
the research argues that this celebration of the plural, the fluid and the ambivalent offers new ways of being away from the stultifying perspective of essentialist forms.
25
Ruiz-López, Agnes. "Hermetic Text and Subtext: Paranormal Phenomena in the Works of Alejandro Tapia y Rivera and Benito Pérez Galdós." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/1037.
Full textAbstract:
This research seeks to establish a connection between the Hermetic tradition and the paranormal phenomena found in the works of Alejandro Tapia y Rivera --- “Un alma en pena” (1862), Póstumo el transmigrado (1872) and Póstumo el envirginado (1882) --- and Benito Pérez Galdós´s La sombra (1870) and “Celín” (1871). By establishing a Hegelian influence in their works, we uncover the possible origin of these paranormal events.
German Idealism, so widespread during the first half of the 19th century, seems to have given both authors access to new currents of thought, allowing them to explore the union of art with the metaphysical. Thought is given precedence over sensation and Idealism prevails over Empiricism. Nature is now seen to be spiritual, as well as spatial, and among the major exponents of this movement is Georg Wilhelm Friedrich Hegel (1770-1831), whose philosophy states that human knowledge is based on the “Idea,” a concept in which nature and spirit fuse.
Hegel holds the traditional hermetic conception of philosophia perennis that supposes a universal truth common to every culture, religious tradition, and belief upheld by humankind. By examining the Hegelian influence in the works of Alejandro Tapia y Rivera and Benito Pérez Galdós, and relating major passages of their works to the precepts contained in the Corpus Hermeticum, the Emerald Tablet, and the Kybalion (1908), we uncover a subtle, sometimes explicit, presence of this esoteric doctrine, which allows the authors to explore the metaphysical side of life.
26
Marcoleta, Hardessen Juan Pablo. "Imágenes femeninas en la obra pampina de Hernán Rivera Letelier: (re)visión histórica y literaria de la mujer chilena." Doctoral thesis, Universitat Autònoma de Barcelona, 2020. http://hdl.handle.net/10803/671379.
Full textAbstract:
Imatges femenines a l’obra pampina d’Hernán Rivera Letelier constitueix una doble revisió: d’una banda, és una mirada d’obres narratives que tenen com a escenari les oficines salitreras del nord de Xile; però de l’altra, és l’observació de la dona xilena en el seu esdevenir històric. En aquest exercici reconeixem que la dona perfilada en les novel·les té, al seu torn, una doble lectura: les dones representades en les narratives i els vincles d’aquestes amb les dones de la Història nacional. La Història nacional ha estat construïda sobre la base d’una diversitat de factors i successos que li pertoquen des dels seus orígens més elementals: un territori precolombí habitat per una cultura molt diversa a la qual predomina actualment, una posterior ocupació colonial, un tempestuós procés d’autonomia i independència i una complexa delimitació territorial que ha provocat, fins al dia d’avui, conflictes històrics amb països veïns. En aquesta construcció de Xile com estat, com a nació o com identitat –o totes elles juntes–, el protagonisme masculí ha acaparat el relat. La història de nord de Xile no està exempta d’aquesta complexitat. Una zona tan dura com el desert és reflex de la sacrificada vida dels éssers humans que habiten la pampa: la sequedat de la terra, l’ardor del clima, l’hostilitat dels esvorancs i, en ells, la riquesa mineral, són un espai que no podem eludir. La importància que atorguen aquests contextos permet aturar-nos en la materialització de les diferències jeràrquiques, de les desigualtats socials, dels abismes econòmics i les històriques discordances genèriques. La valoració de l’escenari ens possibilita identificar en quina mesura contribueix i/o exacerba aquestes imatges femenines. És indiscutible que la dona, com a figura autònoma, ha estat històricament invisibilitzada, ha estat immersa en una relació i dialèctica de subalternitat, el que ens permet fixar la present investigació en l’anàlisi de la representació –social i cultural– d’aquesta dona-històrica-novelada com una forma d’explorar des de la literatura, aspectes silenciats en el discurs històric. Les novel·les que formen part del corpus han estat identificades com històriques i socials, totes dues del nord pampino. En totes elles apareixen prostitutes, dones amants-estimades, mares i algunes que desenvolupen un paper més polític o de lideratge; amb això, l’objectiu fonamental és analitzar aquestes imatges femenines que es projecten en les obres. La construcció d’aquestes dones en les novel·les no pot ser casual. L’esdevenir del feminisme ens atorga la possibilitat d’encausar una lectura minuciosa, de reconèixer la performativitat del gènere i del discurs, d’identificar les característiques històriques, socials i fins i tot biològiques que han col·laborat en la persistència d’un discurs/acció establert cap/envers el gènere femení.<br>Imágenes femeninas en la obra pampina de Hernán Rivera Letelier constituye una doble revisión: por una parte, es una mirada de obras narrativas que tienen como escenario las oficinas salitreras del norte de Chile; pero por otra, es la observación de la mujer chilena en su acontecer histórico. En este ejercicio reconocemos que la mujer perfilada en las novelas tiene, a su vez, una doble lectura: las mujeres representadas en las narrativas y los vínculos de estas con las mujeres de la Historia nacional. La Historia nacional ha sido construida sobre la base de una diversidad de factores y sucesos que le atañen desde sus orígenes más elementales: un territorio precolombino habitado por una cultura muy diversa a la que predomina actualmente, una posterior ocupación colonial, un tormentoso proceso de autonomía e independencia y una compleja delimitación territorial que ha provocado, hasta el día de hoy, conflictos históricos con países vecinos. En esta construcción de Chile como estado, como nación o como identidad –o todas ellas juntas–, el protagonismo masculino ha acaparado el relato. La historia del norte de Chile no está exenta de esta complejidad. Una zona tan dura como el desierto es reflejo de la sacrificada vida de los seres humanos que habitan la pampa: la sequedad de la tierra, el ardor del clima, la hostilidad de los socavones y, en ellos, la riqueza mineral, son un espacio que no podemos eludir. La importancia que otorgan estos contextos permite detenernos en la materialización de las diferencias jerárquicas, de las desigualdades sociales, de los abismos económicos y las históricas discordancias genéricas. La valoración del escenario nos posibilita identificar en qué medida contribuye y/o exacerba estas imágenes femeninas. Es indiscutible que la mujer, como figura autónoma, ha sido históricamente invisibilizada, ha estado inmersa en una relación y dialéctica de subalternidad, lo que nos permite fijar la presente investigación en el análisis de la representación –social y cultural– de esta mujer-histórica-novelada como una forma de explorar desde la literatura aspectos silenciados en el discurso histórico. Las novelas que forman parte del corpus han sido identificadas como históricas y sociales, ambas del norte pampino. En todas ellas aparecen prostitutas, mujeres amantes‒amadas, madres y algunas que desarrollan un rol más político o de liderazgo; con ello, el objetivo fundamental es analizar estas imágenes femeninas que se proyectan en las obras. La construcción de estas mujeres en las novelas no puede ser casual. El devenir del feminismo nos otorga la posibilidad de encausar una lectura minuciosa, de reconocer la performatividad del género y del discurso, de identificar las características históricas, sociales e incluso biológicas que han colaborado en la persistencia de un discurso/acción establecido hacia/para con el género femenino.<br>Feminine images in Hernán Rivera Letelier’s pampas work constitutes a double revision. On the one hand, it is a look to the narrative works that take place in the nitrate offices of the northern Chile. On the other hand, it is an observation of Chilean women in their historical. In this exercise we recognize that the woman outlined in these novels has a double reading: the women represented in the narratives and their links with the women of national history. The Chilean national history has been built based on the diversity of factors and events that bear on its most elementary origins: a pre-Columbian territory inhabited by a very diverse culture /from the one/ that currently predominates, a later colonial occupation, a tortuous process of autonomy and independence and a complex territorial delimitation that has caused, to date, historical conflicts with neighboring countries. In this construction of Chile as a state, as a nation or as an identity –or all of them together–, the male prominence has monopolized the story. The history of northern of Chile is not exempt from this complexity. An area as harsh as the desert is a reflection of the sacrificed life of the human beings that inhabit the pampa: the dryness of the land, the heat of the climate, the hostility of the tunnels and, in them, the mineral wealth, they are a space that we cannot evade. The importance given by these contexts allows us to stop at the materialization of hierarchical differences, social inequalities, economic abysses and historical generic disagreements. The valuation of the scenario enables us to identify to what extent it contributes and exacerbates these feminine images. It is evident that women, as an autonomous figure, has been historically invisible, immersed in a relationship and dialectic of subalternity which allows us to fix the present investigation in the analysis of the representation –social and cultural– of this fictionalized-historical-woman as a way to explore silenced aspects of historical discourse since the literature. The novels that are part of the corpus have been identified as historical and social, both from the pampa's north. In all of them there are prostitutes, women who are lovers - loved ones, mothers and some who develop a more political or leadership role. With this, the fundamental objective is to analyze these female images that are projected in the works. The construction of these women in the novels cannot be accidental. The evolution of feminism gives us the possibility of conducting a careful reading, recognizing the performativity of gender and discourse, identifying the historical, social and, even biological characteristics that have contributed to the persistence of an established discourse/action towards/with the female gender.
27
Branscome, David M. "Textual rivals self-presentation in Herodotus' "Histories" (Greece) /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3185391.
Full textAbstract:
Thesis (Ph.D.)--Indiana University, 2005.<br>Source: Dissertation Abstracts International, Volume: 66-08, Section: A, page: 2919. Adviser: Matthew R. Christ. Title from dissertation home page (viewed Oct. 5, 2006).
28
Roane, Nancy Lee. "Misreading the River: Heraclitean Hope in Postmodern Texts." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1431966455.
Full text
29
Reses, Lucymar Therezinha de Gesat. "Escavando ficções sob o mural de Diego Rivera." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101828.
Full textAbstract:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura<br>Made available in DSpace on 2013-07-15T23:19:03Z (GMT). No. of bitstreams: 0<br>O presente estudo busca fazer uma leitura benjaminiana à contra-corrente dos murais de Diego Rivera e de sua própria imagem pública, ao desenterrar questões menos conhecidas tanto sobre ele próprio como imagem, e suas mulheres, como também sobre o México e sua revolução em potencial. Para isso, busca-se aqui trazer à tona o que subjaz à superfície da memória: uma revolução e uma correspondência (Querido Diego te abraza Quiela) ficcionais, como contrapartes do que se reconhece nos murais de Rivera. As questões que se levantam, pois, como aquilo que não se pode ver nos murais, compõem uma constelação de aspectos interrelacionados como um contra-mural.
30
Saraswati, Anandashila. "Swamp : walking the wetlands of the Swan Coastal Plain ; and with the exegesis, A walk in the anthropocene: homesickness and the walker-writer." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/588.
Full textAbstract:
This project is comprised of a creative work and accompanying exegesis. The creative work is a collection of poetry which examines the history and ecology of the wetlands and river systems of the Swan Coastal Plain, and which utilises the practice of walking as a research methodology. For the creative practitioner walking reintroduces the body as a fundamental definer of experience, placing the investigation centrally in the corporeal self, using the physical senses as investigative tools of enquiry. As Rebecca Solnit comments in her history of walking, ‘exploring the world is one of the best ways of exploring the mind, and walking travels both terrains’ (Solnit, 2000, p. 13).
The context for my poetic walking project Swamp, is a local and global environment undergoing an unprecedented loss of biodiversity, mainly due to the destruction of habitat and changes in climatic conditions (Reid, Partha Dasgupta, Robert M. May, A.H. Zakri, & Henk Simons, 2005, pp. 438-442). The loss of species and ecosystems that have been a part of our earth home results in the human experience of ‘homesickness’ — a longing for the home places that we have known and which have diminished or disappeared.
Before the arrival of the British colonists in 1829, the Swan River and adjacent wetlands were an integral part of the seasonal food source for the original inhabitants, the Noongar (Bekle, 1981). In addition wetland places were, and are, deeply embedded in the spiritual and cultural life of the Noongar people of the Swan Coastal Plain (O'Connor, Quartermaine, & Bodney, 1989).
In less than two hundred years since the establishment of the Swan River Colony (Western Australia), the lakes and rivers of the Swan Coastal Plain have undergone extreme changes, often resulting in complete draining and in-filling of wetland areas as the city and its suburbs spread beyond the original town limits. This re–engineering of the landscape has had a dramatic and detrimental impact upon biodiversity, water quality and the sense of place experienced by residents.
Swamp is a project that has three main facets:
a) a body of original poetry which interprets the historical relationship between the British, European, and Chinese newcomers to Noongar country, and the wetlands lakes of the Swan Coastal Plain. The poetry contained in this thesis is copyright to the author, Anandashila Saraswati (Nandi Chinna).
b)An essay which contextualises the project within the sphere of walking art, psychogeography, and the philosophical idea of ‘Homesickness’.
c) A website, www.swampwalking.com.au, which displays photographs documenting the walks I have carried out over the three year period of the project from February 2009 to February 2012.
The exegetical part of this project looks at the notion of ‘homesickness’ as a philosophical condition that can be seen as a motivating force in the practice of writing on walking. I use Debord’s theory of the dérive as a starting point for my walking methodology and examine nostalgia within the Situationist International (Debord, 1958) and subsequent psychogeographical movements. I also investigate the role of homesickness in the work of other writers who walk and who write about their walking practice.
Finally I discuss homesickness in the epoch of the Anthropocene (Crutzen & Schwägerl, 2011), the era in which the earth’s biosphere is characterised by human interventions which have changed the meteorological, geological and biological elements of our earth home. In the Anthropocene, the wilderness view of nature needs to be re-evaluated. I posit that walking is a way of reconnecting with the physical landscape and building relationships with small wilds that exist in our home places, and that writing about the walking allows these relationships and encounters to ripple out to readers, contributing to and enabling the development of an ethic of care for ecosystems and beings other than human.
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Vargas, Bautista Abraham. "Utopía lírica en el universo novelístico de Edgardo Rivera Martínez." reponame:Repositório Institucional da UNILA, 2017. http://dspace.unila.edu.br/123456789/1999.
Full textAbstract:
Dissertação apresentada ao Programa de Pós-
Graduação Interdisciplinar em Estudos Latino-
Americanos da Universidade Federal da
Integração Latino-Americana, como requisito
parcial à obtenção do título de Mestre em Estudos
Latino-Americanos.
Orientador : Prof. Dr. Johnny Octavio Obando Morán<br>Submitted by Abraham Vargas Bautista (abrahamvbster@gmail.com) on 2017-06-15T21:46:37Z
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Previous issue date: 2017-03-28<br>The work of Edgardo Rivera Martínez is characterized by his bringing into fiction his personal
experiences, especially those of his childhood and adolescence in his hometown, Jauja, located in
the central Andes. This work deals with the first two novels of the author, because in them -
especially in País de Jauja - is portrayed a mestizo society that has managed to incorporate
European knowledge while keeping the Andean identity alive. It is interesting the narrative of this
author, especially because Latin American literature always - or generally - has represented the
struggle of native cultures in maintaining their identity, which is threatened by the irruption of the
'white man' (European, or mestizo). In the work of this novelist from Jauja such a struggle is not
present; conversely, the Andean subject freely incorporates foreign knowledge and even - if
necessary - uses them to express their Andean identity.
Here the notion of utopia has no relation with a society without hierarchies or with a perfect social
organization; but rather to the capacity of a society -Jauja, in this case- to be able to actively
assimilate, and in freedom, Western culture. In both novels, the commitment is to the mestizaje,
but not the one that demands the loss of the Quechua identity, but a type of mestizaje in which it is
possible to distinguish the seal of the native culture.
Finally, we indicate that our study intends to understand why Jauja stands as that emblematic space
of the ideal mestizaje, and also we want to put in debate the originality of the author's proposal,
which has been celebrated by the critic and defined as a sample of what an integrated Peru would
be like.<br>La obra de Edgardo Rivera Martínez se caracteriza por llevar a la ficción sus experiencias
personales, sobre todo las de su niñez y adolescencia en su ciudad natal, Jauja, ubicada en los Andes
centrales. Este trabajo aborda las dos primeras novelas del autor, pues en ellas -sobre todo en País
de Jauja- se retrata una sociedad mestiza que ha conseguido incorporar los conocimientos europeos
manteniendo viva la identidad andina. Resulta interesante la narrativa de este autor, sobre todo
porque la literatura latinoamericana siempre -o generalmente- ha representado la lucha de las
culturas nativas por mantener su identidad, la cual se ha visto amenazada por la irrupción del
‘hombre blanco’ (europeo, o mestizo). En la obra de este novelista jaujino no se ve tal lucha, muy
por el contrario, el sujeto andino incorpora libremente los conocimientos extranjeros e incluso -de
ser necesario- los utiliza para expresar su identidad andina.
Aquí, la noción de utopía no está asociada a una sociedad sin jerarquías o con una organización
social perfecta; sino más bien, a la capacidad de una sociedad -Jauja en este caso- de conseguir
asimilar activamente, y en libertad, la cultura occidental. En ambas novelas, la apuesta es por el
mestizaje, pero no el que exige la pérdida de la identidad quechua, sino un tipo de mestizaje donde
se consiga distinguir el sello de la cultura nativa.
Finalmente, indicamos que nuestro estudio se propone entender por qué Jauja se erige como ese
espacio emblemático del mestizaje ideal, y también deseamos colocar en debate qué tan novedosa
es esta propuesta del autor, la cual ha sido celebrada por la crítica y definida como una muestra de
cómo sería un Perú integrado.
32
Souza, Anderson Ibsen Lopes de. "O eu íntimo e o eu social na poesia de Bueno de Rivera." http://www.teses.ufc.br:, 2009. http://www.repositorio.ufc.br/handle/riufc/2811.
Full textAbstract:
SOUZA, Anderson Ibsen Lopes, O eu íntimo e o eu social na poesia de Bueno de Rivera. 2009. 197 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2009.<br>Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-21T12:34:49Z
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Previous issue date: 2009<br>Bueno de Rivera’s poems present, on the compound of their characters, a high concern about the ontological factor, always searching for the human being’s description, as by the lyrical view, through intimate and subjective poetry, as on his everyday, exposing him as a being-with-the-others, immersed in society, besides presenting his anguish and piety with the human race’ suffering. This poetry combine with the postulates of Martin Heidegger’s ontological-existencialist philosophy, once it analyses the human being’s life from the point of view of the anguish from the conscience of the death and the quarrel about man, investigating the being-there – term that indicates the human’s existence, as well as with the being-with-the-others –, helping our understanding about the analyzed poet’s thoughts. Trying to comprehend the subjectivity on Rivera’s poems, we will analyze some of the Leitmotive chosen by him to develop his poetry, investigating the symbols and inquiring carefully the ideas. We believe that Bueno de Rivera’s poetry is a permanent searching for the unveiling of the human being from his own and the place in which he is inserted, in an inquisitor looking for everything that transforms him in man, that is, in a being single and social, at once.<br>A poesia de Bueno de Rivera apresenta, no conjunto de suas características, uma acentuada preocupação com o fator ontológico, buscando sempre retratar o ser humano tanto de forma lírica, através da poesia subjetiva, quanto em seu cotidiano, expondo-o como um ser-com-os-outros, imerso no meio social, além de apresentar as angústias desse homem e o seu compadecimento com o sofrimento da raça humana. Tal poesia coaduna-se com os postulados da filosofia existencial-ontológica de Martin Heidegger, pelo que esta tem de analista da vida humana do ponto de vista da angústia oriunda da consciência da morte e do questionamento sobre o homem, investigando o ser-aí – termo que serve para indicar a existência humana, juntamente com o ser-com-os-outros –, colaborando com a nossa visão acerca do pensamento do poeta mineiro. No intuito de compreender a subjetividade encontrada nos poemas de Rivera, procuramos analisar alguns dos Leitmotive por ele escolhidos para desenvolver o seu fazer poético, perscrutando assim os símbolos e perquirindo as suas idéias. Entendemos ser a poesia de Bueno de Rivera uma constante procura em desvelar o ser humano, a partir de si próprio e do meio em que este está inserido, em uma busca inquisidora de tudo o que o transforma em homem, ou melhor, em um ser, ao mesmo tempo, uno e social.
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Wriglesworth, Chad Duane. "Geographies of reclamation: writing and water in the Columbia River Basin, 1855-2009." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/761.
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Generations of literary critics have claimed that geography plays a prominent role in the production of Pacific Northwest literature; however, no one has meaningfully interpreted the literary and cultural history of the region in relation to United States water policy and the Bureau of Reclamation's transformation of the Columbia River Basin. This dissertation argues that the literary and cultural history of the Pacific Northwest becomes coherent only when the environmental, cultural, socio-economic and generational histories of this watershed are placed at the center of scholarly inquiry.
The project maps and traces ways that local and national narratives from the late- nineteenth and early-twentieth century worked alongside the federal government to transform the Columbia River Basin into an awaiting "Promised Land" of socio-economic progress, while writers and activists since the 1960s have used bioregional prose and poetry to spark a revival of localized counter-reclamation that stresses the importance of social activism and the attempt to find more sustainable methods of inhabiting the Pacific Northwest. The role that literature has played in the federal claiming and local reclaiming of the Columbia River Basin is argued and illustrated through an interdisciplinary and site based approach to literary studies that draws from conversations in environmental history, religious studies, cultural geography, visual arts, and Native American studies.
The chapters investigate canonical and virtually unknown sources of regional literature, while offering historically and geographically informed investigations of key sites within the Columbia River Basin that were transformed by the federal government over a one hundred and fifty year span of time: the Yakima Valley (1855-1920s), Grand Coulee Dam and Hanford Engineer Works (1930s-1940s), and The Dalles Dam and Celilo Falls (1950s-1960s). The project concludes by revisiting these sites through recent prose and poetry (1970s-2009), tracing how the poetic line, in particular, has been used by regional writers to document the socio-economic, environmental, local and international consequences of the federal reclamation process. After mapping historical and geographical links between selected poems and places throughout the watershed, I explore how site specific installations of poetry as public art on the Methow and Spokane rivers have been used by local community groups to transform and re-create stretches of water in large tributaries of the Columbia River Basin.
By putting the environmental, cultural, socio-economic and generational histories of the Columbia River Basin at the center of my investigation of Pacific Northwest literature, this dissertation ultimately invites readers to actively reclaim and transform the Columbia River Basin on intellectual, local, and practical levels, not only for a more complex understanding of the Pacific Northwest's literary and cultural history, but in order to find more localized and sustainable methods of inhabiting western watersheds.
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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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Neuß, Jürgen [Verfasser]. "Narmadāpradakṣiṇā : circumambulation of the Narmadā river / Jürgen Neuß". Berlin : Freie Universität Berlin, 2008. http://d-nb.info/1023331357/34.
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Montalbetti, Mario. "M,L. Rivero, Estudios de Gramática Generativa del Español, Madrid (Ediciones Cátedra), 1977, 161 pp." Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/101476.
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Lindsay, David C. "New river strain, locating the author and the narrator in David Adams Richards' Miramichi trilogy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq24865.pdf.
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Olson, Ted. "James Still’s River of Earth: The Definitive Appalachian Novel Turns 75." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1137.
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Excerpt: Seventy-five years ago this month the definitive “Appalachian” novel was published — James Still’s “River of Earth.” “Appalachian” literature did not exist then. Still and his novel essentially spawned the phenomenon of people writing consciously and reflexively about Appalachia, a storied if misunderstood American region.
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Visser, Lisa Marie. "Absence as narrational trope in the fictionalised transliteration of experience : a discussion of Dominique Botha's False River." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96073.
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Thesis (MA)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: Dominique Botha‟s False River, published simultaneously with the rewritten Afrikaans text Valsrivier in 2013, is a fictionalised memoir presented as a novel that is written into the tradition of the plaasroman. The text follows the lives of the Bothas of Rietpan in the Free State and spans the years between 1980 and 1997. In this thesis I discuss the novel focussing on questions surrounding narration and its affirmation or negation of agency, embodiment and subjectivity, the narrative construction of the Botha family‟s isolating liberalism in its present post-apartheid context, and the perception of the author and the novel by Afrikaans and English literary communities. I explore the text‟s relationship to genre, drawing on J.M. Coetzee‟s examination of the literary pastoral in White Writing: On the Culture of Letters in South Africa. It is through this theoretical lens that I argue that False River depicts a conflicted, inconsistent and perforated view of Afrikaner identity and its relationship to gender, notions of landed belonging, Afrikaans-English linguistic co-habitation, and black subjectivity, in an agrarian landscape that dominates through anthropopsychism and primogeniture.<br>AFRIKAANSE OPSOMMING: Dominique Botha se False River, tegelykertyd gepubliseer met die herskryfde Afrikaanse teks Valsrivier in 2013, is ʼn geromantiseerde memoir wat as fiksie aangebied word en is binne die tradisie van die plaasroman geskryf. Die teks beskryf die lewens van die Bothas van Rietpan in die Vrystaat vanaf 1980 tot 1997. In my tesis bespreek ek dié roman met die fokus op vraagstukke rondom die vertelling se bekragtiging of ontkenning van bemagtiging, beliggaming en subjektiwiteit; van die verhaalkonstruksie van die Botha-familie se isolerende liberalisme in die huidige postapartheid konteks, asook die persepsie van die outeur en die roman deur Afrikaanse en Engelse literêre gemeenskappe. Ek ondersoek die teks se verhouding tot genre, na aanleiding van J.M. Coetzee se behandeling van die literêre pastoraal in White Writing: On the Culture of Letters in South Africa, om aan te voer dat False River ʼn strydige, inkonsekwente en geperforeerde beskouing van Afrikaner-identiteit toon. Die verhouding van dié identiteit tot geslagtelikheid, grondbesit, Afrikaans-Engels linguistiese samebestaan, en swart subjektiwiteit word ook uitgelig binne die milieu van die agrariese landskap wat deur eersgeboortereg en die natuur-in-simpatie-procédé die karakters domineer.
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Mellas, Michael John. "Constructing multiple realities on stage conceiving a magical realist production of José Rivera's Cloud tectonics /." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1218129542.
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Lywood, William George. "From Russia’s Orient To Russia’s Riviera: Reimagining The Black Sea Coast/Caucasus from Romantic Literature to Early Tourist Guidebooks." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1236622370.
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Dillon, John F. "Stories like a River: The Character of Indian Water Rights and Authority in the Wind River and Klamath-Trinity Basins." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/293448.
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The ability to decisively benefit from ample sources of freshwater represents a pivotal challenge for American Indian nations and their self-determination in the western United States. Climate change, population growth, and capitalist pressures continue to escalate demand for water in an already dry land. This project set out to listen and add practical perspective to the importance of water as reflected in various forms of stories in the context of American Indian reserved water rights. It explores dynamic confluences and divergences of worldviews that influence American Indian nations' relationships with water in the present sociopolitical context. The integral relationship between literatures, laws, and tribal sovereignty constructs this study's theoretical framework as it broadens scholarship on this connection to include the implications of water rights. This approach leads to a critical, or perhaps "literary critical," background for examining two major water rights struggles in the western United States; the first being court decisions on the Wind River Indian Reservation, home of the Eastern Shoshone and Northern Arapaho Tribes, and secondly, the Klamath-Trinity Basin, where four federally recognized tribes recently partook in water rights settlement negotiations. Litigation and negotiations over vital water are presently limited to the minefield of ambiguous Western narratives on the values and uses of Indian water rights. While each conflict has its unique circumstances and personalities, EuroAmerican stories of control and superiority continue to justify the exploitation of water and subjugation of Indigenous human rights. Alternative forums might make room for restorying and more sustainably managing water.
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Paz, Soto Riveros Paulina [Verfasser], and Ottmar [Akademischer Betreuer] Ette. "Mujeres de apocalipsis : beatas novohispanas y religiosidad popular en el siglo XVIII / Paulina Paz Soto Riveros ; Betreuer: Ottmar Ette." Potsdam : Universität Potsdam, 2016. http://d-nb.info/1218400455/34.
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Ncube, Gibson. "Constructions et representations litteraires de la sexualite « marginale » sur les deux rives de la Mediterranee : Rachid O., Eyet-Chekib Djaziri, Abdellah Taia et Ilmann Bel." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95962.
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Thesis (PhD)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: “Marginal” sexualities continue to be veiled by a cloud of silence and taboo in the Arab-Muslim societies. This study puts into conversation literary narratives by four writers of Maghrebian descent who have dared to break the intolerably irksome silence surrounding homosexuality. The novels of Rachid O., Abdellah Taïa, Eyet-Chékib Djaziri and Ilmann Bel are synchronous with the growing interest in the potential common points between literary production and queer sexualities in the Maghreb (and indeed other Arab/Muslim regions). Drawing on hermeneutic perspectives as well as diverse readings in gender and queer studies, this literary analysis deconstructs the problematic figure of the homosexual which is at once contentious as well as the locus of manifold discourses that are concerned with questioning the status quo whilst unveiling the unutterable. The literary construction and representation of “marginal” sexuality certainly plays a pivotal role in destabilising and challenging the simplistic conceptions of identity and value systems that underlie the designations of “correct and incorrect” sexual orientations and identities. Elaborating a comprehensive interpretative paradigm, this study attempts to fill the yawning gap in scholarship on the relationship between francophone literary production from the Maghreb and homosexuality. Adopting a tri-sequential approach, the study begins with an explanatory phase which contextualises queer sexuality as well as queer literary studies in the Maghreb and in France. An encounter phase follows offering a hermeneutic reading of the selected novels of the four writers, concentrating particularly on the definition, characterisation and general tonality of the literary works. The ultimate stage, the interpretive/theorisation phase, encompasses a re-reading of primary and secondary texts alongside each other so as to construct an original appraisal of the novels as well as develop a theoretically sound consideration of the construction of “marginal” sexualities in the selected novels. In addition to the above-enumerated tri-sequential approach, the argumentative flow of the study equally follows a three-pronged progression: production-text-reception. The first phase scrutinises the sociocultural, political and historical context in which the literary texts under consideration are created. The “text” phase analyses the novels in question in order to elaborate a theorisation of the construction and representation of “marginal” sexuality in the autofictional works of the aforementioned writers. The “reception” phase goes beyond the purely textual and delves into the possible impact of these literary texts on the everyday world of Arab-Muslim societies, in France as in the Maghreb.<br>AFRIKAANSE OPSOMMING: “Marginale” seksualiteite word steeds gehul in ʼn wolk van stilte en taboe in die Arabiese Moslemgemeenskappe. Hierdie studie ondersoek literêre narratiewe van vier skrywers van hierde streek wat dit gewaag het om die swaar en onuitstaanbaar hinderlike stilte rondom homoseksualiteit te verbreek. Die romans van Rachid O., Abdellah Taïa, Eyet-Chékib Djaziri en Ilmann Bel verskyn wanneer daar toenemende belangstelling ontstaan in uiteenlopende aspekte van en potensieel gemeenskaplike eienskappe tussen literêre produksie en sogenaamde “queer” seksualiteite in die Magreb (en ook ander Arabiese/Moslemstreke). Hierdie literêre analise, wat gebruik maak van hermeneutiese perspektiewe asook diverse gender- en queerstudies, dekonstrueer die problematiese figuur van die homoseksueel wat terselfdertyd omstrede én die lokus is van menigvuldige diskoerse wat gaan oor die bevraagtekening van die status quo terwyl die onuitspreeklike openbaar gemaak word. Die literêre konstruksie en uitbeelding van “marginale” seksualiteit speel beslis ʼn belangrike rol in die destabilisering en uitdaging van die simplistiese voorstellings van identiteit en waardesisteme wat onder die benaming van regte en verkeerde seksuele oriëntasies en identiteite lê. Deur ʼn omvattende interpretatiewe paradigma te ontwikkel, probeer hierdie studie om die gaping te vul wat in die wetenskap bestaan ten opsigte van die verhouding tussen Frankofoon literêre produksie uit die Magreb en homoseksualiteit. Die benadering bestaan uit drie opeenvolgende dele. Die studie begin met ʼn verklarende fase wat queer seksualiteit, asook queer literêre studies in die Magreb en Frankryk kontekstualiseer. ʼn Ontmoetingsfase volg waarin ʼn hermeneutiese lees van die gekose romans van die vier skrywers aangebied word, wat spesifiek op die definisie, karakterisering en algemene tonaliteit van die literêre werke fokus. Die finale fase, die interpretatiewe/teoretiseringsfase, sluit ʼn parallelle herlees van primêre en sekondêre tekste in om sodoende ʼn oorspronklike waardering van die romans te konstrueer en om ook ʼn teoreties onaanvegbare oorweging van die konstruksie van “marginale” seksualiteite in die gekose romans te ontwikkel. Verder volg die argument van die studie ook ʼn drieledige progressie: produksie-teks-ontvangs. Die eerste fase ondersoek die sosiokulturele, politiese en historiese konteks waarbinne die gekose tekste geskep is. Die “teksfase” analiseer die gekose romans om ʼn teoretisering van die konstruksie en representasie van “marginale” seksualiteit in die outofiksionele werke van die vier skrywers te ontwikkel. Die laaste fase gaan verder as die teks self en ondersoek die moontlike impak van hierdie literêre werke op die alledaagse wêreld van Arabiese Moslemgemeenskappe, in Frankryk sowel as die Magreb.<br>SOMMAIRE: La sexualité « marginale » demeure un sujet indicible et tabou dans les sociétés arabo-musulmanes, au Maghreb comme en France. La présente thèse essaie de mettre en conversation les récits de quatre romanciers d’origine maghrébine qui ont osé rompre l’intolérable silence { propos de l’homosexualité. Les romans de Rachid O., d’Abdellah Taïa, d’Eyet-Chékib Djaziri et d’Ilmann Bel sont synchrones avec l’intérêt croissant pour de divers aspects des sexualités « marginales » au Maghreb (et certes dans d’autres régions arabo-musulmanes). Nous servant des perspectives herméneutiques ainsi que de diverses théories des études de genre et des études queer, nous proposons dans cette étude une déconstruction du personnage de l’homosexuel qui est { la fois contentieux et également le locus de nombreux discours concernant la remise en cause du statu quo et le dévoilement de l’indicible. La construction et la représentation littéraire de la sexualité « marginale » joue certes un rôle central dans la déstabilisation des conceptions simplistes de la politique identitaire tout en mettant en cause les systèmes de valeurs qui sont à la base des désignations des identités et des orientations sexuelles. Élaborant un paradigme interprétatif compréhensif, cette étude s’efforcera de combler la lacune qui existe par rapport { l’analyse de l’intersection entre la production littéraire au Maghreb francophone et la sexualité « marginale ». Nous adoptons dans cette étude une approche tri-séquentielle et l’étape initiale, nommée la phase explicative, met en contexte la sexualité queer ainsi que les études littéraires traitant de ce sujet sur les deux rives de la Méditerranée. Cette phase préliminaire est suivie d’une phase de rencontre qui proposera une lecture herméneutique des romans, portant sur la définition, la caractérisation et la tonalité de ces oeuvres littéraires. Il s’agit dans l’étape ultime, la phase interprétative/de théorisation, d’une lecture parallèle des oeuvres primaires et secondaires afin d’établir une appréciation des romans de nos auteurs ainsi que de développer une considération valable sur le plan de la théorie de la construction et représentation de la sexualité « marginale » dans les romans choisis. En plus de l’approche ci-dessus expliquée, l’écoulement argumentatif de cette étude suit également une triple séquence : production-texte-réception. La phase de « production » examine le contexte socioculturel, politique et historique où se créent les textes littéraires sous considération. La phase de « texte » concentre sur l’analyse des oeuvres romanesques afin d’élaborer une problématisation de la sexualité « marginale ». La phase de « réception » dépasse les textes et analyse l’effet de ces textes sur le monde du quotidien des milieux arabo-musulmans, en France comme au Maghreb.
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Robjant, David. "The river as a guide to Iris Murdoch." Thesis, University of Wales Trinity Saint David, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683256.
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Compton, Marissa Deane. "The Living River: Ritual and Reconciliation in The Famished Road." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6816.
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In Ben Okri's The Famished Road, rituals such as baptism are easily lost in the dense symbolism. The novel is, in the words of Douglas McCabe, a "ramshackle and untidy affair, a hodge-podge of social ideologies, narrative forms, effusive enthusiasms, and precision-jeweled prose poems" (McCabe 17). This complex untidiness can be discouraging for readers and critics alike, and yet "there is something contagious about the digressive, meandering aesthetic of The Famished Road" that makes the novel difficult to consign to confusion (Omhovere 59). Commonly considered post-colonial, post-modern, and magical-realist, The Famished Road deals with, among other things, spiritualism, family relations, and political and sociological tensions in Nigeria in the decades before its publication in 1991. These themes are depicted with a rush of symbols, and in such a clamor, baptism and other rituals may have trouble making themselves heard. And yet, paying attention to the repeated performance of baptism transforms this audacious, ramshackle novel into a story of liminality, alienation, and reconciliation, a story which celebrates these things as inevitable and necessary parts of life. As readers, we can use baptism to decode The Famished Road. In doing so, the novel develops a cyclical, ongoing narrative focused on the difficulties of and increased agency in liminality and the necessity of ritual, on an individual, familial, and socio-cultural level, in navigating that in-betweeness. I will begin by exploring baptism in The Famished Road in order to understand the performance and power of ritual. Here, ritual acts as a doorway, giving characters a chance to navigate liminality without removing themselves from it. This navigation gives them an increased understanding of how the world works and how they may operate in it. After exploring baptism as a ritual, I will examine Okri's "universal abikuism" and its connection to the flexibility of liminality.
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Letourneur, Marina. "L'histoire dans l'oeuvre d'Andrés Rivera : écriture, réécriture et manipulation." Thesis, Angers, 2015. http://www.theses.fr/2015ANGE0008/document.
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Le refus de l’écrivain argentin Andrés Rivera (1928) de considérer certains de ses romans comme historiques est le point de départ de notre réflexion. Nous abordons dans ce travail les relations entre histoire et fiction, les évolutions de l’historiographie ainsi que celles du roman historique. La prolifération de romans historiques en Amérique latine dans les années 80 et 90 et les évolutions dans le style et les thèmes de ces romans ont amené de nombreux critiques à se pencher sur le phénomène et à étudier ce qui caractérisaient ce qu’ils ont appelé le « nouveau roman historique », « le roman historique contemporain » ou encore « le roman historique postmoderne ». Nous avons constitué notre corpus de romans ou courts romans de Rivera en nous appuyant sur la définition de Seymour Menton selon laquelle un roman est historique si son action se déroule de manière prédominante dans un passé non vécu par l’auteur. Nous avons donc choisi les fictions dont la diégèse se situe entre le XIXe siècle et le début du XXe siècle, ce qui correspond à certaines périodes clés de l’histoire argentine : la Révolution de Mai (La revolución es un sueño eterno), les guerres civiles et l’époque de Rosas (En esta dulce tierra, El farmer et Esemanco Paz), l’essor de la bourgeoisie rurale dans les années 80 du XIXe siècle (El amigo de Baudelaire et Lasierva), les années 20 du XXe siècle (El profundo Sur et Hay que matar). Nous proposons d’analyser, dans ce corpus, la lecture de l’histoire argentine que propose Rivera, la conception de l’histoire qui s’en dégage et la réécriture de l’histoire qu’il propose à partir de la fiction<br>Argentinean writer Andrés Rivera’s refusal to consider some of his novels as being historical is the starting point of our reflection. In this work we approach the relations between history and fiction, the evolutions of historiography as well as those of the historical novel. The proliferation of historical novels in Latin America in the 1980’s and the 1990’s in particular, and the evolutions in the style and the themes of these novels have brought many critics to look into the phenomenon and to study the characteristics of what they have called the « new historical novel », « the contemporary historical novel » or more « the post-modern historical novel ». The formation of our corpus of novels or short stories by Rivera is based on Seymour Menton’s definition ; a novel is historical if the action takes place in a past that the author did not live. Thus, we chose the fictions in which the diegesis takes place between the 19th century and the beginning of the 20th century, which matches key periods of the Argentinean history : the May Revolution (« La revolución es un sueño eterno »), the civil wars and the period of Rosas (« En esta dulcetierra », « El farmer » and « Ese manco Paz »), the rise of the rural middle classes in the 1880's (« El amigo de Baudelaire » and « La sierva »), the 1920's (« Elprofundo Sur » and « Hay que matar »). Through this corpus, we intend to analyze the reading of the Argentinean history offered by Rivera, the notion of history drawn from it and the rewriting of history based on fiction he proposes
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Banks, Joyce M. "Books in syllabic characters printed for the use of the Church Missionary Society among the Cree, Saulteaux, Slave and Tukudh Indians and the Eskimos of Little Whale River in the diocese of Rupert's Land : 1852-1872." Thesis, University College London (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252138.
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Stimpson, Shannon Melee. ""The River Duddon" and William Wordsworth's Evolving Poetics of Collection." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3541.
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Despite its impact in generating a more positive reception toward Wordsworth's work among his contemporaries, The River Duddon volume has received comparatively little critical attention in recent scholarship. On some level, this is unsurprising given the relative unpopularity of Wordsworth's later work among modern readers, but I believe that the relative shortage of critical scholarship on The River Duddon is due, at least in part, to a symptomatic failure to read the volume in its entirety. This essay takes up the challenge of following Wordsworth's directive to read The River Duddon volume as a unified whole. While I cannot account for every inclusion, I set out to explore how the idea of collection functions as the unifying force governing the volume's organizational and thematic structure. I argue that although the individual pieces that make up the collection are distinct from each other in their style, subject matter, and date of composition, together they constitute an exploration of the beauty of Wordsworth's native region and his interest in harmonizing aesthetic principles of variety and unity. When read as parts of a dialogical exchange rather than as self-contained units, the individual texts in The River Duddon collectively present an array of perspectives through which Wordsworth not only celebrates the rich diversity of the Lake District's local customs and landscapes, but also theorize a sophisticated poetics of collection which he hoped would help justify his poetic program and reinforce the literary and cultural weight of his future work.
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Chapman, Stephen. "Imagining the Thames : conceptions and functions of the river in the fiction of Charles Dickens." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1528.
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This thesis examines Dickens's uses of images of the river throughout his fiction, and also in the early sketches, the reprinted pieces from Household Words and The Uncommercial Traveller. The river concerned is usually but not exclusively the Thames, usually but not exclusively in London. The thesis offers some practical evidence to account for the powerful influence of the Thames upon Dickens's imagination and shows how he conceives of it both within existing frames of reference and in some distinctively Dickensian ways. It considers how Dickens's representations of the river play into the cult of the picturesque which emerged at the end of the eighteenth century, and into the tradition which sees it as a symbolic conduit of the empire. It goes on to consider his use of the river as a boundary, the consequent importance of river crossings in his work, and his conception of the riparian space as a liminal one. It then explores a distinctive scheme of discourse which uses the river to represent rebellious forces beyond the control of human agency and shows how this reflects the sense of spiritual threat which is to be found in some of the other, albeit rare, depictions of nature to be found in his writing. It then shows how Dickens uses the river symbolically to express ideas about death and rebirth, together with the loss of and changes in identity, and how he draws on a scheme of distinctively Christian iconography to do so. Finally it shows how he uses it to create and represent an underworld for London, using tropes of epic founded on classical models. The thesis concludes that, in its use of natural forces to signify social ones, Dickens's writing about the river serves to amplify his conception of stratification in Victorian society and adds weight to the socially conservative political stance which is known to be present in his world view.