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Kinzel, Till. "Die Tragödie und Komödie des amerikanischen Lebens : eine Studie zu Zuckermans Amerika in Philip Roths Amerika-Trilogie /." Heidelberg : Winter, 2006. http://www.gbv.de/dms/bs/toc/515926825.pdf.
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Van, Reet Brian Morgan Speer. "Roth and war two cases /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6461.
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Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 19, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Thesis advisor: Dr. Speer Morgan. Includes bibliographical references.
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Gooblar, David. "Philip Roth : the major phases." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1444184/.
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This thesis is a study of the major phases of the career of Philip Roth. In the nearly fifty years since his first book, Roth has published close to thirty works, creating a body of work now as large and as varied as any twentieth century writer. In an attempt to chart the progression of this career, I break down Roth's oeuvre into six chronological phases, beginning in the late 50s and ending at the start of the new century. Having carried out extensive research into Roth's archive in the Library of Congress, contemporary reception of the books, and a variety of often overlooked cultural contexts, I have attempted to offer a new and original take on Roth's most interesting and distinctive preoccupations. Beginning with Goodbye, Columbus, Roth's first book, I examine the author's complicated relationship with, and treatment of, the idea of Jewish community in America. The second chapter follows Roth's vexed pursuit of, and eventual rejection of, an ideal of literary seriousness in the 1960s, especially in relation to the example of the New York Intellectuals. Chapter 3 looks at Roth's preoccupation with two figures from twentieth century European Jewish history, Franz Kafka and Anne Frank, who figure in a number of Roth's books during the 1970s. Chapter 4 examines the important role that psychoanalysis plays in Roth's books, from the burlesque of an analytic session of Portnoy's Complaint, to an apparent break with psychoanalytic thinking in 1986's The Counterlife. The next phase is Roth's "autobiographical" period of 1988 to 1993, during which he produced four books each at a different point along a continuum between autobiography and fiction. In these works, Roth comes to grips with the ethical issues that his fiction had played with for so long. Finally, the last chapter looks at Roth's final books of the century, investigating how his assessment of three periods of twentieth century American history shows a fascination with individuals who attempt to break free from the forces of determination. Rather than, as is commonly espoused, a break with his earlier work, I argue that the "American Trilogy" continues concerns that have preoccupied Roth from the very start of his career.
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Wöltje, Wiebke-Maria. ""My finger on the pulse of the nation" intellektuelle Protagonisten im Romanwerk Philip Roths." Trier Wiss. Verl. Trier, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2836178&prov=M&dok_var=1&dok_ext=htm.
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Silverstein, Joni L. "Escapism in the novels of Philip Roth." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 78 p, 2008. http://proquest.umi.com/pqdweb?did=1456299741&sid=6&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Phelan, James. "Philip Roth as moral artist at mid-career." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/17416.
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As a serious young man in the nineteen-fifties and early sixties, Philip Roth believed writing fiction was an exalted calling with a high moral purpose. He was a committed social realist with a Lionel-Trilling-like ethics of fiction and a grand, unrealized ambition to write about public life. Then, fifteen years into his career, he wrote Portnoy’s Complaint (1969), a rollicking extravaganza of scurrilous comic invention and exaggerated grievance. Revelling in wildness and transgression, he found a voice that galvanized his talent as nothing before had done. Yet he still seemed to feel bound by his old ethical commitments. This was not the artistic breakthrough he had been hoping for. My paper considers how Roth works at reconciling his deep-seated sense of moral responsibility as a writer with his inescapable talent for imaginative recklessness in three novels, each of which marks a turning point in the middle of his career, Portnoy, The Ghost Writer (1979), and The Counterlife (1986). I take this moral/aesthetic problem to be an important preoccupation of Roth’s and make that preoccupation the basis for readings of the novels. In doing so, I try to show that his ethics and aesthetics are much deeply entangled than is usually acknowledged. In Portnoy he does all he can to contain Alex Portnoy’s rampaging monologue inside a morally proper narrative frame. With The Ghost Writer, he eschews his old ethics of fiction and makes a complex declaration of aestheticism by appropriating Anne Frank’s life story and voice to his pointedly reckless fiction. The Israel chapters of The Counterlife are a watershed in his career. In them, he puts his aesthetic wildness to work for his moral probity, while opening his fiction up to the public scene. He presents a dialogical, non-normative moral fiction investigating the question of Israeli settlement on the West Bank by imaginatively projecting himself into a range of ethically engaged Israeli subject positions and having the characters he invents debate the controversy in variations on his characteristic voice. In the mid-eighties as in the early sixties, Roth’s objective as a moral writer is the "expansion of moral consciousness."
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Nechita, Alina-Laura. "Le corps dans l'œuvre romanesque de Philip Roth." Thesis, Université Paris-Saclay (ComUE), 2017. http://www.theses.fr/2017SACLV055.
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Le corps est une préoccupation constante chez Philip Roth, écrivain singulier dont la finesse d’observation n’a d’égal que la distance ironique. Corps biologique, corps social, corps monstrueux, corps abject, corps malade, constituent autant d’avatars de l’existence humaine individuelle et collective. De quoi relève cette présence presque obsessionnelle de la dimension corporelle dans les récits de Philip Roth ?Ce travail vise, dans le cadre d’une approche plurielle et transdisciplinaire, à retracer l’évolution du corps dans des textes qui mettent en lumière des crises existentielles et créatrices. Vue sous cet angle, l’œuvre fictionnelle rothienne semble se décliner en quatre mouvements : impasse existentielle, puis ouverture vers l’autre et vers le monde, ensuite tentative de se réinventer en toute impunité, et, enfin, prise de conscience de l’inévitabilité de la mort. Si le corps est d’abord perçu comme un fardeau, une prison, il n’est susceptible de s’alléger, de se libérer, qu’au travers d’une expérience de l’altérité. Le sujet n’advient à lui-même que dans l’espace de l’écriture où la chair se fait verbe. Cette lecture du corps dans le roman rothien s’achève sur l’analyse d’une dématérialisation progressive du corps charnel dans le corps textuelPhilip Roth's fiction has always been preoccupied with the question of the body. In his novels, the body of flesh and blood, the social body, the monstrous body, the abject body, the sickened body, all become avatars of our individual and collective existence. How should one interpret this obsessive presence of the human body in Philip Roth’s fiction?This transdisciplinary dissertation studies the evolution of the body within the context of novels concerned with existential and creational crises. Philip Roth’s fiction may be divided into four stages: first, the insurgence of an existential impasse; second, the opening toward the other and the world, followed, thirdly, by an attempt at freely reinventing oneself, and ending with an awareness of the inevitability of death. While the body appears, at first, as a heavy burden to bear, true encounter with the Other becomes the only means of lightening its load. True freedom only materializes within the textual space where the verb replaces the flesh. This study of the body in Philip Roth’s novels traces, therefore, the gradual dematerialization of the body of flesh into the body of the text
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Connolly, Andrew. "Philip Roth and the American liberal tradition since FDR." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7882.
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This thesis takes as its focus several works in the late period of Philip Roth’s writing and examines the way in which these particular texts address issues of American national experience since the Depression. In particular, this study looks at Roth’s assessment of a distinctly modern liberal vision that came to prominence during the 1930s and was to dominate American political and cultural life until the late 1960s. In thus covering the wider historical sweep of these novels, the research will draw attention to the way in which such broader matters of American cultural and political life intersect with more local issues of Jewish-American subjectivity and literary style that have been explored recurrently throughout Roth’s greater body of fiction. This study thus aims to show how the more recent ‘historical turn’ in Roth’s novelistic focus is in fact consistent with certain pivotal themes that have helped to define his overall development as a writer.
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Landa, Dora. "O judaismo em Philip Roth: um conceito às avessas." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8152/tde-26042010-150130/.
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O objetivo desse trabalho é analisar algumas das obras de Philip Roth em que a temática judaica é o eixo principal. Meu interesse reside especialmente nos romances em que o Holocausto Judeu na Segunda Grande Guerra e o Estado de Israel com sua complexa situação no Oriente Médio são abordados. Baseei minha análise dessas obras na seguinte hipótese: para se aproximar de recentes situações traumáticas da história judaica, Philip Roth precisou adotar recursos narrativos que lhe permitissem ampliar seu raio de visão, evitando estereótipos e generalizações infrutíferas. Assim, o estilo rothiano carregado de ironia e humor foi alterado. Em O Avesso da Vida parte-se de uma situação absurda: um personagem judeu morto nos Estados Unidos ressurge vivo num assentamento judaico na Cisjordânia e lutando pelo Grande Israel. Esse recurso possibilitou uma abordagem inusitada da tensa relação árabe-israelense. Em Operação Shylock encontramos um duplo impertinente e exasperante, proclamando uma absurda solução para o conflito no Oriente Médio. Finalmente em Complô contra a América o autor adota o recurso da distopia com os Estados Unidos elegendo um presidente nazista, em 1940, com todas as funestas consequências para a comunidade judaica. Entrevistas do autor assim como livros em que analisa extensamente sua própria produção literária e a de outros autores, especialmente Primo Levi e Aharon Appelfeld, também mostraram-se fontes valiosas para a análise do sempre polêmico posicionamento do autor diante de sua condição judaica.This paper aims to analyse some of Philip Roths work, in which the Jewish subject is the main axis. My greater interest lies basically upon the romances in which the Jewish Holocaust, during the Second World War and the State of Israel with its complex situation in Middle East are aproached. I have based my analysis of his works on the following hipothesis: in order to get closer to recent traumatic situations of the Jewish history, Philip Roth had to use narrative resources that allow him to enlarge his point of view, avoiding stereotypes and fruitless generalizations. Therefore, the Rothian style, highly ironic and humorous, has been altered. In The Counterlife the point of departure is an absurd situation: an American Jewish dead character resurges alive at a Jewish settlement on Cisjordanie, and fighting for the Great Israel. Such resourse enabled a unusual aproach of the tense Arab-Israeli relationship. In Operation Shylock we find an impertinent and exasperating double, that heralds an absurd solution for the Middle East conflict. Eventually, in The Plot Against America, the author adopts distopy as a resource, having the U.S. elect a Nazi president, in 1940, with all the appaling consequences for the Jewish community. Interviews with the author, as well as books in which he extensively analyses his own and other authors literary production, specially Primo Levi and Aharon Appelfeld, also acted as valuable sources for the analysis of the ever polemic positioning of the author towards his Jewish condition.
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Quadrado, Lauro Iglesias. "A construção do sujeito contemporâneo : Philip Roth e Radiohead." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/78150.
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A produção artística contemporânea aborda com frequência a situação do sujeito urbano imerso em uma objetividade não acolhedora e não totalmente compreensível, em um contexto social tomado por uma quantidade de informação impossível de ser processada em sua totalidade. Partindo de uma consideração sobre as representações desta premissa tanto na linguagem literária quanto na musical, a presente dissertação tem por objetivo averiguar como se dá a construção da figura do sujeito contemporâneo nas obras do escritor estadunidense Philip Roth e da banda britânica Radiohead. Para tanto, foram selecionados como corpus de investigação o romance Everyman (2006), de Roth, e o disco OK Computer (1997), de Radiohead, por serem representativos da totalidade da obra de seus autores e também pela força criativa de suas idiossincrasias. O trabalho considera em que medida os meios de comunicação de massa vêm influenciando, nas últimas décadas, os modos de produção de arte e os conceitos estéticos que os embasam, e analisa de que maneira chegam a definir aspectos do comportamento do indivíduo dos dias atuais, a ponto de moldar suas relações interpessoais. As características interdisciplinares da pesquisa são abordadas através da teoria da transtextualidade proposta por Gérard Genette; as discussões sobre a sociedade contemporânea têm seu lastro teórico em ideias propostas por Gilles Lipovetsky e Zygmunt Bauman. O recorte temporal da discussão sobre cultura de massa inicia a partir do ingresso de aparelhos como o rádio e a televisão nas casas das pessoas por todo o mundo e avança até os dias atuais, enfatizando o papel do computador doméstico na aceleração do ritmo das mudanças, das relações e dos valores. Tudo isso tem reflexos no gosto e nas representações artísticas que vêm sendo produzidas, os quais são investigados neste trabalho, que se estrutura em três partes. A primeira apresenta um histórico das inovações mediais e das suas relações com a arte em geral. A segunda parte apresenta as obras de Philip Roth e do Radiohead e as liga a esse contexto. Por fim, depois de dissecadas as composições dos artistas estudados, elas são incorporadas à discussão sobre a sociedade contemporânea. Em cada seção, sempre que se necessário, outras obras dos autores e outras contribuições teóricas serão utilizadas como reforço das argumentações e exemplificações apresentadas. Ao término do trabalho, espero contribuir para a discussão sobre as questões aqui abordadas, bem como para o incentivo às aproximações acadêmicas entre a música popular e a literatura.Contemporary artistic production frequently approaches the situation of the urban subject immersed in a non-welcoming and not totally apprehensible objective social context which is filled by a quantity of information impossible to be processed as a whole. Starting from some considerations about the representations of this premise both in literary and musical language, the present thesis aims to investigate the construction of the contemporary subject in the works of the American writer Philip Roth and of the British band Radiohead. As the corpus for this investigation the novel Everyman (2006), by Roth, and the record OK Computer (1997), by Radiohead, were selected, for being representative of the whole oeuvre of their authors, and also of the creative force of their idiosyncrasies. The work considers in which means the mass communication media have been influencing, in the last decades, the ways of art production and the aesthetic concepts which base them, and analyses in which way they come to define aspects of the behavior of individuals these days, reaching the point of shaping interpersonal relations. The interdisciplinary characteristics of the research are approached via the theory of transtextuality proposed by Gérard Genette. The discussions about contemporary society have their theoretical framework in ideas proposed by Gilles Lipovetsky, and Zygmunt Bauman. The temporal cutout of the discussion about mass culture starts from the ingress of devices such as the radio and television in people‘s homes around the world and moves up to present day, emphasizing the role of the home computer in the acceleration of the pace of changes, relations, and values. All these things have their reflex in taste and in the artistic representations which have been produced, and are investigated in this work, which is structured in three parts. The first presents a historical approach to media innovations and their relations with art in general. The second part presents the works of Philip Roth and Radiohead, and connects them to this context. In the final part, after the analysis of the compositions by the studied artists, these works are embodied into the discussion about the contemporary society. In each session, whenever it is necessary, other works by the authors and other theoretical contributions will be used as reinforcement of argumentations and presented exemplifications. Having the work finished, I hope to contribute for the discussion about the issues here approached, as well as to promote academic approximations between popular music and literature.
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Leeke, Philip Andrew. "'The Counterlife of Knight Errant Christie McKay', and, 'The trials of Philip Roth: writing as ordeal and punishment'." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/the-counterlife-of-knight-errant-christie-mckay-andthe-trials-of-philip-roth-writing-as-ordeal-and-punishment(ee7dd759-c759-4ad4-8c0e-2a3ccfb9f6d3).html.
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The Counterlife of Knight Errant Christie McKay is a novel about a man with two lives. Christie McKay is a middle-aged academic who has a self-harming partner he cannot leave. On a sabbatical studying Don Quixote he meets another woman and falls in love. However, instead of leaving his self-harming nemesis, he concocts an absurd fantasy that will allow him to lead a double life and have a relationship with both women at the same time. His attempts to compartmentalize both lives leads to tragedy as the one crashes into the other with dire consequences. The novel was partly inspired by Philip Roth’s notion of ‘the counterlife’, this being the double life that is created in order to make the official one somehow more manageable. Thus the rococo fantasies of a Billy Liar or, more commonly, the prosaic extramarital affair. The Trials of Philip Roth: Writing as Ordeal and Punishment examines the influence of a recurring trope in the writings of Philip Roth which I have called ‘The Trial’. I trace the development of this feature to a negative reaction to Roth’s early work, most notably the Goodbye Columbus collection of short stories and the novel Portnoy’s Complaint. The thesis examines the changing nature of this ‘trial’ conceit and how it is broadened and developed by Roth in the later works, especially in the so-called American Trilogy series of novels. I argue that the basic structure of the trial involves an individual, almost always a man, unjustly accused of some heinous crime by the presiding arbiters of moral taste. This individual is usually hounded and banished by their particular community. While acknowledging the complex differences between fiction and autobiography, I argue that Roth’s personal experiences of being on trial, in the earliest work for supposedly having ridiculed American suburban Jews, has helped to produce a body of work which feeds on rage and moral indignation and which repeatedly puts the individual up against a censorious community with suffocating concepts of normalcy.
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Jones, Michael. "Self-seeing in Paul Auster, Philip Roth and Don Delillo." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/51589/.
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This thesis considers how Auster, Roth and DeLillo write in order to see themselves in the world. If Kafka's burrowing into himself and Nabokov's inscription of a chalk-white “I” on the inner blackboard of his shut eyelids exemplified Modernist strategies for projecting the isolated self into the world, my subject authors have confronted a theoretical situation in which the world as a permanent and common object doesn't exist. Negotiating an increasingly unreal American popular culture that stands in for this object and that has disassembled the monadic self, they reimagine the sight of darkness and premonitions of death inherited from their precursors' self-seeing as a means of reifying our world. The thesis proceeds in three author-specific chapters. The first traces Auster's chimeric appearances in the glass of fictive representation using popular cultural symbols. These symbols repeatedly erase the self, figuring its disappearance into the continuing present and giving the lie to a permanent visible world in which the self can be located. The second chapter explores Roth's writing characters as “darkening[s]” of the fictive glass. His fiction interrogates the obscure “inside of me” to locate an unseen point where the self is remade through transformative connections with the world. This connection, which he names “reality”, remains invisible, communicated in distorted images of grief and mourning that also reflect the unreal character of popular culture. In the final chapter, a new connection between the self and the world becomes visible in DeLillo's work. He reifies our dissembling culture by rendering it as a smeary, visible reflection of the unfixed, continuing present into which Auster's selves disappear. The sight of this unfixed, different world is co-eval with a new form of self-seeing in which the world is not permanent nor transparent but formed in characters' relationships to it, reciprocating today's wavering possibility of there being the world at all. In tracing the pursuit of self-seeing in the world in these three exemplary writers, the thesis develops a new relationship between the aesthetics of character and the world-rendering potential of novel-writing. In a period of theoretical transition after postmodernism, such new paradigms are vital for grasping how we envision selves now as reciprocations of the world's precarity, responding to the pressure of the real.
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Von, Bodman-Hensler Nicola Lilian Helga Sabine. "Thomas Mann's illness mythologies in the work of Philip Roth." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/thomas-manns-illness-mythologies-in-the-work-of-philip-roth(ad8bfd23-4761-457f-9c13-d9b5ae348e0a).html.
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Thomas Mann’s illness symbolism is one of the most important fictional explorations of medical narrative in twentieth-century literature. Drawing on scholarship in the medical humanities, this study interprets Mann’s illness narratives in the light of what I shall term various mythologies of illness in his work. Next to establishing a new reading of Mann’s literary appropriation of medicine, I examine a major postmodern reading of these mythologies by the American author Philip Roth and his relationship to German thought on illness. The central focus of this thesis is on the dialogue between illness as a figure in fiction and the medical narrative tradition such as the clinical and curious discourse within case history writing neglected by scholarly research on Thomas Mann and Philip Roth so far. I start by providing a contextual consideration of the development of the medical case history as narrative, which through common roots with the novel lends itself as medical countertext to Thomas Mann’s fiction. I demonstrate how Mann imagines the defective body as the concrete site of the struggle for art and eventually vindicates the sentimentalisch consciousness. Because bodily defects are the marks of artistic sensitivity in Mann’s oeuvre, mythologies of illness are among the most important structuring principles of his work. Despite his canonical status, Mann has not been thought of as exerting a very direct influence on writers in the English-speaking world. I will demonstrate that the postmodern variations of the illness theme by Philip Roth are grounded in Mann’s fictional explorations of the body in decline. There are two things at stake here. I offer a new perspective on Thomas Mann drawing on medical narrative traditions in his mythologies of illness. By linking the postmodern author Philip Roth to Thomas Mann this thesis sheds light on the tradition of writing the defective body and the sick self from Fin de Siècle German to contemporary American literature.
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Barghoute, Aziz. "Quête et reconstruction de l'identité dans les œuvres de Philip Roth." Paris 8, 2002. http://www.theses.fr/2002PA083755.
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L'oeuvre rothienne schématise le divorce entre la volonté d'acquérir une identité et la difficulté à l'atteindre. D'une manière dramatique, ces oeuvres narrent la déception du personnage devant la réalité socioculturelle et l'impossibilité d'acquérir une identité tant convoitée. Les textes étudiés dessinent la confrontation incessante des personnages avec leur problématique identitaire et la contradiction jamais surmontée entre désir refoulé et interdiction intériorisée de s'assimiler. Dès qu'il y a tension identitaire, elle n'est jamais vécue ou présentée comme positive. Ce travail cherche à présenter une image du juif à la fois particulière et complexe, où le héros est dépeint comme étant en même temps bourreau et victime, lascif et homme d'études, toujours à la recherche d'aventures sexuelles, mais sensible et sentimental. Il a pour objectif de montrer la dualité identitaire du personnage qui surgit sans cesse de son conflit permanent. Son but ne consiste pas à confirmer une identité nationale, religieuse ou ethnique dans une société fermée. Au contraire, il est à la recherche d'une identité psychologique et intellectuelle dans une culture américaine ouverte et hétérogèneRoth's works show the gulf between the will to acquire an identity and the difficulty that the protagonist encounters for that purpose. In a dramatic way, they relate the protagonist's disappointment in the face of a socio-cultural reality and the impossibility for him to attain this identity. The selected novels show the unceasing confrontation of the protagonist with his problematic identity. Thus, they show the contradiction between a repressed desire and an interiorized interdiction to assimilate the American society. Whenever there is an identity tension, it is never presented in a positive way. This thesis presents a particular and complex image of the Jew, who can be at the same time victim and executioner, lascivious and serious, always in search of sexual adventures, but still sensitive and sentimental. It attempts to show the protagonist's dual identity (Jewish and American) that emerges out of his permanent conflicts. He doesn't aim to confirm a national, religious or ethnic identity within a confined society. He is instead in search of a psychological and intellectual identity within a mixed and open American society
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Nagle, Emily. "Ideological catastrophe: political paranoia in the fiction of Philip Roth and Don Delillo." Thesis, Boston University, 2008. https://hdl.handle.net/2144/28580.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Kinzel, Till. "Die Tragödie und Komödie des amerikanischen Lebens eine Studie zu Zuckermans Amerika in Philip Roths Amerika-Trilogie." Heidelberg Winter, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2837298&prov=M&dok_var=1&dok_ext=htm.
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Chrisman, James Atticus. "Marsh's Field: A Novella and Introduction." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429799538.
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Schiff, Sarah Eden. "Family systems theory as literary analysis the case of Philip Roth /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0004875.
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Sampson, Steven. "Figures du vide et du plein dans l'oeuvre de Philip Roth." Paris 7, 2008. http://www.theses.fr/2008PA070022.
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L'œuvre de Philip Roth est construite autour d'oppositions entre des figures du vide et des figures de la plénitude. Elle constitue une métaphore de la condition du juif, foncièrement en manque car privé de son héritage culturel, religieux, et linguistique. L'univers vide évoqué par Roth est ainsi peuplé de « personnages plats », d'archétypes, dont le Schlemiel, figure héritée de la littérature yiddish. La quête de la plénitude engage non seulement les personnages mais également auteur et lecteur. Qui se trouvent mêlées à des récits où s'abolissent toutes les frontières. Tout ce qui reste au juif de sa judéité est son corps, qui porte la marque de ses origines de par sa circoncision. Ce corps mourant cherche alors la transcendance à travers l'écriture en tentant d'unir le verbe et la chair, en faisant de l'œuvre une métaphore des évangiles, et en muant l'auteur en symbole du christ - qui devient, en fin de compte, la figure ultime du juifPhilip Roth's oeuvre revolves around oppositions between figures of emptiness and wholeness. His work stands as a metaphor for the condition of the jew, deprived of his cultural, religious, and linguistic heritage. Roth's universe is inhabited by « flat characters », by archetypes, including the schlemiel, a figure inherited from yiddish litterature. The quest for wholeness engages not only roth's characters but also the author and reader, who find themselves implicated in fictional structures where all boundaries have disappeared. Allthatthe jew has left is his body, which carries the sign of his origins in the form of his circumcision. His dying body strives for transcendence through writing, hoping to unite the word and the flesh, making the work a metaphor for the gospels, and turning the author into a symbol of christ -who thus becomes the ultimate figure of the jew
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Edholm, Roger. "The written and the unwritten world of Philip Roth : fiction, nonfiction, and borderline aesthetics in the Roth books." Doctoral thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-25014.
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This thesis examines five books by the American author Philip Roth commonly referred to as the “Roth Books,” which are The Facts: A Novelist’s Autobiography(1988), Deception (1990), Patrimony: A True Story (1991), Operation Shylock: A Confession (1993), and The Plot Against America (2004). These books, held together by the author’s proper name, are often viewed as texts that conflate fiction and nonfiction or demonstrate the “fictionality” of all factual narrative accounts in compliance with well-known postmodernist and poststructuralist theories. Contrary to this view, I argue that a valid understanding of the Roth Books demands that we acknowledge that these works represent a series of quite different ways for the author to transform his own life into written form, a creative act which is manifested in both fictional and nonfictional writing. In the attempt to argue this view, I turn to a field of study where the question about criteria for distinguishing fictional from nonfictional narrative literature has occupied a prominent place: narrative theory. However, my theoretical and methodological point of departure does not align itself with the “standard” paradigm in narrative theory with its origin in classical, structuralist narratology. Rather, the thesis promotes a pragmatic and rhetorical perspective which is argued to better account for how we read and make sense of different narrative texts. In opposition to standard narrative theory, where all narratives are considered to adhere to the same model of communication, I argue in favour of a view where narrative fiction and narrative nonfiction are conceived as distinct communicative practices. I open the thesis by showing that Roth’s books contribute to the discussion on how to distinguish fictional from nonfictional narrative texts (Chapter 1). I then continue by approaching the distinction between fiction and nonfiction in general theoretical terms (Chapter 2). And in what follows (Chapters 3-5), I present a reading where the Roth Books are juxtaposed against each other. This reading demonstrates how these texts, although in some sense related, because of their divergent qualities and differing intentions still communicate differently with their readers, inviting a readerly attention that is dissimilar from one work to the other.
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Britt, Michelle L. "Culture and identity : the academic setting in Philip Roth's The Human Stain and Francine Prose's Blue angel /." Electronic version (PDF), 2003. http://dl.uncw.edu/etd/2003/brittm/michellebritt.pdf.
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O'Donoghue, Gerard Martin. "The orphan's kaddish : the paternal thanatographies of Paul Auster and Philip Roth." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519809.
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Kraus, Simone [Verfasser]. "Prag in der amerikanischen Literatur: Cynthia Ozick und Philip Roth / Simone Kraus." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1099857902/34.
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Ivanova, Velichka. "Philip Roth et Milan Kundera, ou le roman aux prises avec l’Histoire." Paris 3, 2007. http://www.theses.fr/2007PA030057.
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L’étude analyse d’un point de vue comparatiste l’éclairage que le roman moderne porte sur l’histoire contemporaine. La thèse associe dans ce but le Tchèque Milan Kundera et l’Américain Philip Roth. Elle retient quatre ouvrages de chacun : La plaisanterie (1967), La vie est ailleurs (1973), Le livre du rire et de l’oubli (1979) et L’insoutenable légèreté de l’être (1984) du premier, Pastorale américaine (1997), J’ai épousé un communiste (1998), La tache (2000) et Le complot contre l’Amérique (2004) du second. Pour nos deux écrivains, l’Histoire est à la fois événement vécu et enjeu romanesque. L’étude dégage progressivement les convergences entre deux mondes fictionnels que tout semble à première vue opposer. Kundera et Roth prennent en effet leurs distances par rapport à l’idéologie dominante — socialisme autoritaire des ex-régimes communistes ou démocratie américaine. La première partie manifeste la façon dont ils assument l’héritage dans sa double dimension d’histoire personnelle et de patrimoine littéraire. La deuxième partie envisage un commun refus du pathos de l’Histoire. Elle analyse le rôle central dévolu aux motifs du rêve utopique, du temps et de la mémoire. La troisième partie se concentre sur la manière dont la récriture des événements réels et la construction romanesque mettent en discours l’histoire. L’étude s’achève alors sur une analyse de la position de l’auteur dans le roman moderne telle que l’induit l’élément autofictionnel. Chez nos auteurs, l’autofiction contribue à discréditer et à réinventer l’histoireThe study analyzes, in a comparative approach, the light that the modern novel casts on contemporary history. For this purpose the dissertation associates the Czech Milan Kundera and the American Philip Roth. It includes four works of each: The Joke (1967), Life is Elsewhere (1973), The Book of Laughter and Forgetting (1979), The Unbearable Lightness of Being (1984) by Kundera, American Pastoral (1997), I Married a Communist (1998), The Human Stain (2000), and The Plot against America (2004), by Roth. For the two writers, History is both a personal experience and a novelistic issue. The study progressively brings out the convergence between two fictional worlds which, at first appearance, seem to be complete opposites. Indeed, Kundera and Roth distance themselves from the dominant ideologies — authoritarian socialism of the ex-communistic regimes, on the one hand, and American democracy, on the other. The first chapter manifests the way the authors view heritage in its double dimension of personal history and literary patrimony. The second chapter considers a common rejection of the pathos of History. It focuses on the central role assigned to the motifs of the Utopian dream, of time, and of memory. The third chapter analyses the manner that the rewriting of real events and the construction of the novel transform history into a literary discourse. The study comes to a close with an analysis of the position of the author in the modern novel prompted by the autofictional element. In both authors, autofiction contributes to discredit and reinvent history
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Sauter, Michael [Verfasser], and Hubert [Akademischer Betreuer] Zapf. "Ethical Perspectives on the Novels of Philip Roth / Michael Sauter ; Betreuer: Hubert Zapf." Augsburg : Universität Augsburg, 2018. http://d-nb.info/1173616594/34.
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McDonald, Paul John. "Philip Roth : his ethical sensibility considered in relation to his developing fictional aesthetic." Thesis, Birmingham City University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385138.
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Peeler, Nicole D. "Beyond a misogynist's aesthetic : rereading the fiction of Philip Roth and Martin Amis." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/29318.
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This dissertation offers re-readings of works by two of the most controversial and influential living writers: Martin Amis and Philip Roth. These writers are often accused of amorality, or even immorality, and this thesis deals with the controversies these authors have incited with specific focus on their alleged misogyny. Chapter 1 defines exactly why Amis and Roth are genuine problems for readers. However, I argue that simply condemning these writers also disables a reader’s ability to see just how invested they are in issues of pressing importance to contemporary society. Chapter 2, 3 and 4 examine specific novels by these authors in the light of theories significant both to their work as well as popular and academic culture. I propose that the overarching theme that links these three specific topics, the novels, and their authors is how the gendered subject emerges through time. Chapter 2 looks at how both Amis and Roth explore their separate theories about ideology, and especially the idea of ‘goodness’, in Other People: A Mystery Story, and When She Was Good. Chapter 3 takes as its subject trauma, history, and narrative, illustrating how they relate to Time’s Arrow, and Sabbath’s Theater. Finally, Chapter 4 engages with masculinity theory, demonstrating Roth’s and Amis’ interest in the subject as exemplified in Portnoy’s Complaint and London Fields. This thesis seeks to illustrate that Amis’ and Roth’s intellectual engagement with the issues underlying these current theories defies those critics who argue that they are amoral, immoral, or engaged entirely with their own solipsistic philosophies.
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Reilly, Elizabeth. "The resurgence of the moral novel in the wake of 9-11." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4963.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 5, 2007) Includes bibliographical references.
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Harvell, Marta Krogh. "A New Literary Realism: Artistic Renderings of Ethnicity, Identity, and Sexuality in the Narratives of Philip Roth." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115092/.
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This dissertation explores Goodbye, Columbus and Five Short Stories (1959), the Ghost Writer (1979), the Counterlife (1986), the Facts (1988), Operation Shylock (1993), Sabbath's Theater (1995),and the Human Stain (2000), arguing that Roth relishes the telling of the story and the search for self within that telling. with attention to narrative technique and its relation to issues surrounding reality and identity, Roth's narratives stress unreliability, causing Roth to create characters searching for a more complex interpretation of self. Chapter I examines Roth’s negotiation of dual identities as Neil Klugman in Goodbye, Columbus feels alienated and displaced from Christianized America. the search for identity and the merging of American Christianity and Judaism remain a focus in Chapter II, which explores the implications of how, in the Ghost Writer, a young Nathan Zuckerman visits his mentor E.I. Lonoff to find him living in what he believes to be a non-Jewish environment—the American wilderness. Chapter II also examines the difficulties of cultural assimilation in "Eli, the Fanatic," in which Eli must shed outward appearances of Judaism to fit into the mostly Protestant community of Woodenton. Relative to the negotiation of multiple identities, Chapter III considers Sabbath’s attempt, in Sabbath’s Theater, to reconcile his spiritual and physical self when seeking to avoid his inevitable death. Exploring a further dimension of the search for self, Chapter IV traces the legacy of stereotyped notions of identity, considering ways in which Roth subverts stereotypes in the Human Stain. the search for identity and its particular truths remains a focus of Chapter V, which explores Roth's creation of an unstable reality through the Counterlife, the Facts, Operation Shylock, and the Human Stain, suggesting that the literary imagination matters more than truth in fiction. in its attention to Roth's focus on identity, race, and narrative technique, this dissertation contributes to the evolution of criticism addressing the social significance of the major works of Philip Roth.
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Volck, Stéphanie. "La violence dans l'oeuvre de Philippe Roth." Paris 7, 2003. http://www.theses.fr/2003PA070040.
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La violence dans l'œuvre de Philip Roth correspond à une vision de l'homme inspirée de la philosophie de Georges Bataille, qui oppose la violence de la continuité de la vie au discontinu laborieux. Le paysage humain dessiné par Roth est imprégné de cette violence originelle. La violence se manifeste aussi à travers l'histoire de la minorité juive. Le Juif paria décrit par Hannah Arendt offre la clé pour comprendre les enjeux éthiques et politiques soulevés par la marginalité juive et la violence de l'histoire. Enfin, la violence originelle et la violence de l'histoire fusionne dans l'œuvre de Roth et créent une esthétique de la violence qui retranscrit dans le rapport auteur/lecteur la violence originelle et celle de l'histoire. La littérature y est présentée comme une transgression qui tend vers la communication intense telle que Bataille la définit, et le pacte de lecture devient le théâtre où la violence du continu s'exprime pour que naisse le plaisir du texteViolence in Philip Roth's fiction and autobiographies corresponds to a vision of mankind directly informed by Georges Bataille's philosophy, which pits the violence of continuity against ordered discontinuity. As Roth depicts it, humanity is permeated with this primordial violence. Violence is also apparent in the history of the Jewish minority. The Jewish pariah described by Hannah Arendt is instrumental in understanding the ethical and political issues raised by Jewish marginality and the violence of history. Finally, primordial violence and the violence of history merge into Roth's writing and create his esthetics of violence. He transfers bath the primordial and historical violence into the author/reader relationship, and exposes the transgressive nature of literature. Literature is exposed as driving toward what Bataille called intense communication and the reading pact as the space where the violence of continuity is expressed so that the pleasure of the text is made possible
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Traves, Julie. "Writing himself and others : Philip Roth and the autobiographical tradition in Jewish-American fiction." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26763.
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Philip Roth's parody of autobiography in the Zuckerman series is part of a larger debate concerning the problems of Jewish art. As Roth manipulates personal and personified autobiography, he both underlines and undermines Jewish traditions of reading and writing. To be sure, Zuckerman's struggle for artistic identity articulates a long-standing Jewish concern with the tensions of collective representation. It is from a culture consistently threatened by alienation and extermination that Roth finds his terms of reference. Zuckerman and his creator are subject to a whole discourse of Jewish textuality: to Jewish notions about the relationship between the individual and the group; between fact and fiction and between aesthetics and morality.However, the Zuckerman books are at once part of a continuum of Jewish culture and a unique response to the pressures of contemporary American Judaism. Through his humorous manipulations of autobiographical fiction, Roth finally counter-turns the very compasses by which he has oriented himself. He offers a potent commentary on the fatuity of Jewish "facts" and on the fictitious nature of the collectivized Jewish voice. For Roth, it is not only the Jew's experience, but his/her imagination, his/her individual frame of understanding, that determines ethnic identity. In the end, Roth challenges the cohesion of the Jewish cultural text. He places himself in a house of mirrors, where life and art, self and group, Jewish reverence and Jewish rebellion, endlessly reflect off one another.
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Traves, Julie Rose. "Writing himself and others, Philip Roth and the autobiographical tradition in Jewish-American fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29574.pdf.
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Brauner, David Leon Gideon. "Explaining the self : a contextual study of Saul Bellow, Philip Roth and Joseph Heller." Thesis, University College London (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307448.
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Furci, Guido. "L'héritage nu. Mises en fiction du "témoin historique". Primo Levi - Aharon Appelfeld - Philip Roth." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA077.
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Pendant de nombreuses années, Aharon Appelfeld, Philip Roth et Primo Levi entretiennent une sorte de « dialogue à distance », interrompu en 1987 par la mort de ce dernier. Notre travail vise à analyser les modalités à travers lesquelles la production de ces trois écrivains – marqués de manière plus ou moins « directe » par l’histoire de la deuxième guerre mondiale et la mémoire de la Shoah – complexifie, avant tout sur le plan fictionnel, une certaine conception du témoignage, dont les enjeux esthétiques sont loin d’être anodins. Certes, dans un premier temps il a été important de reconstituer la correspondance triangulaire entre Levi, Appelfeld et Roth ; bien que fondamentale, ce n’est pas la composante philologique de notre recherche que nous avons souhaité mettre en avant, mais plutôt la pertinence d’un rapprochement de corpus en apparence distants, et pourtant liés par des questionnements analogues. Il est évident que si la possibilité de consulter, donc de disposer de documents d’archive pour la plupart inédits et d’accéder à des échanges parfois publics – quoique destinés à un auditoire en quelque sorte « communautaire » – a été précieuse afin d’alimenter la réflexion, le fait de lier de manière trop manifeste les considérations au sujet des démarches (poétiques ou politiques) de nos trois auteurs à leur complicité intellectuelle et, le cas échéant, à leur amitié aurait pu minimiser la portée de certaines observations – et suggérer de faux rapports de cause à effetMy doctoral thesis explores the relationship between literature and historical witnessing. By focusing on the works of Primo Levi, Aharon Appelfeld, and Philip Roth (authors who relate in very different ways the trauma of the Holocaust), my research aims at investigating the enmeshment of aesthetic and epistemological issues. My comparative exploration of these authors is motivated by and allows for a conceptual layering of the problem along three distinct research axes : (1) each author maintains a different degree of autobiographical involvement with the genocidal facts he evokes, ranging from maximum directness (Levi) to an oblique post hoc distance (Roth) ; (2) each author thematizes the problem by framing fictional situations in which characters have to cope with the plastic tension of narrative recollection ; (3) there is a twofold factual link between the three authors consisting in (a) explicit or covert intertextual quotations (e.g. Levi and Appelfeld become characters in Roth’s "Operation Shylock") and, more significantly, (b) an under-investigated circular correspondence in which each of them discusses at length the gains and losses of (literary) historical witnessing. The core of my project, therefore, is grounded in the long-distance conversation on the reworking of memories between Aharon Appelfeld, Philip Roth and Primo Levi – a three-way conversation that perforce ceased with Levi’s death in 1987
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Morley, Catherine. "The quest for epic in contemporary American fiction : John Updike, Philip Roth, and Don DeLillo." Thesis, Oxford Brookes University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427126.
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Schmitt, Arnaud. "Figures et enjeux du récit : la non-congruence dans la série Zuckerman de Philip Roth." Bordeaux 3, 2002. http://www.theses.fr/2002BOR30035.
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A partir de l'évocation de la figure paternelle, et plus particulièrement de la parole du père, Roth crée un verbe qui, dans un premier temps, rappelle l'oralité mais dont il va finalement se servir comme sigifiant de rupture, comme parole de l'outrance. Roth étend cette logique non-congruente à tous les niveaux de son oeuvre (stylistique, diégétique, thématique) dans le but de rompre avec une quelconque stabilité mimétique et de forcer le lecteur à contempler les rouages du texte auquel il est confronté. Cette politique métatextuelle situe l'oeuvre rothienne dans la mouvance postmoderne et dessine une intersubjectivité lecteur-auteur pour le moins problématique mais en accord avec l'isotopie de la non-congruence mise en place par RothThrough the evocation of the figure of the father and, more precisely, of the father talking, Philip Roth creates a style which, on the one hand, conjures up the spoken word but which is eventually used by the author to disrupt the oral aspect of the text. This is the very basis of Roth's non-congruent strategy : calling the attention of the reader to the "seams" of the text, undermining the "mimesis", thus creating a sophisticated metatextual device which link's Roth's work with postmodernism. The author's persistence in bringing characters, ideas and interpretations into conflict, and in antagonizing the reader's simplistic expectations, seems to be the underlying paradigm of his work : creating energy through conflict
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Roth, Paul [Verfasser], Philip St J. [Akademischer Betreuer] Russell, Philip St J. [Gutachter] Russell, Fabio [Gutachter] Biancalana, and Markus A. [Gutachter] Schmidt. "Helical Bloch Modes in Twisted Photonic Crystal Fibers / Paul Roth ; Gutachter: Philip St.J. Russell, Fabio Biancalana, Markus A. Schmidt ; Betreuer: Philip St.J. Russell." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2021. http://d-nb.info/1228627622/34.
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Smith, Margaret. "'Counterlives,' double talk, and pastoral images : 'the instinct for impersonation' in the fiction of Philip Roth." Thesis, Manchester Metropolitan University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414842.
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This thesis constitutes an original contribution to knowledge in its examination of the range of Jewish subjectivities that emerge in the fiction of Philip Roth. Initially, it will engage with the contradiction between the writer's own perception of himself in his early work as a mischief-maker among the Jews, and the way in which he has come to be regarded by both critics, and the reading public, as betraying Jewish ethnicity and culture. This thesis then also examines the later criticism levelled at Roth as a writer who has trivialised Jewish ethnicity, isolating the racial anxieties and tensions that emanate from the interlinking of particular readings of cultural history and Jewish subjectivity. These readings in effect, produce readings which locate a specific history of trauma and Diasporic dilution as predominant in his fictional evocations of post-Second World War American society. This thesis will challenge such readings, demonstrating the need to re-evaluate Roth as a writer aware of, and responding to, the racial anxieties and the cultural tensions that have emerged in the post-Holocaust era. This project also investigates the significance of the authorial voice in Roth's fiction as a presence that reading audiences and critics alike have chosen to understand as autobiographical. However, this thesis contends that over the course of his writing career, Roth has deliberately incorporated a form of authorial presence in order to challenge the apparent authenticity of the writer's potential to claim a position of authority within a text. This project also examines the narrative device(s) that evolve into impersonation, doubles and 'counterlives' in the later fictions. These serve to explore tension between what Roth considers authentic and inauthentic Jewish positions in post-Holocaust, American social order. Finally, this thesis introduces Roth's seminal reproduction of a version of Jewish SUbjectivityin which history has no place and typified as a phenomenon happening elsewhere in America. The thesis will conclude that in Philip Roth's fiction, America emerges as the site of a modem Jewish Diaspora and thus as an authentic location for the interrogation of Jewishness.
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Micou, Ann McKinstry. "Here in New Jersey| Place in the fiction of Philip Roth, Richard Ford, and Junot Diaz." Thesis, Drew University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3633153.
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This dissertation argues that three Pulitzer Prize-winning writers, Philip Roth, Richard Ford, and Junot Díaz—a native, a transplant, and a migrant to New Jersey—convey the impact of place on their characters in an immediate and compelling way. The New Jersey neighborhoods they evoke—a Jewish enclave, a largely white suburb, and an immigrant ghetto—crucially affect their characters' destinies. The introduction defines some narrative elements of "place," presents examples of its use in literary fiction set in New Jersey, and lays the groundwork for close readings of the fiction of Roth, Ford, and Díaz. Each chapter applies to the author's fiction some of the narrative elements defined in the introduction. The chapter on Roth examines the ambience of his Newark neighborhood and its consequences upon his narrators' identities, their feelings of belonging or of alienation, and their ambivalence about whether to stay or leave. While Roth returns to Newark repeatedly in his stories, some of the narrators abandon the place precisely because of its effect on them. The chapter on Ford examines the influence of place on the destiny of his narrator, Frank Bascombe. Frank, a Southern transplant to New Jersey, claims at first that "place means nothing"; he concludes that New Jersey "gives him something" and is where he belongs and wants to stay. The chapter on Díaz investigates the effect of dual places, the Dominican Republic and New Jersey, on the identity and destiny of Yunior, the narrator. The main ramification of place on Yunior's writing is his determination to bear witness to immigrants' voices that have gone unheard, "to sing my community out of silence." The conclusion shows that, despite the differences among the authors in terms of temperament, background, style, and theme, their reactions to place—the narrators' degrees of ambivalence and alienation and concerns about assimilation—have much in common and contribute to the understanding of the primary role of place in fiction and its repercussions upon characters' identities. In sum, place is character is destiny.
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Abedi, Moghadam Mona [Verfasser]. "Diasporic exposure and cultural deviance : a comparative reading of Philip Roth and V. S. Naipaul / Mona Abedi Moghadam." Gießen : Universitätsbibliothek, 2019. http://d-nb.info/1180285093/34.
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Widmann, Andreas Martin. "Kontrafaktische Geschichtsdarstellung Untersuchungen an Romanen von Günter Grass, Thomas Pynchon, Thomas Brussig, Michael Kleeberg, Philip Roth und Christoph Ransmayr." Heidelberg Winter, 2008. http://d-nb.info/995767165/04.
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Widmann, Andreas Martin. "Kontrafaktische Geschichtsdarstellung : Untersuchungen an Romanen von Günter Grass, Thomas Pynchon, Thomas Brussig, Michael Kleeberg, Philip Roth und Christoph Ransmayr /." Heidelberg : Universitätsverlag Winter, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3341251&prov=M&dok_var=1&dok_ext=htm.
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Astruc, Rémi. "Vertiges de l'identite, trois romanciers et un cineaste juifs americains (saul bellow, bernard malamud, philip roth et woody allen)." Paris 7, 1997. http://www.theses.fr/1997PA070106.
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L'etude comparee de l'integralite des romans de saul bellow, bernard malamud, philip roth et des films de woody allen permet de mettre en lumiere les conceptions de l'identite vehiculees par leurs oeuvres, ainsi que les evolutions qu'elles manifestent en ce domaine. En effet, les auteurs, artistes juifs americains contemporains, forgent des recits ou s'exprime en particulier l'etonnement ou le malaise que suscite chez les protagonistes une identite souvent percue comme contradictoire, voire tout a fait impossible ou insupportable. Les fictions qui semblent mettre en scene l'identite selon des modalites proches ou identiques sont rapprochees pour donner naissance a cinq groupes d'oeuvres dont l'unite s'exprime au niveau du contenu des recits comme dans leur forme meme. Si les oeuvres presentent des natures tres differentes, empruntent a de nombreux genres litteraires et utilisent des modes d'ecriture tres varies, dans une premiere partie ont ete reunis des recits qui retracent la lutte de personnages pour degager leur identite des formes imposees par la societe globale, et une seconde rassemble des recits ou les protagonistes tentent avant tout de s'emanciper de la tutelle que le "reel" fait peser sur une identite qu'ils se sont eux-memes donnes. Un bouleversement important se dessine ainsi entre des oeuvres pour lesquelles l'identite apparait comme une determination a priori que les protagonistes se voient imposer malgre eux par la societe et d'autres ou celle-ci est le fruit d'une auto-definition, voire d'une auto-invention, issue notamment de la memoire individuelle, de l'imagination et en fin de compte de l'art meme des heros. La prise de pouvoir de l'individu sur les predeterminations sociales passe alors par une derealisation des instances de definition qui va de pair avec une universalisation des categories identitaires, ce qui remet en question la notion meme d'identite en tant que definition unique et immuable a fonction de differenciation socialeThe comparative analysis of the novels by saul bellow, bernard malamud, philip roth and the movies by woody allen puts the stress on the different conceptions of identity expressed in the fictions, and also enlightens the changes that appear with time in those conceptions. Indeed, the four jewish american authors create narratives in which the protagonists are often deeply confused or at least embarrassed with an identity they feel is full of ambiguities, contradictions, or even impossibilities. Although the fictions display a great variety of topics, genres and writing techniques, five groups of stories which seem to bear formal or thematical similarities have been constituted. They illustrate the gradual change that appears between novels and movies in which the protagonists are trying to evade a definition imposed on them by the society, and stories in which the heroes are trying to live according to a personal definition of themselves despite the limitations of reality. As a result, one can distinguish between narratives in which identity is mostly induced by social predeterminations and narratives in which identity has become a matter of self-definition and self-invention by the hero himself ( through his memory, his imagination, his art ). The struggle of the individual against society for the control over one's definition implies a dematerialization of the criteria and a universalization of the categories of identity, whose very consequence is the questioning of the notion of identity itself as a traditional means of social differentiation
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Lecoutre, Catherine. "Palestine et écriture." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100079/document.
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Cinq auteurs nous permettent d’avoir une vision plurilatérale du conflit israélo-palestinien, aussi notre travail porte-t-il sur l’étude comparative de textes de Mahmoud Darwich, d’Edward Saïd, David Grossman, Jean Genet, et Philip Roth. Pour chacun, nous avons choisi un texte qui traduit leur rapport avec ce conflit, et au-delà leur lien avec un territoire et un peuple. C’est de ce lien dont il est question : soit l’écriture reflète, chez certains auteurs, les liens familiaux, ancestraux, originaires qui lient l’écrivain à sa communauté. Soit l’écriture étend ses marges vers d’autres nouages pour trouver des « branchements » en dehors du même. Entre les deux attitudes se jouent deux conceptions du politique, deux acceptations différentes du « démos » de la démocratie ; l’acceptation ou non de l’étrangeté. Ce sont alors également deux approches différentes de la littérature. Celle-ci n’a pas forcément à perpétuer nos « représentations » mais à les questionner pour que s’ouvre un autre rapport à l’autre et à nous-même. Les représentations dominantes chez les uns et les autres, chez les Israéliens comme chez les Palestiniens, sont marqués par un fantasme de plénitude qui exclut toute approche de l'autre. Le texte littéraire, inspiré de ces jeux de miroir avec le politique, devrait défaire ce fantasme afin que l'accès à l'autre et à sa reconnaissance soit libreFive authors provide give us a vision of plurilateral Israeli-Palestinian conflict. Our work also focuses on the comparative study of texts of Mahmoud Darwish, Edward Saïd, David Grossman, Jean Genet, and Philip Roth. For each of them, we chose a text that reflects their relationship to this conflict, and beyond their relationship with a territory and a people. This link is in question: is the writing reflects some authors, family ties, ancestral origin that binds the writer to his community. Either writing extends its margins to other knotting to find "connections" outside the same. Between the two attitudes are two conceptions of politics, two different meanings of "demos" of democracy and acceptance or not of strangeness. It then also two different approaches to literature, it did not necessarily perpetuate our "representations" but question them in order to open another relative to each other and ourselves that is no longer conditioned by them. Against the cult of the full and full of fantasy players raging on both sides of the Israeli-Palestinian conflict, the literary text and the political will revise each other, so we can perhaps due recognition of otherness
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Kessler, J. Zachary. "Incredulities and Inconsistencies." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1244051328.
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Anderson, Daniel Paul. "Plato's Complaint: Nathan Zuckerman, The University of Chicago, and Philip Roth's Neo-Aristotelian Poetics." online version, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=case1196434510.
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Stepien, Aneta Barbara. "Shame, masculinity and desire of belonging in the novels of Hanif Kureishi, Philip Roth and Hubert Klimko-Dobrzaniecki, 1997-2007." Thesis, University of Surrey, 2013. http://epubs.surrey.ac.uk/850529/.
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This thesis provides a comparative study of male shame in Hanif Kureishi's Intimacy (1998), Philip Roth's Everyman (2006) and Portnoy's Complaint (1969), and finally Hubert Klimko- Dobrzaniecki's Raz. Dwa. Trzy (2007). As this reading of the novels reveals, shame in the male characters results from a failure to measure up to the hegemonic ideal of masculinity promoted in their respective cultures. This study shows that shame is an emotion, which conditions masculinity protecting the powerful hierarchies that exist between different masculinities and between men and women. This reading of shame as applied to masculinity in Polish, British and American contexts aims to expose those hierarchies demonstrating the liberating potential of shame, which can queer traditional masculinity allowing new forms of masculinity to emerge. The analysis of male shame illuminates further the clash between male gender, constructed primarily as a symbol of power, and shame considered as a disempowering and emasculating emotion. The writers selected for this analysis hold a status of the cultural other: Kureishi as British- Pakistani, Roth as Jewish-American and Klimko-Dobrzaniecki as bom in Silesia, a borderline region between Poland, Germany and the Czech Republic. The writers' status and personal experience is mirrored in their male protagonists' sexuality, ethnic and class belonging. Significantly, in their texts, the writers represent diasporic masculinity which clashes with the hegemonic ideal promoted by their respective cultures. Drawing on David Gilmore's concept of 'achieved manhood', Elspeth Probyn's notion of 'belonging' and Raewyn Connell's concept of 'masculinity crisis' this study explains why shame occurs as a result of the male protagonists' failure to secure their place within the realm of the hegemonic masculinity. The interdisciplinary approach taken in this study draws heavily on a post-colonial conceptual framework mainly due to the status of shame as both an individual and social emotion; it can be used as a means of social control as well as being a private feeling. This methodological approach facilitates the literary analysis of shame, embodied for instance in the images of the penis as expressing or failing to express virility and potency in the characters, as well as investigation of narrative expressions of shame examined through different concepts linked to the emotion, namely, gaze in Kureishi's Intimacy, hardness and softness in Roth's novels Everyman and Portnoy's Complaint, and dirt and disgust in Raz. Dwa. Trzy by Hubet Klimko-Dobrzaniecki.
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Addinall-Biddulph, Charles. "'The same authority as God' : the U.S. presidency and executive power in the works of Thomas Pynchon, Philip Roth and Cormac McCarthy." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11283/.
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This thesis aims to interrogate the role and representation of the United States presidency, presidential figures and avatars, and the question of executive power more generally, in the works of Thomas Pynchon, Philip Roth and Cormac McCarthy. Observing a gap in current criticism of these authors, and American literature generally, I propose that the presidency/executive provides a new and important way of mapping these authors’ work. In this I seek to build on Sean McCann’s work on this area in A Pinnacle of Feeling. My project situates itself in a historical framework, investigating the extensive network of historical evidence that each author uses in their conception of and dialogue with the presidency and executive power. My argument takes Pynchon’s portrayal of George Washington, the United States’ semi-mythical first president, in Mason & Dixon as its starting point, then proceeds to consider a range of texts before finally discussing the presence of Ronald Reagan and the rise of corporate power in McCarthy’s No Country for Old Men. I posit that in each of these authors’ work, the executive power is present simultaneously as an embodied and a “phantom” force, shaping the narrative and subjective individual experiences even when characters are not expressly engaged in political activity. A complex relay between embodied and phantom forces is apparent, with the identity and even physicality of individual presidential figures and avatars substantially affecting the operation of this power, amid a nuanced dialogue with the nation’s historical narrative. This dynamic occurs across these authors’ work, although they have divergent political and literary approaches. This thesis aims finally to establish this framework of executive power as a fundamental aspect of these authors’ writing that is vital to understanding their thinking about the United States, its history, and socio-political context, which could ultimately be extended to many other cultural and literary texts and their producers.
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Levy, Nurit. "La figure de l'intellectuel juif dans Le livre brisé de Serge Doubrovsky, La tache de Philip Roth et La Mariée libérée d'A. B. Yehoshua." Paris 7, 2013. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-3519-5.
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La figure de l'intellectuel juif témoigne d'un phénomène socioculturel qui a émergé en Europe au tournant du XXe siècle. Doubrovsky, Roth et Yehoshua, mettent en scène dans leurs œuvres des héros, intellectuels et universitaires juifs, dont le modèle de personnage répond à l'environnement socioculturel dans lequel ils vivent. Dans Le Livre brisé de Doubrovsky, le genre autofictionnel confond entre l'auteur, le narrateur et le personnage dans un récit qui laisse paraître la douleur d'un homme traumatisé depuis l'Occupation. Dans The Human Stain de Roth, le héros, Coleman Silk est un imposteur, un professeur de Lettres Classiques qui a renié ses origines noires afin d'endosser le costume d'un intellectuel juif. En positionnant le phénomène de \&political correctness au centre de l'intrigue de The Human Stain, Roth soulève le renversement théorique qui s'est opéré aux États-Unis à la fin des années 1980 lorsque des approches philosophiques françaises visant la liberté de l'expression, ont été transformées dans les universités américaines en système de surveillance du langage. Dans La Mariée libérée, Yehoshua crée le personnage de Yohanan Rivline, orientaliste à l'Université de Haïfa qui tente de découvrir l'origine du terrorisme en Algérie. Par le biais de cette recherche universitaire, il se rapproche de son étudiante arabe-israélienne Samaher et entame un voyage dans l'espace et l'inconscient de l'Autre. L'analyse des œuvres permet de distinguer les différentes réalités sociales qui influent la communauté juive en Diaspora et en Israël. Ainsi, l'intellectuel juif est appelé à naître, comme le résultat d'un processus historico-culturel qui est régi par la sociétéThe emergence of the figure of the Jewish intellectual in Europe at the end of the nineteenth century illustrates a sociocultural phenomenon of that period. Doubrovsky, Roth and Yehoshua choose heroes for their novels who are Jewish intellectuals and university professors, based on models specific to their particular sociocultural environment. In The Broken Book by Doubrovsky, the autobiographical gender merges author, narrator and character in a story that presents the pain of a man traumatized by the experience of the German Occupation of France. In The Human Stain, the hero, Coleman Silk, is an impersonator, a professor of Classics at Athena University who hid his Afro-American origins in order to put on the costume of a Jewish intellectual. By placing the phenomenon of political correctness at the center of the plot of The Human Stain, Roth highlights the theoretical reversal that occurred at the end of the eighties when American universities transformed French post structuralism, which had originally aimed for liberty of expression, into i System of language surveillance. In The Liberated Bride, Yehoshua creates the character of Yohanan Rivline, orientalist at Haifa University, who tries to discover the origins of Algerian terrorism. By means of his academic research, he gets closer to his Arab Israeli student, Samaher, undertaking a journey in the territory, and in particular the unconscious, of the Other. The analysis of these novels permits one to distinguish the different social realities that influence the Jewish community in the Diaspora and in Israel. Whence the birth of the Jewish intellectual, a direct result of historical and cultural processes taking place in society
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Proença, Pedro Augusto de Oliveira. "O comportamento sexual dos protagonistas de O amante de Lady Chatterley, de D. H. Lawrence, e de O complexo de Portnoy, de Philip Roth /." São José do Rio Preto, 2017. http://hdl.handle.net/11449/148857.
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Orientador: Giséle Manganelli FernandesBanca: Norma Wimmer
Banca: Mail Marques de Azevedo
Resumo: Este trabalho tenciona comparar como as personagens Lady Chatterley, protagonista de O amante de Lady Chatterley (1928), do inglês D. H. Lawrence, e Alexander Portnoy, protagonista de O complexo de Portnoy (1969), do norte-americano Philip Roth, lidam com seus comportamentos sexuais. A comparação será baseada no conceito de dialogismo, de Mikhail Bakhtin (2015). O dialogismo (ou as relações dialógicas) tem como premissa que um enunciado sempre é formulado por um ser humano situado histórica e socialmente e que está sempre em articulação com enunciados anteriores, com os quais estabelece uma relação tensa. Assim, o conceito supramencionado pode ser definido como as relações de sentido que os enunciados estabelecem entre si. Como as obras literárias estudadas tratam da temática da sexualidade e trazem duas personagens cujo comportamento sexual desafia discursos que oprimem a libido, é possível explorar o diálogo entre ambas as obras. Tentaremos demonstrar que a relação dialógica mais profunda entre as personagens não ocorre tão somente pelo tema da sexualidade, mas pelo seu aspecto transgressivo. Sendo a personagem do romance uma criatura social e histórica (BAKHTIN, 2014), produtora de enunciados, as épocas em que os enredos acontecem também serão investigadas, a fim de identificar quais discursos oprimiam as sexualidades dessas personagens e como estas os enfrentavam. Assim, estudaremos como a Revolução Industrial, a Primeira e a Segunda Guerra Mundial, o Antissemitismo nos...
Abstract: This thesis aims at comparing how the characters Lady Chatterley, protagonist of Lady Chatterley's Lover (1928), written by D. H. Lawrence, and Alexander Portnoy, protagonist of Portnoy's Complaint (1969), by Philip Roth, deal with their sexual behavior. Our comparison will be based on the concept of dialogism, by Mikhail Bakhtin (2015). Dialogism (or dialogic relations) has as premise that an utterance is always formulated by a historical and social being and it is always related with previous utterances, with which has a tense relationship. Therefore, the concept mentioned above can be defined as the meaningful relations that utterances have among them. As both literary pieces bring the theme of sexuality and bring characters whose sexual behavior challenges discourses that oppress the libido, it is possible to explore the dialogue between these two books. This work shows that the deepest dialogic relation between Lady Chatterley and Portnoy occurs not only due to the theme of sexuality, but also because of its transgressive aspect. Once the novel's character is a social and historical being (BAKHTIN, 2014) who produces utterances, the epochs of those novels will be deeply investigated, in order to identify the discourses that oppressed the sexuality of those characters and how they faced them. Therefore, the Industrial Revolution, the First and Second World Wars, Anti-Semitism in Nazi Germany and in the United States and the Civil Rights Movement will be addressed in connection to these novels. This study reveals similarities and differences between the main characters' sexual behavior, as well their relationship with the forces that curbed their libido and the transgressive aspect of each one's sexuality
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