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Parker, Sarah J. "Alcaeus and the sea." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/10453.
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The first usage of the ship of state allegory is commonly attributed to the seventh century B.C. poet Alcaeus. While it is true that in his corpus of poetry we see the first explicit usage of such imagery, the possibility that it was employed by earlier poets is strong. This thesis is a detailed examination of five fragmentary poems and commentaries, its purpose being to determine Alcaeus' sources of inspiration for the ship of state allegory and to assess the degree of his originality and his effectiveness in using it. After surveying contemporary literary sources for definitions of allegory, it can be established that the ancients viewed it as a lengthened metaphor or metaphorical sequence, employed to veil the meaning of a text. The expressions chosen by Alcaeus to describe the travails of the ship are then examined to determine whether he has directly imitated or adapted phrases from his literary predecessors and if this is so, to assess the effectiveness of the imitation in terms of an allegorical representation of political strife. Although it is evident that Alcaeus adopts images and expressions previously employed, this study reveals that he is creative in assigning new meaning to certain expressions and that he imitates passages for their power to evoke a particular image. The association with the model is subsequently elaborated upon through the employment of unusual choices in vocabulary, either to sustain dual imagery or predispose his audience to think in figurative terms. Thus the evocation of images from earlier authors coupled with key internal allegorical indicators allows Alcaeus to convey successfully to his closed audience their political plight in the guise of danger at sea. (Abstract shortened by UMI.)
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Campos, Tatiana Monica de. "Memória e recordação: uma leitura de The Sea, de John Banville." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09122009-172315/.
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Focada na análise do romance de John Banville, The Sea, esta dissertação de mestrado procura analisar os elementos que julga fundamentais na obra: a memória e o processo de recordação. A parte I concentra-se na figura do narrador, o qual foi estudado sob quatro aspectos diferentes: a posição de onde narra, a relação que mantém com a memória, o viés ensaísta e o estilo, nesta parte nossos principais referenciais teóricos foram Walter Benjamin, Anatol Rosenfeld e Theodor Adorno. Na parte II, o foco foi a revisitação do passado e, dentro desse aspecto, estudou-se o cunho mítico da memória da infância, a partir das considerações de Joseph Campbell sobre esse assunto; além disso, estudou-se a relação entre tempo, espaço e memória, tendo como base Henri Bergson e George Poulet.<br>Focused on the analysis of John Banvilles novel, The Sea, this dissertation tries to analyze what it considers to be the most important elements in the novel: memory and the process of remembering. Part I investigates the narrator who was studied in four different aspects: position from which he narrates, his relationship with memory, his talent for the essay and his style; to that, Walter Benjamim, Theodor Adorno and Anatol Rosenfeld were of great help. Part II had as its focus the revisited past in which the mythic connotation of the narrators childhood was studied using Joseph Campbells considerations about myth; besides that, the relationship established among time, space and memory was analyzed with the help of Henri Bergson and George Poulet.
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Stedall, Ellie. "Herman Melville, Joseph Conrad and transatlantic sea literature, 1797-1924." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648378.
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Straight, Leslie. "Transcendental Mirrors: Thoreau's Pond, Poe's Sea, and Melville's Ocean." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/346.
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Three seminal 19 th-century North American literary works feature bodies of water which serve both as key elements in their narrative structure and as symbolic entities within their meaning systems. The protagonists in Henry David Thoreau’s Walden, Edgar Allan Poe’s A Narrative of Arthur Gordon Pym of Nantucket, and Herman Melville’s Moby-Dick literally define themselves in terms of their relation to these bodies of water. The best way to determine the function of water in the texts is to analyze the initial relationship between water and the central character, the way that water serves as a reflection of the Self, and the way that its Otherness suggests the ultimate possibility of transformation.
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Wilt, Brian David. "Geofon Deathe Hweop| Poetic Sea Imagery as Anglo-Saxon Cultural Archetype." Thesis, Truman State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1564553.
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<p> The oceans and seas play a fascinating role in human culture and literature. This thesis examines the sea imagery in several Anglo-Saxon poems in order to gain a deeper understanding of the function the sea plays in the Anglo-Saxon literary psyche. These texts include <i>Beowulf, Andreas, Exodus,</i> as well as the shorter "Seafarer" and "Whale" poems. The first part of this thesis focuses on sea imagery at the word level, analyzing Anglo-Saxon morphology and lexical compounding as a key to the metaphorical content of sea-kennings. The second part expands this focus to a textual level, examining the symbolism of sea imagery in Anglo-Saxon literature as an anthropomorphic will-power, a habitat of the monstrous, and a place of heroic action. Finally, the last part will argue for an underlying cultural archetype of the sea, based on parallel passages and common themes involving the sea in Anglo-Saxon poetry.</p>
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Morey, Laura Ellen. "A Distorting Mirror: "Wide Sargasso Sea" and "Jane Eyre"." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625819.
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Mateata-Allain, Kareva. "Bridging our sea of islands French Polynesian literature within the Oceanic context." Saarbrücken VDM Verlag Dr. Müller, 2006. http://d-nb.info/989099768/04.
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Kerr, Matthew P. M. "With many voices : the sea in Victorian fiction." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:873709c4-cc2e-4679-a7c3-12ddcca7c02e.
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This thesis considers some of the ways in which the sea was written about and written with in English nineteenth-century prose fiction. It has become a commonplace of literary criticism that, in the century preceding modernism, prose fiction about the sea was unthinking and uninteresting: indentured to outworn generic codes, tied to certain clichés of national identity, Empire, or slipshod sublimity, and vaguely evoking some or all of them. This thesis does not attempt a general contradiction of this view. What this thesis does suggest is that Victorian fiction is not always naïve about its subject and, at times, displays an awareness of the generic and stylistic hazards attendant upon writing about the sea. To write about the sea was to risk writing vaguely. However, to Victorian novelists who wished to draw on vagueness, the sea offered a subject and a style that could be put to use. The introduction sets out the terms of my discussion both of vagueness, and of the attitudes of Victorian writers and readers to the sea as a setting and theme for fiction. The terms of philosophical vagueness are compared with the nineteenth century’s most influential aesthetics of obscurity: the sublime. The purchase of these theories is then tested, first in relation to Ruskin’s lifelong interest in representing the sea in painting and prose, and second with reference to novels by George Eliot, Thackeray, and Gaskell. Prior critical approaches are also considered, as is the topic of empire, which I explain is not my primary focus. The body of the thesis is devoted primarily to three author studies: Frederick Marryat, Charles Dickens, and Joseph Conrad. Each author wrote vaguely about the sea, though vagueness is shown to be, in all three cases, a resource that can be drawn upon with degrees of self-consciousness; if, by the beginning of the nineteenth century, vague language was considered appropriate to the sea, the linguistic resources that the sea in turn offered began to seem increasingly applicable to experiences characterised by uncertainty. I suggest that the sea establishes conditions that invite a rereading of the many repetitions in Marryat’s novels. These repetitions can be viewed, I argue, as traces of Marryat’s struggle to find a language appropriate to the ocean. In Dickens’s writing, the sea is often present as a source both of metaphor and of experience. I suggest that the slippery doubleness of the literary sea is a means by which both Dickens’s characters, and the individuals he encounters as a journalist, can be made to coexist with their ideal or literary doubles. In my chapter on Conrad, I argue that the sea forms a crucial element of the kind of literary impressionism Conrad recommends in his preface to The Nigger of the ‘Narcissus’ (1897) and elsewhere. Vagueness arises when the border between linguistic concepts becomes blurred. Two short interludes, on the subject of shores and depths respectively, consider such permeable thresholds. These interludes also provide a means of charting changes that occurred across the period, a counterpoint to the more temporally specific focus of the author studies. I conclude with a brief discussion of Virginia Woolf’s The Waves (1931). Critics have distinguished the high modernist sea from what came before; this coda insists that the sort of vagueness valued by Woolf has an earlier origin.
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Hey-Colon, Rebeca L. "Sea-ing Words: An Exploration of the Maritime in Contemporary Caribbean and Latino/a Literature." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11408.
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My dissertation Sea-ing Words: An Exploration of the Maritime in Contemporary Caribbean and Latino/a Literature analyzes how writers from the Spanish-speaking islands and their diaspora have moved past the ever elusive Pan-Antillean quest for unity, rooted in the acceptance of a foundational Trauma (with a capital T). The writers I examine venture to humanize the basin, highlighting the routes, exchanges, and negotiations that currently distinguish the region. In doing so, the idea of one edifying Trauma is displaced by the existence of multiple and individualized iterations. As marginalized discourses infiltrate the center, the flow of the conversation is altered, opening up spaces for new interactions. Through their uses of the maritime, these writers transform the sea into a stage from which new perspectives on Caribbean and Latino/a literature emanate.<br>Romance Languages and Literatures
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Evans, David B. "Scepticism at sea : Herman Melville and philosophical doubt." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:a842c507-0efc-4b73-9aaa-ccc36f54a7a5.
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This thesis explores Herman Melville’s relationship to sceptical philosophy. By reading Melville’s fictions of the 1840s and 1850s alongside the writings of Descartes, Berkeley, Hume, and Kant, I seek to show that they manifest by turns expression, rebuttal, and mitigated acceptance of philosophical doubt. Melville was an attentive reader of philosophical texts, and he refers specifically to concepts such as Berkeleyan immaterialism and the Kantian “noumenon”. But Melville does not simply dramatise pre-existing theories; rather, in works such as Mardi, Moby-Dick, and Pierre he enacts sceptical and anti-sceptical ideas through his literary strategies, demonstrating their relevance in particular regions of human experience. In so doing he makes a substantive contribution to a philosophical discourse that has often been criticised – by commentators including Samuel Johnson and Jonathan Swift – for its tendency to abstraction. Melville’s interest in scepticism might be read as part of a wider cultural response to a period of unprecedented social and political change in antebellum America, and with this in mind I compare and contrast his work with that of Dickinson, Douglass, Emerson, and Thoreau. But in many respects Melville’s distinctive and original treatment of scepticism sets him apart from his contemporaries, and in order to fully make sense of it one must range more widely through the canons of philosophy and literature. His exploration of the ethical consequences of doubt in The Piazza Tales, for example, can be seen to anticipate with remarkable precision the theories of twentieth-century thinkers such as Emmanuel Levinas and Stanley Cavell. I work chronologically though selected prose from the period 1849-1857, paying close attention to the textual effects and philosophical allusions in each work. In so doing I hope to offer fresh ways of looking at Melville’s handling of literary form and the wider shape of his career. I conclude with reflections on how Melville’s normative emphasis on the acknowledgement of epistemological limitation might inform the practice of literary criticism.
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Vogtman, Jacqueline. "The Preservation of Objects Lost at Sea." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1268930284.
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Rigby, Nigel. "A sea of islands : tropes of travel and adventure in the Pacific 1846-1894." Thesis, University of Kent, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282512.
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Söderberg, Emelie. ""I often wonder who I am": : Identity, Landscape and Sexuality in Wide Sargasso Sea." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-6923.
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Tennholt, Karolina. "Patriarchal madness : Patriarchal oppression and madness in Jean Rhys's Wide Sargasso Sea." Thesis, Södertörn University College, School of Language and Culture, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-609.
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Mason, Steven D. "The Jewish concept of fruit a study in the Apocrypha, Pseudepigrapha, and Dead Sea scrolls /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Shmygol, Maria. "'A sea-change' : representations of the marine in Jacobean drama and visual culture." Thesis, University of Liverpool, 2014. http://livrepository.liverpool.ac.uk/2014959/.
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This thesis is concerned with exploring different forms of Jacobean drama and performances that span across different sites, from the commercial stages of London, to the civic pageants that took place on the Thames and in the City, and the court entertainments held at Whitehall Palace. My research necessarily casts a wide net over its subject matter in order to illustrate how these different modes of performance engage with representations of the marine through the technologies available to them, whether poetic, material, or both. While the sea had long been a receptacle for literary and poetic attention and can repeatedly be found as the stronghold of adventure, wonder, danger, and exile in the English narrative tradition, it is specifically at the beginning of the seventeenth century that the sea takes a hold of the literary imagination with particular force. The cultural, political, and economic predominance of the marine in early modern England found numerous means of expression in drama, where the different facets of marine identity and occupation create on-stage marine spaces. The thesis elucidates how these modes of performance often invoke and exploit the dramatic potential of the marine and its commercial, political, and iconographical meanings. Commercial drama, written for a pre-proscenial stage, realises the marine through language and metaphor, appealing to a collective imaginary in bodying forth the limitless watery expanses on which the action takes place. This imaginative embodiment finds a very different—and indeed a more material—means of expression in civic drama and the court masque, where the extensive and elaborate pageant devices and stage machinery were largely indebted to and shaped by continental theatrical design. The material means of expressing the marine that are found in the civic performances and the court masques discussed in this study necessitates a consideration of European trends in theatre design and the decorative arts. In looking to visual and material culture this thesis explicates the interdependence between different modes of creating on-stage marine spaces and the ways in which the material presence inflects both language and action in Jacobean drama.
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Sinche, Bryan Charles Gura Philip F. ""The test of salt water" literature of the sea and social class in antebellum America /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,400.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.<br>Title from electronic title page (viewed Oct. 10, 2007). " ... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English." Discipline: English; Department/School: English.
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Sobecki, Sebastian Igor. "From myth to mastery : a cultural geography of the sea in Insular literature, 1100-1450." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614967.
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P, Walden Daniel. "America at the sea : the influence of the coast on early and antebellum American literature /." Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1798970901&SrchMode=1&sid=2&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1268331278&clientId=22256.
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Thesis (Ph.D.)--University of Mississippi, 2008.<br>Typescript. Vita. Major professor: Benjamin F. Fisher Includes bibliographical references (leaves 191-204). Also available online via ProQuest to authorized users.
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Zhang, Xin. "The problem of identity in Jean Rhys's Wide Sargasso Sea." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2456325.
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Wagner, Vivian Audrey. "Caribbean Excesses: Color, Culture, Fashion, and Fire in Jean Rhys's Voyage in the Dark and Wide Sargasso Sea." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392043019.
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Góes, Fernando 1982. "A metáfora da tempestade marítima em A ostra e o vento." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270315.
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Orientador: Paulo Elias Allane Franchetti<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-17T15:44:56Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: Moacir Costa Lopes se projeta na literatura brasileira em 1959 quando publica seu primeiro romance: Maria de cada porto. Desde essa primeira obra, Lopes já demonstra toda a peculiaridade de seu estilo fluido, do tratamento diferenciado dado ao tempo e principalmente da temática do mar, pouco abordada na literatura brasileira. A ostra e o vento, publicado em 1964, foi a quarta obra de Moacir C. Lopes e pode ser entendida como um marco em sua produção romanesca, pois representa o que se pode chamar de início da sua fase madura como romancista. Em A ostra e o vento o que se destaca é a afinidade amorosa e conflituosa entre uma garota, Marcela, e um ser chamado Saulo, espécie de força sobrenatural, relacionado ao vento. Essa relação pode ser projetada na metáfora da tempestade marítima, pois essa figura sugere, em essência, uma relação entre amantes, entre mar e vento. Este último seria o responsável pela formação das tempestades ao agitar as águas com sua força. Assim, Marcela, atormentada por Saulo acaba destruindo todos os habitantes da ilha, tal como um mar revolto destrói aqueles que ousam desafiá-lo. A utilização da metáfora da tempestade marítima na interpretação de A ostra e o vento se mostra proveitosa, sobretudo, por permitir um melhor entendimento de Saulo, aceitando-o como um person gem autônomo e não apenas uma alucinação de Marcela. Tal figura também permite uma melhor compreensão do mar e de sua importância nessa narrativa como caracterizador da protagonista. Desse modo, por meio da metáfora da tempestade marítima, pôde-se ler A ostra e o vento se afastando da visão comum que tende a relacionar o mar com José. Essa nova leitura permite compreender melhor as peculiaridades dessa obra de Lopes, principalmente as relacionadas à categoria narrador/foco narrativo<br>Abstract: Moacir Costa Lopes appears on Brazilian literature in 1959 when he published his first novel: Mary of each port. Since that first work, Lopes already demonstrates the peculiarity of his fluid style, the differential treatment given to time and especially the theme of the sea, little appreciated in the Brazilian literature. The Oyster and the Wind, published in 1964, was the fourth work by Moacir C. Lopes and can be seen as a landmark in his novelistic production, it represents what might be called the beginning of his maturity as a novelist. The oyster and the wind in what stands out is the affinity and conflicted love between a girl, Marcela, and be named Saulo, a kind of supernatural force, related to the wind. This relationship may be associated with the metaphor of a storm at sea, as this figure suggests, in essence, a relationship between lovers, between sea and wind. The latter would be responsible for the formation of storms to stir the waters with his strength. Thus, Marcela, plagued by Saulo destroys all the inhabitants of the island as a stormy sea destroys those who dare challenge him. Using the metaphor of the storm at sea in the interpretation of The Oyster and the Wind proves useful, particularly for allowing a better understanding of Saulo, accepting it as an autonomous character and not just a hallucination of Marcela. This figure also allows a better understanding of the sea and its importance in this narrative as the protagonist's characterization. Thus, through the metaphor of the storm at sea, we could view The Oyster and the wind moving away from the common vision that links the sea with Joseph. This new interpretation allows us to understand better the peculiarities of this work of Lopes, especially those related to the category narrator / narrative focus<br>Mestrado<br>Literatura Brasileira<br>Mestre em Teoria e História Literária
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El-Haddad, Mohamed I. "An analytical study of some aspects of literary translation : two Arabic translations of Hemingway's The Old Man and the Sea." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/2053/.
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To our best knowledge this is the first attempt to investigate translation of the stylistic features involved in an interesting masterpiece of American literature, The Old Man and the Sea, written by Ernest Hemingway. This story has been translated into Arabic twice, first by Munir Ba'labaki and second by Dr Ziad Zakariyya. This thesis attempts to explore problems of literary translation from English into Arabic. It seeks to investigate some aspects of culture and style in The Old Man and the Sea and the two Arabic translations. The aim is to assess how much of the style and culture of the original has been preserved. It is also concerned with the problem of equivalence and translation units, since equivalence is considered the tool for detailed comparison. Chapter One deals with various approaches to evaluation of translation. This is done by reviewing a number of notions which have dominated the field of translation for a long time. One school believes that the act of translation is an art and that evaluation is limited to the aesthetic values of a literary work and depends largely on the critic's subjective decisions. Its objective is to provide a list of rules for the translator to follow in order to arrive at a translation of optimal value. The other school approaches translation as a linguistic operation and considers that a translation should be judged objectively, according to a linguistic analysis based on equivalence of the ST and the TT. Proponents of this view have developed models for evaluating. These models are addressed. Chapter Two is concerned with a review of certain concepts which are fundamental to literary translation. It attempts to highlight the theoretical approaches to the notion of 'equivalence', such as formal vs. dynamic and semantic vs. communicative equivalence, and different approaches to the question of translation units.
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Shum, Shiu-Lun. "The use of Isaiah in the Sibylline Oracles, Qumran literature and Romans (a source-influence study)." Thesis, Connect to e-thesis, 1999. http://theses.gla.ac.uk/1063/.
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Albépart-Ottesen, Chantal. ""What Am I? What Do I Want?" : An analysis of The Glassy Sea by Marian Engel." Thesis, Växjö universitet, Institutionen för humaniora, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-11016.
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The essay is a study of The Glassy Sea by the Canadian author Marian Engel. The novel focuses on the main character's self exploration ans her search for identity. A Jungian approach to this novel is particularly appropriate since the author makes use of several achetypes and symbols. Moreover, the novel is presented in an introspective manner that brings to the mind the method of self-examination used in psychoanalysis. The essay studies the development of the main character's identity, Rita. Her quest can be summed up in two questions: Who is she and what does she want to do with her life? We follow Rita through a series of steps that will lead her to maturity and to an independant life. Her development takes place in stages and the essay focuses on four of these. There is a regularity of pattern at each stage; Rita lives in different homes where she is under the influence of a mentor, whose role model she accepts at first, submits to and finally rejects. Among the archetypal images that appear in the novel, we find that the mother archetype is omnipresent and that Rita's growth progress is strongly connected to the mother complex. The author also makes use of the egg, the rose and the sea symbols to underline certain aspects of Rita's development. The essay seeks to connect Rita's developmental phases to the initiation rituals and the individuation process described by Jung.
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Cho, Paul Kang-Kul. "The Sea in the Hebrew Bible: Myth, Metaphor, and Muthos." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11462.
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The dissertation recounts the variegated journey of the sea in the Hebrew Bible through the lens of myth, metaphor, and muthos. The journey begins outside the Bible in ancient Near Eastern sea myths exemplified by the Ugaritic Baal Cycle and the Mesopotamian Enuma Elish, which tell the story of a sea deity whose defeat in cosmic battle against a protagonist god precedes three goodly consequences: creation, kingship, and temple. The story continues with the analysis of the biblical presentation of creation, kingship, and temple with emphasis on the constellation of themes and characters of the sea myth. The dissertation next analyzes the use of the sea myth as a metaphor for three events on the plane of history: the exodus (Exodus 14-15), the Babylonian exile (Isaiah 40-55), and the eschaton (Isaiah 24-27 and Daniel 7). Finally, the discussion moves from the analysis of the ways in which the sea muthos functions as a metaphor for the biblical presentation of individual events to the examination of the role of the sea muthos as a metaphor for a biblical view of historical reality in toto. In sum, the dissertation extends the study of sea imagery in the Hebrew Bible from mythology to metaphorology and narratology to argue for the deep, enduring, and transformative place of the sea myth within biblical tradition.<br>Near Eastern Languages and Civilizations
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Böttger, Sonja. "Memory, Ageing and Narrative Identity in John Banville’s The Sea : A Narratological Approach." Thesis, Högskolan Dalarna, Engelska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29613.
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Rantonen, Nadja. "Feminist Struggles for Identity in Charlotte Brontë’s Jane Eyre and Jean Rhys’s Wide Sargasso Sea." Thesis, Mittuniversitetet, Avdelningen för humaniora, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-35671.
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Friström, Paula. "Re-reading the Weak Other : an Interpretation of the Husband in Wide Sargasso Sea." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-6521.
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The essay is about the unnamed husband in Jean Rhys's Wide Sargasso Sea. About how he is depicted as the European "Other" and made into a feminized and zombified weak character from a Caribbean/feminist perspective...
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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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Wong, Ching-lun Helen. "Twice marginalized: women's identities in a foreign land: an analysis of Jean Rhys's Wide Sargasso Sea and AmyTan's the Joy Luck Club." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31583994.
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Vos, Daniel Jon. "Some of the Other Works of the Torah: Boundaries and Inheritance as Legal Metaphors in the Hebrew Bible and Hellenistic Jewish Literature." Thesis, Boston College, 2020. http://hdl.handle.net/2345/bc-ir:108730.
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Thesis advisor: David S. Vanderhooft<br>In this dissertation, I explore the metaphorical value of law in the Hebrew Bible and Hellenistic Jewish literature. While the study of biblical law and Hellenistic Jewish halakah is well established, less attention has been paid to the intentional use of legal diction to create legal metaphors—metaphors that draw upon legal language for the sake of generating new ethical and theological insights. My argument is based upon Roger White’s theory of metaphor which states that a metaphor juxtaposes two otherwise unrelated vocabularies in order to produce new meaning. Thus, I draw upon comparative study of ancient Near Eastern law as a means of understanding the register of biblical Hebrew legal diction concerning land tenure and inheritance. With the legal background established, I investigate three sets of metaphors, one drawn from the prohibition against violating established property boundaries and two drawn from the legal domain of inheritance: the inheritance of wisdom and the inheritance of glory. These legal metaphors demonstrate the profitability of attending to legal diction. The boundary metaphor demonstrates that when attempting to describe the good or virtuous life, law served not only to provide a description of obligations, it also shaped the way in which early Jewish communities understood reality itself. The inheritance of wisdom metaphors demonstrate that sophisticated comparisons could be drawn between legal concepts and scribal learning, particularly when wisdom was thought of as a document. The inheritance of glory metaphors demonstrate the way in which semantic shifting impacts the meaning of a metaphor<br>Thesis (PhD) — Boston College, 2020<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Theology
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Obaid, Jian. "What is known about genetic variation among Baltic Sea blue mussels and the promise of proteomics. A literature review." Thesis, Södertörn University College, School of Life Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2701.
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<p>The Baltic Sea is an evolutionary young sea that have developed a low salinity in its water from the fresh water that flows from the north and saltwater that flows from the south of the sea. The low salinity is too low for many marine organisms and too high for many freshwater organisms. Species like the blue mussel, which have adapted to the low salinity, may have developed different protein expression as a result. To study which protein that have been expressed in the organism proteome analysis is often used. 2-dimensional electrophoresis may be the only method that can do this kind of analysis.</p>
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Robin, Dominic. "The Inevitability of Decay: Disability in Ernest Hemingway's The Old Man and the Sea." UNF Digital Commons, 2018. https://digitalcommons.unf.edu/etd/833.
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With his suicide in 1961, Ernest Hemingway seemingly cemented into place his legacy as the classic image of the able-bodied, masculine man; he was, to many, the anti-disability writer, the author who lived for ability, lost ability, and took his life once he realized no chance of regaining his ability existed. Such a narrative, however, ignores the truly complicated and dynamic shape his understanding of the body took. Through an analysis of The Old Man and the Sea, I examine the form this ideology of ability took at the end of his life when, like the novella’s protagonist, Santiago, his failing health forced him to focus on the realities of the inevitable failure of his own body. Through the application of research such as David T. Mitchell and Sharon L. Snyder’s theory of narrative prosthesis, Tobin Siebers’ work on the ideology of ability, and Andrew Farah’s research on Hemingway’s declining physical condition, I demonstrate the ways The Old Man and the Sea legitimizes the disabled body, avoiding, in the process, several common narrative tropes such as the overcoming narrative or the kill-or-cure dichotomy and creating a space in which the inevitable decay of the human body must be seriously and honestly addressed. Through this research, a new more nuanced picture of Hemingway emerges, one that recognizes the complicated and dynamic nature his view of the able-bodied individual took.
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King, Richard Jay. "Immediate passage : the narrative of Joel H. Brown, with a critical essay on form and style in the sea voyage narrative." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/550.
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Ramos, Regiane Corrêa de Oliveira. "Amitav ghoshs Sea of poppies (2008): a web of gender, cultural and mythic relations in the nineteenth-century colonial India." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09082016-093021/.
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This doctoral dissertation focuses on Amitav Ghoshs Sea of Poppies (2008) to investigate, from a postcolonial perspective, the way in which the writer deconstructs gender in the nineteenth-century India. In Chapter I, I analyze men and women within the Indian familial space in the nineteenth century, demonstrating how both are subjected to the disempowering effects of traditional rituals (such as sati), structures of Brahminical morality and patriarchal violence. The main character pair Deeti and Kalua is an example of how the persons are sexually assaulted (rape) and then silenced by an oppressive system. Chapter II, I examine men and women within the British colonial space, indicating how they are effected by the opium cultivation in the Indian hinterland. The peripheral characters peasants, eurasian and convicts are highlighted to show how they are uprooted from homeland and forced to be taken across the seas by the colonial administration to work as indentured labour. In Chapter III, I investigate the gender roles ascribed to Indians by the British colonizers. The secondary character pair Nob Kissin and Taramony shows how Ghosh deconstructs gender with the use of Indian mythology and storytelling. In the conclusion, I point out how Indian mythology is retrieved as an instrument of resistance.<br>Esta tese de doutorado tem como objetivo investigar, sob a luz do questionamento póscolonial, como Amitav Ghosh em Sea of Poppies (2008) desconstrói a narrativa colonial sobre gênero na Índia colonial no século XIX. No Capítulo I, analiso homens e mulheres dentro do espaço familiar indiano, demonstrando como ambos estão sujeitos aos efeitos de desempoderamento dos rituais (como sati), da moralidade bramânica e da violência patriarcal. As personagens Deeti e Kalua exemplificam como os sujeitos, vítimas de violência sexual (estupro), são silenciados pelo sistema opressor. No Capítulo II, examino homens e mulheres dentro do espaço colonial britânico, indicando como os indivíduos são afetados pelo cultivo do ópio na Índia. As personagens periféricas camponeses, anglo-indianos e condenados servem de exemplo para destacar como essas pessoas são arrancadas de seu país e forçadas a migrar para as colônias inglesas. No Capítulo III, investigo como os ingleses inferiorizam os indianos. As personagens secundárias Nob Kissin e Taramony mostram como o conceito de gênero é desconstruído através da mitologia. Concluo argumentando que Amitav Ghosh faz uso da mitologia indiana como um instrumento de resistência.
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Smith, Cynthia Alicia. "Sentimental Sailors: Rescue and Conversion in Antebellum U.S. Literature." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1563961982289284.
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Dodd, Raymond H. "Four musical compositions (with accompanying notes) : Prezzo Concertante for symphony orchestra; Concerto for bassoon and chamber orchestra; Sea Gods for 8-part chorus; Improvisation for wind quintet." Thesis, University of Aberdeen, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262477.
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The grouping of these four compositions is intended to create a balanced portfolio, illustrating the management of a variety of forms, media and compositional problems. The submission divides into two parts: Part I - The Compositions: (i) <I>Pezzo Concertante</I> A single-movement orchestral piece for double woodwind; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; 4 percussionists; harp; strings. Duration c 11' This piece is a single-movement structure, compact and complete in itself, with some display elements for each section of the orchestra. It aims to provide both an interesting challenge for professional orchestral players and a strong and direct audience appeal. (ii) Concerto for Bassoon and Chamber Orchestra. In addition to the solo part it is scored for flute; clarinet; oboe; 2 horns; trumpet; trombone; strings. Duration c 15' This work plays continuously but is subdivisible into five sections of which the first three are virtually separate movements. It is designed to have an almost chamber-musical intimacy, while at the same time giving the soloist an opportunity to display many of the possibilities of the instrument. (iii) <I>Sea Gods</I> This is a setting for 8-part choir of a poem by H.D. (Hilda Doolittle). Duration c 7'30'' The setting was planned for a professional choir of not fewer than 16 singers, but could be very effective sung by a large chorus. It attempts to match the vivid imagery and intense feeling of H.D.'s powerful poem. (iv) <I>Improvisation</I> for Wind Quintet A single-movement work. Duration c 5' This short piece was written in 1991 for the Albany Wind Quintet who gave its first performance. Part II - The Notes: These explain some of the motivations and aims which inspired each piece. A short description of each work is given, together with a brief account of some of the underlying compositional techniques and considerations.
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Ott, Mark Patrick. "A sea change: The Gulf Stream and the transformation of Ernest Hemingway's style, 1932 - 1952." Thesis, University of Hawaii at Manoa, 2002. http://hdl.handle.net/10125/682.
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The dissertation argues that the transformations in Ernest Hemingway's writing style and his philosophy of the natural world between 1932 and 1952 can be attributed to his intense immersion in the environment of the Gulf Stream. This dissertation draws primarily on Hemingway's handwritten fishing logs from 1932, 1933, and 1934 in the Hemingway Collection at the John F. Kennedy Library, which have not been published or thoroughly studied. In 1929, Hemingway portrayed the Gulf Stream as a frontier, and claimed that he wanted to "write like Cezanne painted." Critics interpreted his work as a form of literary naturalism. In 1952, Hemingway portrayed the Gulf Stream world as a harmonious, organic whole, and he claimed that he would like to have his work illustrated by Winslow Homer. The distinct differences in the portrayal of themes, setting, and character between To Have and Have Not (1937) and The Old Man and the Sea (1952) are explored to illustrate the dimensions of the transformations within Hemingway's work. Numerous specific passages in the fishing logs served as seeds for scenes in these works, as Hemingway gathered raw material for his fiction. Through his scientific study of the climate, marine life, and birds of the Gulf Stream from 1932 to 1939, Hemingway's understanding of the integration of the natural world broadened. The new knowledge of "what to leave out" of his fiction refined his method of writing from the "iceberg principle," in which seven-eighths of the story is omitted. The precise observations of the logs, inscribed through hundreds of pages, generated the stylistic and philosophic transformation that occurred between 1932 and 1952.
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Cohoon, Nikkita Dolores. "We Used Clothespins." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1307981173.
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Zamorano, Rueda Ana Isabel. ""A sea that had no shores" : the fiction of Violet Trefusis in relation to V. Sackville-West and V. Woolf." Thesis, University of Hull, 1997. http://hydra.hull.ac.uk/resources/hull:5416.
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This thesis shows how the notion of androgyny works in the fiction of Violet Trefusis. It also posits her writing in connection to some novels by Vita Sackville-West and Virginia Woolf. Working within a theoretical framework provided by Julia Kristeva's psychoanalytical theory this thesis focusses on and seeks to redress the traditional conceptualization of androgyny providing a notion of the androgyne more in accordance to Woolf's androgynous ideal. The androgyne is understood in this thesis as a carnivalesque figure that disrupts the patriarchal system of hierarchical binary oppositions. Chapter Two provides a historical framework to Woolf's androgynous ideal. The research focuses, in Chapter Three, on the literary relationship sustained by Sackville-West, Woolf, and Trefusis which produced an, up to now unexplored, intertextual space where Challenge (1919), Orlando (1928) and Broderie Anglaise (1935) are interwoven. The apprehension of androgyny is an attempt on the part of these three women writers to find a different type of sentence whose construction has been theorised by Kristeva as Poetic language. This literary practice is an uncomfortable and dangerous one since it implies the avowal of the maternal serniotic in symbolic language. The difficulties in achieving the symbolic positionality of the subject of poetic language are addressed in Chapter Four in the analysis of Trefusis's Echo (1931) and Woolf's Between the Acts (1941). Chapter Five concentrates on Trefusis's discomforting sense of outsiderness. In Pirates at Play (1952) Trefusis explores the dialectics of foreignerness. Through the transubstantiation of her self into an armchair in Memoirs of an Armchair (1960) Trefusis acknowledges her abject in an attempt to relax the boundaries that separate self from other. Finally Chapter Six examines the search of a feminine Jowssance and its connections to death, or rather undeath, in two novels: Sackville-West's All Passion Spent (1931) and Trefusis's Hunt the Slipper (1937).
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Spanghero, Sara [Verfasser], Brigitte [Akademischer Betreuer] Glaser, Wondrich Roberta [Gutachter] Gefter, and Florian [Gutachter] Kappeler. "Sea Changes: Representations of Fluid Adolescences Through Literature and Cinema / Sara Spanghero ; Gutachter: Roberta Gefter Wondrich, Florian Kappeler ; Betreuer: Brigitte Glaser." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2019. http://d-nb.info/1195777159/34.
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McClory, Dunbar Helen Laura. "Kilea and a critical, reflective essay on Virginia Woolf's The Common Reader and To The Lighthouse, James Joyce's Ulysses and Jean Rhys's Wide Sargasso Sea." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1425/.
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This thesis consists of two parts: a creative work and a reflective, critical essay. The creative work is a novel, entitled Kilea after the central character, who is a young girl brought to a Scottish island by a man she calls Father. The girl is haunted by visions of spirits, called ‘schie’, and by their music, by her feelings of being an outsider, and by a metaphysical confusion and anxiety that grows as she develops. Kilea was originally modelled on Heliodorus’ the Aethiopika, a work of late Hellenistic fiction. However, while writing the chapters which make up the second part of this thesis, I came to realise that the plot of the older novel was not sympathetic with the aims and style I wished to bring to my work, and that my narrative could not follow a journey as the other had; it required to be located in one place only. A singular setting required an increase in detail, an awareness of landscape and how it can be salted with levels of meaning that enliven the language and support characterisation. The introduction and first chapter of the critical essay lay out the struggle to come to grips with the Aethiopika, and the usefulness of Virginia Woolf’s theories of cultural translation in ‘On Not Knowing Greek’, an essay in her The Common Reader, as well as how and why Woolf enacted the transmutation of setting in To the Lighthouse from a nostalgia-tainted Cornwall to a neutral, but unfamiliar place, Skye. Chapter Two addresses James Joyce’s Ulysses in a similar vein, though the style of this chapter is impersonal, lacking the ‘I’ of the rest of the critical essay. This decision was made to reflect the analytical, less personally reflective approach towards Joyce’s cultural reshift of the Odyssey from the Mediterranean to a time-specific, linguistically energised Dublin. The last chapter examines Jean Rhys’s Wide Sargasso Sea through the lens of feminism, with an awareness of Rhys’s antagonistic views of ‘Women’s Lib’. It notes how fate and foreknowledge of fate imbue the characters of the novel with a heaviness and fatality regardless of their gender. This is compared with Kilea, in which I wished to leave open a sense of possibility, in terms of the turns of plot, the physical qualities of the landscape and the presence, or imagined presence of the dead.
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Rosenthal, Sophia. "Letting in the Night: The Moon, the Madwoman, and the Irrational Feminine in Jane Eyre and Wide Sargasso Sea." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/901.
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This analysis examines Jane Eyre and Wide Sargasso Sea through the lens of lunar imagery and the irrational feminine, arguing that both texts are aspects of an extended, collective narrative in which both heroines rescue and reclaim their feminine essence from the construction of a masculine idealism.
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Heikinniemi-Sandstedt, Therese. "Postcolonialism - 'Other' and Madness in Jane Eyre and Wide Sargasso Sea : The Mad World of Jane Eyre, Bertha Mason and Antoinette Cosway." Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-37326.
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Góes, Fernando [UNESP]. "A representação do mar nos romances de Moacir C. Lopes." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/138761.
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Previous issue date: 2016-04-29<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Moacir Costa Lopes a publié son premier roman, Maria de cada porto, en 1959. On y trouve déjà un style fluide dans le traitement différencié du temps, ainsi que dans la thématique de la mer, jusqu’alors peu développée dans la littérature brésilienne. Lopes a été un romancier de la mer. Il a exploré la représentation spatiale, l’ambiance maritime, dont peu de personnes ont parlées, en les décrivant de façon unique dans la littérature brésilienne, guidé par son expérience de marin. L’ambiance maritime de Lopes est la réunion de plusieurs espaces conditionnés par la force symbolique de la mer. Dans ses romans, Lopes évoque ces nombreux espaces de façon profonde et métaphorique, en donnant la vie à l’ambiance maritime qu’il lie profondément à la structure de ses récits. On observe ainsi chez Moacir Costa Lopes une singularité spatiale de l’univers maritime par rapport aux autres espaces mis en œuvre dans la littérature brésilienne. L’objectif de ce travail est d’étudier la particularité de cet espace maritime chez Lopes et la façon dont il l’érige en métaphore dans ses romans. On souhaite démontrer une conjonction entre la thématique de la mer et la poétique de l’auteur en montrant comment ses récits absorbent les forces maritime qu’il figure en créant un champs spatial différencié dans le roman brésilien.<br>Moacir Costa Lopes publica seu primeiro romance, Maria de cada porto, em 1959. Já nesta primeira obra de Lopes é possível observar um estilo fluido com tratamento diferenciado dado ao tempo, bem como à temática do mar, pouco desenvolvida na literatura brasileira. Lopes foi um romancista do mar, trabalhou a representação da espacialidade, do ambiente marítimo, que poucos abordaram, descrevendo-os de modo quase único na literatura brasileira, até, orientado pelo ponto de vista de sua experiência como marinheiro. O ambiente marítimo de Lopes é uma junção de vários espaços condicionados pela força simbólica do mar. Em seus romances, Lopes aborda esses inúmeros espaços de modo profundo e metafórico, tornando o ambiente marítimo algo vivo e extremamente atrelado à estrutura de suas narrativas. Nas obras de Moacir Costa Lopes, portanto, é possível perceber certa independência espacial do mundo marítimo frente a outros espaços que marcaram o romance brasileiro. Estudar a singularidade do espaço marítimo de Lopes e o como essa categoria é erigida e profundamente metaforizada em seus romances é o maior objetivo deste estudo. Espera-se verificar certa conjunção entre o tema do mar e a poética de Lopes e demonstrar de que modo as narrativas desse autor absorvem as forças do ambiente marítimo por ele imaginadas a fim de gerarem um campo espacial diferenciado para o romance brasileiro.
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Sood, Arun. "Eighty years 'Owre the Sea' : Robert Burns and the early United States of America, c. 1786-1866." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7397/.
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This thesis represents the first extensive critical study of the relationship between Robert Burns and the early United States of America. Spanning literature, history and memory studies, the following chapters take an interdisciplinary approach towards investigating the methods by which Burns and his works rose to prominence and came to be of cultural and literary significance in America. Theoretically, these converging disciplines intersect through a transnational, Atlantic Studies perspective that shifts emphasis from Burns as the 'national poet of Scotland' onto the various socio-cultural connections that facilitated the spread of his work and reputation. In addition to Scottish literary studies, the thesis contributes to the broader fields of Transatlantic, Transnational and American Studies. Previous studies have suggested that Burns's popularity in the early United States might be attributed to his kinship with 'national' American ideals of freedom, egalitarianism and individual liberty. While some of the evidence supports this claim, this thesis argues that it also wrongly assumes a spatiotemporal unity for the nineteenth-century American nation. It concludes by suggesting that future critical studies of the poet must heed the multifarious complexities of 'national' paradigms, pointing the way to further work on the reception and influence of Burns in other 'global' or, indeed, transnational contexts.
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Hass, Andrew Wilfred. "Poetics and the philosophy of reflection : with particular attention to W.H. Auden's The sea and the mirror as it reflects back to its predecessors and forward to postmodernism." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/3530/.
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This thesis examines how a poetics may emerge from both the possibilities and the limits peculiar to the metaphor of the mirror and the concept of reflection. Working from a particular history of Western ideas that moves from Plato through to postmodernism, the examination focuses on W.H. Auden, whose treatment and utilization of reflection within The Sea and the Mirror, a long and variegated poem and commentary upon Shakespeare's late play The Tempest, act as a template for an expanded notion of poetics. It is argued that this poetics affirms the creative process by a breaking down of the borders between reflection and what is being reflected, thereby necessitating a reinscribing of those borders self-reflexively and ironically, and in tum necessitating a reevaluation of the respective tasks and boundaries of philosopher, artist and theologian. As suggested by Auden and The Sea and the Mirror, this poetics draws upon texts from a variety of historical periods and a variety of theoretical disciplines. The texts investigated in this thesis include: the "text" of a certain history of ideas defmed as the philosophy of reflection; Shakespeare's The Tempest; Robert Browning's Caliban Upon Setebos; Auden's later poem Friday's Child as well as many of his critical writings; and the theoretical notions and theologies of such contemporary thinkers as Jean-Luc Marion and Jacques Derrida as they themselves interact with the texts of the Bible, Kierkegaard, Nietzsche, Heidegger, and many other thinkers who have been critical of the West's metaphysical and onto-theological traditions. The bringing together of such texts is meant to show that, upon a continual reinvention of previous texts, the distinctions between an original and a copy, a poem and a commentary, or imaginative and theoretical discourse, begin to blur, and that the resulting negations and recreations, as variously represented by the figure of the "0", mark out a new inclusive arena for philosophy, art and theology. It is argued that this circular arena or stage does not, however, preclude the possibility of a "Wholly Other", but that, in line with the traditlolJ;,~~~5lIive theology, any theology seeking an non-idolatrous notion of GOd'"fWil1:.IJtq;lnd upon a doctrine of creation l~ ~ .... -'. . as suggested by Auden, where reverential silence is reached through the ironiesand inversions of conscious artifice as a "rite". In this sense, it is thus suggested that any philosophy or art probing the paradoxes and fissures of its own mirrorlike creations necessarily opens up new theological possibilities
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Spitler, Carole Sue. "The Old Man and the Sea: Hemingway, heteroglossia, and the hero's voice." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2381.
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In this subjective hero concept lies an intriguing aspect of Bakhtin's paradigm: A hero is not necessarily a living entity; a hero can be ideas, objects and locations. When viewed through the lens of traditional western rhetorical theory, Hemingway's The Old Man and the Sea appears as a monologue wherein Santiago seemingly speaks for the author about the subject of doom and man's relationship to the world.
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Wong, Ching-lun Helen. "Twice marginalized women's identities in a foreign land: an analysis of Jean Rhys's Wide Sargasso Sea and Amy Tan's the Joy Luck Club /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31583994.
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