Dissertations / Theses: 'Symbolism of numbers in literature'

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Wilson, Mary E. "Gothic cathedral as theology and literature." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002826.

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Van, Gorp Terry L. "An investigation of serpent symbolism and Numbers 21:4-9." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.

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Ayrey, Craig Leslie. "Debussy and the techniques of symbolism." Thesis, King's College London (University of London), 1997. https://kclpure.kcl.ac.uk/portal/en/theses/debussy-and-the-techniques-of-symbolism(c3c28864-a08a-49ae-8077-acf11312adf7).html.

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Nall, Timothy M. "An analysis of Chinese four-character idioms containing numbers structural patterns and cultural significance /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/839.

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Mullan, Anna. "Virgil and Numerical Symbolism." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/811.

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In the final book of the Georgics, Virgil digresses into a nostalgic and regretful explanation of his inability to include a proper discussion of gardening because he is spatiis exclusus iniquis (147). Often deemed “the skeleton of a fifth book of the Georgics” the exact meaning and intent behind this passage is still largely contested. In this paper I will attempt to de-strange this passage by examining it philosophically and allegorically, particularly by means of numerical symbolism.

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Eboli, Fang Regine Anne Marie. "Thinking Proust allegorically." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20522526.

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Tipper, Paul Andrew. "Colour symbolism in the works of Gustave Flaubert." Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:3814.

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The thesis adopts a structural and systematic approach to the study and analysis of colour terms in Flaubert's fiction.The Introduction highlights how Flaubert has come to be regarded as a problematic writer and how much existing work on his colour terms is in some way lacking in clarity. I proceed to fill this gap in Flaubert studies by elaborating a method of analysis of colour terms which clarifies how meaning is produced by the text. The method of analysis comprises eight stages which are systematically worked through as one considers eleven variables, one or several of the latter coming into play at any stage in the method and which may influence the ultimate type and degree of value-charge carried by a colour term. The method and the variables should be thought of as one ensemble or a methodology for the analysis of colour terms in prose fiction. The methodology is highly refined and is without precedent in that I examine the dual exchange of figurative charging which is always operational between a colour term and its associated referent.The thesis is divided into five chapters where each text is studied separately. The Oeuvres de Jeunesse are experimental writings and Flaubert is testing the figurative potential of colour terms. The chromatic codification is mainly traditional, though a nascent private elaboration may be discerned. Madame Bovary represents the peak of literary perfection. All the novel's colours contribute to the overall illusion/reality dichotomy which lies at the heart of the text.

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Vilain, Robert Leon. "The poetry of Hugo von Hofmannsthal and French symbolism : tradition and inhibition." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320987.

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Brennan, Isabel Cardigos. "In and out of enchantment : blood symbolism and gender in Portuguese fairytales." Thesis, King's College London (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285564.

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Ritchie, Fairlie. "Depth and destiny : religious significance in the symbolism of Isak Dinesen's literature." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66082.

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Talavera, Ibarra Pedro Leonardo. "The changing view on the world : from symbolism to avant-garde in Russian, French and Latin American literature /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Thesis (Ph. D.)--University of Texas at Austin, 1999.
Vita. Text in English, with some Russian, French and Spanish. Includes bibliographical references (leaves 222-240). Available also in a digital version from Dissertation Abstracts.

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Martin, Shannon. "A Palette of Unconvential Symbolism: Color Imagery in Three Margaret Atwood Novels." TopSCHOLAR®, 1995. http://digitalcommons.wku.edu/theses/915.

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In this thesis, the writer examines the color imagery in three Margaret Atwood novels: Surfacing, Cat's Eye, and The Handmaid's Tale. Atwood uses color in unconventional ways by forcing colors to symbolize the opposite of their common meanings, by allowing colors to represent simultaneously two opposing ideas, and by disregarding traditional color meanings by creating her own unique associations. Atwood's color imagery supports her thematic concerns in that through her themes--as with her use of color--she challenges the reader's expectations by throwing into question many conventional ideas about progress, religion, and the sex-gender system.

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Brice, Benjamin John. "Analogy, disanalogy and the Coleridgean symbol : some philosophical and theological contexts for Coleridge's theory of symbolism." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275724.

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Howell, Evan. "‘Some Can’t Be That Simple’: Flannery O’Connor’s Debt to French Symbolism." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2913.

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In this thesis, I trace the influence of French Symbolist poetry on the works of Flannery O’Connor. Many of O’Connor’s influences are well-known and documented, including Catholicism, the South, modern fiction, and her battle with lupus. However, I argue that Symbolism, via its influence on Modernist literature, is another major influence. In particular, I focus on several aspects of O’Connor’s writing: the recurrence of the same symbol across multiple works, the central location of symbols in several stories, the use of private symbols of the author’s invention, and use of symbol, rather than language, to convey transcendence. Aided by the scholarship of critics such as Richard Giannone, Laurence Porter, and Margaret Early Whitt, I argue that there is much in the aesthetic of Flannery O’Connor to suggest that her writing is, in part, a legacy of the French Symbolists.

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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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Hsu, Yun-Che. "The symbolism of blood in Levitical rites and sacrifices." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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Lubowinski, June Graybeal. "Heraldic Symbolism and Color Imagery in William Morris's "The Defence of Guenevere and Other Poems"." W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625529.

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McKenzie, Stephen. "Conquest landmarks and the medieval world image : a study in cartography, literature and mythology /." Title page, contents and synopsis only, 2000. http://web4.library.adelaide.edu.au/theses/09PH/09phm15746.pdf.

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Fulford, Tim. "A study of S.T. Coleridge's search for a spiritual language, with reference to wordplay, symbolism, and the Kabbalah." Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292834.

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Corbit, James B. "The Shelleyan vortex a study of the evolutionary development of the spiral within Percy Bysshe Shelley's "Alaster," "Mount Blanc" and "Prometheus Unbound" /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2003. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 2003.
Source: Masters Abstracts International, Volume: 45-06, page: 2843. Typescript. Abstract precedes thesis as preliminary leaves iii-iv. Includes bibliographical references (leaves 118-126).

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Brown, Patricia. "The role and symbolism of the dragon in vernacular saints' legends, 1200-1500." Thesis, University of Birmingham, 1998. http://etheses.bham.ac.uk//id/eprint/5414/.

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This thesis looks at the role and function of the dragon in the saint's encounter with the monster in hagiographic texts, written primarily in the vernacular, between 1200 and 1500. Those connotations accrued by the dragon which are relevant to this thesis are traced from their earliest beginnings. Although by the middle ages the multi-valency of the dragon is reduced to one primary symbolic valency, that of evil and significantly, the evil of paganism, the dragon never loses completely its ancient associations and they help to colour its function within the narrative. The symbolic use of the dragon in vernacular saints' lives is generally consistent, although allowing for different didactic emphases. However, the two legends on which this thesis concentrates are those of St George from Caxton's Golden Legend and St Margaret from the Katherine Group. Each reveals tensions within the text when the dragon's role departs from the familiar hagiographic topos. Firstly, the role of the hagiographic dragon is identified by a comparison with that of the dragon in romance. Allowing for cross-fertilization, this thesis focuses on the significance of the hero's dragon-fight and the saint's dragon encounter to differentiate between the ethos of the romance and hagiographic genres respectively. Tensions are created in the hagiographic text when the romance topos of the dragon-fight is used in conjunction with the hagiographic dragon encounter, as in the legend of St George. Finally, in the legend of St Margaret, the dragon's appearance unbalances and unsettles the perspective of the narrative when its role and function are deployed in the promulgation of virginity.

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Jackson, Veda Kimber. "It's all about color: an analysis of color symbolism in Toni Morrison's Sula and the bluest eye." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2011. http://digitalcommons.auctr.edu/dissertations/204.

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This study examines Toni Morrison’s use of symbolism in Sula and The Bluest Eye, especially archetypal and color symbolism, in an effort to recover the culture that has been lost to Diasporic Africans. Moreover, the color symbolism and symbolic archetypes that Morrison employs in both novels, but to a greater extent Sula, are a direct reflection of her awareness of the African ancestral heritage and spirituality associated with those colors and archetypes. A vast majority of the literary critiques of Sula have focused on either Sula as a scapegoat for the community, Morrison’s use of race, gender, and sexual themes, or the characterizations throughout the novel. The literary criticism of The Bluest Eye has mainly focused on issues of race, class, and gender and the effects that these issues have upon black and white societies in America. Although these themes warrant the attention that has been given them, little or no focus has been given to the prevalence of color symbolism that Morrison employs in both novels. Therefore, this paper will attempt to provide a focus on color symbolism that has not been explored in other literary reviews.

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Masera, Cerutti Maria Ana Beatriz. "Symbolism and some other aspects of traditional Hispanic lyrics : a comparative study of late medieval lyric and modern popular song." Thesis, Queen Mary, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321657.

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Tumino, Anna Maria. "La funzione simbolica dello spazio nella trilogia di Giorgio Bassani." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64203.pdf.

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Spencer, Briana M. "Material girl : the subjective role of objects in Dorothy Parker's poems and short stories /." Electronic version (PDF), 2005. http://dl.uncw.edu/etd/2005/spencerb/brianaspencer.pdf.

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Burkowski, Jane M. C. "The symbolism and rhetoric of hair in Latin elegy." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:44e36b32-8c44-4dd0-8241-3206e40e67f9.

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This thesis examines the hair imagery that runs through the works of Propertius, Tibullus, and Ovid. Comparative analysis of the elegists’ approaches to the motif, with particular emphasis on determining where and how each deviates from the cultural assumptions and literary tradition attached to each image, sheds light on the character and purposes of elegy as a genre, as well as on the individual aims and innovations of each poet. The Introduction provides some background on sociological approaches to the study of hair, and considers the reasons why hair imagery should have such a prominent presence in elegy. Chapter 1 focuses on the elegists’ engagement with the idea of cultus (‘cultivation’), and their manipulation of the connotations traditionally attached to elaborate hairstyles, of sophistication on the one hand, and immorality on the other, to suit an elegiac context. Chapter 2 looks at how the complexities of the power relationship between the lover and his mistress play out in references to violent hair-pulling. Chapter 3 focuses on the sometimes positively and sometimes negatively spun image of grey-haired lovers, as a reflection of the lover-poet’s own contradictory wishes for his relationship with his mistress; it also considers grey hair as a symbol of physical mortality, as contrasted with poetic immortality. Chapter 4 examines the use of images of loose hair (especially images of dishevelled mourning) to suggest connotations ranging from the erotic to the pathetic, and focuses on the effects the elegists achieve by using a single image to communicate multiple implications. The Conclusion considers the ‘afterlife’ of elegiac hair imagery: the influence that their approaches had on later authors’ handling of similar images.

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Berg, Wayne Carl Jr. "Images in the labyrinth a reading of symbol and archetype in four quartets /." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/berg/BergW0507.pdf.

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Shields, James Mark. "The lure of disillusion : toward a reappraisal of realism in religious understanding." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ29514.pdf.

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Wolfe, John Edward Hibbs Thomas S. "Transcending the garden the role of the sign of the garden in Augustine's Confessions /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5215.

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Stephanou, Aspasia. "Our blood, ourselves : the symbolics of blood in vampire texts and vampire communities." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3644.

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My thesis examines the ways in which blood is represented in vampire novels, films, and vampire communities. I locate my thesis within a postmodern framework that encompasses a diverse range of critical approaches such as postmodern, feminist and materialist theories, anthropology, psychoanalysis, and histories of medicine and ideas. The mixture of high and low status texts selected examine the ways identity, self-fashioning and the body are constructed through their use of a symbolics of blood. The first chapter examines the changing meanings of blood in vampire texts from the nineteenth century to the present through the discourses of medical science and technology. While blood is shown to be an important fluid in biomedicine, at the same time it conjures up associations with identity and corporeality. The second chapter examines consumption as a trope to define and control the female vampire. Through the analysis of literal and figurative acts of cannibalistic consumption, eating and incorporation in vampire literature, the chapter seeks to address female appetite, disease and identity. The third chapter examines the use of blood and postmodern self-fashioning in vampire communities in order to expose the various meanings of real or symbolic blood within postmodern culture. I conclude by addressing issues and ideas that my thesis has brought to the fore and which can be explored further.

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Wilson, Mary Elizabeth. "On the threshold placing servants in modernist domesticity /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/open_access_dissertations/56/.

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Brown, Goodwin. "The Search for Self: Individuation and the Alchemical Process in the Vida de Santa Maria Egipciaca." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997379263.

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Tampalini, Serge. "Affective space (looking back)." Thesis, Tampalini, Serge (2006) Affective space (looking back). PhD thesis, Murdoch University, 2006. https://researchrepository.murdoch.edu.au/id/eprint/331/.

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It may be argued that a historically accepted model of an academic career begins with having completed a PhD and in so doing identifying a body of theory that will inform and constitute one's practical academic work. While it may be an accepted model it does not necessarily take precedence as the only model. The relationship between theory and practice is symbiotic and as such it is possible, and indeed at times desirable, that practice inform theory. It is not advisable to be solely operating from a position of theory when making creative work; the risk is far too great. The gravitational force of theory can all too easily disturb the fragile innocence of creativity. Pulled and constrained by the logic of theory the work risks becoming too didactic and its creativity sacrificed for the sake of rationalism...a symptom almost diagnostic of our culture. I appreciate that the term creative is open to a plethora of readings, each with their own cogent claim to usage. When I employ the term I am referring to a particular type of decision-making process involved in the solution of problems. I will argue that a creative decision differs from other types of decisions [such as, practical or scientific] in the way the resultant solution of the problem remains open to a greater number of potential readings. I will also argue that it is precisely in those heuristic moments of potential impasse, often associated with a problem's resolution, where creativity hangs out. In any creative venture, I have always been guided by the importance and significance of doing...in the doing is the theory. This is not meant to dismiss theory but simply to see it in much the same way as when we see objects in our peripheral vision. Just as objects in our peripheral vision do not take their place in our visual field, theory [for me] participates in creative processes by subconsciously serving as an early guiding system that helps monitor the work. In this age of information we are no longer innocent of theory -it is ineluctable. What is crucial is that we have a command of theory in order that we may go through it and regain our creative innocence. If we do not, we only achieve an artificial innocence born of enthusiasm, exuberance and imprecision. Creative innocence is re-found in doing. This assertion conceives of theory as participating as part of a creative subconscious and goes someway towards explaining the sudden epiphany of understanding that is frequently associated with prolonged and intense work, or the immense pleasure at retrospectively recognising the theory that seemed to have informed one's work without being conscious of it -as if the theoretical component had always been there. This phenomenon is of fundamental concern to my thesis, especially when considering the theatre productions that constitute my creative oeuvre. Upon close inspection, my works ultimately reveal that the defining distance between a visceral creative decision [one whose manifestation is immediately felt as apposite] and one that is conceptualised as the illustration of a theory, is not that great...I just happen to begin working outside of the brackets of theoretical narration. Throughout my thesis I will refer to all visuals as images but I will argue that there are specific types of images, namely signs, symbols and metaphors. In language the term image can imply more than a verbal description of a purely visual experience; it can also mean the metaphoric, ornamental, rhetorical figurative use of language as opposed to its literal use. For the surrealists image meant more than the representation of an external thing in the material world, it also meant the revelation of an internal mental state, a psychological verity occluded from consciousness. Images [of this kind] were incandescent flashes linking two elements belonging to categories that are so far removed from each other that reason would fail to connect them and that require a momentary suspension of the critical attitude in order for them to be brought together. Having already built a body of practical work [spanning thirty years] the challenge was to see if it was possible to identify a coherent theory that consistently functioned as the catalyst of the work - albeit disparate in its nature. The analytical process proved to be the reverse of that which may be observed in the historically accepted model of academic discourse...where the process is cumulative. In this instance the process was deductive -a forensic assignment akin to tracing the diverse creative elements to their creative source or motivation. The venture proved illuminating in much the same way as when one is asked to crystallise a complex theoretical argument; you have to reinvent the argument in a way that helps to simplify its complexity without attenuating its integrity -a complexity that is well known to you but that eludes the uninitiated reader. Whenever I try and think about my theatre practice I am vexed -particularly when I filter my own experiences and try and extract the meanings that seem genuinely inherent in them. At first glance it is satisfying because of a sense of coherence or pattern in a whole host of discrete events. However a closer inspection quickly reveals the fractal complexity of the pattern and demands a reappraisal of how we see and decipher it. Any attempt to understand its disparate nature by investigating one part in isolation from the whole proves initially unsatisfying and finally futile, for each part seems to be informed by and refer to other parts, as if participating in a greater organising principle; a principle that resists traditional cartography; one that is best seen as one sees the earth from outer space. When the earth is seen from outer space one becomes aware of the greater organising principle [the universe] within which it functions. Similarly it is only when the topology of my work is seen from a distance that its coherence is apparent...the further away one is, the more clearly one recognises its constituent parts. Despite our desire to lose ourselves in the living depths of a work, we are constrained to distance ourselves from it in order to speak of it. Why, then not deliberately establish a distance that will reveal to us, in a panoramic perspective, the surroundings with which the work is organically linked? When I am in the middle of a theatre production, I have only the slightest idea of how it will end; I trust in the doing, and at the end I am always surprised by what I have created. Ambiguity and paradox and consequently indeterminacy ultimately emerge as the common features of my work; they appear as sign posts that mark a way of finally mapping it. Each individual piece of work remains coherently intact despite its seemingly obscure coalescence with others, but it is when the works intersect at these points of commonality that one may observe the greater organising matrix. The phenomenological world is not a pure being, but the sense which is revealed where the paths of my various experiences intersect, and also where my own and other people's intersect and engage each other like gears.

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Tampalini, Serge. "Affective space (looking back) /." Access via Murdoch University Digital Theses Project, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071116.144247.

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Friberg, Leif. "Från sonett till drömtext : Gunnar Björlings väg mot modernismen." Doctoral thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-310.

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The subject of this dissertation is the Finland-Swedish author Gunnar Björling (1887-1960) and his journey towards Modernism. The principle thesis of this dissertation, the idea that Björling’s distinctive language cannot be understood without an underlying modernistic current, is outlined in Chapter I. It also discusses the idea that Modernism cannot be reduced to a matter of style, but encompasses particular values, ideological stances and practical matters, such as the forming of alliances, writing manifestos and publishing journals. Chapter II examines how and why Björling came to be regarded as a modernist. A strongly contributing factor was Björling’s language, which from the very first violated prevailing ideas on acceptable forms of expression. The fact that he published his first book through the modernist publishing firm Daimon, and contributed to its journal Ultra, further confirmed his modernistic placing. Chapter III focuses on Björling’s unpublished juvenilia from the 1910’s. The young Björling wrote traditional rhyming verse but was also influenced by writings of a more symbolistic and modern character. The chapter concludes with a study of bizarrerierna, Björling’s dream notes, originally written during the 1910’s but first published in 1928. With their bold enjambments and highly compressed form, these notes came to influence the continued development of his lyrical imagery. Chapter IV deals with his debut Vilande dag (Resting day) (1922) and its symbolistically coloured language problematic. Björling struggled to find a language that would convey his experience of the limitlessness of being, a language striving to transcend words, leaving space for silence. This struggle for the right words continues in the later Korset och löftet (The cross and the promise) (1925) and Chapter V demonstrates how this is connected with the quest for God. In the wake of German Expressionism and Dadaism, Björling adopts a more disjointed syntax and a bolder and more dissonant lyrical imagery. There also occurs a thematic expansion, giving greater prominence to the daily life of the metropolis, a life transformed by media. In accordance with modernistic patterns, Björling chose to end his book with a theoretical epilogue, which is a distinctive collation of life philosophy, anti-clericalism, passionate religiousness, moral-philosophical discussions and aesthetic expositions.

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Nadler, Elizabeth. "Le roman symboliste : une logique de la distinction." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66264.

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Stirling, Kirsten. "The image of the nation as a woman in twentieth century Scottish literature Hugh MacDiarmid, Naomi Mitchison, Alasdair Gray /." Thesis, Connect to e-thesis, 2001. http://theses.gla.ac.uk/1053/.

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Thesis (Ph.D.) -- University of Glasgow, 2001.
Ph.D. thesis submitted to the Department of Scottish Literature, University of Glasgow, 2001. Includes bibliographical references (p.189-209). Print version also available. Mode of access : World Wide Web. System requirements : Adobe Acrobat reader required to view PDF document.

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Mahler, Susan Jennifer. "'...art is man's constant effort to create for himself a different order of reality from that which is given to him...' : ordering reality, an analysis of symbolism in the novels of Chinua Achebe." Thesis, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313589.

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Argenta, Marinice. "Simbolismo, surrealismo e fantástico: homologias e divergências em suas expressões artístico-literárias." Universidade Presbiteriana Mackenzie, 2007. http://tede.mackenzie.br/jspui/handle/tede/2146.

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Made available in DSpace on 2016-03-15T19:45:35Z (GMT). No. of bitstreams: 1 Marinice Argenta2.pdf: 736406 bytes, checksum: 67a3d76d27b6c8f9365698497a7d60ee (MD5) Previous issue date: 2007-02-02
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This dissertation analyzes three literary aesthetics: symbolism, surrealism, and "fantastic , willing to point out the dialogue established among them. The spoken dialogue can be evidenced not exclusively when the same thematic is applied, but also when some resources are (re)used and (re)meant. Both of them bring new ways of looking and interpreting the world. In order to observe how the aesthetic-philosophical features can be easily taken from literary texts, at the end of each chapter there will be an examination of a poem concerning the aesthetics studied. That will be the moment to check on the way the meaning effects generated from the specific features are made up in the text. By the comparison between the three literary aesthetics, not only ways to create the artistic object will be discovered, and consequently new ways of thinking, as well as the manner some contact points among the aesthetics, will be presented.
Esta dissertação analisa três estéticas literárias: simbolismo, surrealismo e fantástico, com a intenção de mostrar o diálogo que elas estabelecem entre si, quer mediante a retomada de certas temáticas, quer em virtude da presença de recursos que são (re)elaborados e (re)significados. Ambos os expedientes são portadores privilegiados de expressão de novas perspectivas de olhar e de interpretar o mundo. Para observar como os traços estético-filosóficos podem ser facilmente depreendidos dos textos literários, examina-se, ao final de cada capítulo, um poema relativo à estética estudada, momento em que se oferece a oportunidade de observar os efeitos de sentido que os aludidos recursos criam nas malhas do texto. Do cotejo entre as três manifestações literárias, descobrem-se não apenas maneiras diferentes de criação do objeto artístico e, por extensão, de novos direcionamentos do pensamento humano, como também se lêem pontos de contato entre as estéticas apresentadas.

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Norman, Fredrik. "“A peaceful world is a boring world” : a study in narrative structure and mythological elements in Squaresoft‟s Chrono Trigger." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8534.

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The focuses of this paper are narrative structures and mythological elements in the video game Chrono Trigger. A qualitative method was used to code the game world's seven eras into themes of symbolism, quest-themes, and, characters. These themes were compared with Northrop Frye's archetypal myth theory from Anatomy of Criticism. The results show that each age relates to a season and moves due to the player's influence according to a cyclical pattern. Six out of seven epochs show high correlation to Frye's archetypal model whereas options such as to discard the main hero illustrates the player's control. The seventh era pictures a more female symbolism than the male dominant template proposed by Frye. A hypothesis is presented with the concept of a fluent surface which argues that the player manipulates the basic story to build a personal narrative. Furthermore, the hypothesis emphasizes that the specific game mechanics stimulates the player's sensitivity to the narrative elements when constructing an individual ideal story.

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Poirier, Guy. "La structure symbolique de la poésie de Pierre Jean Jouve /." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66050.

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Ferreira, Natália Rizzatti. "A visão de mundo arruinada na obra Onde andará Dulce Veiga?, de Caio Fernando Abreu /." Assis, 2013. http://hdl.handle.net/11449/94037.

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Orientador: Benedito Antunes
Banca: Arnaldo Franco Junior
Banca: Gilberto Figueiredo Martins
Resumo: Nossa pesquisa de Mestrado tem em seu horizonte analítico investigar uma possível "visão de mundo arruinada" na obra de Caio Fernando Abreu (1948-1996). Para fundamentarmos a investigação, tomamos como foco da análise o romance Onde andará Dulce Veiga? (1990), com base nos escritos de Walter Benjamin e Antônio Candido. A ruína é entendida como o fragmento de algo que já fora maior, ao passo que o arruinamento é o processo em que ocorre a expansão dos elementos arruinadores. A "visão de mundo arruinada" mediaria os termos de uma equação em que há a representação da ruína e do processo de arruinamento, tanto na esfera temática quanto estrutural. Desta forma, se busca compreender como a "visão de mundo arruinada" perpassa algumas das escolhas textuais como o uso de uma linguagem fragmentada que, além de estabelecer um diálogo intertextual com a cultura de massas, remete à concepção de alegoria
Abstract: Our Masters research has in its analytic horizon to investigate a possible "worldview ruined" in the work of Caio Fernando Abreu (1948-1996). To effectively research, we focus on analyzing the novel Whatever happened to Dulce Veiga? (1990), based on the writings of Walter Benjamin and Antonio Candido. The ruin is understood as the fragment of something that had already been increased, while ruining is the process in which occurs the expansion of book burners elements. The "worldview ruined" could mediate terms of an equation in which there is the representation of ruin and the process of ruining both the thematic and structural spheres. This way, if tries to understand how the "worldview ruined" pervades some of the textual choices such as using a fragmented language that, in addition to establishing an intertextual dialogue with mass culture, refers to the concept of allegory
Mestre

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Brown, Barbara Ann. "The indissoluble bond between her and me : the symbolist poetics of Zinaida Nikolaevna Gippius and Collete Laure Lucienne Peignot /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061934.

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Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 236-241). Also available for download via the World Wide Web; free to University of Oregon users.

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Shumate, David R. "The vindication of God's leadership the divine probation of the theocratic order in Numbers 10:11-25:18 and its contribution to the structure and message of the book as a whole /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Gironce-Evrard, Marie-Anne. "La symbolique des saisons dans la poésie lyrique, en Italie, en Espagne et en France, 1465-1645 un prétexte pour dire le temps /." Villeneuve d'Ascq, France : Presses Universitaires du Septentrion, 2000. http://books.google.com/books?id=Wk9ZAAAAMAAJ.

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Burgon, Haleigh Heaps. "Redemption in the Life and Work of Camille Claudel." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/2987.

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Camille Claudel is a sculptor who has traditionally been approached in terms of her relationship to Rodin and his influence on her work. Indeed, the two shared a passionate relationship and there are certainly similarities between the two sculptors' work which provide for fascinating analyses. However, one of the acknowledged but previously unexplored speculations on Claudel's art suggests that it involves a measure of veiled spirituality sealed within its stone. It is precisely this sacred element within her sculptures that offers viewers an opportunity to experience transcendence while identifying with fundamental themes. Furthermore, Claudel created her figures as a method of interior healing and deliverance. This theme of redemption will be essential to arriving at the more profound, multifaceted interpretations of her sculptures. To highlight the connections to the various artists and movements discussed in the thesis, Claudel's piously thematic art can be compared to the nontraditional illustrations by Vincent Van Gogh, Paul Gauguin, and the religious depictions of James Tissot, as well as being seen as engaging with the idea of theosophy and the Symbolist art movement. It is true that in fin-de-siècle France, due to the advancing secularization of society, viewers did not understand religious and spiritual symbolism in art as comprehensively as they had in the past. However, it will be necessary to show that Claudel was not the only artist interested of her era who persisted in conveying spiritual themes within supposedly secular scenes. Yet, Claudel's work remains unique in that it communicates the theme of redemption through its creation as well as through its creator. Chez Claudel, the art and the artist are united and one cannot be fully understood without the other. Moreover, through her masterpieces, she did not only offer insight into the meaning of existence; through her redemptive works she found momentary salvation for herself and for others from the excruciating outward oppression present at the close of the 19th century. Unfortunately, since the moment she began to successfully achieve recognition for her work critics have been content to view each of Camille Claudel's sculptures as a deliberate response to her tumultuous relationship with Rodin. This thesis will investigate more enlightened interpretations made possible when one simultaneously considers the role of her spirituality. It will become unmistakably clear that Camille's brother Paul was right when he stated that her work is vastly different from all other artists' "because it welcomes light and radiates the inner dream that inspired it" (Ayral-Clause 157).

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Straub, Julia. "A Victorian muse : the afterlife of Dante's Beatrice in nineteenth-century literature /." [S.l.] : [s.n.], 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780826445896.

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Araújo, Samara Santos. "Portugal e Brasil em diálogo: um estudo da poesia simbolista de Camilo Pessanha e Maranhão Sobrinho à luz da literatura comparada." Universidade Federal do Maranhão, 2015. http://tedebc.ufma.br:8080/jspui/handle/tede/1510.

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Made available in DSpace on 2017-05-25T20:40:01Z (GMT). No. of bitstreams: 1 SamaraSantosAraujo.pdf: 1140324 bytes, checksum: ce6c04647ca6aa98ecc919a19dc83413 (MD5) Previous issue date: 2015-10-29
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
The main objectives of this dissertation are to investigate the relationship between the Portuguese and the Brazilian Symbolist productions, represented respectively by the Portuguese poet Camilo Pessanha and by the Brazilian poet (from the State of Maranhão) Maranhão Sobrinho; to emphasize the importance of Comparative Literature for artistic and cultural study of a given society; and to rescue as well as spread the symbolist poetry of the State of Maranhão through its poet Maranhão Sobrinho. This dissertation also emphasizes the study of the major themes of Symbolism - time, avoidance (cosmic integration, cult of the past, drunkenness, sleep/dream and death), love and the female figure, exile, and Satanism -having the Theory of Comparative Literature as theoretical reference. Such theory will support the study of the convergent and divergent relationship between the poetry of those poets mentioned, starting from the thematologyand the basic concepts of Comparative Literature: influence, dialogue, interdiscursivity and intertextuality.
O presente trabalho tem como objetivos principais investigar a relação entre a produção simbolista portuguesa e brasileira, representadas, respectivamente, pelo poeta português Camilo Pessanha e pelo poeta brasileiro (maranhense) Maranhão Sobrinho; ressaltar a importância da Literatura Comparada para o estudo artístico e cultural de uma dada sociedade; e resgatar e difundir a poesia simbolista maranhense por meio da figura do poeta Maranhão Sobrinho. Ressalta, ainda, o estudo das principais temáticas do Simbolismo: tempo, evasão (integração cósmica, culto ao passado, embriaguez, sono/sonho e morte), amor e a figura feminina, o exílio, o satanismo, tendo como referencial teórico a Teoria da Literatura Comparada. Semelhante teoria fundamentará o estudo da relação convergente e divergente entre a poesia dos poetas em questão a partir da tematologia e dos conceitos fundamentais da Literatura Comparada: influência, diálogo, interdiscursividade e intertextualidade.

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Smith, Roy Francis. "Toni Morrison's argument with the Other: Irony, metaphor, and whiteness." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1692.

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Black people, and blackness as a general symbol, has traditionally occupied a marginal or disadvantaged position in American literature, as opposed to representations of white people and whitness as a general symbol. Morrison's fiction in effect reverses this representation and positions white people in the position of the Other.

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Grelz, Karin. "Beyond the noise of time : readings of Marina Tsvetaeva’s memories of childhood." Doctoral thesis, Stockholms universitet, Slaviska institutionen, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-46.

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Although quite a few researchers have pointed to the significance of the childhood theme in Tsvetaeva’s work, no systematic analysis of her work has been done from this perspective. Nor have her childhood reminiscences been treated as a thematically consistent whole, but have rather been read as instances of the poet’s prose in general. The present study examines Marina Tsvetaeva’s memories of childhood in the context of her work and in the context of the cultural and political reality to which these reminiscences refer and in which they were written—i.e., Russia around the turn of the century and the Russian émigré world of 1930–1937. In the introductory investigation of the presence of the childhood theme in Tsvetaeva’s oeuvre, it is found that idealization of the naive, innocent state is a relatively constant feature and that the childhood memories can be read as a culmination of this set of motives. It is also stated that Tsvetaeva’s continuous striving in her poetry away from the world, out of time, is an integral part of the childhood thematics. This tendency is traced, in connection with the childhood theme, to the influence of writers of the late Russian Symbolist movement as well as to Boris Pasternak and Rainer Maria Rilke—all with roots in literary Romanticism. Childhood is moreover found to be something of a key theme that reveals fundamental differences in the relation to memory and language among the authors of Russian modernism. In Tsvetaeva' s case it is shown that her childhood memories contain the romantic essence of her aesthetics. The study also touches upon the symbolic and allegorical dimension of the texts—Tsvetaeva’s “otherspeak” in her prose. It is shown that the central scenes of these texts can be read as illustrations of an artistic and linguistic experience. In this regard the author’s narrative of childhood also appears to have been a suitable medium for articulating controversial aesthetic statements and taking a stand for an historical past and literary tradition that at the time seemed doomed to oblivion.

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Dissertations / Theses on the topic 'Symbolism of numbers in literature'

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