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Dissertations / Theses on the topic 'Tony Williams'
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1
Rogers, Seth A. "Metric Displacement of Tony Williams' Early Career." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1274307983.
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Pugh, Christopher. "The late twentieth-century British father poem : searching for the male self." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391065.
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Robinson, Gregory Wright Hoerl Kristen E. "Burke's rhetoric of reorientation in Hank Williams' honky-tonk performance." Auburn, Ala., 2009. http://hdl.handle.net/10415/1808.
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Hall, A. "The disabled body in the writing of William Faulkner, Toni Morrison and J.M. Coetzee." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.599853.
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This thesis considers the representation of disabled bodies in the fictional and critical writing of William Faulkner, Toni Morrison and J. M. Coetzee. Virginia Woolf’s claim, early in the twentieth century, that the experience of invalidity constituted an ‘undiscovered country’ in literature and criticism, is a starting point. The thesis is interdisciplinary, drawing upon the emerging field of disability studies as well as literary criticism, philosophy, ethics and cultural studies. I examine the roles played by Faulkner, Morrison and Coetzee as academics, public intellectuals, curators and publishers, as well as writers of fiction. My project is engaged with shifting historical definitions and aesthetic understandings of disability which I show to be a fundamentally unstable concept. Diverse conditions of mental and physical disability are represented in the writing of the chosen authors, from Benjy’s ‘feeble mindedness’ in Faulkner’s’ The Sound and the Fury (1929) to the ageing, wasting bodies of Coetzee’s Diary of a Bad Year (2007). In the first chapter, I explore how Faulkner’s representation of mental impairment reconfigures sensory perception and the narrative mode itself. Morrison’s focus on conditions of physical disability, I argue, is bound up with her fascination with the ambiguous beauty of ‘foreign bodies’ in both her novels and the exhibition that she curated at the Louvre in 2006. The two final chapters examine Coetzee’s notion of bodily and literary lateness through a depiction of the disabling process of ageing and the role of disability as metaphor in the Nobel Prize lectures of all three authors. The question of how an able-bodied author or reader might empathise with a disabled character is central to my examination of how literature can help us to better understand the experience of, and issues surrounding, disability in twentieth century literature and twenty first century society.
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Hawkins, Christiane. "Historiographic Metafiction and the Neo-slave Narrative: Pastiche and Polyphony in Caryl Phillips, Toni Morrison and Sherley Anne Williams." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/741.
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The classic slave narrative recounted a fugitive slave’s personal story condemning slavery and hence working towards abolition. The neo-slave narrative underlines the slave’s historical legacy by unveiling the past through foregrounding African Atlantic experiences in an attempt to create a critical historiography of the Black Atlantic. The neo-slave narrative is a genre that emerged following World War II and presents us with a dialogue combining the history of 1970 - 2000. In this thesis I seek to explore how the contemporary counter-part of the classic slave narrative draws, reflects or diverges from the general conventions of its predecessor. I argue that by scrutinizing our notion of truth, the neo-slave narrative remains a relevant, important witness to the history of slavery as well as to today’s still racialized society. The historiographic metafiction of the neo-slave narrative rewrites history with the goal of digesting the past and ultimately leading to future reconciliation.
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Baskin, Richard Lee. "Act I, Scene 2 of Hamlet: a Comparison of Laurence Olivier's and Tony Richardson's Films with Shakespeare's Play." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500951/.
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In act I, scene 2 of Shakespeare's Hamlet, one of the key themes presented is the theme of order versus disorder. Gertrude's hasty marriage to Claudius and their lack of grief over the recent death of King Hamlet violate Hamlet's sense of order and are the cause of Hamlet's anger and despair in 1.2. Rather than contrast Hamlet with his uncle and mother, Olivier constructs an Oedipal relationship between Hamlet and Gertrude--unsupported by the text--that undermine's the characterization of Hamlet as a man of order. In contrast, Tony Richardson presents Claudius' and Gertrude's actions as a violation of the order in which Hamlet believes.
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Kekeh-Dika, Andrée-Anne. "Lieux et stratégies de résistance dans les discours romanesques de Gayl Jones, Paule Marshall, Toni Morrison, Alice Walker et Sherley Anne Williams." Paris 7, 1991. http://www.theses.fr/1991PA070067.
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Cette these est une etude comparative des oeuvres de cinq romancieres afro-americainnes : gayl jones, paule marshall, toni morrison, alice walker et sherley anne williams, elle tende de mettre en evidence a travers la problematique de la resistance les correspondances, l'intertextualite qui unissent les imaginaires de cinq romancieres qui ont en commun une meme identite culturelle et sexuelle. Elle comporte deux parties : une partie theorique ou les conditions de production et d'interpretation de la litterature afro-americaine sont analysees. La deuxieme partie est une lecture textuelle des oeuvres qui se fonde sur la notion de resistance definie sur un mode historique, ideologique et feministe. A travers l'etude de differents themes (la memoire, l'histoire, le corps feminin, la fete, le reve, la danse) la these tente de voir comment la problematique de la resistance s'inscrit en filigrane dans les textes.
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Dirlam, Richard. "Klangfarbenmelodien in Anton Webern's Symphony, Op. 21, First Movement: A Lecture Recital, Together with Three Recitals of Selected Works of O. Messiaen, G.F. Handel. C.M.V. Weber, M. Ravel, F.T. Haydn, W.A. Mozart, and R. Vaughan Williams." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331268/.
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Klangfarbenmelodien is a term first mentioned by Schoenberg in his Harmonielehre (1911) in a discussion suggesting the idea of tone colors as a structural element equal to other musical components such as harmony, rhythm, pitch, and dynamics. The intent of this study is to investigate significant influences that led to Webern's adoption and application of Klangrfarben techniques in the Symphony, op. 21, first movement. Webern's expression of Klangfarbenmelodien was his method of dispersing melodic lines and the manipulation of a wide gamut of varying tone colors.
A brief biography is included in the paper and Webern's professional career as a conductor is viewed and considered as to its affect on the creation of the Symphony with emphasis on his relationship with Schoenberg and the Society for Private Musical Performance.
The genesis of the Symphony and its early performance history is examined, as well as the structure of op. 21 with specific examples of Klangrfarbenmelodien. These techniques include the presentation of melodic lines in terms of octave register, timbre, dynamics, articulation, durations, rhythm, and instrumentation.
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Li, Ping-leung. "Reading the past or reading the present? : human experience at the crossroads of narrative /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262567.
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Denham, Michelle. "Representations (of Time) in the Twentieth Century Novel." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/612948.
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In my dissertation, "Narrative Representations (of Time) in the 20th Century Novel" I examine the way in which depictions of time intersect with narrative representation in the modern and postmodern novel. I specifically focus on the use of parentheses as a way to capture differing types of chronology in narrative. The parenthesis, in a purely visual sense, physically disrupts the act of reading by creating a type of barrier around one text, separating it from the main narrative. I argue that it is with this disruption that 20th century authors were able to experiment with depictions of time and the disruption of linear narrative. Borrowing Gerard Genette's phrase "temporal ellipses" I examine how authors in the 20th century used the "temporal parentheses" in order to convey different temporal experiences in narrative. For Virginia Woolf's To The Lighthouse, the parenthesis works as a way of presenting simultaneity of experiences when spatially separated. For William Faulkner's Absalom, Absalom, the parenthesis creates a kind of compressed time, so that the past becomes a heavy burden upon the present, as represented by the way a narrative experience can be extended within parentheses. In Salman Rushdie's Midnight's Children the parenthesis is used to bridge and create a dialogue between the present moment of the telling and the past moment of the story. In Toni Morrison's Sula, the parenthesis calls attention to physical placement, representing the way in which personal identity is linked to physical place and the rejection of permanence in the novel.
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Lawson, Jessica Lynn. "Subject matter: feminism, interiority, and literary embodiment after 1980." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/6457.
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I argue that literary texts after 1980 use the fluid relationship between the physical world and the world of writing in order to present alternate versions of the body’s relationship to the mind. Examining works by Toni Morrison, William Gibson, Kathy Acker, Sarah Kane, and Shelley Jackson, I demonstrate the ways in which these texts reinterpret the relationship between mind and body by offering bodily metaphors for their character’s interior emotional lives; they compare this inner life to a pregnant mother, a sexual couple, and more. I emphasize the political implications of the kinds of bodies employed in these metaphors, setting this against the background of late twentieth century feminism. I read my primary texts alongside the work of Julia Kristeva, Hélène Cixous, Luce Irigary, and others, in order to chart the parallel projects of literature and theory in articulating the relationship between the body—especially, the female body—and our understandings of subjectivity and representation. Starting with the 1980s, when the second wave feminist movement suffered conservative backlash, and continuing through the development of the third wave, I examine literary theorizations of feminist concerns during a period of transition in the feminist movement itself.
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Schetina, Catherine Ruth. "“It Made the Ladies into Ghosts”: The Male Hero's Journey and the Destruction of the Feminine in William Faulkner's Absalom, Absalom! and Toni Morrison's Song of Solomon." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/405.
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This thesis is a consideration of the intertextual relationship between William Faulkner's Absalom, Absalom! and Toni Morrison's Song of Solomon. It considers the objectification and destruction of women and female-coded men in the service of the male protagonist's journey to selfhood, with particular focus on the construction of race, gender, and class performances.
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Moss, Katie Reece. "The Power of Timelessness and the Contemporary Influence of Modern Thought." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/english_diss/32.
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In this dissertation I examine a variety of modern and postmodern texts by applying the theories of French philosopher Henri Bergson. Specifically, I apply Bergson's theories of time, memory, and evolution to the texts in order to analyze the meaning of the poem and novels. I assert that all of the works disrupt conventional structure in order to question the linear nature of time. They do this because each must deal with the pressures of external chaos, and, as a result, they find timeless moments can create an internal resolution to the external chaos. I set out to create connections between British, Irish, and American literature, and I examine the influence each author has on others. The modern authors I examine include T. S. Eliot, James Joyce, Virginia Woolf, and William Faulkner. I then show the ways this application can elucidate the works of postmodern authors Toni Morrison and Michael Cunningham.
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Lane, Michelle I. ""Why do hurt people hurt people?" A SERIES OF CASE STUDIES EXPLORING ABUSIVE RELATIONSHIPS IN DRAMATIC TEXTS AND ONSTAGE WITH TONI KOCHENSPARGER'S MILKWHITE." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492704228702652.
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Barlow, Gabriel Lashley. "Confrontation: Endeavors in Futility." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/697.
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This paper is intended to compliment and describe the body of work that has been produced within the time I have been enrolled as a graduate student at Virginia Commonwealth University's Photography and Film department. The paper will include information on both my MFA candidacy presentation as well as a description of the evolution of my artistic endeavors. The main focus of this document is to discuss my formal examination of performance based video works pertaining to the absurd as described by Camus, and later expressed by Samuel Beckett, also the role of the masculine body's physicality within ritualized actions.
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Berger, Aimee E. "Dark Houses: Navigating Space and Negotiating Silence in the Novels of Faulkner, Warren and Morrison." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2732/.
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Poe's "The Fall of the House of Usher," as early as 1839, reveals an uneasiness about the space of the house. Most literary scholars accept that this anxiety exists and causes some tension, since it seems antithetical to another dominant motif, that of the power of place and the home as sanctuary. My critical persona, like Poe's narrator in "The House of Usher," looks into a dark, silent tarn and shudders to see in it not only the reflection of the House of Usher, but perhaps the whole of what is "Southern" in Southern Literature. Many characters who inhabit the worlds of Southern stories also inhabit houses that, like the House of Usher, are built on the faulty foundation of an ideological system that divides the world into inside(r)/outside(r) and along numerous other binary lines. The task of constructing the self in spaces that house such ideologies poses a challenge to the characters in the works under consideration in this study, and their success in doing so is dependant on their ability to speak authentically in the language of silence and to dwell instead of to just inhabit interior spaces. In my reading of Faulkner and Warren, this ideology of division is clearly to be at fault in the collapse of houses, just as it is seen to be in the House of Usher. This emphasis is especially conspicuous in several works, beginning with Faulkner's Absalom, Absalom! and its (pre)text, "Evangeline." Warren carries the motif forward in his late novels, Flood and Meet Me in the Green Glen. I examine these works relative to spatial analysis and an aesthetic of absence, including an interpretation of silence as a mode of authentic saying. I then discuss these motifs as they are operating in Toni Morrison's Beloved, and finally take Song of Solomon as both an end and a beginning to these texts' concerns with collapsing structures of narrative and house.
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Frédéric, Paul. "Convergences aventureuses : L'Écho des années soixante-dix californiennes sur l'art européen des années quatre-vingt-dix et autres essais sur l'art contemporain." Phd thesis, Université Rennes 2, 2008. http://tel.archives-ouvertes.fr/tel-00383238.
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Le contexte artistique californien de la fin des années 60 et du début des années 70 constitue un terrain favorable aux investigations d'une nouvelle génération d'artistes, même s'il ne bénéficie pas de réels soutiens logistiques marchands ou institutionnels. L'art conceptuel promu à la même époque par Seth Siegelaub à New York prépare une alternative à l'art minimal. Ce phénomène a déjà son équivalent en Europe. La dématérialisation de l'oeuvre d'art aura des conséquences décisives en Californie, où elle donnera naissance à un art conceptuel dénué de tout dogmatisme marqué par l'influence de fortes personnalités comme Edward Ruscha et John Baldessari. Des artistes originaires de la côté est comme Douglas Huebler, William Wegman, Robert Cumming, du Midwest comme Ruppersberg trouveront de l'autre côté des États-Unis des conditions de travail plus stimulantes. Des Européens comme Bas Jan Ader ou son complice Ger van Elk suivront le même chemin. Leurs oeuvres ne trouveront pas immédiatement sur place une grande visibilité. Mais après une éclipse d'une quinzaine d'années, voici qu'une nouvelle génération d'artistes européens (citons des artistes comme Claude Closky, en France, ou Jonathan Monk, en Angleterre) se penche sur ces grand frères et les place au premier rang de leurs références. À partir d'exemples sélectionnés d'artistes et d'un corpus de textes constitué depuis le début des années 90, que j'ai écrits pour différents catalogues d'expositions, revues, éditeurs, l'objet de cette thèse est de présenter ce dialogue entre les générations et de mettre en évidence certaines convergences malgré la dissemblance des contextes institutionnels et sociétaux.
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Harpin, Tina. "Inceste, race et histoire : fictions et contre-fictions de pouvoir dans les romans sud-africains et états-uniens des XXème et XXIème siècles." Thesis, Paris 13, 2013. http://www.theses.fr/2013PA131014.
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Tabou réputé universel, l'inceste constitue un thème littéraire protéiforme et ancien. Pour le spécialiste du romantisme Peter Thorslev, l'intérêt de la littérature pour ce motif est dû à sa puissance dramatique, car il met en scène le désir d’un individu contre la société. Cette conception, juste pour décrire la tradition romantique passée, ne rend pas compte de la complexité des fictions romanesques abordant l’inceste à partir du XXe siècle. La « multiplication des discours sur le sexe dans le champ d’exercice du pouvoir lui-même » que décrit Foucault et le développement des politiques racistes et eugénistes font que l’inceste s'intrique en effet à un autre concept polémique : la « race ». L'écriture romanesque de ce thème ne concerne plus un individu en butte contre la société mais des groupes cherchant à se définir, et le plus souvent racialement. La confrontation aux incestueux décrit une limite symbolique incertaine non pas tant entre civilisation et barbarie qu'entre bon citoyen et non-citoyen. Aux États-Unis et en Afrique du Sud où les fictions politiques de la nation érigée en famille idéale ont servi à justifier l'exclusion de la population non-blanche, ce que nous appelons les « contre-fictions d'inceste » interrogent de façon provocante la citoyenneté et le droit dans ces États. Le motif de l'inceste, fantasmé ou accompli, est étudié dans des romans datés de 1929 à 2005 et écrits entre autres par W. Faulkner, T. Morrison, R. Ellison, G. Jones, Sapphire aux États-Unis et par D. Lessing, B. Head, A. Dangor, M. van Niekerk, L. Rampolokeng en Afrique du Sud. Nous retraçons l'évolution du traitement esthétique et politique de l'inceste dans les romans de ces pays marqués par l'association entre communauté, nation et « race », et réfléchissons dans le même temps à la réalité omniprésente de ce crime dans nos sociétésIncest, a notorious universal taboo, is an ancient protean theme in literature. According to Peter Thorslev, writers are drawn to this theme because of its powerful dramatization of the conflict between an individual's desire and that of the society. This theory is applicable to the past tradition of romanticism, but it doesn't take into account the complexity of incest fictions written in Twentieth-century novels. The «proliferation of discourses on sex within the context of power itself » described by Foucault, along with the development of the politics of race and eugenics, explain how the incest theme is intertwined with another controversial concept : « race ». Novels no longer depict an individual fighting against society when they portray incest, but they think of human groups trying to define themselves, often by way of race. Confronting incestuous characters is not a means of drawing an obscure symbolic line between the civilized and the savages, but among citizens and non-citizens. In South Africa and the United States of America, where political fictions had defined the nation as a perfect family to justify the exclusion of non-white people from the community of citizens, « counter-fictions of incest » examine in provocative ways how citizenship and rights are articulated. I question the incest theme – forbidden desire or sexual violation– in novels from 1929 to 2005, by American writers such as W. Faulkner, T. Morrison, R. Ellison, G. Jones, Sapphire and by South African authors like D. Lessing, B. Head, A. Dangor, M. van Niekerk, and L. Rampolokeng. I outline the aesthetic and political evolution of the incest theme in novels written in those societies where community, nation and « race » were particularly interconnected, while simultaneously reflecting on the omnipresent reality of the crime of incest in all societies
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Harris, Eleanor M. "The Episcopal congregation of Charlotte Chapel, Edinburgh, 1794-1818." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/19991.
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This thesis reassesses the nature and importance of the Scottish Episcopal Church in Edinburgh and more widely. Based on a microstudy of one chapel community over a twenty-four year period, it addresses a series of questions of religion, identity, gender, culture and civic society in late Enlightenment Edinburgh, Scotland, and Britain, combining ecclesiastical, social and economic history. The study examines the congregation of Charlotte Episcopal Chapel, Rose Street, Edinburgh, from its foundation by English clergyman Daniel Sandford in 1794 to its move to the new Gothic chapel of St John's in 1818. Initially an independent chapel, Daniel Sandford's congregation joined the Scottish Episcopal Church in 1805 and the following year he was made Bishop of Edinburgh, although he contined to combine this role with that of rector to the chapel until his death in 1830. Methodologically, the thesis combines a detailed reassessment of Daniel Sandford's thought and ministry (Chapter Two) with a prosopographical study of 431 individuals connected with the congregation as officials or in the in the chapel registers (Chapter Three). Biography of the leader and prosopography of the community are brought to illuminate and enrich one another to understand the wealth and business networks of the congregation (Chapter Four) and their attitudes to politics, piety and gender (Chapter Five). The thesis argues that Daniel Sandford's Evangelical Episcopalianism was both original in Scotland, and one of the most successful in appealing to educated and influential members of Edinburgh society. The congregation, drawn largely from the newly-built West End of Edinburgh, were bourgeois and British in their composition. The core membership of privileged Scots, rooted in land and law, led, but were also challenged by and forced to adapt to a broad social spread who brought new wealth and influence into the West End through India and the consumer boom. The discussion opens up many avenues for further research including the connections between Scottish Episcopalianism and romanticism, the importance of India and social mobility within the consumer economy in the development of Edinburgh, and Scottish female intellectual culture and its engagement with religion and enlightenment. Understanding the role of enlightened, evangelical Episcopalianism, which is the contribution of this study, will form an important context for these enquiries.
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Fanning, Sarah Elizabeth. "Changing fictions of masculinity : adaptations of Jane Eyre and Wuthering Heights, 1939-2009." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8524.
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The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.
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Monteiro, Emanuel Filipe Ferreira. "Contributo de Buddy Rich para o desenvolvimento da bateria." Master's thesis, 2018. http://hdl.handle.net/10773/25268.
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O presente trabalho pretende analisar o contributo de Buddy Rich para o
desenvolvimento da bateria. Para tal, analisa-se o seu contributo de acordo
com um conjunto de variáveis definidas – técnica, estilo, formação, bateria e
pedagogia – comparando-o com outros bateristas de jazz emblemáticos do
século XX. Daí resulta que Buddy Rich é certamente um dos mais influentes
bateristas da época ao nível técnico, apresentando uma sonoridade e
identidade únicas, sendo também um exemplo de band leaderThe current master thesis intends to analyze the contribution of Buddy Rich to the development of drums. His contribution is analyzed according to a set of defined variables - technique, style, types of groups, drums and learning - comparing it with other emblematic jazz drummers of the twentieth century. It turns out that Buddy Rich is certainly one of the most influential drummers of the time at the technical level, presenting an unique identity and sound, being also a great example of band leader
Mestrado em Ensino de Música
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Hsieh, Shu-fen, and 謝淑芬. "Representation of Black Female Identity in William Faulkner's Go Down, Moses and Toni Morrison's Beloved." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/58694436576915464132.
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碩士國立臺灣師範大學
英語研究所
87
This thesis aims at exploring the construction and representation of the black female identity in Faulkner's Go Down, Moses and Morrison's Beloved. My juxtaposed reading of these two texts accentuates the distinction of representational politics and identity formation between the two writers of opposite genders and different races. In addition, the intertextuality illuminates black females' dilemma under the double oppression of racism and sexism. Chapter One clarifies the difference between master-pieces and revisionary texts by drawing on Fredric Jameson's theory of interpretation and M.M. Bakhtin's theory of heteroglossia. Chapter Two not only emphasizes the contextualization and historicization of cultural identity but illustrates the dialogic relations between the politics of representation and the identity construction of black females. In "Cultural Identity and Diaspora," Stuart Hall demonstrates that "practices of representation always implicate the positions from which we speak or write-the positions of enunciation" (110). The white males in Faulkner's work not only govern the position of enunciation and the site of representation, but manipulate the construction of black female identities. "The real me" of the subaltern is subjected to the inscription of the McCaslin ledgers and the discourse of the dominant society. Accordingly, for the subaltern, retrieving the position of articulation and the right of self-representation aims to subvert the identity imposed by the dominant. In Beloved, Morrison successfully recapitulates the disremembered history by rememory and the return of the repressed and thereby reconstructs the subaltern identity. Chapter Three explores the peculiar maternal identity of black females in slavery. In the white-centered discourse, the loyal and submissive mammy becomes the most significant controlling image. Her self-sacrifice mystifies the black-white opposition and discloses black women's longstanding restriction to domestic services. However, in Morrison's revisionary text, she renders an alternative explanation to black motherhood. Baby Suggs, as the community othermother, uplifts the race and advocates self-affirmation. Despite Baby Suggs' opposition, Sethe kills her daughter to save her from the cruel institution of slavery. Her infanticide reveals black mothers' contradictory maternity and signifies the "unspeakable thought, unspoken" (199) in and out of slavery. Chapter Four delves into the racialized sexual identity of black females. Female bodies have long been the contested sites. The complicated and entangled network of sex/gender/sexuality bears witness to the repeated play of domination and interweaving power struggle. The image of Jezebel offers an alibi for the sexual abuses of white males on black females' body. In the slavery era, black female slaves are regarded as chattels and objectified to be the sexual receptacles. Trapped in the patriarchal world, they become "the other other" owing to the suppression of both racism and sexism. Chapter Five draws a conclusion on Faulkner's limitation and Morrison's expectation in representing black female identities. The unnamed woman in "Delta Autumn" and Denver in Beloved respectively signifies the hegemonic manipulation of the racial ideology on the representation of black female identities in Faulkner's work and symbolizes Morrison's ardent anticipation of reclaiming the enunciative position and constructing black
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Kendig, L. Tamara. "Dreaming of home : magic realism in William Faulkner, Gabriel García Márquez, Toni Morrison and John Nichols /." Diss., 1998. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:9833169.
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凃奕岑. "Representing African American Slave History: Memory and Racism in William Faulkner's Go Down, Moses and Toni Morrison's Beloved." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/7w6533.
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碩士國立臺灣師範大學
英語學系
101
This thesis aims at exploring the representation of African American slave history in William Faulkner’s Go Down, Moses and Toni Morrison’s Beloved. My comparative reading of these two texts seeks to examine the similarities and discrepancies between the two writers’ representations of African American slave history. Through intertextual comparison, both novels dramatize the central problems of plantation life under slavery in the American South, including the legacy of racism. Here I try to compare and explore the themes of representing African American slave history, memory and racism in the three main chapters respectively. Chapter One centers on both writers’ representations of African American slave history, and compares their preoccupation with the historical accounts as a crucial source for fictional representation of 19th-century African American slave history. Chapter Two focuses on the themes of memory and narrative. I would like to examine the pervasive influence of memory, the role memory plays and its effects, and also both writers’ manipulations of memory as the subject matter and as a narrative aesthetic that wraps up the whole novel. In Chapter Three I try to discuss the racial relations and racism in both texts. Faulkner’s representation of the McCaslin family history foregrounds the notion of race and racism with dichotomous white-black racial division in the white patriarchal society. Both texts reflect racial difference and white supremacy and domination over the black based on the white’s racist mindset, a pervasive ideology imprinted in the South. Morrison out of human concern unflinchingly undermines the racial ideology and assumptions that have historically legitimated the exploitation and oppression of the black people. Through memory of fictional characters as a specific form of narration, both novels restore the disremembered slave experience during the Middle Passage and on the plantation in Southern culture, thereby interrogating the disturbing racial subjects. That is, the two novels serve as a record of Southern history and a confrontation with the evils and consequences of slavery and racism in the Deep South.
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Yoon, Seongho. "The differences place makes: Geographies of subjects, communities, and nations in William Faulkner, Toni Morrison, and Chang-rae Lee." 2006. https://scholarworks.umass.edu/dissertations/AAI3215768.
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This dissertation articulates the ways in which space and place permeates grand national narratives as well as everyday events of "American" life, and captures how they are represented in literary texts. I am committed to exploring, through the lens of the cultural geography, the workings of representation in the "production of space" as simultaneously real, symbolic, and imaginary. Embedding my study in critical perspectives provided by New Americanist, postcolonial, and transnational studies, I aim at mediating simultaneously abstract and material lineaments of our social emplacement, and putting in historical contexts the material geography of the United States (and beyond) and its literary representation. Chapter I traces the main issues in current writing on space and attempts to produce a nuanced account of the instrumentality of space as a register of not only built forms but also of embedded ideologies. Chapter II addresses a more pluralistic notion of "southerness" envisioned in William Faulkner's Light in August by reading him as a different kind of "regionalist" who crosses regional and national boundaries while seemingly staying within his own fictional counties. Chapter III delves into what it means for displaced people to reclaim a secured placed called "home" in Toni Morrison's Paradise, and examines how the geography of exclusion is re-worked through a postethnic vision. Chapter IV scrutinizes how transnational migration and the flow of capital, labor, and cultures give American suburbs new faces and bring about tensions, opening up a national context to transnational frames of reference---"Third Worldization" of American suburbs in David Palumbo-Liu's words. My dissertation seeks to add to and extend the field of study because its focus on the spatial and representation shifts the axis of analysis, taking literature into new arenas not yet fully cognizant of its spatial critiques. In order to overcome both empty geography that requires only minimal material grounding and thus resists being represented as "place," and pure textuality impervious to cultural content, there should be, I would contend, a continuing special interest in understanding the ways that questions of difference are spatialized in new ways to map "American" sites of place formation.
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Wholuba, Anita P. Montgomery Maxine Lavon. ""My soul looks back" exhuming buried (hi)stories in The Chaneysville incident, Dessa Rose, and Beloved /." 2002. http://etd.lib.fsu.edu/theses/available/etd-07012003-170452.
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Thesis (M.A.)--Florida State University, 2002.Advisor: Dr. Maxine L. Montgomery, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Oct. 2, 2003). Includes bibliographical references.
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Robinson, Jr Allan Myers. "The genesis of cultivated choral tone in the United States (1906-1928): Peter C. Lutkin, F. Melius Christiansen, and John Finley Williamson." Thesis, 2015. https://hdl.handle.net/2144/15678.
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The purpose of this study was to chronicle the genesis of cultivated choral tone in the United States from 1906 to 1928. That transformation was led by three conductors whose disparate careers represented a shared trajectory. Individually and collectively, they pioneered two singing genres with European provenance--a cappella and senza vibrato singing--as early techniques to isolate and refine choral tone. Their work converged in 1928, when it expanded to become the American A Cappella Movement (1928-1938).
The earliest of the three conductors was Peter C. Lutkin (1858-1931). After study in Europe, he became dean of the School of Music at Northwestern University. Through his publications and university a cappella choir, founded in 1906, he placed greater responsibility on singers, and employed diction and breath control to improve intonation and tonal purity.
German-educated Norwegian-American F. Melius Christiansen (1871-1955) was guided by his experience as a violinist and influenced by the choir of St. Thomas Church, Leipzig, Germany. In 1907, he began to gradually transform the choir of St. John's Lutheran Church choir in Northfield, Minnesota. By 1920, his St. Olaf Lutheran Choir toured nationwide and eventually epitomized a choral prototype through his publications, compositions, ideology, and methods, both original and derivative. Self-reliant and confident, Christiansen championed Russian choral literature, symphonic form for programming, and self-referential choral singing. His "inner choir" technique, "instrumental" tuning for choirs, and "conductorless" onset of tone were widely imitated. Spiritual beliefs undergirded his work.
Originally inspired by Christiansen, Ohioan John Finley Williamson (1887-1964), a trained singer, cultivated choral tone by recontextualizing solo vocal Lamperti technique into choral methods. In 1920, he modeled his ensemble's results via national tours with his Dayton Westminster Choir. By 1926, he co-founded a choir school in a Dayton church where he implemented his theory of the choral rehearsal as a class voice lesson. His unorthodox tenets included his belief that vowels were controlled by volume and phrase conducting, that vowel color was dictated by overtones, and that a conflict existed between time beating and "rhythmic magic" (or "pace").
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Yi, Chung, and 鍾儀. "Journey / Exile: the Construction / Destruction of the Self in Toni Morrison''s Song of Solomon and William Faulkner''s Light in August." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/81618636326975881094.
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碩士中國文化大學
英國語文學研究所
91
Abstract The aim of this thesis is to explore the process of self-construction in Toni Morrison’s Song of Solomon and William Faulkner’s Light in August through the perspectives of Foucauldian the disciplinary power theory, and Bakhtinian Double- Voiced Discourse and Chronotope. Morrison and Faulkner both deal with the life-long journeys of self-construction of their heroes, Morrison’s Milkman Dead and Faulkner’s Joe Christmas. Nevertheless, Milkman and Joe''s journeys of self-construction are essentially different. Milkman’s travel in search of his self is one with a destination: his investigation of his ancestors’ past leads him to a spiritual home. However, Joe’s journey is a self-destructive form of exile: he is doomed to restlessly wander around. His ambiguous identity ultimately leads him to a suicidal self. In Chapter One, using Michel Foucault’s theory of the disciplinary power, I aim to show that Milkman and Joes’ alienation from society is caused by the power of discourses. I argue that the two heroes’ subjects/subjectivities are produced within such discourses. That is, two heroes’ identities are not biological facts but represent the definition of the society. Besides, two heroes both suffer from the alienation caused by the dichotomy of center / margin of the social discourse. In Chapter Two, I attempt to discuss the construction of the self through M. M. Bakhtin’s double-voiced discourse. The society represents a world of contesting social ideologies, and both heroes, in their quest for the self, undergo a struggle between these ideologies. In Song of Solomon, the society represents the tension between two different ideologies: Macon’s monologic world of epic and Pilate’s polyphonic world of novel. Milkman is controlled by both Macon’s centripetal and Pilate’s centrifugal forces. In Light in August, Joe Christmas is also situated in such conflicting social ideologies: the monologic world of the town people and the polyphonic world of the strangers. Besides, he is controlled by both the authoritatively persuasive discourse of the white society and the internally persuasive discourse of his black identity. In Chapter Three, I want to discuss the becoming-of-self through Bakhtin’s theory of the chronotope. Applying Bakhtin’s idea of Bildungsroman about the hero’s development of self-formation, I claim that both Milkman and Joe have experienced a life-long travel of self-becoming but the results of their journeys are different. For Milkman, during the journey in search for the past of his ancestor, history leads him to find his true self and to reach maturity. However, Joe’s journey represents a doomed and restless form of exile. Within the contesting white-black societies, he is led to a suicidal self-transformation. Thus in the end, his subjectivity is destroyed, and he ultimately becomes the scapegoat of the conflicting socio-cultural ideologies. Therefore, the hero’s quest for a self can be seen as a series of transformations constructed by the dialogue with history. To conclude, through a comparative study of Morrison’s Song of Solomon and Faulkner’s Light in August, my thesis will focus on the issue of self-construction.
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You, Yann-ru, and 游雁茹. "Tracing the Past Through (Ab)using Memories: Gender, Race, and Southern Histories in William Faulkner’s The Sound and the Fury and Toni Morrison’s Paradise." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/7vm7r7.
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碩士國立臺灣大學
外國語文學研究所
102
By juxtaposing William Faulkner’s The Sound and the Fury (1929) and Toni Morrison’s Paradise (1997) in the same historical context, the thesis will respectively examine the North-centered national history of the U.S., the historical narrative of white male Southerners, and the southern history constructed by black men in the two novels--so as to critically scrutinize the problematic nature and the political construction of official histories, as well as how the gendered and racial Others are intriguingly positioned in these texts. Both set in a turbulent, historical transformation of the South, the two novels either portray or consist of problematic narratives on history--though the political struggles in these narratives are manifested on various levels and performed in different ways. Approaching the texts mainly with Paul Ricoeur’s idea of “obligated memory,” Pierre Nora’s notion of les lieux de memoire, and Michel Foucault’s conception of counter-memory, the thesis aims to explore the problematic construction, political operation, and inevitable breakdown of the official historical narratives in these novels. Moreover, the association between southern histories and gender/race issues will likewise be carefully discussed here. Besides looking into the gendered and racial exclusion of official histories, I will simultaneously investigate the marginalized characters’ paradoxical yet significant role as the potential counter-forces against such dominant discourses. By doing so, this thesis is going to further illustrate the very possibility of breaking up official histories from within, as well as the ambivalent role that the gendered and racial Others have played in both the construction and subversion of official discourses on southern histories.
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Hamdi, Houda. "Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day." Thèse, 2015. http://hdl.handle.net/1866/16011.
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My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity.
My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas.
My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world.
In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions.
I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.Ma thèse est une étude comparative entre William Faulkner, Toni Morrison et Gloria Naylor. Elle me permet d’explorer comment les protagonistes males construisent leur identités en se référant à la possession matérialiste et en se basant sur la subordination de la femme, qui est une autre forme de possession, afin de consolider leur masculinité. Dans leurs textes respectifs, Go Down, Moses, Song of Solomon, et Mama Day, les trois auteurs, malgré leur différences culturelles et même littéraires, partagent l’idée que l’identité, l’histoire, et la vérité ne sont que des construits culturels et sociales. On se basant sur la théorie de Judith Butler et d’autres théoriciens poststructuralistes et contemporains, ma thèse reflète qu’il n’y a pas d’identité « naturelle » ou de réalité objective. La perception identitaire n’est qu’une illusion imaginaire et idéologique ou le sujet ne fait que répéter et performer le discours de son environnent. Faulkner, Morrison, et Naylor basent leurs oeuvres sur le thème de la liberté. Ils explorent comment, à partir de leurs corps, leurs caractères se conforment ou bien se détachent de l’idéologie qui confine leurs identités sexuelles, raciales et sociales. En critiquant, non seulement l’identité’ mais aussi l’histoire, ma thèse montre que les trois écrivains détruisent la perception que la vérité est objective surtout dans les documents historiques. Ainsi, la vérité devient qu’une forme de distorsion qui consolide une certaine idéologie. Ma thèse montre que les trois auteurs mettent en valeur la voix de la femme Afro-Américaine. Elle joue le rôle d’une médiatrice pour les protagonistes males. Elle rejette le discours matérialiste et sexiste. Cette voix féminine représente le thème de l’amour et la survie de sa communauté noire et la résistance raciale. La femme Afro-Américaine préserve la culture Africaine à travers son attachement à la tradition orale et à la connaissance intuitive. En se basant sur la tendance subversive de l’art et de la littérature postcoloniale qui est promulguée par les théories de Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford et Arjun Appadurai, je montre qu’à travers Toni Morrison et Gloria Naylor, le texte de Faulkner reste logocentrique et essentialiste dans sa vision hiérarchique de l’identité raciale et sexuelle. Morrison et Naylor se référant au mythe de l’Africain volant afin de justifier qu’il n’y a pas d’identité fixe et stable, donnant ainsi la voix a une identité hybride et fluide. En se basant sur l’article, « Parler en Langues » de Mae Gwendolyn Henderson, ma thèse explore comment en réécrivant d’autres textes, Gloria Naylor déconstruit non seulement Faulkner, mais aussi le sexisme qui demeure résident dans le texte de Toni Morrison. L’histoire de Willow Springs se base sur le mythe féminin d’une ex esclave Sapphira Wade, qui en étant volatile, son histoire et son identité résistent toute forme de catégorisations. En étudiant l’hybridité’ dans la culture Afro-Américaine, ma thèse montre que le Sud qui est décrit dans l’oeuvre de Mama Day est plus hybride que celui de Faulkner et Morrison.
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Fernandez, Silvia Lucia del Valle. "El cuerpo femenino como espacio de lucha y poder en la literatura de habla inglesa : el legado de William Shakespeare en la narrativa de Toni Morrison y Margaret Atwood." Tesis doctoral, 2014. http://hdl.handle.net/11086/2336.
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Doctorado en Ciencias del Lenguaje con mención en Culturas ComparadasLa corporeidad identitaria femenina es un fenómeno social y cultural que se materializa en los discursos sociales. La construcción identitaria del cuerpo femenino está moldeada por el contexto social y expresa un determinado momento del devenir cultural. El discurso literario, como exponente de lo social, presenta huellas de este moldeado socio-cultural. Los interrogantes que problematizan esta investigación son los siguientes: ¿qué es lo que hace que un hecho social se vierta en un hecho literario?, ¿cómo es que una práctica socio-cultural plasmada en una obra modelizante -la shakesperiana- genera o deviene en prácticas culturales similares o disímiles?, ¿cómo se imprime la huella del legado discursivo de las obras de William Shakespeare en autoras que pertenecen a momentos y espacios culturales que, si bien son de habla inglesa, Toni Morrison y Margaret Atwood, manifiestan marcadamente su heterogeneidad? Las teorías que guían esta investigación son: 1- la teoría literaria: Bajtin y Williams, 2- la teoría del poder y la crítica feminista: Foulcault, Braidotti y Butler; y 3- la sociocrítica y el análisis del discurso crítico: Angenot y Fairclough. Las preguntas que pautan la construcción de la herramienta analítica están relacionadas con: 1-¿cuáles son las distintas huellas o marcas en la superficie textual que constituyen la identidad discursiva del cuerpo femenino en las obras shakespereanas y las de las autoras en cuestión?, 2- ¿existen prácticas discursivas materializadas en textos literarios que adquieren el estatuto de modelos culturales? Y, si las hay: 3- ¿pueden dichas prácticas o construcciones modelizantes trasvasarse de una cultura a otra a través de la producción literaria? Al concluir el estudio se determina que, en las postrimerías de la normatividad, y a pesar de la distancia temporal que separa al período isabelino del posmoderno, la corporeidad identitaria femenina se trasvasa de un estadio a otro. Este vínculo se establece como producto en las obras afroamericanas y canadienses, en tanto que el legado de W. Shakespeare irrumpe como el comienzo de un proceso de resquebrajamiento y se constituye en un legado sine qua non de la cultura posmoderna.
Fil: Fernandez, Silvia Lucia del Valle. Universidad Nacional de Córdoba. Facultad de Lenguas; Argentina.
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Bowen, Elizabeth. "Animal Abilities: Disability, Species Difference, and American Literary Experimentation." Thesis, 2020. https://doi.org/10.7916/d8-ah63-1a49.
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Disability and animality have frequently been conjoined in American literature as the limit cases of cognition, language, and narrative. In modern and contemporary fiction, this intersection is not just thematic, but also an opportunity for formal experimentation. My dissertation considers a century-spanning group of authors that includes William Faulkner, Zora Neale Hurston, Toni Morrison, and contemporary disabled writers and artists such as Jillian Weise, Kathy High, and Sharona Franklin. It uses a combination of close reading, historical research, and theoretical analysis to argue that some of the last century’s most influential literary experiments have built upon aesthetic modes associated with both disability and animality. For instance, in The Sound and the Fury, Benjy Compson’s famously associative narration is driven as much by canine-identified sensory tendencies of smell and touch as it is by human cognitive difference, and the folkloric interludes central to Their Eyes Were Watching God are catalyzed by the work-debilitated body of a mule. Few scholars have recognized the extent to which disability and animality are entangled as aesthetic categories, because each field has typically disavowed the other: disability studies makes “full humanity” a goal while assuming the inferiority of nonhumans, and animal studies often elevates nonhuman species by emphasizing their intelligence and physical abilities. My project bridges this impasse by showing how disability and animality come together to push language and literature in new directions, revealing an unrecognized literary tradition in which narratorial capacity, ethical consideration, and even access to the text do not depend on supposedly human-defining abilities like spoken language and written literacy.