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Dissertations / Theses on the topic 'Tradition-criticism'
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Labberton, Mark. "Ordinary Bible reading : the reformed tradition and reader-oriented criticism." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315010.
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Sychrava, J. "Redescribing the naive : A critique of the 'sentimental' tradition in literary theory and criticism." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376021.
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Goldie, David W. S. "John Middleton Murry and T.S. Eliot : tradition versus the individual in English literary criticism, 1919-1928." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314917.
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SILVA, ANNA PAULA DE O. MATTOS. "PINDORAMA, WHERE SAMBA IS PURER: THE DISCOURSE OF TRADITION IN BRAZILIAN POLITICS, CRITICISM AND MUSIC MARKET." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12730@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
Esta tese reúne observações críticas sobre o samba como manifestação musical urbana e de massas, discute a atualidade de um gênero tradicionalmente afirmado como síntese da sonoridade nacional, e analisa a reconfiguração das composições musicais num contexto de globalização dos signos. Tendo em vista tais propósitos, debruçamo-nos sobre discursos que ainda hoje evocam a força simbólica do samba como meio de legitimar projetos políticos e consolidar modelos estéticos. Estas reflexões se corporificaram em três textos interconectados. O primeiro é dedicado ao estudo das políticas culturais de patrimônio imaterial que tomaram o samba como objeto a partir do ano de 2004. O segundo tece considerações sobre a vertente tradicionalista da crítica de música popular por meio da análise das obras de dois de seus principais expoentes, o historiador José Ramos Tinhorão e o pesquisador e compositor Nei Lopes. O último capítulo trata da reivindicação de um trajeto único para o desdobramento do samba por parte dos artistas mais conservadores, e dos desvios promovidos pelos novos modos de criação e circulação musical.
This dissertation gathers critical observations about how samba, as an urban, massive musical manifestation, discusses the current state of a genre that is traditionally presented as the synthesis of national sound, and analyze the reconfiguration of musical compositions in a context of globalized signs. Taking that into consideration, we studied the discourses that still claim the symbolic force of samba as means to legitimate political projects and to consolidate aesthetic standards. These ideas are developed in three essays. The first one is dedicated to the study of cultural policies for the protection of immaterial cultural heritage that took samba as their focus since 2004. The second essay discusses the traditionalist branch of popular music criticism by analyzing the works of two of its main exponents: the historian José Ramos Tinhorão and the researcher and composer Nei Lopes. The last chapter discusses the claim of an exclusive line in the development of samba by more conservative artists, and the deviations promoted by new means of musical creation and circulation.
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Attwell, David. "Indigenous tradition and the colonial legacy : a study in the social context of anglophone African literary criticism." Master's thesis, University of Cape Town, 1985. http://hdl.handle.net/11427/7591.
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Bibliography: leaves 219-229.This dissertation attempts to examine the social meanings of anglophone African literary criticism as an ideological discourse. It begins by engaging with Marxist critical traditions, with particular reference to two areas of debate: the question of the epistemological relationship between literature and criticism, and the question of criticism's being a discourse which, in its articulation with a given social context, relies on the resources of a particular critical heritage. The basis of the second and central chapter is the interrelationship between the context and heritage of anglophone African criticism. The dominant themes of this discourse are seen as being shaped by ideological affiliations with the modern nation-state, and by the legacy of the empirical and organic traditions of metropolitan criticism. It is argued that in the situation of neo-colonial social stratification, anglophone African criticism faces a crisis of legitimacy. In the third to fifth chapters I attempt to illustrate and refine the central argument in relation to a selection of critical texts. The chapter on two works by Eldred Jones examines his reliance on orthodox British critical assumptions and its consequences in his treatment of the writing of Wole Soyinka. The chapter on West African traditions examines a range of critical operations which are used in the construction of organic traditions based on oral or traditional cultures. These operations rely on mythopoesis, formalism and the sociology of literature. The final chapter on East African political readings investigates the internal, discursive tensions in the work of two critics who, in attempting to politicize their reading of literature, have not been able to achieve a conceptual break from the legacies of idealism.
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Neufeldt, Bradley. "Cultural confusions, oral/literary narrative negotiations in Tracks and Ravensong." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22548.pdf.
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Skripkaitė, Daiva. "Veltinio tradicijos ir sklaidos galimybės Lietuvoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110615_101144-74018.
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Magistro baigiamajame darbe „Veltinio tradicijos ir sklaidos galimybės Lietuvoje“ nagrinėjamas veltinis, jo kilmė, istorinė raida, tradicijos ir paplitimas Lietuvoje, Europoje bei visame pasaulyje. Taip pat aprašomos pagrindinės vėlimo technikos ir dekoravimo būdai. Aptariamos Lietuvoje vykstančios veltinio parodos ir simpoziumai, viešos veltinio vėlimo akcijos ir demonstracijos, veltinio instaliacijos bei performansai, kurių pagrindinis elementas yra veltinys. Veltinio parodų, simpoziumų pagrindinis tikslas- šios tekstilės rūšies tradicijų tąsa, populiarinimas, pasikeitimas kūrybine patirtimi, informacine medžiaga, sukurtų kūrinių eksponavimas įvairiuose Lietuvos ir užsienio miestuose.
Darbe nagrinėjamas šiuolaikinis profesionalus ir mėgėjiškas veltinio menas, aptariamos šiuolaikinio veltinio meno pristatymo galimybės visuomenei. Aptariama menininkų, išradingai naudojančių savo darbuose veltinį, kūryba. Kadangi velti gali ne tik profesionalai, bet ir mėgėjai, darbe pristatomi veltinį Lietuvoje praktikuojantys dailininkai profesionalai bei veltinio populiarintojai mėgėjai, tautodailininkai; aptariami jų surengti veltinio darbų pristatymai bei parodos. Parodomos plačios šios technikos taikymo ne tik profesionalų, bet ir mėgėjų kūryboje galimybės.
Veltinys šiuo metu tampa itin naudojamas šiuolaikinio meno instaliacijose, performansuose, eksperimentinėje animacijoje, interjero ir eksterjero pano, kuriant unikalias medžiagas drabužių dizainerių kolekcijoms, meno terapijoje... [toliau žr. visą tekstą]The research object of the Master Thesis “Felt Traditions and Promotion Possibilities in Lithuania” is felt, its origins, historical development, traditions and spread in Lithuania, Europe and all over the world. The thesis reveals the main felting techniques and decoration methods and introduces organised in Lithuania felt exhibitions and symposiums, public felting actions and demonstrations, felt installations and performances in which basic element is felt. The main objective of felt exhibitions and symposiums is follow-up and popularisation of such textile traditions as well as exchange of creative experience, information material and demonstration of the textile items in different places throughout Lithuania and abroad. The thesis deals with modern professional and amateur felt craft, discusses possibilities of modern felt craft introduction to society. The thesis includes the review of creation of artists inventively using felt in their works. Since felting may be done not only by professionals, but also by amateurs, the thesis introduces Lithuanian professional artists using felt in their works as well as felt promoters amateurs and folk artists and organised by them felt works displays and exhibitions. The thesis reveals a wide field for application of such techniques not only by professionals, but also by amateurs. Presently felt becomes very popular in modern art installations, performances, experimental animation, interior and exterior panel, for the... [to full text]
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Watkins, Michael J. F. "'The sad friends of truth' : Paradise Lost's deviations from the Pauline tradition, and the consequences for twentieth-century Milton criticism." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365654.
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Seller, Robbyn. "Tall tales of tradition : Solomon Island Kastom stories in transition." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24105.
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Historical conditions of colonialism, and more recently, the emergence of a post-colonial state and urbanization, have brought about rapid socio-cultural change in the Solomon Islands, characterized by heterogeneity and the influx of new cultural products. Throughout this process, notions of tradition have emerged, iterated largely through the multivocal category of kastom which is fundamentally construed in opposition to notions of Christianity and modernization. This thesis examines how these changes have affected stories, specifically a group of narratives called "kastom stories," told by students in the urban setting, and how these narratives have become a space for tradition to be stated and created. Notions of genre are explored to discover how such an amalgam of stories as that of the kastom stories regarded here could be considered as a group. I examine story structures to understand how elements from diverse sources could become integrated to the stories, and look at transformations which, in distanciating the stories from their original socio-cultural context of production, serve to recontextualize them in their present socio-cultural setting.
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Silva, Rummenigge Santos da. "PlatÃo crÃtico e herdeiro da tradiÃÃo poÃtica." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=16169.
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nÃo hÃEsta dissertaÃÃo tem como objetivo elucidar algumas noÃÃes concernentes à crÃtica de PlatÃo a poesia. Para isso, buscou-se trazer a lume as caracterÃsticas tradicionais do discurso poÃtico, expondo-as como ferramentas fundamentais no desenvolvimento da anÃlise. Estas caracterÃsticas nÃs podemos encontrar na relaÃÃo do poeta com o divino, na sua comparaÃÃo com o adivinho e, atà mesmo, em um dado momento, na atribuiÃÃo do poeta como um guia. Empreender esse movimento consciente aos aspectos tradicionais, sem prescindir de uma reflexÃo, à de grande importÃncia para se resgatar a figura do poeta aos olhos helÃnicos de PlatÃo. Relacionar à esfera tradicional Ãquela presente na RepÃblica (de ordem mais prÃtica) à a tarefa a ser buscada.
This dissertation has as objective to clarify some notions concerning the criticism of Plato poetry. For this, we sought to bring to light the traditional features of poetic discourse, exposing them as key in the development of his analysis. These features we can find in the poetâs relationship to the divine, in comparison with the diviner, and even at one point in the allocation of the poet as a guide. Undertake this conscious movement to traditional ways, without giving a thought; it is of great importance to redeem this figure to Hellenic eyes of Plato. Relate to the traditional sphere to that present in the Republic (even more practical) is the task to be sought.
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Radzevičiūtė, Arina. "Simbolių kalbos suvokimo principai tradicionalizmo diskurse." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_154805-62696.
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Darbas skirtas tradicinių civilizacijų kultūros, meno simbolinės raiškos bei estetikos tyrinėjimams. Darbe apžvelgiami simbolinės kalbos suvokimo prielaidos ir funkcijos, išryškintos tradicionalizmo diskurse, taip pat svarbesni estetiniai ir kiti jų raiškos požymiai. Remiantis minėto diskurso perspektyva, aptariami ontologiniai pasaulio sąrangos principai ir jų sąsajos su tradicinėmis doktrinomis bei teorijomis. Analizuojami esminiai tradicinio ir modernaus mąstymo vertybinių sistemų skirtumai bei kūrybinio kelio ypatumai.This thesis examines culture of traditional civilisations, its' symbolical expression and aethetics of art. The paper gives an overview on symbolic language perception assumptions and functions developed in the discourse of traditionalism, as well as important aesthetic and other features of their expression. On the basis of that discourse perspective, there is given a concept of worlds' ontological framework within the traditional doctrines and theories as well as analysis of essential differences between traditional and modern thought and value - systems.
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Mpolweni, Nosisi Lynette. "The orality - literacy debate with special reference to selected work of S.E.K. Mqhayi." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&.
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The focus of this thesis is on Xhosa oral and written poetry. The discussion in the thesis is based on the information from existing literature, the responses from the questionnaires and the interviews with some Xhosa iimbongi (person who sings praises) who have reflected on their personal experiences. In addition to this, S.E.K. Mqhayi is at the centre of discussion because as a prominent Xhosa imbongi he features in both the oral and the written world.
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Cooke, James M. (James Michael). "The Grotesque Tradition in the Short Stories of Charles Bukowski." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc501093/.
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The style and themes central to Bukowski's prose have roots in the literary tradition of the grotesque. Bukowski uses grotesque imagery in his writings as a creative device, explaining the negative characteristics of modern life. His permanent mood of angry disgust at the world around him is similar to that of the eighteenth-century satirists, particularly Jonathan Swift. Bukowski confronts the reader with the uglier side of America--its grime, its corruption, the constricted lives of its lower class--all with a simplicity and directness of style impeccably and clearly distilled. Bukowski's style is ebullient, with grotesquely evocative descriptions, scatological detail, and dark humor.
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Ivanova, Aleksandra. "Architektūrinė ir konstrukcinė Lietuvos stačiatikių cerkvių raida." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090702_141912-29797.
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Šiame darbe surinkta medžiaga apie visas šiuo metu veikiančias Lietuvos teritorijos cerkves – istorijos faktai, pastatų brėžiniai, archyvų dokumentai, iliustracijos, nuotraukos ir kt., atlikta bendro pobūdžio šalies stačiatikių sakralinių statinių architektūrinė ir konstrukcinė analizė, taip pat daug dėmesio skirta istorinei cerkvių plėtrai. Stačiatikių kulto statiniai apžvelgiami ne tik Vilniuje, bet ir visoje Lietuvoje. Trumpai analizuojami ir kitų religijų bažnyčios, kurios tam tikru istorijos laikotarpiu buvo stačiatikių cerkvėmis.In this work I've collected information about about all the Lithuanian Orthodox Church – history, buildings, drawings, archival documents, images and so on, prepared a general national Orthodox church architectural and design analysis, also paid attention to historical development of churches. The Orthodox sacramental churches are overviewed not only in Vilnius, but in the whole territory of Lithuania. Brief analysis of temples of other religions , which in a certain period of the history were Orthodox churches, is also done.
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Elsmore, Cheryl Laverne. "Contemporary American Indian storyteller, N. Scott Momaday: Rhetorical tradition and renewal." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/629.
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Coleman, Arvis R. (Arvis Renette) 1961. "The West African Trickster Tradition and the Fiction of Charles W. Chesnutt." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277706/.
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Analyzing Chesnutt's fiction from the angle of the West African trickster tradition explains the varying interpretations of his texts and his authorial intentions. The discussion also illustrates the influence that audience and editorial concerns may have had on African-American authors at the turn of the century.
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Stigter, Shelley, and University of Lethbridge Faculty of Arts and Science. "Double-voice and double-consciousness in Native American literature." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Sciencec, 2005, 2005. http://hdl.handle.net/10133/288.
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This thesis follows the interaction of "double-voicing" and "double-consciousness" in Native American literary history. It begins with surviving records from the time of colonial contact and ends with works by Leslie Marmon Silko and Thomas King, two contemporary authors of the Native American Literary Renaissance. "Double-voicing" is a common feature found in many works preserved by early anthropologists from various Native American oral traditions. However, after colonial contact this feature largely disappears from literary works written by Native American authors, when it is replaced by the societal condition "double-consciousness." With the revitalization of cultural knowledge in the mid-twentieth-century, Native authors also revitalize their rhetorical techniques in their writing and the "double-voice" feature reemerges coupled with a bicultural awareness that is carried over from "double-consciousness."vi, 98 leaves ; 29 cm.
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Iwataki, Ana A. "Mythic Narratives: The Chronicling of Conceptual Art." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/pitzer_theses/1.
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An exploration of the mythologized narratives that the work and lives of Conceptual artists Bas Jan Ader, Ana Mendieta, and Francis Alÿs have created and inspired. By virtue of their biographies, the fetishization of their personalities, and the ways in which this anecdotal information can be read in their work, mythologized narratives have been constructed, allowing for a prolonged interest existing within and without the confines of the art world. These mythologies come together as part of the oral tradition of the art world, a chronicling of narratives that incites continued interest for future generations.
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Žvaliauskaitė, Sigita. "Sakralinės erdvės Lietuvos gyvenviečių struktūroje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050629_224706-45099.
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In this study we research sacral spaces of Lithuanian villages, from pagan places of worship to sacral spaces of nowadays confessions. The work is done according to chosen methods of analysis. Main target of this study is to research sacral structures settled in the turn of history, their composition units, epitomize compositional links and interconnection elements. Object boundaries, analyzed in the work, are defined physically, as appreciable bodies. The concept “space”, in different theories is interpreted as infinite entity or environment, which needs structure to exist. Particular confession’s sacral space harmony is influenced by symbolism, which shows up as a long-lasting tradition. The object, analyzed as constituent part of urbanism structures, existed from its early times, and created compositional models with public spaces of villages with other typology. Traditionally perceptible sacral objects stimulate images and symbolic expressions witch shows up as a long-term tradition.
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Pimentel, A. Rose. "'The divine voice within us' : the reflective tradition in the novels of Jane Austen and George Eliot." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2583.
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This thesis argues that a ‘tradition of moral analysis’ between Jane Austen and George Eliot — a common ground which has been identified by critics from F.R. Leavis to Gillian Beer, but never fully explored — can be illuminated by turning to what this thesis calls ‘the reflective tradition’. In the eighteenth century, ideas about reflection provided a new and influential way of thinking about the human mind; about how we come to know ourselves and the world around us through the mind. The belief in the individual to act as his/her own guide through the cultivation of a reflective mind and attentiveness to a reflective voice emerges across a wide range of discourses. This thesis begins with an examination of reflection in the philosophy, children’s literature, novels, poetry, educational tracts and sermons that would have been known to Austen. It then defines Austen’s development of reflective dynamics by looking at her six major novels; finally, it analyzes Middlemarch to define Eliot’s proximity to this aspect of Austen’s art. The thesis documents Eliot’s reading of Austen through the criticism of G. H. Lewes to support a reading of Eliot’s assimilation of an Austenian attention to mental processes in her novels. Reflection is at the heart of moral life and growth for both novelists. This thesis corrects a tendency in Austen’s reception to focus on the mimetic aspect of her art, thereby overlooking the introspective sense of reflection. It offers new insights into Austen’s and Eliot’s work, and it contributes to an understanding of the development of the realist novel and the ethical dimension in the role of the novel reader.
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Khalifa, Tarek. "Génèse de la critique arabe moderne." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3066/document.
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Cette recherche porte sur l'évolution de la critique poétique arabe moderne, elle combine deux volets, l'un diachronique et l'autre analytique. D'une part, elle exAmīne l'histoire de cette évolution qui en l'espace d'un siècle a été impressionnante et d'autre part elle analyse ce phénomène qui dans l'histoire littéraire mondiale ne s'est jamais produit sur une durée aussi courte. La période de la nahḍa a commencé durant la deuxième moitié du XIXème siècle et a duré jusqu'aux années trente du XXème siècle. La littérature arabe a été ébranlée par une multitude de mouvements à la fois conservateurs et modernistes , mouvements qui ont tantôt cohabité et tantôt se sont opposés ; la poésie, en particulier a comblé un retard de cinq siècles, comme en témoignent le nombre de poèmes et de recueils publiés et la multiplication des styles et des écoles littéraires.Durant un siècle et souvent pendant la même période, nous pouvons découvrir des poètes classiques, néoclassiques, romantiques, symboliques et réalistes. La production poétique a aussi été très variée et a respecté les règles classiques relatives à la mesure et aux rimes tout en affichant un retour vers la forme classique pour affirmer la maîtrise. Puis, l'inspiration du "muwaššaḥ" a fait son apparition et s'est détourné de l'exigence de la forme traditionnelle avec quelques tentatives pour écrire de la poésie libre et en prose avec de nouvelles mesures et enfin l'arrivée de la poésie blanche...etc.Toutes ces tentatives pour se rattacher à un courant n'ont pas échappé à la critique qui a parfois ouvert la voix aux poètes et a parfois précédé la production poétique et qui a subi la pression moderniste en essayant de la rejoindre; la critique a puisé dans les écrits anciens et en même temps une ouverture sur la critique occidentale. La révolution contre le traditionalisme est lancée avec des écoles qui ont revendiqué une coupure avec l'héritage des classiques. D'autres courants vont résister à l'influence européenne en prenant pour prétexte le combat contre le colonialisme occidental. Ces courants très résolus ont défendu l'attachement à l'ancienne école en invoquant la pureté de la langue du Coran, la richesse de cet héritage et le fait que cette modernisation peut susciter des théories inadaptées à la réalité sociale et culturelle. Nous tentons dans cette étude de présenter et d'analyser les quatre étapes que la poésie et la critique poétique ont traversées durant cette période :- L'étape de l'imitation médiocre. - L'étape de l'imitation cohérente et éloquente.- L'étape de l'innovation liée à la ferveur nationaliste.- L'étape de l'innovation liée à un sentiment de liberté individuelleThe research work presented in this manuscript focuses on the evolution of the modern Arab poetry critic. The work is two fold: one diachronic and the other analytical. We detail on one hand the history of such evolution, which, in the space of a century, has been quite impressive, and on the other hand,we analyze this phenomenon, which has never occurred in the world literacy history over such a short time span. The period of the nahda started in the second half of the XIXth century and lasted up to the last years of the XXth century. The history of the Arab literature has been shattered by numerous events, at the same time conservative and modernist. Those events were at times contiguous and at times opposite: poetry in particular, has caught up with a major delayof nearly five centuries, as witnessed by the number of poems and collections published,and as well asby the multiplication of styles and literacy schools.Over the span of a century, and often within the same period, one may discoverand study classical, neoclassical, romantic, symbolic as well as realist poets. Furthermore, the poetry production has also been diversein styles, but at the same time addressed the classical rules related to the measure and the rhymes, while displaying a reversal movement towards the classical form, mainly to show and prove mastering skills. Then, the inspiration of the "muwaššaḥ" appeared and has strayed away from the requirements of the traditional form, with a few attempts to write free poetry as well as prose with new measures, and eventually came to the birth of white poetry,… etc.All those various efforts attempting atreclaiming a main historic literacy flow has definitely not been overlooked by the critic, which at times has brought forward poets, and at times has even preceded the poetic production which has undergone through the modernistic pressure by trying to join that same flow; the critique has drawn in the ancient scripts and at the same time in the opening into the occidental critic. The revolution against traditionalism has been launched with various schools who have claimed a split with the inheritance of the classics.Other currents have resisted to the European influence by pretexting a fight against occidental colonialism. These very resolute currents have defended the attachment to the ancient school by invoking the purity of the language of the Koran, the richness of this heritage and the fact that this modernization can produce ill-adapted theories to the social and cultural reality.We attempt in this work to present and analyze the four stages, through which poetry and the poetry critic have gone through during the past century:1) The stage of mediocre imitation 2) The stage of coherent and eloquent imitation, 3) The stage of innovation linked to a nationalist fervor4) And eventually the stage of innovation linked to a feeling of individual freedom
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Manossa, Geraldine, and University of Lethbridge Faculty of Arts and Science. "The roots of Cree drama." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2002, 2002. http://hdl.handle.net/10133/227.
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This study examines the foundation of contemporary Cree performance, tracing its existence to traditional Cree narratives. Contained within traditional Cree stories is the trickster, Wasakaychak. These oral stories are shared collectively, providing the community with relevant cultural knowledge. The thesis concludes that contemporary Cree playwrights and performers such as Shirley Cheechoo and Margo Kane maintain the roles of traditional storytellers because their work informs its audience about the history of the land and also comments on the state of the community. This study further demonstrates how the mythological character, Wasakaychak, remains an active part of Cree society by examining his significance within Tomson Highway's plays, The Rez Sisters and Dry Lips Oughta Move to kapuskasing.v, 107 leaves ; 28 cm.
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Cossu, Angela. "Les florilèges prosodiques et la transmission des poètes latins au Moyen Âge." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP064.
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Dès les IIIe-IVe s., la sensibilité des latinophones à la quantité des syllabes s'était progressivement perdue. La connaissance de la prosodie étant cruciale pour la lecture et la composition en latin, les médiévaux conçurent la solution des florilèges prosodiques, des recueils fonctionnels à l'apprentissage, composés de vers latins classiques et médiévaux, tirés des auteurs scolaires (Virgile, Ovide, Perse, Juvénal Stace, Prudence, etc.). Instruments à la fois d'enseignement et d'apprentissage, ces florilèges ont été transmis en 6 recueils différents à partir du IXe siècle. Cette thèse porte sur l'édition critique de ce corpus, base solide pour une nouvelle étude sur l'origine de ces instruments, leurs compilateurs et les milieux d'utilisation. L'édition sera le point de départ pour étudier la circulation des poètes latins au Moyen Age, mettant en lumière les réseaux de la transmission textuelle et les pratiques culturelles liées à la poésie latineFrom the 3th and 4th century of our age, the quantitative rhythm of the Latin language changed into an accentual rhythm, and the perception for the syllabic quantity of Latin words disappeared. Since knowledge of prosody is crucial for reading and writing in Latin, Medieval school teachers invented the prosodic florilegia, i.e. lists of classical and Medieval Latin verses from the most studied authors (Vergil, Ovid, Persius, Juvenal, Statius, Prudentius, etc.). Today we possess 6 different florilegia from the 9th century, which are both teaching and learning tools. My thesis consists of a critical edition of the corpus of the florilegia which endeavours to be a solid base for further study of these texts, of their compilers, and of the context in which they were used. The present critical edition will also be the starting point for investigating the circulation of Latin poets in the Middle Ages, and for highlighting networks of textual transmission and cultural practices connected to Latin poetry
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Kacou, Gisèle Virginie. "Camara Laye et la tradition africaine." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66191.
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Damasceno, Rodrigo Lôbo. "Situação do autor na poesia moderna: Fernando Pessoa e Ezra Pound." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-29062015-151506/.
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Esta dissertação propõe um estudo comparativo das obras críticas e poéticas de Fernando Pessoa e Ezra Pound, partindo da hipótese central de que a leitura conjunta dos seus textos proporciona um ângulo privilegiado de análise, tanto de seus procedimentos específicos quanto de alguns dos aspectos axiais da poesia moderna e das tensões que os constituem. Focaliza, para tanto, as estratégias formais que os poetas utilizam na busca por uma espécie de despersonalização poética (seja na escrita de poesia, seja em sua leitura e em sua crítica): os fenômenos da heteronímia e da persona. Como eixo organizador dessa leitura, encontra-se a relação dos dois autores com a tradição literária entendida como arquivo de escritos que caberia ao poeta contemporâneo (moderno e antimoderno) conservar e renovar, o que os faz assumir uma postura contrária à das manifestações mais severas das vanguardas, sobretudo do Futurismo italiano, com as quais polemizam. A tradição, supostamente morta pelos decretos vanguardistas, deve então reviver e retornar nas obras de Pessoa e de Pound que encontram na crítica, na experiência da voz (da multiplicidade de vozes que funda e conforma a poesia) e na tradução os meios próprios para esse retorno. Os ideais de uma despersonalização poética, cristalizados nos expedientes da persona e da heteronímia (mas postas em movimento também em suas traduções e páginas críticas), são lidos aqui, portanto, como passos em busca da conservação e da renovação das vozes que vêm da tradição. Situados num período de extremismos estéticos (nos quais eles também incorrem constantemente), Pessoa e Pound são lidos nessa dissertação como marcos em que a modernidade poética se realiza e ao mesmo tempo se trai, balizas em que o novo e o antigo têm suas definições borradas e em que a modernidade se define por meio de suas próprias indefinições e contradições.This dissertation proposes a comparative study of critical and poetic works by Fernando Pessoa and Ezra Pound, based on the central hypothesis that the joined reading of their texts enables a privileged angle of analysis with respect to their specific procedures as well as to the axial aspect of modern poetry and its constituting tensions. As such, the present study focuses on the formal strategies utilized by the poets in their quest for poetic depersonalization (whether in their writing of poetry, or in their reading and critique): the phenomena of heteronymia and of persona. The organizing axis of this reading is framed within the relation of both authors to literary tradition understood as an archive of writings that is bestowed upon the contemporary (modern and anti-modern) poet for conservation and renovation, forcing them to assume a negative position towards the more severe vanguard manifestations, namely towards Italian Futurism. Tradition, supposedly dead at the hands of vanguard decrees, must therefore relive and return in the works of Pessoa and Pound who find in criticism, in the experience of the voice (of the multiplicity of voices that founds and conforms poetry) and in translation the means by which it can return. The ideals of a poetic depersonalization, crystallized in the expedients of the persona and heteronymia (but set in movement also through translation and critical pages) are hence understood as crucial steps in the search for conservation and renovation of the voices that come from tradition. Situated in a period of aesthetic extremisms (from which they are never far themselves), Pessoa and Pound are read as milestones in which poetic modernity is effected at the same time as it is betrayed, where the new and the old have their definitions blurred, bringing about a definition of modernity that is composed by its very own indefiniteness and contradictions.
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Coimbra, Rosicley Andrade. "DO ARCAICO AO MODERNO: TRADIÇÃO E (DES)CONTINUIDADE EM LAVOURA ARCAICA, DE RADUAN NASSAR." UNIVERSIDADE FEDERAL DA GRANDE DOURADOS, 2011. http://tede.ufgd.edu.br:8080/tede/handle/tede/208.
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The present dissertation purposes an approach of work Lavoura arcaica (1975) by Raduan Nassar starting from some routing supposition, they are: this is a novel that doesn t keep any distance from the 70 s context, being possible to find out some evidences of an esthetic work aiming at acting in ethic sphere through a indirect way. Upon this aspect Raduan Nassar s work can be seen as a criticism at literary make of his epoch, intending to show other facets of troubled policy Brazilian context too. We observe that the discourses present in this novel concerned to private familiar world, intending to point the fractures of an ideology that was under the weather by continuous and repetitive using. So this work intends to read between the lines of literary discourse of Lavoura arcaica the marks of a criticism to the policy context as well as to point how that reality was undoubtedly leading the new generation to looking for other discourses, based on its own existence, breaking to tradition and running away from familiar life whose father presence was constant and regulator.
A presente dissertação propõe uma abordagem da obra Lavoura arcaica (1975), de Raduan Nassar, partindo de alguns pressupostos norteadores, a saber: trata-se de um romance que não se distancia do contexto da década de 1970, sendo, portanto, possível encontrar nele os indícios de um trabalho estético que visa agir na esfera ética de maneira menos incisiva. Sob este aspecto, o trabalho de Raduan Nassar pode ser visto como uma crítica ao fazer literário de sua época, tencionando mostrar também outras facetas do conturbado contexto político brasileiro. Observamos que os discursos presentes na obra tangem diretamente ao mundo particular da família, buscando apontar as fraturas de uma ideologia que se mostrava desgastada pelo uso contínuo e repetitivo. Assim, este trabalho intenta ler nas entrelinhas do discurso literário de Lavoura arcaica os sinais de uma crítica não só ao momento pelo qual o país passava, mas também apontar como tal realidade, incerta, dava mostras de que a nova geração buscava outros discursos, baseados em sua própria vivência, rompendo assim com a tradição patriarcal, ausentando-se em definitivo da vida familiar, cuja presença paterna era constante e reguladora.
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Anderson, David Roy. "John Graves and the Pastoral Tradition." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2919/.
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John Graves's creative non-fiction has earned him respect in Texas letters as a seminal writer but scarce critical commentary of his work outside the region. Ecological criticism examines how language, culture and the land interact, providing a context in which to discuss Graves in relation to the southwestern literary tradition of J. Frank Dobie, Walter P. Webb, and Roy Bedichek, to southern pastoral in the Virgilian mode, and to American nature writing. Graves's rhetorical strategies, including his appropriation of form, his non-polemical voice, his experimentation with narrative persona, and his utilization of traditional tropes of metaphor, metonymy, and irony, establish him as a conservative and Romantic writer of place concerned with the friction between traditional agrarian values and the demands of late-twentieth-century urban/technological existence. Sequentially, Graves's three main booksGoodbye to a River (1960), Hard Scrabble (1974), and From a Limestone Ledge (1980)represent a movement from the pastoral mode of the outward journey and return to the more domestic world of georgic, from the mode of leisure and contemplation to the demands and rewards of hard work and ownership. As such they represent not only progression or maturation in the arc of the narrator's life but a desire to reconcile ideological poles first examined so long ago in Virgil: leisure and work, freedom and responsibility, rural and urban values.
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Feng, Liping. "Modernity and tradition : Chinese theories of literature from 1900 to 1930." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28445.
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This thesis examines the development of Chinese theories of literature in the early twentieth century: what was considered as literature, the role of the writer and reader, and the function of literature in society. The central purpose of the thesis is to retrace the Western-influenced theories of literature of the 1920s back to the theoretical developments at the turn of the century. The thesis also shows that, as a whole, modern Chinese theories of literature are deeply rooted in traditional Chinese poetics. In characterizing traditional Chinese theories, it compares the latter with the mimetic model of Western literature. Throughout the thesis, the account of the theoretical developments makes constant reference to the changes taking place within two major literary genres: lyrical poetry and the narrative.
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Gisler, Carolyn M. "Revisioning the documentary tradition from within : Patricia Gruben's Leylines (1993)." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26689.
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Postmodernism, with its interrogation of reality and the im/possibility of representation, presented a legitimation crisis for the documentary which would potentially signal the end. Gauging by the renewed interest in the documentary tradition (in theory and practice) it is obvious that postmodernism had the reverse effect on documentary, freeing a filmmaking practice that had become hopelessly trapped within its own representational contradictions. In response to the challenge postmodernism presented, documentary theorists and filmmakers cleared a new space for documentary, and in the process reconsidered the limitations of Western epistemology and the ideal of 'representing reality'. This new space is reflected in the renewed interest in a new and more self-reflexive documentary theory and practice from the early 1980's onward. This essay will examine the transition which the documentary tradition has undergone in light of the shift from modernity to postmodernity: the shift from Grierson's heavily didactic social documentary to cinema verite and direct cinema and, finally, to the self-reflexive postmodern documentary. A textual analysis of Patricia Gruben's Leylines (1993), a recent postmodern documentary, will allow me to demonstrate how the contemporary documentary deals with the postmodern questions of history, representation, authority, knowledge, and subjectivity. (Abstract shortened by UMI.)
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Atanassova, Rossitza I. "Doctrine, polemic and literary tradition in some hexameter poems of Prudentius." Thesis, University of Oxford, 2001. http://ora.ox.ac.uk/objects/uuid:f74b5c1a-7b1d-42ae-afe7-bebd9aa7caf7.
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The thesis, the topic of which is restricted to the polemical didactic poems, Apotheosis, Hamartigenia and Contra Symmachum 1-2, aims to establish the attitudes of Prudentius to the literary tradition and argues for his relationship with the Latin classical poets. Its main argument is that the hexameter poems as a group can be profitably studied from a stylistic angle, since they show how Prudentius combined, and used with innovation, the styles of several poets, namely Lucretius, Virgil and Juvenal, and in many cases engaged with the literary tradition as a whole. Chapter I surveys, as reflected in the poems, Prudentius' awareness of the political, religious and literary milieu in the Christian Empire of the West in his day. Chapter II examines how Prudentius employed the style of argument and imagery in the D.R.N. to present Christian doctrines on the body and the soul, and to reject pagan superstition. Chapter III shows how with much imagination and respect Prudentius adapted Virgil's phraseology and techniques to give new Christian interpretations of some mythical and historical themes in the Aen., such as the 'Golden Age' and the battle of Actium, and of topics on agriculture from the Georg. Chapter IV argues that, like other fourth century Christian writers, the poet entered into the spirit of Satire and alluded to Juvenal's themes and language in his treatment of the topics of sin and sexuality. Finally, in Chapter V Prudentius' adaptations of the biblical accounts in Gen. 19 and of Ps. 136 are used to demonstrate how allegory, which is a main feature of his poetry, was combined successfully with different classical techniques. In conclusion, the hexameter poems demonstrate that Prudentius did not reject classical poetry on the basis of its content, but used both its themes and poetic techniques in order to merge the ancient with the Christian literary tradition.
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Henderson, Ian Herbert. "Sententiae Jesus : gnomic sayings in the tradition of Jesus." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:550d7f68-d96c-410c-80c4-2ce6bee2658a.
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This dissertation coordinates two problems which have hitherto resisted adequate synthesis: the form-critical problem of describing proverbial-sounding Synoptic sayings and the tradition-historical problem of assessing the rhetorical habits of Jesus and his immediate successors in oral tradition. The approach taken here to linking these qualifies not only form-critical assumptions of continuity between written forms - in Kleinliteratur - and identifies oral Sitze im Leben of mnemotechnical scholasticism, but also of the recent emphases on radical discontinuity between oral and writing modes of tradition. The connection proposed here between re-description of so- called Wisdom-sayings and oral traditional aspects of the gospels is in the Hellen educational category of gnome. Defined, exemplified and prescribed in basic Graeco-Roman educational texts as well as in technical, philosophical manuals of Rhetoric and in a rich collection-literature, gnome is superbly attested as an exercise in primary education, in all kinds of public-speaking and in cross-cultural (including Jewish) tradition. Moreover, Hellenistic cultivation of gnome primarily as a speech-type, indeed as a conversational means of argumentation in any Sitz im Leben, and only secondarily though still extensively as a literary technique makes it a particularly pertinent term of comparison for New Testament criticism. Recognizing gnomic continuity between oral and written Synoptic tradition allows discussion of the authenticity not only of individual sayings (on criteria of dissimilarity), but also collectively of the gnomic manner (on criteria of oral-literate continuity and multiple attestation): quite apart from the (in)authenticity of each gnome, gnomic style is central to Jesus' self-expression and earliest tradition. In this sense gnomai are a particularly valuable data-set for reassessing the critically controverted relationship between Jesus' rhetoric and law: in Synoptic tradition gnome is exploited suggestively as a non-legal means of addressing conventionally legal topics.
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Coetzee, Liesel. "Beyond the horizon : an enquiry into the production and reception of the writing of Enid Blyton." Diss., University of Pretoria, 2003. http://hdl.handle.net/2263/29075.
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This study explores reasons for Enid Blyton’s vast popularity. Blyton and her life are discussed in terms of the production and reception of her texts in the light of changing dominant discourses in society and varying horizons of expectation. It has been found that selected aspects of reception theory (in particular the horizon of expectation posited by Hans-Georg Gadamer and developed by Hans Jauss) and the theories of Michel Foucault on power and discourse can be used to examine the influence of societal and literary discourses on both Blyton’s writing and on those who read her work, including adults and children. The study includes a discussion of Blyton’s personal life, her role in education and her success in business. Blyton’s horizons of expectation – shaped not only by the dominant discourses that surrounded her, but also her training in the Froebel method of education – are examined. Furthermore, a number of aspects of Blyton’s life and writing subvert dominant discourses and these are discussed in terms of Foucault’s ideas on power relations. Evidence of the influence of her life on her work has been found in her texts. The criticism of Blyton is discussed in terms of both literary criticism and social criticism. Blyton’s popularity as a storyteller is also considered and it has been found that, regardless of criticism by adults, she remained popular with children. Furthermore, Blyton used a number of specific techniques (such as fast-paced plots and simple language and style) and it has been found that her techniques can be linked to both formula writing, the oral tradition, and to her training as a teacher in the Froebel method of education. These techniques are examined in terms of their manifestation in her writing, particularly in her series books – including adventure stories and school stories. In conclusion, the place of Blyton’s writing in contemporary society is deliberated and recommendations for further research are made.Dissertation (MA (English))--University of Pretoria, 2003.
English
unrestricted
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Injejikian, Hasmig. "Sayat Nova and Armenian ashoogh musical tradition." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59269.
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The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding sources; (3) a chapter on Armenian tzayns as a background to the melodic analysis and codifications of Sayat Nova's melodies, which is contrary to the accepted practice of codifying these melodies with Greek modal names.Professor Nigoghos Tahmizian's analysis of Sayat Nova melodies was used as a starting point. Furthermore, through analysis based primarily on available secondary sources, certain conclusions have been obtained: such as, the unity of rhythm/meter with language conventions, presence of specific melodic patterns, cadential endings, intervallic patterns and ranges in Sayat Nova melodies, as characterised by individual tzayn codifications. Further research is suggested to clarify codification of poetic forms, tzayn designations, and specifically, to solidify accentuation conventions of the Armenian language and of its dialects.
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Dunn, Angela Frances. "The continental drift : Anglo-American and French theories of tradition and feminism." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63972.
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Pittock, Murray. "Decadence and the English tradition." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:6fa01d5c-e900-4ee8-9fb6-a8c3645e0bdd.
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The thesis sets out to do two things. It seeks first of all to describe the revival of interest in the Caroline era which defines the nature of an "English Tradition" in the Eighteen Nineties. Secondly, in doing so it seeks to reappraise three significant poets of that era, Ernest Dowson, Lionel Johnson, and Francis Thompson, in terms of their participation in this revival. The first chapter, "Craving Viaticum", deals with the general background of the Eighteen Nineties period. It suggests that the Symbolist movement equates with the Decadent one in a more direct way than has often been allowed, and deals with the era's enthusiasm for nostalgia and past ages as part of its reaction against current society. It also explores the period's allegiance to hero-figures. The second chapter, "The French Connection: Pater's Part", deals with Walter Pater, and evaluates him in terms of his art and criticism, suggesting how these develop from a nostalgic desire to re-create past ages in the image of his present ideals. The more exaggerated claims made by critics of his work for the influence of French writers on him are questioned, and Pater's relation to the "English Tradition" is discussed. In the third chapter, "The French Connection: Other Approaches", the tendentiousness of those critics who attempt to define the entire Decadent era in Britain in terms of French influences is discussed and exposed. The fourth chapter, "New Births of Decadence: The English Tradition and the Seventeenth Century", deals with the relation of the literature of the period to the Caroline era in detail, and the fifth chapter, "Of Academic Interest", is concerned with analysing this relationship through discussion of both contemporary and present-day critics, adducing statistical evidence to prove a resurgence of interest in the writers of the Caroline era in the period 1880-1910. The sixth chapter, "By the Statue of King Charles: The Jacobite Revival" deals with the political and religious aspects of the Caroline revival, and charts the growth of neo-Jacobitism in the Eighteen Nineties and its relation to literary history. The seventh chapter, "Against Nature: Defining Decadence", suggests that the root of Decadent thinking is myth, and that the counterpart of Symbolism in the world of decadent nostalgia was the iconic religious and political culture of the court of King Charles I, a convenient archetype for Decadent myths of ritual, aristocracy, and martyrdom. This discussion closes the first part of the thesis. "Francis Thompson, Faithful Decadent: Catholics and Criticism" is Chapter Eight. It discusses Francis Thompson in relation to his critics, and the manner in which views of his work have been polarised between two main schools of criticism. Chapter Nine, "Faithful in my Fashion", suggests a resolution of this historically polarised critical discussion by assessing Thompson's poetry in close relationship with the work of the seventeenth-century sacred poets. The tenth chapter, "Waif of Romance: The Poetry of Ernest Christopher Dowson", assesses Dowson in relation to Herrick and the Cavalier lyrists, discussing also how he stands as a type in relation to his age. The eleventh chapter, "Lionel Johnson: One of Those Who Fall: His Life and Ideas", is concerned with the crisis in Johnson's thought over the natures of guilt and beauty, and how this is illustrated in his poetry. The twelfth and final chapter, "The Life and Work of Lionel Johnson: A Long Blast Upon the Horn: His Work and Themes", assesses Johnson's nostalgia for the Stuart era in terms of a resolution of his present poetic crisis through past values. His intellectual and intertextual relationships with Ben Jonson and Marvell are also discussed. The thesis closes with an assessment of Johnson's achievement based on his allegiance to the Caroline revival with which the argument throughout has been concerned.
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Granholm, Patrik. "Alciphron, Letters of the Courtesans : Edited with Introduction, Translation and Commentary." Doctoral thesis, Uppsala universitet, Institutionen för lingvistik och filologi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-183681.
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This dissertation aims at providing a new critical edition of the fictitious Letters of the Courtesans attributed to Alciphron (late 2nd or early 3rd century AD). The first part of the introduction begins with a brief survey of the problematic dating and identification of Alciphron, followed by a general overview of the epistolary genre and the letters of Alciphron. The main part of the introduction deals with the manuscript tradition. Eighteen manuscripts, which contain some or all of the Letters of the Courtesans, are described and the relationship between them is analyzed based on complete collations of all the manuscripts. The conclusion, which is illustrated by a stemma codicum, is that there are four primary manuscripts from which the other fourteen manuscripts derive: Vaticanus gr. 1461, Laurentianus gr. 59.5, Parisinus gr. 3021 and Parisinus gr. 3050. The introduction concludes with a brief chapter on the previous editions, a table illustrating the selection and order of the letters in the manuscripts and editions, and an outline of the editorial principles. The guiding principle for the constitution of the text has been to use conjectural emendation sparingly and to try to preserve the text of the primary manuscripts wherever possible. The critical apparatus has been divided into a main apparatus below the text, which reports variant readings from the primary manuscripts and a small selection of conjectures, and two appendices which report scribal conjectures from the secondary manuscripts and conjectures by modern scholars with bibliographical references. A third appendix has also been added which lists all conjectures adopted into the text. The parallel translation, which is accompanied by brief explanatory notes on names and places, is literal and serves as a complement to the commentary, which primarily deals with matters of textual criticism. In the commentary problematic passages are discussed, especially where an emendation has been adopted or where the present edition differs from previous editions. After the three appendices the dissertation ends with a bibliography.
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Pazdziora, John Patrick. "George MacDonald's fairy tales in the Scottish Romantic tradition." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4460.
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George MacDonald (1824-1905) is one of the most complex and significant Scottish writers of the nineteenth century, especially as a writer of children's fiction and literary fairy tales. His works, however, have seldom been studied as Scottish literature. This dissertation is the first full-length analysis of his writings for children in their Scottish context, focusing particularly on his use of Scottish folklore in his literary fairy tales. MacDonald wrote in the Scottish Romantic tradition of Robert Burns, Walter Scott, and James Hogg; by close reading his works alongside similar texts by his compatriots, such as Andrew Lang, MacDonald's own idiosyncratic contribution to that tradition becomes more apparent. His profound knowledge of and appreciation for Christian mysticism is in evidence throughout his work; his use of folklore was directly informed by his exploration of mystical ideas. Hogg is recast as a second Dante, and ‘bogey tales' become catalysts for spiritual awakening. MacDonald's fairy tales deal sensitively and profoundly with the theme of child death, a tragedy that held personal significance for him, and can thus be read as his attempt to come to terms with the reality of bereavement by using Scottish folklore to explain it in mystical terms. Traditional figures such as Thomas Rhymer, visionary poets, and doubles appear in his fairy tales as guides and pilgrims out of the material world toward mystical union with the Divine.
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Adams, Dana W. (Dana Wills). "Female Inheritors of Hawthorne's New England Literary Tradition." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279406/.
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Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.
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Weekes, Ann Owens. "BEGINNING A TRADITION: IRISH WOMEN'S WRITING, 1800-1984 (EDGEWORTH, JOHNSTONE, KEANE, IRELAND)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183990.
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In search of an Irish women's literary tradition, this dissertation examines the fiction of Irish women writers from Maria Edgeworth in 1800 to Jennifer Johnston in 1984. Contemporary anthropological, psychoanalytical, and literary theory suggests that women, even those of different cultures, excluded from public life and limited to the domestic sphere, would develop similar interests. When these interests ran counter to those of the dominant group, the women would have had to develop a technique to simultaneously express and encode these interests and concerns. This technique in literature, and specifically in the writers considered, often results in a muted plot. On the overt level the plot reifies the values and tenets of the establishment, but, at the muted level, the plot often expresses contradictory and subversive values. In 1800, Maria Edgeworth employs a "naive" narrator who both expresses male disinterest in the awful situations of the women he depicts and also distances the author from any implied criticism of this male perspective. Edgeworth combines her subtle expose with a critique of the desires encoded as "human," but actually merely "male," in canonical literature. At the end of the nineteenth century, E. OE. Somerville and Martin Ross again use an arguably deceptive narratorial device, as does Molly Keane in 1981. Elizabeth Bowen employs a more subtle narratorial device in The Last September, but one which still distances the author from her text. The re-vision of texts, literary and historical, indeed the re-visioning of history, recurs in Bowen, Keane, Kate O'Brien, Julia O'Faolain and Jennifer Johnston. Finally, one can trace similarities of both theme and technique over the whole period, despite the modifications of time and social change. We can also point to the major thematic and structural change which occurs when, in the past ten to fifteen years, writers have reversed the placement of muted and overt plot.
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Roodt, Vasti. "Amor fati, amor mundi : Nietzsche and Arendt on overcoming modernity." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019.1/1230.
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Maloney, Cahill B. Claire. "Samuel Beckett and the Irish grotesque tradition." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22606.
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By fusing many of the established hypotheses on the source of the grotesque in Irish literature, this study establishes that these writers' impatience with all boundaries and limitations, physical or mental, led them to exploit the indeterminacy of the grotesque to achieve their particular aesthetic and epistemological objectives.After an initial chapter on the relevant theoretical and national considerations, the prodigious cloacal visions of Beckett and Joyce are compared, with emphasis on their use of the grotesque to demythologize the creative process. A fourth chapter compares O'Brien's and Beckett's exploitation of the grotesque to undermine hegemonic philosophical and epistemological systems.
Like most writers of the grotesque tradition, Joyce and O'Brien assume a degree of moral responsibility by affirming, explicitly or implicitly, some traditional or utopian values and standards, while Beckett's deliberations on the complex relationship between Nature, the mind and the body end in negation, impotence and the hope of silence.
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Suescun, Pozas María del Carmen. "Lygia Clark and the European tradition : tracing the appearance of a different space." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26761.
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For almost 35 years the work carried out by the Brazilian artist Lygia Clark between the 1950s and until her death, in 1988, has attracted the attention of both Brazilian and European scholars and critics. Since special attention has only been given to her post-1969 work, the work carried out until 1969 has been overlooked. In particular, I would argue that through the incorporation of the human body Clark's 1959-1964 Bicho series is the first spatial performative strategy developed by Clark during the 1960s and against which all her subsequent production needs to be read.The present essay is thus an attempt to read as spatial performative strategies Clark's Bicho series with and against the Brazilian reception of Mondrian, reception which, as I would argue has been overlooked in the context of her work. Furthermore, I would argue that in order for us to better understand how the Bicho series unfold as spatial performative strategies the Brazilian reception of Mondrian must be approached through the Brazilian reception of Merleau-Ponty's phenomenology and political and cultural movements of the time. While the role played by Merleau-Ponty's incorporation of the human body in Clark's work has not been closely examined, Clark's engagement with the political and cultural movements of her time has been underestimated. I would argue that any attempt to give an account of Clark's practice needs to take into consideration the role these three aspects played in her engagement with the problem of representation.
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Traves, Julie. "Writing himself and others : Philip Roth and the autobiographical tradition in Jewish-American fiction." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26763.
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Philip Roth's parody of autobiography in the Zuckerman series is part of a larger debate concerning the problems of Jewish art. As Roth manipulates personal and personified autobiography, he both underlines and undermines Jewish traditions of reading and writing. To be sure, Zuckerman's struggle for artistic identity articulates a long-standing Jewish concern with the tensions of collective representation. It is from a culture consistently threatened by alienation and extermination that Roth finds his terms of reference. Zuckerman and his creator are subject to a whole discourse of Jewish textuality: to Jewish notions about the relationship between the individual and the group; between fact and fiction and between aesthetics and morality.However, the Zuckerman books are at once part of a continuum of Jewish culture and a unique response to the pressures of contemporary American Judaism. Through his humorous manipulations of autobiographical fiction, Roth finally counter-turns the very compasses by which he has oriented himself. He offers a potent commentary on the fatuity of Jewish "facts" and on the fictitious nature of the collectivized Jewish voice. For Roth, it is not only the Jew's experience, but his/her imagination, his/her individual frame of understanding, that determines ethnic identity. In the end, Roth challenges the cohesion of the Jewish cultural text. He places himself in a house of mirrors, where life and art, self and group, Jewish reverence and Jewish rebellion, endlessly reflect off one another.
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Kahn, David. "Milton's monistic faith : tradition and translation in the minor poetry." Thesis, University of Oxford, 1995. http://ora.ox.ac.uk/objects/uuid:f6e2a08d-413f-4107-9eb6-290c5a83e879.
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Faith for Milton is primarily a matter of man's access to God. Such access entails God's involvement in mankind. Faith is that which guarantees that God is accessible to men and also that God actively participates in the lives of his people. Milton's work exhibits a preoccupation with such a concept of faith, and wavers through the course of his life between dualist and monist formulations. Monistic faith suggests that God is directly accessible to man, while dualistic faith means that God may only be accessible in a mediated way. In the course of his career, Milton proceeded from an early dualistic faith to the declared monism of De Doctrina Christiana. This thesis examines the monistic impulse within Milton's poetry, focusing on the poems written during his mid-career (c. 1637-1653) when his outlook on faith turned. The thesis finds that although Milton expresses his monism in increasingly clear terms, he is never quite able to eliminate dualistic implications or tendencies from his faith. The thesis focuses on two strategies which Milton employs in his attempts to define a monistic world view and a monistic faith, namely, tradition and translation. These strategies represent points of confrontation between dualism and monism. They both assert monistic continuity in the face of dualist disjunction. Tradition attempts to overcome the disjunction perceptible between two remote events in time. It incorporates both the recovery of lost history as well as geographical and linguistic translation. Translation (taken as separate from tradition) attempts to overcome the disjunction between languages. It manages, however unsuccessfully, to carry meaning over from a source text to a target text while simultaneously altering every single word in the source text. Both these strategies thus provide textual and linguistic means for examining Milton's faith or his sense of divine access. This thesis examines Milton's deployment of tradition by means of a close consideration of Lycidas as well as several other early poems. It examines his 1648 and 1653 psalm translations and the unique manner in which they reveal Milton's understanding of faith. The thesis concludes that Milton's monistic faith never quite breaks free of the dualist tendencies against which it struggles.
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Wallis, Lesley Ann. "History, politics and tradition : a study of the history workshop 1956-1979." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369414.
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Malick, Shah Jaweedul. "The dramaturgy of John Arden : dialectical vision and popular tradition : a doctoral dissertation." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=71987.
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The subject of this dissertation is John Arden's dramaturgy. It covers the stage plays written by Arden (alone or with Margaretta D'Arcy) during their career in the "professional" theatre--that is, from The Waters of Babylon to and including The Island of the Mighty. It approaches them as one dramaturgically coherent opus and identifies and examines the basic artistic and cognitive emphases immanent to it.The study explores two fundamental and related constitutive features of Arden's dramaturgy: diachronically, its adherence to the forms, conventions, and techniques of popular or traditional theatres, and synchronically, its radical political emphasis as expressed in a categorically plebeian and collectivistic bias. It begins by situating Arden in his time and his tradition, and then discusses how other significant choices of his--the emphasis on story-telling (Part 2), the supra-individual approach to dramaturgic agents (Part 3), and his ludic theatricality (Part 4)--flow out of and contribute to the consistency of his dramaturgy. Part 5 focuses on a detailed analysis of The Island of the Mighty.
Arden's rejection of the established bourgeois theatre with its illusionist character and individualist ideology and his orientation towards a dialectical show distinguishes his work from that of his English contemporaries. It can be linked to that radical alternative tradition in modern dramaturgy which culminates in Bertolt Brecht.
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Ells, Sharon Verna. "The rural tradition in Nellie L. McClung's works /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65984.
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Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.
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From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process.
Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
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Freudenberg, Benjamin. "Yin as the specificity of Hong Kong cinema: mediated tradition and critical potential." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/188.
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In the analysis of Hong Kong cinema side notes on the relationship between particular motifs or stylistic features and Chinese intellectual history are relatively common. Fleshing out this relationship, however, is problematic due to the intricacies of Chinese thought as well as pace and volume of popular culture. In spite of this difficult relation, the thesis reconstructs the narrative and stylistic development of post-war Hong Kong cinema against relevant aspects of pre-modern Chinese thought, demonstrating how the latter provides an effective framework in which to explicate prominent motifs and visual architecture. Yin, or ‘concealment’, furnishes the conceptual space for the encounter, isolating relevant elements in the Legalist, Confucian, Daoist, and aesthetic canon and informing the analysis of select Hong Kong films. The body of the dissertation is comprised of four chapters; each juxtaposes an aspect of pre-modern thought with cinematic texts chosen to illustrate distinct discursive movements around themes essential to an understanding of post-/colonial Hong Kong modernity. Beginning with the depiction of the legal order, the first chapter details the narrative characterization of modern law and its subversion in the extra-legal space of the jianghu. The debate between Legalism and Confucian natural law thus ‘grounds’ a pop-cultural suspicion regarding the efficacy of positive law as such. The following chapter tackles the issue of identity: recounting early attempts to stabilize a traditional culturalist version of belonging, narrative criticism of traditional patriarchy and Western hegemony, and recent fears of re-colonization by the motherland, Chineseness is shown to denote an event eluding popular culture. A third chapter interrogates the construction of fate and, implicit in it, narrativity as such. A discussion of Daoism - expressing both a faith in ontologically guaranteed restoration and a critical insight into virtual potential concealed in acculturation - connects pre-modern thought to Hong Kong cinema which first embraces restoration in popular formula and later attempts to escape its circularity. The fourth chapter focuses on stylistic evolution; an influential pre-modern treatise on the aesthetics of landscape painting provides the framework for an account of the characteristic sinicization of visual architecture subjecting space and time to momentum in careful framing and editing. While this style is characteristic of action-oriented plots, it also conditions aesthetic refutations and recent returns to more realist approaches. Conceptually explicating Hong Kong cinema through Chinese intellectual tradition runs the risk of merely subsuming the former to the latter. This would miss the characteristic mediation of tradition as it is ‘resuscitated’ in popular culture, its imbrication in the contemporary situation. As such, the thesis cannot evade addressing the meaning of this mediation, a task requiring additional conceptual tools. Critical theory fulfills this purpose throughout the main body of the thesis supporting arguments regarding the critical potential of mediated tradition within post-/colonial modernity. A concluding chapter summarizes the thesis’ findings, reflects on the aesthetic impasses of mass culture even where it expresses discontent with modernity, and reiterates the persisting relevance of Adorno’s critique of the culture industry, especially for the analysis of popular culture.
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Vodoklys, Edward J. "Blame-expression in the epic tradition." New York : Garland, 1992. http://catalog.hathitrust.org/api/volumes/oclc/25130912.html.
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