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Dissertations / Theses on the topic 'World literature'

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Published: 4 June 2021
Last updated: 16 June 2025

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1

Gholami, Zhila. "Roots and Routes: Kurdish Literature as World Literature." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404158.

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Over the last two decades, the literary world has seen many new works by Kurdish writers and poets who have authored works of fiction, memoir and collections of poetry in the English language. This thesis, Roots and Routes: Kurdish Literature as World Literature, is the study of this body of work. As the first comprehensive study to cover the existing and emerging Kurdish Anglophone writings, this study introduces these writings into the arena of world literatures in English. However, it also identifies these works as a new literary canon in the realm of Kurdish literature. This study is an attempt to investigate why and how these Anglophone Kurdish writings emerged, who their intended readers are, and what roles these writings play or can play. To find answer to these questions, this study examines both the contexts out of which and in which these writings have emerged. It positions them in the historical and geopolitical contexts they have emerged from and examines the new and broader cultural, literary and socio-political contexts in which they have been produced, circulated and received. Looking at these two contexts, this study finds that these writings have created and can continue to create new spaces of global engagement with the Kurdish question(s) and Kurdish people. It asserts that these writings entail a kind of activism and create an arena of struggle and Kurdish voice of resistance beyond their imposed national borders, in the wider context of the world. It is within this context that this study argues for this body of work as a new discursive space of negotiation and recognition of the Kurdish questions and Kurdish people in global and transnational contexts. In its reading of the texts, this study, drawing on various theoretical frameworks and taking a reception-based or readerly pragmatics approach, aims to explore how these texts interact with their implied readers and the ways they might be read. It seeks to explore not only why but also and more significantly how these writings of different genres bear witness to Kurdish traumatic history and act as testimony. In short, it looks at both politics and poetics of witnessing and testimony in the emerging Anglophone writings by Kurdish diaspora authors.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Hum, Lang & Soc Sc<br>Arts, Education and Law<br>Full Text
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2

Jónsson, Friðrik Sólnes. "In orbit: Roberto Bolaño and world literature." Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-118125.

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Chilean author Roberto Bolaño (1953-2003) has achieved considerable critical and commercial success among a global English readership. Breaking into the US market, which has an important mediating role for the international circulation of texts, is a rare feat for a non-Anglophone author and requires some explanation. In the spirit of Pascale Casanova’s international criticism, this paper looks at Bolaño’s work as world literature and his persona as a world-literature figure against which theories on the subject can be measured. Furthermore, I will partly use his posthumous novel, 2666, as an example of a work that arises out of this process of becoming-world-literature. The success of Bolaño more or less conforms to the main theories of world literature (Casanova, Moretti, Thomsen), but it also reveals interesting mismatches and problematic aspects that show a need to update existing theories.
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MacCallum-Stewart, Esther. "The First World War and popular literature." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421434.

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Trott, Vincent Andrew. "The First World War : history, literature and myth." Thesis, Open University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664476.

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This thesis explores the role literature played in the creation and subsequent development of the mythology of the First World War in Britain. In this thesis, the term 'mythology' is used to denote a set of dominant symbols and narratives which characterise how the past is represented and understood. Many historians consider literature to be the source of the British mythology of the First World War, but it is argued here that previous historical approaches have paid insufficient attention to the processes by which books were published, promoted and received. Drawing on Book History methodologies, this thesis therefore also examines these processes with reference to a range of literary works, whilst employing theoretical models advanced in the field of memory studies to interrogate further the relationship between literature and evolving popular attitudes to the First World War. Through a series of case studies this thesis demonstrates that publishers, hitherto overlooked by scholars in this context, played a crucial role in constructing the mythology of the First World War between 1918 and 2014. Their identification of texts, and promotional strategies, were key processes by which this mythology was developed across the twentieth century and beyond. By examining critical and popular responses to literature this thesis also problematizes the linear narrative by which the mythology of the war is often taken to have evolved. It demonstrates that myths of the war have been constructed and contested by various groups at different times, and that the evolving memories of veterans were not always in alignment with those of the wider public. In doing so it provides a powerful counterargument to the assumption that a mythology of the First World War has become hegemonic in recent decades.
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Thompson, Lucas Jesse. "Global quotations: David Foster Wallace and world literature." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13149.

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The central argument of this thesis is that Wallace’s current cultural and scholarly position, as a parochial and emphatically American figure, needs to be reconsidered. This is because his work, although frequently preoccupied with particularly American concerns, uses world literature in important ways. Time and again, Wallace’s fiction draws on a diverse range of global texts, appropriating various forms of world literature in the attempt to craft fiction that critiques US culture from a slightly oblique, unexpected vantage point. Although I take issue with the US-centric interpretation generated by many scholarly readers of Wallace’s work, my argument is not intended as a corrective to this strain of criticism but as a complementary, adjacent approach. This is because Wallace’s engagements with world literature so frequently feed back into his idiosyncratic critiques of American culture. Individual chapters of my thesis reassess Wallace’s body of work in relation to five broadly construed geographical territories: Latin America, Russia, Eastern Europe, France, and Africa. By expanding the geographical coordinates of Wallace’s work in this way, we begin to see the ways in which he played particular literary traditions off one another, appropriating radically varied global texts within his own fiction. Simultaneously, my argument also develops five complementary theories concerning the ways in which artistic influence functions in Wallace’s fiction, showing how Wallace’s engagements with world literature are mediated via specific strategies of artistic appropriation.
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6

Kemp, Nathan C. "Animals of the New World." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1427713735.

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7

Chui, Siu Shan Remy. "Reading 'Third World' women's autobiography /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22763491.

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8

Sorensen, Paul Howard. "Foreign Dispatches From a World of Men." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1321901743.

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9

Leenhouts, Mark. "Leaving the world to enter the world : Han Shaogong and Chinese root-seeking literature /." Leiden : CNWS, 2005. http://catalogue.bnf.fr/ark:/12148/cb40923759r.

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Proefschrift--Letteren--Universiteit Leiden, 2005.<br>Mention parallèle de titre ou de responsabilité : Yi chu shi dezhuang tai er ru shi. CNWS = Centrum voor niet-Westerse studies (= Research school of Asian, African and Amerindian studies). Bibliogr. p. 131-148.
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10

Libbon, Stephanie E. "Frank Wedekind's fantasy world : a theater of sexuality." Connect to resource, 2000. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1229696568.

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Bunthoff, Kathryn C. "Consuming Nature: Literature of the World that Feeds Us." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1241616520.

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12

Meyers, Jeanne Marie Gillespie. "World views in literature a Christian awareness and interposition /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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13

Das, S. "The sense of touch in First World War literature." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598287.

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This thesis examines the sense of touch in the experience of the First World War and its relation to literary representation. The literature of the First World War is haunted by the sense of touch: from the horrors of the trench-mud to the "full-nerved still warm" boys of Owen, Sassoon and Nichols, to serving the body in pain that one comes across in the nurses' memoirs. Starting with archival material from the Imperial War Museum - unpublished letters, diaries and journals - I analyse how imaginative literature dwells on moments and processes of tactile contact across genres: trench poetry (Owen, Sassoon, Rosenberg), novels (Barbusse, Blunden, Jones) and nursing memoirs by women (Brittain, Bagnold, Borden). The aims of the study are three-fold. First, I examine why the sense of touch is so crucial - both in the context of horror and tenderness - to the experience of the First World War. Second, how did such tactile experience affect the subjectivities of the soldiers and the nurses? Third, why is there such an urgent need within war writings to evolve a literary language around the most intimate and the most elusive of human senses? After three weeks in the Somme, Owen writes, "I have not seen any dead. I have done worse. In the dank air, I have perceived it, and in the darkness, felt". In my thesis, I seek to relate some broad theoretical interests about the relation between touch and human subjectivity to literary questions and historical particularities; I ground my research in close textual analysis of representations of tactile contact in war writings. Section I examines the horrors of the "sucking" trench-mud and its threat to the identity of the soldiers through letters, newspaper accounts and the writings of Sassoon, Rosenberg, Blunden and Jones. Section II explores moments of tactile tenderness between soldiers, and how such moments go beyond the established categories of gender and sexuality. Chapter 3 studies the representation of the dying kiss in touch literature while Chapter 4 concentrates on Wilfred Owen. Section III considers the experience of the women-nurses, and the relation between trauma and witnessing. Chapter 5 examines why the nurses repeatedly dwell on moments of physical contact with the wounded male body while Chapter 6 focuses on three "operating-scenes".
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Neville, Jennifer Lynne. "Representations of the natural world in Anglo-Saxon literature." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363863.

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15

Vafa, Amirhossein. "Rethinking world literature from 'Moby Dick' to 'Missing Soluch'." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/8165/.

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This thesis stems from interlocking sites of local and global inequalities that span from the public to cultural realms. Considering the US-Iranian relations, and America’s geopolitical presence in the Persian Gulf since the Cold War, my literary study concerns a world order of core-periphery divides that chart the global circulation of travelling texts. Within this process of establishing “national” and “world texts,” silenced are subordinate characters whose untold stories read against the grain of institutional World Literature. Towards an egalitarian cross-cultural exchange, therefore, I examine works of fiction and cinema across a century and two oceans: Herman Melville’s Moby-Dick, Esmail Fassih’s The Story of Javid, Mahmoud Dowlatabadi’s Missing Soluch, and Amir Naderi’s film The Runner. In contention with the widespread Eurocentric treatments of world literatures, and in recognition of radical efforts to reimagine the worldliness of American and Persian literatures respectively, I maintain that aesthetic properties are embedded in their local histories and formative geographies. Bridging two literary worlds, then, I introduce the Parsee Fedallah as a figure whose significant role has been subdued in Melville scholarship. To retrieve his unheard voice, or “proleptic narrative,” is to de-territorialize an American master-text, and to bring the character to his Persian literary and cinematic counterparts in a subversive practice of Comparative Literature. In effect, lived experiences of Fassih’s Javid (a Zoroastrian national trope) and Dowlatabadi’s Mergan (a marginalized rural woman) are “proleptic” articulations of Fedallah’s voice in Iranian fiction. In-between Melville’s outward “sea” and Fassih and Dowlatabadi’s inward “land” is an alternative space in which the border-crossing of fictional characters enable counter-hegemonic cartographies. In conclusion, by virtue of his creative conflict with Melville, Naderi’s Amiru points at the silver screen as a visual realm of new possibilities beyond the monopoly of an expansive World Literature.
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16

Milne-Walasek, Nicholas. "The History/Literature Problem in First World War Studies." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35162.

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In a cultural context, the First World War has come to occupy an unusual existential point half-way between history and art. Modris Eksteins has described it as being “more a matter of art than of history;” Samuel Hynes calls it “a gap in history;” Paul Fussell has exclaimed “Oh what a literary war!” and placed it outside of the bounds of conventional history. The primary artistic mode through which the war continues to be encountered and remembered is that of literature—and yet the war is also a fact of history, an event, a happening. Because of this complex and often confounding mixture of history and literature, the joint roles of historiography and literary scholarship in understanding both the war and the literature it occasioned demand to be acknowledged. Novels, poems, and memoirs may be understood as engagements with and accounts of history as much as they may be understood as literary artifacts; the war and its culture have in turn generated an idiosyncratic poetics. It has conventionally been argued that the dawn of the war's modern literary scholarship and historiography can be traced back to the late 1960s and early 1970s—a period which the cultural historian Jay Winter has described as the “Vietnam Generation” of scholarship. This period was marked by an emphatic turn away from the records of cultural elites and towards an oral history preserved and delivered by those who fought the war “on the ground,” so to speak. Adrian Gregory has affirmed this period's status as the originating point for the war's modern historiography, while James Campbell similarly has placed the origins of the war's literary scholarship around the same time. I argue instead that this “turn” to the oral and the subaltern is in fact somewhat overstated, and that the fully recognizable origins of what we would consider a “modern” approach to the war can be found being developed both during the war and in its aftermath. Authors writing on the home front developed an effective language of “war writing” that then inspired the reaction of the “War Books Boom” of 1922-1939, and this boom in turn provided the tropes and concerns that have so animated modern scholarship. Through it all, from 1914 to the current era, there has been a consistent recognition of both the literariness of the war's history and the historiographical quality of its literature; this has helped shape an unbroken line of scholarship—and of literary production—from the war's earliest days to the present day.
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Bondarchuk, Julia, and Kseniia Kugai. "Perception of Ukrainian literature in English-speaking world: stereotypes." Thesis, Baltija Publishing, Riga, Latvia, 2021. https://er.knutd.edu.ua/handle/123456789/19481.

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18

Visscher, Margrete Sija. "Beyond Alexandria : literature and empire in the Seleucid world." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11750/.

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This thesis aims to provide a better understanding of Seleucid literature, covering the period from Seleucus I to Antiochus III. Despite the historical importance of the Seleucid Empire during this period, little attention has been devoted to its literature. The works of authors affiliated with the Seleucid court have tended to be overshadowed by works coming out of Alexandria, emerging from the court of the Ptolemies, the main rivals of the Seleucids. This thesis makes two key points, both of which challenge the idea that “Alexandrian” literature is coterminous with Hellenistic literature as a whole. First, the thesis sets out to demonstrate that a distinctly Seleucid strand of writing emerged from the Seleucid court, characterised by shared perspectives and thematic concerns. Second, the thesis argues that Seleucid literature was significant on the wider Hellenistic stage. Specifically, it aims to show that the works of Seleucid authors influenced and provided counterpoints to writers based in Alexandria, including key figures such as Eratosthenes and Callimachus. For this reason, the literature of the Seleucids is not only interesting in its own right; it also provides an important entry point for furthering our understanding of Hellenistic literature in general.
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Burton, William James. "In a perfect world : utopias in modern Japanese literature /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11144.

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20

徐少珊 and Siu Shan Remy Chui. "Reading 'Third World' women's autobiography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222547.

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21

Whistler, Nicholas McCarthy. "John Galt and the New World." Thesis, University of Cambridge, 1993. https://www.repository.cam.ac.uk/handle/1810/251559.

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22

Kebsi, Jyhene. ""Unauthorized Global Narratives: The Representation of Gendered Paperless Migration from the Arab World in Transnational World Literature and Cinema"." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17586.

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I explore the representation of irregular migration from the Arab world to Europe, North America and Australia, in particular Third World Arab women’s clandestine journeys to the global North. My study is centred upon the analysis of literary and cinematographic “illegal” immigration narratives that shed light on the movement of paperless Arab female citizens and their experiences in the countries of origin. My dissertation underlines the contradiction between the unrestricted movement of commercial goods from the global North to the South, and the restrictions placed on the movement of people from Third World countries to the developed world. Drawing upon transnational feminism and trying to build a located version of Arab transnational feminism(s), my main argument is that Third World Arab women have to strive against the subordination generated by male domination, as well as against the poverty and increased border regulation induced by globalization. My reliance on intersectionality complicates the otherwise flat category of the “Arab and Muslim females” on whose names Westerners so often speak.
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23

Farronato, Cristina. "Eco's chaosmos : medieval models for a postmodern world /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9975887.

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24

Knierim, Sean Paul Rector Mônica. "Literatures of urban development World bank literature and the chronicles of Rio de Janeiro and Mexico City /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,759.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.<br>Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
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Sugars, Cynthia Conchita. "The uncompromised New World, Canadian literature and the British imaginary." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/NQ44602.pdf.

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Sugars, Cynthia Conchita 1963. "The uncompromised New World : Canadian literature and the British imaginary." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35630.

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This thesis explores contemporary (post-1980) British constructions of Canada or "Canadianness" as these have been conceived through the reading and reception of English-Canadian literary texts in Britain. I am arguing that in recent years Canada has been construed in Britain as an ideal, and furthermore, that this idealization has taken place in response to a perceived cultural and socio-economic malaise within contemporary British society. I use a combined postcolonial and object-relations approach to discuss the psychic investment involved in this construction of Canada as a post-imperial role model. These readers engage with the Canadian object as a sort of phantasy space, projecting onto Canada a self-image which expresses the British desire for postcolonial diversity. Canada thereby enables the dodging of the quagmires of imperiled national identity (and personal subjectivity), for its diffuse and decentralized makeup is balanced by an essentialized notion of cultural and national uniqueness. Throughout I take issue with the ways Canada tends to get celebrated in these writings as a postmodern ideal of unproblematized pluralism and endless diffusion, knowable by the sheer extent to which it seems to defy collective identity. These celebrations of Canada as a new (postmodern) Eden succeed only in emptying the Canadian domain of anything remotely contestatory or political. Indeed, this vision of Canada utilizes a limited version of postmodernism as an idealistic play of pluralities without any sense of accompanying political strife or contradiction.
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Wright, Benjamin Jude. ""Of That Transfigured World" : Realism and Fantasy in Victorian Literature." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4617.

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"Of That Transfigured World" identifies a generally unremarked upon mode of nineteenth-century literature that intermingles realism and fantasy in order to address epistemological problems. I contend that works of Charles Dickens, Charlotte and Emily Brontë, Walter Pater, and Oscar Wilde maintain a realist core overlaid by fantastic elements that come from the language used to characterize the core narrative or from metatexts or paratexts (such as stories that characters tell). The fantastic in this way becomes a mode of interpretation in texts concerned with the problems of representation and the ability of literature to produce knowledge. Paradoxically, each of these authors relies on the fantastic in order to reach the kinds of meaning nineteenth-century realism strives for. My critical framework is derived from the two interrelated discourses of sacred space theology and cultural geography, focusing primarily on the terms topos and chora which I figure as parallel to realism and fantasy. These terms, gleaned from Aristotle and Plato, function to express two interweaving concepts of space that together construct our sense of place. Topos, as defined by Belden C. Lane, refers to "a mere location, a measurable, quantifiable point, neutral and indifferent" whereas chora refers to place as "an energizing force, suggestive to the imagination, drawing intimate connections to everything else in our lives." In the narratives I examine, meaning is constructed via the fantastic interpretations (chora) of realistically portrayed events (topos). The writers I engage with use this dynamic to strategically address pressing epistemological concerns relating to the purpose of art and its relationship to truth. My dissertation examines the works of Dickens, the Brontës, Pater, and Wilde through the lens of this conceptual framework, focusing on how the language that each of these writers uses overlays chora on top of topos. In essence each of these writers uses imaginative language to transfigure the worlds they describe for specific purposes. For Dickens these fantastic hermeneutics allow him to transfigure world into one where the "familiar" becomes "romantic," where moral connections are clear, and which encourages the moral imagination necessary for empathy to take root. Charlotte and Emily Brontës's transfigurations highlight the subjectivity inherent in representation. For Pater, that transfigured world is aesthetic experience and the way our understanding of the "actual world" of topos is shaped by it. Oscar Wilde's transfigured world is by far the most radical, for in the end that transfigured world ceases to be artificial, as Wilde disrupts the separation between reality and artifice. "Of That Transfigured World" argues for a closer understanding of the hermeneutic and epistemological workings of several major British authors. My dissertation offers a paradigm through which to view these writers that connects them to the on-going Victorian discourses of realism while also pointing to the critical sophistication of their positions in seeking to relate truth to art. My identification of the tensions between what I term topos and chora in these works illuminates the relationship between the creation of meaning and the hermeneutics used to direct the reader to that particular meaning. It further points to the important, yet sometimes troubling, role that imagination plays in the epistemologies at the center of that crowning Victorian achievement, the Realist novel.
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Reimer, Eric J. "'My passport's green' : Irishness in the new world order /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055706.

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Thesis (Ph. D.)--University of Oregon, 2002.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 221-231). Also available for download via the World Wide Web; free to University of Oregon users.
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Tierney, Robin Leah. "Japanese literature as world literature: visceral engagement in the writings of Tawada Yoko and Shono Yoriko." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/750.

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This dissertation argues that the writings of the contemporary Japanese writers Tawada Yoko and Shono Yoriko should be understood as literature that is commenting upon global processes and therefore categorized within the newly re-deployed category of "World Literature." In the first chapter I explore the political project of Shono Yoriko's fictional and polemical writings. Shono uses the bundan (literary establishment) as a platform for her critique of neo-liberal economic trends and launches a campaign that is both global in scope and kyoku-shi (hyper-personal) in tone. She counters universally applicable socio-economic trends with intensely personal myths and private vendettas against public intellectuals who deny the value of non-profit-grossing "serious" literature. In chapter two I perform a close reading of her 2004 novel Kompira as well as her busu mono (ugly tales). Kompira, I argue, is both a historical narrative of a particular kompira kami (deity) and the postulating of a system of resistance that involves hybridity and embodiment. While Tawada Yoko is most often identified as a border-crossing, multi-lingual writer who publishes in both German and Japanese, in chapter three I argue that this "identity" threatens to eclipse the ways in which she investigates the bodily reception of language. My claim is that Tawada's interstitial explorations pose translation and bodily coding as inherent to language acquisition in general and suggests that all words carry their own libidinal imprint. In chapter four I argue that Tawada mines bodily processes for her representational strategies. In Tawada's texts the unraveling of national and masculine aesthetics forms a critical part of decoding the body as a fixed and gendered entity. . When Tawada positions the male body as an object of tactile inquiry and explores the bodily-confusion-with-another inherent in the process of ovulation as a narrative drive, I see a re-working of corporeal and cognitive logics. This reworking, I contend, is not a conclusive "righting of wrongs" but an invitation to join in the ongoing process of articulating difference in a potentially post-national world.
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Maynes-Aminzade, Elizabeth. "Macrorealism: Fiction for a Networked World." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11157.

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Victorian novels were, generally speaking, big. But what forms did their bigness take? Why did a "macro" aesthetic prevail in the mid-nineteenth century? And why, after losing influence in the following century, has it returned in recent years? This dissertation identifies three distinct features - one spatial, one temporal, one intellectual - crucial to that aesthetic. Moreover, it explains why that kind of fiction, which I call macrorealism, has come into fashion at two different historical moments.
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Hensley, Martin. "The Green World of Dystopian Fiction." TopSCHOLAR®, 2006. http://digitalcommons.wku.edu/theses/276.

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Northrop Frye was the first theorist to develop the green world archetype; Frye used the term to refer to a recurring motif in Shakespearean comedy. In several of Shakespeare's comedies, the protagonists leave the civilized world and venture into the green world, or nature, to escape from the irrational law of society, which is the case in such comedies as As You Like It and A Midsummer Night's Dream. Elements of the green world can also be found in Shakespearean tragedy, where the natural retreat serves as a temporary escape for the protagonists. Such a green world exists in three of the most well known examples of dystopian fiction: George Orwell's 1984, Aldous Huxley's Brave New World, and Yevgeny Zamyatin's We. In these three novels, the protagonists take flight from the repressive dystopia and journey into nature. In the green world, the protagonists attain individual freedom and identity and experience emotions, passions, beauty, the past, and the power of language. Each of these elements, which are associated with the green world, stand in opposition to the dystopian society's doctrine. The green world, then, becomes an escape, a place where the protagonists can temporarily live a free life away from the tyrannical powers of the dystopic society. The dystopian green world experience follows a pattern of flight, immersion, and departure. In the first segment, the protagonists flee from the oppressive society and into nature; in the second, they immerse themselves within the green world where they experience new sensations, emotions, and gain new insights and understanding; in the third, the protagonists depart the green world and return to the civilized world in order to confront it with the knowledge they have gained while immersed in the green world. This pattern can also be viewed as a symbolic cycle that moves from death to rebirth to death. The first death is the death-like stasis of the dystopia and of the protagonist, who is just a part of the whole and not truly an individual. The symbolic rebirth conies when the protagonists depart the green world as individuals with new know ledge and experiences. Lastly, the second symbolic, or sometimes literal death, comes when the protagonists confront the dystopia with their new knowledge, have that knowledge challenged by an agent of the dystopia, usually in the form of a trial, and, finally, are symbolically or literally destroyed by the dystopian agent.
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32

Adams, Melissa Marie. "New world courtship transatlantic fiction and the female American /." [Bloomington, Ind.] : Indiana University, 2009. 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:3373489.

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Thesis (Ph.D.)--Indiana University, Dept. of English, 2009.<br>Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3850. Advisers: Jonathan Elmer; Deidre Lynch. Title from PDF t.p. (viewed on Jul 6, 2010).
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33

Matthews, Josephine A. "Artistry and authenticity : Zhao Shuli and his fictional world /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487687485808787.

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34

Lucas, Regina Marie. "Ralph and Lily: Victims in a Boundary World." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626174.

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35

Fitzmaurice, Andrew. "Classical rhetoric and the literature of discovery 1570-1630." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307941.

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36

Lawson, C. "W.G. Sebald's Luftkrieg und Literatur : German literature and the allied bombings of German cities in World War II." Thesis, Nottingham Trent University, 2010. http://irep.ntu.ac.uk/id/eprint/109/.

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This thesis is a critical analysis of W.G. Sebald‘s Luftkrieg und Literatur (On the Natural History of Destruction) and its reception in the German media and in scholarship. Sebald‘s essay caused a public debate in 1997 over the ethical implications of a cultural memory of the Allied bombings of German cities in the Second World War. Since then, the essay has come to be understood as a foundational moment in the discourse surrounding 'German victimhood' in representations of the bombings and the expulsions of ethnic Germans from the Eastern territories. The thesis argues that Sebald‘s essay has been widely mis-read and mis-appropriated in the service of the discourse. Re-inscribing the essay into the aesthetic and philosophical framework of Sebald‘s wider prose oeuvre, from which it is frequently divorced in scholarship, it argues that the text is exemplary of Sebald‘s creation of an archive of 'natural history' with regard to the representation of past catastrophes. Situating the essay within a 20th century tradition of German thinking on history and the enlightenment that informs Sebald‘s thought, I use this thick contextualisation to argue that Sebald‘s fascination with the bombings and the ruined cities provides an intersection between his academic and aesthetic practice, offering important insights into his natural historical gaze, archival technique and preoccupation with the catastrophic history of his country of origin. With this examination of an important but often mis-understood text, the thesis aims to enrich the field of memory studies in relation to post-reunification Germany and correct an oversight in the recent history of cultural memory regarding the Nazi past. It also aims to fill a gap in the scholarship on W.G. Sebald, a writer who has increasingly been understood as one of the most significant in the recent German canon, by reinscribing Luftkrieg und Literatur into his body of work.
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37

Snape, Terrie-Anne. "The suffering of others : representations of disease in third world literature /." Title page, table of contents and conclusion only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09ars669.pdf.

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38

Yuan, Ziqi. "“Isms” and the Refractions of World Literature in May Fourth China." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437559868.

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39

Khan, Nosheen. "Women's poetry of the First World War." Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/66938/.

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This thesis seeks to study women's poetic response to the First World War a hitherto neglected area of the literature inspired by the war. It attempts to retrieve from oblivion the experience of the muted half of society as rendered in verse and document as far as possible the full range of the poetic impact the war made upon female sensibility. It is thematic in structure and concentrates upon the more recurrent of attitudes and beliefs which surface in women's war writings. The thematic structure was adopted to cover as wide a range as possible of the ways the historical experience could be met and interpreted in literature. This study takes into account the work of the established writers of the period as well as the amateur versifiers who made war their subject. The first chapter discusses verse which defines the nature of war as apprehended by the female consciousness. Chapter Two examines the poets' use of religious concept and image to lend meaning and purpose to an event entirely at variance with the ideals employed to explain it. The third chapter considers the exploitation of the perennial poetic subject of nature to interpret war by accommodating it into the language and thought of an apparently alien literary tradition. War as it impinged upon the consciousness of people on the Home Front is discussed in Chapter Four; it is partly concerned with revising the calumnious images of women in war time as set out by the soldier poets. Chapter Five looks into the writing of those women who wrote out of their experience of working in the various organisations which were an integral part of the machinery of warfare. War as an experience of suffering - suffering peculiar to the female - defines Chapter Six. The purpose of this study has been to suggest the variety of literary responses to the First World War by those who, at great cost, produce the primal munition of war - men - with which their destinies are inextricably ,linked. As part of a response to a particular historical event, the literary interpretation of which has conditioned modern war consciousness, women's war poetry is not without relevance for it adds a new dimension to the established canon of war literature and correspondingly a new vista to understanding the truth of war.
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Kroska, Aaron. "In Some Asbestos World." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2131.

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This thesis consists of a collection of poems which explore the relationship between the imagination and that mysterious thing we call reality. They engage with the Emmanuel Kant's notion of the dichotomy between subject and object; thus, one of the central concerns of the project is whether the object can ever be understood by a subject, whose mind imposes its categories and other forms of mediation upon whatever it perceives. The poems also engage with Wallace Stevens' notion of a "Supreme Fiction," as the only means left to us, however imperfect it may be, with which we might approach the "original idea" that all other perceptions of reality only approximate. In the absence of the certainty of an interrogated reality, negative space, that which cannot be perceived by the senses, is explored, proposed, gestured toward. That genius behind the infinity of the world.
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Mac, Caba Seamus. "The neutral heart : Irish poetry and World War II." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307544.

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Chapman, James. "Official British film propaganda during the Second World War." Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308985.

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Wilkinson, Karen Ann. "'Widening the world' : the later fiction of Susan Warner." Thesis, Manchester Metropolitan University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269564.

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Sun, Min. "Online literature in China : surfing for success /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25797876.

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Le, Dressay Anne M. "Word and world the validity and limitations of a Heideggerian perspective on the poetry and poetics of Gerard Manley Hopkins." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5168.

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46

Cassell, Cara M. "The "infernal world" imagination in Charlotte Bronte's four novels /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-03052007-165656/.

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Thesis (Ph. D.)--Georgia State University, 2007.<br>Title from file title page. Paul Schmidt, committee chair; LeeAnne Richardson, Murray Brown, committee members. Electronic text (203 p.) : digital, PDF file. Description based on contents viewed Oct. 18, 2007. Includes bibliographical references (p. 191-203).
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Garrison, Mary Delafield. "Alcuin's world through his letters and verse." Thesis, University of Cambridge, 1996. https://www.repository.cam.ac.uk/handle/1810/251592.

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48

Hoene, Christin. "Sing who you are : music and identity in postcolonial British-South Asian literature." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7794.

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This thesis examines the role of music in British-South Asian postcolonial literature, asking how music relates to the possibility of constructing postcolonial identity. The focus is on novels that explore the postcolonial condition in India and the United Kingdom, as well as Pakistan and the United States: Vikram Seth's A Suitable Boy (1993), Amit Chaudhuri's Afternoon Raag (1993), Suhayl Saadi's Psychoraag (2004), Hanif Kureishi's The Buddha of Suburbia (1990) and The Black Album (1995), and Salman Rushdie's The Ground Beneath Her Feet (1999). The analysed novels feature different kinds of music, from Indian classical to non-classical traditions, and from Western classical music to pop music and rock 'n' roll. Music is depicted as a cultural artefact and as a purely aestheticised art form at the same time. As a cultural artefact, music derives meaning from its socio-cultural context of production and serves as a frame of reference to explore postcolonial identities on their own terms. As purely aesthetic art, music escapes its contextual meaning. The transcendental qualities of music render music a space where identities can be expressed irrespective of origin and politics of location. Thereby, music in the novels marks a very productive space to imagine the postcolonial nation and to rewrite imperial history, to express the cultural hybridity of characters in-between nations, to analyse the state of the nation and life in the multicultural diaspora of contemporary Great Britain, and to explore the ramifications of cultural globalisation versus cultural imperialism. Analysing music's cultural meaning and aesthetic value in relation to postcolonial identity, this thesis opens up new frames of textual and cultural analysis that help understand the postcolonial condition from the interdisciplinary perspective of word and music studies.
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Lee, Joyce Glover. "The Fictional World of Rolando Hinojosa." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277858/.

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Rolando Hinojosa's Klail Citv Death Trip Series purports to give a picture of life in the Texas Rio Grande Valley from roughly the 1930s to the present. Much of Hinojosa's attention is directed toward the tensions that characterize relations between the mexicano and Anglo cultures. Hinojosa's novel sequence in large part documents the ever-increasing acculturation and assimilation of the mexicano into Anglo society.
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Biello, Peter S. "The dimensions of the world." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/rp/biellop/peterbiello.pdf.

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