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Allsopp, Richard David. "Acts of writing : writings on contemporary performance". Thesis, University of Plymouth, 2000. http://hdl.handle.net/10026.1/2671.
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The work published between 1991-2000 and presented here forms a continuing meditation on, and exploration of contemporary performance. The term 'contemporary performance' is used to refer to practices and discourses in the performance arts that have occurred over the last decade. There Is a particular emphasis on those unstable, hybrid and interdisciplinary areas of performance (including performance art, installation, 'new' dance, 'experimental' theatre, 'live' art) which resist easy definition or categorisation, and which may be further characterised as postmodern in the sense of a reflexive, contextualised and knowingly problematic practice. More specifically the work builds a sustained thesis on contemporary practice and addresses in a number ways some of the central Issues surrounding the placing and practice of performance. It focuses on relationships between performance, textuality, the body, and spatiality; as well as on Issues of context, framing and the place of performance in contemporary culture. The work engages with a number key terms applied to contemporary performance Including ephemerality, displacement, equivalence and ecology, which contribute to the central thesis that contemporary performance Is an unsettled yet always contextualised practice which resists fixities and holds itself between a condition of fragmentation and integration. Contemporary performance is considered from a number of points of view: " as performance: where the events and relationships which constitute performance can be documented and mapped; " as contextuaiised practice: where the conditions that enable or disable performance can be identified; " as process : where the dynamics and media of performance can be situated; " as site : where the frames, surfaces and boundaries of performance can be examined; 7 Acts of Writing - Ric Allsopp (July zooo) Abstract " as ecology: where the Internal and external Interdependencies of performance can be Identified; " as a problematic: where the terms and assumptions that constitute a reading of performance can be Identified and analysed. Two key ideas inform the thesis that emerges from the work: firstly the recognition of an ethical stance towards performance; and secondly the search for a methodology which can disclose the dynamics of performance. The'acts of writing' are seen as an active as well as reflective methodology - an engagement with the event of performance understood as a located, contextualised practice. The published work presented here sets out some of the underlying conditions and methodologies from which my work in the field of contemporary performance proceeds. As a thesis It provides sustained evidence of a 'multiple practice' - that is a set of practices and engagements in the field of research that explore what might be termed the 'ecology' of contemporary performance from various positions. This multiple practice Is a way of locating the work and of attempting to realise an ethical stance towards performance. The recognition that the conditions of contemporary performance depend on an Interdependency of contexts and that performance situates Itself as an unstable catalyst that oscillates between these contexts has enabled me to locate my research into contemporary performance In the variety of ways evidenced by the published output collected here.
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RIBEIRO, MARIA BEATRIZ DE FARIA CASTANHEIRA. "PERSPECTIVE AND BECOMING IN CONTEMPORARY WRITINGS OF QUASI". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29523@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A dissertação propõe explorar a fertilidade do pensamento perspectivista para refletir sobre modos de experimentação e produção de escritas contemporâneas e, num sentido mais amplo, arte. Para tanto, o presente estudo concentra-se em procedimentos que ocorrem nestas manifestações os quais podemos chamar de exercícios perspectivistas – experimentos artísticos que mobilizam temas caros ao perspectivismo de todos os matizes, na atenção que estes costumam dar a devires entre natureza e cultura, humano e não humano, sujeito e objeto, matéria e sentido e tantos outros. A reflexão proposta concentra-se na obra de Nuno Ramos – escritor e artista visual. Aqui, seus trabalhos são abordados como escritas contemporâneas do quase. A noção de quasidade é uma categoria perspectivista crucial para o pensamento filosófico da multiplicidade e dos devires (em especial, Nietzsche e Deleuze). Tais filosofias informam, em larga medida, a antropologia de Eduardo Viveiros de Castro em suas reflexões sobre a vida e o pensamento dos povos ameríndios, reflexões que esta pesquisa busca também incorporar. A partir do território descrito e por meio de uma prática ensaística, tomam-se como ocasiões especialmente favoráveis para a investigação um livro (Junco) e uma instalação (Monólogo para um cachorro morto). Tais fazeres artísticos mostram que escritas do quase são persistentemente buscadas por meio das relações entre linguagem, arte, corpo, pensamento e ação. Tais procedimentos são estudados como processos que potencializam pontos de vista, multiplicidades e devires. A dissertação é composta de capítulos autônomos, porém complementares, e permite diferentes percursos de leitura.
This dissertation sets out to explore the fruitfulness of perspectivism in reflecting about ways of experimentation and production in the expanded field of literature and art today. In order to do so, it focuses on some procedures that, recurring in these contemporary manifestations, might be called perspectivist exercises – artistic experiments that mobilize themes so dear to perspectivisms of all hues, in their attention to becomings between nature and culture, human and not human, subject and object, matter and sense, and many others. The study concentrates on the works of writer and visual artist Nuno Ramos, addressed here as instances of contemporary writings of quasi. The notion of quasi-ness is a crucial perspectival category to the philosophical thought of multiplicity and becomings (Nietzsche and Deleuze). Such philosophies largely inform Eduardo Viveiros de Castro s anthropology as found in his works on Amerindian people s lives and minds, a body of reflections that this study also seeks to incorporate. From the described territory and through an essayistic practice, this dissertation takes the installation Monólogo para um cachorro morto and the book Junco as specially favorable occasions for reflection. Such artistic doings show that a writing of quasi is persistently sought by the exploration of relations between language, art, body, thought and action. These procedures are studied as processes that potentiate perspectives, multiplicities and becomings. The autonomous, though complementary chapters, of the dissertation allow for multiple directions and sequences of reading.
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Williams, Antony David C. "Spaces of appearance : writings on contemporary theatre and performance". Thesis, University of Plymouth, 2002. http://hdl.handle.net/10026.1/2216.
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This thesis, a collection of previously published materials, reflects a plural and evolving engagement with theatre and performance over the past fifteen years or so: as researcher, writer, editor, teacher, practitioner, spectator. These have rarely been discreet categories for me, but rather different modalities of exploration and enquiry, interrelated spaces encouraging dynamic connectivities, flows and further questions. Section 1 offers critical accounts of the practices of four contemporary theatre directors: Jerzy Grotowski, Robert Wilson, Peter Brook and Ariane Mnouchkine. Section 2 draws on elements of contemporary philosophy and critical thinking to explore the mutable parameters of performance. lt proposes performative mappings of certain unpredictable, energetic events 'in proximity of performance', to borrow Matthew Goulish's phrase: contact, fire, animals, alterity, place. Section 3 contains examples of documentation of performance practices, including a thick description of a mise en scene of a major international theatre production, reflections on process, training and dramaturgy, a performance text with a framing dramaturgical statement, and personal perspectives on particular collaborations. The external Appendix comprises a recently published collection of edited and translated materials concerning five core collaborative projects realised by Ariane Mnouchkine and the Theatre du Soleil at their base in the Cartoucherie de Vincennes, Paris. The core concerns of this thesis include attempts to think through: • the working regimes, poetics and pedagogies of certain directors, usually in collaborative devising contexts within which the creative agency of performers is privileged; • the processes and micro-politics of collaboration, devising, and dramaturgical composition; the dramaturgical implications of trainings, narrative structures, spaces, mise en scene, and of images as multi-layered, dynamic 'fields'; • the predicament and agency of spectators in diverse performance contexts, and the ways in which spectatorial roles are posited or constructed by dramaturgies; • the imbrication of embodiment, movement and perception in performance, and the plurality of modes of perception; • the critical and political functions of theatre and theatre criticism as cultural/social practice and 'art of memory' (de Certeau), of dramaturgies as critical historiographies, and of theatre cultures (and identities) as plural, dynamic, and contested; • performance as concentrated space for inter-subjectivity and the flaring into appearance of the 'face-to-face' (Levinas); the possibility of ethical, 'response-able' encounter and exchange with another; identity as relational and in-process, alterity as productive event, the inter-personal as political; • the poetics and politics of what seems an unthinkable surplus (and constitutive 'outside') to the cognitive reach of many conventional frames and maps in theatre criticism and historiography; an exploration of acts of writing as performative propositions and provocations ('critical fictions') to think the event of meanings at/of the limits of knowledge and subjectivity. This partial listing of recurrent and evolving concerns within the thesis traces a trajectory in my evolution as a writer and thinker, a gradual displacement from the relatively 'solid ground' of theatre studies and theatre history towards more fluid and tentative articulations of the shifting 'lie of the land' in contemporary performance and philosophy. This trajectory reflects a growing fascination with present process, conditions, practices, perceptions 'in the middle', and ways of writing (about) performance as interactive and ephemeral event.
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Misra, Jahnavi. "Re-visioning the ethics of care : femininity, cosmopolitanism and contemporary women's writings". Thesis, Durham University, 2012. http://etheses.dur.ac.uk/5937/.
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Abstract: Carol Gilligan proposed the concept of an ‘ethics of care’ in her book, In a Different Voice: Psychological Theory and Women’s Development, published in 1982. Her argument was written in agonistic response to a revival of neo-Kantian ethical theorising in the seventies philosophical arguments that granted women a distinctly subordinate place to men as fully fledged ethical beings. In opposition to these theories-- particularly those of Lawrence Kohlberg-- which considered women to be too involved in personal relationships to be able to achieve the requisite levels of detachment to morally gauge ethically demanding situations, Gilligan argued for an ethical code that privileges relationships of involvement and care over abstract principles of a categorical imperative type. She argued that women who felt the need to prioritise such relationships are not deficient in their ethical sensibility but function according to a different but most certainly fully viable value system. Gilligan’s thesis came under fire from later feminists and ethical theorists as the concept of difference took a new turn in feminist theory-- especially post-structuralist-inflected theory of the later eighties and nineties. It is my contention in this thesis that her ideas are still crucially important. And as ethical theory comes to recognise the important role of affect in moral and ethical judgement, her ideas can be revisited in relation to contemporary preoccupation with these issues about knowing and judging. Although revolutionary in its proposition that different people may have different ways of responding to ethically significant situations, Gilligan’s theory of care does not question the traditionally imposed binary between man and women as being rational and emotional respectively. My argument, substantiated by my analysis of current fiction by women (and two men), centres around the proposition, that although these responses do not necessarily and directly correspond with either sex, the responses themselves have a lot of merit. It is revealed in my examination of contemporary novels from different parts of the world that rational/emotional responses relate, instead, to the particular situation of individuals-- advantaged/disadvantaged-- in different social and political structures. I have termed these responses masculine and feminine in my thesis, but have attempted to define masculinity and femininity as related to these socio-political situations, instead of being biologically determined. The definition of femininity in my thesis encompasses particular kinds of responses to various ideas such as cosmopolitan interactions between cultures and even beauty and shame. The novels that I look at in my thesis are: Kiran Desai’s The Inheritance of Loss, Toni Morrison’s Paradise, Zadie Smith’s On Beauty, Latife Tekin’s Dear Shameless Death, Salman Rushdie’s Shame, Kazuo Ishiguro’s Never Let Me Go, Kamila Shamsie’s Burnt Shadows, Chimamanda Ngozi Adichie’s Half of a Yellow Sun and Doris Lessing’s The Fifth Child and Ben, in the World. My argument is that by coming to a more or less general understanding of what I am regarding as the variously inflected feminine/disadvantaged position, it is possible to arrive at a coherent ethical value system that is directed to the margins of various social and political structures.
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Nordstrand, Ivan Philip. "Mercy the compelling dimension of grace in Reformation and contemporary Lutheran writings /". Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Thesis (Th. M.)--Western Theological Seminary, Holland, Mich., 1992.Abstract. Includes the 1991 document, The church in society: a Lutheran perspective by the Evangelical Lutheran Church in America. Includes bibliographical references (leaves 70-71).
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Giddy, J. P. "Ethics and human nature : a reconsideration of ethical naturalism in contemporary thomist writings". Doctoral thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/13414.
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Bibliography: p. 175-179.It is argued in this thesis that much modem and contemporary moral philosophy has been subjectivist, and that this is largely due to the theory of knowledge that has accompanied the increasing dominance of modem science in the determination of our thought-patterns. The expansion of standards of rational enquiry beyond the confines of empiricism, in the way that B.Lonergan has done, is a necessary part of any adequate contemporary restatement of ethical naturalism. Two different approaches to the Aristotelian tradition in ethics are discussed: in the one judgments of value are based on a particular human psychology; in the other they are related to the standards of excellence associated with social roles. Two contemporary writers - P. Simpson and A. Macintyre respectively - are taken as representative of these approaches. Neither account, it is argued, is fully successful: the metaphysical psychology of Simpson fails to take into account variations in social and cultural contexts; while the communitarianism of Macintyre remains to some extent unjustified. The basis for a more adequate defence of ethical naturalism is given in Lonergan's account of the normative structure of human self-determination. Two further writers are used to develop this argument. H.Meynell argues that morality is largely a matter of promoting the happiness not just of oneself and one's group, but of people in general, and that this can be objectively specified. R. Johann contends that there is a further necessary condition for moral goodness, viz. the commitment to the realisation of personal community. This is justified, I argue by way of conclusion, because human persons are radically dependent on a certain kind of influence of other persons for the development of their capacity for self- determination.
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Cavalcanti, Sofia <1989>. "Reading Things: Gender and Material Culture in Contemporary Indian Women's Writings in English". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9450/1/Sofia_Cavalcanti_dissertation.pdf.
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The dualism subject/object has dominated literary imagination, especially throughout the twentieth century, not only in the Western world but also in the Asian continent. However, over the last twenty years, an ontological shift in focus can be observed in the narratives produced by Indian women authors, in which the material object world, from being merely the background, becomes the structural framework of the story. Through their special interest in the domestic, contemporary Indian women authors rehabilitate the small objects and invest them with metonymic power to such an extent that they become symbols of women’s lives. My research aims at demonstrating that an object-oriented close reading of contemporary narratives by Indian women writers offers new insights into Indian women’s condition, not only from the point of view of gender discrimination but also of identity formation, both in postcolonial India and in the diaspora. The theoretical framework I use is based on Bill Brown’s “Thing Theory,” a recent approach which puts subjects and objects in relational rather than oppositional terms. The corpus of writings I have selected includes Arundhati Roy’s novel The God of Small Things (1997), Anita Nair’s novel Ladies’ Coupé (2001), Jhumpa Lahiri’s short stories “Mrs. Sen’s” and “The Third and Final Continent” (1999), and Chitra Banerjee Divakaruni’s novel The Mistress of Spices (1997). The critical analyses of the texts demonstrate that gender is no less physical than an object. It can be materialized either through the externalization of thoughts and ideologies or through the internalization of the physical object world. Hence, the semiotic apparatus in contemporary Indian women writers’ fiction tells stories of objectification and marginalization and, consequently, constitutes significant reading matter.
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Tang, Qi. "Foreigners' archive contemporary China in the blogs of American expatriates /". Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1225464916.
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Chang, Mei-tsu y 張美足. "A study of the prose-writings of contemporary women writers in Taiwan (1980-2000) =". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45014668.
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Miyasaka, Natsumi Ikoma. "Re-situating the body history, myth, and the contemporary women's writings in English and Japanese /". Thesis, Online version, 2002. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.246827.
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Arimbi, Diah Ariani Women's & Gender Studies UNSW. "Reading the writings of contemporary Indonesian Muslim women writers: representation, identity and religion of Muslim women in Indonesian fictions". Awarded by:University of New South Wales. Women's and Gender Studies, 2006. http://handle.unsw.edu.au/1959.4/25498.
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Indonesian Muslim women???s identity and subjectivity are not created simply from a single variable rather they are shaped by various discourses that are often competing and paralleling each other. Discourses such as patriarchal discourses circumscribing the social engagement and public life of Muslim women portray them in narrow gendered parameters in which women occupy rather limited public roles. Western colonial discourse often constructed Muslim women as oppressed and backward. Each such discourse indeed denies women???s agency and maturity to form their own definition of identity within the broad Islamic parameters. Rewriting women???s own identities are articulated in various forms from writing to visualisation, from fiction to non fiction. All expressions signify women???s ways to react against the silencing and muteness that have long imposed upon women???s agency. In Indonesian literary culture today, numerous women writers have represented in their writings women???s own ways to look at their own selves. Literary representations become one group among others trying to portray women???s strategies that will give them maximum control over their lives and bodies. Muslim women writers in Indonesia have shown through their representations of Muslim women in their writings that Muslim women in Indonesian settings are capable of undergoing a self-definition process. However, from their writings too, readers are reminded that although most women portrayed are strong and assertive it does not necessarily mean that they are free of oppression. The thesis is about Muslim women and gender-related issues in Indonesia. It focuses on the writings of four contemporary Indonesian Muslim women writers: Titis Basino P I, Ratna Indraswari Ibrahim, Abidah El Kalieqy and Helvy Tiana Rosa, primarily looking at how gender is constructed and in turn constructs the identity, roles and status of Musim women in Indonesia and how such relations are portrayed, covering issues of authenticity, representation and power inextricably intertwined in a variety of aesthetic forms and narrative structures.
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Stachniak, Ewa. "The positive philosophy of exile in contemporary literature : Stefan Themerson and his fiction". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75677.
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The thesis examines the phenomenon of the positive philosophy of exile in contemporary literature on the basis of Stefan Themerson's fiction. Themerson's positive attitude to exile and its antecedents--the Stoic ideal of "cosmopolis" and its eighteenth-century transformations--are compared to the views on expatriation expressed by another exiled writer, Witold Gombrowicz, to the moral philosophy of Bertrand Russell, and to the ideology of the twentieth-century avant-garde.Within emigre literature the works marked by the positive philosophy of exile are treated as a separate form to be distinguished from the works in which exile is only a theme. The positive philosopher of exile bases his optimism on scepticism and the recognition of the arbitrariness of human values. The thesis claims that, although far from being universally true and free from weaknesses, the positive philosophy of exile has a genuine claim to validity as an attempt to contribute to the process of bridging cultural differences without compromising cultural diversity.
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Hutchinson, Andrew Thomas Greer. "Personal godliness : Puritan and contemporary an evaluation of the theology of personal godliness in the writings of Richard Foster in light of the practical writings of Richard Baxter /". Theological Research Exchange Network (TREN), 1988. http://www.tren.com.
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PATROCINIO, PAULO ROBERTO TONANI DO. "WRITINGS FROM THE OUTSIDE: THE PRESENCE OF WRITERS FROM THE PERIFERIA (SHANTYTOWN SUBURBS) IN THE CONTEMPORARY LITERARY SCENE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16720@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente estudo tem como objetivo analisar as manifestações literárias produzidas pelos autores pertencentes à Literatura Marginal, buscando compreender as principais características textuais e políticas deste movimento. Nessa perspectiva, os produtos discursivos marginais serão vistos como manifestações contra-hegemônicas, resultantes de um esforço em produzir uma imagem própria sobre a vivência marginalizada, silenciando, assim, qualquer outro discurso produzido fora do espaço periférico. Para tanto, foi utilizado um arcabouço teórico que possibilita ler as formas de agenciamento político produzidas por este grupo. Além do exame do objeto literário, é realizada uma aproximação destas narrativas com o movimento Hip-Hop, mais precisamente com o RAP, colocando em relevo as muitas semelhanças quanto à estrutura textual das formas poéticas e as formas de veiculação de um discurso que almeja a conscientização dos leitores/ouvintes. Por se tratar de uma experiência literária pouco comum, a presença de escritores marginais em nossa série literária também apresenta novos questionamentos sobre a função e o papel do intelectual. Se outrora era o intelectual quem desempenhava a função de portavoz destes grupos, agora são os próprios marginais que rompem com a passiva posição de objeto e passam a figurar como sujeitos. Ao lançar um olhar crítico sobre esta disputa discursiva é possível identificar as tensões que o movimento de autores periféricos inaugura.
The present study aims to analyze the literary work of authors who are part of the Literatura Marginal (Literature from the Outside) as a way to understand the chief aspects of this movement’s writing style as well as its main political characteristics. From this perspective, the productions of the periferia discourse will be understood as counter-hegemonic manifestations that originate from an effort to produce a specific view that reflects the marginalized experience, thus silencing any other discourse produced outside of the periferia space. To this end, we developed a theoretical outline that brings an understanding of the kinds of political engagement produced by this group. In addition to examining the literary product itself, this study considers the parallels between this type of narrative and the Hip-Hop movement, more specifically Rap, highlighting the many similarities between them as they relate to the structure of the writing and the way the discourse is disseminated, aiming at the conscientization of readers/listeners. Because this relates to an uncommon literary experience, the presence of periferia writers in our literary series also raises new questions about the role of the intellectual. If before it was the intellectual who acted as the spokesperson for these writers, now the outsiders themselves break with the passive role of objects and claim their place as protagonists. In bringing a critical view to this debate it is possible to identify the tensions that the periferia authors bring to this discussion.
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Wathington, Priscilla. "Eating homes a critical inquiry into the representation of Arab American identities in contemporary Arab American writings on food /". CONNECT TO ELECTRONIC THESIS, 2007. http://dspace.wrlc.org/handle/1961/4341.
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Hilton, C. M. "The nature and status of the human mind in the writings of Joseph Conrad considered with reference to contemporary thought". Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384764.
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Quane, Margaret Anne. "The life and writings of St Therese of Lisieux: Contributions to contemporary understandings of the relationship between Faith and Sin". Thesis, Australian Catholic University, 2008. https://acuresearchbank.acu.edu.au/download/b220efa01e0dc8f6be7b95d42f7fe80857c3056ba304882515e755ec7daab1c4/2259453/65055_downloaded_stream_280.pdf.
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This dissertation is a result of my being challenged by a phrase that is used by the most recently named Doctor of the Church, St Therese of Lisieux: 'sin against faith ... through the abuse of grace'. What did that phrase mean for Therese and does it have meaning and application for today? Given Therese's publicly acclaimed spiritual transformation, the initial aim was to examine Therese's religious experiences relating to faith and sin and to determine their contribution to her life of holiness. It sought to do this by engaging the hermeneutical triad of understanding, interpretation and application. However, rather than moving around these stages in circular motion in coming to an appreciation of Therese's autobiography, Story of a Soul, a more helpful way was to spiral round them, for the Theresian text seems capable of throwing up endlessly new material to the careful reader. The main goal in my reading, then, was to decide whether this work could be interpreted through the lens of faith and sin - thus providing a new analysis of, and approach to, her work. Having decided early that this was a worthwhile project with contemporary relevance, it was then necessary to understand and interpret her many figures of speech and to determine which of them carry her theological insights relating to faith and sin.The particular hermeneutic of holiness itself seemed a suitable one by which to unify this approach. The subsequent aim was to determine how the dynamic relationship between faith and sin in Therese's writing might be applied to today's world. Her own text 'I am seeking only the truth' provided the answer. It was but a small step from speaking of faith and sin in Therese's life to realizing that this interaction really occurs in the life of all of us when we seek to know the truth, to live it and to do it in social action. The Paschal Mystery is the dissertation's specific religiously theoretical framework.;Key terms and the dissertation's methodology are described in Chapter 1. Because this thesis is undertaken within 'spirituality as an academic discipline', attention is paid to describing that concept. Indeed, this chapter looks at many different understandings of the term 'spirituality', including Sandra Schneiders' definition in terms of 'the ultimate value one perceives'. The latter has been important to consider because the dissertation sought, where the text permitted, to cast its vision beyond the boundaries of Roman Catholicism. Chapter 2 overviews related literature. Chapters 3, 4, and 5 deal with Therese's life through the text of her autobiography, though not exclusively. Her letters, poems and one of her plays have also contributed to the discussion. Chapter 6 suggests that, while not all people have full religious faith and, maybe, no religious faith, still all can live an authentic existence by seeking the truth as Therese did. The final chapter lists twelve conclusions, five of which are summarised here: 1. It was by fully engaging in the dynamic relationship between faith and sin that Therese became holy. 2. This engagement is the path to holiness for all people 3. In exploring the meaning of Atheism for today, we find that Therese's view regarding this attitude to belief requires modification if it is to fit today's understanding of the 'sin against faith'. 4. Still, it remains possible for one to commit the 'sin against faith' today. 5. Therese's statement, 'all is grace', signals her intuitive understanding of the universality of salvation - formally pronounced by the members of Vatican Council II. This last chapter serves as a bridge between post-nineteenth century unbelief and today's postmodernism by contributing an analysis of Atheism.;This thus provides a basis for one of the major conclusions of the thesis: that Therese's statement - 'there were really souls who have no faith, and who, through the abuse of grace, lost this precious treasure, the source of the only real and pure joys' - cannot be applied to today's world without modification. Finally, the dissertation points to the need in the context of today's postmodernism for further study in the areas of faith and sin. It suggests a way of doing this might be for church and maybe, academia, to consider giving serious attention to accepting personal professions of faith and creative images of salvation as part of a broad, valuable and acceptable conceptualisation and understanding of what it means to have faith.
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Barlow, Jenna Elizabeth. "Womens historical fiction after feminism : discursive reconstructions of the Tudors in contemporary literature". Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86303.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: Historical fiction is a genre in a constant state of flux: since its inception in the nineteenth century, it has been shaped by cultural trends and has persistently responded to the way in which history is popularly conceptualised. As such, historical novels have always revealed as much about the socio-political context of their moment of production as they do about their historical settings. The advent of feminism was among the most significant movements which shaped the evolution of the women’s historical novel in the twentieth century, prompting as it did a radical shift in historiographic methodology. As feminist discourse became embedded in popular culture in the latter decades of the twentieth century, this shift in turn allowed authors of historical fiction the opportunity to reconsider the ways in which women have been traditionally represented in both historical narrative and fiction. The historical novel thus became a site for exploring the female perspective of history, a perspective that had been denied or ignored by more male-centred historical narratives. This dissertation will assess the impact wrought by the popularisation of feminist discourse on the genre of women’s historical fiction during the twentieth and twenty-first centuries. An examination of a selection of contemporary women’s novels set during the Tudor era will prove particularly useful in executing this assessment, not least because of the Tudors’ unprecedented popularity as the focus of literature and film in the last decade. More significantly, the women of this period have proven to be ideal subjects for their authors to imaginatively reconstruct in the mould of third wave feminist icons in the twenty-first century. By examining how Tudor women have been represented in the contemporary historical fiction of Jean Plaidy, Philippa Gregory, Mavis Cheek, Suzannah Dunn and Emily Purdy, this dissertation will demonstrate the ways in which popular feminist discourse has impacted on the development of women’s historical fiction in the last century, focusing specifically on texts published within the last decade. Three key aspects of the genre will be assessed in detail in this regard: the author’s self-conscious feminist intervention in the characterisation of her historical heroines; the shift in the narrative perspective adopted and the deployment of postmodern literary devices; and the representation of female sexuality. The evolution of the genre as a whole will also be examined in some detail, and the shifting parameters of modern feminisms will be interrogated in order to fully understand their manifestations in popular culture.
AFRIKAANSE OPSOMMING: Historiese fiksie is ’n voortdurend veranderende genre: sedert die ontstaan daarvan in die negentiende eeu is dit beïnvloed deur kulturele neigings en het dit aanhoudend bly reageer op die manier waarop die geskiedenis populêr gekonseptualiseer word. As sodanig het historiese romans altyd net soveel oor die sosiopolitieke konteks van hulle produksiemoment as oor hul historiese milieus onthul. Feminisme was een van die betekenisvolste bewegings wat gedurende die twintigste eeu die evolusie van die historiese roman vir vroue sou beïnvloed, en het sodoende aanleiding gegee tot ’n radikale verandering in historiografiese metodologie. Namate feministiese diskoers in die latere dekades van die twintigste eeu deel van die populêre kultuur geword het, het hierdie verandering op sy beurt die skrywers van historiese fiksie die geleentheid gegun om die maniere waarop vroue tradisioneel in sowel historiese narratief as fiksie uitgebeeld is, te heroorweeg. Die historiese roman het dus ’n terrein geword waarop die vroulike perspektief op die geskiedenis verken is, naamlik ’n perspektief wat deur meer manlik-gesentreerde historiese narratiewe ontken of geïgnoreer is. Hierdie verhandeling sal die impak evalueer wat die popularisering van feministiese diskoers op die genre van historiese fiksie vir vroue gemaak het tydens die twintigste en een-en-twintigste eeue. ’n Ondersoek na ’n seleksie van kontemporêre vroueromans wat in die Tudor-tydperk afspeel, is veral nuttig in hierdie verband, onder andere as gevolg van die Tudors se ongekende gewildheid as die fokus van letterkunde en film in die afgelope dekade. Wat meer veelseggend is, is dat dit blyk die vroue van hierdie tydperk was ideale subjekte wat verbeeldingryk deur hulle outeurs gerekonstrueer kon word in die vorm van derdegolf-feministiese ikone in die een-en-twintigste eeu. Deur te ondersoek hoe Tudorvroue uitgebeeld is in die kontemporêre historiese fiksie van Jean Plaidy, Philippa Gregory, Mavis Cheek, Suzannah Dunn en Emily Purdy sal hierdie verhandeling die impak demonstreer wat populêre feministiese diskoers in die afgelope eeu op die ontwikkeling van historiese fiksie vir vroue gemaak het, met die fokus spesifiek op tekste wat in die afgelope dekade gepubliseer is. In hierdie verband sal drie sleutelaspekte van die genre uitvoerig geassesseer word: die skrywer se selfbewuste feministiese ingryping in die karakterisering van haar historiese heldinne; die verskuiwing in die vertellingsperspektief en die ontplooiing van postmoderne letterkundige tegnieke; en die uitbeelding van vroulike seksualiteit. Die evolusie van die genre as geheel word ook beskou, en die veranderende parameters van moderne feminismes word ondervra sodat hul manifestasies in die populêre kultuur ten volle verstaan kan word.
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Welch, Elizabeth Anne. "The Holy Spirit and worship : seeing unexpected congruities from the writings of John Owen (17th century Reformed) and John Zizioulas (contemporary Orthodox)". Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/the-holy-spirit-and-worship-seeing-unexpected-congruities-from-the-writings-of-john-owen-17th-century-reformed-and-john-zizioulas-contemporary-orthodox(529a42c5-dcfc-470e-a41a-8df557c425c9).html.
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In this thesis, I look at the significance of the relationship between the Holy Spirit and worship as seen in two theologians from different parts of the church, and from different centuries. I comment on the unexpected congruities within their thinking, and categorise these in terms of a quadrilateral, with the four sides being personhood, immediacy, truth and transformation. These two theologians are John Owen, 17th century English Puritan Divine, who wrote extensively on pneumatology and saw the regenerating and sanctifying work of the Holy Spirit as having a particular focus in worship; and John Zizioulas, contemporary Orthodox theologian, for whom the Holy Spirit embodies communion, particularly in worship as focussed in the Eucharist. I argue that in worship there is an immediacy of encounter with the triune God through the particular mediation of the Holy Spirit; that this encounter draws the person into relationship with the God who is known within the Trinity as being in relationship, and who draws people into a relationship that brings about the fulfilment of personhood; that this encounter leads into a truth that is relational, thus expanding the nature and understanding of the role of doctrine; and that this encounter is transformational, in terms of the person and creation. I build on perspectives from theologians from two different centuries and traditions of the church for whom pneumatology and worship are significant areas of their thinking. I do this in order to argue that one part of the activity of the Holy Spirit is the flourishing of diversity, a diversity which is held relationally within the source of divine life within the Trinity. I conclude by looking at the ecumenical challenges offered in the coming together of these two perspectives.
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Albertoni, Fernanda Bernardes. "Narrativas verbais : construto ficcional nas artes visuais e em sua documentação". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10744.
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A presente pesquisa analisa o emprego de narrativas verbais como construtos ficcionais utilizados por artistas do campo visual através de seus trabalhos e documentações. Particularmente enfocam-se três aspectos desses escritos: quando se apresentam em forma autobiográfica; quando esta biografia é associada ao mundo histórico; e quando o artista torna-se autor de uma historiografia particular. Nesta investigação elegemos escritos considerados representativos dessas ocorrências enfocadas – entre eles os dos artistas Sophie Calle, Lucas Samaras, Ad Reinhardt, Joseph Beuys, Robert Morris e Jannis Kounellis. Através dessa análise, visa-se explanar algumas particularidades do gênero, tais como o que determina com que um escrito ficcional seja um trabalho do campo dito visual e não do literário; o porquê da escolha por parte dos artistas desse suporte como meio para suas significações; e por quais traços o meio verbal contagia um campo já usual à arte, o ficcional.This research analyses the use of verbal narratives as fictional constructs by artists from the visual field, through the work of these artists and their documentation, particularly focusing in three aspects of these artist’s writings: as autobiographical, as biographical in relation to the historical world, and when the artist becomes the author of a particular art history. For investigating the subject it was selected a group of artists and artworks that could be considered representatives of these occurrences – as seen in writings from Sophie Calle, Lucas Samaras, Ad Reinhardt, Joseph Beuys, Robert Morris and Jannis Kounellis. The analysis explore questions as what would classifies a work of fiction within from the visual arts field instead of literary; why these artists chose this form of expression as medium for their significations; and how the verbal field influences the fictional in visual art.
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González, Vásquez Angélica. "Les écrits des curateurs : analyse depuis la théorie curatoriale et l'histoire des expositions". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080091.
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Cette thèse interroge le champ de pratiques et de positions discursives appelées récemment « curating ». L’approche que nous avons choisie est celle de l’analyse des écrits des curateurs d’art contemporain. De nature très variée, ils nous permettent de percevoir leurs conceptions à partir de leurs pratiques d’organisation d’expositions et des diverses activités de présentation publique de l’art. Il s’agit de traiter la proximité, ainsi que la distance, entre la construction d’une théorie curatoriale et la pratique à travers un ensemble de règles et d’opérations de normalisation décidées par une communauté disciplinaire et professionnelle. La notion de champ de curating est abordée à partir des diverses conceptions sociologiques et philosophiques qui nous conduisent à approfondir la question de l’écriture des curateurs sur un terrain concret au sein des expositions. À travers des cas historiques, nous abordons la question des traces écrites laissées par une exposition ; nous examinons également certains problèmes associés à la construction de l’histoire des événements artistiques d’art contemporain. La dernière partie de cette recherche est consacrée à la question des stratégies discursives de positionnement des curateurs à partir des publications parues depuis les années 1990. Ces formes discursives constituent entre autres la base de l’enseignement des formations curatoriales récentesThis thesis questions the practice field and discursive positions recently called curating. The perspective we have selected is the analysis of writings by contemporary art curators. Of varied nature, these texts allow us to discern their understanding of their practice of organizing exhibitions and diverse activities for the public display of art. With the purpose of tackling the proximity and the distance between the construction of curatorial theory on one hand, and on the other, curatorial practice as determined by a set of rules and processes decided by a disciplinary and professional community. The notion of the curatorial field is approached through various sociological and philosophical concepts that lead us to deepen our inquiry about writing to a concrete field of exhibitions. Selected historical cases allow us to address the issue of written traces left by an exhibition; equally important, we examine certain problems related to the construction of the history of art events in contemporary art. The last part of this research is devoted to the question of discursive strategies of positioning by curators, starting with publications that first appear in the 1990s. These discursive forms, among others, constitute the foundation of teaching in recent curatorial training
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Pearson, Wendy G. "Calling home queer responses to discourses of nation and citizenship in contemporary Canadian literary and visual culture /". Connect to this title online, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060123.143327/.
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Thesis (Ph. D.)--University of Wollongong, 2004.Title from PDF title page (viewed on Mar. 6, 2006). Includes bibliographical references (p. 299-323). Also issued as a print manuscript. Print manuscript includes ill. omitted from online version.
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Godoi, Vagner. "Funcionamento da obra de pesquisa". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-20032019-111504/.
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Entre os anos 2000 e 2010, são intensificadas e renovadas mundialmente as discussões sobre produções artísticas que se relacionam com o conhecimento, a universidade, a pesquisa, a teoria, a reflexão, a educação e os outros campos do conhecimento. Um dos ângulos desse fenômeno multifacetado, e que é motivo de interesse crescente dos artistas e demais profissionais da Arte, pode ser resumido com a expressão pesquisa artística. Uma das contribuições desta tese é relacionar o pioneirismo da criação dos programas de pós-graduação em Artes Visuais no Brasil, com trajetória consistente de estabelecimento e definição desde a década de 1970, a esse fenômeno recente, que aconteceu sobretudo na Europa, disparado pela transformação das academias de arte em universidades por lá, seguida de um debate intenso sobre os significados da pesquisa do artista. Além disso, este estudo percorre as produções artísticas, discursivas, pedagógicas e teóricas dos artistas brasileiros Jorge Menna Barreto e Ricardo Basbaum em busca da linha poética da pesquisa, contextualizando-os tanto como herdeiros da pesquisa em arte no Brasil quanto associados a essa movimentação internacional sobre a pesquisa artística. Parte-se da incerteza sobre a multiplicidade dos significados e das nomenclaturas que a pesquisa do artista provoca, não como uma indagação ontológica, mas com o propósito de entendimento sobre o seu lugar, uma questão institucional da arte inserida no ambiente universitário e, sobretudo, um problema que se encontra na própria obra de arte, agora considerada de pesquisa.From the years 2000 to 2010, discussions on artistic productions that are related to knowledge, university, research, theory, reflection, education and other fields of knowledge are intensified and renovated. One of the angles of this multifaceted phenomenon, and a reason for the rising interest in it by artists and other art professionals, can be summarized by the expression artistic research. One of the contributions of this thesis is correlating the pioneering creation of postgraduate programs in Visual Arts in Brazil, consistently established and defined since the 1970s, to this recent phenomenon, that took place specially in Europe, initiated by the transformation of art academies into universities, followed by an intense debate on the meanings of artist research. Moreover, this study examines artistic, discursive, pedagogical and theoretical productions by Brazilian artists Jorge Menna Barreto and Ricardo Basbaum in order to find the poetic line of research, contextualizing both as heirs of research in art in Brazil and affiliates of these international shifts on artistic research. The starting point is the uncertainty regarding the multiplicity of meanings and nomenclatures that artist research provokes, not as an ontological enquiry, but with the purpose of understanding their place, an institutional matter of art inserted in the university environment, and, particularly, a problem found in the work of art itself, now considered research.
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Junqueira, Lilian Maus. "Escritos de artistas nos arquivos em transformação". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/28622.
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Esta pesquisa analisa os modos de existência dos escritos de artistas no processo de documentação e circulação da obra de arte efêmera, bem como as práticas de arquivamento realizada pelos próprios artistas. Afinal, ao documentarem suas experiências efêmeras através da escrita e da fotografia, estariam eles contribuindo de que modo para a historiografia da arte? Durante o desenvolvimento dessa questão, serão realizados estudos de caso sobre as obras "Parangolés" e "Con glomerado", de Hélio Oiticica, e a Série "Documento Areal", realizada pelos artistas André Severo, Maria Helena Bernardes, Elaine Tedesco, Hélio Fervenza, Karin Lambrecht e Marcelo Coutinho.This research explores the modes of existence of artists' writings in the documentation and dissemination process of the ephemeral artwork, as well as the practice of filing done by the artists. After all, in documenting their ephemeral experiences through writing and photography, they would be contributing in that way to the historiography of art? During the development of this issue, case studies will be conducted on the artworks "Parangoles" and "Conglomerado" by Helio Oiticica, and "Documento Areal" Series, performed by artists Andre Severo, Maria Helena Bernardes, Elaine Tedesco, Helio Fervenza, Lambrecht and Marcelo Coutinho.
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González, Vásquez Angélica. "Les écrits des curateurs : analyse depuis la théorie curatoriale et l'histoire des expositions". Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080091.
Texto completoResumen
Cette thèse interroge le champ de pratiques et de positions discursives appelées récemment « curating ». L’approche que nous avons choisie est celle de l’analyse des écrits des curateurs d’art contemporain. De nature très variée, ils nous permettent de percevoir leurs conceptions à partir de leurs pratiques d’organisation d’expositions et des diverses activités de présentation publique de l’art. Il s’agit de traiter la proximité, ainsi que la distance, entre la construction d’une théorie curatoriale et la pratique à travers un ensemble de règles et d’opérations de normalisation décidées par une communauté disciplinaire et professionnelle. La notion de champ de curating est abordée à partir des diverses conceptions sociologiques et philosophiques qui nous conduisent à approfondir la question de l’écriture des curateurs sur un terrain concret au sein des expositions. À travers des cas historiques, nous abordons la question des traces écrites laissées par une exposition ; nous examinons également certains problèmes associés à la construction de l’histoire des événements artistiques d’art contemporain. La dernière partie de cette recherche est consacrée à la question des stratégies discursives de positionnement des curateurs à partir des publications parues depuis les années 1990. Ces formes discursives constituent entre autres la base de l’enseignement des formations curatoriales récentesThis thesis questions the practice field and discursive positions recently called curating. The perspective we have selected is the analysis of writings by contemporary art curators. Of varied nature, these texts allow us to discern their understanding of their practice of organizing exhibitions and diverse activities for the public display of art. With the purpose of tackling the proximity and the distance between the construction of curatorial theory on one hand, and on the other, curatorial practice as determined by a set of rules and processes decided by a disciplinary and professional community. The notion of the curatorial field is approached through various sociological and philosophical concepts that lead us to deepen our inquiry about writing to a concrete field of exhibitions. Selected historical cases allow us to address the issue of written traces left by an exhibition; equally important, we examine certain problems related to the construction of the history of art events in contemporary art. The last part of this research is devoted to the question of discursive strategies of positioning by curators, starting with publications that first appear in the 1990s. These discursive forms, among others, constitute the foundation of teaching in recent curatorial training
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Hambuch, Doris. "Displacements in contemporary Caribbean writing". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59968.pdf.
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Zhao, Jia. "Le roman ironique depuis 1980 : Kundera, Echenoz, Chevillard, Toussaint". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030160.
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L’ironie est de retour. Nous assistons aujourd’hui à une production abondante d’œuvres littéraires et artistiques qui sont caractérisées par une "légèreté méditative". Cette ironie est souvent qualifiée d’ironie postmoderne du fait de ses liens avec l’ensemble des symptômes culturels de la société postmoderne. L’ironie postmoderne s’est affirmée dans la création littéraire hexagonale avec l’ascension d’une nouvelle génération d’écrivains des Editions de Minuit dont les plus représentatifs sont Jean Echenoz, Eric Chevillard et Jean-Philippe Toussaint. S’y ajoute Milan Kundera, auteur appartenant à une autre génération et à une autre culture. Chez ces écrivains, l’ironie est non seulement utilisée comme un moyen de mise à distance de l’écriture, elle exprime aussi une vision du monde que l’on pourrait appeler le "désenchantement rieur". Nous creusons dans notre étude le rapport de l’ironie avec la question de l’existence. L’ironie est d’abord une conscience clivée. Cet état de conscience se concrétise dans un mode de discours qui s’offre à la fois comme l’extériorisation de la conscience clivée et un moyen de se procurer une vue d’ensemble. Les questions que nous voulons approfondir dans la présente étude sont les suivantes : où nous situons-nous dans ce long processus de séparation ? que devient le sujet, son action et sa manière d’être dans le monde ? quel est le mode de discours dérivé de la conscience de ce sujet contemporain ? Nous essayons d’y répondre, à partir de nos réflexions sur le phénomène de l’ironie dans la représentation littéraire contemporaineIrony is back. Today, we are witnessing a burst of literary and artistic productions which are characterized by "thoughtful lightness". The irony is often described as postmodern irony because of his bonds with the entire cultural symptom of the postmodern society. With the rise of writers of a new generation of Editions de Minuit among whom Jean Echenoz, Eric Chevillard and Jean-Philippe Toussaint are predecessors, the postmodern irony has asserted itself in French literary creation to which added Milan Kundera who is a writer of another generation and of another culture. Irony of these writers is not only used as a way to distance from the writing, but also a vision of the world that we would call it the "cheerful disenchantment". We explore the relationship of irony and question of existence in our research. First of all, irony is a cleaved conscience. Such conscience state has come true in a mode of speech as exteriorization of the cleaved conscience and a way of obtaining an overview. In this research, we would like to go into detail the following questions: where shall we be situated is the long process of separation? What have the subject, his action and his way of being become? Which is the mode of speech that is derived of the conscience of this contemporary subject? We try to answer these questions with our reflections brought to the irony phenomenon in the contemporary literary representation
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Atayurt, Zeynep Zeren. "'Excessive' embodiment in contemporary women's writing". Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487703.
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The 'obese' female body has often been portrayed as the 'other' to the slender body. However, this process of 'othering', or viewing as different, has created a repressive discourse, where 'excess' has increasingly come to be studied as a 'physical abnormality' or a signifier of a 'personality defect'. A tendency to stabilise the implications of obesity through medical, biological or statistical data has been a recurring characteristic of Westem society's current cultural view of obesity.
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Shaw, Deborah Anne. "Fragmented identities : contemporary Mexican women's writing". Thesis, King's College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298833.
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Saroukhani, Henghameh. "Cosmopolitanism and contemporary black British writing". Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/8404/.
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This thesis critically explores the conjunction of cosmopolitanism and contemporary black British writing, a hitherto little acknowledged field of investigation. I argue that a problematic lacuna exists within black British literary scholarship, which renders theoretical and textual engagements with cosmopolitanism as incommensurable with the “authentically” located political and discursive formation of black Britain. This thesis proposes that an examination of cosmopolitanism within the study of black British writing remains both vital and crucially generative for the field. I formulate cosmopolitanism as a critical praxis and expression of a certain aesthetic modality that captures the provocative ways in which twenty-first-century black British authors have uncovered translocal, outer-national and cross-cultural histories of alliance in their work. The writers examined in this thesis – whose work ranges across established and innovative cultural forms – resource the past as a means to compose their particular literary enunciations of cosmopolitanism. Each writer imagines a specific “sign of history” (in Jean-François Lyotard’s usage) that reconstitutes the recent past in the service of excavating distinctive cosmopolitan histories, affinities and opportunities. The chapters in this thesis, which are organized around three pivotal historical signs (1948; 1981/1982; 1989), closely examine the work of James Berry, Andrea Levy, Alex Wheatle, Linton Kwesi Johnson, Zadie Smith, Mike Phillips and Bernardine Evaristo. By delineating how these writers envision historically inspired worldly imaginaries (whether in pejorative or salutary ways), I offer a critical revaluation of black British writing, one that enables new interpretative avenues from which to appraise and critique the field’s burgeoning cosmopolitanism.
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Jiang, Haixin. "Female consciousness in contemporary Chinese women's writing". Thesis, University of Canterbury. English, 2000. http://hdl.handle.net/10092/4631.
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Contemporary Chinese women writers re-emerged after the Cultural Revolution (1966-1976). This thesis investigates a selection of stories by Chinese women writers published between 1979 and the end of 1990s. The investigation argues for an oppositional female consciousness and endeavours to demonstrate its various expressions in women writers' texts, covering such themes as love, family, career, intellectuals, working class, the female self, and social manners. Apart from the thematic concerns of female consciousness, the thesis also explores its expressions in unconventional narrative styles of representative women writers' texts. In conclusion, the thesis points out that female consciousness provided women writers, who live as women, a vantage-point from which they may view the self as well as others and society. In so doing, they write differently (from their male peers) and subversively.
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Brown, Sophia. "Forms of exile : contemporary Palestinian life writing". Thesis, University of Kent, 2017. https://kar.kent.ac.uk/63878/.
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This thesis is an examination of contemporary exilic Palestinian life writing in English. Attentive to the ongoing nature of Palestinian dispossession since 1948, it focuses on how exile is narrated and the ways in which it informs models of selfhood within a context of conflict and loss. This involves adopting a framework of settler colonialism in order to understand the conflict. Broadly speaking, the thesis conceives of Palestinian life writing as a form of testimony posing an urgent and necessary counternarrative to the hegemony of the Israeli discourse on Palestine/Israel. The thesis examines life writing by different generations of Palestinians, from those who experienced the Nakba of 1948, to those born as second-generation Palestinians in their parents' adopted homelands. It does not limit itself to examining the work of those at a geographical distance from Palestine but also looks at narratives by those who live, or have lived, under Israeli occupation. This has required paying particular attention to the difference between 'internal' and 'external' exile. Recognising that Palestinians who live in Palestine/Israel still sometimes articulate their experience as a form of exiling is an integral aspect of this research. The thesis argues that while the ongoing conflict impacts the identity formation and experiences of all the writers under consideration, nonetheless each author is inevitably guided by distinct geographies, temporalities, imaginings and frames of reference, which ultimately determine their relationship to Palestine and what it means to consider themselves exiled. I am, therefore, particularly mindful of the plurality of exilic experience, even while ideas of communality are still hugely important. The thesis consists of three author-led chapters - on Edward Said, Ghada Karmi and Rema Hammami - followed by a final chapter on anthologised life writing, which looks at the work of seven authors. Raising questions of form and how one deals with both the commonality and complexity of exile, this final chapter aims to show recent developments in English-language Palestinian life writing. By demonstrating the distinct ways in which exiled Palestinians relate to Palestine/Israel, this thesis seeks to contribute in particular towards two areas of study that have, for the most part, failed to engage substantially enough with Palestine (or, indeed, with each other): postcolonial and auto/biography studies. These subfields of cultural criticism and their wealth of scholarship therefore provide the necessary tools for this research, but they are also held to account for the relative lack of attention paid to Palestine and the extant nature of the conflict. Ultimately, I hope to demonstrate that exilic Palestinian life writing sheds its own light on matters of great import to postcolonial and auto/biography studies - matters such as statelessness, belonging, testimony, selfhood and self- representation - and that there are intersecting aesthetic and ethical reasons for ensuring the visibility of Palestine within these areas of study.
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Prescott, Holly. "Rethinking urban space in contemporary British writing". Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/3011/.
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Rethinking Urban Space in Contemporary British Writing argues that the prose literature of its featured authors offers a unique forum through which to perceive and account for the multifarious agency of urban space. Chapter one examines the limitations of using the Marxist spatial theory of Henri Lefebvre, widely adopted by literary scholars, to account for the widespread appearance of abandoned, subterranean and transient spaces in contemporary British writing. The thesis then develops new ways of reading which, unlike Lefebvrean theory, allow such spaces to emerge as affective and narrative agents, shaping narrative form and action. Chapter two focuses upon reading abandoned spaces in the work of Iain Sinclair and Cheshire-born author Nicholas Royle; chapter three examines the agency of the subterranean city-space in narratives by Neil Gaiman, Tobias Hill and Conrad Williams; and chapter four interrogates the agency exerted by the hotel space in contemporary hotel novels by Ali Smith and Monica Ali. Throughout, the materialism of Walter Benjamin and Siegfried Kracauer is combined with affect theory to stress the narrative and affective agencies achieved by such urban spaces, precisely due to their transcendence of the networks of production and exchange which dominate the capitalist-driven cities of their fictional worlds.
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Campbell-Hall, Devon. "Writing Asian Britain in contemporary anglophone literature". Thesis, University of Winchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502251.
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British identity has undergone a dynamic transformation over the past fifty years. The debates surrounding multiculturalism and the extent to which non-white Britons have genuinely integrated into mainstream British society have given rise to a generation of writing that arguably contends with these issues. Anglophone writers such as Monica Ali, Jamila Gavin, Maggie Gee, Raman Mundair, Ravinder Randhawa, Kami/a Shamsie, Zadie Smith and Meera Syal are amongst those contemporary writers who portray diverse aspects of Asian British communities, in which the Asian British characters arguablv subvert the Orientalist, colonialist binary of white over brown. Writers such as Michael Ondaatje, Arundhati Roy and Vikram Seth fictionally represent Indian students who come to Britain as temporary migrants on foreign study sojourns, using these students to interrogate the significance of an English education. These novels explode the reductive myth of Asian Britons as nice, well-behaved members of our multicultural society. This thesis demonstrates how these texts indeed interrogate depoliticised, sentimental portrayals of Asian Britons as harmless.
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Zhang, P. "Body and city in contemporary London writing". Thesis, University of Liverpool, 2018. http://livrepository.liverpool.ac.uk/3016395/.
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This thesis explores the images of body and city in the literary representations of contemporary London in a selection of British novels published around the new millennium. Fuelled by a deep concern with the ways in which volatile socio-cultural changes have borne upon the daily practices of urban life, contemporary London writing has manifested a tendency to attempt to reclaim a sense of authentic engagement with the metropolis by recovering and reasserting the significance of the experiences of an embodied self. Since the onset of modernity a deepening division between the thinking self and the feeling body has characterised the urban condition of London. This division is both reflected in London novels – in various forms of tension between visual and embodied experience – and is questioned and challenged from various perspectives. Through a focused representation of multifarious sensory perceptions, physical actions, distinctive body images, sexual difference, embodied localised views, and spatial relations between body and city, the contemporary London writers examined in this study draw attention to the resistance that the illegible, irreducible corporeal dimensions of urban life present to a hegemonic visual order. Moreover, these writers strive to re-incorporate vision as one facet of the reciprocal sensuous engagement with the metropolis, in order to offer up further possibilities for creating a sense of place in the ever-more de-corporealised and de-materialised urban space. This commitment to rendering a ‘palpable’ version of London is taken on by established contemporary London-based writers such as Iain Sinclair, Peter Ackroyd and Ian McEwan, and their younger counterparts like Zadie Smith, Tom McCarthy, John Lanchester and Nicola Barker, as well as writers such as Geoff Nicholson, Lee Rourke, William Boyd and Penelope Lively, whose imagined Londons have received less attention from the academy. Drawing together a varied selection of literary texts, this thesis broadens the scope of literary criticism on contemporary London writing. A close textual analysis of the search of contemporary London writers for an inhabitable version of London, and their attentiveness to corporeal experiences also shows that in the most recent stage of postmodernity, literary realism has been reconsidered – with innovative techniques and new perspectives – as a viable form of engaging with a seemingly un-representable urban reality. This thesis demonstrates and interrogates the ways in which contemporary London writing attempts to make the reader ‘see’ and ‘feel’ the presence of a living metropolis.
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Gibbons, Sacha R. J. "Aboriginal testimonial life-writing and contemporary cultural theory /". [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18737.pdf.
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Jackson, Ellen-Raïssa. "Cultural identity in contemporary Scottish and Irish writing". Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/2548/.
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Ryan, Matthew. "Self, nation and novel in contemporary Irish writing". Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5421.
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Matthews, Graham J. "Contemporary Satire : Writing in the wake of postmodernism". Thesis, University of Exeter, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529297.
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Karastathi, Sylvia. "Gender and art writing in contemporary British fiction". Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608837.
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Lisle, Debbie. "Worlds apart : politics, discourse and contemporary travel writing". Thesis, Keele University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311123.
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Crook, H. Marie. "The writing cure : psychoanalysis and the contemporary memoir". Thesis, University of York, 2002. http://etheses.whiterose.ac.uk/10823/.
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Panović, Ivan. "Writing practices in contemporary Egypt : an ethnographic approach". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:e293353f-46d6-42ae-8f1a-37514fe549d4.
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This thesis is an ethnographically grounded description and interpretation of a variety of writing practices observable in an Arabic speaking community, primarily on the Internet. Working with, or in reaction to, the concept of diglossia, of which Arabic sociolinguistic setting is often cited as a textbook example, the majority of scholars have focused their attention on speech as a major site of language variation and mixing. Writing has been largely neglected. This thesis is a contribution to what I hope will become a growing number of works aimed at filling that lacuna. I examine linguistic features of a number of, mostly non-literary, texts in contemporary Egypt where Modern Standard Arabic (Fuṣḥa) and Egyptian Colloquial Arabic (ˤAmmiyya) constitute the theoretical poles of the diglossic continuum. The Egyptian sociolinguistic setting, however, is here understood as being defined and reconfigured by the increasing socio‑economic importance of yet another linguistic variety – English. The analysis of linguistic details is conducted with reference to a broader socio‑cultural context and local language ideologies surrounding the production and reception of a rapidly growing number of texts that employ a variety of features and draw on different linguistic resources, thus often defying, in the outcome, the hegemonic ideological projection that writing is the domain of Fuṣḥa. In order to offer an account of a dynamic, changing and diversified character of writing practices in present‑day Egypt, illustrative examples are drawn from a number of different texts and domains of writing, including Wikipedia Masry, Twitter, Facebook, advertisements, online campaigns for political and social causes, as well as books. The inventory of linguistic resources variously employed by various writers in various circumstances is identified to contain re-combinations across three linguistic varieties, Fuṣḥa, ˤAmmiyya and English, and two scripts, Arabic and Latin.
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Robinson, Sophie. "Queer time & space in contemporary experimental writing". Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/cc29c04e-ae44-3cba-70c2-94844bfa694b/1/.
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The aim of this practice-based PhD is to develop the theory and practice of a queer poetics. In this thesis I will be looking at the work of four contemporary experimental writers: Abigail Child, Dodie Bellamy, Caroline Bergvall and kari edwards. Specifically, I will be addressing representations of time and space in contemporary queer poetic practice. Chapter One draws on recent, queer revisionings of temporality in order to examine representations of time in the work of Abigail Child and Dodie Bellamy. I will particularly be focusing on the relationship between acts of temporal disruption and queer history, arguing that modes of experimental poetic practice might lend themselves well to representations of queer temporality. In Chapter Two, I turn to the relationship between queer theory, phenomenology and experimental writing. Through close readings of Caroline Bergvall and kari edwards alongside these theoretical texts, I will propose that forms of queer space are generated by these writers. I will argue that this is achieved through an innovative approach to book and page space, and through the introduction of queer bodies into public and private hegemonic spaces. Alongside my close readings of these four writers, I will be discussing my development of a queer poetic practice in SHE!, the manuscript which accompanies this thesis. In Chapter One, I will discuss my use of collage, genre and repetition to create anachronistic and looping forms of queer time. In Chapter Two, I will discuss my use of collage to queer both the material site of the book and the textual representations of domesticity that occur in the text. Finally, I will propose that these queer tactics of writing might be linked to a wider political project of subcultural political action; that the queer ‘other' can be seen as a model for resisting hegemonic control, and that queer subcultures can suggest alternative ways of being in the world, outside of the realms of patriarchal, capitalist and heterosexual hegemony.
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Bricker, Margaret (Margaret S. ). Carleton University Dissertation Comparative Literature. "Feminism, postmodernism, and contemporary Canadian writing by women". Ottawa, 1996.
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Mellor, Julie Diane. "Theorising contemporary women's writing : a practice-based study". Thesis, Sheffield Hallam University, 2003. http://shura.shu.ac.uk/20759/.
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The novel, 'Cork Dolls', focuses on the psychological struggle between two women from different cultural backgrounds. Rachel arrives in Sicily as an au pair for the wealthy Bruni family. Here she meets Susan, the Bruni's Filipino housekeeper. Susan has had to leave her daughter, Reetha, in the Philippines, in order to earn money abroad. Rachel, on the other hand, has recently had an abortion. Both of them have come to Italy to make a new life, yet both are forced to play a mothering role to Franco and Santino, the Bruni's children. The resulting power conflict between Rachel and Susan is played out against the backdrop of the Bruni's failing marriage. Rachel is increasingly drawn to Santino, the youngest son. However, her attempted abduction of him forces her to see that it is impossible to replace the child she has aborted. Even Rocco, the young man who attempts to start a relationship with her, is rebuffed as she gains a new understanding of herself. When Signor Bruni leaves the house early one morning, in search of his wife and her lover, an earthquake hits the area. The resulting confusion provides Susan with an ideal opportunity to steal the Signora's jewellery, and thus finance her return to her daughter. Meanwhile, Rachel is left alone with the children. Although her previous attempt at taking Santino has taught her that the children can never be hers, the novel ends with her having to make a final decision as to whether to take them or not.'Cork Dolls' focuses on women's experience. It draws attention to the claustrophobic nature of the domestic setting, and how this can magnify petty aggressions. It also examines ideas about women as mothers in patriarchal society, and looks at how, by focusing on female experience, accepted ideas about women's roles might be challenged.
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Van, Poppel Elisabeth Wilhelmina. "Oleander : the writing of the contemporary supernatural drama". Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15995/1/Elisabeth_Van_Poppel_Thesis.pdf.
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Oleander is a screenplay and exegesis that explores how the supernatural drama contributes to a deeper understanding of contemporary feature writing. The central theorists of the feature film, represented here by McKee, Seger, Vogler and Hauge, have created a robust model built around a three act structure, an inciting incident and clear challenge pursued and resolved by a protagonist. The thesis argues that the supernatural drama also calls for the logical treatment of the supernatural element, its managed concealment and its step by step revelation as part of the story development. The thesis tests this idea through the writing of a supernatural feature Oleander, and an analysis of Picnic at Hanging Rock and The Sixth Sense. These latter two films manage suspense in profoundly different ways to produce profoundly different effects.
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Van, Poppel Elisabeth Wilhelmina. "Oleander : the writing of the contemporary supernatural drama". Queensland University of Technology, 2004. http://eprints.qut.edu.au/15995/.
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Oleander is a screenplay and exegesis that explores how the supernatural drama contributes to a deeper understanding of contemporary feature writing. The central theorists of the feature film, represented here by McKee, Seger, Vogler and Hauge, have created a robust model built around a three act structure, an inciting incident and clear challenge pursued and resolved by a protagonist. The thesis argues that the supernatural drama also calls for the logical treatment of the supernatural element, its managed concealment and its step by step revelation as part of the story development. The thesis tests this idea through the writing of a supernatural feature Oleander, and an analysis of Picnic at Hanging Rock and The Sixth Sense. These latter two films manage suspense in profoundly different ways to produce profoundly different effects.
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Cheung, M. P. Y. "Making readers : Theory and practice in modern writing". Thesis, University of Kent, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377147.
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Rasmi, Jacopo. "une écologie des méthodes documentaires.à partir d'écritures filmiques et littéraires de l'Italie contemporaine". Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAL001/document.
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Cette recherche se structure autour de quelques pratiques documentaires dans le contexte italien contemporain : Michelangelo Frammartino, Gianni Celati, Pietro Marcello… Étudiées en tant que méthodes particulières de médiation et d’écriture parmi de nombreuses autres agençant l’univers médial actuel, ces expériences nous révèlent leur spécifique statut écologique. C’est à une écologie générale (socio-politique, perceptive et symbolique) qu’on se réfère : celle qui a été proposée par des théoriciens tels que Felix Guattari, Tim Ingold ou Bruno Latour. Fidèles à un certain empirisme habitant ainsi qu’à une attention interactive envers nos milieux, ces créations documentaires captent, questionnent et racontent l’ensemble enchevêtré de présences composant nos milieux. Malgré un intérêt cinématographique prioritaire (pour Michelangelo Frammartino, d’abord), les théories et les exemples mobilisés permettent de définir une catégorie de « documentaire » capable d’inclure des formes médiales très variées comme la littérature (à travers Gianni Celati, surtout) ou le théâtre sur la base d’un principe commun d’enquête appareillée des environnements qu’on habite. Entre les lignes de ce paradigme écologique et trans-médiale du documentaire nous identifions les coordonnées d’une manière plus soutenable et attentive d’habiter les milieux complexes (autant « naturels » que sociaux, techniques et sémiotiques) dans les lesquels nous sommes toujours déjà impliqués. Elle est inaugurée par d’autres récits et d’autres perceptions de ce qui nous entoure qu’on appellera des « contre-fictions »This research takes place among some documentary practices in the contemporary Italian field : Michelangelo Frammartino, Gianni Celati, Pietro Marcello… Studied as specific methods of mediation and writing in the middle of many others organizing today’s medial world, these experiences reveal us their specific ecological status. We refer to a general ecology (socio-political, perceptive and symbolic) : the one that has been defined by thinkers like Felix Guattari, Tim Ingold or Bruno Latour. Devoted to an empirical dwelling as much as to an interactive attention towards our environments, these documentary creations record, question and narrate the entanglement of presences composing our milieux. Despite a fundamental cinematic interest (first of all for Michelangelo Frammartino), the theories and the exemples taken into account allow us to define a category of « documentary » capable of including other medial forms like literature (through Gianni Celati, above all) or theatre on the basis of a commun technical exploration of the environments we dwell in. Between the lines of such an ecological and trans-medial concept of documentary we spot the landmarks of a more sustainable and attentive way of living the multilayered environments (« natural » as well as social, technical and semiotic) in which we are always already involved. Such an alternative way of living begins with other storytellings and other perceptions of what surrounds us that we will call « counter-fictions »