Modern Languages (School of)https://hdl.handle.net/10023/292024-03-28T09:37:04Z2024-03-28T09:37:04ZRe-telling the stories of artists who are women : lessons from the multimedial fictions of George SandMcTurk-Starkie, Amyhttps://hdl.handle.net/10023/294392024-03-07T03:02:45Z2024-06-12T00:00:00ZThis study analyses George Sand’s depictions of artists as women creating in multiple art forms (as writers, actresses, musicians, and painters) to disclose Sand’s innovative narrative strategies that allow alternative stories about women’s creativity to emerge against a background of major medical, political, and cultural discourses that insistently rendered prevalent understandings of womanhood antithetical to artistic vocation. Challenging the tendency to read Sand’s women artists primarily through the lens of sex or gender for the production of (equally reifying) counter-stereotypes, the multimedial scope of this thesis – which addresses the lack of any major study of Sand’s female artists across art forms – demonstrates how recentring the agency and creativity possessed by Sand’s situated heroines reveals key alternative forms of women’s artistic practice within their nineteenth-century contexts.
This thesis reveals how Sand’s fiction repeatedly functions as an extensive exploration of the lived experiences of women creating in a particular art form. Reading Sand’s stories of women artists for the narrative clashes that occur between her female artists’ testimony of lived experience and the dominant cultural narratives for both “the Artist” and “the Woman” highlights how Sand’s texts rewrite these dominant narratives to reflect better the lived experiences of female artists in nineteenth-century France. Consequently, my thesis addresses the dissonance between predominant representations of creative women participating in the cultural sphere (whether as monstrous Bas-bleu, frivolous dabbler, or muse) and the lived experiences of women artists, who were increasingly present and successful in the cultural sphere. Sand’s depictions of artists as women thus not only provide models for women’s artistic identities, but more importantly, demonstrate strategies through which women could continually produce interspaces for the development of their artistic identity as a response to, and a negotiation of, the historically framed contexts that allegedly defined them.
2024-06-12T00:00:00ZMcTurk-Starkie, AmyThis study analyses George Sand’s depictions of artists as women creating in multiple art forms (as writers, actresses, musicians, and painters) to disclose Sand’s innovative narrative strategies that allow alternative stories about women’s creativity to emerge against a background of major medical, political, and cultural discourses that insistently rendered prevalent understandings of womanhood antithetical to artistic vocation. Challenging the tendency to read Sand’s women artists primarily through the lens of sex or gender for the production of (equally reifying) counter-stereotypes, the multimedial scope of this thesis – which addresses the lack of any major study of Sand’s female artists across art forms – demonstrates how recentring the agency and creativity possessed by Sand’s situated heroines reveals key alternative forms of women’s artistic practice within their nineteenth-century contexts.
This thesis reveals how Sand’s fiction repeatedly functions as an extensive exploration of the lived experiences of women creating in a particular art form. Reading Sand’s stories of women artists for the narrative clashes that occur between her female artists’ testimony of lived experience and the dominant cultural narratives for both “the Artist” and “the Woman” highlights how Sand’s texts rewrite these dominant narratives to reflect better the lived experiences of female artists in nineteenth-century France. Consequently, my thesis addresses the dissonance between predominant representations of creative women participating in the cultural sphere (whether as monstrous Bas-bleu, frivolous dabbler, or muse) and the lived experiences of women artists, who were increasingly present and successful in the cultural sphere. Sand’s depictions of artists as women thus not only provide models for women’s artistic identities, but more importantly, demonstrate strategies through which women could continually produce interspaces for the development of their artistic identity as a response to, and a negotiation of, the historically framed contexts that allegedly defined them.Multispecies ruptures : stories of displacement and human-plant relations from Donbas, UkraineTsymbalyuk, Daryahttps://hdl.handle.net/10023/292092024-02-13T03:09:31Z2022-06-17T00:00:00ZThis thesis explores narratives of displacement from Donbas, Ukraine as a series of multispecies ruptures. Focusing on human-plant relations in oral histories of internally displaced persons (IDPs), it foregrounds more-than-human aspects of migration. Engaging with theories in environmental humanities, the thesis examines them through a decolonial lens. Critical of tendencies to orientalise Eastern Europe and post-Soviet countries as spaces of ecological disasters, with Chornobyl being one of the most famous examples, this dissertation avoids fixating on the catastrophic by focusing on everyday (re)configurations of ruptured multispecies relations instead. Donbas is a (post)industrial region in the east of Ukraine, where a war broke out in 2014. Soviet industrialism and ongoing conflict resulted in extractivist treatment of Donbas and its human and more-than-human inhabitants. Closely examining legacies and repercussions of these violences, the thesis traces accounts alternative to the dominant representations of war, industrialisation and displacement. These accounts resist fossilfuelisation, a process of being turned into a resource by the industry or the war-machine. Stories analysed in this thesis subvert objectification by treating the Other, whether human or more-than-human, with care and attention. For example, the thesis looks at personal stories of engaging with coal and fossils, as well as at testimonies of moving plants from the conflict zone, or memories of encountering overgrown gardens and wilted houseplants in homes abandoned because of the war. The form of the dissertation, consisting of academic writing, drawings, and a screenplay, presents a decolonial approach to knowledge-making. The thesis presents a more ethical way of engaging with research, where the outcomes are disseminated in different languages (English, Ukrainian; visual, academic) and to different audiences (academic, non-academic), thereby destabilising hierarchies of knowledge production.
2022-06-17T00:00:00ZTsymbalyuk, DaryaThis thesis explores narratives of displacement from Donbas, Ukraine as a series of multispecies ruptures. Focusing on human-plant relations in oral histories of internally displaced persons (IDPs), it foregrounds more-than-human aspects of migration. Engaging with theories in environmental humanities, the thesis examines them through a decolonial lens. Critical of tendencies to orientalise Eastern Europe and post-Soviet countries as spaces of ecological disasters, with Chornobyl being one of the most famous examples, this dissertation avoids fixating on the catastrophic by focusing on everyday (re)configurations of ruptured multispecies relations instead. Donbas is a (post)industrial region in the east of Ukraine, where a war broke out in 2014. Soviet industrialism and ongoing conflict resulted in extractivist treatment of Donbas and its human and more-than-human inhabitants. Closely examining legacies and repercussions of these violences, the thesis traces accounts alternative to the dominant representations of war, industrialisation and displacement. These accounts resist fossilfuelisation, a process of being turned into a resource by the industry or the war-machine. Stories analysed in this thesis subvert objectification by treating the Other, whether human or more-than-human, with care and attention. For example, the thesis looks at personal stories of engaging with coal and fossils, as well as at testimonies of moving plants from the conflict zone, or memories of encountering overgrown gardens and wilted houseplants in homes abandoned because of the war. The form of the dissertation, consisting of academic writing, drawings, and a screenplay, presents a decolonial approach to knowledge-making. The thesis presents a more ethical way of engaging with research, where the outcomes are disseminated in different languages (English, Ukrainian; visual, academic) and to different audiences (academic, non-academic), thereby destabilising hierarchies of knowledge production.Invisibility and fame : Rahel Levin Varnhagen and Jane Austen and the role of letter writing in dismantling the unequal recognition of long eighteenth-century German and English women writersSteinkraus, Marie-Clairehttps://hdl.handle.net/10023/290722024-01-27T03:07:50Z2023-11-01T00:00:00ZIm Fokus dieser Dissertation sind die britische Brief- und Romanautorin Jane Austen und die deutsch-jüdische Briefautorin, Salonnière und Aktivistin Rahel Levin Varnhagen. Das Schaffen dieser beiden Autorinnen lässt sich in derselben Epoche, dem „Long Eighteenth Century“, lokalisieren. Dieser Begriff bezieht sich auf die Zeitspanne zwischen 1688 und 1832 und wurde etabliert, um die Verbindungen zwischen den sozialen, politischen, kulturellen und ideologischen Entwicklungen in diesem Zeitraum hervorzuheben. Trotz der zeitlichen Überlappung und der Hinterlassung herausragender Werke beider Autorinnen, ist eine erhebliche Differenz in der literarischen Anerkennung von Austen und Levin Varnhagen festzustellen. Während Austen seit geraumer Zeit ein unabdingbarer Bestandteil nicht nur des britischen, sondern des Welt-Literaturkanons ist, bleibt Levin Varnhagen trotz ihres, seit wenigen Jahrzenten anerkannten, Platzes im Kanon vergleichsweise unbekannt. Auffallend ist, dass sich dieser ungleiche literarische Status ebenso auf viele weitere Autorinnen des „Long Eighteenth Century“ und des darauffolgenden neunzehnten Jahrhunderts übertragen lässt. Dabei zeichnet sich eine deutliche Kluft zwischen der Berühmtheit englischer Autorinnen und dem an Unsichtbarkeit grenzenden Mangel an Anerkennung für deutsche Schriftstellerinnen ab. Während sich auf englischer Seite einige der größten Namen der Weltliteratur finden lassen – neben Jane Austen beispielweise noch Charlotte Brontë oder George Eliot – bleiben die herausragenden Leistungen von Fanny Lewald, Louise Otto oder Hedwig Dohm wenig erforscht. Die Ursachen dieses Phänomens sind vielschichtiger Art und liegen sowohl im literaturgeschichtlichen Kontext der Spätaufklärung und der Französischen Revolution sowie und vor allem in der Rolle des Briefeschreibens. Die vorliegende Arbeit zielt dementsprechend darauf ab, im Hinblick auf die genannten Faktoren, diese Ursachen der ungleichen literarischen Anerkennung deutscher und englischer Autorinnen zu identifizieren. Dabei müssen die Auswirkungen der aufklärerischen Ideale im Deutschland und England des „Long Eighteenth Century“ als zweischneidiges Schwert betrachtet werden. Einerseits brachten ihre humanistischen, egalitären Werte eine gesteigerte Bildung, ein dadurch wachsendes Lesepublikum und eine Modernisierung des Literaturmarktes mit sich. Andererseits wurden diese Werte durch ihre Assoziation mit der Französischen Revolution in Deutschland und England großen Teils abgelehnt. Angst vor Revolution im eigenen Land trieb sowohl die Anti-Jakobiner in England sowie die Romantiker in Deutschland zu verstärktem Nationalismus und Konservatismus an. Frauen, in Deutschland auch Juden, wurden somit stärker denn je vom gesellschaftlichen Geschehen ausgeschlossen. Daran gekoppelt war vor allem in Deutschland ein wachsender Antisemitismus, von welchem Levin Varnhagens Leben sowie die Anerkennung ihrer literarischen Fähigkeiten ebenfalls stark beeinflusst waren. Die Repräsentation englischer Kultur in Austens Romanen, andererseits, wurde vom englischen Patriotismus begrüßt und verschaffte somit ihrer Rezeption einen Vorteil. In diesem Zuge muss außerdem der unterschiedliche Grad an Radikalität in Austen und Levin Varnhagen festgestellt werden. Während Austen die Gesellschaftskritik in ihren Werken, an die Umstände ihrer Zeit angepasst, nur indirekt äußert, sind Levin Varnhagens Briefe von politisch meinungsstarken, teils radikalen, Aussagen durchzogen. Da aufgrund der als Bedrohung wahrgenommenen Französischen Revolution in beiden Ländern eine Ablehnung alles Radikalen herrscht, trägt diese Diskrepanz ebenfalls zu Austens und Levin Varnhagens entgegengesetzter Rezeption bei. Diese Beobachtung wird unter Berücksichtigung der Radikalität anderer deutscher Autorinnen des neunzehntes Jahrhunderts, wie die oben aufgelisteten, besonders interessant.
Neben diesen geschichtlich-politischen Faktoren, nimmt die Rolle des Brief-Genres und seine Gegenüberstellung zum Roman in dieser Arbeit eine zentrale Rolle ein. Beide Gattungen werden im „Long Eighteenth Century“ und noch lange danach als trivial und nicht literarisch angesehen. An dieser Stelle ist die in Deutschland besonders starke Dichotomisierung von Trivial- und Hochliteratur zu erwähnen, welche die Anerkennung von allem, was sich nicht als Hochliteratur klassifiziert, fast unmöglich macht. Trotz seiner Einstufung als trivial erreicht der britische Roman bereits im Laufe des späten achtzehnten, insbesondere aber im neunzehnten Jahrhundert, eine außergewöhnlich hohe Popularität, an welche der sich etwas später entwickelnde deutsche Roman nicht herankommt. Es fällt auf, dass die großen Namen englischer Autorinnen des neunzehnten Jahrhunderts alles Namen von Romanautorinnen sind. Auch für eine Untersuchung von Austens Anerkennung ist der Status des britischen Romans entscheidend; ihren Briefen wurde wohlgemerkt erst Beachtung geschenkt, als sie bereits einen hohen literarischen Status als Romanautorin innehatte. Levin Varnhagens literarisches Werk, das fast ausschließlich aus Briefen besteht, wurde aufgrund der vermeintlichen Trivialität dieses Genres stark vernachlässigt. Kapitel Zwei und Drei sind demnach hauptsächlich der Literarizität der Briefe dieser beiden Autorinnen gewidmet. Die eingehende Lektüre einiger ausgewählter Briefe demonstriert das weite Spektrum an Stilen des Briefeschreibens, wobei Austens und Levin Varnhagens Briefe sich sehr deutlich voneinander unterscheiden. Der heitere, kurz angebundene Tonfall der ersteren steht in direktem Kontrast zu den emotional intensiven und langen Briefpassagen Levin Varnhagens. Bezüglich ihrer Hinweise auf Literarizität ähneln sich ihre Briefe jedoch nicht unerheblich. So bringen beide durch literarische Bezüge, eine gewählte Schreibweise und Kommentare über die Sphäre des Öffentlichen zum Ausdruck, dass sie das Briefeschreiben als Kunstform ansehen, die es wert ist, dem öffentlichen Diskurs beizutreten. Beide nutzen dabei das Briefeschreiben als Schreibübung sowie als ein Weg, sich im literarischen Feld ihrer Zeit zu positionieren. Ein Teil dieser Positionierung sind die Vertretung ihrer sich in vieler Hinsicht deckenden politischen Ansichten, einschließlich ihrer emanzipierten Ideale bezüglich der Rolle der Frau. Zentral für ihre Selbstpositionierung als Schriftstellerinnen sind außerdem Austens Bezüge und Parallelen ihrer Briefe zu ihren Romanen und Levin Varnhagens Entwicklung in ihrer Rolle als Literaturkritikerin und Vermittlerin Goethes. Diese Rollenverteilung bringt weitere, fundamentale Unterschiede hinsichtlich der literarischen Anerkennung beider Autorinnen mit sich. Die Literarizität von Briefen allgemein sowie die verschiedenen Formen dieser Literarizität in Austens und Levin Varnhagens Briefen muss daher anerkannt werden. Nur so können die Leistungen weiblicher Schriftstellerinnen nachvollzogen und vor allem brillante deutsche Brief-Autorinnen ans Licht gebracht werden. Abschließend wird die posthume Kanonisierung von Jane Austen und Levin Varnhagen untersucht, welche stark von diesem Hintergrund aus Literaturgeschichte und Brief-Roman-Beziehung beeinflusst ist.
2023-11-01T00:00:00ZSteinkraus, Marie-ClaireIm Fokus dieser Dissertation sind die britische Brief- und Romanautorin Jane Austen und die deutsch-jüdische Briefautorin, Salonnière und Aktivistin Rahel Levin Varnhagen. Das Schaffen dieser beiden Autorinnen lässt sich in derselben Epoche, dem „Long Eighteenth Century“, lokalisieren. Dieser Begriff bezieht sich auf die Zeitspanne zwischen 1688 und 1832 und wurde etabliert, um die Verbindungen zwischen den sozialen, politischen, kulturellen und ideologischen Entwicklungen in diesem Zeitraum hervorzuheben. Trotz der zeitlichen Überlappung und der Hinterlassung herausragender Werke beider Autorinnen, ist eine erhebliche Differenz in der literarischen Anerkennung von Austen und Levin Varnhagen festzustellen. Während Austen seit geraumer Zeit ein unabdingbarer Bestandteil nicht nur des britischen, sondern des Welt-Literaturkanons ist, bleibt Levin Varnhagen trotz ihres, seit wenigen Jahrzenten anerkannten, Platzes im Kanon vergleichsweise unbekannt. Auffallend ist, dass sich dieser ungleiche literarische Status ebenso auf viele weitere Autorinnen des „Long Eighteenth Century“ und des darauffolgenden neunzehnten Jahrhunderts übertragen lässt. Dabei zeichnet sich eine deutliche Kluft zwischen der Berühmtheit englischer Autorinnen und dem an Unsichtbarkeit grenzenden Mangel an Anerkennung für deutsche Schriftstellerinnen ab. Während sich auf englischer Seite einige der größten Namen der Weltliteratur finden lassen – neben Jane Austen beispielweise noch Charlotte Brontë oder George Eliot – bleiben die herausragenden Leistungen von Fanny Lewald, Louise Otto oder Hedwig Dohm wenig erforscht. Die Ursachen dieses Phänomens sind vielschichtiger Art und liegen sowohl im literaturgeschichtlichen Kontext der Spätaufklärung und der Französischen Revolution sowie und vor allem in der Rolle des Briefeschreibens. Die vorliegende Arbeit zielt dementsprechend darauf ab, im Hinblick auf die genannten Faktoren, diese Ursachen der ungleichen literarischen Anerkennung deutscher und englischer Autorinnen zu identifizieren. Dabei müssen die Auswirkungen der aufklärerischen Ideale im Deutschland und England des „Long Eighteenth Century“ als zweischneidiges Schwert betrachtet werden. Einerseits brachten ihre humanistischen, egalitären Werte eine gesteigerte Bildung, ein dadurch wachsendes Lesepublikum und eine Modernisierung des Literaturmarktes mit sich. Andererseits wurden diese Werte durch ihre Assoziation mit der Französischen Revolution in Deutschland und England großen Teils abgelehnt. Angst vor Revolution im eigenen Land trieb sowohl die Anti-Jakobiner in England sowie die Romantiker in Deutschland zu verstärktem Nationalismus und Konservatismus an. Frauen, in Deutschland auch Juden, wurden somit stärker denn je vom gesellschaftlichen Geschehen ausgeschlossen. Daran gekoppelt war vor allem in Deutschland ein wachsender Antisemitismus, von welchem Levin Varnhagens Leben sowie die Anerkennung ihrer literarischen Fähigkeiten ebenfalls stark beeinflusst waren. Die Repräsentation englischer Kultur in Austens Romanen, andererseits, wurde vom englischen Patriotismus begrüßt und verschaffte somit ihrer Rezeption einen Vorteil. In diesem Zuge muss außerdem der unterschiedliche Grad an Radikalität in Austen und Levin Varnhagen festgestellt werden. Während Austen die Gesellschaftskritik in ihren Werken, an die Umstände ihrer Zeit angepasst, nur indirekt äußert, sind Levin Varnhagens Briefe von politisch meinungsstarken, teils radikalen, Aussagen durchzogen. Da aufgrund der als Bedrohung wahrgenommenen Französischen Revolution in beiden Ländern eine Ablehnung alles Radikalen herrscht, trägt diese Diskrepanz ebenfalls zu Austens und Levin Varnhagens entgegengesetzter Rezeption bei. Diese Beobachtung wird unter Berücksichtigung der Radikalität anderer deutscher Autorinnen des neunzehntes Jahrhunderts, wie die oben aufgelisteten, besonders interessant.
Neben diesen geschichtlich-politischen Faktoren, nimmt die Rolle des Brief-Genres und seine Gegenüberstellung zum Roman in dieser Arbeit eine zentrale Rolle ein. Beide Gattungen werden im „Long Eighteenth Century“ und noch lange danach als trivial und nicht literarisch angesehen. An dieser Stelle ist die in Deutschland besonders starke Dichotomisierung von Trivial- und Hochliteratur zu erwähnen, welche die Anerkennung von allem, was sich nicht als Hochliteratur klassifiziert, fast unmöglich macht. Trotz seiner Einstufung als trivial erreicht der britische Roman bereits im Laufe des späten achtzehnten, insbesondere aber im neunzehnten Jahrhundert, eine außergewöhnlich hohe Popularität, an welche der sich etwas später entwickelnde deutsche Roman nicht herankommt. Es fällt auf, dass die großen Namen englischer Autorinnen des neunzehnten Jahrhunderts alles Namen von Romanautorinnen sind. Auch für eine Untersuchung von Austens Anerkennung ist der Status des britischen Romans entscheidend; ihren Briefen wurde wohlgemerkt erst Beachtung geschenkt, als sie bereits einen hohen literarischen Status als Romanautorin innehatte. Levin Varnhagens literarisches Werk, das fast ausschließlich aus Briefen besteht, wurde aufgrund der vermeintlichen Trivialität dieses Genres stark vernachlässigt. Kapitel Zwei und Drei sind demnach hauptsächlich der Literarizität der Briefe dieser beiden Autorinnen gewidmet. Die eingehende Lektüre einiger ausgewählter Briefe demonstriert das weite Spektrum an Stilen des Briefeschreibens, wobei Austens und Levin Varnhagens Briefe sich sehr deutlich voneinander unterscheiden. Der heitere, kurz angebundene Tonfall der ersteren steht in direktem Kontrast zu den emotional intensiven und langen Briefpassagen Levin Varnhagens. Bezüglich ihrer Hinweise auf Literarizität ähneln sich ihre Briefe jedoch nicht unerheblich. So bringen beide durch literarische Bezüge, eine gewählte Schreibweise und Kommentare über die Sphäre des Öffentlichen zum Ausdruck, dass sie das Briefeschreiben als Kunstform ansehen, die es wert ist, dem öffentlichen Diskurs beizutreten. Beide nutzen dabei das Briefeschreiben als Schreibübung sowie als ein Weg, sich im literarischen Feld ihrer Zeit zu positionieren. Ein Teil dieser Positionierung sind die Vertretung ihrer sich in vieler Hinsicht deckenden politischen Ansichten, einschließlich ihrer emanzipierten Ideale bezüglich der Rolle der Frau. Zentral für ihre Selbstpositionierung als Schriftstellerinnen sind außerdem Austens Bezüge und Parallelen ihrer Briefe zu ihren Romanen und Levin Varnhagens Entwicklung in ihrer Rolle als Literaturkritikerin und Vermittlerin Goethes. Diese Rollenverteilung bringt weitere, fundamentale Unterschiede hinsichtlich der literarischen Anerkennung beider Autorinnen mit sich. Die Literarizität von Briefen allgemein sowie die verschiedenen Formen dieser Literarizität in Austens und Levin Varnhagens Briefen muss daher anerkannt werden. Nur so können die Leistungen weiblicher Schriftstellerinnen nachvollzogen und vor allem brillante deutsche Brief-Autorinnen ans Licht gebracht werden. Abschließend wird die posthume Kanonisierung von Jane Austen und Levin Varnhagen untersucht, welche stark von diesem Hintergrund aus Literaturgeschichte und Brief-Roman-Beziehung beeinflusst ist.The image of utopia in modern Persian poetry from 1941 to 1988Sajjadi, Seyedehparisahttps://hdl.handle.net/10023/286772023-11-13T10:56:25Z2023-11-29T00:00:00ZThis thesis explores the portrayal of utopia in modern Persian poetry between 1941 and 1988. The study begins by examining classical utopias in the Persian-speaking world and then delves into the transformations of utopias during the early modern period in Iran. It further investigates the influence of four significant events: the Anglo-Soviet invasion of Iran in 1941 during World War II, the August 1953 coup, the 1979 revolution, and the eight-year Iran-Iraq war (1980-1988) on the representation of utopia in modern Persian poetry. Four prominent modern Persian poets are analysed in this study: Mehdi Akhāvan-sāles, Simin Behbahāni, Ahmad Shamlou, and Fereydun Moshiri. The first three poets pioneered new styles in Modern Persian poetry, while the last one is among the most-read poets of Iran.
The analysis reveals that the first three events had a profound impact on the literary nature of utopia and the conveyed themes. The political liberation that followed the occupation of Iran led to the prevalence of utopias with socialist themes in the poetry of these poets. However, with the 1953 coup and the ensuing atmosphere of despair and turmoil engulfing society, the poems shifted towards dystopian themes. Within this context, two approaches to dystopia emerged. Firstly, society was depicted as an unchangeable dystopia, reflecting the concept of the demise of utopia. Subsequently, a concept known as ‘loveable dystopia’ took shape, as the poets utilized the sense of spatial belonging to portray the dialectical tension between the dystopian environment and their emotional attachment to it.
As social activities intensified and the 1979 revolution approached, hopes for constructing a utopia were rekindled in the poets’ compositions. However, this hope fades away quickly. Despite expectations, the eight-year Iran-Iraq war did not have a significant influence on the utopian literature of this period. In their final utopian works, Shamlou and Akhavān-sāles go back to the portrayal of a dystopia from which there is no escape, while Behbahāni and Moshiri embraced a more optimistic stance. They presented their last utopian visions with hopes for their realization of a utopia in an unknown future.
2023-11-29T00:00:00ZSajjadi, SeyedehparisaThis thesis explores the portrayal of utopia in modern Persian poetry between 1941 and 1988. The study begins by examining classical utopias in the Persian-speaking world and then delves into the transformations of utopias during the early modern period in Iran. It further investigates the influence of four significant events: the Anglo-Soviet invasion of Iran in 1941 during World War II, the August 1953 coup, the 1979 revolution, and the eight-year Iran-Iraq war (1980-1988) on the representation of utopia in modern Persian poetry. Four prominent modern Persian poets are analysed in this study: Mehdi Akhāvan-sāles, Simin Behbahāni, Ahmad Shamlou, and Fereydun Moshiri. The first three poets pioneered new styles in Modern Persian poetry, while the last one is among the most-read poets of Iran.
The analysis reveals that the first three events had a profound impact on the literary nature of utopia and the conveyed themes. The political liberation that followed the occupation of Iran led to the prevalence of utopias with socialist themes in the poetry of these poets. However, with the 1953 coup and the ensuing atmosphere of despair and turmoil engulfing society, the poems shifted towards dystopian themes. Within this context, two approaches to dystopia emerged. Firstly, society was depicted as an unchangeable dystopia, reflecting the concept of the demise of utopia. Subsequently, a concept known as ‘loveable dystopia’ took shape, as the poets utilized the sense of spatial belonging to portray the dialectical tension between the dystopian environment and their emotional attachment to it.
As social activities intensified and the 1979 revolution approached, hopes for constructing a utopia were rekindled in the poets’ compositions. However, this hope fades away quickly. Despite expectations, the eight-year Iran-Iraq war did not have a significant influence on the utopian literature of this period. In their final utopian works, Shamlou and Akhavān-sāles go back to the portrayal of a dystopia from which there is no escape, while Behbahāni and Moshiri embraced a more optimistic stance. They presented their last utopian visions with hopes for their realization of a utopia in an unknown future.Post-2003 Iraqi fiction. Voice, audiences, and narrative authorityPozzoli, Federicohttps://hdl.handle.net/10023/286692023-11-13T12:24:31Z2023-11-29T00:00:00ZThe thesis addresses the non-realist trend of Iraqi fiction written after the US occupation of 2003. In particular, it focuses on the construction and characterisation of non-mimetic voices in this production. Within the frame of post-classical narratology, the thesis asks how the thematic and poetic attention to the traumas of war and migration runs parallel with the construction of narrating-‘I’s that exceed the conventional limits of first-person narration. Such overextended ‘I’s are conceived of as technical supplements, miniature narratives that complement and counterpoint the storyworld – a concept the thesis summarises with the Arabic manṭiq ‘point of articulation’. The thesis is divided into two sections. The first discusses texts in which non-fictional narrative paradigms are unsettled by the challenges of the post-war conjuncture: in particular, it addresses fantastic elaborations of the childhood story (Chapter One) and the ‘asylum story’ demanded of asylum seekers (Chapter Two). The second section is devoted to downright unnatural, anti-mimetic narrative forms. It focuses on two tropes of what has been labelled the Iraqi Gothic: the dead narrator (chapter Three), and the disembodied voice (chapter Four). The analysis of these four paradigmatic narrators of post-2003 Iraqi fiction (the child, the asylum seeker, the dead, and the abstract first-person voice) allows the thesis to address, along with narratological problems, issues relating to the ethics of narration in a traumatic context. Furthermore, the focus on voice involves a questioning of the link between narrative and experience in Iraq.
2023-11-29T00:00:00ZPozzoli, FedericoThe thesis addresses the non-realist trend of Iraqi fiction written after the US occupation of 2003. In particular, it focuses on the construction and characterisation of non-mimetic voices in this production. Within the frame of post-classical narratology, the thesis asks how the thematic and poetic attention to the traumas of war and migration runs parallel with the construction of narrating-‘I’s that exceed the conventional limits of first-person narration. Such overextended ‘I’s are conceived of as technical supplements, miniature narratives that complement and counterpoint the storyworld – a concept the thesis summarises with the Arabic manṭiq ‘point of articulation’. The thesis is divided into two sections. The first discusses texts in which non-fictional narrative paradigms are unsettled by the challenges of the post-war conjuncture: in particular, it addresses fantastic elaborations of the childhood story (Chapter One) and the ‘asylum story’ demanded of asylum seekers (Chapter Two). The second section is devoted to downright unnatural, anti-mimetic narrative forms. It focuses on two tropes of what has been labelled the Iraqi Gothic: the dead narrator (chapter Three), and the disembodied voice (chapter Four). The analysis of these four paradigmatic narrators of post-2003 Iraqi fiction (the child, the asylum seeker, the dead, and the abstract first-person voice) allows the thesis to address, along with narratological problems, issues relating to the ethics of narration in a traumatic context. Furthermore, the focus on voice involves a questioning of the link between narrative and experience in Iraq.Title redactedO'Harrow, Haileyhttps://hdl.handle.net/10023/284282023-10-17T02:06:57Z2023-11-29T00:00:00ZAbstract redacted
2023-11-29T00:00:00ZO'Harrow, HaileyAbstract redactedExamining Italian postcolonial narratives through the lens of intermedialityBorrini, Giuliahttps://hdl.handle.net/10023/283222023-09-07T02:00:32Z2023-11-29T00:00:00ZThis doctoral thesis sets out to investigate how different media interact in Italian postcolonial narratives by employing the theoretical framework of intermediality. It explores how intermedial configurations create more inclusive narratives of the postcolonial identities portrayed in novels, photography series and documentaries. This central question produces two lines of enquiry; firstly, how intermediality helps to uncover layers of the Italian imperial enterprise in East Africa and its consequences on the present; and secondly, how intermediality contributes both to the field of postcolonial studies and to the understanding of the current migration experience.
The thesis begins with an exploration of the theoretical intersections of intermediality and postcolonial studies, while introducing Walter Benjamin’s philosophical apparatus as a means to elucidate the conceptual overlapping between the two disciplines. A brief analysis of Cover boy. L’ultima rivoluzione (2006) showcases how intermedial investigation will be conducted in the following sections.
The thesis is structured according to the three major theoretical paradigms that constitute intermediality studies which are: 1) post-structuralist philosophies used to explore the concept of in-betweenness; 2) trans-semiotic theories scrutinising media borders; 3) connections between the real and the intermedial. Each paradigm gathers a number of theoretical strands that are employed in the respective examinations conducted in the five chapters of the thesis.
Building on a body of post-structuralist thought, Chapter One and Two examine how different intermedial configurations create in-betweenness in both novels Adua (2015) and Timira. Romanzo Meticcio (2012). Chapter Three scrutinises how media converge to generate Roaming (2006) and Roma negata. Percorsi postcoloniali nella città (2014) through an additional theoretical approach that borrows from the post-structuralist paradigm. Chapter Four and Chapter Five employ two different articulations of the trans-semiotic paradigm which are used in the respective examinations of the documentaries Asmarina (2015) and Pagine nascoste (2017). In the Conclusion, this study employs the third paradigm to investigate Grooving Lampedusa (2012) and reflects upon how intermedial practices encourage viewers to actively participate in the unfolding of postcolonial narratives that connect Italy’s colonial enterprise in Eastern Africa with the current migration experience in Italy.
2023-11-29T00:00:00ZBorrini, GiuliaThis doctoral thesis sets out to investigate how different media interact in Italian postcolonial narratives by employing the theoretical framework of intermediality. It explores how intermedial configurations create more inclusive narratives of the postcolonial identities portrayed in novels, photography series and documentaries. This central question produces two lines of enquiry; firstly, how intermediality helps to uncover layers of the Italian imperial enterprise in East Africa and its consequences on the present; and secondly, how intermediality contributes both to the field of postcolonial studies and to the understanding of the current migration experience.
The thesis begins with an exploration of the theoretical intersections of intermediality and postcolonial studies, while introducing Walter Benjamin’s philosophical apparatus as a means to elucidate the conceptual overlapping between the two disciplines. A brief analysis of Cover boy. L’ultima rivoluzione (2006) showcases how intermedial investigation will be conducted in the following sections.
The thesis is structured according to the three major theoretical paradigms that constitute intermediality studies which are: 1) post-structuralist philosophies used to explore the concept of in-betweenness; 2) trans-semiotic theories scrutinising media borders; 3) connections between the real and the intermedial. Each paradigm gathers a number of theoretical strands that are employed in the respective examinations conducted in the five chapters of the thesis.
Building on a body of post-structuralist thought, Chapter One and Two examine how different intermedial configurations create in-betweenness in both novels Adua (2015) and Timira. Romanzo Meticcio (2012). Chapter Three scrutinises how media converge to generate Roaming (2006) and Roma negata. Percorsi postcoloniali nella città (2014) through an additional theoretical approach that borrows from the post-structuralist paradigm. Chapter Four and Chapter Five employ two different articulations of the trans-semiotic paradigm which are used in the respective examinations of the documentaries Asmarina (2015) and Pagine nascoste (2017). In the Conclusion, this study employs the third paradigm to investigate Grooving Lampedusa (2012) and reflects upon how intermedial practices encourage viewers to actively participate in the unfolding of postcolonial narratives that connect Italy’s colonial enterprise in Eastern Africa with the current migration experience in Italy.Irregular verbs in German, English and Swedish : vowel-consonant and consonant-vowel sequences, and the spling experimentCatchpole, Benjamin Peterhttps://hdl.handle.net/10023/276932023-05-30T02:05:59Z2022-06-17T00:00:00ZThe research embodied in this thesis is based on Saussurean structuralism, Beedham's 'method of exceptions and their correlations', corpus linguistics, Bybee & Moder's spling experiments and work on irregular verbs by Pinker, Tobin and Even-Simkin. We looked for rules and meaning in the irregular verbs of German, English and Swedish, employing Beedham's vowel-consonant (VC) and consonant-vowel (CV) analysis of irregular verbs in German, English and Russian, in which he claims that the VCs and CVs of irregular verbs, e.g. the -eib and the blei- of German bleiben, are markers of irregular conjugation, and that the German irregular verbs share the VCs of separable prefixes, indicating that irregular verbs are perfective.
We carried out a VC/CV experiment on Swedish, adding several refinements to Beedham's experiments, especially using a numerical threshold to arrive at a numerical measure of how many irregular verb VCs/CVs are markers of irregular conjugation. We found that 78% of Swedish irregular verbs have a VC and 87% have a CV which is a marker of irregular conjugation. We also discovered that an individual vowel and an individual consonant can be a marker of irregular conjugation.
We carried out spling experiments on German, English and Swedish, which we administered in Bonn, St Andrews and Stockholm. We presented participants with a set of invented verbs, e.g. English spling, and asked them to write down the preterit (past tense) of each verb. Going by current wisdom they should conjugate the verbs regularly, e.g. spling splinged. But unbeknown to the participants we had laced the verbs with a good dose of irregular verb VCs and CVs, and many participants conjugated many verbs irregularly, e.g. spling splang. These results corroborate the view that the VCs and CVs of the irregular verbs of German, English and Swedish are markers of irregular conjugation and meaning-bearing.
2022-06-17T00:00:00ZCatchpole, Benjamin PeterThe research embodied in this thesis is based on Saussurean structuralism, Beedham's 'method of exceptions and their correlations', corpus linguistics, Bybee & Moder's spling experiments and work on irregular verbs by Pinker, Tobin and Even-Simkin. We looked for rules and meaning in the irregular verbs of German, English and Swedish, employing Beedham's vowel-consonant (VC) and consonant-vowel (CV) analysis of irregular verbs in German, English and Russian, in which he claims that the VCs and CVs of irregular verbs, e.g. the -eib and the blei- of German bleiben, are markers of irregular conjugation, and that the German irregular verbs share the VCs of separable prefixes, indicating that irregular verbs are perfective.
We carried out a VC/CV experiment on Swedish, adding several refinements to Beedham's experiments, especially using a numerical threshold to arrive at a numerical measure of how many irregular verb VCs/CVs are markers of irregular conjugation. We found that 78% of Swedish irregular verbs have a VC and 87% have a CV which is a marker of irregular conjugation. We also discovered that an individual vowel and an individual consonant can be a marker of irregular conjugation.
We carried out spling experiments on German, English and Swedish, which we administered in Bonn, St Andrews and Stockholm. We presented participants with a set of invented verbs, e.g. English spling, and asked them to write down the preterit (past tense) of each verb. Going by current wisdom they should conjugate the verbs regularly, e.g. spling splinged. But unbeknown to the participants we had laced the verbs with a good dose of irregular verb VCs and CVs, and many participants conjugated many verbs irregularly, e.g. spling splang. These results corroborate the view that the VCs and CVs of the irregular verbs of German, English and Swedish are markers of irregular conjugation and meaning-bearing.Terry's Mexico (1909) and the early tourist guidebook : a case studyPerez Rodarte, Julia Catrinhttps://hdl.handle.net/10023/276272023-06-16T21:04:09Z2023-06-16T00:00:00ZAbstract redacted
2023-06-16T00:00:00ZPerez Rodarte, Julia CatrinAbstract redactedResponding to war : peace activism, WWI literature, and remembranceOstendorf, Thalia Isabellehttps://hdl.handle.net/10023/276032023-11-06T13:58:34Z2023-06-16T00:00:00ZThis interdisciplinary thesis is based on six months of multi-sited fieldwork with the Machine Gun Corps Old Comrades’ Association (MGC/OCA) in the UK and Voices for Creative NonViolence (VCNV) in the UK and the US, and remote follow-up interviews (due to COVID-19 restrictions), as well as the analysis of a primary corpus of WWI literary texts (Under Fire: The Story of a Squad (1916) by Henri Barbusse; Undertones of War (1928) by Edmund Blunden; All Quiet on The Western Front (1929) by Erich Maria Remarque; Storm of Steel (1920) by Ernst Jünger; and Testament of Youth (1933) by Vera Brittain. Straddling the disciplines of Modern Languages and Social Anthropology this thesis proposes an interdisciplinary methodology through applying ‘abductive ethnography’ across both disciplines (Bacj 2012), drawing out the points of convergence at the same time as accounting for their specificities. Interacting with my interlocutors and my corpus of WWI texts through what Kermode (1988) calls the commentary on these canonical works, this thesis begins with ‘endings’ as a way of articulating different stories. Critically engaging with my own ‘multi-situated’ positionality (Sunder Rajan 2021), I allow the fieldwork to influence the literary analysis and my engagement with the texts to inform my fieldwork. The various narratives addressed in this thesis are brought together to explore and question what moves people to engage with war through remembrance and activism, and how these practices take shape. Drawing on various theoretical approaches, this uncovers the ways in which this research shows both remembrance and peace activism as engaging with the dead but nonetheless geared towards the future. I ultimately propose a notion of multi-sensorial (re)reading which leads to interpretation and action.
2023-06-16T00:00:00ZOstendorf, Thalia IsabelleThis interdisciplinary thesis is based on six months of multi-sited fieldwork with the Machine Gun Corps Old Comrades’ Association (MGC/OCA) in the UK and Voices for Creative NonViolence (VCNV) in the UK and the US, and remote follow-up interviews (due to COVID-19 restrictions), as well as the analysis of a primary corpus of WWI literary texts (Under Fire: The Story of a Squad (1916) by Henri Barbusse; Undertones of War (1928) by Edmund Blunden; All Quiet on The Western Front (1929) by Erich Maria Remarque; Storm of Steel (1920) by Ernst Jünger; and Testament of Youth (1933) by Vera Brittain. Straddling the disciplines of Modern Languages and Social Anthropology this thesis proposes an interdisciplinary methodology through applying ‘abductive ethnography’ across both disciplines (Bacj 2012), drawing out the points of convergence at the same time as accounting for their specificities. Interacting with my interlocutors and my corpus of WWI texts through what Kermode (1988) calls the commentary on these canonical works, this thesis begins with ‘endings’ as a way of articulating different stories. Critically engaging with my own ‘multi-situated’ positionality (Sunder Rajan 2021), I allow the fieldwork to influence the literary analysis and my engagement with the texts to inform my fieldwork. The various narratives addressed in this thesis are brought together to explore and question what moves people to engage with war through remembrance and activism, and how these practices take shape. Drawing on various theoretical approaches, this uncovers the ways in which this research shows both remembrance and peace activism as engaging with the dead but nonetheless geared towards the future. I ultimately propose a notion of multi-sensorial (re)reading which leads to interpretation and action.The Black River Plate : race, history, and cultural memory in Uruguayan and Argentine fiction, 2001-2021Sarasola Herrera, Jorgehttps://hdl.handle.net/10023/274162024-01-22T11:01:00Z2022-11-30T00:00:00ZThe aim of this thesis is to examine the contemporary rise in historical fiction about the Black past of the River Plate region. Unlike Latin American countries such as Mexico which envisioned racial mixture – mestizaje – as central to national identity, dominant discourses in Uruguay and Argentina fetichised European immigration and whiteness as the nations consolidated a version of national history and identity to present at the time of their Centenaries (Argentina 1910; Uruguay 1925 and 1930). Framed through the lens of memory studies, these contemporary novels are analysed against the backdrop of the Bicentenary celebrations in Argentina (2010) and Uruguay (2011), which acted as catalysts for a reconfiguration of this racial outlook through reinterpretations of the nations’ histories. The focus on the contemporary novel establishes the significance of a genre which has not yet received much attention within Afro-Platine literary studies. This dissertation also offers the first comparative exploration of Afro-centric fiction in these two republics. After a chapter devoted to theoretical and methodological issues, Chapter Two studies two novelists (de Mattos and Cucurto) who rewrite canonical works to subvert perceptions of the enslaved as passive and submissive, focusing instead on their agency to rebel. The texts selected in Chapter Three (Chagas and Moya) undermine a model of heroism characterised by unconditional loyalty to a white leader, presenting instead Afro-Platine heroes who question the national projects these leaders represent. In Chapter Four, Chagas and Platero contest a binary understanding of ethnicity by focusing on the often unclassifiable and fluid mixed-race heritage of these populations. Overall, these novels do not only write Afro-descendant characters into the histories of these nations. Instead, they posit a radical challenge to the ways inclusivity itself operates in Uruguayan and Argentine nationhood, redefining its parameters and demanding fresh frameworks to conceptualise race and ethnicity for the Bicentenary.
2022-11-30T00:00:00ZSarasola Herrera, JorgeThe aim of this thesis is to examine the contemporary rise in historical fiction about the Black past of the River Plate region. Unlike Latin American countries such as Mexico which envisioned racial mixture – mestizaje – as central to national identity, dominant discourses in Uruguay and Argentina fetichised European immigration and whiteness as the nations consolidated a version of national history and identity to present at the time of their Centenaries (Argentina 1910; Uruguay 1925 and 1930). Framed through the lens of memory studies, these contemporary novels are analysed against the backdrop of the Bicentenary celebrations in Argentina (2010) and Uruguay (2011), which acted as catalysts for a reconfiguration of this racial outlook through reinterpretations of the nations’ histories. The focus on the contemporary novel establishes the significance of a genre which has not yet received much attention within Afro-Platine literary studies. This dissertation also offers the first comparative exploration of Afro-centric fiction in these two republics. After a chapter devoted to theoretical and methodological issues, Chapter Two studies two novelists (de Mattos and Cucurto) who rewrite canonical works to subvert perceptions of the enslaved as passive and submissive, focusing instead on their agency to rebel. The texts selected in Chapter Three (Chagas and Moya) undermine a model of heroism characterised by unconditional loyalty to a white leader, presenting instead Afro-Platine heroes who question the national projects these leaders represent. In Chapter Four, Chagas and Platero contest a binary understanding of ethnicity by focusing on the often unclassifiable and fluid mixed-race heritage of these populations. Overall, these novels do not only write Afro-descendant characters into the histories of these nations. Instead, they posit a radical challenge to the ways inclusivity itself operates in Uruguayan and Argentine nationhood, redefining its parameters and demanding fresh frameworks to conceptualise race and ethnicity for the Bicentenary.Gender, queer imagery and queer visibility in the German Democratic RepublicOsborn, Samhttps://hdl.handle.net/10023/272112023-12-15T11:58:47Z2022-06-17T00:00:00ZIn this thesis, I explore the concept of queer visibility in the German Democratic Republic. I analyse a broad selection of literary and film texts, to ascertain how sexual and gender identities were conceptualised in the GDR. I apply key principles from queer theory, to gain an understanding of lived experience of queer people in the GDR. The chapters are divided thematically, including gender, social control, reproductive futurity, representation, and normativity. In Chapter One, I discuss gender roles and gendered imagery in the film, Alle meine Mädchen (1981); a collection of archive materials, and the short story by Detlef Opitz in 1990, 'LUST/IG. eine landschaft'. I show that the understanding of gender in the GDR was flexible; in the broadest sense, gender non-conformity includes many lesbians and gay men in its definition, positioning them on a spectrum between conventional gender roles. In Chapter Two, the discussion progresses to investigate the role of the family and the concepts of futurity. I come to understand futurity not as a unified influence, but as multiple forms of futurity, including socialist and alternative queer forms of futurity. Family structure leads to a wider discussion of social norms in Chapter Three where I position queer visibility as something to which individuals might strive but simultaneously as a quotidian, non-institutional form of surveillance. In Chapter Four, I engage with the question of representation and its differentiation from visibility. Often, representation leads to generalisation, tending towards greater normativity for queer representations, to avoid offending the sensibilities of cisheteronormative society. However, many queer sources were radical in their respective contexts and accepted by the queer community in the GDR. I make a significant contribution to the field of GDR studies, by bringing to light texts and other source material, the queer elements of which have previously been overlooked.
2022-06-17T00:00:00ZOsborn, SamIn this thesis, I explore the concept of queer visibility in the German Democratic Republic. I analyse a broad selection of literary and film texts, to ascertain how sexual and gender identities were conceptualised in the GDR. I apply key principles from queer theory, to gain an understanding of lived experience of queer people in the GDR. The chapters are divided thematically, including gender, social control, reproductive futurity, representation, and normativity. In Chapter One, I discuss gender roles and gendered imagery in the film, Alle meine Mädchen (1981); a collection of archive materials, and the short story by Detlef Opitz in 1990, 'LUST/IG. eine landschaft'. I show that the understanding of gender in the GDR was flexible; in the broadest sense, gender non-conformity includes many lesbians and gay men in its definition, positioning them on a spectrum between conventional gender roles. In Chapter Two, the discussion progresses to investigate the role of the family and the concepts of futurity. I come to understand futurity not as a unified influence, but as multiple forms of futurity, including socialist and alternative queer forms of futurity. Family structure leads to a wider discussion of social norms in Chapter Three where I position queer visibility as something to which individuals might strive but simultaneously as a quotidian, non-institutional form of surveillance. In Chapter Four, I engage with the question of representation and its differentiation from visibility. Often, representation leads to generalisation, tending towards greater normativity for queer representations, to avoid offending the sensibilities of cisheteronormative society. However, many queer sources were radical in their respective contexts and accepted by the queer community in the GDR. I make a significant contribution to the field of GDR studies, by bringing to light texts and other source material, the queer elements of which have previously been overlooked.Paul Valéry's politics of hesitation : Europe, myth and the voice of the otherSeixas, Joaohttps://hdl.handle.net/10023/271942023-03-17T03:05:59Z2022-06-17T00:00:00ZThis thesis studies Paul Valéry's idea of literary practice and how it relates to the political. To this end, it explores his engagement with the myths of Narcissus and Faust. Valéry is a thinker who contemplates the autonomy of poetical language, the modes of circulation of language in society, and the act of writing itself. The thesis holds that the crux of the political meaning of his art is that literary discourse is open-ended (he calls it the 'aesthetic infinite') and, therefore, less authoritarian than other types of discourse. It can be seen as a democratic exercise of multiple points of view – a space of hesitation. The literary strategies that Valéry employs seek to manage the co-existence of the signifying and formal resources of language (sound and sense, discourse and fiction, voice and thought, being and convention). This exercise, the thesis argues, seems to establish a reciprocal implication of aesthetics and politics, turning the poet into a kind of sovereign that is in charge of language. For Valéry, the main dilemma of his time is the increasing gap between the concepts used in politics and those used by modern science. For him, this is what the crisis of Europe is about, the most worrying consequence of which is authoritarianism. The thesis argues that Valéry's task is to re-imagine a Europe which has to remain a project in order to be what it is, necessarily hesitating. Like a poem, it can always be re-worked, with no end in view. A rediscovery of this dimension of Valéry's thought can prove fruitful today, as questions about what it means to be European are back in vogue, and as national populism seems to be re-emerging across the continent. The thesis mostly places the primary corpus (Valéry's written oeuvre) in dialogue with a body of more contemporary theoretical work (notably by Jacques Derrida and Jean-Luc Nancy – to a lesser extent by Giorgio Agamben, Jacques Rancière and others). It identifies in Valéry’s work a series of preoccupations no less relevant to the concerns of the contemporary world than they were when formulated by the author in the half-century preceding 1945 – thereby achieving the objective of the project, that of ‘defrosting’ Valéry, echoing the call of Régis Debray (décongeler Valéry).
2022-06-17T00:00:00ZSeixas, JoaoThis thesis studies Paul Valéry's idea of literary practice and how it relates to the political. To this end, it explores his engagement with the myths of Narcissus and Faust. Valéry is a thinker who contemplates the autonomy of poetical language, the modes of circulation of language in society, and the act of writing itself. The thesis holds that the crux of the political meaning of his art is that literary discourse is open-ended (he calls it the 'aesthetic infinite') and, therefore, less authoritarian than other types of discourse. It can be seen as a democratic exercise of multiple points of view – a space of hesitation. The literary strategies that Valéry employs seek to manage the co-existence of the signifying and formal resources of language (sound and sense, discourse and fiction, voice and thought, being and convention). This exercise, the thesis argues, seems to establish a reciprocal implication of aesthetics and politics, turning the poet into a kind of sovereign that is in charge of language. For Valéry, the main dilemma of his time is the increasing gap between the concepts used in politics and those used by modern science. For him, this is what the crisis of Europe is about, the most worrying consequence of which is authoritarianism. The thesis argues that Valéry's task is to re-imagine a Europe which has to remain a project in order to be what it is, necessarily hesitating. Like a poem, it can always be re-worked, with no end in view. A rediscovery of this dimension of Valéry's thought can prove fruitful today, as questions about what it means to be European are back in vogue, and as national populism seems to be re-emerging across the continent. The thesis mostly places the primary corpus (Valéry's written oeuvre) in dialogue with a body of more contemporary theoretical work (notably by Jacques Derrida and Jean-Luc Nancy – to a lesser extent by Giorgio Agamben, Jacques Rancière and others). It identifies in Valéry’s work a series of preoccupations no less relevant to the concerns of the contemporary world than they were when formulated by the author in the half-century preceding 1945 – thereby achieving the objective of the project, that of ‘defrosting’ Valéry, echoing the call of Régis Debray (décongeler Valéry).The acquisition of Bradford English dialect features by adult speakers of Pakistani heritageAlghamdi, Nadih Abdullah Shttps://hdl.handle.net/10023/259592024-01-17T12:18:33Z2022-11-30T00:00:00ZThis thesis examines the multiple linguistic and social factors that condition dialect acquisition in second-language speakers of English living in Bradford, UK. More specifically, it provides a quantitative analysis of non-standard, regional features in a sample of 34 adult second-language speakers from Pakistan. Speech data were gathered through sociolinguistic interviews (free conversation) and a spot-the-difference task, and demographic and attitudinal data were gathered through a questionnaire. Auditory and statistical analysis was carried out for three linguistic features: T-glottalling, the STRUT vowel, and H-dropping. The results of this study show that second-language speakers do acquire local norms of variation, but that the extent of acquisition varies greatly between speakers and variables. While Northern STRUT and T-glottalling are acquired at relatively high rates, speakers are more conservative in the acquisition of H-dropping. Additionally, some constraints are replicated in similar patterns to those exhibited by native speakers, while others are not. The results indicate that second-language variation is systematic and conditioned by a number of various factors, such as gender, level of English, and attitude towards the local community. Crucially, these factors interact to inform the speaker’s second-language identity, which affects dialect acquisition. Overall, the results replicate those of previous second-language studies of migrant communities in contact with a non-standard dialect while living in a native-speaking country.
2022-11-30T00:00:00ZAlghamdi, Nadih Abdullah SThis thesis examines the multiple linguistic and social factors that condition dialect acquisition in second-language speakers of English living in Bradford, UK. More specifically, it provides a quantitative analysis of non-standard, regional features in a sample of 34 adult second-language speakers from Pakistan. Speech data were gathered through sociolinguistic interviews (free conversation) and a spot-the-difference task, and demographic and attitudinal data were gathered through a questionnaire. Auditory and statistical analysis was carried out for three linguistic features: T-glottalling, the STRUT vowel, and H-dropping. The results of this study show that second-language speakers do acquire local norms of variation, but that the extent of acquisition varies greatly between speakers and variables. While Northern STRUT and T-glottalling are acquired at relatively high rates, speakers are more conservative in the acquisition of H-dropping. Additionally, some constraints are replicated in similar patterns to those exhibited by native speakers, while others are not. The results indicate that second-language variation is systematic and conditioned by a number of various factors, such as gender, level of English, and attitude towards the local community. Crucially, these factors interact to inform the speaker’s second-language identity, which affects dialect acquisition. Overall, the results replicate those of previous second-language studies of migrant communities in contact with a non-standard dialect while living in a native-speaking country.Federico García Lorca’s poetry in English : translating the marginsBrown, Karen Angellahttps://hdl.handle.net/10023/253412022-05-17T12:52:30Z2021-12-01T00:00:00ZFederico García Lorca (1898-1936) boasts a rich textual afterlife through translation.
Thus far, academic research has largely neglected the study of the translated texts
themselves, particularly the repeated renderings of his poetry collections into English.
The current study seeks to address the imbalance by examining extracts from Lorca’s
three most frequently translated poetry volumes: Romancero gitano / Gypsy Ballads;
Poeta en Nueva York / Poet in New York; and Sonetos del amor oscuro / Sonnets of
Dark Love. Two of the most persistent features of contemporary discourses
surrounding Lorca are: first, the tendency to inquire whether prevailing perceptions
of him as a political figure are warranted, and second, a preoccupation with his critical
reception in the United States and Great Britain between the late 1930s and mid-
1960s, this being the inception point where Lorca the poet was opportunistically
transformed into Lorca the left leaning social justice activist. No doubt, the traumatic
circumstances of his death and the disappearance of his body at the start of the Spanish
Civil War fuelled such discourses, but recent studies have also claimed that Lorca’s
image has been manipulated for ideological and political reasons through the
translations themselves. This study interrogates whether such claims are justified in
the case of Lorca’s poetry in English. Its purpose is to investigate how the translators
have dealt with the overarching theme of social marginality that is already encoded in
Lorca’s œuvre. In so doing, the thesis also postulates a response to the implicit query
of whether the translated poetry evinces motives among the translators to control or
manipulate Lorca’s image for ideological and/or political reasons.
2021-12-01T00:00:00ZBrown, Karen AngellaFederico García Lorca (1898-1936) boasts a rich textual afterlife through translation.
Thus far, academic research has largely neglected the study of the translated texts
themselves, particularly the repeated renderings of his poetry collections into English.
The current study seeks to address the imbalance by examining extracts from Lorca’s
three most frequently translated poetry volumes: Romancero gitano / Gypsy Ballads;
Poeta en Nueva York / Poet in New York; and Sonetos del amor oscuro / Sonnets of
Dark Love. Two of the most persistent features of contemporary discourses
surrounding Lorca are: first, the tendency to inquire whether prevailing perceptions
of him as a political figure are warranted, and second, a preoccupation with his critical
reception in the United States and Great Britain between the late 1930s and mid-
1960s, this being the inception point where Lorca the poet was opportunistically
transformed into Lorca the left leaning social justice activist. No doubt, the traumatic
circumstances of his death and the disappearance of his body at the start of the Spanish
Civil War fuelled such discourses, but recent studies have also claimed that Lorca’s
image has been manipulated for ideological and political reasons through the
translations themselves. This study interrogates whether such claims are justified in
the case of Lorca’s poetry in English. Its purpose is to investigate how the translators
have dealt with the overarching theme of social marginality that is already encoded in
Lorca’s œuvre. In so doing, the thesis also postulates a response to the implicit query
of whether the translated poetry evinces motives among the translators to control or
manipulate Lorca’s image for ideological and/or political reasons.The linguistic construction of heroes and villains in the English-language press of Malawi : from totalitarianism to democracy, 1964-2012Shame, Edith Chimwemwehttps://hdl.handle.net/10023/243152023-06-12T08:23:48Z2016-02-01T00:00:00ZUsing the conceptual metaphors of ‘hero’ and ‘villain’, the study argues that identities
of Malawian presidents are not objective socio-constructs but dependent on political
systems and newspaper ideology. Anchored theoretically in Critical Discourse
Analysis and using analytical tools from Hallidayan Grammar and Text Grammar, the
study investigated how lexical, syntactical and textual devices were used in the news
to construct the identities of three former Malawian Presidents: Dr. H.K. Banda, Dr. B.
E. Muluzi, and Dr. B. Mutharika. News articles from two political systems were
selected: (1) the totalitarian system of government, with only state controlled
newspapers available; (2) the democratic system of government, with a pluralistic and
independent press. Linguistic forms used in the totalitarian era indicate covert
strategies of censorship which restrain the construction of the President as a villain.
Hence, the identity of the President is solid and stable. In the democratic era linguistic
forms previously absent in the construction of the President’s identity such as
descriptivisation using wh-clauses are used to emphasize heroism or villainy
depending on newspapers’ political affiliations. Identities are multifaceted and fluid.
However, the relationship between forms amenable to ideological manipulation and
meaning is not fixed and linguistic choices are not only governed by political
ideologies. Evidence on Theme/Rheme choices and topicalisation indicates that
linguistic choices are systematic but complex in nature. The role of the Critical
Discourse Analysts thus has to evolve from mere tagging of fixed functions on forms
to an open and more holistic approach, in which genre, style, and context are
important ingredients to the interpretation of discourse.
2016-02-01T00:00:00ZShame, Edith ChimwemweUsing the conceptual metaphors of ‘hero’ and ‘villain’, the study argues that identities
of Malawian presidents are not objective socio-constructs but dependent on political
systems and newspaper ideology. Anchored theoretically in Critical Discourse
Analysis and using analytical tools from Hallidayan Grammar and Text Grammar, the
study investigated how lexical, syntactical and textual devices were used in the news
to construct the identities of three former Malawian Presidents: Dr. H.K. Banda, Dr. B.
E. Muluzi, and Dr. B. Mutharika. News articles from two political systems were
selected: (1) the totalitarian system of government, with only state controlled
newspapers available; (2) the democratic system of government, with a pluralistic and
independent press. Linguistic forms used in the totalitarian era indicate covert
strategies of censorship which restrain the construction of the President as a villain.
Hence, the identity of the President is solid and stable. In the democratic era linguistic
forms previously absent in the construction of the President’s identity such as
descriptivisation using wh-clauses are used to emphasize heroism or villainy
depending on newspapers’ political affiliations. Identities are multifaceted and fluid.
However, the relationship between forms amenable to ideological manipulation and
meaning is not fixed and linguistic choices are not only governed by political
ideologies. Evidence on Theme/Rheme choices and topicalisation indicates that
linguistic choices are systematic but complex in nature. The role of the Critical
Discourse Analysts thus has to evolve from mere tagging of fixed functions on forms
to an open and more holistic approach, in which genre, style, and context are
important ingredients to the interpretation of discourse.Title redactedSonboldel, Farshadhttps://hdl.handle.net/10023/238932021-09-03T08:44:08Z2021-12-01T00:00:00Z2021-12-01T00:00:00ZSonboldel, FarshadTitle redactedBarghi, Yasminhttps://hdl.handle.net/10023/238812021-09-01T14:01:12Z2021-12-01T00:00:00Z2021-12-01T00:00:00ZBarghi, YasminMaking Hamlet German : forms of translation and recreationHagen, Rebeccahttps://hdl.handle.net/10023/233212021-06-07T14:53:25Z2020-07-30T00:00:00ZThis thesis examines the retranslation and recreation of Hamlet in Germany in the twentieth and the early twenty-first century by studying the interrelationship of translation studies, adaptation studies and reception studies. The thesis intends to trace emerging patterns in the (re-)translation of Shakespeare’s Hamlet regarding metaphors and images that have become identifiably ‘Shakespearean’ in the German tradition. Four retranslations, all published within a period of eighty years, serve as the basis for this research. They include the recreation by Gerhart Hauptmann (1927), the interlingual transpositions by Erich Fried (1972) and Frank Günther (1988/1997) as well as the stage translation created by Angela Schanelec and Jürgen Gosch (2001).
The thesis adopts a comparative approach to the topic, juxtaposing the retranslations and recreations of Shakespeare’s Hamlet to Schlegel’s canonical translation of the Long Nineteenth Century. By comparing and contrasting succeeding translations to the Schlegelian translation as well as their direct predecessors, it can be assessed to what extent retranslators have engaged with previous solutions, thereby benefitting the creation of a translating tradition. It furthermore assesses to what extent images have been mediated to fit temporal as well as socio-cultural expectations. Beyond the linguistic examination of the translations, this thesis intends to contribute to a deeper understanding of the process of retranslation as a whole. Unlike previous studies, this thesis highlights the dependency of the retranslating process on other forms of recreation and hence explores the diverse forms the process may take. By shedding light on the different approaches taken by the four retranslators, or recreators, it appears possible to show that the term ‘retranslation’ may be better understood as an umbrella term for all processes seeking to update, recontextualise and engage with existing versions of a source text.
2020-07-30T00:00:00ZHagen, RebeccaThis thesis examines the retranslation and recreation of Hamlet in Germany in the twentieth and the early twenty-first century by studying the interrelationship of translation studies, adaptation studies and reception studies. The thesis intends to trace emerging patterns in the (re-)translation of Shakespeare’s Hamlet regarding metaphors and images that have become identifiably ‘Shakespearean’ in the German tradition. Four retranslations, all published within a period of eighty years, serve as the basis for this research. They include the recreation by Gerhart Hauptmann (1927), the interlingual transpositions by Erich Fried (1972) and Frank Günther (1988/1997) as well as the stage translation created by Angela Schanelec and Jürgen Gosch (2001).
The thesis adopts a comparative approach to the topic, juxtaposing the retranslations and recreations of Shakespeare’s Hamlet to Schlegel’s canonical translation of the Long Nineteenth Century. By comparing and contrasting succeeding translations to the Schlegelian translation as well as their direct predecessors, it can be assessed to what extent retranslators have engaged with previous solutions, thereby benefitting the creation of a translating tradition. It furthermore assesses to what extent images have been mediated to fit temporal as well as socio-cultural expectations. Beyond the linguistic examination of the translations, this thesis intends to contribute to a deeper understanding of the process of retranslation as a whole. Unlike previous studies, this thesis highlights the dependency of the retranslating process on other forms of recreation and hence explores the diverse forms the process may take. By shedding light on the different approaches taken by the four retranslators, or recreators, it appears possible to show that the term ‘retranslation’ may be better understood as an umbrella term for all processes seeking to update, recontextualise and engage with existing versions of a source text.El dialecto Aranes : a study of the speech and way of life of the inhabitants of the central reach of the Val d'Aran in the province of Lerida, taking as its limits the towns of Viella and Bosost and incorporating the villages of Casau, Gausach, Vilach, Mont, Montcorbau, Betlan, Aubert, Vila, Arros, Vilamos, Arres, Begos, Benos, Arru, Las Bordas and La BordetaBamford, Davidhttps://hdl.handle.net/10023/220292022-04-14T08:36:45Z1973-01-01T00:00:00Z1973-01-01T00:00:00ZBamford, DavidHeroes of the natural world in selected works of Jean Giono and D.H. LawrenceLamb, Carolyn Andrewshttps://hdl.handle.net/10023/219502022-02-24T14:57:36Z1986-01-01T00:00:00ZThe purpose of this thesis is to identify and to define the heroes of the natural world in selected works of Jean Giono and D. H. Lawrence. The natural characters, personages whose literary representation is partially determined by their relationship to entities composing the physical universe, will be described; the heroes of the natural world, those natural characters with heroic status, will be ascertained; and a criterion for conferring the status of hero on certain of these characters of the natural world will be established.
The works which will be considered herein are: The Tri¬ logy of Pan (Colline, Un de Baumugnes and Regain), Le Serpent d'Etoiles, and Le Chant du Monde by Jean Giono, The White Peacock, The Fox, St. Mawr, The Virgin and the Gipsy and Lady Chatterley's Lover by D. H. Lawrence.
The first chapter will introduce the philosophy and the terminology of the paper. Certain terms must be defined and a general typology of heroes of the natural world will be outlined.
Chapter II, "Elemental Men: Characterization and Symbolism in Jean Giono", will examine the development of a character in terms of its relationship to nature - specifically, to the four, basic components of the physical universe: earth, air, fire and water. The symbolic functions of these images in characterization will also be assessed in each of the works by Giono.
Chapter III, "Elemental Men: Characterization and Symbolism in D. H. Lawrence", will repeat the procedure of Chapter II as it applies to the works of D. H. Lawrence.
Chapter IV, "Four Faces of Heroism", examines what makes the natural character heroic. A standard for establishing the identity of heroes of the natural world will be detailed and conclusions about these figures will be drawn.
1986-01-01T00:00:00ZLamb, Carolyn AndrewsThe purpose of this thesis is to identify and to define the heroes of the natural world in selected works of Jean Giono and D. H. Lawrence. The natural characters, personages whose literary representation is partially determined by their relationship to entities composing the physical universe, will be described; the heroes of the natural world, those natural characters with heroic status, will be ascertained; and a criterion for conferring the status of hero on certain of these characters of the natural world will be established.
The works which will be considered herein are: The Tri¬ logy of Pan (Colline, Un de Baumugnes and Regain), Le Serpent d'Etoiles, and Le Chant du Monde by Jean Giono, The White Peacock, The Fox, St. Mawr, The Virgin and the Gipsy and Lady Chatterley's Lover by D. H. Lawrence.
The first chapter will introduce the philosophy and the terminology of the paper. Certain terms must be defined and a general typology of heroes of the natural world will be outlined.
Chapter II, "Elemental Men: Characterization and Symbolism in Jean Giono", will examine the development of a character in terms of its relationship to nature - specifically, to the four, basic components of the physical universe: earth, air, fire and water. The symbolic functions of these images in characterization will also be assessed in each of the works by Giono.
Chapter III, "Elemental Men: Characterization and Symbolism in D. H. Lawrence", will repeat the procedure of Chapter II as it applies to the works of D. H. Lawrence.
Chapter IV, "Four Faces of Heroism", examines what makes the natural character heroic. A standard for establishing the identity of heroes of the natural world will be detailed and conclusions about these figures will be drawn.Simeon Denisov's 'Istoria o otsekh i stradal'tsekh solovetskikh' in the Old Believer tradition in RussiaClepper, Anne M.https://hdl.handle.net/10023/218922022-01-05T12:56:42Z1990-01-01T00:00:00ZThis dissertation is divided into three chapters. The first deals with the general historical background to the schism in the Russian Church in the seventeenth century. It looks at the social and political causes, as well as the religious motives behind it. In particular, events leading specifically to the uprising at the Solovki monastery are examined.
The second chapter is primarily concerned with the aftermath of the Solovki uprising, and the influence of the monastery on Old Believers in the early eighteenth century. In particular, the foundations of the Vyg community of Old Believers, under the leadership of Andrei Denisov and later his brother Simeon - the writer of the Istoria о otsekh i stradal'tsekh solovetskikh - is studied. Special attention is given to the literary and educational accomplishments of the community and its contribution to the Old Believer tradition in Russia.
The final chapter concerns the Istoria itself as a work of literature. An examination is made of its structure and stylistic devices. Its place in relation to other literature of the period is also discussed, as is its accuracy and value as an historical document. Finally, the ideology of Simeon Denisov as found in the work is examined.
1990-01-01T00:00:00ZClepper, Anne M.This dissertation is divided into three chapters. The first deals with the general historical background to the schism in the Russian Church in the seventeenth century. It looks at the social and political causes, as well as the religious motives behind it. In particular, events leading specifically to the uprising at the Solovki monastery are examined.
The second chapter is primarily concerned with the aftermath of the Solovki uprising, and the influence of the monastery on Old Believers in the early eighteenth century. In particular, the foundations of the Vyg community of Old Believers, under the leadership of Andrei Denisov and later his brother Simeon - the writer of the Istoria о otsekh i stradal'tsekh solovetskikh - is studied. Special attention is given to the literary and educational accomplishments of the community and its contribution to the Old Believer tradition in Russia.
The final chapter concerns the Istoria itself as a work of literature. An examination is made of its structure and stylistic devices. Its place in relation to other literature of the period is also discussed, as is its accuracy and value as an historical document. Finally, the ideology of Simeon Denisov as found in the work is examined.The treatment of the 'ḥāl' in 'Kitāb Sībawayhi'Ismail, Abdul Rahim Hadjhttps://hdl.handle.net/10023/217942021-09-27T14:28:58Z1985-01-01T00:00:00ZThis dissertation is a study of the treatment of the circumstantial accusative (ḥāl) in the Book of Sībawayhi. The study is aiming at two important goals. Firstly, it is aiming at a complete transformation of Sībawayhi's style into modern idiomatic English. Secondly, it presents the major discussions of the circumstantial accusative in the Book of Sībawayhi. To achieve these goals the relevant section of the Book have been re-arranged into six chapters. The first three chapters concentrate on the categories of word in which a circumstantial accusative may occur. It begins with the discussion of the circumstantial accusative of an adjective, which is followed by the discussion of the circumstantial accusative of a verbal noun and finally of a non-verbal noun. The presentation of these discussions in such an order is based on the priority of each of them in accordance with Sībawayhi's point of view. These chapters are further divided into a number of sub-headings in order to point out the pattern of the sentences in which the circumstantial accusative occurs. For example, the circumstantial accusative may occur in either a verbal or a nominal sentence. The fourth chapter presents Sībawayhi's view concerning the occurrence of the circumstantial accusative in a definite form. It contains a collection of rare examples of this definite circumstantial accusative. Furthermore, it is arranged into a sequence of sub-headings which manifest Sībawayhi's view concerning the degree of rarity of the various types of the definite circumstantial accusative. For example, Sībawayhi regards the definite verbal noun, despite its being exceptional, as the most acceptable form of the definite circumstantial accusative. It is followed by the definite non-verbal noun and finally the definite adjective. The last two chapters concentrate on the discussion of the noun to which a circumstantial accusative refers (ṣāḥibu l-ḥāl) and the agent of the circumstantial accusative (‘āmilu l-ḥāl) respectively. Sībawayhi points out that ṣāḥibu l-ḥāl should be definite. Therefore, he describes its occurrence in an indefinite form as ugly. As far as the agent of the circumstantial accusative is concerned, Sībawayhi recognizes two distinct types of the agent. Firstly, it may be a single word such as a verb or derivative noun such as 'ismu l-fā‘il, 'ismu l-maf‘ūl etc. Secondly, it may be a proposition or a nominal sentence the meaning of which contains the meaning of a verb. Both types of agent, however, are regarded by Sībawayhi as equivalent.
1985-01-01T00:00:00ZIsmail, Abdul Rahim HadjThis dissertation is a study of the treatment of the circumstantial accusative (ḥāl) in the Book of Sībawayhi. The study is aiming at two important goals. Firstly, it is aiming at a complete transformation of Sībawayhi's style into modern idiomatic English. Secondly, it presents the major discussions of the circumstantial accusative in the Book of Sībawayhi. To achieve these goals the relevant section of the Book have been re-arranged into six chapters. The first three chapters concentrate on the categories of word in which a circumstantial accusative may occur. It begins with the discussion of the circumstantial accusative of an adjective, which is followed by the discussion of the circumstantial accusative of a verbal noun and finally of a non-verbal noun. The presentation of these discussions in such an order is based on the priority of each of them in accordance with Sībawayhi's point of view. These chapters are further divided into a number of sub-headings in order to point out the pattern of the sentences in which the circumstantial accusative occurs. For example, the circumstantial accusative may occur in either a verbal or a nominal sentence. The fourth chapter presents Sībawayhi's view concerning the occurrence of the circumstantial accusative in a definite form. It contains a collection of rare examples of this definite circumstantial accusative. Furthermore, it is arranged into a sequence of sub-headings which manifest Sībawayhi's view concerning the degree of rarity of the various types of the definite circumstantial accusative. For example, Sībawayhi regards the definite verbal noun, despite its being exceptional, as the most acceptable form of the definite circumstantial accusative. It is followed by the definite non-verbal noun and finally the definite adjective. The last two chapters concentrate on the discussion of the noun to which a circumstantial accusative refers (ṣāḥibu l-ḥāl) and the agent of the circumstantial accusative (‘āmilu l-ḥāl) respectively. Sībawayhi points out that ṣāḥibu l-ḥāl should be definite. Therefore, he describes its occurrence in an indefinite form as ugly. As far as the agent of the circumstantial accusative is concerned, Sībawayhi recognizes two distinct types of the agent. Firstly, it may be a single word such as a verb or derivative noun such as 'ismu l-fā‘il, 'ismu l-maf‘ūl etc. Secondly, it may be a proposition or a nominal sentence the meaning of which contains the meaning of a verb. Both types of agent, however, are regarded by Sībawayhi as equivalent.Ideology and resistance in Persian classical poetry : the case of Naser-e KhosrowEvaz Malayeri, Salourhttps://hdl.handle.net/10023/217842021-08-14T09:52:47Z2020-12-02T00:00:00ZThis research is an attempt to redefine the concepts of ideology and resistance for an Iranian context and analyse their reflections in the Divan of Nāser-e Khosrow (Ca. 1004-1076). Ideology in Persian studies has usually been treated as a belief system promoted by a group of people with political ambitions, and resistance as a conscious political protest organised to confront a political system. Such general definitions, however, have failed to give rise to an applicable methodology for analysing the relationship between the text and dominant power, mainly because the mutual impacts of ideology and resistance have rarely been considered.
Using the premises of the theory of ‘ideology critique’ and the method of ‘discourse analysis’, I define ideology as the totality of the undisputed and naturalised statements that justify a form of domination and hegemony. I also define resistance as discursive practices that disturb the symbolic order by challenging the common sense that has been established by the hegemonic discourse. To contextualise my study of ideology and resistance, I employ the concept of the political to analyse the construction of orthodoxy and political identity during the eleventh century Iran. I then examine the literary and theological themes of Nāser-e Khosrow’s Divan. I argue that though Nāser-e Khosrow stood against the Baghdad Caliphs and their Turkic allies in Khorasan and dedicated his life to promoting Ismailism as a new conception of truth, his poetry merged the emancipative aspects of Ismaili discourse with the deterministic statements of Persian literary tradition in ways that he ultimately failed to break away from the dominant epistemes of the time and reproduced the arbitrary and tyrannical structure of power.
2020-12-02T00:00:00ZEvaz Malayeri, SalourThis research is an attempt to redefine the concepts of ideology and resistance for an Iranian context and analyse their reflections in the Divan of Nāser-e Khosrow (Ca. 1004-1076). Ideology in Persian studies has usually been treated as a belief system promoted by a group of people with political ambitions, and resistance as a conscious political protest organised to confront a political system. Such general definitions, however, have failed to give rise to an applicable methodology for analysing the relationship between the text and dominant power, mainly because the mutual impacts of ideology and resistance have rarely been considered.
Using the premises of the theory of ‘ideology critique’ and the method of ‘discourse analysis’, I define ideology as the totality of the undisputed and naturalised statements that justify a form of domination and hegemony. I also define resistance as discursive practices that disturb the symbolic order by challenging the common sense that has been established by the hegemonic discourse. To contextualise my study of ideology and resistance, I employ the concept of the political to analyse the construction of orthodoxy and political identity during the eleventh century Iran. I then examine the literary and theological themes of Nāser-e Khosrow’s Divan. I argue that though Nāser-e Khosrow stood against the Baghdad Caliphs and their Turkic allies in Khorasan and dedicated his life to promoting Ismailism as a new conception of truth, his poetry merged the emancipative aspects of Ismaili discourse with the deterministic statements of Persian literary tradition in ways that he ultimately failed to break away from the dominant epistemes of the time and reproduced the arbitrary and tyrannical structure of power.Dr. Edmund Castell, 1606-1685 : a collection of letters and documents illustrating the misfortunes of Edmund Castell during the production of his Heptaglot Lexicon, mainly transcribed from his cipher-writingsZamick, Morrishttps://hdl.handle.net/10023/212672023-06-22T02:04:38Z1933-01-01T00:00:00Z“My object is to present a series of documents illustrating the troubled life of Dr Edmund Castell, one-time chief assistant editor of the ‘London Polyglot’, in its time an epoch-making work of scholarship in Eastern Learning in England, and later editor of his own ‘Heptaglot Lexicon’. Without stepping into realms of scholarship from which I am excluded by lack of linguistic equipment, I have tried to place before the account of Castell’s life, and the unpublished letters which are here edited, some historical matter, which is not derived from my own insight into the history of Eastern Learning in the Seventeenth Century, but towards which I have attempted to make my own slight and necessarily superficial contribution. I am not able, therefore, rightly to estimate anew the range and depth of Castell’s erudition, nor the erudition of any other scholar whose name I have mentioned.
Instead, nevertheless, of reiterating the sufficient and moving narrative of the ‘Dictionary of National Biography’, I have furnished as complete (and practically new) a body of biographical material as my researches have permitted, and which I believe is exhaustive. A great number of these documents being originally in shorthand or cypher, I have done my best to provide an adequate transliteration of what was virtually a secret-writing. From these and supplementary sources I have brought together some information concerning particular aspects of Castell’s life and his experiences while he completed his life’s work…” – From the Preface.
1933-01-01T00:00:00ZZamick, Morris“My object is to present a series of documents illustrating the troubled life of Dr Edmund Castell, one-time chief assistant editor of the ‘London Polyglot’, in its time an epoch-making work of scholarship in Eastern Learning in England, and later editor of his own ‘Heptaglot Lexicon’. Without stepping into realms of scholarship from which I am excluded by lack of linguistic equipment, I have tried to place before the account of Castell’s life, and the unpublished letters which are here edited, some historical matter, which is not derived from my own insight into the history of Eastern Learning in the Seventeenth Century, but towards which I have attempted to make my own slight and necessarily superficial contribution. I am not able, therefore, rightly to estimate anew the range and depth of Castell’s erudition, nor the erudition of any other scholar whose name I have mentioned.
Instead, nevertheless, of reiterating the sufficient and moving narrative of the ‘Dictionary of National Biography’, I have furnished as complete (and practically new) a body of biographical material as my researches have permitted, and which I believe is exhaustive. A great number of these documents being originally in shorthand or cypher, I have done my best to provide an adequate transliteration of what was virtually a secret-writing. From these and supplementary sources I have brought together some information concerning particular aspects of Castell’s life and his experiences while he completed his life’s work…” – From the Preface.La dimensión ética en la obra narrativa de ficción de Antonio Muñoz MolinaMosquera Ramallo, Juan Joséhttps://hdl.handle.net/10023/207462021-08-06T15:17:11Z2020-12-02T00:00:00ZThis doctoral thesis examines how the Spanish author Antonio Muñoz Molina addresses the ethical dimension in his fictional narrative work, in particular, the relationship between us, as individual and humans, with the Other, who is not us. Questions such as identity, violence, dehumanisation, and empathy, dealt with in the novels included in this study, transcend Spanish reality, and become universal issues. Diverse theoretical approaches will be used in this study to analyse and elucidate the ethical content of his work, with a particular focus on Emmanuel Levinas’ ethical theory.
After emphasising in the introduction the relevance of Muñoz Molina´s work in the contemporary Spanish literary scene, Chapter One sets out the main concepts to be used in this research: Muñoz Molina’s views on literature, Ethics as a notion and how it differs from moral and moralism, and the concept of ‘intellectuals’ and their role in society. The importance of the author’s works as a columnist will be emphasized, as they are key to interpreting the fictional narrative works he was writing at the same time. Chapter Two explores the configuration of identities by confrontation with the Other, as it is exposed in El jinete polaco (1991). Chapter Three focuses on the representation of violence and how the author reacts to it. Plenilunio (1997) is his response to this challenge, a novel in which violence is represented with particular attention to the voice of the victims, the Others. Chapter Four examines exile and its consequences, alienation and dehumanisation, as a result of the rejection of and by the Other, addressed in Sefarad (2001). Chapter Five analyses La noche de los tiempos (2009) and the importance of empathy as a tool to understand the Other. One should not condemn another person´s behaviour, under the same circumstances one might have behaved the same way.
2020-12-02T00:00:00ZMosquera Ramallo, Juan JoséThis doctoral thesis examines how the Spanish author Antonio Muñoz Molina addresses the ethical dimension in his fictional narrative work, in particular, the relationship between us, as individual and humans, with the Other, who is not us. Questions such as identity, violence, dehumanisation, and empathy, dealt with in the novels included in this study, transcend Spanish reality, and become universal issues. Diverse theoretical approaches will be used in this study to analyse and elucidate the ethical content of his work, with a particular focus on Emmanuel Levinas’ ethical theory.
After emphasising in the introduction the relevance of Muñoz Molina´s work in the contemporary Spanish literary scene, Chapter One sets out the main concepts to be used in this research: Muñoz Molina’s views on literature, Ethics as a notion and how it differs from moral and moralism, and the concept of ‘intellectuals’ and their role in society. The importance of the author’s works as a columnist will be emphasized, as they are key to interpreting the fictional narrative works he was writing at the same time. Chapter Two explores the configuration of identities by confrontation with the Other, as it is exposed in El jinete polaco (1991). Chapter Three focuses on the representation of violence and how the author reacts to it. Plenilunio (1997) is his response to this challenge, a novel in which violence is represented with particular attention to the voice of the victims, the Others. Chapter Four examines exile and its consequences, alienation and dehumanisation, as a result of the rejection of and by the Other, addressed in Sefarad (2001). Chapter Five analyses La noche de los tiempos (2009) and the importance of empathy as a tool to understand the Other. One should not condemn another person´s behaviour, under the same circumstances one might have behaved the same way.From ḥadīṯ to adab : the development of ʿilm narratives in Classical Arabic literature ; a case study on the Kitāb al-adab of Ibn Abī Šayba (d. 235/849) and the Kitāb al-ʿilm of Ibn Qutayba (d. 276/889)Samba Campos, Estrellahttps://hdl.handle.net/10023/207042021-07-29T13:44:52Z2020-12-02T00:00:00ZThis thesis is a study on ʿilm as a literary phenomenon in the early ʿAbbāsid Arabic works on ḥadīṯ and adab. It examines the correlation between ʿilm and adab on the basis of selected foundational and pioneering Arabic primary sources from the second/eight-third/ninth centuries.
ʿIlm is the term that designates the religious understanding of the Qurʾān and ḥadīṯ. The research on ḥadīṯ has overshadowed the impact of ʿilm and its literary manifestations. There has been a significant shortcoming of studies on ʿilm as a sole concept with no published contributions on the narrative aspects of ʿilm literature to date. Moreover, there is an established division in the perception of ʿilm and adab, isolating both these literary phenomena from one another. Their correlation has been largely overlooked in scholarship.
This study aims at understanding ʿilm beyond ḥadīṯ focusing on a set of thematic subjects and narrative elements. It explores the interdependence of ʿilm and adab and suggests a novel perspective to overcome the dichotomy in their definition and interpretation that has been prevalent in research until now. The interconnection of ʿilm as expert knowledge and adab as conduct praxis and etiquette triggered religious narratives and social-cultural constructions of meanings that cross-pollinated one another. This thesis demonstrates that while ʿilm represented the authoritative notion, adab provided a broader potential, promoting literary creativity and a new epistemological significance to ʿilm.
The examination of ʿilm as a literary phenomenon, i.e. as a discourse characterised by specific narrative, thematic and structural elements, unveils the intertextual framework spanning from ḥadīṯ to adab, in which both ʿilm and adab were developed in the premodern Arabic literature and thought.
2020-12-02T00:00:00ZSamba Campos, EstrellaThis thesis is a study on ʿilm as a literary phenomenon in the early ʿAbbāsid Arabic works on ḥadīṯ and adab. It examines the correlation between ʿilm and adab on the basis of selected foundational and pioneering Arabic primary sources from the second/eight-third/ninth centuries.
ʿIlm is the term that designates the religious understanding of the Qurʾān and ḥadīṯ. The research on ḥadīṯ has overshadowed the impact of ʿilm and its literary manifestations. There has been a significant shortcoming of studies on ʿilm as a sole concept with no published contributions on the narrative aspects of ʿilm literature to date. Moreover, there is an established division in the perception of ʿilm and adab, isolating both these literary phenomena from one another. Their correlation has been largely overlooked in scholarship.
This study aims at understanding ʿilm beyond ḥadīṯ focusing on a set of thematic subjects and narrative elements. It explores the interdependence of ʿilm and adab and suggests a novel perspective to overcome the dichotomy in their definition and interpretation that has been prevalent in research until now. The interconnection of ʿilm as expert knowledge and adab as conduct praxis and etiquette triggered religious narratives and social-cultural constructions of meanings that cross-pollinated one another. This thesis demonstrates that while ʿilm represented the authoritative notion, adab provided a broader potential, promoting literary creativity and a new epistemological significance to ʿilm.
The examination of ʿilm as a literary phenomenon, i.e. as a discourse characterised by specific narrative, thematic and structural elements, unveils the intertextual framework spanning from ḥadīṯ to adab, in which both ʿilm and adab were developed in the premodern Arabic literature and thought.Illustration, interpretation, and innovation : 151 years of visual-arts adaptations of the poetic works of Charles BaudelaireDakin, Fionahttps://hdl.handle.net/10023/203502021-07-27T10:53:52Z2020-07-30T00:00:00ZAt least 125 artists have adapted the poetic works of Charles Baudelaire using a visual medium. This corpus of over 1000 images dates from 1866 to 2017, and includes illustrations, paintings, photography, comic books, and a television series. This thesis analyses individual images with an aim to uncover new readings of Baudelaire, as well as new approaches to adaptation. The most prominent trend in the corpus is the erotic, highlighting the legacy of Les Fleurs du mal’s 1857 obscenity trial. The representational aesthetic used by many of these artists mirrors the link that Baudelaire draws between close representation and pornography. Several artists have, conversely, used abstract art to illustrate Baudelaire, suggesting that some element of the source other than narrative is being adapted in these works. Indeed, certain proponents of abstraction point towards Baudelaire’s art criticism as an early movement away from representation in the modern age. Ironically, several artists have chosen to adapt Baudelaire using photography, emphasising the role of the imagination in this medium that the poet deemed an imitation of nature. Artists using collage to illustrate Baudelaire play another game with representation in their use of pre-existing artworks. These works evoke the Baudelairean ragpicker, who repurposes junk to create novelties. Finally, the two comics in the corpus recall Baudelaire’s essays on caricature, which emphasise the role of the imagination. These works also focus on elements of the source other than narrative, such as aesthetic and mood. Overall, because these artists make decisions about what to adapt (or not) from the source, this thesis is also a study of what matters most for these readers in Baudelaire’s poetry, and the variety of interpretations tangibly demonstrates its multivalence. Moreover, we discover that adaptations do not necessarily form one-way source-to-target relationships, but rather webs of interconnected artworks in multi-directional dialogues.
2020-07-30T00:00:00ZDakin, FionaAt least 125 artists have adapted the poetic works of Charles Baudelaire using a visual medium. This corpus of over 1000 images dates from 1866 to 2017, and includes illustrations, paintings, photography, comic books, and a television series. This thesis analyses individual images with an aim to uncover new readings of Baudelaire, as well as new approaches to adaptation. The most prominent trend in the corpus is the erotic, highlighting the legacy of Les Fleurs du mal’s 1857 obscenity trial. The representational aesthetic used by many of these artists mirrors the link that Baudelaire draws between close representation and pornography. Several artists have, conversely, used abstract art to illustrate Baudelaire, suggesting that some element of the source other than narrative is being adapted in these works. Indeed, certain proponents of abstraction point towards Baudelaire’s art criticism as an early movement away from representation in the modern age. Ironically, several artists have chosen to adapt Baudelaire using photography, emphasising the role of the imagination in this medium that the poet deemed an imitation of nature. Artists using collage to illustrate Baudelaire play another game with representation in their use of pre-existing artworks. These works evoke the Baudelairean ragpicker, who repurposes junk to create novelties. Finally, the two comics in the corpus recall Baudelaire’s essays on caricature, which emphasise the role of the imagination. These works also focus on elements of the source other than narrative, such as aesthetic and mood. Overall, because these artists make decisions about what to adapt (or not) from the source, this thesis is also a study of what matters most for these readers in Baudelaire’s poetry, and the variety of interpretations tangibly demonstrates its multivalence. Moreover, we discover that adaptations do not necessarily form one-way source-to-target relationships, but rather webs of interconnected artworks in multi-directional dialogues.Arrivals in Rome : entangling and disorientating the city in contemporary art and textCrabtree, Eleanorhttps://hdl.handle.net/10023/202812021-07-27T09:47:11Z2020-07-30T00:00:00ZThis thesis explores heterogeneous forms of trans-national arrival in Rome as they are encapsulated by contemporary creative practices. The arrivals include those of ‘first’ and ‘second’ generation migrant writers (Methnani, Garane, Scego, Ali Farah, Lakhous) and those of non-Italian artists invited to carry out work in the city (Kentridge, Weems, FischerelSani). The final chapter explores how more local border-crossing positionalities from the city’s peripheries, as encapsulated by the street art movement Pinacci Nostri, intersect with these other arrivals. By foregrounding contemporary and historical trans- national trajectories to and from Rome, the creative practices discussed entangle the city with a far more expansive geography than traditional Western conceptualisations of space and time suggest. In their definition of eurocentrism, Shohat and Stam pinpoint Rome as an important reference point for such conceptualisations emerging from the ‘normal view of history’ which projects a ‘linear historical trajectory’ leading from Ancient Greece, via Rome, to the West (Unthinking Eurocentrism, pp. 1–2). Interpretations of Rome in contemporary creative practices demonstrate the difficulties in the contemporary age of thinking spatialities (and the histories from which they emerge) as contained within national borders, or even within ‘direct’ colonial relations. Exploring how each of the creative practices in some way reveals a concern for the legacy of the Ancient Roman Empire against the backdrop of the postcolonial present, this thesis shows how Rome may contribute as an important reference point for developing theories capable of describing the trans-national present.
While analysing how creative practices offer readers/viewers ideas about Rome that go against eurocentric ways of thinking space and history, this thesis identifies the qualities of creative expression which facilitate this agency. Turning attention to questions of trans-national positionality and cultural agency also entails critically reflecting on the role of the Modern Languages researcher in exploring such a phenomenon. By drawing on writing methodologies that foreground the researcher in the first person, this thesis experiments with how this subjective positionality can itself serve as a vital theoretical tool to further enquiry.
2020-07-30T00:00:00ZCrabtree, EleanorThis thesis explores heterogeneous forms of trans-national arrival in Rome as they are encapsulated by contemporary creative practices. The arrivals include those of ‘first’ and ‘second’ generation migrant writers (Methnani, Garane, Scego, Ali Farah, Lakhous) and those of non-Italian artists invited to carry out work in the city (Kentridge, Weems, FischerelSani). The final chapter explores how more local border-crossing positionalities from the city’s peripheries, as encapsulated by the street art movement Pinacci Nostri, intersect with these other arrivals. By foregrounding contemporary and historical trans- national trajectories to and from Rome, the creative practices discussed entangle the city with a far more expansive geography than traditional Western conceptualisations of space and time suggest. In their definition of eurocentrism, Shohat and Stam pinpoint Rome as an important reference point for such conceptualisations emerging from the ‘normal view of history’ which projects a ‘linear historical trajectory’ leading from Ancient Greece, via Rome, to the West (Unthinking Eurocentrism, pp. 1–2). Interpretations of Rome in contemporary creative practices demonstrate the difficulties in the contemporary age of thinking spatialities (and the histories from which they emerge) as contained within national borders, or even within ‘direct’ colonial relations. Exploring how each of the creative practices in some way reveals a concern for the legacy of the Ancient Roman Empire against the backdrop of the postcolonial present, this thesis shows how Rome may contribute as an important reference point for developing theories capable of describing the trans-national present.
While analysing how creative practices offer readers/viewers ideas about Rome that go against eurocentric ways of thinking space and history, this thesis identifies the qualities of creative expression which facilitate this agency. Turning attention to questions of trans-national positionality and cultural agency also entails critically reflecting on the role of the Modern Languages researcher in exploring such a phenomenon. By drawing on writing methodologies that foreground the researcher in the first person, this thesis experiments with how this subjective positionality can itself serve as a vital theoretical tool to further enquiry.Truth and knowledge in Rabelais's 'Pantagruel' and 'Gargantua'Ferguson, Ronniehttps://hdl.handle.net/10023/196372020-03-12T03:04:29Z1978-01-01T00:00:00ZThe basic contentions of Truth and knowledge in Rabelais's
"Pantagruel" and "Gargantua” are, first, that the theme of truth and
knowledge underlies, unifies and gives meaning to all the disparate episodes of Books I and II and, second, that Rabelais went to great
lengths to communicate his ideas on the theme of cognition in as tangible a way as possible to his general readers.
This thesis is, thus, in effect, an attempt to restore the "incompatible" elements of ‘Pantagruel’ and ‘Gargantua’ to a status of equality.
I hope to demonstrate that they are all interlocking and indispensible
parts of a fictional pattern by means of which Rabelais stimulated his
readers into
exploring two broad areas of thought (the first mainly
in ‘Pantagruel’, the second principally in ‘Gargantua’, though they overlap)
basic to his conception of truth and knowledge.
Unless it is derived from
empirical information, from primary
sources, knowledge is invalid. Second-hand, received "knowledge" -- no
matter how impressive-looking, plausible or authoritative -- cannot be
trusted to lead to the truth. One's senses are the foundation on which
cognition is constructed.
Omniscience and hence absolute truth are fatuous concepts. Their monolithic perfection is only tenable when critical reason and individual
judgement are suppressed. They are ultimately -- in those who profess
them -- the offspring of self-love. Partial knowledge and relative truth
are, however, accessible to the individual who exercises his critical
reason
(which means unbiased by "philautie") on the raw material of
first-hand information. This implies the mutual co-existence and compatibility of many relative truths —for the divergence in judgement stems
from the infinite variety of temperament. For Rabelais the absolute,
unilateral assertion does net do justice to the multifariousness of
reality. To it he opposes a philosophy of duality : by operating a reconciliation or fusion of opposing but relatively true viewpoints -- thus
transcending the purely individual judgement -- Rabelais attempts to
arrive at a closer approximation to Truth.
1978-01-01T00:00:00ZFerguson, RonnieThe basic contentions of Truth and knowledge in Rabelais's
"Pantagruel" and "Gargantua” are, first, that the theme of truth and
knowledge underlies, unifies and gives meaning to all the disparate episodes of Books I and II and, second, that Rabelais went to great
lengths to communicate his ideas on the theme of cognition in as tangible a way as possible to his general readers.
This thesis is, thus, in effect, an attempt to restore the "incompatible" elements of ‘Pantagruel’ and ‘Gargantua’ to a status of equality.
I hope to demonstrate that they are all interlocking and indispensible
parts of a fictional pattern by means of which Rabelais stimulated his
readers into
exploring two broad areas of thought (the first mainly
in ‘Pantagruel’, the second principally in ‘Gargantua’, though they overlap)
basic to his conception of truth and knowledge.
Unless it is derived from
empirical information, from primary
sources, knowledge is invalid. Second-hand, received "knowledge" -- no
matter how impressive-looking, plausible or authoritative -- cannot be
trusted to lead to the truth. One's senses are the foundation on which
cognition is constructed.
Omniscience and hence absolute truth are fatuous concepts. Their monolithic perfection is only tenable when critical reason and individual
judgement are suppressed. They are ultimately -- in those who profess
them -- the offspring of self-love. Partial knowledge and relative truth
are, however, accessible to the individual who exercises his critical
reason
(which means unbiased by "philautie") on the raw material of
first-hand information. This implies the mutual co-existence and compatibility of many relative truths —for the divergence in judgement stems
from the infinite variety of temperament. For Rabelais the absolute,
unilateral assertion does net do justice to the multifariousness of
reality. To it he opposes a philosophy of duality : by operating a reconciliation or fusion of opposing but relatively true viewpoints -- thus
transcending the purely individual judgement -- Rabelais attempts to
arrive at a closer approximation to Truth.A critical examination of five poems by Imruʼ al-QaysJusoh, Tengku Ghani T.https://hdl.handle.net/10023/194892020-02-19T10:47:25Z1988-01-29T00:00:00ZThis dissertation is a critical examination of five
poems taken from the diwan of Imru' al-Qays.
I have
availed myself of the numbering of the poems as given in
the Cairo Edition though the text I have used is that of
the Dar Sadir Beirut Edition.
There are five sections to my dissertation.
1. The Text and Translation.
2. Variant Readings.
3. Structural Analyses of the Poems.
4. A Thematic Thesaurus to the five poems from the
diwan of Imru' al-Qays.
5. Appendix: Arabic Text of the Poems.
My aim throughout has been to present a critical
examination of the poems in a manner which would be readily
accessible to anyone interested.
I have always thought that
a
glossary of the themes of pre-Islamic poetry would be of
great benefit to our study of this period and Section Four
is intended as a
preliminary canter of sorts, as an
experiment in the feasibility of preparing such a lexicon.
1988-01-29T00:00:00ZJusoh, Tengku Ghani T.This dissertation is a critical examination of five
poems taken from the diwan of Imru' al-Qays.
I have
availed myself of the numbering of the poems as given in
the Cairo Edition though the text I have used is that of
the Dar Sadir Beirut Edition.
There are five sections to my dissertation.
1. The Text and Translation.
2. Variant Readings.
3. Structural Analyses of the Poems.
4. A Thematic Thesaurus to the five poems from the
diwan of Imru' al-Qays.
5. Appendix: Arabic Text of the Poems.
My aim throughout has been to present a critical
examination of the poems in a manner which would be readily
accessible to anyone interested.
I have always thought that
a
glossary of the themes of pre-Islamic poetry would be of
great benefit to our study of this period and Section Four
is intended as a
preliminary canter of sorts, as an
experiment in the feasibility of preparing such a lexicon.Title redactedAuladell Fauchs, Sergihttps://hdl.handle.net/10023/192402021-04-14T08:47:13Z2019-12-04T00:00:00Z2019-12-04T00:00:00ZAuladell Fauchs, SergiMexican women writers 1900-1950Elías Arriaga, María Guadalupehttps://hdl.handle.net/10023/189952021-04-14T07:58:08Z2019-12-04T00:00:00ZThe early decades of the twentieth century were a crucial period in the consolidation of Mexican identity, and the literature produced at this time has been widely researched, although mostly the work by male canonical authors. It has only been in the last few decades that notable scholars have unearthed and studied the work of Mexican women writers. Such studies have mainly focused on the late nineteenth century or the second half of the twentieth century. This dissertation aims to bridge these two periods to understand how women emerged as professional authors from the 1960s.
Chapter One, after establishing the theoretical framework, presents women writers in their context by discussing the impact of the socio-political events of these five decades, particularly the Revolution, on their status, roles and rights. It also explores the emergence of women writers in this period, highlighting their differences from previous generations, and considers their reception and relation to literary trends. The following four chapters focus on one case study each: Rosa de Castaño (1910-?) for novels, María Enriqueta Camarillo (1872-1968) for children’s literature, María Luisa Ocampo (1899-1974) for drama and Margarita Urueta (1915-2004) for short stories. The chapters carefully consider each of these authors’ individual circumstances and analyse their work, with a focus on how they approached the question of Mexican identity and the political events of the time, and how they represented gender and other issues pertaining to feminism.
To conclude, the thesis discusses the legacy of these writers and the importance of the study of their long-forgotten works to our understanding of literary and cultural history. The appendix, which will potentially be used for further research, is a list of authors, works (by genre) and, when possible, an indication as to in what library or archive they can be found.
2019-12-04T00:00:00ZElías Arriaga, María GuadalupeThe early decades of the twentieth century were a crucial period in the consolidation of Mexican identity, and the literature produced at this time has been widely researched, although mostly the work by male canonical authors. It has only been in the last few decades that notable scholars have unearthed and studied the work of Mexican women writers. Such studies have mainly focused on the late nineteenth century or the second half of the twentieth century. This dissertation aims to bridge these two periods to understand how women emerged as professional authors from the 1960s.
Chapter One, after establishing the theoretical framework, presents women writers in their context by discussing the impact of the socio-political events of these five decades, particularly the Revolution, on their status, roles and rights. It also explores the emergence of women writers in this period, highlighting their differences from previous generations, and considers their reception and relation to literary trends. The following four chapters focus on one case study each: Rosa de Castaño (1910-?) for novels, María Enriqueta Camarillo (1872-1968) for children’s literature, María Luisa Ocampo (1899-1974) for drama and Margarita Urueta (1915-2004) for short stories. The chapters carefully consider each of these authors’ individual circumstances and analyse their work, with a focus on how they approached the question of Mexican identity and the political events of the time, and how they represented gender and other issues pertaining to feminism.
To conclude, the thesis discusses the legacy of these writers and the importance of the study of their long-forgotten works to our understanding of literary and cultural history. The appendix, which will potentially be used for further research, is a list of authors, works (by genre) and, when possible, an indication as to in what library or archive they can be found.Forging diplomacy abroad and at home : French festival culture in a European context, 1572-1615Van Leuveren, Bramhttps://hdl.handle.net/10023/189652020-07-24T07:19:05Z2019-06-27T00:00:00ZThis doctoral thesis is the first to examine the attempts of the late Valois and early Bourbon
rulers
of
France
to
make
strategic
use
of
festival
culture
for
maintaining
national
and
international
relations.
It
focuses
on
the
period
between
the
Anglo-French
Treaty
of
Blois
in
1572
and
the
Habsburg-Bourbon
double
marriage
in
1615.
This
research
starts
from
the
premise
that
previous
scholarship
has
given
too
much
credence
to
royal
accounts
of
festive
and ceremonial events, as printed in official commemorative books, and has
tended to ignore the conflicting responses of various other players (ambassadors, nobles,
generals, scholars, students, and, occasionally, commoners) who attended these events
and often advanced very different ambitions, goals, and interests. It seeks in particular to
gain a fuller grasp of the reception of festival culture by comparing the intended effects
of the ideas, tools, and strategies that French rulers employed with the actual effects they
had on stakeholders. Its main concerns are thus twofold: first, the relationship, and frequent
tension,
between
the theories
and
practices
of
using
festivals
and individual
festivities
for
alleged
diplomatic
purposes,
and
second,
the
way
in which
both formal
festivals
and
ad-hoc
festivities
functioned
as
sites
where
multiple
domestic
and
foreign
concerns
intersected
with
or,
more
often,
diverged
from,
as
well
as
among,
each
other.
The
thesis
adopts
a comparative approach to the topic, analysing pairs of festivals alongside one
another and comparing different accounts of those festivals. It draws extensively on a
wide range of contemporary sources, many of them previously overlooked, including formal
and informal eyewitness accounts, theoretical treatises, and memoirs written in
French, English, Dutch, Italian, German, and Latin. What the thesis demonstrates is how
both non-French and unofficial sources can help develop a more nuanced view of French
festival culture and its diplomatic functioning in a wider European context.
2019-06-27T00:00:00ZVan Leuveren, BramThis doctoral thesis is the first to examine the attempts of the late Valois and early Bourbon
rulers
of
France
to
make
strategic
use
of
festival
culture
for
maintaining
national
and
international
relations.
It
focuses
on
the
period
between
the
Anglo-French
Treaty
of
Blois
in
1572
and
the
Habsburg-Bourbon
double
marriage
in
1615.
This
research
starts
from
the
premise
that
previous
scholarship
has
given
too
much
credence
to
royal
accounts
of
festive
and ceremonial events, as printed in official commemorative books, and has
tended to ignore the conflicting responses of various other players (ambassadors, nobles,
generals, scholars, students, and, occasionally, commoners) who attended these events
and often advanced very different ambitions, goals, and interests. It seeks in particular to
gain a fuller grasp of the reception of festival culture by comparing the intended effects
of the ideas, tools, and strategies that French rulers employed with the actual effects they
had on stakeholders. Its main concerns are thus twofold: first, the relationship, and frequent
tension,
between
the theories
and
practices
of
using
festivals
and individual
festivities
for
alleged
diplomatic
purposes,
and
second,
the
way
in which
both formal
festivals
and
ad-hoc
festivities
functioned
as
sites
where
multiple
domestic
and
foreign
concerns
intersected
with
or,
more
often,
diverged
from,
as
well
as
among,
each
other.
The
thesis
adopts
a comparative approach to the topic, analysing pairs of festivals alongside one
another and comparing different accounts of those festivals. It draws extensively on a
wide range of contemporary sources, many of them previously overlooked, including formal
and informal eyewitness accounts, theoretical treatises, and memoirs written in
French, English, Dutch, Italian, German, and Latin. What the thesis demonstrates is how
both non-French and unofficial sources can help develop a more nuanced view of French
festival culture and its diplomatic functioning in a wider European context.The Ateneo Mexicano : the cultural constellation of mid-nineteenth century Mexico, 1840-1850Madrigal Hernández, Erikahttps://hdl.handle.net/10023/188702021-04-12T09:09:01Z2019-06-27T00:00:00ZThis thesis is about a forgotten group, made up of the leading Mexican
intellectuals and politicians of the 1840s, who put aside their different party interests
and came together, to form the Ateneo Mexicano, an educational institution with its
own journal that was committed to fostering Mexican culture. Studied here for the
first time, the present study offers a sense of who the ateneístas were, what they
were hoping to achieve, and how they set about attempting to do so, at a time of
acute political instability. The central argument of this thesis revolves around how
the cultural constellation of the Ateneo Mexicano (1840-1850) set about creating a
national literary discourse. Furthermore, it argues that its intellectual nationalism
went beyond the creation of a new national poetry, in the way that its members
developed a multidisciplinary and practical approach to knowledge. This study
contends that the Ateneo Mexicano’s cultural project, involved promoting a
sociocultural vision that was meant to reach out to and include the wider public, in
an attempt to instil a sense of nationhood among the population at a critical time in
which Mexico was undergoing a crisis of confidence.
2019-06-27T00:00:00ZMadrigal Hernández, ErikaThis thesis is about a forgotten group, made up of the leading Mexican
intellectuals and politicians of the 1840s, who put aside their different party interests
and came together, to form the Ateneo Mexicano, an educational institution with its
own journal that was committed to fostering Mexican culture. Studied here for the
first time, the present study offers a sense of who the ateneístas were, what they
were hoping to achieve, and how they set about attempting to do so, at a time of
acute political instability. The central argument of this thesis revolves around how
the cultural constellation of the Ateneo Mexicano (1840-1850) set about creating a
national literary discourse. Furthermore, it argues that its intellectual nationalism
went beyond the creation of a new national poetry, in the way that its members
developed a multidisciplinary and practical approach to knowledge. This study
contends that the Ateneo Mexicano’s cultural project, involved promoting a
sociocultural vision that was meant to reach out to and include the wider public, in
an attempt to instil a sense of nationhood among the population at a critical time in
which Mexico was undergoing a crisis of confidence.Metaphors of suffering : the representation of the homosexual and the lesbian as social and discursive constructs in Spanish peninsular narrative texts, 1970-2000Wilyman, Sheila M.https://hdl.handle.net/10023/183902019-08-30T02:05:59Z2006-06-23T00:00:00ZStudies of the homosexual and lesbian as he/she is represented in Spanish peninsular
narrative texts of the twentieth century have spoken mainly of the silence that surrounds
these
particular identities and space and of their pathologisation by psychiatry and
medicine.
Although this thesis engages with both these problematic issues, its main
purpose is to study the representation of the homosexual and the lesbian as social and
discursive constructs in a selection of Spanish peninsular narrative texts published
between 1970 and 2000. Relevant to this constructionist scenario are the ways in which
the various authors represent the determining effect of discursive practices and codes, and
particularly those of religion, medicine and the State, on the subject's self-determination
as homosexual or lesbian. Equally significant is the representation of homosexual and
lesbian identities as
contingent upon the social, political, and historical moment in which
the male/female is
placed.
The selected texts include Eduardo Mendicutti's ‘El
palomo cojo’, Ana María
Moix's ‘Julia’, Jesús Alviz's ‘Calle Urano’, Miguel Espinosa's ‘La tríbada falsaria’ and
Carme Riera's "Te
dejo, amor, en prenda el mar" and Eduardo Mendicutti's "El milagro".
In these texts characters are
represented taking up either a homosexual or lesbian identity
as the result of the discursive
practices and codes of the surrounding social/sexual scene.
Also represented are the suffering, pain and alienation that accrue to those categorised as
sexually perverse, as well as the silence that surrounds closeted positionalities and space.
In consonance with the liberal mood of
Spain's "destape", the various texts also
demonstrate the
possibility of characters answering back and challenging the credibility
of the status
quo that labelled him/her as homosexual/lesbian in the first place.
The
analysis of the selected texts is based on a variety of theoretical and
philosophical observations relating to sexuality, language, identity, gender and desire.
Particularly useful have been Michel Foucault's ‘History of Sexuality’ Vol. 1, J. L. Austin's
‘How to Do Things with Words’ and Judith Butler's ‘Gender Trouble’. Raymond Williams's
vignette entitled "Dominant, Residual, and Emergent" in ‘Marxism and Literature’ has also
proved illuminating and pertinent.
2006-06-23T00:00:00ZWilyman, Sheila M.Studies of the homosexual and lesbian as he/she is represented in Spanish peninsular
narrative texts of the twentieth century have spoken mainly of the silence that surrounds
these
particular identities and space and of their pathologisation by psychiatry and
medicine.
Although this thesis engages with both these problematic issues, its main
purpose is to study the representation of the homosexual and the lesbian as social and
discursive constructs in a selection of Spanish peninsular narrative texts published
between 1970 and 2000. Relevant to this constructionist scenario are the ways in which
the various authors represent the determining effect of discursive practices and codes, and
particularly those of religion, medicine and the State, on the subject's self-determination
as homosexual or lesbian. Equally significant is the representation of homosexual and
lesbian identities as
contingent upon the social, political, and historical moment in which
the male/female is
placed.
The selected texts include Eduardo Mendicutti's ‘El
palomo cojo’, Ana María
Moix's ‘Julia’, Jesús Alviz's ‘Calle Urano’, Miguel Espinosa's ‘La tríbada falsaria’ and
Carme Riera's "Te
dejo, amor, en prenda el mar" and Eduardo Mendicutti's "El milagro".
In these texts characters are
represented taking up either a homosexual or lesbian identity
as the result of the discursive
practices and codes of the surrounding social/sexual scene.
Also represented are the suffering, pain and alienation that accrue to those categorised as
sexually perverse, as well as the silence that surrounds closeted positionalities and space.
In consonance with the liberal mood of
Spain's "destape", the various texts also
demonstrate the
possibility of characters answering back and challenging the credibility
of the status
quo that labelled him/her as homosexual/lesbian in the first place.
The
analysis of the selected texts is based on a variety of theoretical and
philosophical observations relating to sexuality, language, identity, gender and desire.
Particularly useful have been Michel Foucault's ‘History of Sexuality’ Vol. 1, J. L. Austin's
‘How to Do Things with Words’ and Judith Butler's ‘Gender Trouble’. Raymond Williams's
vignette entitled "Dominant, Residual, and Emergent" in ‘Marxism and Literature’ has also
proved illuminating and pertinent.Opening up the archive : memory, identity and historical fiction in Uruguay (1988-2011)Kardak, Karunikahttps://hdl.handle.net/10023/183182021-03-29T14:28:19Z2019-12-04T00:00:00ZThis thesis examines the representation of key events from the nineteenth century in five Uruguayan historical novels published in the aftermath of the country’s recent dictatorship (1973-85). It answers the following research questions: how does historical fiction utilise the past in order to address concerns of national identity and cultural memory in the present? And how does it reassess the country’s foundational myths by portraying both national heroes and historically marginalised figures? Using the methodological and theoretical tools of memory and identity studies, it analyses how the selected authors engage with archival sources, school textbooks and other received historical sources, as well as forms of material culture such as monuments, to enhance their interpretations of the past. In doing so, this study also aims to trace the development of the historical novel genre in this key period of post-dictatorship Uruguay. The selected novels, published over the course of twenty-four years (1988-2011), fictionalise both well-known and relatively unnoticed incidents from the country’s past. They include Tomás de Mattos’s ¡Bernabé, Bernabé! (1988), based on the massacre of the indigenous Charrúas (1831) and its aftermath; Amir Hamed’s Artigas Blues Band (1994), which subverts the myths surrounding the national hero José Artigas (1764-1850); Susana Cabrera’s Las esclavas del Rincón (2001), which unearths the historical murder of an elite Montevidean woman by her slaves in 1821; Mario Delgado Aparaín’s No robarás las botas de los muertos (2002), on the Siege of Paysandú in 1864-65; and lastly, Amores cimarrones. Las mujeres de Artigas (2011) by Marcia Collazo Ibáñez, which portrays the lives of six women related to Artigas. The thesis concludes that these works reflect upon issues of identity and memory to propose more egalitarian and pluralistic versions of them for Uruguay’s post-dictatorship present.
2019-12-04T00:00:00ZKardak, KarunikaThis thesis examines the representation of key events from the nineteenth century in five Uruguayan historical novels published in the aftermath of the country’s recent dictatorship (1973-85). It answers the following research questions: how does historical fiction utilise the past in order to address concerns of national identity and cultural memory in the present? And how does it reassess the country’s foundational myths by portraying both national heroes and historically marginalised figures? Using the methodological and theoretical tools of memory and identity studies, it analyses how the selected authors engage with archival sources, school textbooks and other received historical sources, as well as forms of material culture such as monuments, to enhance their interpretations of the past. In doing so, this study also aims to trace the development of the historical novel genre in this key period of post-dictatorship Uruguay. The selected novels, published over the course of twenty-four years (1988-2011), fictionalise both well-known and relatively unnoticed incidents from the country’s past. They include Tomás de Mattos’s ¡Bernabé, Bernabé! (1988), based on the massacre of the indigenous Charrúas (1831) and its aftermath; Amir Hamed’s Artigas Blues Band (1994), which subverts the myths surrounding the national hero José Artigas (1764-1850); Susana Cabrera’s Las esclavas del Rincón (2001), which unearths the historical murder of an elite Montevidean woman by her slaves in 1821; Mario Delgado Aparaín’s No robarás las botas de los muertos (2002), on the Siege of Paysandú in 1864-65; and lastly, Amores cimarrones. Las mujeres de Artigas (2011) by Marcia Collazo Ibáñez, which portrays the lives of six women related to Artigas. The thesis concludes that these works reflect upon issues of identity and memory to propose more egalitarian and pluralistic versions of them for Uruguay’s post-dictatorship present.The Zapatista discursive war : literary subversion in Subcomandante Marcos' writings (1994-2017)Gribomont, Isabellehttps://hdl.handle.net/10023/182622024-02-21T03:12:07Z2019-06-27T00:00:00ZThis doctoral thesis argues that Subcomandante Marcos’ appropriations of existing
textual material, whether they take the form of quotations, allusions, parodies or remixes,
are key to the discursive war waged in the communiqués. Through these textual
manipulations, Marcos simultaneously promotes inter-epistemic dialogues and questions
colonial knowledge to favour the Zapatistas’ anti-neoliberal and decolonial political
agenda.
The thesis begins by contextualising the emergence of the EZLN within the
history of Chiapas since the nineteenth century, providing background information on
Marcos’ communiqués, and engaging with relevant scholarship. The subsequent literary
analyses uncover some of the textual strategies which contribute to the Zapatistas’
transcultural communication on the one hand, and their subversive political message on
the other. It argues that Marcos recuperates Jorge Luis Borges’ translation strategies and
his irreverent approach towards authorship to challenge the Mexican political class and
colonial cultural hierarchies through intertextual allusions to the Western literary
tradition. Simultaneously, Marcos creates bridges between Maya and Western
epistemological systems. To do so, he relies on certain motifs prevalent in both Maya
culture and idealist philosophy. In addition to being deployed as a bridging element,
idealist philosophy, alongside postmodernity, is recuperated by Marcos for its inherent
scepticism, which is redirected towards the narratives supporting the Mexican
government and its neoliberal policies. Moreover, the staging of cynical voices in
Marcos’ writings is understood as a rhetorical device which places the Zapatistas in moral
opposition to the Mexican government. Finally, it is argued that Marcos’ recent digital
turn mirrors the Zapatistas’ interest for digital activism and their ambiguous appropriation
of Western technology, simultaneously perceived as a site of colonial oppression and a
subversive space. These findings highlight Marcos’ discursive intervention in the global
cultural fabric, afforded by his deliberate displacement of specific texts and the cultural
contexts they embody.
2019-06-27T00:00:00ZGribomont, IsabelleThis doctoral thesis argues that Subcomandante Marcos’ appropriations of existing
textual material, whether they take the form of quotations, allusions, parodies or remixes,
are key to the discursive war waged in the communiqués. Through these textual
manipulations, Marcos simultaneously promotes inter-epistemic dialogues and questions
colonial knowledge to favour the Zapatistas’ anti-neoliberal and decolonial political
agenda.
The thesis begins by contextualising the emergence of the EZLN within the
history of Chiapas since the nineteenth century, providing background information on
Marcos’ communiqués, and engaging with relevant scholarship. The subsequent literary
analyses uncover some of the textual strategies which contribute to the Zapatistas’
transcultural communication on the one hand, and their subversive political message on
the other. It argues that Marcos recuperates Jorge Luis Borges’ translation strategies and
his irreverent approach towards authorship to challenge the Mexican political class and
colonial cultural hierarchies through intertextual allusions to the Western literary
tradition. Simultaneously, Marcos creates bridges between Maya and Western
epistemological systems. To do so, he relies on certain motifs prevalent in both Maya
culture and idealist philosophy. In addition to being deployed as a bridging element,
idealist philosophy, alongside postmodernity, is recuperated by Marcos for its inherent
scepticism, which is redirected towards the narratives supporting the Mexican
government and its neoliberal policies. Moreover, the staging of cynical voices in
Marcos’ writings is understood as a rhetorical device which places the Zapatistas in moral
opposition to the Mexican government. Finally, it is argued that Marcos’ recent digital
turn mirrors the Zapatistas’ interest for digital activism and their ambiguous appropriation
of Western technology, simultaneously perceived as a site of colonial oppression and a
subversive space. These findings highlight Marcos’ discursive intervention in the global
cultural fabric, afforded by his deliberate displacement of specific texts and the cultural
contexts they embody.Title redactedRoveri, Mattiahttps://hdl.handle.net/10023/181772023-11-16T16:26:02Z2016-06-23T00:00:00Z2016-06-23T00:00:00ZRoveri, MattiaThe impersonal passive in German of the type Es wurde getanzt : a structural analysisLeese, Michelle Janehttps://hdl.handle.net/10023/181582021-08-13T12:56:22Z2019-06-27T00:00:00Z2019-06-27T00:00:00ZLeese, Michelle JaneMadame de Genlis : environment, citizenship, and the nation in post-revolutionary FranceBerrow, Danielle Amyhttps://hdl.handle.net/10023/180122021-08-15T02:09:23Z2016-06-23T00:00:00ZThrough an ecocritical lens, this thesis investigates the interrelatedness of the themes
of environment, citizenship, and nation in Madame de Genlis’s depiction of post-Revolutionary France. At the heart of the ecocritical project is the notion that
humankind must re-evaluate its relationship with the endangered natural world in
order to protect the ecosphere; ecocriticism provides tools for re-conceptualising the
ways human communities exist, and have existed, in their respective environments. A
prolific author of the late eighteenth and early nineteenth centuries, Madame de
Genlis engages with such issues in her texts, responding to serious threats posed to the
survival of rural communities following the French Revolution, such as the
disintegration of socio-political hierarchies, the rise of individualism, and the
mismanagement of agricultural land. In the light of post-Revolutionary discourses of
liberté, égalité, and fraternité, this thesis explores how Madame de Genlis’s texts
present reconstructive narrative strategies for coming to terms with dramatic socio-political upheaval. In particular, her instructional texts - hitherto neglected by scholarship - encourage readers to re-personalise their relationship with the natural world by exploring the multiple moral and practical dimensions of the rural home.
Madame de Genlis’s preoccupation with the natural world, expressed here in terms of
a ‘rural model’, is the subject of the first chapter. The second chapter examines the
notion of social responsibility within this model, while the third chapter considers the
ways in which texts, as socio-cultural products, contribute to the re-imagining of a
nation under construction.
2016-06-23T00:00:00ZBerrow, Danielle AmyThrough an ecocritical lens, this thesis investigates the interrelatedness of the themes
of environment, citizenship, and nation in Madame de Genlis’s depiction of post-Revolutionary France. At the heart of the ecocritical project is the notion that
humankind must re-evaluate its relationship with the endangered natural world in
order to protect the ecosphere; ecocriticism provides tools for re-conceptualising the
ways human communities exist, and have existed, in their respective environments. A
prolific author of the late eighteenth and early nineteenth centuries, Madame de
Genlis engages with such issues in her texts, responding to serious threats posed to the
survival of rural communities following the French Revolution, such as the
disintegration of socio-political hierarchies, the rise of individualism, and the
mismanagement of agricultural land. In the light of post-Revolutionary discourses of
liberté, égalité, and fraternité, this thesis explores how Madame de Genlis’s texts
present reconstructive narrative strategies for coming to terms with dramatic socio-political upheaval. In particular, her instructional texts - hitherto neglected by scholarship - encourage readers to re-personalise their relationship with the natural world by exploring the multiple moral and practical dimensions of the rural home.
Madame de Genlis’s preoccupation with the natural world, expressed here in terms of
a ‘rural model’, is the subject of the first chapter. The second chapter examines the
notion of social responsibility within this model, while the third chapter considers the
ways in which texts, as socio-cultural products, contribute to the re-imagining of a
nation under construction.Of kings and clowns : representations of leadership in contemporary Egyptian theatre, 1967-2018Manucharyan, Tiranhttps://hdl.handle.net/10023/178582021-03-15T15:19:11Z2019-06-27T00:00:00ZThis research explores the development of the discourse of power and the role in the development of this discourse of the arts and artists as dramatised in contemporary Egyptian theatre from 1967 to 2018. While Egyptian theatre of the pre-1967 and post-2011 periods has received comparably more scholarly attention in Western academia, the post-1967 period has generally been neglected. This period has been described as one of decline and as such of no scholarly interest. Through detailed analyses of Egyptian plays of the period in question, predominantly those by Abū al-ʿIlā al-Salāmūnī and Lenin al-Ramlī, this study fills an important gap in existing scholarship by linking the pre-1967 and post-2011 developments in Egyptian theatre. As such, it aims to achieve a better understanding of the revolutionary and post-revolutionary developments in Egyptian theatre in the context of the socio-political and cultural life of the country. The prologue introduces the topic and the concerns of the research. The six content chapters are grouped into two chronological periods. Chapters one to four focus on the plays of the last three decades of the twentieth century, and chapters five and six examine twenty-first-century plays. Chapter one examines the representations in the plays of characters who practise leadership. Chapter two discusses the self-reflexive technique of representing intellectual leadership in the form of theatre within theatre. Chapter three discusses the representations of common members of society and society as a whole. Chapter four is devoted to analyses of female characters in Egyptian plays. Chapter five looks at al-Salāmūnī’s and al-Ramlī’s work in the early twenty-first century, examining their returns to the issues discussed in the previous chapters. Chapter six identifies how the 2011 revolution and the events following it have been reflected in theatre. The epilogue summarises the conclusions of the research.
2019-06-27T00:00:00ZManucharyan, TiranThis research explores the development of the discourse of power and the role in the development of this discourse of the arts and artists as dramatised in contemporary Egyptian theatre from 1967 to 2018. While Egyptian theatre of the pre-1967 and post-2011 periods has received comparably more scholarly attention in Western academia, the post-1967 period has generally been neglected. This period has been described as one of decline and as such of no scholarly interest. Through detailed analyses of Egyptian plays of the period in question, predominantly those by Abū al-ʿIlā al-Salāmūnī and Lenin al-Ramlī, this study fills an important gap in existing scholarship by linking the pre-1967 and post-2011 developments in Egyptian theatre. As such, it aims to achieve a better understanding of the revolutionary and post-revolutionary developments in Egyptian theatre in the context of the socio-political and cultural life of the country. The prologue introduces the topic and the concerns of the research. The six content chapters are grouped into two chronological periods. Chapters one to four focus on the plays of the last three decades of the twentieth century, and chapters five and six examine twenty-first-century plays. Chapter one examines the representations in the plays of characters who practise leadership. Chapter two discusses the self-reflexive technique of representing intellectual leadership in the form of theatre within theatre. Chapter three discusses the representations of common members of society and society as a whole. Chapter four is devoted to analyses of female characters in Egyptian plays. Chapter five looks at al-Salāmūnī’s and al-Ramlī’s work in the early twenty-first century, examining their returns to the issues discussed in the previous chapters. Chapter six identifies how the 2011 revolution and the events following it have been reflected in theatre. The epilogue summarises the conclusions of the research. Transnationalizing Lampedusa : representing migration in Italy and beyondColombini, Iacopohttps://hdl.handle.net/10023/178232021-09-15T15:17:04Z2019-06-27T00:00:00ZThis thesis explores the transnational dimension of Lampedusa, and how its symbolism can be used to address questions of identity and subjectivity in the cultural representation of migration. By examining the initiatives of the Archivio delle Memorie Migranti, the self-organised refugee group Lampedusa in Hamburg, and the Lampedusa-based Collettivo Askavusa, this work defines Lampedusa as a floating signifier. The discussion of the discursive formations composing what I defined, drawing on Benjamin, as the ‘Lampedusa transnational constellation’ highlights the centrality of cultural practices in affecting hegemonic representations of migration.
This thesis recognises that the marginalisation of migrant and refugee voices in the public debate on migration is also partially reflected in the cultural projects that attempt to restore the agency of these individuals. The production and collections of new films, exhibitions, memories focusing on migrant deaths, passage and presence on Lampedusa, from the perspective of migrants themselves, are therefore considered playing a fundamental role, but are not seen as a straightforward solution. This works emphasises the importance of analysing the ‘moment of production’ of these cultural products, proposing forms of participant observation and multi-sited ethnographic work as a means to directly engage with the questions of race, identity, and positionality embedded in cultural practices focusing on migration.
2019-06-27T00:00:00ZColombini, IacopoThis thesis explores the transnational dimension of Lampedusa, and how its symbolism can be used to address questions of identity and subjectivity in the cultural representation of migration. By examining the initiatives of the Archivio delle Memorie Migranti, the self-organised refugee group Lampedusa in Hamburg, and the Lampedusa-based Collettivo Askavusa, this work defines Lampedusa as a floating signifier. The discussion of the discursive formations composing what I defined, drawing on Benjamin, as the ‘Lampedusa transnational constellation’ highlights the centrality of cultural practices in affecting hegemonic representations of migration.
This thesis recognises that the marginalisation of migrant and refugee voices in the public debate on migration is also partially reflected in the cultural projects that attempt to restore the agency of these individuals. The production and collections of new films, exhibitions, memories focusing on migrant deaths, passage and presence on Lampedusa, from the perspective of migrants themselves, are therefore considered playing a fundamental role, but are not seen as a straightforward solution. This works emphasises the importance of analysing the ‘moment of production’ of these cultural products, proposing forms of participant observation and multi-sited ethnographic work as a means to directly engage with the questions of race, identity, and positionality embedded in cultural practices focusing on migration.Dialogues of historicity and horizontalism in post-Crisis Argentine narrativesLynch, Brigid Catherinehttps://hdl.handle.net/10023/177902019-05-31T13:34:24Z2018-12-07T00:00:00ZThis doctoral thesis examines how historicity and horizontalidad emerged as the pre-eminent cultural discourses in the period following the 2001 economic crisis in Argentina, reflecting a sea-change in individual and collective attitudes to the past, present and future. It analyses the dialogic relation between these two discourses through their cultural articulations in a range of texts, from literary fiction, journalism, documentary and feature films to television drama.
The thesis begins with an exploration of the crisis itself and the denaturalizing effect it wrought upon Argentine society, rupturing the boundaries of the possible in both socio-political and cultural terms. Chapter One explores the theoretical specificities of historicity and horizontalidad within the Argentine context. It also analyses a selection of journalistic narratives from Mu, a monthly magazine produced by the autonomous media collective lavaca.
Chapter Two explores hauntology as the dominant mode of historicity in the 2004 novel El cantor de tango and interrogates the limits of any historicist endeavour that does not encode the potential for radical change in the future. Chapter Three examines spatial iterations of historicity and horizontalidad in the suburban hinterland of greater Buenos Aires, in the 2011 documentary La multitud and the 2012 feature film Elefante blanco. Chapter Four focuses upon the haptic materiality of the historicist narratives which feature in the 2010 television mini-series Lo que el tiempo nos dejó, a drama that privileges the everyday people and places of the past. In Chapter Five, the ludic historicity of Las aventuras de los bustos de Eva Peron and the horizontalist impulse of its grotesque narrative modality is investigated. Finally, the Epilogue reflects upon the evolving relationship between historicity and horizontalidad in the years since the 2001 Crisis and posits the findings of this thesis alongside some suggestions for their implementation in future analysis of contemporary Argentine culture.
2018-12-07T00:00:00ZLynch, Brigid CatherineThis doctoral thesis examines how historicity and horizontalidad emerged as the pre-eminent cultural discourses in the period following the 2001 economic crisis in Argentina, reflecting a sea-change in individual and collective attitudes to the past, present and future. It analyses the dialogic relation between these two discourses through their cultural articulations in a range of texts, from literary fiction, journalism, documentary and feature films to television drama.
The thesis begins with an exploration of the crisis itself and the denaturalizing effect it wrought upon Argentine society, rupturing the boundaries of the possible in both socio-political and cultural terms. Chapter One explores the theoretical specificities of historicity and horizontalidad within the Argentine context. It also analyses a selection of journalistic narratives from Mu, a monthly magazine produced by the autonomous media collective lavaca.
Chapter Two explores hauntology as the dominant mode of historicity in the 2004 novel El cantor de tango and interrogates the limits of any historicist endeavour that does not encode the potential for radical change in the future. Chapter Three examines spatial iterations of historicity and horizontalidad in the suburban hinterland of greater Buenos Aires, in the 2011 documentary La multitud and the 2012 feature film Elefante blanco. Chapter Four focuses upon the haptic materiality of the historicist narratives which feature in the 2010 television mini-series Lo que el tiempo nos dejó, a drama that privileges the everyday people and places of the past. In Chapter Five, the ludic historicity of Las aventuras de los bustos de Eva Peron and the horizontalist impulse of its grotesque narrative modality is investigated. Finally, the Epilogue reflects upon the evolving relationship between historicity and horizontalidad in the years since the 2001 Crisis and posits the findings of this thesis alongside some suggestions for their implementation in future analysis of contemporary Argentine culture.Cultural specific phenomena in classical Arabic phraseology : a case study on the works of Ibn al-KhaṭībAbdullah, Abdullahhttps://hdl.handle.net/10023/173662021-02-19T13:17:39Z2019-06-27T00:00:00ZThe thesis is a study on classical Arabic phraseology on the basis of prose works by Lisān ad-Dīn Ibn al-Khaṭīb (d. 776/1374). It reinvestigates the linguistic concept of a phraseme from a theoretical perspective and adopts the approach of cultural analysis to a selected corpus of classical Arabic phasemes. The results indicate that classical Arabic phrasemes, whether referential or communicative, have four main source domains: historical references, nature, material culture and habitus, and Islamic religious motivations (with either religious or non-religious target domains). The cultural phenomenon that motivates most of them is cultural modelling, although it does not contribute to their fixedness. Two other cultural phenomena – cultural symbolism and quotation – were found to have the strongest impact on phrasemes’ fixedness levels, albeit with some exceptions.
2019-06-27T00:00:00ZAbdullah, AbdullahThe thesis is a study on classical Arabic phraseology on the basis of prose works by Lisān ad-Dīn Ibn al-Khaṭīb (d. 776/1374). It reinvestigates the linguistic concept of a phraseme from a theoretical perspective and adopts the approach of cultural analysis to a selected corpus of classical Arabic phasemes. The results indicate that classical Arabic phrasemes, whether referential or communicative, have four main source domains: historical references, nature, material culture and habitus, and Islamic religious motivations (with either religious or non-religious target domains). The cultural phenomenon that motivates most of them is cultural modelling, although it does not contribute to their fixedness. Two other cultural phenomena – cultural symbolism and quotation – were found to have the strongest impact on phrasemes’ fixedness levels, albeit with some exceptions.Masculinities in contemporary German-language
literature : strategies of evasionEck, Matthiashttps://hdl.handle.net/10023/168342023-06-08T08:34:34Z2017-06-22T00:00:00ZIn the quest for a positive alternative male gender identity (anti-hegemonic masculinity), this thesis
explores the representation of masculinities in contemporary German-language literature (focusing
on Austria) by examining selected works by Daniel Kehlmann, Doron Rabinovici and Arno Geiger.
The research combines close reading with critical theory on gender. While theory is used to
contextualize and critically evaluate findings from the texts, it is complemented and enhanced by
insights stemming from close reading, thereby contributing to the development of theory on
masculinities.
While there is evidence of hegemonic subversion in the novels, the three authors offer few
positive images of alternative masculinity. Kehlmann shows that hegemonic masculinity is a virtual
concept which provides gratification through fantasy. It impacts on reality because men accept it as
a standard for their own behaviour and social technologies constantly repeat this fantasy. Rabinovici
illustrates how Jewish men unsuccessfully try to live up to the standard of hegemonic masculinity
by switching identity. He shows how the male characters develop a fragile, weak masculinity as a
result of their parents’ silence about their experiences during the Holocaust. He also provides
examples of a positive masculinity which reflect the theory of a ‘gentle’ Jewish masculinity. Geiger
examines disintegrating hegemonic masculinity, helpless complicit masculinity, strategic passive
masculinity and caring masculinity. The latter category takes the concept of ‘gentle masculinity’
into a broader context. Again, memory of and communication about the Holocaust are shown to
impact on masculinity. The texts analysed disclose a gap between the ideal of masculinity and
reality. In order to bridge this gap the male characters adopt two strategies of evasion: evasion to
hide a softer and gentler side, and evasion into a world of fantasy where they pretend to live up to
the ideal of hegemonic masculinity.
2017-06-22T00:00:00ZEck, MatthiasIn the quest for a positive alternative male gender identity (anti-hegemonic masculinity), this thesis
explores the representation of masculinities in contemporary German-language literature (focusing
on Austria) by examining selected works by Daniel Kehlmann, Doron Rabinovici and Arno Geiger.
The research combines close reading with critical theory on gender. While theory is used to
contextualize and critically evaluate findings from the texts, it is complemented and enhanced by
insights stemming from close reading, thereby contributing to the development of theory on
masculinities.
While there is evidence of hegemonic subversion in the novels, the three authors offer few
positive images of alternative masculinity. Kehlmann shows that hegemonic masculinity is a virtual
concept which provides gratification through fantasy. It impacts on reality because men accept it as
a standard for their own behaviour and social technologies constantly repeat this fantasy. Rabinovici
illustrates how Jewish men unsuccessfully try to live up to the standard of hegemonic masculinity
by switching identity. He shows how the male characters develop a fragile, weak masculinity as a
result of their parents’ silence about their experiences during the Holocaust. He also provides
examples of a positive masculinity which reflect the theory of a ‘gentle’ Jewish masculinity. Geiger
examines disintegrating hegemonic masculinity, helpless complicit masculinity, strategic passive
masculinity and caring masculinity. The latter category takes the concept of ‘gentle masculinity’
into a broader context. Again, memory of and communication about the Holocaust are shown to
impact on masculinity. The texts analysed disclose a gap between the ideal of masculinity and
reality. In order to bridge this gap the male characters adopt two strategies of evasion: evasion to
hide a softer and gentler side, and evasion into a world of fantasy where they pretend to live up to
the ideal of hegemonic masculinity.The artist as outsider : a comparative study of James Joyce, André Gide and Thomas Mann : with particular reference to 'A portrait of the artist as a young man', 'Les Faux-monnayers' and 'Dr Faustus'Helm, Arthur Friedrichhttps://hdl.handle.net/10023/165512019-04-01T09:05:01Z1986-01-01T00:00:00Z""The Artist as Outsider" certainly is a very popular subject for
literary criticism. Nevertheless, I have chosen it believing strongly that
there are two points which I can make and which have not been made before:
The first point consists in showing how strong the intermediary position of
Joyce, Gide and Mann, through their treatment of the outsider theme,
between the nineteenth-century literary tradition and a completely new era
were. The second point consists in showing how the three authors'
experimentation with form is intrinsically linked with the actual subject
of the novels-the outsider position of the hero.
Let us first consider this "intermediary position": In the Romantic
and Symbolist tradition it is indeed very common to find the author
mirrored in his work of art, mirrored a bit self-complacently as somebody
who is not understood and who, because of his unfavourable environment,
either fails to fulfil his vocation or becomes more and more estranged
from the society he lives in. As in Wilde's The Picture of Dorian Gray,
the artist is not only seen as a decadent deviant figure, but also as a
doomed and tragic character. Lombroso and many others had developed
theories according to which the creative artist was "bound" to be afflicted
by some deviation, be it disease, crime, or anything else which is
suspicious to the average bourgeois. Baudelaire and Poe were known to have
taken drugs in order to depart from this world and have experience beyond,
in a fantastic, imaginative realm. As I try to show, most of these clichéd
themes were taken up in the three novels of my choice. But at the same
time - and this is less obvious - a new view of the artistic creativity and
the outsider phenomenon was interwoven: according to the traditional
view, the artist becomes an outsider because of his eccentric qualities;
according to this new view, however, the outsider position comes first.
The individual is no longer born with his artistic vocation and becomes
eventually estranged from his fellow men, because of these
"artist-qualities", but his estrangement is innate-and therefore only he
is destined to be artistically creative. Cause and effect are, in this new
argument, interchanged. The view of the outsider character as an intrinsic
part of some rare human beings' existence announces heroes like Meursault
and Roquentin who are outsiders par excellence and whose tragic ends are
only explicable by the fact that they refuse to fulfil their destiny which
is to be artistically creative. I therefore take Meursault and Roquentin,
together with some other Existentialist heroes, as failed artists who, in
the way I have described, can be taken for sons of the three heroes
Stephen, Adrian and Edouard." -- From the Introduction
1986-01-01T00:00:00ZHelm, Arthur Friedrich""The Artist as Outsider" certainly is a very popular subject for
literary criticism. Nevertheless, I have chosen it believing strongly that
there are two points which I can make and which have not been made before:
The first point consists in showing how strong the intermediary position of
Joyce, Gide and Mann, through their treatment of the outsider theme,
between the nineteenth-century literary tradition and a completely new era
were. The second point consists in showing how the three authors'
experimentation with form is intrinsically linked with the actual subject
of the novels-the outsider position of the hero.
Let us first consider this "intermediary position": In the Romantic
and Symbolist tradition it is indeed very common to find the author
mirrored in his work of art, mirrored a bit self-complacently as somebody
who is not understood and who, because of his unfavourable environment,
either fails to fulfil his vocation or becomes more and more estranged
from the society he lives in. As in Wilde's The Picture of Dorian Gray,
the artist is not only seen as a decadent deviant figure, but also as a
doomed and tragic character. Lombroso and many others had developed
theories according to which the creative artist was "bound" to be afflicted
by some deviation, be it disease, crime, or anything else which is
suspicious to the average bourgeois. Baudelaire and Poe were known to have
taken drugs in order to depart from this world and have experience beyond,
in a fantastic, imaginative realm. As I try to show, most of these clichéd
themes were taken up in the three novels of my choice. But at the same
time - and this is less obvious - a new view of the artistic creativity and
the outsider phenomenon was interwoven: according to the traditional
view, the artist becomes an outsider because of his eccentric qualities;
according to this new view, however, the outsider position comes first.
The individual is no longer born with his artistic vocation and becomes
eventually estranged from his fellow men, because of these
"artist-qualities", but his estrangement is innate-and therefore only he
is destined to be artistically creative. Cause and effect are, in this new
argument, interchanged. The view of the outsider character as an intrinsic
part of some rare human beings' existence announces heroes like Meursault
and Roquentin who are outsiders par excellence and whose tragic ends are
only explicable by the fact that they refuse to fulfil their destiny which
is to be artistically creative. I therefore take Meursault and Roquentin,
together with some other Existentialist heroes, as failed artists who, in
the way I have described, can be taken for sons of the three heroes
Stephen, Adrian and Edouard." -- From the IntroductionTitle redactedPierini, Carmelahttps://hdl.handle.net/10023/164972018-11-19T12:26:36Z2016-06-23T00:00:00Z2016-06-23T00:00:00ZPierini, CarmelaNotions of time and epoch in contemporary French fiction: Montalbetti, Lenoir & PireyreBoardman, Kirsty Louisehttps://hdl.handle.net/10023/163982023-12-19T03:06:09Z2018-12-07T00:00:00ZThis thesis examines the notions of time and epoch through the works of three contemporary French authors: Christine Montalbetti, Hélène Lenoir and Emmanuelle Pireyre. The theoretical framework for this study draws upon literary criticism, time studies and cultural theory: it investigates in particular the ways in which literary fiction may respond to what has been called a ‘culture of speed’ in capitalist economies of the twenty-first century. This culture of speed is traced back two major epochal shifts: the revolution in information technology, which has permitted the generating and sharing of information at exponentially higher speeds, and an increasing consciousness of the vast time cycles within which we might situate our own epoch or individual lives. This work considers the ways in which this collective and paradigmatic shift might be reflected in literary fiction. It examines the representation of new information technologies within these literary works, focusing in particular on the texts’ representations of obsessive or compulsive uses of technology and the kinds of anxieties emerging as a result of the ubiquity of these devices. It further questions whether new aesthetic trends, what has been called a ‘post-internet aesthetic’, may be emerging in literary fiction in light of some of these changes. Further investigation of the representation of diegetic time within these texts demonstrates that these literary works appear to resist the current time culture of speed and simultaneity, embracing instead the literary devices of repetition and digression while maintaining a dilatory pace. This study also considers the emergence of ‘short-termism’ and insularity within these literary texts as reflecting a wider societal trend, especially in light of recent theoretical work on the vast timescales (for example those of the planet’s climate cycles) that have become increasingly present in political and journalistic discourses.
2018-12-07T00:00:00ZBoardman, Kirsty LouiseThis thesis examines the notions of time and epoch through the works of three contemporary French authors: Christine Montalbetti, Hélène Lenoir and Emmanuelle Pireyre. The theoretical framework for this study draws upon literary criticism, time studies and cultural theory: it investigates in particular the ways in which literary fiction may respond to what has been called a ‘culture of speed’ in capitalist economies of the twenty-first century. This culture of speed is traced back two major epochal shifts: the revolution in information technology, which has permitted the generating and sharing of information at exponentially higher speeds, and an increasing consciousness of the vast time cycles within which we might situate our own epoch or individual lives. This work considers the ways in which this collective and paradigmatic shift might be reflected in literary fiction. It examines the representation of new information technologies within these literary works, focusing in particular on the texts’ representations of obsessive or compulsive uses of technology and the kinds of anxieties emerging as a result of the ubiquity of these devices. It further questions whether new aesthetic trends, what has been called a ‘post-internet aesthetic’, may be emerging in literary fiction in light of some of these changes. Further investigation of the representation of diegetic time within these texts demonstrates that these literary works appear to resist the current time culture of speed and simultaneity, embracing instead the literary devices of repetition and digression while maintaining a dilatory pace. This study also considers the emergence of ‘short-termism’ and insularity within these literary texts as reflecting a wider societal trend, especially in light of recent theoretical work on the vast timescales (for example those of the planet’s climate cycles) that have become increasingly present in political and journalistic discourses.Identities beyond the canon: pluralism and women's writing in Galician fiction, 2000-2010Barbour, Catherine Suzannehttps://hdl.handle.net/10023/156922021-07-23T11:10:16Z2016-01-01T00:00:00Z2016-01-01T00:00:00ZBarbour, Catherine SuzanneMourning, writing, (self-)transformation: the autofiction of Serge DoubrovskyFusaro, Anaïshttps://hdl.handle.net/10023/155832021-05-13T11:40:17Z2018-01-01T00:00:00ZThis thesis investigates the capacity of mourning to transform one’s life into writing. Since mourning impacts each individual in a very unique way, its effect in the field of life-writing is incommensurable. In this respect, the changes brought about in the 20th century by the works of Serge Doubrovsky are remarkable: through the exploration of his eight autofictions (word which he coined in 1977) in addition to his six essays on literature, this study demonstrates how his experience of mourning has challenged and redefined the borders of autobiography.
This investigation starts with the observation of the writer-narrator’s writing drive, which emerges from a threefold experience of death: the loss of his mother, the trauma of World War II, and the perspective of his own death. The first section argues that writing transforms the private experience of mourning into memory. Since forgetfulness threatens memory, memory must be saved and disseminated; this is why Serge Doubrovsky composes his autofiction as literature which is made of, and which belongs to, memories. The second section observes how mourning transforms the experience of writing and reading: a focus on ‘ressassement’ shows the impact of mourning on writing and how the writer-narrator turns this uncontrollable sign of trauma into his own distinct writing style, called ‘écriture consonnantique’. These transformations participate in the mutation of the writer-reader, fiction-reality, and autobiography-autofiction relationships. The last section observes these abnormal alloys through the lens of the monster. Autofiction could be considered as a monstrous genre, insofar as it recognises the work of the writer to fashion a whole new story out of fragmented and repeated memories in a creative process.
Overall, this study assesses Serge Doubrovsky’s ability to challenge existing literary boundaries, and to create, beyond the breach of mourning and within the splits of language, an interdisciplinary work that deeps on renewing literature.
2018-01-01T00:00:00ZFusaro, AnaïsThis thesis investigates the capacity of mourning to transform one’s life into writing. Since mourning impacts each individual in a very unique way, its effect in the field of life-writing is incommensurable. In this respect, the changes brought about in the 20th century by the works of Serge Doubrovsky are remarkable: through the exploration of his eight autofictions (word which he coined in 1977) in addition to his six essays on literature, this study demonstrates how his experience of mourning has challenged and redefined the borders of autobiography.
This investigation starts with the observation of the writer-narrator’s writing drive, which emerges from a threefold experience of death: the loss of his mother, the trauma of World War II, and the perspective of his own death. The first section argues that writing transforms the private experience of mourning into memory. Since forgetfulness threatens memory, memory must be saved and disseminated; this is why Serge Doubrovsky composes his autofiction as literature which is made of, and which belongs to, memories. The second section observes how mourning transforms the experience of writing and reading: a focus on ‘ressassement’ shows the impact of mourning on writing and how the writer-narrator turns this uncontrollable sign of trauma into his own distinct writing style, called ‘écriture consonnantique’. These transformations participate in the mutation of the writer-reader, fiction-reality, and autobiography-autofiction relationships. The last section observes these abnormal alloys through the lens of the monster. Autofiction could be considered as a monstrous genre, insofar as it recognises the work of the writer to fashion a whole new story out of fragmented and repeated memories in a creative process.
Overall, this study assesses Serge Doubrovsky’s ability to challenge existing literary boundaries, and to create, beyond the breach of mourning and within the splits of language, an interdisciplinary work that deeps on renewing literature.A critical edition of Sharḥ al-Jumal li al-Zajjājī by Abū al-Ḥasan Ṭāhir b. Aḥmad b. Bābshād b. Mohamed Al-NaḥwīRejab, Ishak b. Mohamed Rejabhttps://hdl.handle.net/10023/154212019-04-01T09:02:04Z1975-12-01T00:00:00ZThe present edition of Sharḥ al-Jumal li al-Zajjājī, written by Abū al-Ḥasan Ṭāhir b. Aḥmad b. Bābshād is mainly based on Ẕ MS. No. 1687. This manuscript consists of 312 folios and is divided into two volumes. This thesis presents a critical edition of volume one only; it is hoped that the second volume of this lengthy work may soon be edited also. The present edition is preceded by an introduction which includes a general discussion of the work, of the MSS. used in this edition, of the authorship of Sharḥ al-Jumal and the quotations from the Qur'ān, qirā'āt, Ḥadīth and Poetry that appear in it. Ibn Bābshād intellectual background and grammatical doctrine are also discussed.
1975-12-01T00:00:00ZRejab, Ishak b. Mohamed RejabThe present edition of Sharḥ al-Jumal li al-Zajjājī, written by Abū al-Ḥasan Ṭāhir b. Aḥmad b. Bābshād is mainly based on Ẕ MS. No. 1687. This manuscript consists of 312 folios and is divided into two volumes. This thesis presents a critical edition of volume one only; it is hoped that the second volume of this lengthy work may soon be edited also. The present edition is preceded by an introduction which includes a general discussion of the work, of the MSS. used in this edition, of the authorship of Sharḥ al-Jumal and the quotations from the Qur'ān, qirā'āt, Ḥadīth and Poetry that appear in it. Ibn Bābshād intellectual background and grammatical doctrine are also discussed.The compilation of pharmacological ideas during the Abbāsid Caliphate : with special reference to a section of 'Al-Hāwī' of Al-RāzīTaha, Mohamad binhttps://hdl.handle.net/10023/154182019-04-01T09:02:21Z1988-07-01T00:00:00ZThis is a study of the transmission of medical ideas of the ancient world into Arabian medicine. It is concerned with pharmacological ideas in particular, with special reference to al-Ḥāwī (Liber Continens) of al-Rāzī (Rhazes). The First Part of this thesis outlines the medical knowledge of the ancient Mesopotamian (Sumerians, Babylonians and Assyrians), Egyptians, Indians, Persians and Greeks, and the exchanges in the knowledge between them. The Second Part is a view of the translation efforts during the period of the early Abbasid Caliphate, as most foreign medical works were translated during this period by the most celebrated and competent translators in the Arabian world. This part also includes a list of some of the medical works which were translated into Arabic, giving some view of how they were transmitted and came down to the Muslims. The Third Part gives a view of the life of al-Rāzī and the significance of his work in brief. Then it deals with his al-Ḥāwī, an original work written at the end of the ninth century or early tenth century A.D., that is after the translation effort had culminated, showing the kind of impact this movement had on the medical works of Muslims. Then this part examines a section consisting of two chapters of volume I of al-Ḥāwī it examines some foreign influences, especially on drugs. This is followed by the translation of this reference text and the conclusion.
1988-07-01T00:00:00ZTaha, Mohamad binThis is a study of the transmission of medical ideas of the ancient world into Arabian medicine. It is concerned with pharmacological ideas in particular, with special reference to al-Ḥāwī (Liber Continens) of al-Rāzī (Rhazes). The First Part of this thesis outlines the medical knowledge of the ancient Mesopotamian (Sumerians, Babylonians and Assyrians), Egyptians, Indians, Persians and Greeks, and the exchanges in the knowledge between them. The Second Part is a view of the translation efforts during the period of the early Abbasid Caliphate, as most foreign medical works were translated during this period by the most celebrated and competent translators in the Arabian world. This part also includes a list of some of the medical works which were translated into Arabic, giving some view of how they were transmitted and came down to the Muslims. The Third Part gives a view of the life of al-Rāzī and the significance of his work in brief. Then it deals with his al-Ḥāwī, an original work written at the end of the ninth century or early tenth century A.D., that is after the translation effort had culminated, showing the kind of impact this movement had on the medical works of Muslims. Then this part examines a section consisting of two chapters of volume I of al-Ḥāwī it examines some foreign influences, especially on drugs. This is followed by the translation of this reference text and the conclusion.The philological treatment of Qu'rān similes in the works of the philologists, exegetes, literary and rhetorical theoristsShehab, Hana Mahmoodhttps://hdl.handle.net/10023/154162019-04-01T09:01:58Z1985-07-01T00:00:00ZThis thesis deals mainly with the philological aspects of the similes of the Qur'ān. It also deals with other aspects of Arabic science such as rhetoric, syntax and variant readings of some words in the verses containing similes. The thesis falls into three parts which deal with the philologists, exegetes, rhetorical and literary theorists. It explains how these authors look at the similes of the Qur'ān from all aspects, such as the philological, syntactical, or rhetorical viewpoint, although some of them do not refer specifically to the Qur'ānic simile in their books. The first part of the thesis is divided into three chapters. The first one consists of general notes about the language and the simile and about the Arabs and their use of simile in their speech. The second chapter deals with the work of the philologists and how they treat the simile of the Qur'ān in their books. The third chapter deals with the other philological matters in the Qur'ānic verses containing similes, namely homophone-antonyms and metathesis. The second part of the thesis deals with the studies of the simile of the Qur'ān by some exegeses, although they differ in their way of looking at the verses containing simile. The third part is divided into two chapters, the first deals with the treatment of the Qur'ānic simile by those who study the inimitable style of the Qur'ān in their books. These pure Qur'ānic studies show the miraculous style of the Qur'ān. The second chapter deals with books by literary and rhetorical experts who refer to the similes of the Qur'ān in the course of their study of the poetry and speech of the Arabs or their treatment of other aspects of Arabic science.
1985-07-01T00:00:00ZShehab, Hana MahmoodThis thesis deals mainly with the philological aspects of the similes of the Qur'ān. It also deals with other aspects of Arabic science such as rhetoric, syntax and variant readings of some words in the verses containing similes. The thesis falls into three parts which deal with the philologists, exegetes, rhetorical and literary theorists. It explains how these authors look at the similes of the Qur'ān from all aspects, such as the philological, syntactical, or rhetorical viewpoint, although some of them do not refer specifically to the Qur'ānic simile in their books. The first part of the thesis is divided into three chapters. The first one consists of general notes about the language and the simile and about the Arabs and their use of simile in their speech. The second chapter deals with the work of the philologists and how they treat the simile of the Qur'ān in their books. The third chapter deals with the other philological matters in the Qur'ānic verses containing similes, namely homophone-antonyms and metathesis. The second part of the thesis deals with the studies of the simile of the Qur'ān by some exegeses, although they differ in their way of looking at the verses containing simile. The third part is divided into two chapters, the first deals with the treatment of the Qur'ānic simile by those who study the inimitable style of the Qur'ān in their books. These pure Qur'ānic studies show the miraculous style of the Qur'ān. The second chapter deals with books by literary and rhetorical experts who refer to the similes of the Qur'ān in the course of their study of the poetry and speech of the Arabs or their treatment of other aspects of Arabic science.A critical edition of the linguistic dictionary Tahḏīb Al-Khawāṣ Min Durrat Al-Ghawwāṣ a critical edition by Ibn Manẓūr, 711/1311Al-Hussaini, Mohammad Alihttps://hdl.handle.net/10023/153922019-04-01T09:02:19Z1979-01-01T00:00:00ZAfter studying this linguistic dictionary in manuscript: Al-Tahḏīb by Ibn Manẓūr, I realised the importance of studying and editing the manuscript. This research on Tahḏīb and the development of lexical studies and linguistics led me to note the strong relationships between classical and modern studies especially in Arabic linguistics. Here we can follow the developments of texts and the ideas behind them, both in dictionaries of different schools and in general linguistic works, from the beginnings of the study of the Arabic language, tracing the influence of Arabic studies on that of some eastern and western languages in the mediaeval period. Arabic grammar was developed by treating problems in spoken language. People were in need of rules to help them acquire correct style, to be able to understand the meaning of Qur’ān and Ḥadīth. The scholars, whose work has influenced present-day Arab linguistics and grammatical theory, based their studies on Qur’ānic texts and quotations taken from early poetry. The method of study was generally inductive. Moving from the particular to the general, the scholars discussed various language phenomena in booklets and books concerned with texts, listing words which they had heard from Arabs employing their own local usages and dialects. These indexes became the data of the lexicons and linguistic books. From the first study of Arabic, the linguists dealt with Al-Laḥn, the phenomena affecting the pronunciation of Arabic, observing the errors in the speech of the ordinary people, of the educated people, and even of the scholars. Al-Durrah by Al-Ḥarīrī was one of the most famous works in Arabic linguistics. To treat the scholars' errors rather than those of the ordinary people, it follows no system or method in its structure. Ibn Manẓūr had to classify its lexical items and to arrange them on his Lisān Al-Arab system, with a special critical approach. Some books written before Al-Durrah had the same aim to note Al-Laḥn. In Al-Durrah we can follow the train of those books, which dealt with linguistic materials, especially Adab Al-Kātib by Ibn Qutaiba which we consider an ancient precursor of Al-Durrah and on the other hand of Al- Tahḏīb, the dictionary which we are here editing for the first time.
1979-01-01T00:00:00ZAl-Hussaini, Mohammad AliAfter studying this linguistic dictionary in manuscript: Al-Tahḏīb by Ibn Manẓūr, I realised the importance of studying and editing the manuscript. This research on Tahḏīb and the development of lexical studies and linguistics led me to note the strong relationships between classical and modern studies especially in Arabic linguistics. Here we can follow the developments of texts and the ideas behind them, both in dictionaries of different schools and in general linguistic works, from the beginnings of the study of the Arabic language, tracing the influence of Arabic studies on that of some eastern and western languages in the mediaeval period. Arabic grammar was developed by treating problems in spoken language. People were in need of rules to help them acquire correct style, to be able to understand the meaning of Qur’ān and Ḥadīth. The scholars, whose work has influenced present-day Arab linguistics and grammatical theory, based their studies on Qur’ānic texts and quotations taken from early poetry. The method of study was generally inductive. Moving from the particular to the general, the scholars discussed various language phenomena in booklets and books concerned with texts, listing words which they had heard from Arabs employing their own local usages and dialects. These indexes became the data of the lexicons and linguistic books. From the first study of Arabic, the linguists dealt with Al-Laḥn, the phenomena affecting the pronunciation of Arabic, observing the errors in the speech of the ordinary people, of the educated people, and even of the scholars. Al-Durrah by Al-Ḥarīrī was one of the most famous works in Arabic linguistics. To treat the scholars' errors rather than those of the ordinary people, it follows no system or method in its structure. Ibn Manẓūr had to classify its lexical items and to arrange them on his Lisān Al-Arab system, with a special critical approach. Some books written before Al-Durrah had the same aim to note Al-Laḥn. In Al-Durrah we can follow the train of those books, which dealt with linguistic materials, especially Adab Al-Kātib by Ibn Qutaiba which we consider an ancient precursor of Al-Durrah and on the other hand of Al- Tahḏīb, the dictionary which we are here editing for the first time.The modernisation of Arabic vocabulary : a survey of linguistic and cultural aspects of lexical developmentAraik, Fahad A. I.https://hdl.handle.net/10023/153852019-04-01T09:02:01Z1991-07-01T00:00:00ZSince the nineteenth century, the modernisation of Arabic vocabulary has been subject of a great concern for Arab scholars who are loyal to the language while aware of the need to adapt it to the demands of the modern world. This thesis attempts to present a comprehensive view of the subject by examining linguistic and extra-linguistic aspects of the process of lexical development in Modern Standard Arabic. The thesis comprises six chapters: Chapter One: is a brief introduction to the emergence of the movement for cultural and linguistic revival in the Arab world, leaders of linguistic reform, and the Arabic language academies. Chapter Two: examines the phenomenon of Ishtiqāq (Derivation) in Arabic, and its role in providing the language with native means of generating new lexical items. Chapter Three: discusses the assimilation of foreign words. It investigates the concept of borrowing in both classical and modern theory, and presents a description and analysis of this process as adopted for Modern Standard Arabic. Chapter Four: deals with the methods of Tarkīb and Naẖt (Compounding and Blending), and assesses their significance in the growth of Arabic vocabulary. Chapter Five: gives a brief introduction to the question of terminology formation and reviews the terminological activities in the Arab world which, aim at the standardization of current terminological work and the creation of a unified Arabic vocabulary. Chapter Six: provides a brief summary of the conclusions and findings of this study.
1991-07-01T00:00:00ZAraik, Fahad A. I.Since the nineteenth century, the modernisation of Arabic vocabulary has been subject of a great concern for Arab scholars who are loyal to the language while aware of the need to adapt it to the demands of the modern world. This thesis attempts to present a comprehensive view of the subject by examining linguistic and extra-linguistic aspects of the process of lexical development in Modern Standard Arabic. The thesis comprises six chapters: Chapter One: is a brief introduction to the emergence of the movement for cultural and linguistic revival in the Arab world, leaders of linguistic reform, and the Arabic language academies. Chapter Two: examines the phenomenon of Ishtiqāq (Derivation) in Arabic, and its role in providing the language with native means of generating new lexical items. Chapter Three: discusses the assimilation of foreign words. It investigates the concept of borrowing in both classical and modern theory, and presents a description and analysis of this process as adopted for Modern Standard Arabic. Chapter Four: deals with the methods of Tarkīb and Naẖt (Compounding and Blending), and assesses their significance in the growth of Arabic vocabulary. Chapter Five: gives a brief introduction to the question of terminology formation and reviews the terminological activities in the Arab world which, aim at the standardization of current terminological work and the creation of a unified Arabic vocabulary. Chapter Six: provides a brief summary of the conclusions and findings of this study.A critical study and evaluation of the teaching of Arabic as a foreign language in Saudi Arabia : with reference to textbook analysisNasban, Mohammed Suleimanhttps://hdl.handle.net/10023/153792019-04-01T09:02:12Z1991-07-01T00:00:00ZTeaching Arabic as foreign language is a fairly new field of study, particularly in Western Universities. The aim of this thesis is to discuss one aspect of this field by concentrating on text-book analysis and evaluation. In carrying out this task we have formulated a set of questions to serve as parameters in the collection and analysis of data relevant to this task (appendix II). The subject of this practical study is vol. 1, entitled "Arabic for Beginners" of a series of books used for teaching Arabic to foreign adults at the Arabic Language Institute. Our study utilises a number of notions and considerations which are applicable to text-book analysis and evaluation generally. In Appendix I we deal with some of these points in an attempt to specify the theoretical dimension presupposed by our practical analysis. The thesis contains two main parts:- the theoretical part which deals with different aspects belonging to the teaching of Arabic as a foreign language, including the characteristics of the Arabic language and the teaching of sounds, vocabulary, constructions, and culture. The practical part, on the other hand, is concerned with the practical application and the outcome of the analysis of the text-book in terms of a set of criteria which may have applicability outside the immediate realm of Arabic foreign language teaching. The thesis contains four chapters. Chapter one deals with the characteristics of the Arabic language and its importance as a foreign language; it also concentrates on the objectives of Arabic language teaching as well as on the problem of syllabus design in relation to this language. Chapter two gives a general outline of the institutes and the materials of teaching Arabic as a foreign language in Saudi Arabia. Chapter three deals with the importance of sounds, vocabulary, constructions and culture, paying attention to their place in the text-book of teaching Arabic as a foreign Language. Chapter four sets out the results of applying the criteria of text-book evaluation to the book under investigation, pointing out its positive and negative features in the areas of sounds, vocabulary, constructions and culture.
1991-07-01T00:00:00ZNasban, Mohammed SuleimanTeaching Arabic as foreign language is a fairly new field of study, particularly in Western Universities. The aim of this thesis is to discuss one aspect of this field by concentrating on text-book analysis and evaluation. In carrying out this task we have formulated a set of questions to serve as parameters in the collection and analysis of data relevant to this task (appendix II). The subject of this practical study is vol. 1, entitled "Arabic for Beginners" of a series of books used for teaching Arabic to foreign adults at the Arabic Language Institute. Our study utilises a number of notions and considerations which are applicable to text-book analysis and evaluation generally. In Appendix I we deal with some of these points in an attempt to specify the theoretical dimension presupposed by our practical analysis. The thesis contains two main parts:- the theoretical part which deals with different aspects belonging to the teaching of Arabic as a foreign language, including the characteristics of the Arabic language and the teaching of sounds, vocabulary, constructions, and culture. The practical part, on the other hand, is concerned with the practical application and the outcome of the analysis of the text-book in terms of a set of criteria which may have applicability outside the immediate realm of Arabic foreign language teaching. The thesis contains four chapters. Chapter one deals with the characteristics of the Arabic language and its importance as a foreign language; it also concentrates on the objectives of Arabic language teaching as well as on the problem of syllabus design in relation to this language. Chapter two gives a general outline of the institutes and the materials of teaching Arabic as a foreign language in Saudi Arabia. Chapter three deals with the importance of sounds, vocabulary, constructions and culture, paying attention to their place in the text-book of teaching Arabic as a foreign Language. Chapter four sets out the results of applying the criteria of text-book evaluation to the book under investigation, pointing out its positive and negative features in the areas of sounds, vocabulary, constructions and culture.Phoenician personal namesKikuchi, Nobuyoshi Josephhttps://hdl.handle.net/10023/153762019-04-01T09:02:17Z1963-07-01T00:00:00Z1963-07-01T00:00:00ZKikuchi, Nobuyoshi JosephMelancholy imagination in Ausias March and the Florentine NeoplatonistsMaingon, Louis Patrick A.https://hdl.handle.net/10023/153502019-04-01T09:04:04Z1982-01-01T00:00:00ZThis thesis focuses primarily on the work of the Valencian poet, Ausias March (1398 - 1459), who was revered by the first two generations of Petrarquistas in Golden Age Spain, and in particular by Juan Boscán and Garcilaso de la Vega. It has long been contended that the introduction of Ficinian Neoplatonism in Spain by Boscán's translation of Il Cortegiano, and Garcilaso's assimilation of Bembo's Petrarchism, represents a radical shift in sensibility, unprecedented in the Iberian peninsula. The object of this thesis is to demonstrate that because Ausias March is a Lullian poet who manifests an evangelical-Platonic sensibility, and is not a "troubadour attardé" as Amédée Pagès thought, the introduction of the Italianate fashion by Boscán and Garcilaso is not a radical departure from their earlier allegiance, but a development. The poetry of Ausias March is remarkable for its introspection. Consequently, the interpretation of his work must begin with an analysis of his use of the theory of imagination, which he inherited through the literary influence of the Chartrians and Victorines of the twelfth century, and, in particular, from Hughes de Saint Victor. The importance of introspection and imagination naturally entails the question of the extremes of melancholy, as it is understood in the mediaeval tradition of Aristotle's Problem XXX, i. After a survey of the role of melancholy imagination in Ausias March's poetry, the function of these two closely related concepts is analysed in Ficino's Commentarium in Convivium , Hebreo's Dialoghi, Bembo's Gli Asolani, and Castiglione's Il Cortegiano. This enables one to determine that the Florentine theory of love is not insulated from passion, as many literary critics imply. The dialectical relation of natural reason to Augustinian right reason evinces the extremes of imagination and melancholy, as either lunacy or divine rapture. These elements of Florentine Neoplatonism reveal a deep concern for the difficult relation of the body to the soul, and, ultimately, a conscious search for ascesis. These elements, which are common to Ausias March and the Florentine Neoplatonists, are an expression of the Augustinian doctrine of Charity. The common factor between Ausias March and the Florentines is the pseudo-Dionysian - Erigenian concept of beauty. The latter is fundamental to what M. D. Chenu has defined as the secular evangelical current in Europe. It is a sensibility based on a consciousness of the all-pervasive presence of grace in nature, which is articulated in the symbolic mentality of Christian Platonists. This aspect of Ausias March' Work is central to Chapter V. In order to avoid creating the impression that this interpretation of Ausias March's poetry is anachronical this chapter studies the significance of an important segment of this poet's imagery. This serves to contrast Ausias March's use of the pseudo- Dionysian - Erigenian concept of beauty and his consequent handling of the concepts of melancholy and imagination to that used by Andreas Capellanus. Finally, this analysis illustrates Ausias March's predominantly symbolic mentality, as well as his exceptional use of medical theory which distinguishes him from the vast majority of Spanish cancionero poets, and emphasizes his many points of affinity with the Florentine Neoplatonists.
1982-01-01T00:00:00ZMaingon, Louis Patrick A.This thesis focuses primarily on the work of the Valencian poet, Ausias March (1398 - 1459), who was revered by the first two generations of Petrarquistas in Golden Age Spain, and in particular by Juan Boscán and Garcilaso de la Vega. It has long been contended that the introduction of Ficinian Neoplatonism in Spain by Boscán's translation of Il Cortegiano, and Garcilaso's assimilation of Bembo's Petrarchism, represents a radical shift in sensibility, unprecedented in the Iberian peninsula. The object of this thesis is to demonstrate that because Ausias March is a Lullian poet who manifests an evangelical-Platonic sensibility, and is not a "troubadour attardé" as Amédée Pagès thought, the introduction of the Italianate fashion by Boscán and Garcilaso is not a radical departure from their earlier allegiance, but a development. The poetry of Ausias March is remarkable for its introspection. Consequently, the interpretation of his work must begin with an analysis of his use of the theory of imagination, which he inherited through the literary influence of the Chartrians and Victorines of the twelfth century, and, in particular, from Hughes de Saint Victor. The importance of introspection and imagination naturally entails the question of the extremes of melancholy, as it is understood in the mediaeval tradition of Aristotle's Problem XXX, i. After a survey of the role of melancholy imagination in Ausias March's poetry, the function of these two closely related concepts is analysed in Ficino's Commentarium in Convivium , Hebreo's Dialoghi, Bembo's Gli Asolani, and Castiglione's Il Cortegiano. This enables one to determine that the Florentine theory of love is not insulated from passion, as many literary critics imply. The dialectical relation of natural reason to Augustinian right reason evinces the extremes of imagination and melancholy, as either lunacy or divine rapture. These elements of Florentine Neoplatonism reveal a deep concern for the difficult relation of the body to the soul, and, ultimately, a conscious search for ascesis. These elements, which are common to Ausias March and the Florentine Neoplatonists, are an expression of the Augustinian doctrine of Charity. The common factor between Ausias March and the Florentines is the pseudo-Dionysian - Erigenian concept of beauty. The latter is fundamental to what M. D. Chenu has defined as the secular evangelical current in Europe. It is a sensibility based on a consciousness of the all-pervasive presence of grace in nature, which is articulated in the symbolic mentality of Christian Platonists. This aspect of Ausias March' Work is central to Chapter V. In order to avoid creating the impression that this interpretation of Ausias March's poetry is anachronical this chapter studies the significance of an important segment of this poet's imagery. This serves to contrast Ausias March's use of the pseudo- Dionysian - Erigenian concept of beauty and his consequent handling of the concepts of melancholy and imagination to that used by Andreas Capellanus. Finally, this analysis illustrates Ausias March's predominantly symbolic mentality, as well as his exceptional use of medical theory which distinguishes him from the vast majority of Spanish cancionero poets, and emphasizes his many points of affinity with the Florentine Neoplatonists.Rhetoric and the art of the French tragic actor (1620-1750) : the place of 'pronuntiatio' in the stage traditionGrear, Allison Patricia Sarah Lantsberryhttps://hdl.handle.net/10023/153482019-04-01T09:02:55Z1982-06-01T00:00:00ZIn seventeenth-century France a new type of theatre was established to correspond to the ideals and taste of the dominant social group. As part of the process a particular ideal was forged for the new-style actor. Moulded by classical writings on acting and actors which suggested that the; style of serious, cultured acting operated within the same aesthetic as that of oratorical delivery, this ideal similarly identified refined acting with principles of pronuntiatio and the bienséance acceptable in contemporary formal discourse As a result of this identification no separate art of acting was considered necessary in seventeenth-century France, the rules and principles of expression of emotion in oratorical delivery being accepted as valid for serious acting. It is to these rules and. principles therefore that recourse must be made if the style of seventeenth-century acting and the approach of the actor at this period are to be appreciated. Study of seventeenth-century French treatises on oratorical delivery indicates the extent to which expression of emotion was considered to require study and practise of basic principal which would enable the speaker to evoke a particular passion by appropriately moving tones and accompanying gesture, and yet at the same time remain within a socially-acceptable range. Interpretation of seventeenth-century writings Oil actors and acting in light of these principles highlights the declamatory nature of serious acting of this period. The actor was understood to approach his role with a view to representing and thus exciting passions through effective vocal variation and suitably decorous accompanying gesture (body-language). Attention was focused upon the actor's voice, upon his moving tones and cadences, and upon the grace with which he used his body to reinforce such emotional portrayal. During the eighteenth century this conception-of acting and the style it had produced were called into question. Acting began to evolve its own aesthetic, an aesthetic based upon impersonation of character through personal identification and experience of the effects of emotion in real life. Study of rules to regulate emotional expression and imitation of the best models were abandoned in favour of cultivation of artistic sensibility: recourse to the imagination and personal sensitivity. In the process emphasis shifted from the voice to non-linguistic ways of showing feeling on the stage, and gestural expression released itself from subjection to social bienséance and enriched its range and potential. Evidence of these trends as well as fidelity to or reaction against principles of bienséance may be traced in writings on acting and delivery of the first half of the eighteenth century. At the beginning of the century acting theory was still rooted in and patterned on the model of pronuntiatio. By 1750 it had established its worth as an independent art with principles more directly based upon the dramatic experience.
1982-06-01T00:00:00ZGrear, Allison Patricia Sarah LantsberryIn seventeenth-century France a new type of theatre was established to correspond to the ideals and taste of the dominant social group. As part of the process a particular ideal was forged for the new-style actor. Moulded by classical writings on acting and actors which suggested that the; style of serious, cultured acting operated within the same aesthetic as that of oratorical delivery, this ideal similarly identified refined acting with principles of pronuntiatio and the bienséance acceptable in contemporary formal discourse As a result of this identification no separate art of acting was considered necessary in seventeenth-century France, the rules and principles of expression of emotion in oratorical delivery being accepted as valid for serious acting. It is to these rules and. principles therefore that recourse must be made if the style of seventeenth-century acting and the approach of the actor at this period are to be appreciated. Study of seventeenth-century French treatises on oratorical delivery indicates the extent to which expression of emotion was considered to require study and practise of basic principal which would enable the speaker to evoke a particular passion by appropriately moving tones and accompanying gesture, and yet at the same time remain within a socially-acceptable range. Interpretation of seventeenth-century writings Oil actors and acting in light of these principles highlights the declamatory nature of serious acting of this period. The actor was understood to approach his role with a view to representing and thus exciting passions through effective vocal variation and suitably decorous accompanying gesture (body-language). Attention was focused upon the actor's voice, upon his moving tones and cadences, and upon the grace with which he used his body to reinforce such emotional portrayal. During the eighteenth century this conception-of acting and the style it had produced were called into question. Acting began to evolve its own aesthetic, an aesthetic based upon impersonation of character through personal identification and experience of the effects of emotion in real life. Study of rules to regulate emotional expression and imitation of the best models were abandoned in favour of cultivation of artistic sensibility: recourse to the imagination and personal sensitivity. In the process emphasis shifted from the voice to non-linguistic ways of showing feeling on the stage, and gestural expression released itself from subjection to social bienséance and enriched its range and potential. Evidence of these trends as well as fidelity to or reaction against principles of bienséance may be traced in writings on acting and delivery of the first half of the eighteenth century. At the beginning of the century acting theory was still rooted in and patterned on the model of pronuntiatio. By 1750 it had established its worth as an independent art with principles more directly based upon the dramatic experience.Aspects of the production and use of slang in the Spanish of Barranquilla, ColombiaMoss, Margaret Gillianhttps://hdl.handle.net/10023/153242019-04-01T09:04:45Z1980-01-01T00:00:00ZThe thesis presents a general analysis of the semantic processes involved in the production of slang in Barranquilla and of its use, particularly in relation to popular culture, socio-economic class and education. The relationship between slang and other areas of language is studied and the corpus presents 282 words and phrases accompanied by a detailed analysis of each item. Slang is a part of the vernacular, which is the most systematic area of language (cf, Labov) and due to its rapidly-changing nature, processes of semantic change which occur throughout the language can be seen in action in slang (cf, Bendezi Neyra, Guamieri, Hildebrandt, Jespersen, Niceforo, Trejo, etc.). The most important mechanism of slang production (66%) is found to be metaphor, which is analysed in detail as a dynamic process, and it is suggested that literal language and metaphor are two extremes of the same continuous process. Within metaphor, function is seen to be the most frequent motivation (64%), the expression of relations, activities and abstract concepts in concrete terms being one of the major uses of slang. Examination of this phenomenon shows the deficit theory (cf. Bernstein and, for general resumé, Dittmar) to be probably unjustified, Notwithstanding, a relationship between slang, socio-economic class and education is established in that working class people, with least formal education, are found to be the greatest producers and users of slang. As specifically vernacular lexicon, slang is an expression of the vernacular culture and its value systems. Relations between slang and culture are analysed on the level of individual items in the corpus and also in a more general and abstract sense in the way in which slang is seen to fulfil in urban society some of the functions of myth (cf. Levi-Strauss, Rosaldo). At the other end of the linguistic scale, comparison and contrast are also drawn between slang and poetry. Throughout the first nine chapters, detailed and numerical evidence is drawn from corpus. The corpus itself presents the meaning of each item, an example of its use, cross-references to many dictionaries in order to provide comparison with the standard and with other regional and non-standard varieties of Spanish, and analysis of the semantic process involved, its motivation, its effects, the reference of tenor and vehicle where applicable and the social distribution of the item. The appendix provides brief discussion of the influence of the mass media.
1980-01-01T00:00:00ZMoss, Margaret GillianThe thesis presents a general analysis of the semantic processes involved in the production of slang in Barranquilla and of its use, particularly in relation to popular culture, socio-economic class and education. The relationship between slang and other areas of language is studied and the corpus presents 282 words and phrases accompanied by a detailed analysis of each item. Slang is a part of the vernacular, which is the most systematic area of language (cf, Labov) and due to its rapidly-changing nature, processes of semantic change which occur throughout the language can be seen in action in slang (cf, Bendezi Neyra, Guamieri, Hildebrandt, Jespersen, Niceforo, Trejo, etc.). The most important mechanism of slang production (66%) is found to be metaphor, which is analysed in detail as a dynamic process, and it is suggested that literal language and metaphor are two extremes of the same continuous process. Within metaphor, function is seen to be the most frequent motivation (64%), the expression of relations, activities and abstract concepts in concrete terms being one of the major uses of slang. Examination of this phenomenon shows the deficit theory (cf. Bernstein and, for general resumé, Dittmar) to be probably unjustified, Notwithstanding, a relationship between slang, socio-economic class and education is established in that working class people, with least formal education, are found to be the greatest producers and users of slang. As specifically vernacular lexicon, slang is an expression of the vernacular culture and its value systems. Relations between slang and culture are analysed on the level of individual items in the corpus and also in a more general and abstract sense in the way in which slang is seen to fulfil in urban society some of the functions of myth (cf. Levi-Strauss, Rosaldo). At the other end of the linguistic scale, comparison and contrast are also drawn between slang and poetry. Throughout the first nine chapters, detailed and numerical evidence is drawn from corpus. The corpus itself presents the meaning of each item, an example of its use, cross-references to many dictionaries in order to provide comparison with the standard and with other regional and non-standard varieties of Spanish, and analysis of the semantic process involved, its motivation, its effects, the reference of tenor and vehicle where applicable and the social distribution of the item. The appendix provides brief discussion of the influence of the mass media.Where angels fear to tread : a tentative study of the language of prehistoric BasqueMacalister, Robin O.https://hdl.handle.net/10023/152612019-04-01T09:05:26Z1984-07-01T00:00:00ZThis work is an investigation into the possible age of part of the lexical content of the Basque language-today a linguistic isolate in the western Pyrenees. It examines firstly the chronological development of the various fanciful and contradictory theories as to the origins and antiquity of the Basques and their unique tongue with the aim of dismissing these ideas in favour of the prevalent local or Indigenista theory about their origins. Secondly, by combining linguistics and prehistory, with the archaeological and anthropological background of the region, this work endeavours to uncover possible traces of the pre-metal ages i.e. the Neolithic, Mesolithic and even further back, the Upper Palaeolithic in the roots of the present day vocabulary of Basque. Archaeologically, there is as yet no concrete evidence which would suggest any sizeable migration into the Franco-Cantabrian zone of foreign peoples who could have brought the Basque language or something of it with them and this is fundamental to the whole argument. As long as there is a lack of archaeological or anthropological proof of any new arrivals into the region strong enough both numerically and culturally to have been capable of imposing a new language onto the native Western Pyrenean people, then the idea that something of the various -lithic ages in the area could still remain embedded in the lower lexical strata of the Basque tongue today could possibly have some foundation. Admittedly, the immense time-span involved in this argument together with the absence of written records as regards prehistory constitute the main source of criticism of this theory yet the survival of the Basques and their language today testifies to their ability to absorb outside influences and still retain the basic character and structure of their pastoral society which itself is thought to date right back to the Neolithic Pyrenean Culture of the region.
1984-07-01T00:00:00ZMacalister, Robin O.This work is an investigation into the possible age of part of the lexical content of the Basque language-today a linguistic isolate in the western Pyrenees. It examines firstly the chronological development of the various fanciful and contradictory theories as to the origins and antiquity of the Basques and their unique tongue with the aim of dismissing these ideas in favour of the prevalent local or Indigenista theory about their origins. Secondly, by combining linguistics and prehistory, with the archaeological and anthropological background of the region, this work endeavours to uncover possible traces of the pre-metal ages i.e. the Neolithic, Mesolithic and even further back, the Upper Palaeolithic in the roots of the present day vocabulary of Basque. Archaeologically, there is as yet no concrete evidence which would suggest any sizeable migration into the Franco-Cantabrian zone of foreign peoples who could have brought the Basque language or something of it with them and this is fundamental to the whole argument. As long as there is a lack of archaeological or anthropological proof of any new arrivals into the region strong enough both numerically and culturally to have been capable of imposing a new language onto the native Western Pyrenean people, then the idea that something of the various -lithic ages in the area could still remain embedded in the lower lexical strata of the Basque tongue today could possibly have some foundation. Admittedly, the immense time-span involved in this argument together with the absence of written records as regards prehistory constitute the main source of criticism of this theory yet the survival of the Basques and their language today testifies to their ability to absorb outside influences and still retain the basic character and structure of their pastoral society which itself is thought to date right back to the Neolithic Pyrenean Culture of the region.Calderón's 'Arte nuevo' in the first act of 'El médico de su honra'Clifford, Johnhttps://hdl.handle.net/10023/152562019-04-01T09:04:51Z1983-07-01T00:00:00ZEl Medico de su Honra is one of Calderón's most controversial plays. Criticism in the past has largely concentrated on its imagery, its treatment of the honour theme, its portrayal of the King and its relationship to wider theories of tragedy. But very little work has "been done on the play as a piece of theatre; and this work is a preliminary attempt to redress the balance. Calderón was a working dramatist, one skilled and successful in his craft, writing plays that could be successfully staged, and so writing with the resources of his actors, the reactions and expectations of his audience very much in mind. This, too, is the basis of my approach. The complexity of the subject has led me to focus in my enquiries on the first act of the play; hut even so, the extraordinary richness of Calderón's dramatic gifts has meant that much has had to be left unsaid. The study begins with an examination of the way a play should begin. To get a play started is not as simple as it might appear; certain technical problems have to be solved, and the way in which the dramatist tackles them can give useful clues as to what he is trying to express. The opening scenes of this play - Enrique's fall from his horse, Mencía's dismay at his re-appearance in her life, Leonor's reception in audience with the King - on the one hand are simply devices for securing the audience's sympathy and attention, and for supplying the necessary information for comprehension of the play's plot. So they are studied as such; but at the same time they are considered as the means used by Calderón to examine issues such as the status of women, the dispensation of justice in ways that are relevant both to his time and to our own. By the end of the act it has become very clear that the methods used by Calderón to meet the elementary needs of his craft are also the ways that lead to the creation of a profound work of art.
1983-07-01T00:00:00ZClifford, JohnEl Medico de su Honra is one of Calderón's most controversial plays. Criticism in the past has largely concentrated on its imagery, its treatment of the honour theme, its portrayal of the King and its relationship to wider theories of tragedy. But very little work has "been done on the play as a piece of theatre; and this work is a preliminary attempt to redress the balance. Calderón was a working dramatist, one skilled and successful in his craft, writing plays that could be successfully staged, and so writing with the resources of his actors, the reactions and expectations of his audience very much in mind. This, too, is the basis of my approach. The complexity of the subject has led me to focus in my enquiries on the first act of the play; hut even so, the extraordinary richness of Calderón's dramatic gifts has meant that much has had to be left unsaid. The study begins with an examination of the way a play should begin. To get a play started is not as simple as it might appear; certain technical problems have to be solved, and the way in which the dramatist tackles them can give useful clues as to what he is trying to express. The opening scenes of this play - Enrique's fall from his horse, Mencía's dismay at his re-appearance in her life, Leonor's reception in audience with the King - on the one hand are simply devices for securing the audience's sympathy and attention, and for supplying the necessary information for comprehension of the play's plot. So they are studied as such; but at the same time they are considered as the means used by Calderón to examine issues such as the status of women, the dispensation of justice in ways that are relevant both to his time and to our own. By the end of the act it has become very clear that the methods used by Calderón to meet the elementary needs of his craft are also the ways that lead to the creation of a profound work of art.A study of the use of colour terms in the six major collections of short stories by Horacio QuirogaClaraso, Mercedeshttps://hdl.handle.net/10023/152502019-04-01T09:04:56Z1977-01-01T00:00:00ZThe thesis examines the use Horacio Quiroga makes of colour and pattern related to colour in the six main collections of his short stories. As no previous systematic study of any aspect of Quiroga's style appears to have been made, it was decided to list and examine in their context all references to colour (including objects and substance of a characteristic colour, as also references to light and dark). A spot check was made on five contemporary Latin American authors in order to ascertain whether the findings were in any way unusual, and it was found: 1. That colour and pattern are closely interconnected, and 2. that black and white play an overwhelmingly large part in Quiroga's use of colour. In Part III the findings are discussed, and reasons for the unusual features sought. Biophysicological factors may be involved in his black and white view of the world, and the very large number of references to glaring light can perhaps be explained along these lines. Quiroga's tendency to polarize, seen also in other aspects of his writing, is considered to be one of the reasons for the predominance of black and white in his colour references, while at the same time it seems clear from what Quiroga has written on the art of writing that he deliberately restricted his colour range for artistic reasons. This capacity to work within the limitations of monochrome links his work (as do other aspects) to the cinema of his day, in which he was intensely interested. Finally, in addition to yielding the above statistical information which throws new light on Quiroga the man and the artist, the study makes it abundantly clear that Quiroga was not, as is so frequently claimed, indifferent to matters of style, but rather that both in theory and in practice he gave much thought to this aspect of his craft.
1977-01-01T00:00:00ZClaraso, MercedesThe thesis examines the use Horacio Quiroga makes of colour and pattern related to colour in the six main collections of his short stories. As no previous systematic study of any aspect of Quiroga's style appears to have been made, it was decided to list and examine in their context all references to colour (including objects and substance of a characteristic colour, as also references to light and dark). A spot check was made on five contemporary Latin American authors in order to ascertain whether the findings were in any way unusual, and it was found: 1. That colour and pattern are closely interconnected, and 2. that black and white play an overwhelmingly large part in Quiroga's use of colour. In Part III the findings are discussed, and reasons for the unusual features sought. Biophysicological factors may be involved in his black and white view of the world, and the very large number of references to glaring light can perhaps be explained along these lines. Quiroga's tendency to polarize, seen also in other aspects of his writing, is considered to be one of the reasons for the predominance of black and white in his colour references, while at the same time it seems clear from what Quiroga has written on the art of writing that he deliberately restricted his colour range for artistic reasons. This capacity to work within the limitations of monochrome links his work (as do other aspects) to the cinema of his day, in which he was intensely interested. Finally, in addition to yielding the above statistical information which throws new light on Quiroga the man and the artist, the study makes it abundantly clear that Quiroga was not, as is so frequently claimed, indifferent to matters of style, but rather that both in theory and in practice he gave much thought to this aspect of his craft.So sprach daz Wip : women in dialogue with lover and court in Middle High German and Romance lyrics of the twelfth century and early thirteenth centuriesMallett, Yvonne A.https://hdl.handle.net/10023/152222019-04-01T09:03:41Z1989-07-01T00:00:00ZIt is the purpose of this thesis to study a representative group of Middle High German poems, complemented in places by relevant Romance examples, in order to examine the image and position of the woman as portrayed through her relationships with her lover and the listening public. The first chapter looks at the early dialogue-songs which are characterised by the fact that the lovers do not generally communicate directly, but only talk about each other. Their sexual aspirations remain unfulfilled because of social restrictions. The last part of the chapter introduces an answered dialogue which gives new insights into the relationship between the protagonists and the listening public. The second chapter concentrates primarily on Reinmar's and Walter's dialogue-songs. It establishes that the image of the woman in these poems is determined by the poets' own needs and aims. The third chapter approaches the question of the variation of the image of the woman through an inquiry into the dawn-song. While following the development of the position of the woman from the potentially tragic to the comic it also illuminates the relationship between the woman and the male figures who appear in this genre. The final chapter sets against this an inquiry into the position of women in crusading and parting songs. These poems are all prompted by real-life situations. It concludes with a discussion of the way in which the woman's status depends upon her lover, as well as a description of changing attitudes towards the crusading movement. The most important overall conclusion is that the image of the woman is far more varied than is generally thought and that this diversity depends on the interplay between real-life observation and subsequent poetical relationship.
1989-07-01T00:00:00ZMallett, Yvonne A.It is the purpose of this thesis to study a representative group of Middle High German poems, complemented in places by relevant Romance examples, in order to examine the image and position of the woman as portrayed through her relationships with her lover and the listening public. The first chapter looks at the early dialogue-songs which are characterised by the fact that the lovers do not generally communicate directly, but only talk about each other. Their sexual aspirations remain unfulfilled because of social restrictions. The last part of the chapter introduces an answered dialogue which gives new insights into the relationship between the protagonists and the listening public. The second chapter concentrates primarily on Reinmar's and Walter's dialogue-songs. It establishes that the image of the woman in these poems is determined by the poets' own needs and aims. The third chapter approaches the question of the variation of the image of the woman through an inquiry into the dawn-song. While following the development of the position of the woman from the potentially tragic to the comic it also illuminates the relationship between the woman and the male figures who appear in this genre. The final chapter sets against this an inquiry into the position of women in crusading and parting songs. These poems are all prompted by real-life situations. It concludes with a discussion of the way in which the woman's status depends upon her lover, as well as a description of changing attitudes towards the crusading movement. The most important overall conclusion is that the image of the woman is far more varied than is generally thought and that this diversity depends on the interplay between real-life observation and subsequent poetical relationship.Fact and fiction : representations of the Asturian Revolution (1934-1938)Sanchez, Sarahhttps://hdl.handle.net/10023/146562023-10-24T08:13:08Z2002-01-01T00:00:00ZThe purpose of this thesis is to study the literary response to the Asturian Revolution of October 1934. It will be shown that a distinct type of literature emerged reflecting the increasing political and social polarisation of Spanish society during the first decades of the twentieth century. Through a careful analysis of the texts published within four years of the Revolution, I will demonstrate how a set of writers, whether authors by profession, politicians, intellectuals, or workers, responded to the most important episode of working- class revolutionary action in Asturias before the Civil War. I will show that their aim was to not only record their experiences and thoughts on the events but also to guide and persuade their readers to adopt a particular political stand, often advocating revolutionary or counter-revolutionary action. These texts are examples of a trend set by intellectuals influenced by national and international political developments who sympathised with (and often openly militated in favour of) a political party line. This politically committed social literature displays a set of common features largely determined by the fact that the time span between the October Revolution and the writing of the works is short. The written responses are spontaneous as they were composed in the heat of the moment against a dramatic backdrop of revolutionary defeat and governmental repression. The texts in question are essentially documentary prose works in which the causes, course and outcome of the Revolution are narrated. By analysing the prose narrative works I will demonstrate that there is a gradual development in the literary characteristics of the texts, and that one group in particular deserves to be classified as 'non-fictional novels'. This term highlights the contrasting documentary and fictional nature of these novels, conditioned by a change in the concept of literature and its purpose, which was in turn prompted by the political and social situation facing Spanish society at the time.
2002-01-01T00:00:00ZSanchez, SarahThe purpose of this thesis is to study the literary response to the Asturian Revolution of October 1934. It will be shown that a distinct type of literature emerged reflecting the increasing political and social polarisation of Spanish society during the first decades of the twentieth century. Through a careful analysis of the texts published within four years of the Revolution, I will demonstrate how a set of writers, whether authors by profession, politicians, intellectuals, or workers, responded to the most important episode of working- class revolutionary action in Asturias before the Civil War. I will show that their aim was to not only record their experiences and thoughts on the events but also to guide and persuade their readers to adopt a particular political stand, often advocating revolutionary or counter-revolutionary action. These texts are examples of a trend set by intellectuals influenced by national and international political developments who sympathised with (and often openly militated in favour of) a political party line. This politically committed social literature displays a set of common features largely determined by the fact that the time span between the October Revolution and the writing of the works is short. The written responses are spontaneous as they were composed in the heat of the moment against a dramatic backdrop of revolutionary defeat and governmental repression. The texts in question are essentially documentary prose works in which the causes, course and outcome of the Revolution are narrated. By analysing the prose narrative works I will demonstrate that there is a gradual development in the literary characteristics of the texts, and that one group in particular deserves to be classified as 'non-fictional novels'. This term highlights the contrasting documentary and fictional nature of these novels, conditioned by a change in the concept of literature and its purpose, which was in turn prompted by the political and social situation facing Spanish society at the time.Writers in the service of revolution : Russia's ideological and literary impact on Spanish poetry and prose, 1925-36Fasey, Rosemary J.https://hdl.handle.net/10023/146552019-04-01T09:05:24Z2003-01-01T00:00:00ZThis thesis is a comparative literary study which is conducted by placing the reception of Russian literature in Spain during the period 1918-36 within the context of the interplay of literature and the social and political situations in which it is written. It first places the boom in the publication of Russian literature in the late 1920s and 1930s within the context of the history of the reception of Russian literature in Spain, providing a comprehensive survey of that history. Next, it describes the impact of the Russian Revolution and the formative years of the Soviet Socialist state on the political situation in pre-Civil War Spain, including the ideological links between the political situations of both countries. In pre-Civil War Spain, the revolutionary atmosphere changed the mood, subject matter and style of literature, and certain writers, recognizing their civic duty, began to produce literature that had a socially critical and didactic role. During that period, given the political context and the development of politically committed literature, Spanish intellectuals and artists of a Marxist persuasion derived incentive from their Russian counterparts. Russian literature has traditionally been the forum for social criticism, and has had a profoundly revolutionary dimension. Pre-revolutionary writers such as Dostoevsky and Andreev have been perceived by outsiders as revolutionary writers, and, in that capacity, have enjoyed great popularity abroad, including Spain. In the Soviet era, Mayakovsky was often considered to be the "Poet of the Revolution", and Gorky was the chief spokesman in the promotion of socialist ideals in literature in the twenty years following the Revolution. In Spanish pre-Civil War fiction, both the social novel and poetry were instrumental in conveying overtly Marxist messages. The thesis concludes with a comprehensive study about certain Spanish writers and their works, in the domains of poetry and the novel, specifically seeking evidence of the impact of the literature and ideology which was emanating from Russia in the first third of the twentieth century.
2003-01-01T00:00:00ZFasey, Rosemary J.This thesis is a comparative literary study which is conducted by placing the reception of Russian literature in Spain during the period 1918-36 within the context of the interplay of literature and the social and political situations in which it is written. It first places the boom in the publication of Russian literature in the late 1920s and 1930s within the context of the history of the reception of Russian literature in Spain, providing a comprehensive survey of that history. Next, it describes the impact of the Russian Revolution and the formative years of the Soviet Socialist state on the political situation in pre-Civil War Spain, including the ideological links between the political situations of both countries. In pre-Civil War Spain, the revolutionary atmosphere changed the mood, subject matter and style of literature, and certain writers, recognizing their civic duty, began to produce literature that had a socially critical and didactic role. During that period, given the political context and the development of politically committed literature, Spanish intellectuals and artists of a Marxist persuasion derived incentive from their Russian counterparts. Russian literature has traditionally been the forum for social criticism, and has had a profoundly revolutionary dimension. Pre-revolutionary writers such as Dostoevsky and Andreev have been perceived by outsiders as revolutionary writers, and, in that capacity, have enjoyed great popularity abroad, including Spain. In the Soviet era, Mayakovsky was often considered to be the "Poet of the Revolution", and Gorky was the chief spokesman in the promotion of socialist ideals in literature in the twenty years following the Revolution. In Spanish pre-Civil War fiction, both the social novel and poetry were instrumental in conveying overtly Marxist messages. The thesis concludes with a comprehensive study about certain Spanish writers and their works, in the domains of poetry and the novel, specifically seeking evidence of the impact of the literature and ideology which was emanating from Russia in the first third of the twentieth century.Images of adultery in twelfth and thirteenth-century Old French literatureHarper, Aprilhttps://hdl.handle.net/10023/146542019-04-01T09:03:23Z2003-01-01T00:00:00ZThis thesis examines literary images of masculinity and femininity, their function and depiction in marriage roles and homo-social relationships in the context of crisis: wifely adultery. The study is heavily reliant upon vernacular texts, especially Old French works from the twelfth and thirteenth century including works from the genres of romance, lais, fables, and fabliaux. Latin works including historia and prescriptive texts such as customaries, penitentials, etiquette texts and medical and canon law treatises are also used to contextualise themes in the Old French literature. The introduction summarises modern literary and historical criticism concerning sexuality in the Middle Ages. It then discusses the influences of the Church, philosophy, medicine, natural theory and society on medieval definitions of sexuality to contextualise the literature which is focal to this thesis. The following four chapters each consider a single character in the adulterous affair: the adulteress, the husband, the lover and the accuser. The literary images of each character are analysed in detail revealing the diversity of depictions between and also within genres. This enables the identification of medieval sexual constructs, challenging some previous critiques of representations of sexuality in the Middle Ages. The final chapter explores the language by which the sexual act is presented. Furthermore, it shows how language is used and occasionally abused in committing, prosecuting and evading punishment for adultery and how it can be wielded as a weapon of women. Through the focus of a body of literature rich in depictions of sexuality, this thesis questions the misogynist overtones often attributed to medieval literature. The diversity of images shows that the literature illustrates a wide range of opinions and ideas reflective of the complexity of sexuality in medieval society.
2003-01-01T00:00:00ZHarper, AprilThis thesis examines literary images of masculinity and femininity, their function and depiction in marriage roles and homo-social relationships in the context of crisis: wifely adultery. The study is heavily reliant upon vernacular texts, especially Old French works from the twelfth and thirteenth century including works from the genres of romance, lais, fables, and fabliaux. Latin works including historia and prescriptive texts such as customaries, penitentials, etiquette texts and medical and canon law treatises are also used to contextualise themes in the Old French literature. The introduction summarises modern literary and historical criticism concerning sexuality in the Middle Ages. It then discusses the influences of the Church, philosophy, medicine, natural theory and society on medieval definitions of sexuality to contextualise the literature which is focal to this thesis. The following four chapters each consider a single character in the adulterous affair: the adulteress, the husband, the lover and the accuser. The literary images of each character are analysed in detail revealing the diversity of depictions between and also within genres. This enables the identification of medieval sexual constructs, challenging some previous critiques of representations of sexuality in the Middle Ages. The final chapter explores the language by which the sexual act is presented. Furthermore, it shows how language is used and occasionally abused in committing, prosecuting and evading punishment for adultery and how it can be wielded as a weapon of women. Through the focus of a body of literature rich in depictions of sexuality, this thesis questions the misogynist overtones often attributed to medieval literature. The diversity of images shows that the literature illustrates a wide range of opinions and ideas reflective of the complexity of sexuality in medieval society.Bildung and initiation : interpreting German and American narrative traditionsBatista, Miguelhttps://hdl.handle.net/10023/146162019-04-01T09:03:33Z2003-01-01T00:00:00ZThis thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.
2003-01-01T00:00:00ZBatista, MiguelThis thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.Corsican language status and speaker attitudes - minority language education, polynomia and distanciationBlackwood, Robert J.https://hdl.handle.net/10023/146082023-01-30T11:29:30Z2002-01-01T00:00:00ZAn interesting language contact situation exists on the French island of Corsica, where French is the official national language but where Corsican, the island's minority language, is also in use and where Tuscan Italian, a previous official language, continues to exert a certain influence. The Corsican language is a cause espoused by the nationalist movements on the island, some of whom resort to violence and terrorism to force the government in Paris to address issues relating to the administration of Corsica. The extension of the Corsican language features amongst the demands made by the nationalists, who use the language in their high- profile campaigns. However, the Corsican language is not widely heard across the island, where no Corsican monolinguals are left alive and where French is the lingua franca. Whilst French is the language of communication, support for the Corsican language appears to be strong. This Thesis seeks to gauge the opinions of islanders, both corsophone and non-corsophone, to the language and its use. Of particular interest currently is the debate surrounding compulsory Corsican language classes for school children, and the attitudes of Corsicans to this question is addressed in this project. At the island's university in Corte, a number of academics, language activists and some politicians are engaged in work on the language, proposing a polynomic model for Corsican to extend the use of the language. Others are devoting time to differentiating the language from French, in an attempt to refine a 'purer' Corsican. This Thesis assesses the attitudes of islanders to these questions in order to provide an overview of the language situation on Corsica and to draw together proposals for those seeking to reverse the language shift to French.
2002-01-01T00:00:00ZBlackwood, Robert J.An interesting language contact situation exists on the French island of Corsica, where French is the official national language but where Corsican, the island's minority language, is also in use and where Tuscan Italian, a previous official language, continues to exert a certain influence. The Corsican language is a cause espoused by the nationalist movements on the island, some of whom resort to violence and terrorism to force the government in Paris to address issues relating to the administration of Corsica. The extension of the Corsican language features amongst the demands made by the nationalists, who use the language in their high- profile campaigns. However, the Corsican language is not widely heard across the island, where no Corsican monolinguals are left alive and where French is the lingua franca. Whilst French is the language of communication, support for the Corsican language appears to be strong. This Thesis seeks to gauge the opinions of islanders, both corsophone and non-corsophone, to the language and its use. Of particular interest currently is the debate surrounding compulsory Corsican language classes for school children, and the attitudes of Corsicans to this question is addressed in this project. At the island's university in Corte, a number of academics, language activists and some politicians are engaged in work on the language, proposing a polynomic model for Corsican to extend the use of the language. Others are devoting time to differentiating the language from French, in an attempt to refine a 'purer' Corsican. This Thesis assesses the attitudes of islanders to these questions in order to provide an overview of the language situation on Corsica and to draw together proposals for those seeking to reverse the language shift to French.The origins of Slavonic : language contact and language change in ancient eastern Europe and western EurasiaBrackney, Noel C.https://hdl.handle.net/10023/145392019-04-01T09:05:30Z2004-01-01T00:00:00ZThis thesis attempts to analyze the causes and mechanisms of the dissolution of the language ancestral to the modern Slavonic languages. Recent advances in the field of archaeology have cast traditional theories of the Indo-Europeanization of Europe into doubt; specifically, consensus has been growing that the Indo-European languages arrived in Europe several millennia earlier than previously thought, accompanying the introduction of agriculture into Anatolia, the Aegean, and the Balkan peninsula at the end of the Neolithic period. This stands in contrast to the conventional premise that Proto-Indo-European was introduced during the Bronze Age by nomadic tribes from the steppes north of the Caucasus mountains. Acceptance of the former model requires significant adjustment in the chronology of the break-up of Indo-European unity. In addition, it necessitates the adjustment of current theories of the origin and spread of change within a language. We have attempted to address this issue by the proposal of a framework of language evolution incorporating the Utterance-Based Theory of Selection and the Punctuated Equilibrium Model. Both of these models rely on research in the field of sociolinguistics, and stress the role of external factors in the development of languages. Our tentative conclusion was that there exists a concrete and dynamic relationship between catastrophic historical events and episodes of profound change in the structure of a language. The body of this thesis is composed of historical, archaeological, and linguistic evidence, which substantiates this claim.
2004-01-01T00:00:00ZBrackney, Noel C.This thesis attempts to analyze the causes and mechanisms of the dissolution of the language ancestral to the modern Slavonic languages. Recent advances in the field of archaeology have cast traditional theories of the Indo-Europeanization of Europe into doubt; specifically, consensus has been growing that the Indo-European languages arrived in Europe several millennia earlier than previously thought, accompanying the introduction of agriculture into Anatolia, the Aegean, and the Balkan peninsula at the end of the Neolithic period. This stands in contrast to the conventional premise that Proto-Indo-European was introduced during the Bronze Age by nomadic tribes from the steppes north of the Caucasus mountains. Acceptance of the former model requires significant adjustment in the chronology of the break-up of Indo-European unity. In addition, it necessitates the adjustment of current theories of the origin and spread of change within a language. We have attempted to address this issue by the proposal of a framework of language evolution incorporating the Utterance-Based Theory of Selection and the Punctuated Equilibrium Model. Both of these models rely on research in the field of sociolinguistics, and stress the role of external factors in the development of languages. Our tentative conclusion was that there exists a concrete and dynamic relationship between catastrophic historical events and episodes of profound change in the structure of a language. The body of this thesis is composed of historical, archaeological, and linguistic evidence, which substantiates this claim.Idioms with a viable literal interpretation in German advertisementsMcKenna, Jenniferhttps://hdl.handle.net/10023/145372019-04-01T09:03:47Z2004-01-01T00:00:00ZAn idiom is a set phrase which is relatively syntactically and semantically fixed, and which produces striking stylistic and rhetorical effects. Advertising is a discourse type which is particularly rich in idioms: around half of all the German advertisements examined from Stern magazine and the RTL television channel contain at least one idiom. The idioms tend to occur in prominent, emphatic textual positions, and approximately half of the idioms which appear are modified in some way. The modifications typically produce deliberately creative effects, suggesting that idioms are not as invariable as has previously been thought. The most common type of idiom incorporated into German advertisements are idioms with not only the definitive figurative interpretation, but also a lexically, syntactically, and semantically feasible literal interpretation. These idioms are consequently referred to in this dissertation as "idioms with a viable literal interpretation" (abbreviated to "VLI idioms" in the text). Their literal sense tends to evoke strong mental imagery, which makes them a useful device for the visually restricted print medium in particular: approximately 42% of all the idioms in the magazine advertisements examined (as opposed to around 16% of all the idioms in the television advertisements) are VLI idioms. It is the uniformity of the mental imagery evoked by VLI idioms which highlights the fact that, contrary to traditional thinking, idioms are conceptual rather than linguistic in nature. Indeed, an idiom may be defined as the linguistic expression of general conceptual metaphors. The viable literal meaning of VLI idioms also makes them ideally suited to modification: around 70% of the VLI idioms in the magazine advertisements, and just over 88% of the VLI idioms in the television advertisements, are modified in some way. Nearly all of these modifications involve punning on the idiom's literal sense by means of the idiom's co-text and/or the advertisement's visual element. In short, linguists have hitherto underestimated the ubiquity and significance of idioms, especially with regard to the frequency with which they are modified. VLI idioms in particular are an important - but thus far overlooked - feature of German magazine and television advertisements.
2004-01-01T00:00:00ZMcKenna, JenniferAn idiom is a set phrase which is relatively syntactically and semantically fixed, and which produces striking stylistic and rhetorical effects. Advertising is a discourse type which is particularly rich in idioms: around half of all the German advertisements examined from Stern magazine and the RTL television channel contain at least one idiom. The idioms tend to occur in prominent, emphatic textual positions, and approximately half of the idioms which appear are modified in some way. The modifications typically produce deliberately creative effects, suggesting that idioms are not as invariable as has previously been thought. The most common type of idiom incorporated into German advertisements are idioms with not only the definitive figurative interpretation, but also a lexically, syntactically, and semantically feasible literal interpretation. These idioms are consequently referred to in this dissertation as "idioms with a viable literal interpretation" (abbreviated to "VLI idioms" in the text). Their literal sense tends to evoke strong mental imagery, which makes them a useful device for the visually restricted print medium in particular: approximately 42% of all the idioms in the magazine advertisements examined (as opposed to around 16% of all the idioms in the television advertisements) are VLI idioms. It is the uniformity of the mental imagery evoked by VLI idioms which highlights the fact that, contrary to traditional thinking, idioms are conceptual rather than linguistic in nature. Indeed, an idiom may be defined as the linguistic expression of general conceptual metaphors. The viable literal meaning of VLI idioms also makes them ideally suited to modification: around 70% of the VLI idioms in the magazine advertisements, and just over 88% of the VLI idioms in the television advertisements, are modified in some way. Nearly all of these modifications involve punning on the idiom's literal sense by means of the idiom's co-text and/or the advertisement's visual element. In short, linguists have hitherto underestimated the ubiquity and significance of idioms, especially with regard to the frequency with which they are modified. VLI idioms in particular are an important - but thus far overlooked - feature of German magazine and television advertisements.Language policy in education and ethnic relations in Catalonia, (1993-96)Miller, Katehttps://hdl.handle.net/10023/145202019-04-01T09:04:57Z2001-01-01T00:00:00ZThis thesis is the result of research into the impact on the population of Catalonia of Catalan normalisation policies ('normalisation' in this context refers to the Catalan Government's intention to return Catalan to its rightful place as Catalonia's own language) in education in terms of language behaviour and ethnic relations. Chapter one focuses on the concepts of Bilingualism and Diglossia and how they have been employed in the Catalan context. Chapter two is a review of the relevant literature related to the Catalan situation. Chapter three is a narrative account of the political context of the period under study. Chapter four describes the methodologies and the results obtained from the fieldwork. Chapter five summarises the contributions of the preceding chapters, clarifies the grounded theory generated by this research project and draws conclusions. The theory and methods used to investigate this topic are drawn from sociolinguistics and psycholinguistics, sociology and social anthropology, resulting in a multidisciplinary approach to the material. The wider political context of the Spanish state as a whole is thought to be a crucial factor to be considered in the investigation of ethnic relations within the autonomous region of Catalonia. The relationship between the central state and the region of Catalonia as history has unfolded has had its impact on the modern context of democracy and autonomy. The language attitudes and relations between members of the ethnolinguistic groups in Catalonia are a product of struggles and experiences that have been shared over generations. The fieldwork for this thesis was carried out primarily in Igualada at the beginning of 1993, shortly after the general election when the Socialists lost their overall majority. The research methodologies were qualitative in nature and consisted of: a report on newspaper debates and public discourse concerning the political context of the implementation of language policy. Private discourses were researched by interviews with teachers, pupils and parents associated with the three secondary schools in Igualada, observation of linguistic interaction both in the school environment and in a variety of social contexts, and participation observation of everyday life. The results and conclusions include a discussion of the evidence that the power relationship between the Castilian and Catalan ethnolinguistic groups is of importance to the success enjoyed by policies aimed at the 'normalisation' of the Catalan language. However, it is pointed out that, far from being stable or predictable, the situation of language and ethnic competition is changing and dynamic.
2001-01-01T00:00:00ZMiller, KateThis thesis is the result of research into the impact on the population of Catalonia of Catalan normalisation policies ('normalisation' in this context refers to the Catalan Government's intention to return Catalan to its rightful place as Catalonia's own language) in education in terms of language behaviour and ethnic relations. Chapter one focuses on the concepts of Bilingualism and Diglossia and how they have been employed in the Catalan context. Chapter two is a review of the relevant literature related to the Catalan situation. Chapter three is a narrative account of the political context of the period under study. Chapter four describes the methodologies and the results obtained from the fieldwork. Chapter five summarises the contributions of the preceding chapters, clarifies the grounded theory generated by this research project and draws conclusions. The theory and methods used to investigate this topic are drawn from sociolinguistics and psycholinguistics, sociology and social anthropology, resulting in a multidisciplinary approach to the material. The wider political context of the Spanish state as a whole is thought to be a crucial factor to be considered in the investigation of ethnic relations within the autonomous region of Catalonia. The relationship between the central state and the region of Catalonia as history has unfolded has had its impact on the modern context of democracy and autonomy. The language attitudes and relations between members of the ethnolinguistic groups in Catalonia are a product of struggles and experiences that have been shared over generations. The fieldwork for this thesis was carried out primarily in Igualada at the beginning of 1993, shortly after the general election when the Socialists lost their overall majority. The research methodologies were qualitative in nature and consisted of: a report on newspaper debates and public discourse concerning the political context of the implementation of language policy. Private discourses were researched by interviews with teachers, pupils and parents associated with the three secondary schools in Igualada, observation of linguistic interaction both in the school environment and in a variety of social contexts, and participation observation of everyday life. The results and conclusions include a discussion of the evidence that the power relationship between the Castilian and Catalan ethnolinguistic groups is of importance to the success enjoyed by policies aimed at the 'normalisation' of the Catalan language. However, it is pointed out that, far from being stable or predictable, the situation of language and ethnic competition is changing and dynamic.Cinema plays history : National Socialism and the Holocaust in counterfactual historical films of the twenty-first centuryMelchers, Alma Louise Sophiahttps://hdl.handle.net/10023/143402018-12-13T15:27:20Z2018-06-28T00:00:00ZInspired by 2009 pastiche 'Inglourious Basterds' (US/DE), my research presents counterfactual historical film, firstly, as a marginalised type of film: the 2000s and 2010s have seen an abundance of overtly fictional films which do not intend to represent the past but nonetheless playfully refer to imageries of National Socialist and Holocaust history. These films have so far been neglected by historical film studies which, despite a consensus not to judge films according to their factual accuracy, tend to focus on genres close to historiography.
My research considers as historical films the counterfactual parodies 'Churchill: The Hollywood Years' (GB 2004) and 'Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler' (DE 2007), as well as 'Inglourious Basterds' and, in a brief conclusion, Nazi zombie films. In this sense, counterfactual historical film is, secondly, a research approach which suggests reconfiguring academic definitions of the field of history and film and historical film. Assuming that historical film never visualises past reality but engages with a history that is always already medialised, I propose that the above films despite their counterfactual plots embark on a visual historical discourse, and what is more reflect upon cinema and history in their own enlightening ways.
My analyses show how twenty-first century counterfactual historical films revise Nazi and Holocaust visual history, and how they describe National Socialist history as visually constructed and historical Nazism as an eclectic amalgamation drawing on fictional as well as factual media sources. In regard to the present, they explore tensions between popular and academic culture through the dissolving binaries of fiction film and historiographical fact, and propose to recognise the reciprocity of media representation and actual past as an object of research in its own right.
My research demonstrates the value of cinema’s playful engagement with history as a potential contribution to the theory and practise of historical film studies.
2018-06-28T00:00:00ZMelchers, Alma Louise SophiaInspired by 2009 pastiche 'Inglourious Basterds' (US/DE), my research presents counterfactual historical film, firstly, as a marginalised type of film: the 2000s and 2010s have seen an abundance of overtly fictional films which do not intend to represent the past but nonetheless playfully refer to imageries of National Socialist and Holocaust history. These films have so far been neglected by historical film studies which, despite a consensus not to judge films according to their factual accuracy, tend to focus on genres close to historiography.
My research considers as historical films the counterfactual parodies 'Churchill: The Hollywood Years' (GB 2004) and 'Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler' (DE 2007), as well as 'Inglourious Basterds' and, in a brief conclusion, Nazi zombie films. In this sense, counterfactual historical film is, secondly, a research approach which suggests reconfiguring academic definitions of the field of history and film and historical film. Assuming that historical film never visualises past reality but engages with a history that is always already medialised, I propose that the above films despite their counterfactual plots embark on a visual historical discourse, and what is more reflect upon cinema and history in their own enlightening ways.
My analyses show how twenty-first century counterfactual historical films revise Nazi and Holocaust visual history, and how they describe National Socialist history as visually constructed and historical Nazism as an eclectic amalgamation drawing on fictional as well as factual media sources. In regard to the present, they explore tensions between popular and academic culture through the dissolving binaries of fiction film and historiographical fact, and propose to recognise the reciprocity of media representation and actual past as an object of research in its own right.
My research demonstrates the value of cinema’s playful engagement with history as a potential contribution to the theory and practise of historical film studies.Literary, political and historical approaches to Virgil's Aeneid in early modern FranceKay, Simon Michael Gorniakhttps://hdl.handle.net/10023/138372023-12-15T03:08:34Z2018-06-28T00:00:00ZThis thesis examines the increasing sophistication of sixteenth-century French literary engagement with Virgil’s Aeneid. It argues that successive forms of engagement with the Aeneid should be viewed as a single process that gradually adopts increasingly complex literary strategies. It does this through a series of four different forms of literary engagement with the Aeneid: translation, continuation, rejection and reconciliation. The increasing sophistication of these forms reflects the writers’ desire to interact with the original Aeneid as political epic and Roman foundation narrative, and with the political, religious and literary contexts of early modern France. The first chapter compares the methods of and motivations behind all of the sixteenth-century translations of the Aeneid into French; it thus demonstrates shifts in successive translators’ interpretations of Virgil’s work, and of its application to sixteenth-century France. The next three chapters each analyse adaptation of Virgil’s poem in a major French literary work. Firstly, Ronsard’s Franciade is analysed as an example of French foundation epic that simultaneously draws upon and rejects Virgil’s narrative. Ronsard’s poem is read in the light of Mapheo Vegio’s “Thirteenth Book” of the Aeneid, or Supplementum, which continues Virgil’s narrative and carries it over into a Christian context. Next, Agrippa d’Aubigné’s response to Virgilian epic in Les Tragiques is shown to have been mediated by Lucan’s Pharsalia and its anti- epic and anti-imperialist interpretation of the Aeneid. D’Aubigné’s inversion of Virgil is highlighted through comparison of attitudes to death and resurrection in Les Tragiques, the Aeneid and Vegio’s Antoniad. Finally, Guillaume de Salluste du Bartas’ combination, in La Sepmaine and La Seconde Sepmaine of the hexameral structure of Genesis with Virgil’s narrative of reconciliation after civil war is shown to represent the most sophisticated understanding of and most complex interaction with the Aeneid in sixteenth-century France.
2018-06-28T00:00:00ZKay, Simon Michael GorniakThis thesis examines the increasing sophistication of sixteenth-century French literary engagement with Virgil’s Aeneid. It argues that successive forms of engagement with the Aeneid should be viewed as a single process that gradually adopts increasingly complex literary strategies. It does this through a series of four different forms of literary engagement with the Aeneid: translation, continuation, rejection and reconciliation. The increasing sophistication of these forms reflects the writers’ desire to interact with the original Aeneid as political epic and Roman foundation narrative, and with the political, religious and literary contexts of early modern France. The first chapter compares the methods of and motivations behind all of the sixteenth-century translations of the Aeneid into French; it thus demonstrates shifts in successive translators’ interpretations of Virgil’s work, and of its application to sixteenth-century France. The next three chapters each analyse adaptation of Virgil’s poem in a major French literary work. Firstly, Ronsard’s Franciade is analysed as an example of French foundation epic that simultaneously draws upon and rejects Virgil’s narrative. Ronsard’s poem is read in the light of Mapheo Vegio’s “Thirteenth Book” of the Aeneid, or Supplementum, which continues Virgil’s narrative and carries it over into a Christian context. Next, Agrippa d’Aubigné’s response to Virgilian epic in Les Tragiques is shown to have been mediated by Lucan’s Pharsalia and its anti- epic and anti-imperialist interpretation of the Aeneid. D’Aubigné’s inversion of Virgil is highlighted through comparison of attitudes to death and resurrection in Les Tragiques, the Aeneid and Vegio’s Antoniad. Finally, Guillaume de Salluste du Bartas’ combination, in La Sepmaine and La Seconde Sepmaine of the hexameral structure of Genesis with Virgil’s narrative of reconciliation after civil war is shown to represent the most sophisticated understanding of and most complex interaction with the Aeneid in sixteenth-century France.The politics of opera under Louis XIV : dissident descendants in the third reignPrest, Juliahttps://hdl.handle.net/10023/136772023-07-24T14:30:35Z2016-12-01T00:00:00Z2016-12-01T00:00:00ZPrest, JuliaEtude sur Le Miroir, ou Les Evangiles des domees de Robert de GrethamAitken, Marion Y. H.https://hdl.handle.net/10023/136212019-04-01T09:03:23Z1922-01-01T00:00:00Z1922-01-01T00:00:00ZAitken, Marion Y. H.Methodological issues raised by translating Paul Éluard's Les sept poèmes d'amour en guerreBotly, Michael Edwardhttps://hdl.handle.net/10023/135102020-11-26T03:07:21Z1997-06-01T00:00:00ZWithin the general field of translation studies, the translation of poetry has perhaps led to more discussion than any other single topic, as well as to a very wide and diverse range of translation approaches and strategies. However, it often seems that the more extreme of these approaches have been defined with greater clarity than the unsystematic, compromise approaches adopted in practice by most translators. This thesis examines a translation 'middle ground', proposing an approach to the translation of poetry which considers textual elements of content and expression not in isolation from one another but rather in terms of their functional interaction in the overall effect of both source- and target-text, aiming in this way to minimise translation loss in the translation of any given poetic source-text. This approach is developed and demonstrated in a practical way, through an examination of the translation of Paul Éluard's Les sept poèmes d'amour en guerre. Following the most comprehensive study of the seven-poem series yet undertaken, the thesis examines in detail two published translations of the series, analysing the strengths and weaknesses of the approach adopted by each translator. This then leads on to the practical application of this information, in the production and analysis of a new translation of the series using the 'middle ground' approach to translation advocated by the thesis. The appendices to the thesis include an alphabetic directory of published English-language translations of Éluard poems.
The electronic copy of this thesis des not contain appendices 2 and 3
1997-06-01T00:00:00ZBotly, Michael EdwardWithin the general field of translation studies, the translation of poetry has perhaps led to more discussion than any other single topic, as well as to a very wide and diverse range of translation approaches and strategies. However, it often seems that the more extreme of these approaches have been defined with greater clarity than the unsystematic, compromise approaches adopted in practice by most translators. This thesis examines a translation 'middle ground', proposing an approach to the translation of poetry which considers textual elements of content and expression not in isolation from one another but rather in terms of their functional interaction in the overall effect of both source- and target-text, aiming in this way to minimise translation loss in the translation of any given poetic source-text. This approach is developed and demonstrated in a practical way, through an examination of the translation of Paul Éluard's Les sept poèmes d'amour en guerre. Following the most comprehensive study of the seven-poem series yet undertaken, the thesis examines in detail two published translations of the series, analysing the strengths and weaknesses of the approach adopted by each translator. This then leads on to the practical application of this information, in the production and analysis of a new translation of the series using the 'middle ground' approach to translation advocated by the thesis. The appendices to the thesis include an alphabetic directory of published English-language translations of Éluard poems.Forms of social and personal fulfilment and non-fulfilment in the Old French narrative laisLow, Alison Maryhttps://hdl.handle.net/10023/134592019-04-01T09:02:39Z1987-07-01T00:00:00ZThe Old French narrative lais offer an image of the individual in terms of both social and personal relationships. This study considers the extent to which it is possible to derive definitions of forms of social and personal fulfilment and non-fulfilment from these texts. As well as being presented in isolation, they are shown in interaction; there can never be a total divorce of the personal desires of the individual from his/her rights and obligations in society. These two aspects of human existence - love and society - appear in the lais in a state of balance or imbalance. Even in those lais in which the characters themselves do not achieve a balance of social and personal fulfilment, the image of the ideal emerges. Consummate fulfilment in a relationship - be it feudal, familial, sexual - necessarily involves a fusion of social suitability and personal commitment. In his/her aspirations to and/or success in fulfilment, the individual appears variously in these texts both as a pawn of the forces of society or destiny and as endowed with the power to earn his/her own happiness. The degree of importance that the interaction between love and society has in the lais is, in particular, indicated through the extent to which these patterns of interaction define the patterns of narrative structure. From this study, conclusions can be drawn as to the historical reality of the individual in twelfth-century noble society in France; the lais offering a reflection of that society, of which they are a product, and also an expression of its ideals, which allow for the very real obstacles to a fusion of social and personal fulfilment to be overcome.
1987-07-01T00:00:00ZLow, Alison MaryThe Old French narrative lais offer an image of the individual in terms of both social and personal relationships. This study considers the extent to which it is possible to derive definitions of forms of social and personal fulfilment and non-fulfilment from these texts. As well as being presented in isolation, they are shown in interaction; there can never be a total divorce of the personal desires of the individual from his/her rights and obligations in society. These two aspects of human existence - love and society - appear in the lais in a state of balance or imbalance. Even in those lais in which the characters themselves do not achieve a balance of social and personal fulfilment, the image of the ideal emerges. Consummate fulfilment in a relationship - be it feudal, familial, sexual - necessarily involves a fusion of social suitability and personal commitment. In his/her aspirations to and/or success in fulfilment, the individual appears variously in these texts both as a pawn of the forces of society or destiny and as endowed with the power to earn his/her own happiness. The degree of importance that the interaction between love and society has in the lais is, in particular, indicated through the extent to which these patterns of interaction define the patterns of narrative structure. From this study, conclusions can be drawn as to the historical reality of the individual in twelfth-century noble society in France; the lais offering a reflection of that society, of which they are a product, and also an expression of its ideals, which allow for the very real obstacles to a fusion of social and personal fulfilment to be overcome.The 'double movement' : parody in the work of Alain Robbe-Grillet, with particular reference to Un RégicideHamilton, Colin M.https://hdl.handle.net/10023/134522019-04-01T09:02:41Z1989-07-01T00:00:00ZThis thesis is entitled ‘The "double movement”: parody in the work of Alain Robbe-Grillet, with particular reference to Un Régicide’.The principle objective of the thesis is to illustrate how a re-assessment of Pour un nouveau roman (1963) can explain the reasons behind the paradox of Robbe-Grillet's fiction and lead, consequently, to the reader's appreciation of the tension between meaning and meaninglessness in his novels. The thesis sets about this task in the following way: firstly, it examines the existing confusion over Pour un nouveau roman, and exposes the analytical weaknesses of both established interpretations of Robbe-Grillet's theory. Secondly, a new perspective of Pour un nouveau roman is offered - one which underlines the central significance of the paradoxical movement between the creation and destruction of meaning as outlined in the compilation. Next, this 'double movement' is identified as inherent to all literature, engaged in the dual process of textual assimilation and dissimilation. The self-conscious, ludic nature of the 'double mouvement de creation et de gommage' of Un Régicide is revealed to be essentially that of parody, since the reconstruction of past literary material within its narrative is later exposed and destroyed. Robbe-Grillet's first novel, rich in literary allusions and references, is a particularly dramatic conflict between the forms which it incorporates and their imminent subversion. In this sense, Un Régicide is seen to constitute the paradox of ail Robbe-Grillet's writing, in which the initial creation of meaning leads, through the deferral of a single, determinate significance, to an ultimate deception.
1989-07-01T00:00:00ZHamilton, Colin M.This thesis is entitled ‘The "double movement”: parody in the work of Alain Robbe-Grillet, with particular reference to Un Régicide’.The principle objective of the thesis is to illustrate how a re-assessment of Pour un nouveau roman (1963) can explain the reasons behind the paradox of Robbe-Grillet's fiction and lead, consequently, to the reader's appreciation of the tension between meaning and meaninglessness in his novels. The thesis sets about this task in the following way: firstly, it examines the existing confusion over Pour un nouveau roman, and exposes the analytical weaknesses of both established interpretations of Robbe-Grillet's theory. Secondly, a new perspective of Pour un nouveau roman is offered - one which underlines the central significance of the paradoxical movement between the creation and destruction of meaning as outlined in the compilation. Next, this 'double movement' is identified as inherent to all literature, engaged in the dual process of textual assimilation and dissimilation. The self-conscious, ludic nature of the 'double mouvement de creation et de gommage' of Un Régicide is revealed to be essentially that of parody, since the reconstruction of past literary material within its narrative is later exposed and destroyed. Robbe-Grillet's first novel, rich in literary allusions and references, is a particularly dramatic conflict between the forms which it incorporates and their imminent subversion. In this sense, Un Régicide is seen to constitute the paradox of ail Robbe-Grillet's writing, in which the initial creation of meaning leads, through the deferral of a single, determinate significance, to an ultimate deception.The poetry of GuillevicBowd, Gavinhttps://hdl.handle.net/10023/134492019-04-01T09:03:00Z1991-07-01T00:00:00Z1991-07-01T00:00:00ZBowd, GavinThe poetry of Pierre SeghersRigby, Mary B.https://hdl.handle.net/10023/134472019-04-01T09:03:03Z1989-07-01T00:00:00ZAlthough Pierre Seghers is well-known as publisher and promoter of poetry, his own poetry, as a corpus, has never been the focus of academic attention. This study approaches his poetry first through the themes. The picture which emerges, of the universe and the individual's position in this universe, is characterised by dynamism; nature, society and the individual are all in a state of becoming. So, too, are the individual's relationship with the outside world and the picture he has of himself. For the poet, these are realised in the language of his poetry. Part II is a study of the poetic technique. The importance attached by Seghers to the oral quality of poetry has led to an emphasis on the rhythms of Seghers's verse. Features which are typical of his verse and which give rise to dynamism in the verse itself are studied in relation to the dynamism which is conveyed thematically. The poetry is divided into four main types. These are the early fixed-form poetry, and three later freer forms: freed alexandrine verse, verse in mixed line-lengths, and verse written in lines of sixteen syllables. The poetry written in a mixture of line-lengths is highlighted as the apogee of Seghers's production: it is here that the dynamic relationship between the self and the outside world is most successfully concretised. The four categories reflect a chronological development, but the poetry seen in each section is studied in a synthetic manner, and a number of features are seen to be common to poetry of different types and from different periods. The synthetic character of the study is complemented by commentaries on three whole poems. A comprehensive bibliography of Seghers's poetry and prose works is found at the end of the thesis.
1989-07-01T00:00:00ZRigby, Mary B.Although Pierre Seghers is well-known as publisher and promoter of poetry, his own poetry, as a corpus, has never been the focus of academic attention. This study approaches his poetry first through the themes. The picture which emerges, of the universe and the individual's position in this universe, is characterised by dynamism; nature, society and the individual are all in a state of becoming. So, too, are the individual's relationship with the outside world and the picture he has of himself. For the poet, these are realised in the language of his poetry. Part II is a study of the poetic technique. The importance attached by Seghers to the oral quality of poetry has led to an emphasis on the rhythms of Seghers's verse. Features which are typical of his verse and which give rise to dynamism in the verse itself are studied in relation to the dynamism which is conveyed thematically. The poetry is divided into four main types. These are the early fixed-form poetry, and three later freer forms: freed alexandrine verse, verse in mixed line-lengths, and verse written in lines of sixteen syllables. The poetry written in a mixture of line-lengths is highlighted as the apogee of Seghers's production: it is here that the dynamic relationship between the self and the outside world is most successfully concretised. The four categories reflect a chronological development, but the poetry seen in each section is studied in a synthetic manner, and a number of features are seen to be common to poetry of different types and from different periods. The synthetic character of the study is complemented by commentaries on three whole poems. A comprehensive bibliography of Seghers's poetry and prose works is found at the end of the thesis.Barrès the novelistHalsall, Albert W.https://hdl.handle.net/10023/134332019-04-01T09:02:34Z1976-01-01T00:00:00Z1976-01-01T00:00:00ZHalsall, Albert W.The role of the correspondences in Gide's search for dialogueTodd, Kathleen F.https://hdl.handle.net/10023/134312019-04-01T09:03:19Z1978-04-01T00:00:00ZThe aims of this thesis are to show that dialogue in Gide's correspondences is of primordial importance in helping Gide to establish and develop his artistic position and to provide adequate proof of the fact that artistic discussion in the correspondences hears fruit in Gide's literary work. Before undertaking this task, certain preliminary steps are taken in my Introduction and in Chapter One. The former contains a definition of dialogue which stresses the fact that, for Gide, it is essentially artistically orientated and most useful when it entails opposition. My choice of Gide's correspondences with Paul Valéry, Francis Jammes, Paul Claudel and Roger Martin du Gard is explained and justified. These correspondences are representative of Gide's development as a "being of dialogue" and cover Gide's literary career chronologically. In Chapter One, Gide's attitude to correspondence is explored in order to prove that the correspondences deserve closer study since they held an important and specific place in Gide's life, being intended for publication. The possible reasons for this are investigated and the conclusion is drawn that Gide wanted his public to participate in the moral and artistic dialogue which takes place in the most important of his correspondences. The purpose of such a study was to show that my decision to deal only with dialogue upon art was not an arbitrary one. Chapters Two, Three and Four concern the course of dialogue in the chosen correspondences. Chapter Two snows now dialogue with Valery helps Gide to build the foundations of his artistic position, Chapter Three now dialogue with Jammes and Claudel encourages Gide to establish and strengthen it, while Chapter Pour is witness to the fact that dialogue with Martin du Gard is Gide's insurance against artistic complacency. Chapter Five studies the relationship between Gide's correspondences and certain of his works ( Le Traité du Narcisse, Le Retour de l'Enfant prodigue and Les Faux- Monnayeurs ). Images and artistic preoccupations which appear in the correspondences studied are given parallel expression in Gide's literature. In addition, the nature of Gide's dialogue with his correspondents is also apparent in the manner in which he presents ideas in his literature. Chapter Five is intended as proof of my conclusion not only that dialogue in Gide's correspondences is, as much as his Journal, a bridge to his work but also that, for a fuller understanding of the artistic reflection which is the fundamental basis of Gide's work, his correspondences are essential reading.
1978-04-01T00:00:00ZTodd, Kathleen F.The aims of this thesis are to show that dialogue in Gide's correspondences is of primordial importance in helping Gide to establish and develop his artistic position and to provide adequate proof of the fact that artistic discussion in the correspondences hears fruit in Gide's literary work. Before undertaking this task, certain preliminary steps are taken in my Introduction and in Chapter One. The former contains a definition of dialogue which stresses the fact that, for Gide, it is essentially artistically orientated and most useful when it entails opposition. My choice of Gide's correspondences with Paul Valéry, Francis Jammes, Paul Claudel and Roger Martin du Gard is explained and justified. These correspondences are representative of Gide's development as a "being of dialogue" and cover Gide's literary career chronologically. In Chapter One, Gide's attitude to correspondence is explored in order to prove that the correspondences deserve closer study since they held an important and specific place in Gide's life, being intended for publication. The possible reasons for this are investigated and the conclusion is drawn that Gide wanted his public to participate in the moral and artistic dialogue which takes place in the most important of his correspondences. The purpose of such a study was to show that my decision to deal only with dialogue upon art was not an arbitrary one. Chapters Two, Three and Four concern the course of dialogue in the chosen correspondences. Chapter Two snows now dialogue with Valery helps Gide to build the foundations of his artistic position, Chapter Three now dialogue with Jammes and Claudel encourages Gide to establish and strengthen it, while Chapter Pour is witness to the fact that dialogue with Martin du Gard is Gide's insurance against artistic complacency. Chapter Five studies the relationship between Gide's correspondences and certain of his works ( Le Traité du Narcisse, Le Retour de l'Enfant prodigue and Les Faux- Monnayeurs ). Images and artistic preoccupations which appear in the correspondences studied are given parallel expression in Gide's literature. In addition, the nature of Gide's dialogue with his correspondents is also apparent in the manner in which he presents ideas in his literature. Chapter Five is intended as proof of my conclusion not only that dialogue in Gide's correspondences is, as much as his Journal, a bridge to his work but also that, for a fuller understanding of the artistic reflection which is the fundamental basis of Gide's work, his correspondences are essential reading.Alain, "Philosophe-Poète"Henderson, Jane M.https://hdl.handle.net/10023/134272019-04-01T09:03:11Z1997-01-01T00:00:00ZThe central theme of this thesis is Alain's insight into the nature of the cognitive experience of literature. Aware that subjective and non-analytical factors have their part to play in all forms of knowledge, Alain grew increasingly hostile to the type of philosophy characterised by what he believed was an exaggerated use of the scientific method. The introduction shows that Alain was not the only Philosopher of his day to point to the potential superiority of literature over philosophy as a form of knowledge. The ensuing chapters suggest, however, that he went further than most of his contemporaries in probing the specific nature of the mental activities involved in the creation and appreciation of works of literature. The first chapter is on investigation of Alain's working method and of the epistemological assumptions behind it. This is followed by a chapter on language and one on Alain's own style in which it is suggested that his poetic attitude, shown an his respect for the obscurity and expressive ambiguity of the word, can be of greater cognitive value than the more restrictive attitude of most philosophers towards language. The next chapter is a discussion of Alain's criteria of criticism in literary matters and it reveals his hostility towards those writers who do not share his conviction that the task of the creative writer is one of exploring the world through the reality embodied in language itself. In his own literary commentaries, Alain condemns those who misconceive the nature of their medium and merely express pre-conceived ideas in literary form. His belief, discussed in the same chapter, that great works of literature constitute a world of expression which cannot be explained, attests once again to Alain's conviction that purely / purely logical discourse is inadequate in the face of lived experience. The final chapter shows how Alain considers that literary works, which offer cognitive experience in the form of subjective truths apprehended in the reading relationship, are of much greater value to man in his quest for knowledge than the works of psychologists or moralists whose aim is to prove or demonstrate some truth about human nature.
1997-01-01T00:00:00ZHenderson, Jane M.The central theme of this thesis is Alain's insight into the nature of the cognitive experience of literature. Aware that subjective and non-analytical factors have their part to play in all forms of knowledge, Alain grew increasingly hostile to the type of philosophy characterised by what he believed was an exaggerated use of the scientific method. The introduction shows that Alain was not the only Philosopher of his day to point to the potential superiority of literature over philosophy as a form of knowledge. The ensuing chapters suggest, however, that he went further than most of his contemporaries in probing the specific nature of the mental activities involved in the creation and appreciation of works of literature. The first chapter is on investigation of Alain's working method and of the epistemological assumptions behind it. This is followed by a chapter on language and one on Alain's own style in which it is suggested that his poetic attitude, shown an his respect for the obscurity and expressive ambiguity of the word, can be of greater cognitive value than the more restrictive attitude of most philosophers towards language. The next chapter is a discussion of Alain's criteria of criticism in literary matters and it reveals his hostility towards those writers who do not share his conviction that the task of the creative writer is one of exploring the world through the reality embodied in language itself. In his own literary commentaries, Alain condemns those who misconceive the nature of their medium and merely express pre-conceived ideas in literary form. His belief, discussed in the same chapter, that great works of literature constitute a world of expression which cannot be explained, attests once again to Alain's conviction that purely / purely logical discourse is inadequate in the face of lived experience. The final chapter shows how Alain considers that literary works, which offer cognitive experience in the form of subjective truths apprehended in the reading relationship, are of much greater value to man in his quest for knowledge than the works of psychologists or moralists whose aim is to prove or demonstrate some truth about human nature.The language of La Satyre MénippéeSmith, Alexander Hallhttps://hdl.handle.net/10023/134182019-04-01T09:03:07Z1951-01-01T00:00:00Z1951-01-01T00:00:00ZSmith, Alexander HallReading the fantastic : the narrative fiction of Barbey d'AurevillyMcKeown, Andrew Patrickhttps://hdl.handle.net/10023/134142023-10-24T08:13:45Z1996-07-01T00:00:00ZAlthough Barbey's handling of the Fantastic has certainly not been overlooked, studies tend to examine this subject from a conceptual or thematic perspective. This has left unexplored the relationship between the Fantastic and Barbey's way of writing; this study aims to fill that gap by offering a stylistic analysis of the Fantastic. The thesis approaches the question by first attempting to define how the Fantastic works, and concludes by proposing the principle of a dynamic flux between writing of the real and the unreal. From this premise, the study of Barbey's Fantastic questions first the presence of realist discourse in the texts, and offers a critique of the traditional view which suggests that Barbey borrows from nineteenth-century realist orthodoxy. In its place, a broader form of mimesis is proposed. Following this, the thesis examines how Barbey's fiction works at counterpoint to the mimetic code, undermining and destabilising the illusion of vraisemblance. In so doing, the peculiarities of narrative technique are promoted as germane to the voicing of textual doubt. Then, Barbey's rhetoric is considered, offering a reading of how verbal exorbitance weakens the relationship with the signified. After this, Barbey's attempts to re-write differences are examined, a trend which provokes a crisis in the differential foundations of human understanding. The thesis concludes by examining how these principles work within the nouvelle Léa. This discussion indicates how the Fantastic demands to be read as a whole textual entity and not as a sporadic mode, and suggests that it is only in endless and unchecked interpretation- reading- that the meaning of the Fantastic is to be grasped.
1996-07-01T00:00:00ZMcKeown, Andrew PatrickAlthough Barbey's handling of the Fantastic has certainly not been overlooked, studies tend to examine this subject from a conceptual or thematic perspective. This has left unexplored the relationship between the Fantastic and Barbey's way of writing; this study aims to fill that gap by offering a stylistic analysis of the Fantastic. The thesis approaches the question by first attempting to define how the Fantastic works, and concludes by proposing the principle of a dynamic flux between writing of the real and the unreal. From this premise, the study of Barbey's Fantastic questions first the presence of realist discourse in the texts, and offers a critique of the traditional view which suggests that Barbey borrows from nineteenth-century realist orthodoxy. In its place, a broader form of mimesis is proposed. Following this, the thesis examines how Barbey's fiction works at counterpoint to the mimetic code, undermining and destabilising the illusion of vraisemblance. In so doing, the peculiarities of narrative technique are promoted as germane to the voicing of textual doubt. Then, Barbey's rhetoric is considered, offering a reading of how verbal exorbitance weakens the relationship with the signified. After this, Barbey's attempts to re-write differences are examined, a trend which provokes a crisis in the differential foundations of human understanding. The thesis concludes by examining how these principles work within the nouvelle Léa. This discussion indicates how the Fantastic demands to be read as a whole textual entity and not as a sporadic mode, and suggests that it is only in endless and unchecked interpretation- reading- that the meaning of the Fantastic is to be grasped.The emergence of the proletarian novel in France (1890-1914) and its critical reception : a study of the works of Charles Louis-Philippe, Emile Guillaumin, Eugène Le Roy, Marguerite Audoux and Lucien JeanHolland, James Edwinhttps://hdl.handle.net/10023/134102019-04-01T09:02:37Z1983-07-01T00:00:00ZThere were two principal aims which inspired the writing of this thesis. The first was to fill a gap in English scholarship by presenting, in necessarily attenuated form, to English readers what scholars like Edouard Dolléans and Michel Ragon had provided for the French; namely, a description, in Part One, of the background to the proletarian involvement in literature and especially in novel writing which gathered rapid momentum during the quarter century before the First War. In so doing, this thesis attempts to analyse the connection between the proletarian novelists of the late nineteenth century, and middle class naturalist, realist, romantic and classical writers who had earlier made use of the j working class theme. It was the intention to demonstrate that, while offering new insights into the life of the indigent-masses, these writers often relied heavily for style and theme on those established by their predecessors. The comparison could only be made by treating in detail selected representatives of this new development in literature, and this was aided by examining the opinions of contemporary critics. The precise reasons for choosing the five authors who appear in the title and for subjecting them to greatly varying degrees of examination are given at the beginning of Part Two. In general, however, these five may be seen as the group which exhibited at once the greatest similarity to established literary conventions and also the most striking originality in the development of their subject. The second and predominant aim of this thesis was to present to an English readership the works of hitherto largely ignored novelists. Because of their obscurity, greater use of quotation and paraphrase was made than would have been necessary to discuss works of widely recognised authors. Part Two is a systematic evaluation of all the novels written by the five during the period 1890-1914. The limits of one thesis did not allow exhaustive treatment of any of the novelists and it is hoped that one of the results of this study will be to stimulate further research into them. To that end as extensive a bibliography as possible has been compiled and appears in two sections at the end of this work.
1983-07-01T00:00:00ZHolland, James EdwinThere were two principal aims which inspired the writing of this thesis. The first was to fill a gap in English scholarship by presenting, in necessarily attenuated form, to English readers what scholars like Edouard Dolléans and Michel Ragon had provided for the French; namely, a description, in Part One, of the background to the proletarian involvement in literature and especially in novel writing which gathered rapid momentum during the quarter century before the First War. In so doing, this thesis attempts to analyse the connection between the proletarian novelists of the late nineteenth century, and middle class naturalist, realist, romantic and classical writers who had earlier made use of the j working class theme. It was the intention to demonstrate that, while offering new insights into the life of the indigent-masses, these writers often relied heavily for style and theme on those established by their predecessors. The comparison could only be made by treating in detail selected representatives of this new development in literature, and this was aided by examining the opinions of contemporary critics. The precise reasons for choosing the five authors who appear in the title and for subjecting them to greatly varying degrees of examination are given at the beginning of Part Two. In general, however, these five may be seen as the group which exhibited at once the greatest similarity to established literary conventions and also the most striking originality in the development of their subject. The second and predominant aim of this thesis was to present to an English readership the works of hitherto largely ignored novelists. Because of their obscurity, greater use of quotation and paraphrase was made than would have been necessary to discuss works of widely recognised authors. Part Two is a systematic evaluation of all the novels written by the five during the period 1890-1914. The limits of one thesis did not allow exhaustive treatment of any of the novelists and it is hoped that one of the results of this study will be to stimulate further research into them. To that end as extensive a bibliography as possible has been compiled and appears in two sections at the end of this work.The challenge of the image : readings in the crisis of auto(bio)graphical self-representation : [with particular reference to Rousseau, Valéry and Barthes]Myatt, Anna C.https://hdl.handle.net/10023/134092019-04-01T09:02:59Z1999-03-01T00:00:00ZThis thesis focuses on the 'challenge of the image' to self-perception and a central sense of selfhood. It suggests that, as a result of the trigger provided by this challenge, new intuitions of selfhood and new forms of representation have been developed in auto(bio)graphical writing. The dynamic reciprocity of challenge and response is studied in three strategically chosen authors, Jean-Jacques Rousseau, Paul Valéry and Roland Barthes, whose works span over more than three centuries and who allow a complete cycle of ideas on the self and the possibilities of self-representation to be explored in the perspective of the generating mechanism identified. The increasing reflexivity of Western consciousness as exemplified by each of these authors, is seen to engender by this means new and increasingly subtle forms of self-representation in order to convey adequately a progressively complexified view of the subject or self. In following the emergence and development of auto(bio)graphy in this way, the thesis contributes to an ongoing diagnosis of the nature and origin of a contemporary crisis in auto(bio)graphy, a crisis in which the relation between selfhood and its representational forms and language has been placed under increasing scrutiny or suspicion. It is argued here that there can be no simple expulsion of the subject from the domain of auto(bio)graphy. The challenge of the image suggests, on the contrary, that it is precisely the sense of a central 'I', however elusive and irreducible to theory this may be, which ultimately still provides the impetus for new and innovative auto(bio)graphical production.
1999-03-01T00:00:00ZMyatt, Anna C.This thesis focuses on the 'challenge of the image' to self-perception and a central sense of selfhood. It suggests that, as a result of the trigger provided by this challenge, new intuitions of selfhood and new forms of representation have been developed in auto(bio)graphical writing. The dynamic reciprocity of challenge and response is studied in three strategically chosen authors, Jean-Jacques Rousseau, Paul Valéry and Roland Barthes, whose works span over more than three centuries and who allow a complete cycle of ideas on the self and the possibilities of self-representation to be explored in the perspective of the generating mechanism identified. The increasing reflexivity of Western consciousness as exemplified by each of these authors, is seen to engender by this means new and increasingly subtle forms of self-representation in order to convey adequately a progressively complexified view of the subject or self. In following the emergence and development of auto(bio)graphy in this way, the thesis contributes to an ongoing diagnosis of the nature and origin of a contemporary crisis in auto(bio)graphy, a crisis in which the relation between selfhood and its representational forms and language has been placed under increasing scrutiny or suspicion. It is argued here that there can be no simple expulsion of the subject from the domain of auto(bio)graphy. The challenge of the image suggests, on the contrary, that it is precisely the sense of a central 'I', however elusive and irreducible to theory this may be, which ultimately still provides the impetus for new and innovative auto(bio)graphical production.Literary renewal and the reader : the multiple pleasures of La nouvelle fictionKarolyi, Julianhttps://hdl.handle.net/10023/134062019-04-01T09:03:15Z1998-05-01T00:00:00ZIn this thesis I seek to describe, analyse and characterise the contemporary literary movement La Nouvelle Fiction, a group that has received no critical attention to date. The movement is examined first in terms of its place in French literary history, taking as reference points both literary and theoretical trends: in particular, the nouveau roman and aspects of post-structuralism, with both of which the Nouvelle Fiction implicitly compares or contrasts itself. In Part I, I go on to analyse the theory of the fantastic and detective fiction, both genres that influence the Nouvelle Fiction, and provisional descriptions of the Nouvelle Fiction are thereby developed based on Umberto Eco's theory of the 'model reader'. I suggest that the Nouvelle Fiction demands a particularly active interpretative role of its reader, which is compared in the texts with moral competence in the world. Through analysis of key narrative strategies in Part II (circular narrative structures, unreliable narrative voices, parody, and mise en abyme), the movement is examined for its internal characteristics, and specific differences in practice are established between the Nouvelle Fiction and the nouveau roman. In Part III, aspects of reader-reception are examined, first, through the use of Barthes's anatomy of textual pleasure, second, through the relationship between fiction, the world and identity, and thirdly, through discussion of the extent engagement is possible in these ludic and interpretatively ambiguous texts. I argue that a picture thus emerges of a fiction that heralds a heightened role for the active reader of texts that represent a renewed relationship with reality and with the way narrative shapes it, after the reaction against representation that was an important characteristic of the modernist aesthetic.
1998-05-01T00:00:00ZKarolyi, JulianIn this thesis I seek to describe, analyse and characterise the contemporary literary movement La Nouvelle Fiction, a group that has received no critical attention to date. The movement is examined first in terms of its place in French literary history, taking as reference points both literary and theoretical trends: in particular, the nouveau roman and aspects of post-structuralism, with both of which the Nouvelle Fiction implicitly compares or contrasts itself. In Part I, I go on to analyse the theory of the fantastic and detective fiction, both genres that influence the Nouvelle Fiction, and provisional descriptions of the Nouvelle Fiction are thereby developed based on Umberto Eco's theory of the 'model reader'. I suggest that the Nouvelle Fiction demands a particularly active interpretative role of its reader, which is compared in the texts with moral competence in the world. Through analysis of key narrative strategies in Part II (circular narrative structures, unreliable narrative voices, parody, and mise en abyme), the movement is examined for its internal characteristics, and specific differences in practice are established between the Nouvelle Fiction and the nouveau roman. In Part III, aspects of reader-reception are examined, first, through the use of Barthes's anatomy of textual pleasure, second, through the relationship between fiction, the world and identity, and thirdly, through discussion of the extent engagement is possible in these ludic and interpretatively ambiguous texts. I argue that a picture thus emerges of a fiction that heralds a heightened role for the active reader of texts that represent a renewed relationship with reality and with the way narrative shapes it, after the reaction against representation that was an important characteristic of the modernist aesthetic.The medieval German understanding of the crusades : a comparative liguistic analysis of concepts constituting the crusading idea in Middle High German poetryCareless, Brian Johnhttps://hdl.handle.net/10023/133982019-04-01T09:03:51Z1977-10-01T00:00:00Z1977-10-01T00:00:00ZCareless, Brian JohnThe self and the modern world in selected German-language prose works : with particular reference to the writings of Max Frisch, Thomas Bernhard and Peter HandkeEllis, Colinhttps://hdl.handle.net/10023/133972019-04-01T09:03:48Z1994-07-01T00:00:00ZThe self and its confrontation with a specifically "modern" world is viewed as a dominant theme of much German-language prose writing in the period 1945-1989. Chapter One considers factors giving rise to this preoccupation, their reflection in key literary works of the 1940s and 1950s, and literary and cultural changes in the 1960s. Frisch, Bernhard and Handke are introduced in the context of the period leading up to 1968, a year which is both the historical mid-point of this era and a symbol of the personal revolt crucial to each writer's development. The three subsequent chapters examine (respectively) the writings of Frisch, Bernhard and Handke, in each case concentrating on a series of works in which the vulnerable self struggles to survive in the face of a modern world frequently portrayed as alien, uncontrollable and destructive ; Frisch's three major novels Stiller. Homo faber, and Mein Name sei Gantenbein. Bernhard's five volumes of autobiography, and Handke's tetralogy Langsame Heimkehr all illustrate the theme of re-evaluation of the self by being turning-points in each writer's career. Chapter Five considers related tendencies in German literature after 1968; the "new subjectivity" of the 1970s, the debates generated by the rise of postmodernism and the dominance of mass media and popular culture in the 1980s. The sometimes puzzling forms assumed by German writing in this period are seen as reflecting a cultural and psychological unease, the portrayal of often harrowing inner experiences in the work of Frisch, Bernhard and Handke in particular demonstrating the awareness of an "other side". In their writings, the combination of historical and intensely personal elements creates a response in the reader which can stimulate his/her own self-scrutiny and personal re-evaluation, and lead to a kind of self-knowledge similar to that gained by the autobiographically-tinged central figures.
1994-07-01T00:00:00ZEllis, ColinThe self and its confrontation with a specifically "modern" world is viewed as a dominant theme of much German-language prose writing in the period 1945-1989. Chapter One considers factors giving rise to this preoccupation, their reflection in key literary works of the 1940s and 1950s, and literary and cultural changes in the 1960s. Frisch, Bernhard and Handke are introduced in the context of the period leading up to 1968, a year which is both the historical mid-point of this era and a symbol of the personal revolt crucial to each writer's development. The three subsequent chapters examine (respectively) the writings of Frisch, Bernhard and Handke, in each case concentrating on a series of works in which the vulnerable self struggles to survive in the face of a modern world frequently portrayed as alien, uncontrollable and destructive ; Frisch's three major novels Stiller. Homo faber, and Mein Name sei Gantenbein. Bernhard's five volumes of autobiography, and Handke's tetralogy Langsame Heimkehr all illustrate the theme of re-evaluation of the self by being turning-points in each writer's career. Chapter Five considers related tendencies in German literature after 1968; the "new subjectivity" of the 1970s, the debates generated by the rise of postmodernism and the dominance of mass media and popular culture in the 1980s. The sometimes puzzling forms assumed by German writing in this period are seen as reflecting a cultural and psychological unease, the portrayal of often harrowing inner experiences in the work of Frisch, Bernhard and Handke in particular demonstrating the awareness of an "other side". In their writings, the combination of historical and intensely personal elements creates a response in the reader which can stimulate his/her own self-scrutiny and personal re-evaluation, and lead to a kind of self-knowledge similar to that gained by the autobiographically-tinged central figures.The significance of the description of works of art in German prose fiction from 1830-1900Hollis, Margaret Mair Cameronhttps://hdl.handle.net/10023/133932019-04-01T09:03:28Z1969-09-01T00:00:00Z1969-09-01T00:00:00ZHollis, Margaret Mair CameronReligious and moral concepts in the eighteenth-century German novel of sensibility : from Christian Fürchtegott Gellert's 'Leben der schwedischen Gräfin von G+' to the end of the 1770sPolak, Victoriahttps://hdl.handle.net/10023/133912019-04-01T09:03:49Z1990-07-01T00:00:00ZIn my introduction I analyse the state of research in my subject. No detailed study of the subject has been conducted in recent years, hence there exists no work which takes account of recent conclusions in the examination of Sensibility in its entirety. I, therefore, consider it important to trace the origins of a movement in European culture. I draw attention to possible influences from philosophy and psychology which have tended to be neglected in favour of too exclusive emphasis on Empfindsamkeit as secularised Pietism. The main part of my thesis is devoted to detailed interpretation of five novels covering a period 1747 to 1776. This study yields various conclusions. In the novel as a genre, as in theoretical works on Empfindsamkeit, there is no polarity between the Enlightenment and Sensibility. Each of the novelists analysed is concerned to proclaim the necessity of achieving a balance between reason and emotion. In the novels of Gellert and La Roche this is explicitly stated in the form of moral instruction to the reader, while the fate of the heroes of Goethe and Miller perhaps suggests indirectly that such an equilibrium might be desirable. In particular the earlier authors I study equate moderation in feeling with virtue. Here these novelists advocate only feeling in the cause of virtue, while at the same time arguing that those who are capable of "true feeling" are by definition virtuous. In the sphere of religion, all novelists show a tendency to regard Christianity as a matter of emotion on the one hand and of practical ethics on the other. While there was a shift in emphasis from Tugendempfindsamkeit to the cultivation of feeling for its own sake, perceptions of the nature of religions and virtue remained constant.
1990-07-01T00:00:00ZPolak, VictoriaIn my introduction I analyse the state of research in my subject. No detailed study of the subject has been conducted in recent years, hence there exists no work which takes account of recent conclusions in the examination of Sensibility in its entirety. I, therefore, consider it important to trace the origins of a movement in European culture. I draw attention to possible influences from philosophy and psychology which have tended to be neglected in favour of too exclusive emphasis on Empfindsamkeit as secularised Pietism. The main part of my thesis is devoted to detailed interpretation of five novels covering a period 1747 to 1776. This study yields various conclusions. In the novel as a genre, as in theoretical works on Empfindsamkeit, there is no polarity between the Enlightenment and Sensibility. Each of the novelists analysed is concerned to proclaim the necessity of achieving a balance between reason and emotion. In the novels of Gellert and La Roche this is explicitly stated in the form of moral instruction to the reader, while the fate of the heroes of Goethe and Miller perhaps suggests indirectly that such an equilibrium might be desirable. In particular the earlier authors I study equate moderation in feeling with virtue. Here these novelists advocate only feeling in the cause of virtue, while at the same time arguing that those who are capable of "true feeling" are by definition virtuous. In the sphere of religion, all novelists show a tendency to regard Christianity as a matter of emotion on the one hand and of practical ethics on the other. While there was a shift in emphasis from Tugendempfindsamkeit to the cultivation of feeling for its own sake, perceptions of the nature of religions and virtue remained constant.The literary function of Dietrich von Bern in Middle High German heroic epic and aventiureGuthrie, Peter J.https://hdl.handle.net/10023/133902019-04-01T09:03:42Z1996-01-01T00:00:00ZDietrich von Bern was a figure of great importance in the Middle Ages, both in literary and cultural terms, in the German speaking area and beyond. Unlike other important literary figures, however, such as the Arthurian or Carolingian heroes, the literary form of the works in which he is the central character show extreme divergence in terms of theme and material. The "historical" epics show Dietrich in an essentially tragic role which has its origins in the narrative material of the Germanic heroic tradition. The aventiuren, on the other hand, show Dietrich pitted against a variety of unusual opponents, whose origins lie essentially in popular folk lore, and whose basic function is undoubtedly that of entertainment. This dissertation examines these two traditions with the premise that each of the works within them can inform us as to the reception and significance of Dietrich as a literary and cultural symbol in the thirteenth century. It is argued that the treatment of the "historical" tradition, as borne witness by the extant historical epics, demonstrates that this narrative tradition had lost much of its cultural and social relevance by the time these works were produced. The aventiuren, however, represent the literary adaptation of pre-existing traditional narrative elements, in a form which is much more immediately accessible to the thirteenth century public. It is further suggested that this narrative tradition was of sufficient independent strength not only to become the vehicle for resistance to incoming literary and social trends, but also to exert a certain influence over the development and reception of, in particular, later Middle High German Arthurian romance.
1996-01-01T00:00:00ZGuthrie, Peter J.Dietrich von Bern was a figure of great importance in the Middle Ages, both in literary and cultural terms, in the German speaking area and beyond. Unlike other important literary figures, however, such as the Arthurian or Carolingian heroes, the literary form of the works in which he is the central character show extreme divergence in terms of theme and material. The "historical" epics show Dietrich in an essentially tragic role which has its origins in the narrative material of the Germanic heroic tradition. The aventiuren, on the other hand, show Dietrich pitted against a variety of unusual opponents, whose origins lie essentially in popular folk lore, and whose basic function is undoubtedly that of entertainment. This dissertation examines these two traditions with the premise that each of the works within them can inform us as to the reception and significance of Dietrich as a literary and cultural symbol in the thirteenth century. It is argued that the treatment of the "historical" tradition, as borne witness by the extant historical epics, demonstrates that this narrative tradition had lost much of its cultural and social relevance by the time these works were produced. The aventiuren, however, represent the literary adaptation of pre-existing traditional narrative elements, in a form which is much more immediately accessible to the thirteenth century public. It is further suggested that this narrative tradition was of sufficient independent strength not only to become the vehicle for resistance to incoming literary and social trends, but also to exert a certain influence over the development and reception of, in particular, later Middle High German Arthurian romance.A study of the Middle High German Versnovelle : Moriz von Craûn with special reference to its literary and cultural backgroundHarvey, Ruth Charlottehttps://hdl.handle.net/10023/133892019-04-01T09:03:57Z1959-01-01T00:00:00Z1959-01-01T00:00:00ZHarvey, Ruth CharlotteA critical translation of Charles Collé's 'Le Galant escroc'Vasey, Franceshttps://hdl.handle.net/10023/133812019-04-01T09:03:24Z1999-01-01T00:00:00ZCharles Collé (1709-1783) enjoyed the reputation amongst his contemporaries of an accomplished writer of popular songs and of comédies de société. Although three of his plays were performed at the Comédie-francaise during his lifetime, the vast majority of his work was written with a view to performance at the private theatres in Paris, notably that of his main benefactor, the due d'Orleans. This thesis looks at one of the plays written for the duc's circle of friends, namely Le Galant escroc (1753), the intention being to produce a translation into English for performance purposes. As a preliminary to translation, the play is analysed in the light of four aspects of eighteenth-century society and literature: a discussion of Collé's life and career; relevant aspects of the theatre and of literary trends in the eighteenth century, with special reference to the private theatres of Paris; the social background of the characters portrayed in Le Galant escroc, with particular reference to the financiers and their relationship to the members of the nobility; and characteristic features of eighteenth-century French. The translation strategy is based both on the above considerations and on consideration of relevant translation theories. The translation retains the eighteenth-century setting, with some elements of archaism in the language and markers to remind the audience that the action is taking place in France. Emphasis is placed on theatricality and playability, but the author's intentions, in as far as they are deductible, are respected.
1999-01-01T00:00:00ZVasey, FrancesCharles Collé (1709-1783) enjoyed the reputation amongst his contemporaries of an accomplished writer of popular songs and of comédies de société. Although three of his plays were performed at the Comédie-francaise during his lifetime, the vast majority of his work was written with a view to performance at the private theatres in Paris, notably that of his main benefactor, the due d'Orleans. This thesis looks at one of the plays written for the duc's circle of friends, namely Le Galant escroc (1753), the intention being to produce a translation into English for performance purposes. As a preliminary to translation, the play is analysed in the light of four aspects of eighteenth-century society and literature: a discussion of Collé's life and career; relevant aspects of the theatre and of literary trends in the eighteenth century, with special reference to the private theatres of Paris; the social background of the characters portrayed in Le Galant escroc, with particular reference to the financiers and their relationship to the members of the nobility; and characteristic features of eighteenth-century French. The translation strategy is based both on the above considerations and on consideration of relevant translation theories. The translation retains the eighteenth-century setting, with some elements of archaism in the language and markers to remind the audience that the action is taking place in France. Emphasis is placed on theatricality and playability, but the author's intentions, in as far as they are deductible, are respected.France, man and language in French Resistance poetry.Longwell, Ann E.https://hdl.handle.net/10023/133762019-04-01T09:03:25Z1989-07-01T00:00:00ZThe Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.
1989-07-01T00:00:00ZLongwell, Ann E.The Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.French Renaissance comedy, 1552-1630Jeffery, Brianhttps://hdl.handle.net/10023/133742019-04-01T09:03:21Z1967-01-01T00:00:00Z1967-01-01T00:00:00ZJeffery, BrianExample and authority in the narrative representation of women, as illustrated in selected writings of Christine de Pizan and Marguerite de NavarreRamsay, Alison J.https://hdl.handle.net/10023/133652022-05-16T12:21:07Z1999-09-01T00:00:00ZThis thesis examines the use of authority and example in the narrative representation of women in selected writings of Christine de Pizan and Marguerite de Navarre. In this thesis, it is shown that these two women writers reject the universalised notion of Woman and strive to create an alternative, not oppositional, view of the female sex. By working within established literary parameters, adopting authority from earlier works and adapting this rhetorical tool, firstly by editing or altering their sources and, secondly by incorporating the authority of personal experience into their narratives, Christine de Pizan and Marguerite de Navarre establish their own auctoritas. Similarly, the rhetorical device of example is appropriated and modified, again through a subtle process of editing and revision and by the self-inscription of the authors into their exempla. Through their use of authority and example, these women writers expose the notion of Woman as flawed and, in so doing, undermine the validity of the codes of conduct propounded for women by the canon. This thesis contends that Christine de Pizan and Marguerite de Navarre defy the patristic unipolar model of human sexuality by adopting a bi-polar model, deliberately placing the prevailing notion of Woman at the opposite, and therefore negative, pole to Man. Thereafter, through their constant rejection of universalising generalisation, they create a neutral space between the poles of Man and Woman wherein women are shown capable of active participation in a society. This thesis is undertaken from the perspective of a woman('s) historian and literary analyst, making use of a new historicist and gender-based theoretical analysis of the Livre de la Cite des Dames, the Livre des Trois Vertus and the Heptaméron situated within an appropriate historical context. This thesis is the first comprehensive comparative study of the rhetorical devices used by these two women authors in their narrative representation of women.
1999-09-01T00:00:00ZRamsay, Alison J.This thesis examines the use of authority and example in the narrative representation of women in selected writings of Christine de Pizan and Marguerite de Navarre. In this thesis, it is shown that these two women writers reject the universalised notion of Woman and strive to create an alternative, not oppositional, view of the female sex. By working within established literary parameters, adopting authority from earlier works and adapting this rhetorical tool, firstly by editing or altering their sources and, secondly by incorporating the authority of personal experience into their narratives, Christine de Pizan and Marguerite de Navarre establish their own auctoritas. Similarly, the rhetorical device of example is appropriated and modified, again through a subtle process of editing and revision and by the self-inscription of the authors into their exempla. Through their use of authority and example, these women writers expose the notion of Woman as flawed and, in so doing, undermine the validity of the codes of conduct propounded for women by the canon. This thesis contends that Christine de Pizan and Marguerite de Navarre defy the patristic unipolar model of human sexuality by adopting a bi-polar model, deliberately placing the prevailing notion of Woman at the opposite, and therefore negative, pole to Man. Thereafter, through their constant rejection of universalising generalisation, they create a neutral space between the poles of Man and Woman wherein women are shown capable of active participation in a society. This thesis is undertaken from the perspective of a woman('s) historian and literary analyst, making use of a new historicist and gender-based theoretical analysis of the Livre de la Cite des Dames, the Livre des Trois Vertus and the Heptaméron situated within an appropriate historical context. This thesis is the first comprehensive comparative study of the rhetorical devices used by these two women authors in their narrative representation of women.Georg Trakl and the literature of decadenceWishart, Ruthhttps://hdl.handle.net/10023/133612019-04-01T09:03:36Z1994-07-01T00:00:00ZThis thesis examines the poetry of Georg Trakl within the context of literary decadence in Europe at the turn of the century (1880-1914). It provides an analysis of Trakl's early writing, and traces themes of literary decadence which recur throughout his work, particularly in the late prose and the dramatic fragment of 1914. In so doing, it also undertakes a comparative study of Trakl's poetry and decadent literature in Austria, Germany, France and England. Chapter One looks at the literary background and attempts a definition of what was understood by literary decadence in France and Germany at the end of the nineteenth century. Chapter Two examines motifs of crime and horror in Trakl's writing, paying particular attention to the concept of Lustmord in the early dramas Blaubart and Don Juans Tod and the later dramatic fragment of 1914. Chapter Three examines the issue of sexual guilt, and the portrayal of women in Trakl's poetry, from the femme fatale of the early poetry to the figure of the sister and the androgyne in the later poetry. Chapter Four traces the theme of blasphemy from the early lyric to the last poetic utterances of 1914, and touches briefly on the question of Trakl as a Christian poet. Chapter Five looks at motifs of isolation, obsession with death and decay, and poetry as the expression of the poet's etat d'ame. Chapter Six provides an analysis of the language and style of the early poetry, focusing on Trakl's affinity with the style of literary decadence.
1994-07-01T00:00:00ZWishart, RuthThis thesis examines the poetry of Georg Trakl within the context of literary decadence in Europe at the turn of the century (1880-1914). It provides an analysis of Trakl's early writing, and traces themes of literary decadence which recur throughout his work, particularly in the late prose and the dramatic fragment of 1914. In so doing, it also undertakes a comparative study of Trakl's poetry and decadent literature in Austria, Germany, France and England. Chapter One looks at the literary background and attempts a definition of what was understood by literary decadence in France and Germany at the end of the nineteenth century. Chapter Two examines motifs of crime and horror in Trakl's writing, paying particular attention to the concept of Lustmord in the early dramas Blaubart and Don Juans Tod and the later dramatic fragment of 1914. Chapter Three examines the issue of sexual guilt, and the portrayal of women in Trakl's poetry, from the femme fatale of the early poetry to the figure of the sister and the androgyne in the later poetry. Chapter Four traces the theme of blasphemy from the early lyric to the last poetic utterances of 1914, and touches briefly on the question of Trakl as a Christian poet. Chapter Five looks at motifs of isolation, obsession with death and decay, and poetry as the expression of the poet's etat d'ame. Chapter Six provides an analysis of the language and style of the early poetry, focusing on Trakl's affinity with the style of literary decadence.A Lacanian analysis of selected novels by Hermann HesseGullatz, Stefanhttps://hdl.handle.net/10023/133532019-04-01T09:03:52Z1999-03-01T00:00:00ZThis dissertation takes the many existing, predominantly Jungian psychoanalytic approaches to Hesse as its starting point and then proceeds to an original recasting of some of Hesse's key novels (particularly Demian and Per Steppenwolf though a brief outline for Das Glasperlenspiel is provided in the concluding chapter) in the light of a Lacanian psychoanalysis and philosophy and a generally 'structuralist' understanding. My aim is to uncover how strategies of narrative signification in the complex architecture of Hesse's novels retroactively produce the spark of meaning which Jungians consider evidence of an intrinsic, archetypal essence at the core of the self. The Steppenwolf chapter in particular is also devoted to an investigation of the way in which meaning and mourning as functions constitutive of the subject crystallise in the use of metaphorical and allegorical devices. Lupton's After Oedipus: Shakespeare in Psychoanalysis which outlines a comprehensive paradigm for the interrelation of tropic narrative devices and their psychoanalytic undercurrents is a constant point of reference in this thesis, along with the works of Slavoj Žižek, arguably the most creative and influential contemporary Lacanian critic.
1999-03-01T00:00:00ZGullatz, StefanThis dissertation takes the many existing, predominantly Jungian psychoanalytic approaches to Hesse as its starting point and then proceeds to an original recasting of some of Hesse's key novels (particularly Demian and Per Steppenwolf though a brief outline for Das Glasperlenspiel is provided in the concluding chapter) in the light of a Lacanian psychoanalysis and philosophy and a generally 'structuralist' understanding. My aim is to uncover how strategies of narrative signification in the complex architecture of Hesse's novels retroactively produce the spark of meaning which Jungians consider evidence of an intrinsic, archetypal essence at the core of the self. The Steppenwolf chapter in particular is also devoted to an investigation of the way in which meaning and mourning as functions constitutive of the subject crystallise in the use of metaphorical and allegorical devices. Lupton's After Oedipus: Shakespeare in Psychoanalysis which outlines a comprehensive paradigm for the interrelation of tropic narrative devices and their psychoanalytic undercurrents is a constant point of reference in this thesis, along with the works of Slavoj Žižek, arguably the most creative and influential contemporary Lacanian critic.Ludwig Tieck and the Gothic novel : a study of the literary relations of Germany and England in the late eighteenth centuryTrainer, Jameshttps://hdl.handle.net/10023/133512019-04-01T09:03:55Z1959-07-01T00:00:00Z1959-07-01T00:00:00ZTrainer, JamesTheory and patterns of tragedy in the later Novellen of Theodor StormBurns, Barbarahttps://hdl.handle.net/10023/133492019-04-01T09:03:39Z1991-07-01T00:00:00ZThe thesis is an. attempt to refute the indictment of Storm's work as being sentimental and melancholy, arguing that such a judgment fails to take account of the writer's portrayal of tragedy in the final seventeen years of his life. Chapter One analyses a number of aspects of Storm's thought and experience which disposed him towards a tragic view of the world: this includes an examination of the possible impact of the popular philosophies of Feuerbach, the Materialists, Darwin and Schopenhauer, as well as the significance of his educational background, his career as a judge, and his attitude to family life, religion, politics and society. Chapter Two considers the aesthetic convictions underlying Storm's conception and portrayal of tragedy, looking also at the idea of the Novelle as a suitable medium for tragedy and at the relationship between the author's later work and the tragedies of Naturalism. Chapters Three to Five present a detailed study of six individual Novellen which treat themes representative of Storm's work. Chapter Three focuses on Storm's attitude to the destructive potential of prejudice and superstition in society, taking Renate (1878) and Ein Doppelganger (1886) as examples of "The Tragedy of Social Compulsion". Chapter Four investigates his pessimistic preoccupation with the subject of heredity, discussing John Riew' (1885) and Der Herr Etatsrat (1881) as cases of "The Tragedy of Genetic Compulsion". Chapter Five is entitled "The Tragedy of Personal Responsibility": it examines Ein Bekenntnis (1887) and Zur Chronik von Grieshuus (1883) as Novellen in which the leading characters incur specific moral guilt, and considers the nature and results of their attempts to atone for their crime.
1991-07-01T00:00:00ZBurns, BarbaraThe thesis is an. attempt to refute the indictment of Storm's work as being sentimental and melancholy, arguing that such a judgment fails to take account of the writer's portrayal of tragedy in the final seventeen years of his life. Chapter One analyses a number of aspects of Storm's thought and experience which disposed him towards a tragic view of the world: this includes an examination of the possible impact of the popular philosophies of Feuerbach, the Materialists, Darwin and Schopenhauer, as well as the significance of his educational background, his career as a judge, and his attitude to family life, religion, politics and society. Chapter Two considers the aesthetic convictions underlying Storm's conception and portrayal of tragedy, looking also at the idea of the Novelle as a suitable medium for tragedy and at the relationship between the author's later work and the tragedies of Naturalism. Chapters Three to Five present a detailed study of six individual Novellen which treat themes representative of Storm's work. Chapter Three focuses on Storm's attitude to the destructive potential of prejudice and superstition in society, taking Renate (1878) and Ein Doppelganger (1886) as examples of "The Tragedy of Social Compulsion". Chapter Four investigates his pessimistic preoccupation with the subject of heredity, discussing John Riew' (1885) and Der Herr Etatsrat (1881) as cases of "The Tragedy of Genetic Compulsion". Chapter Five is entitled "The Tragedy of Personal Responsibility": it examines Ein Bekenntnis (1887) and Zur Chronik von Grieshuus (1883) as Novellen in which the leading characters incur specific moral guilt, and considers the nature and results of their attempts to atone for their crime.The dramatic illusion in the theory and later plays of Friedrich SchillerQuaile-Kersken, Irene A. M.https://hdl.handle.net/10023/133462019-04-01T09:03:50Z1989-07-01T00:00:00ZStatements in Schiller's early essays seem to suggest that he adhered to the view of the dramatic illusion as a temporary escape from reality, an experience in which the spectator is encouraged to forget that he is in the theatre and be caught up in a deceptive and convincing illusion. Analysis of Schiller's dramatic and aesthetic theory and of his correspondence from 1790 onwards, however, shows that the ideas of moral freedom, aesthetic harmony and of the autonomy of art led Schiller to reject the ideal of convincing illusion which was current and popular in his time. In its place he wished to encourage awareness of the illusory nature of the stage action and drama which was obviously different from everyday reality in its subject matter and style. Analysis of Schiller's plays from Wallenstein to Wilhelm Tell shows that Schiller aimed at illusion of this type in his own practice. With reference to the dramatic illusion, Schiller's views actually come close to those of Brecht, in spite of statements to the contrary in Brecht's Kleines Organon für das Theater. The detailed analysis of Schiller's theory and of his later plays is preceded firstly by a chapter on problems associated with the topic of the dramatic illusion. Secondly, a background chapter considers influential developments in drama, dramatic theory and in aesthetics from the origins of western drama in Greek classical tragedy to the theatre of Schiller's time, to establish possible influences on Schiller or similarities between his views and existing traditions, and to suggest Schiller's position with regard to his contemporaries and to the historical development of the dramatic illusion.
1989-07-01T00:00:00ZQuaile-Kersken, Irene A. M.Statements in Schiller's early essays seem to suggest that he adhered to the view of the dramatic illusion as a temporary escape from reality, an experience in which the spectator is encouraged to forget that he is in the theatre and be caught up in a deceptive and convincing illusion. Analysis of Schiller's dramatic and aesthetic theory and of his correspondence from 1790 onwards, however, shows that the ideas of moral freedom, aesthetic harmony and of the autonomy of art led Schiller to reject the ideal of convincing illusion which was current and popular in his time. In its place he wished to encourage awareness of the illusory nature of the stage action and drama which was obviously different from everyday reality in its subject matter and style. Analysis of Schiller's plays from Wallenstein to Wilhelm Tell shows that Schiller aimed at illusion of this type in his own practice. With reference to the dramatic illusion, Schiller's views actually come close to those of Brecht, in spite of statements to the contrary in Brecht's Kleines Organon für das Theater. The detailed analysis of Schiller's theory and of his later plays is preceded firstly by a chapter on problems associated with the topic of the dramatic illusion. Secondly, a background chapter considers influential developments in drama, dramatic theory and in aesthetics from the origins of western drama in Greek classical tragedy to the theatre of Schiller's time, to establish possible influences on Schiller or similarities between his views and existing traditions, and to suggest Schiller's position with regard to his contemporaries and to the historical development of the dramatic illusion.The image of the moon in Goethe's worksWilliams, John Rosserhttps://hdl.handle.net/10023/133412019-04-01T09:03:38Z1968-06-01T00:00:00Z1968-06-01T00:00:00ZWilliams, John RosserThe faculty of perception in the early narratives of Hartmann von Aue : with special reference to secular morality and penitential practiceGalloway, Helenhttps://hdl.handle.net/10023/133372019-04-01T09:03:54Z1997-06-01T00:00:00ZThis thesis was conceived in response to the recent controversy in Hartmann scholarship concerning the existence of a psychological progression in Hartmann's characters. Whilst the majority of scholars argue that a progression does exist in these works, three scholars in particular, Rudolf Voβ, Hubertus Fischer, and Otfrid Ehrismann, claim that Hartmann remains unconcerned with the inner world of his characters. Instead, they suggest that he depicts perfect protagonists who are affected by a visitation of objective sin (Voβ), or who react primarily to the demands of secular honour (Fischer) or courtliness (Ehrismann). The present study attempts to re-examine the issue of ethical progression in Hartmann's three earliest narratives. This is achieved principally by considering the ability of the characters to perceive and to make ethical judgements on the basis of their mental deliberations. This evidence is considered in the light of the objections of the scholars mentioned above. In particular, their work has reminded scholarship that Hartmann's narratives cannot be interpreted in terms of modern individual morality. Similarly, their arguments lead one to surmise that an ethical dimension in these works would be likely to reflect Hartmann's status as a clerically-educated secular poet and the concerns of his secular audience, rather than specific theological developments relating to self-awareness. A moral dimension in these works would therefore be likely to be informed by lay ethical notions and a general awareness of theological concepts concerning perceptiveness, such as would be broadcast through the penitential system. The present study attempts therefore to set the evidence pertaining to perceptiveness and ethical behaviour in Hartmann's works within the context of the lay morality shared by this poet and his audience.
1997-06-01T00:00:00ZGalloway, HelenThis thesis was conceived in response to the recent controversy in Hartmann scholarship concerning the existence of a psychological progression in Hartmann's characters. Whilst the majority of scholars argue that a progression does exist in these works, three scholars in particular, Rudolf Voβ, Hubertus Fischer, and Otfrid Ehrismann, claim that Hartmann remains unconcerned with the inner world of his characters. Instead, they suggest that he depicts perfect protagonists who are affected by a visitation of objective sin (Voβ), or who react primarily to the demands of secular honour (Fischer) or courtliness (Ehrismann). The present study attempts to re-examine the issue of ethical progression in Hartmann's three earliest narratives. This is achieved principally by considering the ability of the characters to perceive and to make ethical judgements on the basis of their mental deliberations. This evidence is considered in the light of the objections of the scholars mentioned above. In particular, their work has reminded scholarship that Hartmann's narratives cannot be interpreted in terms of modern individual morality. Similarly, their arguments lead one to surmise that an ethical dimension in these works would be likely to reflect Hartmann's status as a clerically-educated secular poet and the concerns of his secular audience, rather than specific theological developments relating to self-awareness. A moral dimension in these works would therefore be likely to be informed by lay ethical notions and a general awareness of theological concepts concerning perceptiveness, such as would be broadcast through the penitential system. The present study attempts therefore to set the evidence pertaining to perceptiveness and ethical behaviour in Hartmann's works within the context of the lay morality shared by this poet and his audience.The passive construction być/zostać + V-n-/-on-/-t- in Polish : an aspectual analysisMartinez (Szczepanska), Natalia Ewa Gilhttps://hdl.handle.net/10023/131702019-04-01T09:04:57Z2012-01-01T00:00:00ZThe idea that passive sentences are equivalent in meaning to their active counterparts
has raised numerous questions among linguists particularly for the last several decades.
The main dilemma regarding this relationship concerns the very need for an alternative
synonymous construction such as the passive. The focus has mostly been on issues
concerning the preference for using passive sentences in certain types of discourse as
well as the divergent liking for and frequency of using passive in different languages.
However, apart from these concerns, there have gradually appeared questions and
doubts related to the very nature and meaning of the passive. Many linguists have
argued that the passive and its corresponding active are not synonymous (Ziff 1966:
226) and that “most sentences that are good in the active voice are just grotesque
curiosities when put into the passive voice” (Allen 1974: 277). Moreover, some actives
and passives do not have counterparts in the other voice (Davison 1981: 440). Not only
has the semantic equivalence between passives and actives been questioned but also the
syntactic correlation, which led linguists to search for new theories and put forward
alternative hypotheses.
The following work aims to present one of the alternative approaches towards
the passive. It is based on the aspectual analysis of the passive and the method of lexical
exceptions advanced and applied to English, German, and Russian in Beedham (2005).
In this dissertation the method of lexical exceptions will be implemented in an analysis
of the passive in Polish and it will be shown that the voice analysis of the passive in
Polish is misguided and an alternative aspectual analysis provides answers and
explanations to inconsistencies associated with the generally accepted voice analysis of
the Polish passive. The dissertation consists of three main parts, which discuss the
theoretical background of the passive in general and in Polish; problems associated with
the universal definition of passive and synchronic solutions based on an aspectual
analysis; and issues concerning the Polish passive, with a presentation of a new
alternative analysis of the być/zostać + V-n-/-on-/-t- construction.
2012-01-01T00:00:00ZMartinez (Szczepanska), Natalia Ewa GilThe idea that passive sentences are equivalent in meaning to their active counterparts
has raised numerous questions among linguists particularly for the last several decades.
The main dilemma regarding this relationship concerns the very need for an alternative
synonymous construction such as the passive. The focus has mostly been on issues
concerning the preference for using passive sentences in certain types of discourse as
well as the divergent liking for and frequency of using passive in different languages.
However, apart from these concerns, there have gradually appeared questions and
doubts related to the very nature and meaning of the passive. Many linguists have
argued that the passive and its corresponding active are not synonymous (Ziff 1966:
226) and that “most sentences that are good in the active voice are just grotesque
curiosities when put into the passive voice” (Allen 1974: 277). Moreover, some actives
and passives do not have counterparts in the other voice (Davison 1981: 440). Not only
has the semantic equivalence between passives and actives been questioned but also the
syntactic correlation, which led linguists to search for new theories and put forward
alternative hypotheses.
The following work aims to present one of the alternative approaches towards
the passive. It is based on the aspectual analysis of the passive and the method of lexical
exceptions advanced and applied to English, German, and Russian in Beedham (2005).
In this dissertation the method of lexical exceptions will be implemented in an analysis
of the passive in Polish and it will be shown that the voice analysis of the passive in
Polish is misguided and an alternative aspectual analysis provides answers and
explanations to inconsistencies associated with the generally accepted voice analysis of
the Polish passive. The dissertation consists of three main parts, which discuss the
theoretical background of the passive in general and in Polish; problems associated with
the universal definition of passive and synchronic solutions based on an aspectual
analysis; and issues concerning the Polish passive, with a presentation of a new
alternative analysis of the być/zostać + V-n-/-on-/-t- construction.Subsective gradience in 2nd participles : an aspectual approach to adjectival passives and attributive participles in EnglishAljohani, Samirahhttps://hdl.handle.net/10023/129872021-02-08T10:27:55Z2018-01-23T00:00:00ZThis study investigates the adjectival passive, in accordance with Beedham’s (2005, 1982) analysis of the passive as an aspect, with the caveat that telicity is an optimal, not sufficient, condition. The affinity of the adjectival passive with attributive participles and the existence of implicit agents in adjectival passives has divided opinion amongst linguists. The thesis deploys grammaticality judgment questionnaires surveying 1043 2nd participles and a corpus-based study investigating 1035 2nd participles. A subsective gradience (Aarts 2007, 2006, 2004) is modelled on five morpho-syntactic properties of 2nd participles: attributive function without modification, attributive function with modification, adjectival, verbal and prepositional passive, measuring formally the ability of 2nd participles to function like adjectives.
The thesis consists of seven chapters. Chapter one introduces the research questions, adjectival passives and theoretical background. Chapter two reviews the aspect analysis, telicity, offers a qualification, and sets the theoretical approach. Chapter three is about the data and methodology. Chapter four discusses the affinity between adjectival passive and attributive participles. Chapter five discusses subsective gradience. Chapter six discusses the implications of the findings. Chapter seven gives a summary and conclusion.
The empirical findings in our study provide further evidence in support of a subsective gradience in 2nd participles indicative of how ‘adjectival’ a participle can be, on a continuum or gradient ranging from ‘verby’ 2nd participles – relatively low compatibility with adjectival properties – to very adjectival 2nd participles. 2nd participles in this study are shown to have an inherent meaning of ‘action + state’. 2nd participles which form adjectival passives function attributively and form verbal passives. However, a 2nd participle functioning attributively does not entail that it will form an adjectival passive. There is evidence that attributive un- participles can host manner adverbials. It was also found that the interpretation of attributive participles goes beyond a simple passive/perfect dichotomy, and there are cases whereby a 2nd participle modifies an NP that is not an argument of the corresponding verb. This study makes a contribution to the wider analysis of the adjectival passive and provides further support for the similarity between adjectival and verbal passives.
2018-01-23T00:00:00ZAljohani, SamirahThis study investigates the adjectival passive, in accordance with Beedham’s (2005, 1982) analysis of the passive as an aspect, with the caveat that telicity is an optimal, not sufficient, condition. The affinity of the adjectival passive with attributive participles and the existence of implicit agents in adjectival passives has divided opinion amongst linguists. The thesis deploys grammaticality judgment questionnaires surveying 1043 2nd participles and a corpus-based study investigating 1035 2nd participles. A subsective gradience (Aarts 2007, 2006, 2004) is modelled on five morpho-syntactic properties of 2nd participles: attributive function without modification, attributive function with modification, adjectival, verbal and prepositional passive, measuring formally the ability of 2nd participles to function like adjectives.
The thesis consists of seven chapters. Chapter one introduces the research questions, adjectival passives and theoretical background. Chapter two reviews the aspect analysis, telicity, offers a qualification, and sets the theoretical approach. Chapter three is about the data and methodology. Chapter four discusses the affinity between adjectival passive and attributive participles. Chapter five discusses subsective gradience. Chapter six discusses the implications of the findings. Chapter seven gives a summary and conclusion.
The empirical findings in our study provide further evidence in support of a subsective gradience in 2nd participles indicative of how ‘adjectival’ a participle can be, on a continuum or gradient ranging from ‘verby’ 2nd participles – relatively low compatibility with adjectival properties – to very adjectival 2nd participles. 2nd participles in this study are shown to have an inherent meaning of ‘action + state’. 2nd participles which form adjectival passives function attributively and form verbal passives. However, a 2nd participle functioning attributively does not entail that it will form an adjectival passive. There is evidence that attributive un- participles can host manner adverbials. It was also found that the interpretation of attributive participles goes beyond a simple passive/perfect dichotomy, and there are cases whereby a 2nd participle modifies an NP that is not an argument of the corresponding verb. This study makes a contribution to the wider analysis of the adjectival passive and provides further support for the similarity between adjectival and verbal passives.The temptation of the reader : the search for meaning in Boris Akunin's Pelagia TrilogyWhitehead, Claire Eugeniehttps://hdl.handle.net/10023/125132023-04-25T23:35:26Z2016-01-01T00:00:00ZThis article discusses the games that Boris Akunin's Pelagia trilogy (2000–03) plays with the reader's attempts at interpretation and meaning-making. Most critics agree that detective fiction in this ‘whodunnit’ mode is a genre that invites the active participation of its reader in order to uncover a hidden truth. What Akunin's trilogy does, however, is simultaneously to invite this participation and playfully frustrate it by thwarting or disrupting the reader's various attempts at solving its puzzles. This article considers the ludic elements of Akunin's trilogy in three different, though related, interpretive spheres: historical reference; intertextual and metatextual reference; and the search for faith. It concludes that the Pelagia trilogy is best viewed as an example of postmodernist metaphysical detective fiction, which poses provocative questions about the nature of knowledge, the status of meaning, as well as the act of reading.
2016-01-01T00:00:00ZWhitehead, Claire EugenieThis article discusses the games that Boris Akunin's Pelagia trilogy (2000–03) plays with the reader's attempts at interpretation and meaning-making. Most critics agree that detective fiction in this ‘whodunnit’ mode is a genre that invites the active participation of its reader in order to uncover a hidden truth. What Akunin's trilogy does, however, is simultaneously to invite this participation and playfully frustrate it by thwarting or disrupting the reader's various attempts at solving its puzzles. This article considers the ludic elements of Akunin's trilogy in three different, though related, interpretive spheres: historical reference; intertextual and metatextual reference; and the search for faith. It concludes that the Pelagia trilogy is best viewed as an example of postmodernist metaphysical detective fiction, which poses provocative questions about the nature of knowledge, the status of meaning, as well as the act of reading.Psychology, gender and EFL writing : a study of the relationship between Saudi students' writing performance and their attitudes, apprehension and self-efficacyAlluhaybi, Maramhttps://hdl.handle.net/10023/122702019-07-12T10:32:45Z2017-05-09T00:00:00ZIt has long been accepted in the field of EFL teaching and learning that writing in a
foreign language by learners is a complex practice that involves not only cognition, but
also psychology. With this in mind, in the present study, social-psychological and
social-cognitive research frameworks were adopted to explore the relationship between
the writing attitudes, apprehension and self-efficacy of Saudi learners of English, and
their writing performance, with a view to expanding the frontiers of current
scholarship. This relationship was investigated on two levels: that of writing in
general, and that of writing specific types of text. This relationship has been neglected
in previous research; in addition, the scope of past studies of Saudi students has been
limited to only one of the two traditional genders. The current study was designed to
contribute to filling these gaps.
The thesis consists of six chapters. Chapter One introduces the objectives, research
question, theoretical framework and background of the study. Chapter Two reviews the
related literature. Chapter Three describes the sample population, data collection and
procedures. Chapter Four deals with the data analyses. Chapter Five discusses the
findings and implications of the investigation. Chapter Six presents a summary and
conclusions.
The research found no correlation between psychological characteristics and writing
performance in general, nor between psychological characteristics and the writing of
narrative and persuasive text types, in particular. Overall, the results conflict with those
of previous studies, in that it was found that rather than psychological characteristics
influencing writing performance gender difference influenced writing performance,
and the psychological characteristics did not influence anything, it was the other way
round, gender difference also influenced psychological characteristics. This thesis thus
contributes to the growing body of knowledge in the field of EFL, by providing
evidence that the influence of psychological characteristics on writing is not salient in
every socio-cultural context, and that the writers’ gender can have an effect on their
writing performance.
2017-05-09T00:00:00ZAlluhaybi, MaramIt has long been accepted in the field of EFL teaching and learning that writing in a
foreign language by learners is a complex practice that involves not only cognition, but
also psychology. With this in mind, in the present study, social-psychological and
social-cognitive research frameworks were adopted to explore the relationship between
the writing attitudes, apprehension and self-efficacy of Saudi learners of English, and
their writing performance, with a view to expanding the frontiers of current
scholarship. This relationship was investigated on two levels: that of writing in
general, and that of writing specific types of text. This relationship has been neglected
in previous research; in addition, the scope of past studies of Saudi students has been
limited to only one of the two traditional genders. The current study was designed to
contribute to filling these gaps.
The thesis consists of six chapters. Chapter One introduces the objectives, research
question, theoretical framework and background of the study. Chapter Two reviews the
related literature. Chapter Three describes the sample population, data collection and
procedures. Chapter Four deals with the data analyses. Chapter Five discusses the
findings and implications of the investigation. Chapter Six presents a summary and
conclusions.
The research found no correlation between psychological characteristics and writing
performance in general, nor between psychological characteristics and the writing of
narrative and persuasive text types, in particular. Overall, the results conflict with those
of previous studies, in that it was found that rather than psychological characteristics
influencing writing performance gender difference influenced writing performance,
and the psychological characteristics did not influence anything, it was the other way
round, gender difference also influenced psychological characteristics. This thesis thus
contributes to the growing body of knowledge in the field of EFL, by providing
evidence that the influence of psychological characteristics on writing is not salient in
every socio-cultural context, and that the writers’ gender can have an effect on their
writing performance.Journeys beyond binaries : storytelling and polyphony in the narratives of Gabriella Ghermandi, Igiaba Scego, Ubax Cristina Ali Farah and Amara LakhousPrisco, Mariohttps://hdl.handle.net/10023/119472017-10-30T14:23:02Z2015-10-01T00:00:00ZIn the last two decades, in media and political discourses, Italianness has been increasingly represented as a homogeneous and compact entity, which is intruded on and contaminated by immigrants. In this study, the binary opposition between Italians and migrants is investigated from the perspective of writers who inhabit a liminal space, between at least two cultures, with the main intent to problematize the binary itself and to show its nature of fabrication. On the basis of Said’s contrapuntal method, the novels by Ghermandi, Scego, Ali Farah and
Lakhous are thought to establish a counterpoint with dominant discourses about Italianness.
With the firm belief that discourses about postcolonial Italy must address its colonial past, the works analysed are considered as in dialogue with both colonial and postcolonial discourses.
A dialogical relation is established, within the study, between Ghermandi’s Regina di
fiori e di perle and Flaiano’s Tempo di uccidere. Written from the perspectives of the colonized and the colonizers respectively, both novels unveil colonial crimes and faults in Ethiopia, thus being counter-narratives about official representations of Italian colonialism. In
Scego’s Rhoda and Oltre Babilonia and Ali Farah’s Madre piccolo, like threads, the individual stories of Somali exiles intertwine to create a fabric, whose pattern reveals the importance of the legacy of colonialism within contemporary Italy. Mainly situated between Italian and Somali cultures, the protagonists experience traumas, suffering and loss but finally attain a contrapuntal awareness between the two cultural poles. They become conscious of how enriching their in-between position is; they affirm the value of their hybrid identity. With a further zoom into postcolonial Italy, Lakhous’ Scontro di civiltà per un ascensore a piazza Vittorio and Divorzio all’islamica a viale Marconi analyse the binary ‘us-Italians’ versus ‘thosemigrants’ in two microcosms in Rome. General polarizations such as Islam and the West emerge as factors which are exploited in order to exacerbate tensions and divisions. In addition, Italianness appears to be an internally fragmented entity, which is imagined as compact and homogeneous, as a reaction to the influx of immigrants. Against any logic of binarism, the novels by Ghermandi, Scego, Ali Farah and Lakhous reveal the constant effort to create a passage between two poles and to uphold a dialogical relation between them; crossings over and hybridity are continuously affirmed. With their highly important affirmation of multiplicity, the works challenge any essentializing notion of identity and any narrow representation of Italianness, within multiethnic contemporary Italy.
2015-10-01T00:00:00ZPrisco, MarioIn the last two decades, in media and political discourses, Italianness has been increasingly represented as a homogeneous and compact entity, which is intruded on and contaminated by immigrants. In this study, the binary opposition between Italians and migrants is investigated from the perspective of writers who inhabit a liminal space, between at least two cultures, with the main intent to problematize the binary itself and to show its nature of fabrication. On the basis of Said’s contrapuntal method, the novels by Ghermandi, Scego, Ali Farah and
Lakhous are thought to establish a counterpoint with dominant discourses about Italianness.
With the firm belief that discourses about postcolonial Italy must address its colonial past, the works analysed are considered as in dialogue with both colonial and postcolonial discourses.
A dialogical relation is established, within the study, between Ghermandi’s Regina di
fiori e di perle and Flaiano’s Tempo di uccidere. Written from the perspectives of the colonized and the colonizers respectively, both novels unveil colonial crimes and faults in Ethiopia, thus being counter-narratives about official representations of Italian colonialism. In
Scego’s Rhoda and Oltre Babilonia and Ali Farah’s Madre piccolo, like threads, the individual stories of Somali exiles intertwine to create a fabric, whose pattern reveals the importance of the legacy of colonialism within contemporary Italy. Mainly situated between Italian and Somali cultures, the protagonists experience traumas, suffering and loss but finally attain a contrapuntal awareness between the two cultural poles. They become conscious of how enriching their in-between position is; they affirm the value of their hybrid identity. With a further zoom into postcolonial Italy, Lakhous’ Scontro di civiltà per un ascensore a piazza Vittorio and Divorzio all’islamica a viale Marconi analyse the binary ‘us-Italians’ versus ‘thosemigrants’ in two microcosms in Rome. General polarizations such as Islam and the West emerge as factors which are exploited in order to exacerbate tensions and divisions. In addition, Italianness appears to be an internally fragmented entity, which is imagined as compact and homogeneous, as a reaction to the influx of immigrants. Against any logic of binarism, the novels by Ghermandi, Scego, Ali Farah and Lakhous reveal the constant effort to create a passage between two poles and to uphold a dialogical relation between them; crossings over and hybridity are continuously affirmed. With their highly important affirmation of multiplicity, the works challenge any essentializing notion of identity and any narrow representation of Italianness, within multiethnic contemporary Italy.François Villon in English : translation and cross-cultural poetic influencePascolini-Campbell, Clairehttps://hdl.handle.net/10023/118272019-06-25T09:42:33Z2014-01-01T00:00:00ZThis thesis argues that François Villon becomes a significant, but overlooked, influence in the tradition of English poetry, and that this influence reveals itself in translations, adaptations, and responses to his work. By focusing on the way in which numerous high profile poets in the United Kingdom and the United States have reacted to Villon, this study will posit that the reasons behind the appeal of his oeuvre as a source text lie both in the protean nature of his narrative voice and in the myth of his life. The inter-lingual intertextual relationships established through translation and the residue of Villon in English poetic tradition will be presented by means of five case studies, all taking the work of a specific poet as their theme: Algernon Charles Swinburne; Dante Gabriel Rossetti; Ezra Pound; Basil Bunting; and Robert Lowell. These five poets are presented as being exemplary of a greater tradition of translating Villon into English, and will take the reader from the first verse translations of his work in the nineteenth century, to postmodern adaptations and parodies of Villon in the twentieth. They will illustrate the specified intertextual relationships that exist both between source text and target text, and the work of one translator and another, thereby demonstrating the accumulation of influences at play in any one translation of this medieval French poet. In so doing, this thesis will also explore translation and adaptation as dialogical and transformative spaces, distinct from other genres in their ability to establish cross-cultural and interlingual intertexts. Translation and adaptation as spaces of cultural and linguistic hybridity will be demonstrated by observing some of the ways in which Villon has left his mark on English verse, and some of the Villons that anglophone poets have created in their turn.
2014-01-01T00:00:00ZPascolini-Campbell, ClaireThis thesis argues that François Villon becomes a significant, but overlooked, influence in the tradition of English poetry, and that this influence reveals itself in translations, adaptations, and responses to his work. By focusing on the way in which numerous high profile poets in the United Kingdom and the United States have reacted to Villon, this study will posit that the reasons behind the appeal of his oeuvre as a source text lie both in the protean nature of his narrative voice and in the myth of his life. The inter-lingual intertextual relationships established through translation and the residue of Villon in English poetic tradition will be presented by means of five case studies, all taking the work of a specific poet as their theme: Algernon Charles Swinburne; Dante Gabriel Rossetti; Ezra Pound; Basil Bunting; and Robert Lowell. These five poets are presented as being exemplary of a greater tradition of translating Villon into English, and will take the reader from the first verse translations of his work in the nineteenth century, to postmodern adaptations and parodies of Villon in the twentieth. They will illustrate the specified intertextual relationships that exist both between source text and target text, and the work of one translator and another, thereby demonstrating the accumulation of influences at play in any one translation of this medieval French poet. In so doing, this thesis will also explore translation and adaptation as dialogical and transformative spaces, distinct from other genres in their ability to establish cross-cultural and interlingual intertexts. Translation and adaptation as spaces of cultural and linguistic hybridity will be demonstrated by observing some of the ways in which Villon has left his mark on English verse, and some of the Villons that anglophone poets have created in their turn.On knowingness : irony and queerness in the works of Byron, Heine, Fontane, and WildeKling, Jutta Corneliahttps://hdl.handle.net/10023/118242021-07-27T02:00:30Z2014-09-01T00:00:00ZThis thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along.'
2014-09-01T00:00:00ZKling, Jutta CorneliaThis thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along.'Interview: Algo más que un parqueLarre Borges, Ana Inéshttps://hdl.handle.net/10023/115682019-04-01T09:05:03Z2012-03-29T00:00:00ZGustavo San Román, investigador uruguayo radicado en Escocia, resultó el ganador del concurso internacional José Enrique Rodó, con un trabajo sobre la "Influencia y actualidad del pensamiento de José Enrique Rodó".* Brecha interrogó a San Román sobre la vigencia de Rodó.
2012-03-29T00:00:00ZLarre Borges, Ana InésGustavo San Román, investigador uruguayo radicado en Escocia, resultó el ganador del concurso internacional José Enrique Rodó, con un trabajo sobre la "Influencia y actualidad del pensamiento de José Enrique Rodó".* Brecha interrogó a San Román sobre la vigencia de Rodó.In search of images : Uruguayan cinema, 1960-2010Tadeo Fuica, Beatrizhttps://hdl.handle.net/10023/114172019-12-20T09:58:06Z2014-01-01T00:00:00ZThis thesis investigates fifty years of Uruguayan cinema in order to revisit the
relationship between cinema and nation, at a time in which transnational flows are
putting into question the concept of nation and, more precisely, that of national
cinema. This investigation also contributes to current discussions on the changing
nature of cinema, generated by the fast adoption of digital technology and the
imminent disappearance of film stock. Through the case of Uruguay, I explore the
construction of national identity not only through the text, but also through the –
filmic, digital and/or analogue – materiality of film. This approach incorporates aspects
which are not usually studied together to contribute to the analysis of Uruguayan
cinema in a manner potentially applicable to other nations with similar characteristics;
that is to say, nations without an established film heritage and filmmaking tradition.
Informed by writings on film, cultural, historical and archival studies, this thesis
approaches films as ‘hybrid’ rather than ‘pure’ or ‘authentic’ texts and media. I argue
that both the text and materiality of films absorb, influence and reflect the dynamic
processes involved in the construction of national identity. Rather than seeking for
authenticity and homogeneity, this thesis stresses the necessity to focus on
discontinuity and diversity. Therefore, it analyses lost and under-researched short,
documentary, animation and institutional films and videos, alongside feature fiction
films.
First, I present a theoretical discussion on the relationship between nation and
cinema, the concept of hybridity in film studies, and the importance of technology for
production, preservation and access. This is followed by four chronological chapters in
which the hybrid text and materiality of films are analysed in contexts of social and
political upheaval; dictatorship, resistance and exile; transition; and neo-liberalism and
globalisation. This thesis demonstrates that the ties between cinema and nation have
not necessarily loosened in the global and digital age, and still deserve critical
attention.
2014-01-01T00:00:00ZTadeo Fuica, BeatrizThis thesis investigates fifty years of Uruguayan cinema in order to revisit the
relationship between cinema and nation, at a time in which transnational flows are
putting into question the concept of nation and, more precisely, that of national
cinema. This investigation also contributes to current discussions on the changing
nature of cinema, generated by the fast adoption of digital technology and the
imminent disappearance of film stock. Through the case of Uruguay, I explore the
construction of national identity not only through the text, but also through the –
filmic, digital and/or analogue – materiality of film. This approach incorporates aspects
which are not usually studied together to contribute to the analysis of Uruguayan
cinema in a manner potentially applicable to other nations with similar characteristics;
that is to say, nations without an established film heritage and filmmaking tradition.
Informed by writings on film, cultural, historical and archival studies, this thesis
approaches films as ‘hybrid’ rather than ‘pure’ or ‘authentic’ texts and media. I argue
that both the text and materiality of films absorb, influence and reflect the dynamic
processes involved in the construction of national identity. Rather than seeking for
authenticity and homogeneity, this thesis stresses the necessity to focus on
discontinuity and diversity. Therefore, it analyses lost and under-researched short,
documentary, animation and institutional films and videos, alongside feature fiction
films.
First, I present a theoretical discussion on the relationship between nation and
cinema, the concept of hybridity in film studies, and the importance of technology for
production, preservation and access. This is followed by four chronological chapters in
which the hybrid text and materiality of films are analysed in contexts of social and
political upheaval; dictatorship, resistance and exile; transition; and neo-liberalism and
globalisation. This thesis demonstrates that the ties between cinema and nation have
not necessarily loosened in the global and digital age, and still deserve critical
attention.The representation of male figures in the fiction of Irmtraud MorgnerStrauss, Wernerhttps://hdl.handle.net/10023/112892019-04-01T09:03:31Z2004-07-01T00:00:00ZThis study describes and analyses the treatment of male characters in the work of the East German author, Irmtraud Morgner. The main focus of the thesis is on Morgner’s handling of masculinity in relation to her treatment of the fantastic. Given that the majority of scholarship on Morgner concentrates on feminist aspects of her work, the aim of this thesis is to redress this imbalance by concentrating on the importance to her fictional narratives of male figures. The ways in which Morgner portrays her male characters shed significant new light on the function of the fantastic in her work. A detailed analysis of her texts shows that Morgner excludes all but a few of her male characters from the fantastic. By investigating the reasons for this, the thesis seeks to contribute to a better understanding of Morgner’s complex views on gender issues. The argument is advanced that Morgner’s treatment of her male characters and their interaction, or lack of interaction with the fantastic, reveals a more nuanced disillusionment with society than emerges from examinations of her female characters alone. Such a reading therefore permits a deeper and more differentiated understanding of her work.
2004-07-01T00:00:00ZStrauss, WernerThis study describes and analyses the treatment of male characters in the work of the East German author, Irmtraud Morgner. The main focus of the thesis is on Morgner’s handling of masculinity in relation to her treatment of the fantastic. Given that the majority of scholarship on Morgner concentrates on feminist aspects of her work, the aim of this thesis is to redress this imbalance by concentrating on the importance to her fictional narratives of male figures. The ways in which Morgner portrays her male characters shed significant new light on the function of the fantastic in her work. A detailed analysis of her texts shows that Morgner excludes all but a few of her male characters from the fantastic. By investigating the reasons for this, the thesis seeks to contribute to a better understanding of Morgner’s complex views on gender issues. The argument is advanced that Morgner’s treatment of her male characters and their interaction, or lack of interaction with the fantastic, reveals a more nuanced disillusionment with society than emerges from examinations of her female characters alone. Such a reading therefore permits a deeper and more differentiated understanding of her work.The ecological voice in recent German-Swiss proseListon, Andrew Adamshttps://hdl.handle.net/10023/112872019-04-01T09:03:36Z2005-03-01T00:00:00ZThis thesis seeks to investigate the ecological theme in German-Swiss prose of the last thirty years. The role of nature has understandably always been significant in Swiss literature. In a nation that has eked out its living, in such an impressive and violent landscape, there is of necessity a highly developed awareness of the environment. Furthermore, the close relationship between mankind and the environment is inherently ambiguous, with each acting alternately as curse and blessing to the other. The bond between people and geography is made all the more vital in the Alps, where existence is under the constant threat of avalanches and landslides. In light of this heightened environmental sensibility, it is unsurprising that, with the growing profile of ecological debate in general, Swiss writers should demonstrate an acute cognisance of the significance of ecological problems. The notion of an ecological voice takes the discussion further. The question is posed whether these works merely represent a reflection of societal concern for the environment, or whether literary responses may constitute solutions. This investigation therefore contributes both to literary criticism on Swiss writing and to the understanding of the role of conceptualisation in finding solutions to ecological problems. To explore and analyse these ideas, this thesis considers a representatively broad spectrum of differing responses to ecological crisis. It is not intended to be an exhaustive list of recent Swiss ‘Öko-Literatur’, but instead to be an investigation of the variety of narrative strategies employed in this period of growing ecological awareness.
2005-03-01T00:00:00ZListon, Andrew AdamsThis thesis seeks to investigate the ecological theme in German-Swiss prose of the last thirty years. The role of nature has understandably always been significant in Swiss literature. In a nation that has eked out its living, in such an impressive and violent landscape, there is of necessity a highly developed awareness of the environment. Furthermore, the close relationship between mankind and the environment is inherently ambiguous, with each acting alternately as curse and blessing to the other. The bond between people and geography is made all the more vital in the Alps, where existence is under the constant threat of avalanches and landslides. In light of this heightened environmental sensibility, it is unsurprising that, with the growing profile of ecological debate in general, Swiss writers should demonstrate an acute cognisance of the significance of ecological problems. The notion of an ecological voice takes the discussion further. The question is posed whether these works merely represent a reflection of societal concern for the environment, or whether literary responses may constitute solutions. This investigation therefore contributes both to literary criticism on Swiss writing and to the understanding of the role of conceptualisation in finding solutions to ecological problems. To explore and analyse these ideas, this thesis considers a representatively broad spectrum of differing responses to ecological crisis. It is not intended to be an exhaustive list of recent Swiss ‘Öko-Literatur’, but instead to be an investigation of the variety of narrative strategies employed in this period of growing ecological awareness.The portrayal of childhood in German fiction from Keller to CarossaBerneaud, Jean Margarethttps://hdl.handle.net/10023/112102019-04-01T09:03:37Z1947-01-01T00:00:00ZThe middle of the 19th century marks a stage in the development of childhood portrayal in German literature. But to take Keller as a starting point rather than Gotthelf, is to recognize in the former the deliberate selectiveness of the artist, and the importance given by him to the whole period of childhood. The wealth of present-day literature dealing with children and childhood would seem to make the drawing of any line of demarcation something of an arbitrary matter. Yet the name of Carossa not only establishes a link with Keller in the poetic interpretation of childhood, but points to a culmination of artistic achievement within our own times.
1947-01-01T00:00:00ZBerneaud, Jean MargaretThe middle of the 19th century marks a stage in the development of childhood portrayal in German literature. But to take Keller as a starting point rather than Gotthelf, is to recognize in the former the deliberate selectiveness of the artist, and the importance given by him to the whole period of childhood. The wealth of present-day literature dealing with children and childhood would seem to make the drawing of any line of demarcation something of an arbitrary matter. Yet the name of Carossa not only establishes a link with Keller in the poetic interpretation of childhood, but points to a culmination of artistic achievement within our own times.Popular fiction in France and England, 1860-1875 : convention, irony and ambivalence in the novels of Paul Féval and Wilkie CollinsPicq, Elisabethhttps://hdl.handle.net/10023/111122019-03-29T16:01:18Z2000-01-01T00:00:00ZThis thesis is a comparative study of two popular nineteenth-century writers, Paul Feval and Wilkie Collins, and by extension, of their respective traditions, the Roman-Feuilleton and the Sensation novel. At the same time, the thesis seeks to provide new insight into the nature and function of
popular fiction as a genre.
This study argues that, contrary to common assumptions, popular fiction is a complex and dialogic form. As a comparative project, this thesis underscores similarities and differences between the two writers.
Chapter I looks at the narrative structures of the novels. It demonstrates that the use of archetypal story-patterns and characters leaves room for 'both thoughtful and ironically playful narrative experiments, resulting in a surprising degree of self-reflexivity.
Chapter Il emphasises the dialogic nature of the texts by examining the ways they evoke and rework different genres and registers. It argues that the mingling of tones and moods serves both to stimulate readers' pleasure and to convey criticism of contemporary society. Making use of Mikhaïl
Bakhtin's theories on popular culture, this section highlights the carnivalesque nature of the texts.
Chapter III addresses in detail the formal influence of the theatre on the two sets of texts and investigates the use of theatrical metaphors in the novels as a way to explore the workings of society.
Chapter IV sets out to redress common assumptions about the conservatism of Féval's narratives and the radical nature of Collins' novels by highlighting the existence of two contrary discourses, one manichean and conservative, the other rebellious and immoral.
Chapter V makes use of René Girard's theory of the scapegoat. By showing how the two discourses articulate around a scapegoat figure, it draws a parallel between the mechanisms of popular fiction and social mechanisms. Finally, this section argues that both Féval and Collins were aware of the ideological charge of the form they were using and of its limitations.
2000-01-01T00:00:00ZPicq, ElisabethThis thesis is a comparative study of two popular nineteenth-century writers, Paul Feval and Wilkie Collins, and by extension, of their respective traditions, the Roman-Feuilleton and the Sensation novel. At the same time, the thesis seeks to provide new insight into the nature and function of
popular fiction as a genre.
This study argues that, contrary to common assumptions, popular fiction is a complex and dialogic form. As a comparative project, this thesis underscores similarities and differences between the two writers.
Chapter I looks at the narrative structures of the novels. It demonstrates that the use of archetypal story-patterns and characters leaves room for 'both thoughtful and ironically playful narrative experiments, resulting in a surprising degree of self-reflexivity.
Chapter Il emphasises the dialogic nature of the texts by examining the ways they evoke and rework different genres and registers. It argues that the mingling of tones and moods serves both to stimulate readers' pleasure and to convey criticism of contemporary society. Making use of Mikhaïl
Bakhtin's theories on popular culture, this section highlights the carnivalesque nature of the texts.
Chapter III addresses in detail the formal influence of the theatre on the two sets of texts and investigates the use of theatrical metaphors in the novels as a way to explore the workings of society.
Chapter IV sets out to redress common assumptions about the conservatism of Féval's narratives and the radical nature of Collins' novels by highlighting the existence of two contrary discourses, one manichean and conservative, the other rebellious and immoral.
Chapter V makes use of René Girard's theory of the scapegoat. By showing how the two discourses articulate around a scapegoat figure, it draws a parallel between the mechanisms of popular fiction and social mechanisms. Finally, this section argues that both Féval and Collins were aware of the ideological charge of the form they were using and of its limitations.The fairy tale on the old Viennese stageCrosby, Claire Darrylhttps://hdl.handle.net/10023/109502019-04-01T09:03:45Z1987-01-01T00:00:00ZThe thesis deals with fairy tales on the Viennese stage and their narrative sources from the beginning of the eighteenth century to 1848.
In the introductory chapter a statistical analysis of fairy tales illustrates that while the Viennese were greatly under the influence of fairy tales published in other German-speaking lands, the fairy tale on the Viennese stage did not follow the trends of the fairy tale in German literature.
The first of the three main chapters discusses the dramatizations of the oriental fairy tales shown in Vienna. Raimund's Der Diamant des Geisterkönigs is one example. Wieland' s fairy tales provided the Viennese dramatists with a lot of
source material, not only of oriental origin, but even of Italian origin too.
The second main chapter analyses the sources of Vulpius’s Die Saal-Nixe and looks at the different works inspired by this typical Sage der Vorzeit, including Hensler's Das Donauweibchen and Grillparzer's Melusine. The theme of the white deer links these works with the oriental tale about Cheheristany and La
donna serpente, an Italian play by Gozzi which provided Raimund with material for Der Verschwender.
The third main chapter studies the close interaction of the French and German folk tales in literature and on the Viennesestage. The two examples chosen are the stories about Rübezahl and Fortunatus. Special attention is paid to Musäus who wrote stories about both these folk-tale figures and whose collection of folk tales was a popular source of dramatization. The failure of the Grimm Brothers to inspire Viennese dramatists is contrasted with the success of popular authors, such as Langbein.
The conclusion summarizes first the sources of Viennese fairy-tale dramas and secondly the similarities and differences between the fairy tale on the Viennese stage and in German literature. And finally the demise of the fairy tale
is examined.
1987-01-01T00:00:00ZCrosby, Claire DarrylThe thesis deals with fairy tales on the Viennese stage and their narrative sources from the beginning of the eighteenth century to 1848.
In the introductory chapter a statistical analysis of fairy tales illustrates that while the Viennese were greatly under the influence of fairy tales published in other German-speaking lands, the fairy tale on the Viennese stage did not follow the trends of the fairy tale in German literature.
The first of the three main chapters discusses the dramatizations of the oriental fairy tales shown in Vienna. Raimund's Der Diamant des Geisterkönigs is one example. Wieland' s fairy tales provided the Viennese dramatists with a lot of
source material, not only of oriental origin, but even of Italian origin too.
The second main chapter analyses the sources of Vulpius’s Die Saal-Nixe and looks at the different works inspired by this typical Sage der Vorzeit, including Hensler's Das Donauweibchen and Grillparzer's Melusine. The theme of the white deer links these works with the oriental tale about Cheheristany and La
donna serpente, an Italian play by Gozzi which provided Raimund with material for Der Verschwender.
The third main chapter studies the close interaction of the French and German folk tales in literature and on the Viennesestage. The two examples chosen are the stories about Rübezahl and Fortunatus. Special attention is paid to Musäus who wrote stories about both these folk-tale figures and whose collection of folk tales was a popular source of dramatization. The failure of the Grimm Brothers to inspire Viennese dramatists is contrasted with the success of popular authors, such as Langbein.
The conclusion summarizes first the sources of Viennese fairy-tale dramas and secondly the similarities and differences between the fairy tale on the Viennese stage and in German literature. And finally the demise of the fairy tale
is examined.Edition and study (mostly linguistic) of a section of an Anglo-Norman translation of the Bible (14th century) : the Acts of the Apostles in MSS B.N. fr. 1 & 9562Ratcliff, Nora Elizabethhttps://hdl.handle.net/10023/107662019-04-01T09:02:52Z1955-01-01T00:00:00ZThis Edition and Study of the Acts of the Apostles was
undertaken with a view to throwing some fresh light on the
problems, linguistic and other, raised by the Anglo-Norman
Bible. Although quite often mentioned in books dealing with
mediaeval biblical translations, this version had not been
studied closely in any completed work, and yet seemed to deserve
attention. The existence in Paris of two manuscripts,
B.N. fr. 1 and 9562, containing Acts in this, version, at once
indicated this section for study, since it restricted the
main task of research on the original manuscripts to a single
place, while yet providing two manuscripts for comparison.
1955-01-01T00:00:00ZRatcliff, Nora ElizabethThis Edition and Study of the Acts of the Apostles was
undertaken with a view to throwing some fresh light on the
problems, linguistic and other, raised by the Anglo-Norman
Bible. Although quite often mentioned in books dealing with
mediaeval biblical translations, this version had not been
studied closely in any completed work, and yet seemed to deserve
attention. The existence in Paris of two manuscripts,
B.N. fr. 1 and 9562, containing Acts in this, version, at once
indicated this section for study, since it restricted the
main task of research on the original manuscripts to a single
place, while yet providing two manuscripts for comparison.Liminality as identity in four novels by Ben Okri and Tahar ben JellounTaylor, Laurelhttps://hdl.handle.net/10023/98252019-03-29T16:00:59Z2001-01-01T00:00:00ZThis thesis compares two novels each by Nigerian writer Ben Okri and Moroccan
writer Tahar Ben Jelloun. By examining apparently transformative moments in the lives of each
protagonist, Azaro and Zahra, its principal aim is to show how liminality characterises their
identities, and is a source of personal and potentially political liberation, mirrored in the
narrative techniques.
The Introduction demonstrates the centrality of identity to these novels and the
domain of postcolonial studies and defines the key concepts in relevant literary, theoretical and
political contexts: identity, hybridity, liminality, magical realism and the
postcolonial/postmodern debate.
Chapter I establishes Azaro and Zahra as liminal beings from birth, whose childhood
rituals are incomplete and who continually subvert parental and social expectation. This
examination of liminality may be extended by reading the characters as emblems of their
respective nations-in-waiting.
Chapter II focuses on the tension between biology and culture within Zahra's gendered
identity and demonstrates empowerment in her choice to remain liminal in a 'potential space'.
Azaro's shifting sexual awareness is examined as a manifestation of his liminality. The
allegorical reading of Zahra's life is continued, and a connection made between sexual and
political corruption in the English texts.
Chapter III centres on the fluidity of Azaro's boundaries and perception. Like Zahra's,
his liminality is chosen, as he decides to live in a potential space between human and spirit.
Zahra, too, has a special relationship with the spirit world; she and Azaro are shown to have
revelatory visions of political significance.
The Conclusion brings together the analysis of Azaro's and Zahra's identities before
extending the liminal states of the protagonists to those of reader and artist. It concludes that
these texts offer new opportunities for the understanding of postcolonial texts and moving
beyond the duality of the postcolonial/postmodern debate.
2001-01-01T00:00:00ZTaylor, LaurelThis thesis compares two novels each by Nigerian writer Ben Okri and Moroccan
writer Tahar Ben Jelloun. By examining apparently transformative moments in the lives of each
protagonist, Azaro and Zahra, its principal aim is to show how liminality characterises their
identities, and is a source of personal and potentially political liberation, mirrored in the
narrative techniques.
The Introduction demonstrates the centrality of identity to these novels and the
domain of postcolonial studies and defines the key concepts in relevant literary, theoretical and
political contexts: identity, hybridity, liminality, magical realism and the
postcolonial/postmodern debate.
Chapter I establishes Azaro and Zahra as liminal beings from birth, whose childhood
rituals are incomplete and who continually subvert parental and social expectation. This
examination of liminality may be extended by reading the characters as emblems of their
respective nations-in-waiting.
Chapter II focuses on the tension between biology and culture within Zahra's gendered
identity and demonstrates empowerment in her choice to remain liminal in a 'potential space'.
Azaro's shifting sexual awareness is examined as a manifestation of his liminality. The
allegorical reading of Zahra's life is continued, and a connection made between sexual and
political corruption in the English texts.
Chapter III centres on the fluidity of Azaro's boundaries and perception. Like Zahra's,
his liminality is chosen, as he decides to live in a potential space between human and spirit.
Zahra, too, has a special relationship with the spirit world; she and Azaro are shown to have
revelatory visions of political significance.
The Conclusion brings together the analysis of Azaro's and Zahra's identities before
extending the liminal states of the protagonists to those of reader and artist. It concludes that
these texts offer new opportunities for the understanding of postcolonial texts and moving
beyond the duality of the postcolonial/postmodern debate.Negotiating home spaces : spatial practices in Italian postcolonial literatureGiuliana, Chiarahttps://hdl.handle.net/10023/97642016-11-04T10:50:35Z2015-01-01T00:00:00Z2015-01-01T00:00:00ZGiuliana, ChiaraThe German language and Reunification 1990 : the effect of emotion on the use of modal particles in East and West BerlinBraber, Nataliehttps://hdl.handle.net/10023/89402019-04-01T09:05:11Z2002-01-01T00:00:00ZThe thesis looks at the language of Germany before and after
unification in 1990. In particular the language of the German
Democratic Republic before the Wende is examined and the
subsequent changes within it. Furthermore, the influence of emotion
on the use of modal particles in East and West Berlin is analysed in
order to ascertain how emotion can affect language use. The first
section concentrates on the language of the German Democratic
Republic and how this differed from the language of the Federal
Republic of Germany. By looking at two such opposing political
systems it is possible to see the effect of politics and the social,
cultural and economic values of a state on its language. The second
section analyses the language of Germany after the Wende in 1989
and unification in 1990. These changes in German society had
profound effects on all aspects of East German life, and to a lesser
extent in the Federal Republic of Germany. The citizens of the former
German Democratic Republic had to learn to adapt to their new
system and this is closely examined. Section three examines modal
particles, what they are and how they are used in the German
language. After a more general section, the particular modal particles
examined in chapter 5: eben, halt, doch, denn and eigentlich are
discussed and their usages examined. The fourth section
concentrates on emotion and how it has been viewed in past and
present research, in conjunction with thought and language. The fifth
and final section is the analysis of a corpus of German language,
interviews with citizens of East and West Berlin regarding 9 November
1989 and the period after. By examining this corpus, looking at the
usage of the five afore-mentioned modal particles and tags and the
emotion felt by the speakers, the connection between emotion and the
use of modal particles is illustrated.
2002-01-01T00:00:00ZBraber, NatalieThe thesis looks at the language of Germany before and after
unification in 1990. In particular the language of the German
Democratic Republic before the Wende is examined and the
subsequent changes within it. Furthermore, the influence of emotion
on the use of modal particles in East and West Berlin is analysed in
order to ascertain how emotion can affect language use. The first
section concentrates on the language of the German Democratic
Republic and how this differed from the language of the Federal
Republic of Germany. By looking at two such opposing political
systems it is possible to see the effect of politics and the social,
cultural and economic values of a state on its language. The second
section analyses the language of Germany after the Wende in 1989
and unification in 1990. These changes in German society had
profound effects on all aspects of East German life, and to a lesser
extent in the Federal Republic of Germany. The citizens of the former
German Democratic Republic had to learn to adapt to their new
system and this is closely examined. Section three examines modal
particles, what they are and how they are used in the German
language. After a more general section, the particular modal particles
examined in chapter 5: eben, halt, doch, denn and eigentlich are
discussed and their usages examined. The fourth section
concentrates on emotion and how it has been viewed in past and
present research, in conjunction with thought and language. The fifth
and final section is the analysis of a corpus of German language,
interviews with citizens of East and West Berlin regarding 9 November
1989 and the period after. By examining this corpus, looking at the
usage of the five afore-mentioned modal particles and tags and the
emotion felt by the speakers, the connection between emotion and the
use of modal particles is illustrated.A phonotactic link between strong verbs and function words in EnglishBeedham, Christopherhttps://hdl.handle.net/10023/86232023-04-18T09:45:11Z2014-10-01T00:00:00ZIn ‘Vowel + consonant and consonant + vowel sequences in the strong verbs of German and English’ (Cahiers Ferdinand de Saussure 1995–1996/49:139–63) I showed that the vowel + consonant sequences (VCs) and the consonant + vowel sequences (CVs) of the English strong verbs tend to occur only on the strong verbs, not on weak verbs, and hence serve as phonotactic markers of strong conjugation. In this paper I adduce data which show that the English strong verb VCs (though not the CVs) have an unexpectedly high rate of occurrence—72%—in monosyllabic function words such as prepositions and pronouns. Thus a formal, phonotactic link has been established between strong verbs and function words in English. The same tendency has been demonstrated for the strong verbs of German and the non-productive verbs of Russian. The pattern revealed points towards the possibility of finding rules for the formation of strong verbs and a separate meaning—perhaps aspectual—for them, different to that of the weak verbs.
Date of acceptance is 15.6.2006, for a December 2006 issue. Due to a hiatus in the editorship of the journal the issue was not published until 2014; with a 2006 imprint; the version published in 2014 is unchanged from the version accepted in 2006.
2014-10-01T00:00:00ZBeedham, ChristopherIn ‘Vowel + consonant and consonant + vowel sequences in the strong verbs of German and English’ (Cahiers Ferdinand de Saussure 1995–1996/49:139–63) I showed that the vowel + consonant sequences (VCs) and the consonant + vowel sequences (CVs) of the English strong verbs tend to occur only on the strong verbs, not on weak verbs, and hence serve as phonotactic markers of strong conjugation. In this paper I adduce data which show that the English strong verb VCs (though not the CVs) have an unexpectedly high rate of occurrence—72%—in monosyllabic function words such as prepositions and pronouns. Thus a formal, phonotactic link has been established between strong verbs and function words in English. The same tendency has been demonstrated for the strong verbs of German and the non-productive verbs of Russian. The pattern revealed points towards the possibility of finding rules for the formation of strong verbs and a separate meaning—perhaps aspectual—for them, different to that of the weak verbs.Genres instables : ludic performances of autofiction in the works of Catherine Cusset, Philippe Vilain, Chloé Delaume and Éric ChevillardFraser, Morvenhttps://hdl.handle.net/10023/73252020-09-19T02:03:55Z2015-11-30T00:00:00ZAutofiction has been the subject of much critical investigation in France, yet little of this theory extends to contemporary texts. Furthermore, autofictional theory has, until now, neglected the study of ludic performance – an important feature within the genre –, and this thesis contributes to filling this gap in criticism. Through this analysis, I establish the genre’s construction as well as the constitution of the autobiographical persona in the autofictional texts of four authors. I argue that in order for autofiction to
be considered as a genre, ludic strategies and autofictional personae are critical factors in the genre’s construction. I build on previous scholarship of autofiction before
discussing the performance of autobiographical personae producing an autofictional body in the works of four contemporary French writers: Catherine Cusset, Philippe Vilain, Chloé Delaume and Éric Chevillard. Each author is analysed in a dedicated chapter exploring their autofictional œuvres, yielding three key trends. These are: the proliferation of intertextual references, ludic representations of the genre, and the creation of an autofictional body by the
reader through autofictional personae. In each chapter I examine the construction of
these personae, revealing a separation between selfhood constructed in language and
questions of the body, both of the autofictional personae as well as characters within the text. Other characters within the texts expose complex constructions of gender that range from a rejection of male characters to the homogenisation of female characters reduced to stereotypes. Depictions of the intimate sphere within autofiction, including relationships and gendered constructs, are analysed in order to situate autofiction as a genre. Through the discussion of autofictional personae pivotal in this conception of autofiction, this thesis posits that representations of the body – within and beyond language – are the key to understanding autofictional performances.
2015-11-30T00:00:00ZFraser, MorvenAutofiction has been the subject of much critical investigation in France, yet little of this theory extends to contemporary texts. Furthermore, autofictional theory has, until now, neglected the study of ludic performance – an important feature within the genre –, and this thesis contributes to filling this gap in criticism. Through this analysis, I establish the genre’s construction as well as the constitution of the autobiographical persona in the autofictional texts of four authors. I argue that in order for autofiction to
be considered as a genre, ludic strategies and autofictional personae are critical factors in the genre’s construction. I build on previous scholarship of autofiction before
discussing the performance of autobiographical personae producing an autofictional body in the works of four contemporary French writers: Catherine Cusset, Philippe Vilain, Chloé Delaume and Éric Chevillard. Each author is analysed in a dedicated chapter exploring their autofictional œuvres, yielding three key trends. These are: the proliferation of intertextual references, ludic representations of the genre, and the creation of an autofictional body by the
reader through autofictional personae. In each chapter I examine the construction of
these personae, revealing a separation between selfhood constructed in language and
questions of the body, both of the autofictional personae as well as characters within the text. Other characters within the texts expose complex constructions of gender that range from a rejection of male characters to the homogenisation of female characters reduced to stereotypes. Depictions of the intimate sphere within autofiction, including relationships and gendered constructs, are analysed in order to situate autofiction as a genre. Through the discussion of autofictional personae pivotal in this conception of autofiction, this thesis posits that representations of the body – within and beyond language – are the key to understanding autofictional performances.Nature and death in the poetry of al-Malā'ika, al-Shābbī and Shukrī, and certain English Romantic poets : a comparative studyHussein, Ronak Hassanhttps://hdl.handle.net/10023/71382019-04-01T09:02:13Z1989-01-01T00:00:00ZThe first part of this thesis, divided into two
chapters, deals with the early background of European
Romanticism; the reasons behind its appearance and
problems of definition. There follows a discussion on
the question of the originality of Arabic Romanticism,
with ,a brief review of the roots and main literary groups
of this movement in Arabic poetry.
Part two examines the influence of English poetry
and thought on three Arab Romantic poets: Nāzik Sādiq
al-Malā'ika, Abū al-Qāsim al-Shābbī and
Abd aI-Rahmān Shukrī.
This is discussed parallel with the channels of
this influence.
The main focus of this research is however, to show
the ways in which al-Malā'ika, al-Shābbī and Shukrī perceived and reflected nature and death in their poetry.
Their attitudes towards certain phenomena in nature
such as the countryside, night, the sea, childhood and
moral and social lessons of nature are compared with
certain attitudes of Wordsworth, Coleridge, Keats and
Shelley.
Themes such as life and death, fear of death,
fatalism, immortality and death as a welcome experience
are also the concern of this thesis, with a comparison of
these themes in the poetry of the Arab and English
Romantic poets.
However, owing to the popularity of Keats and
Shelley with the three Arab Romantic poets, this thesis
concentrates on their poetry.
This research has selected only certain phenomena
and themes from nature--and death because of the dominance
of these subjects in the poetry of al-Malā'ika, al-Shābbī and Shukrī. The translations of Arabic poetry in this thesis are
intended to convey the general sense of the source texts,
rather than to give a precise rendering of these texts
into English.
1989-01-01T00:00:00ZHussein, Ronak HassanThe first part of this thesis, divided into two
chapters, deals with the early background of European
Romanticism; the reasons behind its appearance and
problems of definition. There follows a discussion on
the question of the originality of Arabic Romanticism,
with ,a brief review of the roots and main literary groups
of this movement in Arabic poetry.
Part two examines the influence of English poetry
and thought on three Arab Romantic poets: Nāzik Sādiq
al-Malā'ika, Abū al-Qāsim al-Shābbī and
Abd aI-Rahmān Shukrī.
This is discussed parallel with the channels of
this influence.
The main focus of this research is however, to show
the ways in which al-Malā'ika, al-Shābbī and Shukrī perceived and reflected nature and death in their poetry.
Their attitudes towards certain phenomena in nature
such as the countryside, night, the sea, childhood and
moral and social lessons of nature are compared with
certain attitudes of Wordsworth, Coleridge, Keats and
Shelley.
Themes such as life and death, fear of death,
fatalism, immortality and death as a welcome experience
are also the concern of this thesis, with a comparison of
these themes in the poetry of the Arab and English
Romantic poets.
However, owing to the popularity of Keats and
Shelley with the three Arab Romantic poets, this thesis
concentrates on their poetry.
This research has selected only certain phenomena
and themes from nature--and death because of the dominance
of these subjects in the poetry of al-Malā'ika, al-Shābbī and Shukrī. The translations of Arabic poetry in this thesis are
intended to convey the general sense of the source texts,
rather than to give a precise rendering of these texts
into English.Intellectuals as sacrificial heroes : a comparative study of Bahram Beyzaie and Wole SoyinkaTalajooy, Saeedhttps://hdl.handle.net/10023/71342023-04-18T09:59:17Z2015-07-29T00:00:00ZA study of Bahram Beyzaie and Wole Soyinka’s works reveals how in two disparate cultural settings, traditional structures and themes appear in modern forms to renegotiate people’s cultural identity. Both writers demythologize the ancient and modern superstitious beliefs that haunt their peoples, depict the fallacy of hybrid obsessions that distort everyday life in their countries, and mythologize the positive aspects of history to redefine cultural identity with the best their cultures offer. One aspect of this process is their depiction of creative intellectuals as sacrificial heroes. The form reveals their concern with the question of leadership and citizenship, the victimization of the educated people, and the resulting brain drain in their countries. In the paper that follows, I will compare Beyzaie and Soyinka’s depictions of intellectuals as sacrificial heroes. I will first study the dramatic origins of their forms and their approach to tragedy, myth, history, and sacrificial heroism, and explore the sociopolitical and personal reasons for the development of their forms. My intention is to discover how these forms evolved and why they reflect similar paradigms. I will then compare Beyzaie’s Parchment of Master Sharzin with Soyinka’s Madmen and Specialists to provide textual examples of these similarities and differences.
2015-07-29T00:00:00ZTalajooy, SaeedA study of Bahram Beyzaie and Wole Soyinka’s works reveals how in two disparate cultural settings, traditional structures and themes appear in modern forms to renegotiate people’s cultural identity. Both writers demythologize the ancient and modern superstitious beliefs that haunt their peoples, depict the fallacy of hybrid obsessions that distort everyday life in their countries, and mythologize the positive aspects of history to redefine cultural identity with the best their cultures offer. One aspect of this process is their depiction of creative intellectuals as sacrificial heroes. The form reveals their concern with the question of leadership and citizenship, the victimization of the educated people, and the resulting brain drain in their countries. In the paper that follows, I will compare Beyzaie and Soyinka’s depictions of intellectuals as sacrificial heroes. I will first study the dramatic origins of their forms and their approach to tragedy, myth, history, and sacrificial heroism, and explore the sociopolitical and personal reasons for the development of their forms. My intention is to discover how these forms evolved and why they reflect similar paradigms. I will then compare Beyzaie’s Parchment of Master Sharzin with Soyinka’s Madmen and Specialists to provide textual examples of these similarities and differences.The phonematics, phonotactics and para-phonotactics of southern Standard British EnglishEl-Shakfeh, Fawzihttps://hdl.handle.net/10023/70902019-04-01T09:05:31Z1987-01-01T00:00:00ZAs the title indicates, this thesis is concerned with a
thorough investigation of the "phonematic", "phonotactic" and
"para-phonotactic" sub-systems of Southern Standard British
English from the view-point of the theory of Axiomatic
Functionalism.
Like a sonata, this work is divided into three PARTS, and
each PART is divided into a number of Chapters. Some of the
Chapters are further divided into yet smaller Sections for
simplicity reasons. [Only transcribed in part due to abstract length].
1987-01-01T00:00:00ZEl-Shakfeh, FawziAs the title indicates, this thesis is concerned with a
thorough investigation of the "phonematic", "phonotactic" and
"para-phonotactic" sub-systems of Southern Standard British
English from the view-point of the theory of Axiomatic
Functionalism.
Like a sonata, this work is divided into three PARTS, and
each PART is divided into a number of Chapters. Some of the
Chapters are further divided into yet smaller Sections for
simplicity reasons. [Only transcribed in part due to abstract length].A critical edition of al-Durr al-Maknūn fī al-Ma'āthir al-Mādiya min al-Qurūn of Yāsīn al-'umarī (920-1226 A.H. = 1514/15 A.D. - 1811/12 A.D.)Al-Jamīl, Sayyār K.https://hdl.handle.net/10023/70732019-07-01T10:03:00Z1983-01-01T00:00:00ZThis thesis is a critical edition of "al-Durr al-Maknūn fī
al-Ma'āthir al-Māḍiya min al-Ǫurūn" (DUR.) by the Iraqi historian,
Yāsīn Efendi al-Khaṭīb al-'Umarī al-Mawṣilī, 1158-1234 A.H. = 1745-
1818 A. D. covering the years 920 A. H. -1226 A. H. (= 1514/1515 A. D.-
1811/1812 A. D. ).
The present thesis consists of three parts, and is divided into
three volumes. The first part (Vol. I, Introduction and Notes) contains
the introduction to DUR., in four chapters, with a supplement. Chapter
one is composed of two sections I
the first of which deals with the
author's personality and his biography: name and nisba , titles and kunya,
birth, background, knowledge, character, mystical leanings, social
standing, and his death. The second section deals with the author's
family (the 'Umarī’s in MosuI). The second chapter is divided into two
sections, the first is a list of all the author's works; historical, poetical,
and literary, and his Naskhiyyāt. The second section is a study of the
author's historical works. This study deals analytically with each work
in turn. The third chapter is a study of the relevant MSS. The historical
structure of these MSS is examined, and the MSS of DUR. are described
individually; orthography and the style of the author…etc. are also
investigated. The fourth chapter is a study of the text of DUR. It
contains two sections. In the first section, peculiarities of the text are
outlined as are the name of the work, the sources, the work as history,
its literary forms, geographical elements and economic information.
Section two comprises a study of the historical content which is embodied
in this thesis under the following headings: a) Biographical material,
b) Annals, c) Contemporary chronicles, d) Local History. Historical
content of the biographical material is analysed, as also is the
historical material in other fields. The annals cover: 1) The Ottoman
conflict with Iran, 2) Eastern Europe, 3) The Mediterranean, 4) Russia
and Poland. Also covered in the contemporary chronicles are: 1) The
French Revolution, 2) Napoleon Bonaparte, 3) The Ashrāf of Mecca,
4) The Syrian provinces,S) Salafiyya and Wahhābiyya, 6) Istanbul,
7) Iraq. Local historical subjects covered are: 1) The local powers
in the Middle East during the 18th century, 2) Iraq during the 18th
century, and 3) The local history of Mosul. The last subject is studied
in detail because it is of considerable importance in DUR. which contains
full details of the Jalīlī house in Mosul during the 18th century. The
additional supplement deals with the methods employed in editing DUR.
This volume also contains appendices, tables, diagrams, maps,
lists and bibliographies. Of these appendices attention is drawn to
“Appe No. 1": (= Notes to the Text) which contains explanatory comments
and emendations.
The second part of the thesis (Vol. II Text) contains the text of
the first version of DUR. (= DUR. 1 : MSS v and pl.
The third part of the thesis (Vol. III, "Apparatus Criticus") contains
a comparison of the DUR. 1 and DUR. 2 MSS (= v, p, Bn, B, BR)i it also
contains the additional material from DUR. 2 (= MSS Bn, B, BR). In this
volume, there is also a supplement of additional historical material,
covering the period 1218-1226 A.H. (= 1803-1811 A.D.), taken from DUR. 2
(= MS Bn). This is compared with MSS Band BR.
1983-01-01T00:00:00ZAl-Jamīl, Sayyār K.This thesis is a critical edition of "al-Durr al-Maknūn fī
al-Ma'āthir al-Māḍiya min al-Ǫurūn" (DUR.) by the Iraqi historian,
Yāsīn Efendi al-Khaṭīb al-'Umarī al-Mawṣilī, 1158-1234 A.H. = 1745-
1818 A. D. covering the years 920 A. H. -1226 A. H. (= 1514/1515 A. D.-
1811/1812 A. D. ).
The present thesis consists of three parts, and is divided into
three volumes. The first part (Vol. I, Introduction and Notes) contains
the introduction to DUR., in four chapters, with a supplement. Chapter
one is composed of two sections I
the first of which deals with the
author's personality and his biography: name and nisba , titles and kunya,
birth, background, knowledge, character, mystical leanings, social
standing, and his death. The second section deals with the author's
family (the 'Umarī’s in MosuI). The second chapter is divided into two
sections, the first is a list of all the author's works; historical, poetical,
and literary, and his Naskhiyyāt. The second section is a study of the
author's historical works. This study deals analytically with each work
in turn. The third chapter is a study of the relevant MSS. The historical
structure of these MSS is examined, and the MSS of DUR. are described
individually; orthography and the style of the author…etc. are also
investigated. The fourth chapter is a study of the text of DUR. It
contains two sections. In the first section, peculiarities of the text are
outlined as are the name of the work, the sources, the work as history,
its literary forms, geographical elements and economic information.
Section two comprises a study of the historical content which is embodied
in this thesis under the following headings: a) Biographical material,
b) Annals, c) Contemporary chronicles, d) Local History. Historical
content of the biographical material is analysed, as also is the
historical material in other fields. The annals cover: 1) The Ottoman
conflict with Iran, 2) Eastern Europe, 3) The Mediterranean, 4) Russia
and Poland. Also covered in the contemporary chronicles are: 1) The
French Revolution, 2) Napoleon Bonaparte, 3) The Ashrāf of Mecca,
4) The Syrian provinces,S) Salafiyya and Wahhābiyya, 6) Istanbul,
7) Iraq. Local historical subjects covered are: 1) The local powers
in the Middle East during the 18th century, 2) Iraq during the 18th
century, and 3) The local history of Mosul. The last subject is studied
in detail because it is of considerable importance in DUR. which contains
full details of the Jalīlī house in Mosul during the 18th century. The
additional supplement deals with the methods employed in editing DUR.
This volume also contains appendices, tables, diagrams, maps,
lists and bibliographies. Of these appendices attention is drawn to
“Appe No. 1": (= Notes to the Text) which contains explanatory comments
and emendations.
The second part of the thesis (Vol. II Text) contains the text of
the first version of DUR. (= DUR. 1 : MSS v and pl.
The third part of the thesis (Vol. III, "Apparatus Criticus") contains
a comparison of the DUR. 1 and DUR. 2 MSS (= v, p, Bn, B, BR)i it also
contains the additional material from DUR. 2 (= MSS Bn, B, BR). In this
volume, there is also a supplement of additional historical material,
covering the period 1218-1226 A.H. (= 1803-1811 A.D.), taken from DUR. 2
(= MS Bn). This is compared with MSS Band BR.Between two worlds : the fairy-tale novels of Aleksandr Fomich Vel'tmanWalmsley, Keithhttps://hdl.handle.net/10023/70512019-04-01T09:04:08Z2014-01-01T00:00:00ZBetween Two Worlds: The Fairy-Tale Novels of Aleksandr Fomich Vel'tman is a thesis devoted to
four of the author’s novels published during the 1830s and 1840s: Koshchei bessmertnyi (1833),
Svetoslavich, vrazhii pitomets (1835), Serdtse i Dumka (1838) and Novyi Emelia, ili Prevrashcheniia
(1845). It argues for the typological unity of these works based on their prominent use of fairy-tale
structures and motifs, and analyses them against the backdrop of their nineteenth-century context,
relating them to the emergence and development of the ‘Romantic fairy tale’ as a literary genre
throughout Europe and to the philosophical and intellectual environment in which they were written.
The thesis thereby seeks to posit these novels as a unique, yet nevertheless organic, response to
contemporary aesthetic issues and trends and to challenge dominant perceptions of Vel’tman’s fiction
as idiosyncratic and unapproachable.
The title itself, Between Two Worlds, reflects the two trajectories of investigation that the thesis
will endeavour to pursue: the paradigmatic, in an analysis of the interplay of fairy-tale and mimetic
elements within the texts, and the diachronic, in viewing how this interplay changes over the course of
the novels against the backdrop of the broader aesthetic evolution from Romanticism to Critical
Realism in Russian letters. After establishing a typological model for the volshebnaia skazka it will
argue that the form is employed in these four works as a discourse of the self, and serves to actualize
the relationship between the individual and the world, the ideal and the real.
Employing a methodology that draws on various psychoanalytical models it will discuss how, in
contemporary theory, the fairy tale can be read symbolically as a discourse of personal development
to meaningful interaction with the surrounding world. Subsequently, it will proceed to show how
Vel’tman’s use of the form in his novelistic creations self-consciously problematizes this basic idea,
as the fairy tale is alternately presented as facilitator of, and obstacle to, such growth. It will analyse in
particular how these novels suggest different readings of the fairy tale and, through a comparison with
other generic systems, different conceptions of its potential truth. Ultimately, it will argue that the
ambiguity of the fairy tale in these works stems from its dual status as both symbolic discourse and
cultural artefact, and that they are as much ‘novels about fairy tales’ as they are ‘fairy-tale novels’.
2014-01-01T00:00:00ZWalmsley, KeithBetween Two Worlds: The Fairy-Tale Novels of Aleksandr Fomich Vel'tman is a thesis devoted to
four of the author’s novels published during the 1830s and 1840s: Koshchei bessmertnyi (1833),
Svetoslavich, vrazhii pitomets (1835), Serdtse i Dumka (1838) and Novyi Emelia, ili Prevrashcheniia
(1845). It argues for the typological unity of these works based on their prominent use of fairy-tale
structures and motifs, and analyses them against the backdrop of their nineteenth-century context,
relating them to the emergence and development of the ‘Romantic fairy tale’ as a literary genre
throughout Europe and to the philosophical and intellectual environment in which they were written.
The thesis thereby seeks to posit these novels as a unique, yet nevertheless organic, response to
contemporary aesthetic issues and trends and to challenge dominant perceptions of Vel’tman’s fiction
as idiosyncratic and unapproachable.
The title itself, Between Two Worlds, reflects the two trajectories of investigation that the thesis
will endeavour to pursue: the paradigmatic, in an analysis of the interplay of fairy-tale and mimetic
elements within the texts, and the diachronic, in viewing how this interplay changes over the course of
the novels against the backdrop of the broader aesthetic evolution from Romanticism to Critical
Realism in Russian letters. After establishing a typological model for the volshebnaia skazka it will
argue that the form is employed in these four works as a discourse of the self, and serves to actualize
the relationship between the individual and the world, the ideal and the real.
Employing a methodology that draws on various psychoanalytical models it will discuss how, in
contemporary theory, the fairy tale can be read symbolically as a discourse of personal development
to meaningful interaction with the surrounding world. Subsequently, it will proceed to show how
Vel’tman’s use of the form in his novelistic creations self-consciously problematizes this basic idea,
as the fairy tale is alternately presented as facilitator of, and obstacle to, such growth. It will analyse in
particular how these novels suggest different readings of the fairy tale and, through a comparison with
other generic systems, different conceptions of its potential truth. Ultimately, it will argue that the
ambiguity of the fairy tale in these works stems from its dual status as both symbolic discourse and
cultural artefact, and that they are as much ‘novels about fairy tales’ as they are ‘fairy-tale novels’.The emergence of post-hybrid identities : a comparative analysis of national identity formations in Germany’s contemporary hip-hop cultureMunderloh, Marissa K.https://hdl.handle.net/10023/69122021-04-16T02:06:19Z2016-06-25T00:00:00ZThis thesis examines how hip-hop has become a meaningful cultural movement for contemporary artists in Hamburg and in Oldenburg. The comparative analysis is guided by a three-dimensional theoretical framework that considers the spatial, historical and social influences, which have shaped hip-hop music, dance, rap and graffiti art in the USA and subsequently in the two northern German cities. The research methods entail participant observation, semi-structured interviews and a close reading of hip-hop’s cultural texts in the form of videos, photographs and lyrics. The first chapter analyses the manifestation of hip-hop music in Hamburg. The second chapter looks at the local adaptation of hip-hop’s dance styles. The last two chapters on rap and graffiti art present a comparative analysis between the art forms’ appropriation in Hamburg and in Oldenburg.
In comparing hip-hop’s four main elements and their practices in two distinct cities, this research project expands current German hip-hop scholarship beyond the common focus on rap, especially in terms of rap being a voice of the minority. It also offers insights into the ways in which artists express their local, regional or national identity as a culturally hybrid state, since hip-hop’s art forms have always been the result of cultural and artistic mixture. The theoretical focus on spatiality, historicality and sociality moreover reveals different and even contradicting manifestations of cultural hybridity and identity in hip-hop. In particular, this thesis looks at the formation of post-hybrid identities, with which hip-hop artists aim at expressing their multiculturality as an inherent part of their life in Germany.
2016-06-25T00:00:00ZMunderloh, Marissa K.This thesis examines how hip-hop has become a meaningful cultural movement for contemporary artists in Hamburg and in Oldenburg. The comparative analysis is guided by a three-dimensional theoretical framework that considers the spatial, historical and social influences, which have shaped hip-hop music, dance, rap and graffiti art in the USA and subsequently in the two northern German cities. The research methods entail participant observation, semi-structured interviews and a close reading of hip-hop’s cultural texts in the form of videos, photographs and lyrics. The first chapter analyses the manifestation of hip-hop music in Hamburg. The second chapter looks at the local adaptation of hip-hop’s dance styles. The last two chapters on rap and graffiti art present a comparative analysis between the art forms’ appropriation in Hamburg and in Oldenburg.
In comparing hip-hop’s four main elements and their practices in two distinct cities, this research project expands current German hip-hop scholarship beyond the common focus on rap, especially in terms of rap being a voice of the minority. It also offers insights into the ways in which artists express their local, regional or national identity as a culturally hybrid state, since hip-hop’s art forms have always been the result of cultural and artistic mixture. The theoretical focus on spatiality, historicality and sociality moreover reveals different and even contradicting manifestations of cultural hybridity and identity in hip-hop. In particular, this thesis looks at the formation of post-hybrid identities, with which hip-hop artists aim at expressing their multiculturality as an inherent part of their life in Germany.Charles Baudelaire's translations of Edgar Allan PoeSemichon, Laurenthttps://hdl.handle.net/10023/68712019-07-01T10:04:13Z2003-01-01T00:00:00ZAlthough one of the best-known cases of intercultural literary partnership, Charles Baudelaire’s translations of Edgar Allan Poe’s works have been little analysed with a methodology appropriate to Translation Studies. Relying on a functionally target-oriented approach to translation and an empirical methodology, the present thesis undertakes this analysis.
Positioning the prospective function(s) of the translations as intended by the translator within their historical context, Chapter One explores the para-discourse of the translator and its contemporary reception. Beyond the Romantic critical tradition of the whole project, Baudelaire’s introductory writings on Poe appear to target in a propagandist way the literary elite of the time. On the contrary, the selection and organization of the five volumes of translations for publication suggest primarily a popularising strategy intended to capture, through the fictional genre, the attention of the growing mass audience of the Second Empire.
In Chapters Two and Three, traditional appraisals of the translations in terms of quality assessment are questioned in favour of an explanation of interpretative frameworks and translation strategies as seen through the analyses of two translated tales and of textual variables throughout the corpus. Baudelaire’s biographical interpretation of the narrative voice combines with clear strategies to normalize the stylistic authority of the texts and to increase their dramatic and expressive impact, offering in the end a less rhetorical, but aesthetically more Romantic and narratively more Realist reading of Poe’s fantastic tales. Baudelaire would thus have managed to reconcile at a textual level the ambiguities of his para-discourse in terms of targeted readership as seen in Chapter One. It is finally argued that beyond the constraints of the receiving system and the strategies of the translator to accommodate these, the French image of Poe as produced by Baudelaire owes much to a French resistance to the narrative ambiguity and style that Poe’s writing represents.
Confirming or challenging existing criticism on the Poe-Baudelaire case, the present thesis thus hopes to contribute, not only to our relatively limited knowledge of mid-nineteenth-century French translation, but also to our understanding of French short fiction and its conflicting stakes in terms of aesthetics and readership.
2003-01-01T00:00:00ZSemichon, LaurentAlthough one of the best-known cases of intercultural literary partnership, Charles Baudelaire’s translations of Edgar Allan Poe’s works have been little analysed with a methodology appropriate to Translation Studies. Relying on a functionally target-oriented approach to translation and an empirical methodology, the present thesis undertakes this analysis.
Positioning the prospective function(s) of the translations as intended by the translator within their historical context, Chapter One explores the para-discourse of the translator and its contemporary reception. Beyond the Romantic critical tradition of the whole project, Baudelaire’s introductory writings on Poe appear to target in a propagandist way the literary elite of the time. On the contrary, the selection and organization of the five volumes of translations for publication suggest primarily a popularising strategy intended to capture, through the fictional genre, the attention of the growing mass audience of the Second Empire.
In Chapters Two and Three, traditional appraisals of the translations in terms of quality assessment are questioned in favour of an explanation of interpretative frameworks and translation strategies as seen through the analyses of two translated tales and of textual variables throughout the corpus. Baudelaire’s biographical interpretation of the narrative voice combines with clear strategies to normalize the stylistic authority of the texts and to increase their dramatic and expressive impact, offering in the end a less rhetorical, but aesthetically more Romantic and narratively more Realist reading of Poe’s fantastic tales. Baudelaire would thus have managed to reconcile at a textual level the ambiguities of his para-discourse in terms of targeted readership as seen in Chapter One. It is finally argued that beyond the constraints of the receiving system and the strategies of the translator to accommodate these, the French image of Poe as produced by Baudelaire owes much to a French resistance to the narrative ambiguity and style that Poe’s writing represents.
Confirming or challenging existing criticism on the Poe-Baudelaire case, the present thesis thus hopes to contribute, not only to our relatively limited knowledge of mid-nineteenth-century French translation, but also to our understanding of French short fiction and its conflicting stakes in terms of aesthetics and readership.Marriage and desire in seventeenth-century French comedyTownshend, Sarah Elizabethhttps://hdl.handle.net/10023/68122023-03-28T11:28:53Z2015-06-25T00:00:00ZThis thesis re-examines the role of marriage in the golden age of seventeenth-century French comedy. It reconsiders received wisdom on the subject to challenge acceptance
of the final promise of marriage as a dénouement complet to comedy. Through an analysis of the themes of discontent, cuckoldry, fertility, non-heteronormative desire and widowhood, it offers an alternative view of what comedy can encompass. Close reading of works by Molière, Quinault, (Thomas) Corneille, (Françoise) Pascal, Ulrich and de
Visé establishes that comedy can be both enjoyable and satisfying while incorporating
elements that conflict with the marriage ideal. This thesis does not attempt to provide a full socio-historical reading of seventeenth-century attitudes to marriage, although an understanding of contemporary attitudes provides a starting point for close textual analysis. Critical theories, notably gender theory, are used where appropriate to further clarify the role of marriage in comedy.
Chapter One presents and problematizes the framework of marriage as the structuring principle of comedy, drawing on themes of compatibility, discontent and desire. The second chapter focuses on anxiety regarding cuckoldry in comedy, relating it to the promise of marriage. An analysis of the desires of older characters in projected
comedic marriages, particularly as these desires relate to fertility, is the guiding
principle of Chapter Three, which also sets out essential terms of reference for the
fourth chapter on widowhood and queer desire. The thesis demonstrates that rather than constituting a satisfying and happy ending, a constant challenge is posed to the promise of marriage by on-stage marriages, fears of cuckoldry, widowhood, and ‘inappropriate’ or queer desires. I propose a more nuanced reading, showing that comedy can be fully satisfying and structurally complete without a final promise of marriage, and that, rather, comedy can incorporate significant elements that appear antithetical to the ideal of marriage typically associated with the genre.
2015-06-25T00:00:00ZTownshend, Sarah ElizabethThis thesis re-examines the role of marriage in the golden age of seventeenth-century French comedy. It reconsiders received wisdom on the subject to challenge acceptance
of the final promise of marriage as a dénouement complet to comedy. Through an analysis of the themes of discontent, cuckoldry, fertility, non-heteronormative desire and widowhood, it offers an alternative view of what comedy can encompass. Close reading of works by Molière, Quinault, (Thomas) Corneille, (Françoise) Pascal, Ulrich and de
Visé establishes that comedy can be both enjoyable and satisfying while incorporating
elements that conflict with the marriage ideal. This thesis does not attempt to provide a full socio-historical reading of seventeenth-century attitudes to marriage, although an understanding of contemporary attitudes provides a starting point for close textual analysis. Critical theories, notably gender theory, are used where appropriate to further clarify the role of marriage in comedy.
Chapter One presents and problematizes the framework of marriage as the structuring principle of comedy, drawing on themes of compatibility, discontent and desire. The second chapter focuses on anxiety regarding cuckoldry in comedy, relating it to the promise of marriage. An analysis of the desires of older characters in projected
comedic marriages, particularly as these desires relate to fertility, is the guiding
principle of Chapter Three, which also sets out essential terms of reference for the
fourth chapter on widowhood and queer desire. The thesis demonstrates that rather than constituting a satisfying and happy ending, a constant challenge is posed to the promise of marriage by on-stage marriages, fears of cuckoldry, widowhood, and ‘inappropriate’ or queer desires. I propose a more nuanced reading, showing that comedy can be fully satisfying and structurally complete without a final promise of marriage, and that, rather, comedy can incorporate significant elements that appear antithetical to the ideal of marriage typically associated with the genre.Rendez-vous manqués : de qui, de quoi la poésie est-elle (la) contemporaine? (Mallarmé, Rancière)Laügt, E.https://hdl.handle.net/10023/67452023-04-18T09:59:36Z2015-03-01T00:00:00Z2015-03-01T00:00:00ZLaügt, E.The German Occupation in recent French fiction : an analysis of the literary “mode retro”Morris, Alan I.https://hdl.handle.net/10023/64622019-07-01T10:09:38Z1985-07-01T00:00:00ZThis thesis attempts to analyse and characterise the mode rétro, the remarkable renewal of interest in the German Occupation of France, which is coloured by an extensive re-evaluation of the period's significance. An introduction places this fashion in its literary, social and historical context, revealing how, from 1940 to 1969, a collective and predominantly Gaullist 'myth' of the Resistance became established, with the result that the national response to invasion was accepted to be one of wide-spread heroism and revolt. Part I studies the reaction to such résistancialisme, showing how this orthodox interpretation of events was undermined and, for many, discredited, and offering explanations of the timing and direction of the new view. Part II focuses on the fiction, memoirs, autobiographies and biographies of the younger authors, those who have no direct adult experience of the années noires. It is suggested that their obvious obsession with absent parent-figures reflects their awareness that the past has been misrepresented and their heritage rendered problematic. Their sole means of escape from this predicament, their only source of emotional relief is seen to lie in the creation of a personal account of the early 1940s running contrary to the prevalent orthodoxy, the fabrication of a 'counter-myth'. It is thus the notion of myth which links the various sections of the survey, and so gives the thesis its overall unity.
1985-07-01T00:00:00ZMorris, Alan I.This thesis attempts to analyse and characterise the mode rétro, the remarkable renewal of interest in the German Occupation of France, which is coloured by an extensive re-evaluation of the period's significance. An introduction places this fashion in its literary, social and historical context, revealing how, from 1940 to 1969, a collective and predominantly Gaullist 'myth' of the Resistance became established, with the result that the national response to invasion was accepted to be one of wide-spread heroism and revolt. Part I studies the reaction to such résistancialisme, showing how this orthodox interpretation of events was undermined and, for many, discredited, and offering explanations of the timing and direction of the new view. Part II focuses on the fiction, memoirs, autobiographies and biographies of the younger authors, those who have no direct adult experience of the années noires. It is suggested that their obvious obsession with absent parent-figures reflects their awareness that the past has been misrepresented and their heritage rendered problematic. Their sole means of escape from this predicament, their only source of emotional relief is seen to lie in the creation of a personal account of the early 1940s running contrary to the prevalent orthodoxy, the fabrication of a 'counter-myth'. It is thus the notion of myth which links the various sections of the survey, and so gives the thesis its overall unity.Literacy and the vernacular : a case study based on the post-colonial history of Mauritius, with particular reference to Mauritian CreoleHills, Laurahttps://hdl.handle.net/10023/64542019-04-01T09:03:11Z2001-01-01T00:00:00ZThis thesis examines the process of the literization of the vernacular, and seeks to establish the island of Mauritius as a case study of this process. The concept of literization equates standardization of the vernacular with its use as a written language. Four issues are established as central to this process: ideological, educational, sociocultural and technical.
The thesis investigates the particular sociolinguistic situation of Mauritius, and examines each of these issues in relation to Mauritian Creole. It demonstrates the role that Mauritian Creole plays in Mauritian society, and how, since independence, issues relating to ideology, education, and the cultural and technical aspects of standardization, have been involved in the promotion of the language. The interaction between these issues is apparent throughout the thesis, and manifested in the work of Ledikasyon pu Travayer (LPT), the only organization in Mauritius to provide literacy tuition in Mauritian Creole. The thesis seeks to show that their unified approach to literacy, standardization, and the promotion of Mauritian Creole exemplifies the issues involved, and provides the best basis for the establishment of Mauritian Creole as a standard language.
The analysis of the situation in Mauritius within the framework of wider issues of the literization of the vernacular permits a comparison to other former colonies facing problems of language choice, and places these issues within the wider sociolinguistic context of standardization.
2001-01-01T00:00:00ZHills, LauraThis thesis examines the process of the literization of the vernacular, and seeks to establish the island of Mauritius as a case study of this process. The concept of literization equates standardization of the vernacular with its use as a written language. Four issues are established as central to this process: ideological, educational, sociocultural and technical.
The thesis investigates the particular sociolinguistic situation of Mauritius, and examines each of these issues in relation to Mauritian Creole. It demonstrates the role that Mauritian Creole plays in Mauritian society, and how, since independence, issues relating to ideology, education, and the cultural and technical aspects of standardization, have been involved in the promotion of the language. The interaction between these issues is apparent throughout the thesis, and manifested in the work of Ledikasyon pu Travayer (LPT), the only organization in Mauritius to provide literacy tuition in Mauritian Creole. The thesis seeks to show that their unified approach to literacy, standardization, and the promotion of Mauritian Creole exemplifies the issues involved, and provides the best basis for the establishment of Mauritian Creole as a standard language.
The analysis of the situation in Mauritius within the framework of wider issues of the literization of the vernacular permits a comparison to other former colonies facing problems of language choice, and places these issues within the wider sociolinguistic context of standardization.Women and nature in the works of French female novelists, 1789-1815Margrave, Christie L.https://hdl.handle.net/10023/63912021-08-15T02:01:49Z2015-06-25T00:00:00ZOn account of their supposed link to nature, women in post-revolutionary France were pigeonholed into a very restrictive sphere that centred around domesticity and submission to their male counterparts. Yet this thesis shows how a number of women writers – Cottin, Genlis, Krüdener, Souza and Staël – re-appropriate nature in order to reclaim the voice denied to them and to their sex by the society in which they lived.
The five chapters of this thesis are structured to follow a number of critical junctures in the life of an adult woman: marriage, authorship, motherhood, madness and mortality. The opening sections to each chapter show why these areas of life generated particular problems for women at this time. Then, through in-depth analysis of primary texts, the chapters function in two ways. They examine how female novelists craft natural landscapes to expose and comment on the problems male-dominant society causes women to experience in France at this time. In addition, they show how female novelists employ descriptions of nature to highlight women’s responses to the pain and frustration that social issues provoke for them.
Scholars have thus far overlooked the natural settings within the works of female novelists of the late eighteenth and early nineteenth centuries. Yet, a re-evaluation of these natural settings, as suggested by this thesis, brings a new dimension to our appreciation of the works of these women writers and of their position as critics of contemporary society. Ultimately, an escape into nature on the part of female protagonists in these novels becomes the means by which their creators confront the everyday reality faced by women in the turbulent socio-historical era which followed the Revolution.
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2015-06-25T00:00:00ZMargrave, Christie L.On account of their supposed link to nature, women in post-revolutionary France were pigeonholed into a very restrictive sphere that centred around domesticity and submission to their male counterparts. Yet this thesis shows how a number of women writers – Cottin, Genlis, Krüdener, Souza and Staël – re-appropriate nature in order to reclaim the voice denied to them and to their sex by the society in which they lived.
The five chapters of this thesis are structured to follow a number of critical junctures in the life of an adult woman: marriage, authorship, motherhood, madness and mortality. The opening sections to each chapter show why these areas of life generated particular problems for women at this time. Then, through in-depth analysis of primary texts, the chapters function in two ways. They examine how female novelists craft natural landscapes to expose and comment on the problems male-dominant society causes women to experience in France at this time. In addition, they show how female novelists employ descriptions of nature to highlight women’s responses to the pain and frustration that social issues provoke for them.
Scholars have thus far overlooked the natural settings within the works of female novelists of the late eighteenth and early nineteenth centuries. Yet, a re-evaluation of these natural settings, as suggested by this thesis, brings a new dimension to our appreciation of the works of these women writers and of their position as critics of contemporary society. Ultimately, an escape into nature on the part of female protagonists in these novels becomes the means by which their creators confront the everyday reality faced by women in the turbulent socio-historical era which followed the Revolution.Man and society : the notion of responsibility in the novels of Alejo CarpentierMcGregor, Jennifer W.https://hdl.handle.net/10023/61142019-07-01T10:09:55Z1982-01-01T00:00:00ZThe aim of this thesis is to investigate the highly moral ethic of social duty and responsibility which animates the work of Alejo Carpentier. In order to examine this theme, I have studied, in particular, the following six novels: ‘El reino de este mundo’, Los pasos perdidos’, ‘El acoso’, El siglo de las luces’, ‘El recurso del método’, and ‘La consagración de la primavera’. In the Introduction, I have investigated the various philosophical questions raised by the concept of responsibility : the debate about freewill and determinism has been examined, and the Existentialist philosophy of Jean-Paul Sartre has been chosen as the most helpful in an investigation of Carpentier’s theory of responsibility, due to a great coincidence of thought between the two writers.
The protagonists of the novels in question have been grouped according to various distinguishing tendencies or characteristics, and have been analysed in the light of the Sartrian concepts of good and bad faith. These groupings are as follows: “the deluded intellectual”, “two tyrants”, “the lesson of experience”, and “the committed individual”. The success, or failure, of these characters, in matching up to the goals of self-transcendence and responsible commitment posed by Carpentier has been charted throughout Chapters One to Four, and deductions have been made about the various forms of bad faith in which the characters indulge.
The conclusions that I have drawn from this detailed investigation of characters in good and bad faith are, firstly, that Carpentier sees man’s goal in life as the attainment of self-knowledge and the honest acceptance of responsibility for the self : once this state of good faith has been achieved, man is able to commit himself to the never-ending struggle for the improvement of the social situation. Acceptance of responsibility for the self is vital, in Carpentier’s canon, for without such acceptance, positive commitment is impossible. Secondly, I have concluded that, according to Carpentier, commitment is an inevitable part of life, and that Carpentier’s goal, then, is that we should actively commit ourselves to a positive cause through recognition of our responsibility for ourselves and our society, rather than tacitly accept the status quo through a passive or deterministic attitude.
1982-01-01T00:00:00ZMcGregor, Jennifer W.The aim of this thesis is to investigate the highly moral ethic of social duty and responsibility which animates the work of Alejo Carpentier. In order to examine this theme, I have studied, in particular, the following six novels: ‘El reino de este mundo’, Los pasos perdidos’, ‘El acoso’, El siglo de las luces’, ‘El recurso del método’, and ‘La consagración de la primavera’. In the Introduction, I have investigated the various philosophical questions raised by the concept of responsibility : the debate about freewill and determinism has been examined, and the Existentialist philosophy of Jean-Paul Sartre has been chosen as the most helpful in an investigation of Carpentier’s theory of responsibility, due to a great coincidence of thought between the two writers.
The protagonists of the novels in question have been grouped according to various distinguishing tendencies or characteristics, and have been analysed in the light of the Sartrian concepts of good and bad faith. These groupings are as follows: “the deluded intellectual”, “two tyrants”, “the lesson of experience”, and “the committed individual”. The success, or failure, of these characters, in matching up to the goals of self-transcendence and responsible commitment posed by Carpentier has been charted throughout Chapters One to Four, and deductions have been made about the various forms of bad faith in which the characters indulge.
The conclusions that I have drawn from this detailed investigation of characters in good and bad faith are, firstly, that Carpentier sees man’s goal in life as the attainment of self-knowledge and the honest acceptance of responsibility for the self : once this state of good faith has been achieved, man is able to commit himself to the never-ending struggle for the improvement of the social situation. Acceptance of responsibility for the self is vital, in Carpentier’s canon, for without such acceptance, positive commitment is impossible. Secondly, I have concluded that, according to Carpentier, commitment is an inevitable part of life, and that Carpentier’s goal, then, is that we should actively commit ourselves to a positive cause through recognition of our responsibility for ourselves and our society, rather than tacitly accept the status quo through a passive or deterministic attitude.The dynamics of literary translation : a case study from English to PersianEmami, Mohammadhttps://hdl.handle.net/10023/59552019-10-17T15:56:45Z2014-12-01T00:00:00ZThis thesis aims to elucidate the translation process by devising a way of retrieving evidence of this process from its output. It further aims to assess the claims made by some scholars concerning the possible existence of Translation Universals. In order to isolate the interaction of texts and contexts, a corpus of American short stories was created, with their translations into Persian published after the 1979 Revolution. Three complementary methodologies gave a rounded picture: (1) Corpus-based Descriptive Translation Studies; (2) The pragmatic and rhetorically-based approach of Thinking Translation devised at St Andrews; and (3) The analytical framework mostly established by Halliday in his Systemic Functional Grammar. Approaching the process of translation in the specific order devised in this thesis provided four vantage points to analyse the data in a systematic way from linguistic, discourse, cultural and literary views before reaching what are at once the most personal and most characteristic aspects of a translator’s work. The research begins with a literature review of the field and an account of linguistic constraints and of all Translation Universals hypothesised so far, followed by an extensive analysis of data in two consecutive chapters. With reference to the choices made in this corpus, it is discussed in the Conclusions chapter that most of the Translation Universals so far claimed are not in fact universal. It is the role of the translator which has emerged as the determining factor in producing a translated text, and thus as the key to resolving the issues explored in this thesis. It seems there are no constraints beyond the translator’s reach, and there are no parameters which do not involve the translator, who introduces his or her own choices, or manipulates certain parameters. Only when they have done so, will the translation, as both process and product, be accomplished.
2014-12-01T00:00:00ZEmami, MohammadThis thesis aims to elucidate the translation process by devising a way of retrieving evidence of this process from its output. It further aims to assess the claims made by some scholars concerning the possible existence of Translation Universals. In order to isolate the interaction of texts and contexts, a corpus of American short stories was created, with their translations into Persian published after the 1979 Revolution. Three complementary methodologies gave a rounded picture: (1) Corpus-based Descriptive Translation Studies; (2) The pragmatic and rhetorically-based approach of Thinking Translation devised at St Andrews; and (3) The analytical framework mostly established by Halliday in his Systemic Functional Grammar. Approaching the process of translation in the specific order devised in this thesis provided four vantage points to analyse the data in a systematic way from linguistic, discourse, cultural and literary views before reaching what are at once the most personal and most characteristic aspects of a translator’s work. The research begins with a literature review of the field and an account of linguistic constraints and of all Translation Universals hypothesised so far, followed by an extensive analysis of data in two consecutive chapters. With reference to the choices made in this corpus, it is discussed in the Conclusions chapter that most of the Translation Universals so far claimed are not in fact universal. It is the role of the translator which has emerged as the determining factor in producing a translated text, and thus as the key to resolving the issues explored in this thesis. It seems there are no constraints beyond the translator’s reach, and there are no parameters which do not involve the translator, who introduces his or her own choices, or manipulates certain parameters. Only when they have done so, will the translation, as both process and product, be accomplished.A social-psychological study of foreign learners' attitudes and behaviours towards model varieties of English speechCarrie, Erinhttps://hdl.handle.net/10023/56672023-03-16T12:47:06Z2014-12-01T00:00:00ZThis thesis attempts to bridge the gap between Social Psychology and Sociolinguistics by exploring the relationship between language attitudes and language use. Using a sample of 71 university students in Spain, it investigates how learners deal with phonological variation in the English language, what language attitudes are held towards American and British models of English speech and which social and psychological factors are linked with learners’ language attitudes and language use.
A social-psychological model was adopted and adapted, allowing learners’ use of intervocalic /t/ to be successfully predicted from measures of attitude, subjective norm and perceived behavioural control. Direct measures of learners’ preferred accent and pronunciation class were also highly predictive of learners’ language use.
Several trends were found in the attitudinal data. Firstly, British English speech was rated more favourably overall, though American English speech was often viewed as more socially attractive. Secondly, the evaluative dimensions of competence and social attractiveness were salient amongst learners in the Spanish context. Each of these findings endorses those of previous language attitude studies conducted elsewhere. Thirdly, female speakers were consistently rated more favourably than male speakers; thus, highlighting the need for further investigation into the variable of speaker sex.
Familiarity with the speech varieties under investigation – most often gained through education, media exposure, time spent abroad and/or contact with native speakers – seemed to result in learners challenging rigid stereotypes and expressing more individualised attitudes. Overall, British speech emerged as formal and functional, while American speech was thought to fulfil more informal and interpersonal functions.
This thesis provides compelling evidence of attitude-behaviour relations, adds to the growing volume of language attitude research being conducted across the globe, and establishes – for the first time – which social and psychological variables are relevant and salient within English-language learning contexts in Spain.
2014-12-01T00:00:00ZCarrie, ErinThis thesis attempts to bridge the gap between Social Psychology and Sociolinguistics by exploring the relationship between language attitudes and language use. Using a sample of 71 university students in Spain, it investigates how learners deal with phonological variation in the English language, what language attitudes are held towards American and British models of English speech and which social and psychological factors are linked with learners’ language attitudes and language use.
A social-psychological model was adopted and adapted, allowing learners’ use of intervocalic /t/ to be successfully predicted from measures of attitude, subjective norm and perceived behavioural control. Direct measures of learners’ preferred accent and pronunciation class were also highly predictive of learners’ language use.
Several trends were found in the attitudinal data. Firstly, British English speech was rated more favourably overall, though American English speech was often viewed as more socially attractive. Secondly, the evaluative dimensions of competence and social attractiveness were salient amongst learners in the Spanish context. Each of these findings endorses those of previous language attitude studies conducted elsewhere. Thirdly, female speakers were consistently rated more favourably than male speakers; thus, highlighting the need for further investigation into the variable of speaker sex.
Familiarity with the speech varieties under investigation – most often gained through education, media exposure, time spent abroad and/or contact with native speakers – seemed to result in learners challenging rigid stereotypes and expressing more individualised attitudes. Overall, British speech emerged as formal and functional, while American speech was thought to fulfil more informal and interpersonal functions.
This thesis provides compelling evidence of attitude-behaviour relations, adds to the growing volume of language attitude research being conducted across the globe, and establishes – for the first time – which social and psychological variables are relevant and salient within English-language learning contexts in Spain.A corpus linguistic analysis of phraseology and collocation in the register of current European Union administrative FrenchAnderson, Wendy J.https://hdl.handle.net/10023/49092019-07-01T10:02:45Z2003-01-01T00:00:00ZThe French administrative language of the European Union is an emerging discourse: it
is less than fifty years old, and has its origins in the French administrative register of the
middle of the twentieth century. This thesis has two main objectives. The first is
descriptive: using the flourishing methodology of corpus linguistics, and a specially
compiled two-million word corpus of texts, it aims to describe the current discourse of
EU French in terms of its phraseology and collocational patterning, in particular in
relation to its French national counterpart. The description confirms the phraseological
specificity of EU language but shows that not all of this can be ascribed to semantic or
pragmatic factors. The second objective of this thesis is therefore explanatory: given the
phraseological differences evident between the two discourses, and by means of a
diachronic comparison, it asks how the EU discourse has developed in relation to the
national discourse.
A detailed analysis is provided of differences between the administrative language as a
whole and other registers of French, and indeed of genre-based variation within the
administrative register. Three main types of phraseological patterning are investigated:
phraseology which is the creation of administrators themselves; phraseological elements
which are part of the general language heritage adopted by the administrative register;
and collocational patterning which, as a statistical notion, is the creation of the corpus.
The thesis then seeks to identify the most significant influences on the discourse. The
data indicates that, contrary to expectations, English, nowadays the most
commonly-used official language of the EU institutions, has had relatively little
influence. More importantly, the translation process itself has acted as a conservative
influence on the EU discourse. This corresponds with linguistic findings about the
nature of translated text.
2003-01-01T00:00:00ZAnderson, Wendy J.The French administrative language of the European Union is an emerging discourse: it
is less than fifty years old, and has its origins in the French administrative register of the
middle of the twentieth century. This thesis has two main objectives. The first is
descriptive: using the flourishing methodology of corpus linguistics, and a specially
compiled two-million word corpus of texts, it aims to describe the current discourse of
EU French in terms of its phraseology and collocational patterning, in particular in
relation to its French national counterpart. The description confirms the phraseological
specificity of EU language but shows that not all of this can be ascribed to semantic or
pragmatic factors. The second objective of this thesis is therefore explanatory: given the
phraseological differences evident between the two discourses, and by means of a
diachronic comparison, it asks how the EU discourse has developed in relation to the
national discourse.
A detailed analysis is provided of differences between the administrative language as a
whole and other registers of French, and indeed of genre-based variation within the
administrative register. Three main types of phraseological patterning are investigated:
phraseology which is the creation of administrators themselves; phraseological elements
which are part of the general language heritage adopted by the administrative register;
and collocational patterning which, as a statistical notion, is the creation of the corpus.
The thesis then seeks to identify the most significant influences on the discourse. The
data indicates that, contrary to expectations, English, nowadays the most
commonly-used official language of the EU institutions, has had relatively little
influence. More importantly, the translation process itself has acted as a conservative
influence on the EU discourse. This corresponds with linguistic findings about the
nature of translated text.The political and military career of General Anastasio Bustamente (1780-1853)Andrews, Catherinehttps://hdl.handle.net/10023/45932019-07-01T10:20:05Z2001-05-01T00:00:00ZAnastasio Bustamante was born in the modern day state of Michoacan in
1780. He served the Royalist Army during the insurgency (1810-1821). He was one
of the first officers to adhere to Agustin de Iturbide's Plan of Iguala in 1821, and a
signatory of the Act of Independence (28 September 1821). He was a member of
Mexico's first independent government, the Junta Provisional Gubernativa (1821-
1822) and served as the Captain General of the Eastern and Western Internal
Provinces during Iturbide's short-lived reign as Emperor (1822-1823). He served as
the Commander General of the Eastern Interior Provinces between 1826 and 1829. In
1829 he became Vice-President of the Republic. In December 1829 he led a
successful rebellion against the incumbent President, Vicente Guerrero. He served as
acting Head of the Executive between 1830 and 1832. In 1837 he was elected
President. He occupied this position until 1841. He commanded the troops of the
Western Division during the war with the United States (1846-1848). Between 1848
and 1849, he oversaw the pacification of one of the many rebellions of the Sierra
Gorda (now the Sierra de Queretaro). He died in Guanajuato in 1853, aged 73.
This study examines Bustamante's military and political career. It rejects the
traditional interpretation of the General, which portrays him as a weak and indecisive
man lacking in any real political principles. Instead, it argues that Bustamante was a
resolute and pragmatic leader, who supported the cause of moderate federalism for
most of his career.
2001-05-01T00:00:00ZAndrews, CatherineAnastasio Bustamante was born in the modern day state of Michoacan in
1780. He served the Royalist Army during the insurgency (1810-1821). He was one
of the first officers to adhere to Agustin de Iturbide's Plan of Iguala in 1821, and a
signatory of the Act of Independence (28 September 1821). He was a member of
Mexico's first independent government, the Junta Provisional Gubernativa (1821-
1822) and served as the Captain General of the Eastern and Western Internal
Provinces during Iturbide's short-lived reign as Emperor (1822-1823). He served as
the Commander General of the Eastern Interior Provinces between 1826 and 1829. In
1829 he became Vice-President of the Republic. In December 1829 he led a
successful rebellion against the incumbent President, Vicente Guerrero. He served as
acting Head of the Executive between 1830 and 1832. In 1837 he was elected
President. He occupied this position until 1841. He commanded the troops of the
Western Division during the war with the United States (1846-1848). Between 1848
and 1849, he oversaw the pacification of one of the many rebellions of the Sierra
Gorda (now the Sierra de Queretaro). He died in Guanajuato in 1853, aged 73.
This study examines Bustamante's military and political career. It rejects the
traditional interpretation of the General, which portrays him as a weak and indecisive
man lacking in any real political principles. Instead, it argues that Bustamante was a
resolute and pragmatic leader, who supported the cause of moderate federalism for
most of his career.The relationship between Arabic Allāh and Syriac AllāhāKiltz, Davidhttps://hdl.handle.net/10023/44282023-04-18T09:50:19Z2012-10-01T00:00:00ZVarious etymologies have been proposed for Arabic allāh but also for Syriac allāhā. It has often been proposed that the Arabic word was borrowed from Syriac. This article takes a comprehensive look at the linguistic evidence at hand. Especially, it takes into consideration more recent epigraphical material which sheds light on the development of the Arabic language. Phonetic and morphological analysis of the data confirms the Arabic origin of the word allāh, whereas the problems of the Syriac form allāhā are described, namely that the Syriac form differs from that of other Aramaic dialects and begs explanation, discussing also the possibility that the Syriac word is a loan from Arabic. The final part considers qur'anic allāh in its cultural and literary context and the role of the Syriac word in that context. The article concludes, that both, a strictly linguistic, as well as cultural and literary analysis reveals a multi-layered interrelation between the two terms in question. The linguistic analysis shows, that Arabic allāh must be a genuinely Arabic word, whereas in the case of Syriac allāhā, the possibility of both, a loan and a specific inner-Aramaic development are laid out. Apart from linguistic considerations, the historical and cultural situation in Northern Mesopotamia, i.e. the early Arab presence in that region is taken into scrutiny. In turn, a possible later effect of the prominent use of Syriac allaha on the use in the Qur'an is considered. It is emphasized, that we are presented with a situation of prolonged contact and exchange, rather than merely one-way borrowings.
2012-10-01T00:00:00ZKiltz, DavidVarious etymologies have been proposed for Arabic allāh but also for Syriac allāhā. It has often been proposed that the Arabic word was borrowed from Syriac. This article takes a comprehensive look at the linguistic evidence at hand. Especially, it takes into consideration more recent epigraphical material which sheds light on the development of the Arabic language. Phonetic and morphological analysis of the data confirms the Arabic origin of the word allāh, whereas the problems of the Syriac form allāhā are described, namely that the Syriac form differs from that of other Aramaic dialects and begs explanation, discussing also the possibility that the Syriac word is a loan from Arabic. The final part considers qur'anic allāh in its cultural and literary context and the role of the Syriac word in that context. The article concludes, that both, a strictly linguistic, as well as cultural and literary analysis reveals a multi-layered interrelation between the two terms in question. The linguistic analysis shows, that Arabic allāh must be a genuinely Arabic word, whereas in the case of Syriac allāhā, the possibility of both, a loan and a specific inner-Aramaic development are laid out. Apart from linguistic considerations, the historical and cultural situation in Northern Mesopotamia, i.e. the early Arab presence in that region is taken into scrutiny. In turn, a possible later effect of the prominent use of Syriac allaha on the use in the Qur'an is considered. It is emphasized, that we are presented with a situation of prolonged contact and exchange, rather than merely one-way borrowings.'En dehors de la fête' : entre présence et absence, pour une approche dialogique de l'identité dans Les Années d'Annie ErnauxHugueny-Leger, Elise Simone Mariehttps://hdl.handle.net/10023/38282024-03-11T00:40:31Z2012-07-01T00:00:00ZLe postulat de cet article est que la conception de l’identité telle qu’elle est développée dans Les Années d’Annie Ernaux (2008) fonctionne sur un mouvement paradoxal de présence et absence du sujet (auteure, narratrice et personnage) ernalien. Ce mouvement, qui se réfère à une manière d’aborder à la fois le quotidien et l’écriture, et qui a été décrit par Ernaux comme la sensation d’être ‘hors de la fête’, peut se comprendre comme partie intégrante de son œuvre. Il trouve sa représentation la plus probante dans le motif même de la fête, occasion de faire mettre en jeu des interactions entre soi et autrui ainsi que des structures à la fois privées et institutionnalisées. En prenant ce motif comme point de départ, cet article propose une lecture d’Ernaux à travers les théories de Bakhtine sur le carnaval, la polyphonie et l’identité qui permettent de mettre en valeur le passage de la présence à l’absence, de soi aux autres, et le rôle de la parole d’autrui dans la constitution des Années. Il s’agit de comprendre comment ce texte peut être décrit comme un véritable ‘roman total’ dans le sens où il fait place à l’intertextualité, au dialogisme, où il met en lumière diverses structures sociales et laisse entrevoir une identité personnelle et narrative basée sur la question de l’altérité.
2012-07-01T00:00:00ZHugueny-Leger, Elise Simone MarieLe postulat de cet article est que la conception de l’identité telle qu’elle est développée dans Les Années d’Annie Ernaux (2008) fonctionne sur un mouvement paradoxal de présence et absence du sujet (auteure, narratrice et personnage) ernalien. Ce mouvement, qui se réfère à une manière d’aborder à la fois le quotidien et l’écriture, et qui a été décrit par Ernaux comme la sensation d’être ‘hors de la fête’, peut se comprendre comme partie intégrante de son œuvre. Il trouve sa représentation la plus probante dans le motif même de la fête, occasion de faire mettre en jeu des interactions entre soi et autrui ainsi que des structures à la fois privées et institutionnalisées. En prenant ce motif comme point de départ, cet article propose une lecture d’Ernaux à travers les théories de Bakhtine sur le carnaval, la polyphonie et l’identité qui permettent de mettre en valeur le passage de la présence à l’absence, de soi aux autres, et le rôle de la parole d’autrui dans la constitution des Années. Il s’agit de comprendre comment ce texte peut être décrit comme un véritable ‘roman total’ dans le sens où il fait place à l’intertextualité, au dialogisme, où il met en lumière diverses structures sociales et laisse entrevoir une identité personnelle et narrative basée sur la question de l’altérité.The 'internal exotic' : a postcolonial re-reading of nineteenth-century Alsatian and Corsican literature in FrenchLorber, Julia Elfriedehttps://hdl.handle.net/10023/37442020-11-17T03:03:20Z2013-01-01T00:00:00ZThis thesis examines nineteenth-century French literature about the peripheral regions of Alsace and Corsica, observing the discursive process of their incorporation into the imagined French landscape.
Firstly, approaching literature from a postcolonial angle, this thesis shows how Alsace and Corsica were represented as exotic by contemporary canonical writers. ‘Internal exoticism’ helped conceptualise these regions as different from the French self, while justifying their rule by France. It also investigates how nineteenth-century Parisian authors envisaged Alsace’s and Corsica’s transition from ‘otherness’ to ‘Frenchness.’
Secondly, this research reveals long-forgotten regional authors, who endeavoured to write about their provinces in French for the first time. It analyses the influence of Parisian literary figures
on these authors, showing whether they were imitating or responding to canonical representations.
This process reveals regional writers’ tendencies to ‘auto-exoticise’, seeing their provinces through the eyes of the centre.
Finally, this analysis shows how French nation-building was interlinked with France’s larger imperial project, suggesting that peripheral provinces were often perceived through the same conceptual framework as overseas colonies.
This thesis contributes to the field of French studies by unearthing unknown authors, and by applying a new theoretical framework, drawing on literary, political and socio-cultural approaches, to the study of France.
2013-01-01T00:00:00ZLorber, Julia ElfriedeThis thesis examines nineteenth-century French literature about the peripheral regions of Alsace and Corsica, observing the discursive process of their incorporation into the imagined French landscape.
Firstly, approaching literature from a postcolonial angle, this thesis shows how Alsace and Corsica were represented as exotic by contemporary canonical writers. ‘Internal exoticism’ helped conceptualise these regions as different from the French self, while justifying their rule by France. It also investigates how nineteenth-century Parisian authors envisaged Alsace’s and Corsica’s transition from ‘otherness’ to ‘Frenchness.’
Secondly, this research reveals long-forgotten regional authors, who endeavoured to write about their provinces in French for the first time. It analyses the influence of Parisian literary figures
on these authors, showing whether they were imitating or responding to canonical representations.
This process reveals regional writers’ tendencies to ‘auto-exoticise’, seeing their provinces through the eyes of the centre.
Finally, this analysis shows how French nation-building was interlinked with France’s larger imperial project, suggesting that peripheral provinces were often perceived through the same conceptual framework as overseas colonies.
This thesis contributes to the field of French studies by unearthing unknown authors, and by applying a new theoretical framework, drawing on literary, political and socio-cultural approaches, to the study of France.Innovation in the novels of Muḥammad Barrāda, Idwār al-Kharrāṭ, Ilyās Khūrī and Fu'ād al-Takarlī, (1979-1999)Caiani, Fabiohttps://hdl.handle.net/10023/37072019-06-10T13:43:32Z2005-01-01T00:00:00ZThis thesis is a detailed literary analysis of the innovative elements in the novels of four of the most significant contemporary Arab authors: the Moroccan Muhammad Barrāda, the Egyptian Idwār al-Kharrāṭ, the Lebanese Ilyās Khūrī and the Iraqi Fu'ād al-Takarlī.
These novels were published between 1979 and 1999, a period during which the work of these authors reached literary maturity. While this thesis (unlike many critical studies of Arabic fiction written in English) is based on close textual analysis of the texts in question, it
places its findings within a wider framework: its introduction (the first part of an essay on literary innovation) defines what is meant by innovation in the Arabic novel; its conclusion (the second part of that essay), is an attempt to connect the innovative methods adopted by the above mentioned writers with the wider literary scene: it shows how these writers have contributed to promoting some of the main innovative trends of the Arabic novel in the last few decades. In adopting a literary approach to these novels, we have considered how the writers' formal choices and techniques have shaped the content of their texts. In this way, we have not only highlighted the importance which the novelists' socio-political discourse assumes in Arab societies, but have also underlined how this discourse is more or less successful because of its artistic merits. The first chapter of this thesis deals with the highly fragmented nature of these texts (lack of ordered development or plot); the second chapter tackles the problems inherent in narrative voice and the position of the authors within their texts; the third chapter explores the intertextual connections these writers use to shape a certain discourse; the fourth chapter deals with the way these novelists promote a self-referential kind of fiction.
2005-01-01T00:00:00ZCaiani, FabioThis thesis is a detailed literary analysis of the innovative elements in the novels of four of the most significant contemporary Arab authors: the Moroccan Muhammad Barrāda, the Egyptian Idwār al-Kharrāṭ, the Lebanese Ilyās Khūrī and the Iraqi Fu'ād al-Takarlī.
These novels were published between 1979 and 1999, a period during which the work of these authors reached literary maturity. While this thesis (unlike many critical studies of Arabic fiction written in English) is based on close textual analysis of the texts in question, it
places its findings within a wider framework: its introduction (the first part of an essay on literary innovation) defines what is meant by innovation in the Arabic novel; its conclusion (the second part of that essay), is an attempt to connect the innovative methods adopted by the above mentioned writers with the wider literary scene: it shows how these writers have contributed to promoting some of the main innovative trends of the Arabic novel in the last few decades. In adopting a literary approach to these novels, we have considered how the writers' formal choices and techniques have shaped the content of their texts. In this way, we have not only highlighted the importance which the novelists' socio-political discourse assumes in Arab societies, but have also underlined how this discourse is more or less successful because of its artistic merits. The first chapter of this thesis deals with the highly fragmented nature of these texts (lack of ordered development or plot); the second chapter tackles the problems inherent in narrative voice and the position of the authors within their texts; the third chapter explores the intertextual connections these writers use to shape a certain discourse; the fourth chapter deals with the way these novelists promote a self-referential kind of fiction.The political career and ideology of Mariano Otero, Mexican politician (1817-1850)Boyd, Melissahttps://hdl.handle.net/10023/36372019-08-07T13:49:49Z2012-01-01T00:00:00ZThe traditionalist historiography of nineteenth-century Mexico produced a simplistic binary view of the period in which politics were characterised by a clear-cut liberal/conservative divide. According to this interpretation, the liberals were repeatedly depicted as the patriotic forefathers of the great reformist liberals of the mid-century Reforma period, whilst the conservatives were presented as the treacherous defenders of the dark forces of reaction. A revaluation of the fragmented politics of Mexican liberalism during the critical decade of the 1840s, focussing in particular on the actions and ideas of moderate political thinker and actor, Mariano Otero, provides a much needed nuanced understanding of the political issues, factions, and tendencies of the
time. It highlights for one, the nature of the divisions that prevented Mexican liberals
from presenting a united front, even during the traumatic Mexican-American War
(1846-48). It also forces us to revise the view that there were only two political factions or worldviews during this period.
This thesis examines, therefore, Mexican moderate liberalism in the 1840s
through the figure of Mariano Otero (Mexico, 1817-1850), never quite fully researched
in the historiography. A moderate liberal ideologue, politician, lawyer and essayist, he was politically active during the turbulent decade from 1841 until his death in 1850. He served as congressional deputy in 1842 and 1846, senator from 1847-1849, and
government minister in 1848. Author of the seminal Ensayo sobre el verdadero estado
de la cuestión social y política que se agita en la República Mexicana (1842), and
architect of the 1846 Acta de Reformas that reformed the 1824 constitution, he is lauded
as the father of the Juicio de Amparo a legal recourse which provided the individual
with a means of protection from the abuses of the state.
This thesis thus approaches the subject by offering an in-depth biographical
study of Otero and an analysis of the political ideology that informed his writings and actions. By contrasting Otero’s political ideas with those others that were in vogue and showing how these were, in turn, put into effect, bearing in mind a backcloth of political and military alliances that was constantly changing, the aim of this study is to allow the reader to understand the nature of Otero’s political standpoint as well as that of Mexico’s mid-century moderados in context. The Otero that emerges from this revision is a man of firm convictions, a committed constitutionalist, unwavering in his belief in federalism as the answer to Mexico’s ills but forced to compromise to achieve his aims. This was a man who in attempting to shape the time was himself shaped by it.
Certainly no such cut and dried portrait as that previously portrayed emerges.
2012-01-01T00:00:00ZBoyd, MelissaThe traditionalist historiography of nineteenth-century Mexico produced a simplistic binary view of the period in which politics were characterised by a clear-cut liberal/conservative divide. According to this interpretation, the liberals were repeatedly depicted as the patriotic forefathers of the great reformist liberals of the mid-century Reforma period, whilst the conservatives were presented as the treacherous defenders of the dark forces of reaction. A revaluation of the fragmented politics of Mexican liberalism during the critical decade of the 1840s, focussing in particular on the actions and ideas of moderate political thinker and actor, Mariano Otero, provides a much needed nuanced understanding of the political issues, factions, and tendencies of the
time. It highlights for one, the nature of the divisions that prevented Mexican liberals
from presenting a united front, even during the traumatic Mexican-American War
(1846-48). It also forces us to revise the view that there were only two political factions or worldviews during this period.
This thesis examines, therefore, Mexican moderate liberalism in the 1840s
through the figure of Mariano Otero (Mexico, 1817-1850), never quite fully researched
in the historiography. A moderate liberal ideologue, politician, lawyer and essayist, he was politically active during the turbulent decade from 1841 until his death in 1850. He served as congressional deputy in 1842 and 1846, senator from 1847-1849, and
government minister in 1848. Author of the seminal Ensayo sobre el verdadero estado
de la cuestión social y política que se agita en la República Mexicana (1842), and
architect of the 1846 Acta de Reformas that reformed the 1824 constitution, he is lauded
as the father of the Juicio de Amparo a legal recourse which provided the individual
with a means of protection from the abuses of the state.
This thesis thus approaches the subject by offering an in-depth biographical
study of Otero and an analysis of the political ideology that informed his writings and actions. By contrasting Otero’s political ideas with those others that were in vogue and showing how these were, in turn, put into effect, bearing in mind a backcloth of political and military alliances that was constantly changing, the aim of this study is to allow the reader to understand the nature of Otero’s political standpoint as well as that of Mexico’s mid-century moderados in context. The Otero that emerges from this revision is a man of firm convictions, a committed constitutionalist, unwavering in his belief in federalism as the answer to Mexico’s ills but forced to compromise to achieve his aims. This was a man who in attempting to shape the time was himself shaped by it.
Certainly no such cut and dried portrait as that previously portrayed emerges.The displaced I : a poetics of exile in Spanish autobiographical writing by womenCadman, Jenniferhttps://hdl.handle.net/10023/35542019-04-01T09:04:45Z2013-06-27T00:00:00ZLiterary responses to Republican exile are diverse and autobiographical works have emerged as a significant modality of this exilic literature. Utilising poetics as a mode of inquiry, this thesis aims to examine some of the complex and nuanced ways in which exile has shaped autobiographical writing by both first and second-generation female exiles. To this end, I trace a poetics of exile in a selected corpus of nineteen autobiographical works by twelve authors: Constancia de la Mora, Isabel Oyarzábal de Palencia, Silvia Mistral, Clara Campoamor, Victoria Kent, Luisa Carnés, Remedios Oliva Berenguer, Francisca Muñoz Alday, Angelina Muñiz-Huberman, María Rosa Lojo, María Luisa Elío and Arantzazu Amezaga Iribarren. These texts were published across a seventy year period (1939 – 2009) in a number of geographical locations and written in a variety of circumstances. Exilic autobiographical texts are not homogeneous and relatively few have adhered to traditional models of autobiography. As such, the works examined are drawn from a variety of autobiographical sub-genres including propagandistic autobiographies, diaries, political essays, hybrid texts, autofiction, memoirs, childhood autobiographies, more experimental semi-autobiographical texts and a film. The main body of this thesis presents six aspects of a poetics of exile — the notion of the addressee, generic hybridization, polyphony, the propagation of collective memory, postmemory, and retroprogressive representations of childhood — and adopts a multi-disciplinary approach that draws upon a number of fields. This thesis aims to offer an illumination of the breadth and difference of women’s exilic autobiographical writing as highlighted in the identification of six very different aspects of a poetics of exile.
2013-06-27T00:00:00ZCadman, JenniferLiterary responses to Republican exile are diverse and autobiographical works have emerged as a significant modality of this exilic literature. Utilising poetics as a mode of inquiry, this thesis aims to examine some of the complex and nuanced ways in which exile has shaped autobiographical writing by both first and second-generation female exiles. To this end, I trace a poetics of exile in a selected corpus of nineteen autobiographical works by twelve authors: Constancia de la Mora, Isabel Oyarzábal de Palencia, Silvia Mistral, Clara Campoamor, Victoria Kent, Luisa Carnés, Remedios Oliva Berenguer, Francisca Muñoz Alday, Angelina Muñiz-Huberman, María Rosa Lojo, María Luisa Elío and Arantzazu Amezaga Iribarren. These texts were published across a seventy year period (1939 – 2009) in a number of geographical locations and written in a variety of circumstances. Exilic autobiographical texts are not homogeneous and relatively few have adhered to traditional models of autobiography. As such, the works examined are drawn from a variety of autobiographical sub-genres including propagandistic autobiographies, diaries, political essays, hybrid texts, autofiction, memoirs, childhood autobiographies, more experimental semi-autobiographical texts and a film. The main body of this thesis presents six aspects of a poetics of exile — the notion of the addressee, generic hybridization, polyphony, the propagation of collective memory, postmemory, and retroprogressive representations of childhood — and adopts a multi-disciplinary approach that draws upon a number of fields. This thesis aims to offer an illumination of the breadth and difference of women’s exilic autobiographical writing as highlighted in the identification of six very different aspects of a poetics of exile.“The ‘Ars vivendi’ of Laura Mañà’s Morir en San Hilario/To Die in San Hilario (2005)”Bentley, Bernard Pierre Emilehttps://hdl.handle.net/10023/35402023-04-18T09:42:55Z2012-11-21T00:00:00ZOver the past decade Spanish-Language Cinema has established itself beside Spanish and Latin American Cinema, and Morir en San Hilario is a good example of these new flexible collaborations rather than a strict transnational co-production. Billed as a comedy, the film could also be described as a variation on the road film, a circular journey to Utopia, a Spanish village/pueblo film, and a twenty-first-century ‘Ars moriendi’ developing the topos of ‘Homo viator’. This is not a frequent combination to be found on cinema screens and Laura Mañà’s gamble was to integrate these ingredients and create a fable to reflect on life and death. She does this through comedy, exaggerations, parody and a narrative style identified as magic realism. Her originality, however, overlaps with the lasting legacy of the fifteenth-century Castilian soldier-poet, Jorge Manrique (c.1440-1479) and his ‘Stanzas written upon the death of his father’, a landmark of Spanish Literature.
2012-11-21T00:00:00ZBentley, Bernard Pierre EmileOver the past decade Spanish-Language Cinema has established itself beside Spanish and Latin American Cinema, and Morir en San Hilario is a good example of these new flexible collaborations rather than a strict transnational co-production. Billed as a comedy, the film could also be described as a variation on the road film, a circular journey to Utopia, a Spanish village/pueblo film, and a twenty-first-century ‘Ars moriendi’ developing the topos of ‘Homo viator’. This is not a frequent combination to be found on cinema screens and Laura Mañà’s gamble was to integrate these ingredients and create a fable to reflect on life and death. She does this through comedy, exaggerations, parody and a narrative style identified as magic realism. Her originality, however, overlaps with the lasting legacy of the fifteenth-century Castilian soldier-poet, Jorge Manrique (c.1440-1479) and his ‘Stanzas written upon the death of his father’, a landmark of Spanish Literature.Perceptions of France : French books in the early libraries of South Australia, 1848-1884Culpin, David Johnhttps://hdl.handle.net/10023/35202023-04-18T09:46:46Z2009-01-01T00:00:00ZIn 1848, the South Australian Library and Mechanics’ Institute came into existence. It was the first stable library in South Australia. In 1856 its books passed to the library of the South Australian Institute, whose holdings continued to grow until 1883, when many of the books were transferred to the fledgling Public Library, forerunner of today’s State Library. Between 1848 and 1883 the two early libraries built up a collection of nearly 20,000 works of which a little over 500 were by French authors, and almost half of those books were in French. This paper follows the growth of the collection of French books and examines the nature of the books that were acquired. In doing so it highlights the place which French culture continued to occupy within the intellectual life of early South Australia and illustrates the gradual change of taste as an elite culture was displaced by the demands of a more popular readership.
This work is partially supported by funding from the British Academy
2009-01-01T00:00:00ZCulpin, David JohnIn 1848, the South Australian Library and Mechanics’ Institute came into existence. It was the first stable library in South Australia. In 1856 its books passed to the library of the South Australian Institute, whose holdings continued to grow until 1883, when many of the books were transferred to the fledgling Public Library, forerunner of today’s State Library. Between 1848 and 1883 the two early libraries built up a collection of nearly 20,000 works of which a little over 500 were by French authors, and almost half of those books were in French. This paper follows the growth of the collection of French books and examines the nature of the books that were acquired. In doing so it highlights the place which French culture continued to occupy within the intellectual life of early South Australia and illustrates the gradual change of taste as an elite culture was displaced by the demands of a more popular readership.Violets and abolition : The discourse on slavery in Faustina Saez de Melgar's magazine La Violeta (1862-1866)Partzsch, Henriette Anna Margaretehttps://hdl.handle.net/10023/35072023-04-18T09:44:14Z2012-09-01T00:00:00ZAlthough the commitment of several nineteenth-century Spanish women writers to abolitionism is a well-established fact, not much is known about the concrete forms their engagement took in a society in which the bourgeois ideology of woman as the angel in the house played a prominent role. The close study of the weekly magazine La Violeta (1862-66), directed by Faustina Sáez de Melgar, shows how the active and public support for this international cause was linked to the development of a model of compassionate intervention by women, most notably formulated by the magazine's regular contributor Rogelia León in response to the very mixed reviews of the foundational meeting of a ladies' abolitionist society. The press coverage of this event clearly demonstrates how political conflict is cast in terms of gender and class and used to threaten middle-class women who step into the political sphere. The analysis of the discourse on slavery reveals an equal importance of both categories in La Violeta, together with the patronising and casual racism of its authors.
2012-09-01T00:00:00ZPartzsch, Henriette Anna MargareteAlthough the commitment of several nineteenth-century Spanish women writers to abolitionism is a well-established fact, not much is known about the concrete forms their engagement took in a society in which the bourgeois ideology of woman as the angel in the house played a prominent role. The close study of the weekly magazine La Violeta (1862-66), directed by Faustina Sáez de Melgar, shows how the active and public support for this international cause was linked to the development of a model of compassionate intervention by women, most notably formulated by the magazine's regular contributor Rogelia León in response to the very mixed reviews of the foundational meeting of a ladies' abolitionist society. The press coverage of this event clearly demonstrates how political conflict is cast in terms of gender and class and used to threaten middle-class women who step into the political sphere. The analysis of the discourse on slavery reveals an equal importance of both categories in La Violeta, together with the patronising and casual racism of its authors.The Letter of the law : literacy and orality in S. A. Panov's Murder in Medveditsa VillageWhitehead, Claire Eugeniehttps://hdl.handle.net/10023/34852023-04-25T23:33:59Z2011-01-01T00:00:00ZThis article takes as its subject a nineteenth-century detective story: S.A. Panov’s Murder in Medveditsa Village (1872). Panov’s work is remarkable amongst its contemporaries for the way in which it interrogates the relative authority of the written and the spoken word in the criminal investigation and, in so doing, foregrounds the role and status that detective fiction assigns to language. The aim of the present article is to discuss the ambiguously nuanced illustration Panov provides of the relative power of written, spoken and non-verbal language in the particular context of the functioning of the law and the pursuit of the ‘truth’, two cornerstones of detective fiction. Language, and especially the written word, is thus shown to play the decisive role in structuring the various networks of authority operating in and around the fictional world.
2011-01-01T00:00:00ZWhitehead, Claire EugenieThis article takes as its subject a nineteenth-century detective story: S.A. Panov’s Murder in Medveditsa Village (1872). Panov’s work is remarkable amongst its contemporaries for the way in which it interrogates the relative authority of the written and the spoken word in the criminal investigation and, in so doing, foregrounds the role and status that detective fiction assigns to language. The aim of the present article is to discuss the ambiguously nuanced illustration Panov provides of the relative power of written, spoken and non-verbal language in the particular context of the functioning of the law and the pursuit of the ‘truth’, two cornerstones of detective fiction. Language, and especially the written word, is thus shown to play the decisive role in structuring the various networks of authority operating in and around the fictional world.A phonological description of Modern Standard ArabicSitrak, Sami J.https://hdl.handle.net/10023/34822019-04-01T09:01:50Z1981-01-01T00:00:00ZThe present work is concerned with some aspects of the phonology of Modern Standard Arabic. The thesis is divided into two parts: Part I, dealing with the theoretical background, consists of three chapters, and each chapter sub-branches into a number of smaller units. Chapter I is concerned with the Axiomatic Functionalism principle of maintaining a strict distinction between the linguistic theory, linguistic descriptions, and the speech-phenomena; it also deals with the 'hypothetico-deductive method' which sets out to explain the philosophical principles underlying the 'Axiomatic Functionalist' approach. This chapter is divided into three sections, the first deals with the 'structure of the theory', the second concerns 'linguistic description and the speech-phenomena', followed by the 'criterion for evaluating the linguistic description and theory'. Chapter II treats the classification of semiotic systems in Axiomatic Functionalism as well as explaining the definition of 'Language' as "a semiotic system with a double articulation" (Mulder 1968, 'b'). Though this is a type of definition found in most functionalist approaches (Martinet 1962 1nd 1964), in Axiomatic Functionalism it has a unique interpretation. Chapter III, which deals with a brief explanation of the phonological system as a whole, comprises two sections, the first of which discusses 'phonematics and phonotactics', and the second introduces some of the main theoretical notions of the phonological theory, such as the notions "phoneme", "distinctive feature", "archi-phoneme", "position", "distributional unit", "archi-position", which is relevant for the phonological description of Modern Standard Arabic. This introduction to the phonological sub-component of the theory is important because description cannot take place without the knowledge of a theory, since a description is "the application of a particular linguistic theory to a selected field of linguistic-phenomena" (Mulder 1980, b). Part II, dealing with the phonological description, consists of five chapters (Chaps. IV-VIII). Chapter IV treats the distributional unit(s) and archi-position of Modern Standard Arabic. Chapter V deals with the consonantal phonemes, their identities and distinctive functions, as well as their realisations. Chapter VI explains the types of neutralisation and the consonantal archi-phonemes. Chapter VII deals with the vowel and semi-vowel phonemes, their identities and distinctive function as well as their realisations. Chapter VIII deals with the neutralisation and vocalic archi-phonemes.
1981-01-01T00:00:00ZSitrak, Sami J.The present work is concerned with some aspects of the phonology of Modern Standard Arabic. The thesis is divided into two parts: Part I, dealing with the theoretical background, consists of three chapters, and each chapter sub-branches into a number of smaller units. Chapter I is concerned with the Axiomatic Functionalism principle of maintaining a strict distinction between the linguistic theory, linguistic descriptions, and the speech-phenomena; it also deals with the 'hypothetico-deductive method' which sets out to explain the philosophical principles underlying the 'Axiomatic Functionalist' approach. This chapter is divided into three sections, the first deals with the 'structure of the theory', the second concerns 'linguistic description and the speech-phenomena', followed by the 'criterion for evaluating the linguistic description and theory'. Chapter II treats the classification of semiotic systems in Axiomatic Functionalism as well as explaining the definition of 'Language' as "a semiotic system with a double articulation" (Mulder 1968, 'b'). Though this is a type of definition found in most functionalist approaches (Martinet 1962 1nd 1964), in Axiomatic Functionalism it has a unique interpretation. Chapter III, which deals with a brief explanation of the phonological system as a whole, comprises two sections, the first of which discusses 'phonematics and phonotactics', and the second introduces some of the main theoretical notions of the phonological theory, such as the notions "phoneme", "distinctive feature", "archi-phoneme", "position", "distributional unit", "archi-position", which is relevant for the phonological description of Modern Standard Arabic. This introduction to the phonological sub-component of the theory is important because description cannot take place without the knowledge of a theory, since a description is "the application of a particular linguistic theory to a selected field of linguistic-phenomena" (Mulder 1980, b). Part II, dealing with the phonological description, consists of five chapters (Chaps. IV-VIII). Chapter IV treats the distributional unit(s) and archi-position of Modern Standard Arabic. Chapter V deals with the consonantal phonemes, their identities and distinctive functions, as well as their realisations. Chapter VI explains the types of neutralisation and the consonantal archi-phonemes. Chapter VII deals with the vowel and semi-vowel phonemes, their identities and distinctive function as well as their realisations. Chapter VIII deals with the neutralisation and vocalic archi-phonemes.Pierre Reverdy : lyrisme de la réalité. Poétique du visuelBrogly, Marie-Noëllehttps://hdl.handle.net/10023/34132020-11-19T09:03:30Z2013-06-01T00:00:00ZThis thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy’s eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy’s poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d’artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy’s poetry.
2013-06-01T00:00:00ZBrogly, Marie-NoëlleThis thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy’s eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy’s poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d’artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy’s poetry.Humour as political resistance and social criticism: Mexican comics and cinema, 1969-1976.Neria, Leticiahttps://hdl.handle.net/10023/31962019-08-07T13:48:53Z2012-06-21T00:00:00ZThis research focuses on the study of Mexican comics and films from 1969 to 1976. It uses the language of humour to understand how these media expressed contemporary social and political concerns. After reviewing theories of humour and proposing an eclectic theory to analyse visual sources, three different comic books and four films were examined in order to gain an understanding of the issues that troubled the society at the time. This eclectic theory considered academic approaches from a variety of disciplines, including philosophy, sociology, linguistics, psychology, and others. The theory of humour proposed in this thesis can be used to study humorous visual expressions from other cultures and historical times.
Thus, one of the novelties of this research is the proposal of an eclectic theory of humour to study visual culture. A second original contribution of this thesis is that it proposes an approach to social history through the analysis of two relevant cultural manifestations: humour and visual culture.
This work also invites us to reflect on Mexican society during the presidency of Luis Echeverría Álvarez, as well as the circumstances of the mass media and the arts, both of which enjoyed some freedom in what was called the apertura democrática. Nevertheless, since some topics were still prickly and difficult, humour helped society discuss them, kept them on the social agenda, and acted as a safety valve to express the discomfort of the members of society.
Finally, this thesis considers social manifestations, such as humour, as sources through which to study culture and history; it highlights the relevance of the cultural legacy of comics which have been considered as a sub-cultural product; and it shows how we can use films to discover something new about a specific time and social group.
Electronic version excludes material for which permission has not been granted by the rights holder
2012-06-21T00:00:00ZNeria, LeticiaThis research focuses on the study of Mexican comics and films from 1969 to 1976. It uses the language of humour to understand how these media expressed contemporary social and political concerns. After reviewing theories of humour and proposing an eclectic theory to analyse visual sources, three different comic books and four films were examined in order to gain an understanding of the issues that troubled the society at the time. This eclectic theory considered academic approaches from a variety of disciplines, including philosophy, sociology, linguistics, psychology, and others. The theory of humour proposed in this thesis can be used to study humorous visual expressions from other cultures and historical times.
Thus, one of the novelties of this research is the proposal of an eclectic theory of humour to study visual culture. A second original contribution of this thesis is that it proposes an approach to social history through the analysis of two relevant cultural manifestations: humour and visual culture.
This work also invites us to reflect on Mexican society during the presidency of Luis Echeverría Álvarez, as well as the circumstances of the mass media and the arts, both of which enjoyed some freedom in what was called the apertura democrática. Nevertheless, since some topics were still prickly and difficult, humour helped society discuss them, kept them on the social agenda, and acted as a safety valve to express the discomfort of the members of society.
Finally, this thesis considers social manifestations, such as humour, as sources through which to study culture and history; it highlights the relevance of the cultural legacy of comics which have been considered as a sub-cultural product; and it shows how we can use films to discover something new about a specific time and social group.The pronunciamiento in nineteenth-century Mexico : the case of Jalisco (1821-1852)Doyle, Rosiehttps://hdl.handle.net/10023/30992019-08-07T13:50:35Z2012-06-21T00:00:00ZThe pronunciamiento was a political practice with its origins in early nineteenth-century Spain. It was a form of political petitioning usually undertaken by coalitions of military and civilian actors to make demands against regional and national governments and negotiate political change. The petitions were generally accompanied with the threat of the use of military force should the demands not be met. As such, pronunciamientos have been defined by Will Fowler as “forceful negotiations.” The pronunciamiento developed as a political practice in a context of institutional disarray and contested legitimacy as a response to the constitutional crisis in Spain (1812-1820), and it became a particularly popular political tool in early independent Mexico (1821-1876) in a context in which successive governments experimented with new political systems. The fact that the institutions these governments created needed to acquire a political legitimacy that was stable enough to replace that of the Ancien Regime would prove problematic. It would be this context of uncertain legitimacies that would allow the pronunciamiento to develop a legitimacy of its own.
It was an extra-constitutional, subversive form of political participation. It was used as a last resort by political actors who believed that, in the particular circumstance of having constitutional routes closed to them or of the government having broken the social pact, they had a right to insurrection to protect the people from the abuses of unjust or tyrannical government. As it developed in early independent Mexico, the pronuciamiento became one of the most used practices for effecting political change. Pronunciamientos were used at one time or another by political actors of all social classes and political persuasions. They preceded most of the major political changes of the period on both a regional and national scale, be they changes in government, the introduction of new laws or a change of political system.
Pronunciamientos have often been referred to in the historiography of early independent Mexico as military revolts or coups. The pronunciamiento has thus been seen as a cause of instability and evidence of praetorianism in the political life of nineteenth-century Spain and independent Mexico. However, recent and current research on the subject, including the project at the University of St Andrews “The Pronunciamiento in Independent Mexico 1821 – 1876” of which this PhD is a part, has resulted in a revision of this narrow view of pronunciamientos as revolts and coups. The project and its affiliated researchers have developed a picture of the pronunciamiento as a political practice which was much more intimately involved with the newly developing constitutional institutions than previously thought. This PhD is a contribution to that revision which uses regional history to analyse the nature and evolution of the pronunciamiento. It is a study of the dynamics of and political actors involved in pronunciamientos in the state of Jalisco in western Mexico between 1821 and 1852.
Jalisco in the early national period was a geopolitically important state and a popular place from which to launch pronunciamientos. Many political actors from within and without the state chose to launch pronunciamientos from Jalisco some of which had a significant impact on regional and national politics. To date there has been no thoroughgoing study of the phenomenon of the pronunciamiento as it developed in Jalisco. This analysis of the pronunciamientos which took place in Jalisco shows that pronunciamientos were used by all political actors to effect political change and had a very real effect on the lives of those directly involved as well as those of the general public who witnessed pronunciamientos on the streets of their towns and cities. It shows how pronunciamientos became closely interconnected with the newly developing constitutional institutions and how, while most pronunciamientos were recognized by all political actors as potential bearers of instability, the pronunciamiento was also considered to be a legitimate form of political participation given the extraordinary circumstance of a lack of recognised or legitimate government. The research demonstrates that pronunciamientos launched in Jalisco had a central part to play in the development of the new political order in the “age of democratic revolutions” and during the transition Mexico underwent from having a traditional corporate society and polity to acquiring a modern liberal one.
The findings of this study provide an insight into the way in which political culture developed in Jalisco in the early national period. Alongside regional studies into the pronunciamientos launched in the San Luis Potosí and Yucatán in a similar period carried out by Kerry McDonald and Shara Ali, this research helps to develop a picture of how Mexican pronunciamientos worked at a local level allowing for more accurate generalisations to be made regarding the pronunciamiento as a practice on a national scale. The study also contributes to an understanding of how politics worked in Mexico in periods of institutional disarray, uncertain legitimacy and political transition and how insurrectionary political forms became legitimised.
2012-06-21T00:00:00ZDoyle, RosieThe pronunciamiento was a political practice with its origins in early nineteenth-century Spain. It was a form of political petitioning usually undertaken by coalitions of military and civilian actors to make demands against regional and national governments and negotiate political change. The petitions were generally accompanied with the threat of the use of military force should the demands not be met. As such, pronunciamientos have been defined by Will Fowler as “forceful negotiations.” The pronunciamiento developed as a political practice in a context of institutional disarray and contested legitimacy as a response to the constitutional crisis in Spain (1812-1820), and it became a particularly popular political tool in early independent Mexico (1821-1876) in a context in which successive governments experimented with new political systems. The fact that the institutions these governments created needed to acquire a political legitimacy that was stable enough to replace that of the Ancien Regime would prove problematic. It would be this context of uncertain legitimacies that would allow the pronunciamiento to develop a legitimacy of its own.
It was an extra-constitutional, subversive form of political participation. It was used as a last resort by political actors who believed that, in the particular circumstance of having constitutional routes closed to them or of the government having broken the social pact, they had a right to insurrection to protect the people from the abuses of unjust or tyrannical government. As it developed in early independent Mexico, the pronuciamiento became one of the most used practices for effecting political change. Pronunciamientos were used at one time or another by political actors of all social classes and political persuasions. They preceded most of the major political changes of the period on both a regional and national scale, be they changes in government, the introduction of new laws or a change of political system.
Pronunciamientos have often been referred to in the historiography of early independent Mexico as military revolts or coups. The pronunciamiento has thus been seen as a cause of instability and evidence of praetorianism in the political life of nineteenth-century Spain and independent Mexico. However, recent and current research on the subject, including the project at the University of St Andrews “The Pronunciamiento in Independent Mexico 1821 – 1876” of which this PhD is a part, has resulted in a revision of this narrow view of pronunciamientos as revolts and coups. The project and its affiliated researchers have developed a picture of the pronunciamiento as a political practice which was much more intimately involved with the newly developing constitutional institutions than previously thought. This PhD is a contribution to that revision which uses regional history to analyse the nature and evolution of the pronunciamiento. It is a study of the dynamics of and political actors involved in pronunciamientos in the state of Jalisco in western Mexico between 1821 and 1852.
Jalisco in the early national period was a geopolitically important state and a popular place from which to launch pronunciamientos. Many political actors from within and without the state chose to launch pronunciamientos from Jalisco some of which had a significant impact on regional and national politics. To date there has been no thoroughgoing study of the phenomenon of the pronunciamiento as it developed in Jalisco. This analysis of the pronunciamientos which took place in Jalisco shows that pronunciamientos were used by all political actors to effect political change and had a very real effect on the lives of those directly involved as well as those of the general public who witnessed pronunciamientos on the streets of their towns and cities. It shows how pronunciamientos became closely interconnected with the newly developing constitutional institutions and how, while most pronunciamientos were recognized by all political actors as potential bearers of instability, the pronunciamiento was also considered to be a legitimate form of political participation given the extraordinary circumstance of a lack of recognised or legitimate government. The research demonstrates that pronunciamientos launched in Jalisco had a central part to play in the development of the new political order in the “age of democratic revolutions” and during the transition Mexico underwent from having a traditional corporate society and polity to acquiring a modern liberal one.
The findings of this study provide an insight into the way in which political culture developed in Jalisco in the early national period. Alongside regional studies into the pronunciamientos launched in the San Luis Potosí and Yucatán in a similar period carried out by Kerry McDonald and Shara Ali, this research helps to develop a picture of how Mexican pronunciamientos worked at a local level allowing for more accurate generalisations to be made regarding the pronunciamiento as a practice on a national scale. The study also contributes to an understanding of how politics worked in Mexico in periods of institutional disarray, uncertain legitimacy and political transition and how insurrectionary political forms became legitimised.Creation and marginalisation in women’s writing in mid-twentieth-century Uruguay : the case of Concepción Silva Bélinzon’s poetryMontañez Morillo, María Soledadhttps://hdl.handle.net/10023/30982017-07-14T16:19:11Z2012-01-20T00:00:00ZThis thesis explores how women’s writing in mid-twentieth century Uruguay enables a reconsideration of the intertwined hegemonic practices of literary canon formation and national identity in this seminal period. Within a national history and a cultural tradition conceived of as patriarchal, progressive and homogeneous, in correspondence to a European/Eurocentric concept of time and historicism, women writers struggled to find a recognised position from which to speak. Nevertheless, like other marginal groups, women writers have challenged the hegemonic discourses of modernity in Uruguay, as elsewhere in Latin America, producing what can be described, following Elaine Showalter, as a double-voiced textual strategy that replicates as well as subverts the dominant order.
In this respect, Concepción Silva Bélinzon (Montevideo, 1900-1987) offers a remarkable case study to show how women’s poetry destabilises and renegotiates the great discourses of modernity. Socially and culturally marginalised, Silva Bélinzon’s life demonstrates the failures and limitations of a patriarchal/paternalistic society, while her poetry problematises the homogeneous national discourses of modern Uruguay, exposing the discontinuity inherent to a national history conceived of as masculine, linear and teleological.
Silva Bélinzon’s poetry has been defined as a synthesis of Modernismo and Surrealism, and described as a combination of free associations, biblical references and metaphysical concerns, all expressed within conventional metric forms, notably, the sonnet. Her poetry has been considered incoherent and bizarre, and has thus received little critical attention. However, one of the most interesting characteristics of her poetry has been overlooked. That is, the juxtaposition of different artistic trends and the dialectical tension that exists between the use of random, discontinuous and disconnected images within strict traditional poetic forms.
The theoretical approach of this thesis is predominantly framed by postcolonial, feminist and gender theories, including those of Homi K. Bhabha and Judith Butler. In addition, drawing on Henri Bergson’s work, Matière et mémoire (1896) and Marcel Proust’s well-known idea of mémoire involontaire, I interpret Silva Bélinzon’s elliptical poetry as a virtual journey through layers of the personal and national pasts that thereby deterritorialises the national, hegemonic discourses of the modern nation. Thus, using Silva Bélinzon’s poetry as a case study, the thesis aims to demonstrate how women writers ‘overlap in the act of writing the nation’ (Bhabha 2003: 292).
2012-01-20T00:00:00ZMontañez Morillo, María SoledadThis thesis explores how women’s writing in mid-twentieth century Uruguay enables a reconsideration of the intertwined hegemonic practices of literary canon formation and national identity in this seminal period. Within a national history and a cultural tradition conceived of as patriarchal, progressive and homogeneous, in correspondence to a European/Eurocentric concept of time and historicism, women writers struggled to find a recognised position from which to speak. Nevertheless, like other marginal groups, women writers have challenged the hegemonic discourses of modernity in Uruguay, as elsewhere in Latin America, producing what can be described, following Elaine Showalter, as a double-voiced textual strategy that replicates as well as subverts the dominant order.
In this respect, Concepción Silva Bélinzon (Montevideo, 1900-1987) offers a remarkable case study to show how women’s poetry destabilises and renegotiates the great discourses of modernity. Socially and culturally marginalised, Silva Bélinzon’s life demonstrates the failures and limitations of a patriarchal/paternalistic society, while her poetry problematises the homogeneous national discourses of modern Uruguay, exposing the discontinuity inherent to a national history conceived of as masculine, linear and teleological.
Silva Bélinzon’s poetry has been defined as a synthesis of Modernismo and Surrealism, and described as a combination of free associations, biblical references and metaphysical concerns, all expressed within conventional metric forms, notably, the sonnet. Her poetry has been considered incoherent and bizarre, and has thus received little critical attention. However, one of the most interesting characteristics of her poetry has been overlooked. That is, the juxtaposition of different artistic trends and the dialectical tension that exists between the use of random, discontinuous and disconnected images within strict traditional poetic forms.
The theoretical approach of this thesis is predominantly framed by postcolonial, feminist and gender theories, including those of Homi K. Bhabha and Judith Butler. In addition, drawing on Henri Bergson’s work, Matière et mémoire (1896) and Marcel Proust’s well-known idea of mémoire involontaire, I interpret Silva Bélinzon’s elliptical poetry as a virtual journey through layers of the personal and national pasts that thereby deterritorialises the national, hegemonic discourses of the modern nation. Thus, using Silva Bélinzon’s poetry as a case study, the thesis aims to demonstrate how women writers ‘overlap in the act of writing the nation’ (Bhabha 2003: 292).A description of 'aspectual' phenomena in ArabicSitrak, Sami J.https://hdl.handle.net/10023/29762019-04-01T09:02:14Z1986-01-01T00:00:00ZThe present work is mainly concerned with a description of
the morphological and syntactic analyses of the predicative aspectual
phenomena in Modern Standard Arabic using Axiomatic Functionalism
as its theoretical framework.
The thesis consists of an introduction, three major parts, and
a conclusion. The introduction deals with a brief overview of the
Axiomatic Functionalist theory. Part one, which comprises four
chapters, offers a brief account of the theoretical background of this
work as well as presenting the predicative (verbal and non-verbal)
aspectual phenomena in MSA. Chapter I discusses the term 'aspect',
and the relation between lexical and grammatical aspect. Chapter II
discusses the Arabic language, particularly the category of 'aspect'.
Chapter III discusses the interaction between punctuality and aspect.
Chapter IV is exclusively devoted to methodology; it explains an
explanation of the essential and relevant theoretical notions in grammar,
uniting the description to the theory. It also provides a step-by-step
application of successive criteria for discriminating between
morphological complexes and syntactic complexes.
The second part (Chaps. V & VI), deals with morphological
analysis. Chapter V analyses the category of verb in Arabic. For this
purpose the following paradigms are set up: Verb-root, Aspect, Voice,
Person, Gender, and Number. Each of these contains monemes which
which are constituents of the verbal entity. These monemes commute
with each other yielding a difference in the message conveyed. The
chapter concludes that entities of the verb category in Arabic may
contain the constituent monemes verb-root,
perfective,
imperfective,
active,
passive,
first person, second person, third person, masculine,
feminine,
singular, dual, and plural. Chapter VI deals with the
realisational as pect of the constituent monemes of the complex pleremes
in chapter V. It also deals with the distribution of the allomorphs of
the constituent monemes in question.
Part three (Chaps. VII - IX), deals with the syntactic
description of the aspectual phenomena in MSA. Chapter VII sets up
the distributional unit (model) which accounts for the relations within
the VPB syntagm. This chapter tests the adequacy of the model by
establishing all the VPB syntagms which map onto it. These syntagms
vary according to the type of the verbal nucleus in each of them,
(transitive or intransitive and of what kind). It further deals with
types of non-verbal nucleus I
and the realisations of the predicative
based syntagms (verbal and non-verbal). Chapter VIII deals in detail
with the syntactic relations within the predicative syntagms. It also
deals with the syntactic structures of various as pectual phenomena in
MSA. Chapter IX discusses the syntactic relation within the functional
syntagm in MSA which may form an immediate constituent in a
predicative based syntagm.
A final brief 'Conclusion' points out the need for further research
and development in Axiomatic Functionalism in the field of "semantic
syntagm-analysis".
1986-01-01T00:00:00ZSitrak, Sami J.The present work is mainly concerned with a description of
the morphological and syntactic analyses of the predicative aspectual
phenomena in Modern Standard Arabic using Axiomatic Functionalism
as its theoretical framework.
The thesis consists of an introduction, three major parts, and
a conclusion. The introduction deals with a brief overview of the
Axiomatic Functionalist theory. Part one, which comprises four
chapters, offers a brief account of the theoretical background of this
work as well as presenting the predicative (verbal and non-verbal)
aspectual phenomena in MSA. Chapter I discusses the term 'aspect',
and the relation between lexical and grammatical aspect. Chapter II
discusses the Arabic language, particularly the category of 'aspect'.
Chapter III discusses the interaction between punctuality and aspect.
Chapter IV is exclusively devoted to methodology; it explains an
explanation of the essential and relevant theoretical notions in grammar,
uniting the description to the theory. It also provides a step-by-step
application of successive criteria for discriminating between
morphological complexes and syntactic complexes.
The second part (Chaps. V & VI), deals with morphological
analysis. Chapter V analyses the category of verb in Arabic. For this
purpose the following paradigms are set up: Verb-root, Aspect, Voice,
Person, Gender, and Number. Each of these contains monemes which
which are constituents of the verbal entity. These monemes commute
with each other yielding a difference in the message conveyed. The
chapter concludes that entities of the verb category in Arabic may
contain the constituent monemes verb-root,
perfective,
imperfective,
active,
passive,
first person, second person, third person, masculine,
feminine,
singular, dual, and plural. Chapter VI deals with the
realisational as pect of the constituent monemes of the complex pleremes
in chapter V. It also deals with the distribution of the allomorphs of
the constituent monemes in question.
Part three (Chaps. VII - IX), deals with the syntactic
description of the aspectual phenomena in MSA. Chapter VII sets up
the distributional unit (model) which accounts for the relations within
the VPB syntagm. This chapter tests the adequacy of the model by
establishing all the VPB syntagms which map onto it. These syntagms
vary according to the type of the verbal nucleus in each of them,
(transitive or intransitive and of what kind). It further deals with
types of non-verbal nucleus I
and the realisations of the predicative
based syntagms (verbal and non-verbal). Chapter VIII deals in detail
with the syntactic relations within the predicative syntagms. It also
deals with the syntactic structures of various as pectual phenomena in
MSA. Chapter IX discusses the syntactic relation within the functional
syntagm in MSA which may form an immediate constituent in a
predicative based syntagm.
A final brief 'Conclusion' points out the need for further research
and development in Axiomatic Functionalism in the field of "semantic
syntagm-analysis".The theory, practice and administration of waqf with special reference to the Malayan state of KedahOthman, Muhammad Zain bin Hajihttps://hdl.handle.net/10023/29592019-03-29T16:07:15Z1971-01-01T00:00:00Z1971-01-01T00:00:00ZOthman, Muhammad Zain bin HajiTeaching of Arabic as a foreign language (TAFL) : a study of the communicative approach in relation to ArabicJadwat, Ayoob Y.https://hdl.handle.net/10023/29492019-04-01T09:01:55Z1988-01-01T00:00:00ZThe study is concerned with the problem of how to improve the teaching
of Arabic as a foreign or a second language. It lays down some of the
essential foundation-work necessary for bringing about systematic and
constructive improvements in the teaching of Arabic as a foreign language
(TAFL) by investigating the contributions of modern linguistic sciences
(such as applied linguistics, educational linguistics, psycholinguistics
and sociolinguistics) to the development of foreign language (FL) teaching
and learning. A survey of the literature indicates that a 'revolution' is
currently taking place in FL teaching and that a new approach, known as
the Communicative Approach (CA), has begun to emerge and influence the
teaching of FLs in general, over the last decade or so. Since the CA
is currently being adopted to the teaching of most major FLs and since
this revolution has not yet had much impact on TAPL, the study explores
the possibility of the application of the CA to the teaching of Arabic as
a living language.
The thesis is divided into 7 chapters. Chapter 1 introduces the importance
of viewing the nature of language and FL teaching from a multidimensional
point of view. Chapter 2 outlines the general nature and importance of
the subject matter (i.e. the Arabic language) in a wide context. In order
to understand what has directly or indirectly influenced the teaching
practices of TAFL, Chapter 3 provides an overview of the development of
views of FL teaching approaches and methods in recent times, from
formalism (teacher-centred learning) to functionalism (student -centred
learning). Chapter 4 concentrates on providing an interpretation of
the current 'state of the art' of TPPL in Britain. A theoretical outline
of the CA is presented in Chapter 5. This chapter provides a working
hypothesis of a proposed integrative model for communicative competence
that can be used as a practical reference tool in the relevant areas of
communicative language development In TAPL. Chapter 6 focuses on
one of these areas; communicative syllabus design, in which the stages
in Arabic language programme development and types of communicative
syllabuses are discussed. The last chapter concludes with a suggetion
of specific further research needs in TAFL: communicative teaching
methodology, communicative materials development, communicative
testing techniques and communicative tea cher training.
1988-01-01T00:00:00ZJadwat, Ayoob Y.The study is concerned with the problem of how to improve the teaching
of Arabic as a foreign or a second language. It lays down some of the
essential foundation-work necessary for bringing about systematic and
constructive improvements in the teaching of Arabic as a foreign language
(TAFL) by investigating the contributions of modern linguistic sciences
(such as applied linguistics, educational linguistics, psycholinguistics
and sociolinguistics) to the development of foreign language (FL) teaching
and learning. A survey of the literature indicates that a 'revolution' is
currently taking place in FL teaching and that a new approach, known as
the Communicative Approach (CA), has begun to emerge and influence the
teaching of FLs in general, over the last decade or so. Since the CA
is currently being adopted to the teaching of most major FLs and since
this revolution has not yet had much impact on TAPL, the study explores
the possibility of the application of the CA to the teaching of Arabic as
a living language.
The thesis is divided into 7 chapters. Chapter 1 introduces the importance
of viewing the nature of language and FL teaching from a multidimensional
point of view. Chapter 2 outlines the general nature and importance of
the subject matter (i.e. the Arabic language) in a wide context. In order
to understand what has directly or indirectly influenced the teaching
practices of TAFL, Chapter 3 provides an overview of the development of
views of FL teaching approaches and methods in recent times, from
formalism (teacher-centred learning) to functionalism (student -centred
learning). Chapter 4 concentrates on providing an interpretation of
the current 'state of the art' of TPPL in Britain. A theoretical outline
of the CA is presented in Chapter 5. This chapter provides a working
hypothesis of a proposed integrative model for communicative competence
that can be used as a practical reference tool in the relevant areas of
communicative language development In TAPL. Chapter 6 focuses on
one of these areas; communicative syllabus design, in which the stages
in Arabic language programme development and types of communicative
syllabuses are discussed. The last chapter concludes with a suggetion
of specific further research needs in TAFL: communicative teaching
methodology, communicative materials development, communicative
testing techniques and communicative tea cher training.The Arab tribes from Jāhilīya to Islām : sources and historical trendsEl-Sakkout, Ihab Hamdihttps://hdl.handle.net/10023/29442019-03-29T16:07:10Z1994-01-01T00:00:00ZThis dissertation
aims
to formulate
a view of
Arabian tribalism in the
pre-
Islamic
period and
its development in Islamic times.
The first
part assesses
the historical
usability of
the literary
source
material of
the Jahiliya. The focus is
on oral
historical traditions
-
the
ayyam al-
carab. These
are
found to have
remained
textually fluid
until
the time
of
their
recording.
This fluidity
may
have
affected style and
form but did
not
substantially affect certain
historical
elements.
The
more
inter-tribal
and
less
local the
account was,
the
more reliable
it is likely to be historically. A
sample
comparison
between tribal hostility
and
tribal distribution
showed
that the
accounts seem
to be highly
consistent.
The
second part of
the thesis is
concerned
firstly
with establishing a
Jahili
profile
for two tribal
groups; secondly with
tracing the
affairs of
their
descendants into the Umayyad
period.
The tribal
groups of
Taghlib
and
Ghatafan
were picked
for
examination.
Both
were strong cohesive groups
in the
pre-Islamic period.
In Islamic times, Taghlibis lose importance
since
they
opted
to
remain
Christian, thus, Taghlibis
are virtually
impossible to trace. Ghatafanis
did join Islam
on a
far
greater scale and are often mentioned
in the Islamic
period.
After the
second civil war
Ghatafanis
are only ever mentioned as
individuals. Close kin
continued
to
cooperate
but
cooperation above
this level
was
only conducted within
the Qaysi faction.
The third
part
discusses
changes
in the tribal
system.
A
review of
the
functions
of modern
tribal
genealogies
illuminates the
process
by
which
genealogies can change
in
order
to
reflect changing realities.
Early Arabic
genealogies are clearly seen
to be
also naturally
dynamic
and
the
subject of
deliberate
change.
New links
reflected new realities, particularly
the
political
alliances
forged
under
the Umayyads. A belief in
a single progenitor
led to
a
move
towards
creating genealogical
links to
one ancestor, while
the
conditions of
the
conquests
let to
a regionalization of
tribalism. The
professionalization of
the
Marwanid
army enabled cross-regional
tribal
co-operation which resulted
in
dividing in two the Umayyad
army and
Arab
genealogies.
1994-01-01T00:00:00ZEl-Sakkout, Ihab HamdiThis dissertation
aims
to formulate
a view of
Arabian tribalism in the
pre-
Islamic
period and
its development in Islamic times.
The first
part assesses
the historical
usability of
the literary
source
material of
the Jahiliya. The focus is
on oral
historical traditions
-
the
ayyam al-
carab. These
are
found to have
remained
textually fluid
until
the time
of
their
recording.
This fluidity
may
have
affected style and
form but did
not
substantially affect certain
historical
elements.
The
more
inter-tribal
and
less
local the
account was,
the
more reliable
it is likely to be historically. A
sample
comparison
between tribal hostility
and
tribal distribution
showed
that the
accounts seem
to be highly
consistent.
The
second part of
the thesis is
concerned
firstly
with establishing a
Jahili
profile
for two tribal
groups; secondly with
tracing the
affairs of
their
descendants into the Umayyad
period.
The tribal
groups of
Taghlib
and
Ghatafan
were picked
for
examination.
Both
were strong cohesive groups
in the
pre-Islamic period.
In Islamic times, Taghlibis lose importance
since
they
opted
to
remain
Christian, thus, Taghlibis
are virtually
impossible to trace. Ghatafanis
did join Islam
on a
far
greater scale and are often mentioned
in the Islamic
period.
After the
second civil war
Ghatafanis
are only ever mentioned as
individuals. Close kin
continued
to
cooperate
but
cooperation above
this level
was
only conducted within
the Qaysi faction.
The third
part
discusses
changes
in the tribal
system.
A
review of
the
functions
of modern
tribal
genealogies
illuminates the
process
by
which
genealogies can change
in
order
to
reflect changing realities.
Early Arabic
genealogies are clearly seen
to be
also naturally
dynamic
and
the
subject of
deliberate
change.
New links
reflected new realities, particularly
the
political
alliances
forged
under
the Umayyads. A belief in
a single progenitor
led to
a
move
towards
creating genealogical
links to
one ancestor, while
the
conditions of
the
conquests
let to
a regionalization of
tribalism. The
professionalization of
the
Marwanid
army enabled cross-regional
tribal
co-operation which resulted
in
dividing in two the Umayyad
army and
Arab
genealogies.The Emirate of Damascus in the early Crusading period, 488-549/1095-1154Al-Zanki, Jamal M. H. A.https://hdl.handle.net/10023/29372019-03-29T16:07:13Z1990-01-01T00:00:00ZThis study "The Emirate of Damascus During the Early
Crusading Period 488-549/1095-1154 deals with this
Emirate which was established in 488/1095, after the
defeat and the murder of Taj al-Dawla Tutush near Rayy
in 488/1095 by his nephew Sultan Berkiyaruq Ibn Sult-an
Malik-Sh5h. The dominions of Ti al-Dawla, mainly in
Syria and the Jazira divided between his elder sons King
Fakhr al-Mullik Ridwan in Aleppo and King Shams al-Muliik
Ducfaq in Damascus. The Kingdom of Damascus comprized
south Syria and some parts of the Jazira such as al-
Rahba and Mayyafäriqin.
Zahir al-Din Tughtekln, who was Atabek of King Duclaq, became the de facto ruler of Damascus during the
reign of King Duqaq 488-497/1095-1104. After the death
of Duqaq, Tughtekin was to be the real Amir of Damascus,
and his dynasty was to gain control of the Emirate until
its fall at the hands of Niir al-Din Mahmild of Aleppo in
549/1154.
In this thesis, the following matters are discussed:
1. The conditions which led to the foundation of this
Emirate.
2. The role of Tughtekin in establishing his authority
in the Emirate.
3. The foreign policy of the Emirate, and the factors
which shaped this policy.
4. The effects (on the Emirate) of the coming of the
Crusaders particularly those of Jerusalem.
S. Internal rivalries in the Emirate, and their
influence on the stability of the Emirate and its
external relations.
6. The policy of alliances adopted by the Emirate and
the factors which affected this.
7. The influence of the growing power of Zangi of
Aleppo and Mosul (521-541/1127-1146) on Damascus and
why he did not succeed in annexing Damascus to his
united front in Syria and the Jazira aimed at
challenging the power of the Crusaders.
8. The reasons which helped Mir al-Din Mahmüd Ibn Zangi
of Aleppo to annex Damascus to his state in
549/1154.
9. The importance of the military power of Damascus and
Its role in protecting the Emirate.
Finally a concluding section sums up the achievement
of the Emirate of Damascus in maintaining its
Independence during the period and the role of the
Emirate in the Counter-Crusade.
1990-01-01T00:00:00ZAl-Zanki, Jamal M. H. A.This study "The Emirate of Damascus During the Early
Crusading Period 488-549/1095-1154 deals with this
Emirate which was established in 488/1095, after the
defeat and the murder of Taj al-Dawla Tutush near Rayy
in 488/1095 by his nephew Sultan Berkiyaruq Ibn Sult-an
Malik-Sh5h. The dominions of Ti al-Dawla, mainly in
Syria and the Jazira divided between his elder sons King
Fakhr al-Mullik Ridwan in Aleppo and King Shams al-Muliik
Ducfaq in Damascus. The Kingdom of Damascus comprized
south Syria and some parts of the Jazira such as al-
Rahba and Mayyafäriqin.
Zahir al-Din Tughtekln, who was Atabek of King Duclaq, became the de facto ruler of Damascus during the
reign of King Duqaq 488-497/1095-1104. After the death
of Duqaq, Tughtekin was to be the real Amir of Damascus,
and his dynasty was to gain control of the Emirate until
its fall at the hands of Niir al-Din Mahmild of Aleppo in
549/1154.
In this thesis, the following matters are discussed:
1. The conditions which led to the foundation of this
Emirate.
2. The role of Tughtekin in establishing his authority
in the Emirate.
3. The foreign policy of the Emirate, and the factors
which shaped this policy.
4. The effects (on the Emirate) of the coming of the
Crusaders particularly those of Jerusalem.
S. Internal rivalries in the Emirate, and their
influence on the stability of the Emirate and its
external relations.
6. The policy of alliances adopted by the Emirate and
the factors which affected this.
7. The influence of the growing power of Zangi of
Aleppo and Mosul (521-541/1127-1146) on Damascus and
why he did not succeed in annexing Damascus to his
united front in Syria and the Jazira aimed at
challenging the power of the Crusaders.
8. The reasons which helped Mir al-Din Mahmüd Ibn Zangi
of Aleppo to annex Damascus to his state in
549/1154.
9. The importance of the military power of Damascus and
Its role in protecting the Emirate.
Finally a concluding section sums up the achievement
of the Emirate of Damascus in maintaining its
Independence during the period and the role of the
Emirate in the Counter-Crusade.The principles of abrogation : with special reference to the 'Usūl' of al-JassāsAkram, Mohammadhttps://hdl.handle.net/10023/29362019-04-01T09:02:11Z1987-01-01T00:00:00ZI have
prepared a critical edition of the
portion on a1-Nasikh
wa-l mansukh
from Usul al-Jassas
(Usul
al-figh), by Abu Bakr Ahmad
b.
'Ali
a1-Razi a1-jassas
(d. 370 A. H. ). The
manuscript, used in
this edition,
is preserved under
229 Usul: Dar al-Kutub al-Misriya.
I have
also prepared separate notes
in
order to elucidate and compare
this work with
the views of the renowned Muslim scholars such as
Shafi
'1,
Tabari, Nahhas, Razi, Sarakhsi
and many others. The
manuscript
itself is edited carefully so that to the best
of my
knowledge
no incorrect materials
have failed to be
mentioned
in the footnotes.
I have
also provided references to the Qur'anic
verses and
athar
mentioned
in this work of
jassas.
To discuss the subject of al-Nasikh wa-l mansukh,
I have
also
prepared an introduction. This
section consists of eight chapters.
The first
chapter
is devoted to the description
of the
manuscript and
text along with
the importance
of Usul al-Jassas. The second chapter
is designed to provide
details
of the author's life
and
his
works.
The
third
chapter
deals
with the basic
sources of
Islamic law
and throws
light
on the background
of the phenomenon of naskh. In this chapter
the views of anti-traditionists are also recorded. The fourth
chapter
provides
details
about the principles of abrogation
- whether special
or general together
with the significance of naskh. It also discusses
the problem of the
change of the gibla and informs
us that
naskh
is a
speciality of the Fugaha'.
In
chapters
five to seven,
I have discussed the three
modes
of naskh
described by the Usulis. They are: naskh al-hukm du-na
al-tilawa, naskh al-tilawa
duna
al-hukm and naskh al-hukm wa al-
tilawa. The first
mode
involves the discussion
of the problem of
wasiyya
(bequest)
and
cidda
(waiting
period).
The
second mode
investigates the origin of the Islamic stoning penalty
for
adultery.
The third mode
is
concerned with the Tafsir
of
Q. 87,6-7. In the
final
chapter,
I have
examined jassas'
concept of the relationship of
the Qur'an
with the sunna and vice versa
in the formation
of the ahkam.
1987-01-01T00:00:00ZAkram, MohammadI have
prepared a critical edition of the
portion on a1-Nasikh
wa-l mansukh
from Usul al-Jassas
(Usul
al-figh), by Abu Bakr Ahmad
b.
'Ali
a1-Razi a1-jassas
(d. 370 A. H. ). The
manuscript, used in
this edition,
is preserved under
229 Usul: Dar al-Kutub al-Misriya.
I have
also prepared separate notes
in
order to elucidate and compare
this work with
the views of the renowned Muslim scholars such as
Shafi
'1,
Tabari, Nahhas, Razi, Sarakhsi
and many others. The
manuscript
itself is edited carefully so that to the best
of my
knowledge
no incorrect materials
have failed to be
mentioned
in the footnotes.
I have
also provided references to the Qur'anic
verses and
athar
mentioned
in this work of
jassas.
To discuss the subject of al-Nasikh wa-l mansukh,
I have
also
prepared an introduction. This
section consists of eight chapters.
The first
chapter
is devoted to the description
of the
manuscript and
text along with
the importance
of Usul al-Jassas. The second chapter
is designed to provide
details
of the author's life
and
his
works.
The
third
chapter
deals
with the basic
sources of
Islamic law
and throws
light
on the background
of the phenomenon of naskh. In this chapter
the views of anti-traditionists are also recorded. The fourth
chapter
provides
details
about the principles of abrogation
- whether special
or general together
with the significance of naskh. It also discusses
the problem of the
change of the gibla and informs
us that
naskh
is a
speciality of the Fugaha'.
In
chapters
five to seven,
I have discussed the three
modes
of naskh
described by the Usulis. They are: naskh al-hukm du-na
al-tilawa, naskh al-tilawa
duna
al-hukm and naskh al-hukm wa al-
tilawa. The first
mode
involves the discussion
of the problem of
wasiyya
(bequest)
and
cidda
(waiting
period).
The
second mode
investigates the origin of the Islamic stoning penalty
for
adultery.
The third mode
is
concerned with the Tafsir
of
Q. 87,6-7. In the
final
chapter,
I have
examined jassas'
concept of the relationship of
the Qur'an
with the sunna and vice versa
in the formation
of the ahkam.The relationship between ilm and khabar in the work of al-ShafiiShukri, Abdul Salam Muhammadhttps://hdl.handle.net/10023/29272019-04-01T09:05:37Z1999-01-01T00:00:00ZThis study examines in detail the basis of al-Shafi`i's arguments for the
supremacy of oral tradition over communal legal practice. It concentrates on one
broad issue, the definition of `ilm (knowledge) and one technical issue, the problem
of authenticating a particular khabar (oral tradition or report, plural akhbar, ) and its
binding nature, especially a report of the category known as the specialists' report
(khabar al-khassa). On the first issue, this study examines the concept of knowledge
based on reports (`ilm al-khabar) because it had an important influence on al-Shafi`i.
This is followed by a detailed account of al-Shafi`i's own discussion of `ilm. It brings
out clearly that al-Shafi`i means religious law when discussing `ilm. It also shows
how knowledge of religious law can be obtained. Al-Shafi`i's approach is to restrict
the argument to knowledge of specialised and debatable points, rather than what is
generally accepted. He seeks to prove the indispensability in this area of specialists'
knowledge of reliable documentation external to the law itself. The following chapter
deals with the question of authenticating a khabar from the Prophet (a hadith), not as
purely technical question but within a polemical context in which the practical
difficulty of authenticating a khabar was used by those opposed to the intellectual
dominance of oral tradition as a reason not to use the khabar. In the final chapter al-
Shaf i's arguments with two identifiable schools of opposing thought, ahl al-kaläm
and ahl al-figh, are examined in detail. The thesis as a whole gives a significant
insight into the efficacy and durability of al-Shafi`i's arguments, not so much by
defeating his opponents' arguments but by buttressing those of the defenders and
advocates of oral tradition.
1999-01-01T00:00:00ZShukri, Abdul Salam MuhammadThis study examines in detail the basis of al-Shafi`i's arguments for the
supremacy of oral tradition over communal legal practice. It concentrates on one
broad issue, the definition of `ilm (knowledge) and one technical issue, the problem
of authenticating a particular khabar (oral tradition or report, plural akhbar, ) and its
binding nature, especially a report of the category known as the specialists' report
(khabar al-khassa). On the first issue, this study examines the concept of knowledge
based on reports (`ilm al-khabar) because it had an important influence on al-Shafi`i.
This is followed by a detailed account of al-Shafi`i's own discussion of `ilm. It brings
out clearly that al-Shafi`i means religious law when discussing `ilm. It also shows
how knowledge of religious law can be obtained. Al-Shafi`i's approach is to restrict
the argument to knowledge of specialised and debatable points, rather than what is
generally accepted. He seeks to prove the indispensability in this area of specialists'
knowledge of reliable documentation external to the law itself. The following chapter
deals with the question of authenticating a khabar from the Prophet (a hadith), not as
purely technical question but within a polemical context in which the practical
difficulty of authenticating a khabar was used by those opposed to the intellectual
dominance of oral tradition as a reason not to use the khabar. In the final chapter al-
Shaf i's arguments with two identifiable schools of opposing thought, ahl al-kaläm
and ahl al-figh, are examined in detail. The thesis as a whole gives a significant
insight into the efficacy and durability of al-Shafi`i's arguments, not so much by
defeating his opponents' arguments but by buttressing those of the defenders and
advocates of oral tradition.The application of semantics to the translation of pre-Islamic poetry: with special reference to the 'Mu'allaqa' of Imru al-QaysHusayn, 'Ala al-Din Ahmadhttps://hdl.handle.net/10023/29262019-03-29T16:07:03Z1984-01-01T00:00:00ZThis thesis, to the best of our knowledge, is the first attempt to
apply semantics to the translation of pre-Islamic poetry. But this is a
thorny path. This poetry is some of the most ambiguous, confusing,
disorganized and perfunctorily investigated in the whole of Arabic
literature. The Mucallaga of Imru'al-Qays, our subject of study, the
crowning achievement of this poetry, is in an even worse case. The
principal problem which confronts the researcher as well as the
translator is the usual one of how best to bridge the cultural gulf of
both time and place, to set this Mucallaga in its cultural context so
as to understand its theme, and achieve the same communicative effect
of the text in translation. Commentaries and lexicons are of. little
help here, because their main interest is the denotation of single
words of this Mucallaga rather than in its organic unity. The setting
of this Mucallaga in its Semitic literary context would cast some light
on its essential theme and hence open new horizons for further comprehensive
research in this field. This is the task we embarked upon in
Chapter 1.
Confronted with fifteen main commentaries, and two English translations
of this Mucallaga, we have resorted to the current semantic
theories in the hope that in one of them we would find a happy solution
to the problem of translating these commentaries, or at'least help in
organizing them systematically. Much to our dismay, however, the bulky
literature on this subject bequeathed to us a welter of controversial
theories, perhaps because semantics is quite a new branch of linguistics.
These contradictory theories have been presented to demonstrate the
difficulty of adopting any one particular semantic theory. Nonetheless,
certain structural semantic relationships have been found to be of
highly significant application.
This, and particularly the structural semantic-relationships as
well as their employment throughout this thesis have been discussed in
Chapter II.
A theory of translation necessarily overlaps with a theory of
semantics. Chapter II made it clear that the help we might have
expected from semantics is but a pipe-dream. Instead of bemoaning,
philological, linguistic and socio-linguistic approaches to the theory
and practice of translation have been suggested. In Chapter III these
approaches have been demonstrated and applied to the translations of
(J. ) and (A. ) who, owing to the ambiguity of the text, have resorted to
the commentaries - appendices of which have been attached.
It has been concluded that the full translation of this Mucallaqa
is almost impossible because of the myriad phonological, semantic and
cultural problems. However, it has been argued that the development of
a more comprehensive semantic theory upon which an eclectic theory of
translation could depend, and a more profound and accurate investigation
of the essential theme of this Mucallaga would get rid of a lot of the
problems of research and translation.
1984-01-01T00:00:00ZHusayn, 'Ala al-Din AhmadThis thesis, to the best of our knowledge, is the first attempt to
apply semantics to the translation of pre-Islamic poetry. But this is a
thorny path. This poetry is some of the most ambiguous, confusing,
disorganized and perfunctorily investigated in the whole of Arabic
literature. The Mucallaga of Imru'al-Qays, our subject of study, the
crowning achievement of this poetry, is in an even worse case. The
principal problem which confronts the researcher as well as the
translator is the usual one of how best to bridge the cultural gulf of
both time and place, to set this Mucallaga in its cultural context so
as to understand its theme, and achieve the same communicative effect
of the text in translation. Commentaries and lexicons are of. little
help here, because their main interest is the denotation of single
words of this Mucallaga rather than in its organic unity. The setting
of this Mucallaga in its Semitic literary context would cast some light
on its essential theme and hence open new horizons for further comprehensive
research in this field. This is the task we embarked upon in
Chapter 1.
Confronted with fifteen main commentaries, and two English translations
of this Mucallaga, we have resorted to the current semantic
theories in the hope that in one of them we would find a happy solution
to the problem of translating these commentaries, or at'least help in
organizing them systematically. Much to our dismay, however, the bulky
literature on this subject bequeathed to us a welter of controversial
theories, perhaps because semantics is quite a new branch of linguistics.
These contradictory theories have been presented to demonstrate the
difficulty of adopting any one particular semantic theory. Nonetheless,
certain structural semantic relationships have been found to be of
highly significant application.
This, and particularly the structural semantic-relationships as
well as their employment throughout this thesis have been discussed in
Chapter II.
A theory of translation necessarily overlaps with a theory of
semantics. Chapter II made it clear that the help we might have
expected from semantics is but a pipe-dream. Instead of bemoaning,
philological, linguistic and socio-linguistic approaches to the theory
and practice of translation have been suggested. In Chapter III these
approaches have been demonstrated and applied to the translations of
(J. ) and (A. ) who, owing to the ambiguity of the text, have resorted to
the commentaries - appendices of which have been attached.
It has been concluded that the full translation of this Mucallaqa
is almost impossible because of the myriad phonological, semantic and
cultural problems. However, it has been argued that the development of
a more comprehensive semantic theory upon which an eclectic theory of
translation could depend, and a more profound and accurate investigation
of the essential theme of this Mucallaga would get rid of a lot of the
problems of research and translation.An edition of Diwan al-Ahkam al-kubra by `Isa b. Sahl (d. 486 A.H / 1144)al-Nuaimy, Rashid Hamidhttps://hdl.handle.net/10023/29222019-04-01T09:05:07Z1978-01-01T00:00:00ZThe title of this thesis is "An Edition of Diwan Al Ahkam
al-Kubra by `Isa b. Sahl Abi al-Asbag who died in the year 486 A. H.
1093. A. D. This work consists of two parts. The first part is the
Arabic text, and the second is the English introduction.
This thesis as a whole was intended to become three volumes but
only the original copy is now in three volumes and the photocopies
are in two volumes.
The first volume ended at page number 727 and the second started
with the subject of “Sura fima Tahalaf...” 11 page number 728 to the end
of the Arabic text.
The Arabic text contains the Arabic index of Diwan al-Ahkam
al-Kubra, a few loose pages found with this book, the whole material
of the master copy and all the additional pages found in copies R and
A.
The present Arabic text is the photocopy of a manuscript which
was procured from The National Library in Algeria. It was listed under
No. 1332, and it was used as a master copy of this thesis.
The other nine copies have been utilised as supplementary material
for the purpose of checking evidence, of comparing variants and for
verification, where difficulties occurred in reading some lines or
illegible words in the master copy.
The English part consists of six chapters.
The first chapter provides general information as an introduction
to this thesis in locating the master copy, and the other copies.
The second chapter provides an idea of A1-Awza’iy's doctrines
in Andalusia during Abu A1-Asbag’s time, and how these doctrines
appeared in Andalusia. Imam Malik's doctrines were discussed, and
so was the method of how it was introduced there before the 'Isa b.
Sahl's time.
General ideas about Imam Malik and Abu Hanifa, their life and opinions,
their schools in al-Madina and Iraq, and their different legal opinions
were examined in this chapter. Also included in the chapter, is the
influence of Malik's doctrines through his students, who introduced
the doctrines into Andalusia.
Also incorporated was the question of Egypt and her part in
advancing Malik's doctrines into Andalusia, with reference to what
was found in Abu al-Asbag's book, as a part of the establishment of
Malik's doctrines in Andalusia and North Africa.
The question of Al-Si`a’s doctrines in North Africa and Andalusia
as a different school from the Sunna which began to reveal itself
through the conflict between the other Sunna schools (Awza`iy, Maliki
and Hanafi) was analysed.
The third chapter concerned Legal organisation in Andalusia, the
Powers and the Obligations of jurists. We referred in this chapter to
Abu al-Asbag's words in his book and how-the legal procedures were
organized during his lifetime.
The duties and responsibilities of the judges in their different
capacities were mentioned and evaluated in this section of the chapter,
with reference to the legal cases of Abu al-Asbag's. There is a general
examination of the various kinds of legal offices pertaining to the
judges, such as Sahib al-Mawarit, Sahib al-Surta, and Sahib al-Madina.
Mention was also made of some judges who held legal positions such as
Sahib al-Bahar and Sahib al-Sika. Various forms of punishment were
looked at with respect to individual crime, as issuing from the
administration of legal authority.
The fourth chapter deals with the author of the MS, his name,
surname, place and date of birth, his teachers, qualifications for
the legal profession, his journeys, his students, his later years and
his death.
There was the attempt to elucidate the historical evidence concerning
the life and activity of the author, by employing both ancient
and modern references available in and outwith Great Britain.
The author's legal statements were quoted in order to give an idea
about his legal practices. At the end of this chapter the conclusion
was reached that Abu al-Asbag was a very well-known scholar, judge,
jurist and legal adviser to the ruler. A few paragraphs were quoted
showing the high esteem in which he was held.
The fifth chapter of the thesis is given over to an analysis and
a description of the Algerian copy (No. 1332) as a master copy. -
A description of the other copies (R, A, B, D, H, F, S, The
Royal Copy No. 2501, the missing copy No. 464D, and copy M) were given
in full detail, with the different title of each copy.
At the end of the chapter a key to the Arabic text is given.
The sixth chapter deals with the classification of the legal topics
covered in the author's book and their relationship to the Iraqi Laws,
with consideration of the necessary legal topics.
The thesis also deals with the author's legal opinions and his
colleagues. It examines the author's conception of Islamic Law and
Islamic Jurisprudence in Andalusia during the Muslim times. Also
contained are photocopies of the first and the last pages of all MSS
used in the work.
1978-01-01T00:00:00Zal-Nuaimy, Rashid HamidThe title of this thesis is "An Edition of Diwan Al Ahkam
al-Kubra by `Isa b. Sahl Abi al-Asbag who died in the year 486 A. H.
1093. A. D. This work consists of two parts. The first part is the
Arabic text, and the second is the English introduction.
This thesis as a whole was intended to become three volumes but
only the original copy is now in three volumes and the photocopies
are in two volumes.
The first volume ended at page number 727 and the second started
with the subject of “Sura fima Tahalaf...” 11 page number 728 to the end
of the Arabic text.
The Arabic text contains the Arabic index of Diwan al-Ahkam
al-Kubra, a few loose pages found with this book, the whole material
of the master copy and all the additional pages found in copies R and
A.
The present Arabic text is the photocopy of a manuscript which
was procured from The National Library in Algeria. It was listed under
No. 1332, and it was used as a master copy of this thesis.
The other nine copies have been utilised as supplementary material
for the purpose of checking evidence, of comparing variants and for
verification, where difficulties occurred in reading some lines or
illegible words in the master copy.
The English part consists of six chapters.
The first chapter provides general information as an introduction
to this thesis in locating the master copy, and the other copies.
The second chapter provides an idea of A1-Awza’iy's doctrines
in Andalusia during Abu A1-Asbag’s time, and how these doctrines
appeared in Andalusia. Imam Malik's doctrines were discussed, and
so was the method of how it was introduced there before the 'Isa b.
Sahl's time.
General ideas about Imam Malik and Abu Hanifa, their life and opinions,
their schools in al-Madina and Iraq, and their different legal opinions
were examined in this chapter. Also included in the chapter, is the
influence of Malik's doctrines through his students, who introduced
the doctrines into Andalusia.
Also incorporated was the question of Egypt and her part in
advancing Malik's doctrines into Andalusia, with reference to what
was found in Abu al-Asbag's book, as a part of the establishment of
Malik's doctrines in Andalusia and North Africa.
The question of Al-Si`a’s doctrines in North Africa and Andalusia
as a different school from the Sunna which began to reveal itself
through the conflict between the other Sunna schools (Awza`iy, Maliki
and Hanafi) was analysed.
The third chapter concerned Legal organisation in Andalusia, the
Powers and the Obligations of jurists. We referred in this chapter to
Abu al-Asbag's words in his book and how-the legal procedures were
organized during his lifetime.
The duties and responsibilities of the judges in their different
capacities were mentioned and evaluated in this section of the chapter,
with reference to the legal cases of Abu al-Asbag's. There is a general
examination of the various kinds of legal offices pertaining to the
judges, such as Sahib al-Mawarit, Sahib al-Surta, and Sahib al-Madina.
Mention was also made of some judges who held legal positions such as
Sahib al-Bahar and Sahib al-Sika. Various forms of punishment were
looked at with respect to individual crime, as issuing from the
administration of legal authority.
The fourth chapter deals with the author of the MS, his name,
surname, place and date of birth, his teachers, qualifications for
the legal profession, his journeys, his students, his later years and
his death.
There was the attempt to elucidate the historical evidence concerning
the life and activity of the author, by employing both ancient
and modern references available in and outwith Great Britain.
The author's legal statements were quoted in order to give an idea
about his legal practices. At the end of this chapter the conclusion
was reached that Abu al-Asbag was a very well-known scholar, judge,
jurist and legal adviser to the ruler. A few paragraphs were quoted
showing the high esteem in which he was held.
The fifth chapter of the thesis is given over to an analysis and
a description of the Algerian copy (No. 1332) as a master copy. -
A description of the other copies (R, A, B, D, H, F, S, The
Royal Copy No. 2501, the missing copy No. 464D, and copy M) were given
in full detail, with the different title of each copy.
At the end of the chapter a key to the Arabic text is given.
The sixth chapter deals with the classification of the legal topics
covered in the author's book and their relationship to the Iraqi Laws,
with consideration of the necessary legal topics.
The thesis also deals with the author's legal opinions and his
colleagues. It examines the author's conception of Islamic Law and
Islamic Jurisprudence in Andalusia during the Muslim times. Also
contained are photocopies of the first and the last pages of all MSS
used in the work.A critical edition of Kitab Raf' shan al-hubshan by Jalal al-din al-Suyutial-Khathlan, Saud H.https://hdl.handle.net/10023/29212019-04-01T09:05:27Z1983-01-01T00:00:00ZThe edition is based on nine manuscripts. The work deals with the
virtues of noble Abyssinians and is based on the earlier work by ibn al-Jawzi
which it partly extends.
The Arabic writings on the black races are reviewed from the beginnings
of the genre to works influenced by Suyuti. Attention is therefore
particularly given to Suyuti's predecessors and successors from the 2nd to
the 11th centuries with special reference to the relations between Suyuti's
work and that of ibn al-Jawzi.
The thesis is divided into two parts. The first part is the English
introduction which consists of four chapters with the conclusions placed after
Chapter Three.
The first chapter deals with the works relevant to al-sudan and the
Abyssinians. First, the two terms "al-Habashah" and "al-Sudan" are briefly
discussed in an attempt to define their usage. The second chapter, which is
a critical study of Kitab Raf Shan al-Hubshan, is divided into six sections,
in the last section of which it will be shown how this book was more popular
than ibn al-Jawzi's work' on which it was dependent. The third chapter
provides biographical detail of al-Suyuti's life with some comments on the
number of his works. The fourth chapter contains the description of the
manuscripts and editing principles. Finally, the bibliography is provided
at the end of this part.
The second part consists of the list of works cited in the footnotes
of the Arabic Text, the list of abbreviations used in these footnotes, the
conventional signs used in the Text, the Text, and the indexes.
1983-01-01T00:00:00Zal-Khathlan, Saud H.The edition is based on nine manuscripts. The work deals with the
virtues of noble Abyssinians and is based on the earlier work by ibn al-Jawzi
which it partly extends.
The Arabic writings on the black races are reviewed from the beginnings
of the genre to works influenced by Suyuti. Attention is therefore
particularly given to Suyuti's predecessors and successors from the 2nd to
the 11th centuries with special reference to the relations between Suyuti's
work and that of ibn al-Jawzi.
The thesis is divided into two parts. The first part is the English
introduction which consists of four chapters with the conclusions placed after
Chapter Three.
The first chapter deals with the works relevant to al-sudan and the
Abyssinians. First, the two terms "al-Habashah" and "al-Sudan" are briefly
discussed in an attempt to define their usage. The second chapter, which is
a critical study of Kitab Raf Shan al-Hubshan, is divided into six sections,
in the last section of which it will be shown how this book was more popular
than ibn al-Jawzi's work' on which it was dependent. The third chapter
provides biographical detail of al-Suyuti's life with some comments on the
number of his works. The fourth chapter contains the description of the
manuscripts and editing principles. Finally, the bibliography is provided
at the end of this part.
The second part consists of the list of works cited in the footnotes
of the Arabic Text, the list of abbreviations used in these footnotes, the
conventional signs used in the Text, the Text, and the indexes.Predictive-based syntagms in Kamali Arabic compared with similar patterns in EnglishHadj-Mohamed, Suliman A. K.https://hdl.handle.net/10023/29202019-04-01T09:05:41Z1980-01-01T00:00:00ZThe present work is mainly concerned with the syntactic
structures of the predicative-based syntagms in I4amali Arabic. The
constituents within these syntagms are further analysed until the relations
between pleremes (i. E. the minimal syntactic entities) are arrived
at. It also offers description of similar structures in English,
and brief comparisons between the structures of the two languages in
question.
Linguistic description has been defined as "the application
of a particular linguistic theory to a selected field of linguistic
phenomena". (Mulder 1975). The theory applied in this work, to both
English and Kamali Arabic, is Mulder$s axiomatic functionalist approach
to syntax.
This thesis falls into four parts. The first part is divided
into two chapters the first of which offers a brief introduction to the
basic principles of axiomatic functionalism, and to the relations between
linguistic theory, linguistic descriptions and the speech phenomena;
and the second provides explanations to the essential notions in syntax.
The second part, dealing with syntactic relations in Kamali
Arabic, comprises three chapters. Chapter I is concerned with the
verbal, and non-verbal, predicative-based syntagms, chapter II with
the functional syntagms, and chapter III with the nominal syntagms.
The third part, dealing with syntactic relations in English,
comprises four chapters. Chapter I deals with the verbal predicative-based
syntagms, chapter II With the copulative predicative, III with
functionals, and IV with nominals.
The fourth part, offering comparisons between English and
Kamali Arabic, is divided into three chapters. Chapter I offers
comparisons between the predicative-based syntagms, and between their
constituents. Chapter II between functionals, and III between nominals.
1980-01-01T00:00:00ZHadj-Mohamed, Suliman A. K.The present work is mainly concerned with the syntactic
structures of the predicative-based syntagms in I4amali Arabic. The
constituents within these syntagms are further analysed until the relations
between pleremes (i. E. the minimal syntactic entities) are arrived
at. It also offers description of similar structures in English,
and brief comparisons between the structures of the two languages in
question.
Linguistic description has been defined as "the application
of a particular linguistic theory to a selected field of linguistic
phenomena". (Mulder 1975). The theory applied in this work, to both
English and Kamali Arabic, is Mulder$s axiomatic functionalist approach
to syntax.
This thesis falls into four parts. The first part is divided
into two chapters the first of which offers a brief introduction to the
basic principles of axiomatic functionalism, and to the relations between
linguistic theory, linguistic descriptions and the speech phenomena;
and the second provides explanations to the essential notions in syntax.
The second part, dealing with syntactic relations in Kamali
Arabic, comprises three chapters. Chapter I is concerned with the
verbal, and non-verbal, predicative-based syntagms, chapter II with
the functional syntagms, and chapter III with the nominal syntagms.
The third part, dealing with syntactic relations in English,
comprises four chapters. Chapter I deals with the verbal predicative-based
syntagms, chapter II With the copulative predicative, III with
functionals, and IV with nominals.
The fourth part, offering comparisons between English and
Kamali Arabic, is divided into three chapters. Chapter I offers
comparisons between the predicative-based syntagms, and between their
constituents. Chapter II between functionals, and III between nominals.Aspects of the problems of translating metaphor, with special reference to modern Arabic poetryObeidat, Hisham T. B.https://hdl.handle.net/10023/29192019-04-01T09:05:12Z1997-01-01T00:00:00ZThis thesis examines a crucial area in the translation of poetic discourse, the
translatability of modern Arabic metaphor into English. Two main questions
are addressed. Firstly, what makes a particular metaphor easy to translate?
Secondly, what makes another metaphor difficult or even impossible to
translate?
The thesis consists of two parts, theory and data analysis. The first part,
theory, contains five chapters. In chapter 1 general theories of metaphor are
discussed; interaction, imagination and experientialist theory. In chapter 2
poetic metaphor is examined; its interpretation, its aesthetic values, the part
played by the imagination in processing metaphor, the importance of cultural
knowledge and the problems of translation. In chapter 3 the metonymymetaphor
relationship is assessed, and in chapter 4 the notion of dead
metaphor is examined. In chapter 5, light is shed on the use of poetic
metaphor in the Arab media and in particular on its use as an effective device
to persuade the audience to accept the current peace discourse in the Middle
East.
Part 2, data analysis, also consists of five chapters of which chapter 6 is the
introduction to the data analysis, and links the two parts of the thesis
together. Chapters 7 to 10 concern the translation of metaphor in particular
categories of poetry: in chapter 7 the emphasis is on autobiographical poetry
(Ghäzi al-Ghusaybi : "In the Grip of My Fifties" and "Making Me a
Grandfather"). In chapter 8 the focus is on the poetry of exile (Fadwä Tüqän:
"Ruqayya" and "The Call of the Land"). In chapter 9 nationalist poetry is
discusses (Fadwä Tüqan: "My Sad City" and "Hamza"), while in chapter 10
socio-political poetry is considered (Salah `Abd al-Sabür : "Sadness").
The findings of this research may be summarised as follows: the translation
of Arabic poetic metaphor into English requires most importantly the
recreation of a similar cultural experience in the TL. The data analysis shows
that, in certain cases, it is easy to restructure the ST metaphoric experience
with the same experience in the TL. On numerous occasions, however, the SL
metaphoric experience has to be rendered by a different metaphor exhibiting
a similar, or parallel, experience. Lastly, the data also demonstrate to the
reader how, in certain contexts, the ST metaphor is untranslatable, simply
because the host language cannot express satisfactorily the ST thought in the
same or a similar way.
1997-01-01T00:00:00ZObeidat, Hisham T. B.This thesis examines a crucial area in the translation of poetic discourse, the
translatability of modern Arabic metaphor into English. Two main questions
are addressed. Firstly, what makes a particular metaphor easy to translate?
Secondly, what makes another metaphor difficult or even impossible to
translate?
The thesis consists of two parts, theory and data analysis. The first part,
theory, contains five chapters. In chapter 1 general theories of metaphor are
discussed; interaction, imagination and experientialist theory. In chapter 2
poetic metaphor is examined; its interpretation, its aesthetic values, the part
played by the imagination in processing metaphor, the importance of cultural
knowledge and the problems of translation. In chapter 3 the metonymymetaphor
relationship is assessed, and in chapter 4 the notion of dead
metaphor is examined. In chapter 5, light is shed on the use of poetic
metaphor in the Arab media and in particular on its use as an effective device
to persuade the audience to accept the current peace discourse in the Middle
East.
Part 2, data analysis, also consists of five chapters of which chapter 6 is the
introduction to the data analysis, and links the two parts of the thesis
together. Chapters 7 to 10 concern the translation of metaphor in particular
categories of poetry: in chapter 7 the emphasis is on autobiographical poetry
(Ghäzi al-Ghusaybi : "In the Grip of My Fifties" and "Making Me a
Grandfather"). In chapter 8 the focus is on the poetry of exile (Fadwä Tüqän:
"Ruqayya" and "The Call of the Land"). In chapter 9 nationalist poetry is
discusses (Fadwä Tüqan: "My Sad City" and "Hamza"), while in chapter 10
socio-political poetry is considered (Salah `Abd al-Sabür : "Sadness").
The findings of this research may be summarised as follows: the translation
of Arabic poetic metaphor into English requires most importantly the
recreation of a similar cultural experience in the TL. The data analysis shows
that, in certain cases, it is easy to restructure the ST metaphoric experience
with the same experience in the TL. On numerous occasions, however, the SL
metaphoric experience has to be rendered by a different metaphor exhibiting
a similar, or parallel, experience. Lastly, the data also demonstrate to the
reader how, in certain contexts, the ST metaphor is untranslatable, simply
because the host language cannot express satisfactorily the ST thought in the
same or a similar way.A critical edition of Ru'us al-masa'il by al-Zamakhshari (d. 538 A.H. / 1144)Muhammad, Abdul Halim binhttps://hdl.handle.net/10023/29032019-04-01T09:05:33Z1977-01-01T00:00:00ZThis thesis consists of two parts. The first part deals with
an introduction which is divided into five chapters,
Chapter one provides, general information on the MS, the copyist
and the orthography. The date and purpose of composition of the
work is also discussed, and the critical apparatus explained.
Chapter two concerns the authorship and outlines briefly the
author's career. The discussion involves the author's name, family,
education, his teachers, his pupils and his other works. The date
of his death is also ascertained.
Chapter three deals with the place of the Ru'uss al-Masa’il
type in literature, and consists of a review of works of similar
title. Confirmation of the authorship of the present work, and
comparison of this work with other similar works results in
showing its significance and in illustrating the attitude of the
author on matters dealt with on Fiqh.
A historical survey of the development of Ikhtilaf literature
and the beginnings of the science of al-Khilafiyyat have been
discussed in chapter four.
Finally, chapter five deals with the classical theory of Usul
and its application in the Ikhtilaf literature which is followed
by a brief conclusion.
The second part presents the Text. This contains 407 rulings under
62 titles and sub-titles which deal with different subjects
ranging from ritual, family law and penal law to the rulings on
food and drink.
The separate notes have been provided in order to show the
development of the Shafi’ite doctrines. An appendix is also provided
aiming to illustrate the development of Zamakhshari's ideas
on Fiqh.
1977-01-01T00:00:00ZMuhammad, Abdul Halim binThis thesis consists of two parts. The first part deals with
an introduction which is divided into five chapters,
Chapter one provides, general information on the MS, the copyist
and the orthography. The date and purpose of composition of the
work is also discussed, and the critical apparatus explained.
Chapter two concerns the authorship and outlines briefly the
author's career. The discussion involves the author's name, family,
education, his teachers, his pupils and his other works. The date
of his death is also ascertained.
Chapter three deals with the place of the Ru'uss al-Masa’il
type in literature, and consists of a review of works of similar
title. Confirmation of the authorship of the present work, and
comparison of this work with other similar works results in
showing its significance and in illustrating the attitude of the
author on matters dealt with on Fiqh.
A historical survey of the development of Ikhtilaf literature
and the beginnings of the science of al-Khilafiyyat have been
discussed in chapter four.
Finally, chapter five deals with the classical theory of Usul
and its application in the Ikhtilaf literature which is followed
by a brief conclusion.
The second part presents the Text. This contains 407 rulings under
62 titles and sub-titles which deal with different subjects
ranging from ritual, family law and penal law to the rulings on
food and drink.
The separate notes have been provided in order to show the
development of the Shafi’ite doctrines. An appendix is also provided
aiming to illustrate the development of Zamakhshari's ideas
on Fiqh.An edition of 'Nasha'at al-Sulafah bi Munsha'at al-Khilafah' by 'Abd al-Qadir al-TabariUrainan, Hamad Mohammedhttps://hdl.handle.net/10023/29002019-04-01T09:05:29Z1972-01-01T00:00:00Z1972-01-01T00:00:00ZUrainan, Hamad MohammedThe semiotics of printed instructions (graphic signa)Toumajian, Trak-Sarkishttps://hdl.handle.net/10023/28992019-04-01T09:05:14Z1986-01-01T00:00:00ZThis thesis sets out to describe sign systems for communication
using Axiomatic Functionalism as its theoretical framework.
In doing so, the thesis also provides an important
test to the claim of Axiomatic Functionalism that by using
its premisses the semiotician (or linguist) has all the
necessary "tools" s/he needs for the analysis and description
(the one implies the other) of any semiotic system for
communication (including Language).
Using Axiomatic Functionalism the author attempts to
describe a number of graphic semiotic systems for communication.
He finds that for an adequate description of the
signa (a generic term which includes various types of signs
and symbols) in these systems further theoretical notions
and definitions are needed. Discussing these the author
concludes that for Axiomatic Functionalism to maintain its
claim of universal applicability to any sign system for communication
it needs to incorporate in its premisses the
notions and definitions proposed here.
The thesis begins by a brief general introduction to
semiotics. This is followed by a discussion of what constitutes
scientific theories in relation to semiotics (including
linguistics). The relevant aspects of Axiomatic
Functionalism are then discussed, after which certain
original theoretical notions are introduced. These include:
“mnemonic economy" (with its many manifestations including
"mnemonic/pictorial motivation"), the "general organising
principle" ("systemic principle"), "principle of coinage" (a
mechanism for generating signa), and "signum-family”.
Having established the necessary theoretical background, the
author proceeds to describe various graphic “signum-systems"
discussing their important features and establishing the
types of signum they consist of and, consequently, the types
of system they are, their complexity and the "plerology”
(grammar) of each system, where present. The systems discussed
include various systems used in books on plants; a
system used in a book on "lace knitting"; a system used in
working models; a system used in providing information about
paintings in the "Classics of World Art" series of books;
and a system used in the "Automobile Association" handbooks.
Further Axiomatic Functionalist theoretical notions,
directly relevant to the systems described thereafter, are
then introduced. This is followed by a description of three
systems: two computer "languages", the "Hexadecimal notation"
and the "binary code", and the "Library of Congress
classification system". A final brief "Epilogue" concludes
the thesis.
1986-01-01T00:00:00ZToumajian, Trak-SarkisThis thesis sets out to describe sign systems for communication
using Axiomatic Functionalism as its theoretical framework.
In doing so, the thesis also provides an important
test to the claim of Axiomatic Functionalism that by using
its premisses the semiotician (or linguist) has all the
necessary "tools" s/he needs for the analysis and description
(the one implies the other) of any semiotic system for
communication (including Language).
Using Axiomatic Functionalism the author attempts to
describe a number of graphic semiotic systems for communication.
He finds that for an adequate description of the
signa (a generic term which includes various types of signs
and symbols) in these systems further theoretical notions
and definitions are needed. Discussing these the author
concludes that for Axiomatic Functionalism to maintain its
claim of universal applicability to any sign system for communication
it needs to incorporate in its premisses the
notions and definitions proposed here.
The thesis begins by a brief general introduction to
semiotics. This is followed by a discussion of what constitutes
scientific theories in relation to semiotics (including
linguistics). The relevant aspects of Axiomatic
Functionalism are then discussed, after which certain
original theoretical notions are introduced. These include:
“mnemonic economy" (with its many manifestations including
"mnemonic/pictorial motivation"), the "general organising
principle" ("systemic principle"), "principle of coinage" (a
mechanism for generating signa), and "signum-family”.
Having established the necessary theoretical background, the
author proceeds to describe various graphic “signum-systems"
discussing their important features and establishing the
types of signum they consist of and, consequently, the types
of system they are, their complexity and the "plerology”
(grammar) of each system, where present. The systems discussed
include various systems used in books on plants; a
system used in a book on "lace knitting"; a system used in
working models; a system used in providing information about
paintings in the "Classics of World Art" series of books;
and a system used in the "Automobile Association" handbooks.
Further Axiomatic Functionalist theoretical notions,
directly relevant to the systems described thereafter, are
then introduced. This is followed by a description of three
systems: two computer "languages", the "Hexadecimal notation"
and the "binary code", and the "Library of Congress
classification system". A final brief "Epilogue" concludes
the thesis.Al-Maqalat al Jawhariyya `ala al-Maqamat al-HaririyyaIbrahim, Ismail bin Hajihttps://hdl.handle.net/10023/28962019-04-01T09:05:19Z1975-01-01T00:00:00ZThe Thesis presents a critical edition of the
first volume of Khayr al-Din ibn Taj al-Din Ilyas al-Madani’s al-Maqalat al-Jawhariyya `ala al-Maqamat al-Haririyya, accompanied by an introduction dealing
briefly with the Maqamat as a literary genre, the
commentaries on the Maqamat, the description of various
manuscripts of al-Maqalat and the authorship of the
work.
The text itself consists of, a preface, the
commentary on Hariri's preface, followed by the
commentary on the first twenty-five Maqamat of
unequal length. Volume two of al-Maqalat consists of
the commentary on the remaining twenty-five Maqamat.
This has been found too long to include in this work.
It is hoped, however, that it will be possible to
edit this volume separately in the future.
This work, al-Maqalat, was brought to my
notice by the book Makamat by Theodore Preston,*
Professor of Arabic at Cambridge University, who
in his preface mentions al-Maqalat and describes it
as "an excellent running commentary on the Makamat."
The two volumes of the work are contained in the
Burchardt collection of the Cambridge University
Library, and "it is a very lucid and valuable work
and well deserves to be edited. "
My first task in the attempt to edit
al-Maqalat, then, was a search, extending from
Cambridge to Cairo, Alexandria and Patna, for the
manuscripts of that and other books of commentary
on the Maqamat, most of which are still in
manuscript form.
* Published in London, 1850.
1975-01-01T00:00:00ZIbrahim, Ismail bin HajiThe Thesis presents a critical edition of the
first volume of Khayr al-Din ibn Taj al-Din Ilyas al-Madani’s al-Maqalat al-Jawhariyya `ala al-Maqamat al-Haririyya, accompanied by an introduction dealing
briefly with the Maqamat as a literary genre, the
commentaries on the Maqamat, the description of various
manuscripts of al-Maqalat and the authorship of the
work.
The text itself consists of, a preface, the
commentary on Hariri's preface, followed by the
commentary on the first twenty-five Maqamat of
unequal length. Volume two of al-Maqalat consists of
the commentary on the remaining twenty-five Maqamat.
This has been found too long to include in this work.
It is hoped, however, that it will be possible to
edit this volume separately in the future.
This work, al-Maqalat, was brought to my
notice by the book Makamat by Theodore Preston,*
Professor of Arabic at Cambridge University, who
in his preface mentions al-Maqalat and describes it
as "an excellent running commentary on the Makamat."
The two volumes of the work are contained in the
Burchardt collection of the Cambridge University
Library, and "it is a very lucid and valuable work
and well deserves to be edited. "
My first task in the attempt to edit
al-Maqalat, then, was a search, extending from
Cambridge to Cairo, Alexandria and Patna, for the
manuscripts of that and other books of commentary
on the Maqamat, most of which are still in
manuscript form.
* Published in London, 1850.Jamharat Ash`ar Al-Arab : a critical edition of the text with an examination of the literary and historical aspectsZaini, Mahmud Hasanhttps://hdl.handle.net/10023/28892019-04-01T09:05:17Z1969-01-01T00:00:00Z1969-01-01T00:00:00ZZaini, Mahmud HasanA critical edition of 'Al-ta'rīkh al-islāmī al-mukhtasar' by Shihāb al-Dīn Abū Ishāq Ibrāhīm ibn 'Abdullāh ibn Alī ibn Abī al-Dam al-Hamawī (583/1187-642/1244)Al-Jomard, Jazeel Abdul Jabbarhttps://hdl.handle.net/10023/28852019-03-29T16:07:39Z1984-01-01T00:00:00ZThis thesis presents a critical edition of a medieval Arabic
text, which is widely known under the insufficiently attested title
"al-Ta'rikh al-Muzaffari'.. It is ascribed to a celebrated historian
and scholar of the first half of the 7th/13th century, Shihab al-Din abu
Ishaq Ibrahim b. abi al-Dam al-Hamawi al-Shafi'i (583/1187-642/1244),
40
a native and Qadi (judge) of Hamah.
The thesis consists of two parts, the introductory study and then
the text. The introductory study facilitates the understanding of the
problems the text raises and clarifies the more important issues
surrounding it.
The first chapter is intended to serve as a historical background.
A brief account, therefore, of the Ayyubid empire, together with a brief
history of Hamah, Ibn abi al-Dam's native town, is presented to shed light on the author's time.
The second chapter of the introduction is devoted to examining the
author's life. The sources concerning this part of the study are few.
Some of the author's own works are still missing, others are at present
inaccessible. From the obtainable works either printed or in MSS, a
reconstruction of the author's life and times has been made.
Sections I and 2 of the third and final chapter of the introductory
study discuss the reliability of the ascription of the work to Ibn abTal-Dam
and the controversial question of whether the title is original, and if it is
not, what other title it could have had. The rest of this chapter has
been devoted to Investigating and examining the MSS. in which the text
has been preserved and transcribed ever since the original was composed.
In the absence of the original, I have chosen the oldest and in
my opinion, the most complete of the only five surviving copies so far
identified and located. This copy, which is referred to in this thesis by
the abbreviation Bo, was written in (695/1295) by a native of Hamah, 53
years after the death of the author. All the other four are almost
definitely of a more recent date.
The second part of this thesis is the text, edited on the basis of
the oldest MS. which is preserved in the Bodleian Library at Oxford. The
text has been transcribed retaining the conventions, orthographic and
grammatical of the copyist wherever possible. Additions and
modifications have been avoided unless in their absence the sense of the
passage is obscured to the point of incomprehensibility. In these cases
other copies, A. of Alexandria Municipal Library, E. of Edinburgh University
Library, and Rand P2. of Bankipore Public Library were consulted and all
differenced between these MSS. , however minor, are shown and detailed
in the footnotes.
The text, then is supplemented by indices of towns, places,
tribes, sects and nations, which are followed by a bibliography and maps.
1984-01-01T00:00:00ZAl-Jomard, Jazeel Abdul JabbarThis thesis presents a critical edition of a medieval Arabic
text, which is widely known under the insufficiently attested title
"al-Ta'rikh al-Muzaffari'.. It is ascribed to a celebrated historian
and scholar of the first half of the 7th/13th century, Shihab al-Din abu
Ishaq Ibrahim b. abi al-Dam al-Hamawi al-Shafi'i (583/1187-642/1244),
40
a native and Qadi (judge) of Hamah.
The thesis consists of two parts, the introductory study and then
the text. The introductory study facilitates the understanding of the
problems the text raises and clarifies the more important issues
surrounding it.
The first chapter is intended to serve as a historical background.
A brief account, therefore, of the Ayyubid empire, together with a brief
history of Hamah, Ibn abi al-Dam's native town, is presented to shed light on the author's time.
The second chapter of the introduction is devoted to examining the
author's life. The sources concerning this part of the study are few.
Some of the author's own works are still missing, others are at present
inaccessible. From the obtainable works either printed or in MSS, a
reconstruction of the author's life and times has been made.
Sections I and 2 of the third and final chapter of the introductory
study discuss the reliability of the ascription of the work to Ibn abTal-Dam
and the controversial question of whether the title is original, and if it is
not, what other title it could have had. The rest of this chapter has
been devoted to Investigating and examining the MSS. in which the text
has been preserved and transcribed ever since the original was composed.
In the absence of the original, I have chosen the oldest and in
my opinion, the most complete of the only five surviving copies so far
identified and located. This copy, which is referred to in this thesis by
the abbreviation Bo, was written in (695/1295) by a native of Hamah, 53
years after the death of the author. All the other four are almost
definitely of a more recent date.
The second part of this thesis is the text, edited on the basis of
the oldest MS. which is preserved in the Bodleian Library at Oxford. The
text has been transcribed retaining the conventions, orthographic and
grammatical of the copyist wherever possible. Additions and
modifications have been avoided unless in their absence the sense of the
passage is obscured to the point of incomprehensibility. In these cases
other copies, A. of Alexandria Municipal Library, E. of Edinburgh University
Library, and Rand P2. of Bankipore Public Library were consulted and all
differenced between these MSS. , however minor, are shown and detailed
in the footnotes.
The text, then is supplemented by indices of towns, places,
tribes, sects and nations, which are followed by a bibliography and maps.Parasyntax and the sentential level in axiomatic functionalismGardner, Sheena F.https://hdl.handle.net/10023/28772019-04-01T09:05:08Z1985-01-01T00:00:00ZThis thesis is presented as a contribution to the St Andrews School
of Linguistics, Axiomatic Functionalism, as developed by Mulder and
Hervey. It is essentially a piece of Theoretical Linguistics which
outlines an approach to the hitherto undeveloped areas of Parasyntax
and the Sentential Level in Axiomatic Functionalism.
The theoretical arguments are supported by descriptive hypotheses
concerning the nature of Spoken English. These descriptions are
corpus-based.
The conclusion reached by the author is that not only are Parasyntax
and the Sentential Level distinct in theory (this is axiomatic), but
they are also distinct in their application as regards methodology
and description. This conclusion will undoubtedly prove to be
controversial in the light of recent developments in Axiomatic
Functionalism concerning the Postulates in particular (of which the
author was at the time of writing unaware), and in the light of
other Functionalist approaches to the nature of intonation and
sentences.
It is anticipated that this thesis will be of value to those
interested in Functionalism as well as those concerned with
intonation and the levels of language beyond syntax.
1985-01-01T00:00:00ZGardner, Sheena F.This thesis is presented as a contribution to the St Andrews School
of Linguistics, Axiomatic Functionalism, as developed by Mulder and
Hervey. It is essentially a piece of Theoretical Linguistics which
outlines an approach to the hitherto undeveloped areas of Parasyntax
and the Sentential Level in Axiomatic Functionalism.
The theoretical arguments are supported by descriptive hypotheses
concerning the nature of Spoken English. These descriptions are
corpus-based.
The conclusion reached by the author is that not only are Parasyntax
and the Sentential Level distinct in theory (this is axiomatic), but
they are also distinct in their application as regards methodology
and description. This conclusion will undoubtedly prove to be
controversial in the light of recent developments in Axiomatic
Functionalism concerning the Postulates in particular (of which the
author was at the time of writing unaware), and in the light of
other Functionalist approaches to the nature of intonation and
sentences.
It is anticipated that this thesis will be of value to those
interested in Functionalism as well as those concerned with
intonation and the levels of language beyond syntax.Studies in two transmissions of the Qur'anBrockett, Adrian Alanhttps://hdl.handle.net/10023/27702019-04-01T09:02:14Z1985-01-01T00:00:00ZTwo transmissions of the Qur'an can be found in printed copies
today. One stems from Kufa and the other from Medina. They are
more commonly called by the names of their respective second-century
transmitters, Hafs and 'Wars.
This thesis examines the relationship between these two transmissions,
as exemplified in the first five suras.
The Hafs transmission is found in printed Qur'an copies from all but
West and North-West Africa, which employ the War transmission. The
Hafs transmission is therefore the transmission found in the vast majority
of printed copies of the Qur'an, and printed copies of the 'Wars transmission
are rare in comparison.
There is no doubt that copies according to other transmissions have
existed as well, but none has apparently been printed. The Basrans al—Xalil
and Sibawayhi, for instance, had texts that differed in places from both the
Hafs and 'Wars transmissions. And the existence of manuscripts according
to the Basran reading-system of abu 'Amr by way of al—Duri has been
testified in the Sudan this century.
The Qur'an according to this last transmission has in fact been printed
at the head and side of the pages of editions of al—Zamaxari's commentary
a1—Kaf, but these are not considered by Muslims as Qur'an copies
proper. They are type-set and have occasional misprints, and at times
do not tally with data on the reading-system of abu 'Amr given in works
on Qur'an readings.
Qur'an copies according to transmissions such as these or others might
therefore still exist in manuscript, but would not readily be consultable.
So it would be of use to document differences between those transmissions
that actually are available in print.
On a general level, this provides a step towards a critical apparatus
of the Qur'an, and on a more specific one, it provides the data for this
thesis.
1985-01-01T00:00:00ZBrockett, Adrian AlanTwo transmissions of the Qur'an can be found in printed copies
today. One stems from Kufa and the other from Medina. They are
more commonly called by the names of their respective second-century
transmitters, Hafs and 'Wars.
This thesis examines the relationship between these two transmissions,
as exemplified in the first five suras.
The Hafs transmission is found in printed Qur'an copies from all but
West and North-West Africa, which employ the War transmission. The
Hafs transmission is therefore the transmission found in the vast majority
of printed copies of the Qur'an, and printed copies of the 'Wars transmission
are rare in comparison.
There is no doubt that copies according to other transmissions have
existed as well, but none has apparently been printed. The Basrans al—Xalil
and Sibawayhi, for instance, had texts that differed in places from both the
Hafs and 'Wars transmissions. And the existence of manuscripts according
to the Basran reading-system of abu 'Amr by way of al—Duri has been
testified in the Sudan this century.
The Qur'an according to this last transmission has in fact been printed
at the head and side of the pages of editions of al—Zamaxari's commentary
a1—Kaf, but these are not considered by Muslims as Qur'an copies
proper. They are type-set and have occasional misprints, and at times
do not tally with data on the reading-system of abu 'Amr given in works
on Qur'an readings.
Qur'an copies according to transmissions such as these or others might
therefore still exist in manuscript, but would not readily be consultable.
So it would be of use to document differences between those transmissions
that actually are available in print.
On a general level, this provides a step towards a critical apparatus
of the Qur'an, and on a more specific one, it provides the data for this
thesis.A critical edition of `Akhbar Siffin'Helabi, Abdul-Aziz Salehhttps://hdl.handle.net/10023/27262019-04-01T09:05:36Z1974-01-01T00:00:00ZWhen I decided to produce an edition of Akhbar Siffin I discovered
four manuscripts dealing with the historical accounts of the Battle of
Siffin. The examination of these four manuscripts showed that they are
not the same work; two of them are different copies of Akhbar Siffin. They
are Ambrosiana H 129 and Borlin Q. U. 2040. The other two are different
copies of the work of Abu Muhammad, Ahmad b. A`tham al-Kufi entitled
Waq`at Siffin. They are Ankara, 'Saib 5418 and Mingana Collection,
Islam, Arab 572.
The next action was to compare the material of Akhbar Siffin with
the material of Ibn A`tham's Waq`at Siffin. I concluded that Akhbar
Siffin had more original material than Ibn A`tham's Waq`at Siffin and
accordingly I decided to edit it.
A study of the Ambrosiana Manuscript and the Berlin Manuscript of
Akhbar Siffin indicated that the edition would best be based upon the
Ambrosiana Manuscript because it has the fuller text and fewer mistakes
and gaps than the Berlin Manuscript.
The name of the author of Akhbar Siffin does not appear in either
of the two manuscripts, and there is no assistance from any other source
which may help in identifying him.
The introduction of this edition consists of two parts; a bibliographical
survey of the, works on the Battle of Siffin and analytical description
of the material and the manusoripts of Akhbar Siffin.
1974-01-01T00:00:00ZHelabi, Abdul-Aziz SalehWhen I decided to produce an edition of Akhbar Siffin I discovered
four manuscripts dealing with the historical accounts of the Battle of
Siffin. The examination of these four manuscripts showed that they are
not the same work; two of them are different copies of Akhbar Siffin. They
are Ambrosiana H 129 and Borlin Q. U. 2040. The other two are different
copies of the work of Abu Muhammad, Ahmad b. A`tham al-Kufi entitled
Waq`at Siffin. They are Ankara, 'Saib 5418 and Mingana Collection,
Islam, Arab 572.
The next action was to compare the material of Akhbar Siffin with
the material of Ibn A`tham's Waq`at Siffin. I concluded that Akhbar
Siffin had more original material than Ibn A`tham's Waq`at Siffin and
accordingly I decided to edit it.
A study of the Ambrosiana Manuscript and the Berlin Manuscript of
Akhbar Siffin indicated that the edition would best be based upon the
Ambrosiana Manuscript because it has the fuller text and fewer mistakes
and gaps than the Berlin Manuscript.
The name of the author of Akhbar Siffin does not appear in either
of the two manuscripts, and there is no assistance from any other source
which may help in identifying him.
The introduction of this edition consists of two parts; a bibliographical
survey of the, works on the Battle of Siffin and analytical description
of the material and the manusoripts of Akhbar Siffin.Arabic versions of the Psalter in use in Muslim SpainAlder, Catherinehttps://hdl.handle.net/10023/27172019-07-01T10:18:51Z1953-01-01T00:00:00Z1953-01-01T00:00:00ZAlder, CatherineAspects of a functional description of English morphologyMunla, Muhammad Salimhttps://hdl.handle.net/10023/27162019-04-01T09:05:35Z1981-01-01T00:00:00Z1981-01-01T00:00:00ZMunla, Muhammad SalimShāfiʻī and the interpretation of the role of the Qurʾān and the ḤadīthAbdul Hamid bin Othman, Haji, 1939-https://hdl.handle.net/10023/27132019-03-29T16:07:37Z1976-01-01T00:00:00ZThis thesis deals with Shafi’i's theories on the
role in usul al-fiqh of the Qur’an and the hadith.
By detailed reference to Shifi’i’s writings, it becomes
clear that his chief concern was with the role of the sunna of
the Prophet, Islamic scholars in previous generations had referred
to a number of sources in defence of regional attitudes. Their
failure to produce a theory of sources enabled Shaf’i to charge
them with inconsistency. Certain scholars of his own generation
were apparently alleging the sufficiency of the Qur’an source.
Inter-school squabbles involving the first group of scholars represented
in Shafi’i’s view as great a threat to the overriding
importance which the party known as ahl al-hadith desired to secure
for the hadith of the Prophet as did the more direct assault of
the second group's insistence upon the primary significance of
the Qur’an source. An attempt is made to show that Shaf’i’s
source theories were constructed in response to the arguments of
both groups and were directed to the creation of a unifying principle
which would solve the problem of ikhtilaf al-muslimin while
simultaneously guaranteeing minimum disruption for the fiqh conclusions
which Shafi’i’ had espoused. Since he proposed to document
these conclusions on the basis of the sunna, Shafi’i’s
theories were designed to place the sunna beyond further scholarly
attack.
The study consists of nine chapters. Chapter one examines
Shafi’ i's intellectual life, his acquaintance with scholars
from different regions and of different schools. Chapter two
deals with the materials employed by his predecessors to document
their legal doctrines, and Shafi’i’s handling of these materials
in his efforts to systematize the sunni fiqh. Chapters three,
four and five deal with his endeavour to establish the overriding
importance for the sunni fiqh, of the sunna embodied in the hadith
of the Prophet. Chapter nine discusses his views on the isnad.
Chapters six and seven examine his endeavour to establish a necessary
connection between the Qur’an and the sunna, and the resultant
subjection of the qur’an to the sunna by means of the Shafi’i
theory of bayan and exclusion (takhsis). Chapter eight deals with
his views on qiyas, the only form of legal reasoning of which he
approved, and the resultant curtailing of independent legal reasoning
and, thereby, of the development of the fiqh.
1976-01-01T00:00:00ZAbdul Hamid bin Othman, Haji, 1939-This thesis deals with Shafi’i's theories on the
role in usul al-fiqh of the Qur’an and the hadith.
By detailed reference to Shifi’i’s writings, it becomes
clear that his chief concern was with the role of the sunna of
the Prophet, Islamic scholars in previous generations had referred
to a number of sources in defence of regional attitudes. Their
failure to produce a theory of sources enabled Shaf’i to charge
them with inconsistency. Certain scholars of his own generation
were apparently alleging the sufficiency of the Qur’an source.
Inter-school squabbles involving the first group of scholars represented
in Shafi’i’s view as great a threat to the overriding
importance which the party known as ahl al-hadith desired to secure
for the hadith of the Prophet as did the more direct assault of
the second group's insistence upon the primary significance of
the Qur’an source. An attempt is made to show that Shaf’i’s
source theories were constructed in response to the arguments of
both groups and were directed to the creation of a unifying principle
which would solve the problem of ikhtilaf al-muslimin while
simultaneously guaranteeing minimum disruption for the fiqh conclusions
which Shafi’i’ had espoused. Since he proposed to document
these conclusions on the basis of the sunna, Shafi’i’s
theories were designed to place the sunna beyond further scholarly
attack.
The study consists of nine chapters. Chapter one examines
Shafi’ i's intellectual life, his acquaintance with scholars
from different regions and of different schools. Chapter two
deals with the materials employed by his predecessors to document
their legal doctrines, and Shafi’i’s handling of these materials
in his efforts to systematize the sunni fiqh. Chapters three,
four and five deal with his endeavour to establish the overriding
importance for the sunni fiqh, of the sunna embodied in the hadith
of the Prophet. Chapter nine discusses his views on the isnad.
Chapters six and seven examine his endeavour to establish a necessary
connection between the Qur’an and the sunna, and the resultant
subjection of the qur’an to the sunna by means of the Shafi’i
theory of bayan and exclusion (takhsis). Chapter eight deals with
his views on qiyas, the only form of legal reasoning of which he
approved, and the resultant curtailing of independent legal reasoning
and, thereby, of the development of the fiqh.The influence of English grammar, syntax, idiom and style upon contemporary literary ArabicAziz, Yowell Yosefhttps://hdl.handle.net/10023/26772019-04-01T09:01:53Z1967-01-01T00:00:00Z1967-01-01T00:00:00ZAziz, Yowell Yosef'Tawdīh makāsid al-alfiyya' by Hasan b. Kāsim al-Murādī (749/1348) : a critical editionAl-Tikriti, Tālīb A.R.https://hdl.handle.net/10023/26692019-04-01T09:01:54Z1984-01-01T00:00:00Z1984-01-01T00:00:00ZAl-Tikriti, Tālīb A.R.Jews in Yemen in 17th-19th century according to Hebrew sources with comparison with Arabi Yamani sourcesAbd El Aal, Nour Hoda Hasanhttps://hdl.handle.net/10023/26682019-03-29T16:07:43Z1970-01-01T00:00:00Z1970-01-01T00:00:00ZAbd El Aal, Nour Hoda HasanA study of the Sybil Chant and its dramatic performance in the Spanish Church (ninth to sixteenth centuries)O'Connor, Niobehttps://hdl.handle.net/10023/26552019-07-01T10:02:59Z1984-01-01T00:00:00ZThis study encompasses the development of the Sibyl Chant in
Spain from its early beginnings within the liturgy as a musical piece,
through its growth into a dramatic ceremony associated with the Play of
the Prophets, its move from Latin into the vernacular and details of its
performance, to its formal abolition in the sixteenth century.
The Latin Sibylline poem, Judicii siqnum, which first appears in
St. Augustine's City of God and the sermon Contra Judaeos, Paganos; et
Arianos, prophesies the events on Judgement Day. Its entry into the
liturgy in Spain is examined in the first chapter which, drawing on
hitherto undiscovered examples of the chant from the ninth century to the
fifteenth, concludes that, although the text of the chant my have been
known within the Hispanic rite, its music is a product of French
ecclesiastical influence. With its establishment within the liturgy and
subsequent dissemination across the Peninsula by the house of Cluny, it
was sung in almost every cathedral city until the sixteenth century as
part of the sixth or ninth lesson of Christmas Matins. The second chapter
traces its development into a dramatic ceremony in the fifteenth century.
A study of known texts from Catalonia, and hitherto unknown examples of
the sermon with rubrics indicating dramatic activity from an early date
in Castile, concludes that the Sibyl ceremony was a product of the Ordo
Prophetarum. From the thirteenth century, the Latin of the chant was
often superceded by the vernacular. A comparison, in the third chapter,
of Catalan and Castilian versions reveals that they owe little to the
Judicii siqnum, and Provengal examples which have been considered their
Source, and a Catalan troubadour influence is argued. The final chapter
explores the practice of the Sibyl ceremony, with details of its
performance: its liturgical position, costume, staging, attendant
practices and final prohibition.
1984-01-01T00:00:00ZO'Connor, NiobeThis study encompasses the development of the Sibyl Chant in
Spain from its early beginnings within the liturgy as a musical piece,
through its growth into a dramatic ceremony associated with the Play of
the Prophets, its move from Latin into the vernacular and details of its
performance, to its formal abolition in the sixteenth century.
The Latin Sibylline poem, Judicii siqnum, which first appears in
St. Augustine's City of God and the sermon Contra Judaeos, Paganos; et
Arianos, prophesies the events on Judgement Day. Its entry into the
liturgy in Spain is examined in the first chapter which, drawing on
hitherto undiscovered examples of the chant from the ninth century to the
fifteenth, concludes that, although the text of the chant my have been
known within the Hispanic rite, its music is a product of French
ecclesiastical influence. With its establishment within the liturgy and
subsequent dissemination across the Peninsula by the house of Cluny, it
was sung in almost every cathedral city until the sixteenth century as
part of the sixth or ninth lesson of Christmas Matins. The second chapter
traces its development into a dramatic ceremony in the fifteenth century.
A study of known texts from Catalonia, and hitherto unknown examples of
the sermon with rubrics indicating dramatic activity from an early date
in Castile, concludes that the Sibyl ceremony was a product of the Ordo
Prophetarum. From the thirteenth century, the Latin of the chant was
often superceded by the vernacular. A comparison, in the third chapter,
of Catalan and Castilian versions reveals that they owe little to the
Judicii siqnum, and Provengal examples which have been considered their
Source, and a Catalan troubadour influence is argued. The final chapter
explores the practice of the Sibyl ceremony, with details of its
performance: its liturgical position, costume, staging, attendant
practices and final prohibition.The reception of Friedrich Hebbel in Germany in the era of National SocialismNiven, William Johnhttps://hdl.handle.net/10023/26522019-04-01T09:03:56Z1984-01-01T00:00:00ZThe following thesis examines the impact on the interpretation of Hebbel's
personality and works of National Socialist ideology and propaganda. It
comprises six chapters. The first five of these explore different areas
of ideological influence and provide evidence of the nature and extent of
this influence. The sixth chapter looks at the reception of Hebbel in the
National Socialist theatres and at the growth and development of the
Hebbel-Society between 1933 and 1945. The aim of the thesis is primarily
to break down the National Socialist view of Hebbel into its constituent
parts and to categorise these. An acquaintance with Hebbel's works and
beliefs reveals that the National Socialist view of him is largely
inaccurate and distortive. The thesis has to explain why the National
Socialists developed a false view of Hebbel. And it has to point as
frequently as necessary to the differences between Hebbel as he was in
reality and Hebbel as the National Socialists saw him. The thesis does
not present National Socialist interpretations as having totally
revolutionised Hebbel-reception. In two chapters in particular, the
second and the third, it will show how interpretations which were to
become characteristic of National Socialist Hebbel-reception were being
propagated long before 1933. Nevertheless the National Socialists
standardised the picture of Hebbel as a Nordic dramatist who was
committed to heroic ideals, anti-Semitic, politically conservative and
anti-liberal. The ideal aim of the thesis is to "purify" Hebbel's
character, works and beliefs of their association with National
Socialist values. At the same time it will be shown how easily and at
times almost imperceptibly a writer's views can be altered to make them
consistent with those of the interpreter.
1984-01-01T00:00:00ZNiven, William JohnThe following thesis examines the impact on the interpretation of Hebbel's
personality and works of National Socialist ideology and propaganda. It
comprises six chapters. The first five of these explore different areas
of ideological influence and provide evidence of the nature and extent of
this influence. The sixth chapter looks at the reception of Hebbel in the
National Socialist theatres and at the growth and development of the
Hebbel-Society between 1933 and 1945. The aim of the thesis is primarily
to break down the National Socialist view of Hebbel into its constituent
parts and to categorise these. An acquaintance with Hebbel's works and
beliefs reveals that the National Socialist view of him is largely
inaccurate and distortive. The thesis has to explain why the National
Socialists developed a false view of Hebbel. And it has to point as
frequently as necessary to the differences between Hebbel as he was in
reality and Hebbel as the National Socialists saw him. The thesis does
not present National Socialist interpretations as having totally
revolutionised Hebbel-reception. In two chapters in particular, the
second and the third, it will show how interpretations which were to
become characteristic of National Socialist Hebbel-reception were being
propagated long before 1933. Nevertheless the National Socialists
standardised the picture of Hebbel as a Nordic dramatist who was
committed to heroic ideals, anti-Semitic, politically conservative and
anti-liberal. The ideal aim of the thesis is to "purify" Hebbel's
character, works and beliefs of their association with National
Socialist values. At the same time it will be shown how easily and at
times almost imperceptibly a writer's views can be altered to make them
consistent with those of the interpreter.An axiomatic functionalist analysis of the phonology of YuluGabjanda, James Dahabhttps://hdl.handle.net/10023/26422019-04-01T09:05:32Z1976-01-01T00:00:00ZThis thesis is concerned with the description of Yulu, a language
which has not previously been subjected to modern linguistic analysis.
Thus this thesis has two important aspects. Firstly, however remote a
Language, its description adds a valuable contribution to linguistic
knowledge. Secondly, its description tests the validity of linguistic
theories in general and the theory used in this work in particular; as
a linguist should not only be able to describe one universal but any
number of parallel universes of speech-phenomena, namely different
languages or dialects or even idiolects. Since the theory has been instrumental
in describing the phonological system of Yulu in a consistent
and adequate manner, it has once again proved its usefulness as a 'general' linguistic
theory. The theory applied is that of Professor J. W. F. Mulder and is a sub-component of his 'Axiomatic Functionalist Linguistics'.
This thesis is divided into three parts. Part I, dealing with the
theoretical background, comprises twelve chapters, of which the first
four provide an introduction to the basic principles of axiomatic
functionalism. The remaining eight chapters introduce the theoretical
notions of phonological theory and analysis as practised by axiomatic
functionalists. Chapter I deals with the axiomatic functionalist principle
of maintaining a strict distinction between the linguistic theory,
linguistic descriptions, and the speech-phenomena and also with the basic
criteria for evaluating both the linguistic theory and linguistic
descriptions. Chapter II, dealing with the 'hypothetico-deductive Method',
explains the philosophical principles underlying the axiomatic functionalist
approach, Chapter III deals with 'The origin and scope of the theory'.
Chapter IV explains the definition of 'language' as "a semiotic system
with a 'double articulation'" (Mulder 1968). Chapter V covers 'The domain
of phonology'; Chapter VI 'The notion "phoneme" as defined in axiomatic
functionalism'; Chapter VIII 'The "abstract" approach to phonology';
Chapter VIII is concerned with 'Identity and distinctive function of
a phoneme'; Chapter IX with 'Phonematics'; Chapter X with 'Neutralization'
and 'archiphoneme'; Chapter XI with 'phonemes and their realizations
(allophony)'; and Chapter XII with 'Phonotactics’.
Part II, consists of one basic chapter, and is intended to give
general background information about Yulu - the language whose phonological
analysis we are concerned with in this thesis.
Part III, dealing with the actual phonological analysis consists of
five chapters. Chapter I deals with 'The phonemes of Yulu and their
realizations'; Chapter II 'Neutralization' and 'Concord'; Chapter III
'Classificatory calculus in Yulu'; Chapter IV 'Phonotactic distribution
in Yulu'; and Chapter V 'The tones of Yulu'.
1976-01-01T00:00:00ZGabjanda, James DahabThis thesis is concerned with the description of Yulu, a language
which has not previously been subjected to modern linguistic analysis.
Thus this thesis has two important aspects. Firstly, however remote a
Language, its description adds a valuable contribution to linguistic
knowledge. Secondly, its description tests the validity of linguistic
theories in general and the theory used in this work in particular; as
a linguist should not only be able to describe one universal but any
number of parallel universes of speech-phenomena, namely different
languages or dialects or even idiolects. Since the theory has been instrumental
in describing the phonological system of Yulu in a consistent
and adequate manner, it has once again proved its usefulness as a 'general' linguistic
theory. The theory applied is that of Professor J. W. F. Mulder and is a sub-component of his 'Axiomatic Functionalist Linguistics'.
This thesis is divided into three parts. Part I, dealing with the
theoretical background, comprises twelve chapters, of which the first
four provide an introduction to the basic principles of axiomatic
functionalism. The remaining eight chapters introduce the theoretical
notions of phonological theory and analysis as practised by axiomatic
functionalists. Chapter I deals with the axiomatic functionalist principle
of maintaining a strict distinction between the linguistic theory,
linguistic descriptions, and the speech-phenomena and also with the basic
criteria for evaluating both the linguistic theory and linguistic
descriptions. Chapter II, dealing with the 'hypothetico-deductive Method',
explains the philosophical principles underlying the axiomatic functionalist
approach, Chapter III deals with 'The origin and scope of the theory'.
Chapter IV explains the definition of 'language' as "a semiotic system
with a 'double articulation'" (Mulder 1968). Chapter V covers 'The domain
of phonology'; Chapter VI 'The notion "phoneme" as defined in axiomatic
functionalism'; Chapter VIII 'The "abstract" approach to phonology';
Chapter VIII is concerned with 'Identity and distinctive function of
a phoneme'; Chapter IX with 'Phonematics'; Chapter X with 'Neutralization'
and 'archiphoneme'; Chapter XI with 'phonemes and their realizations
(allophony)'; and Chapter XII with 'Phonotactics’.
Part II, consists of one basic chapter, and is intended to give
general background information about Yulu - the language whose phonological
analysis we are concerned with in this thesis.
Part III, dealing with the actual phonological analysis consists of
five chapters. Chapter I deals with 'The phonemes of Yulu and their
realizations'; Chapter II 'Neutralization' and 'Concord'; Chapter III
'Classificatory calculus in Yulu'; Chapter IV 'Phonotactic distribution
in Yulu'; and Chapter V 'The tones of Yulu'.A critical edition of 'Kitab al Fasr' : Ibn Ginni's commentary on the 'Diwan' of al-Mutanabbi (rhymes D-L)Ahmad, Muhammad Mahdihttps://hdl.handle.net/10023/26392019-04-01T09:05:21Z1984-01-01T00:00:00Z1984-01-01T00:00:00ZAhmad, Muhammad MahdiLinguistic meta-theory the formal and empirical conditions of acceptability of linguistic theories and descriptionsRastall, P. R.https://hdl.handle.net/10023/26372019-04-01T09:05:04Z1984-01-01T00:00:00ZMost linguists acknowledge, explicitly or implicitly,
the relevance of epistemological questions in
linguistics but relatively few have given more than a
cursory, ad hoc or incomplete consideration to them.
The work of one of those few, Jan Mulder, forms the
starting point for much of the present discussion.
Epistemological considerations arise in many contexts
in linguistics and in many guises. It is an epistemological
matter whenever we test the adequacy of a
description or the acceptability of a theory. Epistemological
considerations are latent whenever we discuss
the form or the content of linguistic theories
and descriptions or their interrelations. The comparison
of different approaches to linguistics inevitably
raises epistemological questions concerning our
approach to linguistics or our presuppositions about it.
These questions are of a general nature and transcend
questions about particular linguistic theories and descriptions.
These epistemological questions force us to
consider what we take linguistics to be. In considering
questions of the type mentioned we are forced, for
example, to analyse what we mean by a "linguistic
theory", a "linguistic description" and what phenomena
we are aiming to understand. We are, furthermore,
forced to analyse the constraints which a scientific
attitude places upon linguistic theorising
and description-building. It is these questions concerning
the acceptability of linguistic theories and
descriptions which we call linguistic meta-theory.
This thesis falls into five main parts. Firstly,
in Chapter One, we consider the nature and scope of
linguistic meta-theory. Secondly, in Chapter Two, we
look at a number of previous approaches to the subject.
Other important contributions are discussed as they
arise in the text. Thirdly, in Chapters Three and
Four, we consider in detail the major meta-theoretical
distinctions in linguistics and their consequences.
In particular, we distinguish linguistic theories
from linguistic descriptions and discuss the nature of
linguistic phenomena. The view is put forward that
linguistics is a scientific subject. The meaning of
this assertion is analysed and the interrelations of
linguistic theories, descriptions and phenomena are
considered in the light of this analysis. The main
epistemological requirement that is put forward and
defended is that of the empiricism of linguistics.
Certain changes in our view of the philosophy of science
and in our view of the form of linguistic theories
and descriptions follow from the conjunction of
these major meta-theoretical positions.
Fourthly, we consider the main meta-theoretical
considerations concerning theories (Chapter Five) and
reject a widespread view of linguistic theory as a
non-empirical study (Chapter Six) and we consider the
main meta-theoretical conditions relating to linguistic
descriptions and some practical examples of description
-building consonant with the general positions adopted
in Chapter Seven. In Chapter Eight, we look at a concrete
example of theory-building in the light of the
meta-theoretical conditions of acceptability previously
set up. We are especially concerned to show how a
theory can meet the condition of being "applicable" or
"indirectly scientific" through the establishment of
acceptable empirical descriptions consonant with the
meta-theoretical conditions on descriptions considered
earlier.
The view that linguistics is a science implies
that we must be concerned with the empirical testing of
descriptions and, so, the fifth part of the work is
devoted to methodology. In Chapter Nine, we defend
the role and necessity of methodology in linguistics
and set up the logical framework of relations between
the methodology and theory descriptions and phenomena.
In Chapter Ten, we examine two of the known types of
empirical testing and their shortcomings. Finally, in
Chapter Eleven, we give an example of the successful
and correct application of a methodology in order to
bring out the nature of empirical testing and to demonstrate
its feasibility within a scientific linguistics
of the sort we imagine.
1984-01-01T00:00:00ZRastall, P. R.Most linguists acknowledge, explicitly or implicitly,
the relevance of epistemological questions in
linguistics but relatively few have given more than a
cursory, ad hoc or incomplete consideration to them.
The work of one of those few, Jan Mulder, forms the
starting point for much of the present discussion.
Epistemological considerations arise in many contexts
in linguistics and in many guises. It is an epistemological
matter whenever we test the adequacy of a
description or the acceptability of a theory. Epistemological
considerations are latent whenever we discuss
the form or the content of linguistic theories
and descriptions or their interrelations. The comparison
of different approaches to linguistics inevitably
raises epistemological questions concerning our
approach to linguistics or our presuppositions about it.
These questions are of a general nature and transcend
questions about particular linguistic theories and descriptions.
These epistemological questions force us to
consider what we take linguistics to be. In considering
questions of the type mentioned we are forced, for
example, to analyse what we mean by a "linguistic
theory", a "linguistic description" and what phenomena
we are aiming to understand. We are, furthermore,
forced to analyse the constraints which a scientific
attitude places upon linguistic theorising
and description-building. It is these questions concerning
the acceptability of linguistic theories and
descriptions which we call linguistic meta-theory.
This thesis falls into five main parts. Firstly,
in Chapter One, we consider the nature and scope of
linguistic meta-theory. Secondly, in Chapter Two, we
look at a number of previous approaches to the subject.
Other important contributions are discussed as they
arise in the text. Thirdly, in Chapters Three and
Four, we consider in detail the major meta-theoretical
distinctions in linguistics and their consequences.
In particular, we distinguish linguistic theories
from linguistic descriptions and discuss the nature of
linguistic phenomena. The view is put forward that
linguistics is a scientific subject. The meaning of
this assertion is analysed and the interrelations of
linguistic theories, descriptions and phenomena are
considered in the light of this analysis. The main
epistemological requirement that is put forward and
defended is that of the empiricism of linguistics.
Certain changes in our view of the philosophy of science
and in our view of the form of linguistic theories
and descriptions follow from the conjunction of
these major meta-theoretical positions.
Fourthly, we consider the main meta-theoretical
considerations concerning theories (Chapter Five) and
reject a widespread view of linguistic theory as a
non-empirical study (Chapter Six) and we consider the
main meta-theoretical conditions relating to linguistic
descriptions and some practical examples of description
-building consonant with the general positions adopted
in Chapter Seven. In Chapter Eight, we look at a concrete
example of theory-building in the light of the
meta-theoretical conditions of acceptability previously
set up. We are especially concerned to show how a
theory can meet the condition of being "applicable" or
"indirectly scientific" through the establishment of
acceptable empirical descriptions consonant with the
meta-theoretical conditions on descriptions considered
earlier.
The view that linguistics is a science implies
that we must be concerned with the empirical testing of
descriptions and, so, the fifth part of the work is
devoted to methodology. In Chapter Nine, we defend
the role and necessity of methodology in linguistics
and set up the logical framework of relations between
the methodology and theory descriptions and phenomena.
In Chapter Ten, we examine two of the known types of
empirical testing and their shortcomings. Finally, in
Chapter Eleven, we give an example of the successful
and correct application of a methodology in order to
bring out the nature of empirical testing and to demonstrate
its feasibility within a scientific linguistics
of the sort we imagine.Trends in modern morphology: a critical studySuleiman, Muhammad Yasir Ibrahim Hammadhttps://hdl.handle.net/10023/26352019-04-01T09:05:38Z1984-01-01T00:00:00ZIn comparison with the fields of phonology, syntax, and
semantics, there is a distinct lack of a comprehensive and critical study
of morphological theory, particularly modern trends in this sub-branch
of linguistic theory. There is also a marked lack of interest in the
underlying methodological and epistemological foundations of
morphological theory, though this situation also holds for the three
other areas of core-linguistics mentioned above. The present thesis
has a modest aim: it is to give a critical and fairly comprehensive study
of five modern morphological approaches, with particular reference,
whenever possible, to their underlying methodological and epistemological
principles.
This thesis contains six chapters and a short Introduction. The
Introduction deals with the place and state of morphological studies in
modern linguistic theory. It also sets out the 'reasons' behind the
restriction of the scope of the thesis to the following five approaches:
(1) stratificational grammar, (2) transformational generative grammar,
(3) word and paradigm I (Robins), (4) word and paradigm II (Matthews),
and (5) axiomatic functionalism. A brief explanation of the format of the
approach adopted in studying these different trends is also given here. [Only transcribed in part due to abstract length].
1984-01-01T00:00:00ZSuleiman, Muhammad Yasir Ibrahim HammadIn comparison with the fields of phonology, syntax, and
semantics, there is a distinct lack of a comprehensive and critical study
of morphological theory, particularly modern trends in this sub-branch
of linguistic theory. There is also a marked lack of interest in the
underlying methodological and epistemological foundations of
morphological theory, though this situation also holds for the three
other areas of core-linguistics mentioned above. The present thesis
has a modest aim: it is to give a critical and fairly comprehensive study
of five modern morphological approaches, with particular reference,
whenever possible, to their underlying methodological and epistemological
principles.
This thesis contains six chapters and a short Introduction. The
Introduction deals with the place and state of morphological studies in
modern linguistic theory. It also sets out the 'reasons' behind the
restriction of the scope of the thesis to the following five approaches:
(1) stratificational grammar, (2) transformational generative grammar,
(3) word and paradigm I (Robins), (4) word and paradigm II (Matthews),
and (5) axiomatic functionalism. A brief explanation of the format of the
approach adopted in studying these different trends is also given here. [Only transcribed in part due to abstract length].The expression of identity in Equatorial Guinean narratives (1994 - 2007)McLeod, Naomihttps://hdl.handle.net/10023/26142019-10-17T02:04:11Z2012-06-21T00:00:00ZEquatorial Guinea is the only former Spanish colony in Africa south of the Sahara. Consequently, the Spanish-language literature produced by its authors has been resistant to classification in both the fields of Hispanic and African literary studies. This thesis examines a selection of contemporary narratives written between 1994 and 2007 by the following authors: José Fernando Siale Djangany, Maximiliano Nkogo Esono, Juan Tomás Ávila Laurel and Joaquín Mbomio Bacheng. My main objective in this dissertation is to identify, explain and relate the ways in which post-independence authors express identity in their respective texts. In order to accomplish this task, this thesis posits situational interactions as the key sites for identity expression. Developed from the tenets of symbolic interactionism, the syncretic theoretical model of identity views it as telescopic. It is expected that, through the examination of the chosen texts, a contribution can be made to the understanding of the way in which each author expresses identity and can therefore feed into the larger discussion of identity in Equatorial Guinean narrative.
2012-06-21T00:00:00ZMcLeod, NaomiEquatorial Guinea is the only former Spanish colony in Africa south of the Sahara. Consequently, the Spanish-language literature produced by its authors has been resistant to classification in both the fields of Hispanic and African literary studies. This thesis examines a selection of contemporary narratives written between 1994 and 2007 by the following authors: José Fernando Siale Djangany, Maximiliano Nkogo Esono, Juan Tomás Ávila Laurel and Joaquín Mbomio Bacheng. My main objective in this dissertation is to identify, explain and relate the ways in which post-independence authors express identity in their respective texts. In order to accomplish this task, this thesis posits situational interactions as the key sites for identity expression. Developed from the tenets of symbolic interactionism, the syncretic theoretical model of identity views it as telescopic. It is expected that, through the examination of the chosen texts, a contribution can be made to the understanding of the way in which each author expresses identity and can therefore feed into the larger discussion of identity in Equatorial Guinean narrative.Shams al-dim al-Sakhawi as a historian of the 9th/15th century : with an edition of that section of his chronicles (Wajiz al-kalam) covering the period 800-849 / 1397-1445Hasso, Ahmad Abdullahhttps://hdl.handle.net/10023/25812019-04-01T09:05:24Z1972-01-01T00:00:00ZAlthough a prolific writer of history, Sakhawi is, primarily, a
traditionist. As such, accuracy both in utterance and writing would,
by the very nature of his training, be his first objective.
Modern writers appear to have neglected the importance of his
contribution to the understanding of the history of his century.
accept for a few articles, comparatively little has been written. It
is, therefore, strange that such a mine of information as Sakhawi's
writing presents has remained so long in oblivion.
In this thesis an attempt has been made to evaluate that contribution
together with an edition of part of his work.
The study has been divided into three sections, the first dealing
with Sakhawi’s life and times. This part of the study is based largely
on his autobiography which was written but a few months before he died.
During research no reference was discovered to this most informative
work.
The section falls into three chapters, the first of which endeavours
to show the political and educational aspects of Cairo during the early
part of Sakhawi's lifetime. Cairo was his native city and, as such,
made great impact on his early life.
In the second chapter the position of his family, his Shaykhs, the
academic journeys he made, his residence in Hijaz and the last phase of
his life are portrayed.
The third chapter deals with his activities as an adult, his reputation
as a traditionist together with a survey of his works as presented in
his autobiography.
In the second part, the study deals exclusively with Sakhawi as
a historian of the 9th/15th century. This part also is divided into
two chapters, the first of which considers the following aspects: -
I Sakawi's works on the century;
II His motives, methods and literary style and
III His treatment of the history of the century.
The second chapter collates Sakhawi's methods of selecting his
information and the painstaking efforts he made to verify them, together
with his historical achievements, while the last two topics endeavour to
evaluate his task as a historian in that century.
Section three presents the hitherto unedited part of Wajiz al-Kalam...
which deals with the history of the 9th/15th century. This section
also falls into the three divisions of preface, text and annotations.
The last divides again into two groups one of which deals with the
textual variants mentioned in the footnotes and the other attempts to
deal with the interpretation of most of the idiom, colloquial expressions
and the names of places and personalities mentioned in the supplement to
the text.
1972-01-01T00:00:00ZHasso, Ahmad AbdullahAlthough a prolific writer of history, Sakhawi is, primarily, a
traditionist. As such, accuracy both in utterance and writing would,
by the very nature of his training, be his first objective.
Modern writers appear to have neglected the importance of his
contribution to the understanding of the history of his century.
accept for a few articles, comparatively little has been written. It
is, therefore, strange that such a mine of information as Sakhawi's
writing presents has remained so long in oblivion.
In this thesis an attempt has been made to evaluate that contribution
together with an edition of part of his work.
The study has been divided into three sections, the first dealing
with Sakhawi’s life and times. This part of the study is based largely
on his autobiography which was written but a few months before he died.
During research no reference was discovered to this most informative
work.
The section falls into three chapters, the first of which endeavours
to show the political and educational aspects of Cairo during the early
part of Sakhawi's lifetime. Cairo was his native city and, as such,
made great impact on his early life.
In the second chapter the position of his family, his Shaykhs, the
academic journeys he made, his residence in Hijaz and the last phase of
his life are portrayed.
The third chapter deals with his activities as an adult, his reputation
as a traditionist together with a survey of his works as presented in
his autobiography.
In the second part, the study deals exclusively with Sakhawi as
a historian of the 9th/15th century. This part also is divided into
two chapters, the first of which considers the following aspects: -
I Sakawi's works on the century;
II His motives, methods and literary style and
III His treatment of the history of the century.
The second chapter collates Sakhawi's methods of selecting his
information and the painstaking efforts he made to verify them, together
with his historical achievements, while the last two topics endeavour to
evaluate his task as a historian in that century.
Section three presents the hitherto unedited part of Wajiz al-Kalam...
which deals with the history of the 9th/15th century. This section
also falls into the three divisions of preface, text and annotations.
The last divides again into two groups one of which deals with the
textual variants mentioned in the footnotes and the other attempts to
deal with the interpretation of most of the idiom, colloquial expressions
and the names of places and personalities mentioned in the supplement to
the text.Sites of struggle: representations of family in Spanish film (1996-2004)Rutherford, Jennifer R.https://hdl.handle.net/10023/25572019-07-01T10:18:12Z2010-06-24T00:00:00ZThis thesis analyses how ways of thinking about and meanings of family are (re)negotiated and (re)presented in six films that, to varying degrees, are categorised as cine social. The group of films consists of Familia (León de Aranoa, 1996), Solas (Zambrano, 1999), Flores de otro mundo (Bollaín, 1999), Poniente (Gutiérrez, 2002), Te doy mis ojos (Bollaín, 2003) and Cachorro (Albaladejo, 2004). Despite the growing body of critical work on the wide-ranging social themes they deal with, little sustained attention has been given to their representations of family. Scholars tend to mention it only in passing, or refer back to the allegorical/mediating function that family has often played in Spanish cinema. The objective of this thesis is to place the emphasis, as the films do themselves, on the family per se. Insights into family from a range of academic fields including philosophy, sociology, feminist and queer theories and cultural, race and gender studies are combined with close textual readings and a consideration of the modes of representation and address employed in the films to analyse how they function as sites of ideological struggle. The thesis begins by sketching out historically and culturally situated definitions of family and providing an overview of some of its most iconic representations in Spanish cinema. Establishing many of the aspects developed in the main body of the thesis the first chapter concentrates on Familia, which denaturalises the hegemonic family by presenting it as a self-conscious performance. The subsequent four chapters focus on family forms, roles, practices, commitment, power dynamics and domestic space. They explore how the films’ affective and informed modes of address position the spectator in relation to criticisms of the traditional family and evaluations of emerging family ideologies, finally proposing that they could usefully be viewed as a cycle of postmodern family melodramas.
Electronic version excludes material for which permission has not been granted by the rights holder
2010-06-24T00:00:00ZRutherford, Jennifer R.This thesis analyses how ways of thinking about and meanings of family are (re)negotiated and (re)presented in six films that, to varying degrees, are categorised as cine social. The group of films consists of Familia (León de Aranoa, 1996), Solas (Zambrano, 1999), Flores de otro mundo (Bollaín, 1999), Poniente (Gutiérrez, 2002), Te doy mis ojos (Bollaín, 2003) and Cachorro (Albaladejo, 2004). Despite the growing body of critical work on the wide-ranging social themes they deal with, little sustained attention has been given to their representations of family. Scholars tend to mention it only in passing, or refer back to the allegorical/mediating function that family has often played in Spanish cinema. The objective of this thesis is to place the emphasis, as the films do themselves, on the family per se. Insights into family from a range of academic fields including philosophy, sociology, feminist and queer theories and cultural, race and gender studies are combined with close textual readings and a consideration of the modes of representation and address employed in the films to analyse how they function as sites of ideological struggle. The thesis begins by sketching out historically and culturally situated definitions of family and providing an overview of some of its most iconic representations in Spanish cinema. Establishing many of the aspects developed in the main body of the thesis the first chapter concentrates on Familia, which denaturalises the hegemonic family by presenting it as a self-conscious performance. The subsequent four chapters focus on family forms, roles, practices, commitment, power dynamics and domestic space. They explore how the films’ affective and informed modes of address position the spectator in relation to criticisms of the traditional family and evaluations of emerging family ideologies, finally proposing that they could usefully be viewed as a cycle of postmodern family melodramas.Les philosophes de l'exil républicain espagnol de 1939 : autour de José Bergamín, Juan David García Bacca et María Zambrano (1939-1965)Foehn, Saloméhttps://hdl.handle.net/10023/25512019-07-01T10:18:37Z2012-06-01T00:00:00ZSpanish Republican philosophers in exile defended the Second Republic, legally proclaimed on April 14, 1931. They embraced the anti-fascist cause rising in the 1920s and the 1930s in Europe. During the Civil War, which lasted three years, they stood among the people. 1939 saw the victory of General Francisco Franco, supported by Nazi Germany and the Italy of Mussolini. Threatened with death, they had no choice but to escape from Spain. Some intellectuals experienced French concentration camps but, for the most part, they found refuge in Latin America, especially in Mexico and Venezuela. In exile, they swore to remain loyal to the Second Republic and to the spirit of the Spanish people.
Moved by liberal views and humane ideals, these philosophers belonged to the vanquished, as those everywhere in Europe who rose against Fascist barbarity. As a result, their respective works are still widely unknown today – despite relentless efforts made to promote their thought to a larger audience for over half a century.
In addition to the historical context of crisis during the interwar period, the situation of Spanish philosophy itself is suggestive. Indeed, Spanish philosophy was institutionalised at the beginning of the twentieth century only: the Schools of Madrid and Barcelona were created. These politics of cultural and intellectual renovation are first bestowed upon the generation of philosophers I study, born in the 1900s. When the Spanish War erupts, they had become professionals of international recognition. This shows the actual limits of academic philosophy, incapable of acknowledging unorthodox ways of philosophising.
The experience of exile itself serves in my opinion as a catalyst: Spanish Republican philosophers in exile seek emancipation from academic conventions to philosophise freely; that is, in Spanish and according to the spirit of the people. No doubt “poetic reason” – the true invention of Spanish Republican exile – stems from this ideal of autonomous thinking.
2012-06-01T00:00:00ZFoehn, SaloméSpanish Republican philosophers in exile defended the Second Republic, legally proclaimed on April 14, 1931. They embraced the anti-fascist cause rising in the 1920s and the 1930s in Europe. During the Civil War, which lasted three years, they stood among the people. 1939 saw the victory of General Francisco Franco, supported by Nazi Germany and the Italy of Mussolini. Threatened with death, they had no choice but to escape from Spain. Some intellectuals experienced French concentration camps but, for the most part, they found refuge in Latin America, especially in Mexico and Venezuela. In exile, they swore to remain loyal to the Second Republic and to the spirit of the Spanish people.
Moved by liberal views and humane ideals, these philosophers belonged to the vanquished, as those everywhere in Europe who rose against Fascist barbarity. As a result, their respective works are still widely unknown today – despite relentless efforts made to promote their thought to a larger audience for over half a century.
In addition to the historical context of crisis during the interwar period, the situation of Spanish philosophy itself is suggestive. Indeed, Spanish philosophy was institutionalised at the beginning of the twentieth century only: the Schools of Madrid and Barcelona were created. These politics of cultural and intellectual renovation are first bestowed upon the generation of philosophers I study, born in the 1900s. When the Spanish War erupts, they had become professionals of international recognition. This shows the actual limits of academic philosophy, incapable of acknowledging unorthodox ways of philosophising.
The experience of exile itself serves in my opinion as a catalyst: Spanish Republican philosophers in exile seek emancipation from academic conventions to philosophise freely; that is, in Spanish and according to the spirit of the people. No doubt “poetic reason” – the true invention of Spanish Republican exile – stems from this ideal of autonomous thinking.The work of Aleksandr Grin (1880-1932) : a study of Grin's philosophical outlookMartowicz, Krzysztofhttps://hdl.handle.net/10023/24672019-07-01T10:08:13Z2011-11-30T00:00:00ZThere has been to date no attempt at a detailed examination of Aleksandr Grin’s
philosophical views interpreted on the basis of his literary work. Whilst some critics have
noted interesting links between the writer’s oeuvre and a few popular philosophers, this has
usually been done in passing and on an ad hoc basis. This thesis aims to fill this gap by
reconstructing Grin’s views in relation to the European philosophical tradition.
The main body of the thesis consists of three parts built on and named after three
essential themes in philosophy: External World, Happiness and Morality.
Part One delineates Grin’s views on nature and civilisation: I argue first that his cult of
nature makes it possible to conceive of Grin as a pantheistic thinker close to Rousseau and
Bergson, and then I reconstruct the author’s criticism of urbanisation and industrialisation.
In the second part I assess the place of happiness in Grin’s world-view, indicating its
similarities to the philosophy of various thinkers from the Ancients to Schopenhauer and
Nietzsche. After sketching a general picture of the concept of happiness in Grin’s works, I
discuss the place of material and immaterial factors in the writer’s outlook. I also gather
maxims expressed by the protagonists in his fiction that can be taken as recommendations
concerning ways of achieving and defending happiness. Finally, I link happiness with the
problem of morality in Grin’s oeuvre.
In the final part I examine modes of moral behaviour as displayed by the author’s
protagonists. Firstly, I argue that in Grin’s works we find numerous examples and themes that
allow us to perceive him as an existentialist. Secondly, I indicate Grin’s adherence to rules of
conduct commonly associated with chivalric literature. Thirdly, I emphasise the importance of
Promethean-like characters in the moral hierarchy of Grin’s protagonists.
2011-11-30T00:00:00ZMartowicz, KrzysztofThere has been to date no attempt at a detailed examination of Aleksandr Grin’s
philosophical views interpreted on the basis of his literary work. Whilst some critics have
noted interesting links between the writer’s oeuvre and a few popular philosophers, this has
usually been done in passing and on an ad hoc basis. This thesis aims to fill this gap by
reconstructing Grin’s views in relation to the European philosophical tradition.
The main body of the thesis consists of three parts built on and named after three
essential themes in philosophy: External World, Happiness and Morality.
Part One delineates Grin’s views on nature and civilisation: I argue first that his cult of
nature makes it possible to conceive of Grin as a pantheistic thinker close to Rousseau and
Bergson, and then I reconstruct the author’s criticism of urbanisation and industrialisation.
In the second part I assess the place of happiness in Grin’s world-view, indicating its
similarities to the philosophy of various thinkers from the Ancients to Schopenhauer and
Nietzsche. After sketching a general picture of the concept of happiness in Grin’s works, I
discuss the place of material and immaterial factors in the writer’s outlook. I also gather
maxims expressed by the protagonists in his fiction that can be taken as recommendations
concerning ways of achieving and defending happiness. Finally, I link happiness with the
problem of morality in Grin’s oeuvre.
In the final part I examine modes of moral behaviour as displayed by the author’s
protagonists. Firstly, I argue that in Grin’s works we find numerous examples and themes that
allow us to perceive him as an existentialist. Secondly, I indicate Grin’s adherence to rules of
conduct commonly associated with chivalric literature. Thirdly, I emphasise the importance of
Promethean-like characters in the moral hierarchy of Grin’s protagonists.The OuLiPoe, or constraint and (contre-)performance : ‘The Philosophy of Composition’ and the Oulipian manifestosMorisi, Eve Celiahttps://hdl.handle.net/10023/19952023-04-18T09:43:52Z2008-03-01T00:00:00Z2008-03-01T00:00:00ZMorisi, Eve CeliaThe experience of the pronunciamiento in San Luis Potosí, 1821-1849McDonald, Kerryhttps://hdl.handle.net/10023/19652019-08-07T13:48:24Z2011-01-01T00:00:00ZThe Hispanic phenomenon of the pronunciamiento, particularly prominent in
nineteenth-century Mexico, is just one example of an insurrectionary political act that
has contributed to the traditional portrait of chaos and disorder that has tainted much
of our interpretation of the country‟s socio-political history. Once considered to be a
violent, non-ideological, praetorian military act, recent studies reveal that the
pronunciamiento was primarily a written petition that sought to further political
proposals or address particular grievances through negotiation (albeit often backed by
the threat of force). Although the military were largely the most visible leaders of the
pronunciamiento, a plethora of political and civilian actors and interest groups partook
in the practice with the intention of having their grievances/demands attended to by
the national government.
As well as being viewed as one of the causes of chronic instability, the
pronunciamiento was also the primary mechanism employed to bring about tangible
political changes throughout the country. At the local level of San Luis Potosí, the
pronunciamiento seed also germinated and was used by all political groups and
factions in their negotiations with local and national authorities alike. Local interests
were often at the heart of these negotiations and so dictated the nature of the
pronunciamiento in San Luis Potosí.
This dissertation will explore and analyse the pronunciamiento practice, its
origins, dynamics and nature, from the regional perspective of San Luis Potosí.
Bearing in mind that the pronunciamiento was borne out of, and operated in a specific
socio-political-economic context of constitutional disarray and transition, its analysis
will also further our understanding of the broader socio-political culture not only of
San Luis Potosí, but of Mexico in general. This in turn will contribute to the
acknowledged need for reinterpretation and revaluation of the tumultuous period of
early nineteenth-century Mexico. It will expose the period as an age of democratic
revolutions; of intense political debate between emergent political groups and
factions, who increasingly used the pronunciamiento to further an ideological stance,
represent a spectrum of interests and force some kind of political change both at a
national and regional level when all other constitutional options had been exhausted.
2011-01-01T00:00:00ZMcDonald, KerryThe Hispanic phenomenon of the pronunciamiento, particularly prominent in
nineteenth-century Mexico, is just one example of an insurrectionary political act that
has contributed to the traditional portrait of chaos and disorder that has tainted much
of our interpretation of the country‟s socio-political history. Once considered to be a
violent, non-ideological, praetorian military act, recent studies reveal that the
pronunciamiento was primarily a written petition that sought to further political
proposals or address particular grievances through negotiation (albeit often backed by
the threat of force). Although the military were largely the most visible leaders of the
pronunciamiento, a plethora of political and civilian actors and interest groups partook
in the practice with the intention of having their grievances/demands attended to by
the national government.
As well as being viewed as one of the causes of chronic instability, the
pronunciamiento was also the primary mechanism employed to bring about tangible
political changes throughout the country. At the local level of San Luis Potosí, the
pronunciamiento seed also germinated and was used by all political groups and
factions in their negotiations with local and national authorities alike. Local interests
were often at the heart of these negotiations and so dictated the nature of the
pronunciamiento in San Luis Potosí.
This dissertation will explore and analyse the pronunciamiento practice, its
origins, dynamics and nature, from the regional perspective of San Luis Potosí.
Bearing in mind that the pronunciamiento was borne out of, and operated in a specific
socio-political-economic context of constitutional disarray and transition, its analysis
will also further our understanding of the broader socio-political culture not only of
San Luis Potosí, but of Mexico in general. This in turn will contribute to the
acknowledged need for reinterpretation and revaluation of the tumultuous period of
early nineteenth-century Mexico. It will expose the period as an age of democratic
revolutions; of intense political debate between emergent political groups and
factions, who increasingly used the pronunciamiento to further an ideological stance,
represent a spectrum of interests and force some kind of political change both at a
national and regional level when all other constitutional options had been exhausted.Memory and self-representation in the works of Jorge SemprúnOmlor, Danielahttps://hdl.handle.net/10023/19632020-10-19T09:51:02Z2011-06-01T00:00:00ZJorge Semprún’s work is the fruit of an incarceration in the concentration camp of Buchenwald as a resistance fighter and his expulsion from the Partido Comunista Español in 1964. Due to these biographical circumstances, many critical literary studies to date limit the discussion of his works to the autobiographical and the realm of Holocaust studies. Together with the texts that do not fit adequately into this categories, his self-identification as a Spanish exile has up to now been neglected. The present thesis aims to provide a more global view of his oeuvre by extending the literary analyses to texts that have deserved little critical attention. In order to achieve this, it investigates the role played by memory and self-representation in a variety of works by Semprún. Aspects connected to memory such as exile and nostalgia, the Holocaust, the interplay between memory and writing, politics and collective memory, postmemory and identity are examined by means of a detailed analysis of the selected works and are discussed thematically. Differences in genre are discarded for the discussion and interconnections between the various narratives are highlighted. With the help of memory and trauma theories, we come to the conclusion that memory is the overarching principle of Semprún’s writing and that he invests it with an aesthetic and ethical value which is interpreted as the justification for his devotion to writing.
2011-06-01T00:00:00ZOmlor, DanielaJorge Semprún’s work is the fruit of an incarceration in the concentration camp of Buchenwald as a resistance fighter and his expulsion from the Partido Comunista Español in 1964. Due to these biographical circumstances, many critical literary studies to date limit the discussion of his works to the autobiographical and the realm of Holocaust studies. Together with the texts that do not fit adequately into this categories, his self-identification as a Spanish exile has up to now been neglected. The present thesis aims to provide a more global view of his oeuvre by extending the literary analyses to texts that have deserved little critical attention. In order to achieve this, it investigates the role played by memory and self-representation in a variety of works by Semprún. Aspects connected to memory such as exile and nostalgia, the Holocaust, the interplay between memory and writing, politics and collective memory, postmemory and identity are examined by means of a detailed analysis of the selected works and are discussed thematically. Differences in genre are discarded for the discussion and interconnections between the various narratives are highlighted. With the help of memory and trauma theories, we come to the conclusion that memory is the overarching principle of Semprún’s writing and that he invests it with an aesthetic and ethical value which is interpreted as the justification for his devotion to writing.La vita in uno spot : un'indagine diacronica della pubblicità televisiva italiana, 1957-1977Casarini, Ritahttps://hdl.handle.net/10023/19202019-07-01T10:19:00Z2011-06-21T00:00:00ZThe present dissertation investigates the role of television advertising in shaping the cultural values of the Italian society in the circular process of mirroring pre-existing societal values yet inducing new ones, thus contributing to its evolution. It questions its role within the society, its relationship with families, women and youngsters, the kind of language used in communicating, between 1957-1977, the age of Carosello programme.
A corpus of two thousand five hundred television adverts was viewed and filed, of which a hundred were selected according to the more frequent themes, their cultural and semiotic relevance, and twenty-two analysed by a semiotic approach, together with some more considered alongside. Chapter One deals with methodology, an overview of the main concepts and tools of applied semiotics and the socio-semiotic perspective adopted. Chapter Two, then, contextualizes television advertising into its broader socio-cultural milieu and the history of television.
The following three chapters analyze the selected adverts according to five main recurring themes: Chapter Three, the first steps of TV advertising, its auto-referentiality and its language; Chapter Four, the family and its inner relationships, the couple and the institution of marriage; Chapter Five women‘s emancipation, the new generation of youngsters and new myths. Commercials are analysed by shots and sequences from a narrative and visual perspective in search of their deep underlying generative values. The approach is a holistic one, adapting itself to the prevailing characteristics of every occurrence, although the peculiar nature of the ads of the period entails a prevailing narratological model. All findings are then connected together to identify the main semantic areas indicating cultural values present in the Italian society of the period.
The end findings consist of a set of interesting cultural values identified. At first a self-assertiveness of advertising as a way to popularity; then its preferred mode of communication through verbal language rather than pictures; a representation of families according to either the patriarchal or the consumerist model; a fundamental disbelief in marriage and a sexist attitude to women‘s representation; finally, a mistrust in the values of the new generations. All of these eventually pointing to the main semantic area of tradition, an index to the fundamental conservative yet contradictory role of the Carosello adverting which, while contributing to preserve traditional values, it also tended to replace them with its only main consumerist value. At a higher level, on a socio-semiotic perspective it is the role of that semiosphere which, while drawing from society it also contributes in shaping it.
2011-06-21T00:00:00ZCasarini, RitaThe present dissertation investigates the role of television advertising in shaping the cultural values of the Italian society in the circular process of mirroring pre-existing societal values yet inducing new ones, thus contributing to its evolution. It questions its role within the society, its relationship with families, women and youngsters, the kind of language used in communicating, between 1957-1977, the age of Carosello programme.
A corpus of two thousand five hundred television adverts was viewed and filed, of which a hundred were selected according to the more frequent themes, their cultural and semiotic relevance, and twenty-two analysed by a semiotic approach, together with some more considered alongside. Chapter One deals with methodology, an overview of the main concepts and tools of applied semiotics and the socio-semiotic perspective adopted. Chapter Two, then, contextualizes television advertising into its broader socio-cultural milieu and the history of television.
The following three chapters analyze the selected adverts according to five main recurring themes: Chapter Three, the first steps of TV advertising, its auto-referentiality and its language; Chapter Four, the family and its inner relationships, the couple and the institution of marriage; Chapter Five women‘s emancipation, the new generation of youngsters and new myths. Commercials are analysed by shots and sequences from a narrative and visual perspective in search of their deep underlying generative values. The approach is a holistic one, adapting itself to the prevailing characteristics of every occurrence, although the peculiar nature of the ads of the period entails a prevailing narratological model. All findings are then connected together to identify the main semantic areas indicating cultural values present in the Italian society of the period.
The end findings consist of a set of interesting cultural values identified. At first a self-assertiveness of advertising as a way to popularity; then its preferred mode of communication through verbal language rather than pictures; a representation of families according to either the patriarchal or the consumerist model; a fundamental disbelief in marriage and a sexist attitude to women‘s representation; finally, a mistrust in the values of the new generations. All of these eventually pointing to the main semantic area of tradition, an index to the fundamental conservative yet contradictory role of the Carosello adverting which, while contributing to preserve traditional values, it also tended to replace them with its only main consumerist value. At a higher level, on a socio-semiotic perspective it is the role of that semiosphere which, while drawing from society it also contributes in shaping it.'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr KhurginDreyer, Nicolas D.https://hdl.handle.net/10023/19172019-04-01T09:04:13Z2011-06-23T00:00:00ZThe present work analyses the fiction of the post-Soviet Russian writers,
Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the
background of the notion of post-Soviet Russian postmodernism. In doing
so, it investigates the usefulness and accuracy of this very notion, proposing
that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to
post-Soviet Russian literature as being postmodern are questioned through
an examination of the concept of postmodernism in its interrelated historical,
social, and philosophical dimensions, and of its utility and adequacy in the
Russian cultural context. In addition, it is proposed that the humorous and
grotesque nature of certain post-Soviet works can be viewed as a creatively
critical engagement with both the past, i.e. Soviet ideology, and the present,
the socially tumultuous post-Soviet years.
Russian modernism, while sharing typologically and literary-historically
a number of key characteristics with Western modernism, was particularly
motivated by a turning to the cultural repository of Russia’s past, and a
metaphysical yearning for universal meaning transcending the perceived fragmentation
of the tangible modern world. Continuing the older Russian tradition
of resisting rationalism, and impressed by the sense of realist aesthetics
failing the writer in the task of representing a world that eluded rational
comprehension, modernists tended to subordinate artistic concerns to their
esoteric convictions. Without appreciation of this spiritual dimension, semantic
intention in Russian modernist fiction may escape a reader used to
the conventions of realist fiction. It is suggested that contemporary Russian
fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while
stylistically exhibiting a number of features commonly regarded as postmodern,
such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality
and self-consciousness, seems to resume modernism’s tendency
to seek meaning and value for human existence in the transcendent realm, as
well as in the cultural, in particular literary, treasures of the past. The closeness
of such segments of post-Soviet fiction and modernism in this regard is,
it is argued, ultimately contrary to the spirit of postmodernism and its relativistic
and particularistic worldview. Hence the suggested conceptualisation
of post-Soviet Russian fiction as ‘neo-modernist’.
2011-06-23T00:00:00ZDreyer, Nicolas D.The present work analyses the fiction of the post-Soviet Russian writers,
Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the
background of the notion of post-Soviet Russian postmodernism. In doing
so, it investigates the usefulness and accuracy of this very notion, proposing
that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to
post-Soviet Russian literature as being postmodern are questioned through
an examination of the concept of postmodernism in its interrelated historical,
social, and philosophical dimensions, and of its utility and adequacy in the
Russian cultural context. In addition, it is proposed that the humorous and
grotesque nature of certain post-Soviet works can be viewed as a creatively
critical engagement with both the past, i.e. Soviet ideology, and the present,
the socially tumultuous post-Soviet years.
Russian modernism, while sharing typologically and literary-historically
a number of key characteristics with Western modernism, was particularly
motivated by a turning to the cultural repository of Russia’s past, and a
metaphysical yearning for universal meaning transcending the perceived fragmentation
of the tangible modern world. Continuing the older Russian tradition
of resisting rationalism, and impressed by the sense of realist aesthetics
failing the writer in the task of representing a world that eluded rational
comprehension, modernists tended to subordinate artistic concerns to their
esoteric convictions. Without appreciation of this spiritual dimension, semantic
intention in Russian modernist fiction may escape a reader used to
the conventions of realist fiction. It is suggested that contemporary Russian
fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while
stylistically exhibiting a number of features commonly regarded as postmodern,
such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality
and self-consciousness, seems to resume modernism’s tendency
to seek meaning and value for human existence in the transcendent realm, as
well as in the cultural, in particular literary, treasures of the past. The closeness
of such segments of post-Soviet fiction and modernism in this regard is,
it is argued, ultimately contrary to the spirit of postmodernism and its relativistic
and particularistic worldview. Hence the suggested conceptualisation
of post-Soviet Russian fiction as ‘neo-modernist’.La coalición pedracista : elecciones y rebeliones para una re-definición de la participación política en México (1826-1828)Romero-Valderrama, Anahttps://hdl.handle.net/10023/19052019-08-07T13:49:18Z2011-03-24T00:00:00ZThe pedracista electoral coalition that was formed in Mexico during the 1828 presidential elections was deliberately ignored by the traditional historiography of the early national period. Instead it concentrated on the leaders of the liberal struggle, deeming this alliance unworthy of study. There were essentially two key reasons why this happened. On the one hand, General Manuel Gómez Pedraza (1789-1851) was not an archetypal liberal patriot in the mould of those heroes that were exalted and written about by Mexico’s Porfirian and PRIísta historians. His politics were associated with a certain ideological indeterminateness as a result of his moderate stance, proving problematic to historians who were intent on developing a liberal and subsequently post-revolutionary historia patria. On the other hand, the official historiography accepted, unquestioningly, the critical version of his actions that his opponents circulated at the time. As a result of this, the yorkino version of the events is the one that prevailed, casting Pedraza in the role of staunch anti-yorkino in a simplistic bipartisan vision of Mexican politics that depicted the political tensions of the time as a clear-cut confrontation between the pedracista aristocrats and the democratic yorkino followers of mulatto hero of the War of Independence, General Vicente Guerrero (1783-1831).
This two-dimensional dichotomy has only recently started to be nuanced by the revisionist historiography of the last thirty years. This has been due, in great measure, to the fact that the traditional interpretation of the pedracista coalition posed a number of significant problems when attempting to understand the political behaviour of the people involved. Above all, it was an interpretation that proved incapable of explaining how such a variety of political tendencies, represented by those individuals who joined the alliance that backed Pedraza’s presidential candidacy, could have come together; i.e., anti-masonic groups, the imparciales, certain yorkinos and former escoceses. This thesis aims to explain what brought these individuals, whose political ideas were ostensibly incompatible, together, in what resulted in a particularly resourceful and successful electoral force.
The pedracista coalition represented the first political formation in Mexico that came together specifically to win a presidential election. It was one which set out to bring an end to the political interference of Masonic societies in Mexico, and in particular, that of the Rite of York lodges. It also challenged the yorkinos’ electoral campaign by criticising their leader, Guerrero, and, by highlighting the negative aspects of their Masonic faction. It pointed out, moreover, the dangers inherent in a central administration led by guerrerista yorkinos and, in so doing, made clear the problems that were to be found in the political ideas these individuals stood for, depicting them as partisan, ignorant, and representative of the popular classes. The pedracista coalition argued that the presidency needed to go to someone who did not belong to any particular party, who was virtuous, who was renowned for being hard-working and energetic in government, and who belonged to the exclusive circles frequented by the “hombres de bien”. Given that Pedraza won the elections, it is evident that his coalition benefited from a constitutional structure that favoured his candidacy, gaining, at the same time, the public validation of the governmental authorities in place at the time. However, Pedraza’s candidacy was defeated by the armed mobilizations that ensued in the pronunciamientos pro-yorkino followers launched from October to November 1828, and was consequently eliminated from the political scene until late 1832 given that the leaders of the imparciales as well as Pedraza himself chose not to fight back or support a counter-revolution.
During the electoral campaign, the pedracista coalition displayed, with astounding clarity, what it thought were the essential qualities a president needed to possess and, likewise presented a distinctive appreciation of how it thought the Mexican political class should behave. In this sense, the coalition’s views, captured in its votes, networks and press articles, offer a fascinating snapshot of what were the fundamental themes of the Mexican republic during its formative years as a nation-state, and how this ignored political grouping interpreted them. Of particular interest is the manner in which the pedracista coalition explored the ways in which political legitimacy, participation and representation were to be understood, defended, and systematised. By studying the pedracista coalition this thesis offers, for the first time, a detailed analysis of the nature and dynamics of Mexican politics in the mid-late 1820s, as experienced, discussed, and represented by the short-lasting yet effective alliance that was forged around the candidacy of Manuel Gómez Pedraza.
2011-03-24T00:00:00ZRomero-Valderrama, AnaThe pedracista electoral coalition that was formed in Mexico during the 1828 presidential elections was deliberately ignored by the traditional historiography of the early national period. Instead it concentrated on the leaders of the liberal struggle, deeming this alliance unworthy of study. There were essentially two key reasons why this happened. On the one hand, General Manuel Gómez Pedraza (1789-1851) was not an archetypal liberal patriot in the mould of those heroes that were exalted and written about by Mexico’s Porfirian and PRIísta historians. His politics were associated with a certain ideological indeterminateness as a result of his moderate stance, proving problematic to historians who were intent on developing a liberal and subsequently post-revolutionary historia patria. On the other hand, the official historiography accepted, unquestioningly, the critical version of his actions that his opponents circulated at the time. As a result of this, the yorkino version of the events is the one that prevailed, casting Pedraza in the role of staunch anti-yorkino in a simplistic bipartisan vision of Mexican politics that depicted the political tensions of the time as a clear-cut confrontation between the pedracista aristocrats and the democratic yorkino followers of mulatto hero of the War of Independence, General Vicente Guerrero (1783-1831).
This two-dimensional dichotomy has only recently started to be nuanced by the revisionist historiography of the last thirty years. This has been due, in great measure, to the fact that the traditional interpretation of the pedracista coalition posed a number of significant problems when attempting to understand the political behaviour of the people involved. Above all, it was an interpretation that proved incapable of explaining how such a variety of political tendencies, represented by those individuals who joined the alliance that backed Pedraza’s presidential candidacy, could have come together; i.e., anti-masonic groups, the imparciales, certain yorkinos and former escoceses. This thesis aims to explain what brought these individuals, whose political ideas were ostensibly incompatible, together, in what resulted in a particularly resourceful and successful electoral force.
The pedracista coalition represented the first political formation in Mexico that came together specifically to win a presidential election. It was one which set out to bring an end to the political interference of Masonic societies in Mexico, and in particular, that of the Rite of York lodges. It also challenged the yorkinos’ electoral campaign by criticising their leader, Guerrero, and, by highlighting the negative aspects of their Masonic faction. It pointed out, moreover, the dangers inherent in a central administration led by guerrerista yorkinos and, in so doing, made clear the problems that were to be found in the political ideas these individuals stood for, depicting them as partisan, ignorant, and representative of the popular classes. The pedracista coalition argued that the presidency needed to go to someone who did not belong to any particular party, who was virtuous, who was renowned for being hard-working and energetic in government, and who belonged to the exclusive circles frequented by the “hombres de bien”. Given that Pedraza won the elections, it is evident that his coalition benefited from a constitutional structure that favoured his candidacy, gaining, at the same time, the public validation of the governmental authorities in place at the time. However, Pedraza’s candidacy was defeated by the armed mobilizations that ensued in the pronunciamientos pro-yorkino followers launched from October to November 1828, and was consequently eliminated from the political scene until late 1832 given that the leaders of the imparciales as well as Pedraza himself chose not to fight back or support a counter-revolution.
During the electoral campaign, the pedracista coalition displayed, with astounding clarity, what it thought were the essential qualities a president needed to possess and, likewise presented a distinctive appreciation of how it thought the Mexican political class should behave. In this sense, the coalition’s views, captured in its votes, networks and press articles, offer a fascinating snapshot of what were the fundamental themes of the Mexican republic during its formative years as a nation-state, and how this ignored political grouping interpreted them. Of particular interest is the manner in which the pedracista coalition explored the ways in which political legitimacy, participation and representation were to be understood, defended, and systematised. By studying the pedracista coalition this thesis offers, for the first time, a detailed analysis of the nature and dynamics of Mexican politics in the mid-late 1820s, as experienced, discussed, and represented by the short-lasting yet effective alliance that was forged around the candidacy of Manuel Gómez Pedraza.El exilio en la poesía de Tomás Segovia y Angelina Muñiz HubermanTasis Moratinos, Eduardohttps://hdl.handle.net/10023/18862020-10-19T09:47:05Z2011-05-23T00:00:00ZTomás Segovia and Angelina Muñiz Huberman belong to a group of writers known as «Hispanomexicanos». Most approaches to this generation have been towards the role that exile plays in their early work, paying almost no attention to its role after that initial stage. These approaches have been limited to the first years of their work, in the belief that those writers subsequently moved on to deal with issues which are different from those in which their experience of exile is clearly the central topic. However, through an analysis of the poetry of Muñiz and Segovia, this thesis aims to show that exile continues to play a central role beyond that first stage. It argues that their exile is transformed into a series of symbols that come to constitute a shared style and, more importantly, it proposes that their experience of exile is transformed into a feeling of existential displacement which impels a search for meaning and belonging to the world. Consequently, the conclusion presented in this thesis is that exile plays a central role in their poetry, in the sense that it expresses the ways in which these two writers search and transmit meaning and attempt to feel part of the world. Ultimately, this thesis aims to set an example of approach which could be productively taken to study the work of other writers from this generation.
2011-05-23T00:00:00ZTasis Moratinos, EduardoTomás Segovia and Angelina Muñiz Huberman belong to a group of writers known as «Hispanomexicanos». Most approaches to this generation have been towards the role that exile plays in their early work, paying almost no attention to its role after that initial stage. These approaches have been limited to the first years of their work, in the belief that those writers subsequently moved on to deal with issues which are different from those in which their experience of exile is clearly the central topic. However, through an analysis of the poetry of Muñiz and Segovia, this thesis aims to show that exile continues to play a central role beyond that first stage. It argues that their exile is transformed into a series of symbols that come to constitute a shared style and, more importantly, it proposes that their experience of exile is transformed into a feeling of existential displacement which impels a search for meaning and belonging to the world. Consequently, the conclusion presented in this thesis is that exile plays a central role in their poetry, in the sense that it expresses the ways in which these two writers search and transmit meaning and attempt to feel part of the world. Ultimately, this thesis aims to set an example of approach which could be productively taken to study the work of other writers from this generation.The generic originality of Iurii Tynianov's representation of Pushkin in the novels 'Pushkin' and 'The Gannibals'Rush, Annahttps://hdl.handle.net/10023/17122021-03-24T14:25:00Z2011-01-01T00:00:00ZThis thesis is the first extensive study devoted to the generic originality of Iurii Tynianov’s
representation of Pushkin in his two historical novels, Pushkin (1935-1943) and the abandoned
The Gannibals (1932). Chapter 1 contextualises Tynianov’s contribution to the current debates
on the novel’s demise, ‘large’ form and the worthy protagonist. The conditions giving rise to
contemporary interest in the genres of biography and the historical novel are delineated and the
critical issues surrounding these are examined; Tynianov’s concern to secularise the rigid
monolith of an all but sanctified ‘state-sponsored Pushkin’ and the difficulties of the task are
also reviewed. Chapter 2 shifts the examination of Pushkin as a historical novel to its study
within the generic framework of the Bildungs, Erziehungs and Künstlerromane with their
particular problematics which allowed Tynianov to grapple with a cluster of moral,
philosophical and educational issues, and to explore the formative influences on the
protagonist’s identity as a poet. Chapter 3 explores the concept of history underlying
Tynianov’s interpretation of the characters and events and the historiographical practices he
employed in his analyses of the factors that shaped Pushkin’s own historical thinking. Chapter
4 investigates Tynianov’s scepticism about Abram Gannibal’s and A. Pushkin’s mythopoeia
which reveals itself in Tynianov’s subversively ironical and playful use of myth in both novels.
The Conclusion assesses Tynianov’s contribution to the 20th century fictional Pushkiniana and
reflects on his innovative transgeneric historical novel which broke the normative restrictions
of the genre, elevated it to the level of ‘serious’ literature and made it conducive to stylistic
experimentation.
2011-01-01T00:00:00ZRush, AnnaThis thesis is the first extensive study devoted to the generic originality of Iurii Tynianov’s
representation of Pushkin in his two historical novels, Pushkin (1935-1943) and the abandoned
The Gannibals (1932). Chapter 1 contextualises Tynianov’s contribution to the current debates
on the novel’s demise, ‘large’ form and the worthy protagonist. The conditions giving rise to
contemporary interest in the genres of biography and the historical novel are delineated and the
critical issues surrounding these are examined; Tynianov’s concern to secularise the rigid
monolith of an all but sanctified ‘state-sponsored Pushkin’ and the difficulties of the task are
also reviewed. Chapter 2 shifts the examination of Pushkin as a historical novel to its study
within the generic framework of the Bildungs, Erziehungs and Künstlerromane with their
particular problematics which allowed Tynianov to grapple with a cluster of moral,
philosophical and educational issues, and to explore the formative influences on the
protagonist’s identity as a poet. Chapter 3 explores the concept of history underlying
Tynianov’s interpretation of the characters and events and the historiographical practices he
employed in his analyses of the factors that shaped Pushkin’s own historical thinking. Chapter
4 investigates Tynianov’s scepticism about Abram Gannibal’s and A. Pushkin’s mythopoeia
which reveals itself in Tynianov’s subversively ironical and playful use of myth in both novels.
The Conclusion assesses Tynianov’s contribution to the 20th century fictional Pushkiniana and
reflects on his innovative transgeneric historical novel which broke the normative restrictions
of the genre, elevated it to the level of ‘serious’ literature and made it conducive to stylistic
experimentation.The 'pronunciamiento' in Yucatán : from independence to independence (1821-1840)Ali, Sharahttps://hdl.handle.net/10023/16932019-08-07T13:50:58Z2011-06-24T00:00:00ZUnique to nineteenth-century Spain and Central America, the pronunciamiento can be interpreted as an act of insubordination against ruling authorities, which included a written document with a list of complaints or demands. The practice was almost always carried out by members of the army, but usually involved heavy participation by political and civilian sectors of society as well. The pronunciamiento more often than not contained a threat of military violence if the grievances of the pronunciados were not listened to; as a result, it carried with it the implicit consequence of armed revolt.
The pronunciamiento was responsible for major political changes in early nineteenth-century Mexico and Yucatán, and was also one of the most powerful forces of political and societal destabilisation during this period. Indeed, the pronunciamiento was responsible for the establishment of federalist and centralist systems, changes of constitutions, and constant overthrows of presidents. This was also true on a smaller scale in Yucatán, as the pronunciamiento was not only used to depose governors and administrations, but was the key negotiatory mechanism between the Yucatecan and Mexican administrations; yucatecos resorted to the pronunciamiento to realise their secessions from and reunifications to Mexico throughout the early nineteenth century.
The aim of this thesis is to expose the dynamic of the Yucatecan pronunciamiento. It will challenge the present depiction of the pronunciamiento as military exercise of destabilization, and will instead concentrate on exposing it as a highly intricate process of political representation and negotiation, at both local and national levels. This will not only contribute toward a greater understanding of pronunciamiento culture on a local and more general scale, but will also reveal a more comprehensive analysis of the socio-political and economic circumstances of nineteenth-century Yucatán. This in turn will aid in re-defining early nineteenth-century Mexico, questioning its traditional depiction as an age of “chaos”, and instead exposing it as one dominated by political and ideological forces and factions, who used the pronunciamiento to express their beliefs and to negotiate for change.
2011-06-24T00:00:00ZAli, SharaUnique to nineteenth-century Spain and Central America, the pronunciamiento can be interpreted as an act of insubordination against ruling authorities, which included a written document with a list of complaints or demands. The practice was almost always carried out by members of the army, but usually involved heavy participation by political and civilian sectors of society as well. The pronunciamiento more often than not contained a threat of military violence if the grievances of the pronunciados were not listened to; as a result, it carried with it the implicit consequence of armed revolt.
The pronunciamiento was responsible for major political changes in early nineteenth-century Mexico and Yucatán, and was also one of the most powerful forces of political and societal destabilisation during this period. Indeed, the pronunciamiento was responsible for the establishment of federalist and centralist systems, changes of constitutions, and constant overthrows of presidents. This was also true on a smaller scale in Yucatán, as the pronunciamiento was not only used to depose governors and administrations, but was the key negotiatory mechanism between the Yucatecan and Mexican administrations; yucatecos resorted to the pronunciamiento to realise their secessions from and reunifications to Mexico throughout the early nineteenth century.
The aim of this thesis is to expose the dynamic of the Yucatecan pronunciamiento. It will challenge the present depiction of the pronunciamiento as military exercise of destabilization, and will instead concentrate on exposing it as a highly intricate process of political representation and negotiation, at both local and national levels. This will not only contribute toward a greater understanding of pronunciamiento culture on a local and more general scale, but will also reveal a more comprehensive analysis of the socio-political and economic circumstances of nineteenth-century Yucatán. This in turn will aid in re-defining early nineteenth-century Mexico, questioning its traditional depiction as an age of “chaos”, and instead exposing it as one dominated by political and ideological forces and factions, who used the pronunciamiento to express their beliefs and to negotiate for change.Perspectives of the River Plate around the time of Rosas : an analysis based upon the personal correspondence, private memoirs and published accounts of British settlers, as well as works by creole authorsStewart, Iain A Dhttps://hdl.handle.net/10023/9922019-07-01T10:06:11Z1996-01-01T00:00:00ZThis thesis draws inspiration from the emergence of cultural studies as an academic
pursuit, in addition to the current renewal of interest in the relationship between
literary works and their socio-cultural milieux, to bring together an assortment of
textual traces pertaining to the River Plate around the era of Juan Manuel de Rosas,
governor of Buenos Aires and de facto dictator of Argentina for most of the period
1829-1852. The main texts analysed range from private documents relating to two
Scottish settler families, through accounts published by British citizens with first-hand
knowledge of the region (Un inglés, Cinco años en Buenos Aires and
Beaumont, Travels in Buenos Ayres and the Adjacent Provinces), to three influential
pieces of early Argentinian literature (Echeverria's El matadero, Mármol's Amalia
and Sarmiento's Facundo). One justification of this apparently eclectic approach lies
in the prominence accorded to the incomer in the thought of liberal Platine
intellectuals, a concern evinced in their literary production.
The methodology involves examining the representation of certain
fundamental topics across this range of written artefacts, observing frequent points of
thematic convergence amongst the various texts. In this fashion, I construct an image
of the River Plate region around the Rosas period, whilst also appraising the degree
to which early British settlers matched the idealized notion of the immigrant present
in liberal creole writings.
The study is divided into four main chapters, supplemented by an
introduction, conclusion and appendix. The first chapter summarizes the historical
context of the young Platine republics; the second deals with the themes of society,
community and family, the third focuses upon religion; the fourth considers
perspectives of politics, dictatorship and civil war. The appendix consists of an
unpublished settler autobiography, a remarkable account of the tribulations faced on
a daily basis in the developing Argentina.
1996-01-01T00:00:00ZStewart, Iain A DThis thesis draws inspiration from the emergence of cultural studies as an academic
pursuit, in addition to the current renewal of interest in the relationship between
literary works and their socio-cultural milieux, to bring together an assortment of
textual traces pertaining to the River Plate around the era of Juan Manuel de Rosas,
governor of Buenos Aires and de facto dictator of Argentina for most of the period
1829-1852. The main texts analysed range from private documents relating to two
Scottish settler families, through accounts published by British citizens with first-hand
knowledge of the region (Un inglés, Cinco años en Buenos Aires and
Beaumont, Travels in Buenos Ayres and the Adjacent Provinces), to three influential
pieces of early Argentinian literature (Echeverria's El matadero, Mármol's Amalia
and Sarmiento's Facundo). One justification of this apparently eclectic approach lies
in the prominence accorded to the incomer in the thought of liberal Platine
intellectuals, a concern evinced in their literary production.
The methodology involves examining the representation of certain
fundamental topics across this range of written artefacts, observing frequent points of
thematic convergence amongst the various texts. In this fashion, I construct an image
of the River Plate region around the Rosas period, whilst also appraising the degree
to which early British settlers matched the idealized notion of the immigrant present
in liberal creole writings.
The study is divided into four main chapters, supplemented by an
introduction, conclusion and appendix. The first chapter summarizes the historical
context of the young Platine republics; the second deals with the themes of society,
community and family, the third focuses upon religion; the fourth considers
perspectives of politics, dictatorship and civil war. The appendix consists of an
unpublished settler autobiography, a remarkable account of the tribulations faced on
a daily basis in the developing Argentina.The theme and poetic function of space in Theodor Fontane's worksWhite, Michael Jameshttps://hdl.handle.net/10023/9692019-04-01T09:03:42Z2010-06-01T00:00:00ZThis thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value.
On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.
2010-06-01T00:00:00ZWhite, Michael JamesThis thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value.
On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.The Arabic verb : form and meaning in the vowel-lengthening patternsDanks, Warwickhttps://hdl.handle.net/10023/9612019-06-10T13:43:03Z2010-06-24T00:00:00ZThe research presented in this dissertation adopts an empirical Saussurean structuralist approach to elucidating the true meaning of the verb patterns characterised formally by vowel lengthening in Modern Standard Arabic (MSA).
The verbal system as a whole is examined in order to place the patterns of interest (III and VI) in context, the complexities of Arabic verbal morphology are explored and the challenges revealed by previous attempts to draw links between form and meaning are presented. An exhaustive dictionary survey is employed to provide quantifiable data to empirically test the largely accepted view that the vowel lengthening patterns have mutual/reciprocal meaning. Finding the traditional explanation inadequate and prone to too many exceptions, alternative commonalities of meaning are similarly investigated. Whilst confirming the detransitivising function of the ta- prefix which derives pattern VI from pattern III, analysis of valency data also precludes transitivity as a viable explanation for pattern III meaning compared with the base form.
Examination of formally similar morphology in certain nouns leads to the intuitive possibility that vowel lengthening has aspectual meaning. A model of linguistic aspect is investigated for its applicability to MSA and used to isolate the aspectual feature common to the majority of pattern III and pattern VI verbs, which is determined to be atelicity. A set of verbs which appear to be exceptional in that they are not attributable to atelic aspectual categories is found to be characterised by inceptive meaning and a three-phase model of event time structure is developed to include an inceptive verbal category, demonstrating that these verbs too are atelic.
Thus the form-meaning relationship which is discovered is that the vowel lengthening verbal patterns in Modern Standard Arabic have atelic aspectual meaning.
Also published: Amsterdam : John Benjamins, 2011 (http://dx.doi.org/10.1075/sfsl.63)
2010-06-24T00:00:00ZDanks, WarwickThe research presented in this dissertation adopts an empirical Saussurean structuralist approach to elucidating the true meaning of the verb patterns characterised formally by vowel lengthening in Modern Standard Arabic (MSA).
The verbal system as a whole is examined in order to place the patterns of interest (III and VI) in context, the complexities of Arabic verbal morphology are explored and the challenges revealed by previous attempts to draw links between form and meaning are presented. An exhaustive dictionary survey is employed to provide quantifiable data to empirically test the largely accepted view that the vowel lengthening patterns have mutual/reciprocal meaning. Finding the traditional explanation inadequate and prone to too many exceptions, alternative commonalities of meaning are similarly investigated. Whilst confirming the detransitivising function of the ta- prefix which derives pattern VI from pattern III, analysis of valency data also precludes transitivity as a viable explanation for pattern III meaning compared with the base form.
Examination of formally similar morphology in certain nouns leads to the intuitive possibility that vowel lengthening has aspectual meaning. A model of linguistic aspect is investigated for its applicability to MSA and used to isolate the aspectual feature common to the majority of pattern III and pattern VI verbs, which is determined to be atelicity. A set of verbs which appear to be exceptional in that they are not attributable to atelic aspectual categories is found to be characterised by inceptive meaning and a three-phase model of event time structure is developed to include an inceptive verbal category, demonstrating that these verbs too are atelic.
Thus the form-meaning relationship which is discovered is that the vowel lengthening verbal patterns in Modern Standard Arabic have atelic aspectual meaning.'Pour garder l'impossible intact' : the poetry of Heather DohollauO'Connor, Clémencehttps://hdl.handle.net/10023/7912021-10-05T10:39:41Z2009-11-30T00:00:00ZThis dissertation offers the first extended study of the work of the Welsh-French poet Heather Dohollau, whose substantial œuvre in French, published since 1974, has recently received international critical recognition. My thesis centres on the idea of traversée, which originates in Dohollau’s experience of exiles, returns and bilingualism. My chapters elucidate five interconnected themes which all relate to that overarching paradigm. Chapter 1 focuses on Dohollau’s trajectories as reflected in poems on the memory of place, concentrating on South Wales and the island. The quest for place is also a quest for the past, which is handled as an after-image capable of upwelling into the present. Chapter 2 investigates the visual-verbal bilingualism towards which Dohollau’s texts on specific artworks (or ekphrastic texts) seem to strive. Dohollau revitalizes the ekphrastic tradition and challenges its conventional connotations of power struggle (W. J. T. Mitchell) in favour of a poetics of hospitality. Chapter 3 is dedicated to Dohollau’s ethos and practice of slowness. It undertakes a close-reading analysis of her syntactic and sound-related rhythms, connecting them with Derrida’s différance. The idea of poetry as a foreign language is discussed in chapter 4: Dohollau’s adoption of French as her main poetic language in the mid-1960s, her handling of motherhood and daughterhood, and her quest for a poetics of mourning and fidelity are examined in their interrelations. The concluding chapter explores the boundaries between language and the unsaid. Dohollau has been uniquely placed to engage with postwar reassessments of language and its limits (Derrida, Heidegger, Blanchot), poised as she is between languages and media. As her poems show, such limits constitute a poetic resource in their own right. Her carefully cultivated liminal stance has given her important insights into the creative process as a passage into words from an unwritten, yet not utterly inchoate other of the poem.
2009-11-30T00:00:00ZO'Connor, ClémenceThis dissertation offers the first extended study of the work of the Welsh-French poet Heather Dohollau, whose substantial œuvre in French, published since 1974, has recently received international critical recognition. My thesis centres on the idea of traversée, which originates in Dohollau’s experience of exiles, returns and bilingualism. My chapters elucidate five interconnected themes which all relate to that overarching paradigm. Chapter 1 focuses on Dohollau’s trajectories as reflected in poems on the memory of place, concentrating on South Wales and the island. The quest for place is also a quest for the past, which is handled as an after-image capable of upwelling into the present. Chapter 2 investigates the visual-verbal bilingualism towards which Dohollau’s texts on specific artworks (or ekphrastic texts) seem to strive. Dohollau revitalizes the ekphrastic tradition and challenges its conventional connotations of power struggle (W. J. T. Mitchell) in favour of a poetics of hospitality. Chapter 3 is dedicated to Dohollau’s ethos and practice of slowness. It undertakes a close-reading analysis of her syntactic and sound-related rhythms, connecting them with Derrida’s différance. The idea of poetry as a foreign language is discussed in chapter 4: Dohollau’s adoption of French as her main poetic language in the mid-1960s, her handling of motherhood and daughterhood, and her quest for a poetics of mourning and fidelity are examined in their interrelations. The concluding chapter explores the boundaries between language and the unsaid. Dohollau has been uniquely placed to engage with postwar reassessments of language and its limits (Derrida, Heidegger, Blanchot), poised as she is between languages and media. As her poems show, such limits constitute a poetic resource in their own right. Her carefully cultivated liminal stance has given her important insights into the creative process as a passage into words from an unwritten, yet not utterly inchoate other of the poem.The formation of a European identity through a transnational public sphere? The case of three Western European cultural journals, 1989-2006Hauswedell, Tessa C.https://hdl.handle.net/10023/7892019-04-01T09:02:39Z2009-11-30T00:00:00ZThis thesis analyses processes of discursive European identity formation in three cultural journals: Esprit, from France, the British New Left Review and the German Merkur during the time periods 1989-92, and, a decade later, during 2003-06.
The theoretical framework which the thesis brings to bear on this analysis is that of the European Public Sphere. This model builds on Jürgen Habermas’s original model of a “public sphere”, and alleges that a sphere of common debate about issues of European concern can lead to a more defined and integrated sense of a European identity which is widely perceived as vague and inchoate. The relevancy of the public sphere model and its connection to the larger debate about European identity, especially since 1989, are discussed in the first part of the thesis.
The second part provides a comparative analysis of the main European debates in the journals during the respective time periods. It outlines the mechanisms by which identity is expressed and assesses when, and to what extent, shared notions of European identity emerge. The analysis finds that identity formation does not occur through a developmental, gradual convergence of views as the European public sphere model envisages. Rather, it is brought about in much more haphazard back-and-forth movements. Moreover, shared notions of European identity between all the journals only arise in moments of perceived crises. Such crises are identified as the most salient factor which galvanizes expressions of a common, shared sense of European identity across national boundaries and ideological cleavages.
The thesis concludes that the model of the EPS is too dependent on a partial view of how identity formation occurs and should thus adopt a more nuanced understanding about the complex factors that are at play in these processes. For the principled attempt to circumscribe identity formation as the outcome of communicative processes alone is likely to be thwarted by external events.
2009-11-30T00:00:00ZHauswedell, Tessa C.This thesis analyses processes of discursive European identity formation in three cultural journals: Esprit, from France, the British New Left Review and the German Merkur during the time periods 1989-92, and, a decade later, during 2003-06.
The theoretical framework which the thesis brings to bear on this analysis is that of the European Public Sphere. This model builds on Jürgen Habermas’s original model of a “public sphere”, and alleges that a sphere of common debate about issues of European concern can lead to a more defined and integrated sense of a European identity which is widely perceived as vague and inchoate. The relevancy of the public sphere model and its connection to the larger debate about European identity, especially since 1989, are discussed in the first part of the thesis.
The second part provides a comparative analysis of the main European debates in the journals during the respective time periods. It outlines the mechanisms by which identity is expressed and assesses when, and to what extent, shared notions of European identity emerge. The analysis finds that identity formation does not occur through a developmental, gradual convergence of views as the European public sphere model envisages. Rather, it is brought about in much more haphazard back-and-forth movements. Moreover, shared notions of European identity between all the journals only arise in moments of perceived crises. Such crises are identified as the most salient factor which galvanizes expressions of a common, shared sense of European identity across national boundaries and ideological cleavages.
The thesis concludes that the model of the EPS is too dependent on a partial view of how identity formation occurs and should thus adopt a more nuanced understanding about the complex factors that are at play in these processes. For the principled attempt to circumscribe identity formation as the outcome of communicative processes alone is likely to be thwarted by external events.Translating Brecht : versions of "Mutter Courage und ihre Kinder" for the British stageWilliams, Katherine J.https://hdl.handle.net/10023/7612019-07-01T10:11:52Z2009-11-30T00:00:00ZThis study analyses five British translations of Bertolt Brecht's 'Mutter Courage und ihre Kinder'. Two of these translations were written by speakers of German, and three by well-known British playwrights with no knowledge of the source text language. Four have been produced in mainstream British theatres in the past twenty-five years. The study applies translation studies methodology to a textual analysis which focuses on the translation of techniques of linguistic "Verfremdung", as well as linguistic expression of the comedy and of the political dimension in the work. It thus closes the gap in current Brecht research in examining the importance of his idiosyncratic use of language to the translation and reception of his work in the UK. The study assesses the ways in which the translator and director are influenced by Brecht's legacy in the UK and in turn, what image of Brecht they mediate through the production on stage. To this end, the study throws light on the formation of Brecht's problematic reputation in the UK, and it also highlights the social and political circumstances in early twentieth century Germany which prompted Brecht to develop his theory of an epic theatre.
The focus on a linguistic examination allows the translator's contribution to the production process to be isolated. Together with an investigation of the reception of each performance text, this in turn facilitates a more accurate assessment of the translator and director's respective influence in the process of transforming a foreign-language text onto a local stage. The analysis also sheds light on the different approaches taken by speakers of German, and playwrights creating an English version from a literal translation. It pinpoints losses in translation and adaptation, and suggests how future versions may avoid these.
2009-11-30T00:00:00ZWilliams, Katherine J.This study analyses five British translations of Bertolt Brecht's 'Mutter Courage und ihre Kinder'. Two of these translations were written by speakers of German, and three by well-known British playwrights with no knowledge of the source text language. Four have been produced in mainstream British theatres in the past twenty-five years. The study applies translation studies methodology to a textual analysis which focuses on the translation of techniques of linguistic "Verfremdung", as well as linguistic expression of the comedy and of the political dimension in the work. It thus closes the gap in current Brecht research in examining the importance of his idiosyncratic use of language to the translation and reception of his work in the UK. The study assesses the ways in which the translator and director are influenced by Brecht's legacy in the UK and in turn, what image of Brecht they mediate through the production on stage. To this end, the study throws light on the formation of Brecht's problematic reputation in the UK, and it also highlights the social and political circumstances in early twentieth century Germany which prompted Brecht to develop his theory of an epic theatre.
The focus on a linguistic examination allows the translator's contribution to the production process to be isolated. Together with an investigation of the reception of each performance text, this in turn facilitates a more accurate assessment of the translator and director's respective influence in the process of transforming a foreign-language text onto a local stage. The analysis also sheds light on the different approaches taken by speakers of German, and playwrights creating an English version from a literal translation. It pinpoints losses in translation and adaptation, and suggests how future versions may avoid these.A diachronic study into the distributions of two Italo-Romance synthetic conditional formsParkinson, Jennie K.https://hdl.handle.net/10023/7372020-03-10T16:42:29Z2009-06-23T00:00:00ZTwo distinct conditional paradigms are available to speakers of Italian, derived from the Latin periphrases cantare habui/cantare habebam. The aim of this thesis is to describe and explain their patterns of attestation in the earliest northern Italian and Tuscan texts, which date from between 1200 and 1400.
Textual analysis showed that while the cantare habui periphrasis was native to both areas, the use of the cantare habebam periphrasis differed in the northern and central dialects. In the northern dialects, the cantare habebam periphrasis was attested in all genres over the whole time period, whereas in the Tuscan dialects it only appeared in literary genres. Moreover, although the northern texts attested both periphrases consistently over time in every genre, only Tuscan poetry followed this pattern. Other genres attested reflexes of the cantare habebam periphrasis for short periods in the fourteenth century. These results suggest that different influences resulted in different patterns of conditional use in the two areas.
This thesis postulates that in the northern Italo-Romance dialects the cantare habebam periphrasis was introduced through the proximity to, and influence of, Provençal. Although the use of reflexes of cantare habebam was reinforced in the north by the Sicilian school of poets, the dual nature of the sources meant that it was also retained in prose, and thence into modern dialect use. In contrast, reflexes of the cantare habebam periphrasis were introduced into central Italy through the Sicilian school alone. Although it appeared in prose texts, this was a sporadic phenomenon, resulting from imitation of the influential poetic texts. Because there was no prose source for reflexes of the cantare habebam periphrasis, it did not enter non-literary genres and quickly disappeared from literary prose genres. The cantare habebam periphrasis eventually disappeared entirely from Tuscan poetry as well, and is not attested at all in the modern central dialects.
2009-06-23T00:00:00ZParkinson, Jennie K.Two distinct conditional paradigms are available to speakers of Italian, derived from the Latin periphrases cantare habui/cantare habebam. The aim of this thesis is to describe and explain their patterns of attestation in the earliest northern Italian and Tuscan texts, which date from between 1200 and 1400.
Textual analysis showed that while the cantare habui periphrasis was native to both areas, the use of the cantare habebam periphrasis differed in the northern and central dialects. In the northern dialects, the cantare habebam periphrasis was attested in all genres over the whole time period, whereas in the Tuscan dialects it only appeared in literary genres. Moreover, although the northern texts attested both periphrases consistently over time in every genre, only Tuscan poetry followed this pattern. Other genres attested reflexes of the cantare habebam periphrasis for short periods in the fourteenth century. These results suggest that different influences resulted in different patterns of conditional use in the two areas.
This thesis postulates that in the northern Italo-Romance dialects the cantare habebam periphrasis was introduced through the proximity to, and influence of, Provençal. Although the use of reflexes of cantare habebam was reinforced in the north by the Sicilian school of poets, the dual nature of the sources meant that it was also retained in prose, and thence into modern dialect use. In contrast, reflexes of the cantare habebam periphrasis were introduced into central Italy through the Sicilian school alone. Although it appeared in prose texts, this was a sporadic phenomenon, resulting from imitation of the influential poetic texts. Because there was no prose source for reflexes of the cantare habebam periphrasis, it did not enter non-literary genres and quickly disappeared from literary prose genres. The cantare habebam periphrasis eventually disappeared entirely from Tuscan poetry as well, and is not attested at all in the modern central dialects.The specificity of Simenon: on translating 'Maigret'Taylor, Judith Louisehttps://hdl.handle.net/10023/7132019-07-01T10:05:07Z2009-06-23T00:00:00ZThe project examines how German- and English-speaking translators of selected
Maigret novels by the Belgian crime writer Georges Simenon have dealt with cultural
and linguistic specificity, with a view to shedding light on how culture and language
translate. Following a survey of different theories of translation, an integrated theory
is applied in order to highlight what Simenon’s translators have retained and lost from
three selected source texts: Le Charretier de la Providence (1931), Les Mémoires de
Maigret (1951) and Maigret et les braves gens (1961). The examination of issues of
linguistic and cultural specificity is facilitated by application of an integrated theory
of translation coupled with the methodology devised by Hervey, Higgins and
Loughridge (1992, 1995 and 2002). In addition, consideration of paradigms of
detective fiction across the three cultures involved, and Simenon’s biography and
wider oeuvre, help elucidate the salient features of the selected source texts. In view of
the translators’ decisions, strategies for minimising various types of translation loss
are presented. While other studies of translation theory have examined literary and
technical texts, this study breaks new ground by focussing specifically on the
comparative analysis of detective fiction in translation.
2009-06-23T00:00:00ZTaylor, Judith LouiseThe project examines how German- and English-speaking translators of selected
Maigret novels by the Belgian crime writer Georges Simenon have dealt with cultural
and linguistic specificity, with a view to shedding light on how culture and language
translate. Following a survey of different theories of translation, an integrated theory
is applied in order to highlight what Simenon’s translators have retained and lost from
three selected source texts: Le Charretier de la Providence (1931), Les Mémoires de
Maigret (1951) and Maigret et les braves gens (1961). The examination of issues of
linguistic and cultural specificity is facilitated by application of an integrated theory
of translation coupled with the methodology devised by Hervey, Higgins and
Loughridge (1992, 1995 and 2002). In addition, consideration of paradigms of
detective fiction across the three cultures involved, and Simenon’s biography and
wider oeuvre, help elucidate the salient features of the selected source texts. In view of
the translators’ decisions, strategies for minimising various types of translation loss
are presented. While other studies of translation theory have examined literary and
technical texts, this study breaks new ground by focussing specifically on the
comparative analysis of detective fiction in translation.El final de El astilleroSan Román, Gustavohttps://hdl.handle.net/10023/6722019-04-01T09:04:17Z2003-01-01T00:00:00ZThe novel El astillero (Buenos Aires 1961), by Juan Carlos Onetti, provides two alternative endings, which have inspired a number of interpretations. The present article provides a reading based on the tension in the novel between the two poles of reality and illusion which intermittently draw the protagonist, Larsen. The reading takes into account the plot of El astillero itself, and also moves beyond this particular novel into other texts in Onetti's Santa Maria cycle where Larsen figures. It is proposed that the ambiguous ending projects a never-ending pendular movement between the poles mentioned, and suggests that Larsen (and Onetti) are unwilling to give up on illusion as a way out of the constraints of reality.
2003-01-01T00:00:00ZSan Román, GustavoThe novel El astillero (Buenos Aires 1961), by Juan Carlos Onetti, provides two alternative endings, which have inspired a number of interpretations. The present article provides a reading based on the tension in the novel between the two poles of reality and illusion which intermittently draw the protagonist, Larsen. The reading takes into account the plot of El astillero itself, and also moves beyond this particular novel into other texts in Onetti's Santa Maria cycle where Larsen figures. It is proposed that the ambiguous ending projects a never-ending pendular movement between the poles mentioned, and suggests that Larsen (and Onetti) are unwilling to give up on illusion as a way out of the constraints of reality.'Le vrai recueil des Sarcelles' of Nicolas Jouin : an edition with a linguistic study of the depicted sociolect and its Parisian connectionsRandell, Elizabethhttps://hdl.handle.net/10023/5452019-07-01T10:10:59Z2008-11-27T00:00:00ZThis thesis aims to explore an aspect of the history of vernacular speech through analysis of some eighteenth century verse texts. These satirical anti-Jesuit pamphlets by Nicolas Jouin, known as the 'Sarcelades', were collected posthumously in 'Le Vrai Recueil des Sarcelles' of 1764. The texts purport to be in the patois of the peasants of Sarcelles and show features which may be paralleled in the vernacular speech of Paris and elsewhere, and even correspond with features of contemporary colloquial French.
The study may appeal to French historical sociolinguists interested in reconstructing spoken language of the past, and particularly in the history of vernacular speech of Paris since the Middle Ages through to the eighteenth century, in the context of the development of urban dialects.
In order to set the scene for a linguistic description of Jouin’s work the limited biographical information available was collated. Then a period of bibliographical research led to acquisition of copies of the texts which were to be studied in order to identify and examine their non-standard linguistic features.
Firstly the process of growth of urban dialects was discussed, and then the development of the Paris vernacular in particular. Then attention was turned to direct written evidence in the form of commentary and to a number of texts from the sixteenth to eighteenth centuries containing features of the Paris vernacular. These had already been analysed by certain historical linguists, although the texts in the 'Sarcelades' had hitherto only been briefly mentioned. However, here they are considered to be of sufficient interest to be examined more closely, although it had to be established whether Jouin’s texts containing a selection of non-standard features could be regarded as an accurate depiction of the Paris vernacular at the period. The non-standard phonetic, morphological, syntactic, and lexical features in the texts were therefore compared with findings in other texts by previous commentators.
Following these analyses it was noted to what extent the relative frequency of the variables correlates with the salience of certain features in popular speech in Paris at the period, as already observed in other texts by previous commentators, and it was concluded that in general established characteristics of the 'patois de Paris' at the period are to be found in the 'Sarcelades', even though there do remain certain features which do not appear to be generally attested elsewhere.
Nevertheless, despite reservations concerning the authenticity of some of the non-standard features employed by Jouin, by bringing attention to this little-known series of texts this study may help to claim a place for the Sarcelades amongst the corpus of texts which reflect aspects of the lower-class sociolect, the 'patois de Paris', at the period.
2008-11-27T00:00:00ZRandell, ElizabethThis thesis aims to explore an aspect of the history of vernacular speech through analysis of some eighteenth century verse texts. These satirical anti-Jesuit pamphlets by Nicolas Jouin, known as the 'Sarcelades', were collected posthumously in 'Le Vrai Recueil des Sarcelles' of 1764. The texts purport to be in the patois of the peasants of Sarcelles and show features which may be paralleled in the vernacular speech of Paris and elsewhere, and even correspond with features of contemporary colloquial French.
The study may appeal to French historical sociolinguists interested in reconstructing spoken language of the past, and particularly in the history of vernacular speech of Paris since the Middle Ages through to the eighteenth century, in the context of the development of urban dialects.
In order to set the scene for a linguistic description of Jouin’s work the limited biographical information available was collated. Then a period of bibliographical research led to acquisition of copies of the texts which were to be studied in order to identify and examine their non-standard linguistic features.
Firstly the process of growth of urban dialects was discussed, and then the development of the Paris vernacular in particular. Then attention was turned to direct written evidence in the form of commentary and to a number of texts from the sixteenth to eighteenth centuries containing features of the Paris vernacular. These had already been analysed by certain historical linguists, although the texts in the 'Sarcelades' had hitherto only been briefly mentioned. However, here they are considered to be of sufficient interest to be examined more closely, although it had to be established whether Jouin’s texts containing a selection of non-standard features could be regarded as an accurate depiction of the Paris vernacular at the period. The non-standard phonetic, morphological, syntactic, and lexical features in the texts were therefore compared with findings in other texts by previous commentators.
Following these analyses it was noted to what extent the relative frequency of the variables correlates with the salience of certain features in popular speech in Paris at the period, as already observed in other texts by previous commentators, and it was concluded that in general established characteristics of the 'patois de Paris' at the period are to be found in the 'Sarcelades', even though there do remain certain features which do not appear to be generally attested elsewhere.
Nevertheless, despite reservations concerning the authenticity of some of the non-standard features employed by Jouin, by bringing attention to this little-known series of texts this study may help to claim a place for the Sarcelades amongst the corpus of texts which reflect aspects of the lower-class sociolect, the 'patois de Paris', at the period.Self-definition through poetry in the work of Gloria Fuertes and Pilar Paz Pasamar in the period 1950-1970Ten Hacken, Hildehttps://hdl.handle.net/10023/4212019-04-01T09:04:56Z2007-11-30T00:00:00ZBased on a comparative method of enquiry, this thesis analyses the process of self-definition expressed in the work of Gloria Fuertes (Madrid, 1917-1998) and Pilar Paz Pasamar (Jerez de la Frontera, 1933) as individual alternatives to the collective ethos and literary practices promoted within the patriarchal society of Franco’s Spain. Recognizing the poets’ cultural and socio-political context as determining factors in their experiences as women and poets, and therefore in their outlook and poetics, this context and how it is reflected in their poetry provides the starting point (Chapter 1). Both poets acknowledge that writing poetry can provide them with a metaphorical space of freedom that enables them to develop their identity and explore their preoccupations. Therefore, their thoughts about poetry provide an important theme that occurs in the poetry of both (Chapter 2). Closely related to this is the link they establish between poetic inspiration and the divine, which in the case of Pilar Paz Pasamar leads to the attempt to use the special qualities of poetic language to refer to a universal truth that she is aware of and which transcends the capabilities of language, while Gloria Fuertes regards poetry as a divine gift that can provide solace and is ultimately able to improve the world (Chapter 3). The fourth chapter focuses on specific elements of the two poets’ work that reveal the distinctive mechanisms of self-construction they develop. The section on Fuertes considers humour as a survival strategy that enables the poet to reach out to her readership and emphasize her focus on the here and now, while the discussion on Paz’s work looks at how the use of sea imagery allows her to convey abstract experiences based on introspection. Thus, it is argued that their poetry reflects the different strategies the two women develop – based on integration in the case of Fuertes and a more separate position in the case of Paz – to define themselves in relation to their world.
2007-11-30T00:00:00ZTen Hacken, HildeBased on a comparative method of enquiry, this thesis analyses the process of self-definition expressed in the work of Gloria Fuertes (Madrid, 1917-1998) and Pilar Paz Pasamar (Jerez de la Frontera, 1933) as individual alternatives to the collective ethos and literary practices promoted within the patriarchal society of Franco’s Spain. Recognizing the poets’ cultural and socio-political context as determining factors in their experiences as women and poets, and therefore in their outlook and poetics, this context and how it is reflected in their poetry provides the starting point (Chapter 1). Both poets acknowledge that writing poetry can provide them with a metaphorical space of freedom that enables them to develop their identity and explore their preoccupations. Therefore, their thoughts about poetry provide an important theme that occurs in the poetry of both (Chapter 2). Closely related to this is the link they establish between poetic inspiration and the divine, which in the case of Pilar Paz Pasamar leads to the attempt to use the special qualities of poetic language to refer to a universal truth that she is aware of and which transcends the capabilities of language, while Gloria Fuertes regards poetry as a divine gift that can provide solace and is ultimately able to improve the world (Chapter 3). The fourth chapter focuses on specific elements of the two poets’ work that reveal the distinctive mechanisms of self-construction they develop. The section on Fuertes considers humour as a survival strategy that enables the poet to reach out to her readership and emphasize her focus on the here and now, while the discussion on Paz’s work looks at how the use of sea imagery allows her to convey abstract experiences based on introspection. Thus, it is argued that their poetry reflects the different strategies the two women develop – based on integration in the case of Fuertes and a more separate position in the case of Paz – to define themselves in relation to their world.Memory and exile in the poetry of Luis CernudaLogan, Aileen A.https://hdl.handle.net/10023/3432019-07-01T10:12:17Z2007-06-22T00:00:00ZLuis Cernuda (1902-1963) was exiled from Spain in 1938 due to the outbreak of the Spanish Civil War. He lived in Great Britain, America and Mexico and he never returned to his homeland. Until the mid-1960s, he was considered by the Spanish literary establishment to be an evasive and astringent poet. Since then, critics have recognised and praised the ethical quality and nature of his work and he is now considered to be one of the most profound and influential Spanish poets of the twentieth century. Despite the growing body of critical work on Cernuda, the salient role played by memory in his poetry has received little sustained critical attention. Critics have tended to stress the nostalgic and the evasive rather than the ethical and contemplative role played by memory in his work both before and after his departure from Spain. The objective of this thesis is to provide a more balanced view of the poet’s use of memory in his early and mature poetry. Rather than limiting his concept of memory to nostalgia for his youth or his homeland, it argues that he deploys memory as an instrument of self-analysis, self-discovery and self-criticism. The first chapter concentrates on his pre-exilic poetry in order to show that memory plays a fundamental role in his poetics prior to the experience of physical exile. The central body of the thesis examines the increasingly analytical and philosophical role played by memory in a selection of his mature prose and verse texts written outwith Spain.
2007-06-22T00:00:00ZLogan, Aileen A.Luis Cernuda (1902-1963) was exiled from Spain in 1938 due to the outbreak of the Spanish Civil War. He lived in Great Britain, America and Mexico and he never returned to his homeland. Until the mid-1960s, he was considered by the Spanish literary establishment to be an evasive and astringent poet. Since then, critics have recognised and praised the ethical quality and nature of his work and he is now considered to be one of the most profound and influential Spanish poets of the twentieth century. Despite the growing body of critical work on Cernuda, the salient role played by memory in his poetry has received little sustained critical attention. Critics have tended to stress the nostalgic and the evasive rather than the ethical and contemplative role played by memory in his work both before and after his departure from Spain. The objective of this thesis is to provide a more balanced view of the poet’s use of memory in his early and mature poetry. Rather than limiting his concept of memory to nostalgia for his youth or his homeland, it argues that he deploys memory as an instrument of self-analysis, self-discovery and self-criticism. The first chapter concentrates on his pre-exilic poetry in order to show that memory plays a fundamental role in his poetics prior to the experience of physical exile. The central body of the thesis examines the increasingly analytical and philosophical role played by memory in a selection of his mature prose and verse texts written outwith Spain.The role of history in the recent Mexican novel: a study of five historical novels by Elena Garro, Carlos Fuentes, Fernando del Paso, Paco Ignacio Taibo II and Rosa BeltranRafael, Laurahttps://hdl.handle.net/10023/3232019-08-07T13:51:26Z2007-06-22T00:00:00ZThis thesis sets out to investigate the development of the recent historical novel in Mexico by examining a corpus of five novels. Elena Garro’s 'Los recuerdos del porvenir' (1963) represents the final point of the novel of the Revolution and it is the link with the recent historical novel. Carlos Fuentes’ 'Terra Nostra' (1975) and Fernando del Paso’s 'Noticias del Imperio' (1978) belong to the group containing the postmodern historical novel. 'Terra Nostra' summarizes all the concerns of postmodernism and can be considered as a paradigm of this current of thought. 'Noticias del Imperio' seeks a reconciliation between history and literature in an attempt to get closer to the historical truth. Paco Ignacio Taibo II’s 'La lejanía del Tesoro' (1992) is a representative novel in the way it melds history with the mystery novel, developing the genre of the historical thriller. Lastly, Rosa Beltrán’s 'La corte de los ilusos' (1995), and in particular its treatment of history is pertinent to this thesis due to the fact that women have been traditionally silenced by official history. This novel gives them a voice.
From its beginnings, the historical novel confronted the problem of being questioned for its lack of accuracy when dealing with the past. This skepticism sparked a long lasting debate that initially degraded the historical novel as secondary genre that could never contribute to historical knowledge. However, as a result of recent theories that seek to defend the poetic nature of history, a theory developed initially by Hayden White, the recent historical novel has sought to debunk historiography’s claim to be the only possible way to recount the past. This thesis advances the theory that the recent historical novel in Mexico is the result of a search for a genuine identity, as well as a quest to develop an alternative, yet truthful, interpretation of a past whose true nature has been distorted by decades of historical officialdom. This process is seen in a context of increasing democratisation and globalisation.
2007-06-22T00:00:00ZRafael, LauraThis thesis sets out to investigate the development of the recent historical novel in Mexico by examining a corpus of five novels. Elena Garro’s 'Los recuerdos del porvenir' (1963) represents the final point of the novel of the Revolution and it is the link with the recent historical novel. Carlos Fuentes’ 'Terra Nostra' (1975) and Fernando del Paso’s 'Noticias del Imperio' (1978) belong to the group containing the postmodern historical novel. 'Terra Nostra' summarizes all the concerns of postmodernism and can be considered as a paradigm of this current of thought. 'Noticias del Imperio' seeks a reconciliation between history and literature in an attempt to get closer to the historical truth. Paco Ignacio Taibo II’s 'La lejanía del Tesoro' (1992) is a representative novel in the way it melds history with the mystery novel, developing the genre of the historical thriller. Lastly, Rosa Beltrán’s 'La corte de los ilusos' (1995), and in particular its treatment of history is pertinent to this thesis due to the fact that women have been traditionally silenced by official history. This novel gives them a voice.
From its beginnings, the historical novel confronted the problem of being questioned for its lack of accuracy when dealing with the past. This skepticism sparked a long lasting debate that initially degraded the historical novel as secondary genre that could never contribute to historical knowledge. However, as a result of recent theories that seek to defend the poetic nature of history, a theory developed initially by Hayden White, the recent historical novel has sought to debunk historiography’s claim to be the only possible way to recount the past. This thesis advances the theory that the recent historical novel in Mexico is the result of a search for a genuine identity, as well as a quest to develop an alternative, yet truthful, interpretation of a past whose true nature has been distorted by decades of historical officialdom. This process is seen in a context of increasing democratisation and globalisation.Visual representation in the work of Joseph Roth, 1923-1932Newman, Sigrid J.https://hdl.handle.net/10023/3172019-07-01T10:03:43Z2007-06-22T00:00:00ZThrough an examination of Joseph Roth’s reportage and fiction published between 1923 and 1932, this thesis seeks to provide a systematic analysis of a particular aspect of the author’s literary style, namely his use of sharply focused visual representations, which are termed Heuristic Visuals. Close textual analysis, supplemented by insights from reader-response theory, psychology, psycholinguistics and sociology illuminate the function of these visual representations. The thesis also seeks to discover whether there are significant differences and correspondences in the use of visual representations between the reportage and fiction genres. Roth believed that writers should be engagiert, and that the truth could only be arrived at through close observation of reality, not subordinated to theory. The research analyses the techniques by which Roth challenges his readers and encourages them to discover the truth for themselves. Three basic variants of Heuristic Visuals are identified, and their use in different contexts, including that of dialectical presentations, is explored. There is evidence of the use of different variants of Heuristic Visuals according to the respective rhetorical demands of particular thematic issues. It has also been possible to establish synchronic correspondences between the different genres, and diachronic correspondences within genres. Although there are examples within the reportage where the entire article is based on an Heuristic Visual, the use of Heuristic Visuals cannot be seen as a key organizing principle in Roth’s work as a whole. As his mastery of the technique reaches its highest point in the early 1930s, Heuristic Visuals are often incorporated into the reconstruction of a complete sensory experience. Analysis of Roth’s heuristic use of visual representations has led to important insights, including a reinterpretation of the endings of Roth’s two most famous novels: Hiob and Radetzkymarsch.
2007-06-22T00:00:00ZNewman, Sigrid J.Through an examination of Joseph Roth’s reportage and fiction published between 1923 and 1932, this thesis seeks to provide a systematic analysis of a particular aspect of the author’s literary style, namely his use of sharply focused visual representations, which are termed Heuristic Visuals. Close textual analysis, supplemented by insights from reader-response theory, psychology, psycholinguistics and sociology illuminate the function of these visual representations. The thesis also seeks to discover whether there are significant differences and correspondences in the use of visual representations between the reportage and fiction genres. Roth believed that writers should be engagiert, and that the truth could only be arrived at through close observation of reality, not subordinated to theory. The research analyses the techniques by which Roth challenges his readers and encourages them to discover the truth for themselves. Three basic variants of Heuristic Visuals are identified, and their use in different contexts, including that of dialectical presentations, is explored. There is evidence of the use of different variants of Heuristic Visuals according to the respective rhetorical demands of particular thematic issues. It has also been possible to establish synchronic correspondences between the different genres, and diachronic correspondences within genres. Although there are examples within the reportage where the entire article is based on an Heuristic Visual, the use of Heuristic Visuals cannot be seen as a key organizing principle in Roth’s work as a whole. As his mastery of the technique reaches its highest point in the early 1930s, Heuristic Visuals are often incorporated into the reconstruction of a complete sensory experience. Analysis of Roth’s heuristic use of visual representations has led to important insights, including a reinterpretation of the endings of Roth’s two most famous novels: Hiob and Radetzkymarsch.