Heart of Darkness, Chance, and Lord Jim can be described as philosophical works if considered in light of "ordinary language" philosophy. Conrad wrestled with skepticism much as Wittgenstein later would, but his struggle with the "bewitchment" of skeptical thinking took a narratival form. His champion was Marlow, raconteur of the three novels, who recurrently loses and recovers his words and his capacity to tell (to judge, to narrate). In these works the Marlovian investigation of human convention, linguistic and otherwise, is shown to be a necessary but perilous task. The possibility that we may be dissatisfied with the ordinary or transcendental conditions of living is dramatized in all three novels, often (but not only) by threats to marriage. Heart of Darkness demonstrates the loss of linguistic attunement that may follow upon taking human relation to be a problem of knowledge, and links this to Kurtz's world-devouring repudiation of the ordinary. Chance explores in melodramatic form the "germ of destruction at the source of our strength", and unmasks men's denial of women as one face of skepticism. Lord Jim presents skepticism, Romanticism, and fantasy as different versions of ontological dissatisfaction, and shows how a return to the ordinary requires a practice of reading and remembering (our words).

The purpose of this study was to examine the courtroom summation of Clarence Darrow in the Leopold-Loeb Murder Trial by the application of the Burkeian concepts of strategy and pentad. Darrow's primary objective, or master strategy, was to save the defendants from execution. To accomplish this objective, Darrow had to overcome volatile public opinion which demanded the execution of Leopold and Loeb.A major factor in Darrow's rhetorical scheme concerned his decision to enter a plea of "guilty with mitigation of punishment"—a move which by-passed a jury and placed the responsibility squarely on the shoulders of the judge. In order to accomplish the master strategy, Darrow employed a number of minor strategies. The most successful of these strategies were those designed to manipulate Judge Caverly's emotional responses. Darrow's master strategy succeeded because he recognized the rhetorical obstacles and because he employed sound rhetorical judgment to accomplish his objective.

Réfléchir sur la traduction à partir des Études du Langage n’est pas une pratique ordinaire entre traducteurs et intéressés en traduction, du moins en ce qui concerne les questions derrière les dénominations et les processus bien explorés par la Traductologie. Quelle serait la question qui est impliquée dans la traduction presque indiscutablement ? On croit que c’est la différence - entre langues, entre manières de dire, entre inventaires phonologiques et entre communautés parlantes. C’est pour considérer ces différences comme fondamentales que nous nous tournons vers l’héritage linguistique de Ferdinand de Saussure : en considérant les langues comme différentes expressions particulières et propres du système de la langue, la différence devient explicite et tangible. Pour cette raison, on explore de quelle manière la notion de signe – en considérant le signe comme représentant des unités de chaque système – les relations qui le constituent et les valeurs qui permettent sa vérification dans l’usage des sujets parlants aident le traducteur, soit-il expérimenté ou en formation, pendant le processus de traduction. Quand on tient compte de la différence comme un constitutif de la langue et de la traduction, chaque choix est fait, en même temps, plus librement et de manière plus précise, en percevant ce qui a été fait dans un système et en se demandant comment pourrait-on faire quelque chose de ressemblante – et différente – dans un autre. Une des meilleures manières d’approcher ces questions est à travers la manipulation – et la traduction – des éléments phoniques de la langue, car ils vérifient les concepts saussuriens en même temps qu’ils se montrent l’une des plus grandes difficultés affrontées par les traducteurs. Pour cette raison, observer différentes expressions linguistiques traduites – le discours symptomatique, la poésie et la prose avec des éléments de la frontière des langues – se montre une analyse avantageuse et didactique qui procure au traducteur et à l’intéressé en traduction une visibilité plus grande de la relation entre les valeurs et les signifiés des différents systèmes linguistiques. / Observar a tradução a partir dos Estudos da Linguagem não é uma prática das mais comuns entre tradutores e interessados, ao menos no que diz respeito àquilo que está por trás de todas as denominações e processos densamente explorados pelo campo da Tradutologia. Qual seria a questão que envolve a tradução quase que indiscutivelmente? Acreditamos que seja a diferença – entre idiomas, modos de dizer, inventários fonológicos e comunidades falantes. E é considerando estas diferenças como fundamentais que nos voltamos para o legado linguístico de Ferdinand de Saussure: ao considerar idiomas como diferentes expressões peculiares e próprias do sistema da língua, a diferença se mostra explícita tangível. Por esse motivo, exploramos como o conceito de signo – considerando-o como representante da unidade de cada sistema – as relações que o constituem e os valores que possibilitam sua verificação no uso pelos falantes auxiliam o tradutor experiente e em formação no processo tradutório. Quando se tem em conta a diferença como constitutiva da língua e da tradução, cada escolha se faz, ao mesmo tempo, mais livre e mais criteriosa, percebendo o que se fez em um sistema e perguntando-se como se poderia fazer algo semelhante – ainda que diferente – em outro. Uma das melhores maneiras de percebemos essas questões está na manipulação – e tradução – dos elementos fônicos da língua, pois põem os conceitos saussurianos à prova ao mesmo tempo que se mostram um dos maiores obstáculos enfrentados pelo tradutor. Por essa razão, observar diferentes expressões linguísticas traduzidas – a fala sintomática, a poesia e a prosa com elementos de fronteira de língua – se mostra uma análise proveitosa e didática, proporcionando ao tradutor e ao interessado maior visibilidade da relação entre valores e significados de sistemas linguísticos diferentes.

Réfléchir sur la traduction à partir des Études du Langage n’est pas une pratique ordinaire entre traducteurs et intéressés en traduction, du moins en ce qui concerne les questions derrière les dénominations et les processus bien explorés par la Traductologie. Quelle serait la question qui est impliquée dans la traduction presque indiscutablement ? On croit que c’est la différence - entre langues, entre manières de dire, entre inventaires phonologiques et entre communautés parlantes. C’est pour considérer ces différences comme fondamentales que nous nous tournons vers l’héritage linguistique de Ferdinand de Saussure : en considérant les langues comme différentes expressions particulières et propres du système de la langue, la différence devient explicite et tangible. Pour cette raison, on explore de quelle manière la notion de signe – en considérant le signe comme représentant des unités de chaque système – les relations qui le constituent et les valeurs qui permettent sa vérification dans l’usage des sujets parlants aident le traducteur, soit-il expérimenté ou en formation, pendant le processus de traduction. Quand on tient compte de la différence comme un constitutif de la langue et de la traduction, chaque choix est fait, en même temps, plus librement et de manière plus précise, en percevant ce qui a été fait dans un système et en se demandant comment pourrait-on faire quelque chose de ressemblante – et différente – dans un autre. Une des meilleures manières d’approcher ces questions est à travers la manipulation – et la traduction – des éléments phoniques de la langue, car ils vérifient les concepts saussuriens en même temps qu’ils se montrent l’une des plus grandes difficultés affrontées par les traducteurs. Pour cette raison, observer différentes expressions linguistiques traduites – le discours symptomatique, la poésie et la prose avec des éléments de la frontière des langues – se montre une analyse avantageuse et didactique qui procure au traducteur et à l’intéressé en traduction une visibilité plus grande de la relation entre les valeurs et les signifiés des différents systèmes linguistiques. / Observar a tradução a partir dos Estudos da Linguagem não é uma prática das mais comuns entre tradutores e interessados, ao menos no que diz respeito àquilo que está por trás de todas as denominações e processos densamente explorados pelo campo da Tradutologia. Qual seria a questão que envolve a tradução quase que indiscutivelmente? Acreditamos que seja a diferença – entre idiomas, modos de dizer, inventários fonológicos e comunidades falantes. E é considerando estas diferenças como fundamentais que nos voltamos para o legado linguístico de Ferdinand de Saussure: ao considerar idiomas como diferentes expressões peculiares e próprias do sistema da língua, a diferença se mostra explícita tangível. Por esse motivo, exploramos como o conceito de signo – considerando-o como representante da unidade de cada sistema – as relações que o constituem e os valores que possibilitam sua verificação no uso pelos falantes auxiliam o tradutor experiente e em formação no processo tradutório. Quando se tem em conta a diferença como constitutiva da língua e da tradução, cada escolha se faz, ao mesmo tempo, mais livre e mais criteriosa, percebendo o que se fez em um sistema e perguntando-se como se poderia fazer algo semelhante – ainda que diferente – em outro. Uma das melhores maneiras de percebemos essas questões está na manipulação – e tradução – dos elementos fônicos da língua, pois põem os conceitos saussurianos à prova ao mesmo tempo que se mostram um dos maiores obstáculos enfrentados pelo tradutor. Por essa razão, observar diferentes expressões linguísticas traduzidas – a fala sintomática, a poesia e a prosa com elementos de fronteira de língua – se mostra uma análise proveitosa e didática, proporcionando ao tradutor e ao interessado maior visibilidade da relação entre valores e significados de sistemas linguísticos diferentes.

The purpose of this thesis is to identify the art work of the Haida Indian artist Tom Price (c.l860 - 1927). It is not yet generally realized that Haida art was predominantly the product of only a small number of artists whose individual styles are distinctly recognizable. Much of the diversity in local and regional styles within Haida art can be explained by isolating and examining the works of the dozens of practising artists - discovering where and when they worked, how much they influenced the art around them, how traditional they were in their art, or how innovative. The immediate problem is to document these individual styles. Art has been collected from the Northwest Coast Indian t peoples since the late Eighteenth Century when the first explorers made trading contacts with the native people. But it was collected sporadically and at first only as a curiosity or souvenir art. In the late Nineteenth Century ethnologists began to collect the Northwest Coast Indian art for museums of anthropology and natural history. They recorded the names of artists but rarely in connection with their works of art. Only recently has Northwest Coast Indian art been shown in major art exhibits in Paris, Montreal, Vancouver, etc. And only recently have art historians realized the significance of the individual art styles within the art. The work of a few Nineteenth Century masters stands out. Museums in North America and Europe unknowlingly collected only the works of the best artists working at the time. Tom Price was one of these outstanding artists. He worked in the late Nineteenth and early Twentieth Centuries. Chapter III is a discussion of the complex and ancient tradition of Haida art with which Tom Price would have been familiar, and how it was modified in the Nineteenth Century due to increasing contact with the white man. The role of the artist in Haida society is also discussed in Chapter III, emphasizing the point that personal innovation was inherent in the art tradition. Chapter IV deals with the documented information on the life and works of Tom Price. My chief informant is Tom Price's daughter-in-law. She and other Haida people remember Tom Price as one of the artists working in Skidegate up until 1927. They remember the collectors who purchased his work, and that he went to Victoria to sell work quite frequently. But published information on Haida artists and their works, such as the descriptive works of Marius Barbeau on argillite and totem poles, are inaccurate and confused. This is partly because his informants were not familiar enough with the artists or the art styles about which he was writing. Documented information from acquisition files and museum records is equally as disappointing because the material was not collected by art historians. There is very rarely an entry in the information catalogues for the name of the artist. The exact origin of the works is often not known because museums purchased in bulk from central bargaining points such as Port Simpson or Victoria, or they purchased complete private collections. They rarely differentiated between the place of manufacture and the purchasing point in the records. Furthermore, the date in museum records may refer to the date of acquisition rather than to the date of manufacture. The significance of this is that very few Haida works of art are reliably documented and two or three sources should be consulted before an attribution is made based on the documentation which does exist. Chapter V is a series of comparisons of works of art by Tom Price and other Haida artists, some of which are documented, showing the wide range of styles possible in Haida art. In Chapter VI, I begin with documented pieces by Tom Price, and I isolate design elements, or distinctive motifs from these works. Then I compare the documented works with other similar works in terms of the design elements, the compositional arrangement of those elements, the types of crests and myths illustrated, the method of carving or painting, the dates, and the places where the works were collected, and by whom. Stylistically the works form a coherent group and the documented information tends to reinforce the hypothesis that they were all done by the same man, Tom Price. In addition to clarifying the role of the artist in Haida society, and the significance of individual artists’styles in Haida art, this thesis highlights the artistic achievements of one man. This has never been done in depth before, and it is necessary that it he done before a more realistic aesthetic appreciation of the art is possible. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

In the following study, the writer has considered the figure of the knight as it appears in Eichendorff'a narrative prose works, particularly the two novels, "Ahnung und Gegenwart" and "Dichter und ihre Gesellen", and two Märchennovellen, "Die Zauberei im Herbste" and "Das Marmorbild". The knight is not necessarily good: he may embody evil principles, or, through weakness, succumb to the daemonic forces in nature. Generally, however, the knight possesses strong religious faith and its attendant virtues of loyalty, patriotism, and service to others. Whereas Eichendorff's strong religious stand varies from the usual Romantic pattern, his association of art and metaphysics is typically Romantic: the knight may also be a poet or become a priest. The knights of the Napoleonic era, that is, those in "Ahnung und Gegenwart", turn away from society, but those in the later works participate actively in mundane affairs. Indeed, in the end, Eichendorff comes to acknowledge the incidence of chivalrous behaviour in persons not born to knightly estate. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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論文(哲學博士)--香港中文大學, 2002. / 參考文獻 (p. 245-265). / 中英文摘要. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (p. 245-265). / Zhong Ying wen zhai yao.

Thèse de doctorat : Etudes anglophones : Lyon 2 : 2001. / Titre provenant de l'écran-titre. Bibliogr. Index.