Texte remanié de : Diss. Ph. D : Literaturwissenschaft : Irvine, University of California : 1987. / Bibliogr. p. 129-136.

No description available.

No description available.

No description available.

The thesis is a study of the development of a poetic technique and its increasing importance in the evolution of Apollinaire's poetic styles. In describing the technique as "violence" the thesis offers a definition not only of the technique itself but also of the intentions of the poet both in the composition of the poems and in their final effects. By analysing and attempting a critical explication of Apollinaire's poetry in chronological order, the thesis thus shows not only the development of the technique but also that this technique constitutes the underlying unity of Apollinaire's poetry which has traditionally been analysed in terms of conflicting influences and intentions. While accepting the importance of the influence of symbolism on the early poetry and even the permanence of certain aspects of this influence, the thesis shows the degree of originality present throughout the evolution of both the early poems and the later poems. Since supposed influences of the plastic arts, and in particular the development of Cubism, have often been assumed or even shown - although never satisfactorily - to be at the origin of Apollinaire's movement away from symbolism and more traditional forms of poetic expression towards experimental and concrete forms of poetry, the thesis gives due weighting to the presence of the techniques of violence in the early poetry and consequently proves Apollinaire's poetic development to be consistent with himself. Due emphasis given to the continuity of Apollinaire's techniques as well as to the consistency of such expressions of intent as the poet made, the thesis concludes that the originality of Apollinaire's poetry lies mainly in his exploitation of the techniques of violence.

Text in Afrikaans / History / M.A. (Geskiedenis)

From a regulationist perspective, this paper wants to analyse under which preconditions local and national modes of development can diverge. Taking the modern history of Vienna and Austria as an example, the paper analyses the dialectics of accumulation strategies and national and local state projects. There can be distinguished four relevant historical periods. With regard to the convergence resp. divergence of local and national state projects, the two rather stable and the two rather instable periods stand in marked contrast to each other. The more general conclusion that can be derived from the Viennese experience is that a heterogeneous regional development is only a necessary, but not a sufficient condition for a local state project to diverge from the national one. It seems that popular forces can only establish a counter-project at the local level if the national dominant bloc fails to gain mass acceptance for its ideological dispensation and an emerging counter bloc is able to capitalise on this weakness by formulating its own social project. (author's abstract) / Series: SRE - Discussion Papers

No description available.

No description available.

This dissertation examines the theme of irredeemable egoism in all seven of George Eliot's novels. Irredeemable egoists are those characters who do not complete the process of shedding what Eliot identifies in Middlemarch as the "moral stupidity" into which all people are born, and they contrast with those major characters in her novels that achieve a moral victory over egoism.The characters share in common a predilection for self over others. They are self-deluded, have a narrow imagination, and lack compassion for others. Depicted as pitiful and miserable, these characters are doomed by their natures to imprisonment within themselves. They are also incapable of redeeming themselves for actions that harm others, actions they all commit, for all of them break, betray, or deny the bonds a commitment entails. Their blocked or distorted vision of the world prevents a clear understanding of their duty to their fellow men, a duty which Eliot sees at the heart of the fulfillment of mankind's quest for not only improvement and enrichment but finally salvation.Chapter two looks at Hetty Sorrel and Arthur Donnithorne in Adam Bede. Hetty is a creature whose primitive egoistic cravings lead to a cold alienation from all human contact, while Arthur's morally irresponsible behavior is inexcusable despite his efforts to seek redemption.In chapter three, Torn Tulliver and Stephen Guest are scrutinized. Tom's rigidity and narrowness make him unresponsive to Maggie's natural warmth and affection. This unresponsiveness results in anguish and emotional turmoil for Maggie. Stephen produces the same results with opposite motives, seeking self-gratification despite Maggie’s explicit belief in self-denial.Silas Marner is examined in the next chapter, with Godfrey Cass at the center of the study. While the nemesis is mild, as Eliot herself says, the basic theme remains the same; Godfrey crows to regret his abandonment of Eppie, but his misgivings come too late to change the effects of his actions. Rompla, the subject of chapter five, contains Eliot's archetypal villain, Tito Nelema, who represents the extreme of moral degeneration. Tito's wanton disregard of other people's good will and well being is evident from the beginning, as Eliot carefully depicts his complete deterioration while he betrays family, friends, and country for personal gain.In chapter six, three characters in Felix Holt the Radical are discussed. Mss. Transome is perhaps the most sympathetic portrayal of despair and bitterness in all of Eliot's fiction. Her sin years earlier has produced only emotional deprivation, disillusionment, and tortured regret as she finds her son to be no source of joy and her former lover a grim reminder of her post transgression. Harold Transome is oblivious to the needs of his mothers and Jermyn is self-seeking and untouched by the needs of others. Middlemarch contains three major characters that clearly do not shed moral stupidity. Bulstrode, the religious hypocrite, Casaubon, the desiccated pedant, and Rosamond Vincy Lydgate, the self-centered beauty, are closely analyzed in chapter seven.Chapter eight focuses on Eliot's final novel, Daniel Deronda, which contains a character as evil as Tito Melema, Henleigh Mallinger Grandcourt. His psychological cruelty to his mistress, his wife, and everyone else he cares to trifle with marks him a sinister, repugnant example of unregenerate egoism. On the other hand Gwendolen Harleth, though clearly as potentially destructive as Grandcourt, is rescued from moral impoverishment by Deronda. Eliot uses all these characters, shown at various stages of moral dissolution, to illustrate her belief that egoism is harmful, often deadly, and produces consequences that are extensive and unalterable. The characters are punished by remorse, degradation, humiliation, defeat, or even death for their inability or refusal to emerge from moral stupidity.