The purpose of this study was to present an analysis of the corpus of Harold Frederic's short fiction published between 1876 and 1898. A search of Frederic criticism revealed that little interest had been shown in this short fiction. Few of Frederic's tales had been analyzed or commented upon. In addition, no study considered the entire body of twenty-five stories and novellas. A review of dissertations concerning Frederic's works disclosed that, except for two studies, scholarly attention had been focused entirely upon Frederic's novels. The two studies which included selected short works associated this fiction with Frederic's efforts as a novelist. This study analyzed all of Harold Frederic's published short fiction, identifying themes, literary techniques, and subject matter developed by him.The works were considered chronologically and placed into three groups. Each group spanned approximately six years beginning with 1876. A 'brief summary of each story was given including plot development, major characters, artistic devices and techniques, themes, and characteristics of Frederic's writing. Each group of stories was then summarized, and the short fiction was compared with traditional literary classifications of realism, naturalism, local color, and romanticism.The majority of Frederic's stories was written in a realistic manner. Frederic's descriptions of setting, his dialogue techniques, and his character depictions placed his stories in the tradition of literary naturalism. But his plot development, presenting optimistic points of view, was in the romantic tradition. Hence, Frederic's short fiction was fundamentally in the tradition of literary romanticism.This study revealed Frederic's development as a writer of fiction. His early characters were stereotyped; his later characters were individualized. Early stories concerned landedgentry and other idyllic characters; later tales developed believable and memorable, naive, middle-class characters.This analysis showed that the settings in Frederic's tales became more distinctive. His early tales were set in conventional fictional areas. In the later stories, Frederic created his own characteristic fictional areas of the Dunmanus Bay for his Irish allegories and of Dearborn County in York State for his Mohawk Valley stories.The analysis also revealed that Frederic modified his use of artistic devices. Frederic reduced the span of time in his an evening. Also, he reduced his early, lengthy, descriptive passages, full of alliteration, consonance, and assonance, to carefully detailed descriptions of locales, battles, buildings, characters, and climate in his later work. In addition, Frederic mastered the use of historically accurate details and specific places, which gave believability to his stories.The study showed that, as Frederic developed as a writer of short fiction, his plots became less complicated and that he regularly employed the youthful naive-narrator as a frame for his characteristic frame-story technique. Also, Frederic used humor in his fiction, changing the early humor directed toward a character to the more subtle humor of name imagery and character development.The analysis indicated that Frederic's early tales were simply narratives, but that his later writings developed to include allegorical and symbolic tales concerned with individualism, home rule in Ireland, and the triumph of romance over realism. Other recurrent themes included the triumph of good over evil; the virtues of hard work, truth, innocence, loyalty, faithfulness, and honor; and the vices of vanity, treachery, dishonor, unfaithfulness, avarice, and usury.The analysis showed that, in his short fiction, Frederic developed a set of moral, social, and political standards which were appropriate to his era and to his contemporary reading public.

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Thesis (M.A.)--University of Wisconsin--Madison, 1962. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 52-54).

Texte remanié de: Tesis doct.--Barcelone.

This thesis is based on the major plays of Bertolt Brecht; reference to his lyrics and critical writings is made where pertinent. The thesis examines the contradictions between Brecht's realistic assessment of human nature and his Marxist ideal of how man should be in order to change society. Brecht viewed society and the behaviour of the individual from two vantage points: the first was that of man who accepted society and conformed because he was concerned mostly with his own survival; the second was that of the Marxist critic, who claimed that the survival of the individual was unimportant, and that the traditional class structure had to be destroyed. Brecht pleaded idealistically for heroism and martyrdom in the service of the Marxist cause. On the other hand, he was sympathetic to the misfortunes of the common man, and realistically urged him to repudiate the necessity of heroic acts. Chapter I introduces the main problems of the thesis, and traces briefly their development throughout Brecht’s work. Chapter II discusses the problems of individualism in four of the "Erste Stϋcke". Man's search to discover his own values for existence ends in disappointment; his insistence on hedonistic and homosexual behaviour is a sign of his rejection of society and all traditional values. In only one of the works does the protagonist join society. The choice he has to make between security and revolution anticipates the dilemma of man in most of the later plays; he prefers conformity to individual freedom. The isolation of man, and the insufficiency of sensual pleasure reveal to the hedonists also that individualism is futile. The main characters in each of these plays are striking examples of Brecht’s experimentation with the figure of the anti-hero. Chapter III examines the implications of unheroic behaviour and capitulation in Mann ist Mann, and of conformity in Die Dreigroschenoper and Mahagonny. In the two operas, man is gradually forced to conform to the economic practices of bourgeois-capitalist society. In all three works, the individual's opportunism and willingness to capitulate to those in control, causes him to become evil and leads eventually to the dehumanizatlon of man. Chapter IV discusses Brecht’s insistence on the necessity of conformity to Marxist doctrine in the "Lehrstϋcke", Die heilige Johanna der Schlachthöfe and Die Tage der Commune. The individual finds that the ethics of the communist collective compel him to become evil. These plays mark the beginning of the Marxist Brecht’s conflict with the poet of human nature. In his attempt to accept Marxist doctrine without reservation, Brecht had to force himself consciously to overlook the shortcomings of Marxist practice. These plays stress that man must replace his belief in personal integrity with an unyielding faith in the ethics of the collective. Consequently, he must refuse to help or pity the suffering, and deliberately resort to revolutionary violence. Chapter V investigates Brecht's contradictory views about heroism in a number of the plays of exile and the later "Bearbeitungen”. His greater fidelity to his knowledge of human nature, and to his sympathy for the common man generally prevailed over his desire to show that man would accept Marxist doctrine and sacrifice himself for the cause. Most of these plays present unheroic, finely observed individuals who prefer to settle for the small pleasures of life rather than resist oppression in order to seek freedom or justice. The plays of exile reveal a less dogmatic Brecht, but still one who never ceased to emphasize the need for social change. He avoided depicting contemporary social evils in these dramas, and showed those of all time. Chapter VI assesses the varying emphases and the contradictions of Brecht’s thought. The chapter concludes that although Brecht insisted from first to last on the necessity of man's unheroic behaviour, his individuals did become more humane. There was no progression in his ideas concerning how man was to survive in traditional society or how he might achieve social change. The plays since the “Lehrstϋcke” revealed a shifting of emphasis from the dehumanization of the individual to the necessity of man's accepting personal responsibility for the welfare of his fellows. The real progression of Brecht was not in his thought, but in his art, in his ability to depict human nature in conflict with the injustices of all ages and societies. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Structural pattern is a very important aspect of any novel and an understanding of it often leads to a much better comprehension of a particular work than is otherwise available. This is true of the novels of Ernest Hemingway, yet the structural patterns of his major works have been somewhat neglected by his many critics. It will be shown in this thesis that the conventional dramatic structure is basic to Hemingway's four major novels: A Farewell to Arms. The Sun Also Rises. For Whom the Bell Tolls, and The Old Man and the Sea. These four novels will be studied in terms of the introduction, rising action, climax, falling action, and catastrophe in each. This will lead to a better understanding of the unity, motivation, conflicts, points of crisis, movement, and themes of the novels. It will indicate the essentially dramatic, and, at times, tragic nature of them, and it will lead eventually to a good understanding of Hemingway's attitude toward man and life. It will also indicate the basic importance of this pattern to Hemingway's work by demonstrating that the pattern is almost identical in every one of the four novels. Having thus established the predominance of this particular pattern in the work of Ernest Hemingway, this thesis will advance the conclusion that the pattern must, because of its frequency, be essential to Hemingway's mind, and that, for this reason, one cannot hope to understand his work with any approach to thoroughness without being fully aware of the pattern. The purpose of the thesis, then, is dual: to demonstrate that Hemingway possessed a clear consciousness of form, despite the contrary views of some of his critics, and to show that he succeeded in constructing all of his major novels in accordance with a particular dramatic pattern. In studying the predominance of the dramatic pattern in Hemingway's four major novels, it will be shown that the respective heroes of these works are all attempting, through different means, to escape from the decadence and limited happiness of life in modern society, and to find some source of meaning in life, some basis for a belief that there is a purpose in living. It will be shown that, barring religion, the only way in which one may achieve any sense of meaning and purpose in life is, according to Hemingway, through one's love for his fellow man. The ultimate aim here, then, is to present a structurally oriented method for studying the work of Ernest Hemingway which will lead to a clearer and more complete understanding of what he is trying to say and do in that work. / Arts, Faculty of / English, Department of / Graduate

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李名揚. / "2003年7月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻(leaves 118-123). / 附中英文摘要. / "2003 nian 7 yue". / Li Mingyang. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 118-123). / Fu Zhong Ying wen zhai yao. / 提要 --- p.i / Chapter 第一章： --- 引言 --- p.1 / Chapter 第二章： --- 「中國共產黨歷史上最大的冤案」 --- p.5 / Chapter (一) --- 「叛徒、內奸、工賊」的指控 --- p.6 / Chapter (二) --- 「走資本主義道路當權派」和「反革命修正主義份子」的指控 --- p.17 / Chapter (三) --- 其他指控 --- p.25 / Chapter 第三章： --- 從「英雄」到「罪人」----劉少奇在文革中角色的反思 --- p.28 / Chapter (一) --- 文革理論的確立與批劉運動的發展 --- p.29 / Chapter (二) --- 毛澤東櫂威與烏托邦藍圖的確立---劉少奇被「定案」的長遠意義 --- p.43 / Chapter 第四章： --- 由「罪人」變回「英雄」---劉少奇案平反的意涵 --- p.54 / Chapter (一) --- 「罪人」形象的否定與「英雄」形象的重現 --- p.55 / Chapter (二) --- 法律與政治的交錯---劉少奇案平反所牽涉的問題 --- p.59 / Chapter (三) --- 翻案浪潮與鄧小平權威的確立 --- p.69 / Chapter (四) --- 劉少奇路線的現實作用 --- p.78 / Chapter 第五章： --- 结论 --- p.87 / 附錄一：中共中央專案審查小組「關於叛徒、內奸、工賊劉少奇罪行的審查報告」 --- p.93 / 附錄二：中共十一屆五中全會〈關於爲劉少奇同志平反的決議〉 --- p.98 / 附錄三：鄧小平在劉少奇追悼會上所致的悼詞 --- p.112 / 參考文獻、書目 --- p.118

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