在過去大多數文學史的論述中，王闓運由於摹擬漢魏六朝文學的復古主張而被視為是晚清保守派人物，其文學思想的價值意義及其背後的現實關懷都被輕易忽略，沒有得到足夠的重視。在學界逐漸承認古典文學與現代文學並非截然斷裂、古典文學更是現代文學在草創階段重要的借鑒資源時，對於王氏文學思想似乎也可以提出新的評價。通過對王闓運文學思想的剖析，可以發現，他的文學除了是與當時眾多文學話語的對話之外，還包含他的經學思想和現實關懷，在晚清文化轉型時期的大背景下，王氏看似復古守舊的取態，實際上在對文學與個人、文學與政治關係的思考上體現了一定的超越性，甚至可以與五四以後的現代文人達成相似的共識契合。全文共分六章。第一章為緒論，交代研究動機及思路。第二章在說明王闓運對駢散之爭的取態之外，同時探討其學術思想與文論之間的關聯，指出王氏通經自治的思想迥異於當時的致用思潮，同時也反映在他的文論之中。第三章以王氏的「文情說」為主線，探討他與鄧輔綸和袁枚的詩學對話，由此還原王氏文情說的建構過程及闡釋其內涵意義，說明王氏對創作的關注聚焦於如何處理文學藝術和個人情感的關係。第四章通過比較王氏與道咸宋詩派的詩學異同，由此說明王氏試圖將宋明理學的道德詩學排除在他的文學思想之外，視詩歌為個人陶冶性情的藝術。第五章由王氏在學術和文學思想上提出的「為己為人」之辨展開，由此了解其文學思想背後批評文學為政治服務、士人追求名利等現實關懷，而他在肯定文學的獨立價值，以及批評道德及政治文學的取態上與五四文人也有一定程度的契合。第六章為結論。Abstract Wang Kaiyun has been labeled as a 槍conservative" for his literary acclamation in most research of literary history. Therefore, his literary concern on the problems of society has not been attended much in the relevant studies. This dissertation focuses on the theme of Tradition and Modernity, uncovering his literary thought in the cultural transitional era on the one hand, and on the other, giving efforts to explain his transcendental consciousness over the relation between individuality and literature, literature and politics. In his literary dialogue with other literary contexts, his seemingly conservative acclamation is in fact thought-provoking for the contemporary as well as the following May-Fourth cultural movement. This dissertation consists of six chapters. The first chapter introduces research motive and methodology. The second chapter focuses the relation between Wang Kaiyun's literary theory and thoughts apart from his attitude toward the two literary types of prose and essay. The third chapter explores his poetic dialogue with Deng Fulun and Yuan Mei by tracing his Wen Qing Shuo(theory on the literary sentiments), in order to restore the process of theoretical formation as well as the connotation interpretation. The following chapter compares and contrasts Wang's poetic theory with the School of Song Poetry in Dao, and confirms his acclamation on the function of poetry as way of feeling expression. Wang Kaiyun rejects the authority of Song-Ming Confucianism in poetry, and insists that poetry be the art for cultivating human mind. Chapter five focuses on Wang's philosophical idea of Wei Ji versus Wei Ren(for self-versus for others), uncovering the value of his humanity concern for the following May-Fourth cultural movement. The last chapter is the concluding part.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura. / Made available in DSpace on 2012-10-21T05:25:07Z (GMT). No. of bitstreams: 1 196057.pdf: 1992538 bytes, checksum: 06e05f46feda26f2bb17dd3794dc1df8 (MD5) / O objeto de estudo centra-se na relação entre literatura, história e cinema. A tese é estruturada em dois capítulos: o primeiro institui os fundamentos teóricos entre literatura, história e cinema, considerando o texto como elemento unificador das três áreas do conhecimento; o segundo estabelece relações entre os textos produzidos antes da Guerra do Contestado, os relatórios de guerra, os textos históricos, o romance Geração do Deserto, de Guido Wilmar Sassi - texto centralizador da discussão - e o filme A guerra dos pelados, de Sylvio Back. Os textos são considerados como estilhaços da Guerra do Contestado.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Graduação em História. / Made available in DSpace on 2012-10-18T11:43:48Z (GMT). No. of bitstreams: 1 189814.pdf: 426897 bytes, checksum: 3745ff42a3662e970761d88ab2beadf6 (MD5) / Análise da atuação do Exército brasileiro na Guerra do Contestado. Essa discussão tem como ponto de partida pensar o papel do exército em sua campanha contra os sertanejos, destacando o contexto sócio-político que circulou e incentivou a atuação dessa instituição na guerra; as possibilidades que permearam as estratégias e investidas militares no front bem como os conflitos internos que povoaram as consideradas forças legais no seu cotidiano.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura. / Made available in DSpace on 2012-10-18T23:10:01Z (GMT). No. of bitstreams: 1 299949.pdf: 617520 bytes, checksum: 3d94a28e7db7a0e6dad8360d404ac64a (MD5) / Esta dissertação efetua pontuações, leituras e reflexões sobre a representação discursiva e narrativa de um fato histórico brasileiro em textos não-literários e literários. Dividida em duas partes, além das considerações iniciais e reflexões finais, na primeira pontuam-se aspectos de representação não ficcional da Guerra do Contestado. A segunda parte configura-se na leitura dos romances Geração do Deserto, de Guido Wilmar Sassi, e O Bruxo do Contestado, de Godofredo de Oliveira Neto, buscando evidenciar tanto as diferenças narratológicas e estéticas quanto as marcas ideológicas de cada uma das narrativas.

James's belief that "it is art that makes life" is essential to his own literary technique and to the reading experience within and in relation to his novels. The thesis seeks to posit the notion of reading as a fundamental concern in Henry James's fiction. Drawing largely on the phenomenological and anthropological approaches to the reading process of Wolfgang Iser, this thesis examines the Jamesian text as a performative event involving author, reader and character in creative and interpretative narrational struggles. Iser uses "play" as an integral term to describe the dynamic between author-reader-text which produces a literary work of art. In James's fiction the doubling of the author/reader and reader/character role within the text crucially structures a narrative form which is itself an inquiry into the human use of fiction. The Iserian conception of the act of reading as an engagement with the "gaps" within the play-space of the literary text can elucidate James's structural and thematic use of such sites of indeterminacy to foreground the enlivening necessity of an indeterminate "felt life" within human narrative structures. What Maisie Knew highlights the most important rule in the game -- the necessity for the reader to create meaning from the indeterminate aspects of the text. The shared exercise for author-reader-character is the attempt to access the child's unformulated inner reality to ascertain what Maisie knows. In the section on The Portrait of a Lady Iser's notion of reading as an ideational activity aids an inquiry into the human use of mental fictive picturing to compose reality. The Ambassadors demonstrates the "anthropological" need for the particular mode of consciousness brought about by the literary text when we engage in a world as real as but different to our own. Strether is the reader's ambassador in this world and his interpretative activity mirrors the reader's quest. In The Golden Bowl the bewildering multiplicity of readings made possible by the indeterminate aspects of the literary text instigates a contest for narrative forms in which the chosen fictions of the readers/characters must be actively willed into existence.

In an attempt to develop a better perspective on P.K. Page's work, the thesis concentrates on the development of her imagery. The imagery illustrates the direction of Page's development and a close study of its nature will uncover the central concerns of Page's writing. The first chapter of the thesis examines the field of critical analysis already undertaken on Page showing its good points and its weak points. The following three chapters trace the chronological development of Page's work. The second chapter covers up to the writing of The Sun And The Moon in 1944. Even her early work illustrates that as her images became complex, her concern with perspective grew. Her more complex work such as, "The Stenographers", "Panorama", and The Sun And The Moon in particular illustrate this concern. The third chapter analyzes the poetry of her first collection As Ten As Twenty and looks at the period between 1944 and 1954. In this period Page's images become more complex and her work becomes overtly involved with perspective and vision. Images revolving around trains, photographs, snow and whiteness become recurring and a continuity develops between her subjects. Most significantly "Round Trip", "The Bands And The Beautiful Children", "Adolescence", "Them Ducks", "Stories Of Snow", "Subjective Eye", and "Photos Of A Salt Mine" illustrate how Page's concern with imagery and perspective was melding together. The fourth chapter deals with her second collection The Metal And The Flower and her third collection Cry Ararat I. It also looks briefly at Page's shift to painting in the Sixties and examines some of her more recent poetry. In this period Page undergoes her most significant changes. Images recur from earlier periods, but now the images elicit a more complex view of the world. Page's poetry reflects her awareness of the bounds of vision. She realizes that one must become a conjuror in order to see different perspectives. Her poetry, painting, and articles reflect this shift as "Reflection In A Train Window", "Arras", "Cry Ararat!", "A Backwards Journey", "Questions And Images", and "Traveller, Conjuror, Journeyman" illustrate. The study demonstrates that as Page's imagery developed, there was a parallel development in her concern with perspective and vision. Her imagery and her vision merge as perspective and vision become her primary concern. Her recent poetry indicates that any further development will be in the same vein as she attempts to discover more about the interrelationship between image, perspective and vision. / Arts, Faculty of / English, Department of / Graduate

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Austin Clarke dedicated himself to the ideal of an independent Irish literature in English. This dedication had two principal consequences for his work: he developed a poetic style appropriate to expressing the Irish imagination, and he found inspiration in the matter of Ireland, in hex mythology and folklore, in her literary, artistic and religious traditions, and in the daily life of modern Ireland. The basic orientation of Clarke's work determines the twofold purpose of this thesis. It seeks to provide a clarifying background for his poetry, drama and fiction up to 1938; and, in examining the texts in their proper context, it seeks to reveal the permanent and universal aspects of his achievement. Clarke's early development in response to the shaping influence of the Irish Revival is examined in the opening chapter. His initial interest in heroic saga is considered, but, principally, the focus is on his effort to establish stylistic links between the Anglo-Irish and the Gaelic traditions, an effort that is seen to culminate with his adoption of assonantal verse as an essential element in his poetic technique. In the second chapter, the emphasis shifts to the thematic consequences of Clarke's involvement with Ireland. His understanding of Irish tradition is discussed, and, in particular, the origins and nature of his imaginative preoccupation with the culture of early Christian Ireland are examined. What emerges is that Clarke perceives a permanent tension in the Irish mind between the Christian and the pagan viewpoints, a conflict of values that he termed the drama of conscience. The conflict informs each of the major texts analysed in the remainder of the thesis. Pilgrimage and Other Poems, discussed in the second chapter, reveals the recurrence of the tension between the Christian and the pagan traditions in the course of Irish history. Clarke's early plays and novels, which are the focus of the third chapter, relate the conflict to the culture of medieval Ireland. The fourth chapter examines Clarke's own experience cf the conflict as it is presented in Night and Morning. In the recognition that the drama of conscience remains a vital element in Clarke's imagination after 1938, the thesis concludes by indicating the main lines of continuity between the earlier and the later work. / Thesis / Doctor of Philosophy (PhD)