論文(碩士)--香港中文大學, 1973. / Ms. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 壹、 --- 鄭觀應與盛世危言 --- p.1 / Chapter 貮、 --- 鄭觀應思想的形成 --- p.35 / Chapter 叁、 --- 鄭觀應的自強觀 --- p.99 / Chapter 肆、 --- 鄭觀應及其時勢 --- p.171

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Orientadora: Ilse Maria Beuren. / Dissertação (mestrado) - Universidade Regional de Blumenau, Centro de Ciências Sociais Aplicadas, Programa de Pós-Graduação em Ciências Contábeis.

My thesis studies rewriting in the works of Madeleine Ferron. I analyze passages Ferron took from her own writings and rewrote in later texts. Between 1960 and 1995, Ferron produced 114 texts; they include tales, short stories, articles, novels, ethnographic studies and biographies. The author rewrote twenty-two passages and four complete texts. My study describes and analyzes the functions of the rewriting process in these texts: it explores, among others, literary devices, thematic structures and the manner in which the rewritings determine editorial strategies. Rewriting is at the core of the Ferronian esthetic and is here characterized by the transposition of genres, and corresponding processes of fictionalization or defictionalization. I identify three stages in Madeleine Ferron's writing career: the early years (1960--1970), when Jacques Ferron (her brother, a well-known writer) rewrote Madeleine's texts, the period during which her major works were produced (1971--1989); and 1990 to 1995, the period that saw the publication of her most "personal" texts; these chronological divisions correspond to the three main chapters of this thesis.

Elizabeth Jane Gardner (1837-1922) was an American artist who lived in Paris from 1864-1922. She was the most frequently represented woman artist of any nationality at the Paris Salon in the late nineteenth century, and the only American woman to have ever won a medal (1887). In 1896, she married William Bouguereau, the major academic painter of the time. Yet in spite of these distinctions, Elizabeth Gardner has received surprisingly little scholarly attention. / This thesis is a biographical and analytical study of the expatriate artist, based on her unpublished letters in the Archives of American Art, Smithsonian Institution, Washington, D.C. Though the focus is primarily on her years as a practicing artist in Paris (1864 to 1896), attention is also given to her early and late years, and to the collaborative nature of her relationship with Bouguereau. / A chronology of the artist, as well as inventories of her paintings and letters are also included.

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A major issue in William Gaddis' novels, The Recognitions and JR, is the problematic role of art and the artist. The thesis traces this theme to certain classic and romantic ideas about art in the nineteenth-century American romance, as well as to the literary theories of such modernists as T. S. Eliot and Virginia Woolf, and to the theories of such disparate writers as, among others, the New Critics and Alain Robbe-Grillet. The ideas and structure of Gaddis' novels are located and discussed in relation to this context. Like many contemporary novelists, Gaddis transposes his themes into the reflexive structures of his works. His development of self-referring form culminates in JR, a novel in which language is itself the structural and thematic focus. This thesis shows that, although Gaddis' novels demonstrate the modernist tenet that art vindicates life, they are also powerful satires which express the writer's concern for the social relevance of art.

John F. Rockart. / Bibliography: p. 20.

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