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Starting from the premise that form and content are one, and seeing interpretation as the elucidation of their unity, this thesis attempts to interpret the novels of Mordecai Richler. Taking form to be that which forms the world of the novel, and to be that world as an organized whole—form as process and as product, this study examines the nature of the worlds of Richler's novels, how their nature reflects particularly in character, setting and plot, and, finally, how the literary forms Richler uses bear upon the worlds he depicts. The Introduction describes theoretically the basis and nature of this interpretive approach, and defines its scope and discipline. Chapter One deals with Richler's first three novels, The Acrobats, set in a war-weary Spain, both realistically treats Andre Bennett's search for definition and dramatizes symbolically how evil, as a constant force in man's life because it is a permanent part of his nature, takes its toll in Andre's death. Son of _a Smaller Hero, Richler's most formally realistic novel, describes Noah Adler's search for definition within a particular and tightly-knit social context, and explores how the fundamental tension between man's need for passion and his passionate need for security, which results in him suppressing his passions in order to gain security, complicates this search. A Choice of Enemiest the most bitterly pessimistic of the first three novels, projects a world which overwhelms any attempt to find meaning and value in it, and in which, as the title suggests, a choice of enemies is the only kind of choice the characters can make. Chapter Two discusses The Apprenticeship of Duddv Kravitz. focussing on how this novel marks a departure from the novels which precede it, how Richler's controlled use of the picaresque and comic forms affects the world he projects, and how this world in its ambiguity and corruptness reflects itself in Duddy, who is undoubtedly Richler's most successful character. It is the argument of Chapter Two that Duddv Kravitz is not a comic novel, and that the point at which Duddy's world absorbs him marks where the novel's overriding pessimism absorbs the comic. Chapter Three concerns itself with The Incomparable Atuk and Cocksure, and seeks to demonstrate how the pessimism of the previous novels intensifies and darkens as Richler moves from a predominant mode of verisimilitude to the caricature, grotesquerie, and fantasy of satire and black humour. The point at which the satire turns into black humour is the point at which the malevolence Richler depicts establishes its predominance, its power and significance beyond satire's ability to diminish it by ridicule. For it subsumes the moral norm satire needs to make its ridicule effective. Because Richler incorporates so much from his previous novels into St. Urbain's Horseman, Chapter Four treats it both as a work unto itself and as a kind of summing up. Seen from the perspective of the latter, it serves well as the basis for a conclusion about Richler's work thus far. . Controlling this conclusion is the contention that the return to a mode of verisimilitude in St. Urbain's Horseman is integral to its accommodation of the growing pessimism of the previous novels. Rather than being clearly affirmative, this accommodation-—Jake's ability to find some meaning and value in the world, is qualified by the unabated continuance of the sources of Richler's pessimism. The tension here, paradoxically, is the synthesis of Richler's pessimism and a new partial resolve. / Arts, Faculty of / English, Department of / Graduate

Hsu Chih-mo was an influential poet in China in 1920’s but his works have not been thoroughly studied either in or outside China. In this thesis the main features of Hsu's poetry are examined and attention is given to the influence he received from others and the impact of family life and social and political environment on his thoughts and works. His prose writings which supply valuable sources to the understanding of his poetry are often drawn upon. Chapter I (Background) provides some basic information about the poet's life and the Chinese social and political conditions in his days. Chapters II (Woman), III (Love), IV (Revolution) and V (Religion) may be regarded as what the poet has to say and Chapter VI (Diction) and VII (Imagery), the ways he says them. On account of the scope of this paper, prosody, which requires extensive studies in the case of Hsu, is not treated as a separate topic, and in the last chapter (Conclusion), a brief summation and appreciation is given with emphasis on the role played by Hsu as an ever sincere and zealous promoter and experimenter of modern Chinese poetry ("new" poetry). / Arts, Faculty of / Asian Studies, Department of / Graduate

梁婉儀. / 論文(碩士) -- 香港中文大學硏究院中國語言及文學學部, 1995. / 參考文獻: leaves 278-291. / Liang Wanyi. / 論文內容簡介 / Chapter 第一章 --- 引言 --- p.1-4 / 註釋 --- p.5 / Chapter 第二章 --- 鄧友梅傳（1 9 3 1 ´ؤ ) / Chapter (一） --- 動蕩少年（1931´ؤ 1949) --- p.6 -14 / Chapter (二） --- 得志靑年（1949一1957) --- p.15-20 / Chapter (三） --- 悲哀壯年（1957 ´ؤ 1976) --- p.21-30 / Chapter (四） --- 風光中年（1976 ´ؤ) --- p.31 -35 / 註釋. --- p.36-47 / Chapter 第三章 --- 近年有關鄧友梅人格的一些評論 / Chapter (一） --- 劉心武、李頻筆下的鄧友梅. --- p.48 ´ؤ58 / Chapter (二） --- 鄧友梅性格剖析 --- p.59-69 / 註釋 --- p.70-75 / Chapter 第四章 --- 鄧友梅早期小說 / Chapter (一) --- 小引 --- p.76 -77 / Chapter (二） --- 愛情小說. --- p.78-84 / Chapter (三） --- 工地題材小說. --- p.85-91 / Chapter (四) --- 戰士生活小說. --- p.92-95 / Chapter (五) --- 小結 --- p.9 6 / 註釋. --- p.97- 100 / Chapter 第五章 --- 鄧友梅的小說理論與實踐 / Chapter (一） --- 鄧友梅的小說理論. --- p.101-107 / Chapter (二） --- 鄧友梅的小說理論評析 --- p.108 - 111 / Chapter (三） --- 鄧友梅小說理論的實踐 --- p.112-124 / 註釋 --- p.125 ´ؤ131 / Chapter 第六章 --- 鄧友梅小說的敘事模式 / Chapter (一） --- 小引 --- p.132-134 / Chapter (二） --- 小說的敘事模式 --- p.135-138 / Chapter (三） --- 鄧友梅小說的敘事時間. --- p.139 -149 / Chapter (四） --- 鄧友梅小說的敘事角度 --- p.150-160 / Chapter (五） --- 鄧友梅小說的敘事結構. --- p.161 -163 / Chapter (六） --- 小結. --- p.164 -165 / 註釋. --- p.166 -169 / 附表： <鄧友梅小說的敘事模式>. --- p.170-171 / Chapter 第七章 --- 鄧友梅的小說人物 / Chapter (´ؤ) --- 小引. --- p.172 -175 / Chapter (二） --- 鄧友梅的人物班子 --- p.176-179 / Chapter (三） --- 人生世相的描畫 --- p.180-182 / Chapter (四） --- 人物的塑造. --- p.183-192 / Chapter (五） --- 小結. --- p.193-195 / 註釋. --- p.196-198 / Chapter 第八章 --- 鄧友梅的小說語言 / Chapter (一） --- 小引 --- p.19-202 / Chapter (二） --- 鄧友梅小說語言的時代性 --- p.203-207 / Chapter (三） --- 鄧友梅小說語言的地域性 --- p.208-218 / Chapter (四） --- 鄧友梅小說語言的性格化. --- p.219-225 / Chapter (五） --- 鄧友梅小說語言的其他特色 --- p.226-232 / Chapter (六） --- 小結 --- p.233 / 註釋 --- p.234-241 / Chapter 第九章 --- 鄧友梅的京味小說 / Chapter (一） --- 創作京味小說的原因 --- p.242-246 / Chapter (二） --- 京味小說中的京味（地域色彩） --- p.247-261 / Chapter (三） --- 鄧友梅京味小說的特色 --- p.262-266 / 註釋 --- p.267-271 / 第十章 結語 --- p.272-276 / 註釋 --- p.277 / 參考書目 --- p.278-291 / 鄧友梅小說繫年 --- p.292 -293 / 鄧友梅小說結集 --- p.294-295

Texte remanié de--Tesis doctoral. / Notes bibliogr.

Spine title: The search for love and truth in Shirley Hazzard's writings. Bibliography: leaves 216-227.

This paper presents different aspects of architect Aldo Rossi's thought related to analogy. The idea of type which is central to The Architecture of the City, is reinterpreted here in relation with Rossi's ideas about analogy which are proposed in A Scientific Autobiography. The influence of Etienne-Louis Boullee and Ernesto Rogers are discussed. Rossi's architectural type is related to Carl Jung's archetype whose numinous and compulsive aspects relate type to Rossi's ideas about architecture as instrument or apparatus. The theme of the cabine and the sea, and that of deposition are analyzed in order to illustrate the ideas above. The deposition introduces a discussion of Rossi's ambivalence about the role of type and the possibilities of architecture today. Finally, the moral and political aspects of these theories about analogy is presented in relation Rossi's ideas of the analogous city and of technique.

This study examines problems of escape in the fictional writings of E. L. Doctorow. It makes clear that the characters in the stories as well as their creator frequently try to break free from restrictions or control--the protagonists physically, the author more theoretically. A description of the nature of the confinements as well as the difficulties associated with getting away reveals much about Doctorow's perception of 20th century American reality and the writer's place in it. Thus, the study moves from a relatively straightforward assessment of the kinds of escape featured in Doctorow's narratives and the way in which these are justified to a more complicated evaluation of Doctorow's situation as a writer in relation to his characters' predicaments and recent critical analyses of his prose.

K. Mahabir ... [et al.]. / Cover title. / Includes bibliographical references (p. 11). / Work partially supported by DEC, and the MIT/Industry Power Electronics Collegium. Work partially supported by the Air Force Office of Scientific Research. AFOSR-88-0032