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Lu Xun : the Chinese "Gentle" Nietzsche = Lu Xun : Zhongguo "wen he" de NicaiZhang, Zhaoyi. January 2001 (has links)
Parallel title in Chinese characters. Includes bibliographical references (p.[179]-192) and index.
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Verbal and visual language and the question of faith in the fiction of A.S. ByattSorensen, Susan D. 11 1900 (has links)
This study investigates the relation between faith in a transcendent reality and
faith in language, both verbal and visual, in the work of English novelist and critic
Antonia Byatt. Her ideal conception of communication combines the immediacy and
primal vigour of the visual with the methodical pragmatism of words. However, Byatt's
characters who exemplify this effort at double vision - in particular Stephanie Potter
Orton in the 1985 novel Still Life - find in their quests frustration and even death rather
than fulfillment.
My investigation focuses on A. S. Byatt's presentation of the way language
attempts to represent and interact with three particular areas: fundamental personal
experiences (childbirth, death, love), perceptual and aesthetic experiences (colour and
form, painting), and transcendent experiences (supernaturalism and Christian religion). I
consider all stages of her career to date - from her first novel The Shadow of the Sun
(1964) to Babel Tower (1996). Although Possession: A Romance (1990) has garnered
most of the critical attention accorded to Byatt, I argue that this novel is not generally
representative of her principles or style. A neo-Victorian romance, part parodic and part
nostalgic, combined with an academic comedy, Possession shares neither the sombre
mythological and psychological fatalism of her 1960s fiction nor the modified realism of
her middle-period fiction. Still Life and The Matisse Stories (1993) are the works that
best elucidate Byatt's major preoccupations; they intently strive to combine the most
powerful aspects of verbal and visual knowledge.
The methodological basis for this study is pluralist; it emphasizes close reading,
combined with phenomenological, biographical, and thematic criticism. As Byatt does, I
rely principally on the ideas of writers and artists rather than theorists; she cannot be
understood without specific reference to George Eliot, Donne, Forster, Murdoch, Van
Gogh, and Matisse (among others).
Byatt's quest for truth and transcendent meaning and her investigation of the
trustworthiness of words have undergone recent changes; she seems more sharply aware
of the limitations of language and the unattainability of absolute truth. Her writings in the
1990s about paintings and colour emphasize their intrinsic value rather than their ability
either to revitalize the word or suggest the numinous. / Arts, Faculty of / English, Department of / Graduate
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1968, théorie et praxis de "Tel quel" dans "Logiques" et "Nombres" de SollersGagné, Marie, 1961- January 1986 (has links)
No description available.
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Personal identity in the novels of Max Frisch and Luigi PirandelloRemington, Rachel. January 1999 (has links)
No description available.
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Teatro dei miti in Pirandello e D'AnnunzioMeda, Anna Rosa 02 1900 (has links)
D'Annunzio e Pirandello come uomini e come artisti si pongono agli
antipodi della scena culturale del loro tempo, eppure e nel mito, inteso
come categoria psichica oltre che artistica, che la loro antitetica
opera trova un punto d'incontro. In questo studio si analizza, dunque,
il mito nelle tre tragedie dannunziane in cui l'elemento mitico si
manifesta nel modo piu palese (La citta morta, La figlia di Iorio e
Fedra) e nella trilogia dei miti pirandelliana, summa e approdo finale
di tutta la sua opera. Per entrambi la necessita di mito nasce dalla
sofferta consapevolezza della crisi moderna: valori relativi,
personalita
atemporale
scissa,
e fuori
nessun
dello
l'aspirazione alla totalita.
sen so
spazio
di direzione.
del mito e
Nella
ancora
dimensione
possibile
La teoria junghiana degli archetipi dell'inconscio collettivo, di
cui i miti sarebbero le manifestazioni culturali, si e rivelata un
importante ausilio analitico che consente, tramite uno scavo in
profondita oltre le scorze e le sovrastrutture culturali e storiche, di
cogliere la sapiente orditura di immagini e motivi archetipici nelle
opere, confermando l'idea dell'artista anche come uomo collettivo oltre
che come individuo. In tale prospettiva il confronto tra le opere ha
portato ad importanti conclusioni, che non solo chiariscono la loro
opera di scrittori, ma anche la loro funzione all'interno della societa
in cui sono vissuti e, per esteso, della nostra.
Per entrambi recuperare il mito e ridargli una veste moderna, pur
nei rispettivi distinti modi, significa essenzialmente cercare di
superare il relativo, la frammentarieta e la mediocrita del mondo
contemporaneo. Nel processo di recupero, tuttavia, il mito stesso viene
modificato e, facendosi specchio della condizione psichica moderna, non
solo ne interpreta le piu profonde istanze, ma giunge anche a
precorrerne quelle future. La posizione centrale nelle opere dei due
scrittori dell'inconscio, il grande rimosso dell'Io raziocinante
moderno, emergente nella possente figura della Grande Madre primordiale,
rivela la direzione della futura coscienza umana nella necessita di
riaccedere alle fonti piu profonde della psiche da cui nasca l'incontro
e la fusione degli opposti, inconscio e coscienza, l'elemento ctonio,
fertile e generatore, e quello uranico, spirituale e trascendente. / D'Annunzio and Pirandello both as men and as artists can only be
placed at the opposite ends of the cultural scene of their times. Yet,
it is in myth that their antithetical works finally converge. This
study, therefore, analyzes myth in three of D'Annunzio's tragedies where
the mythical dimension is more apparent (The dead city, Iorio/s daughter
and Fedra) and in the trilogy of myths by Pirandello, which brings his
work to its ultimate expression. For both authors the need for myth is
born of the painful awareness of modern man's crisis: relative values, a
divided personality and no sense of direction. In the timeless and
universal dimension of myth it is still possible to achieve totality.
The Junghian theory of the archetypes of the collective unconscious,
of which myths are cultural manifestations, has proved to be an
analytical tool of great importance. By giving access to the deepest
level of the texts beyond their cultural and historical layers, it
brings to light the otherwise elusive meaning of archetypal images and
motives, revealing the true nature of art to be not just the work of an
individual but also of collective man. The works, different as they
may be, when compared in this perspective have nevertheless yielded some
important common conclusions, not only on D'Annunzio and Pirandello as
writers but also on their role within the society they lived in and, by
extension, our own.
For both of them myth, even in a modern context, means essentially
the overcoming of the fragmentation, the relativity and the mediocrity
of contemporary life. However, in the process of recapturing this
mythical dimension, myth itself is bound to be modified. Because it
mirrors the modern psyche, it not only interprets its deepest present
needs, but also points to its future ones. The central position occupied
in their works by the subconscious, emerging from behind the powerful
image of the primordial Great Mother, points the way to future
psychological development and to the need to regain access to the
deepest levels of the human psyche so that its opposing forces,
subconscious and consciousness, can meet and be reconciled. / Classics & Modern European Languages / D. Litt. et Phil. (Italian)
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Utopie, filosofie en hermeneutiek : 'n verkenning van die denke van Gianni VattimoEngelbrecht, Schalk Willem Petrus 12 1900 (has links)
Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: Utopia, Philosophy and Hermeneutics
Exploring the thought of Gianni Vattimo
Article I:
The End of Utopia
An explanation for the rise of distopia in popular culture with reference to the ideas of
Gianni Vattimo
In this article the development of utopianism is described by tracing it back to its
original classical form, following it through its modernistic form and finally
describing distopia as the postmodern form of utopia. Using the ideas of Gianni
Vattimo, distopia is interpreted as the creative embodiment of the "counterfinality of
reason". In this way distopia acts as a critique of modem rationalism. The question is
raised if it is possible to speak of "the end of utopia" in postmodern times. It is
concluded that utopian thought remains and functions as a necessary fiction in
postmodern ethics.
Article II:
An Appropriate Postmodern Philosophy
A discussion of the hermeneutics of Gianni Vattimo
The aim of this article is to discuss the radical hermeneutics proposed by the Italian
philosopher Gianni Vattimo. Vattimo declares a radicalization of hermeneutics to be
the only consistent, persuasive and valid approach to the postmodern conditions of
existence we find ourselves in today. In order to explain what this approach entails,
and how Vattimo justifies it, this article discusses his interpretation of the history (and
end) of modernity, as well as his proposals for a new task for philosophy, and for a
postmodern ethics. / AFRIKAANSE OPSOMMING: Utopie, Filosofie en Hermeneutiek
'n Verkenning van die denke van Gianni Vattimo
Artikel I:
Die Einde van Utopie
'n Verklaring vir die opkoms van distopie in populêre kultuur
aan die hand van die idees van Gianni Vattimo
Hierdie artikel beskryf die ontwikkeling van utopianisme deur die oorspronklike
klassieke en latere modernistiese vorme daarvan na te gaan, en uiteindelik distopie te
beskryf as die postmoderne vorm van utopie. Met verwysing na die denke van Gianni
Vattimo word distopie geïnterpreteer as die kreatiewe beliggaming van die
"kontrafinaliteit van rede". Op hierdie manier lewer distopie kritiek op moderne
rasionalisme. Die vraag word gevra na die moontlikheid daarvan om te kan praat van
"die einde van utopie" in postmoderne tye, en uiteindelik word tot die gevolgtrekking
gekom dat utopiese denke steeds 'n rol het om te speel as 'n noodsaaklike fiksie binne
'n postmoderne etiek.
Artikel II:
'n Gepaste Postmoderne Filosofie
'n Bespreking van die hermeneutiek van Gianni Vattimo
Die doel van hierdie artikel is om die Italiaanse filosoof Gianni Vattimo se voorstel
vir 'n radikale hermeneutiek te bespreek. Vattimo is oortuig daarvan dat 'n
radikalisering van hermeneutiek die enigste konsekwente, oortuigende en geldige
benadering is tot die postmoderne bestaanstoestande waarbinne ons onsself vandag
bevind. In 'n poging om te verduidelik wat hierdie benadering behels, en hoe Vattimo
dit regverdig, word sy interpretasie van die geskiedenis (en einde) van moderniteit
bespreek, asook sy voorstelle vir 'n nuwe taak vir die filosofie, en vir 'n postmoderne
etiek.
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The ontological status of Pirandello???s metacharacters: six characters in search of a Platonic authorSarrinikolaou, Irene, School of Media, Film & Theatre, UNSW January 2006 (has links)
This thesis proposes that a defining feature of Pirandello???s 1921 play ??? Six Characters in Search of an Author, is a relentless transcendentalism. It argues that the play embodies a fascination with existential and conceptual ???occult???, and my hypothesis is that by exploring Pirandello's transcendentalism we may enhance our understanding of how and why Pirandello's play points a mirror up to the invisible and suggests that we could be a reflection of that. Pirandello's drama alludes to some of the most convoluted and enduring debates in western philosophy. However, there is very little English-language material on Pirandello???s relation to philosophy or the relevance of analytical philosophy, metaphysics or epistemology to Pirandello???s playwriting. Even foreign-language studies focus on existentialism, phenomenology and other Continental traditions of philosophy. My contribution is to craft a subjective response to Six Characters in accordance with the methods of analytical philosophy, making use of paradigms and techniques that stem from aesthetics and metaphysics to elucidate a complex self-reflexive play. Chapter One presents analytical philosophy as a potential interpretative framework for the play, whereas chapters two and three explore the metacharacters specifically. This thesis does not seek to offer conclusive assertions about the peculiar ontological status of Pirandello???s metacharacters, rather, it introduces some frameworks and conceptual tools for better approaching their ontolo
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The ontological status of Pirandello???s metacharacters: six characters in search of a Platonic authorSarrinikolaou, Irene, School of Media, Film & Theatre, UNSW January 2006 (has links)
This thesis proposes that a defining feature of Pirandello???s 1921 play ??? Six Characters in Search of an Author, is a relentless transcendentalism. It argues that the play embodies a fascination with existential and conceptual ???occult???, and my hypothesis is that by exploring Pirandello's transcendentalism we may enhance our understanding of how and why Pirandello's play points a mirror up to the invisible and suggests that we could be a reflection of that. Pirandello's drama alludes to some of the most convoluted and enduring debates in western philosophy. However, there is very little English-language material on Pirandello???s relation to philosophy or the relevance of analytical philosophy, metaphysics or epistemology to Pirandello???s playwriting. Even foreign-language studies focus on existentialism, phenomenology and other Continental traditions of philosophy. My contribution is to craft a subjective response to Six Characters in accordance with the methods of analytical philosophy, making use of paradigms and techniques that stem from aesthetics and metaphysics to elucidate a complex self-reflexive play. Chapter One presents analytical philosophy as a potential interpretative framework for the play, whereas chapters two and three explore the metacharacters specifically. This thesis does not seek to offer conclusive assertions about the peculiar ontological status of Pirandello???s metacharacters, rather, it introduces some frameworks and conceptual tools for better approaching their ontolo
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Teatro dei miti in Pirandello e D'AnnunzioMeda, Anna Rosa 02 1900 (has links)
D'Annunzio e Pirandello come uomini e come artisti si pongono agli
antipodi della scena culturale del loro tempo, eppure e nel mito, inteso
come categoria psichica oltre che artistica, che la loro antitetica
opera trova un punto d'incontro. In questo studio si analizza, dunque,
il mito nelle tre tragedie dannunziane in cui l'elemento mitico si
manifesta nel modo piu palese (La citta morta, La figlia di Iorio e
Fedra) e nella trilogia dei miti pirandelliana, summa e approdo finale
di tutta la sua opera. Per entrambi la necessita di mito nasce dalla
sofferta consapevolezza della crisi moderna: valori relativi,
personalita
atemporale
scissa,
e fuori
nessun
dello
l'aspirazione alla totalita.
sen so
spazio
di direzione.
del mito e
Nella
ancora
dimensione
possibile
La teoria junghiana degli archetipi dell'inconscio collettivo, di
cui i miti sarebbero le manifestazioni culturali, si e rivelata un
importante ausilio analitico che consente, tramite uno scavo in
profondita oltre le scorze e le sovrastrutture culturali e storiche, di
cogliere la sapiente orditura di immagini e motivi archetipici nelle
opere, confermando l'idea dell'artista anche come uomo collettivo oltre
che come individuo. In tale prospettiva il confronto tra le opere ha
portato ad importanti conclusioni, che non solo chiariscono la loro
opera di scrittori, ma anche la loro funzione all'interno della societa
in cui sono vissuti e, per esteso, della nostra.
Per entrambi recuperare il mito e ridargli una veste moderna, pur
nei rispettivi distinti modi, significa essenzialmente cercare di
superare il relativo, la frammentarieta e la mediocrita del mondo
contemporaneo. Nel processo di recupero, tuttavia, il mito stesso viene
modificato e, facendosi specchio della condizione psichica moderna, non
solo ne interpreta le piu profonde istanze, ma giunge anche a
precorrerne quelle future. La posizione centrale nelle opere dei due
scrittori dell'inconscio, il grande rimosso dell'Io raziocinante
moderno, emergente nella possente figura della Grande Madre primordiale,
rivela la direzione della futura coscienza umana nella necessita di
riaccedere alle fonti piu profonde della psiche da cui nasca l'incontro
e la fusione degli opposti, inconscio e coscienza, l'elemento ctonio,
fertile e generatore, e quello uranico, spirituale e trascendente. / D'Annunzio and Pirandello both as men and as artists can only be
placed at the opposite ends of the cultural scene of their times. Yet,
it is in myth that their antithetical works finally converge. This
study, therefore, analyzes myth in three of D'Annunzio's tragedies where
the mythical dimension is more apparent (The dead city, Iorio/s daughter
and Fedra) and in the trilogy of myths by Pirandello, which brings his
work to its ultimate expression. For both authors the need for myth is
born of the painful awareness of modern man's crisis: relative values, a
divided personality and no sense of direction. In the timeless and
universal dimension of myth it is still possible to achieve totality.
The Junghian theory of the archetypes of the collective unconscious,
of which myths are cultural manifestations, has proved to be an
analytical tool of great importance. By giving access to the deepest
level of the texts beyond their cultural and historical layers, it
brings to light the otherwise elusive meaning of archetypal images and
motives, revealing the true nature of art to be not just the work of an
individual but also of collective man. The works, different as they
may be, when compared in this perspective have nevertheless yielded some
important common conclusions, not only on D'Annunzio and Pirandello as
writers but also on their role within the society they lived in and, by
extension, our own.
For both of them myth, even in a modern context, means essentially
the overcoming of the fragmentation, the relativity and the mediocrity
of contemporary life. However, in the process of recapturing this
mythical dimension, myth itself is bound to be modified. Because it
mirrors the modern psyche, it not only interprets its deepest present
needs, but also points to its future ones. The central position occupied
in their works by the subconscious, emerging from behind the powerful
image of the primordial Great Mother, points the way to future
psychological development and to the need to regain access to the
deepest levels of the human psyche so that its opposing forces,
subconscious and consciousness, can meet and be reconciled. / Classics and Modern European Languages / D. Litt. et Phil. (Italian)
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Dehumanization in the Theater of Valle-Inclán and MuñizBurgess, Debra S. 12 1900 (has links)
This study proposes to establish an intrinsic relationship between Valle-Inclán and Muñiz based on the theme of dehumanization in their theater. It examines (1) the stylistic techniques which each playwright uses to depersonalize his characters, (2) the manner in which these characters dehumanize each other, (3) the role of society as the agent of dehumanization, and finally, due to each author's preoccupation with one social convention in particular (4) the devastating effects on men of the vestiges of an outmoded code of honor. The principal works used for the study are Valle-Inclán's Martes de carnaval, Luces de Bohemia, and Divinas palabras, and El tintero, Un solo de saxofón, Las viejas difíciles, and El grillo by Carlos Muñiz. Such an analysis proposes to reveal a profound literary affinity between these two writers, a bond which unites Valle-Inclán and Muñiz in a common protest against the dehumanization of mankind.
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