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The Chinese short story of 1917-1927: patterns of influence.January 1988 (has links)
by Lee Zhengwei. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1988. / Bibliography : leaves 109-116.
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Lessons in Immorality: Mishima's Masterpiece of Humor and Social SatireBond, Nathaniel Peter 28 June 2013 (has links)
From 1958 to 1959, Mishima Yukio published a series of satirical essays titled Lessons in Immorality, in the magazine Weekly Morningstar. Lessons in Immorality was made into a television series, a stage play, and a film.
Famous in the West for writing serious novels, Mishima's work as a humor writer is largely unknown. In these essays Mishima writes in a very comic style, making liberal use of hyperbole, burlesque, and travesty, in order to parody and satirize contemporary Japanese morality. Mishima uses humor to create a world in which Mishima Yukio, iconoclastic author and pop-culture figure, is an arbiter of his own honest and just morality that runs counter to the norms that Japanese at that time considered to be honest and just.
Additionally, Mishima used Lessons in Immorality as a forum to discuss some of the serious concerns that are central to his famous novels. Because Mishima was writing for young men and women, he wrote about his complex philosophical and aesthetic ideals in a very humorous and accessible style. Thus, in addition to displaying Mishima's talent as a humor writer, these essays also give the reader fresh perspectives on Mishima's serious literature.
In this paper, I will present the writing styles, rhetorical tools, and philosophical discussions from Lessons in Immorality that I believe make the series essential reading for anyone interested in Mishima or postwar Japanese literature.
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Not Just Child's Play: Neo-Romantic Humanism in Ogawa Mimei's StoriesHorikawa, Nobuko 02 June 2017 (has links)
During the early twentieth century, Japan was modernizing in all areas of science and art, including children’s literature. Ogawa Mimei (1882-1961) was a prolific writer who advanced various literary forms such as short stories, poems, essays, children’s stories, and children’s songs. As a writer, he was most active during the late Meiji (1868-1912) to Taishō (1912-1926) periods when he was a socialist. During that time, he penned many socialist short stories and children’s stories that were filtered through his humanistic, anarchistic, and romanticist ideals. In this thesis, I analyze Mimei’s socialist short stories and children’s stories written in the 1910s and 1920s. I identify both the characteristics of his writing style and the themes so we can probe Mimei’s ideological and aesthetic ideas, which have been discounted by contemporary critics. His socialist short stories challenged the dogmatic literary approach of Japanese proletarian literature during its golden age of the late 1920s and early 1930s. His socialist children’s stories also deviated from the standard of Japanese children’s literature in the 1950s and 1960s. In this thesis, I break away from the narrow views that confined Mimei to certain literary standards. This thesis is a reevaluation of Mimei’s literature on his own terms from a holistic perspective.
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Caribbean connections : comparing modern Anglophone and Francophone Caribbean literature, 1950s to presentBrüning, Angela January 2006 (has links)
In this thesis I investigate connections between modern Anglophone and Francophone Caribbean fiction between the 1950s and the present. My study brings into focus literary representations of inter-related histories and cultures and problematises the fragmentation of Caribbean studies into separate academic disciplines. The disciplinary compartmentalisation of Caribbean studies into English studies on the one hand and French and Francophone studies on the other has contributed to a reading of Caribbean literature within separate linguistic spheres. This division is strikingly reflected in the scarcity of any sustained literary criticism that acknowledges cultural and literary interpenetration within the archipelago. My comparative study of selected Anglophone and Francophone Caribbean fiction allows me to account for the ethnic, cultural, linguistic and historical diversity of Caribbean societies while, at the same time, foregrounding their inter-relatedness. Through a series of specific case studies the thesis illuminates ways in which theoretical concepts and literary tropes have travelled within the archipelago. Through a close reading of selected narrative fiction I will contextualise and analyse significant underlying linguistic, ethnic and cultural links between the various Caribbean societies which are largely based on the shared history of slavery, colonialism and decolonisation processes. The themes of migration, transformation and creolisation will be at the centre of my investigation. Chapter One establishes the historical and literary-critical framework for this thesis by engaging with key developments in Anglophone and Francophone Caribbean writing from the 1920s until the present. My comparison of the most influential trends in both Anglophone and Francophone Caribbean literature and criticism from the discourse of négritude to postcolonial studies seeks to highlight connections between these two linguistically divided fields of study. The analysis of Caribbean fiction in Chapters Two to Four pursues such theoretical, stylistic and thematic links further. Chapter Two challenges the conception of postwar Antillean and West Indian writing produced in the metropolis as distinct literary canons by drawing attention to thematic connections between the two traditions. Through the comparison of The Lonely Londoners by Samuel Selvon and La Fête à Paris by Joseph Zobel it argues that these continuities represent a wider trend in ‘black European’ writing. Chapter Three examines concepts of cultural identity which have been central to Anglophone and Francophone Caribbean literature and criticism during the last two decades. Specifically it focuses on the notions of hybridity, créolité/creoleness and créolisation/creolisation which it discusses in relation to Robert Antoni’s novel Divina Trace and Patrick Chamoiseau’s Texaco. The final chapter focuses on Shani Mootoo’s and Gisèle Pineau’s representations of specific female experiences of trauma which are related to reiterated colonial violence. Their fictional portrayal of suppressed memories can be read in light of recent critical debates about a collective remembrance of the history of slavery and colonialism.
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THE JOURNEY PATTERN IN FOUR CONTEMPORARY AMERICAN NOVELSOsta, Winifred Hubbard, 1932- January 1970 (has links)
No description available.
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Nouveau théatre et nouveau roman : la quête d'un art perduRivest, Mélanie January 2004 (has links)
The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
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Towards a definition of dirty realismDobozy, Tamas 11 1900 (has links)
This thesis develops and refines a term used initially by Bill Buford to refer to works of
contemporary realism. Dirty realism characterises a strain of realism first appearing in American
and Canadian writing during the 1960s and increasing in prominence through the 1970s, 1980s,
and early 1990s. The study focuses on the scholarship surrounding both the term and the works
of particular authors, and applies the theories of Fredric Jameson and Michel de Certeau to
develop a basic critical vocabulary for engaging the fiction and poetry of Charles Bukowski,
Raymond Carver, Richard Ford, and Mark Anthony Jarman, as well as other writers treated with
less intensity, such as David Adams Richards, Helen Potrebenko, Al Purdy, and Bobbie Anne
Mason. In particular, the dissertation attempts to develop a critical terminology through which
to discuss dirty realist texts. The most prominent of such terms, the "hypocrisy aesthetic," refers
to dirty realism's aesthetic of contradiction, discursive variance, and offsetting of theory against
practice. The chapters of the dissertation deal with the emergence of the hypocrisy aesthetic
through a study of literary genealogy, history, and theory.
The second chapter, "Dirty Realism: Genealogy," traces the development of major
currents in twentieth-century American realism, particularly naturalism. Arguing for dirty
realism as a variant of naturalism, the chapter traces the transmission of ideas concerning
dialectics, determinism, and commodity production from Theodore Dreiser and Frank Norris,
through James T. Farrell and John Steinbeck and ending with an extensive discussion of Charles
Bukowski's Factotum.
The third chapter, "Dirty Realism: History," addresses the impact of the Cold War on the
development of dirty realism. Referring to major critics on the period, this section of the
dissertation follows the development of hypocrisy as a form of discourse eventuated by Cold
War contradictions, particularly between that of democratic freedoms proclaimed abroad and the
atmosphere of suspicion and paranoia on the domestic scene (as—in the USA—in the HUAC
hearings chaired by Senator Joseph McCarthy).
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Die Anfänge des Kabarets in der Kulturszene um 1900 : eine Studie über den "Chat noir" und seine Vorformen in Paris, Wolzogens "Überbretl" in Berlin und die "Elf Scharfrichter" in MünchenFrischkopf, Rita January 1976 (has links)
No description available.
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Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literaturePasholok, Maria January 2015 (has links)
This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.
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Women, nation, narration : a comparative study of Japanese and Korean proletarian women's writing from the interwar years (1918-1941)Grace, Elizabeth Ellen January 2015 (has links)
No description available.
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