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Literatura testimonial en Chile, Uruguay y Argentina, 1970-1990Strejilevich, Nora 05 1900 (has links)
The vast corpus of testimonial literature that has been produced
in Latin America since the 1960s, reaches a peak in the 1970s and
continues to the present day.
The dissertation investigates this phenomenon in Chile, Argentina
and Uruguay, through the examination of a group of literary works
that range from personal testimonies to documentary novels.
This genre is defined by a pact of truth established with the
reader in relation to the experience that is being narrated.
The first chapter describes testimony as a collective discourse
that responds to a counter-hegemonic cultural project which opposes
the doctrine of “National Security” that prevailed in the region during
that period.
Chapter II presents the guidelines that will frame the
dissertation, preparing a synthesis of several existing models based
upon diverse criteria: social, semantic, syntactic and functional.
In establishing the relationship between narration, history and
testimony, the thesis emphasizes that narrative techniques are
needed in order to tell any story, even those which were not
developed with a literary purpose. Testimony is not an exception,
because it transforms experience into stories, applying to
remembrances the structure of a plot.
The texts are organized accordingly, taking into account the types
of narrativization employed, and this taxonomy is connected with the reception theory and the contributions of the social criticism, in order
to provide a comprehensive understanding of the genre.
Chapters III, IV and V examine various works from the three
countries mentioned above, establishing a connection between the
historic-social situation, the collective symbols, the artistic
production of that period, and testimonies.
The conclusion suggests that the return of Latin American
literature to its hybrid origins implies transformations such as the
democratization of writing and the disappearance of the author as
the centre of the literary production. It also claims that this corpus
provokes a change in the direction of contemporary writing in those
countries, generating a necessary catharsis and a new elaboration of
a fragmented collective identity. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate
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Femmes de lettres/l’être femme : émancipation et résignation chez Colette, Delarue-Mardrus et TinayreCollado, Mélanie Elmerenciana 11 1900 (has links)
Since Elaine Showalter's proposal of "gynocriticism", a considerable amount of
work has been done in English-speaking countries to establish the existence o f a "female
tradition" in literature. In France, where feminist critics have focussed on new ways "to
write the feminine", there has been relatively little interest in reexamining the production
of lesser-known women writers. The canon of French literature remains comparatively
unchallenged, and few people are aware o f the many women who wrote at the beginning
of the twentieth century. This dissertation is a contribution to the rereading of three of
such authors, looking at the representation of femininity in relation to feminism. Three
novels, one by Sidonie Gabrielle Colette, one by Marcelle Tinayre and one by Lucie
Delarue-Mardrus. The careers of these "femmes de lettres", all established before World
War I, were comparable, yet two o f them have been forgotten.
These novelists remained ambivalent in relation to feminist efforts at that time to
achieve the emancipation o f women. Despite their own relative freedom and lack of
conformity in their lives, and the criticism o f established norms embedded in their
narratives, all three kept their distance from feminism as a movement. The three texts
compared here all have conservative endings, in spite of other elements that challenge the
status quo. A t the core of their ambiguity is the tension between two concepts which
remain in conflict today: on one hand the feminist agenda aimed at greater freedom and
autonomy for women is based on the idea that gender roles are constructed, whereas on
the other hand the concept of femininity is inseparable from the idea of an "essential"
woman, represented, in the early 1900's in France by a particular nationalist concept of
the French Woman. A close look at critical texts published in the first part o f the
twentieth century shows the weight of that concept in the evaluation o f women's writing
of that period. The growth in the number and reputation o f women writers ("femmes de
lettres") was accompanied by a declaration o f the need to maintain French femininity
("l'etre femme"), and individual women authors like Colette, Delarue-Mardrus and
Tinayre were caught in a dilemma.
They all proclaimed their allegiance to the French ideal of femininity, while
contributing to its denial and renewal by their own performance as successful women
writers. Their representation of femininity as performed in their novels (as it was in their
lives) shows the various ways in which it was possible to negociate a compromise
between being feminine and challenging that concept through writing. These texts also
demonstrate that women's literary production of that period in France is far more
diversified than standard anthologies of French literature would lead us to believe.
Colette appeals to reader's senses and aims to seduce, Tinayre appeals to reason and aims
to convince, while Delarue-Mardrus appeals to the emotions and aims to move. All three,
combine the "feminine" and the "feminist" in different ways, constructing literary models
that represent a range of responses to a similar problem: how to remain a woman while
contesting the notion of "woman". / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate
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Literary modernity : Studies in Lu Xun and Shen CongwenCheng, Maorong 11 1900 (has links)
Being an integral part of cultural modernity, literary modernity is an on-going,
self-negating, and self-rejuvenating process. It has always been engaged in a
dialectical relationship with tradition and is inseparable from the quest for reality
based on artistic autonomy and communicative intersubjectivity. In the first half of
my thesis, I attempt to show how and why literary tradition has played a decisive role
in the process of literary modernity, how and why the Chinese literary tradition is
different from its Western counterpart; how and why Chinese literary modernity is
influenced by, but different from Western literary modernity; and what is the specific
path that Chinese writers have been taking to achieve literary modernity, as is distinct
from the route that has been followed in the West, i. e., from romanticism to realism to
modernism and to postmodernism. The second half of my thesis comprises a detailed
study of two of China's foremost writers, Lu Xun and Shen Congwen, by way of
illustrating my arguments.
The first two chapters investigate some core concepts in the Western and
Chinese literary traditions and the formative roles that they have played respectively in.
shaping the process of literary modernity in the West and China. In our study of
Chinese literary modernity and modern Chinese writers, we should pay special
attention to the important role of the Chinese literary tradition, while taking into
consideration the impact of Western literature and China's historical contingency. The
interactions between these three factors constitute the special character of China's
literary modernity.
The third and the fourth chapters deal with respectively the fiction of Lu Xun
and Shen Congwen, as well as their conceptions of literature. Through a close
investigation of a few selected stories by these two writers, I wish to demonstrate how
their works embody the general ideas of literary modernity, and at the same time
reveal the peculiar features of China's own literary modernity.
In conclusion, I suggest that modernity and tradition have always been
intertwined in a complex, dynamic, and dialectic relationship, which has proved to be
not only the motive force, but also the unfailing source for the achievements of
modern literature, both Chinese and Western; and subjective reflection should be
integrated with the lifeworld, and combined with inter subjective communication. / Arts, Faculty of / Asian Studies, Department of / Graduate
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Soziales Drama bei Gerhart HauptmannCloete, Henrietta 17 August 2012 (has links)
M.A.
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Garrison Keillor and American Literary TraditionsElston, Suzanne Poteet 08 1900 (has links)
Although Garrison Keillor is perhaps best known as the creator and host of Minnesota Public Radio's A Prairie Home Companion (1974-1987), the focus of this study is his literary career. Keillor's literary accomplishments include a successful career as a writer for The New Yorker and two best-selling books about the fictional town of Lake Wobegon, Minnesota, entitled Lake Wobegon Days (1985) and Leaving Home (1987). His literary style incorporates elements from several traditions in American literature--the precise, sophisticated "New Yorker style" practiced by writers such as E. B. White and James Thurber; the oral tradition prominent in the works of Mark Twain and the nineteenth-century literary comedians; and the satiric realism associated with the small-town literature of writers such as Sherwood Anderson and Sinclair Lewis.
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Social Classes in Contemporary Mexican DramaPeña, Eloy B. 12 1900 (has links)
This examination of the most popular plays of Rodolfo Usigli, Salvador Novo, and Emilio Carballido shows their concern with Mexico's social problems--especially as evidenced by their representation of contemporary social classes through characterization. Treating socio-political and sexual problems with special emphasis upon psychology, Usigli combines melodramatic reality and imagination. Psychoanalysis is also important in Novo's characterizations; his themes and characters express a social criticism which often becomes a malicious satire of Mexican life. Carballido's symbolic surrealism creates an atmosphere of fantasy, with scenic neo-realism representing everyday life, bourgeois ideas, and the Mexican psychology.
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The Evolution of AIDS as Subject Matter in Select American DramasSorrells, David J. 08 1900 (has links)
Dramatic works from America with AIDS as subject matter have evolved over the past twenty years. In the early 1980s, dramas like Larry Kramer's The Normal Heart, William Hoffman's As Is, and Robert Chesley's Night Sweat educated primarily homosexual men about AIDS, its causes, and its effects on the gay community while combating the dominant discourse promoted by the media, government, and medical establishments that AIDS was either unimportant because it affected primarily the homosexual population or because it was attributed to lack of personal responsibility. By the mid-eighties and early nineties, playwrights Terrence McNally (Love! Valour! Compassion!)and Paul Rudnick (Jeffrey)concentrated on relationships between sero-discordant homosexual couples. McNally's "Andre's Mother" and Lips Together, Teeth Apart explored how families and friends face the loss of a loved one to AIDS. Tony Kushner's Pulitzer Prize-winning Angels in America epic represents living beyond AIDS as a powerful force. Without change and progress, Angels warns, life stagnates. Angels also introduces the powerful drugs that help alleviate the symptoms of AIDS. AIDS is the centerpiece of the epic, and AIDS and homosexuality are inextricably blended in the play. Rent, the Pulitzer Prize-winning musical by Jonathan Larson, features characters from an assortment of ethnic and social backgrounds - including heterosexuals, homosexuals, bi-sexuals, some with AIDS, some AIDS-free, some drug users - all living through the diverse troubles visited upon them at the turn of the millennium in the East Village of New York City. AIDS is not treated as "special," nor are people with AIDS pandered to. Instead, the characters take what life gives them, and they live fully, because there is "no day but today" ("Finale"). Rent's audiences are as varied as the American population, because it portrays metaphorically what so many Americans face daily - not AIDS per se, but other difficult life problems, including self-alienation. As such, Rent defies the dominant discourse because the community portrayed in Rent is the American community.
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The history of horn playing in Los Angeles from 1920 to 1970: a lecture recital, together with three recitals of selected works for horn by M. Haydn, Franz, Britten, Mozart, Koetsier, Hindemith, Herzogenberg, Rossini, Stevens and othersHilliard, Howard (Howard Louis) 05 1900 (has links)
The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonc. This study details the introduction of sound tracks, the early studio orchestras, the contact studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonicand the studios, major figures from the subsequent freelance perios such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.
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Proměna symbolu svatého Václava a jeho kultu v českém tisku v obdobích kolem bodů zlomu české historie 20. století / Transformation of the st. Wenceslas symbol and cult in Czech press around the breaking points of the Czech 20th century historyJoura, Adam January 2012 (has links)
The thesis deal with transformations of st. Wenceslas symbol and his cult in the Czech press around breaking points of Czech 20th century history. It asks about impact of contemporary policy and incidents on presentation of st. Wenceslas symbol, then about parts of st. Wenceslas cult and finally about connection of this symbol with other national symbols. The thesis is based on the assumtion that national identity is constructed through collective memory of members of the nation, appropriate symbology and history interpretation. Research uses qualitative metods (discourse analysis). Sample is made of Czech (mostly) statewide press articles that are related to st. Wenceslas and his cult, from the period around the st. Wenceslas day (28th September), in several years intervals around appointed breaking points (1918, 1938, 1939, 1945, 1948, 1968 and 1989). It has been found that 1. st. Wenceslas symbol represents unchanging connection of the church and the nation in the case of Catholic perspective, 2. in danger it mobilizes and symbolizes the statehood and the strength of the nation in case of the nationalistic use and 3. it can support legitimity of new established regime. The national symbology is connected with some conservative and nationalistic approach, st. Wenceslas symbol also with religion,...
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Rôle des mythèmes dans la lecture de trois nouveaux romansMineau, Marie-Elaine. January 2000 (has links)
No description available.
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