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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

A critical history of the palimpsest in modern literature and theory

Dillon, Sarah Joanne January 2005 (has links)
This thesis provides a critical history of the palimpsest in modem literature and theory. Chapter 1 provides a summary of the thesis and introduces the neologism 'palimpsestuous'. By way of introduction, it explains how the concept of the palimpsest determines the form of this history - genealogy - and provides the critical context of the thesis. Chapter 2 furnishes a brief history of the palaeo graphic phenomenon of palimpsests from antiquity to the present day. Chapter 3, a psychoanalytic reading of Thomas De Quincey's essay 'The Palimpsest' (1845), explains how De Quincey's essay inaugurates - that is, both introduces, and initiates the subsequent use of - the substantive concept of the palimpsest. Chapter 4 considers the relationship between the palimpsest, the poem and the material text, and traces the new tropography of the palimpsest through a reading of D. H. Lawrence's 'Twilight' (1928). Chapter 5 is a palimpsest of discussions of reading and writing in relation to the palimpsest in the context of classical and modem detective fiction, and the theoretical approaches of structuralism and poststructuralism. Chapter 6 moves from the figuration of text as palimpsest to a reinscription of intertextuality as 'palimtextuality' , exploring the palimpsest's structural relation to the concept of 'the hymen'. Chapter 7 traces the significance of H.D.'s use of the palimpsest in determining the critical approaches of both traditional feminist criticism and contemporary queer theory, providing readings of two stories from her Palimpsest (1926). In coupling the palimpsest with the concept of 'queer', this chapter discloses the end of the thesis - both its conclusion and its telos - the queerness and queering power of palimpsestuousness, that is, its continuing capacity to reinscribe otherwise traditional literary, critical, cultural and philosophical modes of thought
2

An applied linguistic approach to discourse analysis

Widdowson, H. G. January 1975 (has links)
No description available.
3

The moral psychotic : pathology and homosexuality in the post-AIDS era

Russell, John Lomas January 2002 (has links)
The Moral Psychotic is an exercise in psychoanalytic critical analysis, applying the theories of Bion, Klein, Lacan and Laing to an eclectic range of popular texts. The thesis presents a reconstructed account of the male homosexual psychotic to place along comparable projects regarding perversion by Silverman (Male Subjectivity at the Margins) and Dollimore (Sexual Dissidence). This figure is the moral psychotic- that is, the psychotic as an intelligible and socially connected subject as opposed to a senseless, anti-SOCial psychopath. The moral psychotic is an integrated nonphallocentric subject and the source of an 'anti-communal mode of connectedness' (Bersani) which is termed 'heterocosmic connectedness'. The prime differential category of the thesis (neurotic-psychotic) is derived from Lacanian clinical structures and established in the first two chapters through a review of the feminist madwoman. Chapter 1 reviews the feminist trauma model of madness and argues that it presents madness as neurotic lack and privileges malignant hysteria. Chapter 2 constructs a model of madness as excess represented by the psychotic subject in the theories of Laing and Lacan and the fiction of Sara Maitland. Having established this mutually exclusive categorisation, the thesis then presents a critique of certain features of neurotic homosexuality to which the moral psychotic offers a radically ambivalent alternative. Chapter 3 reviews two popular models of homosexuality as represented in Assertive Training for Gay Men and the work of Mark Simpson and argues that they both demonstrate a neurotic homosexual preoccupation with the heterosexual male. Chapter 4 observes a neurotic cycle of prohibition and transgression in the discourse of HIV prevention. Finally, Chapter 5 uses the television drama Queer as Folk to present the moral psychotiC in the figure of Stuart Allen Jones whose excess is used within the text to provide a non-phallic satisfaction of neurotic homosexual desire and whose heterocosmic connectedness produces a spectacular form of post-AIDS social liberation from restrictive Social identifications. there are certain costs to the obligation to assemble one's own identity as a matter of one's freedom. And the exercise of choice may be parodic and playful, but it seldom remains so for long. For in the choices one makes, and in the obligation to render ones everyday existence as an outcome of choices made, one's relation to oneself is tied ever more firmly to the ethics of individual autonomy and personal authenticity. To question the costs of this is not to deny its benefits nor to suggest the possibility of a form of existence which can radically escape from the nexus of power and subjectivity in which the very possibilities of contemporary experience have been formed. But it is to pose, at least as an experiment for thought, the question of what an ethic of existence might be that did not refer itself to that psy shaped space which has been installed at the heart of each modern individual. Could one not imagine another kind of freedom, whose ethics were resolutely 'superficial? An ethics whose Vectors did not run from outer to inner, and did not question appearances in the name of their hidden truth, but which ran across the outsides, between, among persons, where subjectivities were distributed, collective and orientated to action? An ethic, that is to say, that did not seek to problematize, to celebrate or to govern the soul?
4

Where ideas come from; towards an ontology of inspiration in creative writing, with particular reference to the muses of mythology

Habens, Alison Ruth January 2009 (has links)
`Where do writers get their ideas from? ' This commonplace question is the starting point for both my novel and doctoral thesis. The answer I give draws first on the empirical evidence of my own creative writing; for during the drafting and crafting of three previously published novels, I regularly experienced `divine inspiration'. The critical component of my PhD offers a conceptual framework within which to discuss this claim, using theorists from Plato to Jung, Nietzsche to Nancy. My new novel, Translating the Muse's Tale considers a creative process in which the writer sits waiting, staring at a blank page or an empty screen, wondering what to put there. The feeling of not knowing what to say, which can be a lengthy and frustrating state, is then replaced in an instant by a fast flowing stream of words, the source of which seems mysterious. My fictional heroine is the unwitting channeller of messages from a `higher source': but in fact, any author can wonder, as fresh sentences pour on to their page, where the insights are springing from. Witnessing this on a regular basis over many years, I determined to study other writers' explanations of the same key moment in their literary production; and try to establish an ontology of inspiration. In the introductiont o my thesis,I contextualisem y novel as a pieceo f fantasy or science-fictionw riting, beforep roposings omec ritical conditionsi n which its scenariom ay be seena st rue, becauseu ltimately explicable. In chapter one, I attempt to trace a timeline of poets' and philosophers' connection to the divine; expressed by the earliest writers as a relationship with the muses of classical mythology. The stories start with Hesiod, who tells how the nine Muses of Mount Helicon appeared to him, whispering and singing ideas in his ears. In a sense, every writer since can be set against this account on the `divine inspiration' scale; to discover whether that once-strong link with some heavenly broadcast is still current, and if those celestial voices can be heard in the literary canon today. In the words of Homer and Horace, through Spenser, Sidney and Shakespeare to the modem and postmodern poets, I look for mentions of the muse. Then, in chapter two, I challenge the male chronology of famous names with a web of women's storytelling. From Spiderwoman, who made the world in aboriginal creation myths, I unroll a narrative of spinners and spinsters, sirens and sibyls and sphinxes; a sorority of the muse. In this mesh of references is an alternative plot; pagan inspiration as feminine and plural is ousted by the phallus, the logos, the pen, for the timeline's long fall into literacy. My third chapter follows the theory of the muse into the Christian tradition, where many instances of `channelled writing' may help substantiate the claim for divine authorship; its argument starting with words chiselled on a stone cross, continuing on the stone slabs of prophesy, and culminating in a biblical stoning. The essay's conclusion reflects in detail on the development of my novel, piecing together a patchwork of personal inspiration, from subconscious to what seems `supernatural'. Much of the material is autobiographical, based on real people, places and feelings; but the book is the antithesis of real life. Moreover, though most events and incidents used in the fiction happened in my past, over the long, slow process of writing three subsequent drafts, it seems that sometimes the plot can predict the future. Robert Graves offers the boldest polemic of all the writers I've studied on the question of divine inspiration. He says`The proleptic or analeptic method of thought, though necessary to poets, physicians, historians and the rest, is so easily confused with mere guessing ... that few of them own to using it. However securely I buttress the argument of this book with quotations, citations and footnotes, the admission that I have made here of how it first came to me will debar it from consideration by orthodox scholars: though they cannot refute it, they dare not accept it' (The White Goddess, 1997, p. 339). ' Academia may not admit that ideas come from God or goddesses. Told by poets or prophets, creativity is always already a myth. Even the key philosophies of `how it first came to me' are impossible to prove: though much great writing draws on subconscious sources, there is still an element of `superconscious' activity, evident in the trope of the Muses. In my research I have trawled a history of literature for these instances, positing a timeline of primary sources, testing it with diachronic and synchronic analysis. Against an idealist problematic, the essay is indeed a buttress of `quotations, citations and footnotes'. Though my aim is to be critically rigorous, the same story-telling skills are used in the thesis as the novel; which makes the same argument from the point-of-view of the muse. The two artefacts are linked by themes, characters, vocabulary, imagery: this is the unique literary feat of the creative writing PhD.
5

Counterfeit magic and the modern novel : a comparison of Thomas Mann's Der Zauberberg and André Gide's Les Faux-monnayeurs

Genevieve, T. N. January 1997 (has links)
Soon after their appearance in the mid-1920s, Thomas Mann's <I>Der Zauberberg</I> and André Gide's <I>Les Faux-monnayeurs </I>attracted considerable critical attention as significant contributions to innovative forms of novel-writing. Both works were discussed in the context of the "crisis of the novel" and seen as particularly convincing responses to the problems experienced by the genre. Mann's and Gide's novel were linked with each other on a number of occasions; in these discussions, however, the emphasis was normally placed on one aspect only, leaving the question of the breadth of their achievement in the context of the modern novel unanswered. The comparative study of <I>Der Zauberberg</I> and <I>Les Faux-monnayeurs </I>undertaken in this thesis is designed to evaluate their many-faceted contributions to the development of new fictional forms. The discussion of the novels ensues with respect to five areas which have emerged as decisive in describing innovative trends in the novel genre in the 1920s and beyond. These are: the introduction of significant reflexive or self-reflexive elements; the subsequent weakening of the plot and changes in the handling of temporality; the yielding of an omniscient narratorial stance in favour of a more nuanced, ambivalent use of perspective; the increased rôle given to the reader in the elaboration of meaning; the appropriation of structures from other art forms, notably music, and the response to the ascendant medium film as offered by the two novels in question. The discussion of the works themselves, in particular the examination of temporality, invites reflections on Mann's and Gide's concepts of history. The innovations in plot structure, which form one of the most striking aspects of both novels, are strongly determined by the experiences of the First World War and reveal themselves as reflections of an altered sense of history.
6

Perceptions of pain : Narratives of hurt and healing in contemporary African literature

Norridge, Zoe Cecilia January 2008 (has links)
This research examines representations of pain in literature from West and Southern Africa, written in English and French. Exploring how and why African novelists tell stories of suffering in their autobiographical and fictional writing, I consider the aesthetic and ethical issues surrounding such emotive literature. Theoretical approaches to violence and pain can be found within the existing metanarratives of African literary criticism. Bearing witness to the suffering caused by the colonial project and giving voices to the powerless in pain are key features of both nationalist and feminist theory. However, in much current academic research there seems to be an emphasis on bearing witness to the violent acts of an aggressor rather than exploring the experiences of the person in pain. This theoretical emphasis is not echoed in the literary texts I study, which instead focus almost exclusively on the subjective sensations of suffering. My research asks why this is the case and questions the motivations for and impact of literary pain narratives. I begin by exploring how Yvonne Vera uses surprising bodily metaphors and other aesthetic devices to create literary worlds of pain in her novel The Stone Virgins. Next, I examine the location of pain between minds and bodies in J.M. Coetzee's Life and Times of Michael K and Bessie Head's A Question of Power. Developing questions of pain and meaning, I then turn to a series of texts from Francophone West Africa which address the cultural, individual and symbolic contexts of pain associated with gendered violence. The following chapter builds on testimonial aspects of pain writing to reflect on literature describing the Rwandan genocide, reading works by Rwandan survivors alongside those by visiting African witnesses. Finally, I consider the potential impact of narratives of healing in Ayi Kwei Armah's The Healers and Antjie Krog's Country of My Skull.
7

Contemporary feminist subjects : an analysis of autobiographical practice in textual/visual self-representation

Rus, Eva January 2008 (has links)
This study aims to determine how autobiographical processes impact on writing and artistic practices, and analyse the ways in which these processes are interpreted by feminist writers and artists. Issues of representation, performativity, phenomenology, the evaluation of experience in the process of subject construction, new challenging geographies, theories of subjectivity that see the subject as multiple, progressive, interconnected, are the main ideas I discuss in this study as intimately linked to one another in the theorization of contemporary feminist self-representation as a performative act, never transparent, that constitutes subjectivity in the interplay of memory, experience, identity, embodiment, and agency. In doing so I propose a reading of these 'performative acts' through the lens of three recent feminist theories of the subject by Rosi Braidotti, Teresa de Lauretis and Susanna Scarparo, that to a certain extent draw their inspirational power from being themselves inherently autobiographical. The subjects they respectively define as nomadic, eccentric, and elusive all respond to an anti-essentialist notion of the subject's structure that is at once embodied and sexually identified, as they deliberately break across the boundaries of the discourses of criticism, literature, art and theory to meet their own need to disclose and convey memory.
8

Moulding Minds : Media, Mass Manipulation and Subjectivity in Dystopian Science Fiction

MacNeill, Gordon January 2008 (has links)
No description available.
9

Telling the past : ancestral narratives in novels by Yvonne Vera, Maryse Condé and Calixthe Beyala

Lipenga, Timwa January 2011 (has links)
This thesis examines ancestral narratives in selected novels by Yvonne Vera, Maryse Condé, and Calixthe Beyala.  My working definition of narrative chiefly draws upon Gérard Genette’s three-pronged conception of narrative as a story, text, and the telling of that story, and extends to the influences that society has upon the stories.  I investigate ways the female ancestral figures in the six novels recount their narratives, and the extent to which such narratives constitute legacies for the present. The thesis is informed by studies in postcolonial theory, specifically the concept of recovering the past, and the way in which the act of re-writing has challenged colonial stereotypes.  My argument is that by presenting ancestral narratives that expose the ancestors’ vulnerabilities and flaws, the three writers challenge the concept of meta-narratives which may base their validity on recollections of a glorious past.  The implication, for the descendents, is that claiming the past’s heritage is also an act of introspection, interrogating the idea of a sacrosanct narrative, transmitted from the past to the present. The first part focuses on the novels of Zimbabwean Yvonne Vera.  My focus is on the way the two grandmothers in Vera’s <i>Nehanda </i>and <i>Under the Tongue</i> recount other people’s narratives at the expense of their own stories.  I analyse <i>Nehanda,</i> in which Vera fictionalises the story of the spirit medium by the same name, who, in the novel, narrates the past and future of her community.  I then move on from the idea of Nehanda as a communal grandmother figure to a different type of narrative, one in which a grandmother speaks to her traumatised grandchild, Zhizha, in <i>Under the Tongue.</i> The second part is on Maryse Condé’s <i>Moi … Tituba, Sorcière …Noire de Salem </i>and <i>Victoire, Les Saveurs et Les Mots</i>.  My focus is on the challenges that the two grandmothers face as they attempt to recount narratives in societies that already have preconceived notions about them. In the third section, I read Calixthe Beyala’s largely autobiographical <i>La Petite Fille du Réverbère </i>as the character’s re-evaluation of her grandmother’s memory, focusing on the way the grandmother’s narratives at times give her grand-daughter, Tapoussière, a sense of discomfort, even as the latter seeks to claim a connection with her grandmother.  Finally, I read Beyala’s <i>Les Arbres en Parlent Encore</i>, specifically the grand-mother’s self-doubt, especially after having struggled to carve her own narrative space, not only as a questioning of the past, but also as an act of self-introspection, against which the writer assesses her own narratives, fictional and autobiographical.
10

The limits of repetition, the limits of interpretation : Stein, Beckett and Burroughs

Paton, Steven January 2010 (has links)
No description available.

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