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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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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.
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Showing 61 to 65 of 65 (0.025 seconds)| 61 |
Manipulation Of History And Language In Three DystopiasErsoy, Duygu 01 October 2006 (has links) (PDF)
In this study, the manipulations of history and language in the dystopias of &ldquo / Nineteen Eighty-Four&rdquo / by George Orwell, &ldquo / We&rdquo / by Yevgeni Zamyatin and &ldquo / Brave New World&rdquo / by Aldous Huxley are examined. The principal aim of this investigation is to demonstrate that in these imaginary societies absolute stability is achieved through the manipulations of these two domains. The thesis argues that if the domains of history and language are not taken under control, they are to provide the subjects with the standard of comparisons which would enable them to realize that they are in fact dominated. However, once these domains are manipulated, they are transformed into the means of the dystopian rulers for mentally impoverishing people in a way that they would not be capable of conceiving the flaws within the system and therefore, would not attempt to challenge the order or require a change. In this sense, it is proposed that the subjects of these closed societies, who are formed as a result of the reshaping of history and language, would lack the mental capabilities to identify their subjection and behave automatically in the manner that is imposed on them by the political order.
Moreover, in this study, the relationship of the genre dystopia with political theory is explored / it is indicated that dystopias are not only literary works, but rather they are also texts of social criticism containing certain warnings about the future course of events. Relying on this argument, it is claimed that such an invasion of the minds by the control over history and language in our three dystopias is the exaggerated version of the ideological relationships of the individuals to these two realms in the contemporary societies. Thus, having in mind that in the dystopias examined here the manipulations of history and language are the preconditions of the use of other realms (such as religion, sexuality and science), it is concluded that these texts enable modern individuals to see that in order to maintain a critical distance with the established political and social order, the multiplicity of linguistic resources and knowledge of history are very crucial.
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Gary Snyder's green DharmaHarmsworth, Thomas January 2015 (has links)
Twentieth-century environmentalist discourse often laid the blame for environmental degradation on Western civilization, and presented the religious traditions of the East as offering an ecocentric antidote to Western dualism and anthropocentrism. Gary Snyder has looked to Chinese and Japanese Buddhism to inform his environmentalist poetry and prose. While Snyder often writes in terms of a dualism of East and West, he synthesizes traditional forms of Buddhism with various Western traditions, and his green Buddhism ultimately undermines more simplistic oppositions of East and West. The first chapter reads Snyder's writing of the mid-1950s alongside several of his West Coast contemporaries - Kenneth Rexroth, Allen Ginsberg, Michael McClure, Philip Whalen and Jack Kerouac - showing that these writers evoked the natural world together with Buddhist themes before the advent of the modern environmental movement in order to mount a critique of Cold War American culture. Snyder's early interest in Buddhism was motivated largely by translations of Chinese poetry and Chapter Two examines his own translations of the Tang Dynasty poet Hanshan. In Snyder's translations and contemporaneous original poetry, Buddhist poetics mingle with American conceptions of wilderness. Chapter Three shows how Snyder's Buddhism was influenced by Anglophone writers such as D.T. Suzuki and Alan Watts, and argues that from the late 1960s Snyder aimed to Americanize Buddhism as ideas of localism became more central to his environmentalism. Chapter Four examines Snyder's synthesis of Hua-yen Buddhism and Western scientific ecology in the 1970s and 1980s. Chapter Five examines 'The Hokkaido Book,' an unfinished prose work on environmental attitudes in the Far East in which Snyder considers the relationship between the civilized and the primitive. Chapter Six examines the influence of Chinese landscape painting and Japanese No drama, two forms steeped in Buddhist ideas, on the poems of 'Mountains' and 'Rivers Without End'.
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Elegaic materialism : the poetry and art of Susan HoweBarbour, Susan Jean January 2014 (has links)
The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial.
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The Coagulate, and, 'Not simply a case' : Frank Bidart's post-confessional framing of mental illness, typography, the dramatic monologue and feint in 'Herbert White' and 'Ellen West'Anderson, Crystal Lee January 2016 (has links)
This doctoral thesis involves two components, a book length collection of poems and a critical study of ‘Herbert White’ and ‘Ellen West’ by Frank Bidart. The collection of poems, The Coagulate, consists of four parts: 1) Semi-personal poems focusing on nature both in a general sense and in specific reference to the natural British landscape. 2) Poems that explore the nature-based myths and contemporary social idiosyncrasies of Japan.3) Poems that explore the social perception of mental illness and the individual voices that exist in spite psychological classification.4) Poems by an alter-ego and pseudonym named Lee Cole, a completely foreign perspective to my own. These poems were written with the intent to adhere to Frank Bidart’s concept of Herbert White as ‘all that I was not.’ However, unlike Bidart, these poems attempt to remove the presence of the poet and forgo the use of a feint. The collection is organised with contexture in mind rather than chronology. Poems build upon one another and one section flows into the next causing the book to have a fluid quality. The critical component examines Bidart’s treatment of two mentally ill characters in respect to the establishment of the form, style, and voice that would become a hallmark of his poetry. Chapter 1 looks at the first poem of Bidart’s first book, ‘Herbert White.’ This chapter examines how Bidart’s unique use of typography, voice, Freudian theory, and the sharing of the poet’s history contributed to the crafting of a mentally ill character and the contexture of Golden State. It suggests that the inclusion of the poet, a stable presence in comparison to White, allows the reader to recognise certain universal human personality traits in a character that seems inhuman. Chapter 2 examines how Bidart crafted ‘Ellen West,’ a character just as unlike Bidart as ‘Herbert White.’ Central to this analysis is the examination of how to construct a character struggling with identity. It also examines the use of dramatic monologues and how ‘Ellen West’ fits into a form with a flexible definition. As with Chapter 1, Chapter 2 examines how Bidart uses the poet’s self to add to a fictional narrative and how that reflects upon his personal poetry, indicating that Bidart’s use of the self is a redirection from how the Confessional poets used first-person.
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Late Mesozoic to Cenozoic erosion and sediment dispersal in the Dinaride orogen: a sedimentary provenance approach / Spätmesozoische bis Känozoische Erosion und Sedimentschüttung im Dinarischen Orogen: Ansätze aus der ProvenanzanalyseMikes, Tamás 16 December 2008 (has links)
No description available.
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