11 |
Bodies in motion : social dance in Jane AustenSmith, Erin Jamie January 2004 (has links)
No description available.
|
12 |
The sources and treatment of traditional ballad-texts in Sir Walter Scott's Minstrelsy of the Scottish border and Robert Jamieson's Popular ballads and songsHarry, Keith William January 1975 (has links)
No description available.
|
13 |
Beyond Byron, legitimising Lamb : the cultural context of Caroline Lamb's life and worksWetherall Dickson, Leigh January 2006 (has links)
This interdisciplinary thesis is concerned with the works by and cultural perception of Lady Caroline Lamb (1785-1828). Focusing upon her three published novels, Glenarvon (1816), Graham Hamilton (1822) and Ada Reis (1823), I will argue that, when considering the texts in the social and political context of Lamb's life, the novels can be read as a critique of the moral bankruptcy and political ineffectiveness of her milieu of the Whig aristocracy, in which she includes herself and her notorious affair with Lord Byron. Though Lamb's fictional portraits of Byron, particularly in Glenarvon, have been read as an expression of her spleen, they are more than that: it is a continuation of her sophisticated critique of contemporary Whig morality and politics. A close reading of the texts will discuss Lamb's choice of the novel as a vehicle for her critique as one that is informed by the orientation of her writing towards the intended readership of her own milieu. This thesis will offer a new perspective upon how much Lamb was prepared to willingly submit her own experiences and that of her immediate family to the scrutiny of public gaze as a means to ensure the efficacy of her communicative intent, and how the construction of the novels reveals an hitherto unsuspected sophistication in the assessment of her readership and of the most effective vehicle by which to reach them. This thesis will also undertake a reassessment of Lamb's cultural legacy as an hysterical woman, fatally obsessed with Byron, and how this perception of her has diminished her reputation as a writer, undermined her critique of the aristocracy, and which has been exacerbated by biographical and fictional representations. Thus this thesis considers Lamb as a writer of significant interest that goes beyond the inhibiting presence of Byron by taking into account the wider cultural and political moment of production to offer a more productive reading her work.
|
14 |
The info-narrativePapia, Daniel Robert January 2013 (has links)
The novel is tenacious. The form continues to offer, aso one critic observes, "the most comprehensive reports that humans can deliver, of their private experiences, to other humans." Though overtaken by film (several decades ago) in terms of popular consumption, and though being tested (at present) by digital presentation and distribution, the novel has proven itself admirably resilient. This no doubt has to do with the fact that the novel is, like the very humans whose experiences it so effectively chronicles, highly adaptable. Effective members of modern Information Age societies must process at least five times the data per day as compared to just a quarter century previous. Not only have sleeker novels evolved to fit the needs of faster lifestyles (i.e. books with more aerodynamic structures, communicating maximal plot in fewer pages), but there has also come into being a type of storytelling within which plot and character have become secondary to the uncomplicated description of facts and information. This new literary subspecies could be called the "info-narrative". The two best-known authors who have made the "info-narrative" a popular modern phenomenon are considered. Dan Brown's The Da Vinci Code broke bestseller records and Michael Crichton's Jurassic Park spawned an almost immediate franchise without precedent. Yet both did so less on the back of memorable stories, characters, and plot twists. This dissertation contends that it is the informative content that serves as the primary attraction, with the stories themselves often little more than delivery devices.
|
15 |
The Godwinian psychology of hope and its legacy in the work of Percy Shelley and Mary ShelleyMorgan, John Charles January 2006 (has links)
This thesis examines the work of William Godwin in terms of a conjunction between secular Enlightenment optimism and the psychology of Christian hope. This conjunction produced his particular inflection of human perfectibility, where the idea of liberal improvement in society becomes a semi-fictional narrative of faith. This political philosophy is developed alongside a Dissenting literary theory that understands literature as discussion, locating the means of improvement in the written text's influence over the mind of the reader. Godwin's interest in altering the mindset of his readership as a means of political improvement sees him emphasise the idea of hope in his novels, seeking to sustain the progressive project through literature in the face of the rise of anti-Jacobinism and Malthusian political economy in the late 1790s. Percy Shelley defined his literary project as an attempt to revive liberal hope in the wake of the `failure' of the French Revolution, a definition initiated by his reading of Godwin. His reaction against Wordsworthian conservatism is framed in the terms of Godwinian psychology. Percy Shelley's theories on the poet as `legislator' emerge from his encounter with Godwin's ideas on reader-response as the vehicle of improvement. However, there is also a reaction against Godwinian hope, which sees Percy Shelley explore a countervailing anti-humanist disappointment. A key theme of Mary Shelley's novels is the persistence of Godwinian hope. She discusses Godwinian ideas on benevolence and the absence of innate disposition to crime as a means of reviving the progressive project. While Mary Shelley explores the collapse of liberal optimism, she makes a paradoxical attempt to sustain Godwinian hope through a disappointed lament for its demise. The thesis contends that the work of these authors constituted a coherent debate on the liberal Enlightenment, forming an important presence in British literary culture from 1793 up to the verge of the first Reform Bill in 1832.
|
16 |
William Carleton in text and context : a comparative study of "Traits and stories of the Irish peasantry"Hayley, Barbara A. January 1977 (has links)
No description available.
|
17 |
Hospitality, nation and empire in Walter Scott’s Waverley novelsChiu, Kang-Yen January 2012 (has links)
This research is a study of the notion of hospitality in the novels of Sir Walter Scott from a postcolonial perspective. Through the analysis of various acts of hospitality in the Waverley Novels, this thesis intends to examine how the notion of hospitality is represented as one of the most significant, ancient Scottish traditions defended and performed by people who have less power in society, but is abused by those (often the ruling class) who intend to use it as a mechanism to increase their existing power. Therefore, through the analysis of power relations between various host and guest characters, this thesis attempts to demonstrate the ways in which those groups who are under the rule of hegemonic power are constructed as the subaltern, a postcolonial term derived from the Italian Marxist Antonio Gramsci’s usage in the Prison Notebooks. However, in contrast to the accepted view of subaltern muteness and passivity, this thesis argues that in his novels, Scott not only represents subalterns as individuals but also gives them agency to initiate action in engaging or resisting colonizing power. The subaltern groups of particular interest to this investigation include the Jacobites, the Covenanters, the Scottish Highlanders, socially-underprivileged classes, and the Orientals. This thesis ultimately seeks to demonstrate that, because of their serious concern over the underprivileged, subdued, or alienated identities in history, the Waverley Novels render Scott in this dimension a postcolonial novelist.
|
18 |
Satire and parody in the fiction of Thomas Love Peacock and the early writings of William Makepeace Thackeray, 1815-1850Rontree, Mary Elizabeth January 2004 (has links)
This thesis examines the works of Peacock and the early periodical contributions of Thackeray in the light of recent twentieth-century critical interpretations of satire. In particular, attention to Peacock's use of elements of the Menippean sub-genre in his satirical fiction offers a reassessment of his place in the literary tradition. While Thackeray's early writings demonstrate some characteristics of Menippean satire, a review of his work from the broader perspective of Bakhtin's exposition of carnival influences in serio-comic literature provides a new understanding of the origins and uses of his narratorial devices. A comparison of the work of the two authors, within the time constraint of the first half of the nineteenth century, illustrates how nineteenth-century publishing innovations shaped literary perception of satire. Although the high status of the genre in the predominant culture of the previous century was challenged by the growth of the reading public, satire found new energy and modes of expression in the popular magazines of the period. In addition, writers facing the increasing heterogeneity of new reading audiences, were forced to reconsider their personal ideals of authorship and literature, while renegotiating their position in the literary marketplace. Organized in six chapters, the discussion opens with an account of traditional interpretations of satire, and goes on to examine recent analyses of the genre. The second chapter focuses on the relevance of these new interpretations to the work of Peacock and Thackeray and the extent to which the use of Menippean forms of satire enabled each to challenge the established opinions of their period. Changes in concepts of reading and writing and innovations in modes of publication form the substance of the third chapter and this is followed by an analysis of the work of both writers, using Bakhtin's interpretation of the Menippean sub-genre in the broader context of serio-comic discourse and the carnival tradition, Chapter five is a comparative study of the attitudes of both writers towards contemporary literature and the final section places their work in the political context of the period. Both Peacock and Thackeray made extensive use of elements of Menippean satire in their fiction. The content of their work, however, and their modes of writing were highly individual, to some extent shaped by the different markets they supplied. Collectively, their writings illustrate two aspects of the cultural watershed of the early nineteenth century, Peacock reflecting traditional notions of authorship and Thackeray representing a new industry, regulated by the commercial considerations of supply and demand. As satirists,each succeeded in adapting the genre to satisfy both his own authorial integrity and the expectations of his readers.
|
19 |
Sensibility in Frances Burney's novels / Kathleen M. Twidale.Twidale, Kathleen M. (Kathleen Mary) January 1994 (has links)
Bibliography: leaves 320-338. / iii, 364 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1995
|
20 |
Représentations et significations de la mode et de l’élégance dans l’univers de Jane Austen / Representations and Significations of Fashion and Elegance in Jane Austen’sWorldChristophe-Bisson, Marianne 21 December 2018 (has links)
Malgré les nombreuses études menées sur Austen, aucun travail littéraire exhaustif n’a été réalisé à ce jour sur la représentation et la signification que cet auteur a donné aux vêtements dans ses romans. Quelques articles sur un vêtement précis ont été publiés. D’autres ouvrages recensent, quant à eux, les tenues citées en les classant par thème ou par roman, mais sans analyser les choix de l’auteur. Ce travail de thèse vient allier les tenues qui apparaissent dans les œuvres d’Austen, ou qui sont mentionnées, à l’analyse de ces dernières, dans le but de montrer que l’auteur ne choisissait pas les références à la mode incluses dans ses écrits de façon anodine, et d’en expliquer les tenants et les aboutissants. Elle se servait en effet des tenues de ses personnages et de leurs conversations à propos de la mode pour faire passer subtilement à ses lecteurs les idées qu’elle avait sur le contexte social, historique et idéologique de l’Angleterre de la fin du XVIIIème siècle et du début du XIXème siècle. Deux écoles coexistent, sans que les critiques puissent s’accorder. L’une affirme qu’Austen est conservatrice et l’autre qu’elle est féministe. On peut alors se demander si pour Austen, la mode est un sujet pour lequel elle est davantage tournée vers le féminisme ou le conservatisme. Aucune de ces deux écoles n’ayant réussi à supplanter l’autre, l’examen d’un sujet typiquement féminin pourra éventuellement apporter une avancée dans ce débat.Ces travaux de recherche s’appuient sur la correspondance d’Austen, sur l’analyse descriptive des vêtements dans ses romans, sur des ouvrages consacrés aux toilettes des XVIIIème et XIXème siècles, sur la sociologie et la psychologie de la mode, ainsi que sur la sémiotique vestimentaire. Cette thèse se réfère également aux changements radicaux subits par la mode à cette époque et qui découlent directement des évènements historiques et sociopolitiques qui se sont déroulés peu avant et pendant les années d’écriture d’Austen. Ces changements sont eux-mêmes en lien avec les idées véhiculées par la littérature. Ce travail montre la portée des vêtements dans les œuvres de cet auteur. Enfin, un travail sur les costumes ne saurait être exhaustif sans aborder la représentation cinématographique de l’univers austenien. Ainsi, l’analyse d’extraits évoquant la mode ou l’élégance chez Austen s'accompagne d'une réflexion sur la méthodologie adoptée par les producteurs pour adapter à l’écran les costumes des personnages de la romancière / In spite of the numerous studies dealing with Austen, there has been no exhaustive literary work on the representation and signification of clothes that this author gives in her novels. Some articles presenting a specific piece of clothes have been published. Some thorough works sort the costumes by theme or novel, but without really analyzing the choices of the writer. This thesis combines the attires cited in Austen’s works, or that are mentioned in the dialogues, together with their analysis in order to show that the author did not choose the references to fashion in her novels at random, and to explain her choices, and what they imply. She uses dress code for her characters, and in the conversations they hold, to subtly vehicle, to her readers, her own vision and ideas about the social, historical, and ideological context in England at the turn of the nineteenth century. One would wonder if fashion for Austen is an indication of feminism or conservatism. A further investigation in a subject that is supposed to be typically feminist would make us see better into the debate.This work is based on Austen’s letters and books which are dedicated to the descriptive analysis of the clothes worn by Austen’s characters in the novels, and on works dealing with the garments of the eighteenth and nineteenth centuries, on sociology, and psychology of fashion, and on semiotics of fashion. This thesis also refers to the radical changes that fashion underwent at this time, and that came directly from historical and sociopolitical events that were taking place a short time before, and during, Austen’s writing years. These changes are themselves linked to literature. This work highlights the impact of clothes in Austen’s works. Finally, a study on costumes would not be complete without tackling the cinematographic representation of Austen’s world. Thus, the analysis of extracts recalling fashion or elegance is backed up with a consideration of the methodology brought by the producers to adapt the costumes of Austen’s characters to the screen
|
Page generated in 0.1483 seconds