Texte abrégé de: Thèse 3e cycle--Histoire religieuse--Paris IV, 1981. / Thèse soutenue sous le titre : "L'Apologie de Robert Barclay, le grand théologien quaker" Index.

Cheating and Cheaters in Pfaffe Amis and Reinhart Fuchs An Alsatian poet named Heinrich, writing around 1180, composed a beast epic, based on French sources, about a trickster fox named Reinhart. Some sixty years later, a poet known to us only as Der Stricker composed a work of similar length and structure, about a trickster priest named Amis, and his diligent efforts to cheat various anonymous individuals out of their money. Other works by this poet bear out the Stricker's consistent emphasis on strategy over brute force, prudence and intelligence over unconsidered actions. These stories both illustrate that power, when not directed by intelligence, is useless or dangerous, even to the one who wields it. Tricksters and cheating also appear in a surprising range of works contemporary to the Stricker's Pfaffe Amis and Heinrich's Reinhart Fuchs. Romances have their own trickster characters, conducting their cheats using methods and structures that recall those of these two Schwank-type epics. Cheaters like Amis, and Tristan's Isolde generate twin situations. One of them is true/hidden, and can influence the characters, and one is false/apparent, to which the victim characters are forced to respond. This artificial, apparent reality persists even after the cheater has left the scene, occasionally taking on a truth of its own. Both Reinhart and Amis, whatever their motivations, work evil everywhere they go; and yet the audience is expected to treat them as sympathetic characters. Because the trickster universe functions to turn systems upside-down, it also rejects the concepts of good and evil, forming a universe in which all that matters is who wins and who loses. The place of the villain belongs now to the fool; any character who becomes deceived deserves to be, and is treated with indignation by the narrator, just as the traditional villain might be.

Cheating and Cheaters in Pfaffe Amis and Reinhart Fuchs An Alsatian poet named Heinrich, writing around 1180, composed a beast epic, based on French sources, about a trickster fox named Reinhart. Some sixty years later, a poet known to us only as Der Stricker composed a work of similar length and structure, about a trickster priest named Amis, and his diligent efforts to cheat various anonymous individuals out of their money. Other works by this poet bear out the Stricker's consistent emphasis on strategy over brute force, prudence and intelligence over unconsidered actions. These stories both illustrate that power, when not directed by intelligence, is useless or dangerous, even to the one who wields it. Tricksters and cheating also appear in a surprising range of works contemporary to the Stricker's Pfaffe Amis and Heinrich's Reinhart Fuchs. Romances have their own trickster characters, conducting their cheats using methods and structures that recall those of these two Schwank-type epics. Cheaters like Amis, and Tristan's Isolde generate twin situations. One of them is true/hidden, and can influence the characters, and one is false/apparent, to which the victim characters are forced to respond. This artificial, apparent reality persists even after the cheater has left the scene, occasionally taking on a truth of its own. Both Reinhart and Amis, whatever their motivations, work evil everywhere they go; and yet the audience is expected to treat them as sympathetic characters. Because the trickster universe functions to turn systems upside-down, it also rejects the concepts of good and evil, forming a universe in which all that matters is who wins and who loses. The place of the villain belongs now to the fool; any character who becomes deceived deserves to be, and is treated with indignation by the narrator, just as the traditional villain might be.

Martin Amis remains on the outer fringes of the modern literary canon because his novels have not been appreciated in the context within which they were written. This is, basically, a postmodernist experimental mode which self-consciously tests (but does not abandon) the boundaries of form and content in the traditional English novel. The principal contention here is that Amis "challenges" but does not "change" the human subject as it exists in literature. Hyper-self-consciousness, the signature mark of postmodernism, does not mean simply that Amis's characters are just one-dimensional pawns of literary gamesmanship, even though this is a valid point of inquiry (examined in Chapter One). Rather, the presentation of subjectivity allows for a polyphonous critique and affirmation of literary and moral value. Such critiques and affirmations can be analysed when one examines Amis's inscription and parody of past value systems (such as modernism, described in Chapter Two), and those of the present, nuclear age (described in Chapter Three). As these three inquiries show, Amis does offer a portrait of the human subject, but it is bruised and abused by both the author and the world. Value, in other words, exists here, but its packaging is distinctly different. Amis is therefore not an immoral pop-cultural icon, but a serious postmodernist writer that deserves to be judged accordingly.

Thesis (Ph. D.)--Lehigh University, 1997. / Includes vita. Bibliography: leaves 272-279.

The thesis examines the novels of the young British writer, Kingsley Amis, and attempts to assess his contribution to the modern novel in terms of the moral code which he presents and in terms of his success in presenting it. Chapter One dissociates Amis from the myth of the "Angry Young Men" and shows that he himself will not be placed in any movement. The chapter goes on to discuss his position as a satirist and illustrates his requirement that satire have a moral basis. At this point certain parallels with the work of Fielding are discussed. The chapter shows how much the moral position depends upon seeing Amis's heroes as decent, and tentatively defines decency as it appears to him. Chapter Two shows how much the hero of each novel conforms to the definition of decency and examines his behaviour in order to establish the code that he actually follows. The development of the hero is discussed, as is the extent to which Amis allows him to exceed the limits of decency. The chapter concludes by suggesting that Amis cannot present any ultimate solution to the problem of how the decent man is to find a place in society and maintain loyalty to his code. Amis's increased understanding of the influence of love is discussed and the chapter suggests that any future development will be dependent upon the acknowledgement of this aspect of human relations. Chapter Three deals with the effectiveness of Amis's technique and argues that, although the comic technique aids in the presentation of the hero as l'homme moyen sensual, flat language and the repetition of certain devices distracts the reader from the complexities of the moral problems faced by Amis's heroes. Chapter Four concludes the thesis by reassessing the moral position and the technique used in presenting it. It suggests that Amis has a tenable moral position, but that he does not succeed in presenting it to the reader in such a way that it can be seen to be of value as it applies to the way that men like his heroes can operate within their society. / Arts, Faculty of / English, Department of / Graduate

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明立國. / 論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 176-187. / Ming Liguo. / 前言 --- p.I / 阿美族語音符號使用表 --- p.III / Chapter 第一章 --- 序論 --- p.1 / Chapter 第一節 --- 本硏究之緣起 / Chapter 第二節 --- 過去關於阿美族音樂的硏究 / Chapter 第二章 --- 阿美族概說 --- p.15 / Chapter 第一節 --- 阿美族的社群與文化 / Chapter 第二節 --- 阿美族音樂與社會文化的關係 / Chapter 第三章 --- 音樂的槪念與類型 --- p.31 / Chapter 第一節 --- 音樂槪念與分類 / Chapter 第二節 --- 音樂類型及文化區 / Chapter 第三節 --- 新的分類與命名 / Chapter 第四章 --- 音樂的分析與比較 --- p.51 / Chapter 第一節 --- 歷時性與共時性 / Chapter 第二節 --- 錄音與記譜的分析比較 / Chapter 第三節 --- 分析總結 / Chapter 第五章 --- 一首歌的個案硏究 --- p.115 / Chapter 第六章 --- 歌唱的表現及其文化意義 --- p.150 / Chapter 第一節 --- 歌唱的表現與特性 / Chapter 第二節 --- 文化的意義與詮釋 / Chapter 第七章 --- 結論 --- p.165 / 辭彙解釋 --- p.171 / 參考資料 --- p.176

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Texte remanié de: Mémoire de DEA--Études soviétiques et est-européennes--Paris--Institut d'études politiques, 1981. / N° de : "Mémoire / Société d'émulation d'Abbeville", (2004)n°29. Bibliogr. p. 61-62.