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Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on August 24, 2006). PDF text of dissertation: 177 p. ; 0.34Mb. UMI publication nuimber: AAT 3208115. Includes bibliographical references. Also available in microfilm, microfiche and paper format.

Thesis (Ph. D.)--Princeton University, 2004. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 186-194).

This thesis examines the way Flannery O'Connor's stories draw upon and transfigure various biblical texts. With sometimes shocking freedom, she twists open the original stories or references, reworking and redistributing their basic elements. Often reversing the polarity of the original stories, O'Connor's stories dramatize elements of biblical texts coming alive in different times and social settings and with quite different outcomes. At the same time, her stories still address many of the same issues as the biblical texts she transforms. This study focuses on three O'Connor stories: "A Good Man is Hard to Find," which reworks the story of the rich young ruler in Matthew 19, Mark 10, and Luke 18; "Parker's Back," which transforms elements of Moses' encounter with the burning bush in Exodus juxtaposed with Saul's conversion experience in Acts 9; and "Judgment Day," which interacts with portions of Paul's descriptions of the resurrection of the dead in 1 Corinthians 15. This study draws upon the work of theologically-oriented O'Connor scholars, as well as O'Connor's own letters and essays. I hope, through this approach, to open up a new way of responding to O'Connor's biblical echoes. / Master of Arts

« À travers le monde-miroir de Harry Potter : littérature, langage et histoire » (« Through the Looking-glass World of Harry Potter : Literature, Language and History ») est une thèse qui propose d’analyser Harry Potter non pas comme un ouvrage à succès mais en tant que littérature à part entière. Les films, la marchandisation, le parc à thème et autres annexes aux œuvres sont donc mis de côté pour se concentrer sur le texte qui recèle un nombre important de joyaux littéraires. Notre but sera de démontrer que Harry Potter fait partie du canon littéraire et qu’il permet au lecteur de re-découvrir son propre monde.Quatre grands thèmes dans l’œuvre de J. K. Rowling sont mis en avant – le lien avec la littérature de jeunesse, l’intertextualité, le langage et l’Histoire – pour mieux étudier la qualité littéraire de Harry Potter. Notre problématique se centre sur la question de passage entre notre monde et le monde magique à travers la notion de langage. En effet le langage permet de créer un pont entre notre culture, notre littérature, nos mythes et notre histoire et le monde enchanté du livre. Cette transposition permet au lecteur de redécouvrir son propre monde à travers un habile jeu de miroirs dans le texte. En poursuivant sa lecture le lecteur est capable de passer à travers le miroir et de découvrir un univers à la fois merveilleux et terrible qui reflète et déforme le nôtre.Cette thèse se propose d'analyser la littérarité du texte tout en pointant les liens avec notre propre culture, que ce soit avec la réécriture des classiques anglophones pour adultes et enfants dans Harry Potter, ou la réécriture de notre Histoire. Ce travail a pour but de démontrer que Harry Potter est digne du canon de la littérature et qu'un examen poussé de l’œuvre permet d’apprécier et de découvrir cette saga à un niveau universitaire. / “ travers le monde-miroir de Harry Potter : littérature, langage et histoire » (« Through the Looking-glass World of Harry Potter : Literature, Language and History” is a thesis whose aim is to analyse J. K. Rowling’s set of magical novels through the lens of literature. We will focus on the text in order to uncover the literary gems which are hidden within the weft of the text. The aim of this thesis is to explain why Harry Potter can be considered as part of the literary canon and how the text creates a mirror-universe which enables the reader to rediscover his own world.In order to better analyse the literary qualities of the text four main themes are put forward in this thesis: the links with children’s literature, intertextuality, language and history. Our thesis question centres on the question of passage between our world and the magical one through the notion of language. Indeed, language enables bridges to be built between our culture, our literature, our myths and our history and the magical universe of the books. This transposition enables the reader to rediscover his own world thanks to a clever hall of mirrors effect. Through his reading process the reader is thus able to go through the looking-glass and discover a wonderful and terrifying world where the best and the worst of our society and history is represented.This thesis reveals how in-depth analyses of intertextuality, language and history display the literary qualities of Harry Potter and enable an academic reading of the text.

L'humour culturel anglais est culturel par ses références, les opinions qu'il véhicule et une certaine organisation syntaxique, entre autres. Mais cet humour est surtout culturel car il est ancré dans le contexte anglais et dans la langue anglaise. Une fois traduit, il doit exister dans et à travers la langue-culture cible. À cause de leurs programmes mentaux et de leur conditionnement culturel différents, les lecteurs et les spectateurs français ne pourront pas apprécier l'humour anglais de la même manière que les lecteurs et les spectateurs anglais. Lors de la traduction, le traducteur essaiera souvent de rendre cet humour étranger plus accessible au public français. Ses décisions auront un impact sur les faces sources de l'œuvre, mais aussi sur les faces étrangères que le public français pourra percevoir. En se focalisant sur les allusions culturelles, cette recherche analyse des exemples de textes anglais afin d'observer la différence des effets des textes sources et des traductions sur les deux publics respectifs et de voir si on peut encore parler d'humour culturel anglais une fois qu'il est traduit en français. Les analyses des textes permettront aussi de voir comment la traduction peut affecter la représentation de l'identité culturelle et l'idée que le lecteur ou le spectateur cible se fait de la face de l'étranger. En saisissant l'humour d'un peuple, on peut commencer à le comprendre. Pour cela, la différence de l'humour culturel doit être perçue comme une clé qui permettra au lecteur et au spectateur cible d'établir un rapport dialectique avec l'humour étranger, plutôt que comme une dimension de l'humour de l'Autre qui sera toujours considérée comme un obstacle à surmonter. / English cultural humour is cultural, not only because of the references and opinions it channels or because of its syntax but especially because it is deeply rooted in the British cultural context as well as in the English language. Once it is translated into French, it has to exist in and through French. Due to their different mental programs and cultural conditioning, French readers and spectators will not react to British humour in the same way as British people. This is why translators will often try to make the humour more easily accessible for the French public in translated texts. His decisions will have an impact on the faces of the source language, but they will also affect the British faces the French reader has access to. This research has focused on cultural allusions in an analysis of examples from British texts to see the differing effects each text has on its readers and to see if one can talk about British cultural humour once it is translated into French. The analyses will also make it possible to see how translation can affect the representation of cultural identity and the impression the target text reader will have of the foreign text. If one can understand a nationřs humour, one can start to understand its people. In order to do that, the difference of foreign humour should be seen as a key that can allow the foreign text reader and spectator to establish a dialectical relationship with the foreign humour, rather than as an aspect of Otherness which always has to be overcome.

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Thesis (Ph. D.)--Columbia University, 1935. / Includes bibliographical references (p. 118-120).

Thesis (Ph. D.)--Columbia University, 1935. / Includes bibliographical references (p. 118-120).

Music travels across the past in the form of composers borrowing from each other. Such musical borrowings and quotations involve not only the use of melodic materials but also musical structures, texts, symbolism and other types of inspiration. The pre-existing musical idea being used is linked to a specific memory of a particular composer and time. The artistic allusions of composers connect the present and the past. Music also travels across the present and into the future. The outcome of contemporary composers borrowing from each other influences the present period and affects later composers' musical inspiration, i.e., it affects future composers, and therefore, the future. Composers frequently refer to melodies or musical idea from contemporaries and reinterpret them in their own compositions. This is largely because composers do not write in isolation and have been inspired and influenced by contemporary musicians and cultural contexts. However, these musical borrowings sometimes raise questions about the composers' creativity and authenticity. This is largely due to the nature of inspiration and imagination, which determines who or what is original. With this in mind, why do composers still borrow musical ideas despite the risks involved? In what ways do they overcome criticism and demonstrate the excellence of their own compositions while referring to the work of others? In what ways do artistic allusions influence new compositions? In this dissertation, I attempt to examine these questions and address the reasons for and the effects of musical quotations and allusions.