The dissertation investigates the correlations among the development of general anthologies of Canadian literature, the Canadian canon, and visions of national identity. While literature anthologies are widely used in university classrooms, the influential role of the anthology in the critical study of literature has been largely overlooked, particularly in Canada. The dissertation begins with an analysis of the stages of development of general anthologies of Canadian literature, demonstrating that there are important links between dominant critical trends and the guiding interests of the various phases of anthology development and that anthologies both reflect and participate in moulding views of the nation and its literature. Focusing then upon five eighteenth- and nineteenth-century Canadian authors, the dissertation traces their treatment in anthologies and analyzes in detail the impact of stages of anthology development upon authors’ inclusion and presentation. The reception of Frances Brooke, John Richardson, William Kirby, Susanna Moodie, and Emily Pauline Johnson over a span of nearly 90 years is examined, and points of inclusion and exclusion are scrutinized to determine links with prevailing critical interests as well as canonical status. These case studies reveal the functions of anthologies, which include recovering overlooked authors, amending past oversights, reflecting new areas of critical inquiry, and preserving the national literary tradition. Their treatment also reveals the effect of larger critical concerns, such as alignment with dominant visions of the nation, considerations of genre, and reassessments of past views. The dissertation shows that the anthology is a carefully constructed, culturally valuable work that plays an important role in literary criticism and canon formation and is a genre worthy of careful scrutiny.

Within the multilingual context of Zambia, Grade Ten Literature in English language pedagogy could incorporate the learners’ language and culture to help enrich participation and facilitate understanding of concepts among the learners who are in the foundational year of the literature course. However, current Literature in English language pedagogy is characterized by a monolingual practice with English dominating the literature learning/teaching classroom space – thus rendering the learners’ local linguistic and cultural knowledge impotent. To remedy the situation, the study investigated a dominant local language – Bemba – for a linguistic genre suitable for use in Literature in English language pedagogy. Archival retrieval and live recording of Bemba oral traditional narratives produced the initial research data. Transcription and translation techniques created an anthology from which a bilingual resource (BR) was derived. The BR was then trialled among Grade Ten Literature in English language learners in schools in the Copperbelt province of Zambia. Focus group discussions by participants generated evaluative data whose analysis using qualitative techniques indicate that learners responded positively to the bilingual materials and approach. Teachers were equally enthusiastic, describing the bilingual approach to Literature in English language pedagogy as unique, innovative and liberating. A Linguistic Synergy theory was thus developed to account for teachers’ and learners’ experiences in a bilingual Literature in English classroom. / English Studies / D. Litt. et Phil. (English)

Cette anthologie rassemble des poèmes spirituels et féminins du XVIe siècle pour proposer un parcours neuf dans la poésie de la Renaissance en sélectionnant des textes de femmes, en contrepoint aux textes d’hommes généralement mis en avant par l’histoire littéraire, et en choisissant la veine spirituelle qui se démarque de la veine amoureuse et pétrarquiste souvent mieux connue. Nous avons sélectionné des œuvres catholiques et des œuvres réformées, afin de donner la plus large vision possible de la vie spirituelle française du XVIe siècle. Notre anthologie s’accompagne d’une étude du corpus pour justifier nos choix et pour élucider les critères d’écriture au féminin, la notion de spiritualité et les pratiques des formes poétiques, tout en proposant un état de la recherche, prenant en compte les avancées les plus significatives en matière d’éditions de textes de femmes. / This anthology gathers spiritual poems written by women from the sixteenth century, suggesting a new way of discovering the poetry from the Renaissance ; indeed, we have chosen texts written by women in preference to texts written by men which have usually been strongly emphasized throughout literary history, and also by choosing the spiritual inspiration which is different from the much better-known romantic Petrarchan inspiration. We have made a selection among Catholic works as well as reformed works, in order to show what the sixteenth century French spiritual life really was. We have added a study of the corpus to our anthology in order to justify our choice and to clear up the different important points in women's way of writing, this idea of spirituality and the use of the different forms of poetry, while mentioning research results at the same time, taking into account the most significant progress which has been made concerning the publishing of women's works.

數位典藏是將物件以數位影像的形式進行典藏，並放置在網路系統供使用者瀏覽，能達到流通推廣與保存維護的效果。但在目前資訊爆炸的時代，數位典藏若僅透過詮釋資料描述是無法有效幫助使用者獲得內容資訊，唯有將之建置成全文檢索模式，才能方便使用者快速檢索到所需資訊，而光學字元辨識技術（簡稱OCR）能協助進行全文內容的輸出。 本研究藉由實際操作OCR軟體辨識明代古籍，探究古籍版式及影像對於軟體辨識結果之影響；藉由深度訪談訪問有實際參與數位典藏全文化經驗之機構人員，探究機構或個人對於計畫施行之觀點與考量。結果發現，雖然實際辨識結果顯示古籍版式與影像會對於OCR辨識有所影響，綜合訪談內容得知目前技術層面已克服古籍版式的侷限，但對於影像品質的要求仍然很高，意指古籍影像之品質對OCR的辨識影響程度最大；雖然OCR辨識技術已經有所突破，顯示能善用此技術協助進行全文資料庫的建立，但礙於技術陌生、經費預算、人力資源等因素，使得多數機構尚未運用此技術協助執行數位典藏全文化。 本研究建議，機構日後若有興趣執行數位典藏全文化計畫，首先，需要制定經常出適合機構執行的作業流程，並且瞭解自身欲處理物件之狀況，好挑選出適合的輸入處理模式；再者，需要多與技術廠商溝通協調，瞭解所挑選之物件是否符合處理上的成本效益；最後，綜合典藏機構與使用者之需求考量下，建議未來採取與OCR廠商合作的方式，由使用者自行挑選需要物件進行OCR辨識，校對完成後將全文內容回饋給典藏機構。這樣不僅能瞭解使用者需求為何，也能降低機構全文校對所耗費的成本。 / Digital Archives, placed in the network system for users to browse, change the collection into the digital images, and can help to preserve the collection and promote the content information. However, in the era of information explosion, Digital Archives can’t help users to retrieve the information in the collection by simply recording metadata. So, only when built into the full text retrieval can Digital Archives provide users with a quick retrieval of the information they want. And the Optical Character Recognition (OCR) can help to output the full text information. The study explores the ancient books’ format and impact of image quality on the recognition results by recognizing the ancient books of the Ming dynasty with the OCR software. The study also explores institutional as well as individual views and considerations by in-depth interviewing institutional staff with experiences in the full text of Digital Archives plan. From the result we can discover that though the ancient books’ format and image quality do have influences on the recognition results, the overall interview suggests that the technology has overcome the limitation of the format under the high requirement for the image quality; that is, the quality of ancient books’ images is the most influential factor in the recognition results. Although the OCR already has the breakthrough in assisting the establishment of the full text database, most institutions have not yet applied this technology to full-textualization of the Digital Archives due to technical unfamiliar, budget, human resources and other factors. The study suggests that if some day one institution is interested in working on the the full text of the Digital Archives project, it firstly needs to develop a proper SOP and needs to understand the conditions of their ready-to-be-textualized collections so that it can adopt a suitable input mode. Secondly, this institution needs to communicate with the OCR company more so that it can realize whether the chosen collection fits the cost-effectiveness. Finally, under the considerations of both the institution and users, the study suggests that institutions can cooperate with OCR companies in the future, so users can choose collections for OCR recognition on their own and give the full text to the institutions as feedback after proofreading. This can not only understand users’ needs but also reduce the cost of the proofreading for the institution.

The dissertation investigates the correlations among the development of general anthologies of Canadian literature, the Canadian canon, and visions of national identity. While literature anthologies are widely used in university classrooms, the influential role of the anthology in the critical study of literature has been largely overlooked, particularly in Canada. The dissertation begins with an analysis of the stages of development of general anthologies of Canadian literature, demonstrating that there are important links between dominant critical trends and the guiding interests of the various phases of anthology development and that anthologies both reflect and participate in moulding views of the nation and its literature. Focusing then upon five eighteenth- and nineteenth-century Canadian authors, the dissertation traces their treatment in anthologies and analyzes in detail the impact of stages of anthology development upon authors’ inclusion and presentation. The reception of Frances Brooke, John Richardson, William Kirby, Susanna Moodie, and Emily Pauline Johnson over a span of nearly 90 years is examined, and points of inclusion and exclusion are scrutinized to determine links with prevailing critical interests as well as canonical status. These case studies reveal the functions of anthologies, which include recovering overlooked authors, amending past oversights, reflecting new areas of critical inquiry, and preserving the national literary tradition. Their treatment also reveals the effect of larger critical concerns, such as alignment with dominant visions of the nation, considerations of genre, and reassessments of past views. The dissertation shows that the anthology is a carefully constructed, culturally valuable work that plays an important role in literary criticism and canon formation and is a genre worthy of careful scrutiny.

No description available.

The dissertation deals with the literature of the Czech lands on the background of the social change. The project follows the development of literature, from the enlightenment reforms at the end of the 18th century to the later phase of the Czech National Revival in the middle of the 19th century. The analysis of chosen texts is particularly focused on the role of the florilegia, written in German: collections of literary works and almanacs. The exploration is interested in tendencies, which this literary genre reflects: educative, reviving and mediating.

No description available.

<p dir="ltr">This dissertation is a Black feminist qualitative inquiry of the interconnections between Black women, literary activity, community, activism, and restoration and healing. In the 1970s and 1980s, the Black Women’s Literary Renaissance and the Black feminist movement converged to create one of the richest periods in Black women’s history. Black women came together in community, through the text, and through various literary spaces–often despite or even because of their differences–to build an archive that articulates a multivocal Black women’s standpoint which many believed to be monotonously singular. During this period, for example, Black women writer-activists wrote more novels, plays, and poetry in these two decades than in any period prior while also establishing new literary traditions. These traditions included the recovery of previously published yet out of print Black women writers, the development of the Black Women Anthology era, the creation of Black women writer-activist collectives, the founding of bookstores, as well as the development of Black Women’s Studies and Black feminist literary criticism in the academy. In the dissertation, these traditions are intrinsically tied to the articulation and definition of the theoretical concept of literary kinship. Conceptually, relationally, and materially literary kinship is the connection generated by the intergenerational literary activity between Black women and girls. In the dissertation, I use literary activity in slightly different ways including to denote community-engaged oral practices, publication, relationships defined around literary sites, and the practice of reading. Literary kinship provides access to community based on and derived from a connection to the literary that is often marked by intergenerational activity. I argue that Black women writer-activists during the period of the BWLR articulate and define literary kinship as a practice of communal restoration and healing for individuals and the collective.</p><p dir="ltr">Literary kinship is explored in four interrelated, yet distinct ways in the dissertation. In chapter two, literary kinship is located in and operationalized through Black women’s literary kinship “networks” founded during the Black Women’s Literary Renaissance. In chapter three, the focus is on the Black Women’s Anthology era that begins in 1970 and becomes a pipeline for the development of the interdisciplinary field of Black Women’s Studies in the 1980s. The fourth and fifth chapters shift the impact of the Black Women’s Literary Renaissance to the 21st century and examines how literary kinship is rearticulated or re-visioned a generation later. The fourth chapter, in this vein, uses autoethnography and literary analysis to illuminate the interconnections between Black girlhood, geography, and my concept of literary kinship. The chapter explores my experience of literary kinship at the kitchen table, in public libraries, and in secondary and higher education as transformative opportunities that fostered my love for reading, engaging in literary community, and developing reading as a restorative and healing practice. In the final chapter, the rapid reemergence of Black women booksellers and their bookstores in the last five years (2018-2023) become integral to a contemporary rearticulation of literary kinship.</p><p dir="ltr">The Black Women’s Literary Renaissance is a significant period of literary output by Black women writer-activists that has had intergenerational impact in the lives of Black women. During the Renaissance, Black women writer-activists were catalysts for critical and necessary literary interventions, strategies, and methods that supported their sociopolitical activism, the development of a rich Black feminist and literary archive, and that manifested community functional practices of restoration and healing. Black women’s articulation, definition, and utilization of literary kinship in the 20th and 21st centuries has supported their literary labors as activists, as intellectuals, and as community members, and is therefore a practice of community restoration and healing.</p>