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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the 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.
1

The death and birth of a hero: the search for heroism in british world war one literature

Pividori, Cristina 02 July 2012 (has links)
L'objectiu d'aquesta tesi és avançar cap a una redefinició de la representació literària de la masculinitat heroica. A tal efecte, s'han examinat les narratives autobiogràfiques en resposta a la Primera Guerra Mundial escrites pels poetes de guerra que conformen el cànon literari en llengua anglesa. L’anàlisi dels textos es realitza a partir de la tensió entre dos mites: el 'mite de l'heroi victorià' i el 'mite del fantasma.' El mite de l’heroic victorià es refereix a la representació de la masculinitat heroica de mitjans-finals del segle XIX, fundada en la tradició èpica i romàntica i en una concepció essencialista de l’home impulsada per la propaganda imperialista, per l’experiència de la Guerra Bòer i pels valors i actituds transmesos per l'escola pública anglesa. El mite del fantasma, d’altra banda, emfatitza la idea que la Primera Guerra Mundial destrueix la representació del soldat com a heroi i de la guerra com a romanç, centrant-se, no només en la discontinuïtat amb el passat heroic, sinó en la figura del soldat com a fantasma, com a ésser feble, vulnerable i emasculat. Si bé els textos estudiats es consideren exemples emblemàtics del mite del fantasma, aquesta tesi sosté que aquesta postura és limitada i parcial en relació a la representació de la guerra i, essencialment, de la figura del soldat. No es pren prou en compte la complexitat en la resposta literària a una experiència que no només es presenta com una de les més traumàtiques i pertorbadores del segle XX sinó que ofereix un context de circumstàncies contradictòries i canviants que impedeix una interpretació unànime. L'anàlisi detallada de diaris, cartes, memòries i noveI.les autobiogràfiques escrites pels poetes canònics demostra que les obres més reflexives i valuoses de la literatura de guerra transcendeixen tant la narrativa heroica com l’anti-heroica per explorar les ambigüitats i contradiccions i eventualment redefinir l’ideal heroic. Aquest treball se centra en cóm aquesta tensió entre els dos mites es manifesta en els vincles relacionals del soldat, fonamentalment en les actituds respecte al camarada, l'amic, l'amant, l'enemic i el covard, no només des de la perspectiva d'una crisi d’identitat sinó com a punt de partida per al sorgiment d'un model alternatiu viable de masculinitat heroica. / El objetivo de esta tesis es avanzar hacia una redefinición de la representación literaria de la masculinidad heroica. Para ello, se han examinado las narrativas autobiográficas en respuesta a la Primera Guerra Mundial escritas por los poetas de guerra que conforman el canon literario en lengua inglesa. Los textos son analizados a partir de la tensión entre dos mitos: el ‘mito del héroe victoriano’ y el ‘mito del fantasma.’ El mito del héroe victoriano se refiere a la representación de la masculinidad heroica de mediados-finales del siglo XIX, fundada en la tradición épica y romántica y en una concepción esencialista del hombre impulsada por la propaganda imperialista, por la experiencia de la Guerra Bóer y por los valores y actitudes transmitidos por la escuela pública inglesa. El mito del fantasma, por otro lado, enfatiza la idea de que la Primera Guerra Mundial destruye la representación del soldado como héroe y de la guerra como romance, centrándose, no sólo en la discontinuidad con el pasado heroico, sino en la figura del soldado como fantasma, como ser débil, vulnerable y emasculado. Si bien los textos estudiados han sido considerados ejemplos emblemáticos del mito del fantasma, esta tesis sostiene que esa postura es limitada y parcial en lo que refiere a la representación de la guerra y, esencialmente, de la figura del soldado. No se toma suficientemente en cuenta la complejidad en la respuesta literaria a una experiencia que no sólo se presenta como una de las más traumáticas y perturbadoras del siglo veinte sino que ofrece un contexto de circunstancias contradictorias y cambiantes que impide una interpretación unánime. El análisis detallado de diarios, cartas, memorias y novelas autobiográficas escritas por los poetas canónicos demuestra que las obras más reflexivas y valiosas de la literatura de guerra trascienden tanto la narrativa heroica como la anti-heroica para explorar las ambigüedades y contradicciones y eventualmente redefinir el ideal heroico. Este trabajo se centra en cómo esa tensión entre los dos mitos se manifiesta en los vínculos relacionales del soldado, fundamentalmente en las actitudes hacia el camarada, el amigo, el amante, el enemigo y el cobarde, no sólo desde la perspectiva de una crisis de identidad sino como punto de partida para el surgimiento de un modelo alternativo viable de masculinidad heroica. / This thesis works towards a redefinition of the representation of heroic masculinity in the autobiographical narratives written by the canonical British war poets in response to the Great War. The texts have been analysed from the perspective of the tension between two myths: the ‘Victorian hero myth’ and the ‘Ghost myth.’ The Victorian hero myth refers to the representation of heroic masculinity in mid-to late-nineteenth century Britain, based on the epic and romance traditions and on an essentialist conception of manhood promoted by imperial propaganda, the Boer War experience and the public-school ethos. The Ghost myth, on the other hand, emphasises the idea that the Great War destroyed the representation of the soldier and of war itself as heroic, highlighting not only the discontinuities with a heroic past but the figure of the soldier as a ghost, a weak, vulnerable and emasculated human being. Although the texts under study are regarded as significant examples of the Ghost myth, this thesis argues that such a view is too limited and simplistic as regards the representation of war and, most essentially, of the figure of the soldier, taking insufficiently into account the complexity of response to a diverse and multifaceted experience. A close and detailed analysis of the selected war diaries, letters, memoirs and autobiographical novels shows that much of the finest literature of the Great War refuses single-minded interpretations and transcends the conventional patriotic-heroic and protest-anti-heroic readings to explore the ambiguities and contradictions and to eventually redefine the heroic ideal. This thesis essentially focuses on how the tension between the two dominant myths is expressed in the relational aspect – the soldier’s attitudes towards the comrade, the friend, the lover, the enemy and the coward – not only from the perspective of an identity crisis but also as the source of a viable alternative model of heroic masculinity.
2

The Minority Anti-Hero: Race and Behavioral Justification in Power

Hernandez, Claudia 01 January 2018 (has links)
This thesis explores the minority anti-hero on television as it relates to concepts of race and behavioral justification. Previous studies have addressed the ways in which whiteness functions advantageously for popular criminal anti-heroes on television, yet little is known regarding the effects of race for similar characters of color. I hypothesized that accessibility of the criminal stereotype does not allow men of color to inhabit the same immoral status as white characters without penalty. I subsequently analyzed the first season from the Starz series Power and conducted a textual analysis using theories of race and hegemonic masculinity to compare the behavioral justification of Ghost and Tommy, the minority and white anti-heroes featured in the show. Results show that Power develops a dichotomous relationship between the minority and white anti-hero based in work priorities, attitude towards violence, and public image. This relationship ultimately serves to distance Ghost from stereotype and deflect the characteristics onto Tommy, whose whiteness allows him to absorb criminality with less cultural consequence. While this strategy broadens the palatability of the show, I find that it is ultimately harmful for minority representation on television. Implications of media representation and directions for future research are discussed.
3

Reprezentace hrdiny a antihrdiny v britské fantasy literatuře / Representations of a Hero and Anti-hero in British Fantasy Literature

HARŠOVÁ, Pavlína January 2014 (has links)
The author of this thesis Representation of the hero and the antihero in the British fantasy literature deals with the typology of characters within the genre. She focuses on the distinction between a hero and an antihero and discribes the characteristic features of their representation in the pieces written by British authors, including particularly the work of J. R. R. Tolkien, C. S. Lewis, J. K. Rowling, P. Pullman, N. Gaiman and T. Pratchett. The theoretical background is provided by the publication The Hero with a Thousand Faces by Joseph Campbell and a book titled The Archetypes and the Collective Unconscious. Gained pieces of information are confronted with the texts named above.
4

Simbologia do caos em O diabo mesquinho de Fiódor Sologub / Symbol of chaos in the petty demon by Fiódor Sologub

Mountian, Daniela 26 October 2011 (has links)
Este trabalho se propôs a analisar O Diabo Mesquinho (1892-1902), romance-chave de Fiódor Sologub (1863-1927), um dos expoentes do simbolismo russo. Além da importância incontestável da obra para a literatura russa e mundial, foi estímulo para a pesquisa a possibilidade de delinear o primeiro estudo acadêmico sobre o autor no Brasil. A análise seguiu duas direções, que continuamente se encontraram: a evidente tessitura paródica, e a presença de arquétipos míticos universais perpassados por elementos do folclore russo. Quanto ao uso da paródia, tendo como base teórica autores como Iuri Tyniánov e Mikhail Bakhtin, foram feitas aproximações de O Diabo Mesquinho com textos de Aleksándr Púchkin, Nikolai Gógol e Fiódor Dostoiévski, cujas marcas deflagradas são essenciais para o entendimento da estrutura da obra, assim como o narrador que, subvertendo a estética realista, organiza esses discursos. Com relação à incorporação de arquétipos literários, a qual ressalta a dimensão paródica e a contextura neomitológica, tal como conceituada por Zara Mints, foi desenvolvida uma análise do desdobramento do anti-herói Ardalión Peredonov, um trickster diabólico, no herói cultural mítico. Esse aprofundamento, embasado sobretudo em Eliazar Meletínski, desvelou a articulação que a narrativa faz entre as dualidades míticas mais estáveis (caos versus cosmos, próprio versus alheio), as construções de herói e de anti-herói, e os traços folclóricos e do demonismo popular. A convivência desses componentes conduz o enredo ao caos mítico junto da loucura progressiva de Peredonov. A breve contextualização do simbolismo russo, movimento que, apoiado na própria cultura e história, inaugurou novos rumos na arte e na filosofia russas, foi também fundamental para trabalhar com O Diabo Mesquinho, pois o romance consagra seus grandes mestres, sublinha seu contexto gerador e rompe paradigmas. / The research aims at analysing The Petty Demon (1892-1902), a key novel by Fiódor Sologub (1863-1927) who is one of the best known writers of the Russian symbolism. The importance of this novel is well established for Russian and world literature, and this research thesis was the first academic study on the author in Brazil. The analysis followed two main directions, which appear in intersection: first, the evident parodist structure of the text and second, the presence of universal mythic archetypes juxtaposed by elements of the Russian folklore, which inhabit the narration. Regarding the use of parody, drawing on Iuri Tyniánov and Mikhail Bakhtin, the analysis establish dialogues between The Petty Demon and texts by Aleksándr Púchkin, Nikolai Gógol and Fiódor Dostoiévski. These parodist dialogues are seen here as essential for the understanding of the structure of the text, as well as the narrator who organises these discourses subverting the realistic aesthetics. In relation to the incorporation of literary archetypes in the novel, highlighting the parodist dimension and the neomythologic structure, as conceptualised by Zara Mints, an analysis was developed on the history of the anti-hero Ardalión Peredonov, a diabolic trickster, as a cultural mythic hero. This in-depth analysis drawing on Eliazar Meletínski, unravelled the articulation between well established mythic dualities (chaos versus cosmos); the construction of the hero and anti-hero; and the folkloric characteristics and popular demonism. The relation between these components guides the story to the mythic chaos alongside the gradual madness of Peredonov. The brief contextualisation put forward in this research thesis of the Russian symbolism - a movement that based on its own culture and history launched new paths for Russian arts and philosophy - was fundamental to the analysis of The Petty Demon, as the novel established great masters in literature, highlighted its symbolist context and broke paradigms.
5

A reprogramação da saga Harry Potter: leitura das enunciações mágicas do herói decadente

Bezerra, Diego Nunes 27 November 2012 (has links)
Made available in DSpace on 2016-04-28T19:58:48Z (GMT). No. of bitstreams: 1 Diego Nunes Bezerra.pdf: 716313 bytes, checksum: 8c1f43f81a2010014c09e091f8da98dc (MD5) Previous issue date: 2012-11-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The best-seller Harry Potter s series, written by the British author J. K. Rowling, and stared by the character Harry Potter have been studied by the contemporaneous Criticism while the image spectacular society s concepts. Among these concepts there are the saga, and the Greek hero, as structures of the myth, and both are restructured by media mechanism action in favor of the fabled contamination. In this study, the saga occupies the center of a heroic circular action that remodels the hero concept, and also gives us the updated decadent hero while image integrated to the mass society system. In a ludic point of view, the series Harry Potter (seven books) are about sharing the hero s (Harry Potter) qualities in counterpoint to the anti-hero Voldemort, who brings us the construction of the intrigue, the effects of the dual decadent nature game: bad vs. good, once humanized by the marvelous multimidia contemporaneous element. In this way, the marvelous becomes the support roll in the adventures of this hero in the gaps created by him through the remodeling saga. Under the communicative perspective of the fanfiction, the potternian fiction corroborates to the decadent heroic structure, by using a mixture of mass reading, and mass writing into the classic saga, extended to the author-mass, and to the readermass, creating the parenthood of the modern saga. This communicative link of the reprogrammed saga made by way of magic and witchcraft element shave lead up us to the study of this central theme, in three stages: the fiction and fanfiction intertextuality in Harry Potter s series; the architext in construction: Harry Potter s series; the fiction in intertextuality: the reading of magic enunciations / Os best-sellers da Série Harry Potter, da autora britânica J. K. Rowling, protagonizados pela personagem Harry Potter, têm sido estudados pela crítica contemporânea sob o suporte de conceitos dados pela sociedade da imagem espetacular. Entre estes conceitos figuram: a saga e o herói grego, como estruturas do mito, ambos em reestruturação pela ação dos dispositivos midiáticos em trabalho de contaminação fabular. Neste estudo, a saga ocupa o centro de um círculo de ações heroicas que, ao mesmo tempo em que modelam o conceito de heroicidade, atualizam o arquétipo do herói decadente enquanto imagem, integrado ao sistema da sociedade de massa. Em operação lúdica, a Série Harry Potter (7 Livros) concentra-se na partilha das qualidades do herói Harry Potter em contraponto com o anti-herói Voldemort, assimilando, na composição da intriga, os efeitos do jogo bem vs. mal em sua natureza dual decadente, uma vez humanizada pelo elemento maravilhoso multimidiático contemporâneo. Para tanto, o maravilhoso passa a ser o coadjuvante das aventuras desse herói, nas fissuras por ele geradas pela via da remodelação da saga. Sob a perspectiva comunicacional da fanfiction, a ficção potterniana corrobora com a estruturação do herói decadente, por meio da mixagem leitura e escrita de massa à saga clássica, extensiva ao autor-massa e leitor-massa, compondo a parentela da saga moderna degenerada. Esse nexo comunicacional da saga reprogramada pela magia e feitiçaria nos propiciou o estudo da temática central em três momentos: A intertextualidade fiction e fanfiction na Série Harry Potter de J. K. Rowling; O arquitexto em construção: a Série Harry Potter; O ficcional na rede intertextual: a leitura das enunciações mágicas
6

Simbologia do caos em O diabo mesquinho de Fiódor Sologub / Symbol of chaos in the petty demon by Fiódor Sologub

Daniela Mountian 26 October 2011 (has links)
Este trabalho se propôs a analisar O Diabo Mesquinho (1892-1902), romance-chave de Fiódor Sologub (1863-1927), um dos expoentes do simbolismo russo. Além da importância incontestável da obra para a literatura russa e mundial, foi estímulo para a pesquisa a possibilidade de delinear o primeiro estudo acadêmico sobre o autor no Brasil. A análise seguiu duas direções, que continuamente se encontraram: a evidente tessitura paródica, e a presença de arquétipos míticos universais perpassados por elementos do folclore russo. Quanto ao uso da paródia, tendo como base teórica autores como Iuri Tyniánov e Mikhail Bakhtin, foram feitas aproximações de O Diabo Mesquinho com textos de Aleksándr Púchkin, Nikolai Gógol e Fiódor Dostoiévski, cujas marcas deflagradas são essenciais para o entendimento da estrutura da obra, assim como o narrador que, subvertendo a estética realista, organiza esses discursos. Com relação à incorporação de arquétipos literários, a qual ressalta a dimensão paródica e a contextura neomitológica, tal como conceituada por Zara Mints, foi desenvolvida uma análise do desdobramento do anti-herói Ardalión Peredonov, um trickster diabólico, no herói cultural mítico. Esse aprofundamento, embasado sobretudo em Eliazar Meletínski, desvelou a articulação que a narrativa faz entre as dualidades míticas mais estáveis (caos versus cosmos, próprio versus alheio), as construções de herói e de anti-herói, e os traços folclóricos e do demonismo popular. A convivência desses componentes conduz o enredo ao caos mítico junto da loucura progressiva de Peredonov. A breve contextualização do simbolismo russo, movimento que, apoiado na própria cultura e história, inaugurou novos rumos na arte e na filosofia russas, foi também fundamental para trabalhar com O Diabo Mesquinho, pois o romance consagra seus grandes mestres, sublinha seu contexto gerador e rompe paradigmas. / The research aims at analysing The Petty Demon (1892-1902), a key novel by Fiódor Sologub (1863-1927) who is one of the best known writers of the Russian symbolism. The importance of this novel is well established for Russian and world literature, and this research thesis was the first academic study on the author in Brazil. The analysis followed two main directions, which appear in intersection: first, the evident parodist structure of the text and second, the presence of universal mythic archetypes juxtaposed by elements of the Russian folklore, which inhabit the narration. Regarding the use of parody, drawing on Iuri Tyniánov and Mikhail Bakhtin, the analysis establish dialogues between The Petty Demon and texts by Aleksándr Púchkin, Nikolai Gógol and Fiódor Dostoiévski. These parodist dialogues are seen here as essential for the understanding of the structure of the text, as well as the narrator who organises these discourses subverting the realistic aesthetics. In relation to the incorporation of literary archetypes in the novel, highlighting the parodist dimension and the neomythologic structure, as conceptualised by Zara Mints, an analysis was developed on the history of the anti-hero Ardalión Peredonov, a diabolic trickster, as a cultural mythic hero. This in-depth analysis drawing on Eliazar Meletínski, unravelled the articulation between well established mythic dualities (chaos versus cosmos); the construction of the hero and anti-hero; and the folkloric characteristics and popular demonism. The relation between these components guides the story to the mythic chaos alongside the gradual madness of Peredonov. The brief contextualisation put forward in this research thesis of the Russian symbolism - a movement that based on its own culture and history launched new paths for Russian arts and philosophy - was fundamental to the analysis of The Petty Demon, as the novel established great masters in literature, highlighted its symbolist context and broke paradigms.
7

Imperfect flâneurs : anti-heroes of modern life

Ng, Simon Yiu-Tsan 08 1900 (has links)
Cette thèse commence comme une simple question en réponse au modèle du « parfait flâneur » que Baudelaire a élaboré dans Le peintre de la vie moderne (1853): un flâneur peut-il être imparfait? Je suggère trois interprétations possibles du mot « imparfait ». Il permet d’abord de sortir le flâneur du strict contexte du Paris du dix-neuvième siècle et permet des traductions imparfaites de personnages dans d’autres contextes. Ensuite, le flâneur déambule dans la dimension « imparfaite » de l’imagination fictionnelle – une dimension comparable à l’image anamorphique du crâne dans la peinture Les ambassadeurs de Holbein. Enfin, il réfère à l’imparfait conjugué, « l’imparfait flâneur » peut rappeler le personnage antihéroïque de l’humain dont l’existence est banale et inachevée, comme la phrase « il y avait ». Ces trois visions contribuent à la réinterprétation du flâneur dans le contexte de la fin du vingtième siècle. Mon hypothèse est que l’expérience urbaine du flâneur et la flânerie ne sont possibles que si l’on admet être imparfait(e), qu’on accepte ses imperfections et qu’elles ne nous surprennent pas. Quatre études de romans contemporains et de leurs villes respectives forment les principaux chapitres. Le premier étudie Montréal dans City of forgetting de Robert Majzels. J’examine les façons par lesquelles les personnages itinérants peuvent être considérés comme occupant (ou en échec d’occupation) du Montréal contemporain alors qu’ils sont eux-mêmes délogés. Quant au deuxième chapitre, il se concentre sur le Bombay de Rohinton Mistry dans A fine balance. Mon étude portera ici sur la question de l’hospitalité en relation à l’hébergement et au « dé-hébergement » des étrangers dans la ville. Le troisième chapitre nous amène à Hong-Kong avec la série Feituzhen de XiXi. Dans celle-ci, j’estime que la méthode spéciale de la marelle apparait comme une forme unique de flânerie imparfaite. Le quatrième chapitre étudie Istanbul à travers The black book d’Orhan Pamuk. Inspiré par les notions de « commencement » d’Edward Saïd, mon argumentaire est construit à partir de l’interrogation suivante : comment et quand commence une narration? En lieu de conclusion, j’ai imaginé une conversation entre l’auteur de cette thèse et les personnages de flâneurs imparfaits présents dans les différents chapitres. / This dissertation begins with a simple question in response to “the perfect flâneur” model that Baudelaire elaborated in his 1853 essay “The Painter of Modern Life”: can a flâneur be imperfect? I suggest three possible inferences behind the word “imperfect.” First, it should liberate the flâneur from the strict context of nineteenth-century Paris, and allows for imperfect translations of the figure into other urban contexts. Second, the flâneur also strolls in the “imperfect” dimension of fictional imagination, a dimension comparable to the anamorphic skull in Holbein’s painting The Ambassadors. Third, in the grammatical meaning of imperfect verb tenses, “imperfect flâneur” can also refer to the anti-heroic figure of the living, whose existence remains incomplete and mundane as in the phrase “it was.” All three implications contribute to the reinterpretation of the flâneur in late twentieth-century contexts. My premise is that to experience the city as a flâneur, or to make flânerie possible in the city, one should concede being imperfect, anticipate imperfections, and come to terms with them. Four in-depth studies of contemporary novels and their respective cities constitute the main chapters. Chapter One reads Robert Majzels’s City of Forgetting and Montreal. I examine the ways in which homeless characters could be said to occupy – or, fail to occupy – contemporary Montreal from their dislodged position. Chapter Two focuses on Rohinton Mistry’s A Fine Balance and Bombay. My reading evolves around the question of hospitality in relation to the accommodation and un-accommodation of strangers in the city. Chapter Three brings us to XiXi’s Feituzhen series and Hong Kong: I address the special method of hopscotching as a unique form of imperfect flânerie in XiXi’s works. In Chapter Four, I study Orhan Pamuk’s The Black Book and Istanbul. Inspired by Edward Said’s notions of beginning, I frame my argument with the enquiry: how and when does a narrative begin? In lieu of Conclusion, I imagined a conversation between the writing subject of this dissertation and the imperfect flâneurs featured in each chapter.

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