Maria Graham is known as a travel writer, but she also translated works from French and German into English, wrote on history, painting, stories for children, and kept personal journals. My thesis centres on her travel journals and memoirs, published and unpublished. Graham is one of the first female travel writers to acquire fame as a writer shortly after publication, or to provoke controversy; in the cases of Brazil and Chile she actually is the first woman to write about those emerging states. She is outstanding as well for the authority of her narrative voice, her disregard of restrictions imposed on women’s text during her time, her complex approach to gender issues and for the changes experienced by her narrating persona. She begins by constructing a well informed but detached observer who reports her visit to India and the first visit to Brazil in a cold and distant voice, but who later allows another voice to filter through her text, an event that turns the narrator into a mere shadow in parts of the journal on Chile. It is in this journal that Graham begins to build up a contradictory persona who can be superior, ironic, and scathing when describing other women, but who can portray herself as a helpless heroine in a traditional romance when her script so demands it. In the second visit to Brazil this complex narrator becomes warmly eulogising of the country and its ruler, but this attitude does not last. The position is reversed in the third journal, which has elements of a spy thriller at times. The last chapter concerns the journals written in and about Europe regardless of chronology; they illustrate one of the main postulates of the thesis: that Graham evolved as narrator from detached observer to heroine up to the journals written at the end of her life, which become explorations into the narrator’s inner self.

Re-reading Rousseau, using cognate works by de Man, Althusser and Derrida, this thesis hopes to destabilise the convention of reading 'confessional' texts in terms of authorial intention. Chapter One undermines critical responses to Rousseau's work, tracing a tradition of reading which rejects his oeuvre, not due to a rigorous reading of his texts, but through an ad hominem attack. We establish de Man, Althusser and Derrida as writers who lie outside this tradition. Chapter Two examines the intellectual debate surrounding the revelation of Paul de Man's wartime journalism, concentrating on this journalism's power to contaminate his oeuvre. We unsettle the terms of this debate, revealing its reliance upon a cryptobiographical reading of the author irito the text. We account for the problematic nature of de Man's deconstructive stance differently when we read de Man's texts as a conscious type or copy of Rousseau's texts. Chapter Three studies the anti-Althusserian polemic which attacked"his 'theoretical' Marxism with reference to insanity and murder. Again, a reading which might have located a resistance to theory within theory itself instead favours a reductive, biographical reading. We trace a reading of Rousseau in Althusser's work in order to destabilise this debate. Chapter Four looks at the concepts of scandal and slander and their current usage in both legal and literary contexts. Our aim here is to unite our authors in the shared aim of re-synonimising the two terms so as to reveal biography as necessarily fictional. Rousseau's Confessions is re-read as an instance where the concepts of slander and scandal are equated. Chapter Five upsets a traditional theory of the archive when it reads Althusser's autobiography as a deliberate copy of Rousseau's Confessions. Finally, Chapter Six unites all our writers in a discussion of the necessarily fictive nature of a re-iterable autobiography.

This dissertation argues that a definable and distinct genre of death story does exist in the Old Testament and that form critical analyses of these stories can yield significant theological insights. Chapter 1 establishes the methodology and principles that govern the study. Chapter 2 presents an overview of death in the ancient Near East and Israel. The information in this chapter introduces the reader to the topic of death in the ancient world, and it provides a basis for comparison with the thanatology derived from the death stories. Chapter 3 surveys death accounts in the ancient Near East and in the Old Testament and classifies the various death accounts in the Hebrew Scriptures as notices, reports, or stories. In addition, this chapter justifies the classification of some accounts as stories instead of reports, and it establishes and describes the typical "death story." Chapter 4 engages in a form critical exegesis of the death stories in the Old Testament. Nine stories are analyzed. These include the death stories of Sarah (Gen 23:1-20), Abraham (Gen 24:1-25:11), Jacob (Gen 47:28-50:14), Joseph (Gen 50:22-26), Aaron (Num 20:22-29), Moses (Deut 31:1-34:12), Joshua (Josh 23:1-24:30), David (1 Kgs 1:1-2:12; 1 Chr 23:1-29:20), and Hezekiah (2 Kgs 20:1-21). The method of analysis follows the generally accepted form critical process--which involves an investigation of the form/structure, genre, setting, and intention of the text. To this list of four, this study adds an introduction to the literary and historical context of the texts. Each story investigated includes a section detailing some initial theological conclusions. Chapter 5 serves as the conclusion of the dissertation. It determines the success of the study in achieving its stated aims. In addition, it summarizes and synthesizes the various theological and thanatological conclusions based on the form critical analyses of chapter 4. Finally, it offers some concluding thoughts on the significance of the study for biblical form critical exegesis. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

Orientador: Guacira Marcondes Machado Leite / Banca: Maria Adélia Menegazzo / Banca: Paulo Cesar Andrade da Silva / Banca: Adalberto Luis Vicente / Banca: Fabiane Renata Borsato / Resumo: Esta tese tem o objetivo de apresentar como a poesia de Mario Quintana se desenvolveu ao longo de sua carreira possibilitando o fortalecimento da consciência poética do autor. Os textos selecionados enfocam a metalinguagem presente na obra desse poeta e proporcionam o atendimento dos objetivos específicos do trabalho, como levantar aspectos da poética quintaneana, apoiando-se nas teorias da poesia moderna e de crítica literária. Além disso, reconstituir o itinerário do poeta por meio dos textos que tratam de seu ofício, analisando poemas metalinguísticos selecionados de seus livros publicados de 1940 a 1990, num total de treze obras, foi um grande desafio que se realizou ao longo do capítulo 2 desta tese. Outro importante elemento de análise foi considerar o processo de reescritura e revisão/correção dos textos como uma forma de autocrítica do próprio trabalho, o qual Quintana realizou desde o início de sua carreira como uma prática constante em busca da expressão mais adequada para seus poemas. As análises estão fundamentadas em estudos de teóricos da poesia moderna como Friedrich, Paz, Compagnon, entre outros autores que tratam especialmente da metalinguagem e da intertextualidade como Campos, Samoyault, Perrone-Moisés. São ainda referenciais importantes para o desenvolvimento deste trabalho as obras de Cândido, Barbosa e Lyra. No decorrer deste estudo foi possível reconhecer o processo de criação e as variações em torno do fazer poético por meio de análises comparativas dos textos localizados no acervo pessoal do poeta e selecionados para esse propósito. Ao final, pôde-se identificar uma teoria da poesia construída ao longo de conceitos que se modulam e buscam, cada vez mais, a precisão / Abstract: This thesis aims at presenting how the poetry of Mario Quintana developed throughout his career, allowing the strengthening of a poetic consciousness of the author. Having modern poetry and literary criticism theories as a base, the selected texts focus on the metalanguage in this poet's work and meet these thesis specific purposes, such as raising Quintana's poetic aspects. Furthermore, in chapter 2, it was a great challenge to reconstruct the poet's itinerary through texts which address his work by analyzing metalinguistic poems selected from his books published from 1940 to 1990, a total of 13 works. Another important element of the analysis was to consider the texts rewriting and revision/correction process as a self criticism of his own work, which was a constant practice Quintana had since the beginning of his career, seeking the most appropriate expression to his poems. The analyzes are based on theoretical studies of modern poetry theorists, such as Friedrich, Paz, Compagnon, among other authors who deal specially with metalanguage and intertextuality, such as Campos, Samoyault, Perrone-Moisés. Cândido, Barbosa and Lyra's works are also important references for this study development. Throughout this study, it was possible to identify the creation process and the variations in the poetry through comparative analyzes of texts found in the poet's personal collection and selected for this purpose. By the end, it was possible to identify a poetry theory constructed over concepts which modulate and seek an increasingly accuracy / Résumé: Cette thèse a pour objectif de présenter la manière dont la poésie de Mario Quintana s'est développée au long de sa carrière rendant possible le renforcement de la conscience poétique de l'auteur. Les textes sélectionnés se concentrent sur le métalangage présent dans l'oeuvre de ce poète et procurent l'accueil des objectifs spécifiques du travail, comme relever les aspects de la poétique quintanaénne, s'appuyant sur les théories de la poésie moderne et de critique littéraire. En plus, reconstituer l'itinéraire du poète au moyen des textes qui traitent de sa travail, en analysant des poèmes métalinguistiques sélectionnés dans ses livres publiés de 1940 à 1990 dans un total de treize oeuvres, a été un grand défi qui s'est réalisé au long du chapitre 2 de cette thèse. Un autre élément important d'analyse a été de considérer le processus de réécriture et de révision\correction des textes comme une forme d'autocritique du travail même, ce que Quintana a réalisé depuis le début de sa carrière comme une pratique constante de recherche de l'expression la plus adéquate pour ses poèmes. Les analyses sont fondées sur des études de théoriciens de la poésie moderne comme Friedrich, Paz, Compagnon, parmi d' autres auteurs qui traitent spécialement du métalangage et de l'intertextualité comme Campos, Samoyault, Perrone-Moisés. Les oeuvres de Cândido, Barbosa et Lyra sont des référentiels importants pour le développement de ce travail. Au long de cette étude il a été possible de reconnaître le processus de création et les variations autour du faire poétique au moyen d'analyses comparatives des textes localisés dans les archives personnelles du poète et sélectionnés dans ce but. Finalement, on peut identifier une théorie de la poésie construite au long de concepts qui s'articulent, et cherchent, toujours plus la précision / Doutor

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Georgia Douglas Johnson, once considered the most popular Black female writer since Frances E. W. Harper, the abolitionist poet, was the most prolific Black female writer of the Harlem Renaissance. Johnson, a poet, dramatist, and journalist, was successful in getting published four books of poetry, six one-act plays, and her "Homely Philosophy" editorials. This study will introduce Johnson to modern readers and scholars by providing a biographical sketch of her literary life and by explicating the significance of the major recurring motifs found in her works. / The first chapter will document a need for this study by discussing the race/gender bias toward female writers in general and Black female writers in particular. Then the study will provide biographical information about Johnson followed by a chapter on her literary struggles as documented in letters that she wrote to individuals. Using Alicia Suskin Ostriker's argument on the themes found in early twentieth century American White female poets, the study will devote two chapters to placing Johnson among the "universal" poets by explaining the significance of the themes found in The Heart of a Woman and An Autumn Love Cycle. / Johnson wrote about non racial as well as racial issues; therefore, Chapter VI will emphasize the subjects found in Bronze, her collection of poetry dealing with race and the problems of racism. Chapter VII will summarize the themes in Johnson's last group of poems, Share My World, a collection of both "raceless" and racial poems. / Although Johnson was most prolific as a poet, she was also productive as a playwright and wrote protest, folk, and historical plays. Chapter VIII will explain the importance of the six plays: "Plumes," "A Sunday Morning in the South," "Blue-Eyed Black Boy," "Blue Blood," "William and Ellen Craft," and "Frederick Douglass." / This study, too, will illustrate the significance of Johnson, the journalist, by using her "Homely Philosophy" editorials to explain the manner in which she encouraged people to live a full life. Finally, the study will conclude with an attempt to establish Johnson within both the mainstream American aesthetic and the Black aesthetic. / Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4773. / Major Professor: Fred Standley. / Thesis (Ph.D.)--The Florida State University, 1995.

In this dissertation, the role of the individual in the decision-making processes that have led to musical evolution in cuarteto, a type of working-class popular dance music from Cordoba, Argentina, is examined through a case study of the group of Carlos Jimenez, the most famous cuarteto singer. The study involves an in-depth examination of Jimenez's band, employing individual biographies and stories to analyze the change process undergone in the group from 1994 to 1995, when it temporarily switched to an Afro-Caribbean-influenced musical style and then suddenly returned to a traditional cuarteto style of performance. Historical, stylistic, and ethnographic information about cuarteto music and a description of the processes of musical decision-making of six cuarteto bands (the Jimenez group is one of the six bands analyzed) are provided prior to the case study. The dissertation findings show how power relationships, access to decision-making, personal knowledge, and the use of musical notation can influence individual musical contributions that affect stylistic evolution in cuarteto music. Conclusions are also drawn regarding musical change that is stimulated from within a culture (innovation). / The dissertation is divided into two parts. Part I is devoted to issues regarding the research context: an explanation of the research question, theoretical background methodology, a literature review, the history and stylistic evolution of cuarteto music (with emphasis placed upon the music of Jimenez and how it fits in with umbrella styles of cuarteto music), ethnographic information regarding the cuarteto scene, and a description of what happens at a typical dance. Part II is specifically devoted to the research problem and to the interview data gathered by comparatively studying the role of the individual in the musical decision-making processes (those involved in the selection of repertoire, composition, making of arrangements, rehearsals, performance, and recordings) of the six bands involved. The case study of the Jimenez band is presented in the last chapter, and suggestions for further research are provided in a short Epilogue. / Source: Dissertation Abstracts International, Volume: 57-04, Section: A, page: 1376. / Major Professor: Dale A. Olsen. / Thesis (Ph.D.)--The Florida State University, 1996.