Thesis (Ph. D.)--Rājasthāna Viśvavidyālaya. / In Hindi. Includes bibliographical references.

Zugl.: Bern, Universiẗat, Habil.-Schr., 2004.

Thesis (M.A.)--University of Alberta, 2009. / Title from pdf file main screen (viewed on October 14, 2009). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, Department of English and Film Studies. At head of title screen: University of Alberta. Includes bibliographical references.

This study is an interpretive analysis of Zimbabwean political auto/biographical narratives in contexts of changing culture, race, ethnicity and gender identity images of the self and nation. I used eclectic theories of postcolonialism to explore the fractured nature of both the processes of identity construction and narration, and the contradictions inherent in identity categories of nation and self. The problem of using autobiographical memory to recall the momentous events that formed the contradictory identities of self and nation in the creative imagination of the lives of Ian Smith, Maurice Nyagumbo, Abel Muzorewa, Joshua Nkomo, Doris Lessing, Fay Chung, Judith Garfield Todd, Tendai Westerhof and Lutanga Shaba have been highlighted. The study concluded that there are narrative and ideological disjunctures between experiencing life and narrating those experiences to create approximations of coherent identities of individual selves and those of the nation. The study argued that each of the stories analyzed in this study contributed a version of the multiple Zimbabwean narratives that no one story could ever tell without being contested by others. Thus the study explores how white Rhodesian auto/biographies depend on the imperial repertoire to construct varying, even contradicting, images of white identities and the Rhodesian nation, which are also contested by black nationalist life narratives. The narratives by women writers, both white and black, introduced further instabilities to the male authored narratives by moving beyond the conventional understanding of what is ‘political’ in political auto/biographies. The HIV and AIDS narratives by black women thrust into the public sphere personalized versions of self so that the political consequence of their inclusion was not only to image Zimbabwe as a diseased society, but one desperately in need of political solutions to confront the different pathologies inherited from colonialism and which also have continued in the post-independence period. / English Studies / (D. Litt. et Phil. (English))

This study is an interpretive analysis of Zimbabwean political auto/biographical narratives in contexts of changing culture, race, ethnicity and gender identity images of the self and nation. I used eclectic theories of postcolonialism to explore the fractured nature of both the processes of identity construction and narration, and the contradictions inherent in identity categories of nation and self. The problem of using autobiographical memory to recall the momentous events that formed the contradictory identities of self and nation in the creative imagination of the lives of Ian Smith, Maurice Nyagumbo, Abel Muzorewa, Joshua Nkomo, Doris Lessing, Fay Chung, Judith Garfield Todd, Tendai Westerhof and Lutanga Shaba have been highlighted. The study concluded that there are narrative and ideological disjunctures between experiencing life and narrating those experiences to create approximations of coherent identities of individual selves and those of the nation. The study argued that each of the stories analyzed in this study contributed a version of the multiple Zimbabwean narratives that no one story could ever tell without being contested by others. Thus the study explores how white Rhodesian auto/biographies depend on the imperial repertoire to construct varying, even contradicting, images of white identities and the Rhodesian nation, which are also contested by black nationalist life narratives. The narratives by women writers, both white and black, introduced further instabilities to the male authored narratives by moving beyond the conventional understanding of what is ‘political’ in political auto/biographies. The HIV and AIDS narratives by black women thrust into the public sphere personalized versions of self so that the political consequence of their inclusion was not only to image Zimbabwe as a diseased society, but one desperately in need of political solutions to confront the different pathologies inherited from colonialism and which also have continued in the post-independence period. / English Studies / (D. Litt. et Phil. (English))

"The purpose of this paper is to develop a list of printed books in the fields of fiction and biography suitable for use with blind, deaf or crippled children. The books are presented in an annotated bibliography arranged in order of readability. An attempt was made to recommend all available books for grades one to six which met the criteria established"--Introduction. / Typescript. / "June, 1952." / "Submitted to the Graduate Council of Florida State university in partial fulfillment of the requirements for the degree of Master of Science under Plan II." / Advisor: Sara Krentzman Srygley, Professor Directing Paper. / Includes bibliographical references (leaves 30-32).

Тема этой диссертации — это рассмотрение соотношении Биографии и Литературы в творчестве Эдуарда Лимонова через категорию «Творческого поведения». Говоря о творческом поведение данного писателя, автор говорит о «единой концепции» личности Лимонова и выделяет у него наличие двух ролевых моделей : интеллектуала vs маскулинного бунтаря. В основе этих состояний лежат различные манеры поведения и мироощущения, явленые как в жизни, так и в литературе. В основе поведения интеллектуала лежат робость, физическое и половое бессилие, мажорный тон, созерцательный настрой. С точки зрения эстетики – гипомания и гипербола как основной художественный прием. Для состояния бунтаря с точки зрения поведения характерно восприятие физической близости как способа утверждения собственной силы, противопоставление себя обществу девиантным поведением. С точки зрения эстетики – порноэстетика как способ противопоставления себя обществу, культ оружия, «театрализация» в политике (политика как способ творчества), культ молодости и презрение к старости. / The theme of this dissertation is the consideration of the relationship between Biography and Literature in the work of Eduard Limonov through the category of "Creative Behavior". Speaking about the creative behavior of this writer, the author speaks of a "single concept" of Limonov's personality and highlights the presence of two role models in him: an intellectual vs a masculine rebel. These states are based on various manners of behavior and attitudes, which are revealed both in life and in literature. The behavior of an intellectual is based on timidity, physical and sexual impotence, a major tone, and a contemplative mood. From the point of view of aesthetics - hypomania and hyperbole as the main artistic device. From the point of view of behavior, the state of a rebel is characterized by the perception of physical proximity as a way of asserting one's own strength, opposing oneself to society with deviant behavior. From the point of view of aesthetics - porno-aesthetics as a way of opposing oneself to society, the cult of weapons, "theatricalization" in politics (politics as a way of creativity), the cult of youth and contempt for old age.

This thesis explores James Macpherson’s The Highlander (1758) in relation to originality, Scottish identity and historiography. It also situates the Ossianic Collections in the context of Macpherson’s earlier poetical and later historical works. There are three parts to it: a biographical sketch of Macpherson’s early life, the annotated edition of The Highlander, and discursive commentary chapters. By examining The Highlander in detail this thesis questions the emphasis of other Macpherson criticism on the Ossianic Collections, and allows us to see him as a writer who is historically minded, very aware of sources, well versed in established forms of poetry and thoroughly, and positively, British. The Highlander stands out among the corpus of his works not because it can give us insights into the Ossianic Collections, which is its usual function in Macpherson criticism, but because it can help us understand what it is that connects Macpherson’s earlier and later works with the Ossianic Collections: history, Britishness, tradition. Macpherson’s poetical works are united by a desire to translate Scotland’s factual past into sentimental British poetry. In the Ossianic Collections he does so without particular faithfulness to his sources, but in The Highlander he converts historical sources directly into neo-classic verse. This is where Macpherson’s originality lies: his ability to adapt history. In different styles and genres, and based on different sources, Macpherson’s works are early examples of Scotland’s great literary achievement: historical fiction. Instead of accusing him of forgery or trying to trace his knowledge of Gaelic ballads, this thesis presents Macpherson as a genuine historian who happened to write in a variety of genres.