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À corp(u)s perdus : corporéité et spatialité dans le théâtre de Bernard-Marie Koltès et d’Hélène CixousMounsef, Donia 11 1900 (has links)
This thesis deals with the representation of the body and space in the
theatre of Bernard-Marie Koltes and Helene Cixous. From the theoretical point of
view, it looks at transition in French theatre from a modern to a postmodern
predicament, from a discursive to a corporeal theatre. It then looks at the ways
postmodern culture maps, configures, disciplines, and violates the body,
particularly through the relationship of the new textuality to its stage
manifestations. Textually, it analizes three plays by each playwright. The
juxtaposition of the works of Koltes and Cixous allows for an in depth look at the
theatre of the 1970's and 80's in France, a period marked by theatrical
decentralisation and experimentation. Both favoured a strong tie to theatre
practice while developing a close relationship with a theatre director: Patrice
Chereau, in the case of Koltes, and Ariane Mnouchkine, in the case of Cixous.
Aside from looking at the relationship with theatre practitioners, this thesis
examines a number of aesthetic and political affinities which bring Koltes and
Cixous together, such as redefining a postmodern mythology and a political role
for theatre. Unlike many postmodernist theatre practices that try to evade political
commitment, both Cixous and Koltes are preoccupied with the resistance to a
nihilistic discourse, and propose an evolving and corporeal stage presence
inscribed in a pluralistic space of representation. For Koltes, the body on the stage
resists symbolic categorization in Combat de negre et de chiens (1979), it then
becomes related to spatial reality outside language in Quai ouest (1985), and
finally the corporeal body is culturally and ideologically mapped in Le Retour au
desert (1988). This triple dimension is also reflected in the work of Cixous, for
whom the theatre is a space of feminist praxis. First, the space of representation,
through the subversive performativity of the body, questions the premises of the
psychoanalytic gaze in Portrait de Dora (1976), then classical mythology is
rewritten to disrupt patriarcal discourse in Le Nom d'Oedipe: chant du corps
interdit (1978), and a post-colonial role for theatre is redefined in order to question
the historical subject in L'Indiade ou l'lnde de leurs reves (1987).
Finally, this thesis looks at the ways both Koltes and Cixous join in with
postmodernism in declaring the impossibility of grand-narrative, while trying to
show how identity cannot be based on essentialist categories of race, gender,
ethnicity, or sexual orientation, but on the performance of all these various
categories as they intersect in the performing body.
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Unframing the novel : from Ondaatje to CarsonRae, Ian 11 1900 (has links)
This dissertation argues that, since at least the 1960s, there has been a distinguished tradition of
Canadian poets who have turned to the novel as a result of their dissatisfaction with the
limitations of the lyric and instead have built the lyric into a mode of narrative that contrasts
sharply with the descriptive conventions of plot-driven novels. Citing the affinity between the
lyric sequence and the visual series, the introduction maintains that the treatment of narrative as
a series of frames, as well as the self-conscious dismantling of these framing devices, is a topos
in Canadian literature. The term "(un)framing" expresses this double movement. The thesis
asserts that Michael Ondaatje, George Bowering, Joy Kogawa, Daphne Marlatt, and Anne
Carson (un)frame their novels according to formal precedents established in their long poems.
Chapter 2 illustrates the relation of the visual series to the song cycle in Ondaatje's long
poems the man with seven toes (1969) and The Collected Works of Billy the Kid (1970), as well
as his first novel Coming Through Slaughter (1976). Chapter 3 traces the development of the
"serial novel" from Bowering's early serial poems to his trilogy, Autobiology (1972), Curious
(1973) , and A Short Sad Book (1977). Chapter 4 argues that Joy Kogawa structures her novel
Ohasan (1981) on the concentric narrative model established in her long poem "Dear Euclid"
(1974) . Chapter 5 shows how Daphne Marlatt performs a series of variations on the quest
narrative that she finds in Hans Christian Andersen's The Snow Queen (1844), and thereby
develops a lesbian quest narrative in her long poem Frames of a Story (1968), her novella Zocalo
(1977), and her novel Ana Historic (1988). Chapter 6 explores the combination of lyric, essay,
and interview in Carson's long poem "Mimnermos: The Brainsex Paintings" (1995) and argues
that the long poem forms the basis of her novel in verse, Autobiography of Red (1998).
The final chapter assesses some of the strengths and limitations of lyrical fiction and
concludes that a thorough grasp of the contemporary long poem is essential to an understanding
of the development of the novel in Canada.
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The voice of the many in the one : modernism’s unveiled listening to minority presence in the fiction of William Faulkner and Patrick WhiteTrautman, Andrea Dominique 05 1900 (has links)
By comparing the novels of William Faulkner and Patrick White, this thesis
reconsiders modernism's elitism and solipsism by revealing within them a critical interest in
liberating minority perspective. Theoretical debates which continue to insist on modernism's
inherent distance from the identity politics which front the postmodernist movement are
overlooking modernism's deeply embedded evaluative mechanisms which work to expose
and criticize the activity of psychic and social co-optation.
Faulkner and White are both engaged in fictionally tracing the complexities of a
failing patriarchy which can no longer substantiate its primary subjects — the white, upper
class male. As representatives of modernism we can see that Faulkner and White, perhaps
unwittingly, initiate the awareness that the 'failure' of their chosen subjects is in large
measure due to processes of marginalization which both created the authoritative power
structures within which they are constructed and helped serve to collapse them. The classic
isolation of the modernist subject can be looked at not simply as an isolation predicated on
endless self-referentiality, but rather on a desperate social outreaching for which he or she is
not psychically equipped. By following the trajectory and perspective of specific novels and
characters it becomes clear that it is precisely this handicap which clears the textual space for
diversity of representation, just as it overturns the notion of modernism's functioning
separatism.
Chapter one concentrates on the double-edged representation of the female subject
constructed as always-already 'guilty' within the psychologically, emotionally and physically
repressive terms of the dominant male power structures within the context of Faulkner's
Requiem for a Nun and White's A Fringe of Leaves. Chapter two investigates the
psychological parameters of the morally disenfranchised modern subject whose
disillusionment results from prejudicial social practices promoted by virulent racial anxiety
as exemplified in Faulkner's Absalom, Absalom! and White's Voss. The third and final
chapter discusses Light in August and Riders in the Chariot with attention to modernism's
own investigation of the exclusion of minority voices from collective social imagining.
The thesis posits that literary modernism is interested less with reconciling its literary
subjects within a self-contained totalizing project than it is with invoking new social and
psychological paradigms that stress the necessity of external, not internal, represented
multiplicity, and that what has been (mis)recognized as modernism's self-closure is, in fact,
the key not only to its own continuing relevance, but to the contemporaneous literary
injunction to let all voices be heard.
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Henry James and James McNeill Whistler : representing modernityMaclean, Lisa Anne 11 1900 (has links)
This thesis is an examination of Henry James and James McNeill Whistler as
cultural analysts of modernity. Using the theoretical work of Peter Burger, Jurgen
Habermas and Theodor Adorno as a frame, I analyse James's and Whistler's theoretical
and artistic responses to modernity and the problematic status of autonomous art and the
modernist artist in late nineteenth century industrial capitalism. In so doing, I place both
figures in their social and historical context and show how their work not only reflects but
itself participates in the complex social and cultural transformations of late nineteenth
century society.
While Henry James has continued to attract critical attention from many quarters,
those who have studied him in the larger context of nineteenth-century avant-garde culture
are still relatively few. Of those contextual studies, none has examined James's career and
work in the light of parallel developments in avant-garde visual art during this important
and complex period. James McNeill Whistler, like Henry James an American expatriate
working in late nineteenth century London, has been the subject of many studies
describing his formal achievement; however, he has not yet attracted the attention of
critics interested in theories of modernist representation, gender and sexuality. Because
modernisation was a phenomenon which had an impact on all aspects of late nineteenth
century culture, as both James and Whistler themselves acknowledge, my interdisciplinary,
contextualist approach to cultural production can illuminate aspects of cultural theory and
practice which might remain hidden in analyses contained within disciplinary boundaries.
The present thesis is not primarily a work of art-historical scholarship nor is it an in-depth
textual analysis of the Jamesian canon; it is an analysis of the ways in which two
individuals deal with the conditions of their artistic practice. My thesis is original in its
bringing together of two important figures - a writer and a visual artist - whose theory and
practice reveals the complexity of early modern art's dialectical relationship with
modernity. In so doing, I offer a critical reevaluation of the work of Henry James and
James McNeill Whistler in light of its engagement with the discourses of modernity and
modernism.
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A genre for our times: the Menippean satires of Russell Hoban and Murakami HarukiFisher, Susan Rosa 11 1900 (has links)
The thesis examines the novels of Anglo-American author Russell Hoban (1923-) and
Japanese author Murakami Haruki [Chinese characters] (1949-) as Menippean satires.
The Introduction defines the Menippean satire and considers possible sources for this
genre as found in the works of Hoban and Murakami. Parts I and II examine several
novels by Hoban and by Murakami respectively, demonstrating how their works
conform to the conventions of the Menippean satire. In examining Murakami's fiction,
Part II also considers possible antecedents in Japanese literature for tropes and topoi
that appear Menippean in the light of Western genre theory; there is a special emphasis
on Murakami's most recent work, [Chinese characters] Nejimakidori kuronikuru
(1994-6, The Wind-up Bird Chronicles).
The Conclusion examines why these two authors write Menippean satires. No claim is
made that either author has chosen this genre in deliberate imitation of classical or
Renaissance models. Rather, from the standpoint of cultural history, the thesis argues
that the Menippean satire—or at least a form of postmodernist novel with notable
affinities to the Menippean satire—has re-emerged as a genre for our times. Drawing on
examples from the fiction of Murakami and Hoban, the conclusion demonstrates that
central features of this genre—fantasy, crudity, philosophical dialogues, inserted genres,
invented languages, and the descent into hell—are particularly appropriate for the
fictional treatment of life in a postmodern world. Moreover, these features are
serviceable not only in a Western context. Murakami Haruki, despite his Japanese
cultural background and his avowed intention to write about Japan, relies on many of
the same generic strategies as does Russell Hoban.
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La corruption dans les traités polémiques de Mme Dacier /Krück, Marie-Pierre. January 2005 (has links)
The idea of corruption travels down and supports this thesis. It stands as one of the principal stakes of the Homeric Quarrel. By analysing it, we may deepen our understanding of the value the famous hellenist Anne Dacier placed on the heritage of the Anciens and its reception by the Moderns; we may also better understand in which ways her engagement in polemics belonged to her times. Anne Dacier was less an apologist of Homer than a polemist who attacked the corrupted taste of her contemporaries. She feared for them, but above all, she feared for the Homeric text. She had done her best in her translation to preserve the poem while Houdar de la Motte, her adversary thought that an adaptation would suit the public better. Mme Dacier presented herself as the guardian of tradition and its purity; nonetheless, to achieve her goal, she had to compromise with her opponents and speak their corrupted language.
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Personal identity in the novels of Max Frisch and Luigi PirandelloRemington, Rachel. January 1999 (has links)
This MA thesis is a comparative study of the novels of Luigi Pirandello (Agrigento 1867--Rome 1936) and Max Frisch (Zurich 1911--1991). Six texts are discussed: Pirandello's Il fu Mattia Pascal (1904), Quaderni di Serafino Gubbio operatore (1915), and Uno, nessuno e centomila (1925--6); and Frisch's Stiller (1954), Homo faber (1957), and Mein Name sei Gantenbein (1964). The comparison highlights the great similarities between Pirandello's and Frisch's treatment of the theme of identity as well as some important (and mainly structural) differences in their novelistic works. The analysis of the three pairs of novels shows the developments in narrative structure and the characteristic change of attitude towards the question of identity construction that took place from early-modernism to postmodernism.
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Entre les mots et les silences : la crise créative (et existentielle) dans la dernière phase de la poésie de Ingeborg Bachmann et de Alejandra PizarnikStratford, Madeleine January 2003 (has links)
This master's thesis seeks to establish a comparison between the lyrical work of the Austrian Ingeborg Bachmann (1926-1973) and the Argentinean Alejandra Pizarnik (1936-1972). First, we draw from the similarities in the lives of both authors. Then, the survey of secondary literature shows that the two writers were the «black sheep» of their literary generation. Finally, our analysis focuses on the last phase of their lyrical production (1963-1966 for Bachmann; 1970-1972 for Pizarnik), most especially on two poems which are considered by the critics to be their «farewell» to poetry : «Keine Delikatessen» [No delicacies] by Bachmann (1963) and «En esta noche, en este mundo» [In this night, in this world] by Pizarnik (1971). We demonstrate that both poets show the same distrust of their medium, language, accompanied by a particular concern for silence, which appears in their respective poems both thematically and formally.
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Social misfits in Morley Callaghan's and Ivan Cankar's fictionOzbalt, Marija Ana Irma. January 1977 (has links)
No description available.
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Elemente der illuminatischen Ideologie in einigen vorklassischen Werken von Goethe und SchillerWellige, Rainer. January 1998 (has links)
This Master's thesis analyses the connection between the Illuminati ideology and the sociopolitical ideals contained in pre-classical works---contemporary to the existence of the order---of Johann Wolfgang Goethe and Friedrich Schiller. The first chapter examines the creation, the development and the eventual collapse of the Illuminati Secret Society (Geheimbund der Illuminaten) founded in 1776 by Adam Weishaupt in the context of the Enlightenment. The second chapter explores the ideological similarities between the young Goethe and this secret society through the analysis of his works Gotz von Berlichingen (1771--1773), Egmont (1775--1784) and Der Gross Cophta (1791). The third chapter expounds Schiller's ideological opinion of the Illuminati through Don Carlos (1787), and discusses their republican visions of freedom and human rights. The conclusion integrates the findings made in each chapter and demonstrates, through both authors' discussed works, the similar ideals of both authors and Illuminism.
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