M.A. (Fine Arts) / The predominant artistic motif in the art of Irma Stern is the fecale figure. Stern prefers certain "types" of females in her art - that of young girls, of adolescents, of female workers, of nudes, of brides, of mature women and of mothers. This dissertation aims to show that these different motifs are not isolated, but rather interrelated to elicit a holistic symbolic syntax in the art of Stern. The symbolic relevance is extended with regard to her personalized world and with regard to the world around her. In Chapter 1 the female figure is analysed in terms of its forma7 qualities and the types of motifs in the art of Stern are juxtaposed with the characteristic types of motif preferred by the German Expressionists. It is noted that the female figure in the art of Stern is closely associated with the cultivation of the land - so much so that a cycle emerges which includes such activities as planting, bearing fruit and harvestirg. Other motifs such as young girls, adolescents and mature women indicate a cycle in the physiological as well as psychic development of the female. In Chapter 2 the symbolic meaning of the motifs is discussed in terms of the cultivation cycle of the land and the cycle tracing the deveThpment of the female. A corollary is also established between the female's role in the cultivation of the land and the female's own development. Chapter 3 examines the symbolic relevance of the art of Stern in terms of her ontogenetic development as human being in relation to society and in terms of the phylogenetic development of society itself. The relevance of the female principle in the art of Stern is evauated in terms of the above approach in the final chapter.

“The Poetry of Interpretation” writes a pre-history of the twentieth-century phenomenon of close reading by interpreting the devotional poetry of the English Renaissance in the context of the period’s exegetical literatures. The chapters explore a range of hermeneutic methods that allowed preachers and commentators, writing in the wake of the Reformation’s turn to the “literal sense” of scripture, to grapple with and clarify the bible’s “darke texts.” I argue that early modern religious poets—principally Anne Lock, John Donne, George Herbert, William Alabaster, and John Milton—absorbed these same methods into their compositional practices, merging the arts of poesis and exegesis. Consistently skeptical about the very project they undertake, however, these poets became not just practitioners but theorists of interpretive method. Situated at the intersection of religious history, hermeneutics, and poetics, this study develops a new understanding of lyric’s formal operations while intimating an alternative history of the discipline of literary criticism.

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A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the degree of Doctor of Philosophy. / Since Eybers went to live in Amsterdam in 1961 her poetry has always been simultaneously published in Amsterdam and Cape Town. Nine of her sixteen collections since she made her debut in 1936 can therefore be called "Dutch" in the sense that they have not only been published in the Netherlands, but have also been reviewed there extensively and very positively. She is regarded as a poet belonging to the Dutch literary tradition, and was awarded the highest prize for Dutch literature in 1991. All of this has happened without her losing her South African readership or status as one of the greatest Afrikaans poets. In this study I present an overview of the situation in Holland with regard to the scant acceptance and Jack of knowledge of Afrikaans and of its literature at the time Eybers went to live there. The uniqueness of her Dutch acceptance is analysed against this background. An overview of her Dutch and South African reviews (1962-1992)clearly shows that Dutch reviewers have always been fascinated by the fact that they can understand her work in spite of the fact that Afrikaans is otherwise considered a language from which texts need to be translated into Dutch in order to be readable and marketable. Because Eybers lives in the Netherlands she shares a frame of reference with her Dutch readers. Her language has incorporated many typical Dutch phrases, allowing her poetry to become more accessible and familiar to Dutch readers. Basically,though, she still writes in Afrikaans and South African readers still read and regard her as an Afrikaans poet In her poems - which often describe her state of voluntary exile and In which memories of the vast South African landscape are described - South African readers therefore find much which is familiar to them. Her themes -Iove.Ionellness, ageing, death, estrangement - are universal. In spite of this wide acceptance an in depth study or the particularities of the Eybers Idiolect and fields of reference clearly shows that both sets of leaders are constantly faced with quite severe comprehension problems. I therefore argue that the work of Eybers offers a unique example of "making it strange", the element which the Russian Formalists regarded as the essentiai difference between natural language and poetic language. The "double world" and "go between" language of Eybers result in a blend of intimacy and strengeness which two sets of readers experience in different ways. I argue that particular "ungrammaticalities" make her "Dutch" volumes "doubly poetical". Formalist, reception and semiotic theories are employed in a descriptive explanation of the Eybers phenomenon. / Andrew Chakane 2018

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One of the most popular forms of literature in Japan is that of “kaidan.,” literally meaning “strange story,” during the Edo period, but over time “kaidan” has come to specifically mean stories of “yūrei,” or “Japanese ghosts.” Many Western academic studies concerning kaidan thus far are concerned with the genre’s shift from religious didactics to secular entertainment. This is an important evolution to keep in conversation with this project; However, this study will argue that ghosts work as Edo symbols for failing boundaries within an isolationist society. Two of the main texts in this project are translations by Lafcadio Hearn, being “Mimi Nashi Hōichi” and “Jikininki.” The other two main texts used are translations of “Banchō Sarayashiki” by Zack Davisson. In my study, I identify breaches of boundaries within social order in these texts using the aid of Mikhail Bakhtin’s “the grotesque,” Julia Kristeva’s “abject horror,” and Jacques Derrida’s “hauntology.” / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Geoffrey Chaucer's narrator persona in The Legend of Good Women (LGW) goes through a transformation, starting off in the Prologue to the LGW as a naèive compilator who is subordinate to his literary sources, or auctores, and eventually becoming an auctor himself by the end of the Legends. To gain an authoritative voice, Chaucer's narrator criticizes auctoritee as it pertains to the antifeminist tradition and its misrepresentation of women as inherently wicked, in the process using certain rhetorical devices and other literary strategies to assert control over his sources for the Legends, as well as over the text as a whole. Of particular importance in this process is the narrator's line "[a]nd trusteth, as in love, no man but me" (2561) occurring near the end of "The Legend of Phyllis," the penultimate legend in the LGW. At this point in the text, the narrator persona steps completely outside of the role of compilator and presents himself as auctor who can be trusted by his female readers to tell their stories fairly and sympathetically, in ways that subtly confront antifeminist texts and perceptions. / by Franklin Babrove. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

This dissertation proposes that West Indian contemporary male writers develop literary authority, or a voice that represents the nation, via a process of individuation. This process enables the contemporary male writer to unite the disparities of the matriarchal and patriarchal authorial traditions that inform his development of a distinctive creative identity. I outline three stages of authorial individuation that are inspired by Jung’s theory of individuation. The first is the contemporary male writer’s return to his nationalist forebears’ tradition to dissolve his persona, or identification with patriarchal authority; Fred D’Aguiar’s “The Last Essay About Slavery” and Feeding the Ghosts illustrate this stage. The second is his reconciliation of matriarchal (present) and patriarchal (past) traditions of literary authority via his encounter with his forebears’ feminized, raced shadow; Robert Antoni’s Blessed Is the Fruit evidences this process. The third is the contemporary male writer’s renunciation of authority defined by masculinity, which emerges as his incorporation of the anima, or unconscious feminine; Marlon James’s The Book of Night Women exemplifies this final phase of his individuation. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2013.

This thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along'.

梁慕靈. / "2007年8月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 173-183). / "2007 nian 8 yue". / Abstract also in English. / Liang Muling. / Lun wen (Zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 173-183). / Chapter 第一章 --- 引言 / Chapter 第一節 --- 小引 --- p.1 / Chapter 第二節 --- 硏究目的 --- p.4 / Chapter 第三節 --- 主題說明、硏究方法及論述架構 / Chapter 一、 --- 主題說明 --- p.6 / Chapter 二、 --- 硏究方法 --- p.8 / Chapter 三、 --- 論述架構 --- p.9 / Chapter 第四節 --- 硏究範圍及背景 / Chapter 一、 --- 硏究範圍 --- p.12 / Chapter 二、 --- 張愛玲創作歷程 --- p.14 / Chapter 三、 --- 張愛玲硏究槪況 --- p.15 / Chapter 第五節 --- 小結 --- p.19 / Chapter 第二章 --- 張愛玲小說中的記憶 / Chapter 第一節 --- 記憶的開端´ؤ´ؤ講故事的人 --- p.20 / Chapter 第二節 --- 「講故事的人」的出場與消隱´ؤ´ؤ張愛玲早期 小說的記憶轉化 --- p.25 / Chapter 第三節 --- 從「無產階級文學實驗」到「平淡而近自然」 境界´ؤ´ؤ張愛玲中期小說的記憶回歸 --- p.47 / Chapter 第四節 --- 「非意願記憶」與「意願記憶」的對立´ؤ´ؤ 張愛玲晚期小說的震驚體驗 --- p.60 / Chapter 第五節 --- 「氣息」的消散´ؤ´ؤ張愛玲小說中細節的消亡 --- p.68 / Chapter 第六節 --- 小結 --- p.84 / Chapter 第三章 --- 張愛玲電影劇作中的記憶 / Chapter 第一節 --- 中國早期電影記憶的局限與失落 --- p.86 / Chapter 第二節 --- 中國早期電影與中國戲曲的記憶傳承 --- p.92 / Chapter 第三節 --- 張愛玲電影劇作中的戲曲記憶之--間離 手法與戲劇性反諷 --- p.98 / Chapter 第四節 --- 張愛玲電影劇作中的戲曲記憶之二´ؤ´ؤ「日常 生活情節」與小題材 --- p.117 / Chapter 第五節 --- 小結 --- p.132 / Chapter 第四章 --- 總結 --- p.135 / 參考書目 --- p.140 / 附錄一：張愛玲小說創作分期表 --- p.160 / 附錄二：張愛玲散文創作分期表 --- p.164 / 附錄三：張愛玲電影劇本創作分期表 --- p.171 / 附錄四：台灣有關張愛玲的學位論文硏究(1989-2006) --- p.173 / 附錄五：香港有關張愛玲的學位論文硏究(1986-2006) --- p.176 / 附錄六：大陸有關張愛玲的博碩士論文硏究(1993-2005) --- p.179 / 附錄七：《太太萬歲》第六十四場 --- p.184 / 附錄八：《太太萬歲》第三十六場及第六十五場 --- p.185 / 附錄九：《小兒女》第五十場 --- p.186