In order to contribute to the body of work on Bolingbroke and on Shakespeare's development of character, this thesis examines various rhetorical and stylistic methods used by Shakespeare in his creation of the character of Henry Bolingbroke.

Thesis (M. A. (African Languages)) -- University of Limpopo, 2019 / The study analyses N.A. Milubi’s Tshivenḓa poetry. N.A. Milubi is one of the prominent Tshivenḓa modern poets. The study selected N.A. Milubi’s poems from the books he published as an individual as well as from the poetry anthologies in which he contributed his poetry. The publications that are analysed in this study are: Muhumbuli-Mutambuli (1981), Vhuṱungu ha Vhupfa (1982) Ipfi ḽa Lurere, Muimawoga (1990), Muungo wa Vhuhwi (1995) and Khavhu dza Muhumbulo (2001). The study is based on the New Criticism theory where both the form and meaning of the poem are analysed. The New Criticism theory emphasises a close reading of the text as a significant factor that determines or reflects the artistic and aesthetic value of a literary work. An appraisal for N.A. Milubi’s artistic prowess, in as far as Tshivenḓa poetry is concerned, is also provided in this study.

This study gives the Zulu's views and ideas about celestial bodies and associated natural phenomena and how they illustrate features in both the oral and written literature. It sketches various focussing mainly on The concentration is conceptions about the whole universe celestial bodies and natural phenomena. on the sun, moon, stars, thunder and lightning in poetry and prose both modern and traditional. Emphasis is on the fact that Zulus do not perceive celestial bodies as mere bodies but assign certain beliefs and philosophies to them. In examining these different conceptions, Western as well as African literary theories have been used in this study. I~ ~r=rli~ional izibongo amakhosi are associated with the sun, the moon as well as the stars. Their warriors' attack is associated with the thunderstorm. These celestial bodies are also used as determinants of time in terms of day and night, seasons and different times for different daily chores. In modern poetry these bodies are mainly associated with God and in some instances they are referred to as God himself. In prose they are used as determinants of time and are also used figuratively to describe certain circumstances. The study gives an idea of how Zulus in general perceive these celestial bodies and natural phenomena. / African Languages / D.Litt. et Phil. (African Languages)

Based on Noam Chomsky’s argument that the faculty of language is primarily a tool of thought whose purpose is to interpret the world, this dissertation argues that reading literature provides a cognitive experience like John Gardner’s “Fictive Dream” that mimics our interpretive experience of the world. Literary experience exploits language as an epistemological faculty that makes aspects of the external world intelligible. Yet the faculty of language is also capable of evoking entirely mental worlds that do not reflect the mindexternal world. Because the literary experience is entirely mindinternal, even the cultural knowledge we bring into play for its understanding still relies on innate features of language. Thus, during the act of reading, we hold this cultural knowledge in abeyance, allowing the text to structure how we bring it to bear on the experience as a whole. A scientific approach to literature can help uncover principles to further elucidate the literaryepistemological experience. Whereas much literary criticism assumes that a critic’s purpose is to mine a text for its deeper meaning, this dissertation argues for a Cognitive Formalist approach in which criticism serves not simply to explain the experience evoked by any particular text according to linguisticepistemological principles, but also to evaluate the moral implications of that specific textual experience. As a means of demonstrating potential implications of a scientific cognitive approach to literary criticism based on linguisticepistemological understanding, the current study offers sample passages from J. R. R. Tolkien’s The Lord of the Rings. These passages allow us to offer first approximations of some explanatory principles of the literaryepistemological experience, such as the importance of fictive time and fictional event sequences, which in turn gives us greater insight into how, for example, verb tense and aspect contribute to the evocation of the action of fiction in the reader’s mind. Ultimately, the fictive vantage point constructed by the text allows the reader access to a complex moral framework in which fictive characters are understood to make choices that will in turn set the stage for the reader’s own ethical reception of the text and the experience it offers. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

How we approach a poem changes it. Recently, it has been suggested that one readerly approach - a bodily orientation characterised by distance, suspicion, and resistance - risks becoming reflexive, pre-conscious, and predominant. This use-oriented reading allows us to destabilise, denaturalise, dissect, defend, and define poetic texts through its manifestation in contemporary literary critique, yet it is coming to be regarded as the sole manner and mood of intelligent, intellectual engagement. In this thesis, I demonstrate the need to pluralise this attentive orientation, particularly when it comes to contemporary lyric poetry. I suggest how an overlooked mode of response might foster a more receptive mode of approach: the 'co-creative' response. Lyric poems mean to move us, and they come to mean by moving us. Recent 'simulation theories of language comprehension', from the field of cognitive neuroscience, provide empirical evidence that language processing is not a product of a-modal symbol manipulation but rather involves 'simulations' by certain classes of neurons in areas used for real-world action and perception. As habituation and abstraction increase, however, these embodied simulations 'streamline', becoming narrow schematic 'shadows' of once broad, qualitatively rich simulations. Poems, I suggest, seek to reverse this process by situationally novel variations of language, coming to mean in the broadly embodied sense in which real-world experiences 'mean'. Readers are asked to 'enact' the poem, to 'co-create' its meaning. Where critique traditionally requires that readers resist enactive participation in the aim of objective analysis, the co-creative response - a response 'in kind' by imitation, versioning, or hommage - asks readers to receive and carry forward the enactive unfolding of a poem with a composition of their own. I assert that, by thus responding with - rather than to - poems, we might foster an attentive stance of active receptivity, thereby coming to understand poems as the enactive phenomena they are.

黎必信. / "2012年3月". / "2012 nian 3 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 355-368). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Li Bixin.

杜甫詩是中國古典文學的經典，其經典地位奠定於有宋一代。本文以宋代詩話為考察對象，分析文學批評和杜詩經典化的關係，主要內容如下： / 首先，本文將討論文壇領袖對杜詩的讚賞，如何演化為整個文壇的普遍觀念。文中指出蘇軾和黃庭堅是杜詩的發明者，二人對杜詩的評價，得到宋詩話的熱烈回應，意義不斷得到擴展和深化，由個人詮釋演化為宋人的集體認知，從而確立了杜詩的典範性。蘇軾「一飯未嘗忘君」的評語，經由詩話的討論和闡釋，最終令杜詩得「詩中六經」的評價。黃庭堅「無一字無來處」的評語，也促使詩話研究杜詩出處和用事手法蔚為風氣，不僅確立了杜甫好用事的特徵，也使杜詩成為宋詩風格的模範。 / 其次，本文探討宋代政治和文化背景對宋人接受杜甫的影響。在「李杜優劣」此一議題上，杜詩得到凌駕李白的地位，批評家看重詩歌內容的社會意義多於藝術性，反映唐宋人期待視野的轉移。宋人對杜甫「詩史」的讚譽，也與宋型文化和南宋戰禍連年有密切關係。宋詩話特別重視杜甫和安史之亂有關的詩作，因為安史之亂與宋代歷史背景有不少相似之處，宋人藉著詮釋杜詩的義理，投射了對胡人的痛恨、戰亂中的自傷之情和淑世理想。宋人憑藉認同杜甫，達至自我認同；通過詮釋杜詩，而完成自我呈現。杜甫在安史之亂中的遭遇，使他成了盛唐詩人中最能引發宋人共鳴者，也為宋人的詮釋提供了前提。宋詩話慣以比興和用事手法解釋杜詩，也使杜詩的詮釋空間擴大，更能貼合宋人的情感寄託。 / 此外，本文就宋詩話的本質和批評形式，如何在一定程度上掌握文學經典化的權力進行探討。詩話是新興於宋的詩歌批評形式，「摘句批評」和「論詩辨體」是其慣用的表達方式。在詩話的批評形式下，宋詩話出現了以杜詩為中心的價值取向：評估杜詩的價值，展示杜詩的多元性，樹立杜詩的正統意義，確立杜詩較他人優勝的觀念，凸顯學杜之必要。詩話的批評形式確立了杜詩經典化的重要價值，又憑藉詩話的詩法指導功能，規範了時人的價值判斷和創作。 / 最後，本文考察杜甫在宋代唐宋詩之爭的詩統建構中所處的位置。「宋詩」詩統藉著「一祖三宗」的論述，加強和杜甫的連繫，鞏固自身的正統地位。「唐詩」詩統同樣以杜甫為正統，其論述反而著重否定「宋詩」和杜甫的關係。唐、宋詩同樣以杜甫為正統，使杜詩超然於後世受唐宋詩之爭，對杜詩經典價值的延續有深刻意義。 / Since its inception in the Song Dynasty, Du Fu 杜甫 ’s poetry has been firmly regarded as a canon in the field of classical Chinese Literature. The process of which, however, has not been clearly examined. Based on Song Dynasty’s Remarks on Poetry 詩話, this thesis is devoted to analyzing the relationship between literary criticism and canonization of Du’s poems. / First, this thesis discusses how literary leaders’ commendation on Du’s poetry has become the general view of the Song literati. It particularly highlighted the evaluations of Du’s poems from Su Shi 蘇軾 and Huang Ting-jian 黃庭堅. Their comments were widely quoted and re-interpreted by subsequent authors of Remarks on Poetry, which confirmed and reinforced the importance of Su and Huan’s thoughts. The transition from Su and Huang’s personal interpretation to becoming a widely-held view amongst the literati, affirmed the canonical status of Du’s poetry. Through discussion and interpretation by Remarks on Poetry, Su’s comments on Du Fu as “a ever-loyal official 一飯未嘗忘君 contributed to the commendation on the Du’s poems as “Six works of the Confucian Canon in poetry 詩中六經. Huang commented Du’s poetry as “not a single word [in them] does not have its sources 無一字無來處. This promoted a more in-depth study into the origins of Du’s habitual use of allusions. This not only reaffirmed the intense use of allusions as one of the characteristics of Du’s works but also as the model of Song-styled poetry. / Second, this thesis investigates the impact of Song politics and cultures on the Song people’s reception of Du’s poetry. When comparing Li Bai to Du Fu, Du’s works were have consistently received a higher ranking as commentators often value social meanings more than artistic value. This demonstrates a shift in value system from Tang to that of Song dynasty. The Song people’s acclamation of Du as Shishi 詩史 was related to Song culture and the prolonged war in the Southern Song. Remarks on Poetry paid special attention to Du’s works related to An Lu-shan rebellion as this rebellion shared similarities with Song history. In Remarks on Poetry’s interpretation of Du’s poems, it reflected the Song people’s grievance towards foreign tribes and warfare. By agreeing with Du Fu, the Song people can develop its self-identity; through interpreting Du’s poetry, they can self-actualize. Du Fu’s encounter during the An Lu-shan rebellion made him well-received by the Song literati, and gave them the premise for interpretation of Du’s poems. Remarks on Poetry adopted an analogical way of expression, bixiang 比興, and allusion to study Du’s works and this provided more perspectives for interpretation and space for emotional sustenance. / Third, this thesis investigates the nature and format of Remarks on Poetry, and why it remains authoritative in literary canonization, despite its apparent arbitrary nature. Remarks on Poetry was a new form of poetry criticism in Song Dynasty. “Commentaries on isolated sentences drawn out from poems, zheju piping 摘句批評, and “Discussion on poetic form distinction, lunshi bianti 論詩辨體, are its usual presentation. Under this new style of critique, Remarks on Poetry developed a kind of value judgment with Du’s poetry as its basis: evaluating the value of Du’s poetry, demonstrating the diversity of his works, establishing an orthodox meaning for his poems, reinforcing the concept of higher ranking of his poems, and highlighting the importance of studying Du’s works. Such a style reinforced the canonical value of Du’s poetry. Coupled by the Remarks on Poetry’s nature as an authoritative reference text it defined the value system of those times and dictated the way in which literary works are to be made. / Fourth, this thesis puts Du Fu squarely in the conflict between Tang-styled and Song-styled poetry. Based on the theory “one ancestor and three predecessor, yizu sanzong 一祖三宗 , the Song-styled poetry strengthened its connection with Du Fu and reinforced its orthodoxy. The Tang-styled poetry also set Du Fu as its role-model but its discourse emphasized disconnecting Du’ works with the Song-styled poetry. Despite the conflict between the Tang-styled and Song-styled poetry, Du’s works were still highly recognized as an orthodox example by both groups and this contributed immensely to the continued canonical status of Du’s poetry. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 朱寳盈. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 230-241) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Zhu Baoying. / Chapter 第一章 --- 導論 --- p.1 / Chapter 第一節 --- 杜甫詩的經典化 --- p.1 / Chapter 一、 --- 唐或宋？杜詩經典地位的確立 --- p.2 / Chapter 二、 --- 杜詩經典化的幾個思考重點 --- p.5 / Chapter 第二節 --- 前人研究成果與本文討論重點 --- p.8 / Chapter 一、 --- 前人研究成果 --- p.8 / Chapter （一） --- 整理杜詩在宋代流傳概況和資料 --- p.9 / Chapter （二） --- 指出杜甫「儒家思想」很大程度出於宋人建構 --- p.10 / Chapter （三） --- 從唐宋文化的差別辨析唐宋人論杜 --- p.11 / Chapter （四） --- 以接受美學觀念分析宋代杜詩學 --- p.12 / Chapter （五） --- 分析杜甫對宋詩風格的典範作用 --- p.13 / Chapter 二、 --- 本文討論重點 --- p.14 / Chapter （一） --- 以「經典化」為研究視野分析宋代杜詩學 --- p.14 / Chapter （二） --- 重視「眾人」的意見 --- p.15 / Chapter （三） --- 關注「詩話」的作用 --- p.16 / Chapter （四） --- 探析「詩史」與宋型文化關係 --- p.17 / Chapter （五） --- 論析唐宋詩之爭對杜詩地位的影響 --- p.18 / Chapter 第三節 --- 研究目的及方向 --- p.19 / Chapter 第二章 --- 從個人詮釋到集體認知： 宋代詩話對蘇、黃評杜的回應與杜詩經典化 --- p.22 / Chapter 第一節 --- 引言 --- p.22 / Chapter 第二節 --- 宋初詩話「論杜」 --- p.23 / Chapter 一、 --- 北宋初年詩壇非尊杜 --- p.23 / Chapter 二、 --- 對杜詩藝術的評價 --- p.28 / Chapter 三、 --- 小結 --- p.30 / Chapter 第三節 --- 杜詩價值的發明 --- p.30 / Chapter 一、 --- 宋人眼中的杜詩發明者 --- p.30 / Chapter 二、 --- 宋詩話回應蘇、黃評杜的三種模式 --- p.34 / Chapter 第四節 --- 蘇、黃論杜與杜詩的經典化 --- p.42 / Chapter 一、 --- 從「一飯未嘗忘君」到「詩中六經」 --- p.43 / Chapter 二、 --- 從「無一字無來處」到「江西詩派」 --- p.50 / Chapter 第五節 --- 結語 --- p.56 / Chapter 第三章 --- 時代的制約：論宋人的期待視野與歷史感懷 --- p.58 / Chapter 第一節 --- 引言 --- p.58 / Chapter 第二節 --- 雙重標準的李杜優劣論期待視野的轉移 --- p.59 / Chapter 一、 --- 宋人對李杜優劣論的回應與再發展 --- p.60 / Chapter （一） --- 回應元稹、韓愈之論：李杜並尊 --- p.60 / Chapter （二） --- 李杜優劣論的再發展：獨尊老杜 --- p.65 / Chapter 二、 --- 宋人品次李杜的兩個標準 --- p.68 / Chapter 三、 --- 小結：期待視野的轉移 --- p.78 / Chapter 第三節 --- 自我認同與呈現--安史之亂與宋人的「詩史杜甫」 --- p.79 / Chapter 一、 --- 宋詩話與杜甫「安史詩」 --- p.79 / Chapter 二、 --- 安史之亂與宋人的歷史感懷 --- p.90 / Chapter 三、 --- 杜甫「安史詩」詮釋的先決條件與詮釋空間的擴大 --- p.109 / Chapter （一） --- 詮釋的先決條件 --- p.110 / Chapter （二） --- 詮釋空間的擴大 --- p.116 / Chapter 第四節 --- 結語：宋人的「詩史」杜甫 --- p.124 / Chapter 第四章 --- 典範意義的產生：詩話的詩法指導作用與杜詩價值的確立 --- p.127 / Chapter 第一節 --- 引言 --- p.127 / Chapter 第二節 --- 綜述：在詩話批評形式下的評杜現象 --- p.128 / Chapter 一、 --- 廣泛的討論和援引為證 --- p.128 / Chapter 二、 --- 同時摘取杜甫與他人詩句 --- p.133 / Chapter （一） --- 說明杜詩的出處 --- p.133 / Chapter （二） --- 強調後世詩人於杜詩的學習 --- p.135 / Chapter （三） --- 同類並舉 --- p.137 / Chapter 三、 --- 論詩辨體與杜詩 --- p.143 / Chapter 四、 --- 小結：宋人開創的評杜現象 --- p.149 / Chapter 第三節 --- 現象背後的意義 --- p.152 / Chapter 一、 --- 以摘句褒貶直接賦予價值 --- p.152 / Chapter 二、 --- 展現杜詩審美價值的多元性 --- p.156 / Chapter 三、 --- 杜詩的正統意義塑造 --- p.161 / Chapter 四、 --- 確立杜詩較他人優勝的觀念 --- p.166 / Chapter 五、 --- 凸顯學杜的必要 --- p.170 / Chapter 六、 --- 小結：以杜詩為中心的價值取向 --- p.177 / Chapter 第四節 --- 詩話的功用與典範意義的確立 --- p.178 / Chapter 第五節 --- 結語 --- p.186 / Chapter 第五章 --- 唐宋詩之爭與杜甫：論詩統建構與杜詩經典價值的延續 --- p.189 / Chapter 第一節 --- 引言 --- p.189 / Chapter 第二節 --- 「唐詩」、「宋詩」的詩統建構與杜甫 --- p.190 / Chapter 一、 --- 「唐詩」與「宋詩」 --- p.190 / Chapter 二、 --- 「宋詩」的詩統建構與杜甫 --- p.194 / Chapter 三、 --- 「唐詩」的詩統建構與杜甫 --- p.203 / Chapter 四、 --- 小結：以杜甫為「正統」的詩統建構 --- p.213 / Chapter 第三節 --- 經典價值的延續：超然於唐宋詩之爭中的正統地位 --- p.215 / Chapter 第四節 --- 結語 --- p.221 / Chapter 第六章 --- 結論 --- p.224 / Chapter 第一節 --- 總結 --- p.224 / Chapter 第二節 --- 餘論 --- p.229 / 主要參考書目 --- p.230

This thesis argues that three models of trauma theory, which include traditional trauma theory, postcolonial trauma theory, and cultural trauma theory, must be joined to fully understand the trauma experienced by African Americans within the novels Song of Solomon by Toni Morrison and The Underground Railroad by Colson Whitehead. By implementing these three theories, we can see how each novel’s main character is exploring and learning about African American trauma and better understand how an adjustment of space and time creates the possibility for the implementation of trauma theory. Each novel presents a journey, and it is through this movement through space that each character can serve as a witness to African American trauma. This is done in Morrison’s text by condensing the geographical space of the American north and south into one town, which serves to pluralize African American culture. In Whitehead’s text, American history is removed from its chronological place, which creates a duality that instills Freud’s theory of the uncanny within both the character and the reader. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

No description available.

And the Word Was Made Flesh: Anthropomorphism in the poetry of WH Auden examines the reasons for the neglect of Auden’s prolific deployment of anthropomorphism by examining the poetry’s critical reception with a view to understanding what larger purpose, what ‘strategy of discourse’ (Ricoeur 2003, The Rule of Metaphor: 5-9), Auden may have had in mind when he revived a trope traditionally regarded as retrograde. Anxious not to be mistaken for a Modern, yet unable to find a social rhetoric to suit his purposes, Auden elected upon a new style of poetry which questioned the very foundations of language by placing anthropomorphism, the ascription of agency and sentience to voiceless entities, at its centre. The study explores anthropomorphism from historical and theoretical perspectives in an attempt to explain the reasons for its demise, at least, within the academy. This study emphasises the importance Auden placed on the everyday activity of reading, the principal focus for the poet’s ‘cultural theory’ (Boly 1991 and 2004: 138). Auden, 'eager to create a tradition of its own' (Emig 2000: 1), abjuring propaganda, hoped to educate the reader to resist the different ideologies which were vying for ascendency during the 1930s. This study will demonstrate that anthropomorphism, with its capacity to suggest alternative words to ‘re-describe reality’ (Ricoeur 2003: 5), played a pivotal role in Auden’s project for cultural renewal. This study demonstrates that the lasting benefit of Auden’s use of anthropomorphism is to have recognised with prescience what critics now recognise as a 'revolutionary and potently counter-cultural tactic of cultural appropriation' (Paxson 1994: 173), a trope that 'engenders within its semiotic structure a hidden critique of Western culture' (Paxson: 50). Evidence from recent linguistic theory is marshalled in support of the trope’s rehabilitation. This study examines a selection of Auden’s four hundred published poems, and it also offers a provisional taxonomy to initiate the complex process of classifying instances of personification and its co-ordinate tropes in poetry. / English Studies / M.A. (English)