Thesis (M.A.)--Carleton University, 2001. / Also available in electronic format on the Internet.

Inaug.-Diss.--Berne. / "Bibliographical index": p. [vii]-viii.

Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Carrie E. Sandahl, Florida State University, College of Visual Arts, Theatre and Dance, School of Theatre. Title and description from dissertation home page (viewed Jan. 24, 2006). Document formatted into pages; contains x, 371 pages. Includes bibliographical references.

Thesis--Copenhagen. / Summary in English. Includes bibliographical references (p. 335-[344]) and index.

Thesis (M.A.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 22, 2008) Includes bibliographical references.

Thesis ( M.A. )-- Kutztown University of Pennsylvania, 2004. / Source: Masters Abstracts International, Volume: 45-06, page: 2845. Typescript. Abstract precedes thesis as 1 preliminary leaf (iii ). Includes bibliographical references ( leaves [ 90-93] ).

No description available.

Firstly in digression Byron presents a national reality which gradually displaces his cherished cosmopolitan ideals. Among many other pressing problems of his day, political renegades, the paradox of scientific innovations, the rise of intellectual ladies and the commoditization of marriage and family constitute the tangible part of Byron's domestic recalling. With retrospective commentaries Byron fulfills the act of imagining native land; and in this regard nationalism is the spiritual support of the expatriate existence. / I propose to comprehend the perceptive gap by focusing on Don Juan which best contextualizes Byron in the flow of historicity with the dimension of nationalism. I intend to delve into three structural units of Don Juan---digression, narrative, a lyric song---to argue that Byronic contradictions manifest nationalism in its multiple contingencies. / In conclusion Don Juan reveals that Byron's participation in the modern historicity of nationalism involves three dimensions---residual cosmopolitan ideals, English national consciousness and the independence of the oppressed nations. Don Juan embodies a historical magnetic field where Byron's existence actualizes the potential conflict of the modernity. / Secondly by reading Don Juan as the quest romance of the individual initiation, I bring the narrative into scrutiny and argue that the hero's transformation involves an implicit evolution of the national identification. In terms of subjective consciousness, nationalism embodies the mature vision of masculine selfhood. Don Juan's encounter with both female and male characters, through his repeated border-crossing, illuminates a metaphorical process from rejection to embrace of native roots, from negation to affirmation of national bonds Juan's rite of passage---sexual initiation, surviving shipwreck, the trial of the exotic love and battlefield and diplomacy---transmits a national subjectivity which corresponds to the Byronic existence of mobility. / The dissertation explores the discrepancy between critical reception towards Byron as a Romantic poet in contemporary Romantic scholarship and in Chinese historical evaluation (with certain reference to the European Continent). Byronic contradictions pose a problem to Romantic scholars who are engaged to interpret the interplay between Byron the man and Byron the poet. They share the view that Byron succeeds in manipulating his own personal image to promote his poetical visibility and tend to doubt if his poems could stand alone without the reference to his letters and journals. In China, as in many other countries of European Continent and Asia, Byron is often viewed in a more positive way as the very name has become a byword for liberal nationalism and the rebellion against tyranny / Thirdly 'Isles of Greece' adds an alternative yet prospective dimension to perceive the tension between national anxiety and modernity. In English context its meanings vary as the contextual focus shifts from poetical to socio-biographical and to existential level. The theme of the national independence is complicated by its negative elements such as the identity of the songster. In the Chinese context, 'the Isles of Greece' initiates and embodies a myth-making process as it gives vent to the anxiety of modernity faced by Chinese people in the opening of the twentieth century. The individual shaping of the 'Isles' by three Chinese intellectual pioneers symbolizes the simultaneous awakening of Chinese national consciousness and individual consciousness. The extended reading of Byron by Lu Xun, together with his reworking, voices the existential dilemma of modern enlighteners. His invocation of 'Mara poets' is prophetic of the modern intellectuals who possess both vision and willpower to eradicate ignorance and public apathy. / Gu, Yao. / Adviser: Ching Yuet May. / Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 167-173). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

Orientador: Marcos Antônio Siscar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T15:09:48Z (GMT). No. of bitstreams: 1 Santucci_IsabellaCristinaStangherlin_M.pdf: 1947248 bytes, checksum: a55952ad63ed1c55a1055229aa8d2f54 (MD5) Previous issue date: 2013 / Resumo: Em 1789 um novo século se impôs ao mundo. Das Luzes à Escuridão, o homem francês tornou-se apenas homem. O medo, o silêncio e o tédio invadiam o coração de uma sociedade. O sublime, ou o grotesco, como diria Victor Hugo, inevitavelmente levaria a outra revolução. Na política, nos costumes, nas artes, o novo urgia por eclodir. Nesse cenário, Stendhal, homem, crítico e escritor de seu tempo, quer-se portador de uma reviravolta nunca antes concebida. Quer, assim, olhar para sua nação e refletir através do reino das palavras o que nela encontrava. Quer, da mesma maneira, retratar a alma de seus contemporâneos, ávida de emoções e de algo que há muito a França desconhecia, o amor-paixão. Para tanto, decide exumar como herói o demônio das terras do midi, o transgressor por natureza, o amante indomável, Don Juan. A presente dissertação, diante desse fato, tem por escopo a análise dessa figura que se torna central na produção romanesca do autor ao se transfigurar em miroir de um século e de uma nação pós-revolucionários. E nesse percurso, passando pelos diversos modelos de Don Juan da história literária pelo próprio Stendhal relembrados e criticados, observaremos de que maneira se constituiu seu ideal de Romantismo, o Beau moderne, em meio à incessante busca por um herói verdadeiro / Abstract: In 1789, a new century imposed itself on the world. From Light to Darkness, the French man became just a man. Fear, silence and boredom invaded the heart of a society. The sublime, or the grotesque, as would say Victor Hugo, nothing else could provoke but the revolution. In politics, in mores, in arts, the new urged to hatch. In this scenario, Stendhal, man, critic and writer of his time, wants to hold a twist never before conceived. He wants, then, to look to his nation and reflect through the realm of words that which he could find in it. He wants, in the same way, to portray the soul of his contemporaries, eager for emotions and of something that remained unknown to France for a long time, love-passion. Therefore, Stendhal decides to exhume as hero the devil of midi's land, the transgressor by nature, the untamed lover, Don Juan. This thesis, in the face of this fact, has as its goal the analysis of this figure that became central in Stendhal's novelistic work as he is transfigured in miroir of a century and of a post-revolutionary nation. And along this path, passing through many different Don Juans of literary history, remembered and criticized by Stendhal, we will observe how it has constituted his ideal of Romanticism, the Beau moderne, amid the ceaseless quest for a true hero / Mestrado / Historia e Historiografia Literaria / Mestra em Teoria e História Literária

Né en 1630, sous la plume du moine espagnol Tirso de Molina, le personnage de Don Juan n’a cessé d’inspirer les auteurs, au point de devenir un véritable mythe littéraire. On ne saurait, désormais, l’évoquer sans mentionner quelques œuvres majeures, telles que le Dom Juan de Molière ou le Don Giovanni de Mozart. S’il est difficile de trouver, au 20ème siècle, des réécritures du scénario mythique susceptibles de rivaliser avec ces illustres noms, il est indéniable que ce dernier demeure productif. La France offre, à elle seule, des preuves de cette vitalité. En effet, l’histoire de Don Juan continue à inspirer les auteurs. Elle semble même avoir conquis de nouveaux genres littéraires : longtemps cantonné au théâtre, c’est, pourtant, dans le genre romanesque que le héros mythique trouve actuellement ses traitements les plus originaux.Mais ces réécritures littéraires sont enrichies, au 20ème siècle, par deux apports fondamentaux. La critique, tout d’abord, qui multiplie les angles d’approche sur le mythe et entretient, à son tour, un dialogue fertile avec les œuvres de fiction. Cette dimension réflexive renouvelle considérablement le regard porté sur la fable donjuanesque. Le cinéma, ensuite, qui, en s’emparant du mythe, en propose de nouvelles lectures. Cependant, cette productivité ne doit pas occulter un constat : pour s’adapter à notre époque, le canevas mythique a souffert de nombreuses modifications. Ces dernières sont-elles la preuve de la plasticité du mythe et la garantie de sa survie ou, au contraire, des étapes pouvant aboutir à sa déconstruction ? Il importera de se demander, en définitive, si Don Juan ne risque pas d’être victime de la fascination qu’il inspire. / Born in 1630 from the Spanish monk Tirso de Molina’s quill, the character of Don Juan has never stopped inspiring writers to the point of becoming a true literary myth. Nowadays, one could not evoke it without mentioning a few masterpieces such as Dom Juan by Molière or the opera Don Giovanni by Mozart. Even if it is hard to find in the 20th century, rewritings of the mythical scenario that can vie with these illustrious names, it is however undeniable that it remains very productive. France itself gives numerous proves to this vitality. Indeed, the story of Don Juan keeps on inspiring authors. It even seems to conquer new literary genres: confined for a long time to theatre only, it is however in the domain of fiction that the mythical hero experiences nowadays his most original uses.But these literary rewritings are completed and enriched in the 20th century by two essential contributions. Firstly reviews have multiplied the different views on the myth and have maintained fertile conversations with fictional works. The birth in the literary world of this reflexive dimension considerably transforms the vision shared on this Don Juan fable. Secondly, the cinema embraces the myth and offers new reading propositions. However this productivity should not overshadow this fact: the myth has been adapted to our times. It has undergone many transformations. Are they the proof of the myth’s plasticity and the warrant of its survival or, on the contrary, are they steps that might lead to its destruction? At the end of the day, will Don Juan risk to be the victim of the fascination it inspires?