by Christina Lee Ka-pik. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1990. / Bibliography: leaves 163-168. / Abstract --- p.i / Acknowedgments --- p.ii / Chapter Chapter1 --- Introducion --- p.1 / Chapter Chapter2 --- Orthodoxy vs Anti-orthodoxy --- p.12 / Chapter Chapter3 --- Historicity vs Fictionalization --- p.52 / Chapter Chapter4 --- Ordinary vs Unexpectedness --- p.97 / Chapter Chapter5 --- Conclusion --- p.151 / Notes to Chapter 1 --- p.156 / Notes to Chapter 2 --- p.157 / Notes to Chapter 3 --- p.160 / Notes to Chapter 4 --- p.161 / Notes to Chapter 5 --- p.162 / Works Cited --- p.163

In the Mind's Eye: Associationism and Style in the Nineteenth-Century British Novel argues that the British novel, in its syntactic, grammatical, and rhetorical strategies, incorporated associationist premises about reading comprehension. Associationism, as a term, encapsulates a series of theories during the period that attempted to explain the ways in which external stimuli were "represented" in the mind and linked with other ideas. Inquiries into the association of ideas spanned numerous fields but shared a core belief: everything an individual touched, saw, smelled, or read, was translated into a secondary representation in the mind. Since all objects--whether a phrase, a misty moor, or a character's face--were thought to be experienced through mental "miniatures," the association of ideas was the mechanism of the reading experience and of phenomenal experience. Associationist theories delineated how words evoked images, and the ways in which these images became linked to form holistic ideas in the course of a sentence, a paragraph, and throughout a work of fiction. In this project, I show how four canonical nineteenth-century authors--Jane Austen, Walter Scott, Charles Dickens, and George Eliot--created prose styles intended to evoke, enhance, or even resist the spontaneous associative mechanisms considered essential to the comprehension of language. In order to trace the contours of an associative stylistics during the period, I pair each author with associationist theories contemporary with their fiction. In Chapter One, I demonstrate how Jane Austen's techniques in Persuasion, Northanger Abbey, and Sense and Sensibility incorporated the tenets of the dominant model of associationism in Austen's day: those of David Hartley. Austen's mode of representation is highly metonymic, capitalizing on of principles of language comprehension proposed in Hartley's work. The great degree of stylistic control so often attributed to Austen's prose is inextricably rooted with the Hartleyan paradigm: a strategy of representation to depict a social world and its objects according to an associationist epistemology. In Chapter Two, I read Sir Walter Scott's Waverley with the theories of his teacher Dugald Stewart. Walter Scott studied with Dugald Stewart at the University of Edinburgh and in Stewart's Elements of the Philosophy of the Human Mind, Stewart develops literary-aesthetic guidelines based on the mental models posited in his work. Stewart recommends that a writer delineate in the form of an "outline," a "minimum" required for the reader to comprehend a represented object. Stewart's theories about language cognition and literary technique, I argue, provide guidelines for Scott's development of his own style of literary outline. In Chapter Three, I unfold how Charles Dickens's style in David Copperfield draws on the associative principles in Lindley Murray's English Grammar. In Murray's Grammar, the sentence is a unit of cognition: a precise capsule in which our thoughts are both formed and transmitted. Grammar is an external representation of links between thoughts: the association of ideas in its most tangible form. In Chapter Four, I show that George Eliot integrates a number of discourses about the human mind into her style, with the goal of developing a technique to manage the spontaneous actions of mental associations. The work of James Mill, John Stuart Mill, and Alexander Bain influenced Eliot's view of associationist psychology, and Eliot, in turn, develops her own associative theories of language in her essays and journals. Eliot's associative model of reading incorporates principles of chemistry. Elaboration, a term important to both literary and scientific discourse, provided Eliot with a syntactic style closely aligned with the structure of associative links. More importantly, elaboration afforded Eliot a strategy of cognitive delay; a stylistics intended to subvert the spontaneous action of the mind. By providing "raw materials" for the reader in the form of concrete nouns, and elaborating with a series of extended prepositional phrases, Eliot demands that the reader slow down the automatic action of association and redraw the mental picture.

周晶. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 197-214). / Abstract and table of contents in Chinese and English. / Zhou Jing. / 中文摘要 --- p.i / 英文摘要 --- p.ii / 前言 --- p.iii / 目錄 --- p.iv / 圖表目錄 --- p.vii / Chapter 第一章 --- 緖論 --- p.1 / Chapter 1.1 --- 研究目的 --- p.1 / Chapter 1.2 --- 文本界定 --- p.5 / Chapter 1.3 --- 研究方法 --- p.6 / Chapter 第二章 --- 原文背景和基本内容的考量 --- p.9 / Chapter 2.1 --- 原文作者和她的《喜福會》 --- p.9 / Chapter 2.2 --- 原文的文學主旨 --- p.12 / Chapter 2.2.1 --- 母女關係 --- p.15 / Chapter 2.2.2 --- 移民種族身份 --- p.17 / Chapter 2.2.3 --- 文化衝突 --- p.20 / Chapter 2.3 --- 原文中表述的中西方文化概念 --- p.22 / Chapter 2.4 --- 小結 --- p.28 / Chapter 第三章 --- 《喜福會》的中譯本及相關研究 --- p.29 / Chapter 3.1 --- 《喜福會》的多重中譯本 --- p.29 / Chapter 3.2 --- 翻譯中的“本土化´ح和“外族化´ح現象 --- p.34 / Chapter 3.3 --- "Venuti (1995/2008, 1998 a-c)的理論" --- p.39 / Chapter 3.3.1 --- Venuti承上啟下的角色 --- p.40 / Chapter 3.3.2 --- 造成“本土化´ح與“外族化´ح現象的原因 --- p.45 / Chapter 3.4 --- 小結 --- p.48 / Chapter 第四章 --- 文本描寫的理論框架 --- p.49 / Chapter 4.1 --- 基本原則 --- p.49 / Chapter 4.2 --- 原文的描寫規範 --- p.53 / Chapter 4.2.1 --- 界定文學主旨 --- p.53 / Chapter 4.2.1.1 --- 母女關係 --- p.53 / Chapter 4.2.1.2 --- 移民種族身份 --- p.56 / Chapter 4.2.1.3 --- 文化衝突 --- p.59 / Chapter 4.2.1.4 --- 小結 --- p.62 / Chapter 4. 2. 2 --- 界定本源文化概念 --- p.63 / Chapter 4.3 --- 譯文的描寫規範 --- p.67 / Chapter 4.3.1 --- 翻譯策略的兩種含義 --- p.69 / Chapter 4.3.2 --- “本土化´ح或“外族化´ح的翻譯策略 --- p.76 / Chapter 4.3.2.1 --- 現有的研究 --- p.77 / Chapter 4.3.2.2 --- 本研究的描寫規範 --- p.85 / Chapter 4.4 --- 結語 --- p.95 / Chapter 第五章 --- 對應文本的例子分析 --- p.97 / Chapter 5.1 --- 文學主旨的例子 --- p.97 / Chapter 5.1.1 --- 母女關係 --- p.98 / Chapter 5.1.2 --- 移民種族身份 --- p.108 / Chapter 5.1.3 --- 文化衝突 --- p.115 / Chapter 5.2 --- 本源文化概念的例子 --- p.121 / Chapter 5.2.1 --- 源語文化概念 --- p.121 / Chapter 5.2.2 --- 譯語文化概念 --- p.125 / Chapter 5.3 --- 結語 --- p.129 / Chapter 第六章 --- 語料庫及描寫數據 --- p.130 / Chapter 6.1 --- 雙語平行文本語料庫 --- p.130 / Chapter 6.2 --- 有關翻譯策略分佈比率的說明 --- p.138 / Chapter 6.3 --- 翻譯策略在個別譯本中分佈 --- p.141 / Chapter 6.3.1 --- 于譯本 --- p.141 / Chapter 6.3.2 --- 田譯本 --- p.144 / Chapter 6.3.3 --- 吳譯本 --- p.147 / Chapter 6.3.4 --- 程譯本…… --- p.150 / Chapter 6.3.5 --- 多重譯本的比較 --- p.153 / Chapter 6.4 --- 翻譯策略在四個譯本中的整體分佈 --- p.158 / Chapter 6.5 --- 誤差測定 --- p.161 / Chapter 6.6 --- 結語 --- p.164 / Chapter 第七章 --- 從翻譯的認知過程看翻譯策略的分佈 --- p.166 / Chapter 7.1 --- 翻譯認知過程的有關研究 --- p.167 / Chapter 7.2 --- 雙語處理過程的經濟原則 --- p.173 / Chapter 7.3 --- 理論框架的延伸 --- p.181 / Chapter 7.4 --- 對《喜福會》中譯本中翻譯策略分佈的解讀 --- p.184 / Chapter 7.5 --- 結語 --- p.187 / Chapter 第八章 --- 結論 --- p.189 / 參考文獻 --- p.197 / 英文目錄 --- p.215

Thesis (Ph. D.)--University of Washington, 1985. / Vita. Bibliography: leaves [179]-187.

Thesis (Ph.D.)--Ohio University, June, 2006. / Title from PDF t.p. Includes bibliographical references (p. 204-207)

This study demonstrates that much of the Gothic novel's effect results from the form of the classical tragedy. Experimentation with that form as the basic structure of the novel begins with Horace Walpole, extending through Ann Radcliffe and Charles Maturin. Walpole, the innovator, uses the form--architectonic movements and particularized devices-to bring dramatic action back to a genre which was withering due to Richardson's epistolary structure. The plotting of The Castle of Otranto relies on tragic movement: exposition, complication, minor crisis, incitement of tragic force, climax, catastrophe. Also, to move action, Walpole uses peripeteia and anagnorisis more broadly than a dramatist. Because of his expanded use of the two devices, Walpole adds spectacle or the supernatural to crisis, climax, and catastrophe. Desiring to offset pathos, he creates fear--specifically terror, the fear of death.Ann Radcliffe uses Walpole's strategy in The Italian but modifies the tragic structure somewhat. Hers is a more expansive work than Otranto, and she emphasizes the ironies of her protagonist's decline. Equally important, she uses the true supernatural, she continues experimenting with minor character, and generalizing the use of peripeteia to increase ironic possibilities occurring between characters, characters and narrator, or book and audience. Because these ironies are so much like undercutting, The Italian seems more like a modern novel.Because Charles Robert Maturin was himself a dramatist, the architectonic technique of Melmoth the Wanderer is also tragic. Maturin uses the tragic form recursively, adding bewildering, ambiguous depth to the novel. The many tragedies are interlocked. Individually, each teaches about the human condition. As a whole, the tragedies are Melmoth's hell on earth, though his victims' fleshly tragedies never match his own hopeless spiritual tragedy. Structurally, Maturin uses periketeia and anagnorisis frequently, oftentimes mixing in spectacle and the supernatural. Other major contributions are Maturin's use of a temporally and spatially free protagonist and his emphasis of the fear of eternal damnation. Since that is Melmoth's final lot, the author withholds climax and catastrophe for the novel's end.Thus, the Gothic suggests itself as a source for the "dramatic novels" of later mainstream authors like George Eliot.

Authors̓ inaugural dissertation, Heidelberg. / "Literatur-Verzeichnis": p. [103]-110.

Inaug.-Diss.--Tuebingen. / Lebenslauf. "Literaturverzeichnis": p. 56-58.

Thesis (Ph. D.)--University of Pennsylvania, 1931. / Bibliography: p. 107-121.

Inaug.--Diss.--Bern. / Issued also without thesis statement. Vita. Bibliography: p. 107-109.