Thesis (M.F.A.)--York University, 2008. Graduate Programme in Film. / Typescript. Includes filmography. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45979

Thesis (M.F.A.)--York University, 2009. Graduate Programme in Theatre : Acting. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51538

Thesis (M.F.A.)--York University, 2009. Graduate Programme in Theatre : Acting. / Typescript. Includes bibliographical references (leaves 75-77). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51547

寧晓萌. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 211-231). / 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. / Ning xiaomeng.

Thesis (M.F.A.)--York University, 2009. Graduate Programme in Theatre : Acting. / Typescript. Includes bibliographical references (leaves 53-54). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51610

Thesis (M.F.A.)--York University, 2009. Graduate Programme in Theatre. / Typescript. Includes bibliographical references (leaves 62-63). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51522

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This thesis explores the relationship between film form and character expression, both of which are seen as articulated structures, that is utterances in which separable parts operate cooperatively to create meaning. The specific films examined present characters who struggle to express themselves. These inexpressive characters are combined in each case with a disrupted form which displays its own many-jointed structure. The thesis argues that the dynamic relationship between inarticulacies of character, narrative, and form generates an indeterminate dialectic. The unresolved relationship between parts and whole (reminiscent of a complex mosaic structure) complicates the process of reading for univocal meaning. The operation of this dual inarticulacy is discussed in Chapter One. Each subsequent chapter is devoted to a single film and a particular example of formal disjuncture: contrapuntal narrative levels, clashing styles, discontinuous editing, bricolage, the dislocation of genre signifiers from conventional meanings, and intermedia. The films discussed at length in connection with these theories are: 'Journal d'un curé de campagne' (1951); 'Germania anno zero' (1948); 'Belle de Jour' (1967); 'Distant Voices, Still Lives' (1988) and 'The Long Day Closes' (1992); 'Meek's Cutoff' (2010); 'The Pillow Book' (1996).

“Flesh Made Word” examines two seemingly incongruous Russian modernist writers to illuminate one remarkable species of aesthetic response to the violent pressures of Marxist ideology, especially as those pressures are manifest as sociolinguistic phenomena and practice. The unexpected pairing of Osip Mandel’shtam and Vladimir Nabokov is motivated by their shared debt to Henri Bergson’s materialist theories of embodied selfhood and subjectivity, language, and the metaphysics of art. Poetry, both writers insist, as it operates according to a non-linear logic of ever-open and expanding associations of sound and image, offers the only authentic grammar for a multifarious self that knows not the constructions of time, causality, and finality. This mode of self-expression, at once intimate and cryptic, clashes with the Marxist state’s effort to make the subject uniform and transparent—to “sentence” him to his prescribed collective identity in the bondage of speech, prose, and narrative, whose didactic agenda and linear momentum are encrypted with Marxism’s world-historical teleology. Mandel’shtam’s and Nabokov’s own texts, the study argues, operate primarily by poetic principles, and their literary practice in turn creatively anticipates theories of Bergson’s postmodernist heirs (Foucault, Barthes, Derrida), particularly as they draw bold political implications from Bergson’s theories to analyze the relationship of language, writing, and power. Barthes, for instance, claims that the “poetic” text—composed of a personal image-system, not a “structure of signifieds”—places the artist “outside the pact that binds the writer to society.” In exploring this conflict between manners of expression, the study offers innovative, cohesive readings of the writers’ most enigmatic and elusive works of poetic prose—Mandel’shtam’s The Egyptian Stamp and Nabokov’s Invitation to a Beheading. More specifically, it examines the ways the conflict is manifest on the bodies of the narrator-protagonists. These figures are effectively twice composed: once by the mortifying narration of the State, again as they are the subjects of their own revitalizing self-writing. The texts that the protagonists produce of themselves are figured as their very flesh transubstantiated, and as nothing other than the poetic works that we are reading. These metaphysical dimensions of the fiction make forceful statements about the power of the artistic act, and especially its potential to reclaim and restore the self in a gesture of political defiance. By establishing a distinct set of images, themes, and techniques shared by the authors, along with a conceptual framework in which to discuss them, this dissertation responds to a scholarly need, until now not substantively articulated, to place Mandel’shtam’s and Nabokov’s creative projects into dialogue. As much as it invites a parallel gaze, however, the study equally contributes daring new chapters to each author’s existing body of scholarship and opens fields of inquiry that demand continued critical attention.

Thesis (MA (VA)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: The thesis investigate the family narrative. While engaging specifically with my female family narrative, it essentially questions how and why we create and perpetuate this narrative of absence and presence. The acts of memory, autobiography, testimony and the subsequent creation of the archive are probed. Such probes attempt to enter the sphere of the unsayable and unsaid, partially lifting the female existence, identity and body from the silence surrounding the private and intimate realm she dwells in. The creation and recreation of meaning through the use and manipulation of time and language is examined through-out whilst continually reading absence as presence. This is done in order to locate and access the silent and forgotten. The thesis problematises the notion of the ‘I’ and the ‘initial’ through looking at the repercussions of the employing linearity. Ultimately, this writing process reveals the contradictions and dualities we both create and aim to obliterate within the individual and collective composition of the family narrative. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die familienarratief. Terwyl dit spesifiek die vroulike familienarratief bespreek bevraagteken dit hoe en hoekom ons die narratief van afwesigheid en teenwoordigheid skep en voortsit. Die dade van onthou, outobiografie, getuienis, en die daaropvolgende ontstaan van die argief, word gepeil. Hierdie ondersoeke poog om die sfeer van die ‘ongesêde’ en die ‘onsêbare’ binne te dring, en so die vroulike bestaan, identiteit en liggaam te bevry uit die stilte van die ‘private’ en die intieme terrein waarbinne sy woon. Die skep en herskep van betekenis deur die gebruik en manipulasie van taal en tyd word deurlopend ondersoek, terwyl afwesigheid as aanwesigheid gelees word. Dit word gedoen in orde om die stilte en vergete te vind en toegang daartoe te bewerkstellig. Die tesis problematiseer die begrip van die ‘ek’ en die ‘initiële’ deur na die reperkussies van die toepassing en gebruik van lineariteit te kyk. Uiteindelik onthul die skryfproses die kontradiksies en dualiteite wat ons beide skep asook poog om uit te wis binne die individuele en kollektiewe komposisie van die familie narratief.