Gestalt psychologists Kurt Koffka and Wolfgang Köhler argue that human perception relies on a form, or gestalt, into which perceptions are assimilated. Gestalt theory has been applied to the visual arts by Rudolf Arnheim and to literature by Wolfgang Iser. My original contribution to knowledge is to use gestalt theory to perform literary criticism, an approach that highlights the importance of perception in William Gibson's novels and the impact of this emphasis on posthumanism and science fiction studies. Science fiction addresses the problem of difference and the relationship between self and other. Gestalt literary criticism takes perception as the interface between the self and the other, the human and the inhuman. Gibson's work is of particular interest as his early novels are representative of 1980s cyberpunk while his later novels push the boundaries of science fiction through their contemporary settings. By engaging with Gibson the thesis makes its contribution to contemporary science fiction criticism explicit. In Gibson's Sprawl trilogy autopoiesis defines life and consciousness, elevating the importance of perception (Chapter I). The Bridge trilogy uses the metaphor of chaos theory to examine dialectic tensions, such as the tension between space and cyberspace (Chapter II). Faulty pattern recognition is a key theme in Gibson's post-9/11 work as gestalt perception allows and limits knowledge (Chapter III). Chapter IV explains how the gestalt in psychoanalysis creates a fragmented subject in Spook Country (2007). Finally, the gestalt appears as a parallax view, a view that oscillates between the world we experience and the world as represented in the text (Chapter V). I conclude that gestalt literary criticism offers an exciting new reading of Gibson's work that recognises its engagement with visual culture and cyberpunk as a whole.

Text in Xhosa. / Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study examines representations of women in four Xhosa drama books, thus aiming at highlighting the interplay between culture and women's social space. A comparative approach is used to review the ways in which the Xhosa dramatists under study characterise women.Some of these representations suggest that women have the capability to achieve personal transedence rather than accept the immanence imposed by stereotyped gender relationships. In these works, it is evident that writers can change the image of women by centralising them as active people who fight for their rights. THE ASSIGNMENT IS ARRANGED AS FOllOWS: CHAPTER 1 Introduces the aim, the scope, the theories and the methods of the study. CHAPTER 2 Deals with the development of plot and attention is paid to episodes in the four dramas. These episodes depict the different phases of the dramas. The dramas under study are evaluated critically by motivating their positive and negative aspects. CHAPTER3 Deals with woman as character in Xhosa dramas under study. A critical detailed analysis of the main woman character in each drama is undertaken. CHAPTER4 Presents depiction of Xhosa culture in the Xhosa dramas. CHAPTERS Summarises the findings of the study which is the representation of women in Xhosa drama books. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek voorstellings van vroue in vier Xhosa dramas met die doelom die interaksie te ontleed tussen kultuurverskynsels in die vrou se sosiale ruimte. 'n Vergelykende benadering word gevolg om 'n analise te doen van hoe die dramaturge wie se werke bestudeer word vroue karakteriseer. Sommige representasies van hierdie karakterisering dui aan dat vroue die vermoë het tot persoonlike transendensie, eerder as om die onmiddellikheid te aanvaar van gestereotipeerde genderverhoudings. In die dramas wat ondersoek is, blyk dit dat die skrywers in staat is om die beeld van vroue te verander deur hulle te sentraliseer as aktiewe mense wat veg vir hulle regte. Die werkstuk word as volg georganiseer: Hoofstuk Een gee 'n uiteensetting van die doelstelling, omvang, teoretiese raamwerk en metodes van die studie. Hoofstuk Twee ondersoek die ontwikkeling van intrige en 'n analise word gedoen van die episodes in die vier dramas. Hierdie episodes beeld die verskillende fases van die onderskeie dramas uit. Die dramas word krities ge-evalueer en hulle positiewe en negatiewe aspekte word behandel. Hoofstuk Drie ondersoek die vrou as karakter in die Xhosa dramas. 'n Gedetaileerde kritiese analise word onderneem van die hoof vroue karakter in elke drama. Hoofstuk Vier ondersoek die uitbeelding van kultuur in die onderskeie Xhosa dramas. Hoofstuk Vyf gee 'n opsomming van die hoofaspekte van ondersoek en die bevindinge van die studie.

Text in Xhosa. / Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: This study explores the cultural conflict between the Western and African cultures in two Xhosa novels. The two novels investigated in this study are Ingqumbo yeminyanya by A.C. Jordan and Ukuba ndandazile by W.K. Tamsanqa. We concentrate on the two older Xhosa novels with the aim to find out how they deal with the cultural conflict arising from western and traditional Xhosa life systems. Chapter 1 of the study presents the aims of the study. Chapter 2 presents theoretical underpinnings of literature and culture as the theoretical framework of the study. In Chapters 3 and 4, two Xhosa novels are analysed, one in each chapter. It is found that conflict in Ingqumbo yeminyanya and Ukuba ndandazile, results from western and traditional Xhosa value systems that co-exist. The characters in the novels belong to each camp and have strong views about the other's value system. The protagonists of both novels adhere to the western culture, and they live in their community with antagonists who cherish their traditional Xhosa lifestyle. The traditional people are content with their style of life, they are dissatisfied by the westernised life of their offspring who have become alien and who despise and look down upon their own Xhosa tradition and custom. A major problem in the novels is that the westernised protagonists are a few educated royal leaders who have to lead the traditional people they despise. Yet because of the majority of the traditionalists, the traditional Xhosa life exerts so much force on the lives of the few educated protagonists such that they reach tragic ends. The conclusion that can be made about the tragic end of the characters in both novels is that it results from the failure of the intolerance of the western and traditional value systems. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die kulturele konflik tussen die Westerse en Afrika-kulture in twee novelles. Die twee novelles wat ondersoek word is Ingqumbo yeminyanya van A.C. Jordan en Ukuba ndandazile van W.K. Tamsanqa. Daar word gekonsentreer op hierdie twee ouer novelles met die doelom te bepaal hoe kulturele konflik hanteer word wat veroorsaak word deur die verskille tussen westerse en tradisionele Xhosa leefwyses. Hoofstuk 1 van die studie bied die doelstellings en afbakening van die navorsingsonderwerp. Hoofstuk 2 bied die teoretiese grondslae van die interaksie tussen letterkunde en kultuurondersoek wat die teoretiese raamwerk vorm van die studie. In hoofstukke 3 en 4 word die Xhosa novelles ontleed. Daar word bevind dat konflik in Ingqumbo yeminyanya en Ukuba ndandazile veroorsaak word deur westerse en tradisionele Xhosa waardesisteme wat naas mekaar bestaan. Die karakters in die novelles verteenwoordig elk van hierdie kante, en het sterk sieninge oor die ander se waardesisteem. Die protagoniste in beide novelles volg die westerse kultuur, en hulle leef in hulle gemeenskap met antagoniste wat die tradisionele Xhosa lewenswyse volg. Dié tradisionele mense is tevrede met hulle leefwyse, en is ontevrede oor die verwesterse lewe van hulle kinders wat vervreemd geraak het, en wat neerkyk op die Xhosa tradisies en gewoontes. 'n Groot probleem in die novelles is dat die verwesterse protagoniste in paar opgevoede koninklike leiers is, wat die tradisionele mense moet lei vir wie hulle verag. Vanweë die meerderheid tradisionele mense, oefen aspekte van die tradisie te veel druk uit op die enkele opgevoede protagoniste en laasgenoemde het 'n tragiese dood. Die gevolgtrekking kan gemaak word uit die tragiese dood van die protagonis karakters in beide novelles dat dit die resultaat is van onverdraagsaamheid van westerse en tradisionele waardesisteme. / XHOSA: Olu phando lumalunga ngokungquzulana kwenkcubeko yaseNtshona neyemveli kwiinoveli ezimbini ezibhalwe ngababhali abadumileyo ekubhaleni iincwadi zamabali esiXhosa. Ezi noveli zolu phando nababhali bazo yi - Ingqumbo yeminyanya ngokubhalwa A. C. Jordan. Eyesibini ngu - Ukuba ndandazile ngokubhalwa ngokuka W. K. Tamsanqa. Olu phando luqwalasela kwezi noveli zindala ukuze lubone ukuba ziwuxukushe njani umbandela wongquzulwano Iwenkcubeko yaseNtshona neyemveli yamaXhosa. Isahluko 3 sithetha ngokuza kuqhubeka kolu phando. Isahluko 2 sidandalazisa amabakakala engcingane oluncwadi., nenkcubeko, nto leyo ebonanakalisa ubume. bolu - phando. Kwisahluko 3 kunye no 4, kuhlalutywa iinoveli ezimbini zesiXhosa. Ingqumbo yeminyanya kunye no - Ukuba ndandazile kwisahluko 4. Kuyafumaniseka ukuba ungquzulwano kwi - Ingqumbo yeminyanya no - Ukuba ndandazile Iwenziwe kukudibana kwenkcubeko yaseNtshona neyemveli. Abalinganiswa bamacala omabini baye banezinye iingqondo ezingahambelaniyo nelinye icala. Abalinganiswa abazintloko bezi noveli bakholelwe kwinkcubeko yaseNtshona, noxa bekhokela isizwe sabo sabantu benkcubeko yemveli. Noxa abantu benkcubeko yemveli babeqhubeka nenkcubeko yabo yemveli, babengayithandi inkcubeko yaseNtshona eyamkelwe ngabantwana baseNtshona, ebenza ukuba bayijongele phantsi inkcubeko yabo yemveli. Unobangela owenze ungquzulwano kukuthi bona abantu abakholelwa kwinkcubeko yaseNtshona bebancinci ngokwenani, bafune ukuqweqwedisa abantu benkcubeko yemveli abasisininzi. Ngenxa yobuninzi babantu abakholelwa kwinkcubeko yaseNtshona, nto leyo edale isiphelo esingekho sihle nokuphalala kwegazi kwezi noveli. Ukuqukumbela, isiphelo esibi sabalinganiswa senziwe kukunganyamezelani kwabanbezinkcubeko zombini.

The thesis investigates the fictional uses of the figure of the unchaste woman over the period of the early feminist movement in order to trace attitudes towards woman as a sexual being and as a person in her own right. The cheap and popular literature of the period has been used both to illuminate accepted conventions, so that the achievement of major novelists can be more clearly understood, and to discover differences in style, moral intent, and emotional content of the fiction consumed by women of various social classes which may be related to class-based differences in feminine role, expectations, and self-image. [continued in text ...]

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-23T12:33:01Z No. of bitstreams: 1 Elias dos Reis Louzeiro.pdf: 1202560 bytes, checksum: cff2bd640f7f0c0330bcdd13312aa5dd (MD5) / Made available in DSpace on 2018-04-23T12:33:01Z (GMT). No. of bitstreams: 1 Elias dos Reis Louzeiro.pdf: 1202560 bytes, checksum: cff2bd640f7f0c0330bcdd13312aa5dd (MD5) Previous issue date: 2018-03-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research aims to demonstrate the presence of multiple temporalities in the Valter Hugo Mãe’s novel a máquina de fazer espanhóis. Such temporalities operate in both sequential and memorialistic perspectives, in which action and recollection alternate throughout the narrative setting an interplay between past and present. The character interacts on a unstable and hesitant manner, in constant progression and retreat on emotional and personal conditions. And the character Portugal also demonstrates such oscillating characteristics. For both characters, the previous time is brought to the present throughout a nostalgic discourse and a refusal of action. Considering the theoretical background for analysis, the investigantions conducted by Paul Ricoeur (2012), Santo Agostinho (1999), Benedito Nunes (2010) and Terry Eagleton (2010), related to the concept of time; Henri Bergson (1990), Ecléa Bosi (2003) and Jeanne Marie Gagnebin (2006), with respect to the studies about memory; and also observing Eduardo Lourenço’s reflections (2004) on the grounding of the formation of the Lusitanian identity. The conclusion adresses that the novel attempts to emphasize paradoxal relations between life-death, action-stagnation, mythical time-present time, and that the unlikely relation examined in a senile atmosphere which conducts to a new life / O objetivo desta pesquisa é demonstrar a existência de múltiplas temporalidades no romance, a máquina de fazer espanhóis, do escritor português Valter Hugo Mãe. As diferentes manifestações do tempo inscrevem-se no texto numa perspectiva tanto sequencial, quanto memorialista, em que ação e recordações se alternam, configurando um jogo entre passado e presente. A personagem vive um percurso de insatisfação e insegurança, em momentos de progressão e recuo, seja no âmbito pessoal, seja social. O contexto histórico e político de Portugal também traz, para a narrativa, a mesma característica oscilatória da personagem. O presente e o passado permutam-se no discurso que, em alguns momentos assume um traço altamente saudosista. Como fundamentos teóricos para a abordagem analítica sobre o Tempo, destacamos os estudos de Paul Ricoeur (2012), Santo Agostinho (1999), Benedito Nunes (2010) e Terry Eagleton (2010); em relação à memória, utilizamos Henri Bergson (1990), Ecléa Bosi (2003) e Jeanne Marie Gagnebin (2006). Para resgatarmos a formação e a identidade lusitana, recorremos ao professor e filósofo Eduardo Lourenço (2004) como referência crítica às nossas reflexões. Nas considerações finais, destacamos os paradoxos vida-morte, estaticidade-ação, tempo histórico e tempo mítico e, ainda, a relação controversa que se manifesta entre o ambiente senil e uma nova mentalidade crítica que aflora lado a lado com o desfecho da vida e da narrativa

by Lee Zhengwei. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1988. / Bibliography : leaves 109-116.

Specifically, in her novel Beloved Morrison redefines the slave-narrative tradition and reveals the discredited history of slavery by unveiling the "interior life" of African American ancestors and rendering memories heretofore unacknowledged and unspoken in classic slave autobiographical narratives. Through a hybrid prose that mixes fiction with history in the novels The Enigma of Arrival and A Way in the World , Naipaul illuminates "areas of darkness" in the diasporic world of East Indian Trinidadian peoples and provides new ways of transforming the English literary and cultural history. Focusing on West African identity and community, especially the poorest and the most powerless, in the novel The Famished Road Okri brings a mythic and fantastic dimension to postcolonial fiction as a way of finding images to portray what the public media and the outside world fail to record and comprehend, and gives voice to people who are generally without power and almost without any place in a world of inequality and injustice. Probing into specific representations of incompleteness in the historical novels of Toni Morrison, V. S. Naipaul, and Ben Okri, this thesis underscores the indispensable role of fiction in representing life, rewriting history and enlarging reality. / With reference to Paul Ricoeur's conception of the interconnectedness between history and fiction, in particular his analyses in The Reality of the Historical Past, this comparative literary study examines narrative strategies that three contemporary writers of fiction---Toni Morrison, V. S. Naipaul, and Ben Okri---have devised to counteract incompleteness of historical representation. This thesis argues that history as a mode of rendering the past and a way of representing reality is essentially incomplete. In other words, history is incomplete as a systematic written account comprising a chronological record of past events, circumstances, and facts, and as a story or a narrative of events connected with a real or imaginary object or person. Fiction, however, with its underlying capacity to transform and transfigure reality, imagines as well as repatterns unrecognized or misrepresented aspects of individual and cultural histories. In their works of fiction, Morrison, Naipaul, and Okri purposefully address various kinds of historical negation, absence, and incompleteness. / Zhu Ying. / "May 2005." / Adviser: Timothy Weiss. / Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0180. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (p. 219-233). / 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, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in English and Chinese. / School code: 1307.

Popular writer and man of the people, Zamenga Batukezanga, in 1971, wrote, using his personal experience, his first book entitled The Ups and downs. In his novel, he describes the life of a young villager, Difwayame, who disenchanted acceded the developed class assigned to fight the customs of his native land. In 1986, he published a book entitled My husband on strike. In this novel, he depicts the life of Laurent Lubaki, disenchanted by his clan adheres first the sect called The world will change, and then a catholic church to fight the customs of his native environment. In1991, he wrote and published A Villager in Kinshasa. In this novel, he showed the reader how Amuly who disillusioned by the mores of Kinshasa’s people returned to the village training first agriculture becomes rich and helps villagers. In 2008, he published a book entitled Forbidden way. In this novel, he describes the Hassein Ben Diouf who disillusioned by the behaviour of his mother leaves the house of his parents and adheres to as path as banned group to fight corruption, prostitution, dictatorship which block the development of his country. After carefully reading the above four novels, one realizes that Zamenga Batukezanga puts bare retrograde and anti-values that are common after the independence of his country. That is why from a book to another, he struggles against the retrograde customs and anti- values by evoking the suffering of young people. He keeps coming in his novels on a thematic or dialectic – disenchantment and commitment. What does he mean by disenchantment and commitment? How the two concepts manifest themselves in the works of Congolese writer? What means has he put at the disposal of young struggling to fight retrogrades customs and anti-values in order to achieve freedom? / Linguistics and Modern Languages / D. Litt. et. Phil. (French)

Esta disertación conecta la teoría de la transculturación narrativa de Ángel Rama con la tradición intelectual latinoamericana que aportó sus características más distintivas. Las teorías de Rama fueron influidas por dos tradiciones latinoamericanas. Una es de carácter político y tiene su origen en la Reforma de Córdoba de 1918. La otra, de carácter epistemológico y se remonta a la década de 1930, cuando comienza el culturalismo en Latinoamérica. Mi investigación se ocupa de un grupo de intelectuales uruguayos que trabajaron en torno al semanario Marcha [1939-1974]: Carlos Quijano [1900-1984], Julio Castro [1908 -desaparecido en 1977] y Arturo Ardao [1912-2003]. También me ocupo de dos intelectuales brasileños, Antonio Cândido [1918] y Darcy Ribeiro [1922-1997], quienes continuaron con la tradición culturalista que inauguraron en Latinoamérica autores como Gilberto Freyre [1900-1987] y Fernando Ortiz [1881-1969]. Recuperar las redes intelectuales que acompañaron el proceso de articulación de la transculturación narrativa nos permite comprender mejor las tesis de Rama por dos razones. Primero, porque enmarca esta teoría dentro de algunos de los debates políticos y culturales más importantes de la Guerra Fría. Y segundo, porque se aproxima a la manera como Rama comprendió la historia latinoamericana y su coyuntura política y socio-cultural durante las décadas de 1960 y 1970. El objetivo de la teoría de la transculturación narrativa es describir el proceso por el cual las manifestaciones literarias latinoamericanas pasan de la dependencia a la autonomía cultural. Como el proceso descrito se despliega dentro de la estructura social, para comprenderlo es necesario analizar la interacción entre las obras literarias y la sociedad que las rodea, de esta forma las ciencias sociales --antropología, sociología, economía-- son instrumentos de análisis indispensables para comprender una obra o tradición literaria. Este marco general de análisis es descrito por Rama como el culturalismo. En el caso de Rama, una lectura desde los estudios literarios puede dar por sentado que el culturalismo fue tan sólo un método de análisis alternativo al estructuralismo francés. Aunque esta perspectiva sea en parte correcta, no es del todo precisa. El culturalismo al que se refiere Rama es el mismo que practicaron los cientistas sociales en Latinoamérica desde la década de 1930. Recuperar la historicidad de la transculturación narrativa no solo nos permite comprender la genealogía de esta teoría sino recuperar y hacer visibles algunas tradiciones intelectuales contra-hegemónicas que desarticuló la Guerra Fría en Latinoamérica.

Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.