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This thesis explores the development of Virginia Woolf’s late cultural criticism. While contemporary scholars commonly observe that Woolf shifted her intellectual focus from modernist fiction to cultural criticism in the 1930s, there has been little sustained examination of why and how Woolf’s late cultural criticism evolved during 1930-1941. This thesis aims to contribute just such an investigation to field. My approach here fuses a feminist-historicist approach with the methodology of genetic criticism (critique génétique), a French school of textual studies that traces the evolution of literary works through their compositional histories. Reading across published and unpublished texts in Woolf’s oeuvre, my genetic, feminist-historicist analysis of Woolf emphasises that her late cultural criticism developed from her early feminist politics and dissident aesthetic stance as well as in response to the tempestuous historical circumstances of 1930-1941. As a prelude to my investigation of Woolf’s late output, Chapter 1 traces the genesis of Woolf’s cultural criticism in her early biographical writings. Chapter 2 then scrutinises Woolf’s late turn to cultural criticism through six essays she produced for Good Housekeeping in 1931. Chapter 3 surveys the evolution of Woolf’s critique of patriarchy in Three Guineas (1938) through the voluminous pre-publication documents that link this innovative feminist-pacifist pamphlet to The Years (1937). Finally, Chapter 4 outlines how Woolf’s last novel, Between the Acts (1941), fuses fiction with cultural criticism to debate art’s social role in times of national crisis. The close relationship between formal and political radicalism in Woolf’s late cultural criticism, I conclude, undermines the integrity of viewing Woolf’s oeuvre in two distinct phases –the modernist 1920s and the socially-engaged 1930s – and suggests the danger of using such labels in wider narratives of interwar literature. Woolf’s late cultural criticism, this thesis argues, developed from rather than rejected her earlier experimentalism.

This thesis takes up the question of intertextuality between the Bible and Samuel Beckett’s oeuvre. It starts with the contention that this relationship has acquired something of the status of a commonplace within Beckett studies; not that substantial scholarly works have not widened out considerably the way that this is understood, but in Ruby Cohn’s words: ‘today every Beckett student knows his literary allegiances—the Bible and Dante, above all’. The Bible’s status for Beckett comes to be treated as a matter of common sense. In response to this critical situation, one aspect of the thesis is to disclose and analyse previously overlooked examples of the Bible’s presence in Beckett’s work, engaging with hitherto occluded parts of the oeuvre (unpublished manuscript texts and the French works, for example). But at the same time, it looks to critically question what is at stake in the claim that the Bible is a matter of common knowledge for Beckett. The methodology put to work in the thesis always begins in close readings of Beckett’s texts, and also of the discourses surrounding his oeuvre. In doing so, it resists an idea that close reading entails a retreat into an ahistorical formalism; rather, it argues for an historicism that does not simply rest on broad notions of orthodoxy and shared values. Rather than taking for granted a common sense idea of what the Bible is (even in the limited sense of what it is for Beckett), the thesis argues for its instability as a ‘text’ across more than one language. Nor, I argue, does Beckett’s oeuvre fix down a particular, single notion of the Bible as the relevant one for its own purposes (the King James Bible, for instance); on the contrary, his work is deeply engaged with the Bible in all its complex, multilingual textuality. The thesis contends that the particular relationship between Beckett and the Bible poses distinctive problems for the kinds of epistemological value invested in a certain understanding of intertextuality; indeed, I look throughout to interrogate the authority invested in familiarity—both that of the author and that of the critic. Following this thread, the thesis also undertakes a sustained engagement with the way in which archival materials are used and valued by a critical practice interested in questions of intertextuality. Through this, I look to do two things at once: both to respond to the extraordinary value of archival documentation for opening up new possibilities within Beckett studies, and at the same time to analyse closely the extents and limitations of what can be claimed on the basis of such analyses. In working through these kinds of question, and responding to the particular exigencies produced by the Bible in relation to the Beckett oeuvre, I also engage with critical issues having to do with theories of affect, the notion of style (asking what it means to adduce some piece of text as ‘biblical’ or ‘Beckettian’), and the analysis of intertextuality in performance. Through all of these readings, the thesis is interested in what it means to read intertextuality in relation to a Beckett ‘oeuvre’, when the ambit of that oeuvre, its internal interrelationships and its points of connection with the world, constantly shift and reformulate themselves. Rather than treating the Bible as a thread that can be safely followed from one end of the oeuvre to the other, guaranteeing a continuity that remains free from the complexities, irruptions and discontinuities performed in Beckett’s texts, the thesis argues that biblical intertextuality is actively involved in those complex Beckettian movements.

The Beating of Wings is a polyphonic novel comprised of multiple interior monologues, inspired by the historical development of the fairy tale as a literary genre. Characters are based upon key writers within this movement: Charles Perrault, Rabbi Nachman, Flora Annie Steel, and J M Barrie; as well as associated figures, including the Franco-Scottish miniaturist and calligrapher, Esther Inglis, the Duchess of Polignac, and Edwina Mountbatten. The subject of this vocal fugue is an ostensibly authorless fairy tale, The Golden Tree and the Moth, handwritten in a seventeenth-century miniature manuscript. Within an omniscient frame modelled after the ancient Indian collection of fables, the Panchatantra (circa 200 B.C.), a succession of first-person narrators chronicle the passage of the fairy tale through time, via the 'beating wings' of its woven narrative threads, back to its source. As each narrator ventriloquises the voice of a previous owner, the matryoshka doll narratives engage concurrently with questions of adaptation and appropriation, narratology, paratext, the Barthesian concept of the 'death of the author', and literary ventriloquism. Ultimately, the novel aspires to culminate in a fictional rebirth of a defining voice, founded upon gynocritical theory and the silencing of women within the patriarchal canon during the early modern period. This origin of the tale that was neither 'already written', nor 'already read', is borne of Esther Inglis (1571-1624). My critical essay considers specific theoretical influences of the novel: predominantly literary ventriloquism, as well as Inglis's corpus. A marginalised figure in the context of early modern women's writing, prior to recent academic enquiry Inglis was dismissed as a skilled copyist, whose manuscripts were notable only for her virtuoso calligraphic replication of religious verse in miniature. To this discussion, I introduce Gérard Genette's concept of paratext as a viable means of interpretation. I argue that this strand of literary analysis is imperative to our understanding of how Inglis sought to materialise an authentic authorial voice through the paratextual space of her manuscripts, mobilising the trope of literary ventriloquism to facilitate her complex construction as a literary icon. By applying Genette's taxonomy, I suggest that Inglis emerges as an incisive, progressive, and ingenious publisher and author, who successfully manifested Her word upon the patriarchal page during an era when women writers were silenced or forced to write anonymously.

Vilnius Pedagogical University Faculty of Lithuanian Philology Master thesis Textual analysis of Mamertas Indriliūnas literary archive Eglė Valantavičienė The master thesis “Textual analysis of Mamertas Indriliūnas literary archive” deals with the M. Indriliūnas (1920-1945), who was Lithuanian poet, critic, translator and resistant, archive of extracts. Analysis is based on the method of genetic criticism. M. Indriliūnas archive of extracts consists of other authors’ minds and ideas taken out from books which he had read. In this master thesis the extracts are analyzed by 2 levels. First of all textual decoding of extracts, establishment of attribution and genetic classifications are carried out. On the second level results of classifications are analyzed and interpreted using the method of genetic criticism. Extracts are classified according to particular criteria of similarity: according to the language of extracts, their titles and directions of disciplines. From these classifications following results are worked out: most extracts are in the Lithuanian, German and French languages; literature and philosophy are disciplines which M. Indriliūnas studied the most thorough; principal subjects of extracts are related to the relationship between God and human being, to Christianity and religion, philosophy, art and creation. According to these classification results conclusion can be drawn that M. Indriliūnas world-view was influenced by French and German aesthetic and... [to full text]

Studying the diverse, experimental, and unconventional work—particularly poetry—of Canadian writer bpNichol requires a better understanding of the material characteristics he used to give his writing unique significance. Nichol’s poems call for a plurality of new analytical methods, since traditional editorial and critical approaches often overlook the importance of materiality. This thesis presents three different approaches to critically considering Nichol’s work and highlighting its material aspects: comparing Nichol’s poetry to Dada aesthetics, examining multiple versions of individual poems using genetic criticism, and looking at the changes and similarities between print and digital material characteristics from the even wider perspective of media archaeology. Additionally, the benefits of a digital edition are argued in relation to all three editorial approaches, as digital presentation augments the focus on the materiality that is so integral to reading Nichol.

京都大学 / 新制・課程博士 / 博士(文学) / 甲第24341号 / 文博第915号 / 新制||文||730(附属図書館) / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 森 慎一郎, 准教授 小林 久美子, 教授 廣田 篤彦 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

Proust em imagens é uma reescritura ou uma tradução intersemiótica de fragmentos da obra Em busca do tempo perdido de Marcel Proust e de sua crítica, sob a forma de uma exposição de artes plásticas. Além disso, seu texto consiste em uma busca pessoal, da minha vocação de artista espelhada na do narrador da Recherche e na do próprio autor, Marcel Proust; em um projeto de exposição e em uma reflexão sobre as duas linguagens: literatura e artes plásticas ou texto e imagem. Por fim, acrescento a análise de uma frase do caderno manuscrito 39 do mesmo autor, sob uma ótica da crítica genética e da pintura, o quadro Vista de Delft de Vermeer e seu pedacinho de muro amarelo / Proust in images is a rewrite or intersemiotic translation of fragments of the work In Search of Lost Time by Marcel Proust and his criticism in an exhibition of visual arts. Also, this text consists of a personal quest, my vocation as an artist mirrored in the narrator of the In Search of Lost Time and the authors own Marcel Proust; of a exhibition projects and of a reflection on the two languages : literature and visual arts or text and image. Finally, I add the analysis of a sentence of 39 notebook manuscript by the same author, in a perspective of genetic criticism and painting, the Vermeer painting and his little piece of yellow wall

A Pedagogia do Oprimido (FREIRE, 1968) é a principal obra do educador e escritor Paulo Freire. Seus manuscritos resistiram a diversas mudanças culturais, sociais e políticas, ficando por mais de 30 anos guardados no país onde fora inicialmente concebido, o Chile. O objetivo principal desta pesquisa é a transcrição do facsímile dos manuscritos originais, em formato de edição semidiplomática, que forma o corpus principal para analisar a forma de construção da obra, de acordo com o seu contexto histórico. Também buscamos traçar um perfil da forma de trabalho empregada pelo autor para a concretização deste livro bem como fazer um resgate histórico das principais ações anteriores a concepção da obra, para isso utilizamos a gentil colaboração, por meio de entrevistas e textos produzidos por pessoas que conviveram com o autor, bem como o relato deixado por ele no livro Pedagogia da esperança: um reencontro com a Pedagogia do Oprimido (FREIRE, 1996). / \"The Pedagogy of the Opressed\" (FREIRE, 1968) is Paulo Freire\'s, writer and educator, main work. His manuscripts withstood a variety of cultural, social and political changes, being kept away for over 30 years in the country where it was firstly conceived, Chile. The main objective with this research is the transcription of the facsimile of the manuscripts, in a semidiplomatic edition format, which forms the main corpus to analyse the form of the literary oeuvre\'s construction, accordingly with its historical context. We also aim to trace a profile of the author\'s working method for concretizing this book, as well as doing a historic recollection of the main actions that took place before the book\'s conception. For that we counted with the kind support, by interviews and texts, from people which accompanied the author, as well as a brief account left by him in the book \"Pedagogy of Hope: Reliving Pedagogy of the Oppressed\" (FREIRE, 1996).

O objeto deste trabalho consiste na transcrição, classificação e análise da marginália de Mário de Andrade (1893-1945) na poesia do romantismo brasileiro. A pesquisa dedicou-se ao estudo das notas de margem apostas pelo escritor modernista nas obras de Gonçalves Dias, Álvares de Azevedo, Casimiro de Abreu, Fagundes Varela e Castro Alves conservadas em sua biblioteca. Como paratextos, as notas vinculam-se a diferentes projetos de crítica do romantismo, inacabados ou concluídos para publicação, assim como revelam matrizes do poeta e ficcionista. Pode-se afirmar que o estudo do autor de Macunaíma sobre os \"cinco grandes românticos\" nasce na marginália, nutre notas de trabalho, esboços e planos no arquivo - nos dossiês Amor e medo, Castro Alves e Artigos por escrever - e chega às versões publicadas - \"Álvares de Azevedo I e II\", \"Mosqueiro nº 2\", \"Álvares de Azevedo I, II e III\", \"Momento\", \"Amor e medo\" e \"Castro Alves\" - sem que os textos éditos esgotem a reflexão original. / This study consists of the transcription, classification and analysis of Mário de Andrade\'s marginalia (1893-1945) on Brazilian romantic poetry. The research has been focused on studying the notes made by the Brazilian modernist writer and critic on the books of Gonçalves Dias, Álvares de Azevedo, Casimiro de Abreu, Fagundes Varela and Castro Alves, all of which are part of his personal library kept in IEB-USP. Considered as paratexts, the notes relate to different projects - either finished or unfinished - of studying Brazilian Romanticism, as well as reveal sources for the poet and novelist. It is possible to affirm that Mário de Andrade\'s study of the \"five grand romantics\" is born in the marginalia, nourishes notes, sketches and plans in his archives - manuscripts Amor e medo, Castro Alves and Artigos por escrever - and turns into the published versions of his works - \"Álvares de Azevedo I e II\", \"Mosqueiro nº 2\", \"Álvares de Azevedo I, II e III\", \"Momento\", \"Amor e medo\" and \"Castro Alves\" - without exhausting the original material.