Thesis (Ph. D.)--University of Wisconsin--Madison, 1954. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 598-615).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1935. / Typescript. Includes abstract and vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Diss.--Universität Freiburg (Breisgau), 1997. / Bibliogr. p. 267-277.

My dissertation examines the difference between European and American forms of alienation. My thesis is that while European forms of alienation tend to arise out of an ideology (that of bourgeois culture) that disparages the material world, encouraging an attitude of resignation toward the established order, American forms of alienation tend to arise out of an ideology (that of the frontier) that disparages the social world, encouraging an attitude of rugged individualism which also results in an attitude of resignation toward the established order. Thus, both forms of alienation end up affirming the given order, but in very different ways. These different ways should affect how social theorists analyze American culture and help them avoid totalizing analyses that blur the distinctions between American and European cultures. In order to comprehend the nature of alienation in post-1945 American society, I trace three forms of alienation from three spaces of possibility: that of (1) European bourgeois culture; (2) the American frontier; and (3) the American counterculture. These three spaces are examined successively in each chapter of this dissertation. In the "Introduction" I provide a general overview of the project, explaining its origins and significance. Then, I delineate the scope of this project, offer provisional ways of understanding of "alienation," "alienation in the European context," and "alienation in the American context," and discuss how my dissertation employs the metaphor of "space." Chapter One uses Herbert Marcuse's work to analyze the European space of possibility found in bourgeois culture. The first part of the chapter presents a general overview of Marcuse's thought. Here, I examine: Marcuse's "humanistic" reading of Marx, as found in "The Foundations of Historical Materialism"; the difference between Marcuse's interpretation of Marx and the "standard" mechanistic reading, including a discussion of Marcuse's criticisms of reductionist use of the base and superstructure model of historical materialism; and Marcuse's analysis of the revolutionary status of the proletariat under twentieth century conditions. The second part of Chapter One uses Marcuse's article "The Affirmative Character of Culture" to provide an account of bourgeois culture. This article, which describes affirmative culture as simultaneously regressive and progressive, provides the general framework for the entire dissertation. Chapter One ends with a discussion of One-Dimensional Man, where Marcuse provides his most detailed analysis of post-War culture. Here, I ask if there is a "refuge of hope" even in what is usually considered Marcuse's most pessimistic work. Chapter Two presents the nineteenth century American space of possibility, the frontier. I begin with Frederick Jackson Turner's and Jean de Crevècore's analyses of the American frontier as constitutive of the American character. Then, I move to a study of the material and ideological conditions underlying the culture of the frontier: the enclosure of the commons and the Protestant work ethic. Next, I ask if Marcuse can provide an analysis of American culture as distinct from European culture, and ask if we may consider Marcuse an "American philosopher." The chapter ends by considering the work of Paul Goodman, who provides an alternative understanding of American possibility, from the point of view of a native inculcated from birth with an American worldview. Chapter Three examines the central twentieth century American space of possibility, the counterculture. The first two parts of this chapter provide general histories of the American New Left of the 1960s and 1970s and the American counterculture of the same period. Here, I focus on how these movements interacted and how they were responding to similar experiences of alienation. Then I examine the primary material basis for both movements, which I take to be post-War economic expansion. The final two sections of Chapter Three attempt an interpretation of the American counterculture and the New Left through the use of Marcuse's aesthetic theory. The "Conclusion" restates the general argument of the dissertation, now with all of the details in place, examines two other reactions to alienation, political rollback and religious revivalism, asks what spaces of possibility may be emerging in the twenty-first century, and proposes some avenues for further research.

I intend In this thesis to examine some central features of George Herbert's art - aspects of his imagery syntax and metrics. These topics have been chosen because they encompass large areas of his poetic practice, ramifying as they do into questions of theme, tone and structure. Even a partial. survey of Herbert' s imagery, such as the one I attempt to offer, should enable the reader to judge the range of experience that Herbert brings to bear upon a comparatively circumscribed number of themes, (The "Affliction " poems, for example, are wonderfully diverse, although they have a common thematic centre). A brief examination of the traditions within which Herbert's manipulation of imagery falls should allow one also to judge his resourcefulness, especially in the composites of emblem and symbol he devises on occasion; which in the concluding analyses I attempt to show the structural significance of image patterns in representative poems from The Temple. Thus Chapter I falls into three sections: a brief discussion of emblematic and symbolic traditions together with Herbert 's place in relation to them, a deliberately selective glance over some images (a full examination is far beyond the scope of this thesis), and finally some close analyses of poems in the course of which I try to show the imagery operating as a structural and coordinating device. In Chapter II, I move on to the closely related area of syntax, examining Herbert's formulation of his material, and finding - amongst other things - that there is evidence of "grammatical" imagery where the disposition of a sentence provides a concrete embodiment of the theme. This interrelationship of imagery and syntax (and of imagery and metrics) is a corollory of poetry's organic nature, and in order to stress the mutual collaboration of these features, I have subjected a single poem, "The Flower" to an analysis from three different angles, assuming that each approach will further illuminate the others. All the lyrics would yield riches if treated in this way but my limits of space have naturally precluded so elaborate an undertaking. Even In the analyses of poems that are treated only once, I have been at pains to allow in a glimmering of topics other than that in hand, so as to enlarge the scope of my examination. Although the material in Chapter II is designed to highlight the structural, tonal and thematic effects of syntax in turn, such divisions remain theoretical rather than actual, for they combine almost indivorcibly into a complex whole. Chapter III is patterned like Chapter I in that it moves from a general survey of Herbert's metrics, his rhyme and his stanzaic design, to further close analyses of his metrical procedures in particular lyrics. Both here and in the preceding chapters I have undertaken to look at Herbert's work in close detail, because, as I have already suggested, his is an art of compression, of telescoping a whole range of meanings into the neatest and most compact shape. Given the differences in mode and intention, his poetry often puts one in mind of Jane Austen's fiction - at least in the profundity it achieves within a consciously limited scale and a critical magnifying glass seems to me to be the most apposite aid for such a study as I have undertaken.

Made available in DSpace on 2016-08-29T11:12:08Z (GMT). No. of bitstreams: 1 tese_8974_Dissertação Mestrado Alessandra.pdf: 3988098 bytes, checksum: 28457846d4dbae24c435830c14014941 (MD5) Previous issue date: 2015-07-07 / Esta dissertação se insere no âmbito da pesquisa teórica, no campo dos fundamentos filosóficos da educação crítica. O problema da pesquisa diz respeito aos desafios que os conceitos de tecnologia e cultura, presentes nas reflexões de Herbert Marcuse, oferecem para a teoria crítica da educação na atualidade. A reflexão gira em torno dos processos formativos a partir de sua relação com a tecnologia, especificamente com a Internet. Parte da fundamentação filosófica de Herbert Marcuse, sobre os conceitos de cultura e tecnologia presentes no livro One-Dimensional Man e nos ensaios Sobre o caráter afirmativo da cultura e Comentários para uma redefinição do conceito de cultura. A hipótese é que os conceitos desenvolvidos pelo autor em diálogo com fenômenos socialmente constituídos bem como com os emergentes caminham a contrapelo da lógica da racionalidade técnico-instrumental hegemônica. Toma como ponto de partida a revisão teórica cujo resultado revela a atualidade e interesse pela temática no campo educacional e também constata a incipiência de trabalhos a partir da filosofia crítica de Marcuse, tanto em fontes nacionais quanto em internacionais. Pela análise crítica dos trabalhos acessados infere-se que mediada pela Internet a tecnologia também pode causar a utilização de formas empobrecidas e reduzidas dos modos de perceber e significar acontecimentos, relações, projeções e possibilidades, além de poder ser alterado o caráter da subjetivação por meio de processos de apropriação de indícios danificados de memória e cultura. Combinados às técnicas de propaganda e autopromoção, esses elementos corroboram a configuração e aplicação do projeto cognitivo para o sujeito unidimensional, confortavelmente rendido à lógica da sociedade que o produz. A potencialidade do uso de ferramentas tecnológicas livres do projeto da racionalidade técnico-instrumental que se sobrepõe à faceta sensível e amorosa da vida humana, típico do capitalismo tardio das sociedades industriais avançadas, pode reverter os movimentos de organização tecnológica intelectual e política, de conquista e manipulação do pensamento negativo, da consciência infeliz, de liberdades, necessidades, desejos, modos de administrar o tempo livre, de projeção de padrões de vida que em conjunto cerceiam movimentos para a transformação social.

M.A. (African Languages) / This work will present an analysis of the language of poetry from the point of view of Lentsoane's anthology. The purpose of the study is to give a detailed account of the aspects of language responsible for the transformation of everyday language into the language of poetry. The analysis will further discuss the presence or the existence of the unfamiliar structures better known as stylistic deviations...

M.A. (African Languages) / Please refer to full text to view abstract

The thesis explores the various aspects of the love death theme in the parent-child, man-man, and man-woman relationships in four of D. H. Lawrence's early novels: The White Peacock, Sons and Lovers, The Rainbow, and Women in Love. However, before this theme can be examined, it is necessary to establish, in detail, what Lawrence considers to be the underlying cultural factor determining the destructiveness in the love relationships: the Christian teaching of self-denial. Christianity has led the individual to deny his Self, his distinct personality, his instinctive individuality. He becomes a "sacrificed," "selfless" creature. Lawrence sees modern industrialism, nationalism and education as secular extensions of Christianity: in all of them,the individual no longer counts. He becomes a mere unit in the great machinery of industrialism, in the impersonal institution of nationalism, and in the education system with its falsified Truths and "vulgar authority." A "dissociation of sensibility" has taken place. Individuals have lost the capacity to respond spontaneously with the "whole" man. They have become "not me" creatures. Because modern man has denied Selfhood, the love between man and woman, which should receive first place, is frequently replaced by parent-child love. The woman cannot love and respect the weak man with the destroyed Self. In her desperate attempt to find the fulfillment that she cannot find with her husband, she turns to her children. They become the substitute lovers to which she "sacrifices" herself. By turning to her children, she humiliates her husband and thus further destroys him, as well as herself. And the children, too, become "crippled" as the result of such a parent-child relationship they feel obligated to return the sacrificial love to the parent and thereby rob themselves of love that should find expression elsewhere. Not only does the weak man fail to maintain the love and respect of the woman, but also he frequently fails to establish a wholesome relationship with other men. According to Lawrence, a man must unite with other men for the "purposive, creative activity" of building a world. The weakling has no distinct Selfhood to bring to this man-to-man friendship. In the four novels examined, the love between the man and woman is usually destructive: a form of death occurs for either the man or woman, or both. Frequently they bring a destroyed Self to the relationship and a further destruction takes place. Occasionally, the destruction in the man-woman relationship is a purgation through which the individual becomes free; through destruction he experiences are birth to a capacity for a new, spontaneous love. / Arts, Faculty of / English, Department of / Graduate

That one narrows the critically popular quest theme to one of wholeness does not axiomatically assure a tapered, pertinent monograph. For that reason I have taken some care to construct my approach to D. H. Lawrence's shorter fiction with three chapters which canalize Setting, Structure, and Imagery toward this quest for wholeness. And to attenuate further, the three essays which connect with each of these are titled "Landscape and Point of View," "The Whole Story," and "Triangle Versus the Individual Consciousness." In the case of the first and last, I use two of Lawrence's own essays to kindle the examinations of certain short stories and novellas. Chapter I endeavors to relate the apparent influence of post-Impressionist painting on the writer's creation of landscape, and to illustrate how closely point of view allies itself with setting in the character quest for wholeness. The third chapter recognizes the difference between structural and concrete Imagery, then uses the triangle image as an example of the first kind to show how this image remains antithetical to Lawrence's idea of the individual consciousness—for him the epitome of wholeness. The middle chapter attempts to locate a unique contribution by Lawrence to the short story art of the twentieth century, and to demonstrate successful and unsuccessful quests by characters who attain archetypal scope which lifts them beyond the more naturalistic figures in the author's other shorter fiction. Of course, character success or lack of it in the search for wholeness remains the purpose in the discussion of each story, regardless of chapter. And what the Introduction does, in part, is define the nature of that wholeness as relates to Lawrence's polemic essays; for the rest, it reviews evaluation of the shorter fiction by the critics. / Arts, Faculty of / English, Department of / Graduate