Ng Chui-yin, Christine. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 148-156). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgement --- p.vi / Contents --- p.vii / "Introduction: History, Fiction, and Narrative" --- p.1 / History and Narrative in Traditional Historical Narrative --- p.4 / A Rethinking of the Relationship between History and Narrative --- p.6 / Historical Narrative in a Postcolonial Context --- p.21 / Historical Novel Writing and Postcolonial Counter Discourse --- p.26 / Chapter Chapter One: --- Resistance to Solitude: Garcia Marquez's Vision of a New World in One Hundred Years of Solitude / Imperial Historical Narratives and Latin America --- p.35 / Magical Realism and Historical Representation of Latin America --- p.44 / "Solitude, Family History and the Problem of Identity" --- p.59 / Conclusion --- p.71 / Chapter Chapter Two: --- Midnight's Children and Hybridity / Imperial Historical Narratives and India --- p.74 / Metafictional Writing and Historical Novel Writing --- p.80 / Hybridity of Indian Cultural Identity --- p.91 / Conclusion --- p.101 / Chapter Chapter Three: --- Non-resistance to National Historical Narratives: Xi Xi's Flying Carpet / "British Colonial Narratives, Chinese National Narratives and Hong Kong" --- p.102 / Fairy-tale Realism and an Alternative Historical Representation --- p.112 / The Representation of the HongkongnesśؤHeterogeneity and All-inclusiveness --- p.119 / Conclusion --- p.129 / Conclusion: Postcolonial Counter Discourse in Historical Novel Writing --- p.131 / Notes --- p.141 / Work Cited --- p.148

Made available in DSpace on 2016-04-27T19:30:24Z (GMT). No. of bitstreams: 1 Paulo Armando Cristelli Teixeira.pdf: 1333227 bytes, checksum: 1f2276a039a5dbde20b1ba5fee8ba88d (MD5) Previous issue date: 2011-10-06 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The present study aims to discuss and question the images in the book ―The Lord of the Rings‖, from the British author JRR Tolkien, especially with regard to issues of modernity and modernization in England in the first half of the XX century. The images and representations contained in the work are analyzed by the author's anti-technology position, within his historical context, where the machine is used to build an important role in building a positive image of modernity. As sources of this research, we use the author´s exchanged letters, the literary trilogy and some war paintings produced during the Second World War / O presente estudo visa discutir e problematizar as imagens contidas na obra ―O senhor dos Anéis‖, do autor britânico J.R.R. Tolkien, principalmente com relação às questões da modernidade e modernização na Inglaterra da primeira metade do século XX. As imagens e representações contidas na obra são analisadas por meio do posicionamento antitecnológico do autor, relacionado-o ao seu contexto histórico, onde a máquina é utilizada para construir um importante papel na constituição de uma imagem positiva da modernidade. Como fontes do trabalho, são utilizadas diversas cartas trocadas pelo autor, a trilogia literária e algumas pinturas de guerra produzidas durante o segundo conflito mundial

How did British nineteenth-century literature articulate its relationship to the past? In Past and Present (1843), Thomas Carlyle introduces the Middle Ages through a description of what he believed the collar of a serf would have looked like, dwelling on the shine of the brass as it would have stood out against the green of the forest, as if it were a painting to be evaluated aesthetically for its color palette rather than part of a controversial defense of medieval feudalism. In Adam Bede (1859), George Eliot compares the eighteenth-century setting of her novel to a realist painting, pointing out the visual details that would appear unfamiliar to her contemporary readers, such a "mob-cap" or an old-fashioned spinning-wheel. These moments may appear like intermittent, typically Victorian examples of intrusive editorializing that risk repelling readers from engaging with the world of the past. But my dissertation shows that Carlyle and Eliot are part of a large and important body of Victorian historical texts that seek to engage their reader closer with their evocation of the past through the visual imagination. Romantic historiography had introduced the idea of seeing the past "in the mind's eye", and Victorian writers frequently asked their readers to explicitly treat the past as if it were itself an image. My dissertation argues that a tradition emerged during the nineteenth century which sought to develop that language of vision for a particular purpose: to observe the striking distance, and differences, between the past and the present. And the effect is not one of detachment but its opposite: historical distance is the connecting device that ties the reader to the text, across Victorian historical works. My dissertation moves through the Victorian period broadly conceived, from 1820 to the 1890s, and across genres of novels, poetry and non-fiction prose. This breadth of scope is a consequence of my argument. Many critics treat, for instance, Thomas Macaulay's constant shifts between past and present as a feature of his idiosyncratic style, or Elizabeth Gaskell's minute descriptions of Napoleon-era uniforms as distinctive of the genre of realism. But I show that Victorian literature that deals with the past needs to be understood across styles and genres, in the broader cultural context of their era's fascination with historical distance. Throughout the nineteenth century, the emphasis on the gap between past and present serves to engage, rather than repel, the reader's imaginative investment in the world of the past. The distance between the past and the present works to immerse the Victorian reader more fully in the imagined past, thereby cultivating a more actively critical engagement with history.

This dissertation expands the familiar concept of literary history in order to argue for the historiographic function of literary form in early modern poetry and drama. I propose that the “literary history” of early modern England is not merely the history of literature, but also these writers’ methods of evoking history by means of the literary. For Christopher Marlowe, George Herbert, and many of their contemporaries, the formal capacities of poetry offered methods for describing relationships between events in time, interpreting those events, and mobilizing those interpretations—in short, the formal capacities of poetry become ways of doing history. In the most familiar critical sense, literary history denotes canon-formations, literary influence, and the development of genres, trends, and fashions in poetic style. I demonstrate that early modern poets themselves recognized this sense of literary history, understanding their formal decisions in light of the history of poetic form. When Tudor and Stuart writers adopted a particular style or set of conventions, I argue, they did so with an awareness of how easily these styles could become—or had become—dated. While critics have demonstrated the political valences of writers’ recourse to specific genres and styles, I also insist on the specifically temporal and historical implications of poetic form as such, arguing that poets’ formal decisions, irrespective of earlier uses of those forms, encode ways of looking at and interpreting the past. The temporalities of verse—the way its meter produces forward momentum, its rhyme recalls earlier lines, its lyric voice arrests time—become, for the poets and dramatists I study, tools for understanding historical events and periods. By attending to the inherent temporality of poetry, I uncover the historical arguments poets and dramatists make, even in texts not overtly concerned with historical topics. Indeed, I suggest that the very structure of poetry can become a way of thinking about the past and the passage of time.

This dissertation considers Aeschylus’ Persae and portions of Herodotus’ Histories as attempts to shape memories of the Greco-Persian Wars by invocation of material evidence at very different moments in the fifth century BCE. Given the literary and archaeological nature of our surviving Greek evidence, this consideration is a necessary part of the larger project towards which I work: a history of Persian interactions with Greek sanctuaries during the Greco-Persian Wars. Greek archaeological evidence offers one set of comparative perspectives on these interactions. I attempt to place Aeschylus and Herodotus in dialogue with this evidence in chapters two and three. Herodotus, unlike Aeschylus, depicts respectful Achaemenid behavior at Greek sanctuaries during the Greco-Persian Wars. To contextualize this depiction, I examine earlier sources from the western Achaemenid Empire in chapter four. In so doing, I build on methodology demonstrated in the introductory chapter to consider a second set of comparative perspectives. Close reading of Herodotus in parallel to these sources provides a basis for fully examining types of behavior which have often been explained away in previous scholarship on the historian. Notably, Herodotus’ depiction, unlike our surviving earlier sources from the western Achaemenid Empire, often considers how such behavior relates to more violent aspects of conquest, and as such provides a contrast to these surviving earlier sources. I suggest that this contrast—Herodotus’ depiction of both sacrilege and respectful behavior—can be understood in his historical moment. And yet this suggestion is but a beginning.

Understanding the Present examines the thematization of the historical present in nineteenth-century German literary texts. In theorizations of political literature, such as Jean-Paul Sartre’s writings on “committed literature,” an emphatic concept of the present is a given. Of course, the present is a notoriously elusive temporality. The texts discussed in this dissertation, rather than focusing on accurate sociological representations of the present or an intensive rhetorical engagement in its political discourse, interrogate how the present can be evoked in literature in the first place. Understanding the Present discusses the forms privileged by certain authors in the representation of the present – prose, periodicals, drama – as well as the paradoxes such approaches posed. Rather than discussing these texts in terms of “operative literature” or “committed literature,” which has been a trend in scholarship since the 1960s, this dissertation approaches the nineteenth century from the perspective of so-called Gegenwartsliteratur. It does not claim the successful or unsuccessful political intervention of these texts, but rather shows how their authors imagined a literary intervention in the political present could occur at all. Chapter one shows Ludwig Börne’s popular magazine Die Wage: Eine Zeitschrift für Bürgerleben, Wissenschaft und Kunst, not only as surreptitiously carrying barbs against state-sanctioned censorship, as is most common in studies of the periodical, but as following a program of political historiography. Börne’s text is therefore subversive at a structural level and presents a poetics of representing the present. Chapter two shows how Heinrich Heine used the republication of his political journalism to reflect on the essential dynamic of understanding the present whereby one can only comprehend contemporary events with reference to the past and future. Georg Büchner’s drama, Dantons Tod, the subject of chapter three, presents a paradox similar to Heine’s, but through a little observed aspect of his citational practice, which I call “internal citation.” By showing his characters wittingly and unwittingly quoting each other in the play and repeating certain gestures, Büchner draws out ambiguities of authorship in political discourse and raises important questions about the experience of the present. Together, these three texts contribute to the study of political literature by interrogating the central notion of the emphatic present in it.

Submitted by Miriam Lucas (miriam.lucas@unioeste.br) on 2017-08-24T17:48:46Z No. of bitstreams: 2 Eliane Davila Savio 2017.pdf: 1114768 bytes, checksum: fc8363dafb17b86226c01c74d8d43026 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-08-24T17:48:46Z (GMT). No. of bitstreams: 2 Eliane Davila Savio 2017.pdf: 1114768 bytes, checksum: fc8363dafb17b86226c01c74d8d43026 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-20 / This dissertation intends to study the History of Paraguay and the literally works of Antônio Augusto Roa Bastos, by using as corpus his romance, I, the Supreme. This study has as a primary objective to demonstrate that, through interdisciplinarity it is possible to work History and Literature, broadening horizons and acquiring knowledge. It also intends to unravel a country that remains very much unknown, especially in educational institutions of the triple border, despite its many great authors, where Augusto Roa Bastos is just an example. To become familiar with his work and life is extremely important to the study of Hispanic-American Literature and, to understand it, it is necessary that said study is done in an interdisciplinary way, since his work it tied together with Paraguay’s History. Paraguay, a small country dominated by a dictatorial system for many years, which started with the Perpetual Dictator José Gaspar Rodriguez de Francia in 1811, when Paraguay’s independence from the Spanish Empire was decreed and ended with Alfredo Stroessner’s government in 1989. The data for this research was obtained through bibliographic fonts and readings of other thesis and dissertations (which are vast, showing that the author is objects of many studies in the academy). Because it is a theme that requires studying subjects related to History as social process and Literature as a form of expression for society – holder of historicity and a documental font for historic knowledge – this research show an analytical emphasis, with theoretical support from scholars from both areas. / Esta dissertação visa promover um estudo sobre a História do Paraguai e a Literatura do escritor Antônio Augusto Roa Bastos utilizando como corpus o romance de sua autoria Eu o Supremo. O estudo tem como objetivo primordial demonstrar que, por intermédio da interdisciplinaridade, é possível trabalhar a História e a Literatura e assim ampliar os horizontes quanto à aquisição de conhecimentos. Igualmente objetiva descortinar um país literariamente desconhecido, principalmente, no sistema educacional da tríplice fronteira, ao que pese a grandeza de seus escritores, entre eles Augusto Roa Bastos. Conhecer sua obra e sua trajetória literária é de suma importância para o estudo da Literatura Hispano-americana e, para entendê-la, faz-se necessário estudá-lo sob a perspectiva interdisciplinar, pois suas obras estão imbricadas com a História do Paraguai. País de pequena expressão na América Latina que foi por, anos dominado pelo sistema ditatorial, iniciando com o Ditador Perpétuo José Gaspar Rodriguez de Francia, em 1811, quando foi declarada a independência do Império Espanhol e findando com o governo de Alfredo Stroessner em 1989. Os dados para a pesquisa foram obtidos de fontes bibliográficas e leituras em dissertações e teses, o que por sinal é farto, demonstrando que o autor é objeto de vastos, mas inesgotáveis pesquisas no meio acadêmico. Por se tratar de um tema que envolve estudos relacionados à História como um processo social e a Literatura, como uma forma de expressão artística da sociedade, possuidora de historicidade e como fonte documental para a produção do conhecimento histórico, esta pesquisa apresenta um enfoque analítico, com suportes teóricos traçados por estudiosos do campo de ambas as ciências.

In this thesis I set out to study how the reading of fictional literature is viewed, legitimatized and operationalized in two educational domains: the recently revised steering documents that all Swedish teachers must relate to, as well as a selection of teaching materials designed for education in the Swedish language for upper secondary school. The teaching material I have studied has been recently updated in order to correspond with the new steering documents. I relate my analysis to previous research about the use of fiction in education, and I also combine my analysis of the two educational domains to see whether the underlying intentions of the steering documents have influenced the revision of the teaching material. The outcome indicates that the steering documents’ previous focus on culture has diminished although a certain insecurity as to how to use the concept and deal with the issue of whose culture should be taught can be identified. The hierarchy between different “subjects” within Swedish language education remains, as well as the ambivalent view on literary canon. The steering documents for upper secondary school Swedish remain remarkably uncritical where the reading of fiction is concerned. In my analysis of the teaching material, I find that while the new steering documents’ focus on methods and concepts from traditional literary criticism has affected the material, it has not resulted in an increase of text-centered assignments in the teaching material.

ABSTRACT Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre. In addition, this work includes a short history of speculative fiction, bibliographies of suggested sample themes for each genre, sample course syllabi and assignment/activity suggestions, and strategies for obtaining and using hard-to-find texts for prospective teachers.

published_or_final_version / abstract / toc / English Studies / Master / Master of Arts