Based on the author's thesis (doctoral--Oxford). / Includes bibliographical references (p. 184-221) and index.

本論文自後殖民角度檢視英國劇作家彼德•謝弗之《皇家獵日》一劇。筆者論證，劇作家雖身為當代殖民國之一員，在劇中卻撻伐殖民主義且對被殖民者深表同情。此外，劇作家在劇中亦強調殖民者遭受之反撲，藉以呈現十六世紀時，西班牙與印加帝國跨文化接觸對被殖民者及殖民者造成之毀滅。 論文第二章探討謝弗在劇中對殖民的控訴。筆者援引薩依德（Edward W. Said）、西賽爾（Aimé Césaire）、戴蒙（Jared Diamond）及帕瑞克（Bhikhu Parekh）之觀點，分析殖民利益薰心的真面目及藉口。筆者試圖證明，劇作家藉由揭露劇中各殖民者汲汲營營追求各自的利益，表達他對此類唯利是圖的殖民者之唾棄及控訴。 第三章重點則在討論劇作家對劇中皮薩羅（Francisco Pizarro）此殖民者之矛盾的情感。劇作家一方面批評皮薩羅對印加帝國及其國王的迷思，另一方面又表達對此年邁又絕望的殖民者的同情。在探討劇作家對皮薩羅的批評時，筆者引用薩依德在《東方主義》（Orientalism）中對他者（the other）的探討。而討論劇作家對皮薩羅的憐憫時，筆者則並置歷史中之皮薩羅及劇作家呈現之皮薩羅，藉以比較出劇作家對此角色之同情。 筆者於論文第四章則著重在劇尾之探討。筆者援引梅彌（Albert Memmi）及西賽爾之觀點，指出事實上殖民對殖民者有一反撲之力量。劇末，不論是殖民者或被殖民者，其國家、宗教及個人都呈現出毀滅之狀。筆者認為，劇作家藉此結局表達對殖民（colonial apparatus）的強烈譴責，並傳遞「掠奪者必遭應得之懲罰」的訊息。此結局同時也透露出劇作家悲觀的情懷。 謝弗於1950年代創作此劇，於1964年上演，當時後殖民意識並不普遍，然有感於周遭大環境之改變，敏感如謝弗之劇作家，於劇中表達他的看法。謝弗一方面站在人道立場，表達他對被殖民者的同情，另一方面則試圖為殖民者表達其遭受殖民反撲之痛苦命運。此一探討殖民者受到的反撲於後殖民研究中相當罕見，謝弗這一觀點實為他的遠見及對後殖民研究的貢獻。 / This thesis examines The Royal Hunt of the Sun written by the British playwright, Peter Shaffer, from a post-colonial perspective. I argue that Shaffer, as a member of the twentieth-century colonial world, censures colonialism and holds a sympathetic attitude towards the colonized in The Royal Hunt of the Sun. Accentuating the backlash against the colonizer, the playwright presents the destructive force in the cross-cultural encounter for both the colonizer and the colonized. In chapter two I discuss Shaffer’s accusation of colonization. To analyze the profit-driven colonization and the pretexts adopted by the colonizers, I apply post-colonial and anthropological concepts expounded by Edward W. Said, Aimé Césaire, Jared Diamond, and Bhikhu Parekh. I maintain that by disclosing the colonizers’ fervent pursuit of interests in The Royal Hunt of the Sun, the playwright brings his accusation against both the colonizer and the act of colonization. After showing Shaffer’s common stance with most post-colonial scholars—accusation of colonization and sympathy for the colonized—I highlight in chapter three the playwright’s ambivalent sentiment of the colonial commander, Francisco Pizarro. To examine Shaffer’s critique of the Conquistador’s projected expectation of the Inca Empire and its king, I adopt Said’s criticism of Westerners’ stereotypical imagination of the other in Orientalism. I also juxtapose the historical Pizarro with Shaffer’s Pizarro and the turning point of Adela Quested’s attitude in the trial scene of E. M. Forster’s A Passage to India with the change of the colonial general’s attitude in The Royal Hunt of the Sun in order to demonstrate the playwright’s compassion for the aged colonial commander. Chapter four focuses on the discussion on the ending of the play. Albert Memmi’s and Césaire’s sharp points of colonization’s boomerang effects on the colonizer are brought into this discussion. I argue that the ending shows the playwright’s ultimate reprimand of colonial apparatus and his pessimistic attitude toward cross-cultural contact. The colonized as well as the colonizer is shown destroyed by colonization, and plunder, in whatever means, receives its deserved punishment. In the global post-colonial sentiment permeating the 1950s and 1960s when Shaffer wrote this play, the playwright expresses his concerns through this play. On the one hand, in the humanistic position, he is sympathetic to the colonized. On the other hand, he also attempts to stand in the perspective of the colonizers in order to express the backlash and harm the colonizers undergo. This perspective is indeed rare in the post-colonial study nowadays and can be treasured as Shaffer’s vision and contribution to the post-colonial study.

The diploma thesis concerns with issues of the hunt as a part of the nobleman representation and its image in facilities of the Czech hunting chateaus. The introductory chapters of this these describe the phenomena of hunt, its evolution and its image in fine art. These chapters are subsequently filled in iconographical drafts, which helped to form the shape of the decoration of chateaus. The core of the thesis are chapters concern with theme of the hunting architecture and artistic evaluation of the group nobleman hunting residences. Specifically, these are chateaus Svaty Hubert, Humprecht, Diana, Ohrada and Kozel. In the final chapters the author introduces an issue of nobleman representation. Into its context he situates the theme of hunt and pieces of fine arts connected with it. These chapters also contain a few examples of the aristocrats who knew how to use the hunt for their personal representation. For illustration is this thesis amended by picture attachment.

This dissertation examines the Hunt circle's public activities and its historical significance in terms of public-sphere theory proposed by Jurgen Harbermas. Recent studies on Romantic literature have attended to how Romantic writers' literary practices were conditioned upon their contemporary history, as opposed to the traditional notion of Romanticism based on an affirmation of individual creativity. Although these studies meaningfully highlight the historicity inherent in seemingly individualistic Romantic texts, they have frequently failed to assess the way in which this historicity of Romantic texts is connected to Romantic writers' own will to engage with public issues by placing too much emphasis on how history determines individuals' activities. In this sense, the notion of public sphere offers a productive theoretical framework by which to read the historicity of Romantic literature without disavowing an individual writer's role in historical proceedings, since it underscores a historical process in which a communal interaction between individuals constitutes a progress of history. By focusing on this significance of public-sphere theory, this dissertation suggests that the Hunt circle, whose members' communal literary practices were aimed at achieving the public good in the tumultuous post-Napoleonic era, serves as a model of this process-based historical theorization. Chapter I examines the significance of public-sphere theory in assessing how the Hunt circle engaged in its contemporary history. Chapter II elucidates the nature of the public sphere that Leigh Hunt's and his circle's activities created and discusses the problems that this public sphere faced in the historical context of the early nineteenth century. Chapter III shows how the Hunt circle exposed a sense of anxiety and instability in the face of the commercialized literary public sphere by examining John Keats's literary practices. Chapter IV highlights Percy Bysshe Shelley's public ideal which aimed for a unified and inclusive public sphere beyond class boundaries and traces how this ideal was frustrated in the ensuing historical proceedings. Chapter V deals with the final phase of the Hunt circle and its disintegration by observing the ways in which Mary Shelley memorialized the Hunt circle for the feminized reading public of the Victorian period. By illuminating the nature of the Hunt circle's activities for the public, this dissertation ultimately aims to reassess how literary intellectuals in the Romantic period struggled to sustain the traditional calling of men of letters in their contemporary public sphere.

This dissertation studies depictions of the Middle East in the works of the Pre-Raphaelite Brotherhood. My discussion focuses on two prominent members of the Brotherhood—Dante Gabriel Rossetti and William Holman Hunt—and utilizes an interdisciplinary approach that examines the poetry, prose, unpublished correspondence and journals, sketches, watercolours, and oil paintings that they produced prior to 1856. I argue that Rossetti and Hunt make use of the Middle East as a repository for and reflection of the ambiguities and ambivalences of their own positions as avant-garde artists and authors. Chapters Two and Three focus on the work of Dante Gabriel Rossetti. Chapter Two examines Rossetti’s juvenilia in order to trace the ways in which the young author-artist uses the Middle East as a platform from which to work out the interplay between narrative and image, the conceptualization of the role of the author and artist, and the use of realistically depicted elements in religious painting. Chapter Three continues this discussion of Rossetti through an investigation of the 1850 edition of his poem “The Burden of Nineveh,” which centres on an encounter with an ancient Assyrian statue, and I argue that Rossetti links this artifact to the P. R. B. and uses it to critique the artistic ideals of mid-nineteenth-century England. The next two chapters shift to an investigation of William Holman Hunt’s first visit to the Middle East in 1854-6, a journey that became a focal point of the author-artist’s career. Chapter Four makes extensive use of Hunt’s unpublished diaries and letters from his sojourn in the Holy Land to destabilize the widespread conception of the artist as a staunch imperialist and the foremost English religious painter of the nineteenth century. Building on this foundation, Chapter Five looks back to the three months that Hunt spent in Egypt in 1854 and investigates the ways in which the complex experiences that the author-artist describes in his unpublished letters from this period filter into the watercolours, sketches, and oil paintings that he executed in Egypt. / Thesis (Ph.D, English) -- Queen's University, 2009-06-16 15:46:17.016

This dissertation examines Byron's Don Juan and his attitude towards profits from the copyright money for publishing his poems. Recent studies on Don Juan and Byron have paid great attention to the poem especially in terms of the author's status as an unprecedented noble literary celebrity. Thus the hermeneutics of the poem has very often had a tendency to bind itself within the biographical understanding of the poet's socio-political practices. It is true that these studies are meaningful in that they highlighted and reconsidered the significance of the author's unique life so as to illustrate biographical and historical contexts of this Romantic text. Admitting the significance of the biographical approach, however, the current dissertation also argues that an interpretation of a literary work should consider a number of outside influences that affect the meaning of a text, which is in and of itself a creation of historical, political, economic, and material aspects of a specific time and place, not merely of an individual author. After the theoretical background suggested in Chapter I, Chapter II emphasizes the history of the publication of the first two cantos and investigates John Murray's publishing practices. Chapter III addresses some of the external influences on the reading of Don Juan to show that non-political content of the early five cantos came to be treated as politically radical by the voluntary and involuntary association of Byron and his work with radical publishers such as Leigh Hunt and William Hone. Chapter IV is a study of the new cantos of Don Juan (from the sixth canto). Focusing on Byron's political stance which gradually developed from his early liberalism into a more radical activism, this chapter explores Percy Shelley's influence on Byron's political ideas, the new cantos of Don Juan, and Byron's use of radical satire to instigate the fight against tyranny. Chapter V investigates Byron's attitude towards the profits he earned from the copyright of his poems to argue that Byron?s attitude towards his brain-money gradually changed from an ambiguous position to a strong insistence on obtaining what he perceived to be fair payments for his poems.

Thesis (Ph. D.)--University of Pennsylvania, 1932. / Bibliography: p. 233-238.

Thesis (M.F.A.)--Ohio University, March, 2004. / Includes bibliographical references (p. 59-61).

Thesis (M.F.A.)--Ohio University, March, 2004. / Title from PDF t.p. Includes bibliographical references (p. 59-61)

Samuel Johnson and Leigh Hunt, as generally representative spokesmen of the Eighteenth Century and the Romantic Age, provide some interesting comments on the theatre of their times. Their individual idiosyncrasies colour their views to some extent. Such inconsistencies, as they pertain to the theatre, are the subject of Chapter I of this essay. Physical conditions in the theatre of Johnson's and Hunt's times, which could not but influence the reception of acted drama, are noted in Chapter II. Johnson, whose views towards the drama are generally those of the literary critic, evaluated the plays of Shakespeare and others mainly in terms of their literary worth. But he was not unaware of the peculiar demands of the theatrical métier, and his well-known prejudice against the players did not prevent him from making a just appraisal of the theatrical fare of his time, according to Johnsonian canons of taste. Hunt shared in the generally idolatrous regard of the Romantics towards Shakespeare. He wrote when the offerings of current playwrights reflected, to him, the age's dearth of dramatic character. He thought some of the earlier offerings, notably those of the Restoration playwrights, were unsuitable to the present mores of taste. But in his voluminous theatre criticism he is principally concerned with the stage presentation of plays, rather than their value as closet drama. As playwrights, Johnson and Hunt made manifest some of their critical principles; and a study of Irene and A Legend of Florence provides a concluding commentary on the worth of their criticism, translated into practice. / Arts, Faculty of / English, Department of / Graduate