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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.

Dramas of Decision: Ethics and secrecy in Henry James, Jacques Derrida, and Gillian Rose

Gibson, S. Unknown Date (has links)
No description available.

Wolfgang Iser's concept of indeterminacy and its application to Stendhal's fiction

James, D. L. 1988 (has links)
No description available.

Deconstruction and the logic of criticism

Segal, A. P. M. 1987 (has links)
The dissertation seeks to take account of the implications of Jacques Derrida's deconstructive philosophy for literary theory and criticism through analysis of the work of non-deconstructionists theorists and critics. In particular, the dissertation deals with the attempt by much traditional Anglo-American literary theory to articulate what might be called a lq'logic of criticism' - an attempt evident in the use made by this theory of oppositions such as intrinsic/extrinsic, structural/genetic, essential/contingent, and so on. The attempt is considered with respect to three concerns of modern literary theory: organic form, authorial intention and the question of value. On the first issue, it is argued that the organicist's construal of the relation of form and content in poetry is analogous to Husserl's construal of the relation of signifier and signified in speech, and that Derrida's deconstruction of Husserl's privileging of voice provides the model for the deconstruction of organicism. In the case of intention, it is argued that modern criticism and theory has characteristically relied on a notion of the literary work as saturated by a fully conscious intention, a reliance which marks a succumbing to what Derrida calls 'the structural lure of consciousness'. Concerning the question of value, the target is the attempt to defend value by locating it as the ground, the centre, the telos or origin of the phenomenon to be accounted for. The dissertation concludes by broaching the question of the nature of a properly deconstructive literary criticism. It is argued that so-called deconstructionist criticism involves a neutralization of deconstruction, a defect which Derrida avoids in his own literary criticism.

Amorous Ex/Incursions: Love in Writings of Badiou, Weil, Fromm, and Barthes

DECHAVEZ, JEREMY 4 August 2011 (has links)
My dissertation explores the enabling contributions of love to the practice of ethico-political and cultural critique. Engaging with the work of Alain Badiou, Simone Weil, Erich Fromm, and Roland Barthes, I examine love in terms of the following modalities: waiting, giving, and looking. I place the aforementioned thinkers in dialogue with selected literary and cinematic texts to explicate and interrogate the meaningful possibilities of their discourse on love. In my chapter on Alain Badiou, I discuss his ontology, which I draw upon heavily to set the theoretical parameters of my study. I also discuss the logic of love that he develops in his philosophy. Speaking to the problem of pre-Evental agency that critics of his work identify, I suggest that waiting as attention, as theorized by Simone Weil, might be the closest form of agency that a pre-Evental (amorous) being can experience. In my discussion of Erich Fromm, I reevaluate his “art of loving” within the constellation of late capitalism. Reading his work through a Lacanian lens, I explore the utility of his prescriptions by examining Chuck Palahniuk’s controversial novel Fight Club. In my chapter on Roland Barthes, I theorize the possibility of cinematic looking that does not depend on the antagonism inherent in the binaries masculine/ feminine and (Gazing) spectator/ (to-be-looked-at) image. Towards this objective, I propose the “amorous look,” a mode of viewing occasioned by cinematic punctual encounters, that I contend is beyond the domain of desire and perversion. I deploy the “amorous look” as I reflect on Aureus Solito’s film Ang Pagdadalaga ni Maximo Olivares (The Blossoming of Maximo Olivares) and its representations of love and waiting. Thesis (Ph.D, English) -- Queen's University, 2011-08-04 13:17:28.779

Truth, time and sacred text : responses to medieval nominalism in John Wyclif's Summa de Ente and De Veritate Sacrae Scripturae

Penn, Stephen 1998 (has links)
No description available.

Reading Ecclesiastes : Old Testament exegesis and hermeneutical theory

Bartholomew, Craig G. 1996 (has links)
No description available.

The androgynous ideal in twentieth-century feminist literature : Woolf, Carter, Winterson and Harpman

Woodward, Suzanne 2000 (has links)
Includes bibliographical references. This thesis is an investigation of the concepts of androgyny used in the work, both theory and fiction, of Virginia Woolf, Angela Carter, Jeanette Winterson and Jacqueline Harpman. Androgyny is an idea which is thousands of years old, and an overview of its presence in religion, mythology and psychology is included as background to its representation in the work of these writers. The basic concept of androgyny in this context, is one in which the psychological aspects of 'masculine' and 'feminine', as generally understood by Western society, are synthesised into a harmonious and balanced whole within each individual. Within a feminist epistemology, it offers an opportunity to escape the power structures and value systems of patriarchy, and to attain individual fulfilment in both writing and identity. Virginia Woolf introduces the idea of androgyny into feminist literary theory in A Room of One's Own and into feminist ontology through the androgynous protagonist of Orlando, although the binary distinction between theory and fiction is deliberately blurred. Angela Carter continues the examination of androgyny with regard to women and writing in The Sadeian Woman and 'Notes from the Front Line', and explores androgyny fictionally in The Passion of New Eve. Jeanette Winterson returns to Woolf's ideas and develops them in Art Objects and creates the ultimate androgynous character in Written on the Body. Jacqueline Harpman revisits and recreates Woolf's fiction from a contemporary perspective in Orlando. Differences are identified in the style and approach of these writers, resulting from their respective historical contexts, starting points, and intentions. However, the commonalities are examined in greater detail, including analogous ideas and tropes, as well as references to and interrelations with each other. The connection between Woolf's work and that of Winterson and Harpman is identified as particularly strong. Through the examination of their work, the four writers are found to have similar feminist beliefs and concerns: there is a common interest in the emancipation of women from the constraints of patriarchy, implemented through a deconstruction of gender essentialism and artificial gendering processes. Furthermore, a utopian concern is identified, in all four writers, with the creation of a new space which exists beyond the confines of patriarchy in which the woman writer is able to create freely, and the woman subject is able to develop freely. Although the writers are dealt with chronologically, the cyclical aspect of their work is emphasised, as well as their cyclical relationship to one another, through their common androgynous vision. The continuing presence of the androgynous ideal is taken as indicative of its strength. The conclusion is drawn that, although the concept of androgyny tends to be highly idealised in the work of these writers, it is a viable option to the transformation of both society and the individual. These writers are creating the awareness of the artificial nature of gender, which is required for the transformation to begin.

Plagiarism : the cultural outbreak

Verstraete, Claire 2006 (has links)
Includes bibliographical references. The aim of this study is a conceptual and theoretical exploration of literary plagiarism. Chapter One traces various definitions of plagiarism and contrasts plagiarism with copyright infringement. It is argued that plagiarism is a social construct which cannot be defined solely in terms of textual features and must be contextualised. Authorial intention and reader reception play a key role in the discourse of plagiarism, since both reveal the prevailing contemporary textual ethics underlying textual production. The literature review in Chapter Two analyses the ways in which plagiarism has been interpreted in the last fifty years contrasting essentialist definitions of plagiarism with postmodern theories of plagiarism as a discourse of power. Plagiarism is contextualised within modern and postmodern aesthetics. In Chapter Three, the discourse of authorship as a stable and unified category is destabilised and challenged. What counts as plagiarism is argued to be inseparable from changing valorisations of authorship. Paradigms of authorship are then contrasted to illustrate how textual values change from one era to another, affecting dominant representations of authorship and plagiarism. Originality is explored as the pivotal construct on which the Romantic model of individual authorship depends - the model in which our current views of plagiarism have their origin. The plagiarist or 'nonauthor' is commonly viewed as everything the author is not: a copyist, unoriginal and immoral. Chapter Four analyses this construction of the plagiarist in the context of a South African case study in which Stephen Watson, Head of Department of English at the University of Cape Town, accused writer Antjie Krog of plagiarism. An analysis is made of the debate which ensued in a South African online journal, as well as of the press documentation surrounding the case. An interview was also conducted with Watson once the debate subsided. The conclusion reached from this study affirms that plagiarism is not an easily definable phenomenon since it depends on cultural notions that are in flux. Social, economic and technological changes also bring to bear on the literary institution, models of authorship and the consequent treatment of plagiarism. By enlarging the range of motivations for textual practices traditionally labelled as plagiarism, this thesis argues for a new conception of plagiarism, one that engages various discourse participants and contexts.

Writing from the Shadowlands: How Cross-Cultural Literature Negotiates the Legacy of Edward Said

t.tansley@murdoch.edu.au, Tangea Tansley 2004 (has links)
This thesis examines the impact of Edward Said’s influential work Orientalism and its legacy in respect of contemporary reading and writing across cultures. It also questions the legitimacy of Said’s retrospective stereotyping of early examples of cross-cultural representation in literature as uncompromisingly “orientalist”. It is well known that the release of Edward Said’s Orientalism in 1978 was responsible for the rise of a range of cultural and critical theories from multiculturalism to postcolonialism. It was a study that not only polarized critics and forced scholars to re-examine orientalist archives, but persuaded creative writers to re-think their ethnographic positions when it came to the literary representations of cultures other than their own. Without detracting from the enormous impact of Said, this thesis isolates gaps and silences in Said that need correcting. Furthermore, there is an element of intransigence, an uncompromising refusal to fine-tune what is essentially a binary discourse of the West and its other in Said’s work, that encourages the continued interrogation of power relations but which, because of its very boldness, paradoxically disallows the extent to which the conflict of cultures indeed produced new, hybrid social and cultural formations. In an attempt to challenge the severity of Said’s claim that “every European, in what he could say about the Orient, was consequently a racist, an imperialist, and almost totally ethnocentric”, the thesis examines a number of different discursive contexts in which such a presumption is challenged. Thus while the second chapter discusses the ‘traditional’ profession-based orientalism of nineteenth-century E. G. Browne, the third considers the anti-imperialism of colonial administrator Leonard Woolf. The fourth chapter provides a reflection on the difficulties of diasporic “orientalism” through the works of Michael Ondaatje while chapter five demonstrates the effects of the dialogism used by Amitav Ghosh as a defence against “orientalism”. The thesis concludes with an examination of contemporary writing by Andrea Levy that appositely illustrates the legacy of Said’s influence. While the restrictive parameters of Said’s work make it difficult to mount a thorough-going critique of Said, this thesis shows that, indeed, it is within the restraints of these parameters and in the very discourse that Said employs that he traps himself. This study claims that even Said is susceptible to “orientalist” criticism in that he is as much an “orientalist” as those at whom he directs his polemic.

Poetic thoughts and poetic effects : a relevance theory account of the literary use of rhetorical tropes and schemes

Pilkington, Adrian 1994 (has links)
This thesis proposes an account of the effects achieved by the poetic use of rhetorical tropes and schemes in the light of recent developments in pragmatic theory. More specifically it discusses and attempts to develop the relevance theory account of poetic effects. Much recent debate in literary studies has centred on the question as to whether literary communication is best explained in terms of text-internal linguistic properties or socio-cultural phenomena. This thesis considers such views in the light of the theories of language and communication they assume. It then proposes an alternative theoretical account of literary communication grounded in cognitive pragmatic theory. It argues that the relevance theory account of poetic effects may make a significant contribution to such an account. A brief outline of relevance theory is followed by a more detailed analysis of metaphor and a brief consideration of epizeuxis and various verse effects, insofar as they contribute to poetic style. it is natural for pragmatic theory to concentrate on the communication of assumptions, propositional forms with a logical structure over which inferences can be performed. Although the account of poetic effects and poetic thoughts developed here will be partially characterised in such terms, an attempt will also be made to account for the communication of affective and other non-propositional effects. Any theory of stylistic effects in general, and poetic style in particular, must, it will be argued, include such an account. This will necessitate a broader philosophical discussion of issues having a bearing on the question of what it is that is communicated non-propositionally. More particularly it will require some discussion of emotion, phenomenal experience and aesthetic experience. This discussion will lead to a characterisation of poetic thought or poetic representation. The thesis aims, then, to make a contribution to literary studies by characterising a new theoretical notion of literariness in terms of mental representations and mental processes. It also aims to make a contribution to pragmatic theory, specifically to the pragmatics of poetic style and rhetoric within a relevance theory framework.

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