This study examines the aesthetic and representational strategies and objectives of Guillaume Apollinaire's Orientalism in his poetry, prose fiction, literary and art criticism, and journalism. To Apollinaire, the Orient was a body of cultural resources which, when skillfully 'digested' in the creative process, was believed to hold the key to the regeneration of European poetry and art. His ambivalent discourse on a mute and unknown Orient was the means by which--as a foreigner in France--he sought to define himself socially. The general orientation of the thesis rests on the theoretical foundation generated by contemporary discourse analysis, and on a comparative study of literary sources After a first chapter which briefly situates Apollinaire's knowledge of the Orient and his interest in Oriental ideographic alphabets, a new reading of his most hermetic poem, 'Le Larron,' reveals the author's debt to German Romantic and French pre-Romantic thought. The aesthetic and socio-political dimensions of Apollinaire's Orientalism, as shown in the third chapter, are at work, interwoven, in the poet's expressed longing for images and forms. The significance of the speculative Kabbalah--a para-Oriental domain--in Apollinaire's most innovative enterprises is stressed in the following chapter: along with plotting devices, it provides a metalanguage most suitable in theorizing abstract art; the kabbalistic maps, as my study attempts to show, have inspired the poet's first 'lyrical ideograms.' Orientalism as a discursive system of representations and a battery of preset strategies of appropriation is sub-sequently illustrated in the consistent internal dichotomy affecting images and discourse on the East, North Africa and Black Africa. The collection of Culture and representations in La Fin de Babylone is discussed in chapter 5. Apollinaire's criticism of French Algerian literary productions sheds light on the underlying concepts which regulate the literary productions in the Periphery. In Chapter 7, Apollinaire's discourse on Africa and his image as a promoter of African art are reevaluated This thesis' major objectives are to dispel the myth of modernism attached to Apollinaire's creative endeavor and to introduce this poet, novelist and critic, into the current debate on Orientalist, Africanist and Colonialist discourses / acase@tulane.edu

Although criticism has established The Sun Also Rises as Hemingway's most enduring novel, Hemingway's public figure, an historical failure to recognize his wide reading, a general failure to acknowledge his fiercely competitive spirit as a writer, the recent discovery of the drafts of the novel, and an inadequate comparison between his simultaneously written The Torrents of Spring and The Sun Also Rises have prevented an adequate critical appraisal of what will remain Hemingway's most written about and admired piece of fiction. / Not at all separate and distinct from The Torrents of Spring--generally regarded as little more than Hemingway's embarrassing parody of Sherwood Anderson--The Sun Also Rises must be seen as a refined and controlled effort to establish a literary identity in the contexts of both Realism and Modernism. Similarities between what are widely regarded as his greatest and least novels demonstrate that the aggressive young Hemingway actively imitated and challenged a variety of writers ranging from the greatest names in literature to the ephemerae of a forgotten literary past. The Sun Also Rises must finally be accepted as a phenomenal apprentice work by an aggressive author who was in a process of stylistic evolution as he wrote his first novels. That which makes The Sun Also Rises unique to Hemingway's canon and a performance which could not be repeated is, in all probability, the fact that in that volume Hemingway directly addressed--by name, allusion, imitation, and parody--the major voices in his own immediate literary past and the major contemporary voices of an exciting postwar literature. Although the unique voice which Hemingway forged as he wrote The Torrents of Spring and The Sun Also Rises has become, perhaps, the best known literary voice of this century, The Sun Also Rises remains proto-Hemingway, an evolutionary voice compounded of his literary forbears and contemporary competitors. / Source: Dissertation Abstracts International, Volume: 52-08, Section: A, page: 2927. / Major Professor: Anne E. Rowe. / Thesis (Ph.D.)--The Florida State University, 1991.

"Irish Modernism and The Problem of Metaphor: Interactions Between the Imagination and the Materiality of Language in the Literature of Beckett, Joyce and Yeats" examines the unconventional role that metaphor plays as an essential figure in the literature of James Joyce, Samuel Beckett and W.B. Yeats. It maintains that the unusually strong interest of each author in the non- conceptual, musical or physical possibilities of the linguistic sign can be read as a form of resistance to the means-to-ends constitution of instrumental language, which each saw as a defining characteristic of hegemonic discourse. What emerges, I argue, out of this attention to the dynamic processes of literary creation over the transmission of a fixed idea is an original kind of tropology that elevates sensory impressions over ideal meaning, the predicate over substance, the image over the sign. Drawing initially from Beckett's analysis of "primitive" or "direct metaphors" in Joyce's Finnegans Wake--where content and form appear as indistinguishable--I demonstrate how we can trace in Beckett's work the development of an immanent model of figuration that shatters the sign's referential relation to the outside world. In Beckett's work, the primary function of metaphor will emerge as a movement in which the imagination manages to break free from the given in order to respond "directly" to the dynamic possibilities that are internal to language. Beckett's post-war literature is exemplary in this respect: here the movement of metaphor functions primarily to isolate the poetic image from its parasitical attachment to the symbol in order to put thought into contact with a fluid visualization, with the continuity and mobility of the real.

My dissertation offers a combined genealogical and interpretative study of the way the distinction between human and animal is established and invoked in foundational texts of modern sovereignty. In four chapters that range from Hobbes' theory of sovereignty haunted by the problem of melancholy, to contemporary critical approaches to the relationship between sovereignty and humanism, my dissertation re-frames discussions about human domination over non-human animals and sovereign authority. It also makes novel contributions to the question of what it means to be a political animal. I call into question a fundamental assumption: the idea that we humans, in contrast to non-human animals and nature, are distinctively political because we possess logos (speech, reason). I find evidence in the texts that I study that the distinction between humans and animals established in these terms generates melancholy, as the animality of the human being (as well as non-human animals and nature) remains excluded from the realm of politics. My dissertation alerts us to the consequence of this exclusion: the constant return of the animal in the human city. The notion of lycanthropy is introduced as an articulation of melancholy and animality that accounts for the recurrence of the animal in the realm of the political.

Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2007. / Title from dissertation home page (viewed Sept. 25, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0602. Adviser: Eleanor W. Leach.

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Comparative Literature." Includes bibliographical references (p. 210-215).

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

Issued also as the author's Inaugural-Dissertation, Heidelberg. / Deals mainly with the treatment of the O.T. narratives in the Antiquitates Judaicae of Flavius Josephus. Includes bibliographical references and index.

Part of Thesis (Ph. D.)--University of Chicago, 1933. / Photolithographed. "Private edition, distributed by the University of Chicago libraries." "Bibliography of the writings of Francis Sabie": 2d prelim. leaf.

Inaug.-diss.-Halle. / Lebenslauf.