This dissertation examines the impact of modernity, in the form of modernization, rapid industrialization and the introduction of Western ideas about nationalism and female emancipation, on gender and gender relations in contemporary Malaysian film and literature. Drawing upon theories ranging from Lacanian psychoanalysis, feminism, postcolonialism, nationalism, existentialism to theories about fascism, I examine and critique the representations of gender from the predominantly middle-class writers and the works of the new wave Malay filmmakers. I make the case that these films and literary works reflect the outcome of the National Economic Policy (1971-1990) and, in my analyses, show that these modernizing imperatives, though received positively, are sometimes greeted with a cautionary ambivalence, depending on one's class, gender, ethnicity, and political and religious beliefs. Such ambivalence towards feminism, for example, appears in K.S. Maniam's portrayal of independent female characters, whom I call "fascist 'feminists'," or in the representations of hypermasculinity or male violence in current Malay cinema. Films and literature by some Malays reflect a desire to recover Malay custom, adat, while forging a unique, modern, postcolonial identity that distinguishes itself from the West, other former British colonies and other Muslim nations. However, this subversive postcolonial move must be treated with caution to ensure that it does not replicate prevalent negative stereotypes of women as sexualised beings. A key distinction in this dissertation is that the representations of the modern Malay woman vary according to the gender of the cultural producer: male writers and filmmakers portray the negative impact of modernity on women, whereas their female counterparts portray women at ease with modernity. / Graduate and Postdoctoral Studies / Graduate

This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.

Orientador: Maria Eugênia da Gama Alves Boaventura Dias / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T12:13:35Z (GMT). No. of bitstreams: 1 Valle_DiegoGomesdo_D.pdf: 1877351 bytes, checksum: 694dd5439c91ff64dce5e454ea41ca65 (MD5) Previous issue date: 2014 / Resumo: Esta tese tem como objeto a obra romanesca de João Gilberto Noll, que é composta de doze romances publicados até o presente momento. A ideia que alimentou nosso ímpeto inicial foi surpreender na heterogeneidade dos diversos romances uma certa unidade que poderia ser o princípio estruturante dos romances de Noll. Correndo o risco de sermos demasiado sistemáticos, empreendemos tal trabalho. Divide-se esta tese em dois momentos distintos e complementares, a saber: primeiramente traçamos, um tanto quanto abstratamente, o que há de constante, o traço comum entre os doze heróis (que, em certo sentido, são o mesmo) que falam nos romances. Destacamos, neste primeiro momento da tese, a importância que a análise temporal teve, fornecendo talvez a chave interpretativa mais importante para se compreender as questões identitárias que os romances em questão evocam. Neste sentido, teóricos como Paul Ricoeur e Jean Pouillon forneceram a base teórica para se estabelecer uma visão substancial do fazer narrativo no tempo. Na segunda parte, cada romance é compulsado de maneira a concretizar os corolários produzidos na primeira parte da tese. Buscamos evitar o périplo teleológico, no qual estaria dado já no início o fim em direção ao qual conduziríamos nossa exposição. Sendo assim, a hipótese que se transformou em tese sustenta que todos estes romances são, na sua essência mesma, dramas identitários nos quais seus heróis deliberadamente buscam o não-ser, aquilo que não são, mas que anelam profunda e angustiadamente. Não se trata de uma carência de ser, mas de uma busca consciente pelos limites do eu diante do não-eu. As análises de cada romance nos permitiram demonstrar sobejamente que esta hipótese se confirma tout court e nos conduzem a reflexões que são de teor filosófico - uma vez que dizem respeito aos nossos dramas existenciais -, às quais buscamos encontrar respectivos filósofos para nos auxiliar / Abstract: This thesis focuses on the novelistic work by João Gilberto Noll, which comprises twelve published novels until the present moment. The idea that nurtured our initial impetus was to come upon, at the diversity of the various novels, a certain unit that could be the structuring principle of the novels by Noll. At the risk of being too systematic, we undertake such work. This thesis is divided into two distinct and complementary moments, namely: first we trace, somewhat abstractly, what is constant, the common thread among the twelve heroes (which, in a sense, are the same) who speak in the novels. In this first moment of the thesis, we emphasize, the importance of the temporal analysis, perhaps providing the most important interpretative key to understand the identity issues that the novels in question evoke. In this sense, theorists such as Paul Ricoeur and Jean Pouillon provided the theoretical basis for establishing a substantial vision of the narrative in time. In the second part, each novel is examined in order to achieve the corollaries produced in the first part of the thesis. We seek to avoid the teleological periplus, in which the end would be already given at the beginning of the way of our exposition. Thus, the hypothesis that turned into thesis argues that all these novels are, in their essence, identity dramas in which their heroes deliberately seek the non-being, what they are not, but what they wish to be deep and anxiously. It is not a lack of being, but it is a percipient search for the limits of the self before the not-self. The analysis of each novel allowed us to widely demonstrate that this hypothesis is confirmed tout court and they lead us to philosophical reflections - once they are related to our existential dramas - to which we seek to find respective philosophers to help us / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T19:03:23Z (GMT). No. of bitstreams: 1 Silva_GustavoRodriguesda_M.pdf: 1551456 bytes, checksum: e4003a3b502430573237a1f412eed5b8 (MD5) Previous issue date: 2015 / Resumo: Alguns pesquisadores estudaram o estilo tardio, como Gottfried Benn, Havelock Ellis, Edward Said, entre outros. Quem consagra a noção de estilo tardio é Theodor Adorno em seu ensaio El estilo tardío de Beethoven (2008 [1963]). De acordo com Adorno, uma obra tardia é única porque ela causa uma ruptura no cenário literário da época, pois traz novidades impensadas até então. Essa ruptura não é compreendida em um primeiro momento por muitos leitores que, só com um exame detido da obra em questão, como nos propomos nessa dissertação, conseguem captar a grandeza de uma obra tardia. Ela é atemporal, pois se distancia do passado pela inovação, se diferencia do presente pelo estranhamento e prenuncia um futuro, dadas as suas inovações serem consideradas como referências literárias para obras por vir. Logo, cada obra tardia tem um estilo tardio único. Ramón María del Valle-Inclán (1866-1936) tem uma vasta obra literária, com várias peças. Segundo John Lyon, em The theatre of Valle-Inclán (2009), o ápice do teatro de Valle-Inclán são os esperpentos. Quando analisamos o esperpento Los cuernos de Don Friolera (1968 [1921]), observamos que a obra traz algumas inovações literárias para a época, que podem ser enquadradas na noção teórica de estilo tardio. Já o esperpento anterior, Luces de bohemia (2001 [1920]), apresenta a teoria esperpêntica que é posta em prática no esperpento seguinte, justamente Los cuernos de Don Friolera. Em nossa dissertação, vamos mostrar de que forma Valle-Inclán trabalha a teoria estética esperpêntica proposta em Luces de bohemia e em Los cuernos de Don Friolera, e como essa maneira de trabalhar essa teoria se constitui em um estilo tardio. Logo, vamos provar o estilo tardio do esperpento Los cuernos de Don Friolera quando comentarmos as suas inovações quanto à forma e ao conteúdo como a grande variação de possíveis sequências de leitura, a combinação de quatro paródias de movimentos literários espanhóis diferentes dentro do mesmo esperpento, a criação de uma obra que é tanto literária como histórica, entre outros aspectos. Também comentaremos o estilo tardio nos outros dois esperpentos valle-inclanianos: Las galas del difunto (1968 [1926]) e La hija del capitán (1968 [1927]). Defendemos que esse caráter tardio do nosso objeto de estudo reflete o exaurimento das formas literárias existentes e questiona o status de obra ficcional no começo do século XX, além de ditar novos rumos para a literatura espanhola e, quiçá, ocidental / Abstract: Some researchers studied the late style as Gottfried Benn, Havelock Ellis, Edward Said, among others. The one who enshrines the notion of late style is Theodor Adorno in his essay El estilo tardio de Beethoven (2008 [1963]). According to Adorno, a late work is unique because it causes a break in the literary scene of the era, because it brings thoughtless news so far. This break is not understood at first by many readers, that only with a close examination of the work in question, as we propose in this thesis, can capture the greatness of a late work. It is timeless because it moves away from past by the innovation, it differs from the present by the estrangement and predicts a future, given the innovations being considered as references to literary works to come. Thus, each late work has a unique late style. The Spanish writer Ramón María del Valle-Inclán (1866-1936) has a vast literary work, with several plays. According to John Lyons in The theatre of Valle-Inclán (2009), the theater apex of that Spanish author is the esperpentos. When we analyze the esperpento Los cuernos de Don Friolera (1968 [1921]), we realize that the work brings some literary innovations for the time, which can be evidenced in the theoretical notion of late style. Already the previous esperpento, Luces de bohemia (2001 [1920]), presents the esperpêntica theory that is put into practice the next esperpento precisely Los cuernos de Don Friolera. In our thesis, we are going to show in what way Valle-Inclán works the esperpêntica aesthetic theory proposal in Luces de bohemia in Los cuernos de Don Friolera and how this way of working this theory constitutes a late style. Thus, we will prove that the late style of esperpento Los cuernos de Don Friolera when commenting their innovations as the form and the content as the wide range of possible sequences of reading, the combination of four parodies of different Spanish literary movements within the same esperpento, the creation of a work that is both literary and historical, among others. We are also going to comment the late style in the other two valle-Inclanianos esperpentos: Las galas del difunto (1968 [1926]) and La hija del capitán (1968 [1927]). We argue that this late character of our matter subject reflects the depletion of existing literary forms and questions the fictional work status in the early twentieth century, in addition to dictate new directions for Spanish literature and perhaps western / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

No description available.

No description available.

No description available.

No description available.

1 online resource (181 leaves) / This study relies on ecocriticism as the discipline benefitting the analysis of the imagery of nature in Konstantin Paustovsky’s prose. The objective of this approach is to demonstrate that Paustovsky’s prose goes beyond of what was expected from a Soviet writer by the socialist realist dogma. This thesis attempts to prove that an ecocritical approach validates his prose as being universal in its message and thus relevant to contemporary readers. Scholars of ecocriticism ask the following questions when analysing a nature-orientated prose: what values are expressed in nature-orientated literature, does the portrayal of nature reflects the cultural values of a nation as well as the way in which a person’s interaction with his natural environment enhances or hampers his spiritual development. The timeframe, within which Paustovsky wrote his prose, should be taken into account, because it coincides with the Lenin and Stalin regimes, when any criticism of the government including its nature conservation policies was impossible. The analysis of attitudes of the Russian people towards nature in Paustovksy’prose demonstrates that it evolved from the acceptance of the official stand to the one of criticism. This research resulted in the following conclusions: Firstly Paustovsky’s view with regard to ecological problems and his solutions to these problems are on par with those of modern ecologists. The writer, for example, proposes a holistic way to undertake nature conservation, such as replacing ruined forests by the same type of trees, not interfering in the cycles of nature and stresses the importance of scientific information on how to care of the natural environment. Secondly, it is through his presentation of nature that the author familiarises the reader with the essence of the Russian culture, which is totally intertwined with the manifestations of Russian nature, such as folklore, superstitions, cultural traditions and values attached to certain animals and trees Thirdly, it has been established that the ‘external’ natural landscape of a person namely his environment, undoubtedly influences his ‘internal landscape’, his psyche. This implies that the natural environment of a person will have an influence on his psychological make-up. It is assumed that this study, in particular the use of ecocriticism as a tool to analyse literature where nature plays a role, will shed new light on the role of nature in Russian prose. This is especially the case with regard to the way in which ecological issues such as nature conservation are treated. / Classics & World Languages / D. Litt. et Phil. (Russian)

Thesis (PhD)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: This study aims at highlighting a crucial aspect of Xhosa drama: The portrayal of the role women have been forced culturally to assume in society. A selection of Xhosa plays from three periods (1958 - 1965; 1974 - 1982; and 1988 - 1997) is examined. In the process of the study, the analysis and the interpretation of these dramas as well as the depiction of women characters is examined. Authors of the ten dramas under study advocate change through the powerful forces of gender stereotypes and culture distortions. The attributes that the authors commonly ascribe to women characters are passivity, irrationality, compliancy and incorrigibility. An examination of the reasons behind this proliferation of these female stereotypes and the lack of realistic women characters is undertaken. The study posits reasons why particular stereotypes appear in the works of several authors over a period of time. The women characters are products of social conditioning, that is, ideals or counter-ideals of the prevailing values of the authors' culture. They are a symbolic fulfillment of the writers' needs. The broad cultural perspectives of the authors also shape the texts they produce. These dramas treat issues and themes, which become central to the formal and structural ordering of the drama. Such themes have an impact at times on form and structure. In each case the ideology of the class represented by authors under study is indeed reflected in the text, to its detriment. The dominating themes in the ten dramas are forced marriages and women abuse. The authors are so preoccupied with injustices against women that they distort certain cultural aspects by, for example, exaggeration. Women are constantly depicted as victims, while there are no indications in the authors' depictions of women that perceptions of their cultural role and status are in reality undergoing changes. The thesis is arranged as follows: Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the development of plot within episodes in the dramas of the first literary period (1958 - 1965). These episodes depict the different phases of the dramas. A critical evaluation of the dramas by motivating their positive and negative aspects is undertaken. Chapter 3 deals with the development of plot within episodes in the dramas of the second literary period (1974 - 1982). As in the first literary period, a critical evaluation of the dramas by motivating their positive and negative aspects is examined. Chapter 4 deals with the development of plot within episodes in the dramas of the third literary period (1988 - 1997). A critical evaluation of the dramas by motivating their good and bad points is undertaken. Chapter 5 deals with woman as character in Xhosa dramas under study. A detailed analysis of the main woman character in each drama is undertaken. Furthermore, a critical summary of how the woman has been portrayed in the dramas is presented. Chapter 6 presents depiction of Xhosa culture in the Xhosa dramas. From each drama, certain selected aspects of culture are explored and an investigation of the portrayal of these aspects is undertaken. Chapter 7 summarizes the findings of the study. / AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om 'n kern aspek van Xhosa drama te belig: die rolle wat vroue kultureel gedwing is om te vervul in die gemeenskap. 'n Seleksie Xhosa dramas vanuit drie tydperke (1958 - 1965; 1974 - 1982; en 1988 - 1997) word ondersoek. In die loop van die studie, ontleding en interpretasie van hierdie dramas word die uitbeelding van vroue karakters ook ondersoek. Die skrywers van die tien dramas wat bestudeer word, betoog vir verandering deur middel van die sterk kragte van stereopites en kultureelverwronge voorstellings. Die eienskappe wat die skrywers algemeen toeskryf aan vroue karakters is passiwiteit, irrasionele optrede, gehoorsaamheid en deugsaamheid. 'n Ondersoek na die redes vir die proliferasie van hierdie vroulike stereotipes en die tekortkoming aan realistiese vroue karakters in Xhosa dramas word uitgevoer in die studie. Die studie voer redes aan waarom bepaalde stereotipes in die werk van verskeie skrywers oor 'n tydperk verskyn: hulle vrouekarakters is die produk van sosiale kondisionering, dit wil sêm ideale of teen-ideale van die heersende waardes van die skrywer se kulturele agtergrond en 'n simboliese vervulling van die skrywer se behoeftes. Die algemene kulturele perspektiewe van die skrywers beïnvloed en vorm ook die tekste wat hulle lewer. Hierdie dramas behandel naamlik vraagstukke tematies wat sentraalook bepalend is ten opsigte van die vorm en struktuur van die drama. Sodanige temas het gevolglik in bepaalde gevalle 'n invloed op die vorm en struktuur van die drama. Voorts word die ideologie van die klas verteenwoordig deur die skrywers in elke geval gereflekteer en die teks tot bepaalde nadele daarvan. Die prominente temas in die tien dramas is gedwonge huwelike en vrouemishandeling. Die skrywers is so gepre-okkupeer met die ongeregtighede teenoor vroue dat hulle bepaalde kulturele aspekte verwring deur, byvoorbeeld, buitensporige voorstellings. Vroue word voortdurend voorgestel as slagoffers, terwyl daar feitlik geen aanduidings is in die skrywer se voorstelling van vroue, dat persepsies oor hulle kulturele rol en status inderwaarheid besig is om veranderinge te ondergaan. Die proefskrif is soos volg gestruktureer: Hoofstuk 1 gee die doelstellings, omvang, teorieë en metodes wat in die studie gevolg word. Hoofstuk 2 behandel die ontwikkeling van intrige binne verskillende episodes in die dramas van die eerste literêre periode (1958 - 1965). Hierdie episodes gee 'n uitbeelding van die verskillende fases van die dramas wat in die studie ondersoek word. 'n Kritiese evaluering word van die dramas gedoen deur die positiewe en negatiewe aspekte daarvan te motiveer. Hoofstuk 3 behandel die ontwikkeling van intrige binne die episodes van die dramas van die tweede literêre periode (1974 - 1982). Soos vir die eerste literêre periode, word 'n kritiese evaluering gedoen van die dramas deur onder andere die positiewe en negatiewe literêre aspekte daarvan te motiveer. Hoofstuk 4 ondersoek die ontwikkeling van die intrige binne die episodes in die dramas van die derde literêre periode (1988 - 1997). Die kritiese evaluering van hierdie dramas sluit, soos vir die vorige periodes, 'n gemotiveerde beskouing in van die positiewe en negatiewe aspekte. Hoofstuk 5 ondersoek die vrou as karakter in die Xhosa dramas wat bestudeer word. 'n Gedetaileerde analise van die hoof-vroue karakters in elke drama word gedoen. Daarna word 'n kritiese oorsig aangebied van hoe die vrou voorgestel word in die dramas wat bestudeer is. Hoofstuk 6 bied 'n uitbeelding van Xhosa kultuur in die dramas wat ondersoek is. Bepaalde aspekte van kultuur word vir elke drama ondersoek en die uitbeelding van hierdie kultuur aspekte word behandel. Hoofstuk 7 bied 'n opsomming van die belangrikste bevindinge van die studie.