It seems that henceforth the development and renewal of terminology will be linked to contemporary scientific theories. Each discipline, with the aid of its specialized vocabulary, will possess a set of up-to-date conceptual tools adapted to its purpose. Unfortunately, there is no lexicon of literary terminology in French, and this at a time when the literature on analytical matalanguage is in major competition with the literature on ordinary language. Presently, various epistemological mutations such as those of the structuralists are having a strong effect on the contemporary terminological movement. It is hoped that this dictionary will, in a modest way, make good this deficiency by offering a systematic inventory of the notions used in literary theory and the history of literature, especially those relating to the use of the most common neologisms, borrowed interdisciplinary words, fundamental semiotic concepts, and the principal procedures of contemporary critical analysis.

Quebec knew a long tradition of regionalistic literature since the novel of the soil, tradition with which the writers of Quebec broke for a long time. However, certain writers still practice a regionalistic form of literature, which does not have anything to see with the novel of the soil. Within the literary institution, the regionalistic writers of today seem to belong to a sphere of distinct production. In order to delimit the space occupied by the contemporary regionalistic writers, we based ourselves on the theory of the literary field of Pierre Bourdieu and the theory of the institution of the literature of Jacques Dubois. So as to apply the model of Bourdieu and Dubois to a typical example of contemporary regionalistic writer, we chose to concentrate us on the career of Sylvain Riviere, Gaspesian writer born in 1955. Sylvain Riviere seems to be the regionalistic writer par excellence, who devoted the most part of his work to his region, Gaspesia and the Magdalen Islands. The example of Sylvain Riviere shows us that in spite of his marginality, the regionalistic writer is able to find his place inside the contemporary literary field.

This thesis analyzed Zakes Mda's The Heart of redness in the tradition of South African pastoral and counter-pastoral. It proposed that the novel is a hybrid of both African and European tradition and perspectives. It adduced Northrop Frye's theory of myth and archetypes in literature as a basis for study. It also analysed the novel in its use of irony.

'n Ondersoek na die armoede-diskoers en die uitings patriargie, bloedskande en apartheid in Triomf van Marlene Van Niekerk.

Bibliography: leaves 199-231. / 231 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1997

This analysis of apocalyptic rhetoric brings nine generations of the written text of the Johannine Apocalypse into a contemporary (1989-1994) framework which includes phenomena such as self-determination, mutual interdependence and psychoterror. The discussion is mediated by disciplines and backgrounds of Religion and Literature. The critical method is religio-literary. Literary themes from the Johannine Apocalypse, especially themes of annihilation, torment, blessedness and rapture, structure the discussion. These themes are related to ideas of self-determination such as were proclaimed at the United Nations World Conference on Human Rights (UNWCHR), Vienna, 1993. The discussion questions the axioms of self determination, especially the matter of indivisibility which came to issue during UNWCHR, Vienna, 1993. Some policies and practices of the Australian government's human rights activities are discussed. Attention is then redirected to the Johannine Apocalypse as a polyvalent source of apocalyptic ideation and a source of social empowerment.

The original thesis contains the novel "Stranger, I" as an integral part of the thesis. However this novel has been omitted in this digital copy. / Thesis (MA (Hons))--Macquarie University, Division of Humanities, Department of English, 2006. / Bibliography: p. 93-97. / On divergence in fantasy -- Introduction -- Preliminary -- The thousand and one definitional nights -- Characteristic works: inclusions and exclusions -- Critical objections to fantasy -- Conclusion. / On Divergence in Fantasy explores the ways in which fantasy criticism continually redefines its boundaries, without arriving at agreement. The paper draws on Foucault to suggest that these disputes and dispersions are characteristic of the operation of fantasy critisim as a discursive formation. / Mode of access: World Wide Web. / 97 p

No description available.

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This thesis is an exploration of the textuality of the skin, and how we approach and read wounds and scars. My discussion approaches the skin through the frame of surface reading to address three interconnected but seemingly disparate areas; namely American slavery, atrocities committed by the Lord’s Resistance Army, and self-mutilation. These areas all share the trope of the wound, and my approach is thus interdisciplinary in nature. I begin my discussion with Toni Morrison’s Beloved, focusing on the manner in which the extreme violence the characters suffer plays an instrumental role in their ability to reconcile themselves with their pasts. I focus specifically on the scars on Sethe’s back that resemble a tree, and how this tree links all of the characters together in their desire to re-member themselves. I then move to the Lord’s Resistance Army and how their mutilations of the civilian population serve a communicative function. I explore how we read images of atrocity, and how many of these images are framed and manipulated in order to garner attention. From there, I move to Kony 2012, the viral ‘documentary’ that drew the world’s attention and criticism for its gross misrepresentation of Africa and its indulgence in the stereotypes that present Africans as passive victims in need of saving. Finally, I discuss the phenomenon of self-mutilation and how the cuts and scars reveal how language is rendered incapable of expressing the inner pain and suffering of cutters. Often, these wounds and scars are misinterpreted as failed suicide attempts, an interpretation which completely ignores the expression of the symptom revealed on the surface. The negative stigma attached to self-mutilation hinders communication between those who cut and those who do not. In order for communication to be successful, all preconceived notions of what self-mutilation is need to be abandoned. / AFRIKAANSE OPSOMMING: Hierdie tesis is ʼn verkenning van die tekstualiteit van die vel, en hoe ons wonde en littekens benader en lees. My bespreking benader die vel deur die lens van oppervlak-analise om drie onderling verbonde dog uiteenlopende areas aan te spreek, naamlik, Amerikanse slawerny, gruweldade wat deur die Lord’s Resistance Army gepleeg is, en self-mutilasie. Dié areas deel saam die troop van die wond, en my benadering is dus interdissiplinêr van aard. My bespreking begin met Toni Morrison se Beloved met die fokus op die manier wat die uitermatige geweld waaraan die karakters onderwerp word ʼn integrale rol speel in hul vermoë om vrede te maak met hul verledes. Ek fokus spesifiek op die littekens op Sethe se rug wat soos ʼn boom lyk, en hoe dié boom al die karakters aan mekaar skakel in hul begeerte om hulself te ‘her-versamel’ en her-onthou. Ek beweeg dan aan na die Lord’s Resistance Army en hoe hulle verminking van die burgerbevolking ʼn kommunikatiewe funksie vervul. Ek verken hoe ons beelde van gruwel lees, en hoe baie van dié beelde geraam en gemanipuleer word om aandag te trek. Van daar beweeg ek aan na Kony 2012, die gewilde web-dokumentêr wat die wêreld se aandag en kritiek uitgelok het as gevolg van die totale wanvoorstelling wat dit van Afrika getoon het, asook die onnadenkenheid van die documentêr in terme van Afrikane wat as passiewe slagoffers wat redding benodig gestereotipeer word. Oplaas bespreek ek die fenomeen van self-mutilasie en hoe die snye en littekens ʼn openbaring maak van die ontoereikendhied van taal om innerlike pyn en lyding van snyers uit te druk. Dikwels word die wonde en littekens verkeerd geïnterpreteer as mislukte selfmoordpogings, ʼn interpretasie wat die uitdrukking van die simptome wat op die oppervalk blootgelê word ignoreer. Die negatiewe stigma wat aan self-mutilasie gekoppel word belemmer kommunikasie tussen snyers en nie-snyers. Kommunikasie kan net suksesvol wees as alle vooropgesette idees van wat self-mutilasie is agtergelaat word.

Orientador: Andressa Cristina Oliveira / Banca: Adalberto Luís Vicente / Banca: Beatriz Moreira Anselmo / Resumo: Este trabalho pretende se debruçar sobre a obra Une Saison en Enfer, do poeta francês Jean-Nicolas Arthur Rimbaud (1854-1891). Na obra, o poeta desce ao submundo - onde passa uma longa estação - e, ao sair, traz a tona as vivências artísticas e pessoais desse período. A ida ao submundo é, nesse sentido, um mergulho em si mesmo, análogo ao processo de interiorização e de autoconhecimento, expressos nas famosas "cartas do Vidente", de maio de 1871. Nessas cartas, nas quais Rimbaud desenvolve toda sua teoria poética, o jovem cria um método único que visa à fuga do mundo real e ao rompimento com os padrões estéticos de seu tempo. Nesse sentido, a temática satânica de Une Saison en Enfer coloca-se em perfeita consonância com o projeto rimbaudiano da Vidência, pois revela o duplo movimento de transgressão do artista: por um lado, sua revolta contra a sociedade burguesa e, por outro, seu desejo de mudar os rumos da poesia. Por conseguinte, nossa proposta visa alinhavar Une Saison en Enfer com a teoria estética de Rimbaud - em confluência com a Modernidade do século XIX -, para, em seguida, analisar a temática mítico-satânica da obra como realização dos pressupostos modernos do autor. / Abstract: This work intends to study Une Saison en Enfer, by the French poet Jean-Nicolas Arthur Rimbaud (1854-1891). In the work, the poet descends to the underworld - where a long season passes - and, when leaving, brings out the artistic and personal experiences of this period. The journey to the underworld is, in this sense, a dive in itself, analogous to the process of interiorization and self-knowledge, expressed in the famous "Letters of the Seer" of May 1871. In these letters, in which Rimbaud develops all his poetic theory, The young man creates a unique method that aims at escaping from the real world and breaking away from the aesthetic standards of his time. In this sense, the satanic theme of Une Saison en Enfer stands in perfect harmony with the rimbaudian project of Videncia, since it reveals the double movement of the artist's transgression: on the one hand, his revolt against bourgeois society and, on the other, his Desire to change the course of poetry. Therefore, our proposal aims to link Une Saison en Enfer with Rimbaud's aesthetic theory - in conjunction with Modernity of the 19th century - and then to analyze the mythic-satanic theme of the work as realization of the author's modern presuppositions. / Résumé: Ce travail a l'intention d'analyser l'oeuvre Une Saison en Enfer, du poète français Jean-Nicolas Arthur Rimbaud (1854-1891). Dans cette oeuvre le poète descend aux enfers - où il reste pendant une saison - et à la sortie, il fait également ressortir les expériences artistiques et personnelles de cette période. Ce voyage souterrain est en ce sens un plongeon en soi-même, analogue au processus d'intériorisation et d'autoconnaissance de soi, concepts exprimés dans les célèbres « Lettres du Voyant », de mai 1871. Dans ces lettres, où Rimbaud développe sa propre théorie poétique, il crée une méthode unique qui cherche à échapper au monde réel et rompre en même temps avec les normes esthétiques de son temps. En ce sens, le thème satanique d' Une saison en enfer est parfaitement placé dans le projet rimbaldien de la « Voyance » et il révèle aussi le double mouvement de transgression de l'artiste: d'une part, sa révolte contre la société bourgeoise et, d'autre part, son désir de changer la poésie traditionnelle. Par conséquent, notre proposition est d'établir une relation entre Une Saison en Enfer et la théorie proposée par Rimbaud - en confluence avec la modernité du XIXe siècle - pour, ensuite, analyser le thème mythique et satanique de l'oeuvre en relation avec ces idées. / Mestre