This dissertation examines Elias Canetti‟s novel, Auto-da Fé, in an attempt to show how it depicts the manifestations of violence and the effects of traumaon the individual and on modernist society. This analysis of Auto-da Fé concentrates on the representation of trauma on a fictional level at a time when Europe was experiencing political, social and economic upheaval after the First World War. Auto-da Fé provides an intense emphasis on the psychological effects of trauma on the characters; thereby reflecting the turmoil of this period. An analysis of Canetti‟s novel, in the light of trauma, reveals an enigmatic testimony not only to the nature of violent events, but of the way trauma resists simple comprehension. I argue that this gives rise to complexities within the narration by tracing the insistently recurring words and symbols which point to an interpretation beyond the thematic content of the text, namely one which repetitively bears witness to hidden wounds within individual consciousness. The titles of the three parts of Auto-da-Fé reflect a condition of somatic and sychosomatic dislocation: “A Head without a World”, “Headless World”, and “The World in the Head”. My argument is that the fictional trauma in Canetti‟s novel contains several characters who suffer from a breach of the self and the inability to comprehend society. The inability to fit into society results in the protagonist creating an isolated refuge in order to protect himself from the outer world. However, his alienation exacerbates his physical and emotional dislocations and ultimately leads to his destruction.

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莊清花. / "2007年9月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 127-130). / "2007 nian 9 yue". / Abstract also in English. / Zhuang Qinghua. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 127-130). / 前言 --- p.1 / 硏究背景 --- p.1 / 硏究目的 --- p.4 / Chapter 第一章 --- 混雜的歷史與混雜的語言 --- p.8 / 香港開埠初期的殖民統治與語言現實 --- p.8 / 官方語、規範語及共同語的三分局面 --- p.16 / 語言的權力涵義 --- p.19 / 中文抬頭 --- p.23 / 粤語成爲書寫語言而進入主流 --- p.25 / 兩文三語與翻譯 --- p.30 / Chapter 第二章 --- 混雜的語言、混雜的文化、混雜的身份 --- p.32 / 混雜語言的混雜情況 --- p.32 / 香港：「雜種」 --- p.36 / 混雜的「香港人」意識 --- p.41 / Chapter 第三章 --- 「肥土鎮」與「狂城」：混雜香港的兩個面貌 --- p.44 / 混雜的「肥土鎮」一一《飛氈》 --- p.47 / Chapter (1) --- 蝦仔學英文 --- p.47 / Chapter (2) --- 信耶穌得水牛 --- p.55 / Chapter (3) --- 大鼻野味 --- p.59 / 語言的「亂」、身份的「亂」一一《狂城亂馬》 --- p.70 / Chapter (4) --- 洋人敍述香港歷史 --- p.70 / 小結 --- p.79 / Chapter 第四章 --- 以文字來重繪香港地圖---個想像的香港 --- p.81 / Chapter (1) --- 在佔領街趕鬼 --- p.82 / Chapter (2) --- 閑話角 --- p.94 / Chapter (3) --- 愛秩序的愛秩序將軍 --- p.101 / 小結 --- p.111 / Chapter 總結 --- 香港的混雜性 --- p.116 / 後殖民（post-colonialism )是否去殖民（decolonization )? --- p.116 / 去殖民：回歸本土，植「根」香港？ --- p.119 / 香港的本土性：混雜性 --- p.121 / 混雜性：後殖民的語言之戰 --- p.125 / 參考書目 --- p.127

Thesis (M.L.Sc.)--University of Alberta, 2009. / A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Library and Information Studies, School of Library and Information Studies, University of Alberta. "Fall 2009." Title from pdf file main screen (viewed on October 30, 2009). Includes bibliographical references.

Thesis (Ph. D.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 206-227). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (D.A.)--Illinois State University, 2000. / Title from title page screen, viewed May 16, 2006. Dissertation Committee: L. Moody Simms (chair), Niles R. Holt, Lawrence W. McBride, Frederick D. Drake, Steven E. Kagle. Includes bibliographical references (leaves 296-299) and abstract. Also available in print.

The politics of the Middle-Passage and its attendant socio-cultural and historical trauma is the starting point of this study. The dispersal of Africans, or at least people of African origin, to different parts of the world has produced over the past few decades numerous dissertations and theses describing socio-cultural linkages between Africa and the Black diaspora. On the part of creative writers and literary critics of every persuasion, there exists a consensus of creative and critical opinion that seeks to establish that "the history of Africa and the Africans ... is one of iron, blood and tears." (Nkosi, 1981, p.30) The study is in agreement with Omafume Onoge's submission that the cultural imperialist process went beyond mere acts of vandalism to produce a period in the history of Africa and the black diaspora in which "many educated Africans (and their counterparts in the diaspora) required a major act of intellection to ascribe aesthetic value to our traditional arts." (Dnoge, 1984, p.5) The study grapples with the source(s) of this socio-cultural apathy, and how the liberal humanist discourse which replaced the body of the colonialist's mythologies is predicated on what JanMohammed describes as "an ironic anomaly." (JanMohammed, 1985, p.281) My exploration of this ironic anomaly begins from the premise of the myths, legends and traditions that are subsumed, truncated, misread or simply repressed to propound this 'humanist' philosophy. What emerges from this cultural and ideological exploration is a vernacular theory of reading built around the carnivalesque figure of Esu Elegbara (the Yoruba 'trickster' god) whose "functional equivalent in Afro-American profane discourse is the Signifying Monkey." (Gates, 1990, p.287) The study is in two parts. Part One consists of three chapters exploring different aspects of the cultural and ideological discourses between Africa and the black diaspora from historical and theoretical perspectives. Part Two focuses, in four chapters, on the works of five writers from Africa (Nigeria and Ghana), South America (Brazil), the West Indies (St. Lucia) and the United States. These are Ayi Kwei Armah, Wole Soyinka, Jorge Amado, Derek Walcott and Amiri Baraka respectively. The conclusion summarises the major arguments of the thesis.

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All the Place You’ve Got is a collection of short stories inspired by and set in the author’s hometown of Warner Robins; Georgia. This is a work of fiction. Names, places, occurrences, and characters are either a product of the authors imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. The title is a partial quote of dialogue stated by Hazel Motes, the protagonist of Flannery O’Connor’s first novel Wise Blood. The full quote reads, “In yourself right now is all the place you’ve got.” This collection of stories was built as a direct antithetical response to O’Connor’s representation of dialogic salvation and visions of the divine, a central concern, stemming from dedicated Catholic belief, of her body of work. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

This study sets out to develop a sociological approach to art and literature which views art as a socially situated knowledge and which at the same time preserves an independent and unique sphere of activity for art that enables it to offer life opportunities of a different nature from those of the established social order. To fulfill this task two complementary studies were carried out; a theoretical investigation and an empirical research. First, this critically examines existing theories in the sociology of knowledge and art and focuses on the problem of the 'social determination of art and literature.' This examination is based in the consideration of art as an element in the knowledge sphere and the sociology of art as a branch of the sociology of knowledge. A critique of the notion of the 'social determination of art' leads to a set of hypotheses which are tested in the field. The question of great art problematises the 'social determination' hypotheses. Secondly, an empirical study of Australian playwrights is carried out which examines the hypotheses derived from the theoretical investigation. The empirical methods of this study is a survey, using a mail questionnaire, supported by interviews with professionals in Australian drama. This is combined with a documentary study of the socio-economic conditions of Australia during the last 25 years, together with content analysis of plays written by Australian playwrights during the same period. The results of the empirical investigation support the proposed hypotheses showing that while social conditions effect contemporary artistic works, this effect is not uniform when comparing 'first rate' of 'great art' with other artistic creations. This questions the concept of the social determination of art explored in the thesis, and at the same time questions the extent and scope of such a determination. Finally, the conclusion of the thesis is that sociology is relevant in the analysis of artistic works so long as it is concerned with the social dimension of art. It is concluded that the aesthetic knowledge of the artist, which determines the quality of artistic works, is independent from social forces. Although art bears the mark of contemporary social conditions, it is not a product of these conditions. / Doctor of Philosophy (PhD)