This dissertation explores a unique body of historical writings published in the native-language newspapers of the Hawaiian kingdom during the 19th century and examines the incorporation of these materials into contemporary knowledge. Scholars of the 20th century have translated a fraction of the historical material, reorganized its contents and published those portions as reference texts on Hawaiian history, culture and ethnography. These English presentations, along with other translated texts have become an English-language canon of Hawaiian reference material that is widely used today. The canon of translated texts is problematic in that it alters the works of the original authors, recasting important auto-representational writings by Hawaiians of the 19th century into a modern Western framework. General reliance upon these translated texts has fostered a level of authority for the canon texts similar to that of primary source material. Such authority and reliance have in many ways eclipsed the Hawaiian authors' original works and have obscured the larger corpus of published writings from the period. General acceptance of the sufficiency of the translated works, a dearth of access tools and few fluent readers of Hawaiian has resulted in much of the archive of historical material remaining unutilized and largely inaccessible to date. However, the impetus of Hawaiian language renewal efforts and more recent Hawaiian scholarship has brought new attention to this body of writings, and such awareness is generating new efforts to rearticulate this neglected resource into the production of knowledge, now and in the future.

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1986. / Bibliography: leaves 442-469. / Photocopy. / xv. 469 leaves, bound ill. 29 cm

Doctor of Philosophy / This thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.

Thesis (M. Phil.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 104-118).

Thesis (Ph. D.)--University of Hong Kong, 1989.

Thesis (M. Phil.)--University of Hong Kong, 1994. / Includes bibliographical references (leaves 138-156).

Thesis (M. Phil.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 249-270).

Thesis (Ph. D.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf 253-281).

La pratique des expropriations dans les départements de la Moselle et de la Meurthe-et-Moselle confirme que seuls l'État, les départements et les communes usent des prérogatives de puissance publique en vue de contraindre les propriétaires à céder les biens qui leur appartiennent pour l'exécution d?un travail public. Les travaux relatifs aux voies ferrées font cependant apparaître deux grands expropriants à savoir l'État et la compagnie des chemins de fer de l'Est. Cette dernière obtenait par la concession le droit d'exproprier des terrains situés sur le tronçon de Frouard à Metz en direction de Sarrebrück. Les acquisitions de terrains sont assujetties à l'accomplissement de certaines formalités établies par la loi du 3 mai 1841. Les formalités qui transforment parfois l'administration en mandataire de la compagnie concessionnaire demeurent soumises au contrôle minimaliste du juge judiciaire afin de confirmer ou d'infirmer la régularité de la procédure, condition sine qua non de toute expropriation. Les acquisitions de terrains sont également subordonnées au paiement préalable des indemnités dues aux propriétaires expropriés. Les indemnités sont fixées, à défaut de convention amiable, par un jury des propriétaires critiqué par les auteurs comme plus protecteur des intérêts particuliers que des deniers publics. Nos recherches révèlent en revanche que les indemnités fixées par les jurés lorrains sont raisonnables, mais élevées dans certains cas. Ces indemnités sont fixées parfois plusieurs mois après après le jugement d'expropriation ou l'accord amiable entraînant diverses réclamations des propriétaires lorrains. / The practice of expropriations in the departements of Moselle and Meurthe-et-Moselle proves that only State, departements and communes exercise public authorities prerogatives in order to oblige landowners to transfer their property for the execution of public work. However, works relating to railways let appear two persons exercising prerogative of public authorities, namely, State and Eastern railways company. By contract for public works the last one got the right to expropriate plots of land situated on the section between Frouard and Metz to Sarrebrück. The purchases are subjected to the accomplishment of some formalities prescribed by the law of the 3rd may 1841. The formalities changing administration (general government) to mandator (authorized agent) of statutory company are subjected to the minimalist control of the judiciary judge in order to confirm the regularity of the procedure, which is a sine qua non condition for all taking over of real estate for a public purpose. The acquisitions are subordinated to the prepayment of indemnities for expropriation payable to landowners expropriated. In case of lack of amicable arrangement, the indemnities for expropriation are assessed by a valuation board in expropriation proceedings composed by landowners, which is judged by the authors as more protector of private interest than publics finance. Our researchs reveal in return that indemnities fixed by the jurors in Lorraine are reasonable, but they are high in some case. The indemnities are sometimes fixed several months after the expropriation order or the amicable arrangement, which generate several complaints from landowners.

The deictic property of pronouns, words that stand for proper names and only take on referential status in the context of a specific utterance, is a fascinating area of study inasmuch as pronouns are pivotal to the construction of a sense of subject. The process of constructing the literary self is especially problematic as it also involves the equivocal placement in time and space of the written subject. This thesis examines that process In relation to the way two contemporary women writers make use of first- and second-person pronouns in two texts, and in so doing proposes a theory of women's first-person fiction as a subversive strategy to write outside the dominant patriarchal ideology. Part I: When "I" speak(s) to "you", not only does the text mark empty spaces to be filled, offering up literary béances as signposts to ravishment, but reader, text, and writer also participate in a triadic exchange of personal positions that turns the fixed origo of the deictic "I, here, and now" into another twist of the kaleidoscope, a temporary tableau of subjectivity. When "I" speak(s) to "you", language converts into speech by making the personae the dramatic necessity of the linguistic act; but literary speech localizes itself within a context that is endlessly locatable: with every reader and every reading, a different instantiation. By writing letters to their children, diaries to themselves, or literary products that exclude themselves from main-stream genres, women find in the false dialogism of "you"-addressed monologues a way of sustaining the illusion that one can write outside of patriarchal ideologies by denying the arbitrariness of the sign. "S/he" is patently a fictional construct, and the third person the venerable mode of epic and novelistic narration. When I speak to you, we seemingly short-circuit that channel and make of our communication both a detour around the symbolic order and a transparently direct line to the Other. Part II: In Oriana Fallaci's Lettera a un bambino mai nato this direct line is an umbilical cord, and her speech a series of lessons told as fables. The unnamed "you" makes possible the transmission of personal experience in a form that seems harmless and childish. Fallaci makes her work innocuous by stripping it of references to time, place, or person, so that the journalist, a chronicler of public History, is able to don the mask of private writer communicating personal history. This act is made possible by the equivocal functioning of the pronouns. Part III: Marguerite Duras, a self-avowed exile from writing at the time she wrote the three Aurélia Steiner texts, and, above all, from writing as a coherent story with well-crafted characters that develop along the linear exigencies of beginning, middle and end, finds in the peripatetic nomination of "you" and "I", an opening to a "post-Holocaust" solution to narrative. The shifting lines of Aurélia's tri-partite story are paralleled in the proliferation of "shifters" which fracture and disperse the unity of the text, preventing total mastery by the reader, while also frustrating the reader's efforts to construct a monolithic sense of self and Other. / Arts, Faculty of / English, Department of / Graduate