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1	'Navigating the tidal pull' : representations of the modern-postmodern tension in Michael Ondaatje's The English patient and Anil's ghost : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in English at the University of Canterbury / Simpson, Andrea Marie. January 2008 (has links) Thesis (M. A.)--University of Canterbury, 2008. / Typescript (photocopy). Includes bibliographical references (leaves 139-146). Also available via the World Wide Web.
2	Representation, affiliation and compassion in selected fiction by Michael Ondaatje Espin, Mark January 2010 (has links) Magister Artium - MA Representation Affiliation and compassion Michael Ondaatje
3	Les silences du texte traduit : traduction et retraduction de Coming Through Slaughter de Michael Ondaatje - une étude de cas / Silences of the Translated Text : translation and retranslation of Coming Through Slaughter by Michael Ondaatje – a case study Lemoine, Aude 14 January 2016 (has links) Les silences d’une œuvre musico-littéraire telle que Coming Through Slaughter participent à l’esthétique jazzistique du roman tout en représentant un défi de taille pour les traducteurs vers le français. Cette thèse a pour objet l’étude du traitement, par les deux traducteurs du roman ondaatjien, d’une part des silences rythmiques qui fragmentent le texte pour lui conférer une mélodie et un rythme textuels et, d’autre part, des silences sémantiques au service de l’esthétique jazzistique qui, au moyen de la parataxe, de l’ellipse et du gérondif, figurent textuellement, non seulement le jazz, mais aussi un de ses pères, le célèbre cornettiste Charles « Buddy » Bolden. En usant d’un métalangage musical pour décrire les stratégies traductives des deux traducteurs francophones du premier roman ondaatjien, Robert Paquin, d’abord, au Québec, en 1987, puis Michel Lederer, en France, en 1999, cette analyse examinera le rapport entretenu par l’interprétation herméneutique des deux professionnels avec leur interprétation musicale du texte. Ce faisant, l’objectif sera de démontrer les propriétés performatives de l’acte traductif lorsque le texte traduit se rattache aux œuvres musico-littéraires en général et aux romans jazzistiques en particulier. / Silences of such a musico-literary work as Coming Through Slaughter contribute to the jazzistic aesthetics of the novel while representing quite a challenge for the French translators. This thesis aims at studying how the two translators of the Ondaatjian novel dealt on one hand with the rhythmical silences which fragment the text and create its melody and its rhythm and, on the other hand, with the semantic silences of the text, part of its jazzistic aesthetics which by use of parataxis, ellipsis and gerund, recreate on a textual level, not only jazz, but also one of his fathers, famous cornet player Charles “Buddy” Bolden. By using a musical metalanguage in order to describe the translation strategies that both Francophone translators of the first Ondaatjian novel, Robert Paquin, in Québec, in 1987, and then Michel Lederer, in France, in 1999, used, this analysis will look at the relationship between the two professionals’ hermeneutic interpretation and their musical interpretation (in a performative sense) of the text. In so doing, the objective will consist in proving the performative characteristics of the translation act when the translated text belongs to musico-literary works in general and to jazzistic novels in particular. Traduction Silence Jazz Interprétation Michael Ondaatje (1943- ) Coming Through Slaughter (1976) Littérature et musique Translation Silence Jazz Interpretation Michael Ondaatje (1943- ) Coming Through Slaughter (1976) Literature and music
4	Representing the Library Schenstead-Harris, Leif 31 August 2010 (has links) Approaching the idea of the library as a polyvocal, self-contradictory and even paradoxical dream, this thesis examines five select texts to examine how this dream emerges across vastly different representations in fiction. Discussed texts include Jorge Luis Borges’ “The Library of Babel” and “The Book of Sand,” Michael Ondaatje’s The English Patient, Ian McEwan’s Atonement, and Thomas Wharton’s Salamander. Special attention is given to the archetypal opposition between daytime’s clarity and night’s disorder, as well as to Alberto Manguel’s two hypothesized library foundational myths, the Tower of Babel and the Library of Alexandria. Although it attempts to remain conscious of social realities surrounding and producing historical libraries, this thesis is primarily concerned with the textual irruption of libraries in fictional narratives, and while its argument articulates the problematic dimension of libraries, it also endeavours to show how libraries are healthy, necessary, and even inevitable human creations. / A survey of library representations in select literary texts. Libraries Paradoxes Jorge Luis Borges Michael Ondaatje Ian McEwan Thomas Wharton
5	The Changing Isolation of the Outsider: A Time-based Analysis of Four Canadian Immigrant Writers Osborne, Marilyn Huebener 24 April 2013 (has links) This thesis addresses four Canadian immigrant English-language prose writers in order to identify commonalities and differences in their literary representations of the immigrant experience over time. While origin and ethnicity factored in the selection of writers so as to ensure diversity, the primary selection criterion was to obtain a significant historical range, from the 1830s to the present. The writers selected are: Susanna Moodie, an immigrant from England in the mid-19th century; John Marlyn, an immigrant from Hungary in the early-20th century; Michael Ondaatje, an immigrant from Sri Lanka via England in the mid-20th century; and Rawi Hage, an immigrant from Lebanon via the US in the late-20th century. I conclude that there are significant similarities among the works of all four writers, generally attributable to their shared experience of being immigrants, and equally significant areas of divergence, generally attributable to the development of Canada, with Moodie and Marlyn on one side of an important watershed in the mid-1950s, and Ondaatje and Hage on the other. All four write extensively of the experience of the immigrant with a fundamental similarity in their depiction of isolation, non-belonging and dislocation. Over time, the representations of isolation have become more complex, mirroring the increasing diversity and complexity of Canadian society. The mid-1950s shift in Canadian immigration policy from preferred British, US, and Northern European immigration to multinational immigration has resulted in increased diversity of both the Canadian immigrant population and Canadian literature. While the environment of the immigrant to Canada changes, one constant has been and is likely to continue to be a sense of dislocation, non-belonging and isolation, of being an uninvited outsider, or survenant. Canadian literature has reflected this reality consistently for almost 200 years and will no doubt continue to do so. Canadian immigrant literature Susanna Moodie John Marlyn Michael Ondaatje Rawi Hage
6	The Changing Isolation of the Outsider: A Time-based Analysis of Four Canadian Immigrant Writers Osborne, Marilyn Huebener January 2013 (has links) This thesis addresses four Canadian immigrant English-language prose writers in order to identify commonalities and differences in their literary representations of the immigrant experience over time. While origin and ethnicity factored in the selection of writers so as to ensure diversity, the primary selection criterion was to obtain a significant historical range, from the 1830s to the present. The writers selected are: Susanna Moodie, an immigrant from England in the mid-19th century; John Marlyn, an immigrant from Hungary in the early-20th century; Michael Ondaatje, an immigrant from Sri Lanka via England in the mid-20th century; and Rawi Hage, an immigrant from Lebanon via the US in the late-20th century. I conclude that there are significant similarities among the works of all four writers, generally attributable to their shared experience of being immigrants, and equally significant areas of divergence, generally attributable to the development of Canada, with Moodie and Marlyn on one side of an important watershed in the mid-1950s, and Ondaatje and Hage on the other. All four write extensively of the experience of the immigrant with a fundamental similarity in their depiction of isolation, non-belonging and dislocation. Over time, the representations of isolation have become more complex, mirroring the increasing diversity and complexity of Canadian society. The mid-1950s shift in Canadian immigration policy from preferred British, US, and Northern European immigration to multinational immigration has resulted in increased diversity of both the Canadian immigrant population and Canadian literature. While the environment of the immigrant to Canada changes, one constant has been and is likely to continue to be a sense of dislocation, non-belonging and isolation, of being an uninvited outsider, or survenant. Canadian literature has reflected this reality consistently for almost 200 years and will no doubt continue to do so. Canadian immigrant literature Susanna Moodie John Marlyn Michael Ondaatje Rawi Hage
7	The Death of the Self: Novels by Ondaatje and Marlatt Murdock, Rebecca Mary 09 1900 (has links) Using similar disjunctive writing styles, Michael Ondaatje and Daphne Marlatt create characters who defy stability, consistency, and predictability. Both authors undermine the notion that the self is a unified entity determined to resist an ambiguity in the search for univocal meaning. Rather, the worlds inhabited by Buddy Bolden, Lalla Dickman, Mervyn Ondaatje, and Ina as found in Coming Through Slaughter, Running in the Family, and Ana Historic subscribe to uniformity by valourizing social and textual conventions. Within these contexts of closure, all characters succumb to some degree of hysteria, madness, or death. In Ondaatje's novels scandal becomes a release from the monotony of a unified self, while in Ana Historic Annie Anderson's continual displacement of pronouns effectively suspends female identity. Ondaatje and Marlett fictionalize the post-structuralist work of Roland Barthes in "The Death of the Author" in that both authors create characters whose boundaries are never fixed, but always shifting according to the contexts in which they find themselves. On this basis the self as embodied in the pronoun "I" contains not a set persona, but a network of competing voices. In the final chapter of this thesis, I examine the implications for authorship which Ondaatje and Marlatt raise in their contention that the self exists without a central core. During moments of autobiography, Ondaatje and Marlatt implicitly contest the defacement of their signatures on novels which call for an obfuscation of identity, but arrest that movement when it folds back on the author's domain--the outer cover of the text. Because Ondaatje and Marlett elide themselves with their characters, they, too, are pulled into a vertigo of language that knows not identity, but the endless positing and erasure of tropes. / Thesis / Master of Arts (MA)
8	Does Running in the family leave Dust tracks on a road? a traveler's guide to inscribing subjective ethnicity / Rembold, Robert. January 1900 (has links) (PDF) Thesis (M.A.)--Université de Sherbrooke, 1999. / Includes bibliographical references.
9	The After Effects of Colonialism in the Postmodern Era: Competing Narratives and Celebrating the Local in Michael Ondaatje’s <i>Anil’s Ghost</i> Pillainayagam, Priyanthan A. 25 May 2012 (has links) No description available. Asian American Studies Asian Studies Canadian Literature Comparative Ethnic Studies Families and Family Life Forensic Anthropology Gender Studies History Holocaust Studies Human Remains International Relations Language Arts Literature Minority and Ethnic colonialism postmodernism Jean Francois Lyotard (meta)narratives local Michael Ondaatje Anil's Ghost South Asian Sri Lanka independence civil war NGO&8217 s identity truth mystery/detective fiction personal stories buddhist genocide
10	Mitchell's mandalas : mapping David Mitchell's textual universe Harris-Birtill, Rosemary January 2017 (has links) This study uses the Tibetan mandala, a Buddhist meditation aid and sacred artform, as a secular critical model by which to analyse the complete fictions of author David Mitchell. Discussing his novels, short stories and libretti, this study maps the author's fictions as an interconnected world-system whose re-evaluation of secular belief in galvanising compassionate ethical action is revealed by a critical comparison with the mandala's methods of world-building. Using the mandala as an interpretive tool to critique the author's Buddhist influences, this thesis reads the mandala as a metaphysical map, a fitting medium for mapping the author's ethical worldview. The introduction evaluates critical structures already suggested to describe the author's worlds, and introduces the mandala as an alternative which more fully addresses Mitchell's fictional terrain. Chapter I investigates the mandala's cartographic properties, mapping Mitchell's short stories as integral islandic narratives within his fictional world which, combined, re-evaluate the role of secular belief in galvanising positive ethical action. Chapter II discusses the Tibetan sand mandala in diaspora as a form of performance when created for unfamiliar audiences, reading its cross-cultural deployment in parallel with the regenerative approaches to tragedy in the author's libretti Wake and Sunken Garden. Chapter III identifies Mitchell's use of reincarnation as a form of non-linear temporality that advocates future-facing ethical action in the face of humanitarian crises, reading the reincarnated Marinus as a form of secular bodhisattva. Chapter IV deconstructs the mandala to address its theoretical limitations, identifying the panopticon as its sinister counterpart, and analysing its effects in number9dream. Chapter V shifts this study's use of the mandala from interpretive tool to emerging category, identifying the transferrable traits that form the emerging category of mandalic literature within other post-secular contemporary fictions, discussing works by Michael Ondaatje, Ali Smith, Yann Martel, Will Self, and Margaret Atwood.

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