Spelling suggestions: "subject:"ondaatje"" "subject:"ondaatjes""
1 |
Ethics of the real : Michael Ondaatje's Anil's Ghost and the touch of the world /Rosochacki, Elke. January 2007 (has links)
Thesis (MA)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.
|
2 |
'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.
|
3 |
Le déplacement de l'ironie dans Green grass, running water de Thomas King et In the skin of a lion de Michael OndaatjeMencé, Marielle. January 2004 (has links)
Thèses (Ph.D.)--Université de Sherbrooke (Canada), 2004. / Titre de l'écran-titre (visionné le 20 juin 2006). Publié aussi en version papier.
|
4 |
Reconstructing identities and escaping trauma in Michael Ondaatje's The English Patient /Bussi, Melanie Leah. January 2007 (has links) (PDF)
Thesis (M.A.)--University of North Carolina at Wilmington, 2005. / Includes bibliographical references (leaves: [61]-62)
|
5 |
Bild und Text-Photographie in autobiographischer Literatur : Marguerite Duras' "L'Amant" und Michael Ondaatjes "Running in the family /Blazejewski, Susanne. January 2002 (has links)
Diss.--Europa-Univ. Viadrina, 2001. / Bibliogr. p. 285-312. Notes bibliogr.
|
6 |
Michael Ondaatje's representation of history and the oral narrativeGamlin, Gordon S. (Gordon Sebastian) January 1991 (has links)
This study examines the function of oral narratives in Michael Ondaatje's representation of history. Ondaatje employs a variety of thematic, structural and stylistic oral narrative strategies in this inquiry. In the course of this work he faces the challenge of translating the open oral quality of the "tale" to the page. Ondaatje's longer prose works counter the printed text's tendency towards stasis through oral narrative and paralinguistic devices. Gradually, the aesthetics of public storytelling inform the process of historiographic revision. Within the oral model, ostensibly verifiable historical facts are no longer subjected to the laws of linear causality; therefore, any central single voice must relinquish its conventional claim to authority. Instead, several "speakers" tell of a shared history. Whereas conventional historiography often focuses on the effect of major historic forces, Ondaatje's oral model reveals how those on the periphery shape and define a given incident. Ultimately, the various participatory agents create the central event in the telling. The study concludes that Ondaatje employs oral narrative strategies to revise monolithic notions of history and to offer an open representation which draws attention to complexities ignored by conventional accounts.
|
7 |
Representation, affiliation and compassion in selected fiction by Michael OndaatjeEspin, Mark January 2010 (has links)
Magister Artium - MA
|
8 |
Michael Ondaatje's representation of history and the oral narrativeGamlin, Gordon S. (Gordon Sebastian) January 1991 (has links)
No description available.
|
9 |
The changing representation of women in Michael Ondaatje's prose /Thomson, Tracey January 1993 (has links)
Criticism of Michael Ondaatje's prose emphasizes the author's deconstruction of familiar binary oppositions as he challenges history and authority. The criticism, however, neglects the opposition between men and women. This omission is surprising, considering the remarkable transition in the representation of women throughout Ondaatje's prose. Women in The Collected Works of Billy the Kid (1970) and Coming Through Slaughter (1976) are objectified: lacking the tools for self-representation, the women are framed as sites of sexuality, negativity, and darkness. In Running in the Family (1982), however, the narrator finds community with female family members, recognizing in himself the penchant for storytelling of his female relatives. Running bridges the earlier texts with the later In the Skin of a Lion (1987), where the narrator grants a more complex subjectivity to the women, empowering them with ability equal to that of men to take "responsibility for the story"(Skin 157).
|
10 |
Ondaatje and canonsLipert, Peter. January 1998 (has links)
Most inquiries into the nature of literary value have focused on how the academy shapes literary taste and determines the reputation of individual authors. This thesis examines how ideas of literary canon can impact a writer at the creative level. Michael Ondaatje's interest in the cultural significance of authorship makes him ideal for this topic of study. The first essay discusses how Ondaatje's repeated quotation of his own texts can be viewed as a metafictional commentary on the anxieties of literary innovation. It shows how the idea of literary influence and the author's relationship to the canon can be embodied as a formal and thematic characteristic of the literary text. The second essay shows how Ondaatje responds to traditional conceptions of the English-Canadian canon as an editor of a national anthology of short fiction. Early national anthologists beginning with E. H. Dewart in his Selections from Canadian Poets (1864) consolidated a set of evaluative criteria that reflected aspects of nineteenth-century English-Canadian nationalism. This essay examines two national anthologies that represent an alternative to this tradition. John Simpson's The Canadian Forget Me Not for MDCCCXXXVII (1837) is a representation of popular nineteenth-century bourgeois literary taste that predates this legitimating rhetoric. Michael Ondaatje's From Ink Lake (1990) renders an ironic commentary on this hundred-year-old legacy of canon formation.
|
Page generated in 0.0186 seconds