The object of the present research is the features of the Bildungsroman genre “Great Expectations” by Charles Dickens, “Of Human Bondage” by William Somerset Maugham and “The Cider House Rules” by John Irving. The aim of the Bachelor Thesis is to explore structural and poetic elements (canons) of the Bildungsroman in the aforementioned novels. To achieve the aim the following objectives have been set: 1) to overview the history of the Bildungsroman and to present theoretical poetic elements of such a genre; 2) to identify the key features of the Bildungsroman in the aforementioned novels; 3) to carry out the comparative analysis of the novels in the aspect of the Bildungsroman. The methodology of the Bachelor Thesis includes Jerome Buckley’s conception of the Bildungsroman, which was employed to trace the features of the Bildungsroman in chosen novels. Also, Gintaras Lazdynas’s structural and poetic elements (canons) of the Bildungsroman, presented in his book, were referred to in the present research were used. The comparative literature as a method (the definition of Tötösy de Zepetnek) enabled to analyze novels in the comparative aspect. Novels portray typical protagonists of the Bildungsroman genre whose quest towards self-identity is long, gradual and full of challenges. However, such journey towards spiritual maturity is crucial, as it provides heroes with a life education and new experiences. Therefore, at the end of their journey, after completion... [to full text] / Darbo objektas – bildungsromano žanrinės ypatybės Charleso Dikenso romane „Didieji lūkesčiai“, Williamo Somerseto Maughamo romane „ Aistrų našta“, bei Johno Irvingo romane ‚ „Sidro namų taisyklės“. Bakalauro darbo tikslas – atskleisti, kaip pasirinktuose romanuose atsispindi tradiciniai bildungsromano žanro struktūriniai ir poetiniai elementai (kanonai). Tikslui pasiekti buvo iškelti šie uždaviniai: 1) apžvelgti bildungsromano istoriją, bei pristatyti šio žanro kanonus (poetinius ir struktūrinius elementus); 2) atpažinti pagrindines bildungsromano žanro ypatybes pasirinktuose kūriniuose; 3) analizuoti romanus lyginamuoju bildungsromano aspektu. Bakalauro darbo metodologija apima Jerome’o Buckley’o bildungsromano koncepciją, norint identifikuoti šio žanrinio tipo romano ypatybes pasirinktuose kūriniuose. Taip pat darbe buvo naudojami Gintaro Lazdyno išskirti bildungsromano struktūriniai ir poetiniai elementai (kanonai). Komparatyvistinė literatūra kaip metodas (Tötösy de Zepetneko apibrėžimas) leido analizuoti tris grožinės literatūros romanus lyginamuoju aspektu. Romanai vaizduoja klasikinius bildungsromano protagonistus, kurių kelias link harmonijos bei savęs suradimo yra ilgas, laipsniškas bei pilnas išbadymų. Toks kelias, vedantis link dvasinės brandos, yra labai svarbus, nes būtent šios kelionės metu herojai pereina gyvenimo mokyklą bei įgyja naujos patirties. Būtent dėl šios priežasties savo kelionės pabaigoje, įveikę įvairias dvasinio vystymosi... [toliau žr. visą tekstą]

<p>Victorian England was the first empire in history to imagine itself as liberal, believing that its own power could bring law to the darkest and most unruly corners of the world. But despite covering nearly the entire period known as the Pax Britannica, Victoria's long reign did not include a single year without war. </p><p> The conceptual knots presented by England's global power forced some of the century's most canonical authors to confront, and attempt to solve, contradictions fundamental to their self-consciously liberal society. Because law was understood by many Victorian theorists as the opposite of violence, it was when metropolitan thinkers came up against the fringes of civilization's ordering power, in the empire, that the violence underwriting peace become most uncomfortably plain. "Out there," said jurist James Fitzjames Stephen, "you see real government." But if what Stephen called the liberal state's quiet but crushing force emerged most explicitly at the peripheries of law's reach, literary forms composed at the center of the imperial network --London-- reveal the problem of liberal violence as absence, as silence: as a problem. These problems became dilemmas of narrative and poetic form that I argue are legible across linked areas of Victorian literary production: from the realist masterpiece (The Mill on the Floss) and the philosophical treatise (A System of Logic) to works of political historicism (On Liberty), sensation fiction (Armadale), and apparently apolitical poetry about flowers (Poems and Ballads). Forms of Empire looks to show how the Victorian state's interrelated forms --literary and political, conceptual and historical-- expose the violence liberal theory could not see. </p><p> Forms of Empire builds on and seeks to advance work on the pairing of "liberalism and empire" in the broad area of cultural studies. To do so it works dialectically, placing Victorian liberalism's vision of perpetual peace in the context of the empire's endless war and tracking loose networks of London-based thinkers as they confronted the problem of how violence relates to law. This process exposes live debates, both explicit and implicit, about just what force secured Victorian England's so-called Age of Equipoise. What emerges is a particularly literary analysis of how linked coteries of Victorian writers, through the height and decline of a great world power, attempted to make sense of the uneasy links they saw (and did not see) between liberalism and empire, the forms of law and the disorder of violence --the vexed connection, that is, between peace and war. </p><p> The project's focus on literary structure and political theory is also historical, tracing Victorian global rule from its phase of hegemonic globalization at mid-century (the so-called Age of Equipoise) into its more openly war-torn, post-1870 decline, a structure that corresponds to the project's two halves. While reframing existing periodizations of empire in Victorian Studies, this genealogical procedure also particularizes what is often studied as a homogenous "imperial discourse." Forms of Empire is necessarily interdisciplinary, since it charts the conceptual cross-pollination among semi-autonomous fields of Victorian knowledge: political theory, anthropology, economics, philosophy, and literature, among others. But it is also focused on method, showing that theoretical debates among Victorians themselves --about the dilemmas of their hegemony-- can illuminate controversies about liberalism, violence, and method in a newer moment of empire, ours.</p> / Dissertation

Focusing on the poetry published in the Cornhill, Once a Week, Good Words, and the Argosy, four of the most prominent illustrated literary periodicals of the 1860s, this dissertation contends that the popular poetry found in mid-century periodicals is not only essential to our understanding of the periodical press, but also that the periodical is integral to our understanding of Victorian poetics. Each chapter examines the poetry and poetics of a single periodical title and addresses several key issues related to the publication of poetry in the periodical press: the power and influence of illustrated poetry in contemporary visual culture, the intended audience of the literary periodical and the issues that raises for editors and poets, the sociology and networks of print, and the ways in which periodical poetry participated in contemporary debates about prosody. This dissertation thus offers an alternative history of Victorian poetry that asserts the centrality of the periodical and popular poetry. In other words, it argues that without a consideration of the vital importance of periodical poetry, Victorian poetry studies is quite simply anachronistic. / Graduate / 2015-04-22 / 0593 / 0391 / caley.ehnes@gmail.com

<p>This dissertation addresses the lack of an identifiable group of World War I soldier-poets within the French literary and cultural canon. Through a study of archival matter from the period, including a survey of trench newspapers, contemporary print media, first editions, and material objects, the author concludes that one possible factor is the phenomenon of the democratization of the figure of the poet in the French trenches. The dissertation describes the groundbreaking rejection of the romantic definition of poetry as a sacred activity in favor of the view that poetry could be written by anyone, particularly those who served as witnesses on the front lines of experience. During the First World War, these common soldier-poets, later known broadly as témoins, were validated and encouraged from diverse places in French society: from the trenches where the soldiers' newspapers actively mobilized enlisted men to pick up a pen and write, to venerable institutions such as the Académie Française and Académie Goncourt which continually validated works by soldier-writers during the war years. </p><p>However, the democratization of the poet was not always openly received by established poets. Guillaume Apollinaire, who served as a soldier during First World War, struggled with how to redefine his role once he enlisted. Through close readings of a wide variety of his wartime writings, with a particular emphasis on Calligrammes (1918), the dissertation shows how this struggle dogged him until his death on November 9, 1918. </p><p>A second case is examined in the figure of Blaise Cendrars, who served in the French Foreign Legion during the war until he was seriously wounded. Through close readings of several fundamental postwar texts like La Guerre au Luxembourg (1916) and J'ai tué (1918) as well an examination of the film J'Accuse (1919), one sees how this poet resisted the idea that soldiers should become writers and how his renunciation of this double role became a crucial part of his personal mythology, helping to explain his mythologized disappearance from poetry in 1917 following the amputation of his right hand. </p><p>Through comparing the poetic careers of Apollinaire and Cendrars, two distinct responses to the question of how to witness the war emerge. Furthermore, the social phenomenon of the democratization of the poet in the trenches provides an essential backdrop to approaching wartime texts of witness, from both Apollinaire and Cendrars, as well as lesser-known writers such as René Dalize, Lucien Linais, Marc de Larreguy de Civrieux and Pierre Reverdy.</p> / Dissertation

By studying several paintings by Venetian artist Tiziano Vicelio, better known as Titian, this thesis explores how the Venetian painter’s works resisted the encroaching arrival of a masculine identity and reflected on the ramifications inherent in its performance. I will provide evidence that the contemporary discourses and/or criticisms of artistic production that informed Titian’s style allow us to situate his feminized male within both the historical framework of sixteenth-century Venice, and the delicate negotiation of gender that was taking place at the same time. This thesis also situates Titian’s works within contemporary literary acknowledgements about the fluidity of gender. I will begin by examining Titian’s painting of David and Goliath in the church of Santo Spirito in Venice, as a prelude to my main analysis of the whole cycle. Next I will study his painting of Tarquin and Lucretia, concluding with an evaluation of his enigmatic Il Bravo. I will argue that, using the metaphorical power of contrast in his paintings Titian was highlighting the violent nature of masculinity and the tragic consequences of its performance, while simultaneously offering the image of the feminized male as an exemplar.

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Borges saw narrative as the bearer of universally re-combinable elements. Although these elements seem sequential, their essential formal integrity guarantees their rearrangement to generate new narratives. The ficción lives beyond its author. However, Borges’ ontological anxieties also have a life of their own that undermines the ficción’s assimilative potential. By developing poetic and linguistic insights Borges creates immortal text through the construction of a symbolic repertoire. Each element of the repertoire has its genesis in the author’s personal development. This history is archaeologised in the early poetry and mediated through a theory of metaphor and the reader’s interaction with the text. Borges sees no need for a Freudian reading theory. Instead he develops an antipsychological poetics. He enlists the reader as a willing participant in the text by a dual strategy of symbolic incorporation. Firstly, readers identify with characters through vicarious emotional prediction. Secondly, he refreshes the reader’s participation by presenting emblematic devices serving as sub-text to enhance symbolic participation. Together these strategies constitute a ‘magic causality’ of negotiated textual interpretation continually operating in his narratives. But the discipline of magic causality also conceals a rhetoric of presence establishing counter-motivational effects to disturb symbolic incorporation at the level of genre. The dissertation extracts key features for scrutiny from Borges’ early literary theory and criticism, elaborating them into a general aesthetic programme. It examines biographical influences in shaping his critical and creative work. It problematises his texts from the point of view of his ideas about linguistics, their identity as contributions to the genre of the ficción, and the centrality of metaphor and analogy as interpretative strategies. I use a number of approaches for this enterprise, including biographical criticism (ontological preoccupations), substitutional analysis (temporal subjectivity), linguistic interpretation (theory of metaphor), literary criticism (readerly reception), structuralism (readerly incorporation), and deconstruction (rhetoric of suppression). The dissertation pragmatically investigates, and contests, Borges’ assimilative poetics of textual presence.

Blue-Print: Human/Hydrokinetic Drawing Projects, is based on an expanded field of drawing practice, centering on a series of spatial and time-based projects at various bodies of water around the world. Blue-Print drawing projects set out to describe a language that articulates a human/hydrokinetic relationship. This expanded drawing practice emerges through diverse forms of installation, video, land-art, kinetic sculpture, light works, sensor-drawing, photography, living-monochromes, sound, durational events and research. This expanded drawing practice is based on an inquiry into the relationships between land/place and thought/movement. It addresses the processes through which landscape, and its forms, are internalised in conceptual space, and the ways in which conceptual frameworks are projected outwards onto the landscape. The work is informed by, and contributes to, the paradigms of eco-poetics and psychogeography. Both of these paradigms engage with the relationships between the physical world and the human experience of space and time. Combining the two through my practice creates a view of the environment and the human as two interdependent circulatory systems. Bodies of water/weather cycles/conceptual systems/the human as a water-body, these are subjects in my work as much as the sense of circulation comes through methodologically and aesthetically in the actual making and form of my expanded drawings. This approach to art practice uses process in a particular way, that is as a primary means of making an artwork, although it could be said that such an approach is also an anti-method in as much as the 'method' is variable - it is continually invented given the situation/circumstances. What is consistent is a dynamic of proliferation; the work spreads out in different directions and in unpredictable ways. Here process is not for 'outcome' but is the work itself. My overall practice has taken drawing as the base from which to work. My works are combinational and connective. They are based on a type of research that is deliberate, intense and composite, and which activates the spaces of transformation that exist in the movement between landscape and thought, the circulation between environment and human. This investigation uses human engagement with moving bodies of water to generate drawings in a variety of ways, according to the specifics of each hydrokinetic system. This interest in human/hydrokinetic relationships stems from my experiences as a surfer and surfing is one of the means with which I create drawing works within this investigation. I am interested in the unique and dynamic complexity of hydrokinetics in each of the chosen locations and how this complexity of movement influences the drawing/ recording process. I am interested in generating real-time drawing works from the particular intersection of: place; time; human/hydrokinetic activity; ecological forces at work and the specific ways in which these variables all affect the resultant form of abstraction. Further to this I am interested in exploring the capacity of abstraction to access, and refer to, psychological space more readily than naturalistic renderings of the landscape.

Research Doctorate - Doctor of Philosophy (PhD) / This thesis explores theoretical aspects of the affective dimension of literature. Beginning with Aristotle's tying of katharsis to the drama, the pattern of affective relations is completed through the establishing of terms for each of the three broad traditional genres. These relations can be expressed in the ratio: as katharsis is to the genre of the dramatic, so kenosis is to the genre of the lyric, so kairosis is to the genre of the epic. Within each of these affective relations, further relations are determined for the identity structures within each genre. In defining these identity structures, the philosophical, theological, psychological and literary aspects of katharsis, kenosis and kairosis are explored. Of particular use in mapping these identity structures and literary affects were the philosophical theories of Aristotle, Kant, Hegel, Heidegger, Sartre, and Wittgenstein; the theological views of D.G. Dawe, John Macquarrie, Charles Pickstone, and Ernest F. Scott; the psychological theories of C.J. Jung, Jacques Lacan and Julia Kristeva; the literary theories of Mikel Dufrenne, Stanley Fish, Toshihiko and Toyo Izutsu, Hans Robert Jauss, W.R. Johnson, Frank Kermode, William Elford Rogers, and D.T. Suzuki; and the literary works of Homer, Shakespeare, George Herbert, S.T. Coleridge, Charles Baudelaire, Wallace Stevens, and James K. Baxter. Taking up Aristotle's project to grant cognitive value to the experience of art, this thesis argues for the centrality of identity structures within the dimension of the affective. The thesis further determines that literature's affective dimension is the domain within which aesthetic identity is established. Such imaginative identity structures amount to a cultural catalogue of identity possibilities. As the keepers of this catalogue, the three interpretive genres amount to a body of affective knowledge that is its own dimension.