Thesis (Ph.D.) - Simon Fraser University, 2007. / Theses (Faculty of Education) / Simon Fraser University. Senior supervisor: Stephen Smith -- Faculty of Education. Also issued in digital format and available on the World Wide Web.

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Fenomenologinė filosofija tampa galimybe atskleisti Nijolės Miliauskaitės poezijos gelmes, naujai ir esmiškai pažvelgti į jos kūrybos jutimiškumą, subjektyvumą, skirtingų kokybių susiliejimą, intensyvius intencionalius santykius. Nemažai lietuvių literatūros kritikos tyrinėta N. Miliauskaitės kūryba iki šiol nesulaukė išsamesnio fenomenologinio žvilgsnio. Analizei pasirinkti visi poetės eilėraščių rinkiniai: „Uršulės S. portretas“ (1985), „Namai, kuriuose negyvensim“ (1988), „Uždraustas įeiti kambarys“, „Širdies labirintas“ (1999) ir kūrybiškumo turintys N. Miliauskaitės laiškai rašyti buvusiai Marijampolės internato-mokyklos literatūros mokytojai Liudai Viliūnienei. Magistro darbe aprašomi charakteringiausi, poetės kūrybos fenomenus sutelkiantys tekstai. Tyrinėjamas kūrybinės sąmonės atvirumas skirtingiems vaizduotės būdamas – sapnams, svajonėms, troškimams, pasakoms, šių įsivaizduojamų tikrovių svarba kalbančiajam, poetinė fenomenologinė jų specifika. Aprašomi lyrinio subjekto patyrimo galimybes plečiantys susitikimai su daiktais, per daiktus, daiktuose. Analizuojamas erdvėlaikį formuojančio, subjektą apibūdinančio judėjimo fenomeno reikšmingumas N. Miliauskaitės kūryboje. Aprašoma fenomenologinė praeities kaip gelmės raiška poetės tekstuose, iškeliami jutimiški erdvėlaikio sutelktumą ir intensyvumą liudijantys ženklai. Tyrinėjama lyrinio „aš“ kalbinė savimonė, analizuojamas lyrinio „aš“ atvirumas rašto objektams. Fenomenų pasirodymų būdus ir prasmę aprašanti... [toliau žr. visą tekstą] / Phenomenological philosophy becomes a possibility to reveal the depths of Nijole Miliauskaite’s poetry, to have a new and essential look at her creation’s sensuality, subjectivity, coalescence of different qualities, intensive intentional relations. N. Miliauskaite’s creation was studied by many lithuanian literature reviewers, but still it did not receive more comprehensive phenomenological view. For analysis were chosen all poetess verse collections: „Uršulės S. portretas” (“A Portret of Uršule S.”) (1985), „Namai, kuriuose negyvensim“ (“A House Where We will not Live”) (1988), „Uždraustas įeiti kambarys“ (“The Forbidden Entrance Room”) (1995), „Širdies labirintas“ (“The Labyrinth of Heart”) (1999) and N. Miliauskaite’s letters to Marijampole boarding-school ex-teacher of literature Liuda Viliūnienė. In this master’s work the most characteristic texts which recruit poetess creation phenomenon are described. There is studied the openness of creative consciousness to different ways of imagination – dreams, fantasies, wishes, tales, the importance of this imaginary reality to a speaker, its poetical phenomenological specific. There is described a meeting with things, through things, in things, which expand lyrical subject’s experience possibilities. Also there is analyzed importance of moving phenomenon in N. Miliauskaite’s creation, which forms space-time and describes a subject. It is described phenomenological past as the depth expression in poetess texts, thrown up... [to full text]

Habilitacijos procedūrai teikiamuose mokslo darbuose (monografijoje Laiko įkaitė ir partnerė: Lietuvių literatūros kritika 1945–2000 ir straipsniuose) tiriama sovietinės ir posovietinės lietuvių literatūros kritikos raida 1945–2000 metais. Pirmoje tyrimo dalyje, skirtoje sovietmečio literatūros kritikai, išryškinama svarbiausios kritikos raidos tendencijos bei jas lėmę veiksniai, aptariamas socialistinio realizmo reiškinys, apibūdinamos literatūros kritikos metodologinės orientacijos. Daugiausia dėmesio skiriama pirmajam pokario dešimtmečiui, kai literatūros kritika represinėmis priemonėmis buvo priversta tapti komunistų partijos ideologijos diegimo įrankiu. Vėliau, pradedant nuo šeštojo dešimtmečio vidurio, tyrimo centru tampa literatūros kritikos sąlygiškas laisvėjimas, modernėjimas, gabiausiems kritikams renkantis sociologinei meno traktuotei alternatyvias metodologijas: fenomenologiją, struktūralizmą, recepcijos teoriją. Antroje tyrimo dalyje apžvelgiamas literatūros kritikos procesas pirmuoju nepriklausomos Lietuvos dešimtmečiu: akcentuojamos metodologinio atsinaujinimo pastangos, aptariami nauji uždaviniai, sumuojami rezultatai. Konstatavus metodologines akademinės kritikos inovacijas (postkolonijinė kritika, kultūrinės studijos, feminizmas), inspiruotas išeivijos ir apskritai Vakarų humanitarų patirties, dėmesys kreipiamas į skirtingų metodų dialogo ženklus, svarstomos jų galimybės. Darbe aptariama ir šio laikotarpio neakademinės kritikos specifika, ryškiausiu jos... [toliau žr. visą tekstą] / The research works submitted for the habilitation procedure (the monograph Hostage and Partner of Time: Soviet and Post-Soviet Lithuanian Literary Criticism (1945–2000) and articles) analyse the development of Soviet and post-Soviet Lithuanian literary criticism from 1945 to 2000. The first part of the research deals with Soviet-era literary criticism and highlights the most important tendencies in its development, reveals the factors that influenced that development, discusses the phenomenon of Socialist Realism, and examines the methodological orientation of literary criticism. The analysis focuses on the first post-war decade, when literary criticism was forced to become a tool for the propagation of the Communist Party ideology. Later, beginning with the mid-1950’s, the analysis concentrates on the relative liberation of literary criticism and its modernisation, which came about as a result of the most skilled critics choosing alternative methodologies rather than the sociological art interpretation: phenomenology, structuralism, and reception theory. The second part of the research surveys the process of literary criticism in the first decade of Lithuanian independence, accenting attempts at methodological renewal, discussing new tasks, and summarising the results. Having stated the methodological innovations in academic criticism (postcolonialism, cultural studies, feminism), inspired by the experience of the Lithuanian émigré researchers and the Western humanities in... [to full text]

In this dissertation I seek to ascertain why Merleau-Ponty concludes his Phenomenology of Perception with lines drawn from Saint-Exupery's Pilote de guerre. This ending has received no critical scrutiny in the literature on Merleau-Ponty. Yet it is quite puzzling; for the content of the cited passage is antithetical to the philosophical thrust of Merleau-Ponty's work. And yet, it is linked to the idea of 'the realization of philosophy'. Given that this idea constitutes the guiding impetus of Merleau-Ponty's existential phenomenology, a comprehensive understanding of Merleau-Ponty's project requires coming to terms with the role of Saint-Exupery within it. / To this end, I examine the major themes of Saint-Exupery's work, in particular the 'cosmic humanism' of Pilote de guerre, showing that this is based on a spiritual account of self-sacrificial action. I then reconstruct the core of Merleau-Ponty's existential phenomenology as a 'militant' philosophy, focusing my analysis around the notion of 'human productivity'. On this basis, I provide a detailed reading of Merleau-Ponty's essay "Man, the Hero" in terms of post-Hegelian philosophy of history, and I provide a detailed comparison of Saint-Exupery and Merleau-Ponty with regard to truth and freedom. / This analysis reveals that heroism for Merleau-Ponty is the manifestation of pure human productivity and, as such, is a phenomenally objective purposiveness. Drawing on Kant's third Critique, I conclude that the rationale for Merleau-Pontian heroism is to furnish sensory evidence attesting to the possibility of a solution to the human problem. Through the concept of the hero, or of heroic purposiveness, we are able to cognize the potential suitability of the natural world for the realization of human reconciliation. The hero is thus the linchpin of Merleau-Ponty's teleology of consciousness, and of the transcendental project that hinges on this teleology.

La these se propose d'analyser la specificite du dire poetique d'Yves Bonnefoy, tant sur le plan du rapport entre theorie et pratique, que comme rapport organique entre la "parole" et la "phenomenologie". La negativite servira comme principe methodologique, permettant de distinguer entre la phenomenologie husserlienne de la conscience, fondee sur une theorie apodictique de la connaissance, et une phenomenologie du dire, ayant comme visee le sens, ou la presence de l'etre, et se proferant dans l'existence sensible. La these delimitera l'homologie structurelle et thematique entre la parole de Bonnefoy et de Heidegger, a partir de la finitude dans sa double dimension de dereliction et de transcendance, ce qui permettra de deboucher sur la valeur redemptrice du sacre. La phenomenologie du dire se dissociera egalement d'une analyse linguistique, opposant au "textualisme", la presence vivante d'une parole ouverte, soucieuse d'instaurer, au sein de l'existence hic et nunc, le sens destinal de l'homme.

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In hierdie studie word die manifestasies en ontwikkelings van mens-masjien-verhoudinge in die Afrikaanse poësie vanaf 1990 tot 2012 ondersoek. Relevante uitgangspunte van die fenomenologie, posthumanisme en transhumanisme dien as teoretiese begronding om die gekompliseerde en gevarieerde aard van mens-masjien-verhoudinge in die Afrikaanse poësie te bestudeer. Die studie beoog om deur kwantitatiewe data-analise die manifestasie van tegnologiese terme en verwysings na tegnologiese objekte in Afrikaanse poësie vanaf 1990 tot 2012 te karteer. Hierbenewens word deeglike kwalitatiewe ondersoek gedoen na die verskillende representasies van mens-masjien-verhoudinge in geselekteerde Afrikaanse gedigte. Laastens word rolle en metaforiese betekenisse van digitale tegnologie in posthumane subjekte se belewing op drie tematiese vlakke ondersoek, naamlik liefde en seks, spiritualiteit en die dood. / In this study the different manifestations of human-machine relationships in Afrikaans poetry between 1990 and 2012 are investigated. Relevant viewpoints from the phenomenology, posthumanism and transhumanism form part of the theoretical framework in which the often complicated and varied nature of human-machine relationships are studied. It is the goal of this study to map the manifestations of technological terms and references to technological objects in Afrikaans poetry from 1990 to 2012, utilising quantitative data analysis. Furthermore, the in-depth qualitative analysis will investigate various representations of human-machine relationships in selected Afrikaans poems. The roles and metaphorical meanings of digital technology within the experiences of posthuman subjects are investigated on three thematic levels, namely love and sex, spirituality and death. / Afrikaans and Theory of Literature / M. A. (Afrikaans)

This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.

Boris Akunin’s historical detective novels have sold more than eight million copies in Russia, and have been translated into nearly a dozen languages. Boris Akunin is the pen name of literary critic and translator Grigory Chkhartishvili. Born in 1956 in the republic of Georgia, he published his first detective stories in 1998. His first series of novels, beginning with Azazel’ and followed by Turetskii gambit, feature a dashing young police inspector, Erast Fandorin. Fandorin’s adventures take place in the Russian Empire of the late nineteenth century, and he regularly finds himself at the center of key historic events. The first book takes place over one summer, May to September 1876, as the intrepid Fandorin, on his first case, unveils an international organization of conspirators—Azazel’—bent on changing the course of world events. The second takes place two years later from July 1877 to March 1878 during Russia’s war with the Ottoman Empire. The young detective again clashes with Azazel’, as he unravels a Turkish agent’s intricate plan to weaken and destroy the Russian state. Both adventures have proven wildly popular and entertaining, while maintaining a certain literary value. The exploration of time and space in Russian literature was once a popular subject of discourse, but since the 1970s it has been somewhat ignored, rarely applied to contemporary works, and even less to works of popular culture. Akunin’s treatment of time and space, however, especially given the historical setting of his works, is unique. Azazel’, for example, maintains a lightning pace with a tight chronology and a rapidly changing series of locales. Turetskii gambit presents a more laconic pace, and, though set in the vast Caucasus region, seems more claustrophobic as it methodically works towards its conclusion. Both works employ a seemingly impersonal narrator, who, nonetheless, speaks in a distinctly 19th century tone, and both works cast their adventures within the framework of actual historical events and locations. This thesis analyzes core theories in literary time and space, applying them then to Akunin’s historical detective literature.