No description available.

This study analyses the ‘prose of circumstances’ which implies the ‚discovery of prose fiction by the working-class movement in Germany from 1863 to 1906‘. In its introduction, it points to the prior history in the 1840s. The aim is both to identify developments in the working-class prose and to further differentiate the literary network in the second half of the 19th century. Previous research mostly perceived working-class literature from a socio-historical perspective; the last publications date back more than thirty years. Mostly summaries and not monographs, they focus on poetry and theatre of the labour movement. In contrast, this study looks into various forms of prose writing: a pre-revolutionary novel fragment by G. Weerth, a novel in three volumes dealing with the foundation phase of social democracy by J.B. von Schweitzer; short narratives published in feuilletons and calendars of the 1870s by the authors C. Lübeck, A. Otto-Walster and R. Schweichel; autobiographical writing from 1867 to 1906 by J.M. Hirsch, H.W.F. Schultz and F.L. Fischer as well as a piece of early social reportage by P. Göhre. In this way, the study presents a spectrum of diverse narrative modes, reflects on the conditions of genre and highlights differences and similarities at the same time. By considering source texts and intertextual relations, I do not examine the narrative pieces separately, but in their interdependence with other texts. The study focuses on narrative characteristics while examining overall literary and social developments. As a sequence of case studies, the chosen working-class prose narratives can be perceived from an innovative angle. The majority of texts are discussed in detail and related to contemporary bourgeois texts for the first time. Thus, the dominant perspective of bourgeois and poetic realism is broadened by the category of ‘social realism’. For this reason, the study can be seen as a contribution to a revised understanding of literature in the second half of the 19th century.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

In his encyclopaedic work On the Properties of Things, John Trevisa describes water as 'able'. Water is an element which has no determinate properties of its own but which takes up properties from its surroundings and, at the same time, enacts change on those surroundings. This thesis argues that the inherent flexibility or 'ableness' of water, which Trevisa and other encyclopaedic writers identify, is crucial to late-medieval understanding of the element and, in turn, informs its use in a variety of religious writings. The multivalent potential of water enables devotional writers to use references to the element to symbolise and articulate access to God whilst they simultaneously deploy it as a metaphorical limiting agent that can regulate this access. Although there has been some critical attention paid to certain kinds of water in late medieval devotional prose, this thesis contains the first holistic study of various manifestations of water. It considers the material and historical realities of water in the Middle Ages as well as representations of water in different literary genres and demonstrates the 'ableness' of water within them. These findings are then used to shed light on a specific genre: spiritual guides authored by men and addressed to women, from the late-fourteenth and early-fifteenth centuries. The thesis identifies a literary language of water in late medieval devotional prose - a complex and recurrent set of images that authors draw upon to explicate Christian doctrine and portray different aspects of religious life. These images provide the organisational structure of the thesis. Three significant tropes of water are considered in light of its 'ableness': the imagined and encouraged relationship between water and the body in spiritual guidance, the importance of laundering the soul in such works, and the relationship between blood and water in Passion meditations.

Connections between the medieval Cornishman and translator John Trevisa (1342-1402) and Glasney College in Cornwall are explored in this thesis to create a deep map about the figure and the site, articulated in a series of micro-narratives or anecdotae. The research combines book-based strategies and performative encounters with people and places, to build a rich, chorographic survey described in images, sound files, objects and texts. A key research problem – how to express the forensic fingerprint of that which is invisible in the historic record – is described as a poetics of uncertainty, a speculative response to information that teeters on the brink of what can be reliably known. This poetics combines multi-modal writing to communicate events in the life of the research, auto-ethnographically, from the point of view of an artist working in the academy. As such, it makes a pedagogical contribution to reflective writing about creative practice. John Trevisa, in the context of contemporary Cornish culture, is a contested figure because his linguistic innovations, in the course of translating key texts from Latin into the English vernacular, make no obvious contribution to Kernowek (Cornish), which is currently undergoing revival from a position of extinction. However, Glasney College, where Trevisa is likely to have been educated, is generally regarded as the centre for the production of the Ordinalia, a cycle of medieval mystery plays written uniquely in Kernowek. This thesis considers the vocabulary that Trevisa innovated, such as concept, fiction, virtual, as crucial to research writing but calls for a new vocabulary to articulate the feminised, labile research processes that characterise this research. It also uses the site and the figure as templates to articulate wider, contemporary systems under stress socially, culturally and politically.

明末清初的散文發展，前人或以載道觀念論之，或以抒情觀念論之，又或以流派分梳論之，各有其理，亦各有其弊。本人認為，明末清初散文發展自有其一以貫之的內在邏輯，因而本文力圖探尋其內在邏輯，重建其發展軌跡。本文指出，文道關係正是影響明末清初散文發展的關鍵因素，時人對於文道關係的不同詮釋與理解，決定了當時散文發展的方向。 / 「古文傳統」與「小品傳統」，是理解明清之際散文發展的重要概念。特別是周作人等以抒情為宗旨建構的「小品傳統」，對理解這一段散文史，產生了深遠的影響。然而本文通過考察「小品傳統」的建構過程，以及其所反抗的「古文傳統」之內涵，並辨析二者關係，相比起「古文傳統」內部「載道、唐宋、法度」的體系，「小品傳統」自身存在局限，並不足以貫穿明清散文的發展。相反，考察晚明小品文家的古文觀，清初古文家的小品創作，本文以為小品儘管一度興盛，然而「古文傳統」才是其時古文發展的主軸。 / 「古文傳統」既是關鍵所在，則如何詮釋文道關係是其時文壇的重要問題。本文指出明清之際的文道論接續了唐宋以來古文家與理學家的討論，並面臨如何承繼二者而有所發展的問題。本文通過辨析各家對文道合一的詮釋，考索其時文道論與唐宋古文家、理學家的論述之關係，指出明清之際的文人一方面推崇理學家道的修養，一方面提倡古文家的文章造詣，來達到文道合一。並通過加強文與經之間的關係，強調文必本於經典，來彌合古文家與理學家的分歧。 / 本文同時以錢謙益、黃宗羲、侯方域、汪琬為中心，具體討論明清之際文道關係的發展過程。指出錢謙益通過批評復古派，推崇反經，提出性情、學問與世運的主張，以道決定文的思路，拉開重建古文傳統的序幕。黃宗羲則在錢謙益的基礎上，通過擴大性情的內涵，以及道在審美上的包容性，重新詮釋文道關係。然而明清之際對侯方域的評價之轉變，從肯定其古文主張，到批評其小說筆法，恰正體現道決定文的思路在重建古文傳統過程中遇到的困境。汪琬則從道的層面維護程朱理學，從文的層面肯定復古派，批評錢謙益，排斥小說筆法，試圖通過文道並重的方法來解決困境。可以說明清之際古文的發展，正是從道決定文走向文道並重的過程。 / Prose development in late Ming and early Qing periods is accounted for by scholars in terms of the theories of Confucianism, the concepts of lyricism or the summaries of different schools of classical prose. This study holds the belief that the prose development within this period of time has its consistent internal logic, and its aim is to establish a new theory to explain and restore the track of such development based on the existing theories by previous scholars. This study points out that the relationship between dao 道 and wen 文 is the major element influencing the prose development in late Ming and early Qing; the interpretation and comprehension of it dictates the direction of prose development. / The two different traditions of classical prose and familiar essay are key concepts in understanding the prose development in late Ming and early Qing, especially the latter, which was constructed by Zhou Zuo-ren under the principle of lyricism. Based on the examination of its establishment, the nature of classical prose tradition it defies, and the relationship between the two, this study reveals that the familiar essay tradition was bound by its limitations which rendered it insufficient in accounting for the entire prose development of the whole period, in contrast to the internal system of classical prose tradition. The review of the view on classical prose by familiar essay writers in late Ming and the familiar essay output of classical prose writers in early Qing indicate that the classical prose tradition was then the main pillar of prose development and familiar essay was its subsidiary, despite its once high popularity. / With classical prose tradition being the key to prose development in late Ming and early Qing, the interpretation of the relationship between dao and wen was a significant issue in the ancient literary society. This study points out that when the scholars in late Ming and early Qing discussed dao and wen, such discussion was a continuation of that contributed by the masters of prose writing and philosophers of Neo-Confucianism since Tang and Song Dynasties, which relates to the problem of finding ways to advance through inheriting the two notions. Literary society in the past upheld the idea of fusing dao and wen. By analyzing the different interpretations of such fusion by various parties, this study investigates the relationship between the discussion of dao and wen in late Ming and early Qing dynasties and also that in Tang and Song dynasties, pointing out that by strengthening the relationship between prose and classics and emphasizing the classical basis of prose, it bridges the gap between Neo-Confucian philosophers’ morality and classical prose writers’ literariness. / Lastly, this study discusses the specific development of the theory of dao and wen during late Ming and early Qing through four case studies, namely, Qian Qian-yi’s criticism on Revival Theory, Huang Zong-xi’s theory of qing 情, the changing reviews on Hou Fang-yu, and Wang Wan’s criticism on Qian Qian-yi and fictional prose. Qian’s criticism marked the beginning of the revival of classical prose tradition during late Ming and early Qing, where he promoted the returning to classic, proposing the concept of qing and knowledge being complementary and the idea of dao determining wen. Huang, based on Qian’s thoughts, reinterpreted the relationship between dao and wen by further expanding the pool of connotations of qing and the aesthetic comprehensiveness of dao. / However, the phenomenon of scholars agreeing on Hou Fang-yu’s stand on classical prose while excoriating his ‘fictional style of prose writing techniques’小說筆法 reflects the predicament faced by the idea of dao determining wen in the process of reconstructing the classical prose tradition. Wang tried to resolve such predicament through putting emphasis on both dao and wen, defending neo-confucianism from the aspect of dao and affirming Ming Classicalists from that of wen, while criticizing Qian and rejecting fictional style. All these illustrate that classical prose development during Late Ming and Early Qing is a process of the transition from dao determining wen to emphasizing both dao and wen. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 李向昇. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 215-229). / Abstracts in Chinese and English. / Li Xiangsheng.

Orientador: Juliana Santini / Banca: Rejane Cristina Rocha / Banca: Sylvia Helena Telarolli de Almeida Leite / Resumo: A presente dissertação tem como objetivo a análise da relação entre o romance Cidade de Deus (1997) com a realidade que ele representa, de modo a apreender de que maneira se dá a representação do real, especialmente no que diz respeito à violência, pela narrativa. O romance de Paulo Lins, um dos mais importantes da prosa brasileira do final do século XX, pode ser tomado a partir de uma vertente ficcional que inaugura uma nova forma de pensar o realismo na narrativa contemporânea. Cidade de Deus traz à tona a realidade brasileira aliando técnicas de pesquisa antropológica a uma história narrada em ritmo veloz, que trata do desenvolvimento do tráfico de drogas e da criminalidade no conjunto habitacional que dá título ao livro, firmando o contrato realista com o leitor. Para dar um tratamento formal às cenas violentas, Paulo Lins vale-se da poesia, a começar pelo poema-epígrafe de Paulo Leminski que o autor utiliza na abertura do livro, proporcionando uma representação literária da violência, por mais brutal que ela seja. Essa mediação formal que o escritor utiliza para moldar o objeto retratado proporciona uma leitura do Brasil dos excluídos e sua realização no romance, é possível afirmar, configura-se como um capítulo à parte na produção literária e nos estudos que viriam a surgir sobre a relação entre literatura e pobreza no Brasil. A insistência nas cenas violentas confere unidade à narrativa, causa um efeito de realidade e leva o leitor a pensar de forma abrangente na sua significação, dinamizando a representação da violência como elemento constituinte da sociedade brasileira. Problematizando a noção mesma de representação, o que se busca é discutir o romance à luz de uma perspectiva diacrônica que considera a maneira como o realismo - pensado na esteira do que propõe Tânia Pellegrini, como método e como postura - realiza-se no romance em questão, diferenciando-o - ou não - do... / Abstract: This Master's thesis aims to analyze the relationship of the novel City of God (1997) with the reality it represents, to grasp how it gives a construction of the representation of reality, especially with respect to violence, through the narrative. The novel by Paulo Lins, one of the most important in Brazilian prose of the late twentieth century, can be taken as a fictional aspect that ushers realism in contemporary narrative. City of God brings out the Brazilian reality combining techniques of anthropological story in a fast pace, which deals with the development of drug trafficking and criminality in public housing that gives the book its title, signing the realistic contract with the reader. To give a formal treatment to the violent scenes, Paulo Lins makes use of poetry, beginning with the title-poem of Paul Leminski that the author uses in the opening of the book, providing a literary depiction of violence, however brutal it may be. This formal mediation that the writer uses to shape the depicted object provides a reading of the excluded Brazil and its realization in the novel, we can say, it appears as a separate chapter in the Brazilian literature and studies that would arise about the relationship between literature and poverty in Brazil. The insistence on violent scenes gives unity to the narrative, causes an effect of reality and leads the reader to think comprehensively in its significance, boosting the representation of violence as a constituent element of Brazilian society. Questioning the very notion of representation, what is sought is to discuss the novel in light of a diachronic perspective that considers how the realism - thought in the wake of proposing Tânia Pellegrini, such as posture and method - takes place in the novel in issue, distinguishing it - or not - than we might think as a realistic trend in Brazilian literature / Mestre

Ce mémoire de maîtrise en création littéraire est composé de deux parties: un recueil de poésie en prose ponctué de poèmes en vers, Étreinte de bleu, et un dossier d'accompagnement, Le mouvement du mot. Le recueil poétique forme un récit « troué », celui d'un séjour à l'étranger d'une jeune femme, qui laisse derrière elle son amoureux. Confrontée à l'absence de l'homme qu'elle aime et à la solitude, l'énonciatrice tente de cerner son propre désir en regard des attentes de sa lignée maternelle, figurée par une femme imaginée, fantomatique, qui lui impose de partir. Le texte comporte trois parties, correspondant à trois moments du voyage: le départ, le séjour à l'étranger et le retour. Bien qu'écrit en prose, parfois déchiré par de brefs poèmes en vers, Étreinte de bleu s'accorde à la vision qu'on a de la poésie lyrique contemporaine au Québec. Il laisse entendre une voix qui tente de faire corps avec le monde tout en restant près de sa propre subjectivité. Présenté sous forme de fragments, le dossier d'accompagnement entreprend une réflexion sur ma pratique poétique, traversée par une posture mélancolique. Plusieurs théoriciens et créateurs, dont Julia Kristeva, Anne Juranville et Monique Deland, se sont penchés sur le soleil noir de la mélancolie. Ils ont fait état d'une tension dans la pratique du poète, qui est à la fois incité à écrire et freiné dans son élan. Cette tension se retrouve non seulement dans le processus d'écriture, mais aussi dans le texte. Mais la posture mélancolique incite aussi à interroger la poésie actuelle, poésie qu'on qualifie d'intime et qui met en scène un sujet lyrique. Pousse-t-elle au repli sur soi ou est-elle ouverture à l'autre? Se pose alors la question de l'engagement du poète, corollaire du lyrisme, ce chant porteur de désir et d'espoir, selon Martine Broda. Enfin, cet essai interroge mon approche de la création, dont plusieurs aspects rappellent la posture du poète romantique, tout en posant la question suivante: ma posture est-elle tributaire d'une structure psychique personnelle ou d'influences littéraires? Est-il possible de changer de posture? ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Création, Mélancolie, Poésie, Poésie en prose, Corps, Lyrisme.

Thesis (Ph. D.)--University of Chicago, Department of Comparative Literature, 2001. / Includes bibliographical references. Also available on the Internet.

Zugl.: Hamburg, Universiẗat, Diss., 2005. / Includes bibliographical references.