Global ETD Search

11	Robert Louis Stevenson’s Romantic Sensibility : Nature and Human Emotion in An Inland Voyage and Travels with a Donkey in the Cévennes Davidsson, Carl-Ludwig January 2017 (has links) In the latter half of the 19th century, Robert Louis Stevenson set off on two journeys through Belgium and France, two travels that were to become the subject of his early travelogues An Inland Voyage and Travels with a Donkey in the Cévennes. In these two travelogues Stevenson elaborates extensively on depictions of nature, and through these depictions, Stevenson suggests that there exists a special relationship between natural beauty and human emotion. In fact, this portrayal of human emotion as bound with nature can be considered as significantly Romantic. Consequently, this study investigates Stevenson’s depictions of natural beauty from the Romantic conceptualizations, the beautiful, the sublime, and the picturesque. However, these Romantic theories are subject to various definitions and perceptions by different aesthetes and intellectuals. Therefore, in this study a few important Romantic philosophers have been given special consideration, those are, Edmund Burke, William Gilpin, William Wordsworth, and John Ruskin. The analysis of Stevenson’s depictions is conducted by way of discussing excerpts and quotations from Stevenson’s writing in relation to these Romantic perspectives. Although these travelogues are misplaced as Romantic in terms of period of time, I argue that Robert Louis Stevenson’s depictions of natural beauty and human emotion in An Inland Voyage and Travels with a Donkey in the Cévennes reveal an interesting Romantic sensibility, which is founded on a combination of the aesthetic and philosophical ideas of the picturesque, the beautiful and the sublime. Robert Louis Stevenson An Inland Voyage Travels with a Donkey in the Cévennes the beautiful the sublime the picturesque Languages and Literature Språk och litteratur
12	The Presence of Jacques Lacan's Mirror Stage and Gaze in Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde and in Rouben Mamoulian's 1931 Film Smith, Enoch Shane 29 April 2010 (has links) For many years, theorists have turned to popular movies and books to help interpret the difficult principles of Jacques Lacan. However, one story that has gotten very little attention is Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde and its derivative body of film adaptations. Both the novella and Rouben Mamoulian’s 1931 film are a small part of an intertextual body of work which contains scenes that play out the Lacanian principles of the mirror stage and the gaze very well. Since art imitates life, an in depth exploration of the way that these scenes play out can illuminate how Lacan’s abstract theories might look in the real life formation of identity and in male/female relations. Adaptation Gaze Mirror Stage Dr. Jekyll and Mr. Hyde – 1931 Film Rouben Mamoulian Jacques Lacan Robert Louis Stevenson English Language and Literature
13	Robert Louis Stevenson and Scotland: A most complicated relationship Dunsmore, Patricia Berard 01 January 1991 (has links) No description available. An inland voyage Strange case of Dr. Jekyll and Mr. Hyde Weir of Hermiston Thomas Hardy 1840-1928 Scotland -- In literature Literature in English, British Isles
14	Literary Case Histories and Medical Narratives in Nineteenth-Century Britain Austin, Travis Wade 07 July 2009 (has links) (PDF) Literature and medicine are not usually seen as related disciplines, but scholars have already begun producing fruitful scholarship regarding historical and aesthetic interactions between them. This thesis adds to that scholarship by examining medicine and literature in nineteenth-century Britain. More specifically, Thomas De Quincey's Confessions of an English Opium-Eater and Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde both use nineteenth-century medical case conventions to tell their stories. Furthermore, because both works deal with addiction, divided selves, and the power that physical substances can have on morality and character, these two works provide an excellent comparison coming 65 years apart. As such, they are a great point from which to begin looking more closely at how the interactions between medicine and literature evolved during the nineteenth-century in Britain. This thesis examines the role that "scientific" discourse has played in medicine and literature as interpretive disciplines, the rhetorical techniques and innovations surrounding the intersection of the two disciplines, and the authority that each discipline derived by implicitly borrowing ideological assumptions and textual forms from the other. Confessions is a wonderful example of a Romantic, autobiographical text that clearly uses the medical case study conventions; in fact, De Quincey was often cited in the years following the publication of Confessions as an authority on opium and its uses. By the time Jekyll and Hyde was published, however, a work like Confessions could no longer hold its own in medical debates. The professional institutions of medicine and literature had changed too much. Hence, by analyzing these two works side-by-side, I intend to illustrate different narrative approaches to similar issues at the beginning and end of the century. More importantly, I hope to use these texts in conjunction with specific medical case histories to discuss each text's reliance on interdisciplinary authority. Literature and Medicine Thomas De Quincey Confessions of an English Opium-Eater Robert Louis Stevenson Strange Case of Dr. Jekyll and Mr. Hyde Britain Nineteenth Century Medical Case Studies English Language and Literature
15	Současné české překlady anglicky psané poezie pro děti / Recent Czech translations of children's poetry in English Hron, Jiří January 2017 (has links) The thesis deals with recent Czech translations of children's poetry in English and their addressees. In the first part, we describe the terminological issues related to the terms dětská literatura and dětská poezie (and their English equivalents), focus on the specific features of children's poetry and the process of translating children's literature, and finally outline the history of children's poetry in the Czech lands, the United Kingdom and the USA. In the second part, we compare target texts with their source texts in terms of content (proper nouns, puns etc.) and form (rhythm, rhyme etc.), thereby showing the strategies the translators used. Finally, we also comment on the issues pertaining to the publishing of children's literature and describe the origination of the Czech translation of Shel Silverstein's A Light in the Attic. Keywords: children's literature, children's poetry, translation, translation analysis, Shel Silverstein, Robert Browning, Robert Louis Stevenson, Alexander Milne, Thomas Stearns Eliot, Lewis Carroll, Norman Lindsay
16	"This, too, was myself": Empathic Unsettlement and the Victim/Perpetrator Binary in Robert Louis Stevenson's <em>Strange Case of Dr. Jekyll and Mr. Hyde</em> Bruner, Brittany 01 March 2017 (has links) At first glance, Strange Case of Dr. Jekyll and Mr. Hyde is a tale that reinforces binaries. One of these is the self/other binary that is central to David Hume's and Adam Smith's theories of sympathy that conceive of a self imaginatively identifying and experiencing fellow-feeling for an other. However, this notion is complicated because Jekyll and Hyde are the same person. Further, many critics argue that Stevenson actually challenges binary thinking. While Hume and Smith do not challenge the self/other binary in connection with sympathy, trauma theory critics do challenge a self/other binary that lies at the heart of sympathy: the victim/perpetrator binary. Noted trauma theorist Dominick LaCapra develops a method of empathizing called empathic unsettlement where a secondary witness listens with empathy to a victim's traumatic witness while recognizing the difference of his or her position as a witness. He argues that perpetrators may also warrant understanding, but this understanding does not come through empathy. However, one of the hallmarks of empathic unsettlement is that it does not neatly resolve or replace traumatic narratives. Therefore, I argue that empathic unsettlement could also be a useful method for allowing a perpetrator to witness. While practicing empathic unsettlement for a perpetrator may not be worth the risk in real life, performing a thought experiment in literature can test how using empathy might provide a better way to theorize perpetration. Using two witnesses who attempt to practice empathic unsettlement for Jekyll and Hyde, Dr. Hastie Lanyon (who fails), and Mr. Gabriel John Utterson (who succeeds), I will show how empathic unsettlement could be used for both a victim and perpetrator to tease out the complexities of assessing a traumatic situation. Robert Louis Stevenson Strange Case of Dr. Jekyll and Mr. Hyde John Utterson Hastie Lanyon Henry Jekyll Edward Hyde sympathy David Hume Adam Smith fellow-feeling empathy Dominick LaCapra empathic unsettlement binary self other victim perpetrator English Language and Literature
17	Romance in the prose of Robert Louis Stevenson Howitt, Caroline Ailsa January 2013 (has links) This thesis provides a wide-ranging account of the work of Robert Louis Stevenson, tracing an unyielding preoccupation with the mode of romance throughout his famously diverse body of writing. It argues that Stevenson's prose retools romance in several important ways; these include modernization, disenchantment, and the reinterpretation of romance as a practical force able to reach beyond textual confines in order to carve out long-lasting psychological pathways in a reader. In its pursuit of these arguments, the thesis draws upon and appends a significant amount of archival material never before used, including excerpts from The Hair Trunk – Stevenson's first extended piece of fiction, still unpublished in English. More widely, it analyses the appearance of romance within four major aspects of Stevenson's prose: aesthetic theme, structure, setting, and heroism, each of which is the focus of a discrete chapter. The introduction engages with the history and definition of romance itself, arguing that it is most usefully approached as mode rather than genre in the context of Stevenson's writing. Chapter I then assesses Stevenson's direct critical engagement with romance, and appraises his wider literary aesthetic in that light. Romance is shown to be built in to the way he writes about writing, adventure being intrinsic to his authorial quest for adequate expression. Chapter II goes on to examine Stevenson's relationship with structure, and argues that self-reflexivity interacts with romance to form the habitual core of his creative writing. Chapter III investigates the use of cities, forests and seas as sites of modern romance within Stevenson's oeuvre, arguing that he eschews descriptive Romanticism and instead lauds a primarily practical approach towards the navigation of these environments. Finally, Chapter IV demonstrates Stevenson's perception of a relationship between authorship and the heroic, charting his use of romance as part of a progressive evocation of the failure of heroism itself as a sustainable modern ideal. 823
18	Henry Jekyll, Sherlock Holmes, and Dorian Gray: Narrative Politics and the Representation of Character in Late-Victorian Gothic Romance O'Dell, Benjamin Daniel 15 July 2008 (has links) No description available. English literature Robert Louis Stevenson Strange Case of Dr. Jekyll and Mr. Hyde Arthur Conan Doyle The Sign of Four Oscar Wilde The Picture of Dorian Gray character fin de si&232 cle late Victorian gothic romance city London performance class
19	Confronting eternity : strange (im)mortalities, and states of undying in popular fiction. Bacon, Edwin Bruce January 2014 (has links) When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities. I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series Immortality Undeath Undying Magic Science Pseudoscience Life Death Eternity God Alchemy Phoenix Popular Fiction Pop Culture William Shakespeare Hamlet Doctor Who The Doctor The Master Buffy the Vampire Slayer Gulliver's Travels Struldbrugg Jonathan Swift Sherlock Holmes Moriarty Arthur Conan Doyle Merlin The Once and Future King T.H. White The Mask Batman The Joker Scream Ghostface Saw The Jigsaw Killer Hanz Lungwitz Breaking Bad Walter White Heroes Sylar A Portrait of the Artist as a Young Man James Joyce The Picture of Dorian Gray Oscar Wilde Emily Dickinson Georg Wilhelm Friedrich Hegel Roger Ebert Judith Butler J.R.R Tolkien Dylan Thomas Robert Louis Stevenson
20	Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition Syme, Neil January 2014 (has links) This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches. 823

Search results