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Castle Building: Contemporary Poetry and Flash Fiction from AppalachiaJohnson, Sharolyn Shae 01 May 2021 (has links)
Appalachian writing brings a voice to the region that is often obstructed or excluded by popular culture throughout the United States. Crowded with stereotypes, many stories of Appalachian culture are misconstrued or never heard at all. This makes the work of modern Appalachian writers especially significant. Perhaps one of the best ways to reach a broader audience of people in this fast-paced digital time is through shorter writings, and in this thesis I will be presenting my process of writing modern flash fiction and poetry and of sharing the truths of working class, Appalachian people.
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Environmental Deterioration in Contemporary Appalachian Literature: A Biblical Ecocritical Analysis of Serena and Strange as This Weather Has BeenCraft, Alexandria C 01 May 2018 (has links)
Ron Rash’s Serena and Ann Pancake’s Strange as This Weather Has Been are two contemporary Appalachian novels that have yet to be analyzed from a biblical ecocritical perspective. While some literary scholars acknowledge the environmental aspects of the novels, little of their research goes beyond examining the land and its resources as commodities or metaphorical extensions for the characters. In this thesis, I elaborate on those interpretations by scrutinizing the natural descriptions in both novels and comparing those findings to some of the landscapes and environmental verses located within the Bible. Unlike the pastoral ideal found in a portion of the literature preceding the twentieth century, contemporary Appalachian writers such as Rash and Pancake have moved away from such a bucolic, prelapsarian idealization in favor of limning a more industrialized, postlapsarian Appalachia. Following both analyses, I conclude by predicting how emerging Appalachian writers will portray the landscape in future works.
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La figure du couple machiavélique / The figure of Machiavellian coupleBelot Gondaud, Caroline 11 December 2014 (has links)
La figure du couple machiavélique, présente chez Shakespeare, Laclos, Barbey d'Aurevilly, Henry James, James M. Cain, entre autres, est étudiée selon une triple approche. La première approche, d'inspiration structurale, vise à dégager les éléments constitutifs de la figure et son scénario permanent. L’analyse conduite sur la base de cette approche confirme l'existence de deux matrices, l'une fondée sur le couple Macbeth, l'autre sur le couple de libertins des Liaisons dangereuses. La seconde approche, qui relève d'une démarche herméneutique, met en évidence le substrat biblique de la figure du couple machiavélique dans sa version shakespearienne, qui serait une réécriture du récit de la Chute de la Genèse. La version laclosienne du couple machiavélique serait pour sa part le marqueur de la dégradation des relations amoureuses dans leur conception post-courtoise. Enfin, la troisième approche est esthétique: elle vise à étudier la construction de la figure, son effet sur le lecteur, et sa valeur ajoutée par rapport à la figure canonique du Méchant. Elle s'attache aussi à définir l'esthétique du mal associée à la figure du couple machiavélique. / The figure of the Machiavellian couple, which appears in Shakespeare, Laclos, Barbey d’Aurevilly, Henry James, James M. Cain, among others, is studied through a three-fold approach. The first one is a structural one and aims at identifying the basic elements of the figure and its scenario. This approach confirms the existence of two matrix, one based on the couple of Macbeth and the other on the pair of libertines of Laclos’ novel Les Liaisons dangereuses. The second approach is interpretative and underlines the biblical basis of the figure of the Machiavellian couple in its Shakespearean version, which is a rewriting of the Fall of Adam and Eve while the couple of Laclos signals the deterioration of romantic relationships in a courtly meaning. The third approach deals with aesthetics and aims at studying the forms and poetics of the figure and its effect on the reader as well as its added value in relation to the “Canon figure” of the Villain. This third approach deals also with the aesthetics of Evil linked to the figure of the Machiavellian couple.
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