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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Transnational compositionality and Hemon, Shteyngart, Díaz A no man's land, etc. /

Miner, Joshua D. Velarde, Luis R., January 2009 (has links)
Thesis (M.A.)--University of North Texas, August, 2009. / Title from title page display. Includes bibliographical references.
2

Поетика постмодернизмау драмама Александра Поповића(књижевни поступци, деконструкција темељних образаца, ново читање традиције) / Poetika postmodernizmau dramama Aleksandra Popovića(književni postupci, dekonstrukcija temeljnih obrazaca, novo čitanje tradicije) / The Poetics of Postmodernismin the dramas of Aleksandra Popovic(literary procedures, the deconstruction of the basic patterns, a new reading of the tradition)

Todorić Gordana 31 January 2015 (has links)
<p>U na&scaron;em radu poku&scaron;aćemo da, na korpusu drama za odrasle, koje su u &scaron;tampanom obliku dostupne javnosti, izdvajanjem samo nekih interpretativnih problema, ukažemo na ono za &scaron;ta pretpostavljamo da je po-etička osnova Popovićevog rukopisa. Njihova priroda nametnula je aparaturu i strategije koje pripadaju postmodernizmu. To je stoga &scaron;to i sam pisac, verujemo, jeste postmoderni pisac.<br />Pre svega, Popovićev opus hronolo&scaron;ki posmatrano, interferira s postmodernizmom u srpskoj književnosti, pa nas zanima priroda veze ove dve pojave. Takođe, u Popovićevom delu značajno je prisutna, prvenstveno jezička, građa preuzeta iz srpskog književnog nasleđa, te tradicionalne kulture, a upravo je odnos prema tradiciji jedno od relevantnih pitanja koje postmoderna postavlja. Slično se može reći i za problem književnog redefinisanje obrazaca kulture. Doslednim preoblikovanjem farse, temeljnim postupka prema žanru kojim se A. Popović služi, on je ne samo na tragu op&scaron;tih književnih težnji dvadesetog veka, nego posebnim poetskim postupcima čini vidljivim one kulturne pojave koje su u vreme nastanka Popovićevog opusa bitno uticale na kulturnu matricu Srbije, ali i naznačile ono &scaron;to će se u kulturi (pa tako i u književnosti) tek dogoditi.<br />U hermetičnim tekstovima, dakle onima koje smo svrstali u drugu tendenciju Popovićevog opusa, predstavljanje značenja kao nepredstavljivog, realizovano je i kao igranje (jezičkih) igara, &scaron;to je drugo ime za apofatičku misao koja, verujemo, prožima Popovićevo celokupno delo. Nihilizam neće zavr&scaron;iti u samoubistvu nijednog njegovog lika (&scaron;to bi predstavljalo tragičnu preteču postdramskog teatra u verziji Sare Kejn), nego u samožrtvovanju (u drami Afera Ljiljak i njenom negativu &ndash; Ružičastoj noći), svojevrsnoj razradi Popovićeve teme potrage, koja signalizira su&scaron;tinsko nepristajanje na logos vidljive stvarnosti. On zna da je nasleđeni koncept o diskurzivnim hijerarhijama &ndash; obmana, ali nije napustio ideju potrage za aksisom.<br />Time &scaron;to problematizuje binom centar-margina, &scaron;to dekonstrui&scaron;e velike narative kulture uspostavljajući tako svojevrsni kontinuitet s nasleđem (i onim koje je ostalo skrajnuto), &scaron;to ukida hijerarhije kulturnih kodova, &scaron;to tematizacijom jezika diskutuje metafiziku prisustva i označiteljske prakse kulturnog kanona kojem pripada, Popović postavlja okvir za (re)konstrukciju poetičkih načela svog opusa. Konačno, tezom o apofatizmu, koja svoju paralelu ima u ruskom postmodernizmu, ma koliko na prvi pogled bila nespojiva s Popovićem i njegovim dramama, onakvim kako ga pamti ideolo&scaron;ki opterećeno književnoj nasleđe, verujemo da odgovaramo na pitanje za&scaron;to Popović pi&scaron;e, tada i tako.</p> / <p>In our paper-work we shall try, concerning the corpus of dramas for adults, which are in printed forms available to the public, to point to what we assume is po-etic basis of Popovic&#39;s writings, by singling out certain interpretative problems. The nature of those works imposed apparatus and strategies that belong to the postmodernism. It is because the writer himself, as we belive, is postmodern writer.<br />First of all, Popovic&#39;s oeuvre, chronologically speaking, interferes with postmodernism in Serbian literature and we are interested in the conection between these two phenomena. Also, in his literary work there is a significal presence of, primarly linguistic, material taken from Serbian literary heritage and traditional culture, and the relationship to the tradition is the one of the relevant questions that postmodernism raises. The same can be said about the problem of literary redefining cultural patterns. By consequent reshaping of farce genre аs the fundamental Popovic`s mood, he is not just on the trail of XXth century<br />literary aspiration, but through special poetic procedures he makes visible those cultural phenomena that had, at the time when Popovic`s oeuvre appeared, significant impact on cultural matrix of Serbia and indicate what in culture (incuding literature) will only happen in the future.<br />In hermetic texts, those considered as the second tendency of Popovic`s oeuvre, representing void as unimaginable, implemented as a play (language) games, is another name for the apophatism, which, we believe, permeates entire Popovic`s oeuvre. Nihilism will not end up in suicide of any of his characters (which would be a tragic forerunner of postdramatic theater in Sarah Kane`s version) but in self-sacrificing (in drama Afera Ljiljak and its opposite &ndash; Ružičasta noć), a kind of working out of Popovic`s theme &ndash; quest, which signals a fundamental refusa of visible reality. He knows that inherited concept of discursive hierarchies is deception but he did not abandon the idea of searching for Axis.<br />By problematizing binary opposition center &ndash; margine, by deconstruction of the grand narratives of culture which means establishing specific kind of continuity with legacy (even with those remained sidelined), by terminating the hierarchy of cultural codes, by discussing the metaphysics of presence and practice of signification to which he belongs (by focussing language), Popovic sets the framework for (re)construction оf poetic principles of his ouvre.<br />Finally, through the thesis on apophatism which has its parallel in Russian postmodenism, although, at first glance, that thesis is incompatible with Popovic and his dramas, as it is remembered by ideologically laden literary legacy, we believe that we have answered the question why Popovic has been writing, then and so.</p>
3

Transnational Compositionality and Hemon, Shteyngart, Díaz; A No Man's Land, Etc.

Miner, Joshua D. 08 1900 (has links)
Contemporary transnational literature presents a unique interpretive problem, due to new methods of language and culture negotiation in the information age. The resulting condition, transnational compositionality, is evidenced by specific linguistic artifacts; to illustrate this I use three American novels as a case study: Nowhere Man by Aleksandar Hemon, Absurdistan by Gary Shteyngart, and The Brief Wondrous Life of Oscar Wao by Junot Díaz. By extension, many conventional literary elements are changed in the transnational since modernity: satire is no longer a lampooning of cultures but a questioning of the methods by which humans blend cultures together; similarly, complex symbolic constructions may no longer be taken at face value, for they now communicate more about cultural identity processes than static ideologies. If scholars are to achieve adequate interpretations of these elements, we must consider the global framework that has so intimately shaped them in the twenty-first century.
4

Photography and Trauma in Photo-fiction: Literary Montage in the Writings of Jonathan Safran Foer, Aleksandar Hemon and W. G. Sebald

Mikulinsky, Romi 22 March 2010 (has links)
Located on the interstice between Media Studies and Literary Theory, my dissertation explores the emerging genre of photo-fiction -- literary works that incorporate photographic images into the manuscripts -- and its impact on the commemoration of traumatic historical events. I argue that the way we represent and remember historical traumas is dependent on the media in which images emanating from these events are produced and circulated; put differently, the context of these images shapes our engagement with them. By examining literary works that incorporate photographs into their printed text, I explore textual and visual representations of historical trauma (such as the two World Wars, the Balkan wars of the Nineties, and 9/11). The authors whose works I analyze (Jonathan Safran Foer, Aleksandar Hemon, W.G. Sebald) grant photography a new status: the inserted images transcend traditional “authentification strategies” and draw attention to the convergence of realism and indexicality featured by these photographs. These authors’ employment of photographs from various media (television, internet, printed press, encyclopedias and archives) questions not only the technical qualities of each medium but the veracity and accuracy of evidence. Photography’s capacity to secure and store information is put radically into question, not only because the new contexts of these images, but because of the manipulations and reconfigurations the movement between media has brought about. Drawing on Walter Benjamin’s concept of the literary montage, I suggest that literature provides an apt arena to examine the reception to images. By literary montage I mean the opening up of a new dimension in which visual and verbal elements are juxtaposed, and the disjunctions and gaps between them encourage readers to become active participants in the creation of narrative. Photo-fiction’s interplay between images and texts therefore not only sheds light on the mechanics of representation, but demand from its audience to reflect on the way we interpret and respond to historical traumas in a society saturated with images.
5

Photography and Trauma in Photo-fiction: Literary Montage in the Writings of Jonathan Safran Foer, Aleksandar Hemon and W. G. Sebald

Mikulinsky, Romi 22 March 2010 (has links)
Located on the interstice between Media Studies and Literary Theory, my dissertation explores the emerging genre of photo-fiction -- literary works that incorporate photographic images into the manuscripts -- and its impact on the commemoration of traumatic historical events. I argue that the way we represent and remember historical traumas is dependent on the media in which images emanating from these events are produced and circulated; put differently, the context of these images shapes our engagement with them. By examining literary works that incorporate photographs into their printed text, I explore textual and visual representations of historical trauma (such as the two World Wars, the Balkan wars of the Nineties, and 9/11). The authors whose works I analyze (Jonathan Safran Foer, Aleksandar Hemon, W.G. Sebald) grant photography a new status: the inserted images transcend traditional “authentification strategies” and draw attention to the convergence of realism and indexicality featured by these photographs. These authors’ employment of photographs from various media (television, internet, printed press, encyclopedias and archives) questions not only the technical qualities of each medium but the veracity and accuracy of evidence. Photography’s capacity to secure and store information is put radically into question, not only because the new contexts of these images, but because of the manipulations and reconfigurations the movement between media has brought about. Drawing on Walter Benjamin’s concept of the literary montage, I suggest that literature provides an apt arena to examine the reception to images. By literary montage I mean the opening up of a new dimension in which visual and verbal elements are juxtaposed, and the disjunctions and gaps between them encourage readers to become active participants in the creation of narrative. Photo-fiction’s interplay between images and texts therefore not only sheds light on the mechanics of representation, but demand from its audience to reflect on the way we interpret and respond to historical traumas in a society saturated with images.
6

Експресионистичко наслеђе у савременом српском песништву / Ekspresionističko nasleđe u savremenom srpskom pesništvu / Expressionist heritage in contemporary Serbian poetry

Drageljević Vujaković Dragana 24 September 2018 (has links)
<p>Питање експресионистичког наслеђа у поетички вишеслојној савременој српској поезији остало је занемарено у нашој књижевној науци, иако је у питању један од њених највиталнијих традицијских токова. Отуда се отвара значајно поље истраживања бројних интертекстуалних веза и утицаја експресионистичке традиције у поезији најистакнутијих српских песника друге половине XX века (М. Павловић, С. Раичковић, И. В. Лалић, Б. Петровић, Љ. Симовић, А. Ристовић, Д. Смиљанић, Н. Тадић). Утицај експресионистичке поетике у њиховој поезији није био директан и очит, него дубоко и спонтано уткан у њихову самосвојну песничку визију, што ове песнике и чини већ признатим, савременим &bdquo;класицима&rdquo; наше поезије. Експресионистичка традиција активирана је у њиховој поезији на стваралачки нов, креативан начин, у постмодернистичком кључу и садејству са другим, често опречним традицијским токовима (од неосимболизма и неонадреализма, до дубинских наслага усменог и средњовековног наслеђа), што је стварало неочекиване интертекстуалне спојеве и нов песнички квалитет.<br />На интертекстуалном и компаратистичком плану, уочавају се бројне духовно-поетичке сродности наших савремених песника са најзначајнијим експресионистичким ауторима у нашем и европском књижевном контексту (М. Црњански, Растко Петровић, Д. Васиљев, Г. Бен, Г. Тракл, Г. Хајм, Е. Ласкер-Шилер).<br />И поред свих специфичности и разлика индивидуалних поетика ових песника, утврдили смо да у њиховој поезији долази до реактуализације готово свих експресионистичких топоса (топоса града, смрти, рата, апокалипсе, &bdquo;живих мртваца&rdquo;, космоса/хаоса, дисоцијације и подвојености субјекта, као и топоса божанско/сатанско). Проблематизујући ове експресионистичке топосе у новим књижевно-историјским и цивилизацијским околностима, наши савремени песници отварају бројна питања духовног, личног и колективног идентитета и опстанка човека на крају другог миленијума. Такође, у њиховом песништву издвојили смо низ кључних експресионистичких стилско-реторичких и обликовних поступака, међу којима је на првом месту поступак гротеске и дисторзије, симултаности, црног хумора, колажа и монтаже, дисоцијативног низања слика, одуховљења и апстраховања материје, као и поступак интертекстуалности и цитатности. Утицај експресионистичке поетике огледа се и на формалном плану, у смислу деструкције и деканонизације традиционалних родољубивих и религиозних жанрова, као и усмених, фолклорних облика басми, бајалица, ругалица, гатки. Долази до жанровских померања и преплитања различитих језичко-формалних модела, од традиционалних, класичних облика (најчешће сонета), до слободног стиха и модерног, неоавангардног поигравања језиком и формом песме, односно песме у прози (прозаиде).</p><p>Истраживање експресионистичког наслеђа показује да су се из поетичке раслојености српског и европског експресионизма развиле и различите неоекспресионистичке струје нашег савременог песништва: критичка, (Љ. Симовић, Б. Петровић, делимично М. Павловић), неосуматраистичка (С. Раичковић), метафизичка (А. Ристовић, Д. Смиљанић), нихилистичка (Н. Тадић), религиозна (једним слојем свог песништва Иван В. Лалић и Новица Тадић).<br />Експресионизам је тако у трајно наслеђе нашој савременој поезији оставио дух критичког преиспитивања свих досадашњих духовних, културних, књижевних, историјских тековина, &bdquo;певање кризе&rdquo;, расапа вредности и визију &bdquo;сумрака човечанства&rdquo;, намећући се као исходиште даљих, постмодернистичких трагања и преиспитивања граница и моћи певања.</p> / <p>Pitanje ekspresionističkog nasleđa u poetički višeslojnoj savremenoj srpskoj poeziji ostalo je zanemareno u našoj književnoj nauci, iako je u pitanju jedan od njenih najvitalnijih tradicijskih tokova. Otuda se otvara značajno polje istraživanja brojnih intertekstualnih veza i uticaja ekspresionističke tradicije u poeziji najistaknutijih srpskih pesnika druge polovine XX veka (M. Pavlović, S. Raičković, I. V. Lalić, B. Petrović, LJ. Simović, A. Ristović, D. Smiljanić, N. Tadić). Uticaj ekspresionističke poetike u njihovoj poeziji nije bio direktan i očit, nego duboko i spontano utkan u njihovu samosvojnu pesničku viziju, što ove pesnike i čini već priznatim, savremenim &bdquo;klasicima&rdquo; naše poezije. Ekspresionistička tradicija aktivirana je u njihovoj poeziji na stvaralački nov, kreativan način, u postmodernističkom ključu i sadejstvu sa drugim, često oprečnim tradicijskim tokovima (od neosimbolizma i neonadrealizma, do dubinskih naslaga usmenog i srednjovekovnog nasleđa), što je stvaralo neočekivane intertekstualne spojeve i nov pesnički kvalitet.<br />Na intertekstualnom i komparatističkom planu, uočavaju se brojne duhovno-poetičke srodnosti naših savremenih pesnika sa najznačajnijim ekspresionističkim autorima u našem i evropskom književnom kontekstu (M. Crnjanski, Rastko Petrović, D. Vasiljev, G. Ben, G. Trakl, G. Hajm, E. Lasker-Šiler).<br />I pored svih specifičnosti i razlika individualnih poetika ovih pesnika, utvrdili smo da u njihovoj poeziji dolazi do reaktualizacije gotovo svih ekspresionističkih toposa (toposa grada, smrti, rata, apokalipse, &bdquo;živih mrtvaca&rdquo;, kosmosa/haosa, disocijacije i podvojenosti subjekta, kao i toposa božansko/satansko). Problematizujući ove ekspresionističke topose u novim književno-istorijskim i civilizacijskim okolnostima, naši savremeni pesnici otvaraju brojna pitanja duhovnog, ličnog i kolektivnog identiteta i opstanka čoveka na kraju drugog milenijuma. Takođe, u njihovom pesništvu izdvojili smo niz ključnih ekspresionističkih stilsko-retoričkih i oblikovnih postupaka, među kojima je na prvom mestu postupak groteske i distorzije, simultanosti, crnog humora, kolaža i montaže, disocijativnog nizanja slika, oduhovljenja i apstrahovanja materije, kao i postupak intertekstualnosti i citatnosti. Uticaj ekspresionističke poetike ogleda se i na formalnom planu, u smislu destrukcije i dekanonizacije tradicionalnih rodoljubivih i religioznih žanrova, kao i usmenih, folklornih oblika basmi, bajalica, rugalica, gatki. Dolazi do žanrovskih pomeranja i preplitanja različitih jezičko-formalnih modela, od tradicionalnih, klasičnih oblika (najčešće soneta), do slobodnog stiha i modernog, neoavangardnog poigravanja jezikom i formom pesme, odnosno pesme u prozi (prozaide).</p><p>Istraživanje ekspresionističkog nasleđa pokazuje da su se iz poetičke raslojenosti srpskog i evropskog ekspresionizma razvile i različite neoekspresionističke struje našeg savremenog pesništva: kritička, (LJ. Simović, B. Petrović, delimično M. Pavlović), neosumatraistička (S. Raičković), metafizička (A. Ristović, D. Smiljanić), nihilistička (N. Tadić), religiozna (jednim slojem svog pesništva Ivan V. Lalić i Novica Tadić).<br />Ekspresionizam je tako u trajno nasleđe našoj savremenoj poeziji ostavio duh kritičkog preispitivanja svih dosadašnjih duhovnih, kulturnih, književnih, istorijskih tekovina, &bdquo;pevanje krize&rdquo;, rasapa vrednosti i viziju &bdquo;sumraka čovečanstva&rdquo;, namećući se kao ishodište daljih, postmodernističkih traganja i preispitivanja granica i moći pevanja.</p> / <p>The question of expressionist heritage in poetic multilayer contemporary Serbian poetry has been neglected in our literary science, although it is one of its most vital traditional trends. A significant field of research of numerous intertextual ties and influence of expressionist tradition in the poetry of the most prominent Serbian poets of the second half of XX century (M. Pavlović, S. Raičković, Ivan V. Lalić, B. Petrović, Lj. Simović, A. Ristović, D. Smiljanić, N. Tadić) is therefore revealed. The influence of expressionist poetics in their poetry was not direct and obvious, but deeply and spontaneously interlaced in their unique poetic vision, which makes these poets already recognised, contemporary &bdquo;classics&rdquo; of our poetry. The expressionist tradition was activated in their poetry in a new inventive and creative fashion, in postmodernism clue, and in interaction with the other, often opponent traditional trends (from neosymbolism and neosurrealism, to deep layers of oral and medieval heritage), which has created unexpected intertextual bonds and new poetic quality.<br />At the intertextual and comparative level, a numerous spiritual and poetic similarities of our contemporary poets with the most significant expressionist authors in our and European literary context can be observed (M. Crnjanski, Rastko Petrović, D. Vasiljev, G. Benn, G. Trakl, G. Heym, E. Lasker-Sch&uuml;ler).<br />Besides all specificities and differences in individual poetics of these poets, we have identified the reactualisation of almost all expressionist toposes in their poetry (toposes of city, death, war, apocalypse, &bdquo;living deadˮ, cosmos/chaos, dissociative and divided subject, and divine/satan topos). By problematising these expressionist toposes in new literary-historic and civilisation circumstances, our contemporary poets open numerous questions of spiritual, personal and collective identity and survival of a man at the end of second millennium. Furthermore, we have detected a range of key expressionist stylistic-rhetorical and structural procedures, among others primarily the procedures of grotesque and distortion, simultaneity, black humour, collage and montage, dissociative sequence of images, spiritualising and abstracting matter, and the procedure of intertextuality and citationality.<br />The influence of expressionist poetry is also reflected on a formal plan, in terms of destruction and decanonization of traditional patriotic and religious genres, as well as oral, folk forms of chants, incantations, mocking poems, tales. There has been genres shifting and interlacing of different language and formal models, from traditional, classical forms (most<br />4<br />often sonnets), to free verse and modern, neoavant-garde play with the language and the form of a poem or a prose poem.<br />The research of expressionist heritage shows that different neoexpressionist currents of our contemporary poetry have developed from the poetic diversity of Serbian and Europe expressionism: critical (Lj. Simović, B. Petrović, partially M. Pavlović), neosumatraistic (S. Raičković), metaphysical (A. Ristović, D. Smiljanić), nihilistic (N. Tadić), religious (in a layer of their poetry Ivan V. Lalić and Novica Tadić).<br />The expressionism has thus left a spirit of critical questioning of all present spiritual, cultural, literal, historic inheritance, &bdquo;singing the crisis&rdquo;, destruction of values and vision of &bdquo;dusk of mankindˮ as a permanent heritage in our contemporary poetry, placing itself as an outcome of further postmodern searches and questioning of limits and power of poetry.</p>

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