In the university, the influence of Jacques Derrida's thought is immeasurable. Yet, his thoughts and 'Writings on the university remain somewhat unacknowledged. Derrida has 'Written and spoken extensively on the subject of the university with the hope of initiating a discussion that will, by questioning all aspects of the "university," create an opening toward its future. This thesis explores Derridean discourse on the university and suggests it as a useful and provocative means of(re)thinking the university. Chapter One ofthis thesis consists of a close reading of Derrida's essay "The Principle of Reason: The University in the Eyes of its Pupils." By following Derrida's historical, philosophical and political allusions, this chapter functions, in a certain sense, as a concordance to Derrida's essay. After exploring Derrida's discussion of how not to speak of the university, Chapter Two attempts to use Derridean discourse to understand the university as a "body." If the university were a body, what would it look like? In this chapter, I propose the existence of two quite different university bodies: the metaphysical university and the university incarnate. The metaphysical university body is infused with spirit and in fact rejects the body. By repressing its "body" (its historical, political and social determinants) the metaphysical university hallucinates its body as a unified, indestructible, inconsumable and uncontaminated whole. To preserve the university, the metaphysical university body suggests a return to "spirit." The university in-camate on the other hand, understands its body as wounded, parasitized, consumable, displaced and gaping. I suggest that this university body represents Derridean discourse on the university in its desire to think its body--its own constitution / Thesis / Master of Arts (MA)

<p>Russian realist writer Ivan Turgenev wrote Fathers and Sons in 1861, the middle of the politically, socially and ideologically eventful nineteenth century. While the turbulent historical moment is certainly reflected in the imagined landscape of the novel, Turgenev's text is first and foremost a literary work with implications that extend beyond the moment of its conception. Through allusions to the classical pastoral and juxtaposition of social and economic hardship, Turgenev creates a disconcerting ironic pastoral, or Russian Arcadia, that is marked by tension between a discordant ideal and reality. Resolution can be achieved in two ways that mirror nature's duality: one may become brutal, nihilistic and destructive, or one may strive for harmony and endure with the earth. By contemplation of one's own nature and the limits imposed by culture and nature itself, Turgenev demonstrates that the individual can come to this harmony, or an adaptive equilibrium that is characterized by balance, stability, and enjoyment of sensory experience. </p> <p>Turgenev's ironic pastoral, his concern with human brutality and the madness attendant upon it, the recognition of boundaries, and the sensory as an enduring mode of experience and communication are revisited and reworked by Ukrainian-Canadians in the twentieth century. The 1987 anthology, Yarmarok: Ukrainian writing in Canada since the Second World War, represents one of the most comprehensive collections of Ukrainian-Canadian writing in English and brings together both accomplished and previously unpublished writers that include: Mykola Ponedilok, Ruth Andrishak, Wasyl Sofroniw Levytsky, Stefania Hurko, Oleh Zujewskyj, Dennis Gruending, Maara Haas, and Bob Wakulich. These writers draw upon personal and family history and memory, which are haunted by the revolution Turgenev anticipated in Fathers and Sons, to relate their Arcadias, and the equilibriums they envision for individuals striving for balance within the limits imposed by the Canadianizing environment.</p> / Thesis / Master of Arts (MA)

Dans le champ de la création littéraire arabe contemporaine, la thématique de l’intertextualité comme source de création littéraire touchant le domaine du roman trouve une double origine. D’une part, l’étude des grands romanciers arabes contemporains montre que ces derniers reprennent les récits antérieurs de caractère essentiellement épique, historique et religieux, pour les reproduire dans un style et un contexte romanesque qui leur sont propres, sans pour autant s’éloigner du thème original. D’autre part, la question de l’intertextualité comme source de création littéraire trouve son fondement dans le rôle dévolu à la mémoire et au savoir. Afin de saisir la manière dont ces deux sources sont utilisées, nous allons tenter d’aborder ces questions en analysant les études universitaires et les critiques littéraires actuelles afin de constituer ainsi une argumentation objective. Partant de là, pour cerner la question de l’intertextualité comme source de création littéraire dans le roman arabe contemporain, nous structurerons notre travail en trois parties. La première aura pour titre : « Citations et Références » - ces deux termes posant, par leur juxtaposition, la question de la relation entre la citation intertextuelle et le lecteur. La seconde partie sera intitulée « Allusions et Evocations » - ce couple de termes posant la question de la relation entre l’intertextualité et la mémoire (historique, culturelle) contenue dans la littérature. Enfin, la troisième partie aura pour titre « Reprises et Remaniements » - ces deux termes posant la question de la reprise textuelle et de la relation de dérivation existant entre les textes. Au terme de chaque partie, nous proposerons un récapitulatif des principaux points abordés, en exposant des arguments visant à expliquer l’intérêt de l’intertextualité dans le processus de renouvellement de la création romanesque arabe contemporaine. / In the field of contemporary Arabic literature, the theme of intertextuality as the source of novelistic literary creation possesses a double origin. On the one hand, the study of major contemporary Arabic novelists shows that they make use of prior narratives of essentially epic, historical and religious character, reproducing them in a romantic style and context that is entirely their own, but without departing from the original theme. On the other, intertextuality as the source of literary creation takes for its foundation the role played by memory and knowledge. In order to grasp the way in which these two sources are used and why, we are going to approach the question by analyzing university studies and current literary criticism on the subject, thereby constructing an objective argument. Then we will structure our work in three parts. The first will be entitled: “Quotations and References”, a juxtaposition posing the question of the relationship between the intertextual quotation and the reader. The second part will be entitled: “Allusions and Evocations”. This pair of terms will be concerned with the relationship between intertextuality and memory (both historical and cultural), which is contained in the literature. Finally, the third part will be called: “Resumptions and Reorganisations” – these two terms raising the question of textual resumption and the divergent relationship existing between texts.

T.S. Eliot's use of allusion is crucial to the structure and themes of his early poetry. It may be viewed as a compulsion, evident in even the earliest poems, rather than just affectation or elitism. His allusions often involve the reversal or re-ordering of constructions of gender in other literature, especially in other literary treatments of myth. Eliot's "classical" anti-Romanticism may be understood according to this dual concern with myth and gender, in that his poetry simultaneously derives from and attacks a perceived "feminised" Romantic tradition, one which focuses on female characters and which fetishises, particularly, a sympathetic portrayal of femmes fatales of classical myth, such as Circe, Lamia and Venus. Eliot is thus subverting, or "correcting", what are themselves often subversive genderings of myth. Another aspect of myth, that of the quest, is set in opposition to the predatory female by Eliot. A number of early poems place flâneur figures in the role of questers in a context of constraining feminine influence. These questers attempt, via mysticism, to escape from or blur gender and sexuality, or may be ensnared by such things in fertility rituals. A sadomasochistic motivation towards martyrdom is present in poems between 1911 and 1920. With its dual characteristics of disguise and exposure, Eliotic allusion to ritual and myth is itself a ritual (of literary re-enactment) based on a myth (of literature), namely Eliot's "Tradition". Allusive reconfiguration being a two-way process, Eliot's poetry is often implicitly subverted or "corrected" by its own allusions. Thus we are offered more complex representations of gender than may first appear; female characters may be viewed as sympathetic as well as predatory, male ones as being constructed often from representations of femininity rather than masculinity. The poems themselves demonstrate intense awareness of this fluctuation of gender, which appears in earlier poems as a threat, but in The Waste Land as the potential for a rapprochement between genders. This poem comprises multiple layers of re-enactments and reconfigurations of gender-in-myth, centring upon Shakespeare's Venus and Adonis. The Waste Land's treatment of myth should not be seen as merely reflecting a passing interest in anthropology, but as the culmination of concerns with myth and gender dating back to the earliest poetry. The complex interrelation of the two aspects leaves it unclear whether Eliot's allusive compulsion derives principally from a concern with mythologies of literature or from a concern with mythologies of gender.

Tom Murphy, dramaturgo irlandês, apropria-se da tradição e a reescreve transformando-a e contextualizando-a para a Irlanda contemporânea. O trabalho trata de três peças: The Morning After Optimism (1971), The Sanctuary Lamp (1976) e The Gigli Concert (1983), que se caracterizam, predominantemente, pela reescritura. O estudo tem por objetivo analisar como a herança literária efetivamente ocorre na composição das peças de Tom Murphy, através da intertextualidade em citações, alusões, paródias, reescrituras e outras formas, bem como entender os motivos do autor utilizar-se de obras da tradição clássica, renascentista, medieval, dos contos populares, das óperas e música popular para escrever as três peças. / Thomas Murphy, an Irish playwright, appropriates tradition and rewrites it transforming and transcontextualizing it to the contemporary Ireland. The dissertation deals with three plays: The Morning After Optimism (1971), The Sanctuary Lamp (1976) and The Gigli Concert (1983) which are predominantely characterized by rewriting. The study aims to analyze how literary heritage effectively occurs in Tom Murphy\'s plays through intertextuality in citations, allusions, parodies, rewriting and other related forms, as well to understand why the author uses works of art from classical, renaissance, medieval, fairy tale, opera and popular music tradition to write the three plays.

Pere III of Catalonia (1319-1387) began his reign in 1336. As count-king, he reigned over Aragon, Catalonia, and Valencia. The Chronicle of Pere III of Catalonia covers the years 1319-1369, fifty years of a nearly seventy year life. Pere wrote this chronicle in collaboration with his chancery office. Bernat Descoll was the main contributor from the chancery, and he consulted with the king as he wrote it. The chronicle reflects spiritual justifications for actions that occurred during Pere's reign, such as his conflict with the Uniòns of Aragon and Valencia, as well as his conflict with Pedro I of Castile. In the prologue to the chronicle, Pere compares both himself and Catalonia to several events in the reign of King David of Israel. References to Biblical kings are not featured in the rest of the chronicle; however, there are many general spiritual references to God. It is my contention that Pere chose to emulate David because David was a highly respected Biblical king, as well as the fact that David's history as a warrior could be used to spiritually justify the military actions of Pere. I will seek to prove this by reviewing ancient and medieval interpretations of David's reign, and by analyzing both the representations of David in the prologue and Pere's religious references in the main text of the chronicle. This study shows that Pere used the idea of King David in an aberrant way to serve his own purposes. Prior to Pere's usage, David typically served as an example of a humble, righteous, servant king in political and theological works, not the righteous warrior king that Pere co-opts to justify his reign.

Thesis--Indiana University, 2007. / Computer printout. Adviser: Massimo Ossi. Includes bibliographical references (leaves 298-308), abstract, and vita.

Thesis -- Departmental honors in Music. / Bibliography: ℓ. 88-92.

This thesis investigates how Old English poets understood the processes of signification and interpretation through analysis of depictions of poor interpreters and the use of 'sign terms' such as tacen and beacen in the longer Old English poems. The first chapter deals with the Beowulf Manuscript, the second and third chapters consider Elene and Andreas within the network of related poems found in the Vercelli Book and the begin- ning of the Exeter Book, the fourth chapter is on the Junius Manuscript, and the conclusion looks at the use of the 'bright sign' motif across all four major poetic codices. I suggest that there is a 'heroic sign-bearing interpreter' character-type which several of the poems utilize or ironically invert, and that poor interpretation is nearly always asso- ciated with hesitation, which often resembles acedia. I also argue that there is greater nuance in the poems' depictions of modes of understanding than has previously been acknowledged: Eve in Genesis B does not stand for the senses which subvert the mind, but rather models the limits of rational thought as a means of understanding God, and Elene does not depict a simple opposition of letter and spirit, but a threefold mental pro- cess of learning about the Cross with analogues in exegesis and Augustine's Trinity of the Soul. Finally, I argue that there is a 'bright sign' motif which functions within a brightness-sign-covenant concept cluster, whose evocation as a traditional poetic unit is not identical to the denotation and connotation of its constituent parts. These strands of inquiry taken together demonstrate how Old English poems invest signs with significance by tapping into a specifically poetic network of allusion.

Tom Murphy, dramaturgo irlandês, apropria-se da tradição e a reescreve transformando-a e contextualizando-a para a Irlanda contemporânea. O trabalho trata de três peças: The Morning After Optimism (1971), The Sanctuary Lamp (1976) e The Gigli Concert (1983), que se caracterizam, predominantemente, pela reescritura. O estudo tem por objetivo analisar como a herança literária efetivamente ocorre na composição das peças de Tom Murphy, através da intertextualidade em citações, alusões, paródias, reescrituras e outras formas, bem como entender os motivos do autor utilizar-se de obras da tradição clássica, renascentista, medieval, dos contos populares, das óperas e música popular para escrever as três peças. / Thomas Murphy, an Irish playwright, appropriates tradition and rewrites it transforming and transcontextualizing it to the contemporary Ireland. The dissertation deals with three plays: The Morning After Optimism (1971), The Sanctuary Lamp (1976) and The Gigli Concert (1983) which are predominantely characterized by rewriting. The study aims to analyze how literary heritage effectively occurs in Tom Murphy\'s plays through intertextuality in citations, allusions, parodies, rewriting and other related forms, as well to understand why the author uses works of art from classical, renaissance, medieval, fairy tale, opera and popular music tradition to write the three plays.