Global ETD Search

21	Morrison, Bambara, Silko : fractured and reconstructed mythic patterns in Song of Solomon, The salt eaters, and Ceremony Hinkson, Warren 17 April 2018 (has links) Cette thèse explique le développement de la théorie critique des mythes (myth criticism) de Northrop Frye et veut démontrer que l'examen critique des mythes est un paradigme approprié pour analyser le développement des conventions littéraires anglaises et la communication d'archétypes dans des œuvres littéraires postmodernes. En examinant, à la lumière d'archétypes bibliques, de rites religieux provenant d'Afrique de l'ouest, de folklore amérindien et du mythe monomythique de la perte d'identité, trois romans afro-américains et amérindiens, je suggère que la théorie de Frye est applicable aux œuvres postmodernes amérindiennes et afro-américaines autant qu'elle l'est aux œuvres du canon traditionnel. Cette étude retrace les origines de la théorie de Frye et met en lumière la présence d'archétypes et de structures bibliques dans la fiction afro-américaine et amérindienne ainsi que la communication d'archétypes africains continentaux à la culture afro-américaine par un mélange d'ancienne religion africaine et d'archétypes bibliques. Ainsi, puisqu'il s'agit d'une application de la théorie de Frye, cette thèse enrichira notre compréhension du développement des conventions littéraires et de la portée de cette théorie, et permettra une remise en question de notre conception de la littérature afro-américaine et amérindienne. PR 13.5 UL 2010 H663 Bambara, Toni Cade. Salt eaters Morrison, Toni. Song of Solomon Mythe dans la littérature Silko, Leslie, 1948-. Ceremony Frye, Northrop, 1912-1991 -- Influence
22	Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the Plays Khan, Amir 10 July 2013 (has links) This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror. Shakespeare Shakespeare in the classroom Shakespearean tragedy Stanley Cavell Counterfactuals Critique of New Historicism Teaching Shakespeare Teaching tragedy Tragedy Tragic effect Tragic fate Northrop Frye A.C. Bradley Reader response Hamlet's delay Hegel on tragedy Possible worlds Present day Shakespeare Hamlet Othello King Lear Macbeth The Winter's Tale Jonathan Dollimore Radical tragedy
23	Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the Plays Khan, Amir January 2013 (has links) This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror. Shakespeare Shakespeare in the classroom Shakespearean tragedy Stanley Cavell Counterfactuals Critique of New Historicism Teaching Shakespeare Teaching tragedy Tragedy Tragic effect Tragic fate Northrop Frye A.C. Bradley Reader response Hamlet's delay Hegel on tragedy Possible worlds Present day Shakespeare Hamlet Othello King Lear Macbeth The Winter's Tale Jonathan Dollimore Radical tragedy

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