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This thesis explores the Urdu poetry of Perveen Shakir, a Pakistani, third-world, Muslim, female poet, in her socio-cultural, religious and political context. The entire four collections written between 1977 and 1990 are analysed in order to depict the stages of her life: girl, woman, mother and poet. The collections were written during extreme political pressure of martial law, dictatorship and the Islamisation of General Zia’s regime (1977-1988). The thesis argues that Shakir, an educated self-aware Pakistani Muslim woman, is formulating new feminist ideas and concepts of individual freedom through her unconventional love poetry; in that way crossing the limits of her traditional ‘feminine’ nisvani demands, whilst she is also struggling under the extreme cultural, political and religious pressure of a Muslim society which conflicts with her liberal ‘feminist’ thinking. Shakir is constantly shifting between two positions: a traditional ‘feminine’ nisvani and a ‘feminist’ position. Influenced by her Eastern culture she clings to the traditional identity, sometimes due to her own personal choice, and sometimes under her cultural pressure, unwilling to alienate her traditional self which understands that a husband is a symbol of respect and security for a Pakistani woman. Influenced by western culture she reveals her liberal feminist voice openly writing about her sexual needs and also writing about her marginalised position from which she criticises the politics of patriarchy. This intercultural influence in the Urdu poetry of Shakir is reflected through these overlapping and co-existing positions, where she is neither a true feminist poet by western standards (anti-sexist and anti-patriarchal) nor a clear traditional ‘feminine’ nisvani. In the end, she compromises in order to survive in her Islamic culture, re-adjusting and rethinking her liberal feminist ideas. The main concern of the thesis is to explain the complex and multi-layered meanings of the term ‘woman’ in the Pakistani cultural context. The analysis has shown that in Pakistani culture the concept of self or individual freedom for a Pakistani Muslim woman is not a simple question. This study focuses on various stages of Shakir’s biographical journey employing the theoretical framework of dialogism which reveals the development of feminisms, and how they balance in the end. No critical study on Shakir from a third-world postcolonial Pakistani perspective, analysing her poetry within a theoretical framework, has been written so far, and therefore this study is an invaluable contribution to current scholarly knowledge of the discipline. This study also contributes in another way, as it is the first work in English at this level.

This dissertation examines the imaginative ways in which three postcolonial writers overcome a fractured collective past by creating a double-voiced discourse narrative framework that allows them to envision a reality that might-have-been while acknowledging the presence of dominant discourses that are. Morrison, Condé, and Farah overlap contradictory forms in order to show that narrative boundaries are self-imposed, mythical, and arbitrary. Intersection among these differing narratives in each text creates dialogism--a balance between dominant and counter-discourse. Because the contrasting viewpoints of dominant and counter-discourse both have a historical perspective, Morrison, Condé, and Farah work to retain a delicate intertextual fabric in their novels--a fabric woven from several narratives to create a text that rests paradoxically on the task of revealing the narrative contradictions while also showing that they can't be completely separated from each other as the singular hegemonic voice argues.

Ce travail est une réflexion sur la portée philosophique de la poésie de Fernando Pessoa. Son présuposé fondamental est l’idée que le sens premier de cette poésie, comme tutte poésie légitime, se développe au niveau de ses formes. L’analyse textuelle s’est révelée une procédure décisive qui permet de signaler la polyphonie en tant que principe constructif fondamental, par lequel Fernando Pessoa fait un discours poétique essentiellement dubitatif, interrogatif, suspensif, une véritable époche sceptique. / Este trabalho é uma reflexão sobre o alcance filosófico da poesia de Fernando Pessoa. Seu pressuposto fundamental é a idéia de que o significado primeiro dessa poesia, como de toda legítima poesia, desenvolve-se no nível de suas formas. A análise textual mostrou-se, assim, um rocedimento decisivo, permitindo apontar a polifonia como princípio construtivo fundamental, pelo qual Fernando Pessoa faz um discurso poético essencialmente dubitativo, inquisitivo, suspensivo, uma verdadeira epoché cética.

[pt] Rute é uma mulher pobre, viúva e estrangeira moabita. Não obstante isso, é uma mulher de força/valor, em atitudes e palavras; é uma mulher decidida que se comporta em termos de paridade com Booz, o homem que ao seu lado divide a cena central em Rt 3: a cena da eira. A presente tese, intitulada Uma heroína chamada Rute: análise narrativa e intertextual de Rt 3, buscou mostrar, por meio da exegese narrativa, as possibilidades que assinalam essa paridade entre os protagonistas, Rute e Booz, através da análise de seus atos e falas, quer pelo tratamento que o autor, através da voz do narrador dá a cada um, quer pelo discurso destes personagens, valorizando, ainda, a importância e o papel de Noemi nas cenas anterior e posterior à cena da eira. A seguir, a partir da análise intertextual bíblica e extrabíblica, foi possível identificar outras mulheres que em muito se assemelham à pessoa, às características e ao comportamento de paridade entre Rute e Booz em Rt 3: as mulheres bíblicas Débora, Jael, Abigail e a mulher de Pr 31,10-31, bem como as mulheres extrabíbicas Arete e Alceste, todas com seus pares masculinos em cena. Esta aproximação permitiu aplicar a Rute o conceito de heroína, conforme o modelo literário dos textos da Antiguidade. Nestes, mulheres fortes, corajosas e pares dos homens caracterizam as heroínas, seja nos textos que retratavam a sociedade em Israel, no Antigo Oriente Próximo, ou entre os povos da Grécia continental e insular, os quais circulavam na bacia do Mediterrâneo. / [en] Ruth is a poor, widowed and moabite foreigner woman. Nevertheless, she is a woman of strength/value, in attitudes and words; a decided woman that behaves at parity with Booz, the man with whom she shares side by side the central scene in Rt 3: at the threshing floor. This thesis, entitled A heroine called Ruth: narrative and intertextual analysis of Rt 3, sought to show, through the narrative exegesis, the possibilities that point out that parity between the protagonists, Ruth and Booz, either by the treatment the author, through the Narrator s voice, gives to each one or by the speeches of these characters, giving value, still, to Naomi s importance and role before and after the threshing floor scene.Then, from the bible and extrabible intertextual analysis, it was possible to identify other women who very much resemble the person, characteristics and behavior of parity between Ruth and Booz in Rt 3: the bible women Deborah, Jael, Abigail and woman of Pr 31,10 31, as well as the extrabible women Arete and Alcestis, all with their male counterparts at the scene. This approach made it possible to apply to Ruth the concept of heroin, as the literary model of the texts of Antiquity. In these strong, courageous women and men s counterparts characterize the heroines in texts that depict the society in Israel, in the ancient Near East, or between the people of continental and insular Greece, which circulated in the Mediterranean basin.

Numerous studies have pointed to the historiographic and metafictional aspects of Ian McEwan’s and Graham Swift’s fiction, although few have examined the connections between McEwan and Swift. This study develops from that work by proposing that McEwan’s and Swift’s fictions explore similar themes, beyond those of just history and metafiction. By situating McEwan and Swift as postmodern writers who are strikingly intertextual, in the sense initially coined by Julia Kristeva, this study will show that both authors are deeply concerned with the violence of the twentieth and early twenty-first centuries, and the role that violence has played in the failure of metanarratives, as well as the resulting terror subjects face as they seek replacements for the personal authenticity, legitimacy, and meaning once provided by totalizing metanarratives. This study also illustrates that McEwan and Swift recognize the persistence of the metanarrative of science, as well as the psychic violence inherent in trying to replace metanarratives with received literary traditions. By developing on these ideas, this thesis argues that McEwan and Swift are actively engaged not only in exploring the anxiety subjects face as they realize there is nothing left upon which they can base their personal legitimacy, but also that the authors are suggesting there is no easy replacement for the lost, albeit fictitious, authenticity once situated in metanarratives and received genres. Finally, this paper will demonstrate that while these two contemporary novelists significantly problematize narrative and narrative frameworks, McEwan and Swift ultimately convey only one sure method to cope with the mourning and terror of the postmodern condition: continue writing.

Numerous studies have pointed to the historiographic and metafictional aspects of Ian McEwan’s and Graham Swift’s fiction, although few have examined the connections between McEwan and Swift. This study develops from that work by proposing that McEwan’s and Swift’s fictions explore similar themes, beyond those of just history and metafiction. By situating McEwan and Swift as postmodern writers who are strikingly intertextual, in the sense initially coined by Julia Kristeva, this study will show that both authors are deeply concerned with the violence of the twentieth and early twenty-first centuries, and the role that violence has played in the failure of metanarratives, as well as the resulting terror subjects face as they seek replacements for the personal authenticity, legitimacy, and meaning once provided by totalizing metanarratives. This study also illustrates that McEwan and Swift recognize the persistence of the metanarrative of science, as well as the psychic violence inherent in trying to replace metanarratives with received literary traditions. By developing on these ideas, this thesis argues that McEwan and Swift are actively engaged not only in exploring the anxiety subjects face as they realize there is nothing left upon which they can base their personal legitimacy, but also that the authors are suggesting there is no easy replacement for the lost, albeit fictitious, authenticity once situated in metanarratives and received genres. Finally, this paper will demonstrate that while these two contemporary novelists significantly problematize narrative and narrative frameworks, McEwan and Swift ultimately convey only one sure method to cope with the mourning and terror of the postmodern condition: continue writing.

Numerous studies have pointed to the historiographic and metafictional aspects of Ian McEwan’s and Graham Swift’s fiction, although few have examined the connections between McEwan and Swift. This study develops from that work by proposing that McEwan’s and Swift’s fictions explore similar themes, beyond those of just history and metafiction. By situating McEwan and Swift as postmodern writers who are strikingly intertextual, in the sense initially coined by Julia Kristeva, this study will show that both authors are deeply concerned with the violence of the twentieth and early twenty-first centuries, and the role that violence has played in the failure of metanarratives, as well as the resulting terror subjects face as they seek replacements for the personal authenticity, legitimacy, and meaning once provided by totalizing metanarratives. This study also illustrates that McEwan and Swift recognize the persistence of the metanarrative of science, as well as the psychic violence inherent in trying to replace metanarratives with received literary traditions. By developing on these ideas, this thesis argues that McEwan and Swift are actively engaged not only in exploring the anxiety subjects face as they realize there is nothing left upon which they can base their personal legitimacy, but also that the authors are suggesting there is no easy replacement for the lost, albeit fictitious, authenticity once situated in metanarratives and received genres. Finally, this paper will demonstrate that while these two contemporary novelists significantly problematize narrative and narrative frameworks, McEwan and Swift ultimately convey only one sure method to cope with the mourning and terror of the postmodern condition: continue writing. / Graduate Studies, College of (Okanagan) / Graduate

<p> Romans 9-11 has been investigated through varied methods during the past two decades. One of the most prominent approaches is an intertextual reading of Rom 9-11. However, most discussions of intertextual studies do not adequately treat the discourse in Rom 9-11 by closely investigating Paul's discourse patterns and that of his Jewish contemporaries regarding God, Israel, and the Gentiles due to lack of an appropriate intertextual methodological control. Therefore, this study adapts Lemke's linguistic intertextual thematic theory as a methodological control to analyze Paul's intertextual discourse patterns in Rom 9-11. Paul's unique way of using Scripture as one part of his discourse pattern will be investigated as well. Through the intertextual thematic study of Paul's discourse in Rom 9-11, we demonstrate the divergence of Paul's viewpoints on some typical Jewish issues, which suggests that the discontinuities between Paul and his Jewish contemporaries are obvious and-sometimes-radical.</p> <p> We conclude the findings of our investigation of Rom 9-11 as follows: First, we have adjusted Lemke's intertextual thematic analysis, as an indispensable tool, to analyze Paul's viewpoints of the relationships of God, Israel and the Gentiles in Rom 9-11 within the backdrop of Second Temple Literature. Second, Paul re-contextualizes the Jewish discourse patterns regarding the topics of intercession, Israel, God's promise, God's people, righteousness and law. It can be seen that Paul's discourse patterns share some continuity with his Jewish contemporaries, but the core of his value regarding how to include the Gentiles as God's people stands in a discontinuous relationship with contemporary Judaism(s). Third, this study has demonstrated that although Paul uses Jewish styles of scriptural hermeneutics, and though his discourse patterns resemble some Jewish literature in important aspects, Paul's viewpoint on the relationship of God, Israel and the Gentiles in Rom 9-11 is dissociated from his Jewish contemporaries in key ways. In other words, the core value of early Christian discourse has been embedded in Rom 9- 11. Paul's viewpoint on the relationship of God, Israel and the Gentiles takes a divergent stance away from his Jewish contemporaries since Gentile inclusion is rooted in the Gospel of Christ. Finally, Rom 9-11 not only provides Paul's self-presentation as a Mosaic prophet figure, but also its overall discourse patterns appears as a prophetic discourse: In each section (Rom 9:1-29; 9:30-10:4; 11:1-36) Paul designates his identity or his concerns of lsrael (Rom 9:1-3, 10:1; 11:1-2) before he enters into the argumentation, which demonstrates the relation between Paul's self-understanding and his message in these three chapters; also, the overall discourse pattern in Rom 9-11 resembles a prophetic discourse pattern, which expresses the idea that Paul's self-understanding as a prophetic figure serves to confirm that his word comes from divine authority.</p> / Thesis / Doctor of Philosophy (PhD)

Esta tese tem por objetivo analisar neologismos no contexto da política nacional coletados na imprensa, no início do século XXI. Busca-se compreender como estão se refletindo as mudanças sociais e políticas em nossa língua e em que medida a língua reflete essas mudanças. O dispositivo teórico são os princípios contidos na Análise do Discurso, com suporte, essencialmente, em estudiosos como Patrick Charaudeau, Dominique Maingueneau e Michel Pêcheux, e nos conceitos articulados no campo da Linguística Cognitiva no que diz respeito à mobilização das relações de sentidos. Investiga-se a presença ou não de traços de pejoratividade e ironia nesses novos termos, bem como os aspectos intertextuais e interdiscursivos envolvidos nesse jogo de criação verbal, o que conduz às noções de palavra-chave, palavra-testemunha, palavra-escudo e palavra-espada, levando-se em conta que os termos representam e incorporam as marcas da sociedade e dos processos políticos vivenciados. Traz-se, ao final, uma análise do corpus coletado, um total de 215 verbetes / This thesis aims to analyze neologisms collected in national politics in the press, in the beginning of this century. We seek to understand how they are reflecting the social and political changes in our language and what extent the language reflects these changes. The theoretical approach are the principles contained in Discourse Analysis, supported mainly in scholars such as Patrick Charaudeau, Dominique Maingueneau and Michel Pêcheux, and in the concepts articulated in the field of Cognitive Linguistics, as regards to the mobilization of relationships meanings. It investigates the presence of traces of depreciation and irony in these new therms, as well as intertextual and interdiscursive aspects involved in this game of verbal creation, which leads to the notions of keyword, witness-word, shield-word and sword-word, taking into account that the terms represent and embody the brand of society and political processes experienced. We bring, at the end, an analysis of the collected corpus, a total of 215 entries