Th. Ph. D--Department of English--Umeå University, 1996. / Notes bibliogr. Bibliogr. p. 169-179.

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This thesis is a critical study of Scottish literary culture since 1989. It examines and interrogates critical work in Scottish literary studies through a ‘critical nationalist’ approach. This approach aims to provide a refinement of cultural nationalist literary criticism by prioritising the oppositional politics of recent Scottish writing, its criticism of institutional and state processes, and its refusal to exempt Scotland from this critique. In the introduction I identify two fundamental tropes in recent Scottish literary criticism: opposition to a cultural nationalist critical narrative which is overly concerned with ‘Scottishness’ and critical centralising of marginalised identity in the establishment of a national canon. Chapter one interrogates a tendency in Scottish literary studies which reads Scottish literature in terms of parliamentary devolution, and demonstrates how a critical nationalist approach avoids the pitfalls of this reading. Chapter two is a study of two novels by the critically neglected and politically Unionist author Andrew O’Hagan, arguing that these novels criticise an insular and regressive Scotland in order to reveal an ambivalent, ‘Janus-faced’ nationalism. Chapter three examines representations of Scottish traditional and folk music in texts by A. L. Kennedy and Alan Bissett, engaging with the Scottish folk tradition since the 1950s revival in order to demonstrate literature and music’s ambivalent responses to aspects of literary and cultural nationalism. Chapter four examines texts by Janice Galloway, Alasdair Gray and James Kelman, analysing the relationships they construct between gender, nation and class. Chapter five examines three contemporary Scottish texts and elucidates an ethical turn in Scottish literary studies, which reads contemporary writing in terms of appropriation and exploitation.

En genusteoretisk stickprovskontroll. Uppsatsen genomlyser Camilla Grebes Älskaren från huvudkontoret ur ett genusteoretiskt perspektiv med focus på Luce Irigaray teorier. Inledningsvis presenteras Luce Irigaray övergripande och hennes arbete ställs i relation till Simone de Beauvoirs. Irigarays teorier om maskulint och feminint subjekt gås igenom och teoridelen avslutas med ett destillat av teorierna här kallat; typiska drag. Utifrån dessa typiska drag analyseras delar, utvalda med heuristisk metod, av Camilla Grebes roman Älskaren från huvudkontoret från 2015. I analysen diskuteras utöver undersökningen och de presenterade teorierna även paralleller till Janice Radways Kvinnor läser romantik: om samspelet mellan text och kontext. Resultaten av undersökningen och slutsatsen diskuteras och ifrågasätts. / <p>--</p>

This dissertation explores the ways in which Janice Honeyman’s 2007 Swashbuckling Adventure, Peter Pan, The Pantomime represents notions of nation and identity in post-apartheid South Africa. In order to accomplish this, this study argues that despite the carnivalesque elements of the genre of pantomime and its potential to subvert the status quo, Honeyman’s translation of Peter Pan reinforces the imperialist ideology embedded in the source texts of Barrie’s 1904 and Disney’s 1953 Peter Pan. Through an exploration of colonialism and imperialism, and postcolonial studies with specific reference to the works of Bhabha (1990, 1994), Anderson (1991) and Said (1979, 1994), this discussion follows an examination of white Victorian British masculinity and imperialist ideology as it applies to Peter Pan to support the argument that through a process of translation, achieved through the techniques of Disneyfication and double localisation, the Barrie and Disney texts have been translated from their original contexts into the South African postcolonial and post-apartheid context. The argument concludes that in doing so, Honeyman has neglected to provide counter-discourses to the imperialist ideologies in the source texts and has reinforced the racial and gender stereotypes found therein, supporting the colonial power axis of the original text and colonial re-presentations of identity and nation. / Dissertation (MA)--University of Pretoria, 2013. / Drama / unrestricted

Made available in DSpace on 2016-04-26T18:16:53Z (GMT). No. of bitstreams: 1 Andreia Vieira Abdelnur Camargo.pdf: 7535314 bytes, checksum: 6f54707003f87c029de150295ebbf963 (MD5) Previous issue date: 2008-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Relations between cultural journalism and Brazilian dance have quite a singular nature. Due to the non-existence of a specialized segment in dance publications, along the years, cultural journalism had to fulfill the function of historian and archivist of dance. So, the acting of cultural jornalism when it was published (for the type of text that was produced) and when it wasn t published (for collaborating so that the event would not be documented) it was always accompanied by scattered, episodic publications and geographical limited reachness. This thesis uses the action of the cultural journalism regarding the work of the dancer Denilto Gomes as a case study to discuss the function of media in the culture of dance in Brazil. The impact produced by Denilto Gomes s creation process allows a critical reading on the ways of acting of cultural journalism, to his time, when they produced the disappearance phenomenon of this artist. The first chapter describes the negligence of cultural journalism regarding dance artists, in special those who developed more law-breaking experiences, through evolutionary theories and the critical theories of culture and media. The second chapter is based upon the Corpomídia Theory by Helena Katz and Christine Greiner, in articulation to the General System Theory and to the Cognitive Sciences. It investigates how the performances developed by Denilto Gomes could operate the construction of a language in dance, in all his career. The last chapter, through the evolutionary theories, deals with the hypothesis by which the language conceived during the dancer s career survives because of multiple replications, through the contact that he had with other artists and through other forms of registers about his work. So, the role of cultural journalism as a regulator of information transmission begins to be treated in a more wide-ranging context. This helps understanding that Denilto s work almost ignored by the mass media left continuators, even if in scattered dimension / As relações entre o jornalismo cultural e a dança brasileira têm uma natureza bastante singular. Pela inexistência de um segmento de publicações especializadas em dança, ao longo dos anos, coube ao jornalismo cultural desempenhar o papel de historiador e arquivista da dança. Assim, a atuação deste jornalismo ao publicar (pelo tipo de texto que se produzia) e ao não publicar (por colaborar para que o acontecimento não fosse transformado em registro documental) foi sempre acompanhada por publicações esparsas, episódicas e de alcance geográfico restrito. Esta dissertação utiliza a ação do jornalismo cultural em relação à obra do bailarino Denilto Gomes como um estudo de caso para discutir o papel dos meios de comunicação na cultura da dança do Brasil. O impacto produzido pelos processos de criação de Denilto Gomes permite uma leitura crítica sobre os modos de atuação do jornalismo cultural, à sua época, que produziram o fenômeno de desaparecimento desse artista. O primeiro capítulo lê as negligências do jornalismo cultural com relação aos artistas da dança, sobretudo aos que desenvolveram experiências mais transgressoras, a partir das teorias evolucionistas e das teorias críticas da cultura e da mídia. O segundo capítulo apóia-se na Teoria Corpomídia, de Helena Katz e Christine Greiner, em articulação à Teoria Geral dos Sistemas e às Ciências Cognitivas, para investigar como os diversos espetáculos desenvolvidos por Denilto Gomes, ao longo de sua carreira, puderam operar a construção de uma linguagem na dança. No último capítulo, a partir das teorias evolucionistas, lança-se a hipótese de que a linguagem concebida durante a carreira do bailarino sobrevive de múltiplas replicações, através do contato que teve com outros artistas e de outras formas de registros sobre sua obra. Assim, o papel do jornalismo cultural como regulador da transmissão de informação passa a ser tratado em um contexto mais amplo. Este contexto permite a compreensão de que, apesar de não ter sido contemplada a contento pelos meios de comunicação de massa, a obra de Denilto deixou continuadores, ainda que em esparsa dimensão