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Mosaic: a study of juxtaposition in literature, as an approach to Pound's Cantos and similar modern poemsHorrocks, Roger January 1976 (has links)
The principles of form in ‘mosaic’ poems such as The Cantos, Paterson, Maximus, or even ‘The Waste Land,’ are not yet clearly understood. Criticism needs to bring its various ideas of ‘musical form,’ ‘non-linear form,’ or ‘the poem as a field of forces’ into sharper focus. Mosaic poems are characterized by sudden changes of direction, heightened contrasts of style and texture, a complex use of quotation, and strange effects of fluidity where the usual distinction between the ‘tenor’ and ‘vehicle’ of metaphors is dissolved. To decide what features (if any) of the modern mosaic poem are new, the thesis examines possible precedents: so-called ‘pre-logical’ poetry, the associationism of Romantic poetry, Leaves of Grass, Rimbaud’s poems, Mallarmé’s Un coup de dés, etc. the work of European avant-garde poets of the 1910s (Apollinaire, Cendrars, Marinetti, et al.) is considered in detail, and the supposed originality of Pound and Eliot’s poetry is somewhat diminished when it is viewed against this European background. Nevertheless Pound and Eliot do contribute some technical innovations, particularly in the way their poetry combines ‘hard’ and ‘soft’ textures (to use Pound’s terms). The thesis examines Pound’s special ‘breakthrough’ in 1919, and also the close interaction between his work and Eliot’s during this period – the two men advancing ‘like mountaineers roped together.' Mosaic poems demand a new style of ‘reading by field.’ Criticism needs to develop ways of talking about the experience of discontinuity as sensitively as it now deals with continuity. Approaches to The Cantos that emphasize ‘ideogrammic logic’ tend to be over-intellectual and not able to deal adequately with the more fluid or discontinuous aspects of the poem. The thesis explores the procedures of mosaic poetry, its various styles of ‘jumping’ (to use Robert Bly’s term), ways of using fragments evocatively, and ways in which gaps or silences in a poem can be charged with meaning. Since collage is an important feature of mosaic poetry, the thesis attempts to survey this development historically, distinguishing it in some respects from traditional styles of quotation and allusion. The mosaic poem is compared and contrasted with earlier types of poem-sequence. The doubts expressed by Eliot, Tate, and other critics about the coherence of the modern long poem are answered by such essays as ‘Dr Williams’ Position’ in which Pound proposes new ideas of order. But Pound’s poetic practice was still more subtle than his theory, a discrepancy also noted in Eliot’s work. The thesis looks cautiously at the analogy often drawn between mosaic poetry and modern painting or film-making. It also examines the ways in which the music of pre-modern composers such as Bach and Beethoven has been used as a formal model by mosaic poets. The thesis offers a detailed analysis of ‘Canto XLVII’ as a critical experiment in analyzing the reader’s temporal experience of mosaic poetry, his ‘shifting gestalts’ as he explores the ‘field’ of the poem. The analysis seeks to clarify the way in which The Cantos combines ‘Imagist’ hardness with the fluidity of Symbolist poetry.
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The antagonistic city: a design for urban imagery in seven American poetsLocke, Terry January 1976 (has links)
The purpose of this dissertation has been to investigate the significance of urban imagery in the work of seven American poets: Walt Whitman, Stephen Crane, Edwin Arlington Robinson, Robert Frost, Hart Crane, William Carlos Williams, and Wallace Stevens. Although I have concentrated on the poetry, I have also ranged freely over the published writing of all these men. My conclusions can be reduced to these two propositions: 1. That the significance of a literary city can be understood only in conjunction with an attempt to explore the significance of other literary landscapes. 2. The significance of the city (and other landscapes) as metaphor is to be understood in terms of a basic process whereby the self is realized. This process is most simply represented geographically by a pattern of withdrawal and return, with the city and wilderness figuring as poles between which the self moves. The second proposition can be elaborated as follows: The process begins with the individual in a condition of alienation from his culture. This is culture, not just as a system of meaning and value, but culture as a way in which experience is ordered. At this point in the process, the city becomes a metaphor for the structures whereby a culture orders its common experience. The most basic ground for social alienation is that these structures serve to cut the individual off from experience. The response to this alienation is a desire to undergo a reductive process whereby orientative structures are simplified or demolished. The aim of such a process, which has a corresponding metaphor in the geographical metaphor of withdrawal, is to restore contact with experience. The experiential world is characterized by the absence of structure. Its cardinal metaphor is nature as wilderness (wildness), though, again, the city as oceanic and dislocative can fulfil a like function. It is in the unmediated intercourse with such a world that the self is realized. At this point a sense of meaning and value arises as experience is assimilated and integrated. The result of such an integration is a structure valid for the self—a structure, we might note, with no claims to permanence or finality. What is discovered in the wilderness is not so much a final structure, as a way of structuring. Which is what the realized individual brings back to the society from which he remains alienated. As the city can serve as metaphor for social structures, so it can serve as a metaphor for the structure (and the way of structuring) that might be--an ideal city. The final task is the discovery of a role that might facilitate the realization of this authentic culture.
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The Engelhard of Konrad von Würzburg: its structure and its sourcesOettli, Peter H., 1940- January 1972 (has links)
Introduction. After more than a century of investigation into various aspects of Konrad von Würzburg's Engelhard, its source or sources are still unknown. Moriz Haupt, when he edited the poem in 1844, simply established the fact that it resembles the tale of Amicus and Amelius. Haupt felt however that Engelhard was so different from those versions of Amicus and Amelius which he knew, 'dass entweder das lateinische buch nach welchem er dichtete (212. 6493) ein anderes war oder er selbst den stoff mit grosser freiheit behandelt hat. / Note: Thesis is published. Oettli Peter H. (1986) Tradition and creativity : the Engelhard of Konrad von Würzburg : its structure and its sources. New York : Peter Lang
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Les formules exclamatives dans les farces (1450-1550): le parler expressif entre en scèneWeir, Andrew January 1992 (has links)
Whole document restricted, see Access Instructions file below for details of how to access the print copy. / The French farce of the period 1450-1550 contains a cornucopia of verbal expressions that we may term 'exclamatory’; swearing, oaths, curses, insults, supplications, interjections, exhortations, scatology, invocations of saints, and so on. Yet this literary form, considered by researchers be a repository of spoken French of the later Middle Ages, remains largely unexplored from this standpoint. Indeed, there are few studies of 'expressive' modern language in existence, due largely to the inferior status given to this linguistic register by the majority of researchers. This thesis seeks to examine and quantify the formulaic nature of exclamatory discourse in the farces. By adopting a broader definition of the word 'exclamation' than that currently accepted, we seek to unite the disparate and fragmentary attitudes of the few researchers who have expressed the view that this aspect of discourse merits further analysis. It is asserted that examination of formulae (i.e. leitmotivic usages) allows an objective assessment of affective language; the formulaic constructions are shown to be themselves subject to formulaic modification. A database of 7668 quotations (68,500 words) from 99 farces is used to establish a taxonomy which shows usage in context. The taxonomy is organised around headwords, which form the nuclei of the various expressive domains. From this taxonomy, 858 formulae are extracted and described. The relative frequency of occurrence of the phrases in the taxonomy is portrayed in graphical form. The field of research from 1900 to the present is examined. The attitudes of researchers are shown to have undergone evolutionary rather than revolutionary development in the course of the century; the abovementioned divergence of methodologies (and definitions of the field of research), is asserted to have hindered an advance of research in this area. Possibilities for further research are suggested, for example in the field of comparative inter-lingual studies.
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”My Two Countries Firmly Under My Feet”: Explorations of Multicultural Identity in the Fiction of Amelia Batistich and Yvonne du FresneNola, Nina January 2000 (has links)
This thesis offers a detailed reading of the fiction of the Dalmatian New Zealand author Amelia Batistich and the Danish New Zealand author Yvonne du Fresne from the perspective of multicultural literary criticism. It draws strongly throughout on interviews and discussions with the authors themselves, and on their personal papers. The Introduction explores the term "multicultural literary criticism", examines its significant development in theory and practice in Australia (especially in the writings of Sneja Gunew), and discusses the challenging issues raised by its use in a bicultural context, in New Zealand. The body of the thesis is organised into two parallel sections, the first (of five chapters) on Batistich and the second (of four chapters) on du Fresne. Each section begins with an introduction to the writing life of the author concerned, with particular reference to the forces. Shaping her sense of identity as a New Zealander from an ethnic minority community. Subsequent chapters then discuss chronologically the development of the author’s work from short fiction and articles through to the later novels. Each author's struggle to find a fictional voice which expressed her identity as a hybrid New Zealander is highlighted. The role of editors and publishers in shaping the migrant voice of both authors is also explored, and the reception of both authors' works by critics often unwilling or unable to read for difference in a literary landscape dominated by the perception of New Zealand as socially homogeneous. The thesis argues - in an extended enquiry into the constructedness of identity - that both authors have struggled throughout their careers to find a place for both themselves and their characters in New Zealand literature. The bibliography contains a checklist of the published writings of both authors, primary and secondary material related to the field of ethnic minority writing, and a checklist of other migrant writings and creative multicultural works in New Zealand. “No matter how far fate has blown the frail tree of my life across foreign lands, its roots have always sucked nourishment from that little barren clod of soil from which it sprung." Ivan Meštrović (Dalmatian sculptor, 1883-1962.) “The earth is our mother, wherever we find ourselves." Amelia Batistich, The Olive and the Vine. “Today a gap had closed; I felt my two countries firmly under my feet. Both equal." Yvonne du Fresne, Motherland P.205 My Two Countries Here is the fern, the kauri sapling straight as a larch Young, like my county, strong. There is the olive, grey with dreams Crouched over the stony land - like a woman in childbirth. Both gave me life - the kauri and the olive. Here my father ate the bread of exile. There my grandfather ate the black bread of poverty- By the blue Adriatic But what matter now? My grandfather sleeps in his own earth- His bones have melded with his own soil- Alien, my father sleeps on Hillsborough Hill overlooking the Manukau. But here was his work- Here was his home. Amelia Batistich (1985) / Whole document restricted, but available by request, use the feedback form to request access.
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Identity, tradition and globalism in post-Cultural Revolution Chinese feature filmsLam, Yung Adam January 2000 (has links)
After the Cultural Revolution officially ended in 1977, China began its reforms from 1978. Although the initial goal of the reforms was to improve the nation's economy, changes soon took place across other fields ranging from politics to culture, from society to the legal system. These changes throughout the 1980s and 1990s had a significant impact on the development of Chinese film. Contemporary Chinese films reflect these changes either directly or indirectly. This thesis studies the development of film in post-Cultural Revolution China to the mid-1990s. The thesis argues that Chinese film experienced a shift of cultural identity from being subject to Chinese tradition to submitting to transnational globalism. The causes of this shift were a combination of China's own reform process and international cultural and financial involvement in the Chinese film industry. In light of some Western cultural theories, such as structuralism, post-structuralism (including deconstruction), psycho-analysis and postmodernism, this thesis examines a series of acclaimed Chinese directors and films. Many of these directors and films are internationally well known either for their cinematic achievements or for the political controversies about their films. They are seen as representative, especially when contemporary Chinese film is assessed from a cross-cultural, global perspective. In a new millennium Chinese cultural policies on film production and censorship are changing. This thesis summarizes how the Chinese film industry in the last two decades has responded to, and from time to time accelerated the country's modernization, commercialization and internationalisation. / http://www.amazon.com/Identity-Tradition-Globalism-Post-Cultural-Revolution/dp/3639111060/ref=sr_1_1?ie=UTF8&s=books&qid=1236640154&sr=1-1 / Note: A book based on this thesis is published by VDM Verlag (2008) ISBN 3639111060 and available from http://www.amazon.com/Identity-Tradition-Globalism-Post-Cultural-Revolution/dp/3639111060/ref=sr_1_1?ie=UTF8&s=books&qid=1236640154&sr=1-1
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Images of society in New Zealand writing an examination of the social concerns of New Zealand writers, 1960-1970Volkerling, Michael January 1975 (has links)
Every writer works within a particular social contest which influences the way in which he apprehends and attributes value to the experience he represents in his work. This influence does not promote an absolute uniformity of outlook among writers, nor does it necessarily limit the formal possibilities open to them: rather it predisposes writers to favour arguments or experiences that confirm certain ways of seeing society which, though they may vary in their emphases, are still contained within identifiable parameters. It is possible to describe the nature of the culture of any period by defining the ‘structure of feeling’ shared by writers – that blend of theories and assumptions which constitutes the organising vision through which their social concerns and aesthetic ideals achieve a formal reconciliation. With the novel, this structure of feeling may be identified by attempting to locate the point of vision of the writer as it is stated in terms of social reality. For what is seen and rendered in the novel represents an interpretation of social reality, an image of society, stated in terms of the structure of feeling prevailing during the period in which the writer is working. The purpose of this present study is to relate these general principles to a consideration of literature in New Zealand concentrating on work produced between 1960 and 1970. To do so necessarily involves an order, firstly, to define the values which are held in common within the New Zealand literary tradition – that is to say, the structure of feeling which prevails here – and secondly, to discover how the themes which are treated most consistently during this decade are subsequently developed, or, alternatively, resist development. An associated purpose is to identify the themes which recur in the work of writers whose approach to literature, and the forms they choose, are otherwise very different; to illustrate the origin of these common concerns in the structure of feeling which informs literary culture in New Zealand; and to show how that structure is expressed in relation to the new experiences and phenomena encountered here as a result of the rapid social change which has occurred during the 1960s. The argument of this study is developed mainly through an examination of prose fiction, in particular the work of Frank Sargeson, Noel Hilliard, Janet Frame, Maurice Duggan, Maurice Gee, and Maurice Shadbolt. Criticism and occasional writing – particularly that found in popular magazines – is also referred to. What should be conclusively demonstrated is the extent to which the structure of feeling which informs New Zealand literature has been rendered obsolete by recent rapid changes in New Zealand society; that the assumptions about society implicit in this structure of feeling prevent the writer from fully apprehending the nature of his experience; and that if literature here is to remain a valuable source of social knowledge, new ways of seeing – and new forms which can effectively express them – must be developed.
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André Malraux: Évolution de la pensée et constance du mythe profondMcGillivray, Hector January 1979 (has links)
The first three chapters of this thesis deal with the development of André Malraux's thought in the fields of politics, culture and aesthetics. In the light of Marxist thought, the writer's work as a whole shows a conception of history as fundamentally irrational and non-progressive, governed by existential forces such as the passions of nationalism and class feeling, denounced by Julien Benda. Against History as Fate, Malraux appeals ultimately to the will to consciousness, whose chosen field of expression is art, Malraux's recourse amidst a dying Western culture. The final chapter of this thesis concerns the images that haunt Malraux's work, and sets up a model of the myth underlying the conscious thought of the writer. This 'personal myth' throws light on the writer's inner world, and on the direction his intellectual thought took. Consequently, the theological function of art in Malraux's aesthetical conception stems from his unconscious personality, which gives a profound meaning and unity to the contradictions apparent in the writer.
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An Edition of the Book of Sovereign Medicines MS X3346Lalor, Daphne E. (Daphne Elaine) January 1995 (has links)
This thesis is an edition of a manuscript of medical remedies, MS X3346 (now stored in the Alexander Turnbull Library in Wellington) which belongs to the Medical Historical Society of the Auckland branch of the Royal Australasian College of Physicians. The manuscript is one of five known copies of a compilation by a sixteenth century Benedictine monk, John of Feckenham, who became Abbot of Westminster during the reign of Mary Tudor. In the dedication to the manuscripts, which is almost identical in each, the Abbot states that 'This Book of Sovereign Medicines' Named for convenience throughout this edition, 'The Book of Sovereign Medicines' was collected by him for 'the poor who have not at all times the learned physicians at hand'. The scribal handwriting, and the names of various people in MS X3346, indicate that it was penned between 1665 and 1675, or about seventy-five years after Feckenham's death. Research into the life of the compiler was undertaken, as was an overview of the medical ideas of the period, together with a study of the popular genre of which the Abbot's work was an example. Also included in this thesis is a Provenance of the manuscript, a description of its state, a comparison of it with the other known copies, and the story of its donation to the Medical Historical Society. A transcript of the manuscript was prepared, maintaining the scribal spelling, punctuation and capitalization as accurately as possible. Following this, a modernized version was made, aiming at a readable text. The layout of the original manuscript and the transcript was maintained as far as possible, to facilitate keying of annotations and comments to the text. The Oxford English Dictionary was used as the standard for spelling and grammar, and an attempt was made to conform to the principles used by Stanley Wells and Gary Taylor in the compact edition of Shakespeare's Complete Works. A glossary was prepared defining herbs, ingredients, medical terms and so on. Annotations to the remedies indicate the same or similar examples in other works, especially in the Folger edition of 'This Booke of Sovereigne Medicines' (edited by E.R.Macgill in 1990). Also in the annotations are explanations of words and phrases specific to a remedy, and identification of many of the people mentioned in the work. Quotations from authors of the time of Chaucer to the modern day are included in the glossary and annotations to help define and illustrate medical terms and ingredients perhaps not familiar today. Early herbals were studied, especially those of William Turner and John Gerard. As Eleanour Sinclair Rohde (The Old English Herbals, p.98) has pointed out, Gerard was justly condemned by critics of his own time as well as modern ones for 'having used Dr Priest's translation of Dodoen's ⎂Pemptades⎁ without acknowledgement'. Nevertheless, this editor, like Rohde, has found such pleasure in Gerard’s delightful language, his descriptions of plants, with their habitats and their virtues, that many quotations from his Herball have been included. There is an index of authors and quotations, and also a general index to the contents of the modern version.
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Gendered Resistance: A Comparative Study of Four Twentieth-Century Women’s AutobiographiesBaisnée, Valérie January 1994 (has links)
Whole document restricted, see Access Instructions file below for details of how to access the print copy. / This thesis examines comparatively the first parts of four twentieth-century women's autobiographies that have never been studied together: Simone de Beauvoir's Memoires d' une jeune fille rangdee (1958), Maya Angelou's I Know Why the Caged Bird Sings (1969), Janet Frame's To the Is-Land (1982) and Marguerite Duras's L'Amant (1984). Its aim is to show how these women resisted or subverted the established order in their childhood and adolescence and how, through their autobiographical practice, they challenge some assumptions about women's creativity. For this purpose, this study involves a discussion of the reception of each autobiograph, a close analysis of their narrative techniques, and an examination of the institutions in which each protagonist grew up, mainly family, school and/or church. Among these institutions, I emphasise the role of interpersonal relationships within the family, and in particular the mother/daughter relationship. This thesis draws attention to various strategies used by these women to resist subjection: through their bodies, through language, or simply through an escape from the institution, with three of these protagonists choosing to grow up in the street rather than in the family or in the school. Similarly, the way the presence of the narrator is established in the text challenges the reader's perception of the woman writer. I conclude that for these women, the search for identity is not a search for a role or a position but for a place, though they find it in the margins of society.
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