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This thesis traces the construction and evolution of the star text of Laurence Olivier as it relates to cinematic Shakespeare production and formulations of nationhood in 1940s and 1950s Britain. Organised around an examination of Olivier’s four Shakespearean film adaptations (including the unmade Macbeth), the project focuses on the ways in which the concept of 'Shakespeare' – signalled throughout by its italicisation – is appropriated through Olivier’s image in relation to the industrial and cultural contexts of the wartime and post-war British film industry. It also examines articulations of Shakespearean selfhood and related reappropriations of the filmic image in Olivier’s life writing, exploring how Olivier engages with his own star persona. In examining the relationship that exists between broader industrial-cultural appropriations of 'Shakespeare' and a sense of a star’s personal connection with the national poet, the thesis explores (in addition to the film texts) extratextual materials such as fan letters, publicity documents, theatre and film ephemera, magazine interviews, newspaper criticism, industrial reports and personal and professional correspondence in order to interrogate the national-cultural function of a star text whose image is aligned to 'Shakespeare'. This thesis seeks to make an original contribution to Shakespeare on screen studies by constituting the fullest study of Laurence Olivier’s cinematic Shakespearean career to date. In introducing and analysing previously unseen archival material (including screenplays and shooting scripts relating to the unmade Macbeth), the thesis informs our understanding of the evolving history of British Shakespeare production and, therefore, of the history of Shakespeare on screen. Rethinking Olivier’s cultural currency as a Shakespearean star in 2012 and in the space of the archive, the thesis also contributes to the theoretical thinking underpinning Shakespearean performance studies and archival studies. Finally, the thesis opens the way for further considerations as to how (and to what effect) the Shakespearean star operates as a national and transnational phenomenon.

The eighteenth-century British novel derived its purpose, structure, and theory of characterization from the life-history, in the form of biography or autobiography. In eighteenth-century Britain both the novel and the life-history emerged in recognizably modern forms. Like the life-history, the novel maintained as its purpose the Horatian maxim that art should both instruct and entertain. Moreover, the novel and the life-history shared the same structure, as each novel purported to be the biography or autobiography of the title character of the work. Finally, the novel and the life-history adopted the same theories of characterization for the major as well as minor characters within the works.However, life-writing was at this time in a period of transition from the static to the dynamic theory of characterization. This transition came as a result of a significant change in the view of the source of personality. In the static life-history the central subject, as well as the minor figures, possessed an innate, unchanging personality. Thus when Plutarch wrote of Alexander or of Julius Caesar, these figures were depicted as men born to greatness. However, each was imperfect, possessing in the Aristotelian sense a tragic flaw. In the main this theory was significant because it placed no value on what was later to be considered so important in the development of personality-the individual's experiential life.In direct contrast to the static theory, the dynamic view of personality was the result of Cartesian and Lockean psychology which saw personality as the direct result of not the innate but instead the experiential processes. The experiences of the central character, rather than exemplifying innate qualities, now were seen as shaping and delineating that personality. The application of this new theory to both the modern novel and life-history produced a central character or characters growing according to the dynamic theory, though the minor characters remained "type" characters in accordance with the static theory.Therefore, the sources of the British eighteenth-century novel lay both in the dynamic biographies and autobiographies of the Restoration and Eighteenth Century and in the classical life-writers beginning with Plutarch and Josephus, as well. In this study the primary classical works analyzed are Josephus, the portrait of Herod in the Jewish Antiquities and his own in The Life; Plutarch's "Julius Caesar" and Suetonius' "Julius Caesar"; St. Augustine's Confessions; Dante's Vita Nuova; and the transitional Autobiography of Benvenuto Cellini. The adoption of the new dynamic theory is illustrated in two life-histories: Colley Cibber's Apology and Samuel Johnson's Life of Savage.The application of the dynamic theory to eighteenth-century autobiographical novels is exemplified by Samuel Richardson's Pamela and Tobias G. Smollett's Roderick Random. Though there was a complex psychological portrait of Richardson's Pamela Andrews, with a number of moral digressions, there were little character development and few digressions in Smollett's novel.A far more complex treatment of the theories of personality occurred in Laurence Sterne's Tristram Shandy. As narrator Tristram centered the work upon the four.crucial accidents that had formed his personality, and on those other three dynamic characters who were connected with these misfortunes--the Shandy brothers and Parson Yorick. In contrast, minor characters such as Dr. Slop were drawn according to the static theory. The digressions within the work were encased within a comic-satiric framework. Thus the two theories of personality--static and dynamic--which informed eighteenth-century life-writing served also as the principal source for characterization in the eighteenth-century British autobiographical novel.

This dissertation focuses on the politics of self-narration and the use of visual images and strategies in Margaret Laurence's The Diviners , Daphne Marlatt's Ana Historic and Margaret Atwood's The Handmaid's Tale and Cat's Eye. I argue that these authors are reworking the metafictional form by using visual strategies (such as reflection, distortion and point of view) to explore the complex relationship that us created when the woman narrator when she is both subject and object of her own fictional autobiography. / I use the artistic form of anamorphosis as the overriding metaphor for discussing this relation and its manifestation in these texts. Paintings and drawings in which the anamorphic form is used depend upon strategic distortion, indirect viewing and perspective for their effect. Anamorphoses present exploded, fragmented images which, through the strategic positioning of the viewer, are reconfigured into recognizable forms. The emphasis in these works of visual art is upon the moment at which these images are reconfigured. In literary works, I argue, the emphasis is on the process of creating a distorted image and on that which is contained in the spaces that are revealed through the process of exploding that image. This metaphor allows me to explore the interdependence of the visual and written elements of self-representation in these novels and the simultaneous, shifting, mutually informing relation between a narrating, subjective "I" and a narrative "eye" (with its emphasis on the visual, on perspective, and on point of view). / The resistant, reinscriptive and interrogative strategy of "literary anamorphosis" moves these novels beyond the confines of linear, literary forms to create a distinct, feminist, narrative space in which women writing in Canada can articulate the complex politics of their positions in but not of the masculinist Master Narratives that have historically defined and controlled them.

This thesis considers Laurence Sterne's Tristram Shandy in light of Friedrich Schlegel's concept of irony. Departing from previous criticism, which focuses on Sterne's playful narrative techniques, the discussion here elucidates other ways in which Tristram Shandy exemplifies the kind of irony Schlegel theorizes. These ways include: Sterne's "Mischgedicht" method, which amalgamates in a single work many types of style, or diverse permutations of form and content; the depiction of Parson Yorick, who epitomizes Socratic irony as Schlegel defines it in the 108th Lyceum fragment; Sterne's gentle satirizing of systematic thinkers, including his own narrator, Tristram; and Sterne's attitude toward words, knowledge, and reading. At the end of chapter 5, Sterne's irony is unraveled and reconstructed. This disentangling leads to a proposed refutation of recent interpretation of both Sterne and Schlegel. These studies see Sterne and Schlegel's irony as implying lack or flux of meaning. It is the strong contention of the following thesis that an essential aspect of Sterne and Schlegel's shared ironic world view is the continual, optimistic attempt to understand life, which necessarily presupposes a sincere and profound belief in both meaning and the reliable conveyance of it. (Abstract shortened by UMI.)

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 166-171). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 166-171). Also available on the Internet.

Inaug.-Diss.--Philos--Köln, 1979. / Résumé en allemand. Bibliogr. des œuvres de L. Sterne p. 227-228. Bibliogr. p. 228-232.

Thesis (Ph.D.)--Memorial University of Newfoundland, Faculty of Medicine, 2000. / Includes bibliographical references.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-03-05T16:13:00Z No. of bitstreams: 1 2017_VítorCastelõesGama.pdf: 1983901 bytes, checksum: 8543235d8096a137fd0576ef7f3bb90e (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-03-09T18:40:05Z (GMT) No. of bitstreams: 1 2017_VítorCastelõesGama.pdf: 1983901 bytes, checksum: 8543235d8096a137fd0576ef7f3bb90e (MD5) / Made available in DSpace on 2018-03-09T18:40:05Z (GMT). No. of bitstreams: 1 2017_VítorCastelõesGama.pdf: 1983901 bytes, checksum: 8543235d8096a137fd0576ef7f3bb90e (MD5) Previous issue date: 2018-03-09 / Considerando o apreço que Luiz Ruffato demonstrou por Laurence Sterne, objetiva-se entender as convergências entre as obras dos autores. Para tanto, procede-se à análise bibliográfica dos romances “A vida e as opiniões do cavalheiro Tristram Shandy” e “Eles eram muitos cavalos” em relação ao gênero da sátira menipeia e às outras artes como o cinema, a poesia, a música e o teatro. Observa-se o percurso da menipeia nas obras dos autores com o aporte de teóricos como Mikhail Bakhtin, Northrop Frye, José Guilherme Merquior e Enylton José de Sá Rego para apontar as similaridades e dessemelhanças em suas construções. É necessário ressaltar que este gênero agrega um questionamento social aos autores por discutir também a relação entre literatura e realidade. Questão aprofundada pelos autores também pelo amplo uso de técnicas provenientes de outras artes, por esse motivo as obras são consideradas como híbridas. Para trabalhar esse conceito seguimos com base no antropólogo Néstor Garcia Canclíni. É de importância na análise o conceito de performance, pois na tessitura das obras há um trabalho de mediação com os leitores realizado pela materialidade do livro e por um estilo tipográfico. Este conceito é balizado pelo entendimento de Paul Zumthor, e outros pensadores como Renato Cohen e Regina Melim. Por fim, conclui-se que apesar do distanciamento de séculos entre os autores há um intenso diálogo entre as obras que se iluminam mutuamente e demonstram a utilidade da tradição na vanguarda da literatura contemporânea brasileira. / Considering the appreciation Luiz Ruffato showed for Laurence Sterne. We intend to understand the similitaries between the authors works. Therefore, we proceed to a bibliographical analysis of the novels “The life and opinions of Tristram Shandy, gentleman” and “They were many horses” in comparison to the menippean satire and the cinema, poetry, music and drama. With the theoretical groundwork of Mikhail Bakhtin, Northrop Frye, José Guilherme Merquior and Enylton José de Sá Rego we take notice of the mennipean satire influence in the analysed novels to discover correlations and dissimilarities between them. It is necessary to point out that this literary gender brings a taste for social criticism by discussing also the relation between literature and reality. Which is further questioned by the intense use of techniques derived from other arts. Because of this usage “Tristram Shandy” and “They were many horse” are considered hybrid novels. To work with hybridization we approach the thought of Néstor Garcia Canclini. It is also important the concept of performance, because in the making of the novels there are a personalized form of mediation with the reader and a typographical style. This concept is based in Paul Zumthor’s theory and other authors like Renato Cohen and Regina Melim. In the end, we conclude that in spite of the centuries apart there is an intense dialogue between the authors and their works that demonstrate the usefulness of tradition in contemporary brazilian literature vanguard.