Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, August 1999. / Includes bibliographical references. Also available on the Internet.

No description available.

Trois traductions italiennes de La Princesse de Clèves réalisées en Italie au XXe siècle par des femmes ayant marqué, à des titres divers, la vie littéraire italienne de leur temps constituent le point de départ de notre analyse : en 1933 celle de Sibilla Aleramo, en 1988 celle de Renata Debenedetti et en 1999 celle de Rosetta Loy. L’évolution du contexte historique et socio-culturel ainsi que le statut différent de ces trois femmes permet d’étudier la variation des contraintes de production et des conditions de réception de ces traductions. Le choix de certains passages de l’ouvrage de Mme de Lafayette consent de mettre en relief les caractéristiques principales de ce texte et de comprendre les problèmes traductifs que cela pose. Ce premier roman moderne de la littérature européenne écrit par une femme et publié anonymement ne cesse en effet d’interroger et d’intriguer les femmes écrivains de nombreux siècles plus tard. Le rapport entre traduction et écriture féminine est alors interrogé. La relation entre les choix traductifs et leur personnalité d’écrivain et d’intellectuelle débouche sur l’étude de leurs ouvrages dont les caractéristiques stylistiques et thématiques récurrentes évoquent la notion de féminin dans l’écriture. / Three Italian translations of The Princess of Cleves, made in Italy in the twentieth century by women who marked in various ways the Italian literary life of their time, are the starting point of our analysis: Sibilla Aleramo’s in 1933, Renata Debenedetti’s in 1988 and then Rosetta Loy’s in 1999. The evolution of the historical and sociocultural context as well as the different status of these three women allow us to study the variation of production constraints and reception conditions of these translations. The choice of some extracts from Madame de Lafayette’s novel consents to highlight the main features of the text and understand the translation problems that this arises. This novel, the first in modern European literature written by a woman and published anonymously, continues to question and fascinate women writers many centuries later. The relationship between women's writing and translation is then questioned. Subsequently, the relationship between translation’s choices and their personality of writers and intellectuals leads to the study of their works whose recurring stylistic and thematic characteristics evoke the notion of “feminine writing”.

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Thesis (Ph.D.)--University of Chicago. / Includes bibliographical references: leaves [274]-284. Also available on the Internet.

Mina Loy’s work explores the gaudiness of consumer culture in its spectacle, extravagance and underlying falsity. “Giovanni Franchi,” “Three Moments in Paris” and “Virgins Plus Curtains Minus Dots” question the perceptive powers and autonomy of Baudelaire’s flâneur when applied particularly to the modern female subject. Moreover, “Hot Cross Bum” explores the excess involved in consumer extravagance, while “Feminist Manifesto” uses that extravagance to re-appropriate advertising towards Loy’s own ends. Throughout, consumer culture is seen as a false veneer; ultimately, however, Loy admits the paradoxical reality of this false consumer culture, and its real implications on modern life in “On Third Avenue” and “Mass Production on 14th Street.” Consequently, Loy gives a nuanced and sophisticated critique and exploration of consumer culture, and can be connected to theorists of spectacle like Guy Debord, of advertising like T.J. Jackson Lears, and to Baudrillard’s hyperreality.

The solvent-induced swelling behaviour of Victorian brown coals was examined in detail to probe the bonding mechanisms in very low rank coals (in this case Victorian brown coal). Correlation of solvent properties with differences in observed swelling behaviour were interpreted in terms of the coal structure, and means of predicting the observed behaviour were considered. Modification of the coal structure via physical compression (briquetting), chemical digestion, thermal modification, and functional group alkylation was used to further elucidate those structural features which govern the swelling behaviour of Victorian brown coals. Briquette weathering (i.e. swelling and disintegration of briquettes when exposed to variations in humidity and temperature) was examined by making alterations to briquette feed material and observing the effects on swelling in water. The application of solubility parameter alone to prediction of coal swelling was rejected due to the many exceptions to any proposed trend. Brown coal swelling showed a minimum when the solvent electron-donor number (DN) minus its electron-acceptor number (AN) was closest to zero, i.e. when DN and AN were of similar magnitude. The degree of swelling increased either side of this point, as predicted by theory. In contrast to the solubility parameter approach (which suffers from the uncertainty caused by specific interaction between coal and solvent), the electron donor/acceptor approach is about specific interactions. It was concluded that a combination of total and three-dimensional solubility parameters and solvent electron donor/acceptor numbers may be used to predict solvent swelling of unextracted brown coals with some success. Solvent access to chemically densified coal was found to be insensitive to a reduction in pore volume, and chemical effects were dominant. Thermal modification of the digested coal resulted in reduced swelling for all solvents, indicating that the structure had adopted a minimum energy configuration due to decarboxylation and replacement of hydrogen bonds with additional covalent bonds. Swelling of oxygen-alkylated coals demonstrated that the more polar solvents are able to break relatively weak hydrogen bonded crosslinks. The large difference between the rate and extent of swelling in water (and hence weathering) of Yallourn and Morwell briquettes was shown to be almost entirely attributable to exchanged magnesium. Magnesium exchange significantly increases the rate and extent of swelling of Yallourn coal. It was also shown that the swelling of briquettes due to uptake of water by magnesium-exchanged coals is reduced significantly with controlled ageing of the briquettes. The solvent swelling behaviour of Victorian brown coals is consistent with the notion that coal is a both covalently and non-covalently crosslinked and entangled macromolecular network comprising extractable species, which are held within the network by a wide range of non-covalent, polar, electron donor/acceptor interactions. Solvents capable of significant extraction of whole brown coals are also capable of significant swelling, but not dissolution, of the macromolecular coal network, which supports the view that the network is comprised of both covalent and ionic bonding. Victorian brown coals have also been shown to exhibit polyelectrolytic behaviour due to a high concentration of ionisable surface functionalities.

No description available.

Syftet med den här uppsatsen är att genomföra en jämförande studie av den klassiska Hollywood-deckaren, representerad av de tre första filmerna i Thin Man-serien, och film noir. Analysen utgår ifrån Thin Man-filmerna The Thin Man (1934), After the Thin Man (1936) och Another Thin Man (1939) och noir filmerna The Maltese Falcon (1941), Laura (1944), The Big Sleep (1946) och Dark Passage (1947). Den grundläggande teorin för uppsatsen är genreteori och hur den klassiska Hollywood-deckarfilmen skilde sig ifrån film noir. Analysen är uppdelad i fyra kapitel, i vilka olika delar av innehållet i både Thin Man-filmerna och de fyra exemplen av film noir analyseras. De olika kapitlen handlar om manliga huvudkaraktären, den kvinnliga huvudkaraktären, hur de olika filmerna hanterade ämnen berörande sex och sexualitet och hur samhället och människorna representeras i filmerna. Slutsats omfattar sedan en diskussion om uppsatsens resultat och svaret på varför Thin Man-filmerna inte räknas som film noir.

Mon mémoire explore les représentations d’environnements matériels et naturels dans des œuvres littéraires de Virginia Woolf et Mina Loy, et comment ces écrivaines conçoivent les connections entre leurs personnages féminins et leurs environnements. À travers l’analyse de leurs œuvres respectives et à l’aide de préceptes de l’écocritique et de sujets connexes tels la matérialité, l’écoféminisme et la trans-corporalité, j’établis la possibilité de réévaluer la perception anti-nature du Modernisme et des opportunités pour enrichir les études écocritiques et modernistes. En premier lieu, j’observe l’inséparabilité entre l’humanité et ces environnements de vie dans Between the Acts, dernier roman complété par Woolf, et comment cela constitue une évolution par rapport à sa nouvelle « Kew Gardens ». De plus, je présente les bénéfices de cette relation pour les femmes et leurs ambitions artistiques en me basant sur les arguments de Woolf dans son essai A Room of One’s Own et en conversant avec des études qui explorent les éléments écocritiques de l’œuvre de Woolf. En deuxième lieu, je m’intéresse à une sélection des premiers poèmes de Mina Loy pour leurs examens de thèmes féministes et leur intégration dans les représentations des lieux visités dans les poèmes. J’illustre le rôle actif d’espaces domestiques et publics dans le maintien de discours dominants du patriarcat, et donc dans la résultante subjugation des femmes à son pouvoir. Ce travail d’analyse me permet de conclure avec de nouvelles avenues de recherche pour solidifier la place des femmes modernistes au sein du mouvement à l’aide de leurs intérêts environnementaux et pour reforger les liens ignorés ou effacés entre elles. / My thesis explores the depictions of material and natural spaces in literary works by Virginia Woolf and Mina Loy, and how both writers conceive the interconnections between their female characters and their surrounding environments. With the help of precepts of ecocriticism and of related fields such as materiality, ecofeminism and trans-corporeality in analyzing Woolf’s and Loy’s respective works, I demonstrate how the misguided preconception of Modernism’s contempt for nature can be reassessed to offer new opportunities for both ecocritical and modernist studies. Firstly, I observe the inseparability between humanity and its living environments in Woolf’s last completed novel Between the Acts and how this evolved from her earlier short story “Kew Gardens.” I also discuss the benefits of this relation for women and their artistic ambitions with the aid of Woolf’s own claims in her essay A Room of One’s Own and in conversation with studies which have attested the ecocritical elements of Woolf’s work. Secondly, I take an interest in Mina Loy’s early poetry for its exploration of feminist themes and how those intertwine with her depictions of her poems’ environments. I illustrate the active role of domestic and public spaces in the maintenance of ambient ruling patriarchal discourses and the subjugation of women to their power. This work of analysis allows me to conclude with new avenues from which to solidify the places of women modernists in the movement by the means of their environmental interests and to reforge the ignored or erased affiliations between them.