No description available.

Associer Barbey d'Aurevilly à la décadence, l'idée n'est pas tout à fait nouvelle, quoiqu'elle ne soit pas très répandue. De plus, cette association de l'oeuvre aurevillyenne n'a pas été analysée en profondeur.Il semble bien que Champfleury ait été le premier à faire le lien entre Barbey et la décadence, et ce, dans son ereintement d'Une Vieille Maitresse, daté de novembre 1856: "Littérature de décadence, il est vrai, de piment, d'alchool (avec un h) [sic], littérature d'homme blasé qui a épuisé jusqu'à la dernière goutte toutes les re- cherches d'une ardente volupté, littérature bestiale de sang et de tigre, que pour l'honneur de M. d'Aurevilly, je veux bien croire une affectation, une sorte de dandysme.

No description available.

River on Fire" is the story of Randall Smith, a foundling orphan growing up in the midwestern United States in the late 1960s. Without the intimate guidance of loving parents, Randall struggles to understand a dangerous and confusing world during one of the most tumultuous times in modern history. Immensely readable and filled with humor and irony, "River on Fire" will both warm and break your heart. A Discussion/Study Guide is included at the end of the novel. / https://dc.etsu.edu/alumni_books/1031/thumbnail.jpg

No description available.

<p> In 1846 and 1847, ether and chloroform were used and celebrated for the first time in Britain and the United States as effective surgical anaesthetics capable of rendering individuals insensible to physical pain. During the same decade, British novels of realism were enjoying increasing cultural authority, dominating readers' attention, and evoking readers' sympathy for numerous social justice issues. This dissertation investigates a previously unanswered question in studies of literature and medicine: how did writers of social realism incorporate realistic descriptions of physical pain, a notoriously difficult sensation to describe, in an era when the very idea of pain's inevitability was challenged by medical developments and when, concurrently, novelists, journalists, and politicians were concerned with humanitarian reforms to recognize traditionally ignored and disadvantaged individuals and groups in pain? By contextualizing the emergence of specific realist novels including works by Elizabeth Gaskell, Charles Reade, William Howard Russell, and Charles Dickens, within larger nonfiction discourses regarding factory reform, prison reform, and war, this dissertation identifies and clarifies how realist authors, who aim to demonstrate general truths about "real life," employed various descriptions of physical pain during this watershed moment in medicine and pain theory, to convince readers of their validity as well as to awaken sympathetic politics among readers. </p><p> This study analyzes Gaskell's first industrial novel, <i>Mary Barton </i> (1848), Reade's prison-scandal novel, <i>It is Never Too Late to Mend</i> (1856), Russell's Crimean War correspondence (1850s) and only novel, <i>The Adventures of Doctor Brady</i> (1868), and Dickens's second <i>Bildungsroman, Great Expectations</i> (1861), thereby revealing different strategies utilized by each author representing pain - ranging from subtle to graphic, collective to individualized, urgent to remembered, and destructive to productive. This study shows how audience expectations, political timing, authorial authority, and medical theory influence and are influenced by realist authors writing pain, as they contribute to a cultural consensus that the pain of others is unacceptable and requires attention. These realist authors must, in the end, provide fictionalized accounts of pain, asking readers to act as witnesses and to use their imaginations, in order to inspire sympathy.</p>

Thesis (Ph.D.)--Cornell University, 2007. / (UMI)AAI3276808. Source: Dissertation Abstracts International, Volume: 68-08, Section: A, page: 3407.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

<p> During the early twentieth century, Japan was modernizing in all areas of science and art, including children&rsquo;s literature. Ogawa Mimei (1882-1961) was a prolific writer who advanced various literary forms such as short stories, poems, essays, children&rsquo;s stories, and children&rsquo;s songs. As a writer, he was most active during the late Meiji (1868-1912) to Taish&omacr; (1912-1926) periods when he was a socialist. During that time, he penned many socialist short stories and children&rsquo;s stories that were filtered through his humanistic, anarchistic, and romanticist ideals. In this thesis, I analyze Mimei&rsquo;s socialist short stories and children&rsquo;s stories written in the 1910s and 1920s. I identify both the characteristics of his writing style and the themes so we can probe Mimei&rsquo;s ideological and aesthetic ideas, which have been discounted by contemporary critics. His socialist short stories challenged the dogmatic literary approach of Japanese proletarian literature during its golden age of the late 1920s and early 1930s. His socialist children&rsquo;s stories also deviated from the standard of Japanese children&rsquo;s literature in the 1950s and 1960s. In this thesis, I break away from the narrow views that confined Mimei to certain literary standards. This thesis is a reevaluation of Mimei&rsquo;s literature on his own terms from a holistic perspective.</p><p>

This dissertation enters the conversation about what experimentalism has to do with poets of color while paying particular attention to the ways in which three women writing now—Myung Mi Kim, Claudia Rankine, and Marlene Nourbese Philip (the latter poet publishes under the name “M. Nourbese Philip)—deal with the complicated matter of contemporary selfhood. In all of their works, one of the central questions of poetic inquiry, “Who is speaking?” turns out to be a rather inappropriate question that forces traditional readings on these non-traditional texts, thus producing meanings that have more to do with poetic convention than the texts at hand. Instead, this project approaches these writers' texts asking, what kind of reading do these texts invite, as well as resist? Indeed, what kind of contemporary poetics do they create? This dissertation looks at how contemporary experimental poetry of racial mourning locates its grief not in racial experience itself, but in what produces identity-based experience in the first place. It contends that racial identity creates melancholia precisely because it is, paradoxically, a social construction that feels natural to us. Poets Kim, Philip, and Rankine use formal and linguistic innovation—including fragmentation, stammers, brackets, blank spaces, made-up words, lists, and pictograms—to re-imagine identity as inauthentic and unstable, while acknowledging the desire for a sense of one's self that's more whole, more sayable, more recognizable. This dissertation contextualizes their experimental work by charting a kinship between them, early elegiac poetries of racial mourning, and other contemporary poetry from Frederick Douglass to Major Jackson.