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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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De fyra elementen : En semantisk motivstudie i Gunnar Ekelöfs En Mölna-Elegi / The four elements : A semantic motif study in Gunnar Ekelöf’s A Mölna ElegyLarsson, Ulf January 2004 (has links)
The aim of this study is to examine the semantic architecture of the motif complex the four elements, i.e. fire, air, water and earth, in the Swedish poet Gunnar Ekelöf’s poem A Mölna Elegy (1960). The poem belongs to the same polyphonic and quotative-allusive tradition as T. S. Eliot’s The Waste Land and Ezra Pound’s Cantos. The four elements may be regarded both as four separate motifs and as constituting one semantically coherent motif complex. The latter reading has to do with the fact that the phrase the four elements is not itself present in the text. Thus, the thesis includes the assumption that this motif complex, heavily suggested by items in the text but still omitted, might function as a text matrix, from which a number of themes emerge such as life–death and time. The thesis has a theoretical anchoring in ideas about semantic frames (Barsalou) when discussing semantic relations between the different element-related words in the poem, and how these words may be linked to the concepts ‘fire’, ‘air’, water’ and ‘earth’ respectively. Traditional lexical relations such as hyponymy, antonymy and meronymy only catch the more obvious relations such as fire–glow, warm–cold and tree–branch, but are unable to explain pragmatically based relations between words linked to the same conceptual domain, such as sea–jetty, water–sink, fly–air and the like. To some extent, the thesis also draws upon Riffaterre’s theories about a poem’s matrix and how meaning arises in such texts. A major finding of the study is the heavy lexical presence of the four elements in the poem, expressed and suggested by a great number of semantically heterogeneous words. This semantic pattern is analysed in detail with the aid of semantic frame theory. A further discovery is that most of the element words imply dichotomies such as motion–repose, warmth–cold, light–dark or soft–hard. The elements have most of the dichotomies in common, which strongly suggests a union of all the four elements. Such a union is also suggested by several conspicuous compounds never earlier recorded in Swedish, such as glödstänk (‘glowspray’), vindstänk (‘windspray’), eldsus (‘fire sough’) and vågsus (‘wave sough’). The meetings of element are also described at the syntactic level as an explicit amalgamation of all four elements, which suggests a theme not earlier noticed. This theme may tentatively be called the cyclical amalgamation.
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Cinematographic and Literary Representations of the Femicides in Ciudad JuarezArellano-neri, Olimpia 30 September 2013 (has links)
No description available.
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En dröm i Lagarnas hus : Ögonblicket, människan och det transcendenta. Studier i Stig Dagermans diktning / A Dream in the House of Law : The Moment, Man and the Transcendent: Studies in the Writings of Stig DagermanApelgren, Rikard January 2010 (has links)
The main aim of the dissertation is to examine the importance of the moment in relation to human experience and to the narrative in the writings of Stig Dagerman (1923-1954), primarily the novels Ormen (The Snake, 1945), De dömdas ö (The Island of the Doomed, 1946), Bränt barn (A Burnt Child, 1948), Bröllopsbesvär (Wedding Worries, 1949), the short stories "Den hängdes träd" (The Hanging Tree, 1945) and "De röda vagnarna" (The Red Wagons, 1946). The dissertation shows the moment as being of crucial importance by serving as the point of time for the fictional character’s critical experience. The moment also functions as a structuring principle for the narrative. In this, the discussion is supported by the theories on the chronotope found in the work of Mikhail Bakhtin. With the ideas of Michael Riffaterre as the principal theoretical basis in the study, the reading of the texts focuses on a matrix common to the works discussed. The reading goes from a description of the primarily profane subject matter of the narrative to an understanding of the religious discourse in the works. This interpretation receives additional support in the theories on religious and mystical experiences found in Rudolf Otto. Finally, the dissertation focuses on man’s sensitivity to, and longing for, a transcendental entity or a God in the broadest sense – a longing which manifests itself in different ways in these texts and is set against the human predicament of being. Man’s desperate religious longing for a transcendental entity or a God are ultimately understood as the significance or principle of unity in the texts under discussion.
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Lacrime di frantumaglia : Verità letteraria nell'opera di Elena Ferrante / Tears of framtumaglia : Literary truth in the work of Elena FerranteVarricchio, Isabella January 2018 (has links)
This master thesis presents a study of the authorship of the Italian writer Elena Ferrante, focusing on hermain concepts “la frantumaglia” and “la smarginatura” in relation to the question of literary truth. Thepurpose is to examine the fascinating interaction between meta reflection and narration through anintratextual reading of her poetics elaborated in La frantumaglia (2013, 2016) and all novels publishedso far. With references to the theories of Sigmund Freud and Jacques Lacan, la frantumaglia and lasmarginatura are interpreted as the unconscious and different mental disorders that characterize the crisisof the female protagonists. The analysis examines literary truth on three literary levels: the verbal,considering the Neapolitan dialect related to the city of Naples as a representation of both maternalorigin and patriarchal oppression, the stylistic, viewing la smarginatura as literary style, and finally, thesymbolic, connected to what Ferrante calls the “symbolic sphere of the authentic”. Furthermore, anintellectual approach to truth is discussed as a contraposition to the others. In applying the methodologyof Michael Riffaterre, the analysis of the stylistic and symbolic truth dimensions shows how theiridiosyncratic traits are extended and transformed throughout the Ferrantian work. The thesis alsosuggests a different interpretation of the intimate relationship between mother and daughter, one of theauthorship’s central themes. Unlike previous studies with a psychoanalytical approach that affirms theexistence of a pre-oedipal phase free from patriarchal intrusion, this analysis demonstrates how Ferranterepeatedly reveals this idea as an infantile fantasy. Instead, the thesis argues that the only real synthesisis found at the level of writing itself, in the merging of the perspectives of the two protagonists in thecycle of L’amica geniale (The Neapolitan novels). This synthesis is further conceived as the authenticidentity of the anonymous author herself.
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Begrens én onbegrens : intertekstualiteit in die oeuvre van H.J. Pieterse / Ihette JacobsJacobs, Ihette January 2010 (has links)
This dissertation attempts to investigate the intertextual modus operandi in the oeuvre of H.J. Pieterse, with specific focus on his volumes, Alruin (1989) and Die burg van hertog Bloubaard (2000). The overarching purpose of the investigation is to prove that the author not only uses intertextuality in the sense that one text (literary text) refers to another text (literary and non–literary), or that one text influences another. Pieterse engages in conversation with other texts and re–writes these texts by repositioning them in another context and by adding additional metaphoric meaning to them. The author allows these texts to exchange conversation, to mutually influence one another, and this has as a result that, in his poems, his poetry and his oeuvre, metaphoric lines come into being, which lend a layered meaning to these texts and enrich the possibilities of their interpretation. Thus, a play on multiple meaning develops, which moves between texts: written texts, literary texts, non–literary texts, the author, the reader and the context(s). The conclusion to which this dissertation comes, is that the above mentioned manifestations of meanings, which exist and come into existence within the physically confines of the text, expand this text to a less confined existence in terms of meaning, more unlimited and unbound than what is necessarily allowed by the physically confined nature of the written text. The question thus arises of how the physically limited text take possession of and draws into the texts what lies beyond its physical confines to produce meaning, and how this tension around the limits of the literary text is functionally used. Consequentially, the question that follows is how this happens in the oeuvre of H.J. Pieterse and how the author uses his poetic technique to go beyond the confines of the written text. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.
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Begrens én onbegrens : intertekstualiteit in die oeuvre van H.J. Pieterse / Ihette JacobsJacobs, Ihette January 2010 (has links)
This dissertation attempts to investigate the intertextual modus operandi in the oeuvre of H.J. Pieterse, with specific focus on his volumes, Alruin (1989) and Die burg van hertog Bloubaard (2000). The overarching purpose of the investigation is to prove that the author not only uses intertextuality in the sense that one text (literary text) refers to another text (literary and non–literary), or that one text influences another. Pieterse engages in conversation with other texts and re–writes these texts by repositioning them in another context and by adding additional metaphoric meaning to them. The author allows these texts to exchange conversation, to mutually influence one another, and this has as a result that, in his poems, his poetry and his oeuvre, metaphoric lines come into being, which lend a layered meaning to these texts and enrich the possibilities of their interpretation. Thus, a play on multiple meaning develops, which moves between texts: written texts, literary texts, non–literary texts, the author, the reader and the context(s). The conclusion to which this dissertation comes, is that the above mentioned manifestations of meanings, which exist and come into existence within the physically confines of the text, expand this text to a less confined existence in terms of meaning, more unlimited and unbound than what is necessarily allowed by the physically confined nature of the written text. The question thus arises of how the physically limited text take possession of and draws into the texts what lies beyond its physical confines to produce meaning, and how this tension around the limits of the literary text is functionally used. Consequentially, the question that follows is how this happens in the oeuvre of H.J. Pieterse and how the author uses his poetic technique to go beyond the confines of the written text. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.
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