Chan, Sze Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 167-172). / Abstracts in English and Chinese. / Abstract --- p.I / List of Illustrations --- p.IV / Acknowledgements --- p.V / "Introduction ""Regarding the Pain of Others"": War as Spectacle today" --- p.1 / Chapter Chapter 1 --- "From ""We Bombed in New Haven"" to bombing our new ""haven"": Joseph Heller's War Play of Metatheatre against Spectators" --- p.27 / Chapter Chapter 2 --- "From ""Society of Spectacle"" to Society of Impotence: Tim O'Brien's War Novels of Affect against Spectator-readers" --- p.56 / Chapter Chapter 3 --- "The War Photographer as the exemplary Spectator in disguise: False ""Witness"" of the Photographic Eye" --- p.104 / Conclusion --- p.150 / Endnotes --- p.157 / Bibliography --- p.167

Sara Payson Willis Eldredge Farrington Parton, more famously known as the elusive Fanny Fern, employs three autobiographical personae mediated by fiction in her debut novel, Ruth Hall: (1) Ruth Hall, the novel's protagonist; (2) Floy, the fictional Ruth's pseudonym; and (3) Fanny Fern, Parton's real-life pseudonym and the name under which Ruth Hall was published. Together these personae assert a fragmented presence that incorporates various voices and lives, allowing for exploration, growth, and interactivity.Philippe Lejeune's autobiographical contract outlines three specific guidelines for autobiography—that it be a narrative, that it explore personal history, and that it link author and protagonist. Ruth Hall participates in two-thirds of Lejeune's contract, though Parton's conscious fictionalization demands a revisiting of the autobiographical contract, revealing the impossibility of recording truth as well as the impracticality of a unitary self.Through her use of autobiographical personae in Ruth Hall and in her personal life, Parton succeeds in rewriting the narrative of domesticity for the nineteenth-century American woman. Her self-conceptualization embraces multiplicity as she demands to be seen as "more than."

The focus of the ethnographic diary study is introduced and contextualized in the opening chapter with a site description. The thesis examines the diaries written during a sojourn of over two years in Japan . and proposes to answer the question, "How did the sojourner's initial maladjustment subsequently develop into satisfactory adjustment?"

This thesis explores the status of a specific subset of absent characters within twentieth century American drama. By borrowing the term “proximate cause” from tort law and illuminating its intricacies through David Hume’s A Treatise of Human Nature, this thesis re-appropriates proximate cause for literary studies. Rather than focus on characters whose existence remains the subject of critical debate, this set of absent characters presumably exists but never appear onstage. Despite their non-appearance onstage, however, these absent characters nonetheless have a profound effect upon the action that occurs during their respective plays. Highlighting the various ways in which these characters serve as the proximate cause for the onstage action of a given play will expand the realm of drama and literary studies in myriad ways.

Thèse doctorat : Department of English : Uppsala : 1993.

No description available.

No description available.

Volume One, the adult literary novel, Dissection, is a portrayal of the inner world of Anna McBride, a female GP who has been sued for medical negligence. The novel spans the three-month period prior to Anna's mediation meeting with a young male patient, now the plaintiff, and his mother. Central to the writing of Dissection is the rendering of the consciousness of a woman who, in the wake of what she perceives to be a grave error of judgement, unflinchingly questions her worth and her relationships with others. Volume Two, the exegesis, examines various literary techniques (autonomous monologue, narrated monologue and communal narration) used in the representation of the consciousness of female characters in Marie Darrieussecq's 'A brief stay with the living' and Jacinta Halloran's 'Dissection'. With reference to the work of narratologists, Susan Lanser and Dorrit Cohn, these literary techniques are analysed in the context of two contemporary novels that seek to represent women's inner lives.

A presente dissertação se propõe a traçar o desenvolvimento do Expressionismo desde sua origem na Alemanha da década de 1910 até o teatro estadunidense da década de 1920, assim como a influência desse movimento de vanguarda na obra do dramaturgo americano do pósguerra, Tennessee Williams. Para esse fim, a relação entre artes visuais, teatro, literatura e cinema é apresentada, definindo essa dissertação no campo dos Estudos Interdisciplinares. A análise será principalmente enfocada nas peças expressionistas americanas da década de 1920 dos dramaturgos Eugene O'Neill, Susan Glaspell, Elmer Rice e Sophie Treadwell, e em quatro peças de Tennessee Williams e suas respectivas versões fílmicas: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Primeiramente, serão apresentadas as origens do Expressionismo na Alemanha na década de 1910 para definir as características do movimento. Posteriormente, serão identificadas características expressionistas no teatro, literatura e cinema estadunidense da década de 1920. Por fim, será verificada a influência do movimento expressionista na obra de Tennessee Williams, tanto em suas peças quanto nas versões fílmicas. O objetivo dessa dissertação é provar a ligação entre a obra de Tennessee Williams e as peças de dramaturgos expressionistas estadunidenses anteriores, assim como discutir a inter-relação e o aspecto colaborativo entre artes visuais, teatro, literatura e cinema. / The aim of this thesis is to track the development of Expressionism from its roots in Germany in the 1910s to its outcome in the American theatre in the 1920s, as well as the influence of the avant-garde movement in the work of the postwar American playwright Tennessee Williams. For the purpose of the present thesis, a relation including the visual arts, theatre, literature and cinema will be traced, thus setting this work in the field of Interdisciplinary Studies. The analysis will mainly focus on 1920s American expressionist plays by Eugene O'Neill, Susan Glaspell, Elmer Rice and Sophie Treadwell, and four plays by Tennessee Williams and their respective film adaptations: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Firstly, the origins of Expressionism in Germany in the 1920s are presented to define the characteristics of the movement. Later, expressionistic aspects are identified in 1920s American theatre, literature and cinema. And finally, the influence of the expressionist movement is verified in the work of Tennessee Williams, both in his plays and film versions. The objective of this thesis is to prove the connection of Tennessee Willliams's work with that of earlier American expressionist playwrights, as well as to discuss the interrelation and collaborative aspect of the visual arts, theatre, literature and cinema.

A presente dissertação se propõe a traçar o desenvolvimento do Expressionismo desde sua origem na Alemanha da década de 1910 até o teatro estadunidense da década de 1920, assim como a influência desse movimento de vanguarda na obra do dramaturgo americano do pósguerra, Tennessee Williams. Para esse fim, a relação entre artes visuais, teatro, literatura e cinema é apresentada, definindo essa dissertação no campo dos Estudos Interdisciplinares. A análise será principalmente enfocada nas peças expressionistas americanas da década de 1920 dos dramaturgos Eugene O'Neill, Susan Glaspell, Elmer Rice e Sophie Treadwell, e em quatro peças de Tennessee Williams e suas respectivas versões fílmicas: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Primeiramente, serão apresentadas as origens do Expressionismo na Alemanha na década de 1910 para definir as características do movimento. Posteriormente, serão identificadas características expressionistas no teatro, literatura e cinema estadunidense da década de 1920. Por fim, será verificada a influência do movimento expressionista na obra de Tennessee Williams, tanto em suas peças quanto nas versões fílmicas. O objetivo dessa dissertação é provar a ligação entre a obra de Tennessee Williams e as peças de dramaturgos expressionistas estadunidenses anteriores, assim como discutir a inter-relação e o aspecto colaborativo entre artes visuais, teatro, literatura e cinema. / The aim of this thesis is to track the development of Expressionism from its roots in Germany in the 1910s to its outcome in the American theatre in the 1920s, as well as the influence of the avant-garde movement in the work of the postwar American playwright Tennessee Williams. For the purpose of the present thesis, a relation including the visual arts, theatre, literature and cinema will be traced, thus setting this work in the field of Interdisciplinary Studies. The analysis will mainly focus on 1920s American expressionist plays by Eugene O'Neill, Susan Glaspell, Elmer Rice and Sophie Treadwell, and four plays by Tennessee Williams and their respective film adaptations: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Firstly, the origins of Expressionism in Germany in the 1920s are presented to define the characteristics of the movement. Later, expressionistic aspects are identified in 1920s American theatre, literature and cinema. And finally, the influence of the expressionist movement is verified in the work of Tennessee Williams, both in his plays and film versions. The objective of this thesis is to prove the connection of Tennessee Willliams's work with that of earlier American expressionist playwrights, as well as to discuss the interrelation and collaborative aspect of the visual arts, theatre, literature and cinema.