Dress You Up in Scarlet Fine is a collection of poetry which seeks to bring together the diverse elements of landscape and geography, myth and fairy tale, the artistic and the natural, and to reimagine them through the lens of mytho-feminist revision. Through these poems, the speaker unearths the submerged voices of marginalized/outsider characters – wicked witches, ugly stepsisters, small children, and scorned women – and lends a tongue even to the landscapes themselves. What weaves these different threads together is the common language of poetry – imagery, rhythm, story, metaphor, and musicality – and an obedience to what Jose Luis Borges called the "two obligations of poetry: to communicate a precise instance and to touch us physically, as the presence of the sea does¹." / Graduation date: 2012 / Access permanently restricted to the OSU Community at author's request

This thesis focuses on a traditional form of fairy tale and its updates as an instrument of Nazi propaganda. The main object of this analysis is a fairy tale as a literary and didactic genre. The diploma thesis consists of a theoretical part and a practical part. The theoretical part introduces general signs of fairy tale genre and main principals of propaganda manipulation in modern history. The practical part focuses on a comparison of selected Grimm brothers 'fairy tales and movie processing of Nazi propaganda. Furthermore, the analysis focuses on didactic intensions, literary and film language and forms of manipulation in a movie as an instrument of propaganda.

It is a dark future, where corporations have taken the place of governmental bodies, and Earth is a myth, forgotten in the reconstruction after the Second Dark Age. One man--a clone--investigates a murder [that] leads him deep into a spirit quest of his own that will answer the questions of Man's heritage as well as his own identity. This story is a science fiction, but it is similar in structure to a Coyote tale and involves quite a bit of Navajo mythology. The use of Native American imagery is not an attempt to capitalize on another culture, but rather to study the culture and use allegorical elements that transcend many cultures. It must also be noted that non-Native American writers wrote all texts available on the subject. This fact should be taken into consideration by the reader.

This dissertation critically investigates how German culture is transculturated in Japan and in South Korea and then reproduced in a new form of manga/manhwa. These visual representations are evidence of a long history of German literary transculturation amid Japanese and Korean reading culture. Beginning with moral education materials in the 1880s, I trace the widespread reception of Grimms' fairy tales in East Asia and argue that the success of the translations of the tales was due to the particularly successful fusion of Confucian values with the Western story form. German literature first entered the Japanese reading culture through the Grimms' fairytales as a moral education tool. The reading reception shifted from educational space to private space and Japanese reader began to enjoy the Grimms' fairytales outside of the classroom, which contributed to the spread of German literature. This led to a veritable Grimm boom at the end of the twentieth century, including a corpus of critical analysis by Asian scholars and fairy tale retellings from feminist perspectives that creatively fuse ideas of East and West. The globalization of manga, in turn, contributed to the scholarly discourse in the West, which nourished a rethinking and redeployment of complex borrowing practices between Asian and German literatures. From the impact of Grimms' fairy tales, I trace the reception of the German literature in the Japanese pop literature medium manga and analyze Grimms Manga by the Japanese manga artist Kei Isiyama. Grimms' fairy tales paved the way for the entry of German literature and I investigate Yoko Tawada's works, who writes in Japanese and in German and incorporates fairy tale tropes and the legacy of German romanticism in the age of transnational globalization through her visual descriptive writing. I examine the Japanese author Kouhei Kadono, whose works, I claim, display the romantic themes of the German Romantics and Richard Wagner's nationalistic ideological views of societal changes. I then shift from German literature' influence in Japan to South Korea and I juxtapose the manhwa The Tarot Café with Goethe's Faust to investigate gender roles. After displaying German transculturation in the selected works, I argue that manga contributes to the German classroom as part of a multiliteracies framework in a collegiate language classroom.

Thesis advisor: Elizabeth Rhodes / Historically, the narrative frame tale boasts a long and varied trajectory that originated in ancient India and includes texts such as the Panchatantra and the Arabian Nights. Eventually, many Eastern fables and the frame-tale structure that accompanied them entered the Western literary tradition through the cultural bridge that was medieval Spain. Considering the frame tale’s popularity in medieval texts, especially in fourteenth century Italian novella collections, it is curious to observe a decline in its use during the early-modern period in Europe. This study examines how the traditional framed novella collection dissolves into more fluid narrative forms. Novel, more structurally subtle types of framing devices, including the character-as-frame and the place-as-frame, maintain several consistent narratological functions with their historical counterparts. The frame tale’s form may have changed, but its function remains. The first chapter of this dissertation focuses on Boccaccio’s Decameron as the model for how a traditional frame tale functions. Four narratological framing functions – the aesthetic, the perspectivist, the metaleptic frame break, and the self-reflexive – work in concert to organize the text and engage readers in actively interpreting it. The remaining three chapters examine three exemplary moments in literary history when authors redesign and deploy the narrative frame: Lazarillo de Tormes, Part I of Don Quijote, and Cien años de soledad. These texts each create a paradigm shift by utilizing a well-known, well-established formal device in innovative ways. This dissertation argues that by understanding these works in a new light as framed texts, and by exposing the consistent functions at work within them, readers can better understand both the world of the text and the world outside it. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

This dissertation looks beyond the prevailing view of Pu Songling’s (1640-1715) Liaozhai zhiyi as an undisputed classic of Chinese literature, positing that much of the work’s cultural relevance and popular appeal derives from its status as “minor discourse” rooted in the tradition of the ghost tale. The first half of the dissertation examines the ghosts depicted within Liaozhai, reconnecting their tamed and feminized images with their dark and anarchic origins. The second half studies the reception of Liaozhai, chronicling the book’s cultural ascension from xiaoshuo, in the original sense of a minor form of discourse fraught with generic and ideological tensions, to a major work of fiction (xiaoshuo in its modern sense). However, the book’s canonical status remains unsettled, haunted by its heterogeneous literary and cultural roots. The Introduction reviews current scholarship on Liaozhai, justifying the need to further investigate the relationship between popular perceptions of Liaozhai and the Chinese notion of ghosts. Chapter One delineates Pu Songling’s position in late imperial ghost discourse and examines how the ghost tale reflects his ambivalence toward being a Confucian literatus. Chapter Two reads Pu Songling’s “The Painted Skin” in conjunction with its literary antecedents, demonstrating that Pu’s uses of both zhiguai and chuanqi modes are essential for the exploration of the ghost’s critical and creative potential. Chapter Three takes up the issues of genre, canon and ideology in the “remaking” of the book by Qing dynasty critics, publishers and commentators, a process in which Liaozhai gains prestige but Liaozhai ghosts become aestheticized into objects of connoisseurship. Chapter Four looks at the ruptures in modern ghost discourse that paradoxically create new vantage points from which Liaozhai regains its “minor” status, most notably in Hong Kong ghost films. The Conclusion revisits “The Painted Skin,” a Liaozhai story that exemplifies the complex cultural ramifications of the ghost. The dissertation combines a study of Liaozhai’s textual formation and its subsequent history of reception with a dialogic inquiry into the ghost, which occupies a highly contested field of cultural discourse, functioning variously as a psychological projection, a token of belief, a literary motif and an aesthetic construction.

This dissertation looks beyond the prevailing view of Pu Songling’s (1640-1715) Liaozhai zhiyi as an undisputed classic of Chinese literature, positing that much of the work’s cultural relevance and popular appeal derives from its status as “minor discourse” rooted in the tradition of the ghost tale. The first half of the dissertation examines the ghosts depicted within Liaozhai, reconnecting their tamed and feminized images with their dark and anarchic origins. The second half studies the reception of Liaozhai, chronicling the book’s cultural ascension from xiaoshuo, in the original sense of a minor form of discourse fraught with generic and ideological tensions, to a major work of fiction (xiaoshuo in its modern sense). However, the book’s canonical status remains unsettled, haunted by its heterogeneous literary and cultural roots. The Introduction reviews current scholarship on Liaozhai, justifying the need to further investigate the relationship between popular perceptions of Liaozhai and the Chinese notion of ghosts. Chapter One delineates Pu Songling’s position in late imperial ghost discourse and examines how the ghost tale reflects his ambivalence toward being a Confucian literatus. Chapter Two reads Pu Songling’s “The Painted Skin” in conjunction with its literary antecedents, demonstrating that Pu’s uses of both zhiguai and chuanqi modes are essential for the exploration of the ghost’s critical and creative potential. Chapter Three takes up the issues of genre, canon and ideology in the “remaking” of the book by Qing dynasty critics, publishers and commentators, a process in which Liaozhai gains prestige but Liaozhai ghosts become aestheticized into objects of connoisseurship. Chapter Four looks at the ruptures in modern ghost discourse that paradoxically create new vantage points from which Liaozhai regains its “minor” status, most notably in Hong Kong ghost films. The Conclusion revisits “The Painted Skin,” a Liaozhai story that exemplifies the complex cultural ramifications of the ghost. The dissertation combines a study of Liaozhai’s textual formation and its subsequent history of reception with a dialogic inquiry into the ghost, which occupies a highly contested field of cultural discourse, functioning variously as a psychological projection, a token of belief, a literary motif and an aesthetic construction.

Thesis (M.A.)--Rowan University, 2006. / Typescript. Includes bibliographical references.

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