This essay analyzes the Austrian author Ingeborg Bachmann’s novel Malina (1971) from two theoretical perspectives: Freudian trauma theory and poststructuralist feminism, as formulated by Julia Kristeva in Revolution in Poetic Language (1974). Both of these standpoints manages to explain one of the main issues in Malina, that is, how to give voice to that which escapes language. By arguing that the nameless narrator, Ich (I), has been traumatized by patriarchal structures, I show how these perspectives complement rather than exclude each other. Together they manage to give a new and more complete picture of the struggle for language depicted in the novel. / <p>Godkänt datum 2021-06-01</p>

In his novel Cold Mountain, Charles Frazier weaves an intricate web of human stories, all converging to make a memorable statement about love, war, life, and death. This study examines these stories and the mythological, literary, and folk models Frazier employs, and in some cases revises, to tell them. The first chapter explores how Frazier recreates Odysseus in Inman, his main male character, to depict the psychological trauma inflicted by war. The second chapter focuses on Ada, Inman’s pre-war sweetheart, and Ruby, a girl with whom Ada bonds, as challenges to the male pastoral tradition. Ruby’s father Stobrod as trickster, culture hero, and ultimate keeper/creator of songs is the subject of the third chapter. Since Appalachia so strongly influences each of these characters, whether native or outsider, this thesis will also discuss such sense of place and prove that these stories, though universal, could not take place just anywhere.

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<p dir="ltr">Violent death that violates the ontological dignity of the body and the disappeared corpse often results in a crisis of mourning for those left behind, with the matter made all the more complicated when it comes to instances of politically motivated violence in the context of war. What follows such death/disappearance are issues of identification, collection of remains and, ultimately, an inability to enact necessary death rituals such as washing, shrouding and burial, leading to a separation between the dislocated soul and the corporeal form on part of the dead and the issue of incomplete mourning on part of the bereaved. Both the living and the dead, thus, come to occupy a liminal space (<i>barzakh</i>) where the boundaries between past/present, human/non-human, and dead/alive fall away. This paper argues that this in-between state helps the mourner gain access to a radical state of bearing witness outside of the oppressive binaries of the modern world. This work makes use of Middle Eastern (Iraq, Palestine, Egypt) and South Asian (Kashmir) literatures dealing with dehumanization and violent death in the context of what Achille Mbembe refers to as “death-worlds,” inhabitants of which are deemed “living-dead.”</p>

F.W. Harvey’s poetry was more popular during the First World War than many – if not most – of those whom we celebrate as ‘the war poets’ today. He is unique among the poets of that war for his insight into the life of the British POW in Germany, and for the influence of his work in the first of the British trench journals, the 5th Gloucester Gazette. Yet, he has received little national attention since his death in 1957, and scholarly work on his life is lacking, largely owing to a deficit of publicly-available primary sources and original material regarding his life and works. This has resulted in a failure to place him properly within the literary canon of the First World War. The recent discovery of Harvey’s papers allows us to examine his life and his contemporary cultural impact, and more fully to evaluate the value of his work and what it tells us about the First World War experience. Using Harvey’s papers, this biographical study will reconstruct the historical details of his life as they relate to the First World War. Concurrently, it will develop our understanding of his war-related work. This will demonstrate Harvey’s influence during the war, first as a trench poet, then as the poetic voice of the British POW. It will also examine how Harvey’s work continued to be affected by the war in the years after the armistice. The result will be a greater appreciation of the life and importance of a First World War poet whose voice was in danger of being lost to time.

Captain America and Iron Man are both iconic American heroes, representing different American values. Captain America was created during the Golden Age of comics and represents a longing for the past, while Iron Man was created at the height of the Cold War and looks forward to a new America. This paper will first establish the historical and cultural relationship between comic books and propaganda, beginning with the first appearance of Superman. It will pay special attention to the similarities and differences of Captain America and Iron Man, focusing on their representation of American values over time, and discuss how that aspect of the characters affects their ongoing titles today.

Literature, films, and even the daily news often address war, an event that unfortunately has been a constant in modern society. Large scale, modern warfare with global involvement began with the First World War, and following the war, a global war literature boom occurred. Two bestselling novels whose anti-war themes still resound today, Im Westen nichts Neues (All Quiet on the Western Front) by Erich Maria Remarque and Johnny Got His Gun by Dalton Trumbo, emerged from this sea of literature. Both of these novels focus on the pain that is inherent in warfare and its detrimental effects on society as well as on individual soldiers. The graphic imagery and anti-war sentiment that is present in these novels has generated controversy throughout their histories; however, the popularity of both works has prevailed, and Remarque and Trumbo’s novels remain two of the most referenced in academic disciplines as well as in popular culture. This thesis explores the long-lasting success of these two works as anti-war novels, as measured by initial sales and popularity as well as by a plethora of mass cultural adaptations.

O objetivo da presente dissertação é entender como ocorre a ficcionalização da memória da guerra colonial portuguesa nos romances Os Cus de Judas e A Costa dos Murmúrios e as estratégias usadas pelos autores para expressar essa memória em termos literários. Essas narrativas ao constatarem o colapso da antiga utopia colonialista do discurso nacional português, propõem uma revisão dos antigos valores nacionais e da retórica do regime salazarista, que afetou de forma profunda a vida dos autores. Em ambas as narrativas, a experiência da guerra é reconstruída através do testemunho e da reavaliação das reminiscências do passado das personagens, o que confere às obras um perfil confessional. Ao desmontar o tradicional relato histórico, relativizando verdades universalmente aceitas, a ficção visa preencher as lacunas do discurso histórico oficial, entendido como uma escritura dos vencedores. O confronto entre a memória individual resgatada pelas personagens e a memória legitimada da nação tem uma função redentora sobre o passado na medida em que interrompe a lógica dominante no momento presente. O estudo das referidas obras individualmente é concluído com uma análise sob o viés comparativo que visa estabelecer semelhanças e possíveis discrepâncias na forma de representação das memórias da guerra colonial / The aim of the present dissertation is to understand how fictionalization of the Portuguese colonial war memory occurs in the novels Os Cus de Judas e A costa dos Murmúrios and the strategies used by the authors to express this memory in literary terms.These narratives, atesting the collapse of the old colonialist utopia spread by the portuguese nations narrative, propose a re-evaluation of outdated national values as well as the rhetoric of Salazars regime, which affected profoundly these writers lives. In both narratives, the war experience is reconstructed through the characters testimonials and re-evaluation of their past reminiscences, what gives them a confessional profile. Dismounting the traditional historical narrative by the relativization of widely accepted truths, fiction intends to fill the gaps of the official historical record, seen as a discourse comiited with the dominant classes. The confrontation between the characters individual memory and the legitimized nation's memory, has a libertarian dimension about the past, as it interrupts the dominant logic of the present. The study of the refered novels individualy is concluded with a comparative analisys which stablish similarities and possible discrepancies between their representation of the colonial war memories

O objetivo da presente dissertação é entender como ocorre a ficcionalização da memória da guerra colonial portuguesa nos romances Os Cus de Judas e A Costa dos Murmúrios e as estratégias usadas pelos autores para expressar essa memória em termos literários. Essas narrativas ao constatarem o colapso da antiga utopia colonialista do discurso nacional português, propõem uma revisão dos antigos valores nacionais e da retórica do regime salazarista, que afetou de forma profunda a vida dos autores. Em ambas as narrativas, a experiência da guerra é reconstruída através do testemunho e da reavaliação das reminiscências do passado das personagens, o que confere às obras um perfil confessional. Ao desmontar o tradicional relato histórico, relativizando verdades universalmente aceitas, a ficção visa preencher as lacunas do discurso histórico oficial, entendido como uma escritura dos vencedores. O confronto entre a memória individual resgatada pelas personagens e a memória legitimada da nação tem uma função redentora sobre o passado na medida em que interrompe a lógica dominante no momento presente. O estudo das referidas obras individualmente é concluído com uma análise sob o viés comparativo que visa estabelecer semelhanças e possíveis discrepâncias na forma de representação das memórias da guerra colonial / The aim of the present dissertation is to understand how fictionalization of the Portuguese colonial war memory occurs in the novels Os Cus de Judas e A costa dos Murmúrios and the strategies used by the authors to express this memory in literary terms.These narratives, atesting the collapse of the old colonialist utopia spread by the portuguese nations narrative, propose a re-evaluation of outdated national values as well as the rhetoric of Salazars regime, which affected profoundly these writers lives. In both narratives, the war experience is reconstructed through the characters testimonials and re-evaluation of their past reminiscences, what gives them a confessional profile. Dismounting the traditional historical narrative by the relativization of widely accepted truths, fiction intends to fill the gaps of the official historical record, seen as a discourse comiited with the dominant classes. The confrontation between the characters individual memory and the legitimized nation's memory, has a libertarian dimension about the past, as it interrupts the dominant logic of the present. The study of the refered novels individualy is concluded with a comparative analisys which stablish similarities and possible discrepancies between their representation of the colonial war memories

Despite being an equal in the most significant partnership in British cinema, Emeric Pressburger has largely been overshadowed by his long term collaborator Michael Powell in both critical and academic studies. While there have been countless books on Powell and Pressburger as a team, those who have sought to separate the partnership have, until now, focussed almost exclusively on Powell. This thesis will attempt to redress the balance within Powell and Pressburger scholarship and attempt to break away from director-centric film studies. It will aim to examine Pressburger’s morally ambiguous characters, such as the recurring “good German” and his propensity to humanise characters who would normally be termed evil or corrupt, in conjunction with the central themes of displacement and exile within Pressburger’s screenplays and novels. The thesis will also utilise both unpublished and unfilmed material and demonstrate that the study of these works that exist only in archives provide a greater insight into the working practises of authors and filmmakers, while providing a valuable point of comparison to their more widely known works. Specifically, this thesis will address four separate aspects of Pressburger’s canon. First, it will discuss Pressburger’s war films which he made with Powell, which have suffered to an extent from neglect by many Archers’ scholars. It is clear that Pressburger’s key hallmarks and mirroring of his own experiences during the war can be seen to develop within these works and provide an ideal point of comparison with that of his later projects such as his novels. Chapter two will then examine the often overlooked filmed operetta, <i>Oh ... Rosalinda!! </i>(1955) along with Pressburger’s unfilmed screenplay <i>The Golden Years</i> (1951) a biopic of Richard Strauss, and provide a comparison to demonstrate the manner in which Pressburger’s love of opera overlapped with his development of complex characters and response to the war. Chapter three will analyse Pressburger two published novels, both of which have been largely ignored by both cinema and literary critics. Through the study of these novels, the difference in approach after the transition from screenwriter to novelist will be examined, along with the further development of his seeming neutrality in the portrayal of morally unsound characters. Chapter four will then focus on Pressburger’s two unpublished novels, <i>The Unholy Passion</i> and <i>A Face like England</i>, with consideration of Pressburger’s developing ideas of morality and forgiveness in his later years. In conclusion, by closely examining works that have been overlooked by Powell and Pressburger scholars, the thesis will shed new light on Pressburger, both as a filmmaker and an author and demonstrate the complexities of both his characters and his writing.