National Repository of Grey Literature 44 records found  1 - 10nextend  jump to record: Search took 0.01 seconds. 
Reflections of the deleuzian "time-image" in the films of Andrei Tarkovsky and of Alain Resnais
Konoreva, Evguenia ; Roraback, Erik Sherman (advisor) ; Armand, Louis (referee)
During the twentieth century, cinematography matured into an independent and potent form of art. Film as a sequence of images caught in continuity presents a unique tool of capturing time; it allows the viewer to observe the manipulation of temporal and of spatial values, which before was not possible in the arts. Furthermore, the technical and aesthetic conceptualization of cinematography was evolutionarily developing during its short history and, according to Deleuze, saw a major break after Citizen Kane (1941)and most forcefully following the Second World War. This break resulted in the emergence of the so-called 'time-image', which in its essence reveals a radical alienation of the individual in contemporary society, but seeks to establish a new philosophy of space and time in a disorientated post-war world. The present analyses of the films chosen in this project aimed at revealing the new realities created by our two chosen film-makers. These realities echo the complexity and ambiguity of the contemporary individuality; these are the realities of a post-war subjectivity, one that is at one stroke both questioned and fragmented. Both Alain Resnais and Andrei Tarkovsky, whose bodies of work were conditioned by the emergence of a new post-modern consciousness, created a new cinematic style and also...
Literary semiotics in the early works of Harry Mathews
Stankovianska, Veronika ; Armand, Louis (advisor) ; Roraback, Erik Sherman (referee)
This thesis is concerned with the early works of American novelist Harry Mathews { in particular the literary semiotics of Mathews' The Sink- ing of the Odradek Stadium. The work also sets out to deal with Mathews' relationship to the avant-garde collective Oulipo (Ouvroir de Litt¶erature Po- tentielle/Workshop for Potential Literature) and the collective's project of formal experimentation. \Potential literature," treated as a function of sign systems, is approached through a comparative analysis of structures and re- lations found in seemingly disconnected branches of mathematics.
(Post)Modern Inferno: Flann O'Brien's The Third Policeman between modern and medieval netherworlds
Ruczaj, Maciej ; Pilný, Ondřej (advisor) ; Armand, Louis (referee)
I have discussed earlier Noman's hallucinatory experience of "woodenness" spreading across his whole body - "a dry timber poison killing me" (119). It provides another stage in the consistently allegorical construction of the motif. Noman's moment of enlightenment, the possibility of the discovery of an allegorical meaning, is of course immediately distorted by the fact that Noman is already dead and - if his dwelling-place is hell - there is no possibility of further degradation, he is all "wood" by now. "Woodenness" he correctly associates with death, yet as always he misses the point as it is primarily a "spiritual" death that is signalized here.
Edward W. Said: postcolonial studies and the politics of literary theory
Machátová, Bibiana ; Armand, Louis (advisor) ; Roraback, Erik Sherman (referee)
I first heard the name of Edward W. Said in a university seminar two years ago. His name was mentioned by one of my American teachers and not many of us knew who Edward Said was. After trying to find out who he was I was amazed that I had never heard about one of the most widely known and controversial intellectuals of the twentieth century. I was very surprised that this influential author within the fields of literary theory, post-colonial and cultural studies is so little known within the Czech academic sphere. One of the most striking facts is that as of September 2007, there were only five entries by Said in the Czech National Library!. Similarly, only three of his brief essays were translated into Czech? Thus the purpose of this thesis is to grant appropriate attention to Edward W. Said and present an interpretive overview of his work which is necessary before one can begin to place Said in proper perspectives as the individual whom many have claimed as a centrally important twentieth century figure. It will explore Said's contribution to many disciplines ranging from literary theory and criticism to cultural history to postcolonial studies, as well as the literary, cultural, social, and aesthetic roles he has played as an academic intellectual. It will also attempt to interpret the key moments in...
Copy, imitation, forgery as an artistic principle in the novel Chatterton by Peter Ackroyd
Labanczová, Johana ; Armand, Louis (advisor) ; Roraback, Erik Sherman (referee)
In the first chapter a question was posed: whether the original and the derivative represent a classic binary opposition in Chatterton. The wide usage of repetition in the novel was revealed to highlight the textuality (in the sense of Waugh's 'condition of artifice'1), intertextuality and self-intertextuality of Chatterton - in particular through references to other texts, the novel's self-referentiality, but also the applying of the means of visual representation (as it was shown in the third chapter). By showing its dependence on particular artistic and textual representations, repetition calls attention to the fact that for example also history could be considered a textual construct. Going back to the initial discussion of the opposition between the original and the derivative, it should be mentioned, as John Frow states, that it is exactly the metaphor of textuality what has a power to overcome 'the dichotomisation of the real to the symbolic, or the base to the superstructure, or the social to the cultural,'2 or the original to the derivative. The subversiveness of embracing the metaphor of textuality goes beyond the one of a forger, counterfeiter or plagiarist. Their works, as Ruthven puts it, 'exhibit a carnivalesque irreverence towards the sanctity of various conventions designed to limit what is...
The theme of Hamlet in Joyce's Ulysses: The reflections of Stephen Dedalus's aesthetic theory in his later theory of Hamlet and the specific implications that arise from it
Brymová, Petra ; Pilný, Ondřej (advisor) ; Armand, Louis (referee)
The thesis deals with the theory of Hamlet created by Stephen Dedalus, the main protagonist of Ulysses, and with its counterpart in the form of Joyce's theory, which can be imagined as a twisted theory of Stephen reflected in the narrative of Ulysses. The first chapter concerns the origins of Stephen's Hamlet theory; it focuses on Stephen's aesthetic views with emphasis on the terms Stephen uses and shows how Stephen diverts from the models he is drawing on. It is revealed that the basic concept of Stephen's aesthetic theory is the indispensability of "real life" for an artistic creation. Most of the terms Stephen employs include this issue, except for his idea of a "detached artist", which is the very opposite of a contact with reality. However, this paradox is a link towards reconcilliation of two opposing tendencies, which seems to form the essence of an artistic creation. The chapter likewise comments on Joyce's ironical treatment of Stephen's views. Stephen detaches himself from Christianity, yet he uses religious parallels and thus, paradoxically, pays homage to it. Irony also surfaces concerning the relation between an artist and his work of art; Joyce's "new" theory of Hamlet is closer to Aquinas than Stephen's original. In a similar way Joyce regards Stephen's analogy between a literary...
McDonaghland as a global village
Konárková, Michaela ; Pilný, Ondřej (advisor) ; Armand, Louis (referee)
The objective of this e-ssay is to explore various possible perspectives -of looking at Martin McDonagh's work. The author of so far six extremely successful plays premiered between the years 1996-2003 has engaged much critical attention as belonging both to the British and Irish theatrical context. However, another important circumstance of his work is that of the globalized, supranational context. I would like to prove that it is in this context where the parodic strategy of his plays is most powerful. The theoretical background of this thesis is represented by Marshall McLuhan's book War and Peace in the Global Village, Zygmun-d- Bauman's book Globalizatio~d Linda Hutcheon's/oetics of Postmodernism.
Giving a voice to the Other: Said's theory of anti-colonial resistance
Daghman, Ali ; Armand, Louis (advisor) ; Roraback, Erik Sherman (referee)
Compared to the detailed theoretical analysis of colonial power and discourse, the conception of anti-colonial resistance has been generally underdeveloped and undertheorised. This inadequate, theoretical concern with resistance to colonialism has lead to the current conception of colonial power and discourse in postcolonial theory. This argument is illustrated on the analysis of the approaches to resistance in the works of Foucault and Bhabha, who have paid the major attention to the issues of power, knowledge and colonialism. They are countered by the work of Edward Said who brings resistance to the focal point of the post- and anti-colonial discourse. Foucault argues that resistance is neither defined by terms of its object, nor is it the result of intentionality on the part of the subject, whether this subject is collective or individual. He thinks of power as an intentional question without a subject, as if he were talking about purposefulness without purpose or action without agency. Yet, Foucault's theory of resistance remains inadequately explored. For Foucault, resistance is not integral but rather a necessary condition for the operation of power. Power itself is viewed as an undifferentiated conception: he tends to think of power from the standpoint of its actual realisation, not the opposition to...
The Language and Subjectivity of a Portrait
Dudešek, Štěpán ; Armand, Louis (advisor) ; Vichnar, David (referee)
In A Portrait of the Artist as a Young Man Joyce shifts away from the traditional objective narration to a more subjective mode of writing. The reader can experience the story and the characters not only through what is actually written but also through how it is written. Joyce employs various language techniques to show different styles that create the feeling of different voices. Four major registers can be distinguished: a child's language, 19th century lyricism, the language of the Catholic school and the more complicated style of the last chapter. The prevalent techniques suggesting a child-like usage are manifested through repetition, childish expressions, use of modality and questions. Lyricism then draws on Byronic and other 19th century parallels, for instance the overuse of adjectives, elevated metaphors and frequent occurrence of standard poetic tropes. The language of the Church is reflected in sermon-like repetition, archaic words, biblical expressions and heavy diction. The language of the last chapter tries to use precise technical terms in an imitation of Thomist and other scholastic texts and manages to incorporate many of the previous elements as well, although often in a self-mocking way. All these techniques and devices in part substitute the traditional objective narrative and help to...

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