Browsing by Subject "Criticism and interpretation"
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Item Alain Robbe-Grillet: time and jealousy(Texas Tech University, 1969-08) Craig, Carolyn LangstonNot availableItem An analysis and production of Harold Pinter's Old times: a directing project(Texas Tech University, 1992-12) Stine, Candice SNot availableItem Anthony Burgess's mythopoeic imagination: a study of selected novels (1956-1968)(Texas Tech University, 1974-08) Wagner, Kenyon LewisNot availableItem Archetypes of women in Casona's theater(Texas Tech University, 2001-05) Krupnick, Freida SalasNot availableItem Charlie Chaplin and Harpo Marx as masks of the Commedia dell'Arte: theory and practice(Texas Tech University, 1995-05) LeMaster, David JamesHarpo Marx and Charlie Chaplin are cinematic representatives of the Commedia dell'Arte, the living theatre of the Renaissance. Their evolutionary developments may be traced by identifying their use of Commedia techniques at various points in their careers. Harpo used lazzi to strengthen the comedic value of his performance, while Chaplin used the lazzi as one technique to develop a three-dimensional character. Harpo remained a Harlequin throughout his career, relying on many of the same lazzi in his final films that he had created for his characters on stage. In contrast, although the early Chaplin possesses the Harlequin's traits, Chaplin continued exploring and sought a more fully developed character that did not rely on slapstick to convey emotion. The character known as "Pierrot" to twentieth century audiences is distinct from the Harlequin because he developed the characteristic of evoking sympathetic pity. Several conclusions may be drawn: First, the Pierrot is a natural product of the evolution of drama from comedy to tragedy to twentieth century tragicomedy. Charlie Chaplin is the link between comedy for the masses and tragicomedy for the common man. Second, Chaplin embodies Meyerholdian and Artaudian technique as both an actor and director, therefore achieving an artistic approach to comedy. Finally, Harpo and his brothers are a filmed link to vaudeville, which may, in turn, be traced to the original Commedia dell'Arte.Item Die Rolle der Natur in Annette von Droste-Hulshoffs Novelle Die Judenbuche(Texas Tech University, 1968-06) Lentze, HugoNot availableItem Elements of evolution in the novels of Frank Norris(Texas Tech University, 1971-05) Womochel, La Donna MainsNot availableItem Item "Is dethbir disi" [It is appropriate (that she behave in this way)]: applying the lens of gender parody to Medb in the Old Irish Ulster Cycle(Texas Tech University, 2004-08) Dominguez, Diana VeronicaMedb of Connacht, a central female character of medieval Ireland's Ulster Cycle (a set of tales compiled between the eighth and twelfth centuries from earlier oral sources), is read traditionally from two critical approaches: as an example of a misogynistic, patriarchal Christian campaign to suppress and silence women in early Ireland, or as symbolic of a primordial, mythic pre-Christian goddess, exempt from patriarchal censure because her behavior is ascribed to her duties as a divine sovereignty figure who confers the right of kingship on the man with whom she mates. Even recent attempts at analyzing her character from an explicitly feminist perspective privilege one of these two traditional views, with the result that, either way, she is still read as "deviant." A reading of her behavior itself through a new lens is needed in order to transform Medb into a figure of independent agency and power. This study presents a comparative and comprehensive character analysis of the Connacht warrior queen across numerous tales, using rhetorical/discourse analysis strategies informed by the feminist theory claiming that gender is "performative" and can be used as a form of resistance to/subversion of patriarchal norms, as proposed by Luce Irigaray, Judith Butler, Jennifer Coates, Deborah Cameron, and Joan Radner and Susan Lanser. Analysis through such a lens allows for a deconstruction of traditional patriarchal gender assumptions in order to redefine the concept of gender and gendered behavior. The study includes a careful re-evaluation of historical sources, in Ireland and beyond, both prior to and contemporary with the literary period of the Ulster Cycle compilation. In addition, research is presented about the general social and legal environment of Old Ireland between the ninth and twelfth centuries that sheds light on the status of women and the subtle and overt ways in which women affected family structure, legal proceedings, and other power relationships, all of which have bearing on a reading of Medb that places her in a historical and political context. This study reveals that Medb can be read as a realistically, if dramatically, drawn character, rather than an anomalous and misogynistic invention that belongs in the shady, pagan, mystical past.Item Item Literary and social criticism in the comedies of Breton de los Herreros from 1825 to 1848(Texas Tech University, 1938-08) Patterson, Allene HustonNot availableItem Mechanization and the isolated man: two elements of existentialism in Huxley's new world(Texas Tech University, 1968-05) Matter, William Ward,Not availableItem Nathaniel Hawthorne and the eternal feminine(Texas Tech University, 1965-05) Houston, Neal B,Not availableItem Poetic sequences in Theodore Roethke's The far field(Texas Tech University, 1968-08) Howell, John RobertNot availableItem Satire of characterization in the fiction of Sinclair Lewis(Texas Tech University, 1966-05) Park, Sue Simpson,Not availableItem The development of theme through technique in Ralph Ellison's Invisible man(Texas Tech University, 1971-05) Russell, Mary PersonsNot availableItem The formative impact of plant imagery upon Hawthorne's fiction(Texas Tech University, 1970-08) Sapper, Jo Ann BufordNot availableItem "The glass brogan will not fit": postmodern conjunctions in John Steinbeck's East of Eden and The winter of our discontent(Texas Tech University, 1999-05) Rose, Matthew MNot availableItem The peddler figure in the work of Hamlin Garland(Texas Tech University, 1971-05) Henry, Patricia EzellNot availableItem The political philosophy of Gustavo Gutierrez(Texas Tech University, 1995-05) Duncan, William BGustavo Gutierrez, a Peruvian Roman Catholic priest and theologian, is one of the most recognized proponents of the religio-political movement known as Liberation Theology. Born of frustrations over the failure of many nations in Latin America to achieve a socially equitable level of economic, political and social development. Liberation Theology represents a radical religious response, analysis and critique of existing conditions in the region. This study examines the radical foundations of Gutierrez's works, in particular, his reliance upon the work of critical theorists such as Friedrich Hegel and Karl Marx. Gutierrez's works are analyzed from the perspective of Eric Voegelin, a dedicated critic of the secular thought of both Hegel and Marx. This present study utilizes Voegelin's thought to construct an analytical matrix with which to examine the work of Gutierrez. It is argued that, based on this examination, Gutierrez does not fall victim to the "gnostic" temptations to which both Hegel and Marx ultimately succumbed in Voegelin's judgment.