Literature and Comparative Literature Senior Thesis Titles
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The Language of Narrative Drawing: a Close Reading of Contemporary Graphic Novels
The Language of Narrative Drawing: a close reading of contemporary graphic novels Abstract: The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing. It sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic „confection‟ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching. -
FA 49V.01 Course Syllabus
An Elective Course for Undergraduate and Graduate Students of any discipline and for English Language Students GRAPHIC NARRATIVE IN CONTEMPORARY LITERATURE & ART: EVOLUTION OF COMIC BOOK TO GRAPHIC NOVEL ✓ Basic Requirements: Appropriate language skills required by the University. ➢ This course should be of interest to anyone concerned with verbal & visual communications, popular forms, mass culture, history and its representation, colonialism, politics, journalism, writing, philosophy, religion, mythology, mysticism, metaphysics, cultural exchanges, aesthetics, post-modernism, theatre, film, comic art, collections, popular art & culture, literature, fine arts, etc. ➢ This course may have a specific appeal to fans and/or to those who are curious about this vastly influential, widely popular, most complex and thought-provoking work of contemporary literature and art form, the ‘Comics’; however it does not presume a prior familiarity with graphic novels and/or comics, just an overall enthusiasm to learn new things from a new angle and an open mind. ✓ Prerequisites: ➢ FA489 & FA49V: ‘By consent’ selection of students. ➢ FA490: Upon successful completion of FA489. ✓ Co-requisites: ➢ FA489 & FA49V: Freshmen who graduated from a high school with an English curriculum or passed BU proficiency test with an A; & sophomore, junior, senior students. ➢ FA490: Successful completion of FA 489. ✓ Recommended Preparation: Reading all of the required readings and as many from the suggested reading list. Idea Description: Is ‘comics’ a form of both literature and art? Certainly the answer is “yes” but there are many people who reject the idea, yet many other people call those people old-school intellectuals. However, in recent years, many scholars, critics and faculty alike have accepted ‘comics’, often dubbed by many publishers as ‘graphic novel’, as a respected form of both literature and art. -
Durham E-Theses
Durham E-Theses Rethinking Binarism in Translation Studies A Case Study of Translating the Chinese Nobel Laureates of Literature XIAO, DI How to cite: XIAO, DI (2017) Rethinking Binarism in Translation Studies A Case Study of Translating the Chinese Nobel Laureates of Literature, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/12393/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 RETHINKING BINARISM IN TRANSLATION STUDIES A CASE STUDY OF TRANSLATING THE CHINESE NOBEL LAUREATES OF LITERATURE Submitted by Di Xiao School of Modern Languages and Cultures In partial fulfilment of the requirements For the Degree of Doctor of Philosophy Durham University 2017 DECLARATION The candidate confirms that the work is her own and that it has not been submitted, in whole or in part, in any previous application for a degree. -
The Aesthetic and Ethic of the Chinese Diasporic Artist Mu Xin
“Art Is to Sacrifice One’s Death”: The Aesthetic and Ethic of the Chinese Diasporic Artist Mu Xin by Muyun Zhou Department of Asian and Middle Eastern Studies Duke University Date:_______________________ Approved: ___________________________ Carlos Rojas, Supervisor ___________________________ Eileen Chow ___________________________ Leo Ching Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Critical Asian Humanities in the Department of Asian and Middle Eastern Studies in the Graduate School of Duke University 2021 ABSTRACT “Art Is to Sacrifice One’s Death”: The Aesthetic and Ethic of the Chinese Diasporic Artist Mu Xin by Muyun Zhou Department of Asian and Middle Eastern Studies Duke University Date:_______________________ Approved: ___________________________ Carlos Rojas, Supervisor ___________________________ Eileen Chow ___________________________ Leo Ching An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Critical Asian Humanities in the Department of Asian and Middle Eastern Studies in the Graduate School of Duke University 2021 Copyright by Muyun Zhou 2021 Abstract In his world literature lecture series running from 1989 to 1994, the Chinese diasporic writer-painter Mu Xin (1927-2011) provided a puzzling proposition for a group of emerging Chinese artists living in New York: “Art is to sacrifice.” Reading this proposition in tandem with Mu Xin’s other comments on “sacrifice” from the lecture series, this study examines the intricate relationship between aesthetics and ethics in Mu Xin’s project of art. The question of diasporic positionality is inherent in the relationship between aesthetic and ethical discourses, for the two discourses were born in a Western tradition, once foreign to Mu Xin. -
Graphic Narratives Catalog
Graphic Narratives Catalog *The blue blocks are works by women, the pink ones have multiple authors, and the yellow blocks are notes on categorization Curated by Kay Sohini and Comic Enthusiasts Worldwide Memoirs/Autobiographics Graphic Medicine Queerness Diaspora Narratives Conflicts/Wars/Disaster Drawn Graphic Cli-fi Mythology/Folklore Comics Journalism Miscellaneous Comic Scholarship The Dykes to Watch Out For, The Best We Could Do, Munnu: A Boy From Kashmir by Climate Changed by Burma Chronicles, Guy A City Inside, Tilie 1 Maus, Art Spiegelman Epileptic, David B. Everything Hillary Chute Alison Bechdel Thi Bui Malik Sajad Phillipe Squarzoni Adi Parva, Amruta Patil Delisle Walden Note: Partly Diaspora Narrative Comic Book History of Blue is the Warmest Color, Julie Shortcomings, Adrianne In the Shadow of No Towers. Art All Quite in Vikaspuri by Comics by Fred Van 2 Are You My Mother, Alison Bechdel Stitches, David Small. Sauptik, Amruta Patil Palestine, Joe Sacco Syllabus, Lynda Barry Maroh Tomine Spiegelman Sarnath Banerjee Lente and Ryan Dunlavey Note: Water conflict Note: Academics AD: New Orleans after Poppies of Iraq, Bridgette Findakly and Lewis American Born Chinese, Vietnamerica: A Family's Journey Habibi by Craig Safe Area Gorazde, Joe Blankets, Craig 3 Hyberbole and a Half, Allie Brosh Skim, Mariko and Jillian Tamaki the Deluge, Josh Trondheim Gene Luen Yang by GB Tran Thompson Sacco Thompson Neufeld Note: Coming of age, Note: Partly Diaspora Narrative Note: Also a Memoir romantic love Bhimayana: Experiences Marbles: Mania, Depression, Ms. Marvel Vol. 01 of Untouchability by Jerusalem by Guy 4 Fun Home, Alison Bechdel Michelangelo and Me by Ellen Kari, Amruta Patil (2014), G. -
Gao Xingjian: Fiction and Forbidden Memory
China Perspectives 2010/2 | 2010 Gao Xingjian and the Role of Chinese Literature Today Gao Xingjian: Fiction and Forbidden Memory Zhang Yinde Édition électronique URL : http://journals.openedition.org/chinaperspectives/5269 DOI : 10.4000/chinaperspectives.5269 ISSN : 1996-4617 Éditeur Centre d'étude français sur la Chine contemporaine Édition imprimée Date de publication : 1 juin 2010 ISSN : 2070-3449 Référence électronique Zhang Yinde, « Gao Xingjian: Fiction and Forbidden Memory », China Perspectives [En ligne], 2010/2 | 2010, mis en ligne le 01 juin 2013, consulté le 28 octobre 2019. URL : http://journals.openedition.org/ chinaperspectives/5269 ; DOI : 10.4000/chinaperspectives.5269 © All rights reserved Special Feature s e Gao Xingjian: Fiction and v i a t c (1) n i Forbidden Memory e h p s c r YINDE ZHANG e p From Soul Mountain to One Man’s Bible , Gao Xingjian’s fiction is committed to a labour of transgressive remembering: excavating minority heritages eclipsed by the dominant culture, protecting individual memory from established historiography, and sounding the dark areas of personal memory, less to indulge in “repentance” than to examine identity. The writing of memory, thanks to fictionalisation, thus comes to resemble an exorcism that makes it possible to defy prohibitions by casting out external and internal demons and by imposing the existential prescription against normative judgement. n Gao Xingjian’s novel Soul Mountain , written between starting point for the present discussion. Inscribed as a ges - 1982 and 1989, there is a long description of an ancient ture against oblivion, its revelation denounces the violence of Imask. It is an anthropozoomorphic mask sculpted out of history, while also revealing an ambivalent fictional wood, no doubt dating back to the last Imperial Dynasty, approach. -
ABSTRACT SEARCHING for the CONSCIOUSNESS of THIRDNESS THROUGH GAO XINGJIAN's the OTHER SHORE and SIX WAYS of RUNNING by Jia
ABSTRACT SEARCHING FOR THE CONSCIOUSNESS OF THIRDNESS THROUGH GAO XINGJIAN’S THE OTHER SHORE AND SIX WAYS OF RUNNING by Jia-Yun Zhuang This creative thesis includes an introduction of the “Gao Xingjian Effect,” a review on the major themes in his work, and theoretical research on diasporic consciousness embedded in his work The Other Shore. The thesis also presents a full-length play – Six Ways of Running which was written under the influence and conception of Gao’s work, and a summary on the playwriting process and production reception of Six Ways of Running. The whole creative process focuses on the theme of interaction and confrontation between the individual and the collective and aims at exploring new possibilities beyond binary configuration. SEARCHING FOR THE CONSCIOUSNESS OF THIRDNESS THROUGH GAO XINGJIAN’S THE OTHER SHORE AND SIX WAYS OF RUNNING A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Theatre by Jia-Yun Zhuang Miami University Oxford, Ohio 2004 Advisor ________________________ Dr. Ann Elizabeth Armstrong Reader _________________________ Dr. Howard A. Blanning Reader _________________________ Dr. LuMing R. Mao TABLE OF CONTENTS Title Page...................................................................................................... ............. i Table of Contents....................................................................................................... ii Acknowledgments..................................................................................................... -
Mo Yan's Reception in China and a Reflection on the Postcolonial Discourse
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 20 (2018) Issue 7 Article 5 Mo Yan’s Reception in China and a Reflection on the ostcolonialP Discourse Binghui Song Shanghai International Studies University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Song, Binghui. -
Graphic Narrative: Comics in Contemporary Art
An Elective Course for Undergraduate and Graduate Students of any discipline and for English Language Students GRAPHIC NARRATIVE IN CONTEMPORARY LITERATURE & ART: EVOLUTION OF COMIC BOOK TO GRAPHIC NOVEL Basic Requirements: Appropriate language skills required by the University. This course should be of interest to anyone concerned with verbal & visual communications, popular forms, mass culture, history and its representation, colonialism, politics, journalism, writing, philosophy, religion, mythology, mysticism, metaphysics, cultural exchanges, aesthetics, post-modernism, theatre, film, comic art, collections, popular art & culture, literature, fine arts, etc. This course may have a specific appeal to fans and/or to those who are curious about this vastly influential, widely popular, most complex and thought-provoking work of contemporary literature and art form, the ‘Comics’; however it does not presume a prior familiarity with graphic novels and/or comics, just an overall enthusiasm to learn new things from a new angle and an open mind. Prerequisites: FA489: ‘By consent’ selection of students. FA490: Upon successful completion of FA489. Co-requisites: FA489: Freshmen who graduated from a high school with an English curriculum or passed BU proficiency test with an A; & sophomore, junior, senior students. FA490: Successful completion of FA 489. No requisites: FA 49I, FA49J, FA49V. Recommended Preparation: Reading all of the required readings and as many from the suggested reading list. Idea Description: Is ‘comics’ a form of both literature and art? Certainly the answer is “yes” but there are many people who reject the idea, yet many other people call those people old-school intellectuals. However, in recent years, many scholars, critics and faculty alike have accepted ‘comics’, often dubbed by many publishers as ‘graphic novel’, as a respected form of both literature and art. -
Nobel Prize in Literature Winning Authors 2020
NOBEL PRIZE IN LITERATURE WINNING AUTHORS 2020 – Louise Gluck Title: MEADOWLANDS Original Date: 1996 DB 43058 Title: POEMS 1962-2012 Original Date: 2012 DB 79850 Title: TRIUMPH OF ACHILLES Original Date: 1985 BR 06473 Title: WILD IRIS Original Date: 1992 DB 37600 2019 – Olga Tokarczuk Title: DRIVE YOUR PLOW OVER THE BONES OF THE DEAD Original Date: 2009 DB 96156 Title: FLIGHTS Original Date: 2017 DB 92242 2019 – Peter Handke English Titles Title: A sorrow beyond dreams: a life story Original Date: 1975 BRJ 00848 (Request via ILL) German Titles Title: Der kurze Brief zum langen Abschied 10/2017 NOBEL PRIZE IN LITERATURE WINNING AUTHORS Original Date: 1972 BRF 00716 (Request from foreign language collection) 2018 – No prize awarded 2017 – Kazuo Ishiguro Title: BURIED GIANT Original Date: 2015 BR 20746 /DB 80886 Title: NEVER LET ME GO Original Date: 2005 BR 21107 / DB 59667 Title: NOCTURNES: FIVE STORIES OF MUSIC AND NIGHTFALL Original Date: 2009 DB 71863 Title: REMAINS OF THE DAY Original Date: 1989 BR 20842 / DB 30751 Title: UNCONSOLED Original Date: 1995 DB 41420 BARD Title: WHEN WE WERE ORPHANS Original Date: 2000 DB 50876 2016 – Bob Dylan Title: CHRONICLES, VOLUME 1 Original Date: 2004 BR 15792 / DB 59429 BARD 10/2017 NOBEL PRIZE IN LITERATURE WINNING AUTHORS Title: LYRICS, 1962-2001 Original Date: 2004 BR 15916 /DB 60150 BARD 2015 – Svetlana Alexievich (no books in the collection by this author) 2014 – Patrick Modiano Title: DORA BRUDER Original Date: 1999 DB 80920 Title: SUSPENDED SENTENCES: THREE NOVELLAS Original Date: 2014 BR 20705 -
Cultural Translation Between the World and the Chinese: the Problematics in Positioning Nobel Laureate Gao Xingjian
Concentric: Literary and Cultural Studies 31.2 July 2005: 127-44. Cultural Translation between the World and the Chinese: The Problematics in Positioning Nobel Laureate Gao Xingjian Yingjin Zhang University of California, San Diego Abstract This article explores four problematics in positioning Gao Xingjian between “world literature” and “Chinese literature”: Gao Xingjian and cultural trans- lation; Gao Xingjian and modern Chinese literature; Gao Xingjian and world literature; and Gao Xingjian and China’s Nobel Prize complex. The article en- visions Gao as a cultural translator who has migrated back and forth across linguistic and ethnic boundaries and has integrated diverse cultural elements in his “modernist” writings. A discussion of the attack on the “lack of creativity” in modern Chinese literature further situates Gao in a contact zone between languages and cultures. An investigation of labeling Gao’s work as “world literature with Chinese characteristics” entails revisiting the controversy sur- rounding the perceived “translatability” of “world poetry” and a consideration of the tripartite qualification for “world literature.” Finally, the controversy among Chinese intellectuals around the world regarding Gao Xingjian’s Nobel Prize award not only foregrounds the geo-cultural politics in the era of globali- zation but also sheds light on Gao Xingjian’s dilemma of struggling between his claim to creativity, individuality, and transcendence on the one hand, and the demand of translatability and “universality” in the contemporary cultural production and circulation of “world literature” on the other. Keywords Gao Xingjian ( 高行健), cultural translation, world literature, creativity, individuality, transcendence, universality 128 Concentric 31.2 July 2005 Gao Xingjian and Cultural Translation: Migration, Exile, Transcendence A fragile individual, a solitary writer con- fronted by society and voicing his opin- ions—I believe this is the nature of litera- ture. -
Marjane Satrapi
MARJANE SATRAPI Marjane Satrapi’s memoir, Persepolis, is a black and white picture book meant Satrapi studied art in Tehran, married and to counter the division of our perception of the world into simplistic categories divorced, then moved to Paris in 1994 like good and evil, East and West, and believer and infidel. “Nothing is scarier and studied illustration in Strasbourg. than the people who try to find easy answers to complicated questions,” she In 1995, she was given Art Spiegelman’s has said. Her graphic novel is built out of a series of anecdotes—she has called Holocaust comic book, Maus, which it “a small story, to explain the bigger picture.” Her method of first-person became a major inspiration for her own testimony—“the way I saw it”— reveals a complicated country at a complicated graphic novels. After years of rejection time. of her children’s books—she has said she was turned down 180 times—she Satrapi was born in Rasht, Iran in 1969 and raised in Tehran. Her parents were published Persepolis in 1999, a project progressive intellectuals; her father was an engineer and her mother designed that took her four years. The book and its dresses. They had a bourgeois lifestyle—they drove a Cadillac and had a maid— sequel, Persepolis 2, have been translated but were also leftists with modern ideas about parenting. Although Iran was into 24 languages. Satrapi points to the governed by dictators for much of Satrapi’s life there, she has said that in her storytelling power of images to explain house “even if we wanted to buy a sofa, each person had one vote, and my vote the successful transference of her story to counted just as much as my parents’.” cultures around the world.