Research master thesis | Literary Studies (research) (MA)
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Charles Dickens (1812-1870) is mainly known for his Victorian novels. However, Dickens pursued a lifelong relationship with the theatrical world. This thesis aims at exploring this relationship,...Show moreCharles Dickens (1812-1870) is mainly known for his Victorian novels. However, Dickens pursued a lifelong relationship with the theatrical world. This thesis aims at exploring this relationship, taking into account two theatrical adaptations of Dickens’ novel "Bleak House" in 1853: James Elphinstone and Frederic Neale’s "‘Bleak House’, a drama in two acts", performed at the City of London Theatre in June 1853, and George Dibdin Pitt’s "The Bleak House, or the Spectre of the Ghost Walk", performed at the Royal Pavilion Theatre, also in June 1853, before the final instalments of the novel had been published. The main focus of this analysis is the investigation of Gothic motifs present in Dickens’ novel, and how they were represented in these two productions. The conclusion is that these Gothic elements were enhanced on stage by means of textual selections, set arrangements and plot focused on the Dedlocks’ Ghost legend, illustrating the sensationalist character of the nineteenth-century melodramatic theatre. Furthermore, the focus on spectacle also resulted in an impoverishment of the social criticism layer present in Dickens’ novel, demonstrating the productions’ focus on entertainment, in accordance with the theatres’ purposes and target audience in the East End area in London in the nineteenth century.Show less
Research master thesis | Literary Studies (research) (MA)
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It is simply undeniable that Jean-Jacques Rousseau played his vital part inspiring the world to modernisation, including China. There is also no gainsaying the fact that he had countless ...Show moreIt is simply undeniable that Jean-Jacques Rousseau played his vital part inspiring the world to modernisation, including China. There is also no gainsaying the fact that he had countless ‘apprentices’ in late Qing China, and apparently many Chinese intellectual elites during that period thought so as well. In the field of literature, Émile, ou de l'éducation inspired Chinese intellectual circle, especially realms of literature and publication, and stirred up a trend of ‘novel of education’. In addition, Rousseau’s writings and his image frequently appeared in the new-styled prints in late Qing China. Yet if we make a general survey of Chinese history evolving towards the point of modernisation and afterwards, the course of history in China was essentially advancing forward in its own way. All in all, I will claim that the interpretation, misinterpretation and internalisation of Rousseau’s thoughts in China was a highly complex progress. The new community of modern intellectuals in late Qing China took and adapted what they needed from Rousseau without pursuing Rousseau’s original intention, and such tendency and the transformation of the men of knowledge themselves were underlain by both the macro framework of Chinese society and the internal development within Chinese society that had started several centuries before the Western impact.Show less
Research master thesis | Literary Studies (research) (MA)
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This thesis focuses on an under-researched element of Seamus Heaney's oeuvre, namely his four poetry anthologies. Adopting a 'bottom-up' approach, it analyses the anthologies themselves, combining...Show moreThis thesis focuses on an under-researched element of Seamus Heaney's oeuvre, namely his four poetry anthologies. Adopting a 'bottom-up' approach, it analyses the anthologies themselves, combining narratological and paratextual analysis with the close-reading of poetry in order to do so. Following this, it moves to consider their possible significance within different contexts related to Heaney's work more generally.Show less
Research master thesis | Literary Studies (research) (MA)
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Humor is so present in XVIIIth century libertine literature that it could be considered an essential part of its reading experience. However very few critics have shown interest in this fundamental...Show moreHumor is so present in XVIIIth century libertine literature that it could be considered an essential part of its reading experience. However very few critics have shown interest in this fundamental aspect of these texts, concentrating either on their serious or erotic content. This thesis aims to buck this trend and show the importance and value of humor in XVIIIth century libertine literature and how to better represent it in literary criticism. To this aim, the libertine texts are read against the backdrop of the main critical currents between the XVIIIth and the XXIst century, attempting to show which aspect of humor have been favored or ignored. A postmodern “ironic reading” of libertine literature is proposed as a way to offer a newer perspective on these works and show nuanced and more complex degrees of humor in the XVIIIth century texts. As a result, it is made clear that though seriousness has been a guiding principle for literary criticism so far, humor deserves a place in the study of libertine literature, especially today as postmodern tools allow a refinement in the understanding of the humor in these texts.Show less
Research master thesis | Literary Studies (research) (MA)
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In this thesis I examine the poetic works of Zbigniew Herbert and Wallace Stevens through the lenses of object-oriented ontology of Graham Harman and alien phenomenology of Ian Bogost. I...Show moreIn this thesis I examine the poetic works of Zbigniew Herbert and Wallace Stevens through the lenses of object-oriented ontology of Graham Harman and alien phenomenology of Ian Bogost. I demonstrate how those philosophical positions can open new interpretative possibilities for poetry. I show how Herbert's poetry depicts objects and their relationship with humans. In particular I focus on the question of independence of object and I show how Herbert can broaden the ontological understanding of independence with an ethical component. In the case of Wallace Stevens I demonstrate how his poems could be read as simulations of consciousness of various non-human beings. In particular I focus on the analysis of conditions of such simulation – what makes it possible to simulate non-human being's experiences, what are the limits of such simulation and how such simulation affects the ontological nature of simulated beings.Show less
Research master thesis | Literary Studies (research) (MA)
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This research aims to explore the reciprocal relationship between the arch-texts of Sophocles’ Antigone and Euripides’ Medea and late 20th century adaptations of them by four Irish poets and...Show moreThis research aims to explore the reciprocal relationship between the arch-texts of Sophocles’ Antigone and Euripides’ Medea and late 20th century adaptations of them by four Irish poets and playwrights. Based on a textual analysis of the original texts and adapted versions, I intend to disclose how the Irish adaptors borrow and rework the characters of Antigone and Medea and their well-known tragic stories in order to provide a critique upon tangible Irish socio-political issues. However, by adopting Antigone and Medea, the Irish authors do not merely use the two heroines as instruments for the satisfaction of their authorial aspirations, but they also provide answers to questions regarding the status and understanding of the two rebellious women that remain obscure in the originals. The research will be situated within Classical Reception Studies, a rather new field of research, which – unlike conventional Classics – focuses on the bidirectional process of adaptation arguing that by revisiting a canonical text, the pre-text is a changing object too. It will do so by using theories of reception of the Classics by Charles Martindale, Tim Whitmarsh, and Astrid Van Weyenberg. By doing so, I propose a contemporary understanding of the figures of Antigone and Medea, which liberates them from the moral ambiguity of their transgressive deeds, and instead, considers them as two heroines of Justice.Show less
Research master thesis | Literary Studies (research) (MA)
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As the first episode of BBC's astronomically long-running science fiction show Doctor Who opens on November 11th, 1963, the audience is treated to a set of images portraying a foggy junk yard, in...Show moreAs the first episode of BBC's astronomically long-running science fiction show Doctor Who opens on November 11th, 1963, the audience is treated to a set of images portraying a foggy junk yard, in which an apparently out-of-use police box is standing. The print on the front of the police box (“Police Telephone / Free for Use of Public / Advice and Assistance Obtainable Immediately / Officers and Cars Respond to Urgent Calls / Pull to Open”) lingers on the screen before “An Unearthly Child” turns to a scene showing what seems to be a teenage 1960's school girl, outrageously outwitting her school teachers. In what follows, the audience, together with the girl's teachers Ian Chesterton (a role by William Russell) and Barbara Wright (played by Jacqueline Hill), discover that the girl, Susan Foreman (Carol Ann Ford), has as an unlikely dwelling place the police box from the opening scene. In addition, she does not even live there alone, but together with her grandfather – a figure known only as the Doctor (at this moment portrayed by William Hartnell). It transpires that the discarded police box is not at all a discarded police box, but rather a “bigger on the inside” space-and-time travelling machine know as a TARDIS. Moreover, Susan and the Doctor turn out to be not a 1960's school girl and her grandfather but “wanderers in the fourth dimension […] exiles […] Susan and I [The Doctor] are cut off from our own planet.” In other words, though they look completely human, the Doctor and Susan are time-travelling aliens; and not only that – they possess a technology and knowledge far more advanced than our own. This is apparent most obviously in the simple fact that they have – and know how to work with – a time travelling machine, but also for example when the Doctor responds to Ian's objection that “You're treating us [Ian and Barbara] like children” how “The children of my [The Doctor's] civilisation would be insulted!”; the Doctor implies that even the children on his and Susans home world would understand much more about technology and science than Ian and Barbara currently do. In a way, we might think of the Doctor and Susan as post-humans – as an attempt by the series' makers to imagine what it might mean to think beyond humanity and away from a human-centred focal point. This is a streak that the series would continue in the 53 (and counting) years to come; if only since the Doctor is, after all, the protagonist to the series. Because a sense of the posthuman seems so central to Doctor Who, this thesis will explore the ways in which the series, through being an object of science fiction as well as one of popular imagination, explores what it might mean, and in doing so, highlights the difficulties of, thinking in the lines of a philosophical current that has in recent years come to be know as posthumanism.Show less
Research master thesis | Literary Studies (research) (MA)
open access
2017-06-01T00:00:00Z
Between 1617-1672, the Spanish comedia nueva was immensely popular in Amsterdam. While the comedia nueva was originally devised by playwright Lope de Vega (1562-1635) in Spain where he also had his...Show moreBetween 1617-1672, the Spanish comedia nueva was immensely popular in Amsterdam. While the comedia nueva was originally devised by playwright Lope de Vega (1562-1635) in Spain where he also had his first successes, his comedias were transferred to other European countries, such as the Dutch Republic. This Master Thesis reflects on the seemingly contradictional popularity of the comedia nueva in Amsterdam, while the Dutch Republic was revolting against its Spanish overlord. As such, the comedia nueva is being compared to the native Dutch Senecan-Scaligerian tradition, which promoted patriotism. This thesis aims to understand how the comedia nueva and Senecan-Scaligerian plays functioned alongside each other, while it is hypothesized that the emotional response of an audience provided for the popularity of a play. Through an analysis of both the dramatic macrostructure and microstructure, this is made clear, showing that both dramatic traditions were able to successfully instil emotions in the auditor ignoring political hostilities between the Spanish Empire and the Dutch Republic.Show less
Research master thesis | Literary Studies (research) (MA)
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This thesis argues that the literary relevance of The Private Memoirs is its examination of the sometimes problematic desire for belonging and self-realisation. The novel, seen as a satirical...Show moreThis thesis argues that the literary relevance of The Private Memoirs is its examination of the sometimes problematic desire for belonging and self-realisation. The novel, seen as a satirical Bildungsroman, shows that Robert Wringhim’s failure both to reach maturity and assimilate into society is the result of his inability to change. One needs to constantly (re)negotiate between self and other to safely integrate into society – this is a form of Bildung, as understood in Herder’s conceptualisation of the term. However, Robert fails to integrate, because he refuses to change his early identity, which, in turn, leads to the creation of a doppelgänger. Also, his parents teach Robert that he is preordained to live in heaven which causes him to feel that above all he belongs to this future state. Ultimately, with no self-realisation and a strong desire to go to where he feels he belongs, Robert’s short life can only end in his premature death. Finally, The Private Memoirs is not merely a critique of bad parenting or religious excess. Rather, Robert and his family become a metonymy for something larger and more prevalent: liberalism and civil society, where freedom becomes freedom to have property, rather than freedom of thought. In the end, liberalism is portrayed as a system of exclusion rather than inclusion of differences.Show less
Research master thesis | Literary Studies (research) (MA)
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Despite the fact that there have been recent attempts to broaden ekphrasis into its antique and medieval sense, these attempts have not taken the concept of living presence into account. My thesis...Show moreDespite the fact that there have been recent attempts to broaden ekphrasis into its antique and medieval sense, these attempts have not taken the concept of living presence into account. My thesis takes this more generous sense of ekphrasis as a point of departure. I draw on the attitudes of Christianity towards the representation of the divinity in verbal and visual terms (including the Eucharist) to argue that there are fundamental differences between the two media. The concept of living presence response is introduced as a tool to analyse the agency of the visual representations upon the worshippers. Drawing on works from Geoffrey Chaucer and on the anonymous Piers the Plowman's Crede, I suggest that the broad sense of ekphrasis should be further enlarged to include any textual attempts to reproduce, or any textual awareness of, living presence response. This inclusion, in turn, must encompass the role of the receiver in allowing the effects to occur in the first place. I challenge two claims: that ekphrasis is a narcissistic mode of literary discourse; that Chaucer is paying homage to the inseparability of different media. Recommendations for further research include the investigation of whether there is a correlation between ekphrasis viewed as lifelikeness and iconoclastic periods, on the one hand, and between living presence response and medieval theories of sight, such as Roger Bacon's, on the other.Show less
Research master thesis | Literary Studies (research) (MA)
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In the The Waves (1931) Virginia Woolf is approaching the possibilities of true knowledge in fiction. She does so both on the level of content and form. Bernard, one of the novel’s speakers, has an...Show moreIn the The Waves (1931) Virginia Woolf is approaching the possibilities of true knowledge in fiction. She does so both on the level of content and form. Bernard, one of the novel’s speakers, has an epiphany while shaving as a middle-aged man. He discovers that time has changed. Time no longer indicates the possibility of the future, but rather the missed possibilities of the past. This new experience of time results in Bernard losing his urge to describe the world. Instead Bernard attempts a different mode of narration in order to communicate and grasp his new experience of life. Bernard’s problem with representation is also Woolf’s problem. The Waves is similarly qua its form an experimental piece of fiction that is following the rhythm of the sea rather than a traditional plot structure. By doing so Woolf is posing the same questions to fiction as Bernard: How is it possible to describe the world objectively? The thesis is investigating this question by extensively using Ann Banfield’s book The Phantom Table (2000).Show less
Research master thesis | Literary Studies (research) (MA)
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This thesis researches a Sanskrit law code called the Manusmrti or Manava Dharmasastra, translated in English as "The Laws of Manu". Through a critical analysis of the translations and...Show moreThis thesis researches a Sanskrit law code called the Manusmrti or Manava Dharmasastra, translated in English as "The Laws of Manu". Through a critical analysis of the translations and interpretations of Indologists Wendy Doniger and Patrick Olivelle, it will be argued that the current interpretations of the Manusmrti are starkly Western and prove a continuation of a discourse initiated in British colonial India. This discourse entails a framework of Western law and law code. The Manusmrti, however, is concerned with the Sanskrit concept of "dharma". With the help of the translation theories of Walter Benjamin and Jacques Derrida it will be argued that "dharma" is a concept very distinct from the Western "law" and proves untranslatable. Furthermore, this thesis proposes a reading for the Manusmrti different from the current Western framework of law. The proposed new interpretation is based upon the concept of "aphorism" as described by Friedrich Nietzsche. To elucidate the differences in philosophy between the current interpretations and the interpretation proposed in this thesis, the theories of Gilles Deleuze and Benedictus Spinoza will be deployed. Their ideas will help to show that the proposed interpretation will ultimately entail another, more productive world-view for the Manusmrti and the conceptualisation of its key term "dharma".Show less
Research master thesis | Literary Studies (research) (MA)
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This thesis focuses on haunting house tales - fictions which depict an active and malevolent house - through the lens of postmodernism. Using the theories of Brian McHale and Linda Hutcheon, the...Show moreThis thesis focuses on haunting house tales - fictions which depict an active and malevolent house - through the lens of postmodernism. Using the theories of Brian McHale and Linda Hutcheon, the thesis analyzes three American haunting house novels: Jackson's "The Haunting of Hill House," King's "The Shining," and Danielewski's "House of Leaves." Especially the notions of history, knowledge, and science are of relevance in this context. As is claimed, the haunting house does away with the idea that knowledge about the house and its past is empowering, since the supernatural events are not caused by a gruesome crime of the past.Show less
Research master thesis | Literary Studies (research) (MA)
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In this research project, I aim to develop a framework for analysing contemporary theatre plays that deal with issues of memory on a meta-level. My claim is that a theatre of meta-memory often...Show moreIn this research project, I aim to develop a framework for analysing contemporary theatre plays that deal with issues of memory on a meta-level. My claim is that a theatre of meta-memory often takes place within a meta-theatre, meaning that a reflection on the role of memory goes hand in hand with a reflection on the medium of theatre itself. I will prove this by performing an in-depth performative analysis of three contemporary Dutch theatre plays: Als ik de liefde niet heb (Ro Theater), How to play Francesca Woodman (Toneelgroep Maastricht) and Kamp (Hotel Modern), which are all concerned with notions such as presence, the body, the use of media and the role of the spectator. In the end, I hope to show the importance and possibility of the theatre as a space of remembering, but mostly as a space in which new memory and meaning can be produced and contemplated.Show less
Research master thesis | Literary Studies (research) (MA)
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This thesis explores the field of photography and studies its relationship with and its influence on the meaning and interpretation of privacy. The latter has been widely discussed in recent years...Show moreThis thesis explores the field of photography and studies its relationship with and its influence on the meaning and interpretation of privacy. The latter has been widely discussed in recent years because of the presumed lack thereof in our contemporary digitalized, globalized and 'free' world. Privacy is considered to be pivotal to our identity and being in this world. In this thesis I will argue that privacy is innately individual and can be considered as a personal desire to protect and demarcate everything that we do not know yet. It is a desire not to be a victim of everything that is happening in the world around oneself. In our contemporary world privacy is increasingly 'rational' and no longer concerned with physical access to something or somebody. Photography has the ambiguous task to lay bare the things we do not already know, and to be the threat to our privacy.Show less
Research master thesis | Literary Studies (research) (MA)
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This thesis examines the relationship between Nietzschean Aesthetics and the writings signed under the names of Pessoa's major heteronyms. It analyzes Nietzsche and Pessoa's treatment of philosophy...Show moreThis thesis examines the relationship between Nietzschean Aesthetics and the writings signed under the names of Pessoa's major heteronyms. It analyzes Nietzsche and Pessoa's treatment of philosophy and the aesthetic and dramatic manner in which they write it. I argue that common to the texts by both writers, particularly in Pessoa's case, his tentatively titled 'Fictions of the Interlude', lies a tension between aesthetic, if not ironic, distancing and earnest formative discourse.Show less
