Through the application of theory developed by Deleuze and Guattari this essay digs into the disruptive potential of the surreal and mythic imagery present in Hedayat's novel 'The Blind Owl'. The...Show moreThrough the application of theory developed by Deleuze and Guattari this essay digs into the disruptive potential of the surreal and mythic imagery present in Hedayat's novel 'The Blind Owl'. The whirlpool of time and space in 'The Blind Owl', ensuing from a mixture of linear and cyclic time-frames, allows for a scrutiny of the novel along the lines of (Deleuzian) concepts such as aion and chronos, spiritual and bare repetition and the spiritual automaton.Show less
This thesis tests the premise that there is a connection between bodily trauma and meaning, and thus between words and wounds, reflected in the metaphorical usage of the word ‘wound’ in Shakespeare...Show moreThis thesis tests the premise that there is a connection between bodily trauma and meaning, and thus between words and wounds, reflected in the metaphorical usage of the word ‘wound’ in Shakespeare’s plays Titus Andronicus and Coriolanus. Conceptual metaphor theory, which claims that our thinking is metaphorical in nature, is used to ascertain the underlying metaphorical concepts that demonstrate that ‘wounds’ are indeed connected to the concept of meaning. The linguistic analyses are aided by the Metaphor Identification Procedure (MIP). Moreover, the metaphor of the wounded body reflects both the language and the political realities of the Elizabethan and Jacobean eras.Show less
The Bayeux Tapestry depicts the events leading up to the Norman Conquest and the Battle of Hastings, where Duke William defeated King Harold. It is generally believed that the Bayeux Tapestry...Show moreThe Bayeux Tapestry depicts the events leading up to the Norman Conquest and the Battle of Hastings, where Duke William defeated King Harold. It is generally believed that the Bayeux Tapestry provides a biased account of the Conquest and has a pro-Norman view. This thesis will demonstrate how, despite the fact that the Tapestry is commissioned by a Norman patron, the Tapestry reveals a sympathetic attitude towards Harold, and that this is probably the influence of the English embroiderers. The Tapestry provides, in comparison with Norman, Anglo-Norman and English written sources, an unbiased account of the Conquest: neither pro-Norman nor pro-English. The influence of a Norman patron and English embroiderers is illustrated through certain scenes of Harold and William and the relationship between the main narrative and the commentary in the borders of the Tapestry.Show less
Une des sources utilisées par Jean de La Fontaine pour ses Fables, est le recueil de fables Cento Favole Morali (1570) de l'auteur vénitien Giovan Mario Verdizzotti. Il y a quatre fables de La...Show moreUne des sources utilisées par Jean de La Fontaine pour ses Fables, est le recueil de fables Cento Favole Morali (1570) de l'auteur vénitien Giovan Mario Verdizzotti. Il y a quatre fables de La Fontaine pour lesquelles nous avons pu établir qu’elles ont été inspirées par Verdizzotti : Le Coq et le Renard (II, 15), Le Loup devenu Berger (III, 3), L’Aigle et le Hibou (V, 18) et Le Cochet, le Chat et le Souriceau (VI, 5). Ces fables font toutes partie du premier recueil, Fables choisies mises en vers (livres I à VI). Nous nous sommes proposée de faire une analyse comparative des deux versions de chaque fable. En comparant les textes, il est possible de mieux apprécier l'originalité de La Fontaine, qui réside justement, dans la réécriture.Show less
This thesis tracks the sixteenth-century evolution of the fourteenth-century Lollard tract A Praier and Complaynte of the Ploweman vnto Christe and explains differences and similarities between...Show moreThis thesis tracks the sixteenth-century evolution of the fourteenth-century Lollard tract A Praier and Complaynte of the Ploweman vnto Christe and explains differences and similarities between different versions in light of the socio-religious circumstances of the context of production of each version of the tract.Show less
