A movement in literature has evolved out of the aftermath of 9/11 to confront the spectacle of terrorism perpetuated by the corporate news media and find a way to respond to terrorism in a more ethical manner. In this dissertation, I examine the influence of the media on literary production in the post-9/11 environment and how writers push back against the foreclosure of the media spectacle of terrorism. I examine a particular practice, infotainment, which crosses over from television news into literature that focuses on terrorism, and I lay out the theoretical framework for understanding literary responses to this practice. Since 9/11, the corporate media has been fixated with terrorism, and the vast amount of literature produced since the tragedy that focuses on terrorism demonstrates terrorism?s influence on literary production. I expose a theoretical basis for how literature intervenes in the spectacle of terrorism, offering a challenge to media foreclosure through an ethical engagement. Then, I examine texts in both the American and global contexts to determine how they intervene in the foreclosure and form more ethical responses. Writers like Don DeLillo and Moshin Hamid confront the unified definition of terrorism the corporate media presents by opening the subject to unanswered questions and in-depth examinations from all angles that enable responses rather than close off diverse perspectives. Literary writers strive to respond to the singular nature of each event, while positing an understanding of the plight of victims and perpetrators alike. The texts I examine each engage the foreclosure of the media spectacle of terrorism, creating a critical discourse by opening gaps, imposing ethical hesitation, reinstituting singularity, and responding to terrorism in an ethical manner. Don DeLillo posits an exemplary challenge to writers issued by terrorism in an often quoted line from Mao II: ?What terrorists gain, novelists lose. The degree to which they influence mass consciousness is the extent of our decline as shapers of sensibility and thought.? DeLillo, along with other contemporary writers, takes up this challenge in order to ethically respond to the spectacle of terrorism.

<p>This study investigates how an ambivalence surrounding men and masculinity has been expressed and exploited in Pop literature since the late 1980s, focusing on works by German-speaking authors Christian Kracht and Benjamin Lebert and American author Bret Easton Ellis. I compare works from the United States with German and Swiss novels in order to reveal the scope - as well as the national particularities - of these troubled gender identities and what it means in the context of recent debates about a "crisis" in masculinity in Western societies. My comparative work will also highlight the ways in which these particular literatures and cultures intersect, invade, and influence each other. </p><p> In this examination, I demonstrate the complexity and success of the critical projects subsumed in the works of three authors too often underestimated by intellectual communities. At the same time, I reveal the very structure and language of these critical projects as a safe haven for "male fantasies" of gender difference and identity formation long relegated to the distant past, fantasies that continue to lurk within our cultural currencies.</p> / Dissertation

A movement in literature has evolved out of the aftermath of 9/11 to confront the spectacle of terrorism perpetuated by the corporate news media and find a way to respond to terrorism in a more ethical manner. In this dissertation, I examine the influence of the media on literary production in the post-9/11 environment and how writers push back against the foreclosure of the media spectacle of terrorism. I examine a particular practice, infotainment, which crosses over from television news into literature that focuses on terrorism, and I lay out the theoretical framework for understanding literary responses to this practice. Since 9/11, the corporate media has been fixated with terrorism, and the vast amount of literature produced since the tragedy that focuses on terrorism demonstrates terrorism?s influence on literary production. I expose a theoretical basis for how literature intervenes in the spectacle of terrorism, offering a challenge to media foreclosure through an ethical engagement. Then, I examine texts in both the American and global contexts to determine how they intervene in the foreclosure and form more ethical responses. Writers like Don DeLillo and Moshin Hamid confront the unified definition of terrorism the corporate media presents by opening the subject to unanswered questions and in-depth examinations from all angles that enable responses rather than close off diverse perspectives. Literary writers strive to respond to the singular nature of each event, while positing an understanding of the plight of victims and perpetrators alike. The texts I examine each engage the foreclosure of the media spectacle of terrorism, creating a critical discourse by opening gaps, imposing ethical hesitation, reinstituting singularity, and responding to terrorism in an ethical manner. Don DeLillo posits an exemplary challenge to writers issued by terrorism in an often quoted line from Mao II: ?What terrorists gain, novelists lose. The degree to which they influence mass consciousness is the extent of our decline as shapers of sensibility and thought.? DeLillo, along with other contemporary writers, takes up this challenge in order to ethically respond to the spectacle of terrorism.

Ce mémoire porte sur l’identification et l’analyse de la pratique intertextuelle dans cinq œuvres contemporaines de l’Oulipo: Les Gens de Légende (Olivier Salon), La Décomposition (Anne F Garréta), Vanghel (Jacques Jouet) Trois Pontes (Jacques Jouet) et Eléctrico W (Hervé Le Tellier). En partant d’un réexamen des différentes théories de l’intertextualité, les lectures microtextuelles présentées ici cherchent à mettre en évidence la complexité et l’ambigüité du concept de filiation littéraire dans le processus d’écriture oulipien - que celui-ci soit interne (références aux travaux des membres du mouvement) ou externe (la littérature classique). Sont également examinées en détail les notions de contrainte et de plagiat par anticipation, mais aussi la volonté propre à l’Oulipo de mettre le lecteur dans une position particulière dans l’histoire littéraire. / The purpose of this study is to identify and analyze intertextual practices in five contemporary works by Oulipo writers: Les Gens de Légende (Olivier Salon), La Décomposition (Anne F Garréta), Vanghel (Jacques Jouet) Trois Pontes (Jacques Jouet) and Eléctrico W (Hervé Le Tellier). Following a review of the various theories of intertextuality available, the microtextual readings presented here seek to shed a new light on the complexity and ambiguity of the concept of literary filiation in the Oulipian writing process - either internal (references to works by members of the movement proper) or external (classical literature). Are also discussed in some detail the concepts of “contrainte” (constraint) and “plagiat par anticipation” (plagiarism by anticipation), but also the specific Oulipian aspiration to place the reader into a position that appears to be unique in literary history.

Exploring Urban Spaces in the Young Imagination makes the case for taking seriously children's and young adult fiction as a topic worthy of scholarly analysis beyond a purely didactic focus. The recent explosion of interest in this literature among adult readers and the blurring of boundaries between adult and youth media demonstrate that it has become a powerful influence on popular culture and has captured the collective imagination. As the future inhabitants of urban spaces, paying close attention to children’s and youth perspectives can provide fresh lenses, with which to view the cultural construction of cityscapes. This dissertation examines post-millennium children’s and YA fiction and film. Drawing on theories of the spatial turn, my research provides five case studies on a variety of topics related to the contemporary metropolis – ranging from cognitive disability to environmental concerns. Specifically, it pays close attention to the inherent connections between the developing perceptions of metropolises and the various protagonists’ processes of identity formation. Beginning with Berlin, as portrayed in Andreas Steinhöfel’s popular Rico-und-Oskar-trilogy, my analysis explores the protagonist’s shifting perceptions of his urban surroundings while overcoming the limitations of his learning disability. Furthermore, my research shows how Steinhöfel’s Der mechanische Prinz utilizes the cityscape as a mirror for the protagonist’s psyche and how his knowledge of the Berlin subway system contributes to his self-healing. In contrast, China Miéville’s Un Lun Dun explores the ecocritical implications of London’s urban ‘other’, UnLondon. Katherine Marsh’s The Night Tourist and its sequel The Twilight Tourist illustrate the literary construction of New York City as a ‘mediascape’ and modern myth. Finally, I focus on alternative family structures and their connection to urban spaces, specifically Venice in Cornelia Funke’s Herr der Diebe, and Paris in Brian Selznick’s The Invention of Hugo Cabret. The study concludes with an examination of these novels’ filmic versions and their respective romanticisations of Venice and Paris. The dissertation contributes to the fields of child and youth studies and urban geographies by exposing the manifold symbiotic constructions of cityscapes and youth in post-2000 children’s and YA fiction that shape identities and spaces alike. / Thesis (Ph.D, German) -- Queen's University, 2012-09-02 16:56:36.507

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This project examines the corpus of novels that have been nominated for the Man Booker Prize and, using the prize as a creator of a contemporary literary canon, attempts to develop a model of a contemporary best text. Using the distant reading techniques proposed by digital humanities scholar Franco Moretti to track and graph a variety of formal and structural variables across the corpus of nominees, it becomes apparent that the kind of novel that typically wins the Booker Prize and thus the kind of novel that qualifies as a contemporary best text fits a distinct mold. These novels are solemn, serious texts written by British or Irish men, and the stories they tell concern young British or Irish men struggling, often alone, in pain, and under the threat of impending age, through a brutal, violent, and amoral world.

Colum McCann a débuté sa carrière d’écrivain dans les années 1990, alors que la société et l’économie irlandaises étaient en pleine mutation. Bien qu’il soit parti vivre aux États-Unis dès la fin des années 1980, il ne s’est pas pour autant désintéressé des questions sociales de son pays natal, comme en témoignent ses textes littéraires et ses nombreuses colonnes dans la presse irlandaise. Il semble que son immersion dans un autre contexte lui a permis d’ouvrir les frontières géographiques et culturelles de ses textes. L’auteur varie en effet l’espace de ses intrigues et leur période historique, et sa prose échappe à toute tentative de catégorisation générique. Mû par sa curiosité, il développe toujours plus avant son intérêt pour l’altérité. Dans cette thèse nous mettons au jour les modalités de la rupture dans l’oeuvre de McCann, et ce qu’elles produisent. Paradoxalement, le traitement de la rupture permet l’inclusion du lecteur au sein même du texte, et inscrit l’oeuvre sur les scènes littéraires et politiques nationales et transnationales. La production de l’auteur estconstamment redéfinie par son engagement citoyen, qui transparaît notamment dans l’importance accordée aux voix de la marge, habituellement éclipsées par le métarécit historique. / Colum McCann started his career as a writer in the 1990s, a period that was characterized by drastic social and economic changes in Ireland. Although he left Ireland for the United-States by the end of the 1980s, he did not lose touch with the social questions of his native country, which is emphasized in his literary texts and his numerous articles in the Irishpress. It seems that his immersion into another environment enabled him to enlarge the geographical and cultural scopes of his texts. The author’s work is neither rooted in any defined space, nor limited to any historical period, and it is not predefined by sets of literary movements or modes. McCann is guided by his curiosity instead, and always writes to fulfilhis interest in alterity. In this doctoral thesis, we highlight the modalities of rupture in his work, as well as their functions. Paradoxically, the treatment of rupture is precisely what allows the reader into the text, as well as what allows the text onto national and transnational literary and political scenes. The author’s production is constlantly redefined by his engagement as a citizen. This is particularly conveyed by the importance he grants to the marginal voices usually eclipsed by metahistorical texts.

Submitted by Thais Gonçalves Dias Porto (thagdporto@gmail.com) on 2018-06-12T01:11:03Z No. of bitstreams: 1 THAIS PORTO_DISSERTAÇÃO.pdf: 1927385 bytes, checksum: a5d67b9537566ea3debd42e4bc12daef (MD5) / Rejected by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br), reason: Solicitamos que realize correções na submissão seguindo as orientações abaixo: 1) Renumerar o trabalho, lembrando sempre que as páginas pré textuais devem ser contadas (com exceção da capa e ficha catalográfica), mas a numeração deverá aparecer somente a partir da introdução no canto superior direito. Em caso de maiores dúvidas, entrar em contato com as bibliotecárias da Seção de Referência, Camila (camila_serrador@fclar.unesp.br) ou Elaine (elaine@fclar.unesp.br). Agradecemos a compreensão. on 2018-06-12T12:57:22Z (GMT) / Submitted by Thais Gonçalves Dias Porto (thagdporto@gmail.com) on 2018-06-13T01:23:07Z No. of bitstreams: 1 Thais Porto.pdf: 3161223 bytes, checksum: 6dc5a00bc92e9cb48653cf9dd5e8e9a4 (MD5) / Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-06-13T17:14:33Z (GMT) No. of bitstreams: 1 porto_tgd_me_arafcl.pdf: 3150664 bytes, checksum: 8a0366c26c3bc0bf1291c94aa73302da (MD5) / Made available in DSpace on 2018-06-13T17:14:33Z (GMT). No. of bitstreams: 1 porto_tgd_me_arafcl.pdf: 3150664 bytes, checksum: 8a0366c26c3bc0bf1291c94aa73302da (MD5) Previous issue date: 2018-04-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A japonesa Yoko Tawada é um dos nomes mais importantes dentro da literatura alemã contemporânea. A autora trabalha com diferentes tipos de texto em alemão e em japonês e dedica seu projeto literário justamente a esse entre lugar no qual vive. Das nackte Auge conta a história de uma jovem vietnamita que, por conta de um engano, vai parar em Paris no final da década de oitenta. A personagem torna-se, então, um ser estranho em um país estrangeiro onde não é capaz de comunicar-se com ninguém exceto as personagens de Catherine Deneuve no cinema. A narrativa dos filmes citados na obra influencia progressivamente a narrativa do romance culminando na fusão de ambas as mídias em questão. Tawada utiliza-se dos filmes como referências midiáticas de modo a criar uma relação transtextual na qual o hipotexto (os filmes) modifica e amplia o hipertexto (o romance). A sala de cinema, que, a princípio, caracterizar-se-ia como sendo um mero local de trânsito, ou seja, um não-lugar, passa a representar um local de identificação, significação e até mesmo de comunicação, isto é, um lugar segundo o conceito de Marc Augé. O presente trabalho pretende demonstrar como tal inversão no processo de construção identitária dá-se na narrativa do romance a partir da hibridização midiática entre o cinema e a literatura, suscitando de maneira extraordinária questões acerca do olhar (desnudo) sobre o estranho, o estrangeiro. / The Japanese author Yoko Tawada is one of the greatests names in german contemporary literature. She works with different texts in German and Japanese. She deals in her literary project particularly with this between-place where she actually lives in. Das nackte Auge tells the story of a young Vietnamese girl who is mistakenly taken to Paris by the end of the ninteen eighties. She becomes an alien in a foreign country and is incapable of communicating with anyone else but the characters played by Catherine Deneuve in the movies that she starts to watch. The narrative of these movies progressively contaminates the novel's narrative ending up in a complete fusion of both medias. Tawada uses the movies as media references creating a transtextual relation where the hypotext (the movies) modifies and expands the hypertext (the novel). The movie theater, usually seen as a transitory place, a non-place, becomes a place of identification and even communication, i.e. a place according to Marc Augé's concept. This work intends to demonstrate how this inversion of the identity building process evolves through the media hybridization between film and literature while, in an extraordinary way, raises questions about the (naked) look at the alien, the foreigner

Investigamos na presente tese o romance brasileiro contemporâneo em uma perspectiva sócio-histórica. O trabalho tem como ponto de partida as discussões sobre a natureza do gênero romanesco, passando por suas transformações ao longo da história ocidental até chegar ao romance brasileiro. A partir daí, buscamos compreender a evolução do gênero no Brasil para, com isso, direcionar nossa análise ao romance brasileiro contemporâneo produzido nas últimas duas décadas. Por fim, realizamos a análise dos romances Relato de um certo Oriente (1989), de Milton Hatoum; Eles eram muitos cavalos (2001), de Luiz Ruffato; e Lorde (2004), de João Gilberto Noll, a fim de explorar três diferentes abordagens literárias vinculadas aos elementos tempo, espaço e linguagem. Examinamos também as relações entre romance e modernidade, bem como a representação de aspectos desta no romance brasileiro contemporâneo. Entre os diversos autores consultados para fundamentação dos estudos sobre teoria e história do romance estão Georg Lukács, Walter Benjamin, Ferenc Fehér, Lucien Goldmann, Mikhail Bakhtin, Erich Auerbach, Ian Watt, Marthe Robert, Franco Moretti e Arnold Hauser, entre outros. / We look into the Brazilian contemporary novel in a social and historical way in this thesis. The paper starts with the discussions about the nature of the genre, passing by its changes along the western history, until reaches the Brazilian novel. Thereafter, we look for understanding the rise of the novel in Brazil to lead our analysis to the contemporary Brazilian novel produced in the last two decades. Finally, we made an analysis of the novels Relato de um certo Oriente (1989), by Milton Hatoum; Eles eram muitos cavalos (2001), by Luiz Ruffato; and Lorde (2004), by João Gilberto Noll, in order to explore three different literary ways linked to time, space and language. We also analyze the relations between novel and modernity, as well as its representation in the Brazilian contemporary novel. Among the different authors used in the studies about theory and history of the novel are Georg Lukács, Walter Benjamin, Ferenc Fehér, Lucien Goldmann, Mikhail Bakhtin, Erich Auerbach, Ian Watt, Marthe Robert, Franco Moretti, Arnold Hauser and others.