Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-02-23Bitstream added on 2014-06-13T18:59:43Z : No. of bitstreams: 1 greggio_aj_me_arafcl.pdf: 1204973 bytes, checksum: ba7dc71b4a0a7d5b17328e50bd2c80d2 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / As narrativas de ficção de caráter histórico tal como o romance O Nome da Rosa de Umberto Eco permitem uma vasta possibilidade de abordagem de estudos. Dentre estes, percebe-se a importância da ironia na construção do texto de Umberto Eco. Por meio dela, verifica-se como a obra ficcional em estudo abrange tanto a reflexão em torno do conceito de mímesis, quanto o uso reiterado da intertextualidade, elemento, aliás, constante dentro da ficção contemporânea. A ironia, recurso permanentemente presente na construção da narrativa, permite que se estabeleça um nicho entre aquilo que se espera de um texto histórico - a verdade - e aquilo que se espera de um texto ficcional - a invenção. Ela possibilita, portanto, um ponto de reflexão e questionamento das verdades históricas. Nota-se, assim, a capacidade que a narrativa de caráter histórico, em especial a obra O Nome da Rosa, apresenta de reavaliar o conceito mimético não como cópia da realidade, nem como o espaço de negação da condição referencial do texto literário. Ela, antes, possibilita uma reconsideração em torno do conceito aristotélico. Na construção da narrativa, observa-se ainda o quanto elementos, como o narrador, são fundamentais para a criação de uma mentalidade no leitor de que a verdade está sendo dita a todo instante, além de tantos outros elementos que têm a função de autentificação do discurso ficcional como expressão da realidade. Essa ambientação constante da verdade-realidade é a todo o momento desmantelada pela ação da ironia que desvela ao leitor não uma outra verdade, mas sim a possibilidade do questionamento constante do mero estabelecimento de uma verdade unilateral. Obra vasta em sua capacidade plurissignificativa, O Nome da Rosa apresenta, ainda, uma discussão de caráter filosófico em torno da proibição do riso na Idade Média demonstrando, assim, o quanto... / Fiction narratives of historic character like Umberto Eco's novel O Nome da Rosa allow a wide possibility of studies. Among them the importance of irony in Umberto Eco's text construction is realized. Through this irony it is seen how this fiction has a reflection about the concept of mimesis, as the reiterated use of intertextuality, element this often used in contemporary fiction works. Irony, recourse permanently present in narratives construction allows a relation between what is expected from a historical text - the truth - and what is expected from a fictional text - the invention. It enables, therefore, a reflection and questioning point of historical truth. It is noticed, then, the capacity that historical narrative, especially O Nome da Rosa, presents to reevaluate the mimetic concept not as a copy from reality, neither as a negation space of literary text's referencial condition. It enables just reconsideration on Aristotelian concept. In narrative construction it is visible how elements, like the narrator, are essential to the creation of a mentality in the reader that the truth is being told every instant, besides many other elements that have an authentication in the fictional discourse as a reality expression. This constant truth-reality environment is ruined every moment by the action of irony that reveals to the reader is not another truth, but a possibility of constant questioning of a simple act of instituting a unilateral truth. A wide work in its plurisignificant capacity, O Nome da Rosa presents, moreover, a philosophical discussion involving the laughter prohibition in Middle Ages, demonstrating, therefore, how Fiction and History match as elements of human knowledge boundaries and how they deserve to be studied and deepened for a better... (Complete abstract, click electronic access below)

L’objectif de ce travail est de presenter une analyse du roman Um beijo de colombina, de l’auteur brésilienne, Adriana Lisboa. Il a l’intention de réfléchir sur le deux types de narrateurs qu’il ya dans le roman: em première et en deuxième personne. Il va analyser sur la possibilité de ce romain être une metafiction, pour ça, il va remarquer les traces au long de l’hitoire que sont en dialogue avec cette hypotèse. Finalement, il va etudier les relations d’intertextualité qu’il y a dans l’oeuvre de Lisboa et les poèmes de Manuel Bandeira, une fois que celui sont dans le romain du debut à la fin. Il utilisera pour cette recherche quelques studieux qui parlent sur les narrateurs contemporain comme Jaime Ginzburg, Ronaldo Costa Fernandes et Regina Dalcastagnè; Les chercheur qui parlent de la narrative metafictional comme Gustavo Bernardo et les personne qui montrent les chemin pour refléchir sur l’intertextualité, comme, Mikhail Bakhtin et Julia Kristeva. / O presente trabalho tem por objetivo realizar uma análise do livro Um beijo de colombina, da escritora brasileira Adriana Lisboa. O romance em questão apresenta uma gama de possibilidades interpretativas, uma vez que, em sua construção, mostram-se mecanismos literários variados. O primeiro deles se compõe de dois narradores que se contradizem em suas histórias. Além disso, são inúmeras as reflexões sobre o fazer literário, sobre a construção de personagens e sobre a leitura e a literatura de uma forma geral. Um outro recurso interessante centra-se no fato de o livro ter sido escrito a partir dos poemas de Manuel Bandeira. Nesta pesquisa, pretende-se refletir sobre os dois tipos de narração que aparecem no romance: em primeira e em terceira pessoa. Visa-se também discutir sobre a temática da metaficção; para tanto, serão destacadas as marcas metaficcionais ao longo do enredo do romance. Por fim, estudar-se-ão as relações intertextuais estabelecidas entre a obra de Lisboa e os poemas de Manuel Bandeira, uma vez que perpassam o texto do começo ao fim. Serão utilizados estudiosos que abordam a questão dos narradores contemporâneos, como Jaime Ginzburg, Ronaldo Costa Fernandes e Regina Dalcastagnè; pesquisadores que discutem a narrativa metaficcional, como Gustavo Bernardo e que mostram caminhos para a reflexão sobre a intertextualidade, como Mikhail Bakhtin e Julia Kristeva.

O principal objetivo deste trabalho é demonstrar que no romance Os cus de Judas, de Antonio Lobo Antunes, o momento histórico que corresponde à guerra colonial na África no começo dos anos 70, é questionado por meio da ficção, com a finalidade de esclarecer que não existe uma única verdade a respeito do passado, revisitado neste romance para que possa, finalmente, ser compreendido sob uma nova perspectiva, o que sugere que as verdades são muitas e o registro histórico documentado constitui apenas mais uma delas. O trabalho será realizado na seguinte ordem: primeiro apresentaremos e discutiremos a teoria a respeito do discurso da História e da Ficção. Depois disso, faremos uma análise comparando os cronotopos discutidos por Bakhtin e os encontrados no romance de Lobo Antunes, para finalmente verificarmos como os cronotopos são atualizados em Os cus de Judas e de que forma eles contribuem para que possamos explicar a relação entre ficção e história e também para discutirmos aquilo que Linda Hutcheon denomina metaficção historiográfica. / The main objective of this assignment is to show that in the novel Os cus de Judas by Antonio Lobo Antunes , the historical moment, which is related to the colony war in Africa in the beginning of the 1970, is coming back through the fiction, in order to make clear that there isn\'t only one true about the past, seen again in this novel to make possible for us to understand it in a new point of view, and it suggest that there is a lot of true possibilities and the historical documents are only one of them. This assignment is going to be doing in this order: in the first time, we are going to show and discuss the theory about the speech that differ History and Literature. Secondly we are going to analyze and compare the chronotopes from Bakhtin with the ones finding in Lobo Antunes\'s novel and finally we are going to verify that the chronotopes are actualized in the Cus de Judas and that they are important for us to explain the relationship between History and Literature and to discuss what Linda Hutcheon call historiografic-metafiction.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-29T12:56:40Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) / Made available in DSpace on 2016-07-29T12:56:40Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) Previous issue date: 2016-02-25 / CAPEs / Este trabalho consiste no estudo dos romances Slash (1985), da escritora okanagan Jeannette Armstrong, e Mean Spirit (1990), da chickasaw Linda Hogan, e busca examinar de que forma as autoras ficcionalizaram, nas suas obras, certos acontecimentos da história dos povos ameríndios no século XX, como os que envolveram a militância política que se fortaleceu a partir dos anos 60 na América do Norte e os assassinatos de membros da nação Osage na década de 1920. Para tanto, recorri ao conceito de metaficção historiográfica proposto por Linda Hutcheon (1988, 1989) e aos estudos em memória de Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) e Aleida Assmann (2011). Considerando as obras de Armstrong e Hogan como espaços de enunciação de uma resistência cultural que vai além dos limites tribais, optei por adotar uma perspectiva cosmopolita tal qual sustentada por Arnold Krupat (2002), e que se apoia nas teorias póscoloniais segundo Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) e Liane Schneider (2002, 2008). Ademais, foram de suma importância os diálogos com alguns nomes da crítica indígena como Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) e Robert Warrior (2014). Intentei, assim, verificar como a resistência ameríndia toma corpo na escrita de Armstrong e Hogan, que constroem narrativas artisticamente complexas e de imensa relevância política. / This work consists of the study of Slash (1985), by Okanagan writer Jeannette Armstrong, and Mean Spirit (1990), by Chickasaw Linda Hogan, and it aims to examine the way in which the writers have fictionalized, in their books, certain events of the history of the American Indian peoples in the twentieth century, such as those concerning the militancy that gained strength in the 60s and the Osage murders that took place in the 20s. With that in mind, I have resorted to the concept of historiographic metafiction, proposed by Linda Hutcheon (1988, 1989) and to the memory studies by Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) and Aleida Assmann (2011). Considering the works of Armstrong and Hogan as sites of enunciation of a type of cultural resistance that goes beyond tribal limits, I have chosen to adopt a cosmopolitan perspective such as sustained by Arnold Krupat (2002) and which leans on the postcolonial theories by Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) and Liane Schneider (2002, 2008). Moreover, dialogues with the following authors of Native criticism were of the utmost importance: Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) and Robert Warrior (2014). Thus, I have attempted to verify how the Amerindian resistance takes form in the writings of Armstrong and Hogan, who build narratives artistically complex and of an immense political relevance.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-08-03T13:52:33Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) / Made available in DSpace on 2016-08-03T13:52:33Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) Previous issue date: 2016-02-25 / CAPEs / Este trabalho consiste no estudo dos romances Slash (1985), da escritora okanagan Jeannette Armstrong, e Mean Spirit (1990), da chickasaw Linda Hogan, e busca examinar de que forma as autoras ficcionalizaram, nas suas obras, certos acontecimentos da história dos povos ameríndios no século XX, como os que envolveram a militância política que se fortaleceu a partir dos anos 60 na América do Norte e os assassinatos de membros da nação Osage na década de 1920. Para tanto, recorri ao conceito de metaficção historiográfica proposto por Linda Hutcheon (1988, 1989) e aos estudos em memória de Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) e Aleida Assmann (2011). Considerando as obras de Armstrong e Hogan como espaços de enunciação de uma resistência cultural que vai além dos limites tribais, optei por adotar uma perspectiva cosmopolita tal qual sustentada por Arnold Krupat (2002), e que se apoia nas teorias póscoloniais segundo Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) e Liane Schneider (2002, 2008). Ademais, foram de suma importância os diálogos com alguns nomes da crítica indígena como Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) e Robert Warrior (2014). Intentei, assim, verificar como a resistência ameríndia toma corpo na escrita de Armstrong e Hogan, que constroem narrativas artisticamente complexas e de imensa relevância política. / This work consists of the study of Slash (1985), by Okanagan writer Jeannette Armstrong, and Mean Spirit (1990), by Chickasaw Linda Hogan, and it aims to examine the way in which the writers have fictionalized, in their books, certain events of the history of the American Indian peoples in the twentieth century, such as those concerning the militancy that gained strength in the 60s and the Osage murders that took place in the 20s. With that in mind, I have resorted to the concept of historiographic metafiction, proposed by Linda Hutcheon (1988, 1989) and to the memory studies by Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) and Aleida Assmann (2011). Considering the works of Armstrong and Hogan as sites of enunciation of a type of cultural resistance that goes beyond tribal limits, I have chosen to adopt a cosmopolitan perspective such as sustained by Arnold Krupat (2002) and which leans on the postcolonial theories by Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) and Liane Schneider (2002, 2008). Moreover, dialogues with the following authors of Native criticism were of the utmost importance: Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) and Robert Warrior (2014). Thus, I have attempted to verify how the Amerindian resistance takes form in the writings of Armstrong and Hogan, who build narratives artistically complex and of an immense political relevance.

Submitted by Leonardo Lima (leonardoperlim@gmail.com) on 2016-03-18T19:28:41Z No. of bitstreams: 2 A-construção-histórica-na-graphic-novel-V-for-Vendetta.pdf: 4920012 bytes, checksum: 70c58d499f4ef591a08bba87e551cc39 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-03-18T19:32:33Z (GMT) No. of bitstreams: 2 A-construção-histórica-na-graphic-novel-V-for-Vendetta.pdf: 4920012 bytes, checksum: 70c58d499f4ef591a08bba87e551cc39 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-03-18T19:46:50Z (GMT) No. of bitstreams: 2 A-construção-histórica-na-graphic-novel-V-for-Vendetta.pdf: 4920012 bytes, checksum: 70c58d499f4ef591a08bba87e551cc39 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-18T19:47:11Z (GMT). No. of bitstreams: 2 A-construção-histórica-na-graphic-novel-V-for-Vendetta.pdf: 4920012 bytes, checksum: 70c58d499f4ef591a08bba87e551cc39 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / A presente pesquisa, vinculada ao Programa de Pós-Graduação em História, da Universidade Federal de Pelotas, objetiva investigar a narrativa imagética e textual na graphic novel V for Vendetta(1982-1988), criada pelos britânicos Alan Moore e David Lloyd a partir da sua relação com aspectos do passado, mais especificamente, com a política e sociedade da Inglaterra da década de 1980. Como criação artístico-cultural, acreditamos que seu período de produção, o qual, é concomitante aos mandatos de Margareth Thatcher (1979-1990), conhecida por promover o neoliberalismo na Inglaterra, foi crucial para as referências a que a obra contém, como a tomada de posição política dos seus idealizadores. Nesse sentido, este trabalho conta, como referencial teórico metodológico os estudos de autores, como Ankersmit(2001, 2012), White(1991, 1999, 2006, 2010), Hutcheon(1991), Kellner(2001), Foucault(1996), entre outros, os quais possibilitaram vislumbrar a obra não como mera fonte, mas como uma construção histórica da década de 1980 inglesa. A proposta de análise pauta-se na versão original da obra, em entrevistas com os autores e documentários. A partir das reflexões efetuadas , percebemos que a construção histórica em V for Vendetta mantém aproximações com as narrativas historiográficas, visto que tanto nosso objeto de estudo quanto a historiografia apresentam interpretações sobre uma “realidade” passada. / This research is linked to the Graduation Program in History on Universidade Federal de Pelotas(UFPEL) and its aim is to investigate the imagetical and textual narrative in the graphic novel V for Vendetta (1982-1988)created by the British Alan Moore and David Lloyd from their relation with their past aspects, specifically with politics and society in England in the 1980s. As artistic and cultural creation, it is believed it is a production period, which is concomitant with the mandates of Margaret Thatcher(1979-1990), known to promote the neoliberalism in England, was crucial to the references to the work contains, as political statement of its creators . In this sense, this paper has as theoretical framework the study of authors, as Ankersmit (2001,2012), White (1991, 1999, 2006, 2010), Hutcheon (1991), Kellner (2001), Foucault (1996), among others, which made it possible to glimpse the work not as merely as a source, but as a historic building from the 1980s English. The propose of analysis is guided in the original version of the work, interviews with authors and documentaries. From the reflections made, was realized that the historic building in V for Vendetta maintains approximations to the historiographical narratives, since our object of historiography study presents interpretations of a "reality " last.

Édouard Glissant et Ernesto Sábato sont connus pour être a la fois des romanciers et des penseurs. Leur réflexion théorique qui porte principalement sur la langue, l’histoire et l’identité nourrit leur production romanesque et y trouve son lieu d’expression privilégie. Notre travail va porter essentiellement sur l’analyse des œuvres romanesques afin de mettre en relief les procèdes d’écriture tout en faisant référence aux écrits théoriques. En effet, le roman est l’un des lieux ou sont mis en œuvre les principes theoriques élaborés dans les essais, mais le roman constitue aussi un laboratoire d’écriture. Le questionnement sur la forme littéraire la plus apte a contenir l’idéologie des deux romanciers, qui sont a leur manière des écrivains engagés, est narrativise au sein de la fiction. L’analyse des stratégies discursives employées par les deux auteurs nous amènera vers des considérations sur le rôle de l’écrivain dans le processus de fondation d’une conscience nationale de son peuple. / Édouard Glissant and Ernesto Sábato are both well-known for their work as writers and philosophers. Their theoretical reflection, which analyses questions pertaining to language, history and identity, nourishes their novelistic production. In fact their novels mark the crossroads of theory and fiction. The latter are a forum for thought where the theoretical bases of their reflection are applied to reality. This perception of the novel as strictly related to their essay work leads us to consider the use of metafiction, a technique that encompasses both types of creation. The search for different metafiction strategies will allow us to analyze the construction of “guiding fictions”. At the same time, it will lead us to consider the role of a writer in the process of constructing a “national conscience” through literature.

When Ursula K. LeGuin revisited the world of Earthsea with Tehanu (1990), her return to an established classic of the fantasy genre came with a powerful desire to revisit its construction and reinterpret its assumptions from a female perspective. Drawn to the side of her dying former tutor, protagonist Tenar is repeatedly posed with the question of what to do with his lore books, which could never offer to her what they had his conventionally male students. Even if this time-honored tradition excludes her, however, Tenar cannot bring herself to discard or abandon the books, for all that they seem "nothing to her, big leather boxes full of paper." Traveling on foot, forced often to flee for her life and pack light, she feels compelled to carry these book on her back. For Tenar, the tomes are a considerably "heavy burden," and, given the context in which this novel appears, this female protagonist's struggle with the weight of traditional, respected patriarchal male text is particularly significant. In LeGuin's fantasy, the image of Tenar traversing her story with Ogion's great "lore-books" strapped to her back is emblematic of the struggle many authors have faced in negotiating the received texts and tropes of their generic inheritance in order to create female-centered fantasy. Indeed, the transformation of Ogion's great lore-books into Tenar's conflicted baggage literalizes what many other texts have more figuratively confronted. My dissertation, "A Noted Departure: Metafiction and Feminist Revision within a Tradition of Fantasy Writing," considers the compelling frequency of such self-conscious textual moments in female-centered fantasy of the 80s and 90s and argues for their importance as a writing strategy that challenges the assumptions of more formulaic fantasy texts and tropes, especially those that inform expectations about roles for women. Examining this moment in which the legacy of a revisionist feminist impulse converges with a post-modern, post-structural metafictional critique of traditional narrative forms and the ideologies they encode, my dissertation sheds light on many critically ignored self-conscious fantasy texts which feature heroines whose critical, textual negotiations bring readers to reconsider the nature of fantasy and the danger and wonder, the limits and liberty, of fictional representation. Taken together, as important and largely overlooked entries in a genre which thrives on the tension between tradition and innovation, these works represent a significant transitional moment in the fantasy genre, bridging the gap between a relatively limited female presence and a more contemporary diversity. My first chapter, "Doing the "Not Done": Wrede's 'Improper' Princess and her Whimsical Revision of Fairy-Tale Expectation and Convention," demonstrates the fluid link between the established tradition of feminist fairy tale revision and the self-critical generic departure my dissertation presents as an important literary moment in the fantasy genre. As the archive my dissertation constitutes might be understood as the answer to Angela Carter's frustrated plea that we must "move beyond revision," this chapter acknowledges the fairy tale's potency as a purveyor of romantic archetypes and, thereby, of cultural precepts for young women in a reading of The Enchanted Forest Chronicles (1990-5). In threading seemingly simple and conventional plotlines together with unexpected and innovative departures, Wrede upsets narrative expectation and undercuts generic convention, particularly those associated with the 'princess' trope. Achieving her critical commentary on the commonplaces of the genre by first invoking the traditional before establishing a heroine who positions herself against it, Wrede's plot also reveals the importance of textual negotiation and interpretation, and this chapter underscores the generative relationship this kind of critical interplay bears on the need for new plots and narrative options. Chapter two, "'In Search of 'Something New': Metafiction as Critical and Creative Discourse" offers a sustained discussion of the theoretical work of metafiction. Opening with an examination of the historical precedent of feminist metafiction and its desire to create an alternative tradition to a limited masculinist tradition in the 60s, 70s and early 80s, I demonstrate how aptly feminist metafiction aligns with a fantasist's impulse to challenge the same constraints within genre. Examining how metafiction can function as a critical and creative narrative strategy within a generic context, I adapt the conceptions of theorists such as Roland Barthes, Jean Genette, Gayle Greene, Amie A. Doughty, and Brian Stonehill to an understanding of how metafiction functions in fantasy. "Plotting Change, Imagining Alternatives: Metafiction as Revision in Feminist Fantasy," argues that while thematic or plot-based investigations into feminist fantasy are useful, understanding the way in which generic push-back occurs requires closer attention to the writing strategies which articulate such artistic feats and aesthetic negotiations. This third chapter examines several significant but critically ignored fantasy works which demonstrate how writers of this period signal their departure from generic tradition through key metafictional moments in which a heroine herself invokes text or turns, within her own story, to a text that exists within her own world. Alanna of Trebond in The Song of the Lioness series (1983, 84, 86, 88), Daikin of The Farthest Away Mountain (1976), and Talia in The Heralds of Valdemaar series ("Arrows Trilogy," 1987-88) all experience transformative and liberatory adventures that afford a break with tradition that is drawn along lines of both gender and narrative. Thus, texts occupy a central role in these adventures, providing opportunities to investigate the cultural role they play and the tensions they surface between providing inspiration and motivation on the one hand and limitations that must be overcome on the other. As revisionist quest-narratives which are also deeply internal feminist Bildungsroman, the frequently close relationship between heroine and text in these works is deeply telling; such metafictional moments allow their adventures to advance not only plot or individual story, but a critical conversation about the literary conventions and cultural traditions which condition their representation. In calling attention to the critical work of these metafictional moments, I reveal that the most fruitful feminist fantasy criticism must not be only about plot, but the possibility of plot. Indeed, as these heroines become legends themselves, their narratives not only deconstruct traditional discourses, engaging with the need to re-write tradition, to counter narrative expectation and convention with the creation of new stories; they also more collectively re-mythologize. In creating new stories and new patterns of storytelling, this chapter reveals how these writers do not just expose the cultural power of tradition and myth and critique the representation of women within them, but counter its absences and suppressions with their own mythopoesis. Taken together, such a wealth of significant but critically ignored examples demonstrates how writers employ metafiction as a strategy to enact criticism and imagine alternatives in the fantasy genre, particularly in terms of expanding narrative possibilities for heroines. My fourth chapter, "Convention Undone: UnLunDun's Unchosen Heroine and Narrative (Re)Vision," examines China Miéville's UnLunDun (2007) as a deliberate response to a tradition of fantasy writing, lampooning, in particular, the portal-quest fantasy. Revealing narrative adherence to traditional patterns as false and hollow, and those who trust them uncritically as foolishly naïve, Miéville reminds readers of the importance of innovation, of critical interaction with narrative tradition, and the unfinished nature of both narrative and identity. In a tour-de-force of a self-and-genre-conscious metafictionality, Miéville explores the pit-falls of expectation and the potential which comes from the creation of an alternative narrative--and with it, an alternative heroine in Deeba, whose journey works both with and against the perspective traditions of 'The Book' (a talking tome whose authority proves less than accurate). Ultimately, I argue that Deeba's quest and her transformation into a celebrated, unchosen heroine reveals the degree to which success lies in making the old useful again, and the narrative she reshapes is a vivid illustration of both what it means to revise or reimagine and the necessity of such a critical process. In a world of fragments and the discarded, this book speaks to the genre at large, asking what might be constructed from the inherited baggage of traditional understandings, and what can be done in spite of their limitations and previously established identities or functions. Commonly engaged in the construction of questioning, questing stories, the writers I study have crafted pioneering, uncertain heroines who act out a self-conscious awareness that presses against the genre's limits. As these writers must struggle with the loaded material they wish to weave into new story shapes, so, too, do their fictional creations meditate upon the way in which their journey or character diverges from the expected. These are heroines in the making, heroines whose identities are not fixed easily in text but who must constitute it through an engagement with texts both familiar and new. As books which are also about books, as stories which take story as explicit subject matter, these works feature textual negotiation as a necessary critical process at the level of plot. Moreover, in presenting such metafictions as a critical, questioning comparison to a traditional norm, generic expectation, or narrative inheritance experienced as limited or confining, these works also shed light on the possibility of alternative plots and call special attention to the kinds of artistic and ideological negotiations necessary for such stories to be told in our own realistic worlds as well as in our fantasies. Thus, my dissertation highlights the importance of a writer's impulse to reflect and revise the tradition in which they participate and underscores the creative and critical potential of furthering dialogue between texts and conventions. As my readings demonstrate, the fascination fantasy holds as an enduring art form may well be contingent upon the genre's potential for self-conscious interplay and its protean capacity to refigure narration as a meaningful form of discourse.

This dissertation examines the representation of ethnic origins in Antonio Skármeta’s fiction. My hypothesis is that exile in Europe and return to Chile led the author to rethink his Dalmatian-Croatian roots and his sense of self in response to prevailing discourses of national identity. I assess Chile’s immigration history as well as the development of the idea of a homogeneous national identity. Blending concepts of ethnic narrative with theories of memory, identity, and literature, I trace Skármeta’s literary shift towards reclaiming his roots and initiating a critical dialogue with established notions of Chilean identity. I further argue that he grounds himself in literary tradition to inscribe immigrant stories into two major foundational genres, the historical novel and the family romance. I also show that, instead of accepting the truth-telling claims of historical fiction, Skármeta employs historiographic metafiction and intertextuality to emphasize the literary nature of fictional discourse and the role of literary figures in inventing the nation. Finally, I contend that these narratives constitute literary lieux de mémoire (Pierre Nora), which incorporate a subjective memory into the evolving discourses on Chilean identity, thereby recognizing pluralism and fostering mutual understanding.

E.L. Doctorow implements ideas of intertextuality and metafiction in his 2007 novel, The March, which is most notably apparent through its resemblance to the 1939 film, Gone with the Wind. Using Michel de Certeau's theory of spatial stories and Linda Hutcheon's of historiographic metafiction, this thesis discusses the layering of Doctorow's The March from the film seen in the character of Pearl from the novel and Scarlett from the film and Selznick's version of the burning of Atlanta and Doctorow's burning of Columbia.