This thesis on literary writing consists of a critic and of a fiction. / The critic entitled Fragments, attempts to bring out the characteristics of fragmentary writing. The theoretic analysis concerns the generic problematic of such writing and its effects on lecture. The last part of the text is devoted to the social context in which the fragmentary writing takes place. / The creation Breves contents fourteen short stories. Representing different generations, the characters of Breves are seized in a particular moment of thier lives. Most of the characters are part of a couple; nevertheless, they cannot get away from loneliness.

No description available.

Inaug.-diss.--Zürich. / Lebenslauf. Issued also as Schweizer anglistische Arbeiten. Bd. 15. "Literatur": p. 87-89.

Through an analysis of the reception of Charles Dickens’ unfinished The Mystery of Edwin Drood this thesis establishes the centrality of the figure of the author as the perceived sanction for the completed text. Through an initial analysis of completed narrative, in Arthur Conan Doyle’s Holmes stories, it shows that the ending is of particular importance as the point at which the reader can look back over the whole and confirm or disconfirm the provisional interpretations which have been made during the reading. It only makes sense to talk of unfinished texts or unfinished narratives in the context of a creative authority, generally identified as the author. An analysis of the reception of unfinished serial narratives of the late Victorian period, specifically the unfinished works of William M. Thackeray and Robert Louis Stevenson, confirms the centrality of the figure of the author in attempts to reconstruct the missing ending. The main body of the thesis provides a period-based analysis of Droodiana, the completions of and speculations about Dickens’ unfinished novel. In the analysis of the strategies employed to justify completions, and the responses to these, it establishes not only that the attempts to take on the authorial authority are perceived as sacrilegious, but that the perception of the completion-writers’ lack of the authority to posit an ending affects whether completions are read as able to complete the story: the willingness to submit to the ending (and revise provisional readings in light of it) is dependent on the perception of the authorial authority of the writer. The analysis shows that while the author-function develops over time, there is some continuity from the late Victorian period towards the present. The analysis of Droodian speculations trace their origin and development through a series of periods, showing that the variety of plots proposed masks a common concern with arriving at Dickens’ intended plot: a desire to identify the creative intention with the plot that would provide the most satisfying ending produces an increased variety over time.

Thesis (Ph. D.)--University of California, San Diego, 1998. / Vita. Includes bibliographical references (leaves 213-216).

“Unhappy Endings” explores dynamics of novelistic closure by examining Victorian texts that come to a halt in a way that invites subsequent continuation. Each chapter of this dissertation confronts a different fact pattern: a different kind of incompletion and subsequent continuation. “Unhappy Endings” investigates texts left explicitly unfinished, texts left ambiguously unfinished, the impact of the Victorian serial form on the concept of “finishedness,” and the perceived kinds of finishedness, of a text. These Victorian texts that question the concept of finishedness are taken up and continued in several different ways: continued by the original author, by an author’s family member, by an editor or publisher, by some other author or writer, or even by the reader-public. Thus, as the factual circumstances that create the “unfinished” and “continued” status of my exemplar texts vary from chapter to chapter, the working standard for what qualifies as “unfinished” and “continued” necessarily alters accordingly. The following questions are inherent in my focus here on continuation and completion: What is an ending? What is “whole”? What makes a whole complete? Must a novel have a discernible ending to be complete? To be a whole? What can we learn when a novel, abandoned for whatever reason by one author, is “continued” and completed by another author? I use close reading, digital humanities, and biographical criticism to identify the ways that literature of the Victorian era was, and still is, particularly susceptible to continuation. This continued susceptibility paves the way, perhaps, for Victorian literature’s sustained impact on modern literature and media.

There are few studies investigating marine unfinished battles. Most research is focused on victory and defeat, which are, however, rather undefined concepts. Therefore, this study intends to help understand why The Battle of Jutland ended as a draw. Geoffrey Till’s theory, on how success is achieved in a battle, was used to illustrate this. Nine factors from the theory constituted the analytical instrument to assist the author in identifying the essential elements regarding The Battle of Jutland. By doing so, the result will demonstrate what is important in a marine battle when it comes to success. The results of the study show that the factors of the theory are influenced by each other and because of this the battle was unfinished​.

Adotando os seguintes pontos de partida: (i) o parecer analítico de que a literatura canônica de João Guimarães Rosa, constituída pelos livros por ele publicados em vida (Sagarana, Corpo de baile, Grande sertão: veredas, Primeiras estórias e Tutameia), entre 1946 e 1967, assenta-se, de modo preponderante, sobre algumas coordenadas recorrentes como a narrativa de ficção, o espaço rural sertanejo e o aproveitamento da dicção oral; (ii) a percepção tradicional de que Guimarães Rosa eximiu-se de usar explicitamente a sua literatura como instrumento de intervenção nos debates públicos de seu tempo; (iii) a constatação da existência de numerosos escritos do autor, compostos ao longo de toda a sua carreira literária e somente reunidos em edições póstumas, os quais, até os dias de hoje, na sua maioria, receberam discreta atenção crítico-acadêmica; (iv) a verificação da presença, no arquivo-espólio do escritor mineiro no IEB-USP, de uma quantidade não irrelevante de manuscritos de narrativas inacabadas em diversos graus de desenvolvimento; assumidos esses pontos de partida, esta tese tem por objetivo demonstrar como, em produções rosianas menos lidas e examinadas criticamente, assim como em algumas daquelas nunca dadas a público em decorrência de seu estado de incompletude, são observáveis rupturas e abandonos das coordenadas fundamentais acima referidas, havendo maior exploração de gêneros discursivos alheios à narrativa de ficção, o aparecimento mais prevalente do espaço citadino, o favorecimento do registro urbano culto em detrimento da elocução oral (além de outras modalizações e oscilações tonais e formais que diferenciam esses textos da literatura rosiana mais tradicional) e, por último, um posicionamento ativo do autor com respeito a algumas questões em pauta à época. Ao mesmo tempo, pretendemos reconectar esses textos \"marginais\" e inacabados com o todo da obra do autor, e flagar, na trajetória literária de Guimarães Rosa, uma espécie de dialética entre o mesmo e o outro, entre a repetição de fórmulas consagradas e a experimentação de variadas soluções expressionais e de veiculação de sentido, alternância que permite dar corpo a uma visão mais plural e alargada do escritor que foi Guimarães Rosa. / Adopting the following starting points (i) the analytical appraisal that João Guimarães Rosa\'s canonical literature, comprising the books published by him during his life between 1946 and 1967 (Sagarana, Corpo de baile, Grande sertão: veredas, Primeiras estórias e Tutameia), lays predominantly on certain recurrent coordinates such as the narrative fiction, the rural space and the use of oral diction; (ii) the traditional impression that Guimarães Rosa recoiled from explicitly using his literature to intervene in the public debates of his time; (iii) the acknowledgement of the existence of numerous writings by the author, composed over his entire literary career and assembled only in posthumous editions, that, through our days, in their majority, attracted little critical attention; (iv) the presence in Rosa\'s literary archive of a not small number of unfinished narratives exhibiting different degrees of development; adopted those starting points this thesis aims to demonstrate how, in several of Guimarães Rosa\'s less read and scrutinized texts, and in some of those never disclosed as a result of their incomplete state, we can observe a rupture and discontinuation of the fundamental coordinates above mentioned, since they present greater exploration of discoursive genres diverse from the narrative fiction, the more prevalent incidence of the urban, the recourse of the cultivated register instead of the oral elocution (in addition to other tonal and formal modalizations and deviations in relation to Rosa\'s more traditional literature) and, at last, an active stance in respect to some current discussed issues. At the same time, we intend to reconnect these \"marginal\" and unfinished texts with the whole of the authors work, and identify in Guimarães Rosa\'s literary production, a dialect between the same and the other, between the repetition of established paradigms and the experimentation of new expressional solutions and strategies for the production of meaning, a variance that allows to build a more plural and expanded vision of the of writer that Guimarães Rosa was.

No description available.

Adotando os seguintes pontos de partida: (i) o parecer analítico de que a literatura canônica de João Guimarães Rosa, constituída pelos livros por ele publicados em vida (Sagarana, Corpo de baile, Grande sertão: veredas, Primeiras estórias e Tutameia), entre 1946 e 1967, assenta-se, de modo preponderante, sobre algumas coordenadas recorrentes como a narrativa de ficção, o espaço rural sertanejo e o aproveitamento da dicção oral; (ii) a percepção tradicional de que Guimarães Rosa eximiu-se de usar explicitamente a sua literatura como instrumento de intervenção nos debates públicos de seu tempo; (iii) a constatação da existência de numerosos escritos do autor, compostos ao longo de toda a sua carreira literária e somente reunidos em edições póstumas, os quais, até os dias de hoje, na sua maioria, receberam discreta atenção crítico-acadêmica; (iv) a verificação da presença, no arquivo-espólio do escritor mineiro no IEB-USP, de uma quantidade não irrelevante de manuscritos de narrativas inacabadas em diversos graus de desenvolvimento; assumidos esses pontos de partida, esta tese tem por objetivo demonstrar como, em produções rosianas menos lidas e examinadas criticamente, assim como em algumas daquelas nunca dadas a público em decorrência de seu estado de incompletude, são observáveis rupturas e abandonos das coordenadas fundamentais acima referidas, havendo maior exploração de gêneros discursivos alheios à narrativa de ficção, o aparecimento mais prevalente do espaço citadino, o favorecimento do registro urbano culto em detrimento da elocução oral (além de outras modalizações e oscilações tonais e formais que diferenciam esses textos da literatura rosiana mais tradicional) e, por último, um posicionamento ativo do autor com respeito a algumas questões em pauta à época. Ao mesmo tempo, pretendemos reconectar esses textos \"marginais\" e inacabados com o todo da obra do autor, e flagar, na trajetória literária de Guimarães Rosa, uma espécie de dialética entre o mesmo e o outro, entre a repetição de fórmulas consagradas e a experimentação de variadas soluções expressionais e de veiculação de sentido, alternância que permite dar corpo a uma visão mais plural e alargada do escritor que foi Guimarães Rosa. / Adopting the following starting points (i) the analytical appraisal that João Guimarães Rosa\'s canonical literature, comprising the books published by him during his life between 1946 and 1967 (Sagarana, Corpo de baile, Grande sertão: veredas, Primeiras estórias e Tutameia), lays predominantly on certain recurrent coordinates such as the narrative fiction, the rural space and the use of oral diction; (ii) the traditional impression that Guimarães Rosa recoiled from explicitly using his literature to intervene in the public debates of his time; (iii) the acknowledgement of the existence of numerous writings by the author, composed over his entire literary career and assembled only in posthumous editions, that, through our days, in their majority, attracted little critical attention; (iv) the presence in Rosa\'s literary archive of a not small number of unfinished narratives exhibiting different degrees of development; adopted those starting points this thesis aims to demonstrate how, in several of Guimarães Rosa\'s less read and scrutinized texts, and in some of those never disclosed as a result of their incomplete state, we can observe a rupture and discontinuation of the fundamental coordinates above mentioned, since they present greater exploration of discoursive genres diverse from the narrative fiction, the more prevalent incidence of the urban, the recourse of the cultivated register instead of the oral elocution (in addition to other tonal and formal modalizations and deviations in relation to Rosa\'s more traditional literature) and, at last, an active stance in respect to some current discussed issues. At the same time, we intend to reconnect these \"marginal\" and unfinished texts with the whole of the authors work, and identify in Guimarães Rosa\'s literary production, a dialect between the same and the other, between the repetition of established paradigms and the experimentation of new expressional solutions and strategies for the production of meaning, a variance that allows to build a more plural and expanded vision of the of writer that Guimarães Rosa was.