This project analyzes the ways that Louis May Alcott portrays authors in several texts, including Hospital Sketches (1863), "Enigmas" (1864), "Psyche's Art" (1868), Little Women (1868), A Modern Mephistopheles (1877), and Diana and Persis (1878). An examination of prevailing contemporary theories of authorship reveals that Alcott's interest in authorship (as shown through her experiences as a writer and the author figures she depicts within her writing) cannot be adequately analyzed under any of the existing theoretical frameworks because the theories neglect to consider markers of racial, sexual, cultural, and class-based difference. Being a female author in nineteenth-century America was, for Alcott, a preoccupation. Thus much of her writing features representations of authors. For Alcott, as well as many of her female contemporaries, the question "What does it mean to be an author?" cannot be considered without also asking, "What does it mean to be a woman?" and "How can an author be represented in a text?" Alcott's treatment of these questions in her writing was her attempt to create a dialogue between herself, other writers, and her reading public. By studying Alcott's author figures, I advance a model of authorship that highlights issues of gender and multiplicity; in this way my work has applications to other authors who have been excluded by normative definitions of authorship. The concept of "mutable authorship," a model that more accurately incorporates Alcott's treatment of authorship, is the product of several different literary, historical, and feminist theoretical lenses. This dissertation works through the different structuring figures that Alcott uses to represent the author, beginning with the semi-autobiographical first-person narrator and moving to the more metaphorical figures of the artist and the performer. The discussion culminates with the exploration of adaptation and collaboration in the three Hollywood feature films of Alcott's best-known work, Little Women, and several recent texts that respond directly to Alcott's work.

Work which takes from elsewhere forms an important thread in European art music. There is a long tradition of music which variously borrows, thieves, pastiches, plagiarises, ironically ‘retakes’, hoaxes, impersonates and appropriates. The music I have written for Off the edge, while seeking to honour and add to this thread, also attempts to zoom in upon and make explicit the idea of an ultimate and irreversible composerly self-annihilation, a kind of one-way exit-gate from the world of authored musical works itself made of pieces of music, which so much of this tradition, I feel, points towards. (Of my nine pieces, it is perhaps Time to go—only, with its ‘à la suicide note’ texts and its music that seems to slide in from far beyond the frame that is ‘composer Luke Stoneham’, which manages to get closest to this.) I have chosen the title Off the edge, because all of my music tries to capture a sense of nocturnal peripheral vision: be content with catching glimpses of the composer Luke Stoneham, because as soon as you turn to look at him face-on, he disappears.

Damon Galgut has been a prolific contributor to South African literature since the early 1980s, but has only recently gained recognition as a significant presence in our cultural landscape. This thesis considers what the vicissitudes of Galgut’s critical reception — which have seen him, by turns, celebrated, ignored and even explicitly discounted as a noteworthy South African author — reveal about the shifting standards of cultural legitimacy which have been set for local writers since the late apartheid years. It offers, in turn, an extended close reading of each of his novels and considers the challenges which they pose to hegemonic assumptions about developments within the field of South African literature over the past three decades. I demonstrate that no coherent line of transition can be traced across the individual novels which make up Galgut’s oeuvre. They represent, instead, shifting degrees of discordance and concordance with an epochal metanarrative of South African literature and the progressive transformation of the field which it implies. In so doing, they enliven us to the thematic and aesthetic heterogeneity which has always already constituted the field.

Submitted to the Faculty of Humanities, Social Sciences and Education, University of the Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree of Master of Arts, Creative Writing., July 2012 / XL2018

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Creative Writing, 2013 / Towards the end of the very last chapter, I visited Yitzhak in his room behind the shop in Hunter Street, Yeoville. He was shrouded in the smell of Old Man farts, listening to the sound of the labouring Dora Lipschitz, painfully nurdling down the pavement supported by her aluminium walking frame. [No abstract provided. Information taken from the first page]. / XL2018

Digital games offer a unique perspectives as they allow the consumer to interact and affect the media; some digital games have constructed gameplay mechanics around the manipulation of time, allowing the player to directly affect the passage of time within the game world. [No abstract provided. Information taken from introduction]. / GR2018

This thesis makes three claims new to the critical literature onWalt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements. Inspired by recent critical debates on post-silent era filmmaking and theories of authorship, it makes a case for Fantasia being the culmination of a “sound film” and notes that its displays of individual artistic talent makes it a noteworthy example of distributed authorship. Fantasia remains a unique experiment in Disney’s filmmaking in that it acquired its eventual form only because of decisions taken during production since no absolute “blue-print” for the finished film existed at the time it went into production, when a large selection of musical numbers were assigned to teams of animators. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

No description available.

Pretendemos investigar, filiados à Análise de Discurso de linha francesa, a assunção (ou não) à autoria pelo sujeito - professor no contexto escolar, por meio de textos escritos. Pela Análise de Discurso, entendemos que o sujeito, considerado como posição discursiva, pode ocupar a posição - autor dependendo das condições de produção nas quais formula seus dizeres, costurando o intradiscurso (o fio discursivo) no interdiscurso (relação com outros discursos, o já-dito), historicizando, assim, o que diz. Utilizamos, para compreender o movimento do sujeito em relação à autoria no texto escrito, recortes de um corpus formado por 15 textos dissertativo-argumentativos produzidos por 03 sujeitos - professores que atuam no Ensino Fundamental na cidade de Ribeirão Preto. Para a produção desses textos, os sujeitos foram convidados à leitura de textos fílmicos, literário, científico que foram discutidos em 05 encontros, com o objetivo de fazer circular uma multiplicidade de sentidos sobre educação, tema central das produções dos sujeitos. Para compreendermos, então, o funcionamento do discurso dos sujeitos professores no contexto escolar, retomamos a tipologia discursiva de Orlandi (2006a), observando que o discurso pedagógico tende a ser autoritário, isto é, um discurso no qual o sentido aparece como único, não havendo espaço para que os interlocutores possam discutir (ou disputar) os vários sentidos possíveis a partir de suas interpretações/leituras sobre um texto ou qualquer outro objeto simbólico/discursivo, o que implica na forma como o sujeito exerce seu gesto interpretativo. Entendemos que para ocupar a posição de autor, é preciso trabalhar com a polissemia, com o discurso polêmico, criando condições para que o sujeito possa mobilizar, interpretar, colocar em jogo, os vários sentidos possíveis que as leituras dos diversos textos que circulam na escola podem trazer. Para falarmos de sujeito e autoria, retomamos ainda noções caras à Análise de Discurso, tais como formações ideológicas, formações discursivas e imaginárias, memória discursiva, arquivo, os quais conformam o lugar e as possibilidades de enunciar do sujeito. O autor, nessa perspectiva, deve ser responsável pelo que diz e se colocar na origem ilusória de seu texto, produzindo um efeito de coerência e de continuidade entre seu texto e ele próprio (ORLANDI, 2004; FOUCAULT, 2009a, 2009b). Nossas análises mostram que ao tecer um texto dissertativo-argumentativo, o sujeito-professor tende à reprodução dos sentidos, à paráfrase, o que acreditamos se dar devido a forma como o arquivo, seja como campo de documentos (PÊCHEUX, 1997b) ou como campo enunciativo que sustenta a possibilidade de dizer (FOUCAULT, 2009c) é tratado nas atividades escolares, desde as séries iniciais, tendendo à restrição, por meio da leitura, ao sentido permitido, que deve ser reproduzido nas atividades de linguagem ao longo dos anos escolares, o que interdita o acesso do sujeito, seja na posição de aluno ou de professor, à assumir a autoria. Vemos como possibilidade de criar condições para a assunção à autoria no contexto escolar, o trabalho com a polissemia, com o discurso polêmico, instaurando, assim, a possibilidade de o sujeito questionar os sentidos dados como legítimos por efeito da ideologia e tecer novos sentidos, inscrevendo-os no interdiscurso, historicizando-os. / We intended to investigate, based on the French Discourse Analysis, the assumption (or not) of the authorship by the subject teacher in the school context, through written texts. According to Discourse Analysis, we understand that the subject, taken as discursive position, can occupy the position of author depending on the production conditions in which he formulates his speeches, weaving the intradiscourse (the discursive thread) into the interdiscourse (relationship with other speeches, the alredy-said), historicizing, this way, what is said. We used, to understand the subject\'s movement in relation to the authorship in the written text, cuttings of corpus consisting of 15 dissertational-argumentative texts produced by 03 teacher subjects that work in the Elementary and Middle School in the city of Ribeirão Preto. For the production of those texts, the subjects were invited to read a serious of movie, literary and scientific texts, with where then discussed in five meetings in with the objective was to allow the circulation of a multiplicity of meanings about education, the focal theme of the subject´s productions. To comprehend the working of the teacher subject discourse in the school context, we retook the discursive typology by Orlandi (2006a), observing that the pedagogic discourse tends to be authoritarian, that is, a discourse in which the meaning appears as unique; the speakers don\'t have the opportunity to discuss (or to argue) the several possible meanings based their interpretations/readings of a text or any other symbolic/discursive objective, which implicates in the way as the subject exerts his interpretative gesture. We understand that to occupy an author\'s position, it is necessary to work with the polysemy, with the polemical discourse, creating the conditions for the subject to mobilize, to interpret, to consider, the several possible meanings that the readings of the various texts that circulate at the school can bring. To speak about subject and authorship, we still we also considered some highly regarded notions of the Discourse Analysis, such as ideological formations, discursive and imaginary formations, discursive memory, archive, which conform the place and the possibilities of enunciation of the subject. The author, in that perspective, should be responsible for what he says and puts himself in the illusory origin of his text, producing an effect of coherence and continuity between his text and himself (ORLANDI, 2004; FOUCAULT, 2009a, 2009b). Our analyzes show that when weaving a dissertational-argumentative text, the teacher subject leans towards the reproduction of the meanings, to the paraphrase, what we believe is do to the way the archive, either as a documental field (PÊCHEUX, 1997b) or as enunciative field that sustains the possibility to saying (FOUCAULT, 2009c) is treated in the school activities, since the initial series, leading to the limitation, through the reading, to the allowed meaning, witch should be reproduced in the language activities along the academic years, what obstruct the subject\'s access, regardless of his position, as student or teacher, to assume the authorship. The work with the polysemy, with the polemic discourse, establishing the subject possibility to question the meanings taking as legitimate by effect of the ideology, to weave new meanings, enrolling them in the interdiscourse and historicizing them, opens, in our view, the pathway to create the conditions for the assumption of the authorship in this context.

Esta pesquisa tem por objetivo investigar a presença de indícios de autoria em redações escolares. Para a sua realização, analiso 41 redações produzidas por alunos de uma escola de alto padrão da cidade de São Paulo. Essas redações são o resultado de um concurso interno de redação, cujo tema foi a busca da felicidade; os alunos participantes escreveram sobre este tema em diferentes gêneros (crônica, conto, artigo de opinião ou dissertação escolar) e postaram o texto na plataforma moodle. Nesta pesquisa, cuja premissa parte de uma análise discursiva (pautada na Análise do Discurso de linha francesa e na teoria da enunciação bakhtiniana), após o levantamento dos dados, foi possível pensar a distribuição do material analisado sob as seguintes perspectivas: a) o individual, o humano e o social; b) ainda considerando essa tríade, a incidência da voz coletiva e do tom proverbial; c) o tempo e o espaço nas relações de continuidade e ruptura. No decorrer das análises propostas, pude perceber a presença de pré-construídos acerca da felicidade, estabelecidos I) pelo diálogo com os textos da coletânea da proposta de redação entregue aos alunos e II) pelo universo sociocultural e histórico no qual estão inseridos os escreventes participantes do concurso; esse universo permite um entendimento do que convencionei nomear império do eu. Isso, somado à consideração dos três eixos de circulação do escrevente pela escrita (CORREA 2004), à consideração da escrita como heterogênea (CORREA 2004) e à consideração do outro como mostrado e constitutivo (AUTHIER-REVUZ 1995) dos textos em análise, propiciou a abordagem sobre autoria aqui proposta. Os indícios de autoria são perceptíveis nas rupturas que se abrem na regularidade, na continuidade dos discursos, rupturas que deixam à vista o ponto de contato entre o que há de mostrado, o que há de constitutivo e o que pode ser considerado como manobras (POSSENTI 2009) do escrevente em seu trabalho com a escrita. Essas rupturas, considerando as perspectivas analíticas que assumo como diretrizes a partir da análise do material, podem ser pensadas em relação às três abordagens já dadas: a) na presença da consideração do social, mesmo que ainda atravessada pela regularidade da generalização; b) na voz coletiva e no tom proverbial como instanciação do outro, por meio de duas imagens, o simples, como critério para a felicidade, e os conceitos direito e dever, vinculados à busca da felicidade; e c) nas rupturas no continuum espaço-tempo por meio I) da fratura do cotidiano; II) da instanciação da perda como oportunidade; e III) do passar biológico do tempo. Cada uma dessas rupturas permite que seja instanciada uma posição enunciativa a partir da qual aquele discurso, e nenhum outro, nessas circunstâncias, nesse tempo e nesse espaço possa ser enunciado aqui e em nenhum outro lugar. Desse modo, entendo como indícios de autoria os momentos em que o escrevente se faz notar. Pensar a autoria em redações escolares a partir de uma premissa discursiva pode permitir, por fim, uma nova abordagem do conceito autoria nas aulas de redação e no modo como o conceito autoria é previsto em grades de correção de redações escolares e dos vestibulares. / This research aims to investigate the presence of indications of authorship on school essays. To do as much, we have analyzed 41 essays produced by students from a high profile school in São Paulo city. These essays are the result of an inside writing contest, for which the theme was the pursuit of happiness; the participating students were to write about it in different genres (chronicle, short story, opinion piece, school essay) and post their work on the Moodle platform. In this research, for which my premise stems from a discursive analysis (based on the French line of Discourse Analysis and on Bakhtins enunciation theory), after data survey, it was possible to think the distribution of the analyzed material under the following perspectives: a) the transition from the subjective to the human, disregarding the social; b) still taking into account the jump from particularization to generalization; the incidence of a collective voice and a proverbial note; c) time and space as characters of a narrative. Over the proposed analyses, we could perceive the presence of pre-construes on happiness, stablished I) by the dialogue with texts from the proposal compilation handed to the students and II) by the historical and sociocultural universe in which the participating writers are inserted; this universe allows an understanding of what we have decided to call the me empire. This, added to the consideration of three axes of circulation of the writer through writing (CORREA 2004), to the consideration of writing as heterogenous (CORREA 2004) and the consideration of the other as shown and constituted (AUTHIER-REVUZ 1995) of the analyzed texts, has provided the approach on authorship herein proposed. To us, the indications of authorship may be perceived in the ruptures that open in regularity, in discourse continuity, and which show the point of contact between what is shown, what is constitutive and what may be considered the writers maneuvers (POSSENTI 2009) in his or her writing work. Taking into account the analytical perspectives we took as directives from the material analysis, said ruptures may be considered, under the three given perspectives, a) in the presence of the consideration of the social, even if its still traversed by the impression of whole; b) in the collective voice and the proverbial note as instantiation of the other in the discourse, while becoming, through two images, the simple, as a criterion for happiness, and the concepts right and duty, tied to the pursuit of happiness; c) in the ruptures of space-time continuum through the fracture of routine, the instantiation of loss as opportunity, the biological passing of time. Each of these ruptures allows the instantiation of a subject position from which that discourse, and no other, under these circumstances, in this time and space, may be enunciated here and in no other place. To think authorship in school essays under a discursive premise may allow, at last, a new approach of the concept of authorship in writing classes and in the way the concept authorship is previewed in correction grids in schools and in entrance exams for universities.