Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T20:21:09Z (GMT). No. of bitstreams: 1 Mariano_FabioRoberto_M.pdf: 721675 bytes, checksum: 0863ae488f30abc0a8c4cbb050955f56 (MD5) Previous issue date: 2015 / Resumo: O objetivo deste trabalho é compreender a recepção de Faulkner na França a partir de uma contextualização da literatura francesa nos anos 1930 e da leitura detalhada dos referidos prefácios. O que está em primeiro plano não é uma leitura crítica do autor, e sim uma organização de leituras críticas anteriores. Ao fim do texto, é esboçada uma proposição acerca do apelo específico que Faulkner teve na França. Dos seis livros de Faulkner publicados durante os anos 30, cinco trazem prefácios. Esses textos são de autoria de figuras de grande influência no ambiente literário francês: os tradutores Maurice-Edgar Coindreau e René-Noël Raimbault, o crítico e escritor Valery Larbaud e o escritor, político e jornalista André Malraux. A partir das leituras propostas nesses prefácios, é possível tentar estabelecer uma relação entre o ambiente cultural da França e a obra de William Faulkner. Para estabelecer tal relação, este trabalho se divide em três partes, cada qual correspondendo a um de seus capítulos. Em primeiro lugar, faz-se uma análise do ambiente histórico e literário da França. Em segundo, uma leitura atenta dos prefácios é feita, levando-se em consideração também quem são seus autores. Por fim, o terceiro capítulo é um movimento de interpretação dos prefácios à luz da análise feita no primeiro capítulo / Abstract: The present dissertation aims at an understanding of the reader response to Faulkner in France. It is based both on a study of the mentioned prefaces and on an attempt to describe the literary and critical standards of the time. The main point here is not exactly a critical reading of the author's work in itself, but an effort of organizing earlier readings. This study is closed by a hypothesis about Faulkner's specific appeal to French readers. Five out of the six of Faulkner's books published during that time are prefaced, all of them by Frenchmen: translators Maurice-Edgar Coindreau and René-Noël Raimbault, literary critic and writer Valery Larbaud and politician, journalist and novelist André Malraux. A detailed analysis of these prefaces may be an effective strategy to establish a connection between Faulkner's work and the French cultural environment in which he is read. In order to effectively make such a connection, this dissertation has been divided in three parts, each of which corresponds to one of its chapters. In the first one, the literary and historical context of France is analyzed. In the second, a close reading of each of the prefaces is made, taking into account not only their words and references, but also their authors. In the third and last chapter, the prefaces are interpreted according to what had been exposed in the first chapter / Mestrado / Historia e Historiografia Literaria / Mestre em Teoria e História Literária

This thesis will explore the segregation of detective fiction from the general fiction market between 1920 and 1940.

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x, 195 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This dissertation explores two subgenres of popular romance fiction that emerge in the 1990s: "corporate" and "paranormal" romance. While the formulaic conventions of popular romance have typically centralized the gendered tension between hero and heroine, this project reveals that "corporate" and "paranormal" romances negotiate a new primary conflict, the tension between work and home in the era of global capitalism. Transformations in political economy also occur at the level of personal and emotional life, which constitute the central problem that contemporary romances attempt to resolve. Drawing from sociological studies of globalization and intimacy, feminist criticism, and queer theory, I argue that these subgenres mark the transition from what David Harvey calls Fordist capitalism to flexible or global capitalism as the primary social condition negotiated in the popular romance. My analysis demonstrates that corporate and paranormal romance novels reflect changing ideals about intimacy in a globalized world that is increasingly influenced, socially and culturally, by the values and philosophies that dominate the marketplace. Each of these subgenres offers a distinct formal resolution to the cultural and social effects of a flexible capitalist economy. The "corporate" romances of Jayne Ann Krentz, Nora Roberts, Elizabeth Lowell, and Katherine Stone feature heroines who constantly navigate the dual and intersecting arenas of work and home in an effort to locate a balance that leads to success and happiness in both realms. In contrast, the "paranormal" romances of Laurell K. Hamilton, Charlaine Harris, Kelley Armstrong, and Carrie Vaughn dissolve the tension between home and work, or the private and the public, by affirming the heroine's open and endless pursuit of pleasure, adventure, and self-fulfillment. Such new forms of romantic fantasy at once reveal the tension in globalization and the domination of corporate and masculinist values that the novels hope to overcome. / Committee in charge: David Leiwei Li, Chair; Mary Elene Wood; Cynthia H. Tolentino; Jiannbin L. Shiao

In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even though one could argue that this goal is still present in contemporary African-American fiction. Animals-as-trope also functions to express the African-American woman writer's understanding that 1) all oppressions stem from the same source; 2) that the division between nature/culture is a false onethat a universal connection exists between all living creatures; and 3) that an ethic of caring, or relational epistemology, can be extended to include non-human animals. Twentieth-century African-American writers such as Hurston, Walker, and Morrison participate in what anthropologists term, "neototemism," which is the contemporary view that humankind is part of nature, or a vision that Morrison would most likely attribute to the "folk." This perspective places their celebration of the continuous relations between humans and animals within a spiritual, indeed, tribal, cosmological construction. What makes these particular writers primarily different from their literary mothers, however, is a stronger sense that they are reclaiming the past, both an African and African-American history. What I hope to contribute with this dissertation is a new perspective of African-American women writers' literary tradition via their usage of animals as an expression of their "ethic of caring" and their awareness that all oppression stems from a single source.

The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.

Indiana University-Purdue University Indianapolis (IUPUI) / In his novels Slaughterhouse-five and The Sirens of Titan, Kurt Vonnegut explores issues of cultural identity in technologically-advanced societies post-World War II. With the rise of globalization and rapid technological advancements that occurred postwar, humans worldwide were mitigating the effects of information overload and instability in cultural identity. The influx of cultural influences that accompany a global society draws attention to the fluidity and inevitability of cultural change. A heightened awareness of cultural influences—past and present—creates anxiety for the generation living postwar and before the dawn of the Information Age. This generation suffers from “cultural schizophrenia”: a fracturing of the psyche characterized by anxiety over unstable cultural identities and agency. With the characters of Billy Pilgrim and Winston Niles Rumfoord, Vonnegut explores the different reactions to and consequences of cultural schizophrenia. His unique writing style is an effective hybrid of science fiction conventions and the complexities of human culture and society. Ultimately, Vonnegut explores the dangers of detachment and the complicated nature of agency with novels that are both innovative and accessible.