Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

This paper will seek to provide a detailed analysis of the creative and technical elements of the filmmaking process as they pertain to the thesis project, Notes on Forgiveness. Attention will be given to the conceptual framework of the project, specifically the genre the film seeks to work through and beyond, the theoretical aspects of the feminist gaze, and the post-modern elements that were initially incorporated into the screenwriting process. Further, details will be provided on the pre-production and production phases of the project, including creative aspects such as the cinematography, production design, sound design, and technology. A discussion of the logistical aspects, such as budget constraints, insurance concerns, and contract negotiations, will likewise be provided, as they constituted a large aspect of the production timetable. Throughout all of these discussions, analysis will be provided on the implementation of the original plot directives described in the screenwriting process.

This thesis comprises two pieces of work – a novel and an accompanying research paper. The novel, Savage Things, is a story of a girl, removed from the home of her vulnerable mother to live with her grandparents for a summer. There, she falls in with various secondary characters: a gang of boys, the college-aged girl who lives upstairs, a housebound neighbour, and her wider family. As these relationships form, the girl feels increasingly conflicted about her own identity and her place in the world. However, the girl’s mother is not finished with her and reappears as the girl begins to find her feet in this new environment, taking her on a final trip that forces them to reconsider their relationship with each other and the world around them. The research paper, ‘She’s Leaving Home’, is an examination of three coming-of-age texts – Marilynne Robinson’s Housekeeping, Alan Warner’s Morvern Callar, and Eugene McCabe’s Death and Nightingales. The paper analyses all three novels via their relationship to the Bildungsroman as a form and questions the role that space plays in each. My discussion defines space in several ways – as a physical, psychological, and social concept. I argue that space is an essential component to the Bildungsroman in that it provides the context necessary for a protagonist to define herself against and within. It considers the prominent role that land plays and how it corresponds to each text’s political context – from the Depression-era transients of Housekeeping to the bitter land disputes of Death and Nightingales – while also arguing that each context assists in its protagonist’s coming-of-age.

These short stories deal with young boys and men who raise themselves in the absence of proper parenting. In particular, they wrestle with big questions about the family unit, sex, and love.

Thesis (Ph. D.)--Ohio State University, 1973. / Includes vita. Includes bibliographical references. Available online via OhioLINK's ETD Center.

Zugl.: Flensburg, Univ., Diss., 2009

This paper explores Mazo de la Roche’s peculiar articulation of the Bildungsroman in the first of Jalna’s sequels, Whiteoaks. It argues that the text’s psychosocially aberrant protagonist, Finch Whiteoak, is a Bildungsheld whose modern coming-of-age process of accommodation and assimilation into a socio-specific norm is not as much a progression toward the centre as it is a simultaneous progression/regression toward a reification of his exemplary marginal status as an other amidst others. This paper further contends that this unique process is made possible only by Finch’s particularly unstable and eccentric otherness—established through his treatment by his family as variously mentally ill rather than disabled—and that this process is both externally regressive in a vein similar to the modern, female Bildungsroman and internally progressive in the vein of the classic, male Künstlerroman. In order to accommodate this duality of publicly typical and privately subversive otherness, Finch must navigate the diegetic realm’s social boundaries and liminal spaces through a series of “double lives,” in which the other is ultimately found within the home context and potentially subversive centralities outside of Jalna are sacrificed for the sake of representative marginalities at home.

<p>This dissertation explores the modernist novel's response to the Bildungsroman. Through extensive close readings of the three modern versions of the genre -- In Search of Lost Time by Marcel Proust, The Magic Mountain by Thomas Mann, and Ferdydurke by Witold Gombrowicz -- it shows that the tensions buried deep in the unconscious of this great narrative of organic development finally erupt as formal problems in modernism, when the classical Bildungsroman meets its demise through a relentless dehumanization of form. If the classical Bildungsroman presents us with "the image of man in the process of becoming" as Bakhtin has suggested, it argues that the modernist Bildungsroman enacts the dissolution of that process in its very form.</p> / Dissertation

Submitted by Pedro Barros (pedro.silvabarros@ufpe.br) on 2018-07-04T20:25:26Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) TESE Thiago da Câmara Figueiredo.pdf: 1208712 bytes, checksum: e87da59a4741c06383b6cb40bb8d06b9 (MD5) / Made available in DSpace on 2018-07-04T20:25:26Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) TESE Thiago da Câmara Figueiredo.pdf: 1208712 bytes, checksum: e87da59a4741c06383b6cb40bb8d06b9 (MD5) Previous issue date: 2017-03-14 / CNPQ / É de surpreender a pequena quantidade de trabalhos que se voltam à investigação da formação do indivíduo, ou Bildung, na literatura, embora a tradição do romance de formação, o Bildungsroman, seja bem consolidada. Com o propósito de auxiliar na redução de tal lacuna, esta tese objetiva analisar a representação da Bildung e, assim, refletir sobre como a literatura cria, divulga, critica e problematiza ideais de desenvolvimento pessoal. Como a Bildung consiste no estabelecimento de uma relação harmônica entre os desejos pessoais e as expectativas sociais, atenção especial é dada à influência da família, da escola, da religião, da preceptoria, bem como da infância e da memória – algumas das instâncias sociais que condensam as demandas externas ao crescimento dos sujeitos. Assim, parte-se da investigação das duas narrativas consideradas o paradigma do romance de aprendizagem e do romance de formação, quais sejam: Emílio ou Da Educação, de Rousseau, e Os Anos de Aprendizado de Wilhelm Meister, de Goethe, para, posteriormente, avaliar a formação de protagonistas de romances dos séculos XX e XXI em que uma das instâncias sociais identificadas acima predomina. Na prática, comparam-se trajetórias de protagonistas a fim de investigar a relação entre a personalidade e as influências das instâncias sociais em que transita o herói e o efeito de tal interação em seu crescimento. A respeito da representação ficcional, esta tese se apoia, principalmente, nos trabalhos de Lima (2003; 1981), Iser (2002) e Auerbach (2009), enquanto as especificidades da Bildung e do Bilddungsroman são iluminadas pelos estudos de Bakhtin (2004; 2000), Freitag (1994), Maas (2000), Mazzari (2000) e Pinto (1990). Desse modo, identificam-se traços de semelhança e de diferença de natureza temática e formal em romances em que a formação do indivíduo é representada; e escrutinam-se as ideologias que orientam determinadas obras em comunidades historicamente situadas. / It is surprising the small amount of papers that are devoted to the investigation of the formation of the individual, or Bildung, in literature, despite the tradition of the novel of formation, the Bildungsroman, being well consolidated. With the purpose of helping to reduce this gap, this thesis aims to analyze the representation of Bildung and thus reflect on how literature creates, disseminates, criticizes and problematizes ideals of personal development. As Bildung consists in establishing a harmonious relationship between personal desires and social expectations, special attention is given to the influence of family, school, religion, preceptorship, childhood and memory - some of the social institutions that condense the external demands on the subject’s growth. Thus, the starting point is the investigation of the two narratives considered as paradigmatic of the pedagogical novel and the novel of formation: Emile, or On Education, by Rousseau, and Wilhelm Meister’s Apprenticeship, by Goethe, in order to, a posteriori, evaluate the formation of protagonists in novels of the XX and XXI centuries in which one of the social institutions identified above predominates. In effect, protagonists’ trajectories are compared in pursuance of investigating the relationship between the personality and the influences of the social institutions through which the hero moves, and the effect of such interaction on his/her growth. Concerning fictional representation, this thesis is mainly based on works by Lima (2003, 1981), Iser (2002) and Auerbach (2009), while the specificities of Bildung and Bildungsroman are illuminated by Bakhtin (2004; 2000), Freitag (1994), Maas (2000), Mazzari (2000) and Pinto (1990). In such a way, it is possible to identify traces of similarity and difference, of thematic and formal nature, in novels in which the formation of the individual is represented; and to scrutinize the ideologies guiding certain works in historically situated communities.

This project started as inspections of violence in different forms, specifically childhood violence. I created scenes of lost youth and displacement and some kind of fragmentation, or eruption of violence, that seemed to also justify the fragmented nature of the scenes, and how they may have been jaggedly connected. Then I had a strong urge to novelize the characters I had written, I wanted to tell their full story. The narrator Christian overtakes the novel, so it could be described as an i-novel really. He isn’t always an active participant in the action of what’s happening in the scenes, but he’ll sit back as more of an observer. The narrator’s most salient feature is his need to connect, as he presents a series of failures in accessing, or being accessible to, his friends.