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.

Edie Meidav convinced me to start a new project. Work on something longer, she suggested. Full of faith, she challenged me to write about what felt most urgent. I thought of Will—a main character who asks questions. My intention became to interrogate the mid-senior-year mindset of a high school student. Barely adults, on the cusp of making the most significant choices of their lives, feeling both that they have all the information they need and that the world is a farce to be retooled as desired, individuals at this age possess all the budding versions of the same neuroses people carry into their nineties. For my own trajectory as a young adult, this stage coincided with the adaptation of the internet. The world’s variety then became more accessible, much faster to find, and without limits. Taking authority and norms at face value seemed like one of the most ignorant things anyone could do. In the early days of the writing, I saw a major conflict developing in Will: not wanting to jump through the hoops laid out for him, but wanting the prizes—love, recognition, and friendship—found on the other side. Ultimately, I want to remind the reader of their ability to hold two conflicting ideas simultaneously, like the feeling that accompanies the death of someone close: in an instant, despite us all being equally human, all the prior needs of the deceased suddenly hold so much more significance, and all our personal prior needs seem suddenly selfish, worth nothing at all. To be transparent: you are reading work realized from elements of my own experiences to create composite characters and events I hope still ring true. Despite the loose strings to reality, I want to be clear: this is entirely a work of fiction.

The novel Someplace Else scrutinizes spaces begging for examination—places of asphyxiation, of undiscussed power structures and violence—that do nothing to prepare those living within them to be their examiners. Through the lens of Lumi—a small-town Wisconsin adolescent on the verge of womanhood—the novel examines how childhood innocence is exemplified and threatened by the homes in which females are raised and raising themselves. Someplace Else serves as Lumi's avenue for figuring out how to put to words what exactly it is she is coming to understand, including her relationship with her hometown, how this space has affected her mother and sister, and how this space has affected these women's relationships with one another; through story, Lumi is deciphering ways to speak, to talk about her world and perhaps find a way out. / Master of Fine Arts

<p>The Emancipation of Celie: The Color Purple as a womanist Bildungsroman</p><p>The purpose of this essay is to study The Color Purple as a Bildungsroman, focusing on the development of the protagonist, Celie. The Color Purple is related to both the traditional Bildungsroman and to the female Bildungsroman, but the essay shows that it can also be seen as a womanist Bildungsroman. Initially, Celie believes that being a woman inescapably means that she has to serve and obey men and she is oppressed by patriarchy. She is eventually introduced to another way of living by the strong female characters of Sofia and Shug who embrace her in a kind of sisterhood, which is vital for Celie as she has nothing else to help her liberate herself from the patriarchal values that keep her down. In conclusion, this essay shows how Celie has developed from being a young girl, forced to act in an adult way, into a woman who displays signs of all the criteria for having achieved a womanist development: she is grown up (not just acting as though she is), she is in charge of a business, a house and, in short, her life. She is serious, she has a universalist perspective, and most importantly, she loves. Furthermore, the essay highlights which characteristics of her development can be linked to the traditional and the female Bildungsroman and which characteristics can be seen as typical of a womanist Bildungsroman.</p>

Ce travail se propose d’étudier une esthétique propre à l’époque romantique : l’expression parla fragmentation du corps. En effet, l'esthétique romantique trouve dans la fragmentation récurrente du corps une issue à son opacité et un moyen d'exprimer au mieux l'essence du Tout. La tête et l'oeil en sont deux exemples particulièrement expressifs utilisés dans l’art. Mais c’est la main qui synthétise le mieux cette démarche esthétique : en unissant le sensible à l’intelligible, la main se fait centre de gravité de la création artistique.Le Künstlerroman et le Bildungsroman, mettent particulièrement en lumière la prégnance de ces enjeux esthétiques, tant en France qu’en Allemagne. Nous étudions de ce fait ici le Franz Sternbal deTieck, le Wilhelm Meister et le Faust de Goethe ainsi que sept contes d’Hoffmann afin de prouver la récurrence de cette esthétique au sein de genres littéraires aussi divers que le roman, le théâtre ou le conte. Ces trois genres sont également défendus par un corpus français prenant en compte l’un des bastions du romantisme hexagonal, Le Rouge et le Noir de Stendhal, en y alliant plusieurs nouvellestraitant de l’art : Sarrasine et Le Chef-d’oeuvre inconnu de Balzac, Le Fils du Titien de Musset et La Toison d’Or de Théophile Gautier. Ajouter Lélia de George Sand à notre corpus permet de prouver que cette esthétique s'étend jusqu'à l'un des plus grands succès littéraires de son époque. Enfin des oeuvres romantiques offrant au corps le premier rôle telles le Frankenstein de Mary Shelley, Fragoletta deLatouche, La Main du diable d'Alphonse Karr et La Main enchantée de Gérard de Nerval viennent renforcer notre thèse. / This work deals with an aesthetics specific to the Romantic Era : the expression through thefragments of the body. For the Romantics the recurrent fragmentation of the body is indeed a solutionto its opacity and the best way to express the real nature of the Whole. The head and the eye are twostrong and meaningful examples used in arts. But the hand is definitely the fragment which bestembodies this aesthetic approach: by bringing the tangible and intelligible together, the hand becomes abridge and the centre of artistic creation.Künstlerroman and Bildungsroman highlight especially well the pregnancy of these aestheticissues both in France and Germany. Therefore Tieck's Franz Sternbald, Goethe's Wilhelm Meister andFaust will be studied in our work as well as seven tales by Hoffmann in order to prove the recurrenceof these aesthetics in various genres such as novels, plays and tales. These three genres are alsorepresented by a French corpus including one of the works of reference in terms of Romantism, LeRouge et le Noir by Stendhal, compared to several short stories dealing with the theme of arts:Sarrasine and Le Chef-d’oeuvre inconnu by Balzac, Le Fils du Titien by Musset and La Toison d’Or byThéophile Gautier. Adding George Sand's Lelia to the corpus allows us to see how this aestheticsinfluenced even one of the greatest successes of its time. At last a few Romantic works featuring thebody as main character such as Frankenstein by Mary Shelley, Fragoletta by Latouche, La Main dudiable by Alphonse Karr and La Main enchantée by Gérard de Nerval reinforce our theory.

Este trabalho inicia-se com a apresentação do autor, sua importância literária e seu contexto histórico, e tem por objetivo analisar a trajetória de Aniceto Hevia, narrador autodiegético do romance Hijo de Ladrón, de Manuel Rojas. O romance se articula em torno aos problemas e experiências das classes socialmente marginalizadas e dos conflitos sociais e econômicos do proletariado no Chile entre o fim do século XIX e o início do XX. Observaremos o Bildungsroman Clássico, gênero discursivo originado na Alemanha, em meio à difusão das ideias burguesas de fins do século XVIII. O intuito aqui é observar como o livro de Rojas, inscrito em um contexto afastado pelo tempo, espaço e circunstâncias sócio econômicas do paradigma do Bildungsroman, mantém afinidades de ponto de vista e de conteúdo em relação ao gênero clássico em questão. / This work begins with the introduction to the author, to his literary importance as well as to his historical context, and it has the purpose of analyzing Hevia Anicetos pathway, who is the autodiegetic narrator in the novel Hijo de Ladrón by Manuel Rojas. The novel revolves around the problems and the experiences lived by the socially marginalized classes, and also around the social and economic conflicts experienced by the proletariat in Chile from the end of the 19th Century to the beginning of the 20th Century. We will observe the Classic Bildungsroman, which is a discursive gender originated in Germany in the midst of the dissemination of bourgeois ideas from the end of the 18th Century. Our purpose here is to observe how Rojas book, which is inserted in a context kept away by time, space and socio-economic circumstances of the Bildungsroman paradigm, maintains content and viewpoint affinities in relation to the classical gender in question.

A vida de um jovem e seu percurso pelo mundo em busca de sua identidade é o mote do romance de formação, subgênero que teve seu auge entre os séculos XVIII e XIX. Franco Moretti e Esther Labovitz, entre outros críticos por nós considerados, estudaram a fundo o romance de formação o Bildungsroman , sendo que esta última autora focalizou a variante feminina no Bildungsroman do século XX. O presente trabalho tem como objetivo analisar o romance da escritora italiana Melania Mazzucco Lei così amata. O romance recorta e focaliza uma parte da vida da escritora suíça Annemarie Schwarzenbach, portanto possui as características do romance biográfico. Contudo, pretendemos, neste estudo, evidenciar principalmente as características que fazem dessa obra um romance de formação. Por meio da conturbada trajetória vivida pela protagonista, buscamos reconhecer, nas viagens empreendidas por ela, ao redor do mundo, as características fundamentais do romance de formação. Em particular, com base nos estudos de Mikhail Bakhtin sobre o cronotopo, analisamos as formas com que o tempo vivido nos diferentes continentes Ásia, América e África marcam o percurso formativo da heroína. / The life of a young man and his way through the world in search of his own identity is the motto of the formation novel, subgenre which had its climax between the 18th and the 19th centuries. Franco Moretti and Esther Labovitz, among other critics considered by us, studied the formation novel in depth the Bildungsroman , this last author focusing on the feminine variant in the Bildungsroman of the 20th century. This study aims at analyzing the novel of the Italian writer Melania Mazzucco Lei così amata. The novel focuses on part of the life of the Swiss writer Annemarie Schwarzenbach, therefore it presents all the characteristics of the biographical novel. However, in this study, our main intention is to demonstrate all the features that make this work a formation novel. Through the troubled trajectory lived by the protagonist, we try to recognize, in her journeys around the world, the fundamental features of the formation novel. In particular, based on the Mikhail Bakhtins studies of the chronotope, we analyze the forms in which the time lived in the different continents Asia, America and Africa determine the heroines formative course.

Este trabalho inicia-se com a apresentação do autor, sua importância literária e seu contexto histórico, e tem por objetivo analisar a trajetória de Aniceto Hevia, narrador autodiegético do romance Hijo de Ladrón, de Manuel Rojas. O romance se articula em torno aos problemas e experiências das classes socialmente marginalizadas e dos conflitos sociais e econômicos do proletariado no Chile entre o fim do século XIX e o início do XX. Observaremos o Bildungsroman Clássico, gênero discursivo originado na Alemanha, em meio à difusão das ideias burguesas de fins do século XVIII. O intuito aqui é observar como o livro de Rojas, inscrito em um contexto afastado pelo tempo, espaço e circunstâncias sócio econômicas do paradigma do Bildungsroman, mantém afinidades de ponto de vista e de conteúdo em relação ao gênero clássico em questão. / This work begins with the introduction to the author, to his literary importance as well as to his historical context, and it has the purpose of analyzing Hevia Anicetos pathway, who is the autodiegetic narrator in the novel Hijo de Ladrón by Manuel Rojas. The novel revolves around the problems and the experiences lived by the socially marginalized classes, and also around the social and economic conflicts experienced by the proletariat in Chile from the end of the 19th Century to the beginning of the 20th Century. We will observe the Classic Bildungsroman, which is a discursive gender originated in Germany in the midst of the dissemination of bourgeois ideas from the end of the 18th Century. Our purpose here is to observe how Rojas book, which is inserted in a context kept away by time, space and socio-economic circumstances of the Bildungsroman paradigm, maintains content and viewpoint affinities in relation to the classical gender in question.

The aim of the present study is to rebuild the way in which Schelling's later philosophy –that which is represented by his reflection concerning mythology and rational foundations of revelation– describes the triple division of the Absolute in diverse potencies that takes place with the entry of God in temporality and becoming. The process that leads to such fragmentation of the divine is interpreted as a formation novel” analogous to the odyssey that the finite conscience experiences as a result of its constituent openness to Being. / El propósito del presente estudio es reconstruir el modo en el que la filosofía tardía de Schelling, aquella representada por su reflexión acerca de la mitología y los fundamentos racionales de la revelación, describe la triple escisión del Absoluto en potencias diversas que tiene lugar con el ingreso de Dios en la temporalidad y el devenir. El proceso que da lugar a esta fragmentación de lo divino es interpretado como un relato de formación” paralelo a la odisea que la conciencia finita experimenta como consecuencia de su constitutiva apertura al Ser.

My study examines contemporary Asian American narratives of subject formation through the theoretical lens of the Bildungsroman. A European genre originating in late-eighteenth- and early-nineteen-century Germany, the conventional Bildungsroman is a literary tool whose main objective is to depict an idealized subject's modern socialization. As Franco Moretti nicely captures in his study of the Bildungsroman, The Way of the World, the genre's significance is, above all, its successful representation of a reconciliation of an individual's revolting desires and society's regulatory demands. While highlighting a harmonious convergence of an individual and society, Moretti points to a white European subject's becoming a normative citizen in the rise of bourgeois capitalism. American writers of Asian descent have both utilized and transformed the conventional Bildungsroman form to describe their particular subject formation in the United States. The Asian American Bildungsroman differs from the white American as well as the European Bildungsroman, both formally and thematically, mainly because the racial group's social, political, and economic conditions have been marked by the U.S. exclusion of Asians. Asian American writers' generic interventions of the Bildungsroman thus exhibit their distinctive formal interventions and textual strategies to respond to legal and social exclusions of Asians in this country. In reading four Asian American narratives of subject formation, either novelistic or (auto)biographical in form, I argue the writers invented new versions of the genre, including the communal, the assimilative, the deconstructive, and the competitive Bildungsromane. This dissertation examines how conditions of textual expressions of the contemporary Asian American Bildungsroman have been not only predominantly marked by race but also further affected by class. The significance of the Asian American Bildungsroman is at once its interrogation of the contradiction within the American ideals and its construction of Asian American subjecthood.