Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-03T17:37:52Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Cássia Farias - Narrativas de Amadurecimento.pdf: 1353681 bytes, checksum: eabe941ec96720314f60253d3d4d4217 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-09T16:06:54Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Cássia Farias - Narrativas de Amadurecimento.pdf: 1353681 bytes, checksum: eabe941ec96720314f60253d3d4d4217 (MD5) / Made available in DSpace on 2017-05-09T16:06:54Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Cássia Farias - Narrativas de Amadurecimento.pdf: 1353681 bytes, checksum: eabe941ec96720314f60253d3d4d4217 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Na presente dissertação, serão abordadas as relações entre o romance de formação e a literatura juvenil nas literaturas de língua inglesa. Apesar de suas particularidades, os dois gêneros têm em comum o fato de apresentarem contornos pouco definidos. Sendo assim, serão discutidas questões teóricas pertinentes a cada um deles a fim de chegar ao ponto central do trabalho: descrever e caracterizar o que seria o Bildungsroman juvenil. Três obras foram escolhidas para análise, Grandes esperanças (1860), de Charles Dickens, O apanhador no campo de centeio (1951), de J.D. Salinger – que serão usados para falar da tradição do romance de formação e da sua evolução – e Bateria, garotas e a torta perigosa (2004), de Jordan Sonnenblick, escolhido como exemplo paradigmático da manifestação desse gênero na literatura juvenil / This thesis will discuss the relationship between the coming of age novel and young-adult literature in English-language literature. Although each of the two genres has its own peculiarities, neither of them has well-defined contours. Therefore, relevant theoretical aspects of each genre will be examined in order to reach the main goal of this work: to describe and characterize the young-adult Bildungsroman. Three novels were selected for analysis: Great Expectations (1860), by Charles Dickens, The Catcher in The Rye (1951), by J.D. Salinger – both of which will be used to outline the tradition of the coming of age novel and its evolution – and Drums, Girls and Dangerous Pies (2004), by Jordan Sonnenblick, a paradigmatic example of the manifestation of the genre in young-adult literature

This report explores and questions the history of human rights rhetoric through the 18th century anti-slave trade poem of Hannah More, Slavery, a poem. Hannah More used the term ‘human rights’ more than 150 years before the Universal Declaration of Human Rights. Nevertheless, when historians and political scientists track the history of human rights, it is frequently presented as “from Locke through Paine” as part of a narrative of the “coming of age” of democracy in a longer quest for rights stemming from 18th century revolutions and radicalism. This report looks instead at the episodic nature of human rights rhetoric through 18th century ideas of the human. As argued here, More’s use of the term ‘human rights’ indicates an attempt to reconcile the tension between Enlightenment and Christian discourses to promote the anti-slave trade cause. / text

This thesis explores the development of the Bildungsroman in Italian narrative between 1980 and 2011 and focuses, as a case study, on seven novels by three contemporary writers: Pier Vittorio Tondelli, Sandro Veronesi, and Giuseppe Culicchia. By contrasting the idea of an end of the literary genre with the First World War, as theorised by Franco Moretti in The Way of the World (an influential study on the European Bildungsroman published in 1987), this research will aim to demonstrate that contemporary Italian literature still engages with the genre. However, this analysis will show that a traditional coming of age process is no longer possible in contemporary society and will propose a different perspective from which to observe the transition from youth to adulthood – and its representation – in Italy. Acknowledging that the postponement of adulthood has become a common trope to describe this process, this thesis will argue that, instead of a coming of age process, the male young protagonist of the novels selected faces a ‘delaying of age process’, a conscious choice to postpone his entry into an unwelcoming adult world. The first two chapters of this work will establish the methodological background on which the textual analysis conducted in the following two chapters will be based. Chapter One will develop along two complementary lines: on the one hand, by basing my discussion on Moretti’s study, I will trace the origins of the Bildungsroman and identify the elements of continuity and diversity between the traditional examples of the genre in the late eighteenth and nineteenth centuries and its evolution in the twentieth century. On the other hand, I will study the changes undergone by youth over the centuries, especially focusing on the shaping of male identity in the first decades of the twentieth century. Chapter Two will provide the socio-historical framework of this research, drawing a picture of contemporary Italy (from the aftermath of the Second World War), which will discuss the central issues against which the ‘delaying of age process’ will be analysed: generation, family, gender roles, work environment and consumption. In Chapters Three and Four, I will read the narrative texts selected as representing that ‘delaying of age’ trend which I will identify as a specifically Italian way of coming of age in contemporary society. By focusing on the relationship between the male protagonists and the ‘other’, the textual analysis will show new ways of conceiving the process of becoming a man in contemporary Italy.

Masters of Art / Zora Neale Hurston is a significant figure in American fiction and is strongly associated with the Harlem Renaissance, the period noted for the emergence of literature by people of African-American descent. Hurston worked as a writer of fiction and of anthropological research and this mini-thesis will discuss aspects of her novel, Their Eyes Were Watching God, first published in 1937. While the novel traces the psychological development of the central female character, Janie Mae Crawford and, thus, demonstrates several features of a conventional Bildungsroman, the novel also contains some intriguing innovations in respect of narration and voice. These innovations imply that the novel can be read in terms of the qualities commonly associated with the Modernist novel. This contention becomes significant when it is understood that a considerable degree of critical responses to the novel have discounted these connections. The novel is widely accepted to be a story about a woman’s journey to self-actualisation through the relationships she has with the men in her life. Much of the criticism related to the novel is based on this aspect of it, with many stating that Janie’s voice is often silenced by the third-person narrator at crucial moments in the text and that, as a consequence, she does not achieve complete self-actualisation by the end of the novel. This thesis will examine the significance of the shifts between first-person and thirdperson narration and the manifestations of other voices or means of articulation, which give the novel a multi-vocal quality. The importance of this innovation will also be considered, particularly when it is taken into account that Hurston sought to incorporate some elements associated with the oral tradition into her work as a writer of fiction.

<p>In this essay the main aim is to consider Philip Pullman’s trilogy <em>His Dark Materials</em> with its female protagonist as a Bildungsroman. The principal source of the study is Jerome Buckley’s <em>Season of Youth – The Bildungsroman from Dickens to Golding. </em>Buckely’s presentation of the significant characteristics of the Bildungsroman will be applied to Philip Pullman’s <em>His Dark Materials </em>in order to explore if these characteristics are present, modified or not, in the trilogy.<em> </em></p><p><em> </em></p><p>The second aim is to investigate how <em>His Dark Materials </em>relates to the patterns of the hero’s journey. In order to approach this question, Joseph Campbell’s work <em>The Hero with a Thousand Faces </em>is applied as a main source. </p><p> </p><p>Since most material concerning both the Bildungsroman and the hero’s journey are from a male point of view and concern males, the female perspective will be represented by Susan Fraiman and Linda Wagner who both write about females and the bildung narrative.</p><p> </p><p>In the section called <em>The Story of Lyra</em>, the trilogy is summarized briefly in order to give the reader a chance to understand what the trilogy is about. In the conclusion, Lyra’s development and (hero)-journey are discussed.  </p><p> </p><p>The final claim of the study is that <em>His Dark Materials</em> can be considered a Bildungsroman and the patterns of the hero journey are found in the story about Lyra, but with some differences from her male counterparts.</p>

This thesis has two aims. The first one is to elucidate how Alice’s Adventures in Wonderland (1865) functions as a Bildungsroman, and the other one is to demonstrate how the novel also has a coming of age aspect based on feminism. Whilst Alice matures in the traditional sense, she also in parallel does so as a stronger female fighting for gender rights with signs of feminism. The feminist angle as well as the surreal world of Wonderland makes the novel a not very obvious Bildungsroman in a genre dominated by male protagonists. For Alice to be a young female child who ends up in a fantasy world thus makes her a very fascinating character. The central hypothesis of this thesis is that what Alice is exposed to and reacts to in Wonderland generally reflects the genre of a Bildungsroman and also specifically a feminist Bildungsroman. Theoretical framework is based on the ideas of Franco Moretti, Mikhail Bakhtin, Thomas Jeffers, Carol Lazzaro-Weis, George Eliot and Elizabeth Drew Stoddard, as well as novels by Eliot and Stoddard. This includes dynamic protagonists, unpredictable development, symbols of modernity, the quest for universality, and minor characters who make sure that the protagonist develops, as well as feminist struggle by means of disregarding the ‘cult of true womanhood’ in a genre and society dominated by men.

During the Progressive Era, literary writers such as Abraham Cahan, Willa Cather, and Charlotte Perkins Gilman engaged with ideas emerging from the newly consolidated educational profession about art's capacity to mediate between individual and social development. These ideas varied widely in their philosophical, pedagogical, and political implications, but all reinforced the authority of professional educators at the expense of democratically elected boards of education. Novels working through these ideas can be usefully theorized as Bildungsromane if the definition of the Bildungsroman is refined to be more sensitive to the wide range of educational philosophies that can inform it, and to the range of attitudes, from critical to worshipful, that it can assume toward these philosophies. This reimagining of the genre opens up the possibility that the Bildungsroman, and the Bildung idea more broadly, can have a more positive political valence than most scholars have acknowledged. In particular, a viable project of aesthetic education can be discerned in the philosophy of John Dewey, although it lacks a clear literary corollary.

The object of the present research is the features of the Bildungsroman genre “Great Expectations” by Charles Dickens, “Of Human Bondage” by William Somerset Maugham and “The Cider House Rules” by John Irving. The aim of the Bachelor Thesis is to explore structural and poetic elements (canons) of the Bildungsroman in the aforementioned novels. To achieve the aim the following objectives have been set: 1) to overview the history of the Bildungsroman and to present theoretical poetic elements of such a genre; 2) to identify the key features of the Bildungsroman in the aforementioned novels; 3) to carry out the comparative analysis of the novels in the aspect of the Bildungsroman. The methodology of the Bachelor Thesis includes Jerome Buckley’s conception of the Bildungsroman, which was employed to trace the features of the Bildungsroman in chosen novels. Also, Gintaras Lazdynas’s structural and poetic elements (canons) of the Bildungsroman, presented in his book, were referred to in the present research were used. The comparative literature as a method (the definition of Tötösy de Zepetnek) enabled to analyze novels in the comparative aspect. Novels portray typical protagonists of the Bildungsroman genre whose quest towards self-identity is long, gradual and full of challenges. However, such journey towards spiritual maturity is crucial, as it provides heroes with a life education and new experiences. Therefore, at the end of their journey, after completion... [to full text] / Darbo objektas – bildungsromano žanrinės ypatybės Charleso Dikenso romane „Didieji lūkesčiai“, Williamo Somerseto Maughamo romane „ Aistrų našta“, bei Johno Irvingo romane ‚ „Sidro namų taisyklės“. Bakalauro darbo tikslas – atskleisti, kaip pasirinktuose romanuose atsispindi tradiciniai bildungsromano žanro struktūriniai ir poetiniai elementai (kanonai). Tikslui pasiekti buvo iškelti šie uždaviniai: 1) apžvelgti bildungsromano istoriją, bei pristatyti šio žanro kanonus (poetinius ir struktūrinius elementus); 2) atpažinti pagrindines bildungsromano žanro ypatybes pasirinktuose kūriniuose; 3) analizuoti romanus lyginamuoju bildungsromano aspektu. Bakalauro darbo metodologija apima Jerome’o Buckley’o bildungsromano koncepciją, norint identifikuoti šio žanrinio tipo romano ypatybes pasirinktuose kūriniuose. Taip pat darbe buvo naudojami Gintaro Lazdyno išskirti bildungsromano struktūriniai ir poetiniai elementai (kanonai). Komparatyvistinė literatūra kaip metodas (Tötösy de Zepetneko apibrėžimas) leido analizuoti tris grožinės literatūros romanus lyginamuoju aspektu. Romanai vaizduoja klasikinius bildungsromano protagonistus, kurių kelias link harmonijos bei savęs suradimo yra ilgas, laipsniškas bei pilnas išbadymų. Toks kelias, vedantis link dvasinės brandos, yra labai svarbus, nes būtent šios kelionės metu herojai pereina gyvenimo mokyklą bei įgyja naujos patirties. Būtent dėl šios priežasties savo kelionės pabaigoje, įveikę įvairias dvasinio vystymosi... [toliau žr. visą tekstą]

Young adult novels are undeniably popular and yet they are simultaneously dismissed as inconsequential or light – conventionally deemed low literature, these novels are generally not considered worthy to be discussed in the same spaces as the less popular, more traditional high literature. If a genre of young adult novels were given a place within literary history, it would not only legitimize these novels as more than guilty pleasures or the provinces of adolescent readers who will come to grow out of them, but it would also open up the possibility for other forms of literature to be similarly recognized as worth reading or thinking about. The Bildungsroman, also known as the “novel of formation” or the more colloquial “coming-of-age” novel, is a genre grounded in the traditions of multiple literary histories and is commonly understood to be high literature. Marianne Hirsch models the European Bildungsroman, which is useful for both American novels due to the predominance of European and particularly English canon. This paper is interested in determining how contemporary young adult dystopian novels, examined through the Scott Westerfeld's Uglies and Veronica Roth's Divergent, both work within and depart from the conventions of the traditional Bildungsroman.

Using an expanded and adapted conception of the Bildungsroman (or novel of development or formation), this thesis examines representations of Italian Australian identities through an analysis of selected English-language literary and film narratives produced by individuals of Italian descent in Australia since World War II. It draws upon critiques of the genre of the traditional Bildungsroman to further contribute to the conceptualisation of a related genre, the ethnic bildungsroman. In applying an interdisciplinary approach, the thesis critically analyses the processes of ethnic identity formation in these Italian Australian narratives in various socio-historical and literary contexts, with particular reference to the intersection of gender and ethnicity. It is argued that not only can the development of individual protagonists’ identities be read in each text, but the narratives selected here chart the journeys of ethnic identification made by Italian Australian protagonists and the varying trends in their modes of identification. This study focuses upon a selection of fiction, biography and autobiography that narrates these identities. These narratives both directly and indirectly address experiences of being of Italian heritage in Australia at various times throughout the twentieth century. It argues that the narrative representation and, more importantly, the narrative self-representation of ethnic identities are integral parts of migration and settlement processes, as well as significant steps in opening up dialogues amongst and between various Australian identities. (For complete abstract open document)