This essay focuses on Louisa May Alcott's Little Women as a feminist novel and explores the representations of feminisms in the text. First, I argue Little Women is a novel that presents writing as feminist practice from a Künstlerroman perspective, which highlights Jo March's subversive feminism in the time. Next the essay shows how Jo’s gender fluidity helps her reconcile/negotiate her artistic aspirations and social expectations as part of her creative path. Finally, my essay also goes beyond Jo March's character to show how minor characters like the forgotten Beth March and emerging artist Amy March are a reminder of the text’s Künstlerroman focus, how patriarchy attempts to erase women like Beth who do not seem to fit into the stereotypes of the time due to their sickness or gender.

This study focuses on the role of the blue-haired Fairy in Carlo Collodi's "Le Avventure di Pinocchio" compared to the feminine role in Italian Children's literature and the European genre Bildungsroman during the late 18th century. It also explores Italy's educational and ideological agenda during this period and the role of children's literature as a pedagogical contribution towards the formation of a new Italian nation after 1861.  Having thoroughly considered Carlo Colloid’s criticism towards traditional family, school organization, and children's literature, the conclusion demonstrates that the blue-haired Fairy can be interpreted as an anti-conformist figure in comparison to the educational values of 18th century Italy and that she is in contrast to the stereotypical descriptions of women in literature during this period, both as an educator and as an independent woman. / Questo studio si concentra sul ruolo della Fata Turchina nel "Le Avventure di Pinocchio" di Carlo Collodi rispetto al ruolo femminile nella letteratura per l'infanzia italiana e nel genere Bildungsroman europeo durante il fine Ottocento. La tesina esplora anche l'agenda educativa e ideologica dell'Italia durante questo periodo e il ruolo della letteratura per l'infanzia come contributo pedagogico alla formazione di una nuova cultura unitaria italiana dopo il 1861. Considerata a fondo la critica di Carlo Collodi nei confronti della famiglia tradizionale, dell'organizzazione scolastica e della letteratura per l'infanzia, la conclusione dimostra che la Fata Turchina può essere interpretata come una figura anticonformista rispetto ai valori educativi dell’Italia di fine Ottocento ed in contrasto con le descrizioni stereotipate della donna nella letteratura di questo periodo, sia come educatrice che come donna indipendente.

The leitmotif of Stuffmobile, a modern day Florida-based novella, is that of relational healing: a son with his father, ex-lovers with one another, and, even more challenging perhaps, a son making peace with his dead mother. New beginnings are explored, both as resurrection of long dead feelings and as starting afresh after loss. A husband finds distraction in a covert project after his wife’s death, so much so that his preoccupied isolation worries his two adult children. The son comes to investigate, and his malfunctioning car leads to a reunion and the beginnings of reconciliation. Hours later, an accident nearly derails the relationship once more. The characters here struggle to understand and be understood, to avoid hurting others and avoid being hurt, all while searching for respect and love—just another normal day of the human experience.

In this essay, an analysis of Lucy Montgomery's bildungsroman Anne of Green Gables has been conducted. The story of the protagonist Anne Shirley’s development into adulthood displays many aspects of the gender roles of the twentieth century in Canada as a result of her gendered upbringing. Anne's conformity to the private sphere stems from a need to solve her inherent crisis as an orphan but has the purpose of making domestic life seem desirable to the young reader. Anne of Green Gables was released in the twentieth century when women were considered to have universal traits that benefited the conservative gender roles. Therefore this essay analyses the didactic purpose of the novel, theorizing to find that the novel's purpose is to steer the reader's development toward conservative gender roles. Feminist theory provides this essay with explanations of the cause and effect of the notion of gender roles and is used as a guideline throughout the analysis. The results of this essay demonstrate that the bildungsroman Anne of Green Gables has a didactic purpose of steering the development of the reader toward the acceptance of conservative gender roles.

Zwei bekannte, literarische Werke Hermann Hesses, Siddhartha und Der Steppenwolf, spielen zu verschiedenen Zeiten und in grundlegend unterschiedlichen Kulturen. Diese Analyse stellt Gemeinsamkeiten und Unterschiede der Romane ins Licht und betrachtet dabei deren gattungsspezifische Zuordnung, die Personenkonstruktion der Hauptfiguren sowie deren Entwicklungsstadien im Leben. Die Gattung Bildungsroman stellt sich dabei zunächst in den Vordergrund. Im 19. Jahrhundert wurde der Bildungsroman als eine Großform des deutschen Romans herausgestellt und besitzt im Kern ein eindeutiges Kriterium: das Bildungsmotiv der Aufklärung. Dieses Motiv ist die Antriebskraft beider Hauptfiguren, Siddhartha und Steppenwolf, und lässt individuelle Gemeinsamkeiten ersichtlich werden. Beide Romanfiguren gehen auf eine innere Suche, auf eine psychologische Entwicklungsreise, die sich über Zeit, Raum und kulturelle Begebenheiten hinwegsetzt und deren Botschaft lediglich in ein anderes Licht rückt.

Growing Cold: Postwar American Women Writers and the Novel of Development, 1945-1960, examines how women writers developed, negotiated, and struggled with representing adolescent girl selfhood in the novel of development – also termed the Bildungsroman – during the early postwar era. By examining four women’s Bildungsromans written between 1946-1960 – Carson McCullers’s The Member of the Wedding (1946), Jean Stafford’s The Mountain Lion (1947), Shirley Jackson’s Hangsaman (1951), and Harper Lee’s To Kill a Mockingbird (1960) – I show that postwar women writers were actively shaping the genre in a way that would fundamentally shift how adolescent girlhood would be represented in second wave feminist and contemporary female Bildungsromans. By 1960, adolescent girls in women’s literature were far different from where they began in 1945: they were younger, more sexual, and more psychologically complex than the adolescent girl characters earlier in the 20th century. Yet these novels are also racially and sexually problematic, advancing white heteronormative identity at the expense of queer and racially othered characters. In this way, these writers suggest that postwar adolescent development is a process of "growing cold"; it is a process of loss, emptiness, and violence, leading to emotional and social isolation. This project therefore intervenes in postwar American literary studies and women's studies by raising awareness of the importance that postwar women writing played in the development of the contemporary Bildungsroman. / English

South Shore and Everyplace You Don’t Belong tracks a young man, Claude, raised by his grandmother on Chicago’s South Side. We follow Claude as he experiences tropes familiar to young Chicagoans: segregation, gun violence, gang recruitment, death, police brutality, and crooked politics. We also follow Claude though universal experiences familiar to all young persons: falling in love, social anxiety, making friends, losing friends, rebellion, and identity crises of all shapes and sizes. We follow Claude as he experiences America as a young black man.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-12T09:23:46Z No. of bitstreams: 1 Ademir de Godoy Bueno.pdf: 1243869 bytes, checksum: b3608f47e6424d6a17a7deaa3e3e2690 (MD5) / Made available in DSpace on 2018-12-12T09:23:46Z (GMT). No. of bitstreams: 1 Ademir de Godoy Bueno.pdf: 1243869 bytes, checksum: b3608f47e6424d6a17a7deaa3e3e2690 (MD5) Previous issue date: 2018-11-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Rodrigo Lacerda’s novel ‘O Fazedor de Velhos’ (2009) (“Old People Maker”) adresses the narrator and protagonist’s search for his identity and ethical maturity. Lacerda’s approach to vital rites of passage such as the discovery of love and true vocation establishes a dialogue between the novel and an important literary genre: Bildungsroman. The focus on the protagonist’s formative journey through the sense of otherness, language mediation and the contrast between self-awareness and external reality revives the tradition of Bildungsroman. The Brazilian literature that the protagonist reads at school leads him to the answers he desperately looks for as well as awakens his passion for literature. The novel invites young readers to travel through the intertextuality of its utterances. In this literary universe, the story builds a link between classic and modern literatures, uttering the bases of the protagonist’s ethical and aesthetical formations through a joint reading with the reader. In this dissertation we describe and interpret the genre Bildungsroman which has formative purposes, based on Mass (2000), Mazzari (1999) and Pinto (1990). The protagonist’s trajectory in the first person singular aims to identify and suggest a humanistic, sociocultural and personal growth established with his peers through the sense of otherness triggered by literature at school and the discovery of himself in the world. Our analysis of the narrator’s hypothetical journey is based on Bakhtin (1992), Barthes (1973), Candido (1972) Colomer (2003), Todorov (2009), Calvino (2007), and Machado (2009) / A partir da leitura do romance O Fazedor de Velhos (2017), de Rodrigo Lacerda, apreende-se a temática: a busca de identidade e o processo de formação ética do narrador-protagonista. A abordagem dos ritos de passagens vitais, como a descoberta do amor e a vocação, põe em destaque o diálogo do romance com o importante gênero da História da literatura: o Bildungsroman. Emerge desta forma, o resgate da tradição de Bildungsroman, ao enfatizar o percurso formativo que se dá pela alteridade, pela mediação da linguagem, ao colocar a consciência-de-si em relação com a exterioridade. Centrada na história, a sequência de obras da Literatura Brasileira a serem conhecidas e lidas pelo protagonista no ambiente escolar, permitenos propor a hipótese de que, além de dar respostas aos conflitos do protagonista, lança-se, também, sobre o leitor jovem, ao conduzi-lo ao gosto pela leitura no contexto crítico. O romance é endereçado ao leitor juvenil para caminhar pelos recortes intertextuais, que compõem a narrativa. A partir desta perspectiva, o romance constrói um elo entre a literatura clássica e a contemporânea, enunciando as bases da formação ética e estética do protagonista conjugadas, indiretamente, com o leitor. Esta abordagem em apresentação dissertativa visa descrever e interpretar esse gênero literário centrado na intenção educativa formadora manifesta no Bildungsroman, sustentado pelas reflexões de Mass (2000), Mazzari (1999), Pinto (1990). A trajetória do protagonista narrador em primeira pessoa tem a função e a finalidade de conduzir o aperfeiçoamento humanístico, sociocultural e pessoal a ser estabelecido com seus pares no processo de alterificação escolar pela mediação da leitura literária e consequente retomada de si no mundo. Nesse percurso hipotético do narrador, dão-nos suporte citações conceituais de: Bakhtin (1992), Barthes (1973), Candido (1972) Colomer (2003), Todorov (2009), Calvino (2007), Machado (2009)

Le discours critique sur le roman-mémoires des années 1730 semble souvent hésiter entre deux attitudes antagonistes : soit il y discerne les signes d’une « naissance de l’individu » et y voit l’émergence du roman de formation (Bildungsroman). Soit il considère que ces catégories sont anachroniques : la notion d’« individu », comme être conscient de soi et de son intériorité affective et comme l’élément élémentaire dont se compose la société n’apparaît-elle pas seulement dans la deuxième moitié du XVIIIe siècle en particulier dans la réflexion de Jean-Jacques Rousseau ? et le roman de formation ne trouve-t-il pas son prototype en Allemagne, avec Les Années d’apprentissage de Wilhelm Meister de Goethe ? Mais en réalité, Rousseau et Goethe sont tous deux de grands lecteurs de romans-mémoires et ils s’en sont nettement inspirés dans leurs écrits. La présente thèse souhaite montrer que le roman-mémoires des années 1730 peut être analysé comme un roman de formation, dans la mesure où il décrit les étapes constitutives de l’identité d’un individu et porte une vision du monde sur sa place dans la vie sociale. Mais une telle hypothèse implique de s’interroger sur cette forme romanesque « rebelle à tout ordre » (Henri Coulet, Le Roman jusqu’à la Révolution) : Comment définir cette forme romanesque ? Quel est son rôle dans la cristallisation de la notion d’« individu » ainsi que du roman de formation ? C’est à ces questions que s’efforce de répondre cette thèse en analysant quelques œuvres emblématiques de cette nouvelle forme romanesque, ainsi que leurs enjeux, leurs dimensions philosophiques, esthétiques, politiques et anthropologiques et leurs contributions à l’avènement de l’individu et à l’émergence du roman de formation (Bildungsroman). / The critical discourse on the memoir novel of the years 1730 often seems to hesitate between two antagonistic attitudes : either it discerns in it the signs of a "birth of the individual" and sees in it the emergence of the novel of formation (Bildungsroman). Or it considers these categories as anachronistic : did not the notion of the "individual" as a being conscious of itself and of its emotional interiority and as the basic element of which society is composed only appear in the second half of eighteenth century, most notably in the reflections of Jean-Jacques Rousseau ? And did not the novel of formation find its prototype in Germany, with Goethe’s Wilhelm Meister’s Apprenticeship ? But in reality, Rousseau and Goethe were both great readers of memoir novels and were clearly inspired by them in their writings. The present thesis hopes to show that the memoir novel of the years 1730 can be analyzed as a novel of formation, insofar as it describes the constituent steps of individual identity and carries a worldview regarding its place in social life. However, such a hypothesis implies asking some questions about this novelistic form, considered as "rebellious to any order" (Henri Coulet, Le Roman jusqu’à la Révolution) : How can this novelistic form be defined ? What was its role in the crystallization of the notion of the "individual", as well as that of the novel of formation ? These are the questions that this thesis attempts to answer by analyzing some emblematic works of this then new novelistic form, as well as their importance, their philosophical, aesthetic, political and anthropological dimensions and their contributions to the advent of the individual and the emergence of the novel of formation (Bildungsroman).

Jakob Vetter widmet sich in seinem Beitrag „‘[U]nd sah sich plötzlich zu seinem großen Erstaunen von Noth und Sorge umgebenʼ der Literaturgeschichte des 19. Jahrhunderts. Männliche Armutsrisiken in Kellers Bildungsroman Der grüne Heinrich“. Im Gattungskontext des zeitgenössisch hochvalorigen, genuin männlich semantisierten Erzählmodells ʻBildungsromanʼ und am Beispiel eines seiner meistbeforschten Kanontexte richtet sich das Erkenntnisinteresse auch dieses Beitrags auf das mittlere 19. Jahrhundert, das als Zeitalter von – auch geschlechtergeschichtlichen – Ordnungskrisen und Massenarmut (Pauperismus) in Geschichtsbücher und Literaturgeschichten eingegangen ist. Theoretisch gleichfalls an Luhmanns Soziologie des Risikos orientiert, zeigt der Verfasser anhand einer thematisch einschlägigen und repräsentativen Publikation (J. J. Vogt: Das Armenwesen, 1853/54) zunächst auf, dass im historischen Diskurs Armut als gesellschaftliches wie persönliches und zugleich genderfiziertes Risiko wahrgenommen wurde. Am Beispiel von Kellers ʻMeistertextʼ hinterfragt die anschließende narratologische Analyse der verschiedenen Kommunikationslevels (Figurenebene, Erzählerebene, Werkganzes/Textsubjekt), inwiefern hochkulturelle deutschsprachige Literatur diese diskursive Wahrnehmung von Armut als gendercodiertes Risiko aufgreift, mit genrespezifischen Narrativen zusammenführt und so ästhetisch reflektiert und problematisiert.