Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2008. / Title from home page (viewed on Oct. 5, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0392. Adviser: Peter Bondanella.

The relationship between modernist fiction and visual culture has received substantial critical attention in recent years. However, many of the studies on this intermediality focus primarily on the drama, poetry, and novels of male authors, with Virginia Woolf being the only significant exception to this rule. I propose that this engagement with the visual in modernist fiction has a different social and cultural significance in the works of women writers. With reference to the short stories of Katherine Mansfield, I will explore the attempt to establish a female literary voice in what was perhaps the greatest transitory period for the role of women in the Western world. Although studies exist that consider the relationship between Mansfield’s writing and modern art and cinema, this thesis will provide a wider context for this period of cultural history. I take a variety of technological advancements into account, examining they ways in which they collectively provided the inspiration behind modernist literature’s new subjectivity of vision. As well as film, I will discuss the arts that developed prior to or alongside it, from the magic lantern to photography, and the impact they had on literature as writers sought new forms of representation. Furthermore, I believe that I will be able to examine this shift in cultural consciousness in a unique way through my focus on Mansfield, an author whose experimental work has received far less critical attention in terms of its engagement with other media than that of her contemporaries. Through reference to the visual arts, Mansfield was able to subjectively focalise her short stories through the eyes of her characters, presenting the ways in which women see and are seen in early twentieth-century society.

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-07-04Bitstream added on 2014-06-13T18:44:13Z : No. of bitstreams: 1 silvestre_pls_dr_assis_parcial.pdf: 148918 bytes, checksum: 6d76f2409f86fde824f8c27d4f8e504a (MD5) Bitstreams deleted on 2015-06-25T13:00:53Z: silvestre_pls_dr_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-06-25T13:03:17Z : No. of bitstreams: 1 000676714_20160727.pdf: 125066 bytes, checksum: 010c6aee8f57379bad6291272db30d08 (MD5) Bitstreams deleted on 2016-07-29T12:53:55Z: 000676714_20160727.pdf,. Added 1 bitstream(s) on 2016-07-29T12:54:48Z : No. of bitstreams: 1 000676714.pdf: 4393056 bytes, checksum: 9001532f7b8b51ab1f875cc35e1ec959 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A pesquisa tem por objetivo geral investigar como se dá a constituição e representação da identidade do sujeito feminino, no texto literário Minha vida de menina (1942), de Helena Morley e, ainda, sua respectiva adaptação para o cinema, Vida de menina (2004), dirigida por Helena Solberg. O estudo divide-se em partes distintas: a) fortuna crítica do diário; b) leitura e análise interpretativa de Minha vida de menina (Diário de Helena Morley); c) leitura e análise da obra fílmica, fortuna crítica da produção da diretora de cinema; d) leitura comparativa do corpus delimitado e reflexão crítica sobre as diferentes modalidades artísticas, considerando a especificidade de cada obra; e) realização de entrevista com a cineasta e John Spangler. A partir de conceitos da teoria da literatura e de estudos voltados para a adaptação, propomos uma análise do diário e do filme com o intuito de observarmos a construção da personagem feminina, já que o diário teve sua gênese no final do século XIX e foi publicado em 1942. Já no início do século XXI, Solberg realiza a adaptação para o cinema dos relatos da menina mineira. Ambas apresentam um contexto social, histórico e ideológico da nação brasileira, num período de grandes mudanças políticas, como a libertação dos escravos (1888) e Proclamação da República (1889); por conseguinte, o país iniciava o processo de modernização. Nessa reunião de informações, o diálogo intertextual presente entre o filme e o diário mostra uma personagem emancipada para o tempo em que viveu, pois rompe com costumes, ideias e ações, distanciando-se... / This study has as its general objective to investigate how the identity of the female character is constituted and represented, in the literary text “Minha vida de menina” (1942), by Helena Morley and also its respective adaptation to the movies “Vida de menina” (2004), directed by Helena Solberg. This study is divided in distinct parts: a) the critical fortune of the diary; b) the reading and interpretative analysis of “Minha vida de menina” (The Diary of Helena Morley); c) the reading and the analysis of the filmic work, the critical fortune of the production of the movie director; d) the comparative reading of the delimited corpus and the critical reflection on the different artistic modalities, taking into consideration the specificity of each work; e) the interview with the filmmaker Vera Brant. Starting from the concepts of the theory of the literature and of the studies turned to the adaptation, we propose an analysis of the diary and of the movie with the intention of observing the female character construction, since the diary had its genesis in the end of the 19th century and was published in 1942. In the beginning of the 21st century, Solberg concluded the adaptation for the movies of the “mineira” girl's reports. Both present a social context, historical and ideological of the Brazilian nation, in a period of great political changes, such as the Abolition of the Slavery (1888) and the... (Complete abstract click electronic access below)

Orientador: Gilberto Figueiredo Martins / Banca: Solange Ramos de Andrade / Banca: Luciana Brito / Banca: Luiz Roberto Velloso Cairo / Banca: Paulo César Andrade da Silva / Resumo: A pesquisa tem por objetivo geral investigar como se dá a constituição e representação da identidade do sujeito feminino, no texto literário Minha vida de menina (1942), de Helena Morley e, ainda, sua respectiva adaptação para o cinema, Vida de menina (2004), dirigida por Helena Solberg. O estudo divide-se em partes distintas: a) fortuna crítica do diário; b) leitura e análise interpretativa de Minha vida de menina (Diário de Helena Morley); c) leitura e análise da obra fílmica, fortuna crítica da produção da diretora de cinema; d) leitura comparativa do corpus delimitado e reflexão crítica sobre as diferentes modalidades artísticas, considerando a especificidade de cada obra; e) realização de entrevista com a cineasta e John Spangler. A partir de conceitos da teoria da literatura e de estudos voltados para a adaptação, propomos uma análise do diário e do filme com o intuito de observarmos a construção da personagem feminina, já que o diário teve sua gênese no final do século XIX e foi publicado em 1942. Já no início do século XXI, Solberg realiza a adaptação para o cinema dos relatos da menina mineira. Ambas apresentam um contexto social, histórico e ideológico da nação brasileira, num período de grandes mudanças políticas, como a libertação dos escravos (1888) e Proclamação da República (1889); por conseguinte, o país iniciava o processo de modernização. Nessa reunião de informações, o diálogo intertextual presente entre o filme e o diário mostra uma personagem emancipada para o tempo em que viveu, pois rompe com costumes, ideias e ações, distanciando-se... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This study has as its general objective to investigate how the identity of the female character is constituted and represented, in the literary text "Minha vida de menina" (1942), by Helena Morley and also its respective adaptation to the movies "Vida de menina" (2004), directed by Helena Solberg. This study is divided in distinct parts: a) the critical fortune of the diary; b) the reading and interpretative analysis of "Minha vida de menina" (The Diary of Helena Morley); c) the reading and the analysis of the filmic work, the critical fortune of the production of the movie director; d) the comparative reading of the delimited corpus and the critical reflection on the different artistic modalities, taking into consideration the specificity of each work; e) the interview with the filmmaker Vera Brant. Starting from the concepts of the theory of the literature and of the studies turned to the adaptation, we propose an analysis of the diary and of the movie with the intention of observing the female character construction, since the diary had its genesis in the end of the 19th century and was published in 1942. In the beginning of the 21st century, Solberg concluded the adaptation for the movies of the "mineira" girl's reports. Both present a social context, historical and ideological of the Brazilian nation, in a period of great political changes, such as the Abolition of the Slavery (1888) and the... (Complete abstract click electronic access below) / Doutor

This thesis examines the contribution of Jewish artists to American popular culture in the mid-twentieth century and argues that the Jewish imagination contains a peculiar ability to simultaneous articulate the concerns of a specifically ethnic identity and a more universal American character. The thesis posits that by exploring how the Jewish community negotiated the space between ethnic identity and an American paradigm, Jewish artists were able to explore the middle ground between individuality and conformity, selfhood and consensus, liberalism and conservatism, tradition and change, and heritage and progress that held a wider pertinence for a more general American audience. The thesis argues that the diversity of the Jewish American imagination at this time can be united by a leitmotif that can be best described as the ambivalence of transition. By examining aesthetically dissimilar texts from a variety of artistic fields, in particular comic books, theatre, cinema, television, and literature, the thesis argues that despite the cultural evolutions that occurred throughout the thirties, forties and fifties, the Jewish voice articulated a continuing concern regarding the relationship between ethnic identity, masculine identity, the individual and mass culture. This last point hints at another preoccupation of this thesis; the texts analysed here all share a narrative focus that explores and represents notions of masculine identity and ideality. In this way, the thesis necessarily focuses upon debates about masculinity within the Jewish imagination and American culture, charting the evolution of the Jewish and American male and their relationship towards notions of performed, consensus, individual and paradigm masculinity. Although there has not necessarily been a desire to fully deny the notion of a continuing thematic preoccupation within the Jewish imaginary, previous scholarship has shown a tendency towards accentuating the eclectic nature of Jewish American culture. Whilst scholars like Paul Buhle and Stephen J. Whitfield recognise the importance of popular culture as an arena in which Jewish artists sought to articulate issues at the heart of Jewish identity and community in the US, their studies focus upon the kaleidoscopic eclecticism of Jewish American culture. The intention of this thesis is to harness the diversity inherent in Jewish cultural expression via the prevailing leitmotif of the ambivalence of transition. In this way the thesis will use the multifarious and textured fabric of mid-century Jewish culture, as well as the simultaneous articulation of both ethnic and more general concerns, to illuminate the understanding of both Jewish identity and American culture throughout the mid-century. Thus, the thesis builds upon work by the likes of Julian Levinson and Hana Wirth-Nesher that revisits ideas of assimilation and attempts to complicate the inexorable movement away from Jewish distinctiveness and identity. Similarly, the thesis builds upon studies by the likes of Pamela Robertson Wojcik and Will Brooker that attempt to accentuate the reductive understanding of the mid-century based upon boundless suburbia and unthinking conformity.

Nas últimas décadas, os Países Africanos de Língua Oficial Portuguesa (PALOP) passaram por transformações políticas bastante intensas, das quais o cinema foi um importante participante. A partir de um extenso corpus de filmes, é apresentado um mosaico de histórias que traduzem elementos significativos destas determinadas nações africanas. No período colonial, o cinema significava um forte instrumento de propaganda do regime português; durante a luta pela independência, o cinema foi usado como uma arma que somava esforços aos movimentos nacionalistas; nos anos iniciais das novas nações independentes, as produções cinematográficas fortaleceram os interesses dos novos estados; e, enfim, depois da década de 1990, com a abertura política e o multipartidarismo, começaram a se desenvolver diversos e variados tipos de cinema relacionados com estes cinco países (Angola, Cabo Verde, Guiné-Bissau, Moçambique e São Tomé e Príncipe), alguns mais críticos, outros mais voltados ao entretenimento. Este trabalho é uma visita guiada por esta filmografia, com o objetivo principal de ampliar nosso contato com os cinemas dos PALOP. Os filmes são pouco conhecidos pelo público brasileiro, então o trabalho adquire importância ao proporcionar o acesso aos filmes pelos pesquisadores interessados, das mais diversas áreas. Os filmes são apresentados conforme uma ordem que respeita elementos comparativos e realça aspectos que sinalizam possíveis critérios de estudo destes cinemas. / In the last decades, the Portuguese-Speaking African Countries (PALOP) have passed through very intense political transformations in which cinema has been an important participant. From an extensive corpus of films, it is presented a mosaic of stories that translate significant elements of these African nations. In the colonial period, cinema represented a strong propaganda instrument for the Portuguese regime; during the struggle against colonialism, cinema was used as a weapon that added efforts to the nationalist movements; in the early years of the new independent nations, cinematographic productions have strengthened the interests of the new states; and, finally, after the 1990s, with the political openness and the multiparty system, various and varied types of cinema began to develop in relation to these five countries (Angola, Cabo Verde, Guinea-Bissau, Mozambique and São Tomé e Príncipe), some more critical, others more focused on entertainment. This study is a guided visit to this filmography, whose main objective is that of broadening the contact with the PALOP\'s cinemas. These films are not well-known by the Brazilian public, so the study acquires the importance of providing information and access to these films for interested researchers. The order through which the films are presented obeys to comparative elements and highlights aspects that lead to possible criteria for the study of these cinemas.

Nas últimas décadas, os Países Africanos de Língua Oficial Portuguesa (PALOP) passaram por transformações políticas bastante intensas, das quais o cinema foi um importante participante. A partir de um extenso corpus de filmes, é apresentado um mosaico de histórias que traduzem elementos significativos destas determinadas nações africanas. No período colonial, o cinema significava um forte instrumento de propaganda do regime português; durante a luta pela independência, o cinema foi usado como uma arma que somava esforços aos movimentos nacionalistas; nos anos iniciais das novas nações independentes, as produções cinematográficas fortaleceram os interesses dos novos estados; e, enfim, depois da década de 1990, com a abertura política e o multipartidarismo, começaram a se desenvolver diversos e variados tipos de cinema relacionados com estes cinco países (Angola, Cabo Verde, Guiné-Bissau, Moçambique e São Tomé e Príncipe), alguns mais críticos, outros mais voltados ao entretenimento. Este trabalho é uma visita guiada por esta filmografia, com o objetivo principal de ampliar nosso contato com os cinemas dos PALOP. Os filmes são pouco conhecidos pelo público brasileiro, então o trabalho adquire importância ao proporcionar o acesso aos filmes pelos pesquisadores interessados, das mais diversas áreas. Os filmes são apresentados conforme uma ordem que respeita elementos comparativos e realça aspectos que sinalizam possíveis critérios de estudo destes cinemas. / In the last decades, the Portuguese-Speaking African Countries (PALOP) have passed through very intense political transformations in which cinema has been an important participant. From an extensive corpus of films, it is presented a mosaic of stories that translate significant elements of these African nations. In the colonial period, cinema represented a strong propaganda instrument for the Portuguese regime; during the struggle against colonialism, cinema was used as a weapon that added efforts to the nationalist movements; in the early years of the new independent nations, cinematographic productions have strengthened the interests of the new states; and, finally, after the 1990s, with the political openness and the multiparty system, various and varied types of cinema began to develop in relation to these five countries (Angola, Cabo Verde, Guinea-Bissau, Mozambique and São Tomé e Príncipe), some more critical, others more focused on entertainment. This study is a guided visit to this filmography, whose main objective is that of broadening the contact with the PALOP\'s cinemas. These films are not well-known by the Brazilian public, so the study acquires the importance of providing information and access to these films for interested researchers. The order through which the films are presented obeys to comparative elements and highlights aspects that lead to possible criteria for the study of these cinemas.

O romance de Valter Hugo Mãe, A máquina de fazer espanhóis, traz à tona a discussão sobre a fragmentação de identidade do povo português, revelando o mal-estar nacional perante a situação socioeconômica do país no período pós-Salazar e diante do contexto da globalização neoliberal, bem como a relação de Portugal com os blocos hegemônicos de poder e ex-colônias. O filme Terra estrangeira, dos cineastas Walter Salles e Daniela Thomas, dialoga com o cenário de globalização da obra de Mãe e sugere uma reflexão sobre a fragilidade de identidade dos brasileiros durante o Governo Collor, abordando o fenômeno da emigração para a Europa. Trabalhando com a comparação entre as obras, sobretudo de seus momentos históricos e as diferenças de enfoque narrativo, este projeto visa discutir as relações entre identidade nacional e representação da História pela literatura e cinema. / The novel by valter hugo mãe, a máquina de fazer espanhóis, brings the discussion about the identity fragmentation of Portuguese people, revealing the discomfort in front of the social economic situation since the post-Salazar period and in the face of the context of neoliberal globalization, as well as its relation with hegemonic blocs of power and the former colonies. The motion picture Terra estrangeira, by Walter Salles and Daniela Thomas, dialogues with the globalization scenario of Mãe\'s work and suggests a reflection about the identity fragility of the Brazilian people during the Collor government and, consequently, the phenomenon of the immigration to Europe. Comparing both works, especially the historic periods and the differences of narrative focus, this study examines the relations between peoples identity and representation of History by literature and cinema.

O romance de Valter Hugo Mãe, A máquina de fazer espanhóis, traz à tona a discussão sobre a fragmentação de identidade do povo português, revelando o mal-estar nacional perante a situação socioeconômica do país no período pós-Salazar e diante do contexto da globalização neoliberal, bem como a relação de Portugal com os blocos hegemônicos de poder e ex-colônias. O filme Terra estrangeira, dos cineastas Walter Salles e Daniela Thomas, dialoga com o cenário de globalização da obra de Mãe e sugere uma reflexão sobre a fragilidade de identidade dos brasileiros durante o Governo Collor, abordando o fenômeno da emigração para a Europa. Trabalhando com a comparação entre as obras, sobretudo de seus momentos históricos e as diferenças de enfoque narrativo, este projeto visa discutir as relações entre identidade nacional e representação da História pela literatura e cinema. / The novel by valter hugo mãe, a máquina de fazer espanhóis, brings the discussion about the identity fragmentation of Portuguese people, revealing the discomfort in front of the social economic situation since the post-Salazar period and in the face of the context of neoliberal globalization, as well as its relation with hegemonic blocs of power and the former colonies. The motion picture Terra estrangeira, by Walter Salles and Daniela Thomas, dialogues with the globalization scenario of Mãe\'s work and suggests a reflection about the identity fragility of the Brazilian people during the Collor government and, consequently, the phenomenon of the immigration to Europe. Comparing both works, especially the historic periods and the differences of narrative focus, this study examines the relations between peoples identity and representation of History by literature and cinema.