Inaug.-diss.--Greifswald. / Lebenslauf. "Literatur-verzeichnis": p. [5]-6.

Thèse--Rennes. / Errata slip mounted on p. [2] "Books consulted": p. [5]-6.

Inaug.--Diss.--Halle. / Vita.

Published also as Thesis (Ph. D.)--Columbia University, 1914. / Bibliography: p. 185-192.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 2003. / Abstract. Includes bibliographical references (leaves 56-58).

Inaug.-Diss.--Heidelberg. / Published also without thesis statement. Lebenslauf.

Orientador: Cleide Antonia Rapucci / Banca: Altamir Botoso / Banca: Letícia de Souza Gonçalves / Banca: Antonio Roberto Esteves / Banca: Katia Rodrigues Mello Miranda / Resumo: The aim of this thesis is to discuss how the gender issue is represented in literature by pointing out differences and similarities between Clarice Lispector's A Cidade Sitiada (1949) and Angela Carter's Nights at the Circus (1984). In A Cidade Sitiada (1949), Lucrécia is a "beleaguered" woman; she is not presented to the reader as the subject of her story, but, rather, an object. She is a foreigner in her world, with what she does not interact, surrounded, exiled by city walls. In her novel Carter shows the process of modernization, love, the perspective of the marginalized, human relations and female freedom. To build the effect of liberation, the author frees herself from closed environments that were part of the settings of her previous novels and opts for an exterior space. And she also chooses as protagonist Fevers, a woman with wings, a powerful image of liberation and female transformation and aware of what she represents. The discoveries of the protagonists are set in the process of social modernization of the late nineteenth and early twentieth century. While in England the woman is born with wings and free, in Brazil she remains trapped in patriarchal society. Lastly, this research paper intends to compare the way in which Clarice Lispector and Angela Carter can discuss the gender issue in literature and break through the lines of patriarchal society. From this point of view, the intention of this thesis is to confront the construction of the female characters in ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The aim of this thesis is to discuss how the gender issue is represented in literature by pointing out differences and similarities between Clarice Lispector's A Cidade Sitiada (1949) and Angela Carter's Nights at the Circus (1984). In A Cidade Sitiada (1949), Lucrécia is a "beleaguered" woman; she is not presented to the reader as the subject of her story, but, rather, an object. She is a foreigner in her world, with what she does not interact, surrounded, exiled by city walls. In her novel Carter shows the process of modernization, love, the perspective of the marginalized, human relations and female freedom. To build the effect of liberation, the author frees herself from closed environments that were part of the settings of her previous novels and opts for an exterior space. And she also chooses as protagonist Fevers, a woman with wings, a powerful image of liberation and female transformation and aware of what she represents. The discoveries of the protagonists are set in the process of social modernization of the late nineteenth and early twentieth century. While in England the woman is born with wings and free, in Brazil she remains trapped in patriarchal society. Lastly, this research paper intends to compare the way in which Clarice Lispector and Angela Carter can discuss the gender issue in literature and break through the lines of patriarchal society. From this point of view, the intention of this thesis is to confront the construction of the female characters in the works and discuss the process of modernization under the eyes of the protagonists in English and Brazilian literatures / Doutor

<p> Anglophone, Protestant literary traditions figure heavily in the historicization of the novel and the central role privacy plays in the narrativization of concealment. Protestantism&rsquo;s focus on piety through individual self-reflection has been credited as the catalyst for the nineteenth-century inward turn of the novel and its invention of private life and the private individual. Within this Protestant-influenced novel, privacy constitutes one&rsquo;s political legitimacy and is a concept that has also dominated how literature within and beyond the Anglosphere has imagined the interior qualities that constitute race and racial difference. </p><p> A different tradition, influenced by a Catholic context that sees black self-identity and interiorities as inherently insurgent in their inscrutability, opacity, and secrecy, subverts this Protestant literary tradition. While the literary invention of interiority during the inward turn of the novel depends on evolution of public and private divisions, this dissertation will examine how several Catholic-influenced novels posit that the invention of black interiority depends on secrecy not only as disruptive but also as generative, where the language and specter of black humanity emerge as racialized threat after the Haitian Revolution and as a means of undermining the racism and patriarchalism within privacy and the inadequacy of the fixed ideals it creates.</p><p>

<p> This dissertation examines fictional responses to the events of September 11, 2001. It argues for the importance of one kind of fictional response, one which focuses on representing the feeling of "unsettledness" that can be one effect of trauma, with the aim of making that unsettledness itself a locus of a shared common experience. I posit that in articulating the events of 9/11 in the context of, in relation to, and as one in a series of traumas, violences, and histories, these narratives make the unsettlements shareable. Focusing on four works of fiction that were published after 9/11&mdash;Joseph O&rsquo;Neill&rsquo;s <i>Netherland</i>, Junot D&iacute;az&rsquo;s <i> The Brief Wondrous Life of Oscar Wao (Oscar Wao)</i>, Teju Cole&rsquo;s <i> Open City</i>, and Jennifer Egan&rsquo;s <i>A Visit From the Goon Squad (Goon Squad)</i>&mdash;I explore representations of the effects of and the attempts to cope with traumatic experiences including 9/11 itself.</p><p>

Literary critics of the last thirty years have asked readers to focus on everything except their own relationship to writers. Critics of fiction, of narratology, and of reader response, as well as post-structuralists, have all concentrated on the condition and effects of the text. Critics of autobiography have tended to view the genre in James Olney's terms as "metaphors of self," a form in which writers define and represent themselves. Wayne Booth and Philippe LeJeune are among the few critics who recognize that reading can be experienced as a relationship between writer and reader. Autobiography can be viewed as a companionable genre. If writers did not intend to communicate their stories, they would keep journals and not publish them. It can be read as a form of communication in which the writer speaks to an intended audience through the medium of printed words and readers respond. Choosing to read autobiography as communication invites a process of shifting relations. First, the reader watches the writer "read" an audience. To watch writers aim their stories at people who are known to them and also to people they imagine is to recognize them as real people with complex relationships in the real world. This effect is demonstrated in the reading of the autobiographies of Mary Tyler, Mark Twain, Sally Morgan, and Vladimir Nabokov. After an exploration of their recognized and imagined readers, I ask how their efforts to connect to intended readers might also affect unintended readers. If "real" readers, those who were not intended by the writer, choose to shift their attention from the text to the author who wrote the text, they may notice that writers have characteristic ways of relating to intended readers and wonder if they are being treated in the same manner. As a real reader, you can choose to focus on moments when you feel "lost in a book" and merged with the writer, or moments when you feel separate and individual. You may also choose to notice the dynamics of the connection you feel as you respond to the author's gesture.