Thesis (Ph. D.)--University of Adelaide, Dept. of English, 2001. / Includes bibliographical references (leaves 166-168).

Includes bibliographical references (leaves 166-168). CD-ROMs comprise: Appendix A. Family values: fictocritical sentences -- appendix C. Reforming the boy: fictocritical sentences Primarily enacts a fictocritical mapping of local cultural events essentially concerned with crime and trauma in Adelaide. The fictocritical treatment of these events simulates their unresolved or traumatised condition. A secondary concern is the relationship between electronic writing (hypertext) and fictocriticism.

Includes bibliographical references (leaves 166-168). / 168 leaves : ill. ; 30 cm. + 2 sound discs (CD) / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Primarily enacts a fictocritical mapping of local cultural events essentially concerned with crime and trauma in Adelaide. The fictocritical treatment of these events simulates their unresolved or traumatised condition. A secondary concern is the relationship between electronic writing (hypertext) and fictocriticism. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2001

<p>Responding to African American literary criticism's recent engagements with contemporary U.S. imprisonment, <italic>From Slave Ship to Supermax</italic> traces the development of a heretofore un-theorized tradition in African American literature in which fiction writers bring to light the voice, critical thinking, and literary production of actual prisoner abuse survivors. This dissertation treats novelists James Baldwin, Toni Morrison, Charles Johnson, and Ernest Gaines as the contemporary prison's literary intermediaries, as writers whose fictional narratives of jailhouse beatings, rape and wounding on slave ships, and state-sponsored execution are inspired and haunted by the critically-unexamined abuse stories of late-twentieth century prisoners. Drawing from the field of African American literary theory, political prisoners' writings, as well as prisoners' low-circulating zines, journals, and pamphlets, I argue that the production and distribution of abuse narratives by African American fiction's captive characters illuminate the clandestine and insurgent literary practices of actual abused prisoners. This revelatory work accomplished by Baldwin, Morrison, Johnson, and Gaines demonstrates the radical utility of African American fiction at a moment in which prisoner abuse is widespread, underrepresented, and rarely documented in a way that affords the abused prisoner any measure of authorial control. In contradistinction to the victimization narratives that typify mainstream prisoner abuse stories, stories which appear in the human rights literature of advocacy organizations like Human Rights Watch and Amnesty International, this dissertation concludes that contemporary African American novelists emphasize the authorial control of abused captives and thus make apparent the rich complexities of their interior lives and the way in which the repressive spaces to which</p><p>they are confined are also generative sites for reimagining the self and community.</p> / Dissertation

<p>This thesis explores the confluence and clashes between local and global cultural flows in Latin America through the multiple literary movements and tendencies for which the Colombian author, Fernando Vallejo, acts as a unifying agent. My analysis pulls from Decolonial, Aesthetic and World Literary theories, in order to analyze how cosmopolitanism and globalization resonate in contemporary Latin American letters through a survey of three geocultural categories: the Colombian local, the Latin American regional, and the literary global. My analysis of the local tracks the formal evolution of the Colombian Novela de la Violencia into the contemporary Novela Urbana and the parallel political challenge to the conventional Lettered City in Colombia after the Violencia. In terms of the regional, I critique the idea of a positive and universally stabilizing cosmopolitanism through a collective analysis of a generation of Latin American writers that were forced to travel to the cosmopolitan center through exile rather than as an act of freewill, a generation that I refer to in this project as the Generation of '72. And my evaluation of the global considers how a singular World Literary aesthetics and political economy of prestige weights negatively on contemporary Latin American authors. Through a survey of the roughly fifty novels and short stories that fall under the purview of both the Colombian Urban Novel and the Generation of `72, I conclude that aesthetic borders - the places where multiple forms of perception converge- open up spaces and forums of critique of rigid cultural models and century old aesthetic formulae, a tendency that I refer to as a poetics of globalism.</p> / Dissertation

A produção literária assinada pelos autores cabo-verdianos João Vário (heterônimo de João Varela), Corsino Fortes e José Luís Tavares constitui o objeto central desta análise desenvolvida a partir do estudo teórico do conceito de Identidade, visando enquadrar teoricamente a produção literária cabo-verdiana contemporânea, identificar as principais linhas de sua orientação (conteúdos, temática, estilos, retórica), relevando a receptividade da intercomunicação cultural e literária de/entre eles, bem como apresentar uma fundamentação teórica e metodológica para a leitura de suas obras. Aliando conteúdos teóricos aos contextos de produção poética pré e pós-independência, analisamos poemas das obras Exemplos (1966-1998), de João Vário, A cabeça calva de Deus (2001), de Corsino Fortes, e Agreste matéria mundo (2004), de José Luís Tavares para verificar o posicionamento dos sujeitos literários na (re)construção da(s) identidade(s) na Literatura Cabo-Verdiana a partir dos anos 1960 do século XX à atualidade. O tratamento do tema visa caracterizar uma expressão metafórica do sentido de existir na Literatura Cabo-verdiana contemporânea, consubstanciada essencialmente no cruzamento de orientações dos estudos literários pós-estruturalistas, pós-coloniais, Estudos Comparados e Teoria da Literatura, e ainda com base na exploração de conteúdos literários com uma forte dimensão filosófica da contemporaneidade, conforme concebida por teóricos como Stuart Hall, Zigmut Bauman, Antonny Giddens, Michel Foucault, Jacques Derrida, Edward Said, Hassan Zaoual e Benedict Anderson, Milton Santos, entre outros. / Literary production signed by Cape Verdean authors John Vário (heteronym John Varela), Corsino Fortes and José Luís Tavares is the central object of this analysis developed from the theoretical study of the concept of identity in order to theoretical frame the Cape Verdean contemporary literature, to identify the main lines of its orientation (contents, thematic, style, rhetoric), revealing the receptivity of literary and cultural intercommunication between them, and present a theoretical and methodological reading of their works. Combining theoretical content to the contexts of poetic production before and after the independence, we analyze poems of the works Exemplos (1966-1998), of João Vário, A Cabeça Calva de Deus (2001) of Corsino Fortes, and Agreste matéria Mundo (2004) of José Luís Tavares - to check the positioning of the literary subjects in (re) building Identities in Cape Verdean literature from the 1960s of the twentieth century to the present. The treatment of the subject aims to characterize a metaphorical expression of the sense of existing on contemporary Cape Verdean literature, based primarily on cross-orientations of poststructuralist and postcolonial literary studies, Comparative Studies and Literary Theory, based on the exploitation of content with a strong philosophical dimension of contemporaneity, as conceived by theorists such as Stuart Hall, Zigmut Bauman, Antonny Giddens, Michel Foucault, Jacques Derrida, Edward Said, Hassan Zaoual and Benedict Anderson, Milton Santos, among others.

A produção literária assinada pelos autores cabo-verdianos João Vário (heterônimo de João Varela), Corsino Fortes e José Luís Tavares constitui o objeto central desta análise desenvolvida a partir do estudo teórico do conceito de Identidade, visando enquadrar teoricamente a produção literária cabo-verdiana contemporânea, identificar as principais linhas de sua orientação (conteúdos, temática, estilos, retórica), relevando a receptividade da intercomunicação cultural e literária de/entre eles, bem como apresentar uma fundamentação teórica e metodológica para a leitura de suas obras. Aliando conteúdos teóricos aos contextos de produção poética pré e pós-independência, analisamos poemas das obras Exemplos (1966-1998), de João Vário, A cabeça calva de Deus (2001), de Corsino Fortes, e Agreste matéria mundo (2004), de José Luís Tavares para verificar o posicionamento dos sujeitos literários na (re)construção da(s) identidade(s) na Literatura Cabo-Verdiana a partir dos anos 1960 do século XX à atualidade. O tratamento do tema visa caracterizar uma expressão metafórica do sentido de existir na Literatura Cabo-verdiana contemporânea, consubstanciada essencialmente no cruzamento de orientações dos estudos literários pós-estruturalistas, pós-coloniais, Estudos Comparados e Teoria da Literatura, e ainda com base na exploração de conteúdos literários com uma forte dimensão filosófica da contemporaneidade, conforme concebida por teóricos como Stuart Hall, Zigmut Bauman, Antonny Giddens, Michel Foucault, Jacques Derrida, Edward Said, Hassan Zaoual e Benedict Anderson, Milton Santos, entre outros. / Literary production signed by Cape Verdean authors John Vário (heteronym John Varela), Corsino Fortes and José Luís Tavares is the central object of this analysis developed from the theoretical study of the concept of identity in order to theoretical frame the Cape Verdean contemporary literature, to identify the main lines of its orientation (contents, thematic, style, rhetoric), revealing the receptivity of literary and cultural intercommunication between them, and present a theoretical and methodological reading of their works. Combining theoretical content to the contexts of poetic production before and after the independence, we analyze poems of the works Exemplos (1966-1998), of João Vário, A Cabeça Calva de Deus (2001) of Corsino Fortes, and Agreste matéria Mundo (2004) of José Luís Tavares - to check the positioning of the literary subjects in (re) building Identities in Cape Verdean literature from the 1960s of the twentieth century to the present. The treatment of the subject aims to characterize a metaphorical expression of the sense of existing on contemporary Cape Verdean literature, based primarily on cross-orientations of poststructuralist and postcolonial literary studies, Comparative Studies and Literary Theory, based on the exploitation of content with a strong philosophical dimension of contemporaneity, as conceived by theorists such as Stuart Hall, Zigmut Bauman, Antonny Giddens, Michel Foucault, Jacques Derrida, Edward Said, Hassan Zaoual and Benedict Anderson, Milton Santos, among others.

Folgende Dissertationsschrift setzt sich zum Ziel, den gegenwärtigen Diskurs über Europas Osten auf der literarischen Ebene zu untersuchen. Wie Hartmut Böhme zu Recht anmerkt, seien sich Reisen und Schreiben in ihrem Wesen sehr ähnlich. Während Reisen ein Er-Fahren der Welt bedeutet, kann Schreiben als Durchquerung der Sprachräume gelten. Die Bewegungen im Raum der umgebenden Welt und im Raum der Imagination und der Sprache führen dazu, dass die symbolischen Topographien neu kartiert und dadurch neue Orientierungen vermittelt werden können. Anhand der Prosawerke der jungen, nach dem Krieg geborenen Generation der deutschsprachigen SchriftstellerInnen, die mit der Selbstverständlichkeit der bipolaren Teilung der Welt aufgewachsen sind, wird untersucht, wie die literarische Karte Europas im gegenwärtigen literarischen Diskurs neu entworfen wird. Die Verfasserin argumentiert, dass es keineswegs die der Ost-West-Dichotomie immanenten Denkmuster sind, die die auf der literarischen Ebene vermittelte Wahrnehmung der Region prägen. Im Gegenteil, während die AutorInnen auf überraschend viele literarische Stoffe, Motive literarische Denkmuster zurückgreifen, bestätigen sie die Gültigkeit der These von Horst Steinmetz auch in Bezug auf die neueste deutsche Literatur: dass literarische Werke nicht nur auf die konkreten Aspekte der umgebenden Welt, sondern darüber hinaus auf literarische Traditionen reagieren, denen sie sich immer wieder, zum Teil im Widerspruch, und zum Teil unbewusst, eingliedern. / The following PhD-thesis aims to analyze the contemporary discourse on Eastern Europe which has been established in the most recent German-language prose works. Just as Hartmut Böhme stated, traveling and writing are both very similar. While traveling means exploring the world, writing can be experienced as a transition through the spaces of language. All these movements, either in physical space or in the sphere of language and imagination, lead to new mapping of symbolic topographies and can so convey new reference points. On the basis of the prose works of the young post-World War II generation of German-language authors who grew up with the overwhelming awareness of the bipolar division of the world, the thesis investigates how they re-map the perception of Europe. The author argues that these are not the traded patterns of perception referring to the East-West-Division which are being used in contemporary prose works. On the contrary, by making recourse to a surprisingly large number of topics, subjects and motives from the prior literary works, the new generation of authors seems to confirm the assumption of Horst Steinmetz in regard to the most recent literature – literary works react not only to the concrete aspects of the contemporary world, but also to the literary traditions, that they repeatedly and constantly refer to. They contradict or affirm, in an unconscious or considered manner, prior literary traditions.

Thesis (Ph.D. (English)) - Rhodes University, 2008.

Submitted by Guilherme Augusto Louzada Ferreira de Morais null (gui_amorais@hotmail.com) on 2018-02-19T23:21:31Z No. of bitstreams: 1 Dissertação_Morais_2018.pdf: 1959729 bytes, checksum: e4bb69bb4962e19ac63cfef3f80a903e (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-02-21T18:35:01Z (GMT) No. of bitstreams: 1 morais_galf_me_sjrp.pdf: 1959729 bytes, checksum: e4bb69bb4962e19ac63cfef3f80a903e (MD5) / Made available in DSpace on 2018-02-21T18:35:01Z (GMT). No. of bitstreams: 1 morais_galf_me_sjrp.pdf: 1959729 bytes, checksum: e4bb69bb4962e19ac63cfef3f80a903e (MD5) Previous issue date: 2018-02-06 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Estudamos a série de livros “Jogos vorazes” (2010-2011) com o objetivo de demonstrar como se dá a permanência e a representação do modelo heroico da Antiguidade Clássica na Contemporaneidade por meio da análise da caracterização da personagem feminina Katniss Everdeen. Para tanto, enfocamos a personagem criada por Collins e as características que a definem como heroína, comparando-a ao modelo heroico clássico descrito por tantos autores da Grécia e Roma, como, por exemplo, Homero, Hesíodo, Vergílio, etc., e considerando também as reflexões sobre o herói tecidas por Campbell em O herói de mil faces (1997), dentre outros títulos e autores que embasam nossos estudos. Percebemos que há, na série, uma mudança na representação de arquétipos literários, a saber, herói clássico versus donzela clássica, visto que Katniss Everdeen assume o papel de herói e Peeta Mellark, tributo masculino, assume o papel de donzela, pois, em grande parte do enredo, é salvo por ela. Dessa forma, buscamos verificar o que desvia a trama em estudo dos moldes então estabelecidos pelos Clássicos, ou seja, como Collins redefine os padrões da Literatura Clássica greco-romana, nos quais o homem era guerreiro e a mulher era dona de casa. Para isso, iniciamos nossas considerações a partir de Jung (2002), porque autores como Randazzo (1996), Vogler (2006) e Meletínski (1998), dentre outros, partem das postulações do psicanalista suíço para discutirem a respeito de arquétipos encontrados na publicidade, literatura e cinema. No percurso do estudo da heroína, realizamos uma breve comparação entre Katniss, outrora escravazida pela Capital (em uma espécie de escravidão velada), que se torna heroína e símbolo de toda uma revolução, e o herói masculino de outra obra, Espártaco, escravo e gladiador da Trácia, que foi líder de uma revolução conhecida por Guerra dos Escravos, conforme se pode comprovar no romance Espártaco, de Howard Fast (1981), publicado originalmente em inglês em 1951, e no filme baseado nesta obra literária, de Stanley Kubrick (1960), com a finalidade principal de comprovar a mudança no tratamento dos arquétipos e averiguar a presença de elementos ligados à cultura romana na série escrita por Collins. Enfim, buscamos verificar de que modo o modelo de Herói Clássico, seja na figura dos heróis mitológicos, seja na personagem histórica de Espártaco, é representado na caracterização da protagonista feminina de “Jogos vorazes” e quais significados tais representações acrescentam à interpretação da série. / The present study aims at analyzing the series titled “The Hunger Games” to demonstrate, by observing the characterization of the female character Katniss Everdeen, how the representation of the heroic model from Classical Antiquity persists in Contemporary Literature. In order to do so, we have focused on the character created by Collins and the features that define her as a heroine, comparing her to the classical heroic model described by several authors in Greece and Rome, such as Homer, Hesiod, Vergil, etc., as well as to specifications about the hero character presented in “The Hero with a Thousand Faces” (1997), by Joseph Campbell, along with additional information on the topic provided by other authors. We have observed a change, in Collins’ novels, regarding the representation of literary archetypes, namely the classical Hero versus the classical Maiden, as Katniss Everdeen takes the role of the Hero and Peeta Mellark, the male tribute, plays the role of the Maiden, for throughout a large part of the plot he is saved by her. Therefore, we seeked to verify what deviates the plot in study from the patterns once established by Classical tradition, or, in other words, to observe how Collins redefines the standards of the Greco-Roman Classical Literature, in which the man was a warrior and the woman was a housewife. Our study is based on Jung (2002) because authors such as Randazzo (1996), Vogler (2006) and Meletínski (1998), among others, consider the postulates of the Swiss psychoanalyst to discuss archetypes found in advertising, literature and cinema. In the course of the study of the heroine, for the purpose of proving the change in the treatment of archetypes and ascertaining the presence of elements related to the Roman culture in the series written by Collins, we made a brief comparison between Katniss, once slaved by the Capitol (in a kind of veiled slavery), who becomes a heroine and a symbol of an entire revolution, and the male hero of another artwork, Spartacus, a slave and gladiator from Thrace who was the leader of a revolution known as the “War of the Slaves,” as it can be seen in Howard Fast’s (1981) novel Spartacus, originally published in English in 1951, and in the film based on this literary work, directed by Stanley Kubrick (1960). Finally, our study demonstrates that the Classical Hero model, whether taken from mythological heroes or from the historical character of Spartacus, plays an important role in the characterization of the female protagonist of “The Hunger Games,” adding different meanings to the interpretation of the series. / Proc. 2015/23592-6