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Although the letter purports to represent fact, it cannot avoid having a partly or potentially fictive status, turning as it does on the complex interplay between the real and the imagined. Consequently, the main critical approach of this paper is to consider the interactions between conflicting modes of expression in eighteenth- and nineteenth-century epistolary fiction. The rhetorical and conceptual contrarieties that I examine are broadly characterized by the contradiction between the implied spontaneity of the familiar letter and the inevitable artifice of its form. Working with familiar letters by four writers between the years 1740 and 1825, I specifically address various narrative patterns by which each turns to the act of communication to draw upon the experience of an isolated self. Against a background which explores the main developments in epistolary fiction and a historical progression of the uses and significance of letter-writing, I investigate epistolary texts by Lady Mary Wortley Montagu, Lord Byron, John Keats, and William Hazlitt. In turning to letters by each author, I explore the literary, theoretical and especially the psychological implications of the tenuous divisions between fact and fiction. In particular, my analysis stresses that letter-writing is an authorial act in which writing about the self can be understood as a literary form of self-portraiture or creative expression. / I examine this claim---and the metaphors defining it---in two ways. First, by focusing on selected letters, I foreground each writer's language as an agent of internal conflict. In so doing, I am able to formulate distinctive questions regarding the potential of epistolary narratives to transform emotional or psychological schisms into fictions which become explicitly creative texts. Secondly, I analyze the changing nature of the fictions which emerge through this process. My findings conclude that authors' letters must be read, at least very often, as a constituent part of their literary work and as interpretive models of a shifting dynamic of psychological expression.

In this thesis, I argue that identity construction is a postal effect: it results from a transmission of some sort, received or sent. I examine three instances of postal effect. In a chapter on Jacques Derrida's "Envois," a collection of fragments presented as if transcribed from a one-way love letter correspondence, I explore the performative force of relayed address. Working from Derrida's account of the literary performative, I point out that the "Envois" letters are addressed to "you" in the singular, which implies an address reserved for a particular subject, but that the postal relay of the collection enacts a repetition of their address. For the reader of the book, this repetition has evocative force which I compare with the force of transference in the context of the psychoanalytic situation. In a second chapter on the "Envois" letters, I examine their haunting effect. The "Envois" letters have an I/we signature that intimates pluralities in the writing subject. I argue that this signature is the effect of a postal relay of another order: a phantom, which Nicolas Abraham and Maria Torok define as a gap in the psychic topography of the subject caused by a secret unwittingly received along with a legacy. To a certain extent, the "Envois" letters are written by Plato's "in-voices." In a chapter on J. M. Coetzee's epistolary novel Age of Iron, I explore the gift effects of a posthumous letter. Age of Iron is an epistolary novel consisting exclusively of a single letter written by a dying South African woman, Mrs. Curren, to her daughter, a political objector who has emigrated to the United States. Writing her letter in the knowledge that her death is imminent, Mrs. Curren anticipates her daughter's mourning. Working with J. L. Austin's doctrine of illocutionary forces and Derrida's analysis of the gift event, I postulate two effects of Mrs. Curren's letter, one that annuls the gift in a circular return and another that surpasses this circuit with textual diss

This is an attempt to analyze the epistolary style, a genre within a long and distinguished literary tradition, that is used as the principal narratological technique in the novel El amor que me juraste (1998) by the contemporary Mexican writer Silvia Molina. The object of this thesis is to discover how the author adapts the genre to make a certain socio-cultural contextualization that will be elaborated upon in the analysis here of the intimate discourse exchanged by the two protagonists of the novel. At all times the important role will be stressed of the "real" reader of this fictional amorous correspondence which gives every impression of authenticity. / The first chapter gives some historical background, highlighting the growing critical interest of contemporary authors in the epistolary genre. Also a bio-bibliography of Silvia Molina is given in order to emphasize the direction of her literary work as well as her professional development as a multifaceted author. / This is followed in the second chapter by an examination of epistolary writing as a specific narrative technique in El amor que me juraste in order to facilitate the refocusing, executed by the female protagonist, of how a woman might combat patriarchal ideology in contemporary Mexican society. / Finally, the third chapter centers upon the legal and conventional functioning of epistolary writing in the genre. Thereby the protagonist's search carried out here to find her cultural roots is shown to complement her elaboration of her personal identity as a modern woman in the recasting of masculine and feminine roles, and certain moral repercussions thereof, portrayed both in the text as in society. A full bibliography is also given.

Thesis (Ph. D.)--University of California, San Diego, 1998. / Vita. Includes bibliographical references (leaves 243-253).

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梁珊珊. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 133-146). / "2006 nian 8 yue" / Abstracts in Chinese and English. / Liang Shanshan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 133-146). / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究對象 --- p.1 / Chapter 第二節 --- 硏究範圍 --- p.5 / Chapter 第三節 --- 他人硏究成果槪述 --- p.18 / Chapter 第四節 --- 女性主義敘事學理論簡介 --- p.20 / Chapter 第二章 --- “五四´ح時期書信體小說興起的源流及槪况 --- p.26 / Chapter 第一節 --- 客觀歷史條件的具備 --- p.27 / Chapter 第二節 --- 晚清以迄“五四´ح書信體小說的流變 --- p.31 / Chapter 第三節 --- 西方文學理論的影響 --- p.42 / Chapter 第三章 --- 書信體小說的文體特徵 --- p.46 / Chapter 第一節 --- 真實性 --- p.46 / Chapter 第二節 --- 私密性/封閉性 --- p.48 / Chapter 第三節 --- 對話性/公共性 --- p.53 / Chapter 第四節 --- 兼容性 --- p.56 / Chapter 第四章 --- 書信體小說的敘述視點及敘述層次 --- p.58 / Chapter 第一節 --- 敘述視點 --- p.58 / Chapter 第二節 --- 敘述層次 --- p.74 / Chapter 第三節 --- 小結 --- p.87 / Chapter 第五章 --- 書信體小說的女性主義敘事學硏究 --- p.88 / Chapter 第一節 --- 作者型敘述聲音 --- p.94 / Chapter 第二節 --- 個人型敘述聲音 --- p.100 / Chapter 第三節 --- 集體型敘述聲音 --- p.108 / Chapter 第四節 --- 小結 --- p.110 / Chapter 第六章 --- 書信體小說的衰落 --- p.113 / Chapter 第七章 --- 結論 --- p.118 / Chapter 第一節 --- 總結 --- p.118 / Chapter 第二節 --- 硏究意義 --- p.123 / [附錄一]“五四´ح女作家小傳 --- p.125 / [附錄二] “五四´ح女作家書信體小說(1917-1927)列表 --- p.131 / 參考文獻 --- p.133 / Chapter 一、 --- 作家作品 --- p.133 / Chapter 二、 --- 參考. --- p.135 / Chapter 三、 --- 學位論文 --- p.141 / Chapter 四、 --- 期刊論文 --- p.141

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Orientador: Daniela Mantarro Callipo / Banca: Marcos Antonio de Moraes / Banca: Ana Maria Carlos / Resumo: No romance epistolar O marido da adúltera, publicado em 1882 pelo escritor e jornalista Lúcio de Mendonça, encontram-se traços marcantes e inequívocos da estética naturalista desenvolvida, sobretudo, por Émile Zola. Neste trabalho, pretende-se verificar de que modo o idealizador da Academia Brasileira de Letras recebeu as ideias do Naturalismo e as inseriu em sua obra, verificando o processo de adaptação executado pelo autor brasileiro, que soube dialogar com a estética naturalista em voga na época, aplicando muitos de seus princípios, discordando de alguns deles. Cabe observar, igualmente, o fato de que Lúcio de Mendonça optou pelo romance epistolar, gênero pouco utilizado no Brasil do século XIX, mas fundamental para a construção desta obra. Esta pesquisa visa, portanto, analisar de que maneira o autor de O marido da adúltera utilizou-se do naturalismo francês para criar um romance epistolar brasileiro, publicado, originalmente, no periódico O Colombo, em forma de folhetim; característica, aliás, que se conserva no momento da publicação do romance em livro, em 1882 / Abstract: On the epistolary novel The adulterer's husband, published in 1882 by the writer and journalist Lúcio de Mendonça, it‟s found distinctive features and unequivocal from the naturalist theory developed, especially, by Émile Zola. In the present paper, it‟s intended to verify what way the creator from the Brazilian Academy of Letters received the ideas of Naturalism and put them into his work, checking the adaptation process performed by the Brazilian author, who knew how to dialog with the naturalist aesthetics in common use that time, enforcing lots of his principles, disagreeing with some of them. It must be noted, equally, the fact that Lúcio de Mendonça chose the epistolary novel, a not very used gender in Brazil in XIX century, but something fundamental to this work to be made. Therefore, this research aims to analyze what way The adulterer's husband's author used the French naturalism to create the Brazilian epistolary novel, published, at first, by Colombo journal, as a soap opera; characteristics that, by the way, are preserved at the book‟s publishing moment, in 1882 / Mestre