Henry Dan Piper has exploded the legend that all of Fitzgerald' s books where out of print when he died. There may be similar romantic exaggeration which does not bear examination in the popular view that Fitzgerald's reputation as an artist was eclipsed in his later years and magically revived after his death by the editing and publication by Edmund Wilson in 1941 of the unfinished novel Last Tycoon, and of The Crack-Up. Investigation by Matthew J. Bruccoli has shown the essential oversimplification inherent in the widely-held belief that Fitzgerald's last complete novel to be published, Tender is the Night was dismissed or ignored by reviewers demanding novels of social conscience. Fitzgerald attracted legends and since his death has become something of a folk-hero the type of the golden boy who achieved early and instantaneous fame, lives riotously and is then engulfed by the backwash of his own youthful folly somehow leaving an unpublished masterpiece to confound his critics at his early death. Preface, p. 1.

In 'n hoofstuk getiteld In het teken van het persoonlijkheidsideaal in sy werk De Vlaamse Letterkunde van 1780 tot Heden bespreek R F Lissens die wegeb van die "expressionistische getij met die dood van Van Ostaijen, en die onvermoë van die roman om - op enkele min of meer geslaagde voorbeelde na - die tendense van die ekspressionisme te vertolk: verdere pogings in dié rigting loop dan ook teen die einde van die twintigerjare dood. Ook B F van Vlierden beskou die ekspressionisme as 'n in die grond ongeskikte voedingsbron vir die romangenre, met die gevolg dat die roman in dié jare - d.w.s. na die mln of meer naturalisties-impressionistiese romantradisie verteenwoordig deur Buysse, Streuvels, Timmermans, Claes - "in zijn eigen ontwikkeling op een kritiek keerpunt staat, waarbij men vooralsnog aIleen het kritieke van de situatie ziet ... Het decennium na de oorlog is in feite weinig gunstig voor de roman ... Ook P van Ostaijen heeft gepoogd een 'grote roman' te schrijven, maar deze werd nooit voltooid ... In de marge van het humanitair expressionisme ontstaan weI een aantal prozawerken, maar precies in het licht van de humanitaire poëzie is het vooralsnog duidelijk, dat deze uit een geestelijke kweeste bestaan, en dus een schakeI zijn in de ontwikkeling die van de werkelijkheid wegvoert naar een inwendig leven, naar een geestelijke ontwikkeling." Terselfdertyd, egter, is Lissens en Van Vlierden dit met J Weisgerber eens dat "het Jaar 1927 kan worden beschouwd als het begin van een nieuw tijdperk" en dat die leemte wat na die Eerste Wêreldoorlog onstaan het, weldra gevul sal word met 'n groot aantal romanwerke van 'n besondere gehalte. Die kritiek sien hierdie keerpunt met verloop van tyd al hoe duideliker in, maar erken nietemin óók dat die invloed van die modernisme, en met name die ekspressionisme, ''heilzame gevolgen heeft voor de roman. Niet vergeefs heeft deze beweging de ethische noot aangeslagen, de verantwoordelijkheidszin weer gewekt en al haar aandacht op de mens geconcentreerd. De nieuwe roman, die kort voor 1930 opkomt, kan men bezwaarlijk expressionistisch noemen, maar de grondige omkeer waar hij van blijk geeft, gebeurt ontegensprekelijk onder de invloed van het door het expressionisme gewijzigde klimaat." Anders gestel: "zij (gaan) akkoord met de veroordeling van de impressionistische en naturalistische opvattingen, maar tussen het individualisme van de 'estheten' en de humanitaire kunst van Ruimte, tussen de wetenschappelijke objectiviteit en de lyrische subjectiviteit kiezen zij doorgaans een middenweg. De nieuwe roman - en dat is de reden waarom hij deze benaming verdient - zal aan de individualiteit minder reliëf verlenen dan aan de 'persoonlijkheid', hetgeen wil zeggen dat het individu, dat zich op zichzelf bezint, aldus beseft dat het in morele of juridische zin met een gemeenschap verbonden is. Hij zal de mens tegelijkertijd in zijn individualiteit en in de eigenschappen van zijn soort beschouwen, en hoewel hij het Ik zal peilen, zal hij ook het zoeklicht richten op het onmetelijke terrein van de gemeenschappelijke waarden...". Dit is dus op die groeiende belang van 'n "persoonlijkheidsideaal, een modern humanisme dat sociaal solidair blijft doch de raadselen van de mens en het leven wil peilen" dat die klem tussen die jare 1930 en 1940 val: op "de mens op het voorplan", dus, maar óók op dié mens in gemeenskapsverband.

Text in Afrikaans / Die doel van hierdie studie was om vas te stel hoe die Afrikaner in literere tekste van die veertiger- en tagtigerjare uitgebeeld word, en of 'n vaste beskouing oor die begrip Afrikanerskap by die skrywers van die verskillende tekste bestaan. Omdat die verhouding tussen die gekose tekste en die geskiedenis telkens ondersoek is, is die Nuwe Historisistiese benadering as geskikte teoretiese model gevolg. Waar hierdie benadering die klem op die realiteit plaas, stel die lmagologie die beeld voorop, en die lmagologiese werkswyse is dus aanvullend gevolg. Omdat die tekste van veertig hoofsaaklik as koloniale literatuur beskou kan word, en die tekste van tagtig as postkoloniaal van aard, is die koloniale en postkoloniale literatuur in Afrikaans kortliks ondersoek. Die studie het verder gepoog om deeglik verkenning van die begrippe Afrikaner en Afrikanerskap te doen aan die hand van verskillende narratiewe tekste wat nie noodwendig literer van aard is nie. Alhoewel daar by die herlees van die vier en twintig literere tekste van die veertigerjare gevind is dat die tekste hoofsaaklik nog as koloniale literatuur beskou kan word, is die interessante insig verwerf dat sekere tekste wat nie deel van die kanon vorm nie, 'n ander realiteit oor die Afrikaner en oor Afrikanerskap aan die leser voorhou as wat tradisioneel die geval was. So is byvoorbeeld bevind dat die strukture wat die Afrikanermaghebber sedert die veertigerjare geskep het, die belange van die Afrikanerdom moes dien. Deur die herlees van die tekste kon die gegewe opnuut ge'interpreteer word en kon nodige aanpassings dus by aanvaarde opvattings gemaak word. Die ondersoek het verder aan die lig gebring dat veral die tekste uit die tagtigerjare verruimend ingewerk het op bestaande, geykte opvattinge oor die Afrikaner en Afrikanerskap en dat sulke opvattinge deur die tekste ondermyn, ontluister of bloot ontken word. Ten slotte het dit duidelik geword dat daar geen eensydige of stabiele betekenis oor die begrippe Afrikaner en van Afrikanerskap uit die verskillende tekste afgelei kon word nie / The purpose of this study was to determine how the Afrikaner was depicted in the literary texts of the forties and the eighties, and to determine whether the authors of the different texts expresses fixed views of the concept Afrikanerskap. As the relationship between the chosen texts and history had been investigated several times, the New Historisistic approach was adopted as a suitable theoretical model. As this approach places the emphasis on reality, and the lmagology sees the image as the most important, lmagological procedures were used additionally. Because the texts of the forties can be seen as mainly colonial of nature and the texts of the eighties as post colonial, the colonial and post colonial literature in Afrikaans was briefly investigated. The study further attempted to thoroughly investigate the concepts Afrikaner and Afrikanerskap with reference to different narrative texts which are not necessarily literary of nature. Although the rereading of twenty four literary texts of the forties confirms that the texts could mainly be seen as colonial literature, the interesting conclusion was made that certain texts not included in the canon gave the reader another reality of Afrikaner and Afrikanerskap than was traditionally the case. It was found, for example, that structures created by Afrikaner authorities since the forties were created to serve the needs of the Afrikanerdom. The rereading of these specific texts led to new interpretations and the necessary adaptations could be done to previously accepted views. The research further indicated that texts from the eighties especially had a broadening effect on existing hackneyed conceptions of Afrikaner and Afrikanerskap and that such views are undermined, clouded or simply ignored by the texts. In conclusion it became clear that no onesided or static interpretation of the concepts Afrikaner and Afrikanerskap could be derived from the different texts / Afrikaans and Theory of Literature / D. Litt. et Phil. (Afrikaans)

Orientador: Vilma Sant'Anna Arêas / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T20:08:25Z (GMT). No. of bitstreams: 1 Arantes_GeraldoNoel_D.pdf: 1577542 bytes, checksum: 147a620a4040a92ab0cc331b96cdba28 (MD5) Previous issue date: 2010 / Resumo: A história da literatura é também a história de autores e obras outsiders, ocultadas que estão em plano secundário ou pouco visível. No Brasil, Walter Campos de Carvalho (1916-1998) é um desses autores. Seus livros movimentaram a cena literária brasileira de meados do século XX, principalmente pela oferta de uma dicção polêmica e algo incendiária. Humor, iconoclastia, ateísmo, sexualidade problemática e espírito anarquista consagram-no como uma das vozes mais inquietas da moderna ficção brasileira. Seu espírito contestador mobilizou um fiel público de admiradores - público que o colocou em uma posição que bem poderíamos nomear Cult -, mas também contribuiu para o isolamento que o teria levado a romper com a literatura. Recolhido ao silêncio por mais de trinta anos, o escritor ficou na gangorra que ora o eleva, prometendo-lhe o ressurgimento, ora o despreza fazendo com que volte ao olvido. Neste trabalho, busco novos aspectos do autor e de sua trajetória, explorando textos no geral desconhecidos e rigorosamente preservados de qualquer trabalho de análise. Igualmente procurei ângulos recônditos de obras mais visitadas como A lua vem da Ásia e A Chuva Imóvel, não porque almejasse a crítica do ineditismo, mas simplesmente por não assentir com todas as formas pelas quais o autor é visto e com os estereótipos usualmente ofertados pela crítica que o alcançou / Abstract: The history of literature is also the literary history of outside writers and work, hidden like they are in a second level, lacking visibility. In Brazil, Walter Campos de Carvalho (1916-1998) is one of these writers. His books showed up the Brazilian literary scene in the middle of the 20th century, mainly due to the polemic and some incendiary diction it had to offer. Humor, iconoclasm, atheism, problematic sexuality and anarchist spirit consecrated him like as one of the most outspoken voices of the Brazilian modern fiction. His refutable mind mobilized a faithful public of admirers - such a public that put him in a position we might well call Cult -, but also contributed to the isolation that would lead to a break with the literature. Withdrawn in silence for over thirty years, the writer was in a see-saw that would raise him, promising him resurgence, then despise him making him return to oblivion. In this work I seek new aspects of Campos literature and its history, exploring texts in general unknown and strictly preserved of any analytical work. I also tried recondite angles on two of his more popular books A lua vem da Ásia and A Chuva Imóvel, not because I craved a critique of originality, but simply for not assenting to all the ways in which the author is seen an the stereotypes usually offered by critics that attained him / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

From Nawoord, p. 182. Ironie word in Gijsen se oeuvre nie alleenlik op 'n besondere wyse gebruik as 'n vorm van spel met woorde ter versiering of tot vermaak van die leser nie, maar irornie vorm ook 'n allerbelangrikste aspek van die struktuur van sy verhale. Gijsen "gebruik" nie in die eerste plaas ironie om die een of ander doel te bereik nie. Sy werke is ironies, en 'n begrip van die ironiese struktuur is in elke verhaal essensieel vir "n begrip van die verhaal self.

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This thesis is a study of the treatment of mental disability in Canadian literature. Literature reflects the perceptions and practises of the culture of which it is a part. Radical changes have been made in recent years in the thinking about persons with mental handicaps. The issue of whether the changes are reflected in literature prompted the writing of this thesis. Little is known about characters labelled as mentally disabled in non-didactic, Canadian Literature. They are not commonly discussed in the academic journals of Canadian Literature and Education. The purpose of this thesis was to get to know ten of the above characters. The following questions were drawn from issues in the academic literature regarding mental disability. All seven questions were applied to each character in turn. (1) Label? (2) Personal relationships? (3) Thoughts and feelings? (4) Choices? (5) Daily activity? (6) Relationship with service providers? (7) Personal assets and abilities? Short story characters: Benny Parry, "The Time of Death," Munro, 1968; Dolores Boyle, "Dance of the Happy Shades," Munro, 1968; Kelvin, "Circle of Prayer," Munro, 1986; Neddy Baker, "Hello Cheeverland, Goodbye," Findley, 1984; Stella Bragg, "Bragg and Minna," Findley, 1988. Characters from novels: Francis Cornish, "What's Bred in the Bone," Davies, 1985; John-Gustav Skandl, "What the Crow Said," Kroetsch, 1978; Lotte, "Not Wanted on the Voyage," Findley, 1984; Rowena Ross, "The Wars," Findley, 1977; Tehmul Lungraa, "Such a Long Journey," Mistry, 1991. Findings indicated that Canadian literature is not yet reflecting the new movement to develop full personhood. Most characters were limited in the choices they made. A variety of labels were used. Little was said about what the characters think or feel. No characters were married, had children, or a job. Most of the characters had a personal relationship with another character. / Education, Faculty of / Educational and Counselling Psychology, and Special Education (ECPS), Department of / Graduate

This thesis acknowledges the presence of a clear note of affirmation in some novels of the mid-Twentieth Century. Finding a similar affirmation in Albert Camus' essays, The Myth of Sisyphus and The Rebel, it attempts to demonstrate a basic agreement between the essays and a limited selection of such novels. It then attempts to support this conclusion by examination of two novels in some detail. It considers that this relationship arises naturally from the artists' mutual perception of man's perilous condition in the modern world, and that it does not imply the necessity of conscious imitation of Camus' thoughts on the absurd. Nevertheless, since this thesis intends to show that the affirmation in the novels arises from an attitude that Camus termed "absurdist" and inheres in a way of life that he termed "absurd," such novels, for the purpose of this study, are called "Absurd." Chapter One attempts to explain man's existential anxiety as a spiritual state germane to his condition as an intelligent being in an obscure universe, and to describe how this natural anxiety, painfully intensified in a godless, materialistic age, has resulted in spiritual sterility and paralysis of creative action. Of this condition, such novelists as Malcolm Lowry, Joseph Heller, William Golding, Lawrence Durrell and William Styron seem acutely aware. In addition, it attempts to define Camus' uses of the term "absurd," and to explain the nature of the absurd life—the life of absurd rebellion—that he advances as the only-positive answer to the challenge of the times. While recognizing that the diversity evident among these novels attests to their nature as independent creations, Chapter One attempts to establish their basic agreement with Camus' ideas of the absurd, and to trace the existence among them of broad similarities. Finally, by examination of values implied, it notes that these authors seem to arrive at Camus' conclusion that "everything is permitted," limited, as Camus limits it, by the necessity of individual responsibility. Chapters two and three, detailed examinations of the absurd in two novels, Malcolm Lowry's Under the Volcano and Joseph Heller's Catch-22, attempt to clarify the nature of the authors' protest by pointing out what forces, both external and internal, are attacked. As this process involves an analysis of the nature and results of destructive escapism, whether individual escape into alcoholism or mass escape into meaningless conformity or excessive rationalism, it suggests also the urgency of the individual struggle for the "lucid awareness" that Camus demands. In particular, these chapters hope to clarify the affirmation implied by the individual liberation from illusion and anxiety to defiant joy in conscious living. The Conclusion restates the fundamental agreement between the controlling themes of these novels and the tenets of the absurd delineated by Camus. Also, it demonstrates the diversity of method and approach by which the two novels deal with common themes and arrive at affirmative conclusions. Finally, it warns against the interpretation of this fiction as the expression of a doctrine for universal salvation. The Absurd Novel is not, therefore, what Camus would call disparagingly a "thesis-novel" ; at most, like The Myth of Sisyphus, it issues a positive challenge to the individual in the modem world. / Arts, Faculty of / English, Department of / Graduate

This dissertation argues that, since at least the 1960s, there has been a distinguished tradition of Canadian poets who have turned to the novel as a result of their dissatisfaction with the limitations of the lyric and instead have built the lyric into a mode of narrative that contrasts sharply with the descriptive conventions of plot-driven novels. Citing the affinity between the lyric sequence and the visual series, the introduction maintains that the treatment of narrative as a series of frames, as well as the self-conscious dismantling of these framing devices, is a topos in Canadian literature. The term "(un)framing" expresses this double movement. The thesis asserts that Michael Ondaatje, George Bowering, Joy Kogawa, Daphne Marlatt, and Anne Carson (un)frame their novels according to formal precedents established in their long poems. Chapter 2 illustrates the relation of the visual series to the song cycle in Ondaatje's long poems the man with seven toes (1969) and The Collected Works of Billy the Kid (1970), as well as his first novel Coming Through Slaughter (1976). Chapter 3 traces the development of the "serial novel" from Bowering's early serial poems to his trilogy, Autobiology (1972), Curious (1973) , and A Short Sad Book (1977). Chapter 4 argues that Joy Kogawa structures her novel Ohasan (1981) on the concentric narrative model established in her long poem "Dear Euclid" (1974) . Chapter 5 shows how Daphne Marlatt performs a series of variations on the quest narrative that she finds in Hans Christian Andersen's The Snow Queen (1844), and thereby develops a lesbian quest narrative in her long poem Frames of a Story (1968), her novella Zocalo (1977), and her novel Ana Historic (1988). Chapter 6 explores the combination of lyric, essay, and interview in Carson's long poem "Mimnermos: The Brainsex Paintings" (1995) and argues that the long poem forms the basis of her novel in verse, Autobiography of Red (1998). The final chapter assesses some of the strengths and limitations of lyrical fiction and concludes that a thorough grasp of the contemporary long poem is essential to an understanding of the development of the novel in Canada. / Arts, Faculty of / English, Department of / Graduate

The thesis studies the social criticism in five English novels written between 1850 and 1913. All the novels can be located in the central tradition of realistic English fiction. The thesis focuses on the thematic similarities of three Victorian novels: Great Expectations, Hard Times, and Middlemarch, and two early modern novels: Jude the Obscure and Sons and Lovers. The novels voice the authors' criticisms of social, and more specifically family, conditioning. The novelists portray the arbitrary ethical norms that define and regulate behavior within specific social environments. Each novel describes the individual's aspirations which are ultimately frustrated by external forces. Although more than half a century separates the publications of Hard Times and Sons and Lovers the critical perspectives of the novelists are essentially the same. The thesis isolates aspects of the novels which realistically portray the attitudes and values of mid and late Victorian society. One avenue of investigation discusses those institutions which enforce the prevailing social doctrine. The dramatic conflict analyzed in this thesis is often between the adolescent and characters, usually older, who personify the repressive doctrine. Much of the anxiety experienced by the protagonists is a result of the confrontation of individual desire and internalized social norms. In Great Expectations and Hard Times Dickens portrays the childhood and adolescent consciousness as it emerge's within a given moral climate. The thesis analyzes how Dickens isolates and criticizes those aspects of Gradgrindery which are dehumanizing and soul-destroying. The first chapter also compares the experiences of the protagonists in Middlemarch to those of Great Expectations and Hard Times. George Eliot heightens the psychological realism by detailing the subjective conflicts within characters. The second chapter describes how Jude the Obscure and Sons and Lovers maintain the focus on the external manipulation of individual desire. The thesis compares how Hardy and Lawrence chronicle the crucial childhood and adolescent experiences of Jude Fawley and Paul Morel respectively. The second chapter analyzes those relationships and conflicts of the major and minor characters which amplify the theme of social repression. The final chapter of the thesis discusses another manifestation of social repression in Jude the Obscure and Sons and Lovers. In these novels this theme is expressed, for the first time in English fiction, in explicit sexual terms. The thesis isolates those external influences, both social and domestic, which inhibit the psycho-sexual development of Jude Fawley and Paul Morel. The family, largely maternal, conditioning of Sue Bridehead and Miriam Leivers is also analyzed as another amplification of the central thematic focus on social conditioning. / Arts, Faculty of / English, Department of / Graduate