Neo-Victorian studies is a burgeoning subfield which seeks to examine contemporary representations of the Victorian period. For the last decade, neo-Victorian scholars have offered up definitions of what makes a text “neo-Victorian”; often, this has been via a description of what the neo-Victorian is not. The ‘ruling’ definition—i.e., the definition most consistently repeated—hails from the introduction to Neo-Victorianism: The Victorians in the Twenty-First Century by Ann Heilmann and Mark Llewellyn: “the Neo-Victorian is more than historical fiction set in the nineteenth century. […] texts (literary, filmic, audio/visual) must in some respect be self-consciously engaged with the act of (re)interpretation, (re)discovery and (re)vision concerning the Victorians” (4). This short delineation significantly comes at the expense of historical fiction, which is a move repeated throughout neo-Victorian efforts to define itself. Neo-Victorian studies has largely concerned itself with literary novels, operating with a heavy anxiety that ‘other’ fiction set in the nineteenth century is escapist and nostalgic in the sense that it simply perpetuates problematic past systems of oppression while evoking the fashionable aesthetic trappings of the Victorian. My dissertation argues that contemporary genre fiction, long derided as ‘simply’ escapist in nature, can also be neo-Victorian. In each of my chapters I analyze texts from a specific genre—steampunk, popular romance, detective fiction, and Sherlock Holmes pastiche—in order to offer a basis for investigating genre fiction with a neo-Victorian lens. I analyze the depiction of corsets and feminist protagonists in three steampunk novels, explore the exhibition of unlikely romantic heroines and Romany romantic heroes in Lisa Kleypas’ historical romance series about the Hathaway family, examine representations of class and gender as well as germane social issues in Anne Perry’s William Monk detective series, and highlight the feminist potential of Carole Nelson Douglas’ series of Sherlock Holmes pastiche featuring Irene Adler. Each chapter considers the Victorian period as represented alongside Victorian novels and literary periodicals in order to demonstrate the shape of these neo-Victorian revisions and make the case the genre fiction can be self-conscious despite its lack of metafictional content.

Made available in DSpace on 2014-12-17T15:07:03Z (GMT). No. of bitstreams: 1 AlberisEFO_DISSERT.pdf: 1110407 bytes, checksum: ee3f19c2afb274fb18f1250014142c84 (MD5) Previous issue date: 2013-05-07 / The objective of this paper is to analyze the work of the American writer Nathaniel Hawthorne (1804 - 1864), The Scarlet Letter (1850), in the light of the contributions of Literature and History of the American people in the context of New England. Accordingly, we highlight aspects that justify the inclusion of the work as a historical novel, especially based on the reading of The Historical Novel (1936-37) written by Georg Luk?cs. The diversity of voices and social interrelationships that come out of the main characters of the plot of the novel, as well as their contextual buildings, constituted as important traces to understanding the novel as being of historical value. During our study, we found out that it is in the plots of the novels that the characters reflect, at the same time, the specific conditions of their singularities, the general trends of the historical process and the social conditions from which they arise. We also could see that it is in their singularities that lie special tendencies of human beings. Our references to this study came from scholars as Howard (1964), Bakhtin (1998), Eagleton (2006), Todorov (2009), Zabel (1947), Sellers (1985), Cunlife (1986), Candido (1993) and Schwarz (1981) / O objetivo deste trabalho ? analisar a obra do escritor americano Nathaniel Hawthorne (1804 1864), A Letra Escarlate (1850), ? luz das contribui??es da Literatura e da Hist?ria do povo americano no contexto da Nova Inglaterra dos primeiros s?culos de sua exist?ncia at? o per?odo em que viveu o seu autor. Nesse sentido, buscaremos evidenciar aspectos que justificam a inser??o da obra como um romance hist?rico, especialmente a partir da leitura de O Romance Hist?rico (1936-37) de Georg Luk?cs. A diversidade das vozes sociais e os inter-relacionamentos que se depreenderam dos personagens principais do enredo do romance, assim como as suas constru??es contextuais, se constitu?ram como elementos importantes para a compreens?o do romance como sendo de valor Hist?rico. Durante o nosso estudo, verificamos que ? nos enredos dos romances que as personagens refletem, ao mesmo tempo, as condi??es espec?ficas de suas singularidades, as tend?ncias gerais do processo hist?rico e as condi??es sociais das quais eles surgem. Pudemos verificar tamb?m que ? em suas singularidades que se concentram tend?ncias pr?prias do ser humano. Para fundamentar este estudo buscamos refer?ncias em te?ricos da literatura mundial como Howard (1964), Bakhtin (1998), Eagleton (2006), Todorov (2009), em historiadores como Zabel (1947), Sellers (1985) e Cunlife (1986), bem como nas repercuss?es da obra no Brasil, notadamente a partir de leituras realizadas por Candido (1993) e Schwarz (1981)

No description available.

The reading and buying market for Afrikaans fiction is limited due to historical and economical reasons. It can thus be argued that in order to expand the market for South African Afrikaans trade publishers and authors' novels, a work needs to be translated via the selling of translation rights with the assistance of the publisher or literary agents, into a language that has similar needs in terms of cultural consumption, for example book reading culture. Due to the colonial influence of the Dutch on South African culture and the development of Afrikaans, this study explores the selling of translation rights of Afrikaans fiction to trade publishers in The Netherlands and Belgium. The polystem theory is also used to illustrate the movement of languages from a peripheral position to semi-peripheral and central position within a global literary polysystem. A qualitative and exploratory research design is used. Secondary research in the form of a literature review combines theoretical information, clarifies terms and provides context from which primary research develops. In terms of primary research, interviews with key informants in the Belgian, Netherlands and South African publishing industry were conducted. Case studies of South African crime author Deon Meyer, and historical romance author Irma Joubert provide in-depth analysis of success factors, process and factors that influenced the selling of subsidiary rights to Dutch trade publishers. Lastly, visibility and discoverability of Afrikaans fiction on an international rights trading platform, as well as interaction amongst South African and foreign publishers were observed, at the largest book rights fair, the Frankfurt Book Fair. The findings of this study provide practical information and act as reference guide to role players in the publishing industry, including authors, trade publishers and literary agents. Recommendations for best practice in the selling of subsidiary rights are included, as well as initiatives for further research, experimentation, investment and development of the selling of subsidiary rights to European trade publishers to ultimately grow the Afrikaans fiction book buying and reading markets. / Dissertation (MIT)--University of Pretoria, 2017. / Information Science / MIS / Unrestricted

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Esta tese analisa as personagens femininas da autora portuguesa Júlia Nery, presentes tanto nas narrativas ficcionais, quanto nos romances históricos, discutindo algumas questões pertinentes aos estudos de gênero, à crítica literária feminista e ao novo romance histórico. Desta forma, verifica em que medida se faz a reconstrução ficcional e, consequentemente, a representação destas personagens, tendo em vista os modelos femininos histórico e socialmente criados. Ao trabalhar com a hipótese de que a autora faz uma (re)leitura sobretudo transgressora e crítica da tradição e da História, construindo personagens que ficcionalmente rompem com os paradigmas que secularmente foram impostos ao gênero feminino, ao fim, procura evidenciar e sugerir à crítica literária mais atual, que a produção literária de Júlia Nery caracteriza-se como uma importante contribuição a uma vertente da Literatura Portuguesa, formada pelas vozes e pelos olhares das mulheres escritoras, que conjuntamente vem formando em Portugal uma nova tradição: a literatura de autoria feminina, de veio notadamente feminista. / This thesis analyzes the female characters by Júlia Nery, a Portuguese author. They are extant as in fictional narrative as in historical romance, where we argue about some issues belonging to gender studies, to female literary criticism and to new historical romance. Thus, we verify in what way are done the fictional reconstruction and, consequently, the representation of these characters, by aiming the female historical and social originated models. Our hypothesis is that the author does, markedly, a trespassed and critical (re)reading of the tradition and History. This reading is done with characters that break paradigms, which were imposed to the female gender, secularly. Also, this thesis seeks to evidence and to suggest to the recent literary criticism that, the literary production, by Júlia Nery, is marked with an important contribution to one slope of the Portuguese Literature, whose slope is formed by the voices and glances of female writers. Altogether, they are forming a new tradition in Portugal: the female authorship literature whose spindle is, notedly, feminist.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-08T14:24:38Z No. of bitstreams: 1 Marcos Vinícius Lima de Almeida.pdf: 1307709 bytes, checksum: 04495baffe61ad76bf405f45955e7e9f (MD5) / Made available in DSpace on 2018-08-08T14:24:38Z (GMT). No. of bitstreams: 1 Marcos Vinícius Lima de Almeida.pdf: 1307709 bytes, checksum: 04495baffe61ad76bf405f45955e7e9f (MD5) Previous issue date: 2018-06-21 / Fundação de Amparo à Pesquisa do Estado de São Paulo - FAPESP / Under the premise that our history is constituted under the impact of catastrophes, and that in this context, writing a historical novel will never be a neutral gesture, this paper proposes to investigate the historical novel in contemporary Brazilian fiction, from the perspective of theory and literary creation. This work proposes a hypothesis for the hypothesis of the hypothesis of Lukács (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) and Weinhardt (2011) and Bastos (2007). the reading of the contemporary historical novel. From two key notions, 1) what will be defined in this work as a spectrum logic, 2) and writing as a burial rite, the central premise of this work is to look at history as a fundamentally necromantic practice. These notions are tested, or developed, from the critical reading of two contemporary works: O marechal de costas, by José Luiz Passos (2016) and De mim já nem se lembra, by Luiz Ruffato (2015). If the sign (sema) is a tomb and the writing of history and the relationship with the past is a kind of burial rite (as Jeanne-Marie Gagnebin asserts, in the wake of Michel de Certeau), which separates the past from the present world of the living dead of the world), the past not properly elaborated, not buried, returns as specter: and haunts and defiles the present. In this sense, it is possible to read the contemporary historical novel as a kind of attempt to burial the specters of the past that haunt the present. In the practical section, this work presents a novel, a historical fiction, freely inspired by the figure of Januário Garcia Leal / Sob a premissa que nossa história se constitui sob impacto de catástrofes, e que, nesse contexto, escrever um romance histórico nunca será um gesto neutro, esse trabalho se propõe a investigar o romance histórico na ficção contemporânea brasileira, da perspectiva da teoria e da criação literária. Sem abandonar totalmente as concepções de Lukács, (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) e Weinhardt (2011) e Bastos (2007), esse trabalho propõe uma hipótese para a leitura do romance histórico contemporâneo. A partir de duas noções chave, 1) aquilo que será definido nesse trabalho como lógica do espectro, 2) e a escrita enquanto rito de sepultamento, a premissa central deste trabalho é olhar para a história enquanto prática fundamentalmente necromante. Essas noções são testadas, ou desenvolvidas, a partir da leitura crítica de duas obras contemporâneas: O Marechal de costas, de José Luiz Passos (2016) e De mim já nem se lembra, de Luiz Ruffato (2015). Se o signo (séma) é um túmulo e a escrita da história e a relação com o passado uma espécie de rito de sepultamento (como afirma Jeanne-Marie Gagnebin, na esteira de Michel de Certeau), que separa o passado do presente (o mundo dos mortos do mundo vivos), o passado não devidamente elaborado, não enterrado, retorna como espectro: e assombra e contamina o presente. Nesse sentido, é possível ler o romance histórico contemporâneo como uma espécie de tentativa de sepultamento dos espectros do passado que assombram o presente. Na seção prática, esse trabalho apresenta um romance, uma ficção histórica, livremente inspirada da figura de Januário Garcia Leal

Esta tese analisa as personagens femininas da autora portuguesa Júlia Nery, presentes tanto nas narrativas ficcionais, quanto nos romances históricos, discutindo algumas questões pertinentes aos estudos de gênero, à crítica literária feminista e ao novo romance histórico. Desta forma, verifica em que medida se faz a reconstrução ficcional e, consequentemente, a representação destas personagens, tendo em vista os modelos femininos histórico e socialmente criados. Ao trabalhar com a hipótese de que a autora faz uma (re)leitura sobretudo transgressora e crítica da tradição e da História, construindo personagens que ficcionalmente rompem com os paradigmas que secularmente foram impostos ao gênero feminino, ao fim, procura evidenciar e sugerir à crítica literária mais atual, que a produção literária de Júlia Nery caracteriza-se como uma importante contribuição a uma vertente da Literatura Portuguesa, formada pelas vozes e pelos olhares das mulheres escritoras, que conjuntamente vem formando em Portugal uma nova tradição: a literatura de autoria feminina, de veio notadamente feminista. / This thesis analyzes the female characters by Júlia Nery, a Portuguese author. They are extant as in fictional narrative as in historical romance, where we argue about some issues belonging to gender studies, to female literary criticism and to new historical romance. Thus, we verify in what way are done the fictional reconstruction and, consequently, the representation of these characters, by aiming the female historical and social originated models. Our hypothesis is that the author does, markedly, a trespassed and critical (re)reading of the tradition and History. This reading is done with characters that break paradigms, which were imposed to the female gender, secularly. Also, this thesis seeks to evidence and to suggest to the recent literary criticism that, the literary production, by Júlia Nery, is marked with an important contribution to one slope of the Portuguese Literature, whose slope is formed by the voices and glances of female writers. Altogether, they are forming a new tradition in Portugal: the female authorship literature whose spindle is, notedly, feminist.

This dissertation is a transnational study that argues that a structure of mourning, spoken through and effected by the historical romance, underlies the narrative of national culture as it emerges in the Americas during the early nineteenth century. The writing, consumption and preservation of these texts reveal not only the psychic life of community but also the material basis for that psychic life. Writing and reading, the production and circulation of texts, plays a crucial role in developing this psychic life, and the historical romance was particularly important in the Americas for imagining a national legacy. Current criticism emphasizes the sexual coupling and generative romantic structure of the marriage plot around which many of these novels circulate. This criticism emphasizes the somatic nature of the genre, the corporeal language of romance that is read in the tears of joy and grief spilled by its characters as well as its readers. But while I agree that a libidinal energy is at the heart of both the narrative and its readers’ responses, I argue that the focus on sexual coupling neglects to consider another bodily discourse: that of death and mourning. Mourning enacts a simultaneous identification with and desire for a lost object, a fetishistic relationship that brings together the Freudian “to be” and “to have” and so invests the lost object with both narcissistic and communal attachments. These texts offer their readers the bodies within the narratives, as well as the texts themselves, as the material of a cultural heritage, constructing a nativism that ties the subjects to the land and to the community through a shared lost artifact, their history. Through mourning a common object, the subjects become citizens, native Americans that distance themselves from Europe while supplanting the Amerindian. In combining modern studies of material culture with post Freudian psychoanalytic criticism, the dissertation works to make explicit the relationship between death, citizenship and textuality in order to show the cultural work of fictional historiography in the making of the American nations. / text

Made available in DSpace on 2016-08-29T14:11:04Z (GMT). No. of bitstreams: 1 tese_8605_tese_4399_Claudia Fachetti Barros.pdf: 1587188 bytes, checksum: 66bd4abb7d70aa2b112a83613ec220d4 (MD5) Previous issue date: 2015-02-27 / Neste trabalho, busca-se discutir as possibilidades de diálogo entre a História de Clio e a Literatura de Calíope, vislumbradas nas obras A nau decapitada, As chamas na missa, O templo e a forca e O capitão do fim, de Luiz Guilherme Santos Neves. Nessas obras, o papel criador da Literatura entra no limiar de seu contato com a História, onde o texto narrativo ativa o imaginário. Para tal, a análise e o olhar ficcional do autor, sua escrita e visão do tempo histórico vivenciado no Brasil nas narrativas em questão são mister no objetivo de desnudar o mundo de Clio, mundo das suspeitas e incertezas, sabendo que, o que foi um dia contado de uma forma, pode ser amanhã recontado de outra. Nesse recontar há questões sobre História, Literatura, Ficção e Romance Histórico, em que a tessitura histórica e a literária se aproximam e também se afastam, em um diálogo que tem sido retomado com maior ênfase na contemporaneidade. / In this work we discuss the possibilities for a dialogue between History of Clio and Literature of Calliope, glimpsed in the works A nau decapitada, As chamas na missa, O templo e a forca and O capitão do fim, Luiz Guilherme Santos Neves. The creative role of literature enters the threshold of its contact with history where the narrative activates the imagination. We will review the look of the fictional author, his writing and insight into the historical moment experienced in Brazil in the narratives studied. Both seek to uncover the world of Clio, the world of suspicion and uncertainty, and, what was once told in a way, can be counted tomorrow another. And in this retelling discuss issues, History, Literature, Historical Fiction and Novel, in which literary and historical texture approach and also depart in a dialogue has been resumed with greater emphasis on contemporaneity.