The Boy in the Tunnel is a domestic coming-of-age novel told from three alternating perspectives. It is about two white teenage girls who cover up the accidental death of their black friend in Atlanta during the summer of 1994. The novel explored the insidious nature of racial prejudice and the many ways in which Americans deny responsibility for wrongdoing—both contemporary and historical. It also explores the intense nature of female teenage friendships and the harsh realities of the adult world in comparison with the relative simplicity of childhood.

Au Congo Brazzaville s'est développé, depuis les Trois Glorieuses (13, 14 et 15 août 1963), un espace littéraire très créatif. La plupart de ses écrivains, et particulièrement les romanciers, sont (ont été) engagés, à des titres et à des niveaux divers, dans la vie politique effective de leur pays. Une approche sociocritique des romans congolais à partir des microlectures, dans une perspective intertextuelle, fait émerger la politique comme un moule structurateur de la plupart des fictions. L'analyse du contexte du roman congolais à thématique politique en révèle des particularités (1ère partie). Cette contextualisation permet de comprendre pourquoi le référent politique est si envahissant dans la fiction romanesque congolaise. La thématisation de la politique (2ème partie) comme sujet, motif ou topos permet une meilleure appréhension des univers imaginaires. La représentation des indépendances, des révolutions et de la vie sociale éclaire les complexes rapports entre le scribe et le prince. Les personnages des fictions se positionnent par rapport aux pouvoirs institués comme des révoltés, des révolutionnaires ou des collaborateurs. En général, ils dénoncent le vécu quotidien dans la dissidence et le refus du statu quo. Toute une rhétorique du politique ressort du traitement que les auteurs font de ce dernier (3èmepartie), et met en évidence une politique de l'écriture, à savoir des stratégies d'expression des univers politiques. Sont ainsi utilisés: le masquage par l'anthroponymie et la toponymie, le surgissement d'univers étranges (magique, merveilleux, carnavalesque, onirique, etc.) dans la trame narrative, ainsi que le recours à un langage crypté. Les postures pour dire le politique varient selon les écrivains. Qu'ils participent au pouvoir ou non, et du fait de leurs appartenance à la phratrie, tous se retrouvent en Congolie, contrée imaginaire libérée, et déclarent leurs « rêves du changement », ou leur aspirations à un mieux vivre ensemble, rendu de façon originale par Henri Djombo dans Lumières des temps perdus. Les fictions s'interrogent sur le politique, mais aussi et surtout sur l'acte d'écrire et sa finalité. Les textes posent ainsi une large problématique : la rencontre des champs politique et littéraire, la difficulté de l'écrivain à dire la politique en pays de dictature, ou le statut des valeurs. / In Congo Brazzaville, beginning from the Three Glorious 13th, 14th and 15th August 1963, there developed a very creative literary space. Most of its writers, especially as concerns the novelists, are (have been) committed, by titles and diverse levels, to the political life of their country. From a socio-critical perspective of Congolese novels using micro-lectures, from an intertextual perspective, brings out politics as a structuring mould for most fiction. An analysis of the context of the Congolese novel, with politics as a thematic concern reveals a number of particularities (Part 1). Putting things to context in this manner allows for understanding why the political referent permeates romanistic Congolese fiction. Thematizing politics (Part 2), as subject, motive or topos allows for a better understanding of imaginary universes. The representation of independences, of revolutions and of social life brings light to the complex relationships between the scribe and the prince. Characters in fictions position themselves in revolt to institutionalized powers, as revolutionaries or as collaborators. Generally, they denounce the day to day experience in dissidence and reject the status quo. An entire political rhetoric springs forth from the treatment which the authors give to the latter (Part 3) and establishes a writing policy, namely, strategies of political expression. Here employed are: masking by anthroponomy and toponymy, the cropping up of strange universes, (magic, the sublime, carnival, imaginary, etc) in the plot as well as making use of crypt language. Postures of political expression differ with writers. Whether they participate in power or not, and from the fact of their belonging to the phratry, all find themselves in Congolie, the imaginary liberated territory and declare their « Dream for Change » or their aspirations to a better communal life, rendered in an original manner by Henri Djombo in Lumières des temps perdus. The fictions dwell on politics, but also, and especially on the act of writing and its finality. In this wise, the texts pose a large statement of the problem: the meeting of political and literary spheres, the difficulty of the writer to express political issues in a dictator nation or the statutes of values.

Pereda's literary fecundity and his literary achievement attain their peak in his novels; through these novels he attempts to present a clear portrayal of the social aspects of provincial Spain.

The fact that Jack London's novels seem to fall into two classes--those which he wrote for money and those which he wrote to deliver a social message--has led to this study of his life and novels. It is the aim of this thesis to show that his life was one of conflict between individualism and socialism and that this conflict is reflected to a varying degree in his novels.

The author's purpose has been to trace in a very broad and general manner the trend of naturalism up to this point where the central figure of our study, Theodore Dreiser, enters into the picture. This survey is designed primarily to give the reader an indication of what naturalism is, both in philosophy and method, and a very brief historical background of the movement.

This paper, then, purposes to examine these two characteristics of Styron's novel form--structure and point of view--as they are handled in his major works, the novels Lie Down in Darkness and Set This House on Fire, and the novella The Long March.

No description available.

No description available.

This thesis aims to analyse the behaviour of an “analogue search engine”, created by the romance novel community. The existing commercial recommendation systems for romance novels are found lacking, as they fail to fill the requirements of the user group. The user group fills this need by creating separate communities, where they use their expertise in the genre to create a more accurate recommendation system.  Using ethnographic research over a long period of time allowed the behaviours and habits of the group to be catalogued. Using that framework and interaction design practises, several design proposals were created showing how the findings can be used to add nuance to recommendation system interfaces.

Univerzita Karlova Filozofická fakulta Ústav germánských studií Filologie-germánské jazyky a literatury REPRESENTATIE VAN MANNELIJKHEID ENVROUWELIJKHEID IN DEHAAGSE ROMANS VAN LOUIS COUPERUS REPREZENTACE MASKULINITY A FEMININITY VHAAGSKÝCH ROMÁNECH LOUISE COUPERUSE THEREPRESENTATION OF MASCULINITY ANDFEMININITY INTHE HAGUE NOVELS BY LOUIS COUPERUS Abstract in English Anna Phillips Vedoucí práce: doc. dr. Ellen J.Krol 2018 1 Abstract in English This dissertation examines masculinity and femininity in what are referred to as the 'Hague novels' of Louis Couperus: Eline Vere, The Books of the Small Souls (De boeken der kleine zielen), and Old People and the Things that Pass (Van oude menschen, de dingen, die voorbijgaan…). The following research questions were asked: 1) In what ways are masculinity and femininity represented in the Hague novels of Louis Couperus? 1) Are these representations of the masculine and the feminine diametrically op- posed, and if so, in what ways does the opposition manifest? 2) Do the representations of masculinity and femininity in the individual Hague novels differ? If so, how? The research method is theoretically grounded in views of masculinity and femininity common to the 'fin de siècle' period (1878-1914) in which the Hague novels were published, and which forms the setting of...