This study examines the mutually constitutive relationship between the print culture of the late nineteenth-century Ottoman Empire and the framework of social, cultural and political transformations in which that culture operated. This study crosses traditional disciplinary lines between literary studies and intellectual history by arguing for the modification of one of the central premises of modernization theory: the existence of an overtly masculine political public sphere standing in contrast to a supposedly nonpolitical feminine domestic and private sphere. By examining newspapers, magazines, journals, and novels, which reflected the emergence of communities of readers, I show that the print culture became central to the mediation and diffusion of themes in public discourse; and furthermore, I show that it diminished the separation between the public and private spheres as it penetrated into the domestic space and was used to insert issues from the private sphere into the public domain. Arguing that Ottoman intellectuals saw the novel as an instrument to disseminate their political, social, and cultural agendas, I examine Henüz On Yedi Yaşında (Only Seventeen Years Old; 1882) by Ahmet Mithat Efendi, focusing on how gender, ethnicity, and sexuality in early Turkish novels were imagined and represented. Based on my research in Ottoman and Turkish archives between 2004 and 2006, I show how women’s journals ensured the visibility of Ottoman women as writers in the public sphere. Women’s journals established a real intellectual community of women writers and readers who between them overtly introduced a feminist agenda into the public sphere. As part of my project of recovering the cultural work women's novels did within the political arena of nineteenth century Ottoman society, I also discuss the forgotten life and works Fatma Aliye Hanım, one of the first Ottoman woman novelists, analyzing two of her novels, Muhâdarât (1891-92) and Refet (1897). Finally, I explore the reasons why several Ottoman women writers were forgotten after the establishment of the Turkish Republic and why they are not included in the Turkish literary canon today. / text

While American Girl markets itself as a brand that teaches girls about our nation’s history and empowers girls to "stand tall, reach high, and dream big," this dissertation, "Mis(s) Education: Narrative Construction and Closure in American Girl" challenges this widely held belief. The American Girl Historical Character Series (hereafter AGHC series) is a textual site that writes a history that relies more on national myths of freedom, independence, and the pursuit of the American Dream through struggle. To dig deeper into this book series, I analyze how intersections of power in particular, nation, gender, race, and consumerism are constructed within the pages of the AGHC series. I assert that these books create a narrative construction and closure within the series. In place of a dialogic history that allows the reader to question historical and/or contemporary issues of power, a dominant narrative of history-one that relies on national myths prevails. While AG prides itself as a brand that first and foremost celebrates and empowers girls to become their very best, the historical series also imposes traditional gender roles for girls. It is this "rhetoric of empowerment" that this dissertation uncovers. Such an imagined empowerment is infused with ambivalence. AGHC series readers are also constructed as consumers who are being taught to celebrate consumerism and the Almighty Dollar.

This dissertation brings critical visual culture studies to bear on mediatized representations of sanctioned institutional abuse. In particular, my dissertation seeks to explore and analyze the dynamics of the visual culture in reel/real social dramas of sanctioned institutional abuse, relations of power and the construction/destruction of oppositional voices struggling to seek justice. Focusing on Turner's work in understanding social dramas, I contextualize three "true account" films to explore how cultural studies, film form, function, and theory play critical roles in spectator viewing and the development of viewer reading practices. I argue that actions perpetrated on oppositional voices and subsequent discovery of truth create a visual discourse that makes an impact on the social order and, and how reel cinematic representations of this visual discourse impact viewers in developing real reading practices about sanctioned institutional abuse in their everyday lives.

This thesis examines William Blake’s conceptions of time and space in the light of the philosophies of Hinduism and Islam. In order to perform this analysis, source material, often from rare and neglected texts, is utilized to examine Blake’s possible unorthodox influences. The analysis of influences takes a three-pronged track: literary, symbolic, and linguistic; Blake’s possible knowledge of Orientalist translations; the symbols in his poetry, prose, and paintings are analyzed; and his potential knowledge of major Orientalist languages is also examined. Once this has been examined in sufficient depth, an excavation of Blake’s views on time and space is then undertaken. This analysis of Blake’s philosophical perspectives utilizes a comparative phenomenological approach in order to show their similarity to the perspectives of the Hindu Vedanta and Ismaili Islam. Throughout this analysis, I aim to demonstrate both that Blake’s views on space are inherently mystical (space as limitless and unbound by the physical universe), and that his view on time, having a similarity to that of the Platonists, views Eternity as the one true reality.

This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re-evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . . . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). My research finds that contemporary Canadian graphic narratives create mundane personal histories using a medium that is inherently attuned to exaggeration and fragmentation. My reading of graphic narrative is based on “autographics,” a recent field of scholarship that analyzes the interactions between visual and verbal forms of communication in works of life writing. I draw on visual rhetorical studies and communication design in order to describe “the distinctive technology and aesthetics of life narrative that emerges in comics” (Whitlock 965). The medium of comics playfully manipulates the discourses of documentary evidence and testimonial authority. At the same time, it gives Canadian authors tools for depicting the experiences of ordinary individuals through a rich collection of emotional, sensorial, and perceptual information. Focusing on the work of such authors as Chester Brown, David Collier, Julie Doucet, Sarah Leavitt, and Seth, I suggest that Canadian comics authors exploit the unique formal properties of the medium of comics in order to interrogate dominant nationalist discourses. They also develop an alternative method for analyzing narratives about the past.

Hammarfelt, B. 2012. Following the Footnotes: A Bibliometric Analysis of Citation Patterns in Literary Studies. Department of ALM. Skrifter utgivna av Institutionen för ABM vid Uppsala universitet 5. 193 pp. Uppsala. ISBN 978-91-506-2279-9. This thesis provides an in-depth study of the possibilities of applying bibliometric methods to the research field of literary studies. The four articles that constitute the backbone of this thesis focus on different aspects of references and citations in literary studies: from the use of references in the text to citation patterns among 34 literature journals. The analysis covers both an Anglo-Saxon context as well as research in Swedish literary studies, and the materials used include Web of Science data, references in the Swedish literature journal TFL (Tidskrift för Litteraturvetenskap) and applications to the Swedish Research Council (Vetenskapsrådet). A study is also made of the influence of one single publication—Walter Benjamin’s Illuminations—and its impact in literary studies and in wider academia. The results from the four articles are elaborated upon using a theoretical framework that focuses on differences in the social and intellectual organization of research fields. According to these theories literary studies can be described as a fragmented, heterogenic, interdisciplinary and ‘rural’ field with a diverse audience. The fragmented and rural organization of the field is reflected in low citation frequencies as well as in the difficulties in discerning research specialities in co-citation mappings, while the analysis of the intellectual base (highly cited authors) is an example of the heterogenic and interdisciplinary character of the field, as it includes authors from many fields across the humanities and the social sciences. The thesis emphasizes that bibliometric studies of research fields in the humanities need to incorporate non-English and non-journal publications in order to produce valid and fair results. Moreover, bibliometric methods must be modified in accordance with the organization of research in a particular field, and differences in referencing practices and citation patterns ought to be considered. Consequently, it is advised that bibliometric measures for evaluating research in these fields should, if used at all, be applied with great caution. / <p>© Björn Hammarfelt 2012</p>

My dissertation focuses on a set of Anglo-American novels that deal with the events of 9/11. Identifying thematic and stylistic differences in the fiction on this topic, I distinguish between novels that represent directly the jolts of trauma in the wake of the attacks, and novels that, while still holding the events as an underlying operative force in the narrative, do not openly represent them but envision their long-term aftermath. The first group of novels comprises Lynne Sharon Schwartz’s The Writing on the Wall (2005), Don DeLillo’s Falling Man (2007) and Jonathan Safran Foer’s Extremely Loud and Incredibly Close (2005). The second one includes Lorrie Moore’s A Gate at the Stairs (2009), John Updike’s Terrorist (2006) and Joseph O’Neill’s Netherland (2008). Drawing on concepts from trauma theory, particularly by Cathy Caruth and Dominick LaCapra, and combining them with the ethical philosophies of Levinas and Heidegger, I argue that the constructions of 9/11 in Anglo-American fiction are essentially twofold: authors who narrate 9/11 as a tragic human loss in the city of New York turn it into an occasion for an ethical dialogue with the reader and potentially with the “Other,” whereas authors who address 9/11 as a recent sociopolitical event transform it into a goad toward a bitter cultural indictment of the US middle-class, whose ingrained inertia, patriotism and self-righteousness have been either magnified or twisted by the attacks. Considering processes of meaning-making, annihilation, ideological reduction and apathy that arose from 9/11 and its versions, I have identified what could be called, adapting Peter Elbow’s expression from pedagogical studies, the “forked” rhetoric of media and politics, a rhetorical mode in which both discourses are essentially closed, non-hermeneutic, and rooted in the same rationale: exploiting 9/11 for consensus. On the contrary, in what I call the New-Yorkization of 9/11, I highlighted how the situatedness of the public discourses that New Yorkers constructed to tell their own tragedy rescues the Ur-Phaenomenon of 9/11 from the epistemological commodification that intellectual, mediatic and political interpretations forced on it. Furthermore, pointing to the speciousness of arguments that deem 9/11 literature sentimental and unimaginative, I claim that the traumatic literature on the attacks constitutes an example of ethical practice, since it originates from witnesses of the catastrophe, it represents communal solidarity, and it places a crucial demand on the reader as an empathic listener and ethical agent. Ethical counternarratives oppose the ideological simplification of the 9/11 attacks and develop instead a complex counter-rhetoric of emotions and inclusiveness that we could read as a particular instantiation of an ethics of the self and “Other.” As much as the 9/11 “ethical” novels suggest that “survivability” in times of trauma depends on “relationality” (J. Butler), the “cultural” ones unveil the insensitivity and superficiality of the actual US society far away from the site of trauma. The binary framework I use implies that, outside of New York City, 9/11 is narrated neither traumatically (in terms of literary form), nor as trauma (in terms of textual fact). Consequently, on the basis of a spatial criterion and in parallel to the ethical novels, I have identified a category of “cultural” fiction that tackles the events of 9/11 at a distance, spatially and conceptually. In essence, 9/11 brings neither shock, nor promise of regeneration to these peripheral settings, except for Joseph O’Neill’s Netherland, a story in which we are returned to a post-9/11 New York where different ethnic subjects can re-negotiate creatively their identities. The cultural novels are ultimately pervaded by a mode of tragic irony that is unthinkable for the ethical novels and that is used in these texts to convey the inanity and hubris of a politically uneducated and naïve America – one that has difficulties to point Afghanistan on a map, or to transcend dualistic schemes of value that embody precisely Bush’s Manichaeism. The potential for cultural pluralism, solidarity and historical memory set up by the New York stories does not ramify into the America that is far away from the neuralgic epicenter of historical trauma. This proves that the traumatizing effects and the related ethical calls engendered by 9/11 remain confined to the New York literature on the topic.

[pt] A tese Exegese bíblica em diálogo com estudos literários apresenta uma nova perspectiva sobre os estudos exegéticos de textos bíblicos a partir de pressupostos teóricos atuais nos estudos de literatura. O acento é colocado sobre questões investigadas pela Estética da Recepção e do Efeito, objetivando a elaboração de categorias novas para o entendimento de processos de leitura. A tese visa, ainda, à formulação de uma historiografia do ato interpretativo cristão, em função de premissas desenvolvidas para a leitura e a construção de sentido de textos literários, transpostas para o campo disciplinar exegético, hoje igualmente aberto ao diálogo e ao questionamento de interpretações fundadas em pressupostos essencialistas. Neste sentido, novas posturas hermenêutico- literárias, levando-se, em consideração, a historicidade de atos interpretativos, são articuladas com o entendimento e a configuração da exegese bíblica, como fenômeno literário cristão e como gênero meta-textual. As premissas heurísticas desenvolvidas por Wolfgang Iser, em vista de uma antropologia literária, oferecendo ao imaginário e aos processos interpretativos novas formas de produção de sentido - em particular na apreciação da obra hermenêutica de Santo Agostinho e no discurso hermenêutico antigo e medieval - representam neste projeto as diretrizes epistemológicas, teóricas e estéticas centrais. / [en] The thesis The Biblical Exegesis in dialogue with the Literary Studies presents a new perspective over the exegesis studies of biblical texts from actual theoretical presuppositions of the literary studies. The differential aspect comes from questions under research by the Aesthetics of Reception and Effect, which aim the elaboration of new categories for the understanding of the reading processes. The study also aims at formulating a historiography of the Christian interpretative act along with premises developed for reading and understanding of literary texts, which are transposed to the exegesis field. Since this latter has been equally open to dialogue and questioning of interpretations based in essentialist presuppositions. In such a sense, considering the history of the interpretative acts, new hermeneutical-literary approaches are articulated with the understanding and the biblical exegesis configuration as a Christian literary phenomenon and as a meta-textual genre. The heuristic premises developed by Wolfgang Iser, which offer new ways of meaning production to the imaginary and the interpretative processes - particularly in the appreciation of the hermeneutic work of St. Augustine and in the ancient and medieval hermeneutic discourse - towards a literary anthropology represent the epistemological, theoretical and aesthetical guidelines of this project.

In this critical review I will explore the aims and influences; themes, characterisation, genre and plot summaries; research impact, publication histories and critical reception of my four novels: Hitman, The Fixer, Baptism and Sacrifice. In addition, I will provide a commentary on the processes and methodology I employed in the writing of the four novels as well as a critical reflection on them. Published between 2000 and 2013, my books represent a body of work that is rooted within the British crime thriller genre. However, in the nature of the novels’ construction and target readerships, they also represent two distinct literary styles. The first two novels, Hitman and The Fixer, published in 2000 and 2001 respectively are satirical thrillers in which I experiment with genre with the intention of unsettling and confounding readers’ expectations while at the same time, testing the boundaries of what the crime fiction genre can sustain. In these two novels, I draw on a range of influences and traditions in literature, film and popular culture. The second two novels, Baptism and Sacrifice, published in 2012 and 2013 are more closely aligned to the accepted conventions of the thriller genre but are no less ambitious in their intention to explore new forms of plotting and characterisation. In their writing, I was influenced more by contemporary geo-politics, particularly surveillance, intelligence, cyber warfare and the terrorist attacks of 9/11 and 7/7 than I was by literature and film. The latter two books continue a theme of experimentation I began in the first two, combining disparate influences to create original fiction. Further reflection will be made on the part that these novels have played, and continue to play, within my ongoing body of work as a novelist, screenwriter and Creative Writing academic.

Se nos primórdios da atividade publicitária no Brasil a participação de literatos na redação de anúncios foi marcante, o cenário atual aponta para a publicidade em um contexto discursivo muito mais complexo, em que a presença da literatura vai muito além de marcas explícitas no texto. Nesse sentido, este trabalho se desenvolve sobre o tema do discurso publicitário brasileiro atual, após seu reconhecimento como processo discursivo em que se fazem presentes outras vozes, entre elas a literatura. Propomos a constituição dos Estudos Mediáticos da Publicidade, a partir da apropriação de categorias deontológicas já desenvolvidas nos Estudos Literários. Tais categorias serão trabalhadas com vistas à análise de mensagens publicitárias, permitindo assim a compreensão da publicidade em sua perspectiva mediática, a partir deste modelo de análise interdisciplinar. / If in the beginning of advertising activity in Brazil the participation of writers in drafting ad was remarkable, the current scenario points to advertising in a much more complex discursive context in which the presence of literature goes beyond the text\'s explicit marks. In this regard, this work is developed on the subject of current Brazilian advertising discourse, after its recognition as a discursive process in which other voices are present, including literature. We propose the setting up of Mediatic Studies of Advertising from the appropriation of deontological categories already developed in Literary Studies. These categories will be worked on aiming towards the analysis of ads, allowing the understanding of advertising in its mediatic perspective, starting from this model of interdisciplinary analysis.