Este trabalho procura explorar o ponto de vista de Aquino Corrêa, que pressupõe a adoção de um comportamento crítico diante do poema, assentado na análise da forma e do conteúdo, admitindo a existência de uma norma de uso da língua na modalidade literária capaz de expressar na obra a distinção dessas duas entidades: a forma e a matéria ou fundo. A perspectiva adotada para a realização deste estudo foi a de análise do discurso crítico com que Aquino Corrêa analisa estas duas entidades para determinar a função das obras, no interior do sistema literário de onde elas emergiram. Alicerçados na sua biobibliografia elegemos os pontos fundamentais que sustentam o estilo particular do escritor e os critérios que o mesmo defende para conceber o texto elevado à categoria de literário mediante o tratamento dispensado à forma e ao conteúdo. O princípio teórico fundamental desta tese assenta-se na concepção da natureza universal do texto literário constituído como expressão de um conteúdo que ganha uma forma determinada tanto no processo de escrita quanto de análise do texto, implicando em procedimentos essenciais à realização da crítica literária, a qual visualiza a obra configurada no desabrochamento simultâneo de uma estrutura e de um pensamento, no amálgama solidário de uma forma e de uma experiência individual. Nesta relação, distinguemse a literatura enquanto arte criativa e os estudos literários como um enfoque especializado do texto que possibilita à crítica traduzir a experiência criativa da literatura através de procedimentos específicos que a subsidiam e a legitimam.Neste prisma em que o texto é analisado nas suas categorias estruturais e nas relações de significação com o autor, a língua literária subordina-se a determinadas normas lingüísticas que funcionam como reguladoras dos procedimentos tanto de elaboração como de avaliação crítica do texto, promovendo a depuração dos excessos tanto da linguagem revolucionária dos modernistas quanto dos resíduos lusófilos dos tradicionalistas (LEITE, 2006: 31). / This work looks for to explore point of view of the Aquino Corrêa that ahead estimates the adoption of a critical behavior of the poem seated in the analysis of the form and the content, admitting the existence of a norm of use of the language in the literary modality capable to express in the workmanship the distinction of these two entities: the form and the contents or the deep substance.The perspective adopted for the accomplishment of this study was of analysis of the critical speech with that Aquino Corrêa analyzes these two entities to determine the function of the workmanships in the interior of the literary system of where they had emerged. The basis of our argument is in his biobibliography we choose the basic points that support the particular style of the writer and the criteria that the same defends to conceive the high text to the literary category by means of the treatment excused to the form and the content.The theoretical basic principle of this thesis is based in the conception of the universal nature of the literary text consisting in the place where the content in such a way gains definitive form for the process of writing how much of analysis of the text implying in essential procedures to the literary accomplishment of the critical one, which analyzes the workmanship configured in the simultaneous unclasping of a structure and a thought, in the solidary amalgam of a form and an individual experience. In this relation they distinguish it literature while creative art and the literary studies as one specialized approach from the text that it makes possible to the critical one to translate creative of literature the experience through specific procedures that subsidize it and they legitimize it. In this prism where the text is analyzed in its structural categories and the relations of means with the author, the literary language subordinates it definitive linguistics norms that they function in such a way as regulating of the procedures of elaboration as of critical evaluation of the text, promoting the purification of the excesses in such a way of the revolutionary language of the modern movement how much of the lusófilos residues of the traditionalists (LEITE, 2006:31).

Este trabalho propõe uma interpretação da obra Memórias do cárcere (1953), de Graciliano Ramos, tendo como eixo de análise a configuração do narrador no relato. Por meio dela, o estudo busca desentranhar, do texto que propõe a confissão do sujeito à beira da cova, os materiais trabalhados pelo escritor. Desse modo, pode-se apreender a estruturação interna desse material como sedimentação de uma realidade historicamente pautada. A hipótese é a de que a reconstrução da experiência de cadeia por parte do narrador situado entre os anos 1940 e 1950 permite-lhe, a partir da fusão de vozes e temporalidades e da reflexão contundente sobre uma situação-limite, pôr em questão aspectos da sociabilidade brasileira, impasses situados no âmbito da política partidária e dilemas que caracterizam a complexa situação, na modernidade, do intelectual dependente e empenhado. / This study intends to offer an interpretation of the work Memórias do cárcere (1953), by Graciliano Ramos, having as its axis of analysis the configuration of the narrator throughout the account. By means of this configuration, the study aims at extracting, from the text that offers the confession of a subject who has one foot in the grave, the materials that were addressed by the writer. In this way, its possible to apprehend the internal structuration of this material as the sedimentation of a historically determined reality. The hypothesis is that, between the 1940s and 1950s, the narrators reconstruction of his experience in jail enables him, through the fusion of voices and temporalities and by means of an incisive reflection on a limit-situation, to question aspects of the Brazilian sociability, vicissitudes pertaining to the realm of party politics and dilemmas that characterize the complex situation of the dependent and engaged intellectual in modernity.

Este trabalho propõe uma interpretação da obra A hora da estrela, de 1977, de Clarice Lispector, tendo como eixo de análise o ponto de vista do narrador na tentativa de representação de seu outro de classe. Para tal, enfrenta-se o romance em três aspectos: dentro do conjunto da obra da autora; dentro de um recorte da tradição literária brasileira; e pelo close reading. A hipótese é a de que, em A hora da estrela, o ponto de vista do narrador permite apreender aspectos decisivos da relação do intelectual brasileiro com seu outro de classe, a quem conhece apenas como fantasmagoria criativa / This study provides an interpretation for Clarice Lispectors A hora da estrela (1977), taking the point of view of the narrator as the main line of analysis, in an attempt to represent his other of class. In order to do so, the novel is considered in three different aspects: within the overall work of the author, in relation to part of the Brazilian literary tradition, and by means of close reading. The hypothesis is that, in the above-mentioned novel, the narrators point of view allows us to capture some critical aspects concerning the relationship between the Brazilian intellectual and his other of class whom he only knows as a creative phantasmagoria

Orientadores:Maria Viviane do Amaral Veras, Jean-François Massol / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T09:39:01Z (GMT). No. of bitstreams: 1 Neves_CynthiaAgradeBrito_D.pdf: 27804892 bytes, checksum: 048e89d72b041e870a1d6ab6d29175a5 (MD5) Previous issue date: 2014 / Resumo: Esta tese, inserida na área da Linguística Aplicada, em especial, em Linguagens e Educação Linguística, procura discutir historicamente o ser ou não ser gêneros literários e poéticos como gêneros discursivos/textuais, traçando uma discussão teórica com Bakhtin (1990, 2003), Bosi (2000), Combe (1992), Eagleton (1997, 2012), Genette et al (1986), Macé (2004), Marchuschi (2008), Nancy (2004), Schaeffer (1989), Siscar (2010), Soares (2001) e Tezza (2006). Em seguida, a pesquisa assume a perspectiva de uma LA transdisciplinar de acordo com Cavalcanti (1998), Celani (1998), Fabrício (2006), Kleiman (1998), Rajagopalan (2006), Rojo (2006) e Signorini (1998), bem como indisciplinar (Moita Lopes, 1998, 2006) e transgressiva (Pennycook, 2006), com o objetivo de buscar raízes e vínculos transversais com a França, heranças e influências da pedagogia francesa na formação do nosso ensino secundário, sobretudo no século XIX, quando o Colégio Pedro II, a escola modelo, era referência nacional e importava seu currículo dos lycées franceses (Razzini, 2000). Além do Colégio Imperial, fazem parte desse legado também as Congregações Maristas, os Liceus e a Escola Normal. A partir de então, a tese investiga o ensino de Literatura na contemporaneidade, destacando a presença dos gêneros poéticos em currículos e avaliações oficiais estabelecidos pelo Ministério da Educação do Brasil. Nessa etapa da pesquisa, reivindicamos o lugar dos gêneros literários e poéticos nos documentos oficiais que regem o ensino médio nacional. Contrastamos também as avaliações do Exame Nacional do Ensino Médio (ENEM) e do Baccalauréat (bac) francês, sempre atentando para o tipo de formação (competências e habilidades de Linguagens, Códigos e suas Tecnologias) que se almeja dos alunos nessa faixa de escolaridade. Como etapa final, a pesquisa de campo, em consonância com a metodologia de geração de registros e análise crítica dos dados (Moita Lopes, 1994), uma pesquisa qualitativa, subjetivista e interpretativista, de cunho etnográfico (Kleiman, 1998), a partir da observação de um total de 90 horas de aulas de Língua Materna, no Brasil e na França, fazendo-se uso da triangulação: i) o diário de classe e o journal de bord; ii) o questionário dos professores; iii) as avaliações orais e escritas. Na análise do corpus selecionado, atentou-se para currículos e avaliações do Ensino Médio em contraste no Brasil e na França, isto é, observou-se como o ENEM e o bac são trabalhados com os alunos cá e lá; como se realiza o ensino/aprendizagem ¿ seja através da leitura em voz alta ou da escrita ¿ dos gêneros poéticos em sala de aula. Constatou-se que, por detrás dos muros dos lycées franceses e das escolas brasileiras, há muito mais semelhanças nas práticas pedagógicas que diferenças. Tanto cá quanto lá, os alunos procuram burlar os formalismos poético e institucional ao se interessarem pela pessoa do poeta, ao soltarem a voz no rap de protesto, ao interpretarem Rimbaud à sua maneira, ao escreverem poesias com palavras vulgares, ao se deixarem tocar pelo discurso poético: ao (se) ler, (se) dizer, (se) escrever, o aluno-leitor de poesias se coloca no mundo / Abstract: Situated in the field of Applied Linguistics, particularly in the area of concentration Languages and Linguistic Education, this thesis aims at discussing, with regard to history and the shadowing of the Shakespearean wandering "to be or not to be", whether literary and poetic genres are or are not discursive/textual genres. In order to do so, a theoretical discussion will be drawn regarding Bakhtin (1990, 2003), Bosi (2000), Combe (1992), Eagleton (1997, 2012), Genette et al (1986), Macé (2004), Marchuschi (2008), Nancy (2004), Schaeffer (1989), Siscar (2010), Smith (2001), and Tezza (2006). Assuming the perspective of an Applied Linguistics that is transdisciplinary (Cavalcanti,1998; Celani, 1998; Fabrizio, 2006; Kleiman, 1998; Rajagopalan, 2006; Rojo, 2006; Signorini, 1998), indisciplinary (Moita Lopes, 1998, 2006), and transgressive (Pennycook, 2006), the research will seek roots in and cross bonds with France by investigating the influences and heritages of French pedagogy in Brazilian secondary education, especially in the nineteenth century, when the model school Colégio Pedro II was a national reference and imported its curricula from French lycées (Razzini, 2000). Besides the Colégio Imperial, the Congregações Maristas, the Liceus and the Escola Normal also belong to such legacy. Considering it, the thesis investigates Literature teaching in contemporaneity, seeking both to highlight the presence of poetic genres in curricula and official assessments established by the Ministry of Education of Brazil, and to question and claim the place of literary and poetic genres in official documents that rule the national high school. Also, it contrasts the assessments of Brazil¿s National High School Exam (ENEM) and France¿s Baccalauréat (bac), always attentive to the type of training (skills and abilities of Languages, Codes and its Technologies) that students are expected to have in this level of schooling. As a final step, and aligned with a methodology of generating records and critical data analysis (Moita Lopes, 1994), a qualitative, subjectivist and interpretivist ethnographic-orientated field research (Kleiman, 1998) is conducted. The observation of a total of 90 hours of lessons of Mother Tongue, both in Brazil and in France, was carried out using the triangulation technique: i) class record book and journal de bord; ii) teachers¿ questionnaire; iii) oral and written assessments. The analysis of selected corpora took into consideration the curricula and assessments of high school comparing Brazil and France, that is, how the contents of ENEM and bac are worked with students of both countries; how poetic genres¿ teaching/learning process is performed in the classroom - whether through reading aloud or writing. Study results show that, behind the walls of French lycées and Brazilian schools, there are far more similarities than differences in regarding the teaching practices. In both nations, students try to detour themselves from poetic and institutional formalities becoming interested in the poet¿s selfhood, expressing themselves in protest rap, interpreting Rimbaud in their own way, writing poetry with vulgar words, letting themselves be touched by poetic discourse: by reading (themselves), saying (themselves) and writing (themselves), student-readers of poetry place themselves in the world / Doutorado / Lingua Materna / Doutora em Lingüística Aplicada

Orientador: Haquira Osakabe / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-04T05:45:34Z (GMT). No. of bitstreams: 1 Filizola_Anamaria_D.pdf: 9898200 bytes, checksum: aaf8d5d32f97737dc6bfeb5c08bf8ef4 (MD5) Previous issue date: 2000 / Resumo: Este trabalho analisa as cinco biografias escritas pela romancista portuguesa Agustina Bessa-Luís, a saber: Santo António (1973), Florbela Espanca - a vida e a obra (1979), Sebastião José (1981), Longos dias têm cem anos - presença de Vieira da Silva (1982) e Martha Telles - o castelo que irás e não voltarás (1986). O interesse pelo traço biográfico, manifestado em O susto (1958), romance à clefcujos personagens são inspirados nos poetas Teixeira de Pascoaes e Femando Pessoa, vai se tomar mais evidente após a publicação de Santo António. Tal livro marca uma nova fase na obra da Autora, em que predomina a pesquisa histórica para dar conta de um passado mais longínquo, não alcançado pela memória, seja em romances à elef ou não, e em ensaios. A presença do traço biográfico nessa produção, além das próprias biografias, justifica a pesquisa que busca identificar quais as marcas caracterizadoras desse discurso não ficcional. O trabalho se organiza em três partes. A primeira consiste dum estudo abrangente da obra da Autora, incluindo os ensaios, seguido de um levantamento do estado da arte do discurso biográfico, com o objetivo de estabelecer um protocolo de leitura das biografias. A segunda parte aborda os já citados cinco textos na ordem cronológica em que foram publicados, analisando-se o processo criador das biografias, as quais se apresentam com formatos e enfoques diferentes, mas com marcas comuns, entre as quais destacam-se: a) insatisfação com a produção existente a respeito do sujeito biografado, evidenciando-se aí uma falta que deverá ser suprida pela escritura da biografia em causa; b) desobediência a uma ordem cronológica linear da narrativa, em que o mesmo fato é evocado em diferentes momentos da vida narrada e da narração, resultando numa abertura do texto a diferentes interpretações de ações ou fatos acontecidos na vida do sujeito biografado; c) predileção por documentos escritos pelo biografado como cartas, bilhetes, poemas, sermões, discursos, que se apresentam como meios autênticos de expressão do ser. Mais importante, porém, é que a citação desse discurso do Outro dá ensejo à criação do texto agustiniano, de tal modo que aquela produção se toma parte indissolúvel do discurso da Autora. O resultado dado a ler revela o interesse provocado pelo sujeito biográfico, cuja vida se apresenta como um enigma a ser decifrado, ou como adivinha a ser demonstrada pela biógrafa que desempenha um papel de detetive, à procura de pistas que levem a completar o quebra-cabeça a ser resolvido. O desenho formado pelas peças reunidas, no entanto, é mutável, não prevalecendo nenhuma conclusão fechada, de modo que o sujeito biográfico não se apresenta ao leitor como mitificado com complacência ou radicalismo: é a sua condição humana complexa que é dada a conhecer. Assim, não ficam de fora as fraquezas, os vícios, os defeitos, ao lado das realizações que tomaram a pessoa um sujeito biográfico. Nesse sentido, determinados acontecimentos, ou sua falta, são identificados pela Autora como a "prova da existência" desses indivíduos, ou, como o momento em que sua força plástica é reconhecida publicamente. A terceira parte é a conclusão. Reitera-se o processo criativo da escrita das biografias, diferente da criação ficcional, e conclui-se que, se a obra ficcional de Agustina Bessa-Luís é reconhecida pela crítica como ficcionista, o mesmo não acontece com seus trabalhos de cunho ensaístico em geral e biográfico em particular. No entanto, não deixa de haver uma recognição de seu trabalho de biógrafa, pois das cinco biografias, apenas a de Santo António é fruto de sua vontade, as demais lhe são todas encomendadas / Abstract: The present work analyzes the five biographies written by the Portuguese novelist Agustina Bessa-Luís, namely: Santo António (1973), Florbela Espanca - a vida e a obra (1979), Sebastião José (1981), Longos dias têm cem anos - presença de Vieira da Silva (1982) and Martha Telles - o castelo que irás e não voltarás (1986). The interest in the biographical trace manifested in O Susto (1958), an 'à ele! novel whose characters are inspired on the poets Teixeira Soares and Fernando Pessoa, becomes more evident after the publication of Santo António. This book stands as the landmark of a new phase in the Author' s life characterized by the dominance of historical research in order to account for a more distant past, not reached by memory, either in novels - 'à elef' or not - or in essays. The presence of the biographical trace in this production, apart from the biographies themselves, justifies the present research as a step toward the identification of the characterizing marks of this non-fictional discourse. The present work is organized in three parts. The first consists of a comprehensive study of the Author' s work, including her essays, followed by a state of the art research focusing on the biographical discourse aiming at establishing a reading protocol for those biographies. The second part deals with the five above-mentioned texts in chronological order according to their date of publication, analyzing the creative process of biographies, which present themselves in different formats and approaches, nonetheless sharing some marks among which we can point out: a) dissatisfaction with the available production about the biographee, thus evidencing a gap that will be filled in by the writing of the biography in case; b) disregard for a linear chronological order of the narrative, in which the same fact is evoked in different moments of the narrated life and of the narration, leaving the text open to different interpretations of actions or facts that happened in the biographee's life; c) preference for documents written by the biographee such as letters, notes, poems, sermons, speeches, that present themselves as genuine ways of expressing the being. More important, however, is that the citation of this discourse of the Other allows for the creation of the Agustinian text, so much so that that production becomes an indiscerptible part of the Author' s discourse. The result offered for reading reveals the interest raised by the biographee, whose life presents itself as an enigma to be solved, or as a riddle to be demonstrated by the biographer who performs the role of a detective, looking for clues that lead to the completion of a jigsaw puzz1e. The picture formed by the reunited pieces, however, is changeable, not prevailing any closed conclusion, in such a way that the biographee is not presented to the reader as mythicized with complacency or radicalism: it is their complex human condition that is made known. Thus, weaknesses, vices, flaws are not left out and are presented side by side with the achievements that turned the person into a biographee. In this sense, certain events - or the lack of them - are identified by the Author as the 'proof of existence' of these individuaIs or as the moment in which their plastic force is publicly recognized. The third part is the conclusion. The creative process of biography writing is reaffirmed as different from the fictional creation and we conclude that, if the fictional work of Agustina Bessa-Luís is recognized by the critics as fictionist, the same does not happen with her essay-type works in general and her biographic-type works in particular. Nevertheless, this does not invalidate the recognition of her work as a biographer for, out ofthe five biographies, the one of Santo António is a product of her own wish, whereas the others had alI been ordered. / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

The thesis examines the five plays published by August Strindberg under the label of Chamber Plays: Stormy Weather, The Burned Lot, The Ghost Sonata, The Pelican (all 1907), and The Black Glove (1909). It takes its point of departure in a particular aspect of Strindberg’s way of writing as he actually describes it himself: during the act of deliberate composing, a productive fever tends to emerge bringing an element of chance to the work. The thesis defines the effect produced by this “fever” as the tension generated between, on the one hand, structure or form, and, on the other hand, style or writing. These concepts are associated with a tradition, primarily in French literary theory, which pays attention to what is described as a friction between the general linguistic aspect of literature (genres, recurring and recognizable patterns) and the individual aspect (the peculiar and idiosyncratic style of an author embodied in his material habitus). Thus the ambiguity found in the thesis’ title: the “mold” alludes partly to the stereotypes or matrices of language, partly to the “fungi” that, according to Strindberg, could be considered an adequate image for writing; the poetic work, says Strindberg, grows like mold from the author’s brain. Theoretical questions, primarily of a formal and interpretational nature, are continuously discussed since one of the main points is that the Strindbergian way of writing restricts what kind of interpretation may be given his works. The eventual contrast between form and interpretation is, furthermore, related to a general theme developed throughout the Chamber Plays concerning the meaning of life. It is stressed that the five plays show distinct formal and thematic differences; thus, a separate chapter is dedicated to each of them. The chapter on Stormy Weather examines the structural use of focus and the hierarchy of character-functions related to the centering on a protagonist. The Burned Lot is discussed from the concept of a ruin to describe how a multitude of conflicting forms come together to produce a fragmentary result. The Ghost Sonata is described in terms of simulation: while Strindberg alludes to certain dramatic patterns, he also distorts them whereby new effects are created. The chapter on The Pelican explores the temporal flow of the play and how it relates to writing. The thesis ends with a discussion of The Black Glove and its relation to the preceding Chamber Plays and also to the Strindbergian oeuvre. The concept of weed is used to distinguish a recurring element in Strindberg’s work as well as in his worldview. Throughout the thesis, the discussion is consistently related to previous studies and commentaries on the plays.

This dissertation examines representations of deep time in nineteenth-century British novels in order to argue that these texts help carve a path for our contemporary definitions of deep time and the Anthropocene. Examining fiction by Charles Dickens, George Eliot, Thomas Hardy, Edward Bulwer-Lytton, H. Rider Haggard, H. G. Wells, and Joseph Conrad, I suggest that these novels participate in the secularization of deep time by transforming the concept of vast spiritual time that had been in use earlier in the nineteenth century into a scientifically-informed model that anticipates our current understandings of deep time. While the concept of geological time emerged in the late-eighteenth century and became widely recognized in the nineteenth, the phrase “deep time” originates in nineteenth-century literature when Thomas Carlyle first used it in a non-scientific context. By studying a wide range of fiction, I demonstrate how nineteenth-century authors employed innovative narrative strategies to convey these potentially inconceivable timescales in non-numerical terms, and thereby make them more accessible to human comprehension. I also challenge conventional distinctions between literary realism and popular romance in the period by analyzing the complementary ways in which both genres of fiction engage with vast temporal scales in their narratives. I develop my argument by examining how these novels use a model of what I call “folding time” to incorporate remote time periods into their texts. Departing from the novel’s linear narrative structure to bring distant historical moments into direct contact with one another, folding time situates human activity in relation to vast pre-and-post-human periods and in doing so acknowledges an age of humans within deep time; in this sense, these novels articulate an early concept of the Anthropocene. By including deep time in the novel’s traditionally individual and familial framework, these authors simultaneously expand the novel’s temporal scope and humanize vast scientific timescales. Further, as these novels illustrate characters’ psychological responses to overwhelming scientific timescales, they reposition deep time in relation to private temporal experience. This study employs an interdisciplinary approach to acknowledge the mutually reciprocal relationship between science and literature in the nineteenth century, and draws on temporality studies, history of science theory, and literary criticism to situate its argument in relation to current critical discussions. I also consider the work of scientists such as Charles Lyell, Charles Darwin, and William Thomson in order to contextualize my novels’ scientific references. By studying nineteenth-century British novels in relation to scientific temporalities, this dissertation recovers an overlooked component of the history of deep time that has had significant and lasting cultural influence given the enduring popularity and wide readership of these texts.

Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T09:31:29Z (GMT). No. of bitstreams: 1 Zouvi_AlinedeAlvarenga_M.pdf: 20010510 bytes, checksum: 7961a9cb7fab81dcec6c56a743811134 (MD5) Previous issue date: 2015 / Resumo: Este trabalho tem como objetivo a análise da obra autobiográfica da cartunista estadunidense Alison Bechdel publicada no formato livro, composta, até o momento, por duas histórias em quadrinhos: Fun Home ¿ A Family Tragicomic (2006) e Are you my mother? ¿ A Comic Drama (2012). Além do estudo de obras autobiográficas em quadrinhos e as implicações desta combinação de meio e gênero, visamos observar a maneira como Bechdel estrutura suas narrativas através da intertextualidade com outras produções, sejam elas literárias, psicanalíticas, ou imagéticas. Nossa atenção será voltada para o uso que Bechdel faz de tais obras e qual a relação desta construção de paralelos com a sua criação autobiográfica, na qual articula obras e biografias (das personagens relacionadas à sua história e experiência de vida) em diversos níveis, bem como a maneira como a autora reflete sobre o próprio ato de autobiografar-se ao longo de suas obras / Abstract: The aim of this work is the analysis of the autobiographical work of American cartoonist Alison Bechdel, published in book form, composed, so far, of two comics: Fun Home ¿ A Family Tragicomic (2006) and Are you my mother? ¿ A Comic Drama (2012). Apart from the study of autobiographical works in comics and the implications of this specific media and genre combination, we aim to observe how Bechdel structures her narratives through intertextuality with other productions, such as literary, psychoanalytic, or imagery. Our attention will be focused on the use that Bechdel makes of such works and what is the connection between the building of parallels with the author's autobiographical production in which she articulates the works and biographies (of the characters related to her history and life experience) at various levels, as well as the way the author critically thinks, while constructing her autobiographies, of the act of autobiography itself / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

This thesis suggests the incorporation of "Genre Theory" into First Year Composition (FYC) at California State University (CSUSB) as a means of alleviating the lack of transfer of what is learned in FYC to other university writing. In examing the feasibility of that incorporation, it takes into consideration the demands made on the FYC course across universities and specifically at CSUSB.

This study probes selected stories from Bessie Head's The Collector of Treasures (1977) in order to elicit instances of contiguity and disjuncture between orality and literacy, to establish Head's complex identity configurations which are often manifested in the interactions between aesthetic form and content, authorial consciousness, character delineation, and narrative voice. At the same time, the dissertation explores her portrayal of the proscribed condition of women, the subversive consciousness that undercuts women's subjugation by patriarchy, and her vision for the liberatory possibilities for women from the exigencies of patriarchal domination. I also examine Head's (re-)vision of culture within the framework of hybridity and creolity and determine how some of these perspectives are crystallized in discourses such as When Rain Clouds Gather (1968), Maru (1971) and A Question of Power (1973). I juxtapose my reading of Head with other African writers such as Bâ, Emecheta and Nwapa to draw references in instances where the context permits. The dominant critical approach adopted in this thesis is a contextual approach. I consider this approach useful for my purposes because of its flexibility, the attention it pays to the formal properties of literary texts and, its cognizance of the socio-historical genesis of texts and its demonstration of literature's timeless value. / English Studies / M.A. (English)