Thesis (Ph. D.)--University of Washington, 1988. / Vita. Includes bibliographical references (leaves [266]-277).

Thesis (Ph. D.)--Georgia State University, 2008. / Title from file title page. Malinda Snow, committee chair; Murray Brown, Tanya Caldwell, committee members. Electronic text (223 p.) : digital, PDF file. Description based on contents viewed July 11, 2008. Includes bibliographical references (p. 215-223).

nÃo hà / Esta pesquisa se debruÃa sobre a atividade jornalÃstico-literÃria de Rachel de Queiroz (1910-2003), publicada na imprensa cearense, no perÃodo de 1928-1952 que ganha contorno num cenÃrio no qual os limites mÃveis do exercÃcio da escrita desempenham papel fundamental na sua formaÃÃo de escritora. Com acesso Ãs fontes primÃrias que se compÃem de arquivos digitalizados dos textos originais, torna-se possÃvel analisar a produÃÃo cronÃstica de Rachel de Queiroz, no contexto da sua escrita em diÃlogo com o desenvolvimento da imprensa brasileira ao longo da primeira metade do sÃculo XX. O aporte teÃrico desta pesquisa tem como base crÃticos e teÃricos da Literatura como Antonio Candido, Massaud MoisÃs, Roland Barthes, Davi Arrigucci Jr., Haroldo de Campos, Henry James, Julio CortÃzar; assim como os historiadores Eric Hobsbawn, Durval Muniz Jr, Maria Helena Capelato, Nicolau Sevcenko e historiadores sociais da ComunicaÃÃo tais como Asa Briggs, Peter Burke, Cristiane Costa, Geraldo Nobre, e teÃricos do Jornalismo com destaque para Alceu Amoroso Lima, Nilson Lage e Josà Marques de Melo. Desta forma, os objetivos desta pesquisa constam da anÃlise e interpretaÃÃo de um conjunto de textos, no qual à possÃvel identificar elementos lÃtero-jornalÃsticos que se destacam desse entrecruzar de escritas e que se realizam num campo de constantes deslocamentos dos limites dos gÃneros literÃrio e jornalÃstico. Dividida em trÃs partes, esta pesquisa apresenta, no primeiro capÃtulo, o contexto histÃrico do desenvolvimento do gÃnero crÃnica no Brasil como atividade literÃria que marca o comeÃo da escrita de Rachel de Queiroz. No segundo, ganha destaque a reflexÃo sobre o gÃnero crÃnica, cujas fronteiras se deslocam entre a Literatura e o Jornalismo e analisamos os elementos que distinguem a escrita de Rachel de Queiroz na composiÃÃo da linguagem com a qual constrÃi os textos publicados em jornal. O terceiro capÃtulo consta de anÃlise e interpretaÃÃo de uma antologia de contos da escritora selecionados entre o conjunto de 168 crÃnicas que compuseram o corpus desta pesquisa. / This research focuses on the literary-journalistic activity of Rachel de Queiroz (1910-2003), published in Cearà and Rio de Janeiro press, within the period of 1928 to 1952, which it is shaped into a scenario where a mobile writing exercise plays a key role in her writing skills development. With the access to primary sources that are composed of files scanned from original texts, it becomes possible to analyze Rachel de Queiroz chronicle production in the context of her writing connected with the development of the Brazilian press throughout the first half of the twentieth century. This research is based on critics and theorists of literature as Antonio Candido, Massaud MoisÃs, Roland Barthes, Davi Arrigucci Jr., Haroldo de Campos, Henry James, Julio CortÃzar, as well as historians Eric Hobsbawm, Durval Muniz Jr, Maria Helena Capelato, Nicolau Sevcenko and social historians of Communication such as Asa Briggs, Peter Burke, Cristiane Costa, Gerald Nobre, and theorists of Journalism highlighting Alceu Amoroso Lima, Nilson Lage and Josà Marques de Melo. Thus, the objectives of this research contains the analysis and interpretation of a set of texts in which it is possible to identify literary-journalistic elements that stand out among this crossing of written materials and take place in a field of constant boundaries shifts of literary and journalistic genres. Divided into three parts, this research presents in the first chapter, the historical development of the chronicle genre in Brazil as literary activity that marks the beginning of the writing of Rachel de Queiroz. In the second section, it is highlighted the reflection on the chronicle genre, which boundaries move between Literature and Journalism. Moreover, the research analyzes the elements that distinguish the writing of Rachel de Queiroz in the composition of the language with which the author builds the texts published in newspapers. The third chapter consists of the analysis and interpretation of an anthology of short stories from the writer selected among the group of 168 chronicles that composed the corpus of this research.

Atualmente, a autobiografia é considerada um gênero literário de grande alcance, o que pode ser verificado pela quantidade de títulos e variedade de obras. No entanto, sua definição não deixa de ser complexa como demonstram os numerosos estudos consagrados à matéria (Starobinski, 1970, Genette, 1972, Lejeune, 1975). A premissa que norteia a presente pesquisa sustenta-se na ideia que perante as narrativas autobiográficas, na verdade, são as estratégias ficcionais as construções narrativas que serão relevantes. Esta investigação tem por objeto o estudo da escritura autobiográfica do escritor francês Louis-Ferdinand Céline e no decorrer deste trabalho demonstraremos que diante do processo autobiográfico, certamente a problemática do estilo é de relevância ímpar uma vez que a construção de si, por parte do autor, se dá através da escritura. Neste sentido, sua produção literária nos parece ser das mais significativas. De fato, quando Céline escreve, não se impõe como necessária uma identidade entre autor, narrador e personagem ou em reconstituir a verdade de sua trajetória de vida preceitos do pacto autobiográfico mas sim em construir variações ficcionais sobre sua vida através de uma escritura suficientemente expressiva permitindo traduzir a emoção e os sentimentos dolorosos de sua realidade. Assim sendo, a hipótese que tentaremos demonstrar, a partir do estudo de nosso corpus literário, o romance Mort à crédit, é a de que Céline desenvolveu uma nova escritura autobiográfica que daria a primazia ao estilo e para tanto teria modificado as regularidades formais do gênero ao ressaltar a importância da enunciação em relação aos conteúdos. Com Céline, o discurso não tem como primeiro objetivo a narração de uma história: o importante é a expressão, ou seja, a preeminência da função estética. / Nowadays, the autobiography is considered a wide-ranging literary genre, which is borne out by the great number of titles and variety of works. However, its definition remains complex, which is demonstrated by the number of studies devoted to the subject (Starobinski, 1970, Genette, 1972, Lejeune, 1975). The guiding premise of the present study is based on the idea that facing autobiographical narratives, in reality, are fictional strategies narrative constructions which will be of significance This research has as its object the study of the autobiographical writings of the French writer Louis-Ferdinand Céline. In the course of this work we shall be demonstrating that faced with the autobiographical process there can be no doubt that the question of style assumes disproportionate relevance, given that the the construction of self by the author is produced through the writing . In this sense, Celines literary output shows itself as one of the most significant. In fact, when the author writes the question of identity does not impose itself on author, narrator and character, or endeavor to reconstitute the truth of his lifes trajectory precepts faithful to the autobiographical covenant but rather constructs fictional variations of his life through a form of writing sufficiently expressive as to translate his reality into feelings of pain and emotion. Given the aforementioned, the hypothesis that we shall endeavor to demonstrate, based on the study of our literary corpus, the novel Death on Credit is that it is from this that Celine developed a new autobiographical structure which would give primacy to style, thereby modifying the formal order of the genre by emphasizing the importance of expressivity over content. With Celine, the main objective of discourse is not narrating a story, that is to say, the preeminence of the aesthetic function.

The aim of the thesis called Thematic constants of Pirandello's literary production through intertextuality is to illustrate inner thematic and mental interconnection of Pirandello's writing with intertextuality quotations which can be found in whole production of Luigi Pirandello across all genres to which he devoted. The main text will be the essay On humor, particularly the second part, wherein the author declares his poetics. The dissertation will observe the inception of his poetics in the texts preceding the essay (e.g. The Late Mattia Pascal) but also developing of the essay in texts created in period between two versions of On humor (e.g. So It Is, If You Think So), and also texts which were written after 1921 (Six Characters In Search of an Author, Henry IV, One, No one and One Hundred Thousand). In this work, we will focus on thematic constants which come from Pirandello's poetics of humour. I will also pay attention to exceeding or demolishing of borders between the genres: essay-prose-drama and also shifts as a result of transition (rewrite) from one genre to another one (e.g. short story Leonora, addio! → drama Tonight We Improvise; novel The Notebooks of Sarafino Gubbio, Cinematograph Operator → drama Each In His Own Way, and the like).

This thesis analyzes the political essays of critically-acclaimed and best-selling Colombian author William Ospina (b. March 2, 1954) within the context of the contemporary political Spanish American essays published post 1989. Taking into account his original Romantic answer to the Spanish American left ideological crisis at the end of the 20th century, and the debate which arose among his commentators on the merits of his rhetorical and argumentative techniques used to justify his theses, I examine Ospina´s main political essays using Belgian philosopher Chaïm Perelman's argumentation theory. I claim that, despite his prominence as one of Colombia´s public opinion leaders and most politically engaged intellectuals, his originality within recent Spanish American essay and thought, and the relevance of his warnings against modern society's biggest problems and contradictions, the author’s controversial rhetoric and argumentation fell short of supporting his critique of Western civilization and promoting his Romantic alternatives to current problems. I also claim that Ospina's preference for certain argumentative devices results in literary texts which struggle between the essay and the pamphlet, and oversimplifies the Romantic ideas he tries to defend. Finally, my work has allowed me to point out the lack of academic studies and concrete textual analysis on Ospina´s essays and literary works, the recent Spanish American essay after 1989, and the study of the Spanish American essay’s argumentative purpose, structure and techniques, making this study a first step in the further development of these fields.

No description available.

This thesis examines the Gothic element in the novels of Charles Brockden Brown and his influence on future writers.

This thesis examines the forms and functions of self-consciousness in contemporary Gothic fiction. Though self-consciousness is an often-mentioned characteristic of Gothic writing, it has yet to be explored in sufficient depth. In particular, critics have failed to recognise the manner in which the myriad forms of textual and generic self-reflexivity at work contribute to the fiction’s fearful agenda: how self-consciousness in the Gothic is itself Gothicised. This thesis argues that, rather than being an ancillary quirk of generic coherence or an indication of creative exhaustion, self-consciousness has become an integral part of the genre’s terroristic project, a new source and representational mode of terror. In the wake of postmodern and post-structural theory, the genre’s longstanding interest in reading, writing and textuality has been renewed, re-contextualised and redeployed as a key feature of the Gothic ‘effect’. My original contribution to knowledge is a charting of the intersections between the Gothic and this critical perspective on the text. In particular I explore how the Barthesian reorientation of the text is redeployed in Gothic fiction as a source of terror. Rather than pursuing an author-centric division of chapters I have organised the thesis around types of self-conscious commentary that occur throughout the contemporary Gothic. These are: a focus on the process of writing and textual composition; the internalisation and Gothicised representation of critical theory; an acute awareness and meta-commentary on the critical and commercial contexts of Gothic; and intertextuality. Key texts include Stephen King’s Misery (1987), Mark Danielewski’s House of Leaves (2000), Chuck Palahniuk’s Haunted (2005), A.N. Wilson’s A Jealous Ghost (2005), R. M. Berry’s Frank (2005) and Peter Ackroyd’s The Casebook of Victor Frankenstein (2008). This selection of texts is representative of a varied but coherent inward turn in the Gothic fiction of recent decades. It is, however, by no means exhaustive and supplementary evidence will be provided from additional texts. Equally, it is important to contextualise this contemporary turn in relation to an established vein of self-consciousness in the Gothic, present since its inception. As such, my approach is firstly to trace a lineage of reflexivity and to draw upon that tradition in demonstrating how contemporary Gothic writers have honed this technique to a uniquely terrifying purpose.

Cette étude vise à définir le débat comme un genre, qui se constituerait à la fin du quatorzième siècle dans le sillage des jugements de Guillaume de Machaut. Une approche chronologique du corpus met en valeur la manière dont le débat se détache dans l’ensemble composite de la littérature de dispute : il développe une structure qui lui est propre, fondée sur un dialogue conflictuel s’achevant par un appel au jugement du lecteur, qui laisse en suspens la question. Il s’inscrit dès lors dans des pratiques ludiques qui lui donnent sens, et qui parodient la dialectique et la rhétorique pour faire émerger une parole individuelle, en prise avec un public : dialogue à décrypter entre des êtres ambivalents, où l’auteur-narrateur se fait personnage et abdique son autorité, le genre appelle une diction, voire une mise en scène. Le débat entretient donc un rapport étroit avec l’évolution de la lyrique courtoise vers une forme de poésie morale, qui fait vaciller les catégories de pensée grâce au jeu du dialogue et à la possibilité de lectures multiples. Il met en avant une forme de savoir qui se constitue dans un rapport personnel du lecteur au texte, tout en conservant la musique de la parole vivante et la richesse dramatique du jeu. / The aim of this study is to establish a definition of the debate as a literary genre, that would establish itself as such at the end of the fourteenth century in the wake of the Jugements by Guillaume de Machaut. A chronological approach of the corpus shows how the debate can be identified in the midst of the different kinds of dispute literature : it develops its own structure, based on an antagonistic dialogue ending with a plea to the reader’s wisdom, which leaves the issue open. It comes within the scope of recreational practices that give it meaning, and that parody dialectic and rhetoric in order to let an individual voice be heard directly by an audience : this genre consists in a dialogue between ambiguous beings, which has to be decrypted, where the author-narrator is a character and relinquishes his authority ; it needs to be spoken, or even performed. The debate has to do with the evolution of courtly lyricism, which tends to become a poetry dealing mainly with ethics and upsetting traditional categories of thought through the use of dialogue and the possibility of multiple meanings. It privileges a form of knowledge which consists in a personal relationship of the reader with the text, while still retaining the music of oral speech and the dramatic intensity of play.