Thesis (doctoral)--Universiteit te Groningen, 1928. / Includes bibliographical references (p. [223]-228).

Thesis (doctoral)--Universiteit te Groningen, 1928. / Includes bibliographical references (p. [223]-228).

This dissertation offers a revisionist account of American regionalist fiction. In particular, it contests prevailing diagnoses of the genre as bourgeois nostalgia by locating within its content and form a radical utopian impulse. By drawing out their engagement with socialist, feminist, anti-racist, and environmental protection movements, this project shows how regionalist texts perform both the utopian work of envisioning progressive futures and the necessarily regionalist work of orienting and charting a path toward those futures on a localized scale. Although our historical understanding of social movements during the Long Gilded Age is largely framed in the Nationalist and (proto-)Progressive politics of much overtly utopian fiction, comparative readings of William Dean Howells, Sarah Orne Jewett, Charlotte Perkins Gilman, Charles W. Chesnutt, Sutton E. Griggs, W. E. B. Du Bois, and Kate Chopin reveal within regionalist fiction a more radically democratic model for social change. This suggests, in part, that regionalist writers of the 1870s through the 1910s imagined the local rather than the national as the scale on which social change could and should be carried out.

A school of fiction known as local color emerged following the Civil War. It reached its peak of productivity during the 1880's, and faded at the turn of the century. The purpose of this study is to illuminate the Southern authors of this school, giving major emphasis to their genre in relation to their significance for Southern history. The main sources for this study come from the novels and short stories of the authors themselves. Also found valuable to this study were the numerous books, articles and criticisms of the authors by their contemporary critics. The Southern local color school, although it did not produce any major literary figures, contained many bright minor writers. As a group they reflected and shaped much of the thinking of their age. They also provide a connecting link between pre-war romanticism and the realism of the twentieth century.

Call number: LD2668 .T4 1938 B41

This dissertation comprises a historical survey and thematic analysis of the various regional and temporal expressions of Chinese and Taiwanese xiangtu wenxue (“nativism” or “homeland literature”). Chapter One traces Chinese xiangtu wenxue from the rural stories of Lu Xun through the 1920s generation of writers of xiangtu wenxue (xiangtu zuojia f’g). These writers used two different narrative modes to analyze China’s deepening rural crisis. One of these was the antitraditionalist mode inspired by Lu Xun; the other was a positivist mode formulated from new concepts and intellectual thought prevalent in China at the time of May Fourth (1919). The narrative configuration established by this decade of xiangtu writers is characterized by nostalgia and is based on the migration of the Chinese village intellectual to large urban centres. This configuration set the standard for subsequent generations of writers of xiangtu wenxue who used an urban narrator to describe a rural area which was either the author’s native home, an area he/she knew well or one which was idealized. Chapters Two and Five discuss Taiwanese xiangtu wenxue from the 1920s to the 1970s. The emergence of this fiction is linked with Taiwan’s insecure status in the forum of international relations. In Taiwanese xiangtu wenxue, the countryside is a refuge from the forces of modernization; it is also a storehouse nurturing ancient traditions which are threatened by new and modern ways. Taiwan’s xiangtu writers valorize traditional culture and seek in rural Taiwan a transcendent China predating Taiwan’s invasion by the West. These works are all narrated by an urban narrator who rejects modernity and desires to counteract foreign influences. The focus of Chapter Three is China’s rural regional xiangtu wenxue of the 1930s. In this decade, rural fiction became a general trend in China with the rise of the Chinese Communist Party, Japanese aggression and China’s increasing urbanization. The shift away from China’s urban-based fiction is characterized by an increasing concern for the peasants, regional decay under the onslaught of Westernization and the life, customs and lore of China’s hinterland. In many of these regional works, concern for the nation is interwoven with non-nationalistic interests. Chinese xiangtu wenxue of the 1940s and 1950s is discussed in Chapter Four. The xiangtu wenxue of this period took on a distinctly Communist guise in the wake of Mao Zedong’s 1942 Talks at the Yan’an Forum on Literature and Art. Chinese Communist xiangtu wenxue is primarily defined as revolutionary realism and is concerned with the construction of Chinese socialism which takes place in the countryside through the forced implementation of draconian Party policies. The peasants in this fiction often attempt to evade these policies. Occasionally, these stories and novels slip into a hardcore realistic mode conveying a peasant reality which strongly dissents from the orthodox Party view. At least one writer of this period was persecuted and killed for his putatively disloyal beliefs. Finally, with the passing of Maoism in China, a new form of xiangtu wenxue emerged in the mid-1980s. This is the subject of Chapter Six. In these works, traditional Chinese culture supercedes Maoism as the basic fabric unifying Chinese life. Many of the writers in this period evince a psychological bifurcation arising from their conflicting views about the value of traditional Chinese culture. This bifurcation stems from the narrator in this fiction who is caught up in the process of urbanization and is unable to fully integrate his vision of the countryside into a larger vision of modernity. The ambivalence about Chinese culture in xiangtu wenxue is a leitmotif which underlies xiangtu wenxue’s many, disparate forms.

Thèse (M.E.I.R.) -- Université du Québec à Chicoutimi, 2002. / Bibliogr.: f. 145-148. Document électronique également accessible en format PDF. CaQCU

Submitted by Carlos Rocha (rochareed@yahoo.com.br) on 2018-07-03T22:09:01Z No. of bitstreams: 1 VF CARLOS ROCHA.doc.will.pdf: 1345840 bytes, checksum: f0483761ea460257ee8e69a27b28be2e (MD5) / Approved for entry into archive by Aline Aparecida Matias null (alinematias@fclar.unesp.br) on 2018-07-04T12:15:50Z (GMT) No. of bitstreams: 1 rocha_c_dr_arafcl.pdf: 1345840 bytes, checksum: f0483761ea460257ee8e69a27b28be2e (MD5) / Made available in DSpace on 2018-07-04T12:15:50Z (GMT). No. of bitstreams: 1 rocha_c_dr_arafcl.pdf: 1345840 bytes, checksum: f0483761ea460257ee8e69a27b28be2e (MD5) Previous issue date: 2018-05-23 / O objetivo do presente estudo é compreender, por meio da análise dos textos críticos e ficcionais publicados entre 1858 e 1878, como se forma a consciência literária de Machado de Assis e como o escritor interfere na produção literária, ao demonstrar sua preocupação com a qualidade dos textos dos escritores coetâneos, com a aceitação do público leitor e com a criação de um ambiente favorável para a sua obra ficcional desse período – teatro, conto e, principalmente, romance. Pretende-se, a partir disso, entender como Machado de Assis, ao reutilizar os recursos literários trabalhados em outros gêneros (teatro e conto), ressignificando-os, desenvolve as primeiras obras de seu projeto romanesco, uma vez que, nelas, o autor persegue de perto a mais bem acabada configuração do perfil do personagem, que, ao expor seu drama particular, expressa os interesses subjacentes das relações, formatando um recorte ímpar daquela sociedade e vislumbrando a concepção machadiana de cor local, por conseguinte, sua crítica aos costumes e às debilidades das instituições do Rio de Janeiro de sua época. / The aim of the present study is to understand, through the analysis of the critical and fictional texts published between 1858 and 1878, how the literary consciousness of Machado de Assis is formed and how the writer interferes in literary production by demonstrating his concern for the quality of texts of the contemporaneous writers, with the acceptance of the reading public and with the creation of a favorable environment for his fictional work of this period - theater, short story and, mainly, novel. It is intended, from this, to understand how Machado de Assis, by reusing the literary resources worked in other genres (theater and short story), re-signifying them, develops the first works of his novel project, since, in them, the author pursues the most well-defined configuration of the character's profile, which, in exposing his particular drama, expresses the underlying interests of the relationship, shaping a unique cut of that society and looking at Machado’s conception of local color, hence his critique of customs and to the weaknesses of the institutions of Rio de Janeiro of his time.

This dissertation comprises a historical survey and thematic analysis of the various regional and temporal expressions of Chinese and Taiwanese xiangtu wenxue (“nativism” or “homeland literature”). Chapter One traces Chinese xiangtu wenxue from the rural stories of Lu Xun through the 1920s generation of writers of xiangtu wenxue (xiangtu zuojia f’g). These writers used two different narrative modes to analyze China’s deepening rural crisis. One of these was the antitraditionalist mode inspired by Lu Xun; the other was a positivist mode formulated from new concepts and intellectual thought prevalent in China at the time of May Fourth (1919). The narrative configuration established by this decade of xiangtu writers is characterized by nostalgia and is based on the migration of the Chinese village intellectual to large urban centres. This configuration set the standard for subsequent generations of writers of xiangtu wenxue who used an urban narrator to describe a rural area which was either the author’s native home, an area he/she knew well or one which was idealized. Chapters Two and Five discuss Taiwanese xiangtu wenxue from the 1920s to the 1970s. The emergence of this fiction is linked with Taiwan’s insecure status in the forum of international relations. In Taiwanese xiangtu wenxue, the countryside is a refuge from the forces of modernization; it is also a storehouse nurturing ancient traditions which are threatened by new and modern ways. Taiwan’s xiangtu writers valorize traditional culture and seek in rural Taiwan a transcendent China predating Taiwan’s invasion by the West. These works are all narrated by an urban narrator who rejects modernity and desires to counteract foreign influences. The focus of Chapter Three is China’s rural regional xiangtu wenxue of the 1930s. In this decade, rural fiction became a general trend in China with the rise of the Chinese Communist Party, Japanese aggression and China’s increasing urbanization. The shift away from China’s urban-based fiction is characterized by an increasing concern for the peasants, regional decay under the onslaught of Westernization and the life, customs and lore of China’s hinterland. In many of these regional works, concern for the nation is interwoven with non-nationalistic interests. Chinese xiangtu wenxue of the 1940s and 1950s is discussed in Chapter Four. The xiangtu wenxue of this period took on a distinctly Communist guise in the wake of Mao Zedong’s 1942 Talks at the Yan’an Forum on Literature and Art. Chinese Communist xiangtu wenxue is primarily defined as revolutionary realism and is concerned with the construction of Chinese socialism which takes place in the countryside through the forced implementation of draconian Party policies. The peasants in this fiction often attempt to evade these policies. Occasionally, these stories and novels slip into a hardcore realistic mode conveying a peasant reality which strongly dissents from the orthodox Party view. At least one writer of this period was persecuted and killed for his putatively disloyal beliefs. Finally, with the passing of Maoism in China, a new form of xiangtu wenxue emerged in the mid-1980s. This is the subject of Chapter Six. In these works, traditional Chinese culture supercedes Maoism as the basic fabric unifying Chinese life. Many of the writers in this period evince a psychological bifurcation arising from their conflicting views about the value of traditional Chinese culture. This bifurcation stems from the narrator in this fiction who is caught up in the process of urbanization and is unable to fully integrate his vision of the countryside into a larger vision of modernity. The ambivalence about Chinese culture in xiangtu wenxue is a leitmotif which underlies xiangtu wenxue’s many, disparate forms. / Arts, Faculty of / Asian Studies, Department of / Graduate

The politicized use of humor in accented cinema is a tool for negotiating particular formations of identity, such as sexuality, gender, ethnicity, and class. The body of work produced by contemporary women filmmakers working in Australia, specifically Tracey Moffatt, Monica Pellizzari, and Clara Law, illustrates how these directors have employed critical humor as a response to their multiple marginalization as women, Australian, and accented filmmakers. In their works, humor functions as a critical tool to deconstruct the contradictions in dominant discourses as they relate to (neo)colonial, racist, globalized, patriarchal, and displaced pasts and presents. Produced within Australian national cinema, but emerging from experiences of geographical displacements that defy territorial borders, their films illuminate how critical humor can inflect such accepted categories as the national constitution of a cinema, film genre, and questions of exile and diaspora. Critical humor thus consti tutes a cinematic signifying practice able, following Luigi Pirandello's description of umorismo, to decompose the filmic text, and as a tool for an ideological critique of cinema and its role in (re)producing discourses of the nation predicated on the dominant categories of whiteness and masculinity. The study offers a theoretical framework for decoding humor in a film text, focusing on the manipulation of cinematic language, and it provides a model for a criticism that wishes to heighten the counter-hegemonic potential of cinematic texts, by picking up on the humorous, contradictory openings of the text and widening them through a parallel dissociating process. / Finally, critical humor in the accented cinema of women filmmakers like Moffatt, Pellizzari, and Law is shown to constitute a form of translation and negotiation performed between the national, monologic constraints of film production and cinematic language, the heteroglossia of the global imaginaries that have traveled since the beginning with film technology, and the local and diasporic accents informing a filmmaker's unique style and perspective. / by Alessandra Senzani. / Thesis (Ph.D.)--Florida Atlantic University, 2008. / Includes bibliography and filmography. / Electronic reproduction. Boca Raton, Fla., 2008. Mode of access: World Wide Web.