Orientador: Paulo César Andrade da Silva / Banca: Carla Alexandra Ferreira / Banca: Maria das Graças Gomes Villa da Silva / Resumo: A presente dissertação objetiva a análise da narrativa poética nos romances O som e a fúria (2004) e Enquanto agonizo (2010), do escritor estadunidense William Faulkner. A partir dos pressupostos teóricos cristalizados por Gérard Genette em Discurso da narrativa (1995), mais especificamente os conceitos de voz e focalização, pretende-se analisar como estes dois mecanismos operam na construção da sintaxe discursiva de três narradores previamente selecionados na obra faulkneriana. Trabalhamos com a hipótese de que os conceitos de voz e focalização, ou seja, o processo de enunciação e a instauração da perspectiva sobre a dimensão diegética configuram-se como fatores determinantes para a sedimentação da narrativa poética, respaldada nas técnicas de fluxo de consciência e monólogo interior, no aparato metalinguístico, na modulação lírica de tais vozes, e nas construções subjetivas desses narradores. O corpus de nosso projeto baseia-se em narradores-protagonistas, imiscuídos na ação, e que possuam tal maneira de narrar. Dessa forma, trabalharemos com três narradores provenientes de dois romances importantes da obra de Faulkner: os irmãos Benjy e Quentin Compson, de O som e a fúria, e Darl Bundren, de Enquanto agonizo. / Abstract: The present dissertation aims at analyzing the poetic narrative in the novels The sound and the fury (2004) and As I lay dying (2010), by American writer William Faulkner. Departing from the theoretical statements crystallized by Gérard Genette in Discurso da Narrativa (1995), more specifically the concepts of voice and focalization, we intend to analyse how these two mechanisms operates in the construction of the discursive syntax of three previously selected narrators in the Faulknerian work. We work with the hypothesis that the concepts of voice and focalization, that is, the process of enunciation and the establishment of perspective upon the diegetic dimension are the determining factors for the sedimentation of poetic narrative, backed in the techniques of stream of consciousness and interior monologue, in the metalinguistic apparatus, in the the lyrical modulation of such voices and the subjective constructions of these narrators. The corpus of our project is based on protagonists-narrators, immersed in the action and who possesses such way of narrating. In this way, we will work with three narrators from two important novels of Faulkner's work: the brothers Benjy and Quentin Compson of The sound and the fury and Darl Bundren, from As I lay dying / Mestre

As the title of this study suggests, the following pages are concerned with ballads which refer to death by hanging or burning. This subject brings an aesthetic world into the realms of the real and presents an artistic conceptualisation of both the 'real' - historic facts - and the 'abstract' - human emotions. In terms of the 'real', ballads which refer to actual events can be compared to historic documentation in order to ascertain the extent of interaction between the ballad world and historic fact. In terms of the 'abstract', execution and death are emotive subjects, so how emotional potential is controlled within the tradition is important, for even those reports which claim to be impersonal accounts of executions can be disturbing, even though centuries may separate a reader from the event. Formalising the language is one method of control and this study will discuss formulas and structures related to execution scenes. The formulas also provide points of connection between ballads which otherwise would seem to be unrelated, such as Mary Hamilton and Hobie Noble. The ballads discussed come from different repertoires, regions and centuries. Thus, those scenes which have been retained are more than a personal or regional variant of that scene; it has become a cultural interpretation and it may prove rewarding to consider what precedents exist for such interpretations and whether these are historic, national - specifically Scottish - or part of a wider aesthetic interpretation of death and justice. The printed ballad trade which existed in eighteenth- and nineteenth-century Scotland has also been referred to, in order to provide alternative interpretations of the spectacle of execution and the popular presentation of the condemned. It may be that one tradition relies more closely on reality than the other, or it may be that two conflicting fictions exist.

Though overlooked and largely unread today, the long narrative poem was a distinct genre available to nineteenth-century American poets. Thematically and formally diverse, the long narrative poem represents a form that poets experimented with and modified, and it accounted for some of the most successful poetry publications in the nineteenth-century United States. Drawing on contemporary theories of form and situating these poems within their literary-historical context, I discuss how our reading practices might be shaped by a greater attentiveness to the long narrative poem. My analysis will focus upon a small set of poems from across the nineteenth century, centering on works by Lucy Larcom and Henry Wadsworth Longfellow. More than mere recovery, this project aims to illuminate a tradition in which poets ambitiously melded genres, claimed poetry’s place to shape public discourse, and thought deeply about the reading practices available to their audience. Along the way, I consider how the dominant critical categories in the study of poetry have occluded these poems, and what these poems might offer in terms renewing or revitalizing our analytical tools and concepts.

Thesis (Ph. D.)--University of Washington, 2000. / Vita. Includes bibliographical references (leaves 265-278).

Thesis (doctoral)--Göteborgs universitet, 1985. / Summary in English and German. Includes bibliographical references (p. 160-165) and index.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisors: Adam Zachary Newton and Elizabeth Cullingford. Vita. Includes bibliographical references.

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Lost in Perception is a manuscript of narrative poems that are unflinching honest explorations of the self—emotional states-of-mind such as anxiety and anger, and states-of-being such as feelings of self-worthlessness. Confessional in nature these poems derive from familial relationships, domestic abuse, desire, sex and/or a combination of the aforementioned. To an extent, Lost in Perception is a manuscript of a diarist. It features a number of poems concerning a romantic relationship with an alcoholic that present a cohesive narrative within the collection. The narrator in Lost in Perception views the self as divergent from the self it once was and should be again—the self lacks well-being or wholeness—to become whole again most of the poems turn toward the natural world. The narrator perceives the self as existing in an unnatural state and what exists in nature is harmonious. The narrator wishes to take something from nature and apply to the self such that the self becomes whole again. There are two primary landscapes within Lost in Perception—Florida coastal lands and Southwest Virginia Appalachian foothills and valleys. The natural world is also the space where the narrator enacts an emotional response to work through personal turmoil. The narrator turns toward nature as a place to figure out and/or admit something about the self, rid the self of negativity and to articulate a desire—primarily for change to occur. Lost in Perception is an unabashed and clear presentation of an individual who once felt whole, but who now feels broken or stuck. / Master of Fine Arts

This poetry manuscript tells the story of a family dealing with betrayal, loss, and aging.

The title of my manuscript, Americhicano¸ is a play on the words American,Americana, and Chicano. It was my goal to write poems that would capture the shared experiences of Chicanos, Latin Americans and the vast people group we identify as “American.” In the first part of my Statement of Purpose, I go into the politics and social commentary of why I chose this as the focus of my project. “Why I Write” is a continuation of that conversation, but more focused on my own personal experience and journey as a writer. In the Section titled, “On Narrative Poetry” I explore the tradition of narrative in poetry and culture and how the two come together within my own poetry. “Uncertainty and Possibility” talks about the duality of creation and the writer. Do we view the unknown as something scary or as an opportunity to be seized? “On Experimental Form: Erasures and the Avante-Garde” discusses the tension of pushing the boundaries as an artist while negotiating cultural tradition. The last section titled, “Imitation and True Voice” discusses the ways in which a writer grows and continues to grow. The idea here is that we do not have a “true” or “authentic” voice, but rather that we are the culmination of voices and identities that are constantly in flux. This last idea is an echo of all the other sections, and hopefully one that will resonate throughout my growth as a writer and as a person.