Narratologists define narrative as a chronological series of events, and thus focus on temporality in their definitions of narrative form, neglecting the crucial role that space and spatiality may play in some narratives. In this project, I use cognitive linguists Fauconnier and Turner's theory of conceptual blending to analyze two very different pieces of literature, Antoine de Saint-Exupery's The Little Prince and Italo Calvino's Invisible Cities, the former a children's story and the latter a postmodern experimental work of fiction. While many narratologists and literary theorists focus on the destabilizing aspects of postmodern fiction and claim that it is "anti-narrative" because it resists assumptions about temporal linearity, conceptual blending analysis reveals that some such texts may be dependent for a feeling of coherence or "storiness" on the very cognitive frames and spatial structures that they deconstruct. The affinity between Saint-Exupèry's and Calvino's works suggests that there may be a particular corpus of texts, which I term "spatialized narratives," that maintain in the mind of the reader their own kind of coherence despite their ostensible non-referentiality or fragmentation — a kind of coherence that lies more in spatiality than in temporality.

Narratologists define narrative as a chronological series of events, and thus focus on temporality in their definitions of narrative form, neglecting the crucial role that space and spatiality may play in some narratives. In this project, I use cognitive linguists Fauconnier and Turner's theory of conceptual blending to analyze two very different pieces of literature, Antoine de Saint-Exupery's The Little Prince and Italo Calvino's Invisible Cities, the former a children's story and the latter a postmodern experimental work of fiction. While many narratologists and literary theorists focus on the destabilizing aspects of postmodern fiction and claim that it is "anti-narrative" because it resists assumptions about temporal linearity, conceptual blending analysis reveals that some such texts may be dependent for a feeling of coherence or "storiness" on the very cognitive frames and spatial structures that they deconstruct. The affinity between Saint-Exupèry's and Calvino's works suggests that there may be a particular corpus of texts, which I term "spatialized narratives," that maintain in the mind of the reader their own kind of coherence despite their ostensible non-referentiality or fragmentation — a kind of coherence that lies more in spatiality than in temporality.

Narratologists define narrative as a chronological series of events, and thus focus on temporality in their definitions of narrative form, neglecting the crucial role that space and spatiality may play in some narratives. In this project, I use cognitive linguists Fauconnier and Turner's theory of conceptual blending to analyze two very different pieces of literature, Antoine de Saint-Exupery's The Little Prince and Italo Calvino's Invisible Cities, the former a children's story and the latter a postmodern experimental work of fiction. While many narratologists and literary theorists focus on the destabilizing aspects of postmodern fiction and claim that it is "anti-narrative" because it resists assumptions about temporal linearity, conceptual blending analysis reveals that some such texts may be dependent for a feeling of coherence or "storiness" on the very cognitive frames and spatial structures that they deconstruct. The affinity between Saint-Exupèry's and Calvino's works suggests that there may be a particular corpus of texts, which I term "spatialized narratives," that maintain in the mind of the reader their own kind of coherence despite their ostensible non-referentiality or fragmentation — a kind of coherence that lies more in spatiality than in temporality. / Arts, Faculty of / English, Department of / Graduate

Submitted by Natália Chaves Picolo null (naty_piccolo@hotmail.com) on 2016-06-24T13:24:04Z No. of bitstreams: 1 dissertação_final.pdf: 693235 bytes, checksum: ab40f610e6014d1ec2c0424276f23f90 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-06-27T14:29:37Z (GMT) No. of bitstreams: 1 picolo_nc_me_assis.pdf: 693235 bytes, checksum: ab40f610e6014d1ec2c0424276f23f90 (MD5) / Made available in DSpace on 2016-06-27T14:29:37Z (GMT). No. of bitstreams: 1 picolo_nc_me_assis.pdf: 693235 bytes, checksum: ab40f610e6014d1ec2c0424276f23f90 (MD5) Previous issue date: 2016-05-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente dissertação tem como objetivo o estudo do romance Dois Irmãos, do escritor amazonense Milton Hatoum, centrando-se na configuração dos espaços da narrativa. O estudo teve o intuito de analisar o espaço narrativo como um importante elemento para o aprofundamento da obra. Para tanto, demos enfoque para a casa, que é palco do conflito entre os irmãos, Omar e Yaqub; e para a cidade de Manaus que está em constante transformação, no início do século XX. Deste modo, buscamos demonstrar que os espaços refletem a degradação da família. Como referencial teórico, nos apoiamos em autores que versam sobre a teoria do espaço na literatura como: Gaston Bachelard, Antonio Dimas, Osman Lins, Ozíris Borges Filho, entre outros que corroboram a construção de um estudo conciso e objetivo do corpus proposto. / This paper aims to study the novel Dois Irmãos, by the Amazonian writer Milton Hatoum, focusing on the configuration of narrative spaces. The study aimed to analyze the narrative space as an important element in the deepening of the literary work. For this purpose, the focus was on the house, which is the stage for the conflict between the brothers, Omar and Yaqub, and on the city of Manaus, which is constantly changing in the early 20th century. Thus, the purpose was to demonstrate that the spaces reflect the family breakdown. For the theoretical framework, this work is based on authors who deal with the theory of space in literature, such as: Antonio Dimas, Osman Lins, Oziris Borges Filho, Gaston Bachelard, and others that corroborate the construction of a concise objective study of the proposed corpus.

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

This thesis deals with the ways to create narrative space and its function in two novels of psychological fiction: 'Vlčí jáma' written by Jarmila Glazarová, and 'Helimadoe' by Jaroslav Havlíček. The narrative space is studied from the point of view of the relationship to the character, which is the central focus of psychological fiction. The first part of the thesis includes characteristics of respective characters based on the concept of chronotopes devised by Michail M. Bachtin. Following that, the thesis addresses the narrative approaches represented by theorists such as Marie-Laure Ryan, who focuses on cognitive maps as mental models of spatial relations, and Gabriel Zoran. Particular focus is devoted to the spatial frames put forward by Ruth Ronen, which can be used to observe all characteristics of narrative space. The thesis evaluates the possibilities of narrative space analysis for the interpretation of the selected works of psychological fiction, and compares the contribution of the different approaches to the research of narrative space. KEYWORDS Helimadoe, Vlčí jáma, narrative space, chronotope, Michail M. Bachtin, spatial frame

To broaden the knowledge of narrator/character Death in Markus Zusak's novel The Book Thief, this research explores how Death uses his narrative space to alleviate the story's tragedy. This paper examines narration in the context of focalization, time, and unusual narration. In addition, the space of Death is analysed in the framework of how death—both as a concept and as a powerful being—is portrayed in literature. To conduct the research, the essay uses different theorists' perspectives of narration and Death. For instance, Rimmon-Kenan, Cohn, Phelan, Saghafi, and Brennan. This paper uses discourse analysis to study academic journals written about narrative theories and the space of Death in literature. As a result, it provides broader perspectives and helps analyse Death's role in The Book Thief.

Made available in DSpace on 2016-06-02T20:23:15Z (GMT). No. of bitstreams: 1 6088.pdf: 4784332 bytes, checksum: de1ab224481cdf1235abbba0a4ce7efb (MD5) Previous issue date: 2014-07-02 / This study aims to analyze the genre of zombie movies establishing a dialogue between their narrative spaces, the historical contexts in which they are situated, and their connections to other works in different media, in an intermedial perspective. Therefore, this research sought to study three narrative spaces that were widely used in the films of the genre: the Caribbean space, used in 1930-1940 American films of the Haitian zombie; internal and external areas of the United States, seen in flesh eaters zombie films created by George Romero in the second half of the 20th century; and major world capitals destroyed, present in many contemporary zombie films from various countries. In this context, this study main objective is to perform a spatial analysis of zombie films, that explores the possible connections and interrelations between the colonial metropolis/colony, inside/outside, and national/global spatial dichotomies, with the historical and social contexts in which these works are contained. / Este estudo pretende analisar o gênero dos filmes de zumbis estabelecendo um diálogo entre os espaços narrativos destas obras, os contextos históricos nos quais elas estão situadas, e as suas conexões com outras obras em diferentes mídias, em uma perspectiva intermidiática. Neste sentido, esta pesquisa procurou estudar três espaços narrativos que foram bastante utilizados nos filmes do gênero: o espaço caribenho, utilizado em filmes norte-americanos do zumbi haitiano das décadas de 1930-1940; os espaços internos e externos dos Estados Unidos, ambientes dos filmes de zumbis canibalistas criados por George Romero na segunda metade do século 20; e grandes capitais mundiais destruídas, presentes em muitos filmes de zumbis contemporâneos de diversos países Neste contexto, este estudo tem como principal objetivo propor uma análise espacial dos filmes de zumbis, visando explorar as possíveis correspondências e inter-relações entre as dicotomias espaciais metrópole/colônia, interior/exterior e nacional/global, com os contextos históricos e sociais nos quais estas obras estão contidas.

A partir de la teoría del trauma propuesta por Cathy Caruth en los años noventa del siglo pasado, los estudios del trauma volvieron a obtener la atención de la crítica literaria. Si bien el enfoque de Caruth es en primer lugar psicoanalítico se fundamenta también en perspectivas historiográficas y sociológicas. En consecuencia, su teoría nos es muy útil para analizar una selección de obras de Luisa Valenzuela cuya trama se desarrolla bajo la última dictadura militar argentina (1976-1983). Específicamente queremos analizar la influencia que el encierro tiene sobre los personajes, partiendo de un análisis que trabaje conjuntamente tanto la representación del espacio narrativo como la representación del trauma. El método que se utilizará será el de una lectura minuciosa —close reading— de los relatos, articulando las nociones de casa y la dialéctica de lo dentro y lo de fuera de Bachelard para trabajar el encierro en los espacios públicos y privados, por un lado, y una construcción del trauma siguiendo a Caruth desde tres perspectivas psicológicas para entender mejor la tortura, por el otro. De esta forma, nuestra contribución consiste en llevar a cabo una lectura de la obra seleccionada de Valenzuela para poder entender en qué medida el encierro influye sobre el trauma provocado por la tortura durante la época dictatorial. / Since the theory of trauma was proposed by Cathy Caruth in the nineties of the last century, trauma studies have once again obtained the attention of literary criticism. Although Caruth’s approach is primarily psychoanalytical, it is also based on historiographical and sociological perspectives. Consequently, her theory is especially useful to the current study when analyzing a selection of works by Luisa Valenzuela, that take place during the last Argentinian military dictatorship (1976-1983). Specifically, it is intended to analyze the influence that confinement has on characters, beginning from an analysis that regards both the representation of the narrative space and the representation of trauma. The method applied will be that of a close reading of the stories, articulating Bachelard's notions of house and dialect of inside and outside to examine, on the one hand, confinement in public and private spaces and, on the other hand, a construction of trauma that follows Caruth’s theory from three different psychological perspectives to better understand torture. Along these lines, this study’s contribution consists of carrying out a reading of Valenzuela's selected literary works, in order to understand to what degree confinement influences the trauma that torture causes during the dictatorship.

This study investigates the representation of narrative space in the novel and the film of The Return of the King. As the two representations belong to two different mediums, the theories on narrative space in the novel and in the film are examined in order to distinguish between their modes of representation of space. In essence, the theory utilised for the spatial analysis focuses on the content, function and symbolic meaning within spaces, as created by the description of objects, the repetition and accumulation of spatial information, as well as the movement of characters within spaces and the interaction between characters and different spaces. This spatial interaction relates to the events, representations of time and the role of the narrator within the different dimensions of narrated space, that is, concrete and abstract space. The three most significant spaces within the novel and the film, namely Minas Tirith, Mount Doom and Hobbiton form the basis of the analysis, which focuses on the narrative spaces as they are represented. From this study, it becomes clear that there are different levels of meaning embodied within a space: the physical and geographical space, the social space of interaction and the abstract, symbolic space. The significant spaces and their meanings in the novel have been subjected to filmic transformation. Essentially, the spaces in both the novel and the film display the fact that space ultimately influences those events and people who interact with it and vice versa. These spaces thus embody specific meanings, which contribute towards the undertaken journey represented in Tolkien's fantastical, imaginative world. / MA (English), North-West University, Potchefstroom Campus, 2014