Truman Capote, autor, roteirista e dramaturgo Americano, foi um dos principais escritores americanos de ficção do período pós-guerra, conhecido por receber ampla notoriedade pelo seu romance best-seller In Cold Blood, de 1965, por um estilo de escrita que misturava literatura e jornalismo. No entanto, o trabalho de Capote se estende além do romance antes mencionado. O autor, que se tornaria famoso por sua personalidade também, revelou grande talento como escritor desde muito jovem, trabalhando com temas muito relacionados à sua vida pessoal. Durante minhas leituras de seus trabalhos, eu pude perceber que o narrador que Capote criava trazia o leitor muito mais próximo à história. O propósito da minha dissertação é fazer uma análise do narrador de Capote para poder discutir suas técnicas específicas. Para tal, escolhi trabalhar com a teoria da narratologia, que não apenas é o estudo da narrativa e da estrutura de um texto, mas também sobre como ele afeta nossas percepções como leitores. Através de uma análise de aspectos como focalização e discurso do narrador, minha intenção foi traçar uma relação entre o narrador de Capote com seu autor implícito para poder entender como isso afeta nossa experiência de leitura e seu relacionamento com o leitor. Para essa análise, eu escolhi o primeiro romance publicado de Capote, Other Voices, Other Rooms (1948), porque acredito que conta uma história que pareceu surgir de emoções altamente reprimidas do autor sobre sua infância e crescimento. Além disso, tentarei identificar onde elementos biográficos podem ter inspirado alguns dos eventos presentes na história, na tentativa de estabelecer uma conexão com os eventos de sua vida real e o quanto elas interferiam em sua ficção. teoria que em destaque nesse trabalho são os trabalhos da autora Mieke Bal (2009) e de Herman & Vervaeck (2005), para poder trazer os termos que ajudam a continuar com a discussão. Ao fim desta análise, espero mostrar o que há por baixo de um narrador cuidadosamente construído, e que o leitor seja capaz de perceber Truman Capote por mais do que sua famosa personalidade, mas também como um escritor cuidadoso e focado que era apaixonado por sua arte. / American novelist, screenwriter and playwright Truman Capote was one of the leading American authors of fiction of the post-war period, known for receiving wide notoriety for his 1965 best seller In Cold Blood, for a style of writing that mixed literature and journalism. However, Capote’s works extend beyond the aforementioned novel. The author, who would eventually become famous for his personality as well, revealed great talent as a writer since a very young age, working with themes closely related to his personal life. During my readings of his works, I was able to perceive that the narrator Capote creates brings the reader much closer to the story. The purpose of this thesis is to carry out an analysis of Capote’s narrator in order to discuss his particular techniques. In order to do that, I chose to work with the theory of narratology, which is not only the study of narrative and the narrative structure of a text, but also of how it affects our perceptions as readers. Through an analysis of aspects such as focalization and the narrator’s discourse, my intention was to trace a relation between the narrator with Capote’s implied author in order to understand how this affects the reading experience and the relationship with the reader. For this analysis, I chose Capote’s first published novel, Other Voices, Other Rooms (1948), because I believe that it tells a story that seem to come from the highly suppressed emotions of the author about his childhood and growing up. I will also attempt to identify where biographical elements might have inspired some of the events that appear in the story, attempting to establish connection to the events of his real life and how much it interfered in his fiction. As to the theory that underlines this work, I chose the works of Mieke Bal (2009) and Herman & Vervaeck (2005), in order to bring light to terms that help further the discussion. By the end of this analysis, I hope to show what lies beneath a carefully constructed narrator, and that the reader will be able to perceive Truman Capote for more than his famous personality, but also as a careful and focused writer that was passionate about his craft.

Este estudo tem como objetivo investigar a obra completa de Raduan Nassar e analisar de que forma a vertigem, a desmedida e o excesso inerentes ao erotismo moldam sua prosa. Essa obra ficcional encena, de variadas maneiras, a impossibilidade da verdade perante a pletora de possibilidades da palavra. Em geral, o embate entre as personagens ganha em complexidade quando um dos disputantes é também o dono da voz, apegado ao privilégio de transmitir sua visão única dos fatos. Na tensão entre uma apologia da destruição irrestrita da verdade e a defesa feroz da própria fala, reside uma afirmação categórica da virilidade do narrador, que é, na maior parte das vezes, realizada de forma violenta. Se isso acontece, talvez seja porque se trata, quase sempre, de uma virilidade à beira de um colapso e, se assim o for, potencializada tanto pela intensidade quanto pela precariedade. Essa hipótese ganha fôlego quando nos lembramos de que os confrontos entre o feminino e o masculino compõem um dos eixos da ficção de Nassar, não raro fortemente erotizada. A poética de Raduan Nassar esforça-se em ocultar o referente contextual e fazer o leitor perder-se em seu labirinto textual de pistas falsas ou bem guardadas. Daí a voracidade e a maneira em geral dissimulada com que se serve de textos tão distintos como os da Bíblia, do Alcorão, dos mitos gregos, da filosofia, da tradição hermético-alquímica, da literatura. Poética que opta por um caminho subterrâneo, sinuoso e indireto, entre a realidade e a ficção, e que leva em conta o fato de todas as questões humanas trazerem, sob a máscara da linguagem e o disfarce do cinismo, um componente fundamental de luta pelo poder e de controle de corpos. / This study aims to investigate how vertigo, lack of limits and excess intrinsic to eroticism shape Raduan Nassars prose in his complete works. In many senses, his fictional oeuvre stages the impossibility of truth before the plethora of written word possibilities. In general, the conflict amongst character has its complexity enhanced when one of them is also the one who speaks, compromised with the privilege of transmitting his or her single view of the facts. In the tension of an apology of unrestrained destruction of truth against the fierce defense of his or her speech itself lies a categorical statement of the narrators virility, which is, in most cases, carried out with violence. If that happens, it may be often due to a virility on the verge of collapse and, if so, empowered by both intensity and precariousness. This hypothesis is reinforced by the battle between feminine and masculine, often highly eroticized, which is one of the axes of Nassar fiction. Raduan Nassars poetics strive to hide the contextual referent and make the reader lose himself in its textual maze of false or shadowy tracks. That is the origin of the voracity and the stealthy way in which it alludes to texts as varied as the Bible, the Koran, Greek myths, philosophy, hermetic-alchemical tradition and literature. It regards the election of an underground, winding and oblique way between reality and fiction, and takes into account the fact that all human affairs bring as a key component, under the mask of language and the guise of cynicism, the struggle for power and the control of the body.

This essay is a close-reading study of Toni Morrison's novel Beloved. The purpose of this essay is to investigate and describe Gérard Genette's narratological theories and their function in the novel when looking at how the story is told. The questions that are being answered are how flashbacks actually affect the chronological order of events and who the narrator is that’s telling the story. The methods that are being used in the report are a close-reading of Beloved and making a selection of previous research. The selected research will show an overview of some examples of areas and theories that has been used in other essays. In the summary it appears from the result of the analysis that flashbacks functions as explanations of the characters' thoughts or actions in the present and that the narrator most of the time is the character that is in a particular situation.

Este estudo tem como objetivo investigar a obra completa de Raduan Nassar e analisar de que forma a vertigem, a desmedida e o excesso inerentes ao erotismo moldam sua prosa. Essa obra ficcional encena, de variadas maneiras, a impossibilidade da verdade perante a pletora de possibilidades da palavra. Em geral, o embate entre as personagens ganha em complexidade quando um dos disputantes é também o dono da voz, apegado ao privilégio de transmitir sua visão única dos fatos. Na tensão entre uma apologia da destruição irrestrita da verdade e a defesa feroz da própria fala, reside uma afirmação categórica da virilidade do narrador, que é, na maior parte das vezes, realizada de forma violenta. Se isso acontece, talvez seja porque se trata, quase sempre, de uma virilidade à beira de um colapso e, se assim o for, potencializada tanto pela intensidade quanto pela precariedade. Essa hipótese ganha fôlego quando nos lembramos de que os confrontos entre o feminino e o masculino compõem um dos eixos da ficção de Nassar, não raro fortemente erotizada. A poética de Raduan Nassar esforça-se em ocultar o referente contextual e fazer o leitor perder-se em seu labirinto textual de pistas falsas ou bem guardadas. Daí a voracidade e a maneira em geral dissimulada com que se serve de textos tão distintos como os da Bíblia, do Alcorão, dos mitos gregos, da filosofia, da tradição hermético-alquímica, da literatura. Poética que opta por um caminho subterrâneo, sinuoso e indireto, entre a realidade e a ficção, e que leva em conta o fato de todas as questões humanas trazerem, sob a máscara da linguagem e o disfarce do cinismo, um componente fundamental de luta pelo poder e de controle de corpos. / This study aims to investigate how vertigo, lack of limits and excess intrinsic to eroticism shape Raduan Nassars prose in his complete works. In many senses, his fictional oeuvre stages the impossibility of truth before the plethora of written word possibilities. In general, the conflict amongst character has its complexity enhanced when one of them is also the one who speaks, compromised with the privilege of transmitting his or her single view of the facts. In the tension of an apology of unrestrained destruction of truth against the fierce defense of his or her speech itself lies a categorical statement of the narrators virility, which is, in most cases, carried out with violence. If that happens, it may be often due to a virility on the verge of collapse and, if so, empowered by both intensity and precariousness. This hypothesis is reinforced by the battle between feminine and masculine, often highly eroticized, which is one of the axes of Nassar fiction. Raduan Nassars poetics strive to hide the contextual referent and make the reader lose himself in its textual maze of false or shadowy tracks. That is the origin of the voracity and the stealthy way in which it alludes to texts as varied as the Bible, the Koran, Greek myths, philosophy, hermetic-alchemical tradition and literature. It regards the election of an underground, winding and oblique way between reality and fiction, and takes into account the fact that all human affairs bring as a key component, under the mask of language and the guise of cynicism, the struggle for power and the control of the body.

Cette recherche traite du jeu de rôle sur table comme moyen oral et collectif de création fictionnelle et littéraire. Elle montre que les JdR mettent en place des dispositifs ludiques qui obligent les joueurs à co-générer un contenu fictionnel diégétique et narratif, selon le principe qui est nommé l’intercréativité. L’intercréativité propre aux JdR fusionne les actes de création et de réception de la fiction et met en crise le rapport de la littérature à l’écrit. Dans un premier temps, nous étudions la manière dont s’est élaboré le concept d’intercréativité tout au long de l’histoire des JdR. Ensuite, nous les intégrons à un ensemble dont ils sont un élément fondateur, la culture geek. Nous montrons que le JdR est un héritier des littératures de l’imaginaire et qu’il fait la jonction entre ces deux sphères. Les JdR y sont également envisagés comme des mondes fictionnels intercréés, précurseurs d’une part des univers partagés et des jeux vidéo RPG, et d’autre part de la systématisation des mondes fictionnels qui induisent une réception interactive. Dans notre troisième partie, nous expliquons en quoi l’intercréativité fictionnelle mise en place par le JdR est un processus narratif et littéraire, une expérience collective et immédiate de la création de la fiction par le langage oral. Nous nous penchons sur les spécificités narratives de ce médium. Nous montrons également comment ces outils de création fictionnelle dépassent, pour certains écrivains, le cadre des JdR pour déboucher sur une création littéraire classique. Enfin, nous abordons le ludique comme un ensemble de dispositifs qui obligent les joueuses à créer un contenu fictionnel ensemble, ce que nous nommons l’intercréativité. Le JdR accomplit une disruption et une systématisation du matériau fictionnel, dont la réorganisation narrative est la création des joueurs. Avec l’intercréativité, c’est un rapport dionysiaque à la littérature qui ressurgit, alors qu’il avait été annihilé par l’industrialisation. / This work deals with pen & paper role-playing games as an oral and collective way to create fiction. It shows RPGs set up game procedures to oblige players to co-create narrative and diegetic contents, according to what we call intercreativity. Intercreativity,which is specific to RPGs, blends fictional creation and reader-response together. It reconsiders the definition of literature as a written text. First, we study how intercreativity has been built during the RPGs’ history. Then we show RPG is a link between fantasy literature and geek culture. RPGs are considered as co-created worlds, pioneers of shared worlds, RPG video games and systematization of imaginary worlds, which sets the base of interactivity. Finally, we explain that intercreativity is a narrative process, a collective and immediate experience of creating fiction with oral language. We show how these tools for creation inspire writers to produce classic literary works. We broach these games as tools to create fiction. RPGs smash and systematize fiction, and the narrative reorganization is the players’ creation. Intercreativity makes reappear a Dionysian way to consider literature, which has been annihilated during the Industrialization.

This thesis examines the evolution of gaming criticism (specifically ludology and narratology) and games as a medium of expression through the use of case studies. These case studies look at some of the core aspects of four major titles (The Last of Us, Horizon Zero Dawn, various BioWare games and Journey) and survey how these games work to effectively employ a narrative while maintaining an immersive, intuitive system for the player to interact with. Through these titles, the thesis suggests that in order to gain a full scope of a game’s intentions, studies should analyze more than the base story or gameplay, but rather the correlations between them as well as the ways that the visuals and audio aspects interact and enhance the narrative. Furthermore, it suggests the importance of creating gameplay that works with the story in order to ensure that the player always feels as though they have a stake in the outcome of the game, regardless of the nature of the narrative.

Southern writer Ellen Glasgow once told an audience that “the longer one lives in this world of hazard and disaster, the more reckless one should become . . . in the matter of words.” Between the 1880s and the 1940s, opportunities for southern women writers like Glasgow increased dramatically, first bolstered by readership demands for southern stories in northern periodicals and followed by their acceptance into the southern literary canon during the 1920s-30s Southern Renaissance movement. And yet, it remained difficult for southern women writers to be reckless with words. Confined by magazine requirements and sociocultural expectations, writers often used regional settings to attract publishers and readers. Once a readership was established, they sought to publish a collection of stories separate from popular magazine contexts. This project examines the selection and arrangement of previously-published magazine stories into first short story collections by Kate Chopin, Ellen Glasgow, Marjorie Kinnan Rawlings, and Katherine Anne Porter. Publishing a collection enabled authors to revise their stories outside of magazines’ requirements and provided the agency to arrange individual stories into a collective narrative. In “Arranging Stories,” I argue that selecting and ordering magazine stories for these collections was not arbitrary nor dictated by editors. Instead, it allowed women writers to privilege stories, or to contextualize a particular story by its proximity to other tales, as a form of sociopolitical commentary. This project, supported by archival research at ten institutional repositories, invites a reconsideration of women writers’ authorial control throughout the publication process.

旅者踏上旅程之動機為何？在旅程中追尋之物為何？當他敘述旅行見聞時是否說了真話？而旅者的焦慮從何而來？這些貌似簡單的問題在這篇論文裡，卻呈現了豐富的文學議題。康拉德的中篇<<黑暗之心>>，不論從其旅行之主題，殖民主題，或層層細膩的敘述框架技巧觀之，旅行論述之多面性在此浮現出來，並與當代的後結構理論銜接。這篇論文試圖為一個具長久歷史之文類：旅行文學，做一個往前延伸與往後銜接的工作，在傳統旅行文學偏重主題式的探討架構下，試圖為其添加現代文學理論，特別是有關於心理學、符號學、觀光學、及敘述理論，以挖掘"旅行論說"作為一個文類的複雜多面。此論文架構不僅合適探討<<黑暗之心>>這本小說，也適於一般旅者思索自我的靈魂之旅，讓讀者為此文類擴充架構。 / What sets the traveler on road? What makes him search for the higher truth during his journey? Does he tell the truth while recounts his story? Where does traveler's anxiety come from? How does a traveler's mind change after making a journey? In this issue, those issues can play an important role in the study of literary text. With <u>Heart of Darkness</u> in mind, I will probe into colonial discourse, the neatly embedded narrative frame, and the multi-facet levels of travel narrative. This thesis attempts to adopt some strands of contemporary literary theory, such as psychology, semiotics, tourism, and narratology. By adding new dimension to the time-honored travelogue, this thesis tends to explore the travel narrative as a complex and multifarious form of expression.

<p>Throughout history women have been subject to oppression by patriarchal society. </p><p>However, there have always been those who have tried to rise against it. This study will shed light upon one example: a female artist who personally defies the patriarchal norms at the same time as her music encourages others to do the same. The musician in question is Christina Aguilera, and the album studied is Stripped. </p><p>What this study shows is that Stripped can be read as a feminist statement. The lyrics deal with two main themes: patriarchal society’s objectification and oppression of women, and the struggles of love and relationships. What these two themes have in common is that they both encourage women to stand their ground and believe in themselves. </p><p>However, the lyrics on the album also suggest that Aguilera is aware of the fact that her message will not suit everyone. She knows that she works within an industry whose goal is to make money out of its artists, and therefore she has to keep repeating like a mantra to herself and to others that she, and her music, is not just a product of this industry. The message her music brings actually matters. </p><p>To come to this conclusion I have examined Aguilera’s lyrics in terms of what messages they bring and who their narratees might be, all in accordance with feminist narratology. Secondary sources from the fields of popular music studies, media studies and gender studies as well as interviews with and about Aguilera and biographies have been consulted.</p>

<p>This essay analyzes the difference between feminine and masculine narration in Stephanie Meyer's final novel in The Twilight Saga: Breaking Dawn. The methods used are Narratology, Reader-Response Criticism and Gender Theory. Breaking Dawn is divided into three different books and one of the main characters, Bella, is the narrator in the first and the last book, and the other main character, Jacob, is the narrator in the second book. Bella's and Jacob's narration styles are manifested in the title names and inside the text, and the analysis shows why Bella is a stereotypically female narrator and why Jacob is a stereotypically masculine narrator.</p>