Thesis (M.S.)--Boston University

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Thesis advisor: Carlo Rotella / Addressing a gathering of social scientists at Boston’s Lowell Institute in 1870, Frederic Law Olmsted worried that the "restraining and confining conditions" of the American city compelled its inhabitants to "walk circumspectly, watchfully, jealously" and to "look closely upon others without sympathy." Olmsted was telling his audience what many had already been saying, and would continue to say, about urban life: sympathy was hard to come by in the city. The urban intellectuals that I examine in this study view with greater optimism the affective possibilities of the city’s social landscape. Rather than describe the city as a place that necessarily precludes or interferes with the sympathetic process, late-nineteenth- and twentieth-century urban intellectuals such as Stephen Crane, Jane Addams, W. E. B. Du Bois, Joseph Mitchell, A. J. Liebling and Jane Jacobs attempt to redefine the nature of that process. Their descriptions of urban relationships reconfigure the affective patterns that lay at the heart of a sentimental culture of sympathy—patterns that had remained, in many ways, deeply connected to those described by Adam Smith and other eighteenth-century moral philosophers. This study traces the development of what I call "urban sympathy" by demonstrating how observers of city life translate received literary and nonliterary idioms into cultural forms that capture the everyday emotions and obligations arising in the city’s small-scale contact zones—its streets, sidewalks, front stoops, theaters, cafes and corner stores. Urban Sympathy calls attention to the ways in which urban intellectuals with different religious, racial, economic, scientific and professional commitments urbanize the social project of a nineteenth-century sentimental culture. Rather than view the sympathetic exchange as dependent upon access to another’s private feelings, these writers describe an affective process that deals in publicly traded emotions. Where many see the act of identification as sympathy’s inevitable product, these observers of city life tend to characterize an awareness and preservation of differences as urban sympathy’s outcome. While scholars traditionally criticize the sympathetic process for ignoring the larger social structures in which its participants are entangled, several of these writers cultivate a sympathetic style that attempts to account for individuals and the larger social, economic and political forces that shape them. / Thesis (PhD) — Boston College, 2008. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

Orientadora : Profª. Drª. Lígia Negri / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 22/02/2017 / Inclui referências : f. 68-70 / Área de concentração: Estudos linguísticos / Resumo: Analisamos artigos de opinião publicados na revista americana The New Yorker a fim de investigar estratégias de interação discursiva na modalidade escrita da língua inglesa. A análise se concentra em elementos metadiscursivos que explicitam a influência da audiência imaginada na construção dos efeitos de sentido no discurso (Thompson, 2001; Hyland, 2004; 2005). O principal elemento é a inclusão da voz do destinatário no texto ("the reader-in-the-text", Thompson e Thetela, 1995), que revela a projeção do ethos discursivo do enunciador (Maingueneau, 2011) em relação ao pathos de seu interlocutor presumido. As evidências linguísticas que fundamentam nossa pesquisa apontam para a recorrência de traços interacionais no discurso argumentativo, entre os quais se destacam perguntas retóricas, dirigidas ou atribuídas ao interlocutor; estruturas concessivas; e o uso argumentativo de pronomes. Por meio da análise de nosso corpus, propomos que o metadiscurso interacional (Hyland, 2005) deve informar o desenvolvimento do conhecimento necessário à recepção e à produção de textos argumentativos, o que discutimos à luz de estudos do discurso. Palavras-chave: Metadiscurso interacional. Ethos. Língua inglesa. Análise do discurso. / Abstract: We analyze opinion articles published in The New Yorker magazine in order to investigate discursive interaction strategies in written English. The analysis focuses on metadiscursive elements that make explicit the influence of the imagined audience on the construction of meaning in discourse (Thompson 2001; Hyland 2004, 2005). The main element is the inclusion of the reader's voice in the text (Thompson and Thetela, 1995), which reveals the projection of the writer's discursive ethos (Maingueneau, 2011) in relation to the pathos of its presumed reader. The linguistic evidence on which our research is based points to the recurrence of interactional traits in argumentative discourse, among which are highlighted rhetorical questions, addressed or attributed to the interlocutor; concessive structures; and the argumentative use of pronouns. Through the analysis of our corpus, we propose that interactional metadiscourse (Hyland, 2005) should inform the development of the necessary knowledge for the reception and production of argumentative texts, which we discuss in the light of discourse studies. Key words: Interactional metadiscourse. Ethos. English language. Discourse analysis.

James Thurber, along with others who wrote for The New Yorker magazine, developed the 'little man' comic figure. The little man as a central character was a shift from earlier nineteenth-century traditions in humor. This twentieth-century protagonist was a comic antihero whose function was to create sympathy rather than scorn and bring into question the values and behaviors of society rather than affirm them, as earlier comic figures did. The little man was urban, inept, frustrated, childlike, suspicious, and stubborn. His female counterpart was often a foil: confident and controlling enough to highlight his most pitiable and funniest features. Contradictory gender roles and stereotypes are essential to Thurber's humor. This thesis thus reads Thurber's work as critical of gender roles. Thurber's humor demonstrates that expectations for men and women to be socially masculine and feminine are often incongruous with their capabilities and natures. Often his work is funny because of the way it portrays gender as performance and as expectations imposed upon people instead of as inherent qualities in men and women. These roles create conflicted characters as well as conflict between the characters that Thurber draws in his stories, often a quarreling husband and wife. Also characteristic in Thurber's humor is the element of neurosis. Thurber often played with the vernacular concepts of neurosis, and he capitalized on public obsession with Freudian psychology with his satires and with fiction and essays about various anxieties and daydreaming. Neurosis works well as comic material because it also catalyzes the battle of the sexes. To support my interpretation of Thurber as a critic of societal gender roles, Freud's book The Joke and Its Relation to the Unconscious is useful at illuminating a deeper 'tendency' in Thurber's humor. Thurber is often thought of as a misogynist, for his personal behavior and for his unflattering literary portrayal of women as unimaginative nags. This thesis also examines the complexities and developments of Thurber's attitudes toward women. Most importantly for Thurber, his little man figure and the battle of the sexes was a way to express the importance and power of the liberated human imagination.

Thesis (doctoral)--Paris IV. / Includes bibliographical references (p. 37-84 (2nd group)) and index.

A pesquisa é voltada para o estudo da obra de Saul Steinberg, com enfoque nas contribuições de sua produção para o desenvolvimento do cartum moderno e das artes gráficas. Para tanto, busca sistematizar a vida e obra de Steinberg (1914-1999), com ênfase nas transformações ocorridas em seu trabalho no decorrer de sua carreira, relacionando-as ao conjunto de sua produção, ao contexto histórico e à produção das artes gráficas - cartum, ilustração, desenho gráfico. O trabalho busca desenvolver uma análise do desenho do artista, partindo da hipótese de seu caráter moderno - baseado em síntese e simplicidade. É intenção desta pesquisa, também, contribuir com o mapeamento de parte da história das artes gráficas do Brasil e do mundo, neste caso privilegiando a produção gráfica moderna do século XX. / The research deals with the study of the work of Saul Steinberg, with focus in the contributions of his work to the development of the modern cartoon and graphic arts. It tries to systematize the life and work of Steinberg (1914-1999), with emphasis in the transformations occured in his work, related to his whole production, to the historial context, and to the production of the graphic arts. The research tries to develop an analysis of the Steinberg´s drawing, taking into consideration the hypothesis of its modern particularity - established in synthesis and simplicity. Is an intention of this research to contribute with the mapping of part of the graphic art history of Brazil and the world, focusing in the graphic modern production of the 20th century.

A pesquisa é voltada para o estudo da obra de Saul Steinberg, com enfoque nas contribuições de sua produção para o desenvolvimento do cartum moderno e das artes gráficas. Para tanto, busca sistematizar a vida e obra de Steinberg (1914-1999), com ênfase nas transformações ocorridas em seu trabalho no decorrer de sua carreira, relacionando-as ao conjunto de sua produção, ao contexto histórico e à produção das artes gráficas - cartum, ilustração, desenho gráfico. O trabalho busca desenvolver uma análise do desenho do artista, partindo da hipótese de seu caráter moderno - baseado em síntese e simplicidade. É intenção desta pesquisa, também, contribuir com o mapeamento de parte da história das artes gráficas do Brasil e do mundo, neste caso privilegiando a produção gráfica moderna do século XX. / The research deals with the study of the work of Saul Steinberg, with focus in the contributions of his work to the development of the modern cartoon and graphic arts. It tries to systematize the life and work of Steinberg (1914-1999), with emphasis in the transformations occured in his work, related to his whole production, to the historial context, and to the production of the graphic arts. The research tries to develop an analysis of the Steinberg´s drawing, taking into consideration the hypothesis of its modern particularity - established in synthesis and simplicity. Is an intention of this research to contribute with the mapping of part of the graphic art history of Brazil and the world, focusing in the graphic modern production of the 20th century.

Lilian Westcott Hale (1880-1963) and her daughter Nancy Hale (1908-1988) built successful careers during a period of transition in America, as Victorian mores were replaced by new modern freedoms. Greater independence for women had evolved during the preceding century, before the influential cultural factors which occurred during the early twentieth century like urbanization and world war. This interdisciplinary analysis of Lilian Hale‘s artwork and Nancy Hale‘s writings demonstrates the imprint of the surrounding world on their work. Lilian Hale‘s art is influenced by her Victorian childhood, and Nancy Hale‘s fiction reveals many conflicts of the modern era. The study of these two women is enhanced by the wealth of primary documentation connecting their ideas and their lives to their artistic works. Both of the women ranked among the most respected in their fields during their lifetimes. Their works resonate with elements of their eras, demonstrating what it was to be a woman during the first half of the twentieth century. Lilian Westcott Hale and Nancy Hale both engage the gender constructs of their periods through their work. Lilian Westcott Hale‘s art is divided here into three distinct genres: her still lifes and landscapes express the confining environment the Victorian woman occupied; her idealized women reflect the period‘s taste for female perfection and beauty; her portraits and figure studies point to Hale‘s own distinction between males and females through their clothing and their poses. Unlike Lilian Westcott Hale, Nancy Hale demonstrates woman‘s new freedoms in an open manner, a result of the break with Victorianism. Hale‘s use of a literary medium allows her direct examination of the turmoil caused by the modern breakdown of Victorian structures. Lilian Westcott Hale refrains from harsh judgment of her daughter‘s world, while Nancy Hale‘s modern challenge of the previous era‘s standards leads her into troubling relationships and difficulties balancing her career with her personal life. Their work reveals the cultural ideologies of their respective eras and particularly the changes taking place for women.