A year after Alyssa Milano’s tweet launched the #MeToo movement, survivors of sexual assault are being called ‘accusers’ in the media, and public opinion is swinging in favor of guilty men. #MeToo raised awareness but not understanding. What is rape? What is consent? As evidenced by the #MeToo movement and the backlash against it, clearly, as a society, we don’t know. Contact is a work of Creative Nonfiction that uses scenes and details from the narrator’s personal experiences to illuminate the micro-negotiations that occur in sex and seduction. In a world where women are still expected to stay small and stay out of the way, where we publicly decry but privately propagate the notion of being 'seen and not heard,' and where to be seen means to be sexualized, this narrator seeks to take up space and make noise. In Contact the personal is political and the political is personal.

While numerous studies on academic writers composing for non-academic audiences exist, few if any studies address academic writers composing biographies for children. This self-reflective case study of a Eudora Welty biography for children provides insight into how an academic writer can effectively write in a specific genre (biography) for a specific audience (children) and into practical rhetorical choices such as choosing photographs and designing page layouts. The study also offers triangulated data regarding essential criteria of quality children’s literature as identified by experts in the field (editors, publishers, award committee members, scholars, and authors). The author’s findings include sixty-eight of the most often cited criteria, such as accuracy and the use of documented evidence, that serve as guidelines and a means of evaluating biographies written for children.

L’objet de ce mémoire est d’explorer le lien étroit qui existe entre la pratique de l’autobiographie et l’écriture comme forme d’engagement dans l’œuvre de Simone de Beauvoir, grâce à une analyse du genre ambigu de L’Amérique au jour le jour et des discours politiques qu’il renferme. Bien que L’Amérique au jour le jour constitue le corpus principal de ce mémoire, nous utiliserons aussi des textes contemporains à la rédaction du journal de voyage américain pour guider notre classification générique, dont les Lettres à Nelson Algren, les Lettres à Sartre et Les Mandarins, ainsi que les volumes de l’ensemble autobiographique beauvoirien qui portent sur l’après-guerre, même si ceux-ci sont postérieurs à la rédaction du journal. À l’aide de concepts issus de la poétique des genres, comme les questions de hiérarchie, de proportion, d’intention et de programme, et de l’éthique de l’engagement de l’écrivain telle que définie par la notion sartrienne de l’engagement, nous tenterons de démontrer que l’ambiguïté générique de L’Amérique au jour le jour relève d’une action délibérée de l’auteure visant à mettre en péril son capital symbolique pour assurer la crédibilité de son engagement intellectuel. Une fois les concepts précités définis, le deuxième chapitre de notre mémoire s’attardera à explorer toutes les facettes de l’ambiguïté générique du journal américain, alors que le troisième chapitre démontrera le lien entre les écritures intimes et l’engagement, tout en explorant les formes que prend l’engagement dans le livre. Pour ce faire, nous analyserons trois discours politiques tenus par Beauvoir dans son œuvre : la critique du consumérisme américain, la critique de la condition des Noirs et la critique de la femme américaine. Nous conclurons notre mémoire en démontrant que L’Amérique au jour le jour est devenu une sorte de matrice dans la pratique autobiographique et scripturaire de Simone de Beauvoir, ainsi que dans son engagement. / The main purpose of this master thesis is to explore the intimate connexion between the practice of autobiography and writing as a form of engagement in the work of Simone de Beauvoir, through an analysis of the ambiguous genre in America Day By Day and the political views that the book puts forward. Although America Day By Day is the basic corpus of this thesis, other texts contemporary to the American travel log will also be used to guide our generic classification, including Letters to Nelson Algren, Letters to Sartre and The Mandarins, and the volumes of Beauvoir’s autobiography that deal with the post-war period, even if they were written after the American travel log. Using concepts from genre theory, including issues such as hierarchy, proportion, intent and program, and the ethical commitment of the writer as defined in the Satrean concept of engagement, we will attempt to demonstrate that the generic ambiguity of America Day By Day is a deliberate action by the author aiming to jeopardize her symbolic capital, therefore ensuring the credibility of her intellectual engagement. Once the concepts above have been defined, the second chapter of our paper will focus on exploring all facets of genre ambiguity in the American travel log, while the third chapter will seek to illustrate the intimate connection between creative nonfiction and intellectual engagement, as well as exploring commitment’s forms in the book. To do this, we will analyze three political discourses found in Beauvoir’s work: criticism of the American consumerism, criticism of the Negro Problem and criticism of American women. We conclude our thesis by showing that America Day By Day has become a sort of matrix in Beauvoir’s autobiographical practice, as well as in her intellectual “engagement”.

My dissertation explores the narrative of Aurora Bertrana (1892-1974), an unknown writer today, but a successful and recognized female author in Catalonia and Spain during the mid 20th century. The written work of Aurora Bertrana is almost never mentioned in manuals of literature. Relegated almost to absolute oblivion, her rich, intellectual writting has not received the attention it deserves. I have studied seventeen of Bertrana’s novels –practically her entire oeuvre– written in Catalan and Spanish, including the following excellent books that have escaped critical attention: Ariatea (1960), “El pomell de les violes” (mn.), L’inefable Philip (mn.), La aldea sin hombres (mn.), La madrecita de los cerdos (mn.), Entre dos silencis (1958), La ninfa d’argila (1959), Fracàs (1966) and La ciutat dels joves: reportatge fantasia (1971). I have analyzed her writing, published and unpublished, from a feminist approach, taking into account the intellectual history of Spain and Catalonia. Bertrana’s strong commitment to controversial, social issues reveals her association with the modern and noucentists Catalan trends of her time. Her novels also reveal a unique interest in Europe at war and in non-Western cultures and lifestyles that draws attention to the situation of women in different circumstances and cultural geographies. My research is therefore anchored on interpretive and theoretical parameters that intersect, with a consideration of gender, such as class-and-gender, war-and-gender and travel-and-gender. I have used the work of feminists such as Simone De Beauvoir, Shulamith Firestone, Jelke Boesten, Margaret and Patrice Higonnet, Michelle Zimbalist Rosaldo, and Julia Kristeva to help assess Bertrana’s engagement with gender and socio-political issues. This approach is particularly well suited for a writer like Aurora Bertrana, a Catalan and Republican intellectual woman forced into exiled during the Spanish Civil War and the dictatorship of Francisco Franco.

The genre of biography is, by nature, imprecise and limited. Real lives are lived synchronously and diversely; they do not divide spontaneously into chapters, subjects or themes. All biographers construct stories, in the process forcing the disordered complexity of an actual life into a neat literary form. This doctoral submission comprises a book length creative work, Poisoned: The Trials of Mary Dean, and a reflective written component on that creative work, Writing Fictionalised Biography. Poisoned is a biography of Mary Dean, who, although repeatedly poisoned by her husband at the end of the nineteenth century, did not die. This biography, presented in the form of a first-person memoir, is based closely on historical evidence and is supported with discursive notes and a select bibliography. The reflective written component, Writing Fictionalised Biography, outlines the process and challenges of writing a biography when the source material available is inadequate and unreliable. In writing Poisoned my genre solution has been fictionalised biography - biography which is historically diligent while utilising fictional writing strategies and incorporating fictional passages. This written component reflectively discusses how I arrived at that solution. It includes discussion of the sources I utilised in writing Poisoned, including the limitations of trial transcripts and other court records as biographical evidence; useful precursors to the form; the process wherein I located both a form for my fictionalised biography and a voice for my biographical subject; possible models I considered; how I distinguished established fact from speculative supposition in the text; as well as some of the ambivalences and ethical concerns such a narrative process implies.

Osman Lins e o Suplemento Literário dO Estado de São Paulo (1956-1961): cotejos com sua obra ficcional apresenta um levantamento de temáticas observadas na produção não-ficcional do escritor pernambucano correspondente a um suposto período de formação do ficcionista como apresentado por Osman Lins em Guerra sem testemunhas , estabelecendo cotejos entre essas temáticas e sua obra ficcional madura. Considerando o referido levantamento temático, estabelecem-se análises das reflexões estéticas, éticas e morais do crítico Osman Lins, reflexões essas que se apresentam de forma muito lúcida e em diversos momentos extremamente combatente. As análises estabelecidas nesta dissertação procuram verificar laços existentes entre a produção crítica e a obra ficcional de Lins, aceitando-se como premissa que a obra crítica de um escritor ficcional possa apresentar reflexões do escritor a partir de suas observações críticas e julgamentos de valor. Esta dissertação tem como objetivos gerais promover a divulgação de uma produção não-ficcional de Osman Lins inédita em livro, bem como oferecer ferramentas de pesquisa a outros estudiosos da obra do escritor pernambucano. Não se pretende, de modo algum, esgotar as possibilidades temáticas do corpus desta pesquisa; tampouco se busca apresentar análises exaustivas dos temas estudados. Este é apenas o início de um trabalho que se acredita ser parte de um percurso longo e muito produtivo. / Osman Lins and the Suplemento Literário of O Estado de São Paulo (1956-1961): comparisons with his fictional work presents a survey of themes which have been observed in the nonfiction production of the Pernambucan writer and which correspond with a supposed formative period in the writers work as it is presented by Osman Lins in Guerra sem testemunhas , establishing comparisons between those themes and his mature fiction production. Considering the mentioned survey of themes, some analysis of the critic Osman Lins esthetic, ethical and moral reflections were established. Those reflections are presented in a very lucid and, many times, extremely combatant way. The established analysis in this dissertation long for verify possible bonds between the writers nonfiction production and his fiction work, accepting the premise that the critical production of a fiction writer might present reflections of the writer in his critical observations and value judgments. This dissertation aims to promote the spreading of some Osman Lins unpublished nonfiction production, as well as to offer some instruments to other researchers of the Pernambucan writers work. This study does not aim, nowhere near, to use up the possible themes of this researchs corpus; neither longs for present exhaustive analysis of the studied themes. It is just the beginning of a work which is believed to be part of a long and very productive trajectory.

Orientador: Antonio Alcir Bernárdez Pécora / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T02:04:49Z (GMT). No. of bitstreams: 1 Andretta_CyntiaBelgini_D.pdf: 1245591 bytes, checksum: 2d4d1aa7ae43bc5fac7e0f98cf113127 (MD5) Previous issue date: 2013 / Resumo: A tese investiga a concepção de "literatura" proposta no âmbito do chamado de New Journalism (Novo Jornalismo). Para tanto, apresenta essa tendência jornalística inventariando e analisando os conceitos sugeridos por ele, suas ideias, seus antecedentes, seus autores, seu histórico e, principalmente, os conceitos de "literário" e "literatura" utilizados por seus escritores. O Novo Jornalismo, grosso modo, foi um fenômeno do jornalismo norte-americano, com auge de 1960 a 1980, que pretendia reunir recursos literários a técnicas jornalísticas para escrever romances de não ficção. O estudo produz uma leitura dos romances de Joseph Mitchell(O segredo de Joe Gould), Gay Talese (A mulher do próximo), Norman Mailer (A luta) e Tom Wolfe (Ficar ou não ficar), expoentes do jornalismo literário norte-americano e obras produzidas em diferentes momentos. No âmbito nacional, investiga algumas manifestações que se assemelham ao jornalismo literário produzido nos Estados Unidos e, por isso, pode ter sido influenciado pelo New Journalism. Até o presente momento, pouca bibliografia existe sobre o tema no Brasil, principalmente no que diz respeito a um estudo dessas obras na área de Teoria Literária / Abstract: The thesis investigates the concept of "literature" under the proposal called New Journalism. It presents this trend journalistic inventorying and analyzing the concepts suggested by him, their ideas, their background, their authors, their history, and especially the concepts of "literary" and "literature" used by its writers. The New Journalism, roughly, was a phenomenon of American journalism, with a peak from 1960 to 1980, which aimed to bring together the resources literary journalistic techniques to write non-fiction novels. The study produces a reading of the novels of Joseph Mitchell (Joe Gould's Secret), Gay Talese (The neighbor's wife), Norman Mailer (The fight) and Tom Wolfe (Hooking up), exponents of American literary journalism and works produced at different times. Nationally, investigates some manifestations that resemble literary journalism produced in the United States and, therefore, may have been influenced by the New Journalism. To date, there is little literature on the subject in Brazil, mainly in relation to a study of these works in the area of Literary Theory / Doutorado / Teoria e Critica Literaria / Doutora em Teoria e História Literária

This paper reads Larry Beinhart’s novel The Librarian (2004) and its nonfiction companion Fog Facts (2005) as a double attempt at writing that is politically invested in representing reality but that nevertheless is openly aware of the postmodern crisis of representation. In this sense, I read both books as indicative of a broad cultural search for forms of writing that engage their readers’ reality without simply attempting to return to a less complicated moment before postmodernism. The paper situates both books within crucial textual contexts: a broad ‘epistemic panic’ about the facts and reality at the time, a surge of political nonfiction published in response to George W. Bush’s Presidency, and a longer tradition of political fiction. Tracing how the novel struggles with its nonfiction aspects and how the nonfiction book relies on fiction to make its point, I then look at how the two books evoke political affect to have a realist appeal of sorts despite their insistence on the precarious nature of all realist representation. Reading both books as distinctly popular, mass-market products and thus bringing together the debate around post-postmodernism from literary studies with an interest in reading pleasures informed by popular culture studies, I argue that the two books constitute decidedly popular attempts at a new, meta-aware yet politically engaged textuality.

Samuel Beckett penned novels, short stories, poetry, stage plays, radio plays, and scripts—and he did each in a way that blended genre, challenged the norms of creative writing, and surprised audiences around the globe. His experimental approach to creative writing included the use of absurdism, genre-hybridization, and ergodicism, which led to Beckett fundamentally changing the approach to creative writing. His aesthetics have trickled down through the years and can be seen in contemporary works, including Aimee Bender’s short story collection The Girl in the Flammable Skirt and Mark Z. Danielewski’s novel House of Leaves[1]. By examining these works in comparison to Beckett, this project hopes to illuminate the effects of Beckett’s experimentation in form and genre on contemporary creative writing. [1] The word ‘house’ appears in blue to honor Danielewski’s decision to have the word printed in that color each time it appears in his novel.

This thesis presents a case study from an authentic school practice, where seven students, in their second year of a social sciences program in an upper sec­on­dary school, use internet texts in various learning situations. The aim of the study is to map the reading practices of students encountering internet texts. The main data con­sists of obser­vations, audio and screen recordings, writ­ten instruc­tions, and screen ­shots of the sites visited. Reading practices are ana­lysed, draw­ing on concepts from New Literacy Studies and Systemic Func­tional Grammar, inclu­ding literacy events, literacy in terms of text cul­ture, text­ual norms, abstraction, auth­o­rity and mod­ality as a scale of reliability. The results reveal that meaning making resources such as colours, amount of writing and images and choice of fonts all seem to be parts of students’ con­ceptions of reliability. These textual norms result in learning situations in which students search for texts with pre­dominantly dense writing promoting ency­clopaedic know­ledge. These highly auth­orit­ative texts can be hard to under­stand for the students, something that the text analyses indicate. In com­parison to text books, the internet texts used show, a higher level of auth­ority and abs­trac­tion, rein­forced by gram­matical meta­phors. Most situ­ations in the study include peer interaction, but the most obvious learning poten­­tial resides in situations with a clear reading goal, where stu­dents work in groups and where negotiation is part of the meaning mak­ing pro­cess. The pedagogical implications of the study suggest the potential for students to achieve a higher degree of understanding of the encountered inter­net texts, through group work, and discussions concerning the impact of different layouts and the demands of verbal language. Another potential con­cerns methods for avoiding critical literacy being reduced to trivial visual scanning, via dis­cussions focusing on criteria for reliability evaluations. It is suggested that increased teacher awareness concerning the types of internet texts the students will encounter in authentic situations may contribute to students’ field and genre insight.