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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 19, 2010). Thesis advisor: Dr. Berkley Hudson. Includes bibliographical references.

Since Truman Capote's In Cold Blood: A True Account of a Multiple Murder and its Consequences was published in 1965, there have been many attempts to define and explain the phenomenon of the "non-fiction novel" as a unified narrative genre. Some of these attempts have been highly theoretical and scholarly, but most have been rather loose definitions referring to an extremely wide range of diverse factual narratives. Over the years, so many different works have been called "non-fiction novels" that it now seems as if the notion of such a unified genre is questionable. Surely it is not generically useful to say that such functionally distinct works as Oscar Lewis's La Vida: A Puerto Rican Family in the Culture of Poverty (1967) and Hunter S. Thompson's Fear and Loathing in Las Vegas: A Savage Journey to the Heart ot the American Dream (1971) belong in the same narrative category. The purpose of this study is to show that many of the works routinely referred to as "non-fiction novels" perform fundamentally different narrative functions and do not belong together in a unified genre. Roman Jakobson's model of communication and his notion of the "dominant function" are used to identify three functional categories into which the narratives discussed in the study logically fall: first, there are predominantly sociological works in which the referential function is the most important element of the communication; second, there are predominantly journalistic works in which the opinions of the writer or emotive function constitute the central narrative concern; and thirdly, we have works performing a dominant novelistic or aesthetic function in the sense that the secondary meanings and themes implied are the most important elements communicated. The thesis follows the following structure. In the introductory chapter, a critique of some of the major generic theories of the "non-fiction novel" as unified genre is offered. The purpose here is not to caricature what are sometimes extremely sophisticated studies. (Indeed, in my own analysis of texts, I am often indebted to the critical insights of the scholars whose theories I question in the introduction.) My purpose is merely to show that the corpus of works each writer refers to can be divided more logically between different dominant narrative functions. The introduction ends with a more detailed explanation of the adaptation of Jakobson's notion of "the dominant" and how it relates to the functional categories identified. Chapter 2 offers analyses of a group of documentary narratives that perform a dominant sociological function but have often been referred to as "non-fiction novels." The chapter starts with an analysis of James Agee's Let Us Now Praise Famous Men (1941), a text widely regarded as the first real American example of the "genre." This is followed by an examination of the anthropological works of Oscar Lewis: Five Families: Mexican Case Studles in the Culture of Poverty (1959), The Children of Sanchez: Autobiography of a Mexican Family (1964), Pedro Martinez: A Mexican Peasant and his Family (1964) and La Vida: A Puerto Rican Family in the Culture of Poverty. I conclude the chapter with an analysis of the recent sociological works of Studs Terkel: Division Street: America (1968), Hard Times: An oral History of the Great Depression (1970) and Working: People talk about what they do all day and how they feel about what they do (1974). In Chapter 3, the notion of subjective participation journalism is explained. This is followed by an analysis of three of the most famous and creative of the works that fall into this functional category: Hunter S. Thompson's Hell's Angels: The Strange and Terrible Saga of an Outlaw Motorcycle Gang (1966), Michael Herr's Vietnam classic, Dispatches (1977), and Norman Mailer's account of a famous protest march, The Armies of the Night: History as a Novel, The Novel as History (1968). Chapter 4 offers a discussion of three works that perform a dominant novelistic function in the realistic tradition of Dostoevski's Crime and Punishment. All three are based on actual murder cases, but the facts of the stories are subordinated to the novelistic themes the author wishes to abstract. They are: Meyer Levin's Compulsion (1957), Mailer's The Executioner's Song (1979) and Capote's In Cold Blood. From this outline, it may appear as if the study is loaded in favour of the sociological works discussed in Chapter 2. This is intentional because, although many critics have referred to them as "non-fiction novels", very little systematic and detailed analysis of these works as a corpus has been forthcoming. This long chapter is an attempt to redress the balance.

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This creative project is a representation of the genre of journalism that delves deeper into the lives of ordinary people. The story contained in this creative project represents a literary journalistic account of a woman's life of abuse and neglect. Narrative techniques such as scenes, digression, characterization, and vivid description are utilized to vividly chronicle a tale that strives to be both entertaining and enlightening. / Department of Journalism

Orientador: Francisco Foot Hardman / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-12T14:46:39Z (GMT). No. of bitstreams: 1 Andretta_CyntiaBelgini_M.pdf: 1551521 bytes, checksum: a16e80737b55b94e2aecb4b771c7a0f5 (MD5) Previous issue date: 2008 / Resumo: Este trabalho visa introduzir um estudo da componente literária no chamado jornalismo literário, tomando como ponto de partida a análise de três livros: Hiroshima, de John Hersey, A sangue frio, de Truman Capote, e Olga, de Fernando Morais. A proposta é compreender o porquê da rubrica "literário" que os três livros-reportagens escolhidos possuem - a seleção foi feita por meio de uma pesquisa prévia, que apontava esses livros como marcos no chamado "Novo Jornalismo" (variante do nome jornalismo literário), tanto no cenário internacional quanto nacional; também porque são distintos entre si (fragmentos de histórias, romance narrativo e biografia, respectivamente) e, por isso, apresentaram mais dados como corpus do trabalho. Nesse sentido, lança-se mão dessas três obras, reconhecidas tanto pela crítica quanto pelo mercado editorial, para investigar um provável hibridismo entre os discursos literários e jornalísticos. Para tanto, duas questões são de fundamental importância, a saber, a linguagem e a relação do jornalismo e da literatura com o "real", obrigando a um estudo sobre os conceitos teóricos principalmente de literatura. / Abstract: This work aims at to introduce a study of the literary component in the call literary journalism, taking as starting point the analysis of three books: Hiroshima, of John Hersey, The cold blood, of Truman Capote, and Olga, of Fernando Morais. Proposal is to understand for what of heading "literary" that the three chosen book-news articles possess - the election was made by means of a previous research, that pointed these books as landmarks in the call "New Journalism" (variant of the journalism literary name), as much in how much national the international scene; also because they are distinct between itself (fragments of histories; narrative romance and biography, respectively) e, therefore, given more as corpus of the work. In this direction, we use of these in such a way three workmanships, recognized for the critical one how much for the publishing market, to investigate a probable hibridism between the literary and journalistic speeches. For in such a way, two questions is of basic importance, namely, the language and the relation of the journalism and literature with the "real", compelling to a study on the theoretical concepts in special of literature. / Mestrado / Literatura e Outras Produções Culturais / Mestre em Teoria e História Literária

鄺可怡. / 論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部, 1998. / 參考文獻: leaves 337-384. / 中英文提要. / Kuang Keyi. / Chapter 第一章 --- 導論 --- p.1-27 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 張大春對「新聞小說」、「歷史小說」的論述 / Chapter 一、 --- 張大春「新聞小說」、「歷史小說」的硏究範圍 / Chapter 二、 --- 張大春「新聞小說」、「歷史小說」和「政治小說」 的關係 / Chapter 1. --- 論者對張大春「政治小說」的討論 / Chapter 2. --- 張大春對「政治小說」評論的回應 / Chapter 三、 --- 張大春對「小說」和「新聞」、「歷史」關係的論述 / Chapter 第三節 --- 張大春有關小說敘事形式的討論 / Chapter 一、 --- 強調小說敘事形式的實驗 / Chapter 二、 --- 小說敘事形式的主張 / Chapter 1. --- 展現小說「敘述」本身的價値 / Chapter 2. --- 從傳統敘事形式的破壞改變讀者的期待閾 / Chapter 第四節 --- 張大春「新聞小說」、「歷史小說」及敘事形式的 評價 / Chapter 一、 --- 論者對張大春「新聞小說」、「歷史小說」的評價 / Chapter 二、 --- 論者對張大春敘事手法的評價 / Chapter 第五節 --- 小結 / Chapter 第二章 --- 本文硏究目的和方法 --- p.28-37 / Chapter 第一節 --- 本文硏究目的 / Chapter 第二節 --- 本文硏究方法 / Chapter 一、 --- 從小說的敘事結構探討小說主題 / Chapter 二、 --- 「敘事學」以及其他理論的配合運用 / Chapter 1. --- 敘事學理論框架的應用 / Chapter 2. --- 敘事學的局限以及其他理論的配合運用 / Chapter 三、 --- 文献資料的應用 / Chapter 第三章 --- 張大春「新聞小說」和「歷史小說」的主題脈絡及 寫作背景 --- p.38-59 / Chapter 第一節 --- 「解嚴」前後台灣社會的急劇轉變 / Chapter 一、 --- 政治：「解嚴」帶來的急劇變化 / Chapter 1. --- 「解嚴」以前的政治氛圍（1986-87) / Chapter 2. --- 「解嚴」初年的政治氛圍（1987-90) / Chapter 二、 --- 社會：權力中心的挑戰 / Chapter 1. --- 「解嚴」前後台灣社會的綜合分析 / Chapter 2. --- 台灣社會「傳媒」角色的改變 / Chapter 第二節 --- 張大春「新聞小說」、「歷史小說」的主題脈絡及對 台灣社會的回應 / Chapter 一、 --- 張大春對文學與社會關係的討論 / Chapter 1. --- 文學對社會、政治的影響力 / Chapter 2. --- 文學面對傳播媒體的發展 / Chapter 二、 --- 張大春「新聞小說」、「歷史小說」對台灣社會的 回應 / Chapter 1. --- 張大春「新聞小說」、「歷史小說」與社會關係的 討論 / Chapter 2. --- 張大春「新聞小說」、「歷史小說」兩大主題脈絡 / Chapter (i) --- 宣告一切敘述的虛構性 / Chapter (ii) --- 以小說「介入」現實 / Chapter 第四章 --- 張大春「新聞小說」、「歷史小說」敘述元素的綜合 比較和分析 --- p.60-77 / Chapter 第一節 --- 敘述者 / Chapter 第二節 --- 聚焦 / Chapter 第三節 --- 敘述層次 / Chapter 第四節 --- 敘述時間和敘事時間 / Chapter 一、 --- 敘述時間 / Chapter 二、 --- 時間序列 / Chapter 第五節 --- 小結 / Chapter 第五章 --- 〈印巴茲共和國事件錄〉對客觀「呈現」的探討 --- p.78-97 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 〈印巴茲共和國事件錄 〉 對客觀「呈現」的模式 / Chapter 一、 --- 〈印巴茲共和國事件錄〉的「事件敘事」 / Chapter 1. --- 敘事信息量增多 / Chapter 2. --- 敘事者減低介入程度 / Chapter 二、 --- 〈印巴茲共和國事件錄〉的「言語敘事」 / Chapter 第三節 --- 敘事學以外其他元素的運用 / Chapter 一、 --- 新聞報導形式的借用 / Chapter 二、 --- 社會科學的分析架構 / Chapter 第四節 --- 〈印巴茲共和國事件錄 〉對客觀「呈現」敘事模式的 反省 / Chapter 一、 --- 敘事者道破寫作題旨 / Chapter 二、 --- 諧擬「菲律賓政變」的新聞報導 / Chapter 第五節 --- 小結 / Chapter 第六章 --- 〈 將軍碑 〉 從敘事時間的設計質疑歷史書寫 --- p.98-131 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 〈將軍碑〉的敘事時間分析 / Chapter 一、 --- 序列：時間倒錯的淡化 / Chapter 1. --- 小說單元部份的分析 / Chapter 2. --- 小說的整體時間分析 / Chapter 二、 --- 時距：小說的敘事「快板」 / Chapter 1. --- 從敘事學角度的分析 / Chapter 2. --- 影響敘事速度的其他小說元素 / Chapter (i) --- 張大春所言「人物角色意志的速度感」 / Chapter (ii) --- 〈將軍碑〉裡人物角色意志與小說敘述速度的關係 / Chapter 三、 --- 頻率 / Chapter 第三節 --- 〈將軍碑〉與「魔幻現實主義」小說「似是而非」的 關係 / Chapter 第四節 --- 〈將軍碑〉 敘事時間的處理對歷史書寫的質疑 / Chapter 一、 --- 〈將軍碑〉對直線發展時間觀念的破壞 / Chapter 二、 --- 〈將軍碑〉對因果邏輯的破壞 / Chapter 第五節 --- 小結 / Chapter 第七章 --- 〈大說謊家〉敘述者以及敘述交流模式的探討 --- p.132-169 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 《大說謊家》敘述者的基本分析及與「後設小說」的 關係 / Chapter 一、 --- 全知敘述者的顛覆 / Chapter 二、 --- 顯露敘述者的超越 / Chapter 三、 --- 無信無不信的敘述者 / Chapter 第三節 --- 《大說謊家》對傳統敘述交流模式的改變 / Chapter 一、 --- 《大說謊家》的敘述交流情況 / Chapter 二、 --- 《大說謊家》敘述者以外各種干擾的聲音 / Chapter 1. --- 指涉現實世界的「本文作者」 / Chapter 2. --- 指涉現實世界的「編者」 / Chapter 3. --- 指涉現實世界的「本文讀者」 / Chapter 第四節 --- 小結 / Chapter 第八章 --- 《沒人寫信給上校》的敘述層次分析 --- p.170-199 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 《沒人寫信給上校》外、內敘述層次分析 / Chapter 一、 --- 敘述外層 / Chapter 二、 --- 敘述內層 / Chapter 第三節 --- 《沒人寫信給上校》的「換層敘述」及對後設小說的 轉化 / Chapter 一、 --- 小說中換層敘述的分析 / Chapter 二、 --- 小說的換層敘述對後設小說的轉化 / Chapter 第四節 --- 小說從「敘述層次」的設計回應新聞事件 / Chapter 一、 --- 「正文合倂註釋」的敘述層 / Chapter 二、 --- 換層敘述下既超然又局限的敘事者 / Chapter 三、 --- 「向心的」換層敘述 / Chapter 第五節 --- 小結 / Chapter 第九章 --- 《撒謊的信徒》從聚焦設計表現對現實隱價 --- p.200-240 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 《撒謊的信徒》的聚焦分析 / Chapter 一、 --- 敘述者一外聚焦者 / Chapter 二、 --- 受聚焦者兼內聚焦者：李政男 / Chapter 三、 --- 受聚焦者 / Chapter 1. --- 不參與故事發展的受聚焦者 / Chapter 2. --- 參與故事發展的受聚焦者 / Chapter 第三節 --- 《撒謊的信徒》聚焦方式的設計與評價關係 / Chapter 一、 --- 聚焦者觀點之間的落差 / Chapter 二、 --- 「人物一受聚焦者」的並置比對 / Chapter 1. --- 不參與故事發展的「人物一受聚焦者」 / Chapter 2. --- 參與故事發展的「人物一受聚焦者」 / Chapter 第四節 --- 小結 / Chapter 第十章 --- 總論 --- p.241-255 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 張大春「新聞小說」和「歷史小說」的評價 / Chapter 一、 --- 從「上下求索」到「不假外求」的敘事形式探索 / Chapter 二、 --- 小說寫作與閱讀層面的開拓 / Chapter 第三節 --- 本文硏究方法的檢討 / Chapter 一、 --- 「敘事學」轉化運用的試驗 / Chapter 二、 --- 整體硏究方法的回顧 / Chapter 第四節 --- 結語 / 附錄 --- p.256-336 / Chapter 一、 --- 本文敘事學理論框架的設定 / Chapter 二、 --- 凱南《敘事虛構作品：當代詩學》硏究對象資料整理 / Chapter 三、 --- 《大說謊家》第一章新聞元素與《中國時報》 報導比較 / Chapter 四、 --- 《沒人寫信給上校》小說人物與現實對應關係 / Chapter 五、 --- 《沒人寫信給上校》故事事件時間序列 / Chapter 六、 --- 「尹淸楓命案」新聞資料整理 / Chapter 七、 --- 《撒謊的信徒》故事人物與現實對應關係 / Chapter 八、 --- 小說人物李政男與李登輝比較 / 《撒謊的信徒》故事事件時間序列 / 參考書目 --- p.337-384

The thesis examines Bolivian fiction written about the war with Paraguay (1932-35), known as the Chaco War. The study takes two different perspectives: the first considers the fiction as works of literature, and studies three major aspects of fictional writing: narrative organization, characterization arid figurative language, in order to investigate the constraints imposed upon writers who produce fiction about an historical event, (in this instance a military conflict). The second perspective views the works of fiction as historical documents and assesses their informative value by comparing factual information supplied in the novels with that provided in historiographical accounts and also by examining the kind of information which is the peculiar contribution of fiction to the understanding of an historical event. These two examinations are undertaken in Chapters V and VI respectively, and constitute the main body of the thesis. In order to place them in a wider context, the thesis considers previous critical studies of Chaco War fiction (in the Introduction). There follows a study of the relationship between the writing of contemporary history and documentary fiction (Chapter I), a brief summary of the Chaco War (Chapter II), an examination of some possible influences and precedents (Chapter III) and a survey of the writers and the works of Bolivian fiction of the Chaco War (Chapter IV). The conclusion suggests that the problems encountered by writers of documentary fiction are those faced by any naturalist writer, compounded here by the nature of the subject matter. If they cannot fully succeed on an artistic level, however, these works do provide a view of the historical facts of the war which is reasonably accurate. In addition they lead to a distinctive understanding of the war as an historical experience which no historiographical work can produce.