The paper examines changes made to the first edition of Tay John for the 1960 Crown publication and argues that they were authorial.

<p>While William Dean Howells's influence in nineteenth-century American Realism is indisputable, this thesis will explain why seeing Howellsian Realism as the gold standard of Realism is not an equitable approach to defining the genre or understanding its social impact. This thesis uses literary historicism to examine, through the literary career of Charles W. Chesnutt, the way Black authors of the nineteenth century had to navigate writing Realism for an audience that was immersed in minstrelsy and was therefore misinformed about Black life and Black culture. This project questions the exclusivity of viewing Realism as the “House of Howells” and asks in what ways that exclusivity affects Black writers’ voices and literary futures. </p>

<p>This dissertation defines the literary genre of the American school story for girls from approximately 1845 to 1910. While recent critical studies have examined the American common school story or the women’s college novel, no scholar has surveyed the genre of American school stories for girls in the second half of the nineteenth century. Instead, the British school story tradition, such as the <i>Tom Brown’s School Days</i> series and twentieth-century girls’ boarding school stories such as those by Angela Brazil, has overshadowed the American genre. I also argue that the study of the girl’s book has focused on domestic (family) stories over the school story. By defining the American school story for girls, this project fills a critical gap and argues for how the school story is an important subgenre of the girl’s book that depicts the nineteenth-century girl in an educational environment with new personal and professional opportunities. </p> <p> </p> <p>The first half of the dissertation provides a genre and historical overview, while the second half consists of case studies of specific educational sites and types of experience. The first chapter provides a guiding definition of the school story and examines its subgenres. I split the school story into the following subgenres: the common story school, the seminary or boarding school story, and the college novel, and describe their common tropes and characters. The second chapter details the history of American women’s education and provides relevant examples of fictional school depictions. In chapter three, I analyze girls’ seminary (boarding school) schools including <i>The Boarding-School Girl</i> (1848) by Louisa C. Tuthill, <i>Hester Stanley at St. Mark's</i> (1882) by Harriet Prescott Spofford, and <i>Betty Baird</i> (1906) by Anna Hamlin Weikel. This chapter argues for the religious, personal, and professional goals that motivated the girl characters to attend school, and how the fiction depicted society’s expectations for these girls. Finally, chapter four examines three Vassar-focused college novels, specifically the first two books in <i>The </i><i>Three Vassar Girls </i>series (1883-1892) by Elizabeth W. Champney and Julia A. Schwartz’s <i>Elinor’s College Career </i>(1906), to argue that the college experience created networks to help further the lives of women, while also working to maintain homogeneity. </p>

Through examining the common themes in the writings of five anarchist women writers, I argue their writings are representative of ideological regionalism, or the convergence of factors that give rise to a political ideology that is then expounded through the literary production of a particular time and place. I analyze the economic, sexual, and “religious” politics across fiction, non-fiction, and poetry, connecting arguments about class, individualism, feminism, and anarchism to a foundation of Midwestern cultural ideology. Ultimately, I argue that economic, political, and historical conditions promulgated an exceptionalist American anarchism rooted in settler anti-statism. <br>

Os romances norte-americanos The left Hand of Darkness de Usula Le Guin (1969) e The Handmaids Tale de Margaret Atwood (1985) traduzem os anseios dos ideários políticos e feministas em seus momentos de publicação. As obras são consideradas, respectivamente, u m romance utópico do gênero ficção científica e um romance distópico que se tornou best seller. The left Hand of Darkness coloca, em fragmentos, a questão do planeta Gethen, que se vê diante de uma ginada histórica: ingressar ou não, figurando como uma nação periférica, no Ekumen, uma liga interplanetária. O planeta é habitado por seres ambissexuais e recebe a visita do Enviado, um homem, o incumbindo em trazer esta questão. The Handmaids Tale traz relatos da Aia Offred, residente de Gilead, nação que seria um fantasmagórico duplo dos Estados Unidos dos anos de 1980, onde se instituiu um governo teocrático, abolindo os direitos mais básicos de todas as mulheres, embora restem mantidas a propriedade privada e a produção capitalista. Offred é uma Aia, o seu útero é tutelado por este Estado e seus relatos foram reconstituídos por dois professores em um simpósio acadêmico no ano de 2195. No trabalho, discute-se a impossibilidade da configuração da utopia nos romances, observando-se as teorias feministas e estudos de gênero na segunda metade do século XX; as formas literárias dentro da noção do que seria o romance no pós - modernismo; a crítica da representação e suas funções ideológicas e a emergência de impulsos utópicos em produtos da cultura de massa, tendo em vista a medologia desenvolvida pela crítica materialista, com ênfase nas análises de Fredric Jameson na obra Archaeologies of the future: the desire called utopia and other science fictions. / The North American novels The Left Hand of Darkness by Usula Le Guin (1969) and The Handmaid\'s Tale by Margaret Atwood (1985) reflect the political and feminist aspirations at the time they were each published. They are considered, respectively, a science-fiction utopian novel and a best-seller dystopian novel. The Left Hand of Darkness presents, in a fragmented way, the question faced by the planet Gethen at a turning point in its history: to join or not, as a peripheral nation, the interplanetary league known as Ekumen. The planet is inhabited by \"ambisexuals\" beings and receives a visit from the Envoy\", a male, who is tasked with presenting this choice to Gethen. The Handmaid\'s Tale tells the story of the handmaid Offred, a resident of Gilead, a nation that represents a phantasmagoric version of the United States in the 1980s, where a theocratic government was stablished, suppresing the most basic rights of all women, while mantaining capitalism and private property. Offred is a handmaid, which uterus is managed by this state and her story is reconstituted by two professors in an academic symposium in the year 2195. In this paper, I discuss the impossibility of the utopia in these novels, taking in account feminist theo ry and gender studies in the second half of the twentieth century; literary forms and the idea of what would constitute the postmodern novel; the critique of representation and its ideological functions and the emergence of utopic impulses in the products of mass culture, having in mind the to metodology developed by the materialist critique, with emphasis in Fredric Jameson and his work Archaeologies of the future: the desire called utopia and other science fictions.

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.

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.

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.

Os romances norte-americanos The left Hand of Darkness de Usula Le Guin (1969) e The Handmaids Tale de Margaret Atwood (1985) traduzem os anseios dos ideários políticos e feministas em seus momentos de publicação. As obras são consideradas, respectivamente, u m romance utópico do gênero ficção científica e um romance distópico que se tornou best seller. The left Hand of Darkness coloca, em fragmentos, a questão do planeta Gethen, que se vê diante de uma ginada histórica: ingressar ou não, figurando como uma nação periférica, no Ekumen, uma liga interplanetária. O planeta é habitado por seres ambissexuais e recebe a visita do Enviado, um homem, o incumbindo em trazer esta questão. The Handmaids Tale traz relatos da Aia Offred, residente de Gilead, nação que seria um fantasmagórico duplo dos Estados Unidos dos anos de 1980, onde se instituiu um governo teocrático, abolindo os direitos mais básicos de todas as mulheres, embora restem mantidas a propriedade privada e a produção capitalista. Offred é uma Aia, o seu útero é tutelado por este Estado e seus relatos foram reconstituídos por dois professores em um simpósio acadêmico no ano de 2195. No trabalho, discute-se a impossibilidade da configuração da utopia nos romances, observando-se as teorias feministas e estudos de gênero na segunda metade do século XX; as formas literárias dentro da noção do que seria o romance no pós - modernismo; a crítica da representação e suas funções ideológicas e a emergência de impulsos utópicos em produtos da cultura de massa, tendo em vista a medologia desenvolvida pela crítica materialista, com ênfase nas análises de Fredric Jameson na obra Archaeologies of the future: the desire called utopia and other science fictions. / The North American novels The Left Hand of Darkness by Usula Le Guin (1969) and The Handmaid\'s Tale by Margaret Atwood (1985) reflect the political and feminist aspirations at the time they were each published. They are considered, respectively, a science-fiction utopian novel and a best-seller dystopian novel. The Left Hand of Darkness presents, in a fragmented way, the question faced by the planet Gethen at a turning point in its history: to join or not, as a peripheral nation, the interplanetary league known as Ekumen. The planet is inhabited by \"ambisexuals\" beings and receives a visit from the Envoy\", a male, who is tasked with presenting this choice to Gethen. The Handmaid\'s Tale tells the story of the handmaid Offred, a resident of Gilead, a nation that represents a phantasmagoric version of the United States in the 1980s, where a theocratic government was stablished, suppresing the most basic rights of all women, while mantaining capitalism and private property. Offred is a handmaid, which uterus is managed by this state and her story is reconstituted by two professors in an academic symposium in the year 2195. In this paper, I discuss the impossibility of the utopia in these novels, taking in account feminist theo ry and gender studies in the second half of the twentieth century; literary forms and the idea of what would constitute the postmodern novel; the critique of representation and its ideological functions and the emergence of utopic impulses in the products of mass culture, having in mind the to metodology developed by the materialist critique, with emphasis in Fredric Jameson and his work Archaeologies of the future: the desire called utopia and other science fictions.

<p>This dissertation focuses on a variety of African-American musical expressions of the later twentieth century, situating them along a continuum of musical modernism that constitute various modes of survival technology, inextricably connected to the cultures from which they arise. My application of the term <i>survival</i><i>technologies </i>denotes two primary aspects: musical “technologies” in the sense that the term is commonly understood to refer to the construction of musical instruments and recording instruments both old and new, but also “technologies” in the sense of the term employed by Murray and Dinerstein: as modes of knowledge and strategies of resistance. My use of <i>survival technologies</i>as the conceptual underpinning that unifies my research entails bringing these two aspects together, and the two senses of the term converge especially when African-American musicians use musical instruments and tools in new, unexpected ways, as frequently happens throughout the history of African-American music in the twentieth century. I analyze how African-American musicians’ use of electric guitars, amplification, synthesizers, analog sequencers, studio effects, turntables, samplers, drum machines, and digital audio workstations constitute a uniquely African-American mode of musical knowledge and practice that is improvisational, heuristic, non-linear, and constantly aware of the past while simultaneously re-imagining the future. I link this analysis to works by twentieth-century literary authors and theorists in order to examine how African-American musicians’ <i>modus operandi</i>, varied and distinct as they are, are nonetheless consistent not only across divergent musical styles and eras, but also function inseparably from other arts and broader cultural contexts.</p><p>Throughout this project, written words interact with musical recordings. I strive to “hear” written texts (literature and literary criticism) and to “read” sound texts (recordings), highlighting the resonances between “literary texts” and “sound texts.” The Chicago blues style of Muddy Waters interacts with Richard Wright’s literary documentary of life on Chicago’s South Side, <i>12 Million Black Voices,</i>to highlight how old rural black vernacular “folk” expressions could serve as the basis of a new urban African-American modernism. Likewise, the electronic experiments of Herbie Hancock, which innovatively combined European modes of music creation and African diasporic musical concepts, interacts with Henry Louis Gates Jr.’s <i>The Signifying Monkey </i>to highlight how African-American modernism entails Signifyin(g) on European precedents as well as precedents in African-American art. Additionally, the historically informed jazz of Wynton Marsalis interacts with T. S. Eliot’s ideas of tradition in order to highlight how artistic conceptions of the past inform African-American modernist expressions today, such as jazz and sampled electronic music. Finally, Detroit techno music interacts with the musical and cultural criticism of Theodor Adorno to highlight how African-American modernism uses survival technologies to construct visions of the future that resist what Adorno called the “culture industry.”</p>