En France comme au Japon, l’intérêt que les chercheurs portent à la littératurepopulaire comme support pour des recherches autres que littéraires, telle que l’analysehistorique, est très faible. Pourtant, une analyse approfondie des tendances littéraires montreque les lecteurs, selon les époques, ne désirent pas les mêmes intrigues, les mêmespersonnages et n’ont ainsi pas les mêmes besoins. Dans ce contexte, les romans de ninja ouninpô shôsetsu au Japon apparaissent comme un genre particulièrement saisissant.Le shinobi est une figure importante de l’histoire japonaise qui fut longtemps dénigréeface aux valeureux samouraïs. Peu de récits l’employèrent pour distraire le peuple. Pourtant,éclata après l’Occupation un véritable boom du ninja, personnage dérivée du shinobi. Cetteétude analyse le sens de cette diffusion massive à l’heure de la modernité d'après-guerre et del'instauration de la démocratie, alors que le peuple japonais renouait avec la pleine possessionde son territoire.Véritable héros, le ninja représente en réalité une partie du peuple d’après-guerre etl'univers de ces romans semble décrire le Japon de l’époque. Les auteurs s’adressent à unlecteur implicite au passé commun, avec sa propre expérience et vision de la guerre, desévolutions économiques et politiques de la société. Véritable allégorie du peuple d’aprèsguerre,le ninja des années 1950 et 1960 symbolise divers acteurs de la société (salariés,précaires, personnes âgées, femmes). Figure romanesque de l’ombre, il incarne un personnagede contre-culture aux valeurs nouvelles, et relève autant d’un état d’esprit qu’il le construit. / In France as in Japan, the interest that researchers take in popular literature as asupport for other researches other than literary, such as historical analysis, remains weak.Still, a deep analysis of the various literary genre shows that readers don’t look for the sameintrigues, the same characters and therefore don’t have the same needs over time. In thiscontext, ninja fiction or ninpô shôsetsu in Japan appears to be a good example of this.The shinobi is an important Japanese historical figure who was for a long timedenigrated compared to the brave samurais. Very few stories used it to distract people. Still,after the Occupation occurred a strong and sudden ninja boom, a character derived from theshinobi.This work analyses the meaning of this massive diffusion which emerge at the time ofafter-war modernity and of the establishment of democracy, just as Japanese peoplereconnected with their full property of their territory.As true heroes, the ninja represents in reality a part of the after-war population andthose novels’ universe seems to describe the Japan of this time. Authors indirectly address animplicit readership with a shared past, with their own vision and experience of the war,economic and political evolutions of society. Real allegory of the Japanese after-warpopulation, the 1950’s-60’s ninja symbolizes different social roles (salary-man, precariouspeople, elders, women). As a shadowy Romanesque character, he embodies the counterculturepersona with new values and belongs as much as he also established a certain way ofmind.

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The subject of this thesis is the social-adventure novel which was popular in the 1840s and early 1850s in Sweden. In contrast to literary critics who have tended to regard the thrilling plot of the genre as merely a way of creating effects, I try to analyze the plot as a bearer of both meaning and ideology. Inspired by the Russian scholar Mikhail Bakhtin, I define the plot in the genre as an adventure-plot, with links back to the novel of Antiquity. In an introductory chapter I discuss theories of genres which resembles the social- adventure novel. I conclude the chapter with a brief discussion of the differences between the adventure novel and the biographical novel. In chapter 2 I look into the reception of the social-adventure novel by contemporary critics. In the first case-study, I examine Samvetet eller Stockholms mysterier, 1850, (The Conscience or the Mysteries of Stockholm), by C. F. Ridderstad. By means of the ad­venture-plot we are introduced to everyday life in Stockholm in the middle of the cen­tury. But the adventure-plot also had other possibilities. It could be used to examine the various competitive moral and ideological views that were current at the time. In the second case-study, I analyze a variant of the social-adventure novel which deals with the development of the individual. The need to examine ideology and its values is essential in the historical-adventu­re novel. This case-study contains readings of novels by Ridderstad, J. A. Kiellman- Göranson and C. J. L. Almqvist. The function of the plot in the historical-adventure novel is to test the "natural" qualities of the heroes; to examine the ideology of the vil­lain; and finally to claim that history in the end depends upon the (im) moral actions of the individual. This is created through the mixture in the novels of historical time and adventure-time. The thesis ends with an analysis of a novel by Viktor Rydberg, Den siste athenaren, 1859, (The Last Athenian). In this novel there is also an adventure plot, but no ad- venture-time. The reason for this is that Rydberg only uses the adventure plot for his own monologic view of history and the destiny of mankind. Rydberg's novel marks an ending. It stands as the final expression of that period which began in the 1830s, in which the novel emerged as a leading genre in Swedish literature. / <p>Diss. Umeå : Umeå universitet, 1990</p> / digitalisering@umu

子弟書係清代北方俗曲之一種。此種曲藝，盛行於乾、嘉、道三代，至光、宣時始趨沒落。因其詞婉韻雅，故在當代藝壇上之地位極高。繆東霖陪京雜述曾推之為當時說書人之最上者，滿族人士，並尊之為「大道」，可見時人對此種曲藝敬愛之一斑。考其所以被稱為「子弟書」之原因，藝由其始創者、作者、演唱者、聽眾、皆以八旗子弟為主，且其演唱之儀式規矩，亦與其他曲藝不同。 此種曲藝之體製，實淵源於鼓詞，但無說白，至其唱詞，雖仍以七言為主，然可隨意增加襯字。 至其故事題材之來源，則以取材於我國明清兩代通俗小說及元明清三代傳寄與當時北京流行之散齣或京劇故事最多，然以描寫當時北京社會生活及風士人情為題材者，亦為數不少。子弟書之樂調，分為東調與西調兩種。東調又名東城調、東韻，音節如高腔。西調又名西城調，西韻，音節如崑曲。東調之詞，沈雄闊大，慷慨激昂，而西調之詞，類為才子佳人，紅情綠意之作。才子佳人，紅情綠意之作。 篇及結尾曲文，可考出作者之別號或書齋名者約有百餘種，其中較名者有羅松窗、韓小窗、鶴侶氏、芸窗四人。羅松窗、韓小窗二人係職業子弟書藝人，作品以取材於我國著名之小說或戲曲故事中，其情節關目之足動人者為主；鶴侶氏、芸窗二人則係業餘作家，其寫作子弟書旨在陶情自娛，故多取材於身邊瑣事，或借題抒懷。總觀此四人中，自以韓小窗在當時之地位最高，藝術成就亦最大，逛護國寺子弟書，曾稱之為「編書的開山大法師」，讚其作品「得三昧」。蓋韓氏乃東調代表作家，所作無不精妙，故流傳亦最為廣遠，且每被其他曲藝所改編演唱，故其地位，實遠超於同時各家之上。 子弟書影響清代其他曲藝甚大，當時如大鼓書、快書、石派書，甚至馬頭調、牌子曲等曲藝，其部份優秀之作品，亦多據子弟書名篇改篇而成。推其他曲藝之興起，輒促使子弟書趨於沒落。加以後期子弟書藝壇，自韓小窗故後，即後繼無人，復以唱腔千篇一律，作品乏善可陳，終於一蹶不振，從此失傳。 本文分為上下兩編，上編子弟書之題材來源，分為六章： 第一章取材於通俗小說之子弟書（上） 第二章取材於通俗小說之子弟書（下） 第三章取材於戲曲之子弟書（上） 第四章取材於戲曲之子弟書（下） 第五章取材於當時社會生活及風士人情之子弟書 第六章取材於吉慶及通俗故事或其他故事之子弟書 下編綜合研究，分為七章，各章之綱要如下： 第一章子弟書之名稱由來及其淵源考，敘述子弟書之名稱由來及有關子弟藝人演唱時 之儀式規矩，子弟書淵源於鼓詞之痕□及其體製與鼓詞之異同。 第二、三章子弟書之作家及其作品（上）（下）。 第四章子弟書之演變。 第五章子弟書之影響及其沒落。 第六章論「滿漢兼」及「鑲嵌」兩類子弟書。 第七章論近人所編之子弟書目錄。

The goal of this thesis is to advance understanding of the ways in which discourses of reading, literacy and culture were used to reify class stratification in mid-twentieth-century America. This project uses the examples of The Reader’s Digest magazine and Classics Illustrated comic books to assess the adaptation and the ideologies surrounding textual form. It examines the efforts of self-proclaimed cultural elites to identify and denigrate middlebrow reading habits through dismissive critiques of texts and audiences as one moment in an on-going historical process of domination and exclusion. These avenues of exploration will reveal the complexity and variance of class definition in a pluralist democracy which, it turns out, are still very much a part of contemporary culture. [Pages 101 and 102 are missing.) / Le but de cette thèse est de faire progresser la connaissance des manières dont les contexts discursifs de la lecture, de l’alphabétisation et de la culture étaient utilisés en Amérique, au milieu du vingtième siècle, afin de réifier la stratification sociale. Des exemples tels que la revue The Reader ‘s Digest et la bande dessinée Classics Illustrated seront utilisés, dans ce projet, pour illustrer l’adaptation et les idéologies autour de la forme textuelle. Cet ouvrage examine comment ceux qui proclamés par eux-mêmes élites culturelles, ont tenté d’identifier et de dénigrer les habitudes de lecture du lecteur moyen par des critiques dédaigneuses des textes et du public, en un procédé historique persistant de domination et d’exclusion. Ces voies d’exploration révèleront la complexité et la diversité des définitions du concept de classes à l’intérieur d’une démocratie pluraliste, lesquelles, somme toute, cotinuent de faire partie intégrante de la culture contemporaine. [Il manque de pages 101 et 102.]

Thesis (M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Rebecca Adams; submitted to Dept. of Sociology. Title from PDF t.p. (viewed Aug. 14, 2009). Includes bibliographical references (p. 137-143).

Thesis (doctoral)--Uppsala University, 1983. / Includes bibliographical references (p. 183-194) and index.

This investigation presents two literary case studies that demonstrate the heterogeneity of Wilhelmine popular fiction, both in terms of thematic orientation and aesthetic quality. The chosen authors are women from bourgeois backgrounds who were prolific and well-known during their life-time, but who have since been relegated. They target the ‘new middle class’ of that era as their readership and, respectively, represent two important but contested genres of late nineteenth-century popular fiction: Heimatkunst and the Sozialroman. Heimatkunst has been dismissed as a homogeneous propagator of right-wing ideology. Yet the texts of Charlotte Niese evidence ‘resistant practice’ within and against prevailing discourse parameters. Her autobiographical writing demonstrates a type of nationalism orientated in dignity and independence, rather than competition and militarism, while also showing how political indoctrination and imposition poisoned the vernacular social status quo which otherwise managed to integrate antagonistic values and attitudes. Her fictional narratives highlight how writing dubbed Heimatkunst was subject to hybridisation, at times to amount to an approximation of a modernist aesthetic. The Sozialroman has been dismissed as a trivial ‘variety of social recipes’. Luise Westkirch’s narratives, however, incorporate thorough-going social reform. Her shorter narratives include astute, psychologically-based social critique which facilitates insights into contemporaneous preoccupations and slow perceptual changes. Incorporating tenets derived from the German romantic legacy, her narratives challenge dominant discourse parameters directly. In the process, the internationally ubiquitous interpretation of competition and power as basic instinctual drives is deconstructed as an erroneous and self-destructive assumption. Westkirch’s complex narratives establish sub-textual agendas through ‘thematic compounding’ that directs the reader’s attention overtly at one set of issues while covertly commenting on another. In this way, she constructs gender inequality as an indictment of normative socio-political systems. This study therefore argues that popular fiction located in a time of cultural crisis has the potential to make explicit the parameters of the prevailing dominant discourse, against which specific values are articulated. Since a conscious formulation of these parameters is essential to the loosening of any conceptual hegemony, which depends on implicitness, fiction thus situated can yield new perspectives, not only in terms of historical insight, but in terms of conceptual alternatives that also have contemporary relevance.

À la fin du 19e siècle, des millions d'Italiens quittèrent l'Italie pour les États-Unis à la poursuite du "rêve américain". Provenant de toutes les régions du pays, parlant leurs propres dialectes, ils s'installèrent ensemble et créèrent les communautés qu'on connait aujourd'hui sous le nom de Little Italies. Dans ces quartiers où ils pouvaient trouver tout ce qui leur était nécessaire se développa également une vie culturelle. Auteur de romans populaires acclamé, Bernardino Ciambelli, né en Italie en 1862, immigra à New York dans les années 1880. Nous basant sur trois de ses romans, nous cherchons à déterminer quelle langue était utilisée pour s'adresser à ces populations. À une époque où la langue italienne était encore récente, en considérant également le contexte d'émigration de masse, et les influences de l'environnement anglophone, le but de cette recherche est d'identifier les évolutions de la langue littéraire en Amérique. / At the end of the 19th century, millions of Italians left Italy for the United States in pursuit of American Dream. Coming from all the regions of the country, speaking their own dialects, these people settled down together and founded the communities commonly known as the Little Italies. In these districts where they could find all that they needed, a cultural life also developed. Author of acclaimed popular novels, Bernardino Ciambelli, was born in Italy in 1862, and had migrated to New York in the 1880s. Basing on three of his novels, we try to identify what language was used to address these populations. In a time when the Italian language was still recent, considering also the context of mass migration and the influences of the English-speaking environment, the purpose of this research is to identify the evolutions of the literary language in America.