This dissertation attempts a concomitant reexamination of two interrelated phenomena. Its primary undertaking is an analysis of mid-to-late nineteenth century gesaku commercial fiction production and its structural transformations during the first decades of the Meiji period, together with the imbrications of its narratological and rhetorical conventions with the language of reportage writing on the page of the Meiji newspaper. In conjunction with, and in order better to situate, the foregoing, its secondary task is to question the literary-historical emplotment of this period and its authors in the later 1920s, at the moment when Meiji literary history first emerges as an analytical object after the institutionalization of literature and journalism as discrete categories of discursive production. To such ends, this dissertation focuses on Kanagaki Robun (1829-1894), whose diverse career coincides what has come to be considered the transitional moment – and thereby recalcitrant to historiographical analysis not altogether fraught with ambivalence – intervening between the latter decades of the Tokugawa period and the ultimate establishment of Literature (bungaku) as an ideologically self-sufficient category of social value and discursive praxis by the first decades of the twentieth century. His survival in the annals of this later literary history proffers an occasion to reconsider the mechanisms involved in the arbitration of social, literary, and aesthetic value. Chapter I begins with a brief sketch of Robun’s early biography and career before the Restoration, through which we hope to delineate some sense of the social and literary-productive context undergirding his activity, specifically, and, more generally, the attitudes towards authorship, adaptation, and narration constituting the prevailing ethos of the time; here, we take a survey of several of Robun’s earlier works, written before his assumption of the “Kanagaki” penname and his first major success with Kokkei Fuji mōde (Ridiculous Pilgrimage to Mount Fuji, 1860-1), many of which are erotic parodies of well-known kabuki or Chinese vernacular narratives, and analyze the manner in which the author constructs his enunciative position therein, before momentarily considering how Robun, at this juncture in his career, was perceived by his peers. Then in conclusion, we anticipate both Robun’s later career, its ambivalent emplotment in literary history and the fraught evaluation of the early Meiji period in toto through a later retrospective on the part of literary critic Tsubouchi Shōyō as he looks back on the literary ecosystem of the early Meiji period and the ethical conflict, latent in his argument, between the ideological dominance of modern rubrics of literary value and incommensurate pleasures of reading as lived experience. Chapters II and III take as their focus Robun’s work in the comic hizakurige-mono genre pioneered by Jippensha Ikku’s Tōkaidōchū hizakurige (Along the Eastern Sea Road by Shank’s Mare, 1802-22), first with his success with Fuji mōde and subsequently, Seiyōdōchū hizakurige (Along the Western Sea Route by Shank’s Mare, 1872-4), a heavily intertextual updating of Ikku’s classic. Chapter II approaches Robun’s contributions to the genre through formal and narratological analysis, considering how the shift in topos, from domestic travel on foot, as in Ikku, to transpacific nautical travel via steamship, precipitates modulations in narrative structure, and weighs the ramifications of these intrageneric transformations. Chapter III shifts its focus to the intergeneric and intertextual, with attention to the modular configuration of its primary intertext in Ikku’s Tōkaidōchū hizakurige and the paratextual apparatus of hanrei, or the prefatory guidelines explicating a given text’s contents, provenance of sources, and editorial policies followed, etc. inherited from non-fictional and academic writing, and how these operate in Ikku and Robun as a space for conceptualizing social knowledge and the figure of the author. Chapters IV and V address the latter portion of Robun’s career, after the Meiji government’s promulgation of the Three Articles on Education and its efforts to conscript gesaku authors like Robun to assist in the education of the new subjects of the Meiji state. Here, we examine the simultaneous devaluation of and dependence upon popular fiction in Robun’s Bunmei kaika-inflected writing, before his relocation to the emergent newspaper industry, at which point we consider the sort of narrative and rhetoric prevalent in reportage writing in the 1870s and its phenotypical affinity with gesaku stylistics. Chapter IV concerns itself with a discussion of the political and economic factors precipitating Robun’s move away from gesaku production and his subsequent literary activity informed by his new role as a government official employed by Kanagawa Prefecture, before his move to the Yokohama mainichi shinbun (Yokohama Daily News). Chapter V then turns to the space of newspaper narrative and the emergence of tsuzuki-mono or serialized narrative, and how their early status as neither consummately fiction nor non-fiction adumbrates aspects of the epistemological economy of readerly desire and social knowledge, aspects subsequently concealed by the later ascendance of bungaku and the shōsetsu as the dominant lens through which socially valued discursive production comes to be apprehended, and the concomitant institutionalization of Journalism as Literature’s reciprocal in the early twentieth century. In the epilogue, we attempt to locate more precisely the coeval emergence of these ostensibly distinct and antagonistic categories in public discourse in the early 1900s, and the concomitant adjudication of the sociocultural value of early Meiji gesaku production and its affiliated figures, anticipating in turn the more rigorous synthesis of a systematized Meiji literary history in the years immediately following the 1923 Great Kantō Earthquake.

The aim of this thesis is to study the market for fantastic fiction in Sweden, focusing on the minor publishers and their relationship with the three major publishing groups. The fantastic fiction in Swedish today are generally dominated by bestselling anglo-american authors, especially at the major publishers. The selection of fantastic fiction that is not originally in English and that diverges from the classic, epic high fantasy is often provided by minor publishers. By researching the range of fantastic fiction in Sweden today, and combining that research with qualitative interviews with informants from five minor publishers and Sweden's largest book shop for fantastic fiction, I wish to examine if the minor publishers provide an important alternative for Swedish readers of fantastic fiction. I also intend to investigate whether those publishers actively try to broaden the Swedish market and if they see themselves as a complement and an alternative rather than competing with the major publishers. This is a study in sociology of literature, focusing on a literary genre that is generally regarded as popular or trivial literature. Therefore, this thesis also discusses the curcuit of popular literature and the position and conditions of fantastic fiction in Sweden today, using the french sociologist Pierre Bourdieu's frameworks and terminology regarding economical and cultural capital. Fantastic fiction is a genre normally associated with economical rather than cultural capital, a notion that greatly affects its position and status in the world of literature.

Thesis (M. Phil.)--University of Hong Kong, 1999. / Abstract in English. Includes bibliographical references (leaves 128-143).

Thesis (Ph. D.)--University of California, San Diego, 2009. / Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 237-258).

Habilitationsschrift--Göttinger, 1975. / Includes bibliographical references (p [199]-217) and index. Also issued online.

Certaines œuvres de Roberto Bolaño, Antoine Volodine, Sami Tchak, Umberto Eco, Alberto Mussa, Jasper Fforde et Julio Cortázar sont fondées sur le mélange entre littérature savante et paralittérature. Cette rencontre entre ces deux genres révèle une manière particulière d'envisager la littérature mineure. Nous considérons les expressions du mineur comme des espaces d'expérimentation et de commentaire sur la littérature. Grands connaisseurs de la paralittérature, les auteurs du corpus s’approprient ses codes pour ensuite les transgresser et leur adjoindre des éléments de commentaire sur la littérature, qui trouvent dans la paralittérature un territoire d'expansion parfaitement libre. Car ce mélange instaure un jeu entre le connu figuré par les codes de la paralittérature et l'inconnu qui réside du côté du commentaire sur la littérature. Ces écrivains s'occupent ainsi des failles et absences de l'histoire littéraire, de ce que celle-ci ne reconnaît pas ou ignore, autant que de ce qu'elle rejette. Cette thèse est consacrée à l'étude de ces auteurs ouverts à une nouvelle forme de littérature mineure. / Some works of Roberto Bolaño, Antoine Volodine, Sami Tchak, Umberto Eco, Alberto Mussa, Jasper Fforde and Julio Cortázar are founded on the mixture between scholar literature and paraliterature. This reunion between those two genres reveal a particular way to approach the minor literature. We consider the expressions of the minor as spaces of experimentation and of commentary about literature. Well-known paraliterature experts, the authors of the corpus take over its codes to immediately transgress them and add into them elements of commentary about the literature, that they found in the paraliterature a territory of expansion perfectly free. Because this mixture is a set up game between the well-known, figured by the codes of the paraliterature, and the unknown, that reside in the side of the commentary about the literature. Thus, these writers deal with gaps and absences of literary history, of which this one doesn't recognize or ignore, as much as it rejects. This thesis is dedicated to the study of those authors opening to a new way of Minor Literature.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-21T16:37:06Z No. of bitstreams: 1 Dissertação de Mestrado.pdf: 11778151 bytes, checksum: 799d222c47d62ef812293467bdf845a7 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-23T11:57:59Z (GMT) No. of bitstreams: 1 Dissertação de Mestrado.pdf: 11778151 bytes, checksum: 799d222c47d62ef812293467bdf845a7 (MD5) / Made available in DSpace on 2018-08-23T11:57:59Z (GMT). No. of bitstreams: 1 Dissertação de Mestrado.pdf: 11778151 bytes, checksum: 799d222c47d62ef812293467bdf845a7 (MD5) / RESUMO Nesta dissertação, são desenvolvidas considerações acerca da tríade – imagem, tema e verso, para explorar os conceitos geradores da teoria sobre as representações das matrizes estéticas encontradas no folheto da literatura popular em versos – denominada como Universo-Cordel. Uma encenação do grupo teatral rebanho de atores, no caso Os Ovos de Militão, é analisada, em seus aspectos artísticos, cênicos e dramatúrgicos, tendo como ponto de partida os elementos estéticos do universo-cordel. Aspectos históricos da literatura popular são abordados, bem como conceitos e classificações. Alguns autores são utilizados como fundamentação teórica, a exemplo de Néstor García Canclini (2011), Joseph Maria Luyten (2005), Idelette Muzart-Fonseca dos Santos (2006; 1999), Franklin Maxado (1982), Ivan Cavalcante Proença (1982), Sebastião Nunes Batista (1977), Manoel Cavalcanti Proença (1964), Luiz da Câmara Cascudo (2001; 1953; 2005; 1982; 2000) e Anatol Rosenfeld (2002). Uma trajetória histórica e o perfil artístico do grupo rebanho de atores também são traçados no decorrer desta dissertação. / ABSTRACT In this dissertation, considerations are developed on the triad: image, theme and verse, to explore the operative concepts of the theory of representations of aesthetic matrices found in the booklet of popular literature in verse, called as Universe-Cordel. A staging of the herd theater group of rebanho de atores, in case Os Ovos de Militão, in its artistic aspects, scenic and dramaturgical taking as its starting point the aesthetic elements of the universe-cordel. Historical aspects of popular literature are discussed, as well as concepts and classification. Some authors are used as theoretical basis, like Néstor García Canclini (2011), Joseph Maria Luyten (2005), Idelette Muzart-Fonseca dos Santos (2006 and 1999), Franklin Maxado (1982), Ivan Cavalcante Proenca (1982) Sebastião Nunes Batista (1977), Manoel Cavalcanti Proenca (1964), Luiz da Câmara Cascudo (2001; 1953; 2005; 1982; 2000) and Anatol Rosenfeld (2002). Also, a historical trajectory and the artistic profile of the herd group rebanho de atores are traced in the discourse of the dissertation.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation studies the influence of Northeastern Brazilian Cordel and oral poetry on Ariano Suassuna s novel Romance d A Pedra do Reino e o Príncipe do Sangue do vai-e-volta. One of our theoretical starting points are Bakhtin's propositions on the novel as a literary gender and Umberto Eco s concept of openness common to some literary works: these theoretical assumptions have been specially useful to understand Suassuna s ability to incorporate into his novel the manifold strata of popular and oral culture, alongside with Western and particularly Iberian culture and poetry. One of our main interest was to seize Suassuna s special handling of Brazilian popular topics and themes, shaping a novel that accomplishes the romantic dream of melting together social and historical data colored by the aural dignity of oral poetry. / A presente dissertação de mestrado intitulada As ressonâncias da literatura popular do nordeste no Romance d A Pedra do Reino e o príncipe do sangue do vai-e-volta foi elaborada por Geice Peres Nunes sob a orientação do Prof. Dr. Lawrence Flores Pereira, da Universidade Federal de Santa Maria. Nesse estudo, debruçamo-nos na influência da Literatura popular do nordeste e da poesia oral no Romance d A Pedra do Reino e o Príncipe do sangue do vai-e-volta, de Ariano Suassuna. Para tanto, lançamos mão de proposições bakhtinianas acerca do gênero romanesco; de teorizações de Umberto Eco sobre a abertura da obra literária, a fim de relacioná-las ao processo construtivo de tal narrativa. Tais teorias contribuem no entendimento da habilidade de Suassuna em incorporar no seu romance diversos matizes da poesia e da cultura oral, lado a lado com a ocidental, mais precisamente a poesia e a cultura ibérica. Um dos pontos mais interessantes do trabalho de Ariano Suassuna reside em capturar temas populares e transfigurá-los no romance, um sonho romântico de fundir temas, posturas sociais e históricas coloridas pela dignidade aural da poesia popular.

Submitted by Fernando Souza (fernandoafsou@gmail.com) on 2017-08-22T11:17:11Z No. of bitstreams: 1 arquivototal.pdf: 2890866 bytes, checksum: c40e622da303f81aba08418f58c0884b (MD5) / Made available in DSpace on 2017-08-22T11:17:11Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2890866 bytes, checksum: c40e622da303f81aba08418f58c0884b (MD5) Previous issue date: 2017-04-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research analyzed, based on the semiotic theory of French line, ideological relations that establish in parts produced by Cícera Martiniano,-artist of Paraiba with 89 years old, unknown by the Academy and resident of peripheral zone of Bayeux-PB. The choice of the corpus was given by the fact that the cultural expressions of the work of that author represent far more than artistic manifestations. Are, in fact, an exercise of collective memory of social practice. We chose those texts that discuss historical themes or everyday related to social roles assigned to women, in the context of Brazil and Brazil, which are: prejudice and violence against women; the marriage; as well as the death and suffering, arising from the sexist oppression on the genre. The strings chosen were: story of Margarida Maria Alves, story of a life suffered, dismantle the world's story, When I was excluded from the St. Lawrence community, story of Bayeux and bird story. The theoretical basis was the semiotics of French line, in particular, the proposals of Greimas and Rastier that were considered the analysis of three structures that make up the generational path of meaning and analysis of human areas of the human environment: the ID, the proximity and the cultural distance. To this end, it was necessary to establish a systematic path that understood the following actions: a) theoretical study about the Semiotics of culture, based mainly on the work developed by the same authors mentioned above, of which we highlight, the popular culture and your transmission; (b) the purpose of writing) study, considering the socio-historical and cultural context of your production c) analysis of the immanent ideologies to narratives examined, deciphering and reconstituting the socio-cultural processes and the values of the subject that they establish, d) rescue of intersubjective relations and human projections of person, space and time, describing the effects of direction caused by such mechanisms. / Esta pesquisa analisou, com base na teoria semiótica de linha francesa, os sistemas de valores presentes que se instauram nas peças produzidas por Dona Cícera Martiniano, – cordelista paraibana com oitenta e nove anos de idade, desconhecida pela academia e moradora da zona periférica de Bayeux-PB. A escolha do corpus se deu pelo fato de que as expressões culturais da obra daquela autora representam bem mais do que manifestações artísticas. São, na realidade, um exercício da memória coletiva de uma prática social. Escolhemos aqueles textos que abordam temáticas históricas ou cotidianas, relacionadas aos papéis sociais atribuídos às mulheres, no contexto brasileiro e paraibano, quais sejam: o preconceito e a violência contra a mulher; o casamento; bem como a morte e o padecimento, decorrentes da opressão machista sobre o gênero.Os cordéis escolhidos foram:Estória de Margarida Maria Alves, Estória de uma vida sofrida, Estória do desmantelo do mundo, Quando fui excluída da comunidade São Lourenço, Estória de Bayeux e Estória de passarinho. O fundamento teórico foi a semiótica de linha francesa, destacando as propostas de Greimas e Rastier, as quais foram consideradas a análise das três estruturas que compõem o percurso gerativo da significação e análise das zonas antrópicas do entorno humano: a de identidade, a de proximidade e a de distanciamento cultural. Para tanto, fez-se necessário estabelecer um percurso sistemático que compreendeu as seguintes ações: a) realização de um estudo teórico acerca da Semiótica das Culturas, com base, sobretudo, nos trabalhos desenvolvidos pelos mesmos autores citados, de que destacamos, a cultura popular e sua transmissão; b) estudo a propósito da escrita feminina, considerando o contexto sócio-histórico e cultural de sua produção; c) análise das ideologias imanentes às narrativas examinadas, decifrando e reconstituindo os processos socioculturais e os valores dos sujeitos que nelas se instauram; d) resgate das relações intersubjetivas e das projeções antrópicas de pessoa, espaço e tempo, descrevendo os efeitos de sentido provocados por tais mecanismos.

Marc Levy et Guillaume Musso sont deux écrivains populaires contemporains se distinguant à la fois par de nombreuses références à l’insolite dans leurs romans et par une image très étudiée, construite à travers une forte présence dans les médias à chaque sortie de leur nouveau roman. L’objectif de cette thèse est d’analyser la relation volontairement tissée entre l’univers des fictions de Levy et Musso et leur personnage public coproduit par les médias, le public et ces écrivains eux-mêmes, ainsi que leur entourage professionnel. Dans le cadre d’une recherche interdisciplinaire, l’enjeu est de comprendre par quelles méthodes des écrivains peuvent bâtir aujourd’hui leur popularité, au sens plein du terme.Mots / Marc Levy and Guillaume Musso are two French contemporary authors of popular fiction who are noted for their numerous references to the concept of the uncanny in their novels and for their image created by their regular appearance in the media any time their new works are published. The aim of this dissertation is an analysis of the continually built up relationship between the world in Levy’s and Musso’s fiction and their public image, which is co-created by the media, the readers, by the authors themselves and also by the publishers cooperating with the authors. The present interdisciplinary study attempts to check what methods contemporary writers use in order to gain popularity, in the full sense of the word.Key words: