Thesis Abstract The present thesis investigates correlations between a selection of metafictional texts and narrative theory. The selection consists in two sets of self-reflexive texts. The first one explores metafictional tendencies in the 17th and 18th century novels. To achieve this, the selection largely ignores their provenience. In addition to Henry Fielding's Tom Jones and Laurence Sterne's Tristram Shandy, it also examines Cervantes's Don Quixote. The latter set of texts focuses on post-War American metafictions (John Barth's Lost in the Funhouse, Donald Barthelme's Snow White, Kurt Vonnegut's Slaughterhouse-Five). These represent a coherent body of works from a particular period. Metafiction is generally understood as fiction about fiction. The present thesis challenges those assumptions and suggests interpreting metafiction within the framework of Michel Foucault's epistemes. Metafiction is not conceived of as a separate genre of literature but in the context of broader cultural tendencies in the understanding of representation. Representation is a key concept in metafiction and the increasing degree of narrative self-awareness is viewed in this light. The thesis emphasizes this contrastive and interdisciplinary approach. The text is divided into five chapters. Chapter one is a theoretical...

Building on Penelope Summerfield’s argument that the end of the Victorian music hall in the early twentieth century signaled not “death” but a class-conscious evolution of the genre prompted by a “process of deliberate selection later made to look natural and inevitable,” this project examines the acts of censorship and resistance which characterised the final years of the Victorian music hall. Selecting the 1912 Royal Variety or Royal Command Performance as the “end” point of the genre, and limiting my focus to London music halls, this project examines competing aims of working, middle, and upper class participants: it suggests that the upper-class aspirations of the managers of London’s music halls, paired with middle-class moral desire for social control over the working-classes, eventually enforced by the London County Council in the mid-late nineteenth century, saw the rise of “respectability” in the genre while severing its ties to London’s working classes. Juxtaposing ephemeral evidence produced by or focused on London music halls in the late nineteenth century (leading up to and including the 1912 Royal Command Performance) with contemporary research on the classed nature of social control and censorship practices, this thesis intends to make the classed-struggle for power and ownership over the identity of London’s music halls evident. In doing so, the thesis alludes to the potential success of a third wave of music hall or the neo-music hall, to replace out-dated reflections of the music hall revival sparked by “The Good Old Days” and nostalgia post World War II. / Thesis / Master of Arts (MA) / This thesis pairs an analysis of meeting minutes, newspaper articles, song-sheets, and theatrical programmes from London’s Victorian music halls with contemporary music hall scholarship and studies of censorship to add to the discussion of the genre’s “end” or “death.” Using the work of Judith Butler, this thesis is divided into a study of how censorship transformed the music hall’s landscape, content, and culminating performance from its onset. As a result, this thesis argues that the controlling factors which shaped the genre led to what other music hall scholars have considered its end. By identifying the styles and modes of censorship used in the evolution of the English music hall genre, and in in-period methods of resistance to social control, this project suggests the radical potential of the music hall form as a contemporary style of theatre.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-03-14T12:03:21Z No. of bitstreams: 1 Priscila Miranda Caetano.pdf: 893859 bytes, checksum: 4274fad36f32a72684ceb281e6a989a4 (MD5) / Made available in DSpace on 2018-03-14T12:03:21Z (GMT). No. of bitstreams: 1 Priscila Miranda Caetano.pdf: 893859 bytes, checksum: 4274fad36f32a72684ceb281e6a989a4 (MD5) Previous issue date: 2018-02-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aims to investigate how Caderno de un ausente (2014), written by João Anzanello Carrascoza, through a careful work with and in the language, reveals a self-reflexive narrative, in which the empirical author gives way for a fictional author/ narrator, whose purpose is to show, through fiction, the process of literary creation. In the attempt to emphasize Carrascoza's self-referentiality, the study also brings to the scene, Menina escrevendo com o pai (2017), demonstrating the dialogue between the two narratives, as well as the process of literary (des)construction through fragmented narratives in which word and silence become linguistic signs to (dis)veil absences. This research, bibliographic and exploratory-descriptive, considers the hypothesis that the writing in process developed by the author reveals a constant search for the resignification of life, through language, in the attempt of a reconciliation of the individual with himself and with the other, in demand of a hypothetical lost totality of the human being in contemporaneity. The research is organized in three chapters: in the first, we present a panorama of Carrascoza's work aiming to demonstrate the marks of his writing; in the second, we analyze the novel Caderno de um ausente, evidencing his poetic, metalinguistic and metafictional writing, based on the concepts of Jakobson, Paz, Barthes and Hutcheon; in the third, we propose the dialogue between the corpus and Menina escrevendo com o pai, evidencing the staging of the writing and the process of self-reflexivity that is observed between them, as well as the discussion of the effect of meaning generated by this writing that is revealed, in constant state of process, based on the considerations of Hutcheon and Bauman / Esta dissertação tem como objetivo investigar de que maneira a obra Caderno de um ausente (2014), de João Anzanello Carrascoza, por meio de um primoroso trabalho com e na linguagem, revela-se como uma narrativa autorreflexiva, na qual o autor empírico cede espaço para um autor ficcional/narrador, cujo objetivo é encenar, por meio da ficção, o próprio processo de criação literária. No intento de enfatizar a autorreferencialidade da escrita de Carrascoza, o estudo traz à cena, também, Menina escrevendo com o pai (2017), demonstrando o diálogo que se evidencia entre as duas obras, bem como o processo de (des) construção do fazer literário por meio de narrativas fragmentadas em que a palavra e o silêncio tornam-se signos linguísticos a (des) velar as ausências. A pesquisa bibliográfica, de cunho exploratório-descritivo, parte da hipótese de que a escrita em processo desenvolvida pelo autor revela-se uma busca constante pela ressignificação da vida, via linguagem, na tentativa de uma reconciliação do indivíduo consigo e com o outro, em demanda de uma hipotética totalidade perdida do homem contemporâneo. A pesquisa organiza-se em três capítulos: no primeiro, apresentamos um panorama da obra de Carrascoza em busca das marcas de sua escrita; no segundo, analisamos o romance Caderno de um ausente, evidenciando sua escrita poética, metalinguística e metaficcional, a partir das reflexões de Jakobson, Paz, Barthes e Hutcheon; no terceiro, propomos o diálogo entre o corpus eleito e Menina escrevendo com o pai, evidenciando a encenação da escrita e o processo de autorreflexividade que entre elas se observa, bem como a discussão do efeito de sentido gerado por esta escrita que se desnuda, em constante estado de processo, fundamentando-nos, para isso, nas considerações de Hutcheon e Bauman

From Metafiction to Self-reflexive Narration (Theory and Practice of Self-disclosing Fiction in Czech Literature) Mgr. Vladimír Trpka Abstract The doctoral thesis deals with metafiction as a key theoretical concept influencing both theoretical contemplations on self-reflexivity in narrative fiction and interpretation of the development of self-reflexive practice in literature. The main objective, based on an analysis of the most influential theoretical approaches to narrative self-reflexivity, is to propose such concepts of metafiction and self-reflexive narration that could be applied in the analysis of the self-reflexive practice in the Czech narrative fiction. The theoretical part focuses on examining the relationship between metafiction and narrative self- reflexivity. Metafiction is viewed as a concept that has not only replaced the concept of self-conscious novel, but it has also adapted it to the postmodern conception of fiction. The concept of fictionality in the theoretical concept of metafiction is directly related to postmodern discourse in which this concept was born. Consequently, an explicitly formulated and/or hidden relationship with constructivist philosophy of language, performativity, and linguistic nature of reality is found in the existing approaches to metafiction. Thus if the...

Text in English / This research explores the meaning of the first and second-order therapeutic stances with reference to the therapist's professional and personal development. The dominant positivist paradigm was reflected in the therapist's initial position of expert observer, outside of the observed. The observed phenomena were a group of children suffering from thalassemia major, a terminal genetic disease, and their mothers. The initial idea of short-term intervention and focus on the observed evolved into six-year journey where the observer and the observed became an interconnected unit of observation, understanding and change. A first-order stance led to therapeutic stuckness, where the therapist's confrontation with her therapeutic failure and the limitations of the dominant paradigm provoked a deconstruction of the expert position and promoted a self-reflexive therapeutic stance. The author's self-searching process took her back to her personal self, her family of origin and the ''wounded healer". The researcher moved from an initial disconnection between her professional and personal selves to an awareness of the interface between the two and, ultimately, to a unification of her professional and personal selves. Such development involved an individuation process moving from a narcissistic belief in her objective stance towards a therapeutic stance where she sees herself less as a powerful agent of change and moves to an increasingly higher order of integration of the professional and personal selves (Skovholt & Ronnestad, 1992). The process with the children and mothers shifted from a focus on compliance and medical issues to more personal and emotional stories. The therapist's participation and collaborative stance created a context for change, where greatly improved medical compliance was just one of the many transformations experienced by all the participants. The researcher speculates that development of a second-order stance requires second-order change, which comes "at the end of long, often frustrating mental and emotional labor" (Watzlawick et al., 1974, p. 23), promoting integration between the professional and personal selves of the therapist. The researcher therefore contends that this process has important implications for psychotherapy training, supervision and continuing education. / Psychology / D. Litt. et Phil. (Psychology)

Text in English / This research explores the meaning of the first and second-order therapeutic stances with reference to the therapist's professional and personal development. The dominant positivist paradigm was reflected in the therapist's initial position of expert observer, outside of the observed. The observed phenomena were a group of children suffering from thalassemia major, a terminal genetic disease, and their mothers. The initial idea of short-term intervention and focus on the observed evolved into six-year journey where the observer and the observed became an interconnected unit of observation, understanding and change. A first-order stance led to therapeutic stuckness, where the therapist's confrontation with her therapeutic failure and the limitations of the dominant paradigm provoked a deconstruction of the expert position and promoted a self-reflexive therapeutic stance. The author's self-searching process took her back to her personal self, her family of origin and the ''wounded healer". The researcher moved from an initial disconnection between her professional and personal selves to an awareness of the interface between the two and, ultimately, to a unification of her professional and personal selves. Such development involved an individuation process moving from a narcissistic belief in her objective stance towards a therapeutic stance where she sees herself less as a powerful agent of change and moves to an increasingly higher order of integration of the professional and personal selves (Skovholt & Ronnestad, 1992). The process with the children and mothers shifted from a focus on compliance and medical issues to more personal and emotional stories. The therapist's participation and collaborative stance created a context for change, where greatly improved medical compliance was just one of the many transformations experienced by all the participants. The researcher speculates that development of a second-order stance requires second-order change, which comes "at the end of long, often frustrating mental and emotional labor" (Watzlawick et al., 1974, p. 23), promoting integration between the professional and personal selves of the therapist. The researcher therefore contends that this process has important implications for psychotherapy training, supervision and continuing education. / Psychology / D. Litt. et Phil. (Psychology)

Lisa Markley, a.k.a. "Miz Markley", is a genuinely happy person even if she is not particularly financially successful as a musician. In an effort to validate my own choices as an artist, I chose to follow her. What was intended to be a portrait of a working musician, becomes instead a feminist musical essay film about the transformative power of art making.