Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The insertion of an established writer as the Uruguayan short story writer Horacio Quiroga in the gender of serial novels, through six narratives published in illustrated magazines such as Caras y Caretas and Fray Mocho between the years 1908 and 1913 shows the writer s inclination to adapt, through the work with a genre which he previously had no affinity with, to a modern scenery in which the very concept of literary work began to undergo questioning and transformation. But the complexity of these six short novels goes far beyond their aesthetic and their particular narrative matrix, raising questions concerning the social and ideological problems encountered in the first decades of a Buenos Aires in transformation. Products of the cultural industry, these novels cannot be understood as mere impoverished imitations of the canonical literature, but neither they represented the expression of a popular culture that resisted and opposed to the dominant culture. They are best seen as belonging to an area of dispute, to a field of cultural struggle. The recognition of these novels, their circulation and their consumption, is what does not allow us to deny the existence of a huge readership that did not match the expectations of the literate elite. Here is precisely where their value lies: they are witnesses of the Apocalypse that occurs when literature ceases to be a realm reserved for those higher spirits who understand it, and begins to suffer an irrevocable closeness to the public. / A inserção de um escritor consagrado como o contista uruguaio Horacio Quiroga no gênero folhetinesco, através de seis novelas de folhetim publicadas nas revistas ilustradas Caras y Caretas e Fray Mocho entre os anos de 1908 e 1913 nos mostra a disposição do escritor em se adaptar, no trabalho com um gênero com o qual não possuía nenhuma afinidade anteriormente, a um panorama moderno no qual a própria concepção de obra literária começava a passar por questionamentos e transformações. Porém a complexidade das seis novelas folhetinescas vai muito além de sua estética e de sua matriz narrativa particular, levantando questões que dizem respeito a problemáticas sociais e ideológicas encontradas nas primeiras décadas de uma Buenos Aires em transformação. Produtos da indústria cultural, estas novelas não podem ser compreendidas como meras imitações empobrecidas da literatura da tradição, porém tampouco representavam a expressão de uma cultura popular que resistia e se opunha à cultura dominante. São mais bem vistas como pertencentes a um território de contestação, a um campo de embates culturais. O reconhecimento destas novelas, de sua circulação e de seu consumo, é o que não nos permite negar a existência de um imenso público leitor que não correspondia às expectativas da elite letrada. Aqui justamente reside seu valor: são testemunhas do apocalipse que ocorre quando a literatura deixa de ser um reino reservado para os espíritos superiores que a compreendam e começa a sofrer uma irrevogável aproximação com o público.

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Victorian serial novels were bound with pages upon pages of advertisements marketing goods to readers, yet the relative inattention paid to this significant material component of the novel is surprising. This project explores the interaction between fictional narrative and commercial advertisements, and aims to recover the material context in which three Victorian novels—Bleak House, Middlemarch, and Adventures of Huckleberry Finn—were first published and read. These three case studies—a novel published in 20 monthly serial numbers, another packaged in the rare format of eight “books” in bimonthly installments, and the third published in a monthly magazine in three excerpts—are exemplary of a larger phenomenon in Victorian book production wherein fiction and commerce were inextricably bound. This project investigates the ways in which the advertisements can be reconceived as a significant element of the novel, mediating the reader’s experience of the text. The Bleak House chapter examines how the advertisements for hair products in the “Bleak House Advertiser” serve to highlight an aspect of Charles Dickens’s text about Victorian responses to the mass of new consumer goods and individuals’ desire to control the physical aspects of their world. The following chapter considers George Eliot’s (Mary Ann Evans’s) Middlemarch, finding that just as the narrator’s asides compel readers to attend to the temporal difference between the 1830s setting of the novel and the 1870s perspective of the serial edition, sewing machine advertisements in the advertising supplement of the novel serve to remind readers of their role as observers of past events. The examination of Mark Twain’s (Samuel Clemens’s) Huck Finn, as published in three excerpts in The Century Illustrated Monthly Magazine, demonstrates that the magazine articles, the excerpts from Huck Finn, and the advertisements all engage in a project of unifying the nation and alleviating the physical and metaphorical wounds of war. The unity of the message emerges when the excerpts are read together with the many advertisements for wheelchairs and other such implements for disabled bodies. The dissertation ends with a chapter indicating the merits of further analysis and critical discussion of advertisements in the undergraduate literature classroom. / text

Cette thèse se concentre sur la production d’Ada Cambridge (1844 – 1926) et de Mary Fortune (1833 – 1909), deux écrivaines coloniales australiennes aujourd’hui méconnues mais très populaires au cours de la seconde moitié du XIXe siècle. Nous nous intéressons à la représentation de l’expérience coloniale de ces femmes ayant quitté le Royaume-Uni pour l’Australie ainsi qu’à la manière dont leurs récits, majoritairement publiés dans des journaux, agirent sur le statut des femmes dans la société coloniale. Plus spécifiquement, nous étudions leur expérience en tant qu’écrivaines, c’est-à-dire le contexte de production et de réception de leurs récits, ainsi que leur représentation de la différence culturelle et de la différence de genre. Le corpus étudié contient des textes issus des archives littéraires australiennes, notamment des romans-feuilletons, nouvelles et articles de journalisme publiés dans des journaux de l’époque coloniale comme The Australian Journal, The Age et The Australasian. En inscrivant ces textes dans leur contexte historique, cette thèse révèle leur importance dans le contexte social de leur époque tout en mettant en lumière les choix littéraires de ces écrivaines, longtemps délaissées par une vision nationaliste et masculiniste de l’histoire de la littérature australienne. Cette thèse a ainsi deux objectifs principaux : enrichir notre connaissance de l’expérience coloniale australienne en prenant en compte des récits méconnus et étudier la poétique des oeuvres d’Ada Cambridge et de Mary Fortune au regard de leur contexte de production afin de réévaluer ces récits ainsi que leur place dans l’histoire littéraire australienne. / This thesis deals with the works of Ada Cambridge (1844 – 1926) and Mary Fortune (1833 – 1909), two Australian colonial women writers who have been neglected and long forgotten, yet who were very popular in the nineteenth century. It focuses on how these women, who left the United Kingdom to settle in Australia, represent their colonial experience, as well as on the influence of their narratives, mostly published in newspapers, on women’s status in the colonial society. More precisely, it is a study of their experience as women writers, a study that includes the context of production and reception of their work as well as their respective representations of cultural and gender difference in the Australian colonies. This analysis includes texts previously buried in the Australian literary archives, such as serial novels, short stories and press articles published in colonial newspapers such as The Australian Journal, The Age, and The Australasian. By inscribing these texts in their historical context, this thesis reveals their importance in the social context of their time and reconsiders the literary choices of these writers, long decried by the dominant nationalist and masculinist vision of Australian literary history and criticism. This thesis thus has two main objectives: developing our knowledge of the Australian colonial experience by taking into account little known or unknown narratives, and studying the poetics of Ada Cambridge’s and Mary Fortune’s narratives in the light of their production context in order to reassess these texts as well as their place in Australian literary history.