This thesis probes the materiality of a text by focusing on elliptical matters. In The Culture of Time and Space, Stephen Kern introduces the term "positive-negative space" to describe the primacy of empty space as a formal subject matter in sculptures of the early twentieth century. With some caveats and distinctions, the thesis argues that Kern's theory of positive-negative space is crucial for reading Faulkner's crytic and polyvalent production of space. Using a smorgasbord of approaches including psychoanalytic and reader-response criticism, feminist and critical race theories, post-structuralist and formalist notions of space, theories of the "hole" in fine arts sculpture, and the New Southern studies, my thesis reinvents the conception of positive-negative space, and asserts that positive-negative space as an artistic principle" is the modus operandi of William Faulkner's The Sound and the Fury and Sanctuary. / by Simone Maria Puleo. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Comparative Literature, 2008. / Includes bibliographical references.

Thesis (M.A.)--University of North Carolina Wilmington, 2009. / Title from PDF title page (January 13, 2010) Includes bibliographical references (p. 54-57)

The main goal of this thesis is to show different ways of representing Prague in literary texts written by authors such as Daniela Hodrová, Michal Ajvaz, Miloš Urban, Jáchym Topol, Adin Ljuca and Marius Szczygieł. All the analysed literary works were published after 1989. The theoretical part is devoted to the urban typology of the area of Prague. The image of the area in relation to reality, the problem of the border lines and semiotic knowledge of the Tartu-Moscow Semiotic School are examined. In the interpretative part particular writings are analysed. The characterization and the influence of the city, living and walking there are examined. The dissimilarities of the views of the city gained by the comparison are also presented in the chapter. Main motives and different methods of describing Prague in all those works are emphasized.

Texte remanié de : doctoral dissertation : ? : Cambridge University : 2003. / Bibliogr. p. 223-245. Index.

Thesis (doctoral)--Ruhr-Universität, Bochum, 2008. / Includes bibliographical references (p. 179-188).

Thesis (M.A.)--University of Western Ontario, 1999. / Includes bibliographical references (leaves 112-115).

Thesis (doctoral)--Ruhr-Universität, Bochum, 2008. / Includes bibliographical references (p. 179-188).

Orientador: Francisco Foot Hardman / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T20:04:38Z (GMT). No. of bitstreams: 1 Moran_YvonneOrtiz_M.pdf: 6530298 bytes, checksum: 71c52d2b5248c66542dcf5e30532d0a7 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa tem por finalidade o estudo sobre como são tecidas as construções espaciais na obra Pedro Páramo, publicada em 1955, do escritor mexicano Juan Rulfo (1917-1986). Este estudo não pretende abordar o espaço como mero cenário no qual acontece a narrativa literária, mas sim como um conjunto indissociável do qual participam, de um lado, objetos geográficos e sociais e, de outro, a vida que os preenche e que os anima. Portanto, neste trabalho não há como delimitar o ambiente sem levarmos em consideração os protagonistas: o espaço não é somente cenário físico e geografia povoados de referentes, mas é também metáfora ou imagem capaz de dar sentido às experiências sociais dos personagens. Por isso nosso objeto de estudo será analisado de forma multifacetada, assumindo aspectos relacionados à estrutura narrativa e à construção de efeitos de sentido dentro da obra literária. O material empírico que serviu de inspiração e ponto de partida para este estudo foi coletado nas viagens ao interior mexicano: Sayula, San Gabriel, Apulco e Tonaya / Abstract: This research aims to study how the spatial constructions works in Pedro Páramo, published in 1955, by the Mexican writer Juan Rulfo (1917-1986). This study is not intended to address the space as a mere case scenario in which the literary narrative, but as an indivisible set which involves, on one hand, geographical and social objects and, on the other, the life that fills and animates them. Therefore, in this work there is no way to define the environment without taking into consideration the protagonists: the space is not only physical landscape and geography of settlements related, but it is also a metaphor or image can make sense of the social experiences of the characters. Therefore, our object of study will be analyzed in a multifaceted way, assuming aspects of the narrative structure and the construction of effect within the meaning of literary work. The empirical material was the inspiration and starting point for this study was collected when traveling to the Mexican Interior: Sayula, San Gabriel, Apulco and Tonaya / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

The question that forms the foundation of this project is quite simple: how can space help us discuss literature and vice versa? The chapters of this dissertation explore the writing of Francesco Dall’Ongaro, Italo Svevo, Pier Antonio Quarantotti Gambini, and Marisa Madieri, each of whom addresses spatial concepts in their textual representations of the northern Adriatic region. Utilizing the related yet distinct approaches of spatial literary studies and geocriticism, paired with intellectual history, I find that the northern Adriatic region can be construed as a literary creation comprised of distinct, resistant narratives. The four texts under discussion promote a particular narrative of the region, revealing different strategies for its literary construction. Furthermore, this project aims to demonstrate that the spatially-attentive critic, no matter the discipline, has a vital role in deconstructing the process by which spaces enter the imaginary through cultural production.