A comparação entre as artes é um topois tão antigo em nossa cultura que remonta a aurora da civilização. Uma re-leitura atenta da História da Arte pode verificar que tão comum quanto as comparações eram as tentativas de se sistematizar uma escala hierárquica artística. Pretendemos nesta tese, propor uma revisão histórica que não apenas busque observar a forma como eram realizadas as correspondências interartísticas mas que vise também, com o olhar atento do presente, discutir a atualidade de teorias comumente empregadas ao longo da comparação entre as artes e, mais precisamente, as comparações entre Literatura e Pintura. A reflexão centrada na construção das imagens – no plano da narrativa tanto quanto no plano da pintura – assume singular importância para a pesquisa interartística, na medida em que funciona como ponto de convergência bem como de divergência entre aquelas duas artes. As discussões sobre a construção das imagens levam-nos, também, a uma outra problemática inerente aos estudos interartes, que é a leitura de imagens literárias e pictóricas. Ainda na esteira da revisão histórica, serão discutidas nesta tese as modificações ocorridas pela expressão Ut pictura poesis (Poesia é como pintura) , de Horácio, expressão esta que durante séculos designou os estudos comparativos entre Literatura e Pintura. A observação horaciana sobre a correspondência entre as artes permite-nos erigir uma discussão centrada na questão da representação e na passagem da mimesis à semiosis. O objetivo principal dessa tese é o de estabelecer e analisar a correspondência entre Literatura e Pintura no romance Passeio ao farol, de Virginia Woolf, para isso, procuraremos, inicialmente, demonstrar a importância da participação no Grupo de Bloomsbury – um dos grupos criativos mais importante do modernismo inglês - para a construção do projeto estético da escritora, considerando que o contato com pintores e críticos de arte proporcionou material importante para que Virginia Woolf promovesse a interlocução de seus romances com as Artes Plásticas. A análise mais pontual do romance Passeio ao farol estará calcada na relação que este mantém com as técnicas e métodos do Impressionismo e Pós-impressionismo pictórico. / The comparison of the arts is a topois so ancient in our culture that remounts to the dawn of the civilization. A carefull re-reading of the History of Art may verify that as common than the comparisons were the attempts to systematize an artistic hierarchical scale. We intend in this thesis to propose a historical review that does not only search to observe the form how were realized the interartistic correspondences but that also aims, with the attentive view of the present, to discuss the present of the theories commonly used along the comparison between the arts and, more precisely, the comparisons between Literature and Painting. The reflexion centrered in the constructions of images – in the plan of the narrative and in the plan of the painting – assumes singular importance to the interartistic research because it works as a point of convergence as well as divergence between those two arts. The discussions about the constructions of images take us, also, to another problematic concerning to the interarts studies, that is the reading of literary and pictorical images. Still in the path of the historical review, Will be discussed in this thesis the modifications occured by the expression Ut pictura poesis (Poetry is like painting), of Horacio, expression that centuries designed the comparative studies between Literature and Painting. The horacian observation about the correspondence between the arts allows us to erect a discussion centrered into the questiono f the representation and in the passage from mimesis to semiosis. The main objective of this thesis is to establish and analyze the correspondence between Literature and Painting in the novel To the lighthouse, of Virginia Woolf, for that pourpose, we intend, initialy, to demonstrate the importance of the participation in the Bloomsbury Group – one of the most creative groups of the english modernism – to the construction of the aesthetic Project of Virginia Woolf, considering that the contact with painters and art critics provided important material to Virginia Woolf to promote the interphrase of her novels with the Plastic Arts. The more ponctual analyze of To the lighthouse will be treated on the relation that this novel maintains with the thechniques and methods of the pictorical Impressionism and Posimpressionism.

ix, 242 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Modernism's fragmented literary style has been called "an art of cities." My project challenges such conventional understandings by exposing a strain within modernism that expresses an awareness of a broader phenomenological world. In the work of E.M Forster, Virginia Woolf, and W.H. Auden, non-human presences are often registered through a character or speaker's innate sensory perception of their surroundings--what I call embodied modernism. Maurice Merleau-Ponty's ecophenomenology theorizes the intercorporeality of humans and the environment in ways that help elucidate this aspect of their work. Merleau-Ponty uses the phrase "flesh of the world" to explain the body as an open circuit embedded within the stimuli of larger environmental impulses. The uncertainty stirring within modernism's formal disruptions, the sensory impressions revealed by stream of consciousness techniques, as well as the robust fusion of latent emotions and unspoken associations that result in a memorable image or symbol invite ecophenomenological readings. Chapter I, "Passage From Pastoral: E.M. Forster," traces a developing phenomenological awareness that is only fully manifested through the formal innovation of Forster's modernist novel, A Passage to India , where landscape intervenes to direct the action of the plot. My second chapter, "The Phenomenological Whole: Virginia Woolf," analyzes how her use of personification provocatively disrupts anthropocentrism in "Kew Gardens" and Flush. Her conception of a more-than-human world also complicates elegiac readings of To the Lighthouse by positioning nature not as a sympathetic minor for humans, nor an antagonistic foil, but rather as a presence that intertwines with human life and renews embodied creativity. "Brute Being: W.H. Auden" shows how Auden's later poems create a lexicon of common cultural assumptions about human identity in a firmly ordered relation with the world but combat their own hermeneutics by slipping towards the opposite binary in any dialectic the poem presents, whether it be scientific order and organic chaos, nature and culture, or human observer and non-human subject. Analyzing the work of Forster, Woolf, and Auden from the embodied perspective of Merleau-Ponty's ecophenomenology both challenges conventional definitions of modernism and expands ecocritical theory. / Adviser: Louise Westling

BARROS, Francisco Rafael Silva. Orlando e a tradução da personagem para as telas. 2012. 125f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-19T12:07:26Z No. of bitstreams: 1 2012_dis_frsbarros.pdf: 2691800 bytes, checksum: 06dba16e18916313999cad64e26c99d5 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-19T14:03:25Z (GMT) No. of bitstreams: 1 2012_dis_frsbarros.pdf: 2691800 bytes, checksum: 06dba16e18916313999cad64e26c99d5 (MD5) / Made available in DSpace on 2014-05-19T14:03:25Z (GMT). No. of bitstreams: 1 2012_dis_frsbarros.pdf: 2691800 bytes, checksum: 06dba16e18916313999cad64e26c99d5 (MD5) Previous issue date: 2012 / The following study analyses the translation of the novel/biography Orlando (1928), by Virginia Woolf, to its homonymous film adaptation in 1993, directed by Sally Potter. Orlando tells the story of an English nobleman who owns the gift of literary writing and lives for more than three hundred years, changing his sex, from male to female. The focus of our research is the translation of the main character, Orlando, from novel to film: we outlined some aspects of his/her personality to understand him/her actions throughout the novel/biography, and also considered some external aspects that complement or are part of his/her construction. Then, we submit the film character to the same process, to compare both. In order to do so, we started from a prior historical contextualization of the objects and their contexts of production. Our research is based on Itamar Even-Zohar’s polysystem theory (1978), the concept of translation as rewriting, by Andre Lefevere (2007), Antonio Candido’s study of the fictional character (2007), and Jacques Aumont’s studies about the aesthetics of cinema (1995). We do not intend to evaluate any of the objects (novel and movie), or to say that one is better than another. However, we aim to demonstrate what was the contribution of the character of the novel/biography to the construction of the film character, and to what extent the film character contributes and influences to the new readers of Woolf’s book. Primarily, we are aware that the construction of the character in the novel/biography is linked to two fundamental points: Vita Sackville-West, to whom the novel is dedicated, and the desire of freedom (intellectual and financial) to the writer, a relevant theme in Woolf’s speeches and writings of that decade. Sally Potter deals with her character’s immortality and freedom desire in a different way: her focus turns into implications of social and post-colonial issues, turning Orlando from an initial British identity to a more universal one. This research is sponsored by Fundação Cearense de Apoio ao Desenvolvimento Científico e Tecnológico – FUNCAP. / O presente trabalho analisa a tradução do romance/biografia Orlando (1928), de Virginia Woolf para as telas, no filme homônimo de 1993, da diretora Sally Potter. Orlando conta a história de um nobre inglês que cultiva o dom da escrita literária, vive por mais de trezentos anos e que sofre uma mudança de sexo, do masculino para o feminino. O foco da nossa pesquisa é a tradução da personagem principal, da literatura para o cinema: delineamos alguns traços de sua personalidade para compreendê-lo dentro do romance/biografia, como também consideramos alguns aspectos externos que o complementam ou fazem parte da sua construção; posteriormente, submetemos a personagem cinematográfica ao mesmo processo a fim de compararmos ambos. Para tal, partimos de uma prévia contextualização histórica dos objetos e de seus contextos de criação. Nossa pesquisa é fundamentada na teoria dos polissistemas de Itamar Even-Zohar (1978), no conceito de tradução como reescritura de André Lefevere (2007), no estudo da personagem de ficção de Antonio Candido (2007) e nos estudos de estética do cinema, de Jacques Aumont (1995). Não pretendemos com esta pesquisa lançar juízo de valor comparativo a nenhuma das obras, muito menos chegar a afirmar que uma é melhor em detrimento da outra. Todavia, almejamos demonstrar qual a contribuição da personagem do romance/biografia na construção da personagem cinematográfica e em que medida esta contribui e influencia na ampliação de novos leitores do livro de Woolf. A priori, compreendemos que a construção da personagem do romance/biografia está ligada a dois pontos fundamentais: Vita Sackville-West, a quem o romance é dedicado, e ao desejo de libertação (intelectual e financeira) da escritora, tema recorrente nas palestras e escritos de Woolf naquela década. Partimos da ideia de que Sally Potter trabalha a imortalidade e o desejo de liberdade de sua personagem de maneira diferente: seu foco se volta para o social e para implicações pós-coloniais, trazendo-a de uma personalidade de identidade britânica para uma mais universal. Esta pesquisa é financiada pela Fundação Cearense de Apoio ao Desenvolvimento Científico e Tecnológico – FUNCAP.

A comparação entre as artes é um topois tão antigo em nossa cultura que remonta a aurora da civilização. Uma re-leitura atenta da História da Arte pode verificar que tão comum quanto as comparações eram as tentativas de se sistematizar uma escala hierárquica artística. Pretendemos nesta tese, propor uma revisão histórica que não apenas busque observar a forma como eram realizadas as correspondências interartísticas mas que vise também, com o olhar atento do presente, discutir a atualidade de teorias comumente empregadas ao longo da comparação entre as artes e, mais precisamente, as comparações entre Literatura e Pintura. A reflexão centrada na construção das imagens – no plano da narrativa tanto quanto no plano da pintura – assume singular importância para a pesquisa interartística, na medida em que funciona como ponto de convergência bem como de divergência entre aquelas duas artes. As discussões sobre a construção das imagens levam-nos, também, a uma outra problemática inerente aos estudos interartes, que é a leitura de imagens literárias e pictóricas. Ainda na esteira da revisão histórica, serão discutidas nesta tese as modificações ocorridas pela expressão Ut pictura poesis (Poesia é como pintura) , de Horácio, expressão esta que durante séculos designou os estudos comparativos entre Literatura e Pintura. A observação horaciana sobre a correspondência entre as artes permite-nos erigir uma discussão centrada na questão da representação e na passagem da mimesis à semiosis. O objetivo principal dessa tese é o de estabelecer e analisar a correspondência entre Literatura e Pintura no romance Passeio ao farol, de Virginia Woolf, para isso, procuraremos, inicialmente, demonstrar a importância da participação no Grupo de Bloomsbury – um dos grupos criativos mais importante do modernismo inglês - para a construção do projeto estético da escritora, considerando que o contato com pintores e críticos de arte proporcionou material importante para que Virginia Woolf promovesse a interlocução de seus romances com as Artes Plásticas. A análise mais pontual do romance Passeio ao farol estará calcada na relação que este mantém com as técnicas e métodos do Impressionismo e Pós-impressionismo pictórico. / The comparison of the arts is a topois so ancient in our culture that remounts to the dawn of the civilization. A carefull re-reading of the History of Art may verify that as common than the comparisons were the attempts to systematize an artistic hierarchical scale. We intend in this thesis to propose a historical review that does not only search to observe the form how were realized the interartistic correspondences but that also aims, with the attentive view of the present, to discuss the present of the theories commonly used along the comparison between the arts and, more precisely, the comparisons between Literature and Painting. The reflexion centrered in the constructions of images – in the plan of the narrative and in the plan of the painting – assumes singular importance to the interartistic research because it works as a point of convergence as well as divergence between those two arts. The discussions about the constructions of images take us, also, to another problematic concerning to the interarts studies, that is the reading of literary and pictorical images. Still in the path of the historical review, Will be discussed in this thesis the modifications occured by the expression Ut pictura poesis (Poetry is like painting), of Horacio, expression that centuries designed the comparative studies between Literature and Painting. The horacian observation about the correspondence between the arts allows us to erect a discussion centrered into the questiono f the representation and in the passage from mimesis to semiosis. The main objective of this thesis is to establish and analyze the correspondence between Literature and Painting in the novel To the lighthouse, of Virginia Woolf, for that pourpose, we intend, initialy, to demonstrate the importance of the participation in the Bloomsbury Group – one of the most creative groups of the english modernism – to the construction of the aesthetic Project of Virginia Woolf, considering that the contact with painters and art critics provided important material to Virginia Woolf to promote the interphrase of her novels with the Plastic Arts. The more ponctual analyze of To the lighthouse will be treated on the relation that this novel maintains with the thechniques and methods of the pictorical Impressionism and Posimpressionism.

How did cinema influence the many writers who also constituted the first generation of moviegoers? In Spectatrices, I argue that early moviegoing was a rich imaginative reservoir for anglophone writers on both sides of the Atlantic. Coming to cinema from the vantage of the audience, I suggest that women of the 1920s found in moviegoing a practice of experimentation, aesthetic inquiry, and social critique. My project is focused on women writers not only as a means of reclaiming the femininized passivity of the audience, but because moviegoing offered novel opportunities for women to gather publicly. It was, for this reason, a profoundly political endeavor in the first decades of the 20th century. At the movies, writers such as Jessie Redmon Fauset, Zora Neale Hurston, H.D., Dorothy Richardson, and Virginia Woolf developed concepts of temporary community, alternative desire, and discontinuous form that they then incorporated into their literary practice. Where most scholarship assessing cinema’s influence on literature is governed by the medium-specificity of film, my project emphasizes the public dimension of the movies, the fleeting and semi-anonymous intimacy of the moviegoing audience. In turning to moviegoing, Spectatrices opens new methods of comparison and cross-canonical reorganization, focusing on the weak social ties typified by moviegoing audiences, the libidinal permissiveness of fantasy and diva-worship, the worshipful rhetoric by which some writers transformed the theater into a church, and most significantly, the creation of new public formations for women across different axes of class, gender, and race. In this respect, cinema’s dubious universalism is both an invitation and a problem. Writers from vastly different regional, racial, linguistic, and class contexts were moviegoers, together and apart; but to say they had the same experience is obviously inaccurate. In this project, I draw from historical accounts of moviegoing practices in their specificity to highlight that whereas the mass-distributed moving image held the promise, even the premise, of shared experience, moviegoing was structured by difference. The transatlantic organization of the project is meant to engage and resist this would-be universality, charting cinema’s unprecedented global reach while describing differential scenes and modes of exhibition. Focusing on moviegoing not only permits but requires a new constellation of authors, one that includes English and American, Black and white, wealthy and working class writers alike. Across these axes of difference, women theorized the politics and possibilities of gathering, rethinking the audience as a vital and peculiar social formation.

No description available.

Concept-clé de la critique littéraire anglo-saxonne depuis plus d’une cinquantaine d’années, le modernism demeure méconnu en France, du fait de sa proximité avec des concepts voisins, telles la modernité et l’avant-garde, qu’il ne recoupe qu’imparfaitement. S’il peut concerner toutes les tentatives expérimentales dans les différents genres littéraires, c’est le roman qui se trouve au cœur de cette étude, laquelle met en perspective des textes de James Joyce, André Gide, Ramón Gómez de la Serna et Virginia Woolf, souvent victimes d’une forme de binarisme critique. Ils ont en effet longtemps été analysés comme des romans encore mimétiques, plus réalistes que les romans réalistes cependant, ou, plus fréquemment, comme des symboles de l’œuvre autoréférentielle définie par les dogmes new criticists et structuralistes. La présente étude cherche à emprunter une troisième voie, par le biais, notamment, de la théorie littéraire des mondes possibles, davantage susceptible de rendre compte du projet moderniste qui ne vise plus en effet à représenter le réel, mais à créer la vie. L’acception traditionnelle du modernisme en tant qu’ensemble de mouvements est ainsi confrontée à une perspective nouvelle qui permet de l’analyser comme une éthique et une pratique particulière de la fiction. Les romans expérimentaux du début du XXe siècle construisent en effet des univers fictionnels ambigus, informés à la fois par la tradition et par une exigence inédite de modernité, le texte moderniste refusant la table-rase avant-gardiste pour mieux se construire en mémoire vivante de la littérature. C’est ainsi une cartographie critique que la présente étude se propose d’établir, afin de permettre au lecteur l’accès à cette terra incognita du comparatisme hexagonal. / Although it has been a key concept of literary criticism in the English-speaking world for more than a half-century, modernism remains a relatively misunderstood notion in France, owing to its proximity to somewhat close concepts such as modernity and avant-garde, which it only partially overlaps. The concept is relevant to experimentation in all literary genres, but this study focuses on the novel, with texts by James Joyce, André Gide, Ramón Gómez de la Serna and Virginia Woolf. Those have often been mischaracterized by literary critics as either mimetic novels — though more realistic than realist novels — or more frequently as emblematic of the self-referential text, as defined by the dogmas of new criticism and structuralism. This study seeks an alternative to those two limited analytical options, particularly by using possible worlds theory, which is more susceptible of accounting for the modernist project of creating life rather than representing the real. The traditional definition of modernism as an ensemble of movements is therefore confronted to a new perspective which allows for its analysis as a particular ethics and praxis of fiction: the fictional worlds built by experimental novels of the early twentieth century are ambiguous, caught between tradition and modernity, since modernist texts, in becoming the living memory of literature, refuse to erase the past completely. This study thus proposes to establish a critical cartography, one that will allow the reader to access a terra incognita of French comparative studies.

Made available in DSpace on 2016-04-28T19:59:09Z (GMT). No. of bitstreams: 1 Douglas Paulino Barreiros.pdf: 1731666 bytes, checksum: e21f2a4b82988d677aa114d862dbc590 (MD5) Previous issue date: 2008-04-16 / Secretaria da Educação do Estado de São Paulo / When the Comparative Literature was born like a subject, the researchers restricted their works to analyze literary works which were from different countries. They tough about one author with own characteristics that did some influences on other authors. This way, the main object was to find out and to explain the sources and the influences. Nowadays, the comparative work extended its field of search and it surpassed the linguistic boundaries in the comparison among literary works. It goes to work on many different areas of knowledge. Because of it, some modifications were necessary, like the use of theories from other subjects and some methodological alterations. This way, the field of search was enlarged in conformity with the nature of the comparative literature. Because of this transformation, the comparative literature altered its initial objective and today it work in the comparison among ways of expression, or better this, among different languages. This paper shows some relations among the works of Clarice Lispector and Virginia Woolf with the painting. They are observed, basically, from the image like similar element between canvas and texts. The poetic images are analyzed from the literary texts for to be drawing up some similarities with the painting. For all appear in the research canvas of famous painters like Monet, Degas, Pablo Picasso, Salvador Dalí among others / No surgimento da literatura comparada como disciplina, os estudiosos restringiam os trabalhos à análise de obras literárias pertencentes a fronteiras nacionais distintas. Tinha-se em mente um emissor que seria um autor com características próprias e originais que exercia influências sobre um receptor, entendido como um escritor pertencente à nacionalidade distinta daquele do qual recebia influências. O objetivo central era, portanto, descobrir e explicar fontes e influências. Hoje o comparatismo ampliou seu campo de atuação ultrapassando os limites lingüísticos e nacionais na comparação entre obras literárias, passando a se movimentar em meio a várias áreas do conhecimento. Com essa alteração, fizeramse necessárias algumas modificações metodológicas, bem como o emprego de fundamentação teórica advinda de disciplinas distintas daquelas dedicadas ao estudo lingüístico ou literário. Amplia-se, portanto, o traço de mobilidade próprio da literatura comparada. Por conta dessas alterações, a exclusividade em se comparar obras literárias produzidas em sistemas lingüísticos diferentes, objetivo primordial do comparatismo em seus primórdios, converteu-se na comparação entre formas de expressão, ou melhor, entre linguagens diversas. Esta dissertação apresenta algumas relações entre as obras de Clarice Lispector e Virginia Woolf com a pintura. Elas são observadas, basicamente, a partir da imagem como elemento homólogo entre tela e texto. As imagens poéticas são analisadas a partir dos textos literários para enfim serem traçadas algumas analogias com a pintura. Para tanto figuram no trabalho telas de pintores de referência como Monet, Degas, Pablo Picasso, Salvador Dali, dentre outros

Defining rarity as a relative quality in matter roughly opposite to density, this dissertation focusses on the way material qualities of molecular gases, such as semi-opacity, permeation, and blending, inform modernist representations of embodied spatial experience. In modernist writing, rare matter—including air, fog, smoke, and haze—functions as an active component of the sensory environment, filling up the negative space that sets off subjects from objects, and characters from settings. Representing matter across the full range of the rarity-density spectrum allows modernist writers to challenge the ontological status of such boundaries, and to develop dynamic spatial models of the self-world threshold. The Introduction defines rare matter and examines its function as a sensory medium that can alternately define and blur subject/object boundaries. Interpreting dynamic thresholds as products of authorial activism, I argue that modernist narratives disrupt the normative constructions of the self-world boundary that prevailed in biomedical discourse around the turn of the century. Chapter 1, seeking to expand the scope of modernist object studies to include rare matter, analyzes illustrated books about London to demonstrate the increased cultural visibility of the atmosphere in the modernist period. Visual and verbal gestalt effects, modelled on the hermeneutic oscillation between looking at and looking through the fog, foreground the materiality of the atmosphere that fills up three-dimensional space, pressing up against the thresholds of the body and disrupting fixed distinctions between subjects and their surroundings. Chapter 2 shows how D. H. Lawrence harnesses the properties of rare matter to construct dynamic representations of the self-world boundary. In his early novels and his criticism, the oscillation between self-diffusion and self-differentiation expresses characters’ psychological responsiveness to changing interpersonal and ontological pressures. Chapter 3 demonstrates how Virginia Woolf takes advantage of rare attributes like permeation, fluid motion, and variable particle spacing to model process-oriented communities that incorporate dynamic shifts between social autonomy and collective identity. The Conclusion examines rare imagery in modernist scenes of narration, arguing that dynamic self-world thresholds help to articulate a responsive form of reader-text interaction that allows for the alternation of independent and collaborative reading practices.

Defining rarity as a relative quality in matter roughly opposite to density, this dissertation focusses on the way material qualities of molecular gases, such as semi-opacity, permeation, and blending, inform modernist representations of embodied spatial experience. In modernist writing, rare matter—including air, fog, smoke, and haze—functions as an active component of the sensory environment, filling up the negative space that sets off subjects from objects, and characters from settings. Representing matter across the full range of the rarity-density spectrum allows modernist writers to challenge the ontological status of such boundaries, and to develop dynamic spatial models of the self-world threshold. The Introduction defines rare matter and examines its function as a sensory medium that can alternately define and blur subject/object boundaries. Interpreting dynamic thresholds as products of authorial activism, I argue that modernist narratives disrupt the normative constructions of the self-world boundary that prevailed in biomedical discourse around the turn of the century. Chapter 1, seeking to expand the scope of modernist object studies to include rare matter, analyzes illustrated books about London to demonstrate the increased cultural visibility of the atmosphere in the modernist period. Visual and verbal gestalt effects, modelled on the hermeneutic oscillation between looking at and looking through the fog, foreground the materiality of the atmosphere that fills up three-dimensional space, pressing up against the thresholds of the body and disrupting fixed distinctions between subjects and their surroundings. Chapter 2 shows how D. H. Lawrence harnesses the properties of rare matter to construct dynamic representations of the self-world boundary. In his early novels and his criticism, the oscillation between self-diffusion and self-differentiation expresses characters’ psychological responsiveness to changing interpersonal and ontological pressures. Chapter 3 demonstrates how Virginia Woolf takes advantage of rare attributes like permeation, fluid motion, and variable particle spacing to model process-oriented communities that incorporate dynamic shifts between social autonomy and collective identity. The Conclusion examines rare imagery in modernist scenes of narration, arguing that dynamic self-world thresholds help to articulate a responsive form of reader-text interaction that allows for the alternation of independent and collaborative reading practices.