Made available in DSpace on 2015-03-26T13:44:23Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1866007 bytes, checksum: 27c8a4b2ed255141f451727982e3690b (MD5) Previous issue date: 2011-02-22 / This study aims to reflect upon the constitution the formation of the woman subject through the fictional language of two contemporary Canadian novels, Lives of Girls and Women (1971) and The diviners (1973) by Alice Munro and Margaret Laurence, respectively. Having been published in the early seventies, both novels include a series of questions about the search for an identity of its own, according to a new demand which is allied to critical gender studies. Therefore, it constitutes a major factor to this research, the manner in which the narrative protagonists, Del Jordan of Lives of Girls and Women (2001) and Morag Gunn of The Diviners (1993) perform this process. As a strategy, both appropriate the Bildungsroman genre questioning the discourses with which it dialogues. Starting from childhood, when there is both the immersion of Del Jordan, as of Morag Gunn in environments that favor the activity of reading, one realizes that, not coincidentally, both will take the profession of writers in the age coming. From that perspective, discussions about language studies, gender, and female development novels are established to which the approaches of Chris Weedon (1989), Teresa de Lauretis (1994), Cristina Ferreira Pinto (1990), Sylvia Molloy (2004), Coral Ann Howells (1998), among others will prove as essential ones to rethink the process by which the protagonists go through until the discovery of their subjectivities. / O presente estudo se dispõe a realizar uma reflexão acerca da formação do sujeito mulher por meio da linguagem em um recorte da ficção de duas autoras canadenses contemporâneas, a saber, Lives of Girls and Women (1971) e The Diviners (1973) de Alice Munro e Margaret Laurence, respectivamente. Tendo sido publicados no início da década de setenta, ambos os romances compreendem uma série de questionamentos em torno da busca pela construção de uma identidade própria, atendendo a uma nova demanda crítica que se alia aos estudos de gênero. Portanto, constitui-se como fator preponderante à pesquisa a maneira pela qual as protagonistas das obras, Del Jordan, de Lives of Girls and Women (2001) e Morag Gunn de The Diviners (1993) realizam esse processo. Como estratégia, ambas se apropriam do gênero Bildungsroman visando o questionamento dos discursos com os quais dialogam. Partindo da infância, quando se dá a imersão tanto de Del Jordan, quanto de Morag Gunn em ambientes que privilegiam a atividade da leitura, percebese que, não coincidentemente, ambas assumirão a profissão de escritoras na chegada da maturidade. Inserem, portanto, nessa perspectiva, discussões estabelecidas em torno dos estudos da linguagem, do gênero, dos romances de formação femininos aos quais as abordagens de Chris Weedon (1989), Teresa de Lauretis (1994), Cristina Ferreira Pinto (1990), Sylvia Molloy (2004), Coral Ann Howells (1998), entre outros, se mostrarão preponderantes a fim de se repensar o processo pelo qual as protagonistas atravessam até a descoberta de suas subjetividades.

Submitted by OISE DE OLIVEIRA MATTOS BAZZOLI null (oise.bazzoli@yahoo.com.br) on 2016-07-13T02:16:10Z No. of bitstreams: 1 Dissertação final conferida.pdf: 1405978 bytes, checksum: b7fb12e30e61115862c45b416fe0cf44 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-14T16:52:42Z (GMT) No. of bitstreams: 1 bazzoli_oom_me_arafcl.pdf: 1405978 bytes, checksum: b7fb12e30e61115862c45b416fe0cf44 (MD5) / Made available in DSpace on 2016-07-14T16:52:42Z (GMT). No. of bitstreams: 1 bazzoli_oom_me_arafcl.pdf: 1405978 bytes, checksum: b7fb12e30e61115862c45b416fe0cf44 (MD5) Previous issue date: 2016-05-20 / Esta pesquisa tem como objetivo principal analisar, sob o ponto de vista da narratologia, três contos: “The Peace of Utrecht”, “Meneseteung” e “Fiction”, presentes, respectivamente, nas coletâneas Dance of the Happy Shades (1968), Friend of my Youth (1991) e Too Much Happiness (2009), da escritora canadense contemporânea Alice Munro, vencedora do Prêmio Nobel de Literatura em 2013, cujos contos, elaborados de forma renovada, são caracterizados pelos finais em aberto, contém descrições realistas do sudoeste de Ontário, retratam cenas familiares que facilitam a introdução do estranho, do misterioso, do desconhecido e até fantástico. Esta união, do familiar e do estranho, cria um senso de ironia e duplicidade de observação em relação a lugares e às pessoas, permitindo que se explore a luta canadense com a identidade evidenciada na escritora. A ambivalência que Munro sente como escritora é uma de suas preocupações pessoais que contribuem para essa profundidade emocional e vivacidade em sua ficção. Algumas de suas melhores histórias expressam sentimentos que provocam questionamentos em qualquer leitor mais sensível e que são, ao mesmo tempo, explorações e descobertas da própria emoção da autora. Para o desenvolvimento deste estudo, apoiamo-nos nas reflexões de Osman Lins, Bachelard, Ozíris Borges Silva no que diz respeito à espacialização da narrativa, como também em estudos de Bakhtin que explora a ideia de cronotopo. Também constitui objetivo identificar os momentos de epifania e os elementos góticos que atuam na configuração das personagens de Munro. / The main goal of this paper is to analyse, from the point of view of narratology, three short stories: “The Peace of Utrecht”, “Meneseteung” and “Fiction”, present, respectively, in the collections Dance of the Happy Shades (1968), Friend of my Youth (1991) and Too Much Happiness (2009), from the contemporary Canadian writer Alice Munro, winner of the 2013 Nobel Prize in Literature, whose short stories, elaborated in a renewed way, are characterized by open ends, have realistic descriptions of southwest Ontario, depict familiar scenes that facilitate the introduction of the strange, the mysterious, the unknown and even the fantastic. This connection of the familiar and the strange, creates a sense of irony and duplicity in observation concerning places and people, allowing that the Canadian fight for identity is evidenced. The ambivalence Munro feels as a writer is one of her personal concerns that contribute to emotional and vivacious depth in her fiction. Some of her best stories show feelings that raise a lot of questions in any sensitive reader and that are, at the same time, the writer´s explorations and discoveries. To the development of this study, we will base our reflections in Osman Lins, Bachelard and Ozíris Borges Silva concerning narrative space as well as Bakhtin that explores the idea of cronotopos. It is also the aim of the paper to identify the epiphanic moments and the gothic elements that act in the description of Munro´s characters.

No description available.

With its perennial interest in the seemingly ordinary lives of small-town people, Alice Munro’s fiction displays a deceptively simple surface reality that on closer scrutiny reveals intricate levels of unexpected complexity about the fundamentals of human experience: love, choice, mortality, faith and the force of language. This study takes as its main purpose the exploration of Munro’s stories in terms of the intricacy of emotions in the face of commonplace events of life and their emerging possibilities. I argue that the ontological levels of fiction and reality remain in the realm of the real; these levels exist and merge as the possibilities of each other. Munro’s realism is explored in terms of its connection to possibilities that arise out of a particular type of fatality. The phenomenon of possibility permeates Munro’s stories. An investigation of this phenomenon shows a curious paradox between possibility and necessity. In order to discuss the complexity of this paradox I introduce the temporal/spatial concept of possibility-space and notions of the fatal. I describe the space that materializes in the phenomenal field between text and reader, and where the constitution of possibility becomes visible. This is typically seen in the rupture that is the event, where the event in itself offers a moment of release and epistemic certainty to the characters. I argue that through this release and certainty the characters obtain a radical, audacious sense of freedom and intensity of life. The stories examined have been grouped in a conceptual order that brings into view the central qualities of Munro’s fiction such as lightness, newness and sameness. These qualities are related to the act of recognition; they are elaborated through readings of a large number of stories from all the collections, including three stories published recently in The New Yorker. The dissertation concludes by highlighting these qualities in the tour de force “Post and Beam.” I argue finally that Alice Munro’s fiction recognizes life as possibility in a moment when it shows itself in its own remarkable sameness.

No description available.

Scholarship has firmly established that the short story cycle is well-suited to representations of community. This study considers eight North American examples of the genre: four by Canadian authors Stephen Leacock, Duncan Campbell Scott, George Elliott, and Alice Munro; and four by American authors Sarah Orne Jewett, Sherwood Anderson, John Cheever, and Joyce Carol Oates. My original idea was to discover whether there were significant differences between the Canadian and American cycles, but ultimately I became far more interested in the way that all of the cycles address community formation and disintegration. The focus of each cycle is a small community, whether a small town, a village, or a suburb. In all of the examples, the authors address the small community as the focus of anxiety, concern, criticism, and praise, with special attention to the way in which, despite its manifold failings, the small community continues to inspire longings for the ideal home and source of identity. The narrative feature that ultimately provided the critical framework for the study is the recurring presence of the metropolis in all of the eight cycles. The city, set on the horizons of these small communities, consistently provides a backdrop against which author and characters seem to measure and understand their lives. Always an influence (whether for good or bad), the city’s presence is constructed as the other against which the small community’s identity is formulated and understood. The relationship between small community and city led me to an investigation into the mythology of the small community, a mythology that sets the small community in opposition to the city, portraying the former as the keeper of virtue and the latter as the disseminator of vice. The cycles themselves, as I increasingly discovered, challenge the mythology by identifying how the small community depends, in large part, on the city for self-understanding. The small community, however, as an idea, and a mythic ideal, is never dismissed as obsolete or irrelevant.

Scholarship has firmly established that the short story cycle is well-suited to representations of community. This study considers eight North American examples of the genre: four by Canadian authors Stephen Leacock, Duncan Campbell Scott, George Elliott, and Alice Munro; and four by American authors Sarah Orne Jewett, Sherwood Anderson, John Cheever, and Joyce Carol Oates. My original idea was to discover whether there were significant differences between the Canadian and American cycles, but ultimately I became far more interested in the way that all of the cycles address community formation and disintegration. The focus of each cycle is a small community, whether a small town, a village, or a suburb. In all of the examples, the authors address the small community as the focus of anxiety, concern, criticism, and praise, with special attention to the way in which, despite its manifold failings, the small community continues to inspire longings for the ideal home and source of identity. The narrative feature that ultimately provided the critical framework for the study is the recurring presence of the metropolis in all of the eight cycles. The city, set on the horizons of these small communities, consistently provides a backdrop against which author and characters seem to measure and understand their lives. Always an influence (whether for good or bad), the city’s presence is constructed as the other against which the small community’s identity is formulated and understood. The relationship between small community and city led me to an investigation into the mythology of the small community, a mythology that sets the small community in opposition to the city, portraying the former as the keeper of virtue and the latter as the disseminator of vice. The cycles themselves, as I increasingly discovered, challenge the mythology by identifying how the small community depends, in large part, on the city for self-understanding. The small community, however, as an idea, and a mythic ideal, is never dismissed as obsolete or irrelevant.

Scholarship has firmly established that the short story cycle is well-suited to representations of community. This study considers eight North American examples of the genre: four by Canadian authors Stephen Leacock, Duncan Campbell Scott, George Elliott, and Alice Munro; and four by American authors Sarah Orne Jewett, Sherwood Anderson, John Cheever, and Joyce Carol Oates. My original idea was to discover whether there were significant differences between the Canadian and American cycles, but ultimately I became far more interested in the way that all of the cycles address community formation and disintegration. The focus of each cycle is a small community, whether a small town, a village, or a suburb. In all of the examples, the authors address the small community as the focus of anxiety, concern, criticism, and praise, with special attention to the way in which, despite its manifold failings, the small community continues to inspire longings for the ideal home and source of identity. The narrative feature that ultimately provided the critical framework for the study is the recurring presence of the metropolis in all of the eight cycles. The city, set on the horizons of these small communities, consistently provides a backdrop against which author and characters seem to measure and understand their lives. Always an influence (whether for good or bad), the city’s presence is constructed as the other against which the small community’s identity is formulated and understood. The relationship between small community and city led me to an investigation into the mythology of the small community, a mythology that sets the small community in opposition to the city, portraying the former as the keeper of virtue and the latter as the disseminator of vice. The cycles themselves, as I increasingly discovered, challenge the mythology by identifying how the small community depends, in large part, on the city for self-understanding. The small community, however, as an idea, and a mythic ideal, is never dismissed as obsolete or irrelevant.

Scholarship has firmly established that the short story cycle is well-suited to representations of community. This study considers eight North American examples of the genre: four by Canadian authors Stephen Leacock, Duncan Campbell Scott, George Elliott, and Alice Munro; and four by American authors Sarah Orne Jewett, Sherwood Anderson, John Cheever, and Joyce Carol Oates. My original idea was to discover whether there were significant differences between the Canadian and American cycles, but ultimately I became far more interested in the way that all of the cycles address community formation and disintegration. The focus of each cycle is a small community, whether a small town, a village, or a suburb. In all of the examples, the authors address the small community as the focus of anxiety, concern, criticism, and praise, with special attention to the way in which, despite its manifold failings, the small community continues to inspire longings for the ideal home and source of identity. The narrative feature that ultimately provided the critical framework for the study is the recurring presence of the metropolis in all of the eight cycles. The city, set on the horizons of these small communities, consistently provides a backdrop against which author and characters seem to measure and understand their lives. Always an influence (whether for good or bad), the city’s presence is constructed as the other against which the small community’s identity is formulated and understood. The relationship between small community and city led me to an investigation into the mythology of the small community, a mythology that sets the small community in opposition to the city, portraying the former as the keeper of virtue and the latter as the disseminator of vice. The cycles themselves, as I increasingly discovered, challenge the mythology by identifying how the small community depends, in large part, on the city for self-understanding. The small community, however, as an idea, and a mythic ideal, is never dismissed as obsolete or irrelevant.