Since the 1975 publication of Newsweek’s article asserting that “Johnny” can’t write, many have continued to support the claim that students graduating from American high schools and universities can’t write. This criticism has led many students to believe the problem lies exclusively with them. Efforts to improve students’ writing have had little effect, as reflected in continually concerning scores on the National Assessment of Educational Progress. Recently, researchers have begun to suggest that the problem should be addressed by working to change students’ identification as a bad writer. Two constructs have emerged from these efforts: writer and authorial identity. Research on these constructs, however, is relatively recent and therefore limited. Further, the constructs have been investigated in separate literature bases, divided almost exclusively between English composition studies (writer identity) and psychology (authorial identity). This study seeks to investigate students’ writer and authorial identities right at the entry point into college. Expectations for writing are different in college than they are in high school. College students, many of whom fall into the emerging adulthood phase of development, may experience difficulties writing in college if these different expectations aren’t made explicit. In addition, this study explores whether writer and authorial identity are two distinct constructs, or whether similarities between the two exist. Data were collected from a diverse sample of first-year undergraduates at a large, urban, public university in the southeastern United States. Using a mixed method research design, quantitative data on authorial identity were collected using a modified version of an existing scale to measure authorial identity; open-response questions provided the qualitative data. Mixed analyses of the quantitative and qualitative findings found areas of significant differences between the two constructs, but also areas of overlap. These findings suggest that authorial identity may be a more specific form of writer identity, one in which the writer’s authentic voice and knowledge are effectively represented in what is written. Although this study is a first step in trying to identify why “Johnny” can’t write, it provides evidence that viewing the problem through the lens of students’ writer and authorial identity warrants further investigation.

<p>The implied reader of a novel is the person that the author writes for. In the case of Åsa Larsson’s Swedish detective novel Solstorm, the implied reader is familiar with Swedish politics, history, and geography but also with biblical references and Swedish customs. When the novel is translated into English, The Savage Altar: Innocence will be Sacrificed, there is a new implied reader, the translator’s implied reader. When culture-specific material is either omitted or misunderstood, or a cultural filter changes the material to suit the new target audience, the context of the novel is also changed. The result is a loss of context.</p>

This paper examines online fan fiction communities as spaces for identity formation, collaborative creativity, and fan empowerment. Drawing on case studies of a LiveJournal fan fiction community, fan-written essays, possible world theory, and postmodern theories of the hyperreal and simulacrum, this paper argues that writing fan fiction is a definitive, postmodern act that explores the mutable boundaries of reality and fiction. It concludes that fans are no longer passive consumers of popular media—rather, they are engaged, powerful participants in the creation of celebrity representation that can, ultimately, alter reality.

This thesis explores the limits of fictional language by studying the work of Jewish American writer-critics, novelists who significantly engaged with literary criticism, and critics who experimented with the novel or short fiction. These writer-critics all believed in Literature: they believed that literature could effect social change and educate the masses; or they believed in literature as an art-form, one that exposed the myths underlying American society, or that revealed something fundamental about the human condition. Yet it is because they believed so stridently in the concept of Literature that they turned to non-fiction. Writing fiction exposed problems that Literature could not resolve. They describe being haunted by “preoccupations” that they could not exhaust in fiction alone. They apologetically refer to their critical texts as “by-products” of their creative writing. Writer-critics were forced to decide what the limits of fiction were, and they adopted other types of writing to supplement these unexpected gaps in fiction's power. This dissertation contains four chapters and an introduction. The introduction establishes the methodological difficulties in writing about author-critics, and introduces a set of principles to guide the study. Chapter 1 approaches Abraham Cahan's The Rise of David Levinsky (1917). I argue that many of the novel's difficulties result from Cahan's desire to present the way that ideology shades our understanding of reality while minimizing direct narratorial intrusions. Chapter 2 studies how politics affected the work of Mike Gold, Moishe Nadir, and Isaac Bashevis Singer. In all three writers, literature emerges as a kind of ersatz-politics, a space for the dispossessed to imagine the political. In the end, the political novel only reinforces the fictionality. Chapter 3 is a study of Leslie Fiedler's problematic novel, The Second Stone. While critics have seen the novel as a kind of game, I propose reading the novel as an earnest expression of Fiedler's vision of literature as a conversation. Chapter 4 turns to Cynthia Ozick and Susan Sontag. A cumulative reading of their fiction and criticism shows the deep twinning of their fiction and critical thought. For both writers true knowledge comes only through the imagination. / Near Eastern Languages and Civilizations

Este estudo objetivou identificar, apresentar e analisar, à luz do trabalho imaterial, o trabalho e a estratégia de viver a vida de músico da cena autoral e independente na sociedade do hiperespetáculo. Sua base teórica foi fundamentada sob a noção de trabalho imaterial (GORZ, 2005; GRISCI, 2006; LAZZARATO; NEGRI, 2001), sociedade do espetáculo (DEBORD, 1997) e hiperespetáculo (LIPOVETSKY 2015), indústria musical e cena musical independente (GALLETA 2014; HERSCHMANN, 2012; MAUDONNET, 2015; NETO, 2015; FRANCIS, 2011; VIVEIRO; NAKANO, 2008), e estratégia existencial consumista (BAUMAN, 2008a; BAUMAN; RAUD, 2017). A pesquisa caracterizou-se como exploratória qualitativa e contou com a participação de quatorze músicos da cena autoral e independente que participaram, pelo menos, de um de dois coletivos de músicos da cena autoral e independente de Porto Alegre/RS e que estão ativos na cena. A coleta de dados se deu pela realização de um grupo focal com seis participantes de um dos coletivos mencionados e entrevistas semiestruturadas com outros oito músicos de ambos os coletivos. A análise de conteúdo seguiu orientações de Minayo (2001) e resultou três categorias de análise: (i) (auto)composição e trabalho imaterial: a difícil arte de ser músico da cena autoral e independente; (ii) música e cena autoral e independente; e (iii) estratégia de viver a vida em busca de afinação. O estudo permitiu mostrar o esforço em busca de afinação como estratégia de viver a vida de músico da cena autoral e independente. Algo que se dá em meio a tensão – consentir, resistir – no que diz respeito aos princípios e valores que circulam na cena independente cada vez mais dependente. A estratégia de viver a vida em busca de afinação explicita o debate entre a harmonia e a cacofonia, mostrando-se condizente com a estratégia existencial consumista (BAUMAN, 2008a; BAUMAND; RAUD, 2017). / This study aimed to identify, present and analyze, based on immaterial labor, the work and the strategy of living of the authoral and independent scene musical life in the hyper-spectacle society. Its theoretical basis was grounded on the notion of immaterial labor (GORZ, 2005; GRISCI, 2006; LAZZARATO; NEGRI, 2001), spectacle society (DEBORD, 1997), hyper-spectacle society (LIPOVETSKY 2015), music industry and independent musical scene (GALLETA 2014; HERSCHMANN, 2012; MAUDONNET, 2015; NETO, 2015; FRANCIS, 2011; VIVEIRO; NAKANO, 2008) and existential consumerist strategy (BAUMAN, 2008a, BAUMAND, RAUD, 2017). The research was characterized as qualitative exploratory and reached the participation of fourteen authoral and independent scene musicians who have participated at least in one of two collective of musicians of the authorial and independent scene of Porto Alegre/RS and that are active in the scene . The data collection occurred through a focus group with six participants from one of the mentioned collectives and semi-structured interviews with eight other musicians from both collectives. Content analysis followed Minayo's (2001) instructions and supported three categories of analysis: (i) (self)composition and immaterial labor: the hard art of being authorial and independent scene musician; (ii) music and authorial and independent scene; and (iii) the strategy of living life looking for tuning. The study allowed to show the effort in looking for tuning as a strategy of living the authoral and independent scene musicians life. Something that occurs through the tension – consenting, resisting – regarding to the principles and values that circulate in the independent scene, increasingly dependent. The strategy of living life looking for tuning explicitly explains the debate between harmony and cacophony, showing itself to consistent with the existential consumerist strategy (BAUMAN, 2008a; BAUMAND, RAUD, 2017).

Observando o panorama político-cultural do Brasil do final do século XX, sobretudo, os anos 70, 80 e 90, traço o cenário em que se insere Caio Fernando Abreu, bem como suas influências intelectuais e a construção / repercussão de sua biografia na e pela própria escrita, de modo a nos auxiliar na compreensão dos percursos literários por ele tomados. Para tanto, faço uso de pesquisas em periódicos, documentos e cartas, além de apoiar meus estudos em seus livros e artigos publicados. Em um primeiro momento a pesquisa se faz pelo mapeamento do cenário histórico-nacional e referências bibliográficas que julguei pertinentes ao estudo. Em seguida debruço-me sobre as influências intelectuais, bem como o debate acerca da pretensa comunicação da intimidade em sua obra. Considerado por muitos como um escritor da proximidade, tento perceber como este rótulo acaba por (re) afirmar a identidade enquanto sujeito autoral, analisando, para tanto, tudo aquilo que compõe o chamado espaço biográfico. Correspondências, diários e entrevistas são neste trabalho observados como instrumentos de construção desse sujeito autoral, bem como depoimentos de amigos e matérias jornalísticas a respeito do escritor gaúcho. Investigo, portanto, até onde Caio Fernando deixa-se desvendar, questionando a intimidade permitida, estabelecendo condições, enfim, de construir mais que uma biografia pessoal-contextual, traçando a tênue linha que permite, não meras classificações e rótulos estilísticos, mas, sobretudo, compreender quê (expressão fartamente utilizada por Caio Fernando Abreu em sua obra, e aqui colocada em espécie de humor homenagem que demonstra a abertura às possibilidades imponderáveis) / Observing the political-cultural panorama of Brazil at the end of the XX th century, meanly the years 70, 80 and 90, I have traced the scene where Caio Fernando Abreu is inserted, as well as his intellectual influences and the construction/repercussion of his biography in and by writing in order to understand his literary ways. I have made use of researches in newspapers and letters, as well as his printed books and texts. Firstly I have mapped historical-national scene and the bibliographical references concerning this work. After that I have worked on the intellectual influences, as well as the debate concerning the pretense communication of privacy in his texts. Although Caio Fernando is considered as a writer of the proximity, I have tried show how leads to corroborating the authorial subject; identity analysing, in such a way, his biographical space. Correspondences, diaries and interviews as well as his friends testimonies and articles regarding the writer are in this work considered as means of constructing this authorial subject. I investigate, therefore, if Caio Fernando shows his intimacy questioning the allowed privacy, establishing conditions, at last, to construct more than a personal-contextual biography, tracing the tenuous line that allows, not mere classifications but above all, to understand what! (a constant expression in Caio Fernando Abreus texts, used here as a good-humoured homage to demonstrate the opening to the imponderable possibilities)

Submitted by JOSÉ CEZINALDO ROCHA BESSA null (cezinaldobessauern@gmail.com) on 2016-04-28T18:04:54Z No. of bitstreams: 1 TESE FINAL_CEZINALDO.pdf: 8155514 bytes, checksum: 7b4c8eb6221ce9352b5b9b527743ac49 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-05-02T13:29:58Z (GMT) No. of bitstreams: 1 bessa_jcr_dr_arafcl.pdf: 8155514 bytes, checksum: 7b4c8eb6221ce9352b5b9b527743ac49 (MD5) / Made available in DSpace on 2016-05-02T13:29:58Z (GMT). No. of bitstreams: 1 bessa_jcr_dr_arafcl.pdf: 8155514 bytes, checksum: 7b4c8eb6221ce9352b5b9b527743ac49 (MD5) Previous issue date: 2016-03-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Na presente tese, objetivamos examinar diálogos que constituem o dizer do jovem pesquisador (no caso, o estudante de mestrado) na escrita de artigos científicos, procurando observar como esses diálogos participam da construção da voz autoral nessa escrita e como colaboram com a constituição do estudante de mestrado como sujeito/pesquisador. O trabalho assume como orientação teórico-metodológica central a teoria/análise dialógica do discurso, em diálogo com contribuições de Maingueneau e Authier-Revuz sobre discurso citado/reportado/representação do discurso outro, e com estudiosos da escrita científica em perspectiva retórica, enunciativa e discursiva, dentre os quais destacamos Swales (1990), Boch (2013), Boch e Grossmann (2002), Hyland (2001, 2005, 2011), Pollet e Piette (2002), Petrić (2007, 2012) e Rinck e Mansour (2013). Privilegiando o enfoque qualitativo e uma análise de natureza interpretativa, nosso trabalho contempla o exame de 10 artigos científicos de estudantes de mestrado da grande área de Letras e Linguística publicados em anais de um evento da ABRALIN. O corpus analisado aponta, dentre outros achados, que, na escrita do artigo científico, o jovem pesquisador constrói o seu dizer utilizando-se de diferentes estratégias de estabelecer diálogo com a palavra do outro, algumas das quais relevam um trabalho criativo complexo e produtivo de apropriação e assimilação dos dizeres dos autores citados, enquanto outras denunciam problemas relativos à manipulação inapropriada do dizer do outro e das fontes citadas. Nossas conclusões reforçam, sobretudo, a complexidade do citar na escrita científica e as dificuldades do sujeito jovem/pesquisador no processo de familiarização com convenções da esfera acadêmico-científica e com o discurso disciplinar. / In this thesis work we aim at examining dialogs that form what is the young researcher sayings (the young researcher here is a master student) when he writes his scientific articles. We search to see how those dialogs take part in authorial-voice-construction and how that writing helps in the constitution of a researcher subject of the master course student. The dialogical analysis/theory of discourse guide the work as central orientation of theoretical-methodology nature, in dialogs with Maingueneau and Authier-Revuz contributions about quoted discourse, reported discourse and discourse representation of others. We also take into account scholars from scientific writing in rhetoric, enunciation and discursive perspectives, among them we stick out Swales (1990), Boch (2013), Boch and Grossmann (2002), Hyland (2001, 2005, 2011), Pollet and Piette (2002), Petrić (2007, 2012) and finally Rinck and Mansour (2013). Our work examines ten scientific essays of master course students of Arts (Letters and Linguistics), these works were published at ABRALIN (A national meeting of Linguistics) and we gave focus a kind of qualitative and interpretative nature to the analysis. The analyzed corpora point out that in writing a scientific essay the young researcher constructs his "sayings" using different strategies to establish dialog with others' words, some of those strategies reveal a kind of creative complex work, and it is productive in appropriate and assimilate of saying from scholars quoted, while others strategies show problems related to inappropriate manipulation of others' saying and resources quoted. Our conclusions reinforce the complex activity in quote when writing, during scientific production. We also show the difficulties young researcher has in the process of familiarization with conventions in scientific academic environment and disciplinary discourse. / CNPq: 141408/2012-0

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the journalistic opinionated scenario, there are several genres which personal character is present. However, there is a consensus among theoreticians who discuss about the media that the column is, among all the journalistic genres, the one which most expresses the authorial opinion. Based on a theoretical approach which comprises since the concept of media and opinion,(THOMPSON, 2011; CHARAUDEAU, 2006a, 2006b; MELO, 1994, 2003) until the theoretical pillars of Systemic Functional Linguistics (HALLIDAY e HASAN, 1989; HALLIDAY, 1994; HALLIDAY E MATTHIESSEN, 2004), the focus of this research is on the principle of Individuation (MARTIN, 2008; 2009) and it is sustained by systematic assumptions proposed by Martin and White (2005) for the resources of language appraisal. The aim of this work is to determine, based on identification and analysis of discursive and linguistic strategies of appraisal, the construction of style, of evaluative signature by Eliane Cantanhêde in her political advice column conveyed by Folha de São Paulo newspaper. The corpus is composed by 31 copies of the column, published during 2010 and available on the page of Folha Online. The methodological procedures comprehend two steps of analysis: textual and contextual. The results show that there is, in the corpus, 1) predominance of judgment evaluations by social esteem, recurrently manifested by colloquial expressions and metaphors; 2) balanced heteroglossic articulation expressed by punctuation resources, lexical notations and rhetorical questions and that 3) the evaluations are intensified by, besides adverbs and adjectives, metaphorical and colloquial expressions. The analysis points that the evaluative signature of Cantanhêde corresponds to the articulation of judgments about the competence/incompetence of politicians, carried out by linguistic resources supported by colloquialism and conversational strategies. These strategies confer to discourse more levity and establish an interaction between the columnist and readers. / No cenário jornalístico opinativo, há diversos gêneros cujo caráter pessoal se faz presente. Entretanto, é consenso entre os teóricos que versam sobre a mídia que a coluna é dos gêneros jornalísticos o que mais expressa a opinião autoral. Partindo de uma referenciação teórica que abrange desde o conceito de mídia e de opinião (THOMPSON, 2011; CHARAUDEAU, 2006a, 2006b; MELO, 1994, 2003), até os pilares teóricos da Linguística Sistêmico-funcional (HALLIDAY e HASAN, 1989; HALLIDAY, 1994; HALLIDAY E MATTHIESSEN, 2004), o enfoque desta pesquisa recai sobre o princípio da Individuação (MARTIN, 2008; 2009) e é sustentado pelas premissas sistemáticas propostas por Martin e White (2005) para os recursos de avaliação da linguagem. O objetivo deste trabalho é determinar, a partir da identificação e análise das estratégias discursivas e linguísticas avaliativas a construção do estilo, da assinatura valorativa da jornalista Eliane Cantanhêde em sua coluna de opinião política veiculada pelo jornal Folha de São Paulo. O corpus é constituído por 31 exemplares da coluna, publicados durante o ano de 2010 e disponibilizados na página da Folha Online. Os procedimentos metodológicos compreendem duas etapas de análise: textual e contextual. Os resultados indicaram que há, no corpus, 1) predominância de avaliações de julgamento por estima social, manifestadas recorrentemente por expressões coloquiais e metáforas; 2) articulação heteroglóssica equilibrada expressa por recursos de pontuação, notações léxicas e por perguntas retóricas e que 3) as avaliações são intensificadas por, além de advérbios e adjetivos, também por expressões metafóricas e coloquiais. A análise aponta que a assinatura valorativa de Cantanhêde corresponde à articulação de julgamentos sobre a competência/incompetência dos políticos, realizados por recursos linguísticos apoiados na coloquialidade e em estratégias conversacionais. Essas estratégias conferem ao discurso mais leveza e estabelecem uma interação entre a colunista e os leitores.

Made available in DSpace on 2015-05-07T14:27:13Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2447857 bytes, checksum: 609ed1887de3bcba5598f48cd2440ad0 (MD5) Previous issue date: 2013-03-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Based on the analysis of capitalist restructuring, this thesis aims at examining the movement of contemporary capitalism which explains the convenience and valorization of cultural production, as well as the authorial rights role within this context. The very Economy increasingly depends on both property and services provided by this medium. Culture is strongly connected with technology. On being so, culture is no longer residual inducing to capital accumulation. On the contrary, culture is an activity subscribed to production and reproduction of capital. This movement is currently legitimate through the neo-development discourse, which relates culture to development and maximization of the protective standards of IP (Intellectual Property), and therefore these factors lead to concepts, such as cultural Economy, and creative Economy. Accordingly to all factors herein referred to, this study raises a hypothesis, which is proposing that authorial rights, before paying author s remuneration, assure both controlled scarcity and the extraction of profits for capital accumulation. It thus becomes clear that music industry comes out as an analytical instrument. Upon associating Political Economy and Cultural Studies, one intends to accomplish a thorough comprehension of authorial rights, including their contradictions and updated meaning. Moreover, this study is meant to contribute to further researches on this increasing and contemporary field, which is concerned with resolutions and public policies. The latter are capable of furnishing measures to decentralize the cultural production, besides pointing out the structural contradictions of society. / A partir da análise da reestruturação capitalista explora-se o movimento do capitalismo contemporâneo que explica a conveniência e a valorização do cultural e o papel do direito autoral nesse contexto. A própria economia depende cada vez mais dos bens e serviços dessa esfera. Fortemente amparada pela tecnologia, a cultura já não é residual à acumulação, senão uma atividade inscrita na própria produção e reprodução do capital. Esse movimento é atualmente legitimado através do discurso novo-desenvolvimentista que relaciona cultura, desenvolvimento e maximização dos padrões de proteção da PI (Propriedade Intelectual), na emergência de conceitos como Economia da cultura e criativa. Por isso, a hipótese básica propõe que o direito autoral, antes da remuneração do autor, assegura a lógica da escassez controlada e a extração de lucro para o capital. Nessa dinâmica, a indústria da música emerge como emblema analítico. A partir da articulação entre economia política e estudos culturais, espera-se contribuir para a compreensão do direito autoral, suas contradições e sentidos atuais. Colaborar para um campo de pesquisa contemporâneo e crescente, preocupado com regulamentações e políticas públicas que descentralize a produção cultural e representem as contradições estruturais da sociedade é a disposição final desta pesquisa.

Observando o panorama político-cultural do Brasil do final do século XX, sobretudo, os anos 70, 80 e 90, traço o cenário em que se insere Caio Fernando Abreu, bem como suas influências intelectuais e a construção / repercussão de sua biografia na e pela própria escrita, de modo a nos auxiliar na compreensão dos percursos literários por ele tomados. Para tanto, faço uso de pesquisas em periódicos, documentos e cartas, além de apoiar meus estudos em seus livros e artigos publicados. Em um primeiro momento a pesquisa se faz pelo mapeamento do cenário histórico-nacional e referências bibliográficas que julguei pertinentes ao estudo. Em seguida debruço-me sobre as influências intelectuais, bem como o debate acerca da pretensa comunicação da intimidade em sua obra. Considerado por muitos como um escritor da proximidade, tento perceber como este rótulo acaba por (re) afirmar a identidade enquanto sujeito autoral, analisando, para tanto, tudo aquilo que compõe o chamado espaço biográfico. Correspondências, diários e entrevistas são neste trabalho observados como instrumentos de construção desse sujeito autoral, bem como depoimentos de amigos e matérias jornalísticas a respeito do escritor gaúcho. Investigo, portanto, até onde Caio Fernando deixa-se desvendar, questionando a intimidade permitida, estabelecendo condições, enfim, de construir mais que uma biografia pessoal-contextual, traçando a tênue linha que permite, não meras classificações e rótulos estilísticos, mas, sobretudo, compreender quê (expressão fartamente utilizada por Caio Fernando Abreu em sua obra, e aqui colocada em espécie de humor homenagem que demonstra a abertura às possibilidades imponderáveis) / Observing the political-cultural panorama of Brazil at the end of the XX th century, meanly the years 70, 80 and 90, I have traced the scene where Caio Fernando Abreu is inserted, as well as his intellectual influences and the construction/repercussion of his biography in and by writing in order to understand his literary ways. I have made use of researches in newspapers and letters, as well as his printed books and texts. Firstly I have mapped historical-national scene and the bibliographical references concerning this work. After that I have worked on the intellectual influences, as well as the debate concerning the pretense communication of privacy in his texts. Although Caio Fernando is considered as a writer of the proximity, I have tried show how leads to corroborating the authorial subject; identity analysing, in such a way, his biographical space. Correspondences, diaries and interviews as well as his friends testimonies and articles regarding the writer are in this work considered as means of constructing this authorial subject. I investigate, therefore, if Caio Fernando shows his intimacy questioning the allowed privacy, establishing conditions, at last, to construct more than a personal-contextual biography, tracing the tenuous line that allows, not mere classifications but above all, to understand what! (a constant expression in Caio Fernando Abreus texts, used here as a good-humoured homage to demonstrate the opening to the imponderable possibilities)