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In 1793, the nascent French republic established its first intellectual property law called droit d’auteur. This statute affected the visual arts and literature in equal measure, such that from a legal perspective, a painting and a manuscript were now treated as equivalent entities. Whereas literary critics have traced the impacts of this legislation on the production of novels and poetry, and legal historians have detailed its ramifications in nineteenth-century case law, art historians have yet to examine how this consolidation of the sister arts under the rubric of the auteur affected the development of the visual arts and aesthetic practices in the same period. Thus, despite ongoing interest in authorship across the humanities, scholars have operated with an only partial understanding of the subject. My thesis documents how French institutions of authorship, which included courtrooms, print shops, publishing houses, post offices, and libraries, coordinated an increasingly transnational field of textual and pictorial activities. More importantly, it analyses how these same institutions led to the creation of historically significant visual forms. Through a series of case studies of five canonical painters and writers, I offer a revised account of the emergence of modern art in France on the basis of the intimacies and antagonisms felt to exist between these differing artistic spheres. Chapter 1 follows the transition from the ancien régime’s system of artistic privilege to the modern administration of artist’s rights in the work of the royal portraitist Élisabeth Vigée Le Brun. By analyzing her 1835 memoirs alongside some of her key post-Revolutionary paintings, I establish the artist as a leading theoretician-practitioner of a new, legitimist aesthetics. Chapter 2 focuses on the classical aesthetic conflict between picture making and writing as it was expressed in the posthumously published diaries of Eugène Delacroix. I interpret his diary’s Romantic notion of pictorial specificity as an early variant of pictorial modernism. Chapter 3 explores the intertwined politics of exile and authorship in Victor Hugo’s enigmatic ink drawings. Tracking their creation in Guernsey to their eventual bequest alongside the writer’s literary manuscripts to the Bibliothèque nationale de France, this chapter also offers the first art history of the French national library, which, months prior to the opening of the Louvre, became the country’s first true public domain of images. Chapter 4 chronicles the emergence of the first global infrastructure for authors of art through an analysis of what I have called Vincent van Gogh’s “postal paradigm.” It demonstrates how the émigré artist substituted traditional academic protocols of education, critical evaluation, and reception with newly internationalized postal instruments and, additionally, how the formation of the Universal Postal Union facilitated the expansion of the international art market in the 1880s. Chapter 5 analyzes writer Émile Zola’s photographs taken in the 1890s in relation to a key aspect of his magnum opus, the Rougon-Macquart series: its conclusion. This chapter charts the consequential overlapping of two significant aesthetic debates in the 1880s and 1890s, both of which have until now been treated as unrelated— (1) the critiques and debates surrounding Zola’s experimental aesthetics; and (2) the contestations over the court’s role in determining photography’s status as authored. The project concludes with an epilogue that utilizes the project’s author concept to re-interpret early art historical theory.

Orientadora: Ana Maria Domingues de Oliveira / Banca: Cleide Antonia Rapucci / Banca: Sandra A. Ferreira / Banca: Dilip Loundo / Banca: José Hélder Pinheiro Alves / Resumo: A presença da Índia na biografia e na obra de Cecília Meireles é notável. A relação entre a poetisa e a Índia apresenta-se de forma explícita e implícita em sua produção: por um lado, tem-se o volume Poemas escritos na Índia, paralelamente às diversas crônicas sobre esse país, assim como conferências e aulas; por outro lado, em sua lírica, há inúmeros poemas que permitem a leitura de princípios, temas e nuances do pensamento filosóficoreligioso tipicamente indiano, reconhecíveis como associáveis ao hinduísmo ou ao budismo. Em nossa análise, partimos da premissa de ser imprescindível tanto a leitura de poemas sobre a Índia (paisagens, cotidiano e personalidades), como o levantamento temático dos aspectos filosófico-religiosos indianos na lírica ceciliana, por meio de análises interpretativas de poemas, demonstrando que a Índia e o pensamento indiano se apresentam nessa poesia horizontal e verticalmente. Assim, as primeiras seções analíticas são dedicadas ao país como locus para o qual a poetisa volta sua atenção e o adota como cenário, como motivo de alguns poemas; ou do qual elege personagens sobre os quais trata. Abordamos, primeiramente, a relação entre a poetisa e a Índia, por meio de dados biográficos, crônicas e da análise do poema "Cântico à Índia pacífica". Em seguida, falamos da relação de Cecília com os dois indianos renomados e analisamos poemas dedicados a eles: o pensador, educador e poeta Rabindranath Tagore e o poema "Diviníssimo Poeta", e o pacifista Mohandas K. Gandhi, e o poema "Mahatma Gandhi". Então, enfocamos o livro Poemas escritos na Índia, fruto de sua viagem à Índia em 1953, e pensamos, por um lado, em Cecília como poetisa-viajante, e discorremos brevemente sobre o ato de viajar para ela. E, por outro lado, averiguamos que a mulher indiana se destaca no volume, e, assim, analisamos dois poemas sobre a mulher... / Abstract: The presence of India in Cecília Meireles's biography is considerable. The relationship between the poetess and India presents itself both explicitly and implicitly in her writings: on one hand, there is the title Poems written in India, parallel to it there are a lot of chronicles and lectures about this country; on the other hand, dozens of poems allow the inference of premises, nuances, and themes related to Indian philosophical and religious thought, related to Hinduism and/or Buddhism. In this present analysis, we started up based on the premise that it is unavoidable both considering the poems on India (Indian sceneries, daily life and individuals), and the inventory of philosophical/religious aspects in the poems, by means of interpretative analysis, showing that India and Indian thought appear in Cecília's poetry vertically and horizontally. In this light, we dedicate the first analytical sections to the country as a place at which Cecília devotes her attention, employ as background for several poems, and from where she elects some individuals about whom she writes. We approach, firstly, the relationship between Cecília and India, by looking at biographical data, travel chronicles and the analysis of the poem "Hymn for peaceful India". Then, we discuss the relationship between Cecília and two renowned Indian personalities, in whose honor she dedicated poems, lectures, etc., i.e., the Indian poet, thinker and educator Rabindranath Tagore, and the poem "The most divine poet", and the pacifist Mohandas K. Gandhi, and the poem "Mahatma Gandhi". After that, we focus on the book Poems written in India, result of her trip there in 1953, and we consider, on one hand, Cecília as a traveler, and, on the other, her view on Indian women and their work as we analyze two poems, "Humility" and "Puri Women". The latter in comparison to another poem, "Ballad for the ten... / Doutor

The intent of this project is to study the use of multiple narrators who occupy the same space over a spread of time. While the subject matter has been one of intense study over the years, the approach to implore this technique of fiction has opened the characters, plot, and story to greater exploration.

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This thesis deals with the writing process in poetry. It consists of two types of text – theoretical and poetic. This thesis asks, for the purposes of a poetics of writing, what knowledge of language poetry requires. Questions as to the sources of poetry are resolved as questions asked of the ethics in which writing is possible. Poetry is that discourse which stands out of the bivalency of judgement, constituting, as speech does in its unending, the delay of freedom. Tropology is structure with which to represent the world, and by limitless tropology we inscribe the manner and scope of poetry’s indirection. What individuals negotiate among differends amounts to their own authenticity. The community of writing is made up of shifting personae whose roles blur between the work of making and the work of keeping the canon. Canon is to literature as langue is to parole – meta-awareness in the service of common sense. We, who make up this community, are constantly at the work of protecting and violating borders. This thesis considers the prospects for a heuristics of poetry writing by way of the affinities of that process for those of (first and foreign) language learning. It contents that poetry’s role is to do inside a language what the foreign language learner cannot help but do between languages / Doctor of Philosophy (PhD)

In Australia, we have not yet composed a literature of place in which the Australian geographies sing, so in this dissertation, the author goes travelling with some North American writers in their native landscapes, exploring the practice of landscape witness, of ecological imagination. They carry on there,looking for the ways in which the wild music of the land be discerned and expressed in words. He talks with them about the business of writing the life of places. He takes heed of the natural histories in which their works have arisen, looking for correlations between those physical terrains - the actual earth, the solid ground of their work - and the terrain of these writers' prose, wondering how the prose (and sometimes the poetry) may be said to be an expression of the place. This work, in a sense, is a natural history of six nature writers; it is an ecological imagining of their lives and works and places. Writing the Wild is a journey through the light, the wind, the rock, the water, sometimes the fire that makes the land that houses the writers who compose these lyrics of place. Most of what it learns about those writers, it learns from the places themselves. This dissertation takes landscapes seriously. It reads the works of these writers as though the landscapes of which and in which they write might be worthy of regard in understanding the terrain of their texts. It lets places show light on works of words composed within them. / Doctor of Philosophy (PhD)

This dissertation explores screenwriting as a writing genre. Accompanying the dissertation, in a separate binding, is my feature film screenplay, Jungles of Sandakan, a spec script, written with the speculation of selling for production. The screenplay represents an experience of writing. From the writer’s position, the dissertation articulates a feminine voice, reflective of the writer who experiences the writing of the feature film script, rather than being an exposé on gender, or feminist-specific issues regarding the experience. As such, it is one kind of research. Nonetheless, the research attempts to explore the complexities of writing in relation to the problems that exist in the film world that prevent, or annihilate, and yet enable and require, the very experience of writing. Screenplays are the lifeblood of the picture business, writes Paul Lazarus, in Working In Film; The Marketplace in the ‘90s. Lazarus, a film producer and observer of the American film industry, paints the script as the endemic life force of the film business. Without the script, it is implied, there is no film production. This gives an impression of privilege in relation to the script, and writing. In the grand scheme of things in the picture business though, this is not the case, as anxieties about the script often render writing inconsequential in the context of film production, thus reducing the script’s privilege and placing its significance in uncertain terrain, quite often to the point of oblivion. The writer is often voiceless, and often expected, or required, by the production hierarchy, to remain impartial to her work, or relinquish ownership of her work altogether. For an industry that seemingly depends initially on writing for its own existence, the anxieties displayed towards the script, even though it is merely the blueprint of a film production, as well as the writer, appear very problematic The fiction/drama screenplay, as a storytelling device, has fundamental significance pertaining to history, national identity, issues of gender, sexuality, race relations, social, cultural and political dynamics, views and representations of self and of other(s), ethnicity, religion, multiculturalism and so on, a plethora of issues that inform the writing, the script, as represented by characters, and story. / Doctor of Creative Arts

The novel Riverweed, which forms the substantial part of this thesis, is an experiment with strategies in writing across cultures and across time, from Australia to Malaysia, from 1997 to 1956. The method of writing the novel was,in the most part, informed by viewing the television dramas and films and reading the novels of the late Dennis Potter. Riverweed is a novel in five parts. The essay, with tender contempt : history, fiction auto/biography : writing across cultures, discusses many of the issues related to the research for the novel. The author had hoped to write a novel that crossed political and cultural borders in a seamless exploration of nostalgic love for a place - George Town, Penang. She believes she has written an Australian novel which includes in its imaginative sphere a migration from the loneliness of the mythologised paddock forward to nostalgia, understanding nostalgia as part of the anxious energy characterising the middle-class neuroses of civil society in both Australia and Malaysia. / Doctor of Philosophy (PhD)

Given the growing interest in fiction writing in Australia, seen in the rise in the number of festivals, writers' centres, how-to books, biographies and creative writing classes, it is surprising that very little research has been done within Australia on the nature of literary creativity itself. A review of international literature on creativity from areas such as the arts, history, psychology, sociology, cultural studies, business and education shows movement away from traditional and conventional ideas of creativity that focus primarily on the individual, towards more contextual approaches that reconceptualise creativity as the result of a dynamic system at work. Mihaly Csikszentmihalyi's tripartite model of creativity, which includes a field of experts, a domain of knowledge and an individual author, has been successfully applied to the arts and sciences in North America. It is argued that the systems model is also relevant to Australian fiction writing, a term which is used here to include novels in literature, popular fiction and genre fiction categories. This thesis is primarily based on in-depth interviews with 40 published Australian fiction writers. With over 400 publications between them, the individual writers interviewed represent a broad cross section of Australian fiction categories at both the national and international level. In addition to literary writers like Carmel Bird and Venero Armanno, this sample also incorporates writers in other genres such as Di Morrissey and Nick Earls (popular fiction), Paul Collins (science fiction and fantasy), Anna Jacobs (romance), Peter Doyle (crime) and Libby Gleeson and Gary Crew (children's and young adult fiction). Although the individual writers possess unique combinations of characteristics, biographies and processes, their collective responses demonstrate common participation in systemic processes of creativity. By analysing these responses in terms of Csikszentmihalyi's systems model, this thesis presents evidence that demonstrates a system of creativity at work in Australian fiction. The analysis of the collected data provides evidence, firstly, of how writers adopt and master the domain skills and knowledge needed to be able to write fiction through processes of socialisation and enculturation. Secondly, it is also the contention of this thesis that the individual's ability to contribute to the domain depends not only on traditional biological, personality and motivational influences but also socially and culturally mediated work practices and processes. Finally, it is asserted that the contribution of a field of experts is also crucial to creativity occurring in Australian fiction writing. This social organisation, comprised of all those who can affect the domain, is important not only for its influence on and acceptance of written works but also for the continuation of the system itself. The evidence shows that the field supports further writing as well as writing careers with many authors becoming members of the field themselves. In sum, the research demonstrates that, rather than being solely the property of individual authors, creativity in Australian fiction writing results from individuals making choices and acting within the boundaries of specific social and cultural contexts.