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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of this study was the novelette A Christmas Carol, by the English writer Charles Dickens (1812-1870+), specially concerning about its presentation on Dickens Public Readings, spectacles in which, on stage, the author would read pieces of his books. The objective was to observe the transformation process of the novelette to the Public Reading performances. Dickens adapted the text for stage through manuscript notes on a printed edition of the original text. This volume, named by Philip Collins as prompt-copy and by us, in Portuguese, as Roteiro de Leitura (Reading Script), was used as a guide for rehearsals and performances. We had access to the prompt-copy by means of the manuscript facsimile, edited by Philip Collins in the book A Christmas Carol: the Public Reading Version (1971). Firstly published in 1843, the novelette A Christmas Carol was already on the repertoire of the author s first Public Reading, presented, in 1853, with the intention of collecting funds for charity. Five years later, Dickens began to perform professionally, in a career that lasted twelve years. His repertoire counted with sixteen items, being A Christmas Carol one of the most enjoyed by the author and by the public. Such repertoire was carefully adapted for the stage. Dickens not only read the contents, but interpreted each character, seeking to create a variety of voices, gestures and emotions. Altogether, he presented about 470 times, in England, in Ireland, in Scotland, in Paris and in the United States. A Christmas Carol, the longest item in the repertoire, was read in no less than 127 performances, being part of the author s last Reading, in 1870. First, we made a historic contextualization of Dickens Public Readings, seeking to understand which aspects of that context were favorable to their good reception and that made them possible. Then, understanding Paul Zumthor s concept of performance, we analyzed A Christmas Carol s Public Readings, observing them with respect to the textual and performance aspects. In this way, we tried both to perceive the adaptation process of the text, through the analyses of the manuscript, and to form an idea about the scenic aspects of the Public Readings, by registers of spectators who witnessed them. / O objeto deste estudo foi a novela A Christmas Carol, do escritor inglês Charles Dickens (1812-1870+), em especial o que se refere à sua apresentação nas Leituras Públicas de Dickens, espetáculos em que, no palco, o autor lia trechos de seus livros. O objetivo foi observar o processo de transformação da novela para as performances de Leituras Públicas. Dickens realizou a adaptação do texto para o palco por meio de anotações manuscritas feitas em uma edição impressa do texto original. Esse volume, o qual nomeamos de Roteiro de Leitura, era usado como guia para os ensaios e para as performances. Tivemos acesso ao Roteiro por meio do fac-símile do manuscrito, editado por Philip Collins no livro A Christmas Carol: the Public Reading Version (1971). Inicialmente publicada em 1843, a novela A Christmas Carol já constava no repertório da primeira Leitura Pública do autor, realizada, em 1853, com o intuito de arrecadar fundos para caridade. Cinco anos mais tarde, Dickens passou a se apresentar profissionalmente, numa carreira que durou doze anos. Seu repertório contou com dezesseis itens, sendo A Christmas Carol um dos preferidos do autor e do público. Tal repertório era cuidadosamente adaptado para o palco. Dickens não apenas lia o conteúdo, mas interpretava cada personagem, buscando criar uma variedade de vozes, gestos e emoções. Ao todo, ele se apresentou por volta de 470 vezes, na Inglaterra, na Irlanda, na Escócia, em Paris e nos Estados Unidos. Item mais longo do repertório, A Christmas Carol foi lida em não menos que 127 performances, fazendo parte da última Leitura do autor, em 1870. Inicialmente, fizemos uma contextualização histórica das Leituras Públicas de Dickens, procurando entender quais aspectos daquele contexto favoreceram-lhes a boa acolhida e tornaram-lhes possível a realização. Num segundo momento, entendendo o conceito de performance de Paul Zumthor, analisamos as Leituras Públicas de A Christmas Carol, observando-as com respeito a dois aspectos: o textual e o performático. Desse modo, procuramos tanto perceber o processo de adaptação do texto, pela análise do manuscrito, quanto formar uma ideia dos aspectos cênicos das Leituras Públicas, por meio de registros de espectadores que as testemunharam. / Mestre em Teoria Literária

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.

Abstract Inspired by feminist standpoint theory, this doctoral thesis studies what the voices and silences about experiences of sexual violence tell us when voiced by adolescent girls who have been in residential care institutions. This group of girls evidently experience more sexual violence compared to their peers. This dissertation is based on four scientific Articles. In Article I, Erving Goffman’s theory is used to analyse the girls’ experiences of being in residential institutions and Articles II–IV focus on their sexual violence experiences. Data is generated in 2013 through semi-structured interviews with 11 girls aged 14–17 years old, and through interviews with one of these girls from 2013–2017. Data from Bulgaria, Catalonia and Italy regarding the violent experiences of 46 girls is also used in Article II. Qualitative content analysis (Articles I–III) and the Listening Guide method (Article IV) were used in data analysis. The Articles reveal that the girls have multiple vulnerabilities that affect on creating safe connections, as well as voicing their experiences. The majority of the girls did not voice their experiences of sexual violence as violence and based on the data it can be interpreted that the sense of being cared for by someone might impact on what was named and/or recognised as sexual violence. The phenomenon was named abusive illusion of care and proposed to be included in Jenny Pearce’s social model of abused consent. A new term was also suggested for the area of girls’ sexually risky behaviour, which is further developed in this compilation report as sexism-related internalised sexual violence. In this compilation report, the main results of the Articles are combined and re-read in the light of Carol Gilligan’s theorisations. Those findings confirm that girls’ voices and silences about their sexual violence experiences are a complex and multidimensional combination of self-silence and being silenced, connection and resistance. Sexual violence experiences should be considered as contextual, relational, contradictory and situational phenomena. It is suggested that violence prevention programmes be organised in a gender-responsible way for all from an early age. Furthermore, professionals should be educated to recognise the hidden aspects in sexual violence and conceptualisations of sexual violence needs to be developed further. / Tiivistelmä Feministisen standpoint-teorian inspiroimana tässä väitöskirjassa tutkitaan, mitä lastensuojelulaitoksissa asuneiden tyttöjen äänellisyydet ja vaikenemiset kertovat heidän kokemastaan seksuaalisesta väkivallasta. Aiempi tutkimustieto osoittaa tämän tyttöryhmän kokevan vertaisiaan enemmän seksuaalista väkivaltaa. Väitöskirjaan sisältyy neljä tieteellistä artikkelia. Artikkeli I:ssa analysoidaan tyttöjen laitoskokemuksia Erving Goffmanin teorian avulla. Artikkeleissa II–IV keskitytään tyttöjen seksuaalisen väkivallan kokemuksiin. Aineisto koostuu yhdentoista 14–17-vuotiaan tytön puolistrukturoidusta haastattelusta vuodelta 2013 sekä yhden tytön haastatteluista vuosilta 2013–2017. Artikkeli II:ssa on otteita Bulgariasta, Italiasta ja Kataloniasta kerätyistä aineistoista koskien neljänkymmenenkuuden tytön väkivaltakokemuksia. Analyysissa käytettiin sisällönanalyysiä (Artikkelit I–III) ja Listening Guide -metodia (Artikkeli IV). Osatutkimuksista selvisi, että tyttöjen moniulotteiset haavoittuvuudet vaikuttavat turvallisten yhteyksien luomiseen sekä omien kokemusten kertomiseen. Suurin osa tytöistä ei sanallistanut seksuaalisen väkivallan kokemuksiaan väkivallaksi, ja tyttöjen kokema välittäminen näytti vaikuttavan siihen, minkä he tunnistivat ja/tai nimesivät seksuaaliseksi väkivallaksi. Ilmiö nimettiin “vahingolliseksi välittämisen illuusioksi,” ja se esitetään lisättäväksi Jenny Pearcen seksuaalista suostumusta koskevaan malliin. Tyttöjen seksuaalisen riskikäyttäytymisen alueelle ehdotettiin uutta termiä, ja tässä yhteenveto-osuudessa se on edelleen kehiteltynä “seksismiin perustuva sisäistetty seksuaalinen väkivalta.” Yhteenveto-osuudessa artikkeleiden päätulokset on yhdistetty ja niitä on uudelleen luettu Carol Gilliganin teoriaa hyödyntäen. Näin saadut tulokset osoittavat, että tyttöjen äänellisyydet ja vaikenemiset seksuaalisesta väkivallasta sisältävät moniulotteisen yhdistelmän vaikenemista ja vaietuksi tulemista, kuulumisen tunnetta sekä vastarintaa. Seksuaalisen väkivallan kokemukset tulisikin nähdä relationaalisena ja moniäänisenä, sekä tilanne- ja kontekstisidonnaisena ilmiönä. Lapsille tulisi suunnata varhaisessa vaiheessa väkivaltaa ennaltaehkäiseviä sukupuolivastuullisia koulutuksia. Lisäksi ammattilaisille tulisi järjestää koulutusta seksuaalisen väkivallan piiloisten muotojen tunnistamiseksi ja seksuaalisen väkivallan sanallistuksia tulisi edelleen kehittää.

The point of this essay was to conduct research on the market and the consumers influence over the cultural industry in regard to adaptations. The paper analyses some of the changes that can be done by the producers in order to please the consumer, and therefore increase the popularity among the viewers. The analyse has studied how the adapted works; The Walking Dead, A Game of Thrones/ A Song of Ice and Fire, Legend of the Seeker/ Sword of Truth, has implemented changes when it comes to three matters; motherhood, looks and character development. Furthermore, the paper analyses how these changes may affect the plot, and how the viewers have reacted to this. The thesis is based on Pascal Lefèvre’s adaptation research and John Fiske’s popular culture study. The consumer’s opinions regarding the TV-shows and what changes they wish to see in movies and TV-shows are expressed through comments on YouTube and Reddit. / <p>Slutgiltigt godkännandedatum: 2022-06-10</p>

This dissertation draws upon Western literature in critical theory, aesthetics, art theory, and art history to explore how lying can foster aesthetic experience and the sociopolitical effects of this experience. It nominates the idea of pseudology—lying as an art—and outlines its distinguishing features from the dawn of postmodernism to contemporary practices. This study demonstrates an analysis of lying premised on an understanding of aesthetics as caught up in the wider issues of public pedagogy and everyday politics. Taking as case studies specific works of Marcel Duchamp, Robert Rauschenberg, VALIE EXPORT, and Carol Duncan, this dissertation argues for the narrative framing of artwork as paramount for its reception. As well, by examining the artistic mystifications of Mierle Laderman Ukeles, Guillermo Gómez-Peña, Coco Fusco, Joshua Schwebel, and Iris Häussler, this dissertation analyzes the use of pseudology in institutional critique. The study finds that perfidious practices can point to the importance of the relational boundary between what is real/unreal, highlight the social construction of this boundary’s aesthetic aspects, and reveal the ways in which each of us are active in the construction of a shared reality. Ultimately, our active framing of everyday life and the affective nature of our construction of a shared reality has been problematized by a contemporary prevalence of lying in the realms of public culture and politics. Pseudology reveals the power of narrative framing. The pseudological artworks discussed here expose, as models for the political aesthetic of lying, the need to debate the very tenets of reality constantly and continually—an essential civic action in the ethical, communal relationships of a democracy. / Thesis / Doctor of Philosophy (PhD) / An analysis of the use of lying as an artistic technique.

Denna uppsats handlar om rape-revenge film. Närmare bestämt undersöker den hur de kvinnliga karaktärerna representeras i de utvalda filmerna och om, och i så fall hur, de kan ses som ”empowering” eller om det endast handlar om en sexualiserande porträttering av våld mot kvinnor. Uppsatsen använder sig utav en film- och textbaserad analys och den grundläggande teorin för uppsatsen är den feministiska filmteorin, samt teorier om kvinnor i rape-revenge. De tre filmerna som står i fokus är I Spit on Your Grave (Meir Zarchi, 1978), Ms. 45 (Abel Ferrara, 1981) och Elle (Paul Verhoeven, 2016). Slutresultatet visar att de tre filmerna inte porträtterar deras våldtäktsscener på ett sexualiserat eller erotiskt sätt utan snarare framhäver brutaliteten i våldet för åskådarna i form av bland annat karaktärsidentifiering med offret istället för våldtäktsmannen. Däremot, skiljer sig filmerna i hur deras respektive kvinnliga karaktärer väljer att hämnas och huruvida deras agerande kan ses som empowering eller inte. Av de tre filmerna är Elle den som tydligast uppvisar olika versioner av empowering och hur det som stärker en person är väldigt individuellt.

科学研究費補助金 研究種目:基盤研究(C)(2) 課題番号:10610469 研究代表者:松岡 光治 研究期間:1998-1999年度

本論文將用榮格的原型觀念(archetypes)探討瑪格麗特˙愛德伍小說《盲眼刺客》中的人物性格。 本論文由五章組成。第一章將大略介紹《盲眼刺客》的內容以及其評論。第二章將會介紹榮格對集體無意識(the collective unconscious)的概念以及其和原型概念的關連；接著，將會根據兩位新榮格學派的學者，瑪莉恩˙伍德曼(Marion Woodman)和卡蘿˙皮爾森(Carol S. Pearson)對原型理論的闡述，針對兩個原型加以探討──鬥士原型和殉道者原型。在父權社會的影響下，這兩個原型時常會被過度簡化成對兩性的刻板印象，而在這簡化過程裡，原本屬於這兩個原型的能量和複雜性都被忽視或壓抑了。 第三章始於對愛德伍小說人物的辯護，說明其人物並不是一般所說的刻版人物，而是充滿衝突與能量的原型人物。而後，我會把小說中的人物和象徵和神話及童話中的人物作連結。在一方面，我將會對於小說中的現實人物，如艾麗絲和蘿拉(Iris and Laura)，和小說中的象徵角色，盲眼刺客和獻祭少女，做連結且並討論；另一方面，我將會將這兩個象徵角色延伸出去，探討與之相關的神話或童話人物，或是，更上一層的原型人物。在第四章，我則會依據小說人物和其原型的關係加以剖析，檢視他們和其原型的認同狀況，及他們膨脹(Inflation)的程度。 在最後的第五章，將以原型的概念來詮釋小說中各個人物的悲劇做為總結。《盲眼刺客》中的每個人物都傾向於過份認同某個原型，而忽略了讓自我有平衡發展的重要性。 / This thesis is to discover the psychological depths of the characters in Margaret Atwood’s The Blind Assassin and to analyze them according to the Jungian conception of archetypes and the influence of archetypes upon the human psyche. This thesis consists of five chapters. Chapter One is an introduction, including the overview of the novel and its critical backgrounds. And Chapter Two introduces C.G. Jung’s conception of the collective unconscious and its relation with archetypes and follow with specific discussion of certain archetypes—the Warrior and the Martyr—mainly according to the theories of two neo-Jungian scholars, Marion Woodman and Carol S. Pearson. Since these two archetypes are often over-simplified to fit in gender stereotypes under the influence of patriarchal society, the energies and complexity of these archetypes are always neglected or repressed. Chapter Three begins with an argument that Atwood’s characters are not stereotypical but rather archetypal, for they possess the contradictory energies within them that are correspondent with that of archetypes. On the one hand, I discuss how the characters in the memoir are symbolized in the science-fiction allegory, being reflected as the blind assassin and the sacrificial maiden; on the other hand, I make a connection between the symbols of the novel—the blind assassin and sacrificial maiden—and the mythological and fairy-tale allusions, and further, the archetypes behind them. In Chapter Four, I examine the psychic problems of the characters according to their relations with the archetypes—to examine how much they identify unconsciously with the archetypes and the extent of their inflation. Finally, Chapter Five concludes with the archetypal explanation of the tragic life of the characters in the novel. Each of them is trapped in an overwhelming power of a certain archetype instead of having the ego balanced between these multiple archetypes, they turn themselves into mythical figures that are too rigid for humanity.

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