Margaret Mitchell's Gone With the Wind (GWTW) has long been termed an "epic" of the American South. The implications of that term, however, have not been fully investigated, particularly as they concern generic criteria. How can we assign the generic characteristics of the epic narrative to GWTW? Using theories of the epic as postulated by Hegel, Lukács, Merchant, and Bakhtin, this study examines the ways in which GWTW writes the Southern nation into history, and how the objective portrayal of its epic heroine reflects the emergence of the New Southern nation. More specifically, it looks at how the depiction of Scarlett O'Hara's "everyday" existence reflects the larger New Southern identity and consciousness. The "everyday" or quotidian experience has been defined by such scholars as Henri Lefebvre, Michel deCerteau and Joe Moran as the space in which the life as lived is developed in all its minutia and the manner by which the state acts upon that existence. Using these ideas as a framework, we begin to see how the narrative of Scarlett's day-to-day existence functions as a voice for the New South. Finally, questions of how GWTW enters into the "everyday" of contemporary American culture are explored.

In 1953, Sylvia Plath broke her leg while skiing. This event permeated her writing across genres, retold at least eight times, each with a unique perspective based on the genre and her intended audience. While she told the story non-fictionally in her journals, she also adapted the story for letters to her mother and friends and fictionalized the event in short stories and The Bell Jar. This thesis will examine 8 versions of the same event – critically examining how the culture and gender expectations of the 1950s and 1960s influenced her writing depending on her audience. This examination of the boundaries between fiction and non-fiction will work to help eliminate the assumption in certain current scholarship that all events in Plath’s fiction can be used to examine and explain her suicide. The chapters will be divided by genre of writing, with a conclusion on the implications for future Plath studies.

O objetivo deste trabalho é propor um estudo filológico da poesia ditirâmbica de Píndaro (518/522 453/438 a.C.) atualmente compilada. Uma nota sobre Píndaro e a recepção de sua poesia introduz o leitor ao lugar do poeta na tradição literária e aos gêneros poéticos em que sua produção foi conhecida na Antiguidade, mas cuja transmissão foi irregular, como é o caso de seus ditirambos. Segue-se uma introdução sobre a questão do gênero poético do ditirambo na Antiguidade clássica, suas definições e classificações e seu corpus atualmente acessível, com considerações metodológicas sobre o que se propõe a seguir. Antecipando a apresentação dos fragmentos poéticos, algumas características distintivas dos ditirambos de Píndaro são destacadas a partir de fragmentos conhecidos e identificados (ou discutidos) como ditirambos do poeta. Por fim, o texto de cada fragmento conhecido da poesia ditirâmbica de Píndaro (baseado na edição de Maehler, 1989, com a contribuição mais recente de outros editores) é apresentado, com escólios, um aparato crítico, uma tradução e comentários que examinam teorias antigas e modernas acerca de suas referências, seus elementos formais, temáticos e estilísticos e o que possivelmente caracterizou esses poemas como ditirambos. / The aim of this work is to propose a philological study of the dithyrambic poetry of Pindar (518/522 - 453/438 a.C.) currently compiled. A note on Pindar and the reception of his poetry introduces the reader to the place of the poet in the literary tradition and to the poetic genres in which his production was known in Antiquity, but whose transmission was irregular, as is the case of his dithyrambs. Follows an introduction to the question of the poetic genre of the dithyramb in classical Antiquity, its definitions and classifications, and its currently accessible corpus, with methodological considerations about what is proposed to follow. Anticipating the presentation of the poetic fragments, some distinctive features of Pindars dithyrambs are highlighted from known fragments which are identified (or discussed) as his dithyrambs. Lastly, the text of each known fragment of Pindars dithyrambic poetry (based on the Maehler, 1989 edition, with the most recent contribution of other editors) is presented with scholia, a critical apparatus, a translation and commentary examining ancient and modern theories about its references, its formal, thematic, and stylistic elements, and what possibly characterized these poems as dithyrambs.

The annual science fiction anthology series The Best Japanese SF started publication in 2009 and showcases domestic writers old and new and from a wide range of publishing backgrounds. Although representative of the second golden era of Japanese science fiction in print in its diversity and with an emphasis on that year in science fiction, as the volumes progress the editors’ unspoken agenda has become more pronounced, which is to create a set of expectations for the genre and to uphold writers Project Itoh and EnJoe Toh as exemplary of this current golden era. This thesis analyzes the context of the anthology series’ publication, how the anthology is constructed, and these two writers’ contributions to the genre as integral to the anthologies and important to the younger generation of writers in the genre.

Alexandre Dumas fils' La Dame aux Camélias has existed in various media for more than 150 years, originating from life events that were mediated through the novel and remediated via theater, opera, and film. I examine in my thesis how this particular narrative has survived the centuries and how each depiction relates the social expectations, desires, and fears of the time period in which the revised story is generated. The relationship between Dumas and the famous courtesan Marie Duplessis and its fictional recreations in Dumas' novel La Dame aux Camélias, his play Camille, Giuseppe Verdi's opera La Traviata, and Baz Luhrmann's film Moulin Rouge! reflects a human compulsion to create narratives in order to grasp daily events and to potentially escape those events or comment upon those which do not fit concisely into their socially expected codes of understanding.

O objetivo deste trabalho é propor um estudo filológico da poesia ditirâmbica de Píndaro (518/522 453/438 a.C.) atualmente compilada. Uma nota sobre Píndaro e a recepção de sua poesia introduz o leitor ao lugar do poeta na tradição literária e aos gêneros poéticos em que sua produção foi conhecida na Antiguidade, mas cuja transmissão foi irregular, como é o caso de seus ditirambos. Segue-se uma introdução sobre a questão do gênero poético do ditirambo na Antiguidade clássica, suas definições e classificações e seu corpus atualmente acessível, com considerações metodológicas sobre o que se propõe a seguir. Antecipando a apresentação dos fragmentos poéticos, algumas características distintivas dos ditirambos de Píndaro são destacadas a partir de fragmentos conhecidos e identificados (ou discutidos) como ditirambos do poeta. Por fim, o texto de cada fragmento conhecido da poesia ditirâmbica de Píndaro (baseado na edição de Maehler, 1989, com a contribuição mais recente de outros editores) é apresentado, com escólios, um aparato crítico, uma tradução e comentários que examinam teorias antigas e modernas acerca de suas referências, seus elementos formais, temáticos e estilísticos e o que possivelmente caracterizou esses poemas como ditirambos. / The aim of this work is to propose a philological study of the dithyrambic poetry of Pindar (518/522 - 453/438 a.C.) currently compiled. A note on Pindar and the reception of his poetry introduces the reader to the place of the poet in the literary tradition and to the poetic genres in which his production was known in Antiquity, but whose transmission was irregular, as is the case of his dithyrambs. Follows an introduction to the question of the poetic genre of the dithyramb in classical Antiquity, its definitions and classifications, and its currently accessible corpus, with methodological considerations about what is proposed to follow. Anticipating the presentation of the poetic fragments, some distinctive features of Pindars dithyrambs are highlighted from known fragments which are identified (or discussed) as his dithyrambs. Lastly, the text of each known fragment of Pindars dithyrambic poetry (based on the Maehler, 1989 edition, with the most recent contribution of other editors) is presented with scholia, a critical apparatus, a translation and commentary examining ancient and modern theories about its references, its formal, thematic, and stylistic elements, and what possibly characterized these poems as dithyrambs.

Swedish children's film has established an outstanding reputation all around the world, especially since the 1940s when many quality films for young audiences came into production. In this context, Swedish children's film scholars often set its beginning in the mid-1940s. However, some films were already referred to as such in the 1920s and even before that. Nevertheless, little research on the very first Swedish children's films has conducted yet. This project, built primarily on archival research, aims to reveal how the contemporaries conceptualised the generic identity of children’s film from 1914 to 1923 – that is, from the recurring appearance of the term in daily papers to the first children’s film cluster – and thereby to offer a new perspective to Swedish children’s film history.

This spring marked the 70th anniversary of the defeat of the Nazis and the end of the Holocaust in Europe. Memory of this genocide has occupied a central place in Israeli identity since the establishment of the state. This thesis explores the history of Holocaust memory in Israel and examines how public memory is constructed in the present, as the era of the survivor draws to a close and commemorative efforts linked to survivors take on a sense of urgency. The contemporary memorial places examined in this study are part of Yad Vashem, Israel*s premier institution for Holocaust commemoration. The thesis focuses on the museum*s Hall of Names and its analogous web space, the Central Database of Shoah Victims* Names. Specifically, I draw on two concepts from Rhetorical Genre Studies—the chronotope (Bakhtin) and antecedent genre (Jamieson)—to examine the relationship between genre and the making of public memory. The findings of this analysis point to the importance of the antecedent genre of Holocaust testimony in the construction of public memory at Yad Vashem. Through a chronotopic analysis of the Hall of Names and the Central Database, I found that the genre of testimony changed across these spaces to ideologically construct memory in different ways. It is in the Hall of Names and Central Database*s repurposing of the testimonial genre, and the expression of this genre through chronotopic arrangement in each of these locations, that a legacy of social concerns coalesces into the memorial expression of the contemporary moment. This study contributes to scholarship on the rhetorical construction of public memory and Rhetorical Genre Studies. First, it suggests the importance of genre and genre change in considerations of the rhetorical construction of public memory. Second, it suggests additional considerations in determining how context affects genre and vice versa when features of time and space are especially salient for meaning-making. Specifically, these findings suggest additional complexity in the relationship between genre and the chronotope: genre change across contexts may result from a genre*s integration into places with different space/time arrangements.

Electronic Patient Records (EPRs) are becoming standard tools in healthcare, lauded for improving patient access and outcomes. However, the healthcare professionals who work with, around, and despite these technologies in their daily practices often regard EPRs as troublesome. In order to investigate how EPRs can prompt such opposing opinions, this project examines the EPR as a collection of communication genres set in complex contexts. In this project, I investigate an EPR as it was used on the Nephrology ward at a large, Canadian, urban, paediatric teaching hospital. In this setting, this study investigates EPR-use in relation to the following aspects of context: (a) the visual rhetoric of the EPR's user-interface design; (b) the varied social contexts in which the EPR was used, including a diversity of professional collaborators who had varying levels of professional experience; (c) the span of social actions involved in EPR use; and (d) the other genres used in coordination with the EPR. <br /><br /> This qualitative study was conducted in two simultaneous stages, over the course of 8 months. Stage one consisted of a visual rhetorical analysis of a set of genres (including the EPR) employed by participants during a specific work activity. Stage two involved an elaborated, qualitative case study consisting of non-participant observations and semi-structured interviews. Stage two used a constructivist grounded theory methodology. A combination of theoretical perspectives -- Visual Rhetoric, Rhetorical Genre Studies, Activity Theory, and Actor-Network Theory -- supported the analysis of study data. This research reveals that participants routinely transformed EPR-based information into paper documents when the EPR's visual designs did not support the professional goals and activities of the participants. <br /><br /> Results indicate that healthcare professionals work around EPR-based patient information when that genre's visual organization is incompatible with professional activities. This study suggests that visual rhetorical analysis, complemented with observation and interview data, can provide useful insights into a genre's social actions. This research also examines the effects of such EPR-to-paper genre transformations. Although at one level of analysis, the EPR-to-paper-genre transformation may be considered inefficient for participants and so should be automated, at another level of analysis, the same transformation activity can be seen as beneficially supporting the detailed reviewing of patient information by healthcare professionals. <br /><br /> To account for this function in the transformation dysfunction, my research suggests that many contextual factors need to be considered during data analysis in order to construct a sufficiently nuanced understanding of a genre's social actions. To accomplish such an analysis, I develop a five-step approach to data analysis called 'context mapping. ' Context mapping examines genres in relation to the varied social contexts in which they are used, the span of social actions in which they are involved, and a range of genres with which they are coordinated. To conduct this analysis, context mapping relies heavily on theories of "genre ecologies" (Spinuzzi, 2003a, 2003b; Spinuzzi, Hart-Davidson & Zachry, 2004; Spinuzzi & Zachry, 2000) and "Knotworking" (Engestrom, Engestrom & Vahaaho, 1999). Context mapping's first three steps compile study data into results that accommodate a wide range of contextual analysis considerations. These three steps involve the use of a composite scenario of observation data, genre ecologies and the description of a starting point for analysis. The final two steps of this approach analyse results using the theory of Knotworking and investigate some of the implications of the patterns of genre use on the ward. <br /><br /> Through context mapping analysis, this study demonstrates that EPR-based innovations created by a study participant could result in the generation of other improvisations, in a range of genres, by the original participant and/or by other collaborators. These genre modifications had ramifications across multiple social contexts and involved a wide range of genres and associated social actions. Context mapping analysis demonstrates how the effects of participant-made EPR-based variations can be considered as having both beneficial and detrimental effects in the research site depending on the social perspective adopted. Contributions from this work are directed towards the fields of Rhetorical Genre Studies, Activity Theory research, and Health Informatics research, as well as to the research site itself. This study demonstrates that context mapping can support text-in-context style research in complex settings as a means for evaluating the effects of genre uses.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-09-19T12:48:15Z No. of bitstreams: 1 SONIA NOGUEIRA LEANDRA.pdf: 991147 bytes, checksum: fa53d7ca2998656e4a5ed9600adfca6e (MD5) / Made available in DSpace on 2016-09-19T12:48:15Z (GMT). No. of bitstreams: 1 SONIA NOGUEIRA LEANDRA.pdf: 991147 bytes, checksum: fa53d7ca2998656e4a5ed9600adfca6e (MD5) Previous issue date: 2016-06-08 / This search has as objective to analyze the black women's struggle who were enslaved to conquest the liberty in the provinces of Goiás city, in the second half of the XIX century. The study will start with manumission papers registered in the books of notes of the First Office of General Properties Registration of Goiás City. The material used in this text was found in the Bandeiras museum (MUBAN related from 1871 to 1888. Highlighting, the free belly law affects, to women to get liberty, firstly by emancipation fund. The free belly law gave the practice regularization that had been happened even before it, the acquisition of manumission paper by peculium, or the enslaved that got a sum of money could give it to exchange for freedom. However, who do not have money, could use other practices offered by law, to conquest the liberty. The law gave the guarantee of liberty for slaves that were not enrolled in the expected date. We are discoursing the types of manumission: free conditional, unconditional and onerous one and the probable means the women used to get the liberty and the factors that made the properties afford it to them. In the perspective of genre, we are going to discourse in embracing way the strategies used by enslaved black women to get the liberty condition. / A presente pesquisa tem por objetivo analisar a luta das mulheres negras escravizadas para a conquista da liberdade na província de Goiás na segunda metade do século XIX. O estudo partirá das cartas de alforria registradas nos Livros Notários do Cartório de I Ofício de Registro Geral de Imóveis e Tabelionato da Cidade de Goiás – GO, encontradas no Museu das Bandeiras (MUBAN), referente ao período de 1871-1888. Ressaltando o impacto da Lei 2.040, Ventre Livre, para as mulheres na obtenção da alforria, principalmente através do Fundo de Emancipação. A Lei do Ventre Livre regularizou uma prática que já vinha acontecendo mesmo antes dela, a obtenção da carta de alforria por meio do pecúlio, ou seja, o (a) escravizado (a) que obtivesse uma quantia referente ao seu preço poderia oferecê-la a seu proprietário em troca da liberdade. Contudo, aquelas que não possuíam acúmulo de dinheiro, recorriam a outros mecanismos, também oferecidas pela Lei, para conquistar a liberdade. A Lei garantia também que aquelas escravizados que não fossem matriculados na data prevista ganhassem a sua alforria. Discutiremos também os tipos de alforrias: gratuita condicional e incondicional e as onerosas condicionais e incondicionais e os prováveis meios que essas mulheres encontraram para conseguir conquistar sua liberdade e os fatores que levaram os proprietários e proprietárias a concedê-las. Em uma perspectiva de gênero discutiremos de maneira abrangente as estratégias utilizadas pelas mulheres negras escravizadas na obtenção de sua liberdade.