Thesis (Ph. D.)--University of Oregon, 2005. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 186-199). Also available for download via the World Wide Web; free to University of Oregon users.

Este trabalho trata da ficção histórica de Goethe em duas fases de sua obra. Em primeiro lugar se ocupa do drama pioneiro do Sturm und Drang, Götz von Berlichingen (1773), para então se voltar às Revolutionsdichtungen conjunto de obras produzidas entre 1791 e 1803, período auge do Classicismo de Weimar, em que o autor emitiu juízos sobre diferentes fases da Revolução Francesa. Ao optar por tal tema, visou-se resgatar Goethe como um importante participante do debate histórico-filosófico que começa com os iluministas e culmina no pensamento político da Restauração. Por esse motivo a pesquisa se iniciou com uma busca dos antecedentes do drama histórico do Sturm und Drang, voltando a Gottsched e Lessing. Geralmente o desenvolvimento da ficção histórica do século XVIII é tomado como passivo em relação aos avanços da filosofia ilustrada, como se uma consciência histórica propriamente moderna houvesse aflorado em certos escritores a partir das leituras que fizeram de novas teorias da época. Contra tal suposição, defendeu-se que há na beletrística alemã da virada do século algumas formulações acerca da relação entre indivíduo e processo histórico que, antes de tudo, desafiaram o progressismo dos iluministas tardios, para os quais o advento da Revolução Francesa marcava o próximo passo no aperfeiçoamento da humanidade. Acompanhar o modo como a história foi tratada nas obras do Sturm und Drang até as do Classicismo de Weimar permite-nos, ademais, constatar a radical atualização da missão da cultura literária, que deveria então lidar com as emergências do presente. A literatura almejada naquele contexto deveria funcionar como uma contracorrente do senso comum e um veículo intelectual autônomo, capaz de erguer-se além das paixões partidárias e posicionar corretivos para as contradições contemporâneas. Tais corretivos traziam o diferencial de serem desvinculados das ciências, religião, cultura política ou sabedoria popular a nova arte deveria, assim, ser tomada como autônoma na medida em que podia cindir radicalmente com a cultura do presente em crise, tornando possível o surgimento de um ideal renovado de humanidade e de vida conjunta que a própria Revolução Francesa não foi capaz de concretizar. Aqui reside o que há de mais polêmico e moderno nas chamadas Revolutionsdichtungen e no Classicismo de Weimar como um todo. / The following research deals with Goethe\'s historical fiction in two distinct phases of his career. First off, it handles with the pioneering Sturm und Drang drama, Götz von Berlichingen (1773), and then with the so-called Revolutionsdichtungen a group of works produced between 1791 and 1803, the heyday of the Weimar Classicism, in which the author made judgments about different aspects of the French Revolution. In choosing such a theme, I expect to highlight the importance of Goethe in the historical-philosophical debate which ranges from the works of Enlightenment intellectuals to the political thinking of the Restauration. Thus, the research sets out with a quest for the predecessors of the historical drama of the Sturm Drang, coming across to figures like Gottsched and Lessing. The development of the historical fiction from the 18th century is commonly taken for granted as somewhat passive towards the advances of the Enlightenment philosophy, as if a properly modern historical consciousness had flourished in certain writers after the readings they made from contemporary theories. Against such a presupposition, I claim that in the German belletristic from the turning of the century one can find interesting formulations about the relation between individual and historical process which, above all, cast doubt on the progressism of late Enlightenment philosophers, to whom the advent of the French Revolution marked the next step toward an evolving mankind. Moreover, following the tracks of how history was portrayed from the Sturm und Drang to the Weimar Classicism allows us to verify a radical reformulation of the mission of literary culture, which thenceforth should respond to the emergencies of the present. The literature of that context should work against the common sense, being thus an autonomous cultural medium able to reach beyond the partisan leanings and offer correctives to contemporary contradictions. Such correctives would have the advantage of being independent of the sciences, religion, political culture or popular wisdom a new art therefore should be called autonomous inasmuch as it could split with the culture of a problematic present, allowing for the emergence of a renewed ideal of humanity and communitary life that the French Revolution itself was incapable of materializing. Therein lies what is most polemical and modern in the so-called Revolutionsdichtungen and in the Weimar Classicism as a whole.

鄺可怡. / 論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部, 1998. / 參考文獻: leaves 337-384. / 中英文提要. / Kuang Keyi. / Chapter 第一章 --- 導論 --- p.1-27 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 張大春對「新聞小說」、「歷史小說」的論述 / Chapter 一、 --- 張大春「新聞小說」、「歷史小說」的硏究範圍 / Chapter 二、 --- 張大春「新聞小說」、「歷史小說」和「政治小說」 的關係 / Chapter 1. --- 論者對張大春「政治小說」的討論 / Chapter 2. --- 張大春對「政治小說」評論的回應 / Chapter 三、 --- 張大春對「小說」和「新聞」、「歷史」關係的論述 / Chapter 第三節 --- 張大春有關小說敘事形式的討論 / Chapter 一、 --- 強調小說敘事形式的實驗 / Chapter 二、 --- 小說敘事形式的主張 / Chapter 1. --- 展現小說「敘述」本身的價値 / Chapter 2. --- 從傳統敘事形式的破壞改變讀者的期待閾 / Chapter 第四節 --- 張大春「新聞小說」、「歷史小說」及敘事形式的 評價 / Chapter 一、 --- 論者對張大春「新聞小說」、「歷史小說」的評價 / Chapter 二、 --- 論者對張大春敘事手法的評價 / Chapter 第五節 --- 小結 / Chapter 第二章 --- 本文硏究目的和方法 --- p.28-37 / Chapter 第一節 --- 本文硏究目的 / Chapter 第二節 --- 本文硏究方法 / Chapter 一、 --- 從小說的敘事結構探討小說主題 / Chapter 二、 --- 「敘事學」以及其他理論的配合運用 / Chapter 1. --- 敘事學理論框架的應用 / Chapter 2. --- 敘事學的局限以及其他理論的配合運用 / Chapter 三、 --- 文献資料的應用 / Chapter 第三章 --- 張大春「新聞小說」和「歷史小說」的主題脈絡及 寫作背景 --- p.38-59 / Chapter 第一節 --- 「解嚴」前後台灣社會的急劇轉變 / Chapter 一、 --- 政治：「解嚴」帶來的急劇變化 / Chapter 1. --- 「解嚴」以前的政治氛圍（1986-87) / Chapter 2. --- 「解嚴」初年的政治氛圍（1987-90) / Chapter 二、 --- 社會：權力中心的挑戰 / Chapter 1. --- 「解嚴」前後台灣社會的綜合分析 / Chapter 2. --- 台灣社會「傳媒」角色的改變 / Chapter 第二節 --- 張大春「新聞小說」、「歷史小說」的主題脈絡及對 台灣社會的回應 / Chapter 一、 --- 張大春對文學與社會關係的討論 / Chapter 1. --- 文學對社會、政治的影響力 / Chapter 2. --- 文學面對傳播媒體的發展 / Chapter 二、 --- 張大春「新聞小說」、「歷史小說」對台灣社會的 回應 / Chapter 1. --- 張大春「新聞小說」、「歷史小說」與社會關係的 討論 / Chapter 2. --- 張大春「新聞小說」、「歷史小說」兩大主題脈絡 / Chapter (i) --- 宣告一切敘述的虛構性 / Chapter (ii) --- 以小說「介入」現實 / Chapter 第四章 --- 張大春「新聞小說」、「歷史小說」敘述元素的綜合 比較和分析 --- p.60-77 / Chapter 第一節 --- 敘述者 / Chapter 第二節 --- 聚焦 / Chapter 第三節 --- 敘述層次 / Chapter 第四節 --- 敘述時間和敘事時間 / Chapter 一、 --- 敘述時間 / Chapter 二、 --- 時間序列 / Chapter 第五節 --- 小結 / Chapter 第五章 --- 〈印巴茲共和國事件錄〉對客觀「呈現」的探討 --- p.78-97 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 〈印巴茲共和國事件錄 〉 對客觀「呈現」的模式 / Chapter 一、 --- 〈印巴茲共和國事件錄〉的「事件敘事」 / Chapter 1. --- 敘事信息量增多 / Chapter 2. --- 敘事者減低介入程度 / Chapter 二、 --- 〈印巴茲共和國事件錄〉的「言語敘事」 / Chapter 第三節 --- 敘事學以外其他元素的運用 / Chapter 一、 --- 新聞報導形式的借用 / Chapter 二、 --- 社會科學的分析架構 / Chapter 第四節 --- 〈印巴茲共和國事件錄 〉對客觀「呈現」敘事模式的 反省 / Chapter 一、 --- 敘事者道破寫作題旨 / Chapter 二、 --- 諧擬「菲律賓政變」的新聞報導 / Chapter 第五節 --- 小結 / Chapter 第六章 --- 〈 將軍碑 〉 從敘事時間的設計質疑歷史書寫 --- p.98-131 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 〈將軍碑〉的敘事時間分析 / Chapter 一、 --- 序列：時間倒錯的淡化 / Chapter 1. --- 小說單元部份的分析 / Chapter 2. --- 小說的整體時間分析 / Chapter 二、 --- 時距：小說的敘事「快板」 / Chapter 1. --- 從敘事學角度的分析 / Chapter 2. --- 影響敘事速度的其他小說元素 / Chapter (i) --- 張大春所言「人物角色意志的速度感」 / Chapter (ii) --- 〈將軍碑〉裡人物角色意志與小說敘述速度的關係 / Chapter 三、 --- 頻率 / Chapter 第三節 --- 〈將軍碑〉與「魔幻現實主義」小說「似是而非」的 關係 / Chapter 第四節 --- 〈將軍碑〉 敘事時間的處理對歷史書寫的質疑 / Chapter 一、 --- 〈將軍碑〉對直線發展時間觀念的破壞 / Chapter 二、 --- 〈將軍碑〉對因果邏輯的破壞 / Chapter 第五節 --- 小結 / Chapter 第七章 --- 〈大說謊家〉敘述者以及敘述交流模式的探討 --- p.132-169 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 《大說謊家》敘述者的基本分析及與「後設小說」的 關係 / Chapter 一、 --- 全知敘述者的顛覆 / Chapter 二、 --- 顯露敘述者的超越 / Chapter 三、 --- 無信無不信的敘述者 / Chapter 第三節 --- 《大說謊家》對傳統敘述交流模式的改變 / Chapter 一、 --- 《大說謊家》的敘述交流情況 / Chapter 二、 --- 《大說謊家》敘述者以外各種干擾的聲音 / Chapter 1. --- 指涉現實世界的「本文作者」 / Chapter 2. --- 指涉現實世界的「編者」 / Chapter 3. --- 指涉現實世界的「本文讀者」 / Chapter 第四節 --- 小結 / Chapter 第八章 --- 《沒人寫信給上校》的敘述層次分析 --- p.170-199 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 《沒人寫信給上校》外、內敘述層次分析 / Chapter 一、 --- 敘述外層 / Chapter 二、 --- 敘述內層 / Chapter 第三節 --- 《沒人寫信給上校》的「換層敘述」及對後設小說的 轉化 / Chapter 一、 --- 小說中換層敘述的分析 / Chapter 二、 --- 小說的換層敘述對後設小說的轉化 / Chapter 第四節 --- 小說從「敘述層次」的設計回應新聞事件 / Chapter 一、 --- 「正文合倂註釋」的敘述層 / Chapter 二、 --- 換層敘述下既超然又局限的敘事者 / Chapter 三、 --- 「向心的」換層敘述 / Chapter 第五節 --- 小結 / Chapter 第九章 --- 《撒謊的信徒》從聚焦設計表現對現實隱價 --- p.200-240 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 《撒謊的信徒》的聚焦分析 / Chapter 一、 --- 敘述者一外聚焦者 / Chapter 二、 --- 受聚焦者兼內聚焦者：李政男 / Chapter 三、 --- 受聚焦者 / Chapter 1. --- 不參與故事發展的受聚焦者 / Chapter 2. --- 參與故事發展的受聚焦者 / Chapter 第三節 --- 《撒謊的信徒》聚焦方式的設計與評價關係 / Chapter 一、 --- 聚焦者觀點之間的落差 / Chapter 二、 --- 「人物一受聚焦者」的並置比對 / Chapter 1. --- 不參與故事發展的「人物一受聚焦者」 / Chapter 2. --- 參與故事發展的「人物一受聚焦者」 / Chapter 第四節 --- 小結 / Chapter 第十章 --- 總論 --- p.241-255 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 張大春「新聞小說」和「歷史小說」的評價 / Chapter 一、 --- 從「上下求索」到「不假外求」的敘事形式探索 / Chapter 二、 --- 小說寫作與閱讀層面的開拓 / Chapter 第三節 --- 本文硏究方法的檢討 / Chapter 一、 --- 「敘事學」轉化運用的試驗 / Chapter 二、 --- 整體硏究方法的回顧 / Chapter 第四節 --- 結語 / 附錄 --- p.256-336 / Chapter 一、 --- 本文敘事學理論框架的設定 / Chapter 二、 --- 凱南《敘事虛構作品：當代詩學》硏究對象資料整理 / Chapter 三、 --- 《大說謊家》第一章新聞元素與《中國時報》 報導比較 / Chapter 四、 --- 《沒人寫信給上校》小說人物與現實對應關係 / Chapter 五、 --- 《沒人寫信給上校》故事事件時間序列 / Chapter 六、 --- 「尹淸楓命案」新聞資料整理 / Chapter 七、 --- 《撒謊的信徒》故事人物與現實對應關係 / Chapter 八、 --- 小說人物李政男與李登輝比較 / 《撒謊的信徒》故事事件時間序列 / 參考書目 --- p.337-384

Writers and historians from earlier centuries imagined Anne Boleyn as a villain; a forward and evil woman intent on destroying Henry VII and his image. Modern accounts have been more accommodating, offering that she was misunderstood due to the constraints of the times. In an attempt to discover the historical Anne, I will be comparing and contrasting how she has been perceived in fiction and non-fiction literature, and will examine how the perception of Anne has shifted through time.

The short stories in American Idyll: Stories experiment with the boundaries of traditional fiction by often drawing on nonfiction forms and styles to explore the roles that pop culture, locality, and cultural narratives play not only in individual lives, but also in broader terms by questioning how these elements contribute to American culture as a living, organic entity. Often playful in tone and execution, the stories in this collection aim to inhabit a spectrum: from voice-led narratives to historical fiction to textured ethereal interactions with established cultural events and persons and wholly fictional accounts of American pop culture.

"July 2004" / Includes bibliographical references (leaves 65-68) / 257, 68 leaves : ill. (some col.), map ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, School of Humanities, Discipline of English, 2004

The Bound Chronicles is a fictional story that chronicles the journey of three Irish monks who travel to Britain in 892 AD, the time of the Anglo-Saxons. There, they encounter King Alfred, Vikings, poisonings, but, more harrowing, must face their inner selves and the consequences of their choices.

Many lexicographers found some words unsuitable for inclusion in their dictionaries, thus the examination of general purpose dictionaries alone will not give us a faithful history of changes of the language. Nevertheless, by taking into account cant and slang dictionaries, the origins and history of such marginalized language can be truly examined. Despite people's natural fascination with these works, the early slang dictionaries have received relatively little scholarly attention, the later ones even less. This dissertation is written to honor those lexicographers who succeeded in a truthful documentation of nonstandard language. One of these disreputable lexicographers who found joy in an unending search for new and better ways of treating abstruse vocabulary was John Camden Hotten. This study investigates the importance of Hotten's Dictionary of Modern Slang, Cant, and Vulgar Words in the evolution of dictionary making. I analyze how many editions exist, the popularity of the 1864 edition, and differences between this and preceding editions, suggesting the inexorable growth of Hotten as a compiler. A short history of British cant and slang lexicography is provided and questions concerning the inclusion and exclusion of obsolete words and who makes such decisions are answered. Key terms such as slang and cant are defined and discussed briefly within the context of recent, relevant scholarship. The conclusions drawn from this research are laid out in extensive annotations embedded in the lexical items of a critical edition demonstrating once again that Hotten's compilation was extremely important in the evolution of dictionary making. That Hotten's work was accepted as authoritative is evidenced by the number of allusions and borrowings from it as seen in the work of later lexicographers: Barrere and Leland draw extensively upon it in A Dictionary of Slang, Jargon, and Cant, 2 vols. (1889-90) as do Farmer and Henley in Slang and Its Analogues, 7 vols. (1890-1904), and Eric Partridge in A Dictionary of Slang and Unconventional English (1937). Hotten's work seems to have been very influential in the preservation of words as well. A vast number of slang words that are cited in Hotten's dictionaries were used for a long time among the common people; in fact, the popular literature of the nineteenth century, particularly historical fiction, draws upon this vocabulary, and may well prove to be specifically indebted to Hotten's work. Thackeray's Vanity Fair and Joyce's Ulysses are full of slang expressions; Conan Doyle shows himself familiar with the terminology of pugilism in Rodney Stone, as does George Bernard Shaw in Cashel Byron's Profession. This dissertation places John Camden Hotten as a writer/publisher/compiler and his work within contemporaneous scholarly argument, and, contrary to popular opinion, acknowledges the publisher's significant contributions to the development of Victorian literature and late nineteenth- and twentieth-century lexicography.

During the Arabic cultural renaissance of the nineteenth century known as the nahda, Christian Arabs made a substantial contribution to the development of fiction and journalism. Among these pioneers, Salim al-Bustani, Jurji Zaydan, and Farah Antun were inspired by translations of European fiction to write the first historical novels in Arabic. Their narrations of the Muslim wars of conquest are carefully constructed blends of history and fiction that emphasize the cultural and religious values that Christian and Muslim Arabs hold in common. In their novels, these authors celebrate the historical achievements of the Arabs and seek to inspire a new sense of Arab cultural identity, open to Christians and Muslims alike and based on shared language, history, territory, values, and aspirations for reform. In this way, these authors respond to the sectarian tensions of their time, European imperialism, and the challenges of modernism with ideas that would become central to Arab nationalist discourse in the twentieth century.

Thesis (Ph.D.)--University of Wisconsin--Madison, 2001. / Includes bibliographical references (leaves 206-213).