This thesis is a feminist reading of the work of Henry Handel Richardson (1870-1946), which considers her four major novels: Maurice Guest (1908), The Getting of Wisdom (1910), The Fortunes of Richard Mahony (1930), and The Young Cosima (1939). It proposes that Richardson foregrounds the work of gender ideology in her novels, and that her work is also conscious about its own fictional procedures. This thesis argues that Richardson consciously examines the ideological aspect of narrative modes, such as naturalism, the Bildungsroman, and popular romance. Moreover, it illustrates her attempts to invent narrative strategies which subvert the conventional assumptions about gender inherent in those forms. ???Gender Ideology and Narrative Form??? draws on recent theoretical approaches to narrative, ideology, subjectivity, and dialogism, to argue that Richardson makes the ideological shaping of her stories most visible through manipulations of genre, plot, narrative voice, and point of view. Aspects of ideology examined include the Victorian and late-Victorian equation of masculinity with public rationality, mind, public achievement, and genius: and, on the other hand, the association of femininity with the body, passion, and private or domestic spaces. The thesis also considers some of the values and assumptions about gender implicit in nineteenth-century scientific thinking. Henry Handel Richardson has been viewed as a conservative writer, in both aesthetic and political terms. By contrast, I suggest that she resists the moral and representational codes of the realist or naturalist form, and that her uncompromising oppositional strategy achieves a number of radical results. It exposes and criticises the masculinist bias of certain representational methods; it offers new ways of representing female experience; and it insists that the private sphere must be treated also as a political space in which crucial power relationships are at work. My approach to Henry Handel Richardson???s fiction opens new ways to see her work as the product of a distinctive feminist consciousness.

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The research examines the interface of history and fiction. It predominantly focuses on historical fiction on the Zimbabwean liberation war written in Shona, Ndebele and English and published after the attainment of political independence in 1980. Historical fiction on the liberation war is both biographical and autobiographical. Consequently, the study comes to the conclusion that historical fiction is a veritable stakeholder in the history issue in Zimbabwe. It becomes another type or source of history that cannot be papered over when dealing with the nation’s history. In a nation where liberation war history is not only taken seriously, but is also a vigorously contested terrain, historical fiction becomes part of those discursive contestations, particularly on nation and nationalism. It is in this regard that the study problematises the interface of history and fiction by reasoning that historical fiction published in the early 1980s largely advances a state-centered perspective which views history, nation and nationalism in positive terms. This discourse uses history in order to argue for a single nation that derives its identity from the heroic and symbolic guerrilla characters. Nationalism is exclusively presented as humanising and as being the sole legitimate political brand capable of leading the nation. On the other hand, historical fiction written in English and published in the late 1980s onwards represents alternative historical truths that contest nationalism and debunk official definitions of nation. This discourse leads to the pluralisation of perspectives on nation and nationalism. The focus on historical fiction published in three languages used in Zimbabwe is a conscious attempt to transcend ethnicity in critical scholarship. Discussing novels in Shona, Ndebele and English, which are the three main languages in Zimbabwe, makes it possible for the study to draw reasoned conclusions on the bearing of time, language, region and background among others on historical representation. This undertaking brings to the fore how literature responding to similar historical processes appears moderately conjunctive and principally disjunctive. Correspondingly, it also shows various trends in the development of liberation war fiction in Zimbabwe. / African Languages / D. Litt. et Phil. (African Languages)

Este trabalho tem por objetivo analisar as representações da modernidade e da modernização em duas obras da literatura brasileira contemporânea: O selvagem da ópera (1994), de Rubem Fonseca, e A máquina de madeira (2012), de Miguel Sanches Neto. Tanto uma obra quanto a outra põem em xeque o Brasil do Segundo Império com críticas às suas políticas sociais, tecnológicas e culturais, na tentativa de superar os entraves relegados pelo regime colonial e escravocrata. Nessa perspectiva, investe-se na trajetória dos protagonistas: o maestro Antônio Carlos Gomes e o inventor da máquina de escrever, o padre Francisco João de Azevedo. O sangue negro do primeiro e as origens humildes de ambos funcionam como paradigma de um Brasil que quer se modernizar, mas que não se enquadra em um modelo importado, eurocêntrico. Na base do estudo, contempla-se o gênero romance, na concepção bakhtiniana, e seus laços com a consolidação da classe burguesa, dialogando com a leitura oferecida por alguns críticos da modernidade como Marshall Berman e Antony Giddens. Dentre as expressões romanescas, privilegia-se a ficção histórica, por seu diálogo mais estreito com o discurso da história, teorizado por György Lukács. Já as leituras de Roberto Schwarz e de Silviano Santiago, além dos estudos historiográficos de Thomas Skidmore e de Lilia Moritz Schwarcz, nortearão o trabalho no que se refere à sociedade brasileira do século XIX. / This work aims to analyze the modernity and modernization representations in two works of Brazilian contemporary literature: O selvagem da ópera (1994), by Rubem Fonseca, and A máquina de madeira (2012), by Miguel Sanches Neto. Both one book and the other one challenge the Brazil of the Second Empire by criticizing its social, technological and cultural policies in an attempt to overcome the obstacles relegated by the colonial and enslaver rule. From this perspective, it invests in the protagonists’ trajectory: the composer Antônio Carlos Gomes and the typewriter inventor, a priest named Francisco João de Azevedo. The black blood of the former and the humble origins of both function as paradigms of this Brazil which wants to modernize, but which does not fit into an imported, Eurocentric model. On the basis of the study, the novel genre is contemplated in the Bakhtinian conception and its ties to the consolidation of the bourgeois class, dialoguing with the reading offered by some critics of modernity like Marshall Berman and Antony Giddens. Among the romanesque expressions, historical fiction is privileged, for its more intimate dialogue with the discourse of history, theorized by György Lukács. The Roberto Schwarz and Silviano Santiago readings, as well as Thomas Skidmore and Lilia Moritz Schwarcz historiographical studies, will guide the work regarding the Brazilian society of the nineteenth century.

Este trabalho tem por objetivo analisar as representações da modernidade e da modernização em duas obras da literatura brasileira contemporânea: O selvagem da ópera (1994), de Rubem Fonseca, e A máquina de madeira (2012), de Miguel Sanches Neto. Tanto uma obra quanto a outra põem em xeque o Brasil do Segundo Império com críticas às suas políticas sociais, tecnológicas e culturais, na tentativa de superar os entraves relegados pelo regime colonial e escravocrata. Nessa perspectiva, investe-se na trajetória dos protagonistas: o maestro Antônio Carlos Gomes e o inventor da máquina de escrever, o padre Francisco João de Azevedo. O sangue negro do primeiro e as origens humildes de ambos funcionam como paradigma de um Brasil que quer se modernizar, mas que não se enquadra em um modelo importado, eurocêntrico. Na base do estudo, contempla-se o gênero romance, na concepção bakhtiniana, e seus laços com a consolidação da classe burguesa, dialogando com a leitura oferecida por alguns críticos da modernidade como Marshall Berman e Antony Giddens. Dentre as expressões romanescas, privilegia-se a ficção histórica, por seu diálogo mais estreito com o discurso da história, teorizado por György Lukács. Já as leituras de Roberto Schwarz e de Silviano Santiago, além dos estudos historiográficos de Thomas Skidmore e de Lilia Moritz Schwarcz, nortearão o trabalho no que se refere à sociedade brasileira do século XIX. / This work aims to analyze the modernity and modernization representations in two works of Brazilian contemporary literature: O selvagem da ópera (1994), by Rubem Fonseca, and A máquina de madeira (2012), by Miguel Sanches Neto. Both one book and the other one challenge the Brazil of the Second Empire by criticizing its social, technological and cultural policies in an attempt to overcome the obstacles relegated by the colonial and enslaver rule. From this perspective, it invests in the protagonists’ trajectory: the composer Antônio Carlos Gomes and the typewriter inventor, a priest named Francisco João de Azevedo. The black blood of the former and the humble origins of both function as paradigms of this Brazil which wants to modernize, but which does not fit into an imported, Eurocentric model. On the basis of the study, the novel genre is contemplated in the Bakhtinian conception and its ties to the consolidation of the bourgeois class, dialoguing with the reading offered by some critics of modernity like Marshall Berman and Antony Giddens. Among the romanesque expressions, historical fiction is privileged, for its more intimate dialogue with the discourse of history, theorized by György Lukács. The Roberto Schwarz and Silviano Santiago readings, as well as Thomas Skidmore and Lilia Moritz Schwarcz historiographical studies, will guide the work regarding the Brazilian society of the nineteenth century.

Orientador: Mário Luiz Frungillo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T10:32:47Z (GMT). No. of bitstreams: 1 Bittencourt_RodrigodoPrado_M.pdf: 570719 bytes, checksum: b34aad4dc718b9dd967052de186aef46 (MD5) Previous issue date: 2013 / Resumo: Este texto busca estudar os aspectos políticos, históricos e sociais trabalhados por João Guimarães Rosa em "A estória de Lélio e Lina", texto presente em Corpo de Baile. Para isso, se analisará como as palavras e ações de Lina servem para resgatar a ordem de um mundo em transformação. Ao se perceber em pleno encontro do moderno com o tradicional na zona rural de Minas Gerais no final do século XIX e início do XX, Lélio sente-se perdido. Ele precisa de Lina para se situar em meio ao dinamismo da História e poder formular/reformular seu papel enquanto agente e sujeito de sua vida. As referências que o texto faz aos processos de transformação histórica são o objeto da pesquisa. O que insere este trabalho na linha de análise dos componentes históricos e sociais presentes na obra de Rosa e, sem desprezar os outros enfoques analíticos, busca analisar tal obra em meio à cultura e à época em que ela se desenvolveu e ver o que ela tem a dizer a respeito de seu mundo / Abstract: This text aims to study the political, historical and social aspects worked by João Guimarães Rosa in his novel "A estória de Lélio e Lina", present in the book Corpo de Baile. To achieve this, it going to analyze how the words and actions of Lina serve to rescue the order of a changing world. Finding himself in full meeting of modern and traditional in rural Minas Gerais in the late nineteenth and early twentieth centuries, Lelio feels disoriented. He needs Lina to keep strong himself amid the dynamism of the History and can to formulate / reformulate its role as agent and leader of his life. The references that this text makes to the processes of historical transformation are the object of the research. So, this study falls in line with the analysis of social and historical components present in the books of Rosa and, without neglecting the other analytical approaches, this article seeks to analyze these works in the contexts of the Culture and the History in which his Literature developed itself and see what she has to say about their world / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

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The Catalina Triangle is a work of historical fiction focusing on the final weekend in the life of the actress Natalie Wood with flashbacks highlighting her rise to fame and references to Reagan-era America as well as the history of Catalina Island.

Nicolas Perrot ou les coureurs des bois sous la domination française (1889) est un roman qui évoque la vie d’un coureur de bois à l’époque de la Nouvelle-France (autour de 1669). L’auteur George Boucher de Boucherville est bien connu pour son roman Une de perdue, deux de trouvées, mais le roman à l’étude dans ce mémoire a longtemps été oublié avant d’avoir été édité pour la première fois en un seul volume en 1996. Comme devant tout roman historique, le lecteur doit se questionner sur le rapport que l’auteur entretient avec la vérité historique. Ce mémoire se penche sur l’authenticité des informations qui se trouvent dans le roman. L’analyse se base sur une recherche sur l’œuvre, son auteur, le contexte littéraire et les deux époques pertinentes (Nouvelle-France et Québec du XIXe siècle). Ces mises en contexte conduisent à l’analyse du roman (appuyée par l’ethnologie récente) qui permet de conclure que Boucherville s’éloigne à plusieurs égards des portraits caricaturaux des coureurs de bois et des Autochtones qui sont monnaie courante à son époque. / Nicolas Perrot ou les coureurs des bois sous la domination française (1889) is a novel about the life of a coureur de bois (french fur trader) during the New France era (around 1669). The author Georges Boucher de Boucherville is well known for his novel Une de perdue, deux de trouvées, but the work studied here has been long forgotten before it was first published in a single tome in 1996. As with every historical novel, readers have to inquire into the relationship the author has with historical truths. This master’s thesis focuses on the authenticity of the information contained in the novel. The analysis is based on research on the author and his work, the literary context and the two relevant periods (New France and nineteenth-century Quebec). Following these inquiries, we analyse the novel (guided by modern day ethnology) and come to the conclusion that Boucherville’s work deviates from the clichés usually associated with coureurs de bois and indigenous people.

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