Thesis advisor: Alan Richardson / The purpose of this project is to examine how text and image function cognitively in the graphic narrative paying particular attention to its manifestation in Satrapi’s "Persepolis." The structure is such that each chapter will progressively become more specific, from medium to genre to text, drawing on specific examples from Persepolis for support. Chapter 2 will first categorize the various relationships between text and image as they function in the graphic narrative as a medium. They are described in terms of the reader’s cognitive experience of the verbal narrative line’s juxtaposition against the visual narrative line. Chapter 3 will examine how a multimodal narrative—a dual verbal/visual narrative—affects the genre of nonfiction in the graphic narrative medium. It will define not only the tensions that text and image necessarily bring to the authenticity of nonfiction, but also the benefits. Chapter 4 will focus on Persepolis as a cognitive product in its own right. Stemming from theories of autobiography which suggest that an autobiographic text is a self-construction or self-understanding of identity, one can examine Persepolis as a material product and personal construction through this lens. I offer a cognitive approach which suggests that Persepolis functions as a material anchor of a conceptual blend—cognitive theories developed by Mark Turner, Gilles Fauconnier, and Edward Hutchins which are further explained in Chapters 2 and 4. While the primary goal of this project is specific to the research goals explained above, the secondary goal is advocacy. Both cognitive literary theory and comics criticism are marginalized in current literary studies. The former—whose scientific method looms over literature—threatens to overshadow the beauty and philosophy behind prose and poetry, while the latter—as a product of mass consumption and popular culture—threatens to undermine the legitimacy of literature. However, this project will show the viability of both cognitive literary theory as a method and the graphic narrative as a subject for serious academic inquiry. / Thesis (BA) — Boston College, 2010. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: English Honors Program. / Discipline: English.

Thesis advisor: Dominic F. Doyle / Examines the relationship between theology and literature with a goal of developing a starting point for a comprehensive theology of literature. / Thesis (STL) — Boston College, 2011. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

O conceito de sabedoria bíblica como corpus, tema ou estilo costuma ser aplicado livremente à leitura da Bíblia Hebraica. Ao mesmo tempo, estudiosos admitem a falta de precisão para a eleição daquilo que deveria ou não compor um tema ou estilo sapiencial, tanto para a análise do texto bíblico quanto para os estudos comparados. Este trabalho apresenta uma breve introdução às abordagens acadêmicas que pretenderam reconhecer a sabedoria bíblica como um gênero literário, enfatizando suas peculiaridades em termos de forma e conteúdo a fim de distingui-la de outros discursos encontrados na Bíblia Hebraica. Além disso, a pesquisa também expõe como os estudos comparados aplicaram os conceitos elaborados por biblistas para a compreensão da sabedoria no Antigo Oriente Médio. / Biblical Wisdom as a corpus, theme or style is frequently applied freely to the reading of the Hebrew Bible. At the same time, the academicians admits the lack of precision on the preference for what should be considered or not as a sapiential theme or style, both for the analysis of biblical texts and for comparative studies. The following research presents a short introduction to the academic approaches which intented to recognize biblical wisdom as a literary genre, enphasizing its peculiarities in terms of form and content in order to make a distinction betweem them from the other discourses found in the Hebrew Bible. Likewise, the research also presents how the comparative studies applied the concepts formulated by biblicists for a comprehension of wisdom in the Ancient Middle East.

Orientador: Roxana Guadalupe Herrera Alvarez / Banca: Elaine Cristina Cintra / Banca: Lúcia Granja / Resumo: Este trabalho tem como objetivo realizar um percurso reflexivo sobre o papel do leitor na literatura estabelecendo um diálogo entre a teoria do escritor italiano Umberto Eco (1932-) e alguns textos do escritor argentino Jorge Luis Borges (1889-1986). Em um primeiro momento, investigamos como o papel do leitor é tratado pela teoria de Eco, detendo-nos na leitura de alguns capítulos de suas obras intituladas Obra aberta, Lector in fabula e Os limites da interpretação, publicadas respectivamente em 1962, 1978 e 1990. Do contato com essas obras, pudemos depreender que a concepção teórica de Eco a respeito do papel do leitor se baseia no reconhecimento do leitor-modelo como uma categoria textual que norteia o caminho de leitura do leitor empírico. Para complementar essa perspectiva teórica, abordamos a visão Borges sobre o papel do leitor desenvolvida no interior da própria ficção. Antes disso, foi importante que passássemos pelos ensaios "A flor de Coleridge" [La flor de Coleridge] e "Magias parciais do Quixote" [Magias parciales del Quijote], publicados pela primeira vez em 1952 na obra Outras inquisições [Otras inquisiciones], e pelo conto "O Livro de Areia" [El Libro de Arena], publicado pela primeira vez em 1975 na obra de mesmo título, para que pudéssemos primeiramente conhecer a concepção de literatura do autor, baseada no conceito de panteísmo. Em nosso corpus principal, constituído pelo conto "Pierre Menard, autor do Quixote" [Pierre Menard, autor del Quijote], publicado pela primeira vez em 1942 na obra O jardim dos caminhos que se bifurcam [El jardín de los senderos que se bifurcan], identificamos a atuação da personagem Pierre Menard...(Resumo completo, clicar acesso eletrônicoi abaixo) / Abstract: The aim of this study is to outline a reflection on the role of the reader in literature by setting a dialogue between the theory produced by Italian writer Umberto Eco (1932-) and a collection of writings by Argentine writer Jorge Luis Borges (1889-1986). We begin by looking into the approach of Eco’s theory to the role of the reader, sparing a moment to read selected chapters spanning his works Obra aberta (The Open Work), Lector in fabula (The Role of the Reader) and Os limites da interpretação (Limits of Interpretation), published in 1962, 1978, and 1990 respectively. From the contact with these works we learn that Eco’s theoretic conception of the role of the reader is based on a recognition of the model reader as a textual category which ushers the empirical reader through the reading path to follow. In order to complement this theoretical position, we make an approach to Borges’s views on the role of the reader as developing within fiction itself. But before that we deem it important to go about the essays "The Flower of Coleridge" [La flor de Coleridge] and "Partial Magic in the Quixote" [Magias parciales del Quijote], first published in 1952 in Other Inquisitions [Otras inquisiciones], and the short story "The Book of Sand" [El Libro de Arena], first published in 1975 in the work with the same title, so that we could first become familiar with the writer's concept of literature, based on the concept of pantheism. Looking at our main corpus, consisting of the short story "Pierre Menard, Author of the Quixote" [Pierre Menard, autor del Quijote], first published in 1942 in The Garden of Forking Paths [El jardín de los senderos que se bifurcan], we find that the active role of character Pierre Menard impersonates the role of the reader of a piece of literature. We go on to trace this metaphorisation within the short story to a depiction of the transformation...(Complete abstract clik electronic access below) / Mestre

Orientador: Ana Maria Domingues de Oliveira / Banca: Luiz Roberto Velloso Cairo / Banca: Marlise Vaz Bridi / Resumo: Este estudo propõe uma análise da recepção crítica do escritor João Antônio (1937-1996), publicada no período compreendido entre 1990 e 1996, a partir de um conjunto de textos reunidos por ele mesmo e que se encontram depositados em seu Acervo, na Faculdade de Ciências e Letras de Assis - UNESP. Este trabalho representa a terceira etapa de um projeto maior que visa à reconstituição de toda a fortuna crítica do escritor; O primeiro levantamento, realizado por Jane Christina Pereira, intitula-se Estudo crítico da bibliografia sobre João Antônio: 1963 - 1976; a segunda fase corresponde à pesquisa realizada por Cássia Ferreira Alves, cujo título é Estudo Crítico da bibliografia sobre João Antônio (1978-1989); uma quarta parte está prevista para ser realizada por outro pesquisador que finalizará a análise dos textos publicados desde 1996 até os dias atuais. O material aqui analisado mostra como a crítica, publicada em jornais, interpretou e divulgou as obras de João Antônio em uma determinada época. Este trabalho aponta dados relevantes para fundamentar estudos sobre o autor, tanto os de caráter mais avançados, como os históricos-críticos, quanto os de fases iniciais, para os que desconhecem a bibliografia do escritor. / Abstract: This study proposes an analysis of the João Antonio's critic reception (1937-1996), published between the time from 1990 to 1996, from a collection of texts done by himself and located in his archive, at Faculdade de Ciências e Letras de Assis - UNESP. this study represents the third part of a bigger project that seeks to rebuild all the critic treasure about this author, The first research, done by Jane Christina Pereira, is titled Critic Study on the Bibliography of João Antônio: 1963-1976; the second part done by Cássia Alves Ferreira, is titled Estudo Crítico da Bibliografia sobre João Antônio (1963-1976); and it is predicted a fourth part, to be conquered by another researcher, which, will finish analyzing the texts from 1996 to our days.. The material analyzed demonstrates how critics on newspapers interpreted and divulged the work of João Antônio in a determinate time. This work raises relevant data that can be used as foundation for studies of the author, even the ones with an advanced aspect, or the historic and critics, or the ones that are just begin and to whom the João Antonio's bibliography is unknown. / Mestre

No description available.

My thesis exhibition will manifest a visual language I developed to express things I sense but cannot explain. I will create a sacred space, people by paper silhouettes, to communicate what it feels like to be alive while acknowledging different realities. Each silhouette figure I make has its own character and expresses specific things, including care, confusion, excitement, play, and wonder. These are all facets of my own experiences in life. The white silhouettes are anchored to a physical reality. The chromatic silhouettes are complicated by color. They are more difficult to make out – they are more vulnerable and ambiguous. I am peopling the installation with many silhouettes. This expresses the range of experiences I have had with people, as well as the many possibilities that exist for human interaction. I will create a translucent cylindrical environment that is specifically lit, with two layers of fabric. I will embed over two thousand hand-cut paper figures within this environment. One plane will represent the physical world that we all access and experience via our five senses. The other plane will express another realm – one that references spiritual or otherwise non-physical realities. In addition, I will exhibit a series of framed collages and a compilation of video clips that have informed the development and process of my work. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

A presente dissertação tem como objetivo apresentar uma tradução comentada e anotada, para a língua portuguesa, de Il Decameroncino [O pequeno Decameron], do escritor italiano Luigi Capuana (1839-1915), obra publicada em 1901 na Itália. Juntamente a esta tradução comentada, apresentamos um estudo sobre o papel desempenhado por Capuana tanto na literatura, quanto na cultura italiana, tendo se destacado como uma das personalidades que mais contribuíram para a modernização e a atualização da literatura de seu país, através da participação ativa nos debates que se fizeram após o advento da Unificação Italiana. / This paper aims at presenting a commented and annotated translation to Portuguese of Il Decameroncino, by the Italian writer Luigi Capuana (1839-1915), published in 1901 in Italy. Along with this commented translation, I have presented a study on the role played by Capuana in both Italian literature and culture, as he emerged as one of the most important personalities in modernization and updating process of Italian literature, through taking an active part in the debates which happened after the Unification of Italian States.

Esta dissertação tem como objetivo analisar as condições e possibilidades do feminismo de Virginia Woolf à luz do momento sócio-econômico e cultural em que viveu e do qual foi um dos ícones. Por causa de sua formação e do panorama histórico da época, suas posições assumem um caráter extremamente ambíguo. Este estudo mostra que a autora oscila entre ser ícone de toda uma geração e outsider, romancista e crítica literária, intelectual e leitora comum, senhora das letras e feminista, crítica do gosto e proponente de uma nova estética literária, vitoriana esnobe e modernista. Tanto sua natureza criativa quanto os elementos propostos em sua estética literária resultam de sua visão de mundo e de sua relação ambígua com a realidade. / The aim of this dissertation is to analyze the conditions and possibilities of Virginia Woolf’s feminism in the light of the social, economical and cultural environment in which she lived and of which she became one of the icons. Because of her background and of the historical setting of her time, her positions take on an extremely ambiguous character. This study shows that the author bends from a whole generation icon to an outsider, from novelist to literary critic, from highbrow to common reader, from lady of letters to feminist, from “woman of taste" to proponent of a new literary aesthetics, from Victorian snob to modernist. Both her creative nature and the elements she suggests in her literary aesthetics result from her view of the world and from her ambiguous relationship with reality.

Este trabalho analisa os prefácios aos livros Lira dos vinte anos, O conde Lopo e Macário, do escritor romântico Álvares de Azevedo (1831 1852), buscando discernir e sistematizar os pressupostos básicos do pensamento crítico presente nesses textos. Visando contextualizar as discussões ali promovidas em face do debate romântico no Brasil e no exterior, a pesquisa recorre também a outros ensaios críticos do autor para o esclarecimento de questões levantadas pelos prefácios e, eventualmente, a alguns de seus poemas e a outras de suas obras. O cotejo entre os textos do corpus propiciou a reconstrução de uma rica tessitura de referências bibliográficas, especialmente francesas, caso de Théophile Gautier, e portuguesas, como Lopes de Mendonça, às quais o autor constantemente se volta. Essa tessitura explicita um vasto horizonte de leituras, que vai muito além de Byron e Musset, fontes mais recorrentes entre os românticos da segunda geração brasileira, projetando a figura eminente do crítico literário que já se entrevia em Azevedo, mesmo nos seus primeiros ensaios. O distanciamento dos esforços nacionalistas, principal objetivo da maioria dos críticos e escritores brasileiros no oitocentos, permitiu que Azevedo se vinculasse a uma outra concepção de crítica literária, de origem alemã, elaborada sobretudo pelos irmãos Schlegel e por Novalis. Essa aproximação, que pode ter ocorrido tanto por via direta, quanto por meio de traduções francesas, portuguesas, ou mesmo, inglesas, fez com que Álvares de Azevedo se posicionasse de maneira distinta da de seus contemporâneos em relação a sua própria composição e a dos autores mencionados ao longo dos prefácios e ensaios. / This research investigates the prefaces to the books Lira dos vinte anos, O conde Lopo and Macário, by the Romantic writer Álvares de Azevedo (1831-1852). Its purpose is to devise and systematize the fundamental conjectures of the critical thinking found in these texts. With a view to contextualizing the discussions they provide in parallel with the Romantic debate taking place both in Brazil and abroad, this research makes use of yet other critical essays by the author in order to elucidate questions raised in the prefaces and, occasionally, in some of his poems and other works. Confronting the texts from the corpus made it possible to reconstitute a rich array of bibliographic references, especially French and Portuguese, as Théophile Gautier and Lopes de Mendonça, to which the author constantly turns. Such an array evinces a vast horizon of readings that goes far beyond Byron and Musset the most common sources among the Brazilian second generation of Romantics projecting the eminent figure of the foreseeable literary critic in Azevedo even in his primitive essays. His distancing from nationalist struggles, major goal of the majority of Brazilian critics and writers during the 1800s, allowed Azevedo to relate to another conception of literary criticism, one of German origin, designed mainly by the Schlegel brothers and Novalis. Such approximation, which may have taken place through both direct contact and French, Portuguese or even English translations, made Álvares de Azevedo take a different stand from that of his contemporaries regarding his own production and that of the authors mentioned throughout his prefaces and essays.