Mary Burns includes two sections: a short thesis called Revolution, Romance, and Revelation, and a work of autobiografiction, Mary Burns. Mary Burns is the major contribution to this PhD submission. It tells a story of the common-law wife of Marxist co-founder, Friedrich Engels, and a contemporary character, Ula Tully, who is attempting to tell Mary's story. The major part of this submission began as an attempt to write the novelised chronological biography of Mary Burns, yet through the writing process, ended up as a work of split-narrative autobiografiction. The stories of Ula and Mary are linked, sometimes subtly, sometimes obviously; two women who belong to different centuries but who have much in common. Both stories also represent the dire scarcity of that figure in English literature - the working-class woman. In this way we can see the telling of a story for Mary as an effort at 'rescuing' a figure of whom more 'should' be known, given her place beside the major Marxist figure. Revolution, Romance, and Revelation is a critical paper in three sections, the aim of which was to highlight the stereotypical characterization of Mary Burns in the biographies of Engels. This first section also goes some way to explain the ways in which I departed from these stereotypical characterizations of Mary in my creative work. The second section moves onto the later figure of Ethel Carnie, a working-class female writer of whom, again, little is known, except that she was a staunch socialist, novelist, journalist, and founder of The Clear Light, an anti- fascist journal that ran from 1920-1925. I also assert that Ethel, whenever mentioned it is as a 'romance' novelist, adopted a dialectical approach to her work, drawing on both romance and the New Woman novel. In doing so, I contend that she more closely wrote within the autobiografictive framework that was formulated by 8tephen Reynolds in 1906, and which I discuss in the final section. The third section defines autobiografiction, and explains the process of my adoption of it for my creative work. It is in this section that I also call for this 'mash-up' form to be a more amenable way for working-class women to produce their literature, as practised by Ethel Carnie, moving away from the novel form, which has, from its inception, been synonymous with the middle-classes.

This thesis was inspired by a perceptible increase and change in depictions of motherhood in fiction and memoir between the years 19952010. It traces a body of intense motherhood literature that grew steadily throughout the twentieth century and culminated in an explosion of such writing at the turn of this century. The study contends that a significant body of these texts were directly reacting to inequalities still inherent in the social and cultural demands made on mothers. It also suggests a correlation between these inequalities and the increase of deeply ambivalent feelings about motherhood evident in this turn of the century literature. The first chapter considers the intensification of maternal ambivalence in this fiction and memoir and investigates the growing desire to establish this ambivalence as a normal reaction to the transition to motherhood. It also explores the resistance to historical narratives that imply the necessity for maternal sacrifice. By looking at seminal texts from the twentieth century, it considers where and how the myth of the ideal mother was constructed, demonstrating how such ideals came to influence contemporary writers, Hence, chapter two engages with the work of Michel Foucault and illustrates how certain postmodern ideas have coalesced with post or third-wave feminism to affect depictions of the mother in literature. This chapter argues that the lack of certainty in the mothering experience arises from notions of good mothering that have been patriarchically constructed and are, therefore. politically manipulative and suspect. As a consequence, writers have been inspired to re-imagine motherhood in a world without meaning. Chapter three considers the depiction of motherhood's pleasures that sit outside the construction of the ideal mother. It focuses on literary portraits of transgressive mothers, in particular those displaying problematic motherchild physical intimacy and mothers who are sexually active outside their relationship with their children's father. This chapter identifies both significant changes in the representation of mother-child intimacy and a surprising stasis in the fictional treatment of adulterous mothers. Finally, the thesis concludes with the ethical nature of motherhood and the duty of care parents owe to their children, This concluding chapter considers how certain twentieth-century discourses, including those influential in certain aspects of literary criticism, have contributed to an impoverishment of the motherhood experience which is strikingly evident in this particular body of fiction and memoir of motherhood written between 1995-2010.

<p> In many advanced societies today, it is taken for granted that the relatively free circulation of opinion on a minimally regulated print market brings social and political benefits. Such benefits can only be taken for granted if one assumes that markets are capable of regulating themselves and that the clash of opposed opinions in venues of public expression is salutary for the society in which those clashes occur. Early eighteenth-century Britons lacked both of these assumptions, and so for them the deregulation of the print market that resulted from the 1695 lapse of the Licensing Act was a formidable problem, a challenge to the intelligibility of their world that had, somehow, to be confronted. This dissertation seeks to give an account of this confrontation. Specifically, it seeks to understand how key metaphors within British culture were adapted and repurposed as descriptions of what printed writing was, what it was good for, and what rules and norms readers and writers needed to respect in order to serve that good, at an historical moment when such descriptions were lacking but badly needed.</p><p> The first two chapters argue that the early decades of the eighteenth century were characterized by an intense struggle, conducted across an array of printed genres, over which descriptions would be prove authoritative in this new environment of reading and writing. In this contest, two key metaphors&mdash;one was "debate," the other "conversation"&mdash;emerged as particularly strong candidates as ways of figuring print and mediating it for its users. These two candidates were called upon to do similar work: to provide the procedural and ethical norms needed to turn the unruly production and consumption of printed matter into an orderly and beneficial cultural routine. Because these two metaphors were substantively different, however, they produced divergent understandings of the meaning of print. Indeed, a main claim of these chapters is that the two metaphors struggled for authority in the early decades of the century, with conversation emerging as the dominant (though certainly not exclusive) metadiscourse. These chapters give an account of how metadiscursive struggle was conducted and offer some claims about why it took the precise form that it did. Along the way, they complicate existing scholarly histories of eighteenth-century British print that locate the major metadiscursive innovations of the century in the legal realm. By contrast, I emphasize the extent to which writers, in trying to make of print an ordered and rule-bound totality, drew on their existent discursive culture and its metaphors as resources for figuring print. The resulting cultural process was a complex and dynamic one, whereby the application of these metaphors to print changed both the meaning and force of the metaphors and the practices of reading and writing.</p><p> The first two chapters contribute to the history of how British culture helped to mediate print technology for eighteenth-century Britons. The third and fourth chapters are somewhat narrower in scope; they work to identify a particular formal category, crafted by Hogarth and Sterne, and then to demonstrate that this category came to be used, by writers like Burke, to represent British society to itself. In Burke's hands, this politico-aesthetic category, which I call "the eccentric," represented the British social and political order as the intricate result of historical time rather than the work of purposive human agency. Through it, Burke forged a rhetoric designed move his fellow Britons to understand their "country" as an intricate totality whose very existence was threatened by Jacobin "political metaphysics." In adapting this formal category as a vehicle for political and historical thinking and argumentation, Burke invented a style of public address in which whole social and political orders could be revealed as precious, fragile things in need of the protection that a reading public might provide simply by feeling grateful for them and concerned about them.</p><p> As a whole, the dissertation seeks to identify and theorize forms of "thin mediation"&mdash;that is, forms of mediation that have discernable formal and affective features but few necessary ideological entailments. The metadiscourses analyzed in the first half of the dissertation and "the eccentric" analyzed in the second are "thin" in this sense: they are able to disconnect themselves from robustly articulated ideologies, to circulate widely, and to give strangers a sense of their social order as a totality and of their place within that totality. If, as I suspect, such thin forms of mediation are indispensable to "liberal governmentality," this dissertation may contribute in its modest way to the on-going genealogy of liberalism.</p>

Drawing on the critical social theories of Jean-Paul Sartre and Jurgen Habermas, I take a close look at the "oppositional criticism" of Said and Lentricchia and attempt to illuminate the unlit places there, which I refer to as "situational tensions." My discussion of Said's and Lentricchia's situational tensions is made in terms of their self-image, theoretical affiliation, and their strategy of totalizing about their life-world. I argue that Said's and Lentricchia's adoption of the "intellectual" as their self-image is their way of recognizing a certain type of subject as the precondition for basic change. Based on this recognition, their affiliating with Marxism or Foucault results in an emphasis on producing a cultural counterdiscourse of intellect emancipation. However, literary critics must come to an understanding of the systemic impediments to their emancipatory projects. Said and Lentricchia, constrained by the pressure to avoid conceptions of social totality and human totality, have failed to give full articulation to a much needed moral philosophy, even though they both show a keen interest in the ethical. Their theoretical hesitance has blunted the humanist edge of the "intellectual," which is the central figure in their "oppositional criticism." The demise of the intellectual-critic reflects the fundamental antinomy of today's intellectual work itself: it cannot be done if it is isolated from praxis, from involvement in political movement or political action; but neither can it be done well if it is isolated from the pressures of competing intellectual ideas in the current stream of intellectual debate which is located in the university. To recognize this intellectual antinomy, however, is not just to ratify what has been and must be. What begins with Said's and Lentricchia's need for a changed concept of the "intellectual" and for literary politics may lead finally to the intellectual's need for a changed world, and a search for proper strategies in order to play a more active part in the process of change.

Thesis (M.A.)--Columbia International University, 2002. / Abstrakt. Includes bibliographical references (leaves 126-135).

Thesis (M.A.)--Columbia International University, 2002. / Abstrakt. Includes bibliographical references (leaves 126-135).

Thesis (M.A.)--Columbia International University, 2002. / Abstrakt. Includes bibliographical references (leaves 126-135).

Made available in DSpace on 2014-07-29T15:27:26Z (GMT). No. of bitstreams: 1 Dissertacao Marcelo Brice Assis Noronha.pdf: 1330295 bytes, checksum: d7899e1314dbb1f4c71a6c60186e778e (MD5) Previous issue date: 2011-02-28 / The work of Machado de Assis informs critical questions about the fundamentals of literary discourse, philosophical, sociological and historical context in which it is surrounded by the links between artistic expression and social reality that shaped a world view particular gap in the ratings generalizing, but powered by tradition and a creative attempt to exceed the expectations of literary second mid-nineteenth century Brazil. Inserts accustomed to the theoretical debate about the format knowledge that can be attributed to situations reinforced by Machado de Assis provide a motivation for the sociology of literature. This work is conducted through exposure voltage subtle and powerful integrated male in the relationship between criticism and achievement. The identification and dialogue between events, literature and destinations closed the debate about the notion of representation of reality given by some of the ways modern social thought stand out in Brazil and the interest shown here. The way of understanding and representation of reality that is structured in the areas of symbolic dissatisfaction and also finds support in relation to the emerging social artistic expression, making it a guide for the present work. In this sense, investigate how the narrative is concerned and engaged in a game of internal tensions and external to it, the responsibility to produce a real sense of reality and presentations also confuses the real that has been an inevitable question of interpretations of social life. We take the exhibition and interpretation of these issues as an object of considerations about the conception of man, knowledge and artistic competence articulated in thought and Machado de Assis, aspects thought to be forming a kind of knowledge about the social world. / A obra de Machado de Assis informa questões críticas sobre os fundamentos do discurso literário, filosófico, sociológico e histórico em que ela está envolta, através dos vínculos entre expressão artística e realidade social que forjaram uma visão de mundo particular, em distanciamento das classificações generalizantes, porém alimentada por uma tradição e tentativa criadoras que ultrapassam as expectativas literárias da segunda metade do século XIX brasileiro. As inserções teóricas afeitas ao debate sobre o formato do conhecimento que pode ser atribuído às situações reforçadas por Machado de Assis garantem uma motivação para a sociologia da literatura. Este trabalho se conduz através da exposição da tensão sutil e poderosa que Machado integra na relação entre crítica e realização. A identificação e o diálogo entre eventos, literaturas e destinos encerrados no debate acerca da noção de representação do real atribuída por algumas vias do pensamento social moderno se destacam no Brasil e nos interesses aqui apresentados. A forma de apreensão e representação do real que se estrutura nos âmbitos do simbólico encontra respaldos e também insatisfações na relação com o social que emerge na expressão artística, tornando-se guia para o trabalho que apresentamos. Nesse sentido, investigar como a narrativa se ocupa e se ocupou, em um jogo de tensões internas e externas a ela, da responsabilidade em produzir uma noção verdadeira da realidade e também das apresentações do real que o confunde tem sido uma questão inevitável das interpretações sobre a vida social. Tomamos a exposição e interpretação dessas questões como objeto das considerações a respeito da concepção de homem, conhecimento e competência artística articulada no pensamento e na literatura de Machado de Assis, para que sejam pensados aspectos formadores de um tipo de conhecimento sobre o mundo social.

Den här uppsatsen ingår i det forskningsfält som undersöker hur konstnärer skildras i fiktion. Specifikt handlar den om författarroller på film, ett område som beforskats i såväl Tyskland som den anglosaxiska världen (kända exempel är Kirsten Netzows Schriftstellerfilme(2005) samt antologin The Writer on Film (2013)) men knappt alls i Sverige. Den kretsar därför kring svensk film, samtidigt som den anknyter till det internationella fältet. Undersökningen baseras på kunskap om genrer i svensk film samt litteratursociologiska perspektiv. I det senare skiljer den sig från det mesta inom området, inte minst i ambitionen att undersöka sociala och professionella sammanhang kring författarroller på film. Efter inledande breda kapitel om historia och ideal kring författarroller följer undersökningens djupanalyser, vilka fokuserar på filmer inom det spann som kallas relationsfilm. Detta begrepp spänner över en stor del av svensk filmhistoria som kännetecknas av fokus på romantik, familje- och vänskapsrelationer och dessas spänningar, problem och utveckling.        Som fallstudier har valts fem relationsfilmer från olika perioder i svensk filmhistoria: Thomas Graals bästa film (1917),En Kärleksnatt vid Öresund (1931),Vi tre debutera (1953),Känd från TV(2001) samt Kärlek Deluxe (2014).Samtliga dessa filmer har författare i bärande roller och skildrar samtidigt i någon mening händelser inom litteratursamhället, inte minst förlagsbranschen.         Materialet undersöks utifrån fem perspektiv, baserade i kunskap från befintlig forskning: Omgivningar; Genrer, modus och troper; Drivkraft och processer; Relationer samtIdeal och sensmoral.  I undersökningen diskuteras relationsfilmens konventioner såväl i relation till myter och traditioner kring författares kärleksliv som i anslutning till professionella relationer. Bland annat diskuteras tendensen att skildra litteratursamhället som en tudelad värld byggd på – till exempel - konkurrens mellan olika genrer, ”högt och lågt”, eller dolt och offentligt.      En av flera centrala slutsatser är att författarfilmer generellt möjliggör en extra dimension av berättande inom berättelsen, ofta i form av en bok som produceras under handlingens gång, och som förstärker och speglar filmhandlingen. I just relationsfilmer blir detta ett ytterligare lager av den identifikation med författarpositionen som åskådaren bjuds in till. Författarna i dessa filmer är, sammantaget, vardagliga gestalter med allmänmänskliga problem och egenskaper, men ges samtidigt – genom myter om yrket, berättandekonventioner kring kreativitet och skildringar av branschrelationer - fler dimensioner som gör dem till attraktiva protagonister i breda filmgenrer. Uppsatsens titel syftar på just denna balans mellan spänning och vardaglighet, som Anders Marklund kallat ”inte alltför främmande”.      Efter analyskapitlen och diskussionen följer också en skiss till en historik - utan minsta anspråk på fullständighet - över författare i svensk film. / This thesis connects to the research field studying how artists are portrayed in fiction. Specifically, it deals with representations of writers and authorship in film, an area explored both in Germany and in the English speaking world (notable examples are Kirsten NetzowsSchriftstellerfilmefrom 2005 and the anthology The Writer on Filmfrom 2013) but hardly at all in Sweden. This thesis evolves around Swedish film, while also connecting to the international field.     The study is based in knowledge of genres in Swedish film in general as well as in literature sociology. In terms of the latter it differs from many contributions to the area, especially in the ambition to look at the social and professional contexts around the figure of the writer in film.      The initial broad chapters on writer history and myths are followed by five film studies, focusing on one film each within the genre known as ”relationship film” (relationsfilm): films focused on the tensions, problems and developments of romantic relationships as well as those of family and friendship. (The concept itself encompasses a large part of Swedish film history).       The five chosen case studies are relationship films from different eras of Swedish film history: Thomas Graals bästa film (1917),En Kärleksnatt vid Öresund (1931),Vi tre debutera (1953),Känd från TV(2001) and Kärlek Deluxe (2014).The films all feature writers as main or central characters while also depicting events within the world of literature, particularly the publishing industry. The analysis departs in five perspectives, based in existing research on the area: Environments (Omgivningar); Genres, modes and tropes(Genrer, modus och troper); Incentives and processes (Drivkraft och processer); Relations (Relationer) and Ideals and message (Ideal och sensmoral).       The analysis discusses the conventions of relationship films in connection to myths surrounding the love lives of writers as well as to professional relationships in the book trade. One example is the tendency to depict the world of literature as a divided, dual world built on competition between things like different genres, ”highbrow and lowbrow” material or public versus hidden aspects of the creative process.      One conclusion is that writer films in general enables an additional dimension of storytelling within the frame narrative, often in the shape of a book produced during the course of the film, which mirrors and strengthens the message and moral of the story. In relationship films in particular, this can serve to create an extra layer to the identification with the writer position into which the spectator is invited. Writers in these movies are, in general, everyday figures with common, relatable problems and characteristics, but at the same time – through myths about the profession and narrative conventions surrounding creativity - given additional dimensions which make them attractive as protagonists in popular film genres.The title of the thesis, which can roughly be translated as ”No total strangers”, is a paraphrase of the concept ”Inte alltför främmande” (”Not too strange”) by the Swedish movie and literature scholar Anders Marklund. It refers to a central feature of relationship films: the balance between making the central characters relatable and common, and at the same time interesting enough to provide some escapism. In this thesis, it refers to this balance in relation to fictional writers (and others in the book trade) in particular.      In addition to the chapters of analysis and the discussion, I have also included a first draft – without any claims of completeness - for a history of writers in Swedish film.