Mo Yan's novel has no shortage of female characters.On the novel of the number of women in research studies than other subjects far less¡Athis paper attempts to Mo Yan's novel female image as the research object by Mo Yan's writing skills.For the novel text in the image of women to do the classification¡Aexploring the different characteristics of the image and significance of female.Mo Yan's novel writing skills are separately from the narrative point of view, plot, magical realism style, and orientation of folk aesthetics of four done.Mo Yan's novel of the female image constitute women before marriage which is divided into image and the image of two married women. The image of women before marriage is divided Huaichun, mysterious, rebellious, liberating image of the four wome.¡AMarried women have been divided into sub-image is the image of mother and wife.Mo Yan's novel of the women face difficult living conditions¡Asuffering, hunger, living conditions. To face official oppression and the threat of war in this harsh and poor environment¡Athese women still demonstrate vitality. Mo Yan describes their physical and their desires as a symbol of the vitality of the individual¡Aeven the awareness of women's autonomy¡AMo Yan is also the unique to use of color symbolism implied¡APresenting the female body, passion, wild, erotic.

Creative Portion abstract (75%): Literary Fiction Manuscript Souvenirs of the Revolution Against the backdrop of the Mexican Revolution of 1910, betrayal, sexual deviance, rigid morality and a fatal subservience to moral correctness drives the Montelejos clan: complex and self-serving, innocent and deluded, larger than life, an illustrious family line in its final decline. Mariabella Montelejos, who tries to sell her only daughter for the price of a new carriage during the bloodiest part of the Revolution. Her daughter, Portensia Montelejos, who leaves her mother’s body to moulder in the front room after soldiers come at the point of a gun. Gloria Vasquez, celebrated beauty, practising witch, and tormentor of her step-sister, Teresa: ill, gullible, naive, awoken to her destiny by the surreal birth of her daughter. Paulina, a child who once communed with the holy, made an empty vessel by the abuse of her father – and revered as a living saint as she lies dying in a Pueblano convent. The men of the family, weak and susceptible to the mandates of their dying class, are no match for the machinations of such women. Evil abuser Ebner Collins, paralyzed by a jealous man’s bullet in the middle of the Sinai desert. Hernando Vasquez, cowed into marriage by the longing for his dead wife, Evelyn Cuthbert. Guiermo Fuentes de Solis, cuckolded husband. Jaime Vasquez, who hears voices and lives at the bottom of a bottle, unable to save his cousin Paulina. The Revolution is the beginning of the end for Montelejos, and the miraculous will be its undoing. Analytical Portion abstract (25%): An Outsized Reality: How “Magical Realism” Hijacked Modern Latin American Literature With the publication of Gabriel García Márquez’s Cien Anos de Soledad in 1967, Latin American writing captured the world’s attention. Critics, readers, and imitators rushed to discuss and emulate this astounding novel. A whole genre of literature, “magical realism”, was popularized, and with it, critical discussion of its influences, history, genre limitations, and the sheer “imagination” it brought to the forefront of literary debate. In this thesis I will discuss the problems associated with “Western” critical analysis of Latin American writing, specifically as it seeks to define, without a proper context, the literature which draws life from the history and culture of Latin America and categorizes its literature without the cultural understanding required.

With The Fabulist, I hope to provide many of the pleasures of popular narrative�"addictive plot, compelling characters, immersive setting�"while also conducting an earnest interrogation of the value of fantasy in all its forms, as well as the moral vacuity of the lonely fiefdom the protagonist constructs for himself out of pop cultural detritus and his various nostalgic and artistic whims. The book straddles two major settings and timelines: the suburban creep of Pooter Valentine�[BULLET]s hometown, a world where strip malls and big box stores and fast food chains are being augmented in quiet magical realist fashion by something more sinister; and an ambiguously virtual game-world of Pooter�[BULLET]s design, an RPG and DND-indebted land of endless quests and haunting vistas which may not have an exit. While the novel is grounded in the subjectivity of Pooter�[BULLET]s anhedonia and egotism, it also aims to puncture his interiority by also becoming a story about his parents and the real people who begin to intrude (to Pooter�[BULLET]s surprise and chagrin) upon the video-game world he is allegedly the master of. Ultimately, it intends to tell a story both of the everyday ways in which we escape (and in so doing, undermine) our reality, and of a grandly supernatural departure; of escapism as an act of abandonment, but also (at its best) a catalyst for new communities and connections. This novel draft aspires to all these goals, and may perhaps achieve some of them one day. / MFA

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This is a fiction novel about grief, isolation, and loss that takes place in an unnamed rural whaling village in Arctic Alaska. There is also a time-traveling dragon in it. / Master of Fine Arts

Motivated by the lack of scholarship surrounding female characters in Gabriel Garcia Marquez's One Hundred Years of Solitude, I sought to examine the distinct identities of four female characters. The collapse of dualities and embodiment of hybridity in Ursula, Pilar Ternera, Amaranta, and the Remedios women reveals the hegemonic power structures that are disrupted by these empowered women. The exploration of these women and their relationships to gendered dichotomies points to the potential of their identities in enacting colonial resistance and reclaiming traditional cultural heritage.

This collection consists of a critical preface and five short stories. The preface analyzes what it terms 'fringe fiction,' or stories dealing with elements that are improbable or unusual, though not impossible, as it distinguishes this category from magical realism and offers guidelines for writing this kind of fiction. The short stories explore themes of attachment, loss, guilt, and hope. Collection includes the stories "Portrait," "Dress Up," "Change," "Drawn Onward, We Few, Drawn Onward," and "Broker."

Following the formal conclusion of reconciliatory processes in a newly post-apartheid South Africa, narrative remained a perdurable, centripetal force. Extending into the realm of literature, the inquiries of the Truth and Reconciliation Commission were altered and enlarged. The mode of magical realism, in particular, emerged as a viable method not only for representing the world, but for working through uncertain futures and traumatic histories. Shimmering with the extraordinary and ineffable strangeness of the magical realist text, Achmat Dangor’s short story “The Devil”, offers expansive, recognizable and revelatory ways of dealing with the trauma of apartheid. Crucially, the narrative represents the private efforts of individual, personal healing in contradistinction with official processes of reconciliation. This thesis examines the ways in which “The Devil” proposes the body as a site of exploring the structuring antipodes of individual-collective and public-private, ultimately untethering these binaries through a process of bodily dis/entwining.

The aim of the present study was to investigate the effect of sensory modality on short-term memory recall. An exploratory, cross-sectional study was performed. A total of 119 individuals participated. There were 70 female and 49 male subjects, aged 4 to 80 years (M=34,3). The participants were presented with 12 different objects in auditory, visual or auditory/visual mode over a period of 24 seconds. The participants were then asked to recall as many of the 12 objects as possible in any order. The study took place at a day nursery, junior high schools, meetings with elderly and adults with house calls. Non-probability samples were used. The conclusion was that visual short-term memory generated the highest recollection and that adults had the highest mean on the different stimuli. A visual element is recommended at recollection.