No description available.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

This thesis examines the works of Peacock and the early periodical contributions of Thackeray in the light of recent twentieth-century critical interpretations of satire. In particular, attention to Peacock's use of elements of the Menippean sub-genre in his satirical fiction offers a reassessment of his place in the literary tradition. While Thackeray's early writings demonstrate some characteristics of Menippean satire, a review of his work from the broader perspective of Bakhtin's exposition of carnival influences in serio-comic literature provides a new understanding of the origins and uses of his narratorial devices. A comparison of the work of the two authors, within the time constraint of the first half of the nineteenth century, illustrates how nineteenth-century publishing innovations shaped literary perception of satire. Although the high status of the genre in the predominant culture of the previous century was challenged by the growth of the reading public, satire found new energy and modes of expression in the popular magazines of the period. In addition, writers facing the increasing heterogeneity of new reading audiences, were forced to reconsider their personal ideals of authorship and literature, while renegotiating their position in the literary marketplace. Organized in six chapters, the discussion opens with an account of traditional interpretations of satire, and goes on to examine recent analyses of the genre. The second chapter focuses on the relevance of these new interpretations to the work of Peacock and Thackeray and the extent to which the use of Menippean forms of satire enabled each to challenge the established opinions of their period. Changes in concepts of reading and writing and innovations in modes of publication form the substance of the third chapter and this is followed by an analysis of the work of both writers, using Bakhtin's interpretation of the Menippean sub-genre in the broader context of serio-comic discourse and the carnival tradition, Chapter five is a comparative study of the attitudes of both writers towards contemporary literature and the final section places their work in the political context of the period. Both Peacock and Thackeray made extensive use of elements of Menippean satire in their fiction. The content of their work, however, and their modes of writing were highly individual, to some extent shaped by the different markets they supplied. Collectively, their writings illustrate two aspects of the cultural watershed of the early nineteenth century, Peacock reflecting traditional notions of authorship and Thackeray representing a new industry, regulated by the commercial considerations of supply and demand. As satirists,each succeeded in adapting the genre to satisfy both his own authorial integrity and the expectations of his readers.

The thesis foregrounds the distinctive contribution Dirk Bogarde made to contemporary writing in a second career that developed in parallel to his screen commitments. It dispels the notion that Bogarde followed a familiar path as an actor who wrote books. Instead it establishes his reputation as an innovative writer whose formal technique was substantially influenced by the textual systems of cinema and the cross-fertilisation from acting to writing. In examining the formative factors that steered Bogarde towards authorship, the thesis addresses the role of performance as a generative factor in the evolution of the novels, establishing a discursive link with Bakhtinian dialogism, and specifically, transgredience as a formal imperative. Secondly, it affords a critical insight into why the major concerns with staging and performativity preoccupy his writing career. The thesis claims that Bogarde was an empirically dialogical writer whose use of camera-eye narration fostered the proliferation of competing discourses across the fiction. This formal dynamic is centred on the relationship between stages and dialogism, which incorporates the work of Erving Goffinan as a complementary critique to Bakhtinian theory with its emphasis on self-presentation. The concern with socially-constructed behaviour leads the thesis to address the associated issues of stereotyping and 'otherness', which in terms of body politics is articulated by the mono logic drive to confine the sexual 'other' to a fixed representation. Bogarde's ability to draw on cinematic and performance techniques identifies an area of expertise unavailable to most other writers. This is an unusual repository of skills to bring to writing which is why the thesis makes the claim for his singular achievement as a contemporary author. There are fruitful points of intersection to be explored in this respect with the work of Christopher Isherwood, whom Bogarde read and admired, as a basis for further research. It is hoped that the thesis will play its part in opening up new possibilities for Bogarde's writing to be re-visited by future critics.

A poetry thesis exploring subjects of gender identity, sexuality, socialization, writing, and craft, and including a preface that credits Emily Dickinson and Adrienne Rich as primary influences. One-third of the manuscript features epistolary prose poems in conversation with Dickinson, while the remaining portion contains poetry written in either free verse, traditional poetic form, or field composition.

I wrote my first story in third grade. “Francine and the Head-Chopper Man” borrowed its plot from “Beauty and the Beast,” but my teacher didn’t seem to mind. In fact, she arranged for me to read the story to the fifth-grade class down the hall. After that first public reading, I was hooked. I knew at age seven I was going to be a writer. When I discovered journalism in the ninth grade, I knew just what type of writing I was going to do. In junior high and high school, I was editor of the newspapers, and in college I worked on the newspaper and was editor of the yearbook. After graduation I was a reporter, copy editor and features editor at two daily newspapers in Kentucky. I began teaching journalism part-time at Western Kentucky University in 1983, and two years later, when I heard about the English department’s new writing concentration, I decided to study for my master’s. In Frank Steele’s Advanced Writing Workshop, I was confronted by a question I hadn’t asked in years: What did I want to write? Having written newspaper articles for years, I wanted to try something different – the essay, based on fact and usually written in the first person, although not necessarily. I believe this type of writing is valuable because it records and attempts to understand events, people and perceptions. As the number of essays grew, I began to realize a potential problem: If the subjects are dissimilar, any collection of essays runs the risk of seeming disorganized. If the subjects are similar, it runs the risk of sounding the same from essay to essay. I hope this collection of essays avoids both faults. The subjects are dissimilar – ranging from family to education – but revolve around the common themes of relationships and time. Each essay examines relationships between parents and children, sisters and brothers, friends, teachers and students, or others. In addition, they all deal with time, either chronicling the passage of time or preserving the moment. Most of the essays are written in the first person, and many deal with family issues. Those two details may sound as if the collection is germane to only one person, the writer. But it is not. Most readers will recognize themselves or people they know in the characters, and many will recall a way of life, an attitude, or a conversation they thought they had forgotten. Even those who don’t recognize or remember the characters may find the essays valuable if they learn a little about ordinary people and ordinary problems.

O presente texto trata do Panatenaico, de autoria do ateniense Isócrates. O discurso, inicialmente apresentado como um elogio de Atenas e uma censura a Esparta, destaca-se dentro da obra isocrática por conter, em seu final, um diálogo entre Isócrates e um de seus alunos. Depois de considerar as principais linhas interpretativas, procede-se a um exame e interpretação dessa seção. No próximo capítulo, abordam-se as declarações autobiográficas de Isócrates, usando-se para tanto da teoria retórica contemporânea quanto dos escritos isocráticos, mostrando seu caráter tópico. O objetivo é mostrar como Isócrates constrói uma imagem de si para ganhar a confiança de seu público. No final deste trabalho, apresentamos uma tradução em protuguês do Panatenaico. / The subject of this text is the Panathenaicus, a work by the Athenian Isocrates. The speech at first presents itself as en eulogy of Athens and a reproach of Sparta. Great part of the interest in the text lies on the final section, where we find a dialogue between Isocrates and one of his ancient students. After reviewing the major interpretative lines, we proceed to an analysis and interpretation of the section. In the next chapter, the autobiographical statements of Isocrates in its works are analysed according the contemporary rhetorical theory and the author\'s own writings. Our aim in this section is to show that Isocrates\' self-description is a rhetorical proceeding intended to win over the readers. Finally, at the end of this work, it is presented a translation of the Panathenaicus.

[NO ABSTRACT PRESENT]

O presente trabalho procura contemplar a representação da figura que tradicionalmente conhecemos pelo nome de ortônimo, dentro da obra de Fernando Pessoa. Segundo os mais recentes estudos sobre o assunto, esse sujeito tem, na ficção heteronímica, um estatuto semelhante ao de Caeiro, Campos ou Reis. Nossa hipótese vai no sentido contrário e defende que, diferentemente dessas três personagens, o ortônimo é portador de uma dupla natureza compartilhando, ao mesmo tempo, o estatuto de autor e personagem. Para explicar como isso se dá fazemos uma análise dividida em duas partes. Na primeira, nos detemos na prosa de Pessoa, procurando delimitar o papel do ortônimo dentro da ficção heteronímica. Na segunda, fazemos um estudo comparativo entre certos aspectos da poesia heteronímica e ortonímica, procurando mostrar como estatuto do eu que fala nessa última se afasta do mundo ideal dos heterônimos para figurar uma experiência literária que, em última instância, propõe uma reflexão a respeito do papel do autor dentro da obra. / This thesis contemplates the representation of the orthonym in Fernando Pessoa´s poetic work. Recent studies defend the idea that it should have, in Pessoa´s fiction, the same status as the others heteronyms, Caeiro, Reis e Campos. We, however, disagree with that approach. Instead, we believe that the orthonym has a double status and can be understood also as a representation of the author in Pessoa´s work. In order to explain how this is possible, we make an analysis in two parts. First, we study Pessoa´s prose, trying to understand what is the orthonimic´s role in the heteronimic´s fiction. Then we make a comparative study of certain aspects of Pessoa´s poetry. Doing so, we intent to show that, while the heteronyms are represented as pure literary beings, the orthonym depicts the author´s literary experience.

Orientador: Adalberto Luis Vicente / Banca: Guacira Marcondes Machado Leite / Banca: Márcio Roberto do Prado / Resumo: Gaspard de la Nuit, obra póstuma de Aloysius Bertrand, ficou por muito tempo desconhecido do público em geral antes que os estudos em torno de sua forma poética lhe restituíssem a devida importância. Contudo, só atualmente têm surgido análises que versam a respeito de sua temática, não menos complexa do que os meandros do poema em prosa. O medievalismo de Bertrand, dessa forma, mostra-se muito mais rico do que aquele que entrara em voga na década de 1830 na França, não só pela riqueza de detalhes (muito longe de um simples pitoresco), mas sobretudo pela forma como se dispõem através de sua imagética. A forte presença de tensões em todos os níveis do poema bertrandiano levou-nos ao estudo mais apurado do caráter grotesco nas suas imagens poéticas. Considerando os diversos estudos teóricos acerca do grotesco, buscamos destacar a sua significação tanto no Romantismo quanto na Idade Média (antes mesmo da existência do termo), visando sua confluência no Gaspard, de forma a compreender como as dissonâncias do grotesco permitem ao poeta o restabelecimento de uma realidade plena / Abstract: Gaspard de la Nuit, posthumous work of Aloysius Bertrand, was for a long time unknown to the public before the studies around his poetic form restituted its adequate importance. However, only today emerged analyzes that talk specifically about its theme, not less complex than the prose poem's intricacies. Bertrand's medievalism shows up much richer than the form that come into vogue in the 1830s in France, not only by the richness of detail (far from a simple form of picturesque), but especially by the way they feature through his imagery. The strong presence of tensions at all levels of Bertrand's poem took us to an accurate study of the grotesque character of his poetic images. Considering the many theoretical studies about the grotesque, we seek to highlight its significance both in Romanticism as in the Middle Ages (when the term do not exist), to its confluence in Gaspard, in order to understand how the grotesque's dissonance allow the poet the reestablishment of a plenary reality / Mestre