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Universiẗat, Diss., 2004--Regensburg.

The nineteenth and twentieth centuries saw the development of technologies for externalizing human memory beyond writing, painting, and sculpting. These modes of visual representation, namely photography and cinema carried with them a purported objective representation of reality, which has been used to create classifications, divide people groups, and construct grand historical narratives used to marginalize those that do not fit within the hegemonic center. Looking to the works of writer W.G. Sebald, and filmmaker Chris Marker, we see a complication of the divide between visual and verbal texts, as each artist deconstructs their own medium’s conventions. Using theories of ekphrasis to draw connections between verbal and visual representation, we see how Sebald and Marker explore notions of memory, identity, and history as they struggle with the impossibility of representing the great traumas of the twentieth century.

Located on the interstice between Media Studies and Literary Theory, my dissertation explores the emerging genre of photo-fiction -- literary works that incorporate photographic images into the manuscripts -- and its impact on the commemoration of traumatic historical events. I argue that the way we represent and remember historical traumas is dependent on the media in which images emanating from these events are produced and circulated; put differently, the context of these images shapes our engagement with them. By examining literary works that incorporate photographs into their printed text, I explore textual and visual representations of historical trauma (such as the two World Wars, the Balkan wars of the Nineties, and 9/11). The authors whose works I analyze (Jonathan Safran Foer, Aleksandar Hemon, W.G. Sebald) grant photography a new status: the inserted images transcend traditional “authentification strategies” and draw attention to the convergence of realism and indexicality featured by these photographs. These authors’ employment of photographs from various media (television, internet, printed press, encyclopedias and archives) questions not only the technical qualities of each medium but the veracity and accuracy of evidence. Photography’s capacity to secure and store information is put radically into question, not only because the new contexts of these images, but because of the manipulations and reconfigurations the movement between media has brought about. Drawing on Walter Benjamin’s concept of the literary montage, I suggest that literature provides an apt arena to examine the reception to images. By literary montage I mean the opening up of a new dimension in which visual and verbal elements are juxtaposed, and the disjunctions and gaps between them encourage readers to become active participants in the creation of narrative. Photo-fiction’s interplay between images and texts therefore not only sheds light on the mechanics of representation, but demand from its audience to reflect on the way we interpret and respond to historical traumas in a society saturated with images.

Located on the interstice between Media Studies and Literary Theory, my dissertation explores the emerging genre of photo-fiction -- literary works that incorporate photographic images into the manuscripts -- and its impact on the commemoration of traumatic historical events. I argue that the way we represent and remember historical traumas is dependent on the media in which images emanating from these events are produced and circulated; put differently, the context of these images shapes our engagement with them. By examining literary works that incorporate photographs into their printed text, I explore textual and visual representations of historical trauma (such as the two World Wars, the Balkan wars of the Nineties, and 9/11). The authors whose works I analyze (Jonathan Safran Foer, Aleksandar Hemon, W.G. Sebald) grant photography a new status: the inserted images transcend traditional “authentification strategies” and draw attention to the convergence of realism and indexicality featured by these photographs. These authors’ employment of photographs from various media (television, internet, printed press, encyclopedias and archives) questions not only the technical qualities of each medium but the veracity and accuracy of evidence. Photography’s capacity to secure and store information is put radically into question, not only because the new contexts of these images, but because of the manipulations and reconfigurations the movement between media has brought about. Drawing on Walter Benjamin’s concept of the literary montage, I suggest that literature provides an apt arena to examine the reception to images. By literary montage I mean the opening up of a new dimension in which visual and verbal elements are juxtaposed, and the disjunctions and gaps between them encourage readers to become active participants in the creation of narrative. Photo-fiction’s interplay between images and texts therefore not only sheds light on the mechanics of representation, but demand from its audience to reflect on the way we interpret and respond to historical traumas in a society saturated with images.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012 / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2012-04-18T14:08:53Z No. of bitstreams: 1 2012_LarissaSilvaNascimento.pdf: 3069035 bytes, checksum: 95f66d67a6c2b2cafacbf7aeea0962ae (MD5) / Approved for entry into archive by Leila Fernandes (leilabiblio@yahoo.com.br) on 2012-04-18T17:29:22Z (GMT) No. of bitstreams: 1 2012_LarissaSilvaNascimento.pdf: 3069035 bytes, checksum: 95f66d67a6c2b2cafacbf7aeea0962ae (MD5) / Made available in DSpace on 2012-04-18T17:29:22Z (GMT). No. of bitstreams: 1 2012_LarissaSilvaNascimento.pdf: 3069035 bytes, checksum: 95f66d67a6c2b2cafacbf7aeea0962ae (MD5) / Esta dissertação tem por objetivo evidenciar a expansão das possibilidades representativas que ocorre na literatura sobre o Holocausto. Para tanto, analisam-se dois livros – a obra Maus, escrita por Art Spiegelman, um romance gráfico no qual há uma inexorável interação entre imagem e texto, e o romance Os emigrantes, de W. G. Sebald, no qual também existe um diálogo entre fotografias selecionadas pelo autor e prosa literária – procurando-se investigar como esses textos ultrapassam aqueles discursos padronizados, o lugar-comum, que rondam as representações do Holocausto. Apesar de reconhecer e, ainda, de analisar os discursos que ressaltam os aspectos irrepresentáveis do evento em questão, este trabalho caminha em sentido contrário ao assinalar as novas possibilidades de representação do tema que surgem com a atualização dos meios de comunicação e das mídias na sociedade ocidental contemporânea. Essas mudanças notórias, como a ascensão da imagem como uma forma de expressão que antecipa o declínio da leitura linear da escrita, acontecem desde o imediato pós-guerra (meados de 1940), e isso se reflete na expressão da literatura que tem o Holocausto como objeto de representação. Graças a este estudo, pode-se notar que a ampliação das formas de representação do Holocausto se dá de forma mais evidente a partir da inclusão da imagem junto ao texto literário. É importante compreender também que, assim como se deu a expansão da forma literária, com a inserção de imagens, seu conteúdo, ou seja, a referência a sentimentos, tempos, espaços e vítimas do Holocausto, sofreu, igualmente, evidente ampliação. No que se refere às obras estudadas, Maus e Os emigrantes demonstram que o Holocausto ultrapassa o período da Segunda Guerra Mundial, de 1939-1945. Além disso, elas põem em evidência outros lugares em que a repressão nazista esteve presente que não só os campos de concentração, como também ressaltam a existência de inusitadas vítimas, por exemplo, emigrantes que fugiram da perseguição hitlerista. ____________________________________________________________________________ ABSTRACT / This work aims to evidence the expansion of representative possibilities that occurs in the literature about the Holocaust. For this, two books will be analyzed – the book Maus, written by Art Spiegelman, a graphic novel in which there is an inevitable interaction between image and text, and the novel The emigrants, written by W. G. Sebald, in which there is also a dialogue between photographs selected by the author and literary prose – seeking to investigate how these texts beyond those standardized discourse, the commonplace, that surround the representations of the Holocaust. Despite of recognize and, also, analyze the discourses that highlight aspects unrepresentable of the Holocaust, this work is moving in the opposite direction to signal the new possibilities of representation of the theme that come with the update of media of the contemporary occidental society. These remarkable changes, as the rise of the image as a form of expression that anticipates the decline of reading linear writing, have been held since the immediate post-war (Mid 1940), and this reflects in the expression of literature that has the Holocaust as representation object. Thanks to this study, it may be noted that the expansion of forms of representation of the Holocaust takes more evident from the inclusion of the image with the literary text. It is also important to understand that just as the expansion of the literary form with the inclusion of the image, the content, namely, the reference to feelings, time, space and Holocaust victims, suffered equally clear magnification. With regard to the works studied, Maus and The emigrants show that the Holocaust exceeded the period of World War II, of 1939-1945. Moreover, they highlight other places where the Nazi repression was present that not only the concentration camps, they also show the existence of unexpected victims, for example, immigrants who fled Hitler persecution.

This dissertation analyzes how twentieth- and early twenty-first- century novelists respond to the English landscape through their presentation of narrative and their experiments with novelistic form. Opening with a discussion of the English planning movement, "Narrative Topography" reveals how shifting perceptions of the structure of English space affect the content and form of the contemporary novel. The first chapter investigates literary responses to the English landscape between the World Wars, a period characterized by rapid suburban growth. It reveals how Virginia Woolf, in Mrs. Dalloway and Between the Acts, reconsiders which narrative choices might be appropriate for mobilizing and critiquing arguments about the relationship between city, country, and suburb. The following chapters focus on responses to the English landscape during the present era. The second chapter argues that W. G. Sebald, in The Rings of Saturn, constructs rural Norfolk and Suffolk as containing landscapes of horror--spaces riddled with sinkholes that lead his narrator to think about near and distant acts of violence. As Sebald intimates that this forms a porous "landscape" in its own right, he draws attention to the fallibility of representation and the erosion of cultural memory. The third chapter focuses on Kazuo Ishiguro's Never Let Me Go, a novel in which a cloned human being uses descriptions of landscape to express and, more often, to suppress the physical and emotional pain associated with her position in society. By emphasizing his narrator's proclivity towards euphemism and pastiche, Ishiguro intimates that, in an era of mechanical and genetic reproduction, reliance on perspectives formed in past and imagined futures can be quite deadly. The fourth chapter analyzes Ian McEwan's post 9/11 novel, Saturday--a reworking of Woolf's Mrs. Dalloway. In reading these two novels side-by-side, it reveals how London, its suburbs, and the English countryside might be imagined differently in the contemporary consciousness. Together these chapters investigate why novelistic treatments of the English landscape might interest contemporary readers who live outside England (and/or read these works in translation), especially during an era in which the English landscape has ceased to function as the real or metaphorical center of empire.

Cette thèse consacrée à Die Ausgewanderten de W.G. Sebald (1992) procède à une étude microscopique et détaillée de l'écriture dans sa singularité, une radiographie du texte et de sa matérialité hétérogène. L'étude montre la structure binaire sous-jacente de l'ouvrage, la complexité des stratégies stylistiques et narratives, la manière dont le signifiant se soumet à l'impératif catégorique du signifié mais aussi la prééminence de signes tangentiels et obliques ; elle s'intéresse également à la singularité de l'enchaînement des discours rapportés et met en lumière le geste mélancolique du narrateur sébaldien. Il apparaît que l'intertextualité revêt une spécificité particulière puisque la polyphonie sébaldienne est orientée différemment de celle envisagée par M. Bakhtine. La deuxième partie s'attache à étudier la critique de la civilisation (Kulturkritik) dans une œuvre fortement marquée par la constellation idéologique de l'École de Francfort et plus précisément par " La Dialectique de la Raison " de Horkheimer et d'Adorno. La prose allemande muséale de l'auteur, qui rappelle celle d'Adalbert Stifter mais aussi, par ses emboîtements narratifs, emprunte la virtuosité bernhardienne, est incrustée de " moments " de bonheur ou de beauté qui mettent en évidence et soulignent l'inouï du monde concentrationnaire. Les thématiques de l'exil et du pays natal sont au centre des intérêts de la troisième partie. L'étude s'attache à montrer que l'ouvrage réécrit en quelque sorte une littérature de l'exil que l'auteur, professeur de littérature de langue allemande, a eu l'occasion de fréquenter mais aussi d'analyser. C'est un " chœur d'exilés " qui se fait entendre dans Die Ausgewanderten et qui manifeste la tragédie de l'homme moderne.

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007. / Includes bibliographical references (p. 38-39).