Earl suffers from a guilty obsession with a monster catfish. Eddie Klomp searches dog tracks for the ghosts of his lost childhood. Mike Towns is a hopeless blues musician who loses everything he cares for. Blair Evans learns to love a pesky wart. Americana becomes confused with the difference between knowledge and sex. Do Not Eat Fish from These Waters And Other Stories is a collection of short stories that explores the strange and often defeated lives of these Southern characters (and one from the point-of-view of a feral hog). Each man, woman, and hog flails through a period of potential metamorphosis trying to find some sort of meaning and worth in the past, present and future. Not all of these characters succeed.

This paper is a collection of three short stories. A short preface discussing the origin of the tales precedes the stories. Fractions and Equations is the story of a love triangle. In this tale, the development of love between two people is told. There is no resolution in the tale. The second story, The Sailing of the Fantasy Cafe, tells of the operation of a book shop at Christmas time. The main characters in the story are described and several important incidents are also related. The tale ends with a Christmas party. The final story, And Penance More Must Do, deals with the life of a young teacher. The story begins in Africa and ends in America. During the course of the story the mind and heart of the main character are probed in detail.

Hemlock and Other Stories is a collection of short stories focusing primarily on the importance of geography and cultural identity in modern America. Other stories explore similar themes but contain international and/or historical settings. Ultimately, most characters in the selected stories must find ways to reconcile heritage with present-day demands.

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This collection consists of a critical preface and nine short stories. Extrapolating from the work and legacy of Michel Foucault, the preface theorizes a genre of “heterotopian fiction” as constitutive of a fundamentally ethical approach to narrative creativity, distinguishing its functional and methodological characteristics from works that privilege aesthetic, thematic, or technical artistry. The stories explore spaces of madness, alterity, incomprehensibility, and liminal experience. Collection includes the stories “Mexico,” “Civilizations without Boats,” The Widow’s Mother,” “Guys Like Us,” “Everything You’d Hoped It Would Be,” “A Concerned Friend,” “Crisis Hotline,” “Coast to Coast,” and “The Ghosts of Rich Men.”

The Glass Catamount is concerned with one James Frederick Curling, a young, up-and-coming senator from Delaware. As Curling moves up through his political party, suspicion of infidelity begins to rise to the surface as a woman from his past appears and claims to know intimate details about the senator. Her intentions are unknown, but as the senator's old friend and aide, Robertson Peters, finds himself drawn in by her stories, unsure if they are truth or fabrication, the longevity of the career of the senator, and possibly even his life, come into question. Themes of truth versus reality are dealt with throughout, and the act of sexual exploration and discovery is broken down and analyzed in the context of the senator's past and what he constructs as truth, whether it was always the way he claims or not. The glass catamount of the title is a symbol of the fragility and rarity of an understood self, appearing only briefly as it passes through the trees on its climb back up the mountain. / by Robert Slattery. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Electronic reproduction. Boca Raton, Fla., 2011.

In Rotten Oranges the characters explore the ramifications of relocation and various trapping of psychology. Each of the short stories presents pain piggybacking off of humor, in order to go spelunking in a field of study that does not deal with absolutes. The characters themselves try to illustrate the dangers of misdiagnosis and stereotypes. As a whole, the collection exhibits this sense of exaggerated realism, which focuses on spectacle and theatricality. A few of the stories access some magical qualities to deal with certain aspects of trauma. All of the pieces take place in Florida and utilize this setting's natural level of diversity and tropical allure. Florida's unshakeable connection to the twilight years, flamboyant tourism, and the possibility of a new life through immigration works perfectly in conjunction with the layers of pain and humor stacked throughout the collection. These characters live to inhabit the space between tears and laughter. / by Christina Ginfrida. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. / Content restricted to abstract and citation at the authors request

Orientador: Maria Célia de Moraes Leonel / Banca: Júlio César Franceschet / Banca: Antônio Donizeti Pires / Resumo: O tema da pesquisa é a construção do conceito de justiça em contos de Sagarana e de Primeiras estórias de Guimarães Rosa. O objetivo principal é levantar e analisar os modos como, nas narrativas selecionadas, o escritor apresenta a questão da justiça. Interessa verificar também se o tratamento dessa matéria coaduna-se com o ambiente sócio-histórico representado nas composições. Para tanto, a dissertação ocupa-se com a análise de elementos narrativos, como a história, o narrador, as personagens e o espaço social. O corpus do trabalho é constituído pelas seguintes narrativas: "O burrinho pedrês", "Duelo", "São Marcos", "Corpo fechado", "Conversa de bois" e "A hora e vez de Augusto Matraga", de Sagarana, e "Os irmãos Dagobé" e "Fatalidade" de Primeiras estórias. Percebemos que a justiça construída nos contos tem, geralmente, duas formas de manifestação: a justiça humana, realizada pelas próprias mãos das personagens, tendo em vista que o Estado não está presente no sertão; e a justiça divina, chamada de providência de Deus, que rege muitos dos acontecimentos das histórias. O embasamento teórico da pesquisa é agrupado em três linhas: primeiramente, crítica sobre a produção rosiana em geral, como "De Sagarana a Grande sertão: veredas" de Benedito Nunes, em que o autor apresenta um panorama dos três primeiros livros de Guimarães Rosa, de certa maneira introduzindo-nos na compreensão do geral, e mais particularmente, a crítica sobre nosso corpus como, por exemplo, Fórmula e fábula de Willi Bolle, em que o crítico aponta como características das narrativas de Sagarana, o moralismo e o conservadorismo, de maneira que, sempre que um fato de valor considerado moralmente negativo ocorre na história, uma sanção é estabelecida (seja ela de justiça divina ou de mão própria); em segundo lugar, textos que tratam do tema da justiça abordado nos contos, como Estudos de... / Résumé: Le sujet de la recherche est la construction de la notion de justice dans les contes de Sagarana et Primeiras estórias de Guimarães Rosa. L'objectif principal est vérifier et analyser la façon dont, dans les récits sélectionnés, l'écrivain présente la question de la justice. Il est également important de vérifier que le traitement de cette question est compatible avec l'espace socio-historique représenté dans les compositions. Par conséquent, la thèse porte sur l'analyse des éléments narratifs, comme l'histoire, le narrateur, les personnages et l'espace social. Le corpus comprend les récits suivants: "O burrinho pedrês", "Duelo", "São Marcos", "Corpo fechado", "Conversa de bois" et "A hora e vez de Augusto Matraga" de Sagarana, et "Os irmãos Dagobé" et "Fatalidade" de Primeiras estórias. Nous nous rendons compte que la justice construite dans les histoires ont généralement deux formes de manifestation: la justice humaine, tenue par les mains des personnages, parce que l'État n'est pas présent dans le sertão; et de la justice divine, appelée de providence de Dieu, qui gouverne la plupart des événements des histoires. La base théorique de la recherche é regroupée en trois lignes: d'abord, critiques à propos de la production de Rosa en général, tels que "De Sagarana a Grande sertão: veredas" de Benedito Nunes, dans lequel l'auteur présente un aperçu des trois premiers livres de Guimarães Rosa, comme une compréhension du général et, plus particulièrement, la critique de notre corpus, par exemple, Fórmula e fábula de Willi Bolle, où l'écrivain expose que les caractéristiques des récits de Sagarana sont le moralisme et le conservatisme, de sorte que, chaque fois qu'un fait moralement négative est considéré dans l'histoire, une pénalité est établie (si la justice divine ou la humaine); deuxièmement, les textes traitant de la question de la justice abordées dans des histoires, telles que... / Mestre

Orientador(a): Benedito Antunes / Banca: Alcmeno Bastos / Banca: Luiz Gonzaga Marchezan / Banca: Marcio Roberto Pereira / Banca: João Luís Cardoso Tápias Ceccantini / Resumo: Esta pesquisa aborda o aspecto performático de narradores e personagens concernentes à ficção do final do século XX e início deste século XXI. O cenário da era da imagem é o instigador desta investigação que pretende, por meio de teóricos como Debord, Baudrillard, Gabler e Llosa, apresentar uma leitura de alguns contos contemporâneos, especialmente de Rubem Fonseca, seguido de Sérgio Sant'Anna e Luiz Vilela e, para finalizar, de Marcelino Freire, cuja vida e obra se baralham na agitação cultural e na busca pela visibilidade midiática. À luz da civilização do espetáculo, deseja-se comprovar que muitos dos seres ficcionais percebidos nos contos desses autores como marginalizados, rejeitados e subjugados apreenderam as estratégias de sedução dos meios de comunicação de massa e as utilizam para metamorfosearem-se em seres capazes e decididos. Para tanto, a prioridade será observar mais as ações e dissimulações dos personagens e narradores frente à indústria do consumo que propriamente explorar o apelo sedutor dos meios de comunicação de massa com os quais mantêm uma estreita relação. Para o corpus foram selecionados os contos "Feliz ano novo" (1975), "O Cobrador" (1979) e "Hildete" (2002), de Rubem Fonseca, "Um discurso sobre o método" (1989) e "O embrulho da carne" (2003), de Sérgio Sant'Anna, "O suicida" (1970) e "A cabeça" (2002), de Luiz Vilela, e "A ponte, o horizonte" (2003) e "Socorrinho" (2005), de Marcelino Freire, porque agrupam aspectos da sociedade do espetáculo aos ... (Resumo completo, clicar acesso eletrônico abaixo) / The present research introduces the performative aspect of narrators and characters concerning to fiction of the late twentieth century and beginning of the twenty-first century. The scenery of the image age is the instigator of this investigation that aims, through theoretical as Debord, Baudrillard, Gabler and Llosa, to present a reading of some contemporary tales, especially of Rubem Fonseca, followed by Sérgio Sant'Anna and Luiz Vilela and, finally, by Marcelino Freire, whose life and work are shuffled in the cultural upheaval and search for media visibility. Based on the spectacle civilization, it is wanted to prove that many of the fictional beings perceived in the stories of these authors as marginalized, rejected and subjugated, seized the seduction strategies of the mass media and use them to metamorphose themselves into beings capable and determined. Therefore, the priority will be to watch over the actions and dissimulations of the characters and narrators before the industry of consumption, in order to properly exploring the seductive appeal of the mass media with which they have a close relationship. For the corpus were selected the tales "Feliz ano novo" (1975), "O Cobrador" (1979) and "Hildete" (2002), by Rubem Fonseca, "Um discurso sobre o método" (1989) and "O embrulho da carne" (2003), by Sergio Sant'Anna, "O suicida" (1970) and "A cabeça" (2002), by Luiz Vilela, and "A ponte, o horizonte" (2003) and "Socorrinho" (2005), by Marcelino Freire, because they group aspects ... (Complete abstract electronic access below) / Doutor