Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form. / Short stories and novel excerpt / 2031-01-01T00:00:00Z

Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form. / 2031-01-02

This thesis consists of three short stories dealing with loss. "A Solemn Music" depicts Frederick's attempt to maintain his comfortable life apart from Nature, which, in the form of cicadas, is bent on moving him from his complacency. "The Waker" explores Floyd's reactions to the death of a girlfriend. "Appetites" relates the story of Allen's encounter with a beauty pageant queen and his subsequent attempt to begin a relationship with her.

Orientador: Marco Antônio Domingues Sant'Anna / Banca: Alice Atsuko Matsuda / Banca: Cláudia Valéria Penavel Binato / Resumo: A presente pesquisa objetiva investigar a subversão do gênero do conto de fadas tradicional na obra No castelo que se vai, de Marina Colasanti, do livro Entre a espada e a Rosa (1992), a fim de explicitar o modo como a autora narra sua história para, através da linguagem, construir seu tema. Além da análise do conto, procedeu-se também a análise de um material de apoio à leitura, elaborado e oferecido pela Secretaria da Educação do Estado de São Paulo, em 2012, com o intuito de subsidiar o trabalho dos professores de língua portuguesa, para que estes promovam uma leitura prazerosa e competente. Pretende-se, nessa segunda análise, verificar se o material de apoio em questão contempla, por meio das estratégias de leitura propostas, um estudo da construção linguística do conto e da preparação de um simples leitor para o leitor-modelo, responsável e crítico, capaz de construir o sentido de modo autônomo e de argumentar sua recepção. O procedimento metodológico consta de duas etapas: a primeira corresponde à revisão bibliográfica e ao estudo de pressupostos teóricos sobre a leitura, o texto literário e o papel do leitor no texto literário. Para tanto, a pesquisa se pauta principalmente na teoria do Leitor Modelo, conceito abordado por Umberto Eco (1986) e na Estética da Recepção difundida na década de 1960, por meio das pesquisas de Hans Robert Jauss (1994) e Wolfgang Iser (1996). Na segunda etapa a pesquisa foi feita de forma qualitativa, já que esta permite ao pesquisador ter contato direto e prolongado com a situação que está sendo pesquisada, possibilitando-lhe vivenciar a realidade, fundamentada nos estudos de LÜDKE; ANDRÉ (1986). Para alcançar tal objetivo, foi aplicado um questionário sobre os hábitos de leitura dos alunos, junto com as estratégias de leitura propostas por Bignotto (2012), inspiradas em Isabel Solé (1998). A coleta dos dados se deu por meio... / Abstract: Not available / Mestre

abstract: Set in the former Yugoslavia, contemporary Bosnia and Herzegovina, and Midwest America, the collection of short stories follows the complicated trajectory of war-survivor to refugee and, then, immigrant. These stories---about religious prisoners who are not at all religious, about young, philosophizing boys tempting the bullets of snipers, about men retracing their fathers' steps over bridges that no longer exist---grapple with memory, imagination, and the nature of art, and explore the notion of writer as witness. / Dissertation/Thesis / M.F.A. Creative Writing 2013

The main aim of this study is to assess and analyse Mashike’s short stories. No one has ever done a research on Mashike’s work in terms of displaying various structural elements such as characterisation, plot, theme, style as well as setting. It is therefore fit that a research be conducted that will demonstrate Mashike’s artistry in the writing of short stories. / Ms. R Mokgathi

Dit is reeds deur andere gese: dat die "vernuwing van Sestig" in die Afrikaanse prosa die Afrikaanse prosakritiek tot bestekname gedwing het soos die vernuwing in die poësie van Dertig die kritiek van daardie tyd. En waar die vernuwing in die prosa ook op die gebied van die kort prosakuns so duidelik op die voorgrond was, kan daar wel gevra word: hoe geldig is die teorieDit is reeds deur andere gess: dat die "vernuwing van Sestig" in die Afrikaanse prosa die Afrikaanse prosakritiek tot bestekname gedwing het soos die vernuwing in die poesie van Dertig die kritiek van daardie tyd. 2 En waar die vernuwing in die prosa ook op die gebied van die kort prosakuns so duidelik op die voorgrond was, kan daar wel gevra word: hoe geldig is die teorieë wat in Afrikaans so eksplisit oor die "kortverhaal" opgestel is vir die nuwer Afrikaanse verhaalkuns? en daarby: hoe geldig is die nuwer, meer teksgerigte beskouings in Afrikaans? Die vraag is die kern van die huidige studie.

This study is concerned with a particular kind of short story in South African English literature - a kind of story variously called the fireside tale, tall tale, yarn, skaz narrative, frame narrative, or (the term used in this study), the 'oral-sty Ie story.' This kind of story is characterised by the use of an internal narrator (a fictional narrator or storyteller figure), the cadences of his or her speaking voice, and a 'reporting' frame narrator. Stories by A. W. Drayson, Frederick Boyle, J. Forsyth Ingram, W. C. Scully, Percy FitzPatrick, Ernest Glanville, Perceval Gibbon, Francis Carey Slater, Pauline Smith, Aegidius Jean Blignaut and Herman Charles Bosman form the principal body of primary sources examined in this study. The Bakhtinian notion of "simple" and "parodistic" skaz narratives is deployed to analyse the increasing complexity to be discerned in the works by these writers, which roughly span the 100 years from the middle of the nineteenth century to the middle of the present century. A "simple" use of the skaz narrative is evident in the early or 'ur-South African' oral-style story, represented here by Drayson, Boyle and Ingram. With Scully and FitzPatrick the form is still used 'artlessly,' although the beginnings of a greater self-consciousness can be discerned. The' Abe Pike' tales by Glanville introduce a more complex use of the fictional narrator, a process taken a step further by Gibbon in his 'Vrouw Grobelaar' tales. With the latter, in particular, the complex or "parodistic" skaz narrative makes its advent in South African literature. The oral-style stories of Slater and Smith are largely a regression to the ear lier form, although there are aspects of their stories which anticipate Bosman. With Blignaut and Bosman, however, the South African oral-style story comes into its own. In their Hottentot Ruiter and Oom Schalk Lourens characters is invested all the complexity and 'double-voicedness' that was latent, and largely dormant, in the earlier oral-style narratives. Through Blignaut, and Bosman in particular, the South African oral-style story achieves its most economical, sophisticated and successful form of expression. The study concludes by looking briefly at the use of an oral style in short stories by black South African writers and argues that their stories are not, formally speaking, to be categorised alongside those by the other~ writers examined. The oral-style story, the study concludes, achieved its apogee in Bosman's Oom Schalk Lourens sequence and went into sharp decline after Bosman's death in 1951.

No description available.

This is a collection of short stories linked by place and subject. I rely on concrete details, rhythm and tone to create the place and setting of the Tivoli Bay, which acts as a central force in the lives of the characters. The characters are drawn to the bay and to one another by the neediness of secrets.