Orientador: Maria das Graças Gomes Villa da Silva / Banca: Alzira Leite Vieira Allegro / Banca: Maria Lucia Outeiro Fernandes / Resumo: Este trabalho tem como objetivo demonstrar que o ponto central unificador dos contos "Chaddeleys and Flemings" e "The Moons of Jupiter", do volume The Moons of Jupiter, de Alice Munro, é o uso das associações que ligam o retorno ao passado através da narrativa de uma protagonista adulta, que reconta alguns fatos ocorridos em sua infância e em sua vida familiar. Nesta trajetória, o que é revelado é o conflito feminino na busca por outros papeis além de esposa e mãe. As estratégias narrativas usadas pela autora canadense para obter este resultado estão fundamentadas no uso da memória por suas personagens. Para demonstrar como isso funciona no texto de Munro, os estudos freudianos são utilizados na análise, enfatizando o trabalho e a força do inconsciente manifesta no exercício de anamnese da protagonista-narradora. / Abstract: This thesis aims to demonstrate that the unifying central point of the short stories "Chaddeleys and Flemings" and "The Moons of Jupiter", from the volume The Moons of Jupiter, by Alice Munro, is the use of associations that link the return to the past through the narrative of the adult protagonist, who retells some facts occurred in childhood and those related to family life. In this trajectory, what is revealed is the women's conflict by seeking other roles than that of wife and mother. The narrative strategies used by the Canadian author to achieve this result are founded in the use of memory by her characters. To show how that works in Munro's text, Freudian studies are used in the analysis, emphasizing the work of the unconscious force manifested in the exercise of anamnesis of the protagonist-narrator. / Mestre

Orientador: Arnaldo Cortina / Banca: Luiz Gonzaga Marchezan / Banca: Tieko Yamaguchi Miyazaki / Resumo: Este trabalho pretende apresentar a imagem do leitor configurada nos contos de Machado de Assis. Busca-se, a partir da imagem materializada do leitor presente nos contos, (re)construir seu perfil elaborado no instante da enunciação. Para a realização dessa análise proposta, são considerados somente os contos machadianos em que o sujeito para quem o enunciador se dirige é materializado no discurso. O suporte teórico empregado para a conformação do perfil desse leitor é a semiótica greimasiana. Os elementos focalizados na análise dos contos foram as relações estabelecidas no discurso entre enunciação e enunciado e as projeções do enunciatário no enunciado - visto, então, como narratário. Também houve a preocupação de abordar os recursos argumentativos empregados, os temas e as figuras recorrentes e o emprego da intertextualidade como elementos indicadores do perfil do leitor machadiano. Da análise dos contos, emergem perfis de leitores: o primeiro deles é o leitor afeito ao sentimentalismo romântico - a ele as referências são sempre rápidas e superficiais. O segundo modelo de leitor é aquele que Machado de Assis busca constituir para a nova literatura que inaugura, livre das amarras da narrativa convencional do início do século XIX. É um leitor que é elaborado para ser crítico dos tipos humanos ou de flagrantes da vida. Presente como testemunha ficcional, recebe do narrador detalhes pormenorizados da narrativa que lhe permitem localizar-se diante dos fatos apresentados. Esses são talhados para corresponder às expectativas desse leitor. Ao mesmo tempo em que o narrador conquista a sua confiança, demonstra sutilmente a necessidade de se ter uma postura reflexiva e crítica diante dos episódios narrados. Esse mesmo leitor, além de elaborado para ser um crítico dos valores humanos e sociais a ele apresentados, em alguns contos, é constituído... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work intends to present the reader's profile of Machado de Assis' short stories. The researched data compiled to establish the corpus of this work was made through the short stories that present a concrete image of their readers. The theoretical plateau adopted to create the Machado de Assis' short stories reader was based from the Paris School of semiotics. For the analysis of the reading matter, it were chosen the exam of the manifestations of the discourse enunciation, the projection of the enunciator and the enunciate. Also it had the concern to approach the recurrent resources employees, subjects and figures as indicating elements of the profile of the Machado's reader. There are two profiles of readers. The first one is the typical reader of the romantic novels - their references are always fast and superficial. The other one is the kind of reader that Machado de Assis would like to conform for the new literature that he begins, different from the conventional literature of the beginning of nineteenth. These readers are elaborated to be critical of the human types or instants of life. They are fictional witness and they receive the details of the stories that allow them to be situated ahead of the facts. The short stories elements correspond to the expectations of these readers, so the narrator conquests their confidence. Together, both of them are able to have a critical vision of the episodes. The readers are conformed to be a critical idea of the human and social values too and they are configured to recognize the artificial narrative procedures. The narrator establishes a metalinguistic dialogue in which discusses the resources used and he refers the readers to a text that turns on itself, on its own materiality. Thus also produces a reader capable of building, beside the writer, a modern literature free of charge model of fictional texts. / Mestre

All the Place You’ve Got is a collection of short stories inspired by and set in the author’s hometown of Warner Robins; Georgia. This is a work of fiction. Names, places, occurrences, and characters are either a product of the authors imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. The title is a partial quote of dialogue stated by Hazel Motes, the protagonist of Flannery O’Connor’s first novel Wise Blood. The full quote reads, “In yourself right now is all the place you’ve got.” This collection of stories was built as a direct antithetical response to O’Connor’s representation of dialogic salvation and visions of the divine, a central concern, stemming from dedicated Catholic belief, of her body of work. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

The following manuscript is a collection of eight short stories that center on the theme of how stories and storytelling, in all their different forms, fill our lives. In one story a girl that lives in other people's houses, longs to tell her story, while in another story a girl struggles with a secret her grandmother leaves behind as she tries to reconstruct her grandmother's story. Some stories use magical and fairy tale-like elements, which work as allusions in the stories and echo the events happening in characters' lives. Another theme present in the collection is that of family and how familial relationships affect identity and self-discovery. In one story, a wildfire allows the stories of different generations to be told, while a widow builds a family out of the aftermath of her husband's death in a different story. / by Khristian Mecom. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web. FboU

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / Machado de Assis, nas coletâneas de contos intituladas Papéis avulsos e Várias histórias, faz repetidas alusões à ficção e ao fazer ficcional, o que leva a pensar na possibilidade da escolha intencional de um eixo temático que percorra as narrativas, permitindo que sejam lidas na compreensão dessa intencionalidade, o que confere ao conjunto uma característica autorreferencial. As evocações de Diderot, Merimée e Edgar Allan Poe nessas famílias de contos situam literariamente um entendimento da ficção que a distingue do engano e da fraude, ao mesmo tempo em que não nega sua força e variedade de usos, enquanto supõe futuros e por vezes obscuros caminhos para os prazeres da sensação estética. No decorrer desta Tese procuro provar que o autor escolhe a narrativa curta para discorrer sobre o fazer ficcional, sendo esse tema um a mais dentre outros, apuradamente ordenados em camadas que não apenas se superpõem, mas interpenetram e reafirmam variadas vertentes de fios narrativos. Machado conta histórias, enquanto trata do próprio ato de contar, dos efeitos e da necessidade da ficção enquanto isso, reafirma-a como instrumento para a intelectualidade, num mundo onde a objetividade cartesiana já não supõe os olhos como fiéis receptores da realidade, mas precisa de outras maneiras de ver e de sentir / Machado de Assis, in the series of short stories entitled Separate Sheets and Several Stories, makes repeated allusions to fiction and fictional deeds, which leads us to consider the possibility of intentional choice of a thematic axis which flows through the narratives, allowing the intentionality of the plots to be read and clearly understood, bestowing a referential characteristic on the whole set. The evocations of these clusters of tales done by Diderot, Merimée and Edgar Allan Poe lie literally on the perception that distinguishes between deceit and fraud, at the same time they dont deny the strength and variety of uses by cluing about future and, sometimes, obscure paths to the pleasure of aesthetic sensations. Throughout this thesis, I try to prove the author chooses the short narrative to discourse upon fictional deeds, and this theme is a plus among others, and accurately arranged in layers that not only overlap, but interpenetrate and reaffirm different strands of the narrative web. Machado tells stories while dealing with the very act of fact-reporting - the effects and necessity of fiction. Meanwhile, he reaffirms it as a tool for the intelligentsia, in a world where the Cartesian objectivity, no longer, regards eyes as faithful receivers of reality, but the fact that we need other ways of seeing and feeling

Orientador: Edna Maria Fernandes dos Santos Nascimento / Banca: Elizabeth Harkot-de-La-Taille / Banca: Maria de Lourdes Ortiz Gandini Baldan / Banca: Matheus Nogueira Schwartzmann / Banca: Vera Lucia Rodella Abriata / Resumo: Fundamentada nos pressupostos da Semiótica Francesa, a presente pesquisa tem como corpus contos do autor brasileiro contemporâneo Rubem Fonseca presentes nos livros Feliz ano novo, com a primeira publicação no ano de 1975, Amálgama, publicado em 2013, e Calibre 22, lançado em 2017. Pretende-se investigar como se configuram as formas de vida dos atores do enunciado, os quais como sujeitos do nível narrativo se encontram em sincretismo com os narradores dos contos, e que executam performances que rompem com os comportamentos em uso requeridos por determinado grupo social e instauram um modo de ser individual; assim como os acontecimentos, na perspectiva da semiótica tensiva, que abalam as práticas semióticas estabelecidas e permitem entrever novas formas de vida, baseadas no confronto entre uma moral social e uma ética pessoal. Observa-se que há um desencontro entre o ser e o parecer desses sujeitos, bem como um conflito entre a moral coletiva e a ética pessoal, o que coloca em relação formas de vida convencionais e subversivas. A pesquisa baseia-se na hipótese de que tais acontecimentos, representantes de fatos absurdos do ponto de vista da moral social, irrompem no âmbito da enunciação, atingindo, principalmente, o enunciatário-leitor. Ademais, a recorrência de determinadas características, como a representação de situações inusitadas e absurdas, permitiria identificar a forma de vida do insólito como modo de ser da produção artística do ator da enunciação Rubem Fonseca. Para... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Based on the assumptions of French Semiotics, the present research examines short stories by the Brazilian contemporary author Rubem Fonseca, the narratives having been selected from the books Feliz ano novo, first published in 1975, Amálgama, published in 2013, and Calibre 22, launched in 2017. The research intends to investigate how the forms of life of the actors of the stories are configured, considering that those actors are subjects from the narrative level in syncretism with the narrators of the stories, subjects who execute performances that breach with the required behaviors in a particular social group and who establish an individual way of being. The research also intends to investigate the events, from the perspective of Tensive Semiotics, which undermine the established semiotic practices and permit to glimpse new forms of life, based on the conflict between a social morality and a personal ethic. In this way, we observe that there is a disagreement between the being and the appearing of these subjects, as well as a conflict between the social morality and the personal ethic, what finally puts into perspective conventional and subversive forms of life. The study bases itself on the hypothesis that the events, which are representative of the absurd facts seen from the point of view of social morality, irrupt in the sphere of enunciation especially achieving the enunciatee-reader. Moreover, the recurrence of certain characteristics, such as the representation of un... (Complete abstract click electronic access below) / Résumé: Établie par les hypothèses de la théorie Sémiotique Française, cette recherche a comme corpus les contes de l'auteur brésilien contemporain Rubem Fonseca dans les livres Feliz ano novo, publié en 1975, Amálgama, publié en 2013 et Calibre 22, publié en 2017. Par conséquent, nous avons comme but d'investiguer comment se configurent les formes de vie des acteurs dans les contes qui, en tant que sujets du niveau narratif, sont en syncrétisme avec les narrateurs des récits et qui exécutent des performances qui rompent avec les comportements requis en service à un certain groupe social et instaurent un mode d'être individuel ; ainsi bien que les événements, selon la perspective de la Sémiotique Tensive, qui déséquilibrent les pratiques sémiotiques établies et permettent d'entrevoir les nouvelles formes de vie, fondées sur la confrontation entre une morale sociale et une éthique personnelle. Par ailleurs, on peut observer un décalage entre l'être et le paraître de ces sujets, ainsi qu'un conflit entre la morale collective et l'éthique personnelle, qui se rapporte aux formes de vie conventionnelles et subversives. La recherche repose sur l'hypothèse de que tels événements, représentant des faits absurdes du point de vue de la morale sociale, éclatent dans le cadre de l'énonciation, atteignant surtout l'énonciataire-lecteur. En outre, la récurrence de certaines caractéristiques, telles que la représentation de situations inhabituelles et absurdes, permettrait d'identifier la forme de ... (Résumé complet accès életronique ci-dessous) / Doutor

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A linked collection featuring a young gay man -- the son of a black mother and a Mexican father -- coming of age in contemporary Houston.

A collection of short fiction set in and around Southern California.

How We Live Today is a collection of stories about family connections and the process of making amends to keep a family whole. The families are not just traditional families, but also arrangements constructed out of necessity, circumstance, or convenience. The title story tells how a man ends a lengthy divide with a stepmother for the sake of her, his son, and ultimately himself. We see adolescents do the right thing in their circumstances at the risk of losing peer standing or to avert future social damage. An older golfer encourages a younger golfer, easing guilt but realizing that respect for the game ties golfers together. A young professional steps outside of his bounds to help a family of necessity, a group of gay men stricken during the first AIDS outbreak. Another man erases anxiety by dismissing the differences he has perceived in his relationship with his son. And finally, a young man sinks irretrievably into self-destruction over broken family ties.