Liu Chia-mo (1814-1853), a native of Houguan in Fujian, once served as an educational instructor at Ningde and a school counselor in Taiwan Prefecture during the Daoguang and Hsienfeng reigns of the Ching Dynasty. Owing to a lack of relevant literature and access to his poetry, academics have not come up with any comprehensive study concerning Liu Chia-mo, his works and his social life. Therefore, this research was intended to construct the life story of Liu Chia-mo from the first-hand historical documents including Liu Chia-mo¡¦s works¡X First Draft by Waidingmoa Bridge Recluse, Dungyang Little Grass, Sword Poetry, Wandering Ambition in Crane Pen, Guanhai Chi, Haiyin Shi, Hsieh Chang-ting¡¦s Gambling Chess Villa Collection (Shi, Wen, Tsu, Tsu Words, Notebook), and the recently discovered Gambling Chess Villa Draft, Chang Chi-liang¡¦s Chang Heng-fu Collection, Si-Po-Tzu Hall Poetry, Huang Tsung-yi¡¦s Po-Suo Poetry, and Wei Hsiu-jen¡¦s Hai-Nan-Shan Hall Poetry. This dissertation takes realism in the poetry by Liu Chia-mo as its subject. It will demonstrate his patriotism, concern over the livelihood of civilians and responsibilities and expectations for the world mainly through the textual study of First Draft by Waidingmoa Bridge Recluse, Dungyang Little Grass, Guanhai Chi and Haiyin Shi. The Introduction section consists of a literature review of Liu Chia-mo and the characteristics of his poetry of realism. Chapter One briefly describes Liu Chia-mo¡¦s historical background in the spirit of knowing the person from the world. Chapter Two explores the life of Liu Chia-mo, his publication of poetry and literature, and his literary creativity with aside from his poetry. Chapter Three deals chiefly with First Draft by Waidingmoa Bridge Recluse to study his poetry on the Sino-British Opium War. Chapter Four examines Dungyang Little Grass together with Wandering Ambition in Crane Pen to study the poetry composed during his service as an educational instructor at Ningde. Chapter Five focuses on the discussion of Guanhai Chi and Haiyin Shi, two poetic texts composed by Liu Chia-mo during his service as a school counselor in Taiwan Prefecture that address social issues in the Chinese-dominated Taiwan society during the Daoguang and Hsienfeng reigns as an effort to cure social illness and improve public morality from a perspective of observing customs. An estimated total of 1,100 poems were composed by Liu Chia-mo, whose contents range from the Opium War, Taiwanese social traditions and customs, expressions of praise for matters in painting, landscape description, and family relationships and friendship. Characterized by detailed quotations, occasional dialectal usages and transformation of vulgarity into gracefulness, they are all works that express a love of native land. In its concluding section the paper briefly considers the contents of Liu¡¦s poetry as an effort to deepen the study of Liu Chiao-mo and Taiwanese literature.

This thesis explores the limits of fictional language by studying the work of Jewish American writer-critics, novelists who significantly engaged with literary criticism, and critics who experimented with the novel or short fiction. These writer-critics all believed in Literature: they believed that literature could effect social change and educate the masses; or they believed in literature as an art-form, one that exposed the myths underlying American society, or that revealed something fundamental about the human condition. Yet it is because they believed so stridently in the concept of Literature that they turned to non-fiction. Writing fiction exposed problems that Literature could not resolve. They describe being haunted by “preoccupations” that they could not exhaust in fiction alone. They apologetically refer to their critical texts as “by-products” of their creative writing. Writer-critics were forced to decide what the limits of fiction were, and they adopted other types of writing to supplement these unexpected gaps in fiction's power. This dissertation contains four chapters and an introduction. The introduction establishes the methodological difficulties in writing about author-critics, and introduces a set of principles to guide the study. Chapter 1 approaches Abraham Cahan's The Rise of David Levinsky (1917). I argue that many of the novel's difficulties result from Cahan's desire to present the way that ideology shades our understanding of reality while minimizing direct narratorial intrusions. Chapter 2 studies how politics affected the work of Mike Gold, Moishe Nadir, and Isaac Bashevis Singer. In all three writers, literature emerges as a kind of ersatz-politics, a space for the dispossessed to imagine the political. In the end, the political novel only reinforces the fictionality. Chapter 3 is a study of Leslie Fiedler's problematic novel, The Second Stone. While critics have seen the novel as a kind of game, I propose reading the novel as an earnest expression of Fiedler's vision of literature as a conversation. Chapter 4 turns to Cynthia Ozick and Susan Sontag. A cumulative reading of their fiction and criticism shows the deep twinning of their fiction and critical thought. For both writers true knowledge comes only through the imagination. / Near Eastern Languages and Civilizations

Many people believe that the analogue picture book is a dying media due to the increase of digital media. Contrary to popular belief, the publishing of children’s book in Sweden is continually increasing, which makes mapping the field quite significant. But to regulate the creation of a children’s picture book is problematic, because one does not want to impede the personal style of the writer or the illustrator of the children’s book. If the children’s book creator has an understanding of how to better communicate with children, the children’s book might have a grater impact on the child. Little research has been performed on what one should think about when creating a children’s book, which makes this study highly relevant. My approach to the problem was to make a literature review over preceding research and to test the different directives, by creating an original children’s picture book and then testing the book, and thereby the directives, on the targeted audience. Consequently the picture book and the associated data gathered, suggest 20 design guidelines for picture books for children between 3 and 6 years. Each subcategory, of the guidelines suggested, should be investigated to confirm validity and reliability. / Att digitala medier tar allt större plats i människors liv har lett till att många tror att den analoga barnboken är ett utdöende medium. Dock har utgivningen av analoga barnböcker ökat i Sverige de senaste åren, vilket indikerar motsatsen. Detta gör att en kartläggning av ämnesområdet både blir relevant och angeläget. Däremot är det problematiskt att ta fram riktlinjer för bilderboken då riktlinjerna inte bör hämma barnbokskapares personliga stil, utan snarare underlätta för dem. Min tro är att om barnboksskapare vet hur de på bästa sätt kan kommunicera med barn, kan barnboken göra ett djupare intryck på barnet. Det finns inte mycket forskning om vad man som barnboksförfattare eller illustratör bör tänka på vid skapandet av en barnbok, vilket gör denna studie betydelsefull. Studien genomfördes genom att jag gjorde en litteraturgenomgång av tidigare forskning samt testade de teorier som forskningen föreslår genom att använda mig av dem vid skapandet av en egen bilderbok. Därefter testade jag bilderboken på målgruppen för att se om bilderboken var barnanpassad. Min undersökning resulterade i 20 designriktlinjer för skapandet av en bilderbok för barn mellan 3 och 6 år. Riktlinjerna är indelade i tre underkategorier: format och layout, bilduppbyggnad och text. Den praktiska delen av mitt arbete är en bilderbok som bygger på dessa riktlinjer. Min förhoppning är att genom att följa dessa designriktlinjer blir barnboksskapare mer medvetna om hur deras barnbok bättre kan kommunicera med barn.

Esta dissertação se detém em duas das principais características da literatura brasileira contemporânea: a profusão de escritas de si e a recorrência de personagens-escritores na produção romanesca. Nesse contexto, a discussão concentra-se em algumas das obras de um dos mais consagrados escritores brasileiros da atualidade: Cristovão Tezza. Em se tratando das escritas de si, discutimos a respeito do premiado romance O filho eterno (2007), por ser uma narrativa que congrega elementos factuais e criação ficcional. Nesse sentido, fazer da relação com o próprio filho Down a matéria-prima de um romance significa enveredar pelos caminhos dos gêneros autobiográficos, estabelecendo um novo paradigma em relação a suas obras anteriores, já que, até então, nenhum espaço para a abordagem de elementos referenciais havia sido aberto. Na discussão dessa obra, consideramos que, apesar de se inclinar à autobiografia, o autor lhe distribui índices de ficcionalidade que colocam em xeque a veracidade do discurso, o que impossibilita a delimitação do gênero entre autobiografia e romance. Nesse caso, o que passa a estar em jogo é a ficcionalização do eu frente à criação literária. Num segundo momento, refletimos sobre a inserção de personagens-escritores na escrita tezziana, recurso amplamente utilizado pelo autor em diversas obras ficcionais, investigando os motivos e implicações dessa recorrência. Para empreender tal análise, recorremos às noções de metaficção e gesto literário, visto que a tematização do universo íntimo do escritor na esfera ficcional evidencia o ato de escrever e seu caráter problematizador. Por último, fazemos uma leitura comparada entre o romance de matiz biográfico O filho eterno e a autobiografia literária O espírito da prosa, tendo por premissa que esta pode funcionar como peça-chave na recepção daquele / This work wants to look for two main characteristics of the brazilians contemporary literature: profusion of written of the self and the recurrence of writer-character in the romanesque production. In this context, the discussion focus in some works of the most acclaimed brazilian news writers: Cristovão Tezza. Talking about it writings, it discusses about the prizewinner romance O filho eterno (2007), cause it is a narrative which brings together factual elements and fictional creation. In that case, makes the relationship with his own son Down's syndrome the base material of a romance means engage the ways of autobiographical genres, establishing a new paradigm autobiographical between his previous works, since until then any space for approach of referential elements had been opened. The discussion of this work consider that despite lean the autobiography, the author distributive indices of functionality that puts in check the veracity of the speech, making it impossible for the delimitation of the genus between the autobiography and romance. Thus, what is at stake is the fictionalization of I front of literary creation. In another moment, we have established a discussion on inserting the writer-character in tezziana writing, widely used resource by author in various fictional works, investigating the reasons and implications of this recurrence. To undertake such analysis, we resort to notions of metafiction and literary gesture. Since the thematization of the intimate universe of the writer in the fictional ball highlights evidence the act of write and its inquisitive character. Last but not least, do a comparative reading between romance of hue biographical O filho eterno e O espírito da prosa, once the autobiography works as a key at the front desk of the fictional narrative

[pt] O grande marco provocado pela Revolução dos Cravos na sociedade portuguesa colocou uma questão de ordem prática aos escritores e operou uma ruptura no próprio fazer da Literatura- como escrever a Liberdade? E agora, José?, título de um dos mais importantes livros de José Cardoso Pires, é simultaneamente uma interrogação e uma resposta ao novo país que estava sendo delineado naquele momento. Tal indagação funcionará como um leitmotiv desta tese, na medida em que coloca em cena um momento presente (1974), um tempo passado (a ditadura) e um futuro almejado (a liberdade). / [en] The great mark caused by the Carnation Revolution in the Portuguese society set a question of practical order to the writers and provoked a rupture in doing Literature itself - how to write about liberty? E agora, José?, the title of one of the most important books written by José Cardoso Pires is, at the same time, an interrogation and an answer to the new country that was being delineated at that moment. Such question will work as a leitmotiv of this thesis, in a way that it shows a present moment (1974), a time in the past (dictatorship) and a desired future (liberty).

Made available in DSpace on 2016-12-08T16:51:59Z (GMT). No. of bitstreams: 1 113646.pdf: 705780 bytes, checksum: 0f0204acc9dccd7f09ae5f2a7988b65d (MD5) Previous issue date: 2013-03-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation investigates the relationships promoted by Nelson Rodrigues between the text and the scene, which reveals on his playwriting evidences of performativity. Therefore, the theoretical basis used here includes studies of performance, pragmatic and discourse analysis, offering tools to enable this performativity to be seen under different approaches. The second moment of this dissertation is reserved for the verification of these theoretical principles and the dramaturgy of Rodrigues, through the analysis of Anjo Negro, Valsa nº6 and A Falecida. The traces of performativity are observed in each one of these plays through their emphasized formal characteristics: while the theory of the speech acts tries to evidence the performativity present in the dialogues of A Falecida; the study of the poetic function of language permits to ascertain traces of performativity involved in the writing of Valsa nº 6. Also, the performance studies enable the understanding of performative content revealed in the dramaturgical architecture of Nelson Rodrigues as a scenic writer, especially in Anjo Negro. / Esta dissertação busca investigar as relações que Nelson Rodrigues promove entre o texto e a cena, o que faz com que sua dramaturgia revele traços de performatividade. Para tanto, a base teórica aqui utilizada contempla estudos da performance, da pragmática e da análise do discurso, que oferecem instrumentos para que essa performatividade possa ser surpreendida sob diferentes enfoques. O segundo momento desta dissertação é reservado à verificação desses princípios teóricos e a dramaturgia rodriguiana, através da análise de Anjo Negro, Valsa nº 6 e A Falecida. Os traços de performatividade são verificados em cada uma destas peças através de suas características formais colocadas em destaque: enquanto a teoria dos atos da fala busca evidenciar a performatividade presente nos diálogos de A Falecida; o estudo da função poética da linguagem permite averiguar os vestígios de performatividade implicados na escrita de Valsa nº 6. Já os estudos performáticos possibilitam a compreensão do teor performativo revelado na arquitetura dramatúrgica de Nelson Rodrigues enquanto escritor cênico, principalmente em Anjo Negro.

Esta dissertação se detém em duas das principais características da literatura brasileira contemporânea: a profusão de escritas de si e a recorrência de personagens-escritores na produção romanesca. Nesse contexto, a discussão concentra-se em algumas das obras de um dos mais consagrados escritores brasileiros da atualidade: Cristovão Tezza. Em se tratando das escritas de si, discutimos a respeito do premiado romance O filho eterno (2007), por ser uma narrativa que congrega elementos factuais e criação ficcional. Nesse sentido, fazer da relação com o próprio filho Down a matéria-prima de um romance significa enveredar pelos caminhos dos gêneros autobiográficos, estabelecendo um novo paradigma em relação a suas obras anteriores, já que, até então, nenhum espaço para a abordagem de elementos referenciais havia sido aberto. Na discussão dessa obra, consideramos que, apesar de se inclinar à autobiografia, o autor lhe distribui índices de ficcionalidade que colocam em xeque a veracidade do discurso, o que impossibilita a delimitação do gênero entre autobiografia e romance. Nesse caso, o que passa a estar em jogo é a ficcionalização do eu frente à criação literária. Num segundo momento, refletimos sobre a inserção de personagens-escritores na escrita tezziana, recurso amplamente utilizado pelo autor em diversas obras ficcionais, investigando os motivos e implicações dessa recorrência. Para empreender tal análise, recorremos às noções de metaficção e gesto literário, visto que a tematização do universo íntimo do escritor na esfera ficcional evidencia o ato de escrever e seu caráter problematizador. Por último, fazemos uma leitura comparada entre o romance de matiz biográfico O filho eterno e a autobiografia literária O espírito da prosa, tendo por premissa que esta pode funcionar como peça-chave na recepção daquele / This work wants to look for two main characteristics of the brazilians contemporary literature: profusion of written of the self and the recurrence of writer-character in the romanesque production. In this context, the discussion focus in some works of the most acclaimed brazilian news writers: Cristovão Tezza. Talking about it writings, it discusses about the prizewinner romance O filho eterno (2007), cause it is a narrative which brings together factual elements and fictional creation. In that case, makes the relationship with his own son Down's syndrome the base material of a romance means engage the ways of autobiographical genres, establishing a new paradigm autobiographical between his previous works, since until then any space for approach of referential elements had been opened. The discussion of this work consider that despite lean the autobiography, the author distributive indices of functionality that puts in check the veracity of the speech, making it impossible for the delimitation of the genus between the autobiography and romance. Thus, what is at stake is the fictionalization of I front of literary creation. In another moment, we have established a discussion on inserting the writer-character in tezziana writing, widely used resource by author in various fictional works, investigating the reasons and implications of this recurrence. To undertake such analysis, we resort to notions of metafiction and literary gesture. Since the thematization of the intimate universe of the writer in the fictional ball highlights evidence the act of write and its inquisitive character. Last but not least, do a comparative reading between romance of hue biographical O filho eterno e O espírito da prosa, once the autobiography works as a key at the front desk of the fictional narrative

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-01-30T10:59:36Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Tese - Antônio Egno do Carmo Gomes - 2014.pdf: 2169920 bytes, checksum: 61507a60ee0b84092ffb70cc36652af0 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-01-30T13:31:19Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Tese - Antônio Egno do Carmo Gomes - 2014.pdf: 2169920 bytes, checksum: 61507a60ee0b84092ffb70cc36652af0 (MD5) / Made available in DSpace on 2015-01-30T13:31:19Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Tese - Antônio Egno do Carmo Gomes - 2014.pdf: 2169920 bytes, checksum: 61507a60ee0b84092ffb70cc36652af0 (MD5) Previous issue date: 2014-07-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Following a general trend of the human sciences, the arrival of post-modernity in literary studies has culminated in the so-called “death of the author”. With resonances that can be noted in some theorists as Roland Barthes (2004), Michel Foucault (2006, 1996), Umberto Eco (2005, 2003, 2004, 2001, 1986), Stanley Fish (2003, 1990) and Linda Hutcheon (2000; 1991; 1984), the post-modern distrust in meaning and the conviction that what a literary work means not only does not depend on the author but also finds in him an obstacle to the reader’s creativity are widely disseminated notions that have found their place in the metafiction theory by means of Hutcheon (1991; 1984), and Patrícia Waugh (1984). However, in this thesis, based on the assumptions of the hermeneutic realism theory, an interpretive approach according to which the meaning of a text is prior to its reading and is in many respects does not dependent on it, I propose to review the role of the author in metafictional novels, searching for appropriate readings for such novels. My theory is that author and writer are separate entities and that, among the four sources of enunciation of a novel (writer, author, narrator and character), the author is the one responsible for opening the work, activating the reading and actualizing the metafictionality. By means of a dialogue with theorists from several fields of the human sciences, I seek to defend the author from his opponents and show that, in the relationships he establishes with the character in novels of protagonist writer (as in A Rainha dos cárceres da Grécia, Bufo & Spallanzani and O Chalaça), the metafictional author addresses us, making communicative calls to us, and calling our attention to the fictionality of the text. So, what I do in this thesis is to show that since the attacks to the notions of person, intention and interpretive authoritarianism may even relate to the writer , but never to the author, he cannot and should not be killed. The author, I seek to prove, is a constitutive element of fictional language and is also the other with whom we communicate in reading metafictional novels. The result is that our interaction with such aesthetic person is essential in order that, through the distinction of the voices of the writer, narrator and character, we may be able to read these novels without making problematic interpretations. / Seguindo uma tendência geral das ciências humanas, a chegada da pós-modernidade nos estudos literários culminou na chamada “morte do autor”. Com ressonâncias que podem ser percebidas em teóricos como Roland Barthes (2004), Michel Foucault (2006; 1996), Umberto Eco (2005; 2004; 2003; 2001; 1986), Stanley Fish (2003; 1990) e Linda Hutcheon (2000; 1991; 1984), a descrença pós-moderna no significado e a convicção de que o que uma obra literária significa não só independe do autor como até encontra neste um obstáculo à criatividade por parte do leitor encontram-se amplamente divulgadas, tendo aportado na teoria da metaficção via Hutcheon (1991; 1984) e Patrícia Waugh (1984). No entanto, partindo do realismo hermenêutico, linha interpretativa segundo a qual o sentido de um texto é anterior à leitura e, sob muitos aspectos, independente dela, neste trabalho me proponho a rever o papel do autor em romances metaficcionais, em busca de leituras adequadas para tais romances. Minha teoria é a de que autor e escritor são pessoas distintas e que, dentre as quatro fontes enunciativas de um romance (escritor, autor, narrador e personagem), o autor é aquela responsável por abrir a obra, ativar a leitura e efetivar a metaficcionalidade. Dialogando com teóricos de vários campos das ciências humanas, procuro defender o autor de seus adversários e evidenciar que, nas relações que estabelece com a personagem em romances de protagonista escritor (como A Rainha dos cárceres da Grécia, Bufo & Spallanzani e O Chalaça) o autor metaficcional se dirige a nós, fazendo-nos apelos comunicativos e chamando nossa atenção para a ficcionalidade do texto. Assim, o que faço nesta tese é mostrar que, uma vez que os ataques às noções de pessoa, intenção e autoritarismo interpretativo podem até dizer respeito ao escritor, mas jamais ao autor, este não pode nem deveria ser morto. O autor, busco provar, é um elemento constitutivo da linguagem ficcional e é também o outro com o qual nos comunicamos na leitura de romances metaficcionais. O resultado é que nossa interação com tal pessoa estética é fundamental para que, distinguindo as vozes do escritor, do narrador e da personagem, sejamos capazes de ler tais romances sem fazer interpretações problemáticas.

[pt] A escrita e a leitura ocidentais vêm sofrendo transformações relevantes através dos tempos. Algumas destas transformações estão relacionadas aos suportes de escrita e de leitura e aos modos pelos quais a evolução destes afeta as relações entre os escritores, os leitores e os textos. Este estudo tem como foco principal investigar a revolução que o aparecimento da escrita eletrônica e o uso da tela do computador como suporte textual trouxeram à contemporaneidade. Em outras palavras, esta investigação se concentra nas alterações e transformações nas práticas de leitura e de escrita e nas relações entre escritores e leitores a partir da tela do computador. Com o objetivo de investigar tal revolução, primeiramente foi escolhida uma ferramenta textual na Internet conhecida como blog. Posteriormente, foi realizada uma pesquisa qualitativa, na qual foram entrevistados 10 blogueiros (aqueles que escrevem blogs). Os depoimentos dos participantes revelam que a decisão de criar e manter um blog está ligada à liberdade de expressão, ao prazer em escrever e, sobretudo à possibilidade de interação com os leitores. No entanto, a análise dos depoimentos mostra que, apesar de os blogs disporem de um espaço para interação entre os blogueiros e seus leitores, esta interação ainda não se concretiza plenamente. / [en] Western reading and writing has been going through considerable transformations throughout the times. Some of these transformations are related to the media that support writing and reading and to the ways their evolution affects the relations between writers, readers and texts. The main aim of the present study is to investigate the revolution brought about by the advent of electronic texts and of the use of the computer screen as textual support. In other words, this investigation concentrates on the changes that occurred in electronic reading and writing as well as in the forms of relationship between writers and readers by means of the computer screen. For such purpose, a recent textual tool available on the Internet, called blog, and its writers, called bloggers, were chosen. A qualitative research with 10 bloggers was conducted. An analysis of their discourse reveals that the decision of writing blogs is related to the freedom of expression, to the pleasure of writing and also to the possibility of interaction with their readers. Nevertheless, the same analysis revealed that, in spite of the fact that blogs make available a space for interaction between bloggers and their readers, such interaction is not yet fully materialized in blogs.

In this work the concept of multistage neural networks is going to be presented. The possibility of using this type of structure for pattern recognition would be discussed and examined with chosen problem from eld area. The results of experiment would be confront with other possible methods used for the problem.