Dissertations / Theses on the topic 'Afrikaans Novel And Short Story'

This thesis considers the novel and the short story in the decades following the achievement of Irish independence from Britain in 1922. During these years, many Irish practitioners of the short story achieved both national and international acclaim, such that 'the Irish Short Story' was recognised as virtually a discrete genre. Writers and critics debated why Irish fiction-writers could have such success in the short story, but not similar success with their novels. Henry James had noticed a similar situation in the United |States of America in the early nineteenth century. James decided the problem was that America's society was still forming - that the society was too 'thin' to support successful novel-writing. Irish writers and critics applied his arguments to the newly-independent Ireland, concluding that Irish society was indeed the explanation. Irish society was depicted as so unstructured and fragmented that it was inimical to the novel but nurtured the short story. Ireland was described variously: "broken and insecure" (Colm Tóibín), "often bigoted, cowardly, philistine and spiritually crippled" (John McGahern) and marked by "inward-looking stagnation" (Dermot Bolger). This study examines the validity of these assertions about Irish society, considering whether day-to-day life in Ireland was so exceptionally different to other contemporary states where the novel did prosper. The conclusion from the evidence is that Ireland was different but not unique. One chapter examines literacy and the reading traditions in Ireland, and it is clear that there was a skilled audience for the novels and an effective book trade. The novel in Ireland is discussed and three case studies (Elizabeth Bowen, Kate O'Brien and Liam O'Flaherty) are discussed. The study concludes with the confirmation, through two case studies (Séan O'Faolain and Frank O'Connor), that the short story continued to be widely acclaimed and widely practised by many Irish writers. The conclusion reached is that Irish society was not as popularly depicted nor was it exceptional. It was a matter of writers' talents not society's failings.

The mosaic novel - with its independent 'story-tiles' linking together to form a complete narrative - has the potential to act as a reflection on the periodic resurfacing of unconscious memories in the conscious lives of fictional characters. This project is an exploration of the mosaic text as a fictional analogue of involuntary memory. These concepts are investigated as they appear in traditional fairy tales and engaged with in this thesis's creative component, Sourdough and Other Stories (approximately 80,000 words), a mosaic novel comprising sixteen interconnected 'story-tiles'. Traditional fairy tales are non-reflective and conducive to forgetting (i.e. anti-memory); fairy tale characters are frequently portrayed as psychologically two-dimensional, in that there is no examination of the mental and emotional distress caused when children are stolen/ abandoned/ lost and when adults are exiled. Sourdough and Other Stories is a creative examination of, and attempted to remedy, this lack of psychological depth. This creative work is at once something more than a short story collection, and something that is not a traditional novel, but instead a culmination of two modes of writing. It employs the fairy tale form to explore James' 'thorns in the spirit' (1898, p.199) in fiction; the anxiety caused by separation from familial and community groups. The exegesis, A Story Told in Parts - Sourdough and Other Stories is a critical essay (approximately 20,000 words in length), a companion piece to the mosaic novel, which analyses how my research question proceeded from my creative work, and considers the theoretical underpinnings of the creative work and how it enacts the research question: 'Can a writer use the structural possibilities of the mosaic text to create a fictional work that is an analogue of an involuntary memory?' The cumulative effect of the creative and exegetical works should be that of a dialogue between the two components - each text informing the other and providing alternate but complementary lenses with which to view the research question.

Si l’on peut faire remonter la naissance de la fantasy aux récits mythologiques et la rattacher aux contes populaires, la fantasy moderne n’a été reconnue qu’au début du XXe siècle. Venu de l’anglais imagination, le genre appartient au domaine de la littérature d ‘évasion, car il propose un « réenchantement » de notre monde.Marquée par de grands titres, tels que la trilogie du Seigneur des anneaux de J. R. R. Tolkien, la fantasy s’est ouverte à la littérature de jeunesse, notamment avec Harry Potter. Notre étude porte sur un corpus d’oeuvres marquantes de S. Audouin-Mamikonian, P. Bottero, B. Bottet, S. De Mari, N. Farmer, C. Paolini, M. Paver et E. Rodda, qui ont été publiées en France entre 2000 et 2006. Après avoir esquissé une typologie des sous-genres de la fantasy en la caractérisant par rapport aux autres littératures de l’imaginaire, il s’agit d’interroger les œuvres du corpus au niveau de la construction du héros et du monde dans lequel il évolue, d’étudier les phénomènes intertextuels et, notamment, comment le schéma narratif du conte est utilisé pour offrir à son lecteur un parcours quasi initiatique de l’adolescence et, enfin,de montrer comment la fantasy jeunesse en France est devenue un phénomène social et éditorial par l’intermédiaire des nouveaux outils de commercialisation
Although fantasy dates back to mythological tales and may be associated with folktales, modern fantasy has only been recognized since the beginning of the 20thcentury. According to its definition as “imaginative fiction”, the genre belongs to thefield of escapist literature since it provides a “re-enchantment” of our world.Highlighted by best-sellers, such as The Lord of the Rings trilogy by J. R. R. Tolkien,fantasy flourished in children’s literature especially with Harry Potter. Our study relieson a significant body of works written by S. Audouin-Mamikonian, P. Bottero,B. Bottet, S. Mari, N. Farmer, C. Paolini, M. Paver and E. Rodda and published in France between 2000 and 2006. After outlining a typology of the subgenres of fantasy by characterizing it in relation to the other types of speculative fiction, the study focuses on the works themselves, especially with regard to the construction of the hero and of the world he lives in with a view to analyzing intertextual phenomena, grasping notably how the narrative scheme of the tale is used to offer the reader some sort of initiation journey through adolescence and, lastly, to showing how youth fantasy in France has become a social and editorial phenomenon through innovative marketing tools

Notre étude consiste à retracer l'histoire du genre narratif arabe et plus précisément la nouvelle arabe de la fin du XIXème siècle jusqu'à 1969. Dans un premier temps, nous faisons un rappel historique et littéraire incluant la floraison du genre narratif en Egypte. Dans un second temps, nous analysons, à travers les préfaces de Mahmoud Taymour, l'évolution et les changements que le genre narratif arabe a subis dans la première moitié du XXème siècle. Enfin, la troisième partie illustre le gain en maturité du genre romanesque et plus précisément la nouvelle, à travers les oeuvres de Naguib Mahfouz, dans lesquelles nous trouvons un tableau complet de la société égyptienne et arabe de l'époque
Our study consists on tracking the history of the arab narrative type, more precisely the arab novel since end of nineteenth century till 1969. First, we start in the first chapter by a litterature and historical reminder of the birth of the narrative type in Egypt. Then, we analyze in the second chapter, through the Mahmoud Taymour introductions, the changes and evolutions that occur on this arab narrative type in the first half of the twentieth century. Finaly, the third chapter is the occasion to illustrate the gain in maturity of the narrative litterature and more specificaly the novel. This illustration is done through Naguib Mahfouz novels where we find a complete drawing of the egyptian and arab society at that time

José Rodrigues Miguéis [1901-1980] quitte le Portugal en 1935 et, malgré quelques tentatives de retour, il passera la plus grande partie de sa vie aux États-Unis. Cet exil, en grande partie dû à ses activités politiques contre le régime salazariste, va marquer profondément son œuvre fictionnelle. En effet, si, d’un côté, les préoccupations éthiques du militant imprègnent fortement des récits qui obéissent souvent à une stratégie littéraire globale à visée pédagogique où l’ironie classique et satirique est un instrument privilégié, de l’autre, l’écrivain fait régulièrement preuve d’une attitude critique envers soi et envers le réel et met régulièrement en scène ses doutes et ses questionnements à travers une autre ironie, romantique et moderne, qui se traduit par l’utilisation de techniques littéraires signalant un rapport réflexif à la création. Le paradoxe constitutif de toute ironie – dire simultanément l’adhésion et la mise à distance – est ainsi exacerbé par la présence de ces deux ironies contradictoires, souvent dans la même œuvre. L’objectif de ce travail est de montrer que la particularité de la fiction migueisienne réside dans cette cohabitation doublement ironique : une fiction vue comme une aire de jeu caractérisée par l’ambiguïté, où l’écrivain joue avec les conventions littéraire, avec les genres, avec les instances personnage-narrateur-auteur qu’il tend à confondre, et, surtout, avec la dimension autobiographique, prépondérante. L’ironie classique et l’ironie romantique et moderne apparaissent alors comme les deux faces littéraires d’un même drame identitaire, celui d’un écrivain exilé qui se veut et qui est, avant tout, portugais
José Rodrigues Miguéis [1901-1980] leaves Portugal in 1935 and, despite several attempts to come back, he spends most of his life in the United States. This exile, mostly due to his political activities against the Salazar regime, will deeply influence his fictional work. Indeed, on the one hand, his ethical concerns as an activist strongly riddle his narratives which very often obey a global literary strategy with an educational intention where classical and satirical irony is a tool of choice. On the other hand, he regularly shows a critical attitude towards the self and towards the real and often stages his doubts and questionings through another irony, romantic and modern, using literary techniques pointing out a reflexive relationship to creation. The paradox constituting any irony – to say at the same time adhesion and detachment – is thus exacerbated by the presence of those two contradictory ironies, often in the same work. This study aims to prove that the particular nature of the Migueisian fiction lies in the simultaneous presence of those two ironies: a fiction considered as a playground characterized by ambiguity, where the writer plays with the conventions of literature, with genres, with the character-narrator-author categories that he tends to mix up all together and, above all, with the autobiographical dimension, which really plays a predominant role. The classical irony and the romantic and modern one then reveal themselves as the two literary faces of the same identitary drama, that of an exiled writer who wishes to be and is, above all, Portuguese

Dans un bref essai intitulé « The Ambition of the Short Story », Steven Millhauser proclame de manière volontairement provocatrice la supériorité artistique de la nouvelle sur le roman. Il s’appuie pour ce faire sur un vers du poète romantique William Blake, dont il réoriente radicalement le propos. Tandis que le poète invite à voir « un monde dans un grain de sable », Millhauser affirme qu’il est possible de voir le monde dans un grain de sable. Aux grandes fresques romanesques, Steven Millhauser préfère ainsi une écriture concise et économe, capable de transformer certains « grains de sable » (c’est-à-dire des détails infimes, en apparence ordinaires ou triviaux) en autant de points d’ancrage, permettant à la fiction de dire « le monde ». L’art fictionnel de Steven Millhauser n’est donc pas tant une écriture du minuscule qu’une écriture miniaturiste. Passant sans ambages de l’infime à l’immense et du relatif à l’absolu, la fiction millhausérienne est à la fois un art du détail et de la dé-taille. Dans son tout premier essai, « The Fascination of the Miniature », l’auteur écrit qu’il n’y a « aucune différence entre un grain de sable et une galaxie », soulignant ainsi le rôle fondateur du regard. Car tout dépend du regard et de ses échelles. Le présent travail cherche à expliquer par quels moyens Steven Millhauser met en place une écriture miniaturiste, non seulement dans ses récits brefs, mais également dans son œuvre romanesque. Pour ce faire, cette étude met en évidence la réflexion sur le détail et sur le regard que l’auteur développe à la fois dans ses écrits fictionnels et non fictionnels. Entre théorie et fiction, Millhauser explore les implications « poéthiques » du regard. Il invente un regard métamorphique, conjuguant l’attention et l’imagination, afin de déceler le tout dans le fragment et l’essentiel dans l’insignifiant. L’écriture miniaturiste de Millhauser a un territoire et une échelle privilégiés : la petite ville de Nouvelle-Angleterre, et les « vies minuscules » (l’expression est de l’écrivain Pierre Michon) de ses habitants. En effet, les récits consacrés au quotidien pavillonnaire et suburbain s’offrent le plus souvent comme des fables miniatures, interrogeant la condition humaine. Aux yeux de Millhauser, les grands maîtres réalistes ont « brillamment épuisé une méthode [et] une certaine façon de voir le monde ». Avec son écriture miniaturiste, Steven Millhauser propose justement une certaine méthode et un certain regard. Il invite son lecteur à voir le monde au prisme du « grain de sable » – à suspendre quelque peu son incrédulité, avec les mots de Coleridge, sans pour autant se laisser tromper. Steven Millhauser apporte ainsi sa pierre – ou son grain de sable – à la fiction américaine contemporaine, en proposant moins une écriture du soupçon qu’une écriture du souci, tentant d’inscrire dans le texte ce que l’auteur présente, par le détour d’une périphrase, comme « cette chose éblouissante qu’il faut bien appeler réalité »
In a brief essay entitled “The Ambition of the Short Story,” Steven Millhauser provocatively asserts the artistic superiority of the short story over the novel. In order to support his argument, Millhauser quotes Romantic poet William Blake, while profoundly altering the original meaning of Blake’s line. Indeed, while the poet wishes “to see a world in a grain of sand,” Millhauser deems it possible to see the world in a grain of sand. Steven Millhauser thus favors a concise, pithy style capable of turning a few grains of sand (that is to say, some tiny and apparently trifling details) into windows, enabling the writer to engage with “the world.” Moving seamlessly from the minuscule to the gigantic, and from the particular to the universal, Millhauser’s art of fiction may be considered a miniaturist writing. In his very first essay, “The Fascination of the Miniature,” the author claims that there is “no difference between a grain of sand and a galaxy,” thus drawing attention to the decisive role played by the human eye. Indeed, everything hinges on the scale one adopts. This study aims at explaining how Steven Millhauser invents a miniaturist type of writing, not only in his short fiction, but also in his novels. Combining theory and fiction, Millhauser explores the “poethical” (a neologism coined by French poet Michel Deguy) importance of attention to detail. Merging attention and imagination, the author develops a metamorphic gaze, able to reveal the whole within the fragment and the essential within the insignificant. Millhauser’s miniaturist writing has a territory and a scale of its own: the New England small town. The narratives devoted to suburban daily life are most often presented as miniature fables, exploring the human condition. According to Millhauser “the great realist masters brilliantly exhausted a method, a way of looking at the world.” Steven Millhauser’s own minute, miniaturist writing offers such a method and way of looking at the world. He invites his reader to see the world through the prism of the “grain of sand”—to somehow suspend his disbelief, as Coleridge would say, yet without being deceived. With his miniaturist eye Steven Millhauser contributes to the renewal of contemporary American fiction, going beyond suspicion while trying to describe and inscribe what he calls “the blazing thing that deserves the name of reality.”

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Seguindo a ideia exposta por Caio Fernando Abreu em nota introdutória presente em todas as edições de Os dragões não conhecem o paraíso de que o livro pode ser lido não apenas como um exemplar de contos, mas também como um romance-móbile (ou espatifado) e considerando que, por meio do conhecimento de dados biográficos de um escritor, é possível construir a biografia de um escritor através de sua obra, a presente dissertação busca analisar Os dragões não conhecem o paraíso sob a ótica de uma nova perspectiva de leitura, entendendo o livro como um romance de ficção autobiográfica e formação
Following Caio Fernando Abreus statement about Os dragões não conhecem o paraíso [in english, Dragons] in which the author declares that the aforementioned work may be read not only as a short stories book, but also as a mobile-novel (or crashed) and considering its possible, by the knowledge about a writers biographical data, to build an authors biography through his works, this dissertation intends to analyze Os dragões não conhecem o paraíso from a new reading perspective, which comprehends the book as an autobiographical fiction and formation novel

La tesis que presentamos se centra en la importancia que la ilustración como categoría semiótico-discursiva establece en las colecciones literarias de novela corta, que triunfan en España en los años iniciales del siglo XX. En los cinco primeros capítulos, se plantean aspectos significativos del mundo de la imagen ilustrada: una aproximación al decurso histórico de la ilustración, a su consideración como medio de comunicación de masas, y a su relación con las disciplinas artísticas clásicas como pintura y la literatura. También se realiza un análisis generalizado del ámbito y el mercado en que tiene lugar el auge de las colecciones de novela corta en sus diferentes variantes. El capítulo VI se dedica a un estudio semiótico centrado en las consideradas siete grandes colecciones de novela corta: El Cuento Semanal, Los Contemporáneos, La Novela Corta, El Libro Popular, La Novela Semanal, La Novela de Hoy y La Novela Mundial.
The thesis that we defend is focused on the importance of the illustration, considered as a semiotic-discursive category, within the literary collections of short novel, those who had triumphed in Spain at the beginning of the twentieth century. In the first five chapters, we propose some significant aspects regarding the world of the illustrated image: an approach to the historic course of illustration, to its consideration as one form of mass media, and to its connection with the classic artistic disciplines such as painting and literature. Moreover, we carry out a general analysis of the cultural realm and market in which the different varieties of short novel collections reach their peak. Chapter VI is devoted to a semiotic study that is focused on the seven greatest short novel collections: The Weekly Tale, The Contemporaries, The Short Novel, The Popular Story Book, The Weekly Novel, Today's Novel and The Worldly Novel.

Paul Bonnetain est un écrivain oublié bien que ses deux premiers romans, Charlot s’amuse (1883) et L’Opium (1886), soient restés célèbres par leurs outrances. Il eut une existence riche en expériences et en voyages lointains qui alimentèrent son imaginaire. Dès 1881, il débute dans la presse parisienne et ne tarde pas à s’y faire une place de choix, notamment par ses nouvelles alliant réalisme et exotisme. Son parcours est ponctué d’ambiguïtés et de prises de positions contradictoires et ses influences littéraires sont tout aussi multiples et variées. Si son admiration pour Edmond de Goncourt restera constante, l’ardent disciple d’Émile Zola qu’il était, reniera le naturalisme avec fracas en étant l’instigateur du « Manifeste des Cinq » en 1887. Figure marquante du monde littéraire de son temps et reconnu pour son style vif et coloré, il quitta pourtant Paris pour embrasser une carrière coloniale. Paul Bonnetain fut autant un explorateur d’ espaces géographiques méconnus qu’un chercheur de nouveaux horizons littéraires. C’est pour toutes ces raisons que son oeuvre reste à redécouvrir
Paul Bonnetain is a forgotten writter, although his two first novels, Charlot s’amuse (1883) and L’Opium (1886), are still famous because of their outrancies. He had a rich life made of various experiences and far away travels which feed his imagination. In 1881, he begins in parisan press and raises quickly to the most famous news papers, among others with his short stories which conciliate Realism and Exotism. His career was punctuated with ambiguities and contradictories statements and his litteraries influences are both numerous and various. If his admiration for Edmond de Goncourt remains the same, the fervent disciple of Émile Zola he was, renounced Naturalism with crashes, as instigator of the “Manifeste des Cinq” in 1887. Although he was a great figure of the litterary word of his time and recognized for his lively and coloured style, he left Paris to take up a colonial career. Paul Bonnetain explorated unkown geographic spacies and found news litteraries horizons too. For all these reasons, his works must be discovered

A perspectiva deste trabalho será a de que as diferentes experiências históricas de Henrique de Carvalho (Expedição Portugueza ao Muantiânvua: Ethnographia e história tradicional dos povos da Lunda- 1884-1888) (1890), Castro Soromenho (Lueji Ilunga na terra da amizade) (1945) e Pepetela (Lueji: o nascimento dum império) (1989) definem a forma literária, respectivamente, literatura de viagem, um conto tensionado e um romance. Três formas literárias distintas que mantêm o elo com o texto historiográfico, pois Castro Soromenho e Pepetela se apropriam do texto de Henrique de Carvalho para elaborarem seus enredos centrais que giram em torno do espaço Lunda. Tendo em vista que tal espaço potencializa as três narrativas, levaremos em conta que \"A forma não pode ser compreendida independentemente do conteúdo, mas ela não é tampouco independente da natureza do material e dos procedimentos que este condiciona. A forma depende, de um lado, do conteúdo e, do outro, das particularidades do material e da elaboração que este implica.\" (Bakhtin, M. 1992, p. 206)
In this work we aim to show that the different historical experiences by Henrique de Carvalho (Expedição Portugueza ao Muantiânvua: Ethnographia e história tradicional dos povos da Lunda - 1884-1888) (1890), Castro Soromenho (Lueji Ilunga na terra da amizade) (1945) and Pepetela (Lueji: o nascimento dum império) (1989) define certain literary forms, respectively, travel literature, tension short story and novel. These three distinct literary forms are connected with historiographic writings, for Castro Soromenho and Pepetela appropriate Henrique de Carvalho text to elaborate their central plots which focus the space of Lunda. Having in mind that space potentializes the three narratives, in this study we will take into consideration that \"The literary form cannot be understood separate from the content, and neither is it independent from the nature of the subject and the proceedings which are conditioned by this same content. Form depends on the content, and also on the particular aspects of the subject and on the elaboration it implies.\"* (Bakhtin, M. 1992, p.206)

During the late nineteenth century in Latin America, women played an important symbolic role in the construction of the nation, a role which was widely debated in political discourse as well as in narrative. At the same time the general public sought to define women's role in society, nineteenth century medical doctors became increasingly interested in the diseases of the female psyche and body. By examining the way in which the terms 'femininity' and 'madness' have been defined and redefined by medical doctors and writers, I examine how the socio-cultural definitions of those terms influenced the literary representation of the affectively ill. Chapter One is a historical overview of medical attitudes toward women and madness throughout the nineteenth century in Europe and Latin America and seeks to demonstrate the intricate relationship between contemporary notions of femininity and the developing pathology of mental illness. By focusing on a wide range of philosophical and medical texts from European and Latin American countries, I demonstrate the way in which these treatises on women's nature were readily incorporated into nineteenth century scientific discourse and contributed to the idea of hysteria as a particularly feminine disease. In the second chapter, I examine the image of the madwoman in the texts written by Cuban writer Jose Marti and the Argentine Eduardo Holmberg in order to demonstrate how the term 'mental illness' was used by some nineteenth century writers to describe women who rejected the socially prescribed biological role of wife and mother assigned to them by patriarchal culture. In Chapter Three, I examine the image of the madwoman in texts written by Brazil's Emilia Freitas and Argentina's Juana Manuela Gorriti. If women and hysteria were intrinsically linked within the nineteenth century male cultural imaginary, do the texts written by female intellectuals differ in their representation of women? This chapter examines the degree to which the texts written by female writers dialogue with the dominant ideology about women and madness, take a position against the prejudicial construct and produce works that contest the assumption of the natural inferiority of women
acase@tulane.edu

Research Doctorate - Doctor of Philosophy (PhD)
This thesis includes a creative component, What Came Between, and an accompanying critical exegesis. What Came Between is a collection of twelve realist short stories about residents of adjoining terraces in inner-city Newcastle. The collection opens on the 28th of December 1989, the day of the Newcastle Earthquake, and ends a decade later on New Year’s Eve as the BHP steelworks closes and the city’s history of steelmaking comes to an end. This kind of collection, which gains unity from its consistent setting and recurring characters, belongs to the short story cycle genre. The exegesis discusses the two contexts most relevant to What Came Between, that is the realist mode and the short story cycle genre, and notes the relative influences of Raymond Carver and Tim Winton in both instances.

The diploma work Motivation to action of characters in Durych´s short novels and short stories deals with prosaic production of Jaroslav Durych with the intention to find and to understand the motivation to action of charakters in short novels and short stories. The chracters of the stories represents singificant elements and so this diploma work is focus to factors that influence a decision of the characterers in Durych?s short stories and novel stories. Some of the characters at the first look seems irrationally, but we can discover the course of actions that explain their action. The better understand of motivation can help to more accurate the interpretation of short stories and short novels and identify of sence.

Doutoramento em Estudos Artísticos, Artes/Fílmicos e da Imagem, Departamento de História, Estudos Europeus, Arqueologia e Artes, Faculdade de Letras da Universidade de Coimbra
“Adaptando Bradbury: um Cinema de Maravilha e Aviso” é uma análise do trabalho do autor norte americano Ray Bradbury em media de performance, com foco específico em três adaptações para cinema. Cada uma delas representa diferentes gêneros e graus variados de envolvimento do autor no processo adaptativo. Um grande número de contos e romances de Bradbury foi originalmente concebido para performance, e ele realmente referiu-se a si mesmo como um “escritor híbrido,” convidando-nos a pensar nos seus textos como já a caminho da sua adaptação para teatro/cinema, ou como contendo elementos de outros media. (Touponce, ed. Review 9). Ao longo da tese, procuro concluir que Bradbury era inerentemente um escritor cinematográfico e “performativo” que tendia a mover seu trabalho nessa direção por causa do entendimento intuitivo de que o seu trabalho alcançaria a sua expressão mais completa em performance. Além disso, que ele tinha um sentido único das potencialidades do cinema, o que fez dele um singularmente astuto, se não o melhor adaptador do seu próprio trabalho. Em preparação para a análise dos filmes, os três primeiros capítulos conterão informações básicas de experiências e influências que moldaram o estilo e o trabalho característicos do autor e uma revisão critica da literatura sobre o autor. O envolvimento geral de Bradbury com a indústria cinematográfica começou no início de sua carreira e foi extenso. Por isso, alguma atenção será dada á adaptação de trabalho anterior do autor para outras formas de expressão artística, como a banda desenhada, rádio e cinema de animação, para além dos filmes em análise. Como membro da associação de guionistas, fundador da Screenwriter's Film Society e professor frequentemente convidado da escola de cinema da UCLA, ele desenvolveu e adotou suas próprias ideias sobre o cinema em geral e a prática adaptativa, que serão resumidas. Além disso, os elementos característicos da escrita de Bradbury que auguram a sua adaptação para o cinema serão destacados. Serão analisadas as características únicas e compartilhadas do escrito e do filme e suas respetivas possibilidades de narração, seguido de um levantamento da teoria adaptativa, incluindo perspetivas de cineastas e outros escritores na ilustração das práticas adaptativas comuns. Finalmente, uma abordagem “pluralista,” tal como é delineada por Linda Hutcheon, adotando uma abordagem sociológica à medida que o contexto de criação e receção de um texto é levado em conta, vendo adaptações como obras autônomas que são suas “próprias coisas palimpsestes.” Isto é, textos que são apropriados por indivíduos particulares sujeitos a várias condições, artísticas, comerciais e culturais. Embora não divagando da teoria do cinema, descrevo o esquema de “aberto” e “fechado” de Leo Braudy para descrever uma “atitude” que um filme toma em relação aos objetos animados e inanimados que ele contém e ao seu “potencial invisível.” O tratamento visual do material apoia técnicas narrativas na criação de significado e a abordagem aberta / fechada destaca a dialética do confinamento em busca de liberdade ou liberdade submetendo-se a graus de confinamento que é particularmente apropriado para o trabalho de Bradbury. Seguindo essas diretrizes teóricas para uma análise mais completa do filme como um trabalho adaptado, a análise de cada capítulo começa com o exame do (s) texto (s) fonte do filme, antes de uma visão geral da história da produção, realizador, elenco e equipa técnico, e após a análise do filme. A análise de fundo para o Fahrenheit 451 é extensa, pois havia textos “precursores” que contribuíram para o romance. Informações consideráveis sobre o diretor François Truffaut são incluídas para iluminar a sua motivação para o projeto, tão diferente de seus outros, e sua estética pessoal que marca o filme. O roteiro de Bradbury (1994) para um remake não produzido é visitado no final do capítulo. O capítulo sobre The Wonderful Ice Cream Suit contrasta e compara o teleponto anterior de Bradbury, peça teatral e musical, e analisa o trabalho teatral e a estética do autor antes de analisar o filme do roteiro de Bradbury. O capítulo sobre Something Wicked This Way Comes explora o tratamento de tela original do autor que antecede o romance publicado e temas espirituais comuns no trabalho de Bradbury. Um capítulo conclusivo consolida as afirmações da tese com a análise de suporte de várias outras adaptações do autor, a saber, Moby Dick, de John Huston, e episódios do Ray Bradbury Theatre, produzidos para a Televisão.
“Adapting Bradbury: a Cinema of Wonder and Warning” is an examination of author Ray Bradbury’s work in performance media, with specific focus on three cinema adaptations. Each of these represents different genre and varying degrees of the author’s involvement in the adaptive process. A large number of Bradbury’s short stories and novels were originally conceived for performance, and he actually referred to himself as a “hybrid writer,” inviting us to think of his texts as already on the way to another medium or as containing elements of other media” (Touponce, ed. Review 9). Throughout the thesis I seek to establish that Bradbury was inherently a cinematic and “performative” writer that tended to move his work in this direction because of an intuitive understanding that it would reach its fullest expression in performance. Also, that he had a unique sense of the potentialities of cinema, which in turn I will argue made him a singularly astute, if not the best adaptor of his own work. In preparation for analysis of the films, the first three chapters will contain background information of experiences and influences that shaped the author’s distinctive style and work. A critical overview is presented and summary of scholarship to date. Bradbury’s general engagement with the film industry began early in his career and was extensive, so some attention will be given to the author’s earlier cross-media work apart from the films under analysis. As a member of the screenwriters’ guild, founder of the Screenwriter’s Film Society and a frequent guest lecturer at the UCLA film school, he developed and espoused his own ideas about the cinema in general and adaptive practice, which will be summarized. Furthermore, characteristic elements from Bradbury’s writing that hold promise for cinema adaptation will be highlighted. Of necessity, an examination of the shared and unique characteristics of print and film and their respective possibilities of narration will be followed by a survey of adaptive theory, included insights from filmmakers and other writers in illustration of common adaptive practices. Finally, a “pluralist” approach is adopted as outlined by Linda Hutcheon embracing a sociological turn as the context of creation and reception of a text are taken into account, viewing adaptations as autonomous works that are their “own palimpsestic things.” That is, texts that are appropriated by particular individuals subject to various conditions, artistic, commercial and cultural. While not digressing into film theory I outline Leo Braudy’s schema of “opened” and “closed” to describe an “attitude” a film takes toward both the animate and inanimate objects it contains and their “invisible potential.” The visual treatments of material also support narrative techniques in creation of meaning and the open/closed approach highlights the dialectic of confinement seeking freedom or freedom submitting to degrees of confinement which is particularly appropriate for Bradbury’s work. Following these theoretical guidelines and for fuller analysis of the film as an adapted work, each chapter analysis begins with examination of the film’s source text(s), before an overview of production history, director, cast and crew before analysis of the film itself. Background analysis for Fahrenheit 451 is extensive since there were “precursor” texts contributing to the novel. Considerable information on director François Truffaut is included to illuminate his motivation for the project, so unlike his others, and his personal aesthetics which mark the film. Bradbury’s screenplay (1994) for an unproduced remake is visited at the end of the chapter. The chapter on The Wonderful Ice Cream Suit contrasts and compares Bradbury’s prior teleplay, stage play and musical, and surveys the author’s theatrical work and aesthetic before analyzing the film from Bradbury’s screenplay. The chapter on Something Wicked This Way Comes explores the author’s original screen treatment that predates the published novel, and common spiritual themes in Bradbury’s work. A concluding chapter consolidates thesis assertions with supporting analysis of several of the author’s other adaptations, namely John Huston’s Moby Dick and episodes of The Ray Bradbury Theater, produced for Television.

The dissertation for my PhD is a composite novel called We Are Everyone You Know. The novel is set in a small town that is neither rural nor suburban, which, like the characters, defies classification. The cast rotates. Main characters become supporting characters in subsequent chapters and vice versa. I employ this strategy so the reader is able to see each character as an individual, that even those who seem to be in the background are living complex lives. The novel explores such themes as poverty, gentrification, the loss of innocence caused by a corrupt world, and the inability of people to realize their identities when the promises of youth turn out to be lies. Each chapter or story is told from either a different point of view or in a different style or genre. While the novel as a whole is grounded around a family and group of friends in a small town, the pieces of the story range in form from simple realism, to modernism, to post-modernism, to surrealism, to meta-fiction. I experiment with genres ranging from crime drama, to disaster survival, to sports comedy, to kung-fu epic, and more. Interspersed between the genre pieces are realist stories of a new lost generation—thirty-somethings who are stuck in permanent adolescence, who work at soul-crushing jobs, and who find neither the shining future that was promised to them in their youth nor the comfortable mediocrity of their parents’ lives. For this project I have been particularly inspired by the works of Louise Erdrich, James Joyce, and Jennifer Egan.

Дана робота присвячена вивченню естетики готичної літератури, аналізу її художньо-жанрових особливостей та їх втілення в новелістиці Е. А. По. Магістерське дослідження відзначається вдало проведеним комплексним аналізом особливостей художніх та естетичних категорій у готичних новелах американського письменника-романтика. Практичне значення кваліфікаційної роботи пов’язане з можливістю використання її матеріалів на уроках зарубіжної літератури в закладах загальної середньої та вищої освіти, при написанні курсових і дипломних робіт, проведенні факультативів і студентських наукових конференцій.
This work is devoted to the study of the aesthetics of Gothic literature, analysis of its artistic and genre features and their embodiment in the short stories of E. A. Poe. The master’s research is marked by a successful comprehensive analysis of the features of artistic and aesthetic categories in the Gothic novels of the American romantic writer. The practical significance of the qualification work is related to the possibility of using its materials in lessons of foreign literature in general secondary and higher education, in writing term papers and dissertations, conducting electives and student scientific conferences.