Tesis: "Trauma in romance novels"

1

Philip, Laure. "The novels of French noblewomen émigrées in London in the 1790s : memory, trauma and female voice in the émigré novel". Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/80219/.

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French émigré literature is both under-explored and under-valued by scholars. This thesis aims to rehabilitate the female émigré novel within its nineteenth-century landscape, putting to the fore its originality and pertinent contribution to contemporary movements such as Romanticism and the realist novel. Recent work has unearthed the émigré-specific way of narrating the Revolution; yet no clear definition has yet been established. This thesis defines what the émigré novel is based on the dichotomy for novelists of having experienced the exile first-hand or not. The memoirs and novels of three émigré noblewomen, Madame de Boigne, de Souza and de Duras, who all spent a decade in London during the 1790s, are scrutinized for this purpose. Three angles of research frame this comparative analysis: the search for the genre of the émigré novel, or how several genres intertwine in this ‘sub-genre’; trauma of the emigration as the core characteristic of the novels; and gender questions, or how the émigrée is using her stay in Britain as inspiration to convey more genuine relationships for post-revolutionary French society. This thesis goes against the idea that to interpret a novel based on the life of the author is reductive: instead it rediscovers the creative potential of the autobiographical which the émigrées chose to inject in their fiction works. Likewise, it establishes that the trauma of the Revolution and exile is visible in the selected émigré novels in the way it is camouflaged, enhanced and fictionalised, which constitutes their originality and distinguishes them from non-authentic émigré fictions. Finally this thesis considers the gender modernisation asked for in the plots, based on the fact that the selected novelists had enjoyed more freedom of action, uprooted from French social etiquette and within British society.

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2

Bolfarine, Mariana. "Between \"Angels and Demons\": trauma in fictional representations of Roger Casement". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-15012016-140005/.

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The life of the controversial Irish nationalist Roger David Casement, who was sentenced to death for high treason by the British Crown, has inspired writers to produce works of various literary genres: prose, poetry, drama and critical essays. This doctoral dissertation aims to investigate, under the light of trauma theory as suggested chiefly, but not solely by Cathy Caruth, Ron Eyerman and Dominick La Capra, the ways in which the figure of Roger Casement can be associated with traumatic events that have sealed Anglo-Irish relations. Thus, I have selected works that deal with Casements Life as he acts both for and against the trauma inflicted by imperialism respectively as a Victorian hero in Arthur Conan Doyles The Lost World (1912) and as an oblique presence in the 1916 Easter Rebellion in Jamie ONeills At Swim, Two Boys (2001); the trauma surrounding his Trial and the discovery of the homosexual Black Diaries that culminated in his hanging through his representation as a whole man in Mario Vargas Llosas The Dream of the Celt and in Patrick Masons The Dreaming of Roger Casement (2010); and finally, the trauma that persists unresolved in his Afterlife, as a ghost in David Rudkins Cries from Casement as his Bones are Brought to Dublin and as traumatic memory in the Annabel Davis-Goffs The Foxs Walk. As a result, we have found that the representation of Roger Casement in these works, although in various ways, is a metaphor for the traumatic process itself: an embodiment of the disjunction of temporality, [and] the surfacing of the past in the presente (Whitehead) as his presence continues to haunt the story of the transatlantic world.
A vida do controverso nacionalista irlandês Roger David Casement, condenado à morte por alta traição pela Coroa Britânica, inspirou a escrita obras de diversos gêneros literários: prosa, poesia, teatro e ensaios críticos. Esta tese de doutorado tem como objetivo investigar, sob a luz da teoria do trauma, tal como sugerido principalmente, mas não exclusivamente por Cathy Caruth, Ron Eyerman e Dominick La Capra, diferentes maneiras pelas quais a figura de Roger Casement pode ser associada a eventos traumáticos que selaram as relações Anglo-irlandesas. Dessa forma, foram selecionados trabalhos que lidam com a Vida de Casement, como ele age a favor e contra o trauma causado pelo imperialismo como herói vitoriano em The Lost World (1910) de Arthur Conan Doyle e como uma presença oblíqua na Revolta da Páscoa de 1916 em At Swim, Two Boys de (2001) Jamie ONeill; o trauma em torno de seu Julgamento e da descoberta dos Black Diaries que o levaram à forca por meio de sua representação como um homem completo em The Dream of the Celt (2012) de Mario Vargas Llosa e em The Dreaming of Roger Casement (2012) de Patrick Mason e, finalmente, o trauma não resolvido que persiste em sua Vida após a Morte, como um fantasma em Cries from Casement as his Bones are Brought to Dublin (1973) e como memória traumática em The Foxs Walk de Annabel Davis-Goff. Verificamos que as representações de Roger Casement nessas obras, ainda que de formas distintas, representam uma metáfora do processo traumático em si: Uma personificação da disjunção da temporalidade, [e] o surgimento do passado no presente (Whitehead), visto que sua presença continua a assombrar a história do mundo transatlântico.

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3

Moura, Taís Leite de. "Transgressões em O Deus das Pequenas Coisas, de Arundhati Roy: níveis e motivações em contraponto". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-03102018-134348/.

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No romance O Deus das Pequenas Coisas (1997) de Arundhati Roy, as transgressões são atitudes que se configuram como abundantes na narrativa, sendo realizadas em sua maioria pelos personagens marginalizados. A fim de obter uma compreensão mais profunda das razões que impulsionam tanto a narrativa quanto os personagens a cometer estas infrações, elas foram divididas em três níveis neste trabalho: pós-colonial, sociopolítico e afetivo. São aqui analisadas as transgressões dos personagens Velutha, Ammu, Estha, Rahel e Sophie. Os níveis das transgressões, suas motivações e os conceitos de trauma individual e cultural são colocados em contraponto para aprofundar a análise da narrativa do romance. No nível pós- colonial, são empregados conceitos de Panikkar (1969), Festino (2007), Forter (2014) e Outka (2011), enquanto Sztompka (2000, 2004), Alexander (2000) e Joseph (2010) permeiam o nível sociopolítico, finalizando o nível afetivo com Caruth (1995), Bose (1998) e Almeida (2002). A hipótese deste trabalho é de que Roy foca nas transgressões para, em primeiro lugar, criticar determinados elementos da sociedade indiana, e para provocar reações em seus leitores. Esta é sustentada através da citação de seus ensaios e discursos na análise do romance.
In The God of Small Things (1997), from Arundhati Roy, the transgressions are substantial throughout the narrative, as the majority of them are performed by marginalized characters. In order to comprehend more deeply the reasons which propel the narrative and the characters to such violations, they were divided into three levels in this work: post-colonial, socio-political and affective. The transgressions analyzed here are the ones performed by the characters Velutha, Ammu, Estha, Rahel and Sophie. The levels of the transgressions, their motivations and the concepts of individual and cultural trauma are all correlated so that the intentions of the narrative are elucidated. In the post-colonial level, the concepts of Panikkar (1969), Festino (2007), Forter (2014) and Outka (2011) are applied, whereas Sztompka (2000, 2004), Alexander (2000) and Joseph (2010) are used for the socio-political level; the affective level is observed with notions from Caruth (1995), Bose (1998) and Almeida (2002). The hypothesis of this work is that Roy focuses on the transgressions of minor characters not only to criticize particular elements from the Indian society but also to trigger the reaction of the readers. This is supported by her essays and speeches quoted along the analysis of the novel.

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4

Heinemann, Karen Kruse. "Processing Trauma: Reading Art in 9/11 Novels". OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1473.

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While the negative effects of the terrorist attack of September 11, 2001 are still permeating throughout the United States, a few novelists have taken on the extreme task of writing about this historic event. Richard Gray describes the failure of language after the attack took place, yet novelists wanted to write about this tragedy anyway. Reading trauma in 9/11 is inevitable as it is important. In looking at three novels that deal with the events during and the aftermath of 9/11, I hope to consider the way art is used in these texts. In doing so, my thesis will look at the possibility of art being able to heal the wounds of this traumatic event. My second chapter will focus on the novel Extremely Loud and Incredibly Close by Jonathan Safran Foer. This novel depicts the effect 9/11 had on the child protagonist, Oskar, and follows him as he works through the trauma of losing his father in the South Tower. The third chapter of my thesis will discuss Don DeLillo's Falling Man, which offers a depiction of the powerful effect trauma has on the main characters in the novel, particularly Lianne. The performance artist is discussed at length. My fourth chapter will discuss the novel The Submission by Amy Waldman. Just as Maya Lin's submission for her Vietnam memorial sparked controversy, Waldman takes the same approach by casting an American Muslim as the artist and memorial architect for 9/11. While the previous novels focus on the personal effects of trauma on the characters, my chapter on The Submission will elucidate how trauma is negotiated on a national scale. I hope to answer such questions as: What do we expect in a memorial? What should we expect? What are the various demands survivors place on memorials?

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5

Blanding, Cristen Celeste. "Interracial Romance Novels and the Resolution of Racial Difference". Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1131365873.

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Woodham, Kathryn. "Translating linguistic innovation in Francophone African novels". Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/10465/.

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Ortega y Gasset's assertion that 'to write well is to make continual incursions into grammar, into established usage, and into accepted linguistic norms' finds resonance in the work of a number of sub-Saharan Francophone African writers, most notably in texts by Ahmadou Kourouma, Veronique Tadjo, Werewere Liking, Henri Lopes and Sony Labou Tansi. The types of incursions that are most characteristic of these authors include the incorporation of visible and quasi-invisible traces of African languages, the exploitation of stylistic features associated with orality, including sustained use of colloquialisms and vulgarisms, and experimentation with various kinds of wordplay. Taking as its corpus all of the novels by these authors that are available in English translation, the thesis seeks to set the translations in their publishing context and to analyse the ways in which the translators treat the linguistic innovation of the originals. It reveals the dominance of translation strategies that normalise the linguistically or generically innovative features of the original texts, or, where these are retained to any significant degree, that separate them from the 'standard' language through typographical variation. When the post-colonial context of the original texts is taken into account, such normalising and exoticising strategies can be seen to have significant implications, diminishing the ability of the texts to carry broader cultural and political significance. For this reason, a number of critics have argued the need for a 'decolonised translation practice'. The thesis outlines the type of translation practice that might be viewed as 'decolonised', engaging in debates over the untranslatability of layered language, and drawing comparisons with other translation theories developed at the interface with post-colonial studies such as foreignising translation, the space between, and metametonymics.

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7

Hackbarth, Viktoria. "Novels of female development in postwar Spain". [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319924.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2008.
Title from PDF t.p. (viewed on May 11, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3168. Adviser: Josep Miquel Sobrer.

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8

Mackinnon, Jeremy E. "Speaking the unspeakable : war trauma in six contemporary novels". Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm15821.pdf.

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Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.

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9

Kugler, Emily Meri Nitta. "Representations of race and romance in eighteenth-century English novels". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3258372.

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Thesis (Ph. D.)--University of California, San Diego, 2007.
Title from first page of PDF file (viewed May 29, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 264-272).

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Johnson, Naomi Ruth Wood Julia T. "Consuming desires a feminist analysis of bestselling teen romance novels /". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1455.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Apr. 25, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Communication Studies." Discipline: Communication Studies; Department/School: Communication Studies.

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Crumbo, Daniel Jedediah y Daniel Jedediah Crumbo. "The Comedy of Trauma: Confidence, Complicity, and Coercion in Modern Romance". Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626362.

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Stories engage a form of virtual play. Though they incorporate language and abstractions, stories engage many of the same biological systems and produce many of the same anatomical responses as simpler games. Like peek-a-boo or tickle play, stories stage dangerous or unpleasant scenarios in a controlled setting. In this way, they help develop cognitive strategies to tolerate, manage, and even enjoy uncertainty. One means is by inspiring confidence in difficult situations by tactical self-distraction. Another is to reframe negative or uncertain situations as learning opportunities, that is, to ascribe meaning to them. While both strategies are useful, each has limitations. In William Shakespeare’s The Winter’s Tale, a king succumbs to the desire to make meaning where there is none, and nearly ruins himself in a self-composed tragedy. His friend restores his confidence and enables a happy ending—but only by deceiving him. This deception is benign, but the heroine of Samuel Richardson’s Clarissa is nearly ruined by her abductor’s confidence game. Her “happy ending” is made possible only by reframing her rape and death as redemptive transfiguration—which, as many of her readers suggest, is a dubious affair. The hero of Herman Melville’s The Confidence-Man spends the first half of the novel eliciting his companions’ confidence in order to swindle them, and the second half trying to inspire himself with the same confidence. The novel ends with an ominous impasse: one must trust, but one ought not to. For Samuel Beckett, this impasse is productive. In his middle novels, thought itself emerges from the interplay of spontaneous bouts of irrational confidence and distortive, after-the-fact impositions of spurious meaning. Stories create (illusory) identities, elicit (dubious) hopes, and reinforce (false) assumptions in order to help us cope with the agonies of anticipation and loss, and to transform misfortune, accident, and misery into reward, retribution, and meaning—that is, in a comedy of trauma.

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12

Han, Heeju. "Galdosian novels adapted in film and television 1970-1998 /". [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3264320.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2007.
Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1958. Adviser: Maryellen Bieder. "Title from dissertation home page (viewed Jan. 12, 2008)."

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Taylor, Meyers Emily. "Transnational romance : the politics of desire in Caribbean novels by women /". Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2009. http://hdl.handle.net/1794/10232.

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Meyers, Emily Taylor 1979. "Transnational romance: The politics of desire in Caribbean novels by women". Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10232.

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xi, 236 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Writers in the Caribbean, like writers throughout the postcolonial world, return to colonial texts to rewrite the myths that justified and maintained colonial control. Exemplary of a widespread, regional phenomenon that begins at mid-century, writers such as Aimé Césaire and George Lamming take up certain texts such as Shakespeare's The Tempest and recast them in their own image. Postcolonial literary theory reads this act of rewriting the canon as a political one that speaks back to power and often advocates for political and cultural independence. Towards the end of the twentieth century and at the beginning of the twenty-first century, Caribbean women writers begin a new wave of rewriting that continues in this tradition, but with certain differences, not least of which is a focused attention to gender and sexuality and to the literary legacies of romance. In the dissertation I consider a number of novels from throughout the region that rewrite the romance, including Jean Rhys's Wide Sargasso Sea (1966), Maryse Condé's La migration des coeurs (1995), Mayra Santos-Febres's Nuestra señora de la noche (2006), and Dionne Brand's In Another Place, Not Here (1996). Romance, perhaps more than any other literary form, exerts an allegorical force that exceeds the story of individual characters. The symbolic weight of romance imagines the possibilities of a social order--a social order dependent on the sexual behavior of its citizens. By rewriting the romance, Caribbean women reconsider the sexual politics that have linked women with metaphorical constructions of the nation while at the same time detailing the extent to which transnational forces, including colonization, impact the representation of love and desire in literary texts. Although ultimately these novels refuse the generic requirements of the traditional resolution for romance (the so-called happy ending), they nonetheless gesture towards a reordering of community and a revised notion of kinship that recognizes the weight of both gendered and sexual identities in the Caribbean.
Committee in charge: Karen McPherson, Chairperson, Romance Languages; David Vazquez, Member, English; Tania Triana, Member, Romance Languages; Judith Raiskin, Outside Member, Womens and Gender Studies

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15

Ndomaina, Aiah K. "Repetition, Resistance, and Renewal: Postmodern and Postcolonial Narrative Strategies in Selected Francophone African Novels". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392392192.

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16

Mines, Patricia Kathleen. "The representation of evil in the late novels of Victor Hugo". Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/104721/.

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Evil in Hugo’s later novels has rarely been examined. This subject is clearly incompatible with the received image of Hugo(based on earlier works such as Les Misérables) as a prophet of optimism and progress. This thesis will demonstrate that it is reasonable that Hugo should have expressed negative thoughts in the novels that he wrote in the 1860s and 1870s, since contemporary Western writers were also producing pessimistic works. Attention will be drawn to the personal anxieties and disappointments which only served to intensify Hugo’s experience of the universal fin de siècle malaise. The thesis will posit that the universe of Hugo’s later novels is much darker than that which is delineated in his earlier novels. Hugo’s renewed interest in the works of de Sade indicates his increasingly pessimistic perception of human nature (Introduction). The representation of benevolent motherhood that is found in the earlier novels has been supplanted by the depiction of vampiric female monsters in their successors (Chapter 1). The later novels do not focus on positive creation and the movement towards progress, but on negative metamorphosis that is often rapid and invariably irrevocable (Chapter 2). Justice can be seen to be done in the earlier novels because evildoers are eradicated, but in their successors villains prosper whilst the innocent are treated harshly (Chapter 3). In Hugo’s earlier novels, laughter and dreaming are depicted negatively but their sinister nature has become much more profound in their successors (Chapter A). Disdain for human existence is most vividly suggested by ravenous mouths which seek to ingest mankind into the foul chaos they contain and this chaos is predominantly feminine (Chapter 5). Whilst the thesis would not deny Hugo’s belief in God, it will assert that in his later novels Hugo portrays a universe in which the forces of darkness are extremely powerful (Conclusion).

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17

Hwangbo, Kyeong. "Trauma, narrative, and the marginal self in selected contemporary American novels". [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0007302.

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18

Toscano, Angela Rose. "Resemblances: on the re-use of romance in three 18th-century novels". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6512.

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This study examines three 18th-century novels and their connection to the romances of the 17th century, the middle ages, as well as the Greek romances that flourished during the Roman Empire. I argue that the novel and the romance differ, not because the novel possesses some intrinsic formal, structural, or thematic essence wholly and disjunctively different from the romance, but rather because the two forms have been arbitrarily differentiated over a long contentious history for ideological and not categorical reasons. Thus, I define the novel not as a form or a genre, but as a mode and medium—a way and means of expressing story rather than as a structural, shaping category of story. Romance, on the other hand, is a type of story particularly interested in how to deal with difference. It asks: How do I deal with difference without annihilating or exiling it or myself in the process? When the romance gets subsumed into the novel as the dominant mode of prose fiction, it re-inscribes this ethical aspect of the romance’s structure through the use of resembling conventions and tropes. In analyzing how resemblances are treated in three 18th-century novels—Charlotte Lennox’s The Female Quixote, Sophia Lee’s The Recess, and Eliza Haywood’s Love in Excess—my dissertation focuses on the novel’s re-use of the romance to explore anxieties about difference and sameness, about moral issues related to personhood, and about the tension between the individual and the collective. These texts ask: How do we cope with and incorporate the difference of the other when privilege in rank and perception is assumed by the subjective self? This question informs familiar and social relations of all kinds. It illuminates the 18th century’s scientific assumption that reality can be dissected via objective observation. It influences views of aesthetics, of gender and sexual politics, of creativity and the conflation of originality with novelty and of repetition with derivativeness.

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Dempster, Margaret M. "Writing, punishment and the self : a study of five twentieth-century French novels /". [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3268341.

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Thesis (Ph.D.)--Indiana University, Dept. of French and Italian, 2007.
Title from PDF t.p. (viewed Nov. 3, 2008). Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: . Adviser: Michael Berkvam.

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Howell, Anna. "Insavoir and Representation in Comics| Modal and Temporal Intersections in Contemporary Francophone Familial and Historical Graphic Novels". Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3712439.

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French literary theorists Dominique Viart and Bruno Vercier identify the beginning of a new era for French literature in the 1980s, characterized by hypotheses, hesitations, and the general notion that truth and reality cannot be fully grasped by discourse. The 1980s can be considered as transitional for the comics medium as well. Art Spiegelman's Maus (first published in 1980, completed in 1991) demonstrated that comics are not only capable of representing difficult familial and historical pasts, but that visual narratives benefit from formal and aesthetic devices that are inherent to the ninth art's polysemiotic possibilities. In this dissertation, I study francophone comics in which a second- or third-generation individual seeks to understand a familial past that exceeds his or her personal experience and that has previously been silenced or repressed, either individually (by the primary witness) or collectively (by the political hegemony). In the research corpus, the narrator's search elicits modal and temporal intersectional spaces: representation and anti-representation in Chapter One, the past and the present in Chapter Two, the collective and the individual in Chapter Three, and the interplay between memory, history, and imagination in the concluding Chapter Four. In addition to an interdisciplinary theoretical framework, Viart's notion of insavoir [not-knowing] and Pierre Nora's concept of "sites of memory" act as overarching theoretical tools throughout the essay.

The thematic organization of intersectional spaces fosters the identification of recurrent devices as the individual discussions reinforce and nuance one another sequentially and retroactively. Aware of the inherent limitations of representation and the notion of cognitive insavoir, the authors of the research corpus attempt to communicate meaning instead of presupposing understanding or the ability to "know" a traumatic, violent, and repressed past (and the capability to represent such a history through text and image). Such recurrences are symptomatic of an emerging sub-category within the medium, wherein the figure of the intersection is pertinent and productive precisely because these works operate in multi-directional insavoir. Like novels in the literary era identified by Viart and Vericer, the resulting representations oppose binary thought, opting instead for narratives that are self-critical, uncomfortable, thought-provoking, and ultimately, perhaps, more true.

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Key, Jonathan Benjamin. "Paranoia and irony in the Anglophone dectective narrative and the novels of Umberto Eco". Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/36967/.

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The thesis provides a reading of Umberto Eco's three novels, The Name of the Rose, Foucault's Pendulum, and The Island of the Day Before, that, while it acknowledges the importance of the Italian literary tradition in which they stand, also seeks to explain why their author appeals so frequently to literary models outside Italy, and in particular the Anglo-American detective genre. Chapter One explains Eco's relationship to the development of Italian literature through his lifetime. It is noted that Eco is beginning, both in his semiotics and his fiction, from a position where post-structuralism has been extensively explored by neo-avant-gardew riters. Eco positions himself alongsides uchw riters as Italo Calvino and Jorge Luis Borges, who wish to explore the ludic possibilities of working within structures, while all the time acknowledging the epistemological limitations of so doing. Eco's chosen structure, more often than not, is the highly defined genre of the detective story. From here, the following chapters engage in close readings of the three novels, with particular emphasis on The Name of the Rose and Foucault's Pendulum, demonstrating that they explore problems of interpretation central to the detective narrative. In doing this, they display an intimate knowledge of generic developments within the detective tradition, and of the philosophical and aesthetic uses made of the genre by other writers. The embedding of intertextual references to other detective narratives within Eco's novels is an important factor, as they come together to form a narrative of epistemological inquiry that itself follows Eco's philosophical progress through the years. In short, the novels, inter alia, map a systematic inquiry into the possibility of systematic inquiry. They reserve the space to engage in such an ironic and self-referential project precisely through their fictionality.

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22

Stayton, Corey. "Too Terrible to Relate: Dynamic Trauma in the Novels of Toni Morrison". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/69.

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This study examines trauma, particularly in the thematic contexts of the individual and the community as reflected in her novels Sula, Song of Solomon, and Beloved. By utilizing the specific theoretical modes of new historicism and trauma theory, the veil of double consciousness imposed on African Americans is explicated and exposes various forms of trauma in the individual and the community. The unspoken atrocities experienced as a result of slavery, Jim Crow, and physical and sexual violence in many of Morrison’s novels, suggest the common thread of trauma. The particular traumas depicted in Morrison’s novels Sula, Song of Solomon, and Beloved, damage agency, lead to detachment and paralysis in the individual. The scope of this study is limited to the novels Sula, Song of Solomon, and Beloved as they best illustrate trauma in Morrison’s characters and the damage it causes to agency, leading to detachment and paralysis in the individual. The literary theories of new historicism and psychoanalysis provide cultural and literary context for the novels and allow for a deeper rendering of the characteristics of trauma and provide the context for the term dynamic trauma. of oppression as a mean of dysfunction in the thematic These novels reveal a pathology of trauma disguised as normalcy in the African American community, which leads to disrupted lives, relationships, and communities. Morrison not only depicts these dysfunctional behaviors due to traumatic circumstances but also offers a remedy for the dysfunction—acceptance without acquiescence.

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23

Kaplin, David. "The best policy : lying and national identity in Victorian and French novels /". [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3202897.

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Dourado, Eliane Rodrigues. "Adaptações contemporâneas : um estudo sobre os clássicos literários em graphic novels". reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/17027.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014.
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A presente pesquisa debruçou-se sobre aspectos significativos da construção de Graphic Novels adaptadas de clássicos literários, que se colocam como um fenômeno neste início de século XXI. As análises tiveram a intenção de comprovar a legitimidade dessas publicações como obras de arte autênticas, que se utilizam da poética da imagem a fim de traduzir o enredo do original que contemplam. Foram analisados onze títulos de temáticas diversas. Entre impropérios da vida cotidiana, guerra, memória, loucura, diferenças sociais e religiosas e construção da identidade nacional, os enredos figuram personagens próximas à realidade, que permitem ao leitor uma espécie de identificação direta. Essas questões da experiência humana são responsáveis pelo sucesso dessa forma artística. Com recursos peculiares, as Graphic Novels são capazes de expor em seu enredo várias técnicas que permitem ao leitor observar o mundo a partir de uma criticidade proporcionada por essas narrativas. Isso traduz o refinamento resguardado pela adaptação capaz de intensificar o crescimento do público leitor dessas publicações, responsáveis por movimentação considerável no mercado editorial do século XXI. ____________________________________________________________________________________ ABSTRACT
The current research leaned over significant aspects in the making of adapted Graphic Novels from literary Classics, which configure itself as phenomenon in this early XXI century. The analyses intended to confirm the legitimacy of these publications as authentic state of the art works that use image as poetry in a way that translate the original story contemplated. Eleven titles were analyzed from different themes. Among them, profanity of daily life, war, memory, madness, social and religious differences and the making of national identity, the stories portray characters close to reality, allowing the reader to relate directly with the work. These questions about human experiences are responsible for the success of this artistic field of work. With peculiars resources, these graphic novels are capable of exposing in its stories several techniques that allow the reader to observe the world beyond an articulated narrative. This translates the boasted refinement by the adaptation capable of intensify the increase in audience of these works now responsible for considerable gains in the XXI century editorial market.

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25

Stoeckl, Sarah y Sarah Stoeckl. "Static Chaos: The Great War and Modern Novels of Sterility". Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12377.

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The Great War was unprecedented both in its devastation and in the significance people attached to it, which this dissertation contends led to a crisis of representation that manifested in literary tropes and discourses of sterility. Some authors used sterility to represent the war as a cultural and historical apocalypse, others as a basis for questioning how literature, Western civilization, and humanity itself could continue after such a catastrophe. "Static Chaos" theorizes how thematic renderings of sterility work alongside modernist formal experimentation to sever reproductive literary traditions. The widespread instances of sterility reveal the deep effects of the war on non-combatants as well as combatants, as demonstrated through analysis of novels by a diverse group of authors from Britain and United States--Rebecca West, Willa Cather, Ernest Hemingway, Claude McKay, and Ford Madox Ford. The study moves chronologically yet it also follows a narrative logic of thwarted human sexual experience beginning with novels focused upon problematic virginity, then those depicting the inability or unwillingness to procreate, and then one preoccupied with pregnancy overshadowed by illegitimacy and stillbirth. This dissertation draws upon trauma theory and grief and mourning theory, which reveal how, in addition to individual experiences of psychological trauma, the war disabled traditional means of coping, leading to a widespread inability to mourn that was traumatizing in itself. I name this state "traumatic grief" and argue that its pervasiveness led authors to break with a longstanding interconnection between making war and making babies. "Static Chaos" also expands theories that diagnose narrative's mimetic relationship to human sexual intercourse and sexuality, particularly those of Judith Roof and Lee Edelman who assert narrative's heterosexuality based on its traditional logic of continuation. I argue that post-war formal experimentation in modernist literature renders narrative metaphorically sterile by disrupting reproductive traditions and conventions. These formal components include generic manipulation, representations of inversion and paradox, ambiguous or inconclusive endings, and parodic or circular plot structures. Together with themes of sterility, these formal elements work to depict the post-war world as fixed in a barren wasteland, trapped in static chaos.

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26

Duce, Cristy Lee. "In love and war : the politics of romance in four 21st-century Pakistani novels". Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, 2011, 2011. http://hdl.handle.net/10133/3127.

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Writers of fiction have long since relied on love, romance, and desire to drive the plots of their work, yet some postcolonial authors use romance and interpersonal relationships to illustrate the larger political and social forces that affect their relatively marginalized experiences in a global context. To illustrate this literary strategy, I have chosen to discuss four novels written in the twenty-first century by Pakistani authors: Tbe Reluctant Fundamentalist by Mohsin Hamid, Trespassing by Uzma Aslam Khan, The Wasted Vigil by Nadeem Aslam, and Burnt Shadows by Kamila Shamsie. With the geographical origin of these writers as a common starting place from which to compare and contrast their perspectives on global politics, their understandings of gender, and their perceptions of how the public and the private constitute and intersect each other, I will use postcolonial theory to dissect the treatment of romance in their respective novels.
v, 85 leaves ; 29 cm

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27

Gardner, Barbara J. "Speaking Voices in Postcolonial Indian Novels from Orientalism to Outsourcing". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_diss/85.

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In Orientalism, Edward Said identified how the Westerner “spoke for” and represented the silent Orient. Today with the burgeoning call-center business with India, it seems that the West now wants the Orient to speak for it. But is the voice that Western business requires in India a truly Indian voice? Or is it a manipulation which is a new form of the silencing of the Indian voice? This dissertation identifies how several Postcolonial Indian writers challenge the silence of Orientalism and the power issues of the West through various “speaking voices” of narratives representative of Indian life. Using Julie Kristeva’s abjection theory as a lens, this dissertation reveals Arundhati Roy as “speaking abjection” in The God of Small Things. Even Roy’s novelistic setting suffers abjection through neocolonialism. Salman Rushdie’s narrative method of magic realism allows “speaking trauma” as his character Saleem in Midnight’s Children suffers the traumas of Partition and Emergency as an allegorical representation of India. Using magic realism Saleem is able to speak the unspeakable. Other Indian voices, Bapsi Sidhwa, Khushwant Singh, and Rohinton Mistry “speak history” as their novels carry the weight of conveying an often-absent official history of Partition and the Emergency, history verified by Partition surviror interviews. In Such a Long Journey, Mistry uses an anthrozoological theme in portraying issues of power over innocence. Recognizing the choices and negotiations of immigrant life through the coining of the word (dis)assimilation, Jhumpa Lahiri’s writings are analyzed in terms of a “speaking voice” of (dis)assimilation for Indian immigrants in the United States, while Zadie Smith’s White Teeth “speaks (dis)assimilation” as a voice of multiple ethnicites negotiating immigrant life in the United Kingdom. Together these various “speaking voices” show the power of Indian writers in challenging the silence of Orientalism through narrative.

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28

Stow, Emily. "Is it really all about the mother? family systems theory in women-authored, post-Civil War Spanish novels /". [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3229578.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2006.
"Title from dissertation home page (viewed July 3, 2007)." Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 3003. Adviser: Maryellen Bieder.

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29

Barletta, Sandra Anne. "A first kiss is still a first kiss : romancing the mid-life reader and heroine". Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/19205/1/Sandra_Barletta_-_A_Basic_Renovation.pdf.

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Through its depiction of heroines, romance fiction has the capacity to reflect the attitudes and concerns women face in society. However, the depiction of heroines in romance novels is bound by the constraints publishers place upon them. A vibrant, passionate mid-life heroine gets pushed into a subgenre where romance no longer exists as an option, while a mid-life reader in search of a romance heroine to identify with is relegated to novels where romance is a marginal issue, rather than the main impetus that leads the story. This study, and the novel A Basic Renovation, addresses a neglected demographic of reader and heroine who are marginalised within the romance genre. As well, it gives reasons why heroines need not be characterised in particular roles or situations as they age, and a rationale for why their underrepresentation as romance heroines should end.

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30

Barletta, Sandra Anne. "A first kiss is still a first kiss : romancing the mid-life reader and heroine". Queensland University of Technology, 2008. http://eprints.qut.edu.au/19205/.

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Through its depiction of heroines, romance fiction has the capacity to reflect the attitudes and concerns women face in society. However, the depiction of heroines in romance novels is bound by the constraints publishers place upon them. A vibrant, passionate mid-life heroine gets pushed into a subgenre where romance no longer exists as an option, while a mid-life reader in search of a romance heroine to identify with is relegated to novels where romance is a marginal issue, rather than the main impetus that leads the story. This study, and the novel A Basic Renovation, addresses a neglected demographic of reader and heroine who are marginalised within the romance genre. As well, it gives reasons why heroines need not be characterised in particular roles or situations as they age, and a rationale for why their underrepresentation as romance heroines should end.

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31

Gillespie, Robin. "The Pursuit of a “Happy Ending”: Chuck Palahniuk’s Novels and the Search for Human Connection". Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275653893.

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32

Ackermann, Zeno. "Working at "Romance" poetics and ideology in novels of the antebellum American South 1824-1854 /". [S.l. : s.n.], 2004. http://deposit.ddb.de/cgi-bin/dokserv?idn=970611404.

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33

Rogers, Natasha. "The representation of trauma in narrative : a study of six late twentieth century novels". Thesis, University of Warwick, 2004. http://wrap.warwick.ac.uk/4070/.

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This thesis conducts a close analysis of representations of trauma in six late twentieth century novels. I construct a theoretical framework by examining debates about trauma and narrative which have taken place in the fields of historiography, social studies, psychoanalysis and literary fiction. By drawing on these debates, I argue that the relationship between narrative and trauma is paradoxical: narrative is an essential tool, both for working-through and bearing witness to the trauma, but it can also intentionally or unintentionally be used to create an inauthentic version of events. I illustrate the need felt by many late twentieth century theorists for the development of a narrative form that will be able to produce an effective version of trauma. This narrative needs to facilitate working-through and enable witnessing of trauma. However, it must strive to avoid producing a falsifying version of the trauma. I argue that it can achieve this by acknowledging its own provisionality and therefore highlighting the limitations but also the necessity of narrative representations of trauma. I argue that the six contemporary novels I have chosen are examples of narratives that strive to develop a more effective means of representing trauma. The novels explore their concerns about trauma and narrative on both a thematic and formal level. The story told in each novel follows a similar pattern of events: in each novel the protagonist is depicted as suffering from the effects of trauma; they all try to evade their traumas by creating falsifying versions of their experiences; and they all offered a means of interpreting which will allow them to work-though and, therefore, bear witness to their traumas. Finally, the six authors utilise their narrative strategies to teach their readers this therapeutic and ethical hermeneutics which corresponds with contemporary concerns about trauma and narrative.

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34

Childress, Kirby. "A Phenomenology of Closet Trauma: Visual Empathy in Contemporary French Film and Graphic Novels". The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618915090413157.

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35

Harrison, Antony Patrick. "Trauma and mythologies of the Old West in the Western novels of Cormac McCarthy". Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/trauma-and-mythologies-of-the-old-west-in-the-western-novels-of-cormac-mccarthy(4a7fb132-e8fb-401d-8a51-14721496e2f8).html.

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This thesis explores how McCarthy uses figures of trauma to interrogate the creation of myth in three categories: mythic narrative, mythic masculinity, and mythic national identity. Focusing on McCarthy’s five most recent novels, All the Pretty Horses, The Crossing, Cities of the Plain, No Country for Old Men and The Road, I argue that this interdependency of myth and trauma helps explain the repetitive cycles of loss, failure and defeat that pervade his work. Most critics of McCarthy have failed to explain adequately the relationship between these cycles of failure and the various mythologies of the West in these novels, sometimes even praising his supposed rejuvenation of the ‘exhausted’ myths of cowboys and the Western frontier. But recent developments in trauma theory help explain how McCarthy uses figures of loss and trauma to re-imagine the very structure of myth in twenty-first century America, particularly in relation to mythic models of the heroic quest, heroic masculinity, and American Exceptionalism. Furthermore, this reading of McCarthy also extends trauma theory by enabling a reconsideration of both myth and trauma in terms of futurity. McCarthy’s fusing of trauma with myth exposes how myths are typically a cyclically violent and destructive cultural phenomenon, as well as revealing how myths always depend upon the projection of a future event that ultimately collapses into failure. By explaining these connections between trauma, failure, myth, and futurity, I thus revitalize the criticism devoted to McCarthy’s writing and open up new ways to think about the larger concerns of narrative, genre, gender, and nation. I investigate how and why McCarthy takes the mythologies of the Old West, and rather than revising or subverting these myths, strives for a further model of myth in the form of heroic narratives that always end in failure and unresolved traumatic experience. And yet, McCarthy does not simply offer the failure or collapse of myth itself. Rather, his engagement with trauma in these Western novels reinstates the mythic as a cyclical pattern in which the present experience of trauma invokes some kind of loss in the past, sometimes even an unspecified loss, and projects some kind of further loss into the future, so as to keep the very notion of myth in constant play or motion. The model of myth that McCarthy offers is thus an eternal cycle that can never resolve itself as redemption. In the process I will examine how McCarthy’s traumatic model of myth helps us understand how a failing and defeated cowboy culture, with its heritage based on mythic visions of mastery and loss may, in striving for a sustained mythic experience, remain trapped in unresolved traumatic cycles and patterns of violence, crisis and suffering which nevertheless produce a further cycle of traumatic myth. I engage McCarthy’s negotiations of the mythic quest in my analysis of The Crossing in Chapter One, in which I show how the traumatic failure of the quest infuses that quest with mythic symbolism, and spurs the inevitable repetition of the quest in order to preserve that mythic cycle. In Chapter Two I examine the relationship between myth, trauma, and masculinity in All the Pretty Horses and Cities of the Plain where I argue heroic masculinity relies upon the attempt to master the defeat and failure associated with trauma. In Chapter Three I examine how, in No Country for Old Men and The Road, the myth of American nation is associated with perpetual affirmations of chosenness and survival and how McCarthy’s novels open up new ways to understand how American culture builds a mythic past out of a sense of traumatic loss and projects that mythic vision onto an illusory and destructive future.

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36

Barclay, Fiona J. "Postcolonial France? : the problematisation of Frenchness through North African immigration : a literary study of metropolitan novels 1980-2000". Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/3248/.

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This thesis undertakes a literary study of contemporary novels published by metropolitan French writers between 1980 and 2000, and analyses their representation of the changing relationship between France and North Africa. It begins by analysing the specificity of the situation in France, arguing that this is largely due to the functioning of the French Republican tradition, which equates inassimilable difference with inferiority. Consequently, France’s former colonies represent a privileged site of the Republican relationship with difference. This is particularly acute in the case of Algeria, by virtue of its former status as an integral part of the French Republic, and as a result of the large population of Algerian origin resident within France. It therefore offers a useful perspective from which to assess the extent to which French identities and systems of representation have been problematised in the post-colonial era. Part One examines contemporary French attitudes towards the wider Maghreb, including examples from Morocco, Algeria and Tunisia. Drawing on traditions which extend back to Montaigne and Montesquieu, it considers contemporary updating of Orientalist traditions within which French writers have explored other countries as seen from the Hexagon. Part Two concerns the singularity of Algeria’s relationship with France. By focusing on a case-study – representations of the Paris massacre of 17 October 1961 – the thesis draws wider conclusions about the way in which attitudes to the Algerian War are changing, and the key role potentially played by literary and other artistic representation. The final chapter looks at recollections of life in Algeria in the work of two women writers, Marie Cardinal and Hélène Cixous. It concludes that their early experience there of conflict and otherness was fundamental in shaping the development of their writing project, and that their literary memories destabilise notions of a unified ‘Frenchness’.

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37

Russell, Shannon. "Dangerous Young Men: Themes of Female Sexuality and Masculinity in Paranormal Romance Novels for Young Adults". Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31631.

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Patterns of masculine and feminine portrayals can be found everywhere, yet one place sociologists tend not to look is in novels. Young adult novels have generated 27 million dollars in e-books alone in 2011, with paranormal romances and dystopian genres making up the majority of the sales (Scott, 2013). Understanding these novels is sociologically important because they are reaching wider audiences with their adaptation into Hollywood blockbusters. While the novels demonstrate stronger characteristics given to women, the messages about the ideal male in the novel often reflects one who is putting the female in danger. A content analysis of ten popular paranormal young adult novels demonstrates patterns of the construction of gender. Drawing on Radway’s (1984) analysis of romance novels and Connell’s, (2005) and hook’s (2004) theories of masculinities, this paper explores the messages in paranormal fiction geared to a mainly young adult female reading audience. My preliminary findings demonstrate thus far that these books reflect unhealthy ideas about relationships, violence, the body, and sexuality. The novels portray masculine bodies as hard, dangerous, and seductive. They also share a storyline consisting of the fear of getting killed by someone they are in love with.

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38

Barry, Lisa Jane. "Critique groups : a technique for the author’s toolbox?" Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/32148/1/Lisa_Barry_Thesis.pdf.

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With a lack of places to gain an education in the craft of romance writing, novelists have few places to turn to gain real feedback. This paper investigates an alternative to textbooks, conferences, and workshops through an examination of the role provided to the writer by critique groups. How these groups work, how they benefit an author, and the critique groups as a whole are discussed. This work studies the form of Peer Assessment and Learning (PAL) and compares the technique used by educational institutions all over the world with the practice of author groups critiquing their own work. The research shows how a critique group can assist a writer to learn, grow and develop, helping to enhance the writer’s skills through constructive feedback, which gives them confidence to sell their work.

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Castelan, Ivair Carlos. "Trieste, inaptidão e ciúme: três componentes fundantes do romance sveviano". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-06052015-173049/.

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O principal objetivo deste trabalho é realizar uma leitura atenta que demonstre a importância do ciúme para a tessitura narrativa nos romances de Italo Svevo: Una vita (1892), Senilità (1898) e La coscienza di Zeno (1923). A partir da ordem de publicação de cada obra, pretende-se desvelar as relações amorosas, desnudando o modo como o ciúme apresenta-se nas histórias vividas pelos personagens. As diversas teorias que discorrem sobre o ciúme, ainda que de modos diferentes, convergem em um ponto, ou seja, no caráter triplo desse sentimento que terá, portanto, o triângulo como a forma geométrica que melhor o representa. Todavia, o ciúme será analisado neste estudo, sobretudo, à luz da teoria do filósofo francês, René Girard. Este trabalho ainda trata de duas questões fundamentais na obra de Svevo, intrinsicamente ligadas ao ciúme: o ambiente triestino, onde se desenrolam as histórias e o caráter inapto de seus protagonistas.
The main goal of this work is to produce an attentive reading that demonstrates the importance of jealousy shaping the narrative web in Italo Svevo\'s novels: Una vita (1892), Senilità (1898) e La coscienza di Zeno (1923). Following the chronological order of each piece, the intent is to unveil the amorous relationships by uncovering the manner jealousy is presented in characters\' histories. The diverse theories lecturing on jealousy -though may diverge in some aspects- end up converging in one: the triple aspect of the feeling, the triangle for its geometrical shape that very well represents it. However, jealousy will be taken in this study, most of all, enlightened by the french philosopher theory of René Girard. Furthermore, this thesis also deals with two important matters of Svevo\'s work, intrinsically linked to jealousy: the Triestian enviroment, where main characters\' storyline and inaptitude flourish.

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40

Hansson, Louise. "Stereotypes below the Surface : A Comparative Study of Three Popular Young Adult Novels in the Romantic Fantasy Genre". Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131462.

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In recent years, the young adult genre has become increasingly popular and is experiencing a "second golden age.” It might be expected in such novels, when written by women and featuring gifted female heroines, to find some kind of a feminist message. Indeed, the heroines are often perceived as strong and capable. However, they fall in line with several old gender stereotypes. The three novels chosen for this study are: A Court of Thorns and Roses by Sarah J. Maas, Red Queen by Victoria Aveyard and An Ember in the Ashes by Sabaa Tahir. I will show that women, although perceived as strong and capable on the surface, often conform to stereotypes. In order to do this I analyse how women are portrayed from different perspectives. Women are often perceived as passive in romantic situations, and objectified through the normative male gaze. It is interesting that also in novels written by women for women, the male gaze is prominent. Through this the female reader gains the desire to be objectified, implicitly from the narrative, which is something that works against women’s empowerment in society. Furthermore, the female protagonists rarely, or never, threaten patriarchy in any way and generally work toward reinstating patriarchy which is perceived as the only sensible option. Women in power, who do threaten patriarchy, are portrayed as sadistic witches.

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41

Ibarra, Rogelia Lily. "Redefining hegemonic divisions of space representations of nation in the novels of Gertrudis Gómez de Avellaneda and Emilia Pardo Bázan /". [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3386687.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2009.
Title from PDF t.p. (viewed on Jul 15, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4699. Adviser: Maryellen Bieder.

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42

Williams, Anjali Joline. ""Strange contrasts" : intersubjectivity and the cohesion of romance in the novels of Charlotte Brontë and Jean Rhys /". For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.

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43

Walton, Marion Nicole. "Empire, nation, gender and romance : the novels of Cynthia Stockley (1872-1936) and Gertrude Page (1873-1922)". Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/9568.

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Bibliography: leaves 311-345.
As the first detailed study of the Southern Rhodesian romantic. novels of Cynthia Stockley (Lilian Julia Webb) and Gertrude Page (Gertrude Dobbin), this dissertation presents biographical information about the two writers as well as an analysis of the historical reception and discursive context of the novels - focusing primarily on the novels as rewritings of the gendered discourses of the British "New Imperialism" and of a nascent Rhodesian nationalism. Their novels reveal ambivalences about and conflicts between feminism and maternalism, heroic and bourgeois versions of the romance genre, and bourgeois imperialism and the representation of feminine sexuality.

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44

Bliss, Adrienne L. "Trauma and the psychological grotesque in the novels of Laura Hendrie, Laura Kasischke, and Gloria Naylor". Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317741.

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This research uses the interpretive framework of the Psychological Grotesque to address a protagonist's response when she is unable to integrate the experience of interpersonal trauma into her psyche. The framework reveals a survival mechanism, identity incorporation, with roots in the transgressive and evolutionary nature of the grotesque as discussed in the work of Mikhail Bakhtin, Mary Douglas and Leonard Cassuto. The psychological grotesque is explicated using Stvgo by Laura Hendrie, The Life Before Her Eyes, by Laura Kasischke, and Linden Hills by Gloria Naylor.The psychological grotesque reveals how the protagonist within each of these novels, when positioned within a specific matrix of contributing factors engages in flawed survival strategies to reconcile psychic fragmentation. Drawing on theories of trauma from the work of Bessel Van Der Kolk, Dori Laub, Sigmund Freud, Mardi Horowitz, Ronnie Janoff-Bulman, Laurie Vickroy, Cathy Caruth, Peter Woods and Tim Middleton, the definition of the matrix includes: interpersonal trauma, prior history of emotional problems, no social support network, and self-perceived complicity in the violence. Where these criteria are present, the protagonist is incapable of achieving the repair of her damaged psyche in order to reintegrate into society and relief from the pain of trauma. In an effort to repair her brokeness through the incorporation of parts of the identity of others, the protagonist creates a grotesque mental hybrid living in fractured time. The protagonist experiences destabilization of time due to incorporating the temporal perspective of the other identities. A flawed survival strategy, identity incorporation leads to further psychic fragmentation.The psychological grotesque takes up the challenge of communicating the effects of trauma and addresses the lack of a literary interpretive mechanism for trauma literature in which a critical component of the narrative is the story of female victims of interpersonal violence. This framework confronts the fact that representations of women and trauma are problematic due to how trauma resists linguistic representation and because women have historically been denied a voice in the canon. Therefore, by drawing on elements of the grotesque, specifically hybridity and transgression, this interpretive framework recuperates the experiences of traumatized protagonists.
Department of English

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45

Kim, Bong-Gwang. "The Politics of Romance: Henry James's Social (Un)Conscious". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277823/.

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This study addresses the ideological properties of the two main modal strains in fictional representation of romance and realism in order to provide an antidote to the currently extremely negative view of the representational function of fiction. In the course of the discussion, three received positions in traditional literary criticism are challenged. Firstly, the view of literary form as ideology-free is undermined by demonstrating the ideological properties of the two modes. Secondly, the realism/romance binary opposition regarding the mode of fictional representation is critiqued by both uncovering the misconception of the former's competence for transparent representation and evincing the two modes' ideologically interactive relation. Lastly, the categorization of Henry James as an aesthete is problematized by historicizing and socializing his three texts.

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46

Swarnakar, Sudha. "The fallen woman in twentieth-century English and Brazilian novels : a comparative analysis of D.H. Lawrence and Jorge Amado". Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/4261/.

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This thesis offers a thematic comparison of the ways in which fallen women are depicted by two writers: D. H. Lawrence (1885-1930) and Jorge Amado (1912- ). The comparison highlights the contrasts and similarities between two cultures and how they are reflected in literature. The focus of the thesis is on an examination of unconventional female characters and it illuminates more generally the ways in which literary creativity is shaped by the interaction between writers and their social milieus. The theme of the fallen woman provokes discussion of changing patterns of sexuality in two different societies, in two different periods of their historical development. It also involves the question of the social, political and cultural background of both England and Brazil, where these images of the fallen women were fabricated. The thesis argues that both Lawrence and Amado share tremendous sympathy for these women. The thesis is divided into eight chapters. Chapters Two through Six are divided into two parts. The analysis in Part One involves a number of Lawrence's novels: The White Peacock, Sons and Lovers, The Lost Girl, Aaron's Rod, Mr. Noon, `Sun', and three versions of Lady Chatterley's Lover. Part Two looks at the fallen woman in Amado's writing from 1934 to 1977, and the discussion focuses on Jubiabä, Terras do sem fim, Gabriela, cravo e canela, Dona Flor e seus dois maridos, Tereza Batista cansada de guerra and Tieta do Agreste. Female desire and its fulfilment in an unconventional way has been a central question in all these novels. Without a moral judgement, both Lawrence and Amado depict the female characters who are triumphant lovers, redeemed from the sense of sin or guilt by their passion. The depiction of these women highlights the class and gender differences. Both writers show how patriarchy plays a dominant role in keeping female sexuality under control in both English and Brazilian societies.

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47

Cassell, Cara MaryJo. "The "Infernal World": Imagination in Charlotte Brontë's Four Novels". Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_diss/14.

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If you knew my thoughts; the dreams that absorb me; and the fiery imagination that at times eats me up and makes me feel Society as it is, wretchedly insipid you would pity and I dare say despise me. (C. Brontë, 10 May 1836) Before Charlotte Brontë wrote her first novel for publication, she admitted her mixed feelings about imagination. Brontë’s letter shows that she feared both pity and condemnation. She struggled to attend to the imaginative world that brought her pleasure and to fulfill her duties in the real world so as to avoid its contempt. Brontë’s early correspondence attests to her engrossment with the Angrian world she created in childhood. She referred to this world as the “infernal world” and to imagination as “fiery,” showing the intensity and potential destructiveness of creativity. Society did not draw Brontë the way that the imagined world did, and in each of Brontë’s four mature novels, she recreated the tricky navigation between the desirable imagined world and the necessary real world. Each protagonist resolves the struggle differently, with some protagonists achieving more success in society than others. The introduction of this dissertation provides critical and biographical background on Brontë’s juxtaposition of imagination/desire and reason/duty. Sandra Gilbert and Susan Gubar’s The Madwoman in the Attic supplies the basis for understanding the ways that the protagonists express imagination, and John Kucich’s Repression in Victorian Fiction defines the purposefulness of repression. The four middle chapters examine imagination’s manifestations and purposes for the protagonists. The final chapter discusses how the tension caused by the competing desires to express and repress imagination distinguishes Brontë’s style.

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Correia, Maria Aline de Andrade. "O estudo do espelhamento como experiência limiar nos Graphic Novels : Berço de corvos, de Zaragoza e Plà, Espelho e Sombra, de Suzy Lee". reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/16808.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Pós-Graduação em Literatura, Mestrado em Literatura e Práticas Sociais, 2014.
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O objetivo principal dessa pesquisa esteve centrado em mostrar e analisar o fenômeno do espelhamento em alguns romances gráficos da atualidade. O corpus ficou delimitado em três textos: Berço de corvos, que é uma releitura da novela Cuna de cuervos, da jovem escritora espanhola Zaragoza, para a linguagem dos quadrinhos, feito pelo também jovem desenhista espanhol Didac Plà. Os outros dois textos, Espelho e Sombra, fazem parte da trilogia de Suzy Lee, essa já conhecida pelas suas ilustrações em textos direcionados para crianças, os quais ela mesma convencionou chamar de “trilogia da margem”. De certa forma, nesses textos, o espelhamento aparece, de maneira geral, em momentos de muita reflexão, dúvida, embates de caráter ou mudanças de atitude para as personagens elencadas; portanto, ele se torna um fenômeno que representa a fronteira, o limiar, a passagem, seja no sentido psíquico ou de delimitação dos espaços na narrativa. Para esta pesquisa, então, será analisado o tema do espelhamento como um representante da experiência limiar para as personagens e, nesse entendimento, como uma dialogia entre os mundos possíveis. Dessa forma, a análise também se desenvolverá em torno do trato com a imagem e seus elementos, item hermenêutico importante para a conjugação híbrida do verbal e do não verbal na estrutura arquitetônica de uma Graphic Novel. A base teórica para o estudo desses dois elementos estruturais, e para o tema do espelhamento, estará centrada, mas não exclusivamente, na teoria do crítico russo Mikhail Bakhtin e nos seus conceitos de fronteira, experiência limiar, autonomia e autoconsciência. ____________________________________________________________________________________ ABSTRACT
The main objective of this research was centered in to analyze the phenomenon of mirroring in some Graphic Novels today. The corpus was bounded on three texts: Cradle of crows, which is a retelling of the novel Cuna de cuervos, the young Spanish writer Zaragoza, for the language of comics, also made by the young Spanish designer Didac Plà. The other two texts, Mirror and Shadow, part of Suzy Lee trilogy, this already known for her illustrations in texts aimed at children, which she herself conventionally called "Border Trilogy". Somehow, in these texts, mirroring appears, generally, at moments of much reflection, doubt, cashes of ethos or changes in listed characters attitude, so, it becomes a phenomenon which represents the line, the threshold, the transition psychic sense or delimitation of the spaces in the narrative. Then, this research will be considered mirroring theme as an agent of the threshold experience for characters and, by this way, as a dialogism between possible worlds. By this way, the analysis also will develop around the deal with the image and its elements, hermeneutic important item for the hybrid combination of verbal and non-verbal into the architectural structure of a Graphic Novel. The theoretical basis for these two structural elements studying, and for the mirroring theme will be concentrated, but not exclusively, on the theory of critic Russian Mikhail Bakhtin and on his concepts of border, threshold experience, autonomy and self-conscience.

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49

Peden, McParland Andrea. "Trapped in her lover's arms, the problem of courtship and romance in selected novels by L. M. Montgomery". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ33428.pdf.

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50

Pereira, Alice de Araujo Nascimento. "A (her)story of ones own: fiction and autobiography in Julia Alvarezs novels". Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3447.

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Escritoras migrantes frequentemente publicam romances autobiográficos que mesclam ficção com suas histórias pessoais. Essas escritoras usam suas experiências pessoais para discutir questões coletivas relacionadas aos diversos tipos de deslocamento associados ao processo diaspórico. As migrações em massa das ex-colônias para as metrópoles dos países desenvolvidos cresceram significantemente após a Segunda Guerra Mundial, gerando ao mesmo tempo contato mais próximos e conflitos entre culturas. Essa dissertação pretende analisar os romances autobiográficos How the García Girls Lost their Accents (1991) e Yo! (1997) da escritora dominicana-americana Julia Alvarez, A família Alvarez migrou para os Estados Unidos em 1960 devido a perseguição política. Em seus romances, a escritora lida com os traumas do deslocamento e com o processo de crescimento de meninas divididas entre valores culturais diferentes. Pretendo discutir como Alvarez, em sua prática autobiográfica, problematiza questões relacionadas à migração, como gênero, hibridismo cultural, memória lacunar e identidades fragmentadas. Também analiso como essas narrativas contestam as convenções formais tanto do gênero autobiográfico como da ficção, frisando o quanto o limite entre o real e o fictício, entre o privado e o político, é tênue
Migrant women writers often write autobiographical novels intertwining their personal histories with fiction. These writers use their personal experiences to discuss collective matters related to different types of displacement associated with the diasporic process. Mass migration has significantly grown after the World War II, especially from former colonized countries to developed centers, increasing both contact and conflict between cultures. This dissertation intends to analyze the autobiographical novels How the García Girls Lost their Accents (1991) and Yo! (1997) by Dominican-American author Julia Alvarez. The Alvarez family migrated to the U.S.A. in 1960 because of political persecution. In her novels, the writer deals with the traumas of dislocation and with the growing up process of girls caught between different cultural values. I intend to discuss how Alvarez problematizes through her autobiographical practice issues related to migration, such as gender roles, cultural hybridity, discrimination, shattered memories and fragmented identities. I also examine how these narratives contest conventions of both autobiographical and fictional genres, blurring the boundaries between the private and the political, between facts and fiction

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Tesis sobre el tema "Trauma in romance novels"

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