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1
Sorensen, Paul Howard. « Foreign Dispatches From a World of Men ». Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1321901743.
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2
Wilkinson, Stephen. « Detective fiction in Cuban society and culture ». Thesis, Queen Mary, University of London, 2000. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1671.
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The object of this thesis is to reach towards an understanding of Cuban society through a study of its detective fiction and more particularly contemporary Cuban society through the novels of the author and critic, Leonardo Padura Fuentes. The method has been to trace the development of Cuban detective writing and to read Padura Fuentes in the light of the work of twentieth century Western European literary critics and philosophers including Raymond Williams, Antonio Gramsci, Terry Eagleton, Roland Barthes, Jean Paul Sartre, Michel Foucault, Jean François Lyotard and Jean Baudrillard in order to gain a better understanding of the social and historical context from which this genre emerged. By concentrating on the literary texts, I have explored readings which lead out into an analysis of the broader philosophical, political and historical issues raised by the Cuban revolution. Since it deals primarily with modes of deviance and notions of legality and justice within the context of the modern state, detective fiction is particularly well suited to this type of investigation. The intention is to show how this is as valid in the Cuban context as it is in advanced capitalist societies where such research has already been carried out with some success. The thesis comprises an introduction, ten chapters and a conclusion. The chapters are divided into three sections. Chapters 1 to 3 attempt a broad theoretical, historical and socio-political analysis of the cultural reality within which the Cuban revolutionary detective genre emerged. Chapters 4 to 6 analyse the Cuban detective narrative from its inception in the early part of the twentieth century until the emergence of Leonardo Padura Fuentes as the foremost exponent of the genre in Cuba after 1991. Chapters 7- 10 concentrate upon the work of Leonardo Padura Fuentes, offering a reading of his detective tetralogy informed by the preceding discussion. The contribution made by the thesis to knowledge of the subject is to build upon the work of Seymour Menton and Amelia S. Simpson on the development of the Cuban detective novel and to provide analyses of the pre-Revolutionary Cuban detective narrative and the work of Leonardo Padura Fuentes for the first time in the English language. The thesis concludes that the study of this popular genre in Cuba is of crucial importance to the scholar who wishes to reach as full an understanding of the social dynamics within that society as possible. In particular, it proves that Cuban detective fiction provides a useful barometer of social change which records the shifts in the Cuban Zeitgeist that have taken place over the past century.
3
Burton, William James. « In a perfect world : utopias in modern Japanese literature / ». Thesis, Connect to this title online ; UW restricted, 2002. http://hdl.handle.net/1773/11144.
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4
Maynes-Aminzade, Elizabeth. « Macrorealism : Fiction for a Networked World ». Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11157.
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Victorian novels were, generally speaking, big. But what forms did their bigness take? Why did a "macro" aesthetic prevail in the mid-nineteenth century? And why, after losing influence in the following century, has it returned in recent years? This dissertation identifies three distinct features - one spatial, one temporal, one intellectual - crucial to that aesthetic. Moreover, it explains why that kind of fiction, which I call macrorealism, has come into fashion at two different historical moments.
5
Hensley, Martin. « The Green World of Dystopian Fiction ». TopSCHOLAR®, 2006. http://digitalcommons.wku.edu/theses/276.
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Northrop Frye was the first theorist to develop the green world archetype; Frye used the term to refer to a recurring motif in Shakespearean comedy. In several of Shakespeare's comedies, the protagonists leave the civilized world and venture into the green world, or nature, to escape from the irrational law of society, which is the case in such comedies as As You Like It and A Midsummer Night's Dream. Elements of the green world can also be found in Shakespearean tragedy, where the natural retreat serves as a temporary escape for the protagonists. Such a green world exists in three of the most well known examples of dystopian fiction: George Orwell's 1984, Aldous Huxley's Brave New World, and Yevgeny Zamyatin's We. In these three novels, the protagonists take flight from the repressive dystopia and journey into nature. In the green world, the protagonists attain individual freedom and identity and experience emotions, passions, beauty, the past, and the power of language. Each of these elements, which are associated with the green world, stand in opposition to the dystopian society's doctrine. The green world, then, becomes an escape, a place where the protagonists can temporarily live a free life away from the tyrannical powers of the dystopic society. The dystopian green world experience follows a pattern of flight, immersion, and departure. In the first segment, the protagonists flee from the oppressive society and into nature; in the second, they immerse themselves within the green world where they experience new sensations, emotions, and gain new insights and understanding; in the third, the protagonists depart the green world and return to the civilized world in order to confront it with the knowledge they have gained while immersed in the green world. This pattern can also be viewed as a symbolic cycle that moves from death to rebirth to death. The first death is the death-like stasis of the dystopia and of the protagonist, who is just a part of the whole and not truly an individual. The symbolic rebirth conies when the protagonists depart the green world as individuals with new know ledge and experiences. Lastly, the second symbolic, or sometimes literal death, comes when the protagonists confront the dystopia with their new knowledge, have that knowledge challenged by an agent of the dystopia, usually in the form of a trial, and, finally, are symbolically or literally destroyed by the dystopian agent.
6
Adams, Melissa Marie. « New world courtship transatlantic fiction and the female American / ». [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:3373489.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2009.Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3850. Advisers: Jonathan Elmer; Deidre Lynch. Title from PDF t.p. (viewed on Jul 6, 2010).
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Wilkinson, Karen Ann. « 'Widening the world' : the later fiction of Susan Warner ». Thesis, Manchester Metropolitan University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269564.
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Tate, Trudi. « Modernist fiction and the First World War : subjectivity, gender, trauma ». Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296653.
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Saar, Amy L. « Solitary Women Wanderers : Urban Stories of Resistance in Contemporary Spanish Women's Narrative ». Thesis, view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3113027.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 213-219). Also available for download via the World Wide Web; free to University of Oregon users.
10
Cave, David P. « The treatment of World War Two in English fiction 1940-1990 ». Thesis, Aberystwyth University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310275.
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11
Rodman, Jeffrey Stanley. « A world of romance : the Wessex fiction of John Cowper Powys ». Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385355.
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Herzing, Melissa Jean. « The Internet World of Fan Fiction ». VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1046.
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Fan fiction, the most popular creative outlet for fans, allows the amateur writer an opportunity to be published and receive immediate feedback from peers. As educators, we can learn from the fan communities as they participate in online activities, especially fan fiction. Students are more likely to embrace entertaining and creative assignments. And since much of the world is linked to the Internet in one way or another, we can allow students an opportunity to not only improve their writing skills, but also enhance their knowledge of the Internet and its capabilities. My study included online interviews with fan fiction writers and readers as well as the examination of fan fiction texts and websites. By exploring this relatively unknown genre of writing and reading, I believe teachers of composition can use fan fiction to their advantage by encouraging students to write creatively using subject matter that interests them in some way.
13
Villegas, de la Torre Esther Maria. « Women and the Republic of Letters in the Luso-Hispanic world, 1447-1700 ». Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12740/.
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Questions of gender, feminism, and écriture feminine in individual cases continue to be given priority in studies of women’s writing in Baroque Spain, to the exclusion of study of the wealth of original sources that show women participating freely and equally in all aspects of the Republic of Letters, as contemporaries called the literary profession. My doctoral thesis seeks to correct this imbalance by charting the rise and consolidation of the status and image of women as authors in and around the period now recognized as having seen the beginnings of the literary profession, 1600-1650. I take as my field the república literaria in the Spanish Atlantic empire in the period 1450–1700, with parallels from England, France and Italy. Using Genette’s studies of the paratext (2001) and Darnton’s theory of the “communication circuit” (2006), and building on the work of cultural historians (Bouza 1992, 1997, 2001; Bourdieu 1993; Chartier 1994; Cayuela 1996 & 2005), I examine the role of women as authors and readers, chiefly through an analysis of the discourse of their paratexts in a representative corpus of texts patronized, written, or published by women in Catalan, Portuguese, and Spanish. The key criterion of selection has been the projection of a female voice in public texts, whether via a sobriquet, a real name, grammatical gender, or a pseudonym. However, where appropriate, it has been extended to include also literary correspondence, book inventories, and texts, which despite being published anonymously, have been shown to be by women. The study is divided into two parts wherein extant sources have been selected and arranged chronologically and by theme, rather than by author. Part I, comprising Chapters 1 and 2, examines the rise and expansion of women’s symbolic capital in the public literary sphere. Part II, comprising Chapters 3 and 4, shows that, by the seventeenth century, women’s literary practices had achieved commercial, professional and didactic renown on both sides of the Atlantic. Chapter 1 shows the rhetorical significance embedded in women’s first metadiscourses, whether in identifiable or anonymous authorship, dating back to the fifteenth century. Chapter 2 illustrates women’s rising literary authority by reviewing their public endeavours and literary self-consciouness in the sixteenth century. Chapter 3 shows the rise of discourses of fame and professionalization in single publications by identifiable female authors, a shift most noticeable in commercial traditions in print (ephemera, the novela and the theatre). Chapter 4 challenges the fallacy that women chose anonymity or hid behind a patron (or publisher) because of their sexual difference. It thus assesses whether the question of women’s literary successes ultimately depended on a negation of their female sex —through publishing anonymously, under a pseudonym, or in the name of a publisher— or was, rather, influenced by their authorial intent, social and religious status. In sum, the thesis shows that women’s sexual difference did not prevent them from gaining a successful and recognized place within the rising Republic of Letters, but was on the contrary turned to their advantage as a promotional point. Women were as important as men as agents in the emergence of the modern concept of the author as independent artist.
14
Varvogli, Aliki. « The world that is the book : an intertextual study of Paul Auster's fiction ». Thesis, University of East Anglia, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243926.
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Pettersson, Bo. « The world according to Kurt Vonnegut moral paradox and narrative form / ». Åbo [Finland] : Åbo Akademi University Press, 1994. http://books.google.com/books?id=lXlbAAAAMAAJ.
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Gonzalo, de Jesús Patricia. « El mundo es mentira ». Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1611.
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Can words create worlds? My fiction thesis, El mundo es mentira (The World Is a Lie), explores different voices and points of view to examine the ways in which they not only tell stories, but also generate spaces, atmospheres and, ultimately, worlds of their own. Moreover, the book aims to be a meeting ground where these voices dialogue with the voices of the literary tradition, reinterpreting and rewriting it.
This collection was conceived as an experimental laboratory as well: it is comprised by short and micro-stories which question and challenge conventional forms of storytelling by incorporating poetic, memoiristic and essayistic devices.
17
Burke, Debra Pauline. « Pandora's box : sexual fiction by Spanish and Latin-American women from the late 1970's to 2000 / ». Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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18
Lueckel, Wolfgang. « Atomic Apocalypse - 'Nuclear Fiction' in German Literature and Culture ». University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281459381.
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19
Ellison, Mahan L. « Literary Africa : Spanish Reflections of Morocco, Western Sahara, and Equatorial Guinea in the Contemporary Novel, 1990-2010 ». UKnowledge, 2012. http://uknowledge.uky.edu/hisp_etds/7.
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This dissertation analyzes the strategies that Spanish and Hispano-African authors employ when writing about Africa in the contemporary novel (1990-2010). Focusing on the former Spanish colonial territories of Morocco, Western Sahara, and Equatorial Guinea, I analyze the post-colonial literary discourse about these regions. This study examines the new ways of conceptualizing Africa that depart from an Orientalist framework as advanced by the novelists Lorenzo Silva, Concha López Sarasúa, Ramón Mayrata, María Dueñas, Fernando Gamboa, Montserrat Abumalham, Javier Reverte, Alberto Vázquez-Figueroa, and Donato Ndongo. Their works are representative of a recent trend in Spanish letters that signals a literary focus on Africa and the African Other.
I examine these contemporary novels within their historical context, specifically engaging with the theoretical ideas of Edward Said’s Orientalism (1978), to determine to what extent his analysis of Orientalist discourse still holds value for a study of the Spanish novel of thirty years later. In addition, the work of theorists such as Gil Anidjar, Emmanuel Levinas, James C. Scott, Ryszard Kapuściński, Georges Van den Abbeele and Chandra Mohanty contribute to the analyses of specific works. These theorists provide a theoretical framework for my thesis that contemporary Spanish authors are writing Africa in ways that undermine and circumvent the legacy of Orientalist discourse. I seek to highlight the innovative approaches that these authors are taking towards their literary engagement with Africa.
The imaginary that pertains to Africa has served an integral role in the history and creation of modern Spain, and it is illuminating to trace the influences that it continues to exert on Spanish writers. In the last thirty years, Spain’s relationship with Africa has dramatically changed through peace treaties, the independence of nations, migratory patterns, tourism, and in other substantial ways. Within this dissertation, I address these changes by focusing on literary representations of political engagement, gender issues, and travel to highlight how Africa is represented in light of these recent developments. As Spanish authors continue to engage with and to write about Africa, this study hopes to show that Orientalism is no longer a prevalent discourse in the contemporary Spanish novel.
20
Plain, Gillian Mary. « Strategies for survival : fiction and reality in British women's writing of the Second World War ». Thesis, University of Newcastle Upon Tyne, 1992. http://hdl.handle.net/10443/148.
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21
Buckley, Ariel. « Writing the kitchen front : food rationing and propaganda in British fiction of the Second World War ». Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95227.
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This thesis explores ways in which Second World War food shortages, rationing, and propaganda affected midcentury British fiction. Arguing that food imagery offers a useful barometer of the domestic war climate, the thesis is divided into two main sections: the first focusing on the representation and regulation of food by the government, and the second analyzing the depiction of food in contemporary fiction as a response both to the government's martialization of food and to the shortages themselves. Taking novels by Barbara Pym and Elizabeth Taylor as examples, it discusses ways in which the official food narratives defined in the first chapter were acknowledged and transformed in contemporary fiction.Cette thèse explore les façons dont les pénuries alimentaires, le rationnement de la nourriture et la propagande gouvernementale de la deuxième guerre mondiale ont touché la littérature britannique de l'époque. Soutenant que l'imagerie des aliments offre un baromètre utile du climat domestique de la guerre, la thèse est divisée en deux sections principales : la première se concentrant sur la représentation et la règlementation de la nourriture par le gouvernement, et la deuxième analysant la représentation de la nourriture dans la fiction contemporaine comme réponse à la fois à la « martialisation » de la nourriture par le gouvernement et aux pénuries alimentaires eux-mêmes. Prenant des romans par Barbara Pym et Elizabeth Taylor à titres d'exemples, elle traite de la façon dont les récits officiels des denrées alimentaires définis dans le premier chapitre ont été reconnus et transformés dans la littérature contemporaine.
22
Onions, J. « The ideal of heroism in English fiction and drama about the First World War, 1918-1939 ». Thesis, Keele University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373170.
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Westwood, Chad J. Glaze Linda S. « Identity rifts in the Spanish speaking world a literary comparison of Martí, Darío, Unamuno and Machado / ». Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Fall/Thesis/WESTWOOD_CHAD_1.pdf.
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Meyers, Judith Marie. « "Comrade-Twin" : brothers and doubles in the World War I prose of May Sinclair, Katherine Anne Porter, Vera Brittain, Rebecca West, and Virginia Woolf / ». Thesis, Connect to this title online ; UW restricted, 1985. http://hdl.handle.net/1773/9336.
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Spiro, Benjamin P. « Infinity the labyrinth : the union of set theory with the short fiction of Jorge Luis Borges ». Thesis, Boston University, 2005. https://hdl.handle.net/2144/27780.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Murphy, Fiona Louise Mary. « From Bluebeard's castle to the white world of dreams : constrictions and constructions in Angela Carter's prose fiction ». Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285246.
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Guzman-Medrano, Gael. « Post-Revolutionary Post-Modernism : Central American Detective Fiction by the Turn of the 21st Century ». FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/917.
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Contemporary Central American fiction has become a vital project of revision of the tragic events and the social conditions in the recent history of the countries from which they emerge. The literary projects of Sergio Ramirez (Nicaragua), Dante Liano (Guatemala), Horacio Castellanos Moya (El Salvador), and Ramon Fonseca Mora (Panama), are representative of the latest trends in Central American narrative. These trends conform to a new literary paradigm that consists of an amalgam of styles and discourses, which combine the testimonial, the historical, and the political with the mystery and suspense of noir thrillers. Contemporary Central American noir narrative depicts the persistent war against social injustice, violence, criminal activities, as well as the new technological advances and economic challenges of the post-war neo-liberal order that still prevails throughout the region.
Drawing on postmodernism theory proposed by Ihab Hassan, Linda Hutcheon and Brian MacHale, I argued that the new Central American literary paradigm exemplified by Sergio Ramirez’s El cielo llora por mí, Dante Liano’s El hombre de Montserrat, Horacio Castellanos Moya’s El arma en el hombre and La diabla en el espejo, and Ramon Fonseca Mora’s El desenterrador, are highly structured novels that display the characteristic marks of postmodern cultural expression through their ambivalence, which results from the coexistence of multiple styles and conflicting ideologies and narrative trends. The novels analyzed in this dissertation make use of a noir sensitivity in which corruption, decay and disillusionment are at their core to portray the events that shaped the modern history of the countries from which they emerge. The revolutionary armed struggle, the state of terror imposed by military regimes and the fight against drug trafficking and organized crime, are among the major themes of these contemporary works of fiction, which I have categorized as perfect examples of the post-revolutionary post-modernism Central American detective fiction at the turn of the 21st century.
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Herrera, Adriana. « Ficción Extrema : Deslizamientos en la Realidad a Través de la Relación Entre Arte y Literatura (Max Aub, Leonora Carrington y Enrique Vila-Matas) ». FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1741.
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Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema.
Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917-México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre —pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad.
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Hurst, Darin Scott. « El amor, la belleza, y el arte en la novela decadente hispanoamericana la dialéctica de la decadencia / ». Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1051278715.
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Rímolo, de Rienzi Mirta. « SIMULACRO, HIPERREALIDAD Y POS-HUMANISMO : LA CIENCIA FICCIÓN EN ARGENTINA Y ESPAÑA EN TORNO AL 2000 ». UKnowledge, 2013. http://uknowledge.uky.edu/hisp_etds/12.
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This project focuses on science fiction literature of Spain and Argentina produced in the last twenty years (1990-2010). It hypothesizes that in this period a change of perspective substantially modified science fiction productions in both countries and converges into a new model of narrative. As a consequence of this reformulated vision, a new narrative perspective immerses readers in an era of simulation, hyperreality, and post-humanism. When advanced technology is able to modify the basic human anatomy, and persons are trapped between virtual and real universes, simulacra facilitate control of people in an effective and impersonal manner. Simultaneously, fictional scenarios show new post-human beings sharing future worlds with humans. In this regard, the new literary production leads the reader to a redefinition of what it means to be human. With a theoretical framework centered on simulacrum, hyperreality and post-humanism, this study places the use of new technologies and the critique of postmodern society at the epicenter of the discussion as proposed by selected novels.
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Clay, Kevin M. « Asleep in the Arms of God ». Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2253/.
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A work of creative fiction in the form of a short novel, Asleep in the Arms of God is a limited-omniscient and omniscient narrative describing the experiences of a man named Wafer Roberts, born in Jack County, Texas, in 1900. The novel spans the years from 1900 to 1925, and moves from the Keechi Valley of North Texas, to Fort Worth and then France during World War One, and back again to the Keechi Valley. The dissertation opens with a preface, which examines the form of the novel, and regional and other aspects of this particular work, especially as they relate to the postmodern concern with fragmentation and conditional identity. Wafer confronts in the novel aspects of his own questionable history, which echo the larger concern with exploitative practices including racism, patriarchy, overplanting and overgrazing, and pollution, which contribute to and climax in the postmodern fragmentation. The novel attempts to make a critique of the exploitative rage of Western civilization.
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Crossland, R. Bert (Rodney Bert). « A Content Analysis of Children's Historical Fiction Written about World War II ». Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279151/.
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The purpose of this study was to investigate the evolution of children's historical fiction dealing with World War II in order to describe the changes that have occurred over the past 50 years. Two questions were asked in the study: (1) Has the characterization of protagonists portrayed in historical fiction about World War H evolved since 1943? and (2) Have the accounts of the events of World War H portrayed in historical fiction evolved since 1943? Content analysis was used as the method of collecting data. The sample consisted of 86 novels written from 1943 to 1993. Upon completing the reading and coding, the researcher discussed the categories and questions posed. As part of analysis, the discussion of the novels in each period was accompanied with an overview of trends in children's literature and events affecting society. The analysis led to the following conclusions: 1. Authors were impacted by changes in the social and political climate, as evidenced by the changes in the gender of the protagonists, an increase of violence, and the inclusion of women. 2. Novels written during the 1980s and 1990s were written with a stronger American perspective. 3. At the time that an increase of violence was seen in American society, descriptions of World War II events and protagonists' actions became more violent and more graphic. 4. Though the bombings of Hiroshima and Nagasaki ended the war with Japan, an inadequacy still exists in the number of novels that provide readers with details related to the atomic bombs. Though much of World War II was fought in the Pacific Rim, a deficiency remains in the number of novels set in Pacific Rim countries. Recommendations for further research include performing a study that examines other genres, analyzing the changes observed in the portrayal of protagonists. A study could be conducted to analyze the author's ethnicity and relationship to the war and determine if differences exist.
33
Eckstein, Simon J. « The shadow of the past : fantasy, modernism, and the aftermath of a world at war ». Thesis, Swansea University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678625.
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This study constitutes a single strand of a wider argument for a thorough-going reassessment of the place of fantasy literature within the canon. In particular, it aims to redress a marked lack of critical attention paid to the distinct movement towards fantastic modes of representation in the mid-twentieth century.
34
Diego, Rivera Hernandez Raul. « "Symbolic and Global Violence in Contemporary Mexican and Spanish Crime Fiction" ». The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338381722.
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Saeger, J'Leen Manning. « The recuperation of historic memory recognizing suppressed female voices from the Spanish Civil War and Francoist repression / ». Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://proquest.umi.com/pqdweb?index=1&did=1957395191&SrchMode=2&sid=12&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1270050392&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Title from first page of PDF file (viewed March 31, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 267-283). Also issued in print.
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Housdon, Beth. « "The whole world in a book" : fact, fiction and the postmodern in Selected Works by E. L. Doctorow ». Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/10819.
Texte intégralRésumé :
Includes bibliographical references (leaves 135-143).This dissertation considers the manner in which the thematic and stylistic interests displayed in E. L. Doctorow's fiction derive from the postmodern context in which he works. Encapsulating the spirit of subversion so typical of postmodernism, Doctorow not only questions established modes of perception, but reinvigorates cultural and social traditions through the reformulation of customarily unchallenged norms and values. Departing from the conventions of traditional narrative, he emphasises the need for a continual critical interrogation and revision of absolutist grand narratives in order to achieve a more complex understanding of human experience. He grapples with concepts relating to the fluidity of meaning and the constructed nature of texts, deftly experimenting with narrative form in order to destabilise conventional perceptions of history, reality and representation.
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Zeino, Arwa, et Aiat Tabiei. « The benefits of using world literature for globalizing English in the ESL classroom ». Thesis, Malmö universitet, Malmö högskola, Institutionen för kultur, språk och medier (KSM), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-39591.
Texte intégralRésumé :
Although the focus on English as a global language is apparent in the Swedish curriculum today, many educators do not take advantage of world literature and non-native English authors in their ESL classrooms. With the help of empirical research, we investigate the benefits of using such literature for gaining global awareness. Furthermore, we analyze the activities and teaching approaches used in the empirical studies. Through this essay, we summarize the empirical research used for this essay and synthesize the results to find out what implications were found. It shows that using non-native fiction helps students to learn and explore different cultures, which also expands their global view. Apart from this, teaching methods such as discussions, literature circles, presentations, blogging and collaborative learning deepened students' global view and cultural awareness. The teaching methods that were used while working with world literature showed that students were conscious of their own learning and developed this ability by working in a social environment. This paper concludes with describing the limitations of writing the study, and presents a future research project that involves the field of world literature.
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Schönberger, Peter. « Amor hypermedialis : Logiken der Liebe im spanischen Gegenwartsroman ; von der Postguerra zur Postmoderne / ». Frankfurt am Main [u.a.] : Lang, 2001. http://www.gbv.de/dms/sub-hamburg/326156011.pdf.
Texte intégral
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Wu, Di. « What Distinguishes Humans from Artificial Beings in Science Fiction World ». Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-2245.
Texte intégralRésumé :
In my thesis, I explore how advanced robotic technologies affect human society and my particular concern centers on investigating the boundaries between actual humans and artificial beings. Taking Steven Spielberg’s film Artificial Intelligence (2001) and Philip K. Dick’s novel Do Androids Dream of Electric Sheep (1968) as my primary sources, I illustrate how humans are experiencing dehumanization whereas artificial beings are acting much more like humans by analyzing the main characters and events that depicted in both sources. Further on, based on Nick Haslam’s theory of two main forms of dehumanization (animalistic dehumanization and mechanistic dehumanization), I discuss the interrelationships between social categorization, empathy, alienation and dehumanization by comparing actual humans and artificial beings as counter-parts. According to the descriptions of the strained relationship between these two parties, I argue that the rigid social hierarchies set foundation for dehumanization and the characteristics that define a human being, such as humanity is not a trait that only exits in humans. It can be both gained and lost.
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DeVirgilis, Megan. « BLOOD DISORDERS : A TRANSATLANTIC STUDY OF THE VAMPIRE AS AN EXPRESSION OF IDEOLOGICAL, POLITICAL, AND ECONOMIC TENSIONS IN LATE 19TH AND EARLY 20TH CENTURY HISPANIC SHORT FICTION ». Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/532513.
Texte intégralRésumé :
SpanishPh.D.
This dissertation explores vampire logic in Hispanic short fiction of the last decade of the 19th century and first three decades of the 20th century, and is thus a comparative study; not simply between Spanish and Latin American literary production, but also between Hispanic and European literary traditions. As such, this study not only draws attention to how Hispanic authors employed traditional Gothic conventions—and by extension, how Hispanic nations produced “modern” literature—but also to how these authors adapted previous models and therefore deviated from and questioned the European Gothic tradition, and accordingly, established trends and traditions of their own. This study does not pretend to be exhaustive. Even though I mention poetry, plays, and novels from the first appearance of the literary vampire in the mid-18th century through the fin de siglo and the first few decades of the 20th century, I focus on short fiction produced within and shortly thereafter the fin de siglo, as this time period saw a resurgence of the vampire figure on a global scale and the first legitimate appearance in Hispanic letters, being as it coincided with a rise in periodicals and short story production and represented developments and anxieties related to the physical and behavioral sciences, technological advances and urban development, waves of immigration and disease, and war. While Chapter 1 establishes a working theory of the vampire from a historical and materialist perspective, each of the following chapters explores a different trend in Hispanic vampire literature: Chapter 2 looks at how vampire narratives represent political and economic anxieties particular to Spain and Latin America; Chapter 3 studies newly married couples and how vampire logic leads to the death of the wife—and thus the death of the “angel of the house” ideal—therefore challenging ideas surrounding marriage, the family, and the home; lastly, Chapter 4 explores courting couples and how disruptions in the makeup of the public/private divide influenced images of female monstrosity—complex, parodic ones in the Hispanic case. One of the main conclusions this study reaches is that Hispanic authors were indeed producing Gothic images, but that these images deviated from the European Gothic vampire literary tradition and prevailing literary tendencies of the time through aesthetic and narrative experimentation and as a result of particular anxieties related to their histories, developments, and current realities. While Latin America and Spain produced few explicit, Dracula-like vampires, the vampire figures, metaphors, and allegories discussed in the chapters speak to Spain and Latin America’s political, economic, and ideological uncertainties, and as a result, their “place” within the modern global landscape. This dissertation ultimately suggests that Hispanic Gothic representations are unique because they were being produced within peripheral spaces, places considered “non-modern” because of their distinct histories of exploitation and development and their distinct cultural, religious, and racial compositions, therefore shifting perceptions of Otherness and turning the Gothic on its head. The vampire in the Hispanic context, I suggest, is a fusion of different literary currents, such as Romanticism, aesthetic movements, such as Decadence, and modes, such as the Gothic and the Fantastic, and is therefore different in many ways from its predecessors. These texts abound with complex representations that challenge the status quo, question dominant narratives, parody literary formulas, and break with tradition.
Temple University--Theses
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Hendrick, Rebecca. « J.D. Salinger's Code Hero : The Moral Character in an Immoral World ». TopSCHOLAR®, 1986. https://digitalcommons.wku.edu/theses/2468.
Texte intégralRésumé :
J.D. Salinger's fiction can be approached by looking at the various elements of fiction, but his largest statement rests in the ways that his characters interac within his world. This interaction leads to a code of behavior that the heroes follow, and can be used to determine the heroic character within a particular piece of fiction, much as the Hemingway code developed by Carlos Baker identified the characteristics of the Hemingway hero, Salinger's heroes are all aware of the phony which is in the world around them. They see this phoniness as something undesirable within the world, yet they must learn to come to terms with this trait in other people, developing a compassion for those that are not genuine. In some heroes this trait is apparent; in others, it must be gained. The Salinger hero also feels a peculiar affinity for the madman, saint, and child. In some cases, the hero may long to lose himself in one of these particular niches, but that escape cannot be permanent. A balance between awareness of the phony and appreciation for the madman, saint, and child must be made. The Salinger hero is also on a quest. This quest varies from hero to hero, and is often a futile quest, but still, an attempt is made by the hero to search for something higher. This study examines three Salinger heroes: Holden Caulfield in The Catcher in the Rye, Franny Glass in Franny and Zooey, and Seymour Glass in "A Perfect Day for Bananafish," "Hapworth 16, 1924," and Raise High the Roofbeam, Carpenters and Seymour: An Introduction.
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Lampert, Jo Ann. « The whole world shook : Shifts in ethnic, national and heroic identities in children's fiction about 9/11 ». Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16550/1/Jo_Lambert_Thesis.pdf.
Texte intégralRésumé :
Like many other cataclysmic events September 11, a day now popularly believed to have 'changed the world', has become a topic taken up by children's writers. This thesis, titled The Whole World Shook: Ethnic, National and Heroic Identities in Children's Fiction About 9/11, examines how cultural identities are constructed within fictional texts for young people written about the attacks on the Twin Towers. It identifies three significant identity categories encoded in 9/11 books for children: ethnic identities, national identities, and heroic identities. The thesis argues that the identities formed within the selected children's texts are in flux, privileging performances of identities that are contingent on post-9/11 politics.
This study is located within the field of children's literature criticism, which supports the understanding that children's books, like all texts, play a role in the production of identities. Children's literature is highly significant both in its pedagogical intent (to instruct and induct children into cultural practices and beliefs) and in its obscurity (in making the complex simple enough for children, and from sometimes intentionally shying away from difficult things). This literary criticism informed the study that the texts, if they were to be written at all, would be complex, varied and most likely as ambiguous and contradictory as the responses to the attacks on New York themselves.
The theoretical framework for this thesis draws on a range of critical theories including literary theory, cultural studies, studies of performativity and postmodernism. This critical framework informs the approach by providing ways for: (i) understanding how political and ideological work is performed in children's literature; (ii) interrogating the constructed nature of cultural identities; (iii) developing a nuanced methodology for carrying out a close textual analysis.
The textual analysis examines a representative sample of children's texts about 9/11, including picture books, young adult fiction, and a selection of DC Comics. Each chapter focuses on a different though related identity category. Chapter Four examines the performance of ethnic identities and race politics within a sample of picture books and young adult fiction; Chapter Five analyses the construction of collective, national identities in another set of texts; and Chapter Six does analytic work on a third set of texts, demonstrating the strategic performance of particular kinds of heroic identities. I argue that performances of cultural identities constructed in these texts draw on familiar versions of identities as well as contribute to new ones. These textual constructions can be seen as offering some certainties in increasingly uncertain times. The study finds, in its sample of books a co-mingling of xenophobia and tolerance; a binaried competition between good and evil and global harmony and national insularity; and a lauding of both the commonplace hero and the super-human. Being a recent corpus of texts about 9/11, these texts provide information on the kinds of 'selves' that appear to be privileged in the West since 2001.
The thesis concludes that the shifting identities evident in texts that are being produced for children about 9/11 offer implicit and explicit accounts of what constitute good citizenship, loyalty to nation and community, and desirable attributes in a Western post-9/11 context. This thesis makes an original contribution to the field of children's literature by providing a focussed and sustained analysis of how texts for children about 9/11 contribute to formations of identity in these complex times of cultural unease and global unrest.
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Alvarez-Castro, Luis. « La función del lector en la prosa metaliteraria de Miguel de Unamuno ». Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118350807.
Texte intégral
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Ottonello, Pablo Tomás. « Cambió Todo Tanto ». Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5590.
Texte intégralRésumé :
What is our relationship with nature? How do we represent nature in written text? The short stories that compose this book relate with how to address the interaction between mankind and the space it occupies on Earth.
Cambió todo tanto offers different voices that tackle how human activity (precisely, industry) alter the physical realm. And how that alteration reciprocates in human behaviour and consciousness.
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Halleck, Kenia Milagros. « Modernización y género sexual en los melodramas domésticos de autoras centroamericanas, 1940-1960 / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9981957.
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Poyhonen, Alexander J. « Don Quijote lo Interminable : La Cuestión de los Textos Originales y las Emanaciones a Través de Formas Secundarias de Arte ». Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/522.
Texte intégralRésumé :
In chapter 1, I ponder the role of authorship and whether or not an original text can truly exist. Specifically, the claim that Borges has that a copy can be superior to an original. From this, brings me to chapter 2 with the movie Man of la Mancha. In this movie, I highlight some of the pros and cons of a copy. The windmill scene is a negative emanation of the Quixote, while the interaction between people and the presence of women is something the movie truly displays well. In the third chapter, I look at Lost in la Mancha because it demonstrates a failed attempt to translate the Quixote. In essence, anything that tries to represent this truly great text will fail; however, it's failure can paradoxically be thought of as a success because it's an homage to the Quixote. As far as the Ezra Pound material, I thought it extremely pertinent to look at his experience on a metro because he attempts to describe a vision that he had through poetry. He notes that it is very difficult to encapsulate his entire experience because the primary form of art (his vision) is being described through a secondary form (words). Thus, when you translate a form of art through a medium it loses some of its value. This is what happens with the Quixote; its primary form (words) is being displayed through a secondary form (film), and it inevitably loses something in the translation. The final chapter/conclusion is a more in-depth investigation of this investigation primary form of art (writing). This uses the character of Gines as a concrete example of a formal and stylistic quality that is unique to literature. Namely, the physical ranging of words on a page in both a spatial and literary sense. When you extract those lines from a novel you implicitly remove some of the dialectic between Cervantes' work and the genres he's invoking, just by taking it out of the form of literature. The surroundings of text establish the meaning of the novel. The conclusion is my final chance to argue why the Quixote is so special and untranslatable. I touch on the qualities that keep it forever live and present in us today. Through the Quixote's proclivity for renaming the real world (established societal beliefs/values, etc.) in his own vein, Cervantes allows for the Quixote to reappropriate the world around him, making it uniquely his. In so doing, Cervantes creates a character who is able, not only to write his own self-history, but to control the way that said self-history will be written by others. By blurring the lines between narrator and narration and history and fiction, Cervantes creates a work that is endlessly present, where words becoming living page, and actions occur as they are said.
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Lasseter, Helen Theresa Wood Ralph C. « Fate, providence, and free will : clashing perspectives of world order in J. R. R. Tolkien's Middle-earth / ». Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4845.
Texte intégral
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Smith, Cynthia Anne Miller. « Walter M. Miller, Jr.'s A canticle for Leibowitz a study of apocalyptic cycles, religion and science, religious ethics and secular ethics, sin and redemption, and myth and preternatural innocence / ». unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04272006-144149/.
Texte intégralRésumé :
Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Reiner Smolinski, committee chair; Victor A. Kramer, Christopher Kocela, committee members. Electronic text (79 p.) : digital, PDF file. Description based on contents viewed May 9, 2007. Includes bibliographical references (p. 77-79).
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Malvestio, Marco. « The conflict revisited : representing the second world war in twenty-first century fiction ». Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3427295.
Texte intégralRésumé :
The thesis seeks to illuminate the post-postmodern poetics of contemporary global literature about World War II. Whereas twentieth-century novels concerned with the representation of the Second World War tend toward postmodern playfulness and deconstructivism, contemporary literatures about the Second World War, I argue, pay renewed attention to reality. Through textual examples, I convey how authors reprise the techniques of modern and classical genres in tandem with postmodern traits in order to realise the Second World War as an historical event as well as a discursive subject and a plot device through which to explore the intersections of human history and violence. This thesis considers in detail works by Chilean author, Roberto Bolaño; French author, Jonathan Littell; American author, William T. Vollmann; and Australian author, Richard Flanagan. It also makes comparisons between their approaches to representing World War II and those of other writers such as Philip Roth, Laurent Binet, Giorgio Falco, Martin Amis, Andrea Levy, Sarah Waters, Ian McEwan, and others. The breadth of authors analysed is intended to convey the extent to which contemporary representations of World War II converge around a postpostmodern return of the real, and therefore testify to the evolution of post-postmodern poetics as an international phenomenon and the form of the global novel.
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Varela, D. Isabela. « Narratives of the Mexican Revolution in the 1910s : newspapers and a new national literature ». Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2019.
Texte intégralRésumé :
This dissertation examines various texts that were published in Mexican newspapers during the Revolution (1910-1917) and attempts to determine to what extent the authors of those texts combined journalism with literary creativity as they wrote about the Revolution. The main argument is that many of the texts that appeared in newspapers during the 1910s and covered topics related to the Revolution displayed language, style, and structural elements similar to those found in the official literary narratives of the Mexican Revolution that emerged in the 1920s. The argument is founded on the understanding that sociopolitical and ideological changes in Mexican society, as well as the desire for a new national literature, led intellectuals to re-classify some of the texts that appeared in newspapers in the 1910s from journalism to literary works and adopted their stylistic and thematic elements for the new literature. This is evident in Mariano Azuela’s novel, Los de Abajo and Ricardo Flores Magón’s well-known short stories “Dos revolucionarios” and “El apóstol.”
The theoretical framework of this study is informed by the work of Mikhail Bakhtin, Tzvetan Todorov, and Juan Carlos Parazuelos that contend that the value of a narrative changes continuously in response to changes in the society that creates it. Furthermore, the study utilizes Anibal Gonzalez’ notion that there is a gray area between literary narrative and journalism and, therefore, narratives that fall inside the borders of journalism and literature can be classified as one or another or both depending how they interact with social elites, governments, and political affiliations.
Finally, this study maintains that journalism, in combination with artistic expression, provided the foundations upon which the later narrative of the Revolution began its development. It was in the realm of journalism that the authors first applied the elements of brevity, direct speech, expressive, yet concise language, episodic narration, and emphasis on action over description and characterization that characterize the literature of the Mexican Revolution.