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Miskimmin, Esme. "Detective fiction, religion, and Dorothy L. Sayers". Thesis, University of Liverpool, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406822.
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Zelman, Brett L. "Brett L Zelman's Master Thesis". Cleveland State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=csu1463150312.
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Redfern, Rachel Yvette. "Layering the March: E. L. Doctorow's Historical Fiction". BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2229.
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E.L. Doctorow implements ideas of intertextuality and metafiction in his 2007 novel, The March, which is most notably apparent through its resemblance to the 1939 film, Gone with the Wind. Using Michel de Certeau's theory of spatial stories and Linda Hutcheon's of historiographic metafiction, this thesis discusses the layering of Doctorow's The March from the film seen in the character of Pearl from the novel and Scarlett from the film and Selznick's version of the burning of Atlanta and Doctorow's burning of Columbia.
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Perna, Sandro Maria <1981>. "Science (in) fiction. Un CLIL de science à travers... la science (fiction)". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15543.
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L'elaborato descrive e riflette su un'esperienza CLIL svolta in due classi terze di un Liceo scientifico siciliano, esperienza che si è svolta attraverso la visione di alcuni video in lingua inglese o senza audio come fase di globalità, attraverso alcuni esercizi in fase di analisi, attraverso dei giochi in quella di sintesi: il tutto, sempre facendo parlare gli studenti in lingua. Il fatto di svolgere il tutto in due classi ha permesso di studiare due gruppi disomogenei, accomunate dall'insegnante di scienze ma con docenti di lingua differenti per approccio e metodologia.
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Saltyte, Migle <1990>. "Climate Change in Fiction". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15838.
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It has been said that throughout history, fiction has always responded to wars, crises and calamities. This is only natural bearing in mind that narratives have been said to help deal with threats by making them understandable and therefore bearable, and even being an essential part of healing, not just metaphorically but physically as well. Naturally, this highlights the importance of fiction as the field which invents, reflects upon, and changes narratives that influence our daily lives. It also explains why we expect fiction to respond to the most urgent and pressing issues of our times, of which today climate change is undoubtedly the most serious. This thesis aims to take a broader look at a diverse sample from the existing body of climate change fiction and examine what it reveals about the approach to climate change in Anglophone literature, how it addresses the issue, and whether it presents an artistically compelling work. The thesis examines the following works: MaddAddam by Margaret Atwood; Flight Behaviour by Barbara Kingsolver; The State of Fear by Michael Crichton; Windup Girl by Paolo Bacigalupi; Solar by Ian McEwan; The Carbon Diaries: 2015 by Saci Lloyd, as well as the collection of short stories Loosed Upon the World. It also examines a number of children’s books.
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Motlhamme, Moitheki Zephorah. "Tlhotlhomisi ya dintshontsho tsa lorato : L. D. Raditladi". Pretoria : [s. n.], 2005. http://upetd.up.ac.za/thesis/available/etd-11062007-115555.
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Coban, Osman. "Reading choices and the effects of reading fiction : the responses of adolescent readers in Turkey to fiction and e-fiction". Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30686/.
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In surveying the cultural context of modern-day Turkey it must be acknowledged that, historically, there have been critical problems between different ethnic (Turkish and Kurdish) and religious groups in Turkey arising from prejudice, intolerance and leading to hatred and conflict. One way of easing the tension between these groups could be by challenging prejudice through developing empathy, understanding and respect. Among a number of ways this could be done, researchers in the field of literacy and children’s literature have stressed the positive effects of reading books that emerge from the transaction between the reader and the text which have the potential to raise awareness about prejudice (Arizpe et al., 2014b; Farrar, 2017). However, research suggests that young people’s amount of reading books is low in Turkey (OECD, 2009; OECD, 2012); in addition, the Board of National Education in Turkey (BNET) and education policies in Turkey have not paid attention to young people’s reading interests or their reading for pleasure (BNET, 2011a and b). Based on the theoretical tenet that reading fiction can affect readers’ thoughts and emotions, the wide aim of this study was to explore the potential of reading fiction for developing empathy and understanding. Given that young people’s reading interests have not been considered in Turkey in detail, this thesis had to begin by investigating what kind of books were preferred and what effects they had on adolescent readers in that country. In order to accomplish this, a case study method with a mixed method design was employed and it was decided that an approach using the Transactional theory of reading as well as Cognitive Criticism would help to achieve this goal. In total, 381 students (aged between 16 and 18) responded to an online questionnaire and 10 of these students participated in interviews and reading activities. The data was analysed using the IBM SPSS 22 statistical analysis program and NVivo qualitative analysis software. The findings of the study identified the significant impact that gatekeepers and facilitators (government, publishers and social community) have on Turkish adolescents’ reading attitudes and choices. It was also found that, although young people liked reading contemporary fiction and online texts, so far this has not been taken into account in the Curriculum and in the promotion of reading in Turkey. The study has identified a major gap between what schools offer and what students read (or between in-school and out-of-school practices), a key aspect in reducing students’ interest in reading books and therefore a missed opportunity for raising awareness about prejudice. Finally, this study provides strong evidence about the potential of reading and discussing books with a small group of adolescent readers, an activity that enabled them to express their thoughts about serious issues and thus supported them in developing self-understanding and understanding of others.
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Martellotta, Alessandra <1986>. "Letters in the Fiction of Eliza Haywood". Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4390.
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Eliza Haywood is one of the most prolific women writers of the 18th century; her carrier spanned a transitional period in the history of the English novel.
She has been neglected and under considered by literary critics and her works have not been object of study even though her largely contribution to the novel form, and to the epistolary novel in particular.
Starting from an outline of her life and career, and thought an overview of the letter in 18th century novel, we will start an analysis of letters in her earlier and later fiction, trying to understand the different use of this form of writing in different periods of her career as writer.
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Xausa, Chiara <1991>. "Feminist environmental humanities: intertwining theory and speculative fiction". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amsdottorato.unibo.it/10435/1/XAUSA_CHIARA_TESI.pdf.
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This dissertation explores the entanglement between the visionary capacity of feminist theory to shape sustainable futures and the active contribution of feminist speculative fiction to the conceptual debate about the climate crisis. Over the last few years, increasing critical attention has been paid to ecofeminist perspectives on climate change, that see as a core cause of the climate crisis the patriarchal domination of nature, considered to go hand in hand with the oppression of women. What remains to be thoroughly scrutinised is the linkage between ecofeminist theories and other ethical stances capable of countering colonising epistemologies of mastery and dominion over nature. This dissertation intervenes in the debate about the master narrative of the Anthropocene, and about the one-dimensional perspective that often characterises its literary representations, from a feminist perspective that also aims at decolonising the imagination; it looks at literary texts that consider patriarchal domination of nature in its intersections with other injustices that play out within the Anthropocene, with a particular focus on race, colonialism, and capitalism. After an overview of the linkages between gender and climate change and between feminism and environmental humanities, it introduces the genre of climate fiction examining its main tropes. In an attempt to find alternatives to the mainstream narrative of the Anthropocene (namely to its gender-neutrality, colour-blindness, and anthropocentrism), it focuses on contemporary works of speculative fiction by four Anglophone women authors that particularly address the inequitable impacts of climate change experienced not only by women, but also by sexualised, racialised, and naturalised Others. These texts were chosen because of their specific engagement with the relationship between climate change, global capitalism, and a flat trust in techno-fixes on the one hand, and structural inequalities generated by patriarchy, racism, and intersecting systems of oppression on the other.
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Steinmetz, Thomas. "Fictions de la connaissance, connaissance de la fiction : aspects du Néofantastique de J.-L. Borges à David Lynch". Paris 7, 2008. http://www.theses.fr/2008PA070046.
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La présente étude aborde et remet en contexte les importantes transformations qu'a connues la fiction fantastique au cours du XXe siècle, ainsi que l'évolution du regard porté par la critique sur le genre fantastique à l'époque contemporaine. Le fantastique canonique, dont la forme s'élabore tout au long du XIXe siècle, est avant tout destiné à faire peur en confrontant, dans le récit, le surnaturel à une certaine idée du réel. Or ce modèle éclate au Xxe siècle. Dès la fin des années 1930, le fantastique renouvelle largement ses thèmes et ses techniques narratives ; le "néofantastique", dont le foyer principal est l'Amérique latine, en est un exemple éclatant. Le genre est ainsi en grande partie redéfini : la peur est y parfois supplantée par la fantaisie, la provocation ludique du lecteur, le trouble, ou même par une forme de romanesque très intellectualisé - comme dans les contes métaphysiques de Borges. La dimension artificielle du récit, la virtuosité du conteur sont plus volontiers exhibées, dans des dispositifs métaleptiques ou autoréférentiels parfois complexes. Cette transformation est donc largement marquée par l'intellectualisation du genre : le surnaturel tend, bien souvent, à s'intérioriser, le conte devient une aventure de la conscience. L'effet fantastique n'estalors plus obtenu par la mise en scène d'événements troublants, mais, de façon médiate, à travers une conception du réel. C'est pourquoi le néofantastique est ici abordé à travers le prisme de cette notion de connaissance : représentations innombrables du savoir, mise en scène d'autres formes de connaissance insoupçonnées, exceptionnelles (révélation, omniscience. . . ). This study is about fantasy’s major transformation in the XXth century. In the course of XIXth century. A main form of fantasy fiction developped. Which aim was to give rise to fear in the lector's mind, by confronting supernatural events to a representation of reality. In the XXth century, new types of fantasy fiction appear, and since the end of the 1930s, themes and narrative techniques were largely renewed. Latin-american "neofantasy fiction is a striking example of this renewal. This transformation is characterized by the intellectualization of the genre ; the supernatural part of the story tends to be internalized, many tales relate an adventure of the mind. In this case, fantasy fiction is not about strange or impossible events: it is about aconception of realitv
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Fudge, Heather Lynn. "L' autobiographie et le personnage de fiction chez Simone de Beauvoir". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22587.
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The corpus of this project consists of the five volumes of Simone de Beauvoir's memoirs: Memoires d'une jeune fille rangee, La force de l'age, La force des choses I, La force des choses II and Tout compte fait. In this study, we have considered the difficulties of self-analysis and examined the limitations and demands of the genre of autobiography.A memoir is not simply the reconstruction of the author's past, but a personal interpretation of this past which often includes discrepancies between the narrative and the reality of his or her life. The autobiographer's primary objective is not to deliver the historical facts of his or her existence, but to show a self beneath the person that appears to the world. In our research, we have found that the value and truth of Simone de Beauvoir's autobiography arise from her creation of a character she sees as embodying her own distinct personality.
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Antoniolli, Claudia <1992>. "Questions of Sexual Identity and Female Empowerment in Fan Fiction". Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/11539.
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This thesis discusses questions of sexual identity and female empowerment in fan fiction. Fan fiction is created by the fans of a source narrative to expand on the original material and resolve its shortcomings. Because of its transformative nature, fan stories are unsanctioned and non-profit.
Since fan fiction is not restricted by the commercial market, it offers a prime opportunity to examine the unadulterated psychology of its authors. The vast majority of fan writers in the most popular digital archives today are women belonging to completely different cultural, social, and religious backgrounds. Thus, the female identity is extremely relevant to comprehend fan fiction and its themes.
Several fan fiction tropes are analyzed in this work, but particular attention is given to questions of gender roles, sexual identity and female empowerment. Slash and femslash fan fiction are closely analyzed, as the protagonists of these genres are queer. The abundance of such stories inspires hope for the development of queer-friendly communities across the globe, while the significant number of well-crafted women characters suggests that the precepts of feminist activists have successfully reached part of the younger generations.
Fan fiction is also an informative genre, explaining delicate topics such as sexism, consent, psychological illnesses, homophobia and abuse. This educational potential can reach the level of any formal speech or essay due to the wide scope and appeal of fan fiction in comparison with other instructional material.
For these reasons, this thesis advocates the entry of fan fiction in the academic world as a worthy object of study.
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Sgarbossa, Hilary <1996>. "Victorian love and sentimentality in postmodern fiction: Fowles, Byatt and Waters". Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20759.
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This dissertation aims at portraying the Victorian themes of love and sentimentality in the postmodernist framework. Better explained, it will state the way in which these Victorian themes are reported in postmodern fiction; by analysing three major postmodern works: the French Lieutenant’s Woman, Possession and Fingersmith.
The first chapter, will focus on the explanation of the postmodern fiction in detail. By highlighting examples from John Fowles’ 1969 novel The French Lieutenant’s Woman, the major features of postmodern fiction will be analysed, especially metaliterature, the intruding narrator and the three endings of the novel. Moreover, a special focus will be on the historical themes regarding Darwinism, existentialism and Victorian Duty, and how they are portrayed in the postmodern fictional world created by Fowles.
The second chapter will deal with the analysis of The French Lieutenant’s Woman. Firstly, the plot will be explained, by granting particular importance to the difference between Charles-Ernestina conventional relationship and Charles-Sarah unconventional affaire. To do so, the Victorian background constituting the setting is paramount, so as the fictional framework constructed by the author. Secondly, the history of Sarah will be analysed, especially focusing on the way in which sympathy, which is the background sentiment starting the whole story, will transform as the novel progresses, in love. Thirdly, the three endings of the novel will be explained, granting attention on how the lack of a reliable and certain epilogue adhere to the postmodern uncertainty readers are left with. Finally, a comparison between Fowles postmodern piece of work and a real Victorian novel will be made, especially by focusing on how love is portrayed in a postmodern historical fiction as The French Lieutenant’s Woman and how love was actually considered and portrayed in the nineteenth century society of Tess of the D’Urbervilles.
The third chapter aims at analysing the 1990 novel Possession by Antonia Susan Byatt. This novel has been written in response to The French Lieutenant’s Woman, as a matter of fact the plot is different but involves the same themes: Victorian love, sentimentality and adultery. For this reason by passing through a careful analysis of the plot and the structure of the novel according to postmodern conventions, this chapter will portray the two parallel relationships, the Victorian one between the poets Ash and La Motte, and the contemporary one between the scholars Roland and Maud. Finally, a comparison between Possession and The French Lieutenant’s Woman will be provided, focusing on the similarities and differences in terms of love and relationships.
The last chapter, deals with another postmodern piece of work, the contemporary novel Fingersmith, written by Sarah Waters in 2002. Although it is set in the nineteenth century Victorian society, it deals with another kind of love and sentimental relationship, that is to say, the homosexual love driven by sexual attraction. Starting by a comparison with the love portrayed by Fowles, as sentimental involvement, the plot and the major themes will be analysed, especially as regards the gender issue, present also in Possession in the person of the poetess Christabel La Motte. Finally, a study of the way in which the homosexual love is presented through 19th century lenses will be provided.
As a result, the conclusion, will grant an overview of the themes discussed in this dissertation, especially by claiming Victorian love and sentimentality importance in the postmodern historical fiction.
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Durey, Virginie. "L' Amérindienne dans la fiction hollywoodienne : entre vérité historique et prisme cinématographique". Angers, 2011. http://www.theses.fr/2011ANGE0014.
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Notre thèse se fonde sur plusieurs axes de recherche majeurs tels que la civilisation nord-américaine, l'histoire et le cinéma autour de la figure de l'Amérindienne, personnage à part voire délaissé dans l'univers hollywoodien. Dans la fiction cinématographique nord-américaine - et plus spécialement dans un corpus composé majoritairement de westerns - de 1895 à 2010, la représentation de l'Amérindienne tend à suivre l'évolution socioculturelle américaine et ne s'en éloigne que pour finalement s'assimiler à une idéologie plutôt figée dans l'histoire et le sociologie du continent ; une sociologie fondée sur des normes et valeurs ancrées dans les mentalités au cours du XXè siècle. Le métissage y est un thème obsessionnel pour des cinéastes qui utilisent des procédés récurrents uniformisant les Amérindiennes et les immobilisant dans le temps de la Conquête de l'Ouest. Exotisme universalisant, caricature à l'appui du divertissement font, au fil du temps, émerger une image standardisée d'une Pocahontas mise à l'épreuve du rélaisme historiqueThis doctoral dissertation deals with several research subjects, such as Cultural Studies, American history and cinema. In Hollywood cinema, and especially in westerns from 1895 until 2010, the representation of the American Indian woman tends to follow the American sociocultural changes during the twentieth century. However, American ideology, norms, conventions, ideals and values are dictating the eternal same portraits of American Indian women. Miscegenation is always forbidden, as evidenced in the death of most heroines at the end of westerns. Moreover, film directors standardize the "Pocahontas image" by universalizing exoticism and adding entertainement, thus confronting historical truth with cinematic distortion
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Bilik, Rebeka <1995>. "Defying Conventions: A Survey of First-Wave Feminism in Modernist Fiction". Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16670.
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The aim of this master thesis is to examine the complexities of female characters and their behaviour at the very end of the 19th century and in the post-Victorian, male-dominated society focusing on the selected works of Kate Chopin, Katherine Mansfield and Virginia Woolf. The analysis is based on the notion of “new woman” that represented a new era in women’s history, the psychological differentiation of the human mind in Sigmund Freud’s work and on the philosophy of Simone de Beauvoir and Virginia Woolf’s works defined in The Second Sex and A Room of One’s Own respectively, all the while by placing these aspects in the framework of modernism. This work consists of three chapters. The first chapter introduces each author, their background and experiences which shaped their literary paths. The second chapter will provide a general historical and philosophical overview focusing on the main aspects on which the analysis is based. The third chapter will give a detailed analysis of female characters in the chosen works while comparing and contrasting them through different perspectives. The thesis focuses on the progressive heroines, who fight against the oppressive society which tries to shackle them.
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Schuppert, Guillaume. "Le "faire-semblant" en procès : examen et défense de la philosophie de Kendall L. Walton". Thesis, Université de Lorraine, 2019. http://www.theses.fr/2019LORR0036.
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Les fictions posent problème en philosophie, que l'on soit porté sur les considérations ontologiques, épistémologiques, logiques ou esthétiques. Dans un livre important nommé Mimesis as Make-Believe (1990), Kendall Walton proposa une théorie de la représentation qui révolutionna notre compréhension des fictions. En résumé, elle met en avant la notion de fictionalité, ou vérité dans la fiction, qu'elle définit en termes de prescription imaginative. La présente étude porte sur la philosophie de Walton, sur la théorie de Mimesis, sur les critiques qu'elles ont reçues. La première partie est une présentation de la méthodologie philosophique de Walton et d'un de ses articles les plus influents, "Categories of Art" (1970). La seconde partie est un commentaire détaillé de Mimesis, construit sur une opposition entre la théorie de la représentation de Nelson Goodman (1968) et celle de notre philosophe. La troisième partie concerne les critiques reçues par la théorie. Une partie d'entre elles proviennent de philosophes qui admettent les principes fondamentaux de sa théorie : ce sont les critiques intentionnalistes de Gregory Currie (1990), Peter Lamarque et Stein Olsen (1994), ou encore Jerrold Levinson (1993). Je défends que ces critiques sont inopérantes. Une autre partie d'entre elles proviennent de philosophes qui cherchent à miner ces principes fondamentaux : ce sont les critiques de Stacie Friend (2008), Derek Matravers (2014), voire de Walton (2015) lui-même. Je défends que, bien comprises, ces critiques ne sont pas décisives, mais qu'elles sont importantes. Elles devraient nous orienter vers une meilleure compréhension des aspects sémiotiques de la fictionalitéThe ordinary concept of fiction raises ontological, epistemological, logical and aesthetical questions. Kendall Walton's Mimesis as Make-Believe (1990) introduced a groundbreaking theory on fiction and representation. According to his main claim, the practice of appreciating representational works of art shares significant similarities with the practice of playing games of make-believe. According to Walton, both activities rely on the concept of fictionality, the fact of being true in the fiction, which is understood in terms of prescriptions to imagine. My dissertation consists of an introduction to Walton's philosophy, a commentary of Mimesis' theory of make-believe and a defense against their critics. The first part provides a presentation of Walton's philosophical methodology and discusses one of his most famous articles, "Categories of Art" (1970). The second part provides a detailled commentary of Mimesis, based on a confrontation between Nelson Goodman's theory of representation and Walton's one. The third part is dedicated to analyse the criticisms that are encountered by the theory. A first set of criticisms comes from philosophers admitting the fundamental principles of the theory : those are Gregory Currie (1990), Peter Lamarque and Stein Olsen (1994), or Jerrold Levinson (1993). I argue that those objections are groundless. Another set of criticisms comes from philosophers attempting to undermine the fundamental principles of the theory : those are Stacie Friend (2008), Derek Matravers (2014), or even Walton himself (2015). According to me, those objections are on the right tracks if correctly understood, but fall short from being decisive. Nevertheless, I argue they should lead us to develop a research on the semiotic aspects of fictionality
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Gallicchio, Teresa <1996>. "Linguaggio Maschile Giapponese: Comparazione tra Fiction e Realtà". Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19145.
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Lo scopo di questo elaborato è quello di analizzare il linguaggio maschile giapponese utilizzato dai protagonisti del reality show "Terrace House:Tokyo 2019-2020" e il drama "Tokyo Bachelors". Attraverso tale analisi si cercherà di capire se i media continuino a propagare un ideale di linguaggio maschile che però non ha un corrispettivo nel linguaggio utilizzato normalmente dagli uomini giapponesi, o se, al contrario, anche i media propongano un modello linguistico deviante da quello considerato standard. Per condurre al meglio tale ricerca, nel capitolo uno si parlerà dela lingua giapponese in generale, da un punto di vista storico ma anche sociale. Nel capitolo due ci si concentrerà sul linguaggio maschile e quello femminile giapponese, fornendo prima un background storico per entrambi e poi elencando le loro caratteristiche. Nel terzo capitolo invece verranno discusse i vari tipi di mascolinità presenti in Giappone e spesso non citati dagli studi sul linguaggio maschile, in cui il prototipo è solitamente il modello del salaryman. Infine nell'ultimo e quarto capitolo, si procederà alla vera e propria analisi dei discorsi estrapolati dal "Terrace House:Tokyo 2019-2020" e "Tokyo Bachelors", cercando le differenze e le somiglianze, in modo tale da rispondere alla domanda iniziale.
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Han, BongKyu. "L' émergence d'un nouveau territoire pour la littérature : étude de la fiction hypertextuelle". Limoges, 2009. http://www.theses.fr/2009LIMO2004.
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La révolution numérique a changé le visage de la société contemporaine. En littérature autant qu'ailleurs. La rencontre entre la technologie numérique et la littérature eut pour conséquence l'émergence d'une nouvelle forme littéraie : la cyberlittérature. Face au développement sans précédent de l'Internet, celle-ci n'a jamais été aussi florissante et innovante qu'aujourd'hui. Nous nous sommes fixés comme objectif de cette thèse d'introduire et d'analyser cette cyberlittérature naissance, de lui fournir les bases théoriques nécessaires à son développement, et de faire la part entre ce qu'elle a d'innovant et ce qui la lie au monde littéraire qui l'a précédé. Pour ce faire, nous avons tenté de comparer l'évolution rendue possible par la révolution numérique à celle produite par l'imprimerie, et nous avons cherché à démonttrer que loin de n'être qu'un nouveau territoire pour la littérature, elle pourrait être amenée à devenir une nouvelle forme littéraire, offrant à l'écrivain et au lecteur des moyens qu'ils n'avaient pas auparavant. Ainsi, la cyberlittérature peut être caractérisée par certaines de ses qualités liées à sa nature numérique : non-linéarité, structure hypertextuelle, hybridité multimédia, interactivité, etc. . . Plus important encore, il est une des innovations de la cyberlittérature que nous interrogeons en profondeur : la fiction hypertextuelle. L'hypertexte se distingue du texte imprimé en ceci que le premier peut être lu d'une manière non-linéaire quand le second reste enfermé dans la linéarité imposée par le support papier. Les développements technologiques introduisent donc une nouvelle façon d'aborder le texte, et rénove la relation du lecteur à celui-ci. Si la lecture linéaire reste encore dominant dans la culture de l'écrit, nous pensons que la non-linéarité et l'hypertexte inaugure un changement radical. C'est ce changement et ses répercutions que cette thèse entend entre autre chose décrire et peser.
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Harrington, Bridget. "Detective fiction and modernity a study of Dorothy L. Sayers and Christopher Caudwell /". Connect to Electronic Thesis (CONTENTdm), 2008. http://worldcat.org/oclc/441821263/viewonline.
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Åhmansson, Gabriella. "A life and its mirrors : a feminist reading of L. M. Montgomery's fiction /". Stockholm : Almqvist och Wiksell, 1991. http://catalogue.bnf.fr/ark:/12148/cb35519755h.
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Drage, Eleanor Guistina Prudence <1991>. "Utopia/Dystopia, Race, Gender, and New Forms of Humanism in Women's Science Fiction". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/8828/1/Eleanor%20Drage%20-%20Thesis%20-Cotutela%20.pdf.
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This thesis aims to uncover new forms of humanism grounded in a critique of systems that produce and reify race and gender by staging a conversation between six contemporary works of science fiction (SF) written by women from Italy, France, Spain, and the UK, and five acclaimed theorists in the fields of gender, queer, postcolonial, humanist, and cultural studies: Judith Butler, Rosi Braidotti, Gayatri Spivak, Paul Gilroy, and Jack Halberstam. As outlined in the second chapter, I focus, in particular, on Butler’s conception of subjects who ‘become’ through affective encounters, Braidotti’s critical posthumanism, Spivak and Gilroy’s respective notions of ‘planetarity,’ and Halberstam’s theory of a ‘queer art of failure.’ In doing so, this thesis asserts the complementarity of academic and science fictional enquiries into what I view as examples of new forms of humanism that arise from historicised interrogations of systems of race and gender. The first chapter introduces the way in which SF appeals to women writers who embrace the genre’s political energy and its anti-racist, anti-sexist, and humanistic potential by tracing a genealogy of European women’s SF from the seventeenth century to the present day. The second half of the thesis reads examples of politically charged SF from my corpus alongside the critical theory outlined in the second chapter, in order to demonstrate how SF engages with new forms of humanism through a critique and reformulation of issues of race and gender. I follow this analysis with an exploration of the way in which SF’s unique spatial attributes can probe the borders of the planetary humanisms or ‘planetarity’ proposed by Gilroy and Spivak. I finally assess, by way of a conclusion, the extent to which SF can reassemble and amplify the achievements of these new forms of anti-racist and anti-sexist humanism.
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Morossi, Martina <1992>. "L’autore è sempre un bugiardo? – Emmanuel Carrère, dalla fiction all'autofiction". Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20923.
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«[…] l’autore proietta sempre un’altra immagine di sé nell’opera, sdoppiandosi, così come simmetricamente il lettore deve assumere un altro io, un sosia, per entrare appieno nel mondo fittizio».
MASSIMO FUSILLO, L’altro e lo stesso, Firenze, La nuova Italia, 1998, cit. p. 28.
Quella del doppio è una categoria molto presente nella letteratura, a partire dalla tradizione classica fino ad arrivare ai giorni nostri. Si tratta di una categoria letteraria che in quanto tale rimane nei limiti del libro, della leggenda, del romanzo. Ma cosa accade quando questa categoria viene analizzata alla presenza di un autore che si presenta come narratore omodiegetico, ovvero che presenta se stesso come protagonista degli eventi che narra e si rivolge ai suoi lettori chiamandosi “io”? Qual è il rapporto che si instaura con il lettore e la sua percezione degli eventi narrati?
L’intento di questa tesi è quello di affrontare la lettura critica in senso diacronico della produzione letteraria di Emmanuel Carrère, a partire dalle prime esperienze letterarie che si svolgono principalmente nell’ambito della fiction, fino ad approdare ai suoi romanzi più recenti, che si inseriscono nella produzione del genere noto come autofiction.
Con una particolare attenzione alla storia del romanzo e alla nascita del romanzo post-moderno, si affronteranno il tema del doppio – anche alla luce delle riflessioni nate dall’approccio a questo tema della critica psicanalitica - rapportato a questo genere di letteratura nonché al tema ricorrente della menzogna, vista come grande metafora della letteratura stessa, idea legata in modo indissolubile all’ambigua natura del genere dell’autofiction.
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Golding, Page Julie Rae. "Kindred to the spirit a Christian perspective on the imagination as portrayed in L.M. Montgomery's 'Anne of Green Gables' series /". Online full text .pdf document, available to Fuller patrons only, 1999. http://www.tren.com.
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Tamborrino, Elettra <1980>. "The fiction of reconciliation: il paradigma della rivelazione in cinque romanzi sudafricani post-apartheid". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3856/1/tamborrino_elettra_tesi.pdf.
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Tamborrino, Elettra <1980>. "The fiction of reconciliation: il paradigma della rivelazione in cinque romanzi sudafricani post-apartheid". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3856/.
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Ernzen, Billey Annik. "L 'Image de la Révolution française dans les oeuvres de fiction de Barbey d'Aurevilly". Caen, 1992. http://www.theses.fr/1992CAEN1094.
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Fils de ceux qui ont vu la revolution francaise, barbey d'aurevilly dans sa vie d'homme jeune essaie de s'adaper a son epoque pour se preparer a j0uer un role. Il eprouve un relatif enthousiasme en fevrier 1848, mais de le mois suivant acheve sa breve experience politique, investit dans l'ecriture son besoin d'agir et reve l'histoire dans ses oeuvres de fiction. Il est possible d'y saisir une image de la revolution francaise (vue du cote chouan) que barbey construit grace a son heritage familial et a la tradition orale experimentee dans son enfance. Par un procede de ricochet dans les structures des oeuvres et un jeu de narrateurs, il recree, pour son lecteur, sa propre experience d'une relation privilegiee et unique a l'histoire. Dans ce dessein, l'ensorcelee occupe une place de choix parce qu'elle est la seule oeuvre de barbey dont la structure interne s'orgaise a partir de l'histoire en prenant comme temps fondateur la revolution francaise. Par ce biais, le roman prend une dimension mythique et par l'intermediaire de ses hors-textes : de marie hecquet a louis tainnebouy, il montre l'evolution de ma paysannerie dans la premiere partie du xixe siecle. La comparaison avec les romans chouans de balzac et de hugo permet de mieux cerner l'originalite de barbey et de comprendre que l'oeuvre aurevillienne ne chante pas le regret d'un monde passe, mais s'inscrit dans les combats du xixe siecle. En particulier, les differentes revolutions de 1830, mais surtout de 1848 et la commune de 1871 provoquent cette ecriture de l'image de la grande revolution de 1789The heir of a generation that witnessed the french revolution, barbey d'aurevilly, as a young man, makes an effort to adapt to the times, to be able to play a role. He is relatively enthusiastic in february 1848, but his brief political career only lasts one month. He thereafter puts all his energy into his writing and dreams history in his works of fiction, where it is possible to find a picture of the french revolution (as seen from the chouan or anti-revolutionary side). Barbey draws this picture from his family heritage and the oral tradition he remembers from his childhood. By means of a crossreference structural system used in his different novels, barbey re-creates for the reader his own personal experience of a special and unique relationship with history. In this scheme, the novel entitled "l'ensorcelee" occupies a special because it is the only book by barbey in which the internal structure is organized around history, taking the french revolution as its time-setting. In this fashion, the novel takes on a mythical dimension, and using other documents, the author sketches the evolution of the french peasantry in the first half of the 19th century. Comparison with the chouan novels of balzac and hugo allows us to better indicate the originality of barbey and to understand that his work is not a nostalgic song of the past, but is definitely involved in the struggles of the nineteenth century. The revolution of 1830 and specially that of 1848 and the commune of 1871 were particularly responsible for this pictorial writing of the great revolution of 1789
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Morini, Emanuela <1961>. "Dalle ambivalenze della Storia alla “cosmopolitical fiction”: la rappresentazione dell'alterità nel romanzo di Anita Desai". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5496/1/Morini_Emanuela_Tesi.pdf.
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Varcare le frontiere della Storia attraverso le storie personali dei suoi personaggi ha sempre affascinato la sensibilità creatrice di Anita Desai, i cui romanzi possono essere considerati un interessante esempio di letteratura di confine, che riesce nel difficile compito di misurarsi, con eleganza e sensibilità, nella rappresentazione delle più feroci forme di marginalizzazione. Proponendo un dialogo tra alterità, che apre alle complessità storico-culturali in maniera del tutto a-ideologica e imparziale, la scrittrice indoinglese procede alla “provincializzazione” dell’India attraverso le numerose ambivalenze prodotte nelle zone frontaliere analizzate. Dalla rappresentazione della frontiera identitaria esterna, ovvero dall’ambivalente rapporto intrattenuto con il colonizzatore/ex-colonizzatore inglese, alla rappresentazione della frontiera identitaria interna, ovvero l’analisi delle contraddittorie relazioni tra le componenti etniche del subcontinente, Desai arriva infine a problematizzare storie di ambivalenti processi di marginalizzazione prodotti da mondi culturali così diversi come la Germania nazista, o gli indiani Huichol del lontano Messico, tracciando geografie culturali inedite della grande ragnatela della Storia. Desai riesce così a recuperare voci liminali spesso trascurate dalla postcolonialità stessa, per riconfigurarle in un’esplorazione profonda del comune destino dell’umanità, voci straniate e stranianti che acquisiscono un vero e proprio status di agency discorsiva, proiettando la sua scrittura verso una dimensione cosmopolitica. L’opera di Desai diventa indubbiamente un’opportunità concreta per scorgere nella differenza l’universalità di una comune umanità, vale a dire un’opportunità per vedere nell’alterità un’identità ribaltata.Crossing the frontiers of history through the personal histories of her characters has always fascinated the creative sensibility of Anita Desai. Her novels can indeed be regarded as an accomplished example of contact zone literature, which successfully portrays, with peculiar elegance and great sensibility, the most ferocious forms of marginalization. The lyrical exploration of the interaction between power and resistance in her narrative work builds through a problematized gaze, which provincializes India and the world not only across borders, but most importantly from within. From the representation of the Other without, that is the ambivalent relationship with the British, to the representation of the problematics with the Other within, that is the uneasy and contradictory question of ethnicity in the subcontinent, Desai finally tells stories of ambivalent historical processes of exclusion produced by different cultural worlds such as Nazi Germany or the Huichol Indians in far-away Mexico. By presenting peripheral individuals at grips with the dynamics of history and its ambivalences, Desai’s novels dig up liminal voices very often neglected by postcoloniality itself, which, in turn, deconstruct monolithic officialdom. This enables the author to celebrate, through literature, the obliteration of cultural and spatial frontiers and in so doing, to express her “well-tempered-humanism”. Desai’s commitment to contrast the cruel processes of history in her novels undoubtedly places her as a major representative of cosmopolitical fiction in the global and transnational panorama of contemporary literary production in English.
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Morini, Emanuela <1961>. "Dalle ambivalenze della Storia alla “cosmopolitical fiction”: la rappresentazione dell'alterità nel romanzo di Anita Desai". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5496/.
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Varcare le frontiere della Storia attraverso le storie personali dei suoi personaggi ha sempre affascinato la sensibilità creatrice di Anita Desai, i cui romanzi possono essere considerati un interessante esempio di letteratura di confine, che riesce nel difficile compito di misurarsi, con eleganza e sensibilità, nella rappresentazione delle più feroci forme di marginalizzazione. Proponendo un dialogo tra alterità, che apre alle complessità storico-culturali in maniera del tutto a-ideologica e imparziale, la scrittrice indoinglese procede alla “provincializzazione” dell’India attraverso le numerose ambivalenze prodotte nelle zone frontaliere analizzate. Dalla rappresentazione della frontiera identitaria esterna, ovvero dall’ambivalente rapporto intrattenuto con il colonizzatore/ex-colonizzatore inglese, alla rappresentazione della frontiera identitaria interna, ovvero l’analisi delle contraddittorie relazioni tra le componenti etniche del subcontinente, Desai arriva infine a problematizzare storie di ambivalenti processi di marginalizzazione prodotti da mondi culturali così diversi come la Germania nazista, o gli indiani Huichol del lontano Messico, tracciando geografie culturali inedite della grande ragnatela della Storia. Desai riesce così a recuperare voci liminali spesso trascurate dalla postcolonialità stessa, per riconfigurarle in un’esplorazione profonda del comune destino dell’umanità, voci straniate e stranianti che acquisiscono un vero e proprio status di agency discorsiva, proiettando la sua scrittura verso una dimensione cosmopolitica. L’opera di Desai diventa indubbiamente un’opportunità concreta per scorgere nella differenza l’universalità di una comune umanità, vale a dire un’opportunità per vedere nell’alterità un’identità ribaltata.Crossing the frontiers of history through the personal histories of her characters has always fascinated the creative sensibility of Anita Desai. Her novels can indeed be regarded as an accomplished example of contact zone literature, which successfully portrays, with peculiar elegance and great sensibility, the most ferocious forms of marginalization. The lyrical exploration of the interaction between power and resistance in her narrative work builds through a problematized gaze, which provincializes India and the world not only across borders, but most importantly from within. From the representation of the Other without, that is the ambivalent relationship with the British, to the representation of the problematics with the Other within, that is the uneasy and contradictory question of ethnicity in the subcontinent, Desai finally tells stories of ambivalent historical processes of exclusion produced by different cultural worlds such as Nazi Germany or the Huichol Indians in far-away Mexico. By presenting peripheral individuals at grips with the dynamics of history and its ambivalences, Desai’s novels dig up liminal voices very often neglected by postcoloniality itself, which, in turn, deconstruct monolithic officialdom. This enables the author to celebrate, through literature, the obliteration of cultural and spatial frontiers and in so doing, to express her “well-tempered-humanism”. Desai’s commitment to contrast the cruel processes of history in her novels undoubtedly places her as a major representative of cosmopolitical fiction in the global and transnational panorama of contemporary literary production in English.
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Faienza, Lucia <1984>. "Il paradigma poliziesco nel romanzo di non-fiction: continuità stilistiche, tematiche e narrative". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/8005/1/TesiFaienza%20%281%29.pdf.
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La tesi si concentra sullo studio del paradigma del romanzo poliziesco (tanto il giallo quanto il noir) nella narrativa italiana contemporanea, con particolare attenzione alle scelte stilistiche ed editoriali del romanzo di non-fiction. La domanda alla quale la tesi cerca di rispondere è: esiste una tendenza che spinge a strutturare la materia della narrativa secondo un modello “giallistico”?
Nel primo capitolo l’analisi quindi si sviluppa su un percorso storico che introduce brevemente la storia del genere in Italia, sottolineando i modelli di riferimento e la particolarità del contesto italiano rispetto ai classici della letteratura di genere In quanto alla trasposizione della categoria giallistica nel romanzo-inchiesta viene data particolare attenzione al caso specifico di Sciascia sia per l’originalità del “giallo metafisico”
Nel secondo capitolo l’approccio verte principalmente sull’analisi incrociata di testi di fiction e di non fiction di argomento criminale, dagli anni ’90 fino al 2010; l’obiettivo è quello di mettere a fuoco il fenomeno del noir italiano ed isolarne temi, motivi e contenuti. Gli autori oggetto di studio sono Franchini (L’abusivo, Cronaca della fine), Saviano (Gomorra, Zerozerozero), Bettin (L’erede), Pascale (La città distratta).
Nel terzo capitolo vengono analizzati alcuni romanzi contemporanei di non-fiction che non si basano sulla cronaca criminale ma che hanno “interiorizzato” alcuni tratti della narrativa gialla e noir: lo sviluppo della trama attorno a un oggetto irrisolto, sia esso di natura storica o biografica, la ricerca individuale per la riaffermazione della verità, la mancanza di una conclusione “forte” e una visione pessimistica ed entropica della realtà. L’analisi testuale verte su narrazioni tematicamente distanti tra loro, per offrire uno spettro più ampio della ricerca.The dissertation examines the model of the detective and crime novel in contemporary Italian literature focusing on non-fiction novels, their style, and their market reasons and value. The main goal of the reasearch is to determine the existence of a so to speak detective way of writing that would be able to organize the narrative structure according to its fashion and regardless of the presence of the main criminal element. The study is then based on the analysis of multiple texts – both fictional and non fictional – published in Italy in the last twenty years and provides the reader with a preliminary history of the detective and crime fiction in Italy and its peculiarities. The wide range of writers and subjects taken into account allows to see the emergence of a pattern that links noir and detective novels to non-fiction novels and that is grounded in feature suchs as the individual research of truth, the lack of closure, a pessimistic view on reality.
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Damo, Elettra <1994>. "Glossopoeia and myth-making: The importance of linguistic creation in J.R.R. Tolkien's fiction". Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19478.
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J.R.R. Tolkien, high fantasy writer, poet and philologist, as well as Oxford professor of linguistics,
created over 14 languages in the development of the background of his stories. From the
cosmogonical creation myth of "The Silmarillion", to the fairy-story lightness of "The Hobbit" and the
quest fantasy of "The Lord of the Rings", Tolkien’s fiction has its roots in the mythopoetic logics of
his theory of creative writing (or myth-making). This dissertation will seek to understand Tolkien’s
linguistic creation and his experiment of Quenya in particular, first in its historical and literary
context, and then assess its linguistic merit and behaviors.
In the first introductory chapter, Tolkien’s linguistic and academic background will be
investigated, along with mythopoetic construction in the author’s legendarium, setting the scene
for further linguistic analysis. In the second chapter, the timeline of Tolkien’s linguistic creation will be
traced, starting from the delineation of the different Middle-earth languages, to the development of the more
complex and articulated Quenya. The third and last chapter will deeply analyze Quenya language, focusing on its internal and external development.
This thesis aims to explore how the authentic nature of the language is developed and evoked through
the phonetics and phonology of Tolkien’s Quenya, using the poem “Namárië” from The Fellowship
of the Ring for analysis. Smith (2010:7) argues that Tolkien created a “flowing,” “light and
melodious” language, designed much like a Romance language, with no “potentially harsh”
phonemes or “brusque English consonant clusters.” But with such claims must come evidence.
This thesis provides the background research Smith (2010) lacks behind these claims, defining
Quenya as a functional language, with clear patterns and tendencies towards particular phonetic
and linguistic behaviors.
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Da, Re Sara <1996>. "The Trauma of Loss in American Fiction about the Spanish Flu". Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19242.
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My thesis deals with the fictional representation of the Spanish Influenza pandemic in the US literature. After illustrating the impact of that pandemic on American culture, as provided by history books, I will take into account significant literary works centered on this theme, drawing on De Paolo’s 2014 book Pandemic Influenza in Fiction – A Critical Study. My thesis will be focused on three works: They Came Like Swallows (1937) by William Maxwell, “Pale Horse, Pale Rider” (1939) by Katherine Anne Porter and The Last Town on Earth (2006) by Thomas Mullen. The choice is not casual: They Came Like Swallows recounts the experience of a normal family. The omniscient 3rd person narrator chronicles the events through the eyes of Bunny and Robert, the children. What is more, Robert – the eldest son – represents a minority, as he is disabled due to an accident. So it will be interesting to elaborate on these aspects: children and disability during the pandemic. “Pale Horse, Pale Rider” is about a couple – a journalist and a soldier – who contract the flu. She survives, while the soldier does not. The short story not only is important for the depiction of the effects Spanish Flu had on the brain of the people who fell ill with it, but also because of how it perfectly represented the American society of 1918. As the protagonist and Porter herself are journalist, I will delve into how media covered the pandemic. The Last Town on Earth is the only novel taken here into examination that was not written by an author who personally experienced the Spanish Influenza – Maxwell and Porter, on the contrary, based their works on personal circumstances. There is no emotional involvement in his book, therefore Mullen’s is a distant perspective on the matter. The Last Town on Earth will then act as a comparison.
I will begin the thesis by giving a brief historical context concerning the inception and spread of the pandemic in the United States and how Americans responded to it. Then I will move on to inspect They Came Like Swallows, “Pale Horse, Pale Rider” and The Last Town on Earth, considering those aspects that De Paolo left out of his study.
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Chazal, Benoît. "La rhétorique du blâme dans l'"Histoire Auguste"". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA151.
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La rhétorique du blâme dans l’Histoire Auguste se propose d’étudier comme un objet littéraire le recueil de biographies impériales connu sous le nom d’Historia Augusta, officiellement rédigé par six auteurs à la fin du IIIe siècle ap. J.C. et au début du IVe siècle ap. J.C., mais qui serait en réalité issu du fruit de l’imagination d’un unique rédacteur ayant vécu à la fin du IVe siècle ap. J.C., si l’on s’en tient à la thèse de l’historien allemand Hermann Dessau formulée à la fin du XIXe siècle. Le présent mémoire entend analyser les différentes stratégies destinées à dépeindre des images sombres d’une série d’empereurs légitimes et d’usurpateurs, compris dans la période historique qui débute avec le règne d’Hadrien et s’achève avec la chute de Carin (IIe-IIIe siècles ap. J.C.), dans un texte mêlant étroitement réalité et fiction. Le recours à des procédés de nature lexicale, stylistique, thématique et structurelle que l’on peut observer révèle l’importance de la mise en œuvre des ressources de la rhétorique épidictique, ainsi que la présence de nombreux phénomènes d’intertextualité, fondés notamment sur les Vies des douze Césars de Suétone, principal modèle du recueil. L’enquête conduit à un élargissement de la réflexion qui s’intéresse aux cibles de la critique. Si, derrière les figures des mauvais princes, le rédacteur cherche à fustiger les dérives du principat, il cherche également à mettre en oeuvre sa propre écriture, en tâchant de se distinguer des autres historiographes, dans un style qui accorde une large place à la fantaisie, à l’autodérision et au persiflage. Le mémoire s’efforce donc d’étudier la représentation des figures et des événements de l’histoire et de souligner les articulations entre poétique et rhétorique dans un texte majeur de la littérature latine de l’Antiquité tardiveRhetoric of Condemnation in the 'Historia Augusta' intends to study the collection of imperial biographies known as Historia Augusta as a literary object. The biographies were officially written by six authors at the end of the 3rd Century A.D. and at the beginning of the 4th Century A.D., but they were actually produced through the imagination of a single writer who lived at the end of the 4th Century A.D. according to the 19th Century thesis of the German historian Hermann Dessau. Through analysing a text that intricately mixes reality and fiction, this thesis will examine the different strategies intended to depict the sombre images of both legitimate and usurping emperors throughout the historical period that begins with Hadrian's reign and ends with the fall of Carin (2nd to 3rd Centuries A.D.). Observing the lexical, stylistic, thematic and structural methods reveals the importance of utilizing epideictic rhetoric as well as numerous intertextuality phenomena, particularly based on Suetonius's Vitae XII Caesarum, which is the main model of the collection. This inquiry drives to widen the thought interested by the target of the critic. If, behind the figures of bad princes, the writer tries to castigate the principate system that enables princely transgressions, he also tries to enhance his own writing. The writer tries to be different from other historiographers in a style that grants a large place to fantasy, self-mockery and raillery. This thesis endeavours, therefore, to study the representation of historical characters and events while underlining articulations between poetics and rhetoric in a major text of late Antiquity Latin literature
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Finch, Edward F. Holsinger M. Paul. "An hour or two using naval fiction in the United States history course /". Normal, Ill. Illinois State University, 1999. http://wwwlib.umi.com/cr/ilstu/fullcit?p9960413.
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Thesis (D.A.)--Illinois State University, 1999.Title from title page screen, viewed July 26, 2006. Dissertation Committee: M. Paul Holsinger (chair), Lawrence W. McBride, John B. Freed, Steven E. Kagle. Includes bibliographical references (leaves 225-239) and abstract. Also available in print.
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Paalberg, Anna Grete. "The World of ‘S’ and the World of ‘L’: Lesbian Influences on Class S Fiction". Thesis, Högskolan Dalarna, Japanska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29820.
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In this paper, I will analyze the interconnections between Class S and lesbian identity as exemplified by Yoshiya Nobuko’s early writings with the goal of reconciling two schools of thought—that Class S is inherently lesbian fiction, or that it does not depict lesbians at all. To do so, I will be examining “Yellow Rose” through the lens of biographical criticism in order to illuminate the inherent connection between the themes present in Yoshiya Nobuko’s writings and her lived experience as a same-sex attracted woman.
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Marquette, Caroline. "L' écriture du corps dans la fiction de Joyce Carol Oates : une dynamique des fluides". Bordeaux 3, 2009. http://www.theses.fr/2011BOR30045.
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Cette thèse associe étude stylistique, approche narratologique et théorie féministe pour analyser la représentation du corps dans la fiction de Joyce Carol Oates. Il en ressort que le corps a un statut particulier dans son œuvre car il apparaît à la fois comme un carcan aliénant et comme une voie d’émancipation pour l’individu. En effet, le corps biologique est d’abord caractérisé comme un double charnel du Moi effrayant pour le sujet qui y voit sa mort en train de se faire. Cette esthétique gothique de la corporéité entre en résonance avec une angoisse propre aux femmes de se voir chosifier, réduire à un destin biologique dans une société patriarcale prompte à se servir du corps pour policer l’individu. Mais une étude du corps de l’œuvre, monstrueux et débordant, ainsi que de l’écriture pulsionnelle de l’auteure permet de voir émerger dans les textes de l’écrivaine une autre figure du corps plus élastique et malléable, proche du corps sans organes deleuzien. Le corps déchiré et poreux peut alors s’envisager non pas du côté du nihilisme, mais comme une invitation au réagencement identitaire. Notre étude invite donc à repenser la fonction de la violence de l’univers oatesien à la lumière de la volonté de convertir ce corps que le patriarcat a constitué comme une prison charnelle en un dispositif d’ouverture et de connexion. La libre circulation des fluides corporels est centrale à cette entreprise car elle dote le corps d’une puissance subversive qui fait le lien entre ce que Bakhtine théorisait comme une énergie grotesque et populaire prête à renverser l’ordre social et ce que les féministes définissent comme une capacité spécifiquement féminine à couler et déborderThis dissertation combines a stylistic and narratological approach with feminist theory to analyze the representation of the body in the main novels of Joyce Carol Oates. The body has a paradoxical status in so far as it represents both a straightjacket and a vehicle of emancipation for the individual. The biological body is first characterized as an uncanny double for the subject, who is constantly reminded of his forthcoming death by his own flesh. Such gothic esthetics relate to specifically feminine fears of being objectified and reduced to a strictly biological destiny in a society which tends to regulate the body into civilized docility – especially female bodies, always suspected of hysteria. But a study of the monstrous and unbridled body of the text and of Oates’s pulsating writing reveals the emergence of another figure of the body in her novels, a more elastic and malleable figure which is quite similar to Deleuze’s Body without Organs. The assaulted, torn and porous body may then be considered as a positive opportunity to recreate the self, as opposed to a negative sign of nihilism. This study suggests that the violence of Oates’s fictional universe can be rethought in the light of her will to convert the body that patriarchy had turned into a prison of flesh to a model of opening, connection and becoming. The free play of bodily fluids is central to this enterprise as it endows the body with the subversive power of the grotesque, which can overthrow social order according to Bakhtine, and the specifically feminine ability to leak and overflow boundaries
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Andrade, Roberto Carlos de. "Rites of passage in Richard Wright's fiction : from chaos to a new wor (l) d". reponame:Repositório Institucional da UFSC, 1994. https://repositorio.ufsc.br/xmlui/handle/123456789/157871.
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Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoMade available in DSpace on 2016-01-08T18:58:05Z (GMT). No. of bitstreams: 1 96386.pdf: 2415079 bytes, checksum: f1e5937c13325d8bd7e54b3141e88254 (MD5) Previous issue date: 1994
Baseada numa literatura densa de The Rites of Passage, de Arnold Van Gennep, esta análise investiga a forte relação entre o padrão tripartido dos ritos de passagem de acordo com Van Gennep e as vidas de dois protagonistas de Richard Wright: Bigger Thomas (Native Son) e Cross Damon (The Outsider). As peculiaridades das vidas de ambos os protagonistas foram estudadas, também, de acordo com a teoria de Houston Baker, Jr. dos "ritos do buraco /todo negro", a qual enfatiza a impossibilidade para o negro consciente de ser reincorporado à sociedade com um novo status, ou com uma nova consciência sobre a sua própria condição na vida. Os três estágios dos ritos de passagem foram também comparativamente estudados lado a lado com a teoria do ciclo do herói de Joseph Campbell.
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Cannata, Alice <1986>. "Tra verità e fiction. Il Giappone contemporaneo dalla realtà ai dorama". Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5473.
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Nell'elaborato analizzo alcune tematiche inerenti la cultura del Giappone contemporaneo. Dopo un'iniziale trattazione dell'argomento e delle sue caratteristiche ho fornito una lista di dorama in cui lo stesso viene rappresentato. L'idea principale sottesa alla tesi è dInviai individuare come determinati temi possono essere presi in considerazione anche da sceneggiati televisi che, spesso, vengono considerati solo da un punto di vista intrattenitivo senza invece riconoscere l'importanza che possono assumere da un punto di vista sociale.
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Jones, Russell. "Green Dress Whose Girl is Sleeping and Broken Wor(l)ds : Edwin Morgan's science fiction poems". Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9458.
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The Green Dress Whose Girl is Sleeping is a collection of poetry written over a five year period, which demonstrates my interests in formal and linguistic experiment through the themes of death and love. The speakers frequently struggle to accept either, with many of the love poems maintaining a sense of anticipated loss, and many of the death poems reverting to memory and joy as an expression of grief. At the centre of the collection is a series of sonnets, “Our Terraced Hum”, which creates a narrative of observed experience through the premise that the speaker is watching people from a neighbouring block of terraced flats. Meanwhile several science fiction poems permeate the collection, universalising experiences such as love and death to develop a sense of shared experience throughout human histories and territories. In particular, poems such as “Nan, Come from the Water” and “On Her Return from Afghanistan” maintain an autobiographical element to explore the personal impact of a family death, and the varying coping mechanisms people create. The deaths of strangers and animals are also prominent in a number of pieces in this collection, as found in poems such as “How to Kill a Blackbird” and “Heading to a Corner Shop on a Winter’s Day”, whilst major global disasters such as the 2011 tsunami in Japan, and the 2001 attacks on the World Trade Centre in New York city are the focus of “Sendai-shi” and “Towers”. Poems such as “Kiting”, “House Plant” and “Ghazal Jigsaw” interrogate love as a form of power struggle in romantic relationships, whilst experimentations in form and language become a medium for aesthetic and intellectual stimulation in pieces such as “Star”, “The Promise” and “26 One Word Poems”. A focus on specific events and reactions through varying poetic structures and tropes – surreal, autobiographic, fantastic or otherwise – I hope amalgamates to form a more complete and inclusive sense of collective, complex experience. The critical element, entitled “Broken Wor(l)ds: Edwin Morgan’s Science Fiction Poems”, explores processes of estrangement and uncertainty as vehicles for promoting change throughout Edwin Morgan’s science fiction poems. Chapter one focuses on Morgan’s computer poems, chapter two looks at his space poems, chapter three examines the poem “In Sobieski’s Shield” and chapter four considers Morgan’s dystopian poems. It demonstrates that Morgan deconstructed and rebuilt poetic structure, language and genre as a way of rejecting parochialism and insisting on a progressive poetry which engaged with the modern world.
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Rossetti, Elena <1984>. "Reading and writing fan fiction in English as a foreign language: a survey study". Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4382.
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Starting from the researcher’s assumption that fan fictions can be useful in English language learning, either in a formal or in an informal learning environment, this study attempts to give an answer to the following question “Can writing and/or reading fan fiction in EFL help language learning and fosters a positive attitude towards the language itself?”
To accomplish said purpose, two preliminary open-form questionnaires of 11 (writers’ questionnaire) and 7 (readers’ questionnaire) questions were devised and shared on the Internet. The response showed that learners older than 19, rather than people in middle or high school, seem to be the most willing to share their personal experience regarding fan fics. Consequently, another open-form questionnaire, made up of 39 questions, was devised and uploaded on the Internet.
The analysis on the 35 questionnaires that have been compiled shows that most of the subjects share the researcher’s assumption and claim to have been motivated to improve their English language skills (through reading and writing) as well as actually learning a lot of English vocabulary and figures of speech (mainly through reading). This, I believe, can be the starting point for further research on how fan fiction helps English language learning through the study of specifically designed case studies.
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Colangelo, Enrico <1992>. "Climate Fiction: Emotions, Language, and Climate Change in The Road, Oryx and Crake, and The Hungry Tide". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14468.
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Una delle più grandi sfide che l’umanità dovrà affrontare sono i cambiamenti climatici. Non solo scienziati e politici affrontano questa minaccia, anche gli scrittori di romanzi hanno cominciato ad inserire nelle loro opere gli effetti di questi cambiamenti. All’inizio i critici ritenevano che questi testi fossero pura fantascienza. Tuttavia, molti di quegli strani ed estremi eventi climatici si manifestano sempre più spesso davanti ai nostri occhi. Per questo motivo si è deciso d’inserire questi romanzi in un nuovo genere chiamato: Climate Fiction. Questa tesi si prepone di analizzare attraverso una prospettiva ecocritica, tre romanzi appartenenti a questo nuovo genere: "The Road" (2006) di Cormac McCarthy; "Oryx and Crake" (2003) di Margaret Atwood; "The Hungry Tide" (2004) di Amitav Ghosh. La tesi esplora le origini e le evoluzioni dell'ecocritica e le sfide che gli scrittori di romanzi devono affrontare nel raccontare storie che coinvolgano il cambiamento climatico e il nuovo periodo geologico denominato: Antropocene. Inoltre, vengono spiegate le origini di questo nuovo genere e di come la sua popolarità sia in continua ascesa. Nell'analisi ecocritica dei tre romanzi, l'attenzione si concentrerà sullo stile adottato dai tre autori nel parlare dei cambiamenti climatici e di come abbiano creato personaggi che esprimano un senso di sconforto ed alienazione rispetto all’ambiente che li circonda e ai drastici cambiamenti nel clima e nelle persone.
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Bertoli, Giuditta <1995>. "La flash fiction di Walis Nokan: proposta di traduzione e commento traduttologico". Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16959.
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La presente tesi di laurea magistrale consiste nella proposta di traduzione, dal cinese all’italiano, dell’opera intitolata 瓦歷斯微小說 Walisi Wei Xiaoshuo - la flash fiction di Walis Nokan 瓦歷斯.諾幹 - pubblicata dall’autore taiwanese nel 2014. L’opera raccoglie centosettanta testi appartenenti al genere definito flash fiction, caratterizzato da brevità e intertestualità. Nella suddetta raccolta, i racconti vengono suddivisi in otto sezioni, i cui temi sono indicati dai rispettivi titoli : Letteratura, Esseri viventi, Il mondo dello Jianghu, Oggetti, Cronache sociali, Indigeni, Emozioni e Sogno.
La traduzione è preceduta da un primo capitolo introduttivo, in cui ogni sezione viene descritta e analizzata per guidare il lettore nell’approccio ai testi tradotti. Nel medesimo capitolo, inoltre, vengono presentati l’autore dei racconti, la cui origine taiwanese risulta evidente e marcata in tutta l’opera e, soprattutto, il genere cui appartengono i testi.
Infine, attraverso il commento traduttologico, si analizzeranno le problematiche e le difficoltà che si sono riscontrate nella traduzione dei racconti.
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Ventrucci, Virginia. "Translating and Analyzing Contemporary Italian Dystopian Fiction: Leonardo Patrignani's "Tu Non Esisti"". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
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As the English-speaking book market is difficult to penetrate for authors who are not native speakers of English, it is important to analyze how writers of different languages can produce notable works. This dissertation sets to translate, analyze, and assess the literary value of "Tu Non Esisti", a short story written by Italian author Leonardo Patrignani, as an example of contemporary Italian dystopian fiction that could be successful abroad.
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Calderon, Sandoval Orianna Aketzalli <1987>. "Visualising In/Equalities through Contemporary Documentary Cinema. A Diffractive Reading of Feminist Practices in Spanish and Italian Non-Fiction Films". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/9087/1/Calderon_Orianna_Tesi.pdf.
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This thesis brings together feminist documentary film theory and feminist new materialism(s) to describe how feminist material-discursive practices in a sample of Spanish and Italian documentary cinema made between 2013-2018 (can) visualise gender in/equalities. The accomplished objectives have been: 1. Building a bridge between feminist documentary film theory and Karen Barad’s diffractive methodology by approaching non-fiction cinema that deals with social inequalities as a diffraction apparatus. 2. Developing a feminist toolbox for a response-able gaze by gathering different insights from feminist film theory. 3. Identifying feminist material-discursive practices in a sample of documentary films produced in Spain and Italy over the last six years (2013-2018). 4. Analysing the effects that these feminist material-discursive practices in documentary cinema have, particularly in terms of visualising gender in/equalities on both sides of the camera and on both sides of the screen. 5. Revealing patterns between the ten case studies by reading through one another (i.e. diffractively) insights raised in each one of them.
In ten documentary films/case studies, I identify patterns of continuities and differences concerning feminist material-discursive practices at four levels: content, form, production and reception. In terms of contents, I detect two patterns in which feminist material-discursive practices may operate: enacting the right to appear or enacting the right to look back and/or against the grain. As for the forms, I exemplify how feminism politicises Bill Nichols’s six modes of representation. My analysis of production practices is elaborated along the filmmakers’ self-positions/situatedness, tensions/obstructions, and effects/affects/emotions regarding four key concepts: documentary cinema, equality, gender and feminism(s). And in the case of reception practices, I identify patterns of affective identification and/or intellectual reflections.
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SELIGARDI, Beatrice. "Shaping the University Imaginary. Configurations and Refigurations in British Fiction". Doctoral thesis, Università degli studi di Bergamo, 2014. http://hdl.handle.net/10446/30772.
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The present dissertation stems from the attempt to deal with the literary representations of the university imaginary by focusing on mimesis. My purpose is to analyze the ways in which the university and its images have been addressed and represented in literature. Literary representations of academia find their expression through the configuration of a number of literary forms which I here propose to classify as ‘university fiction’. In the first part of my dissertation I investigate the forms taken by University Fiction in the British context from the 19th century until the second half of the 20th, a period when the genre achieved specific and stable connotations that have been respectively classified as “varsity novel” and “campus novel”. The second part deals with what happens when the university imaginary and its representation go beyond the boundaries of university fiction as a genre. The case study that I propose is constituted by the works of A.S. Byatt. This case study allows me to analyze a different way in which the university imaginary has been configured, a way that is, of course, related to literary genres, but which also goes beyond the typical boundaries of genres as literary constructs. This re-figuration has been explained by resorting to a concept that originally came from theatre and adaptation studies, but which proves to be productive when applied to narrative texts: the concept of ‘dramatization’.
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Arnautou, Charlotte. "Les paradoxes de la fiction cognitive de G. K. Chesterton (1901-1910)". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL160.
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Cette thèse se propose d’étudier le rapport entre fiction et raisonnement dans l’œuvre édouardienne (1901-1910) de l’écrivain, journaliste et polémiste anglais G.K. Chesterton (1874-1936). S’inscrivant dans le double cadre de la théorie de la fiction et de l’histoire des idées, ce travail repose sur l’hypothèse d’un usage singulier de la fiction dans la pensée chestertonienne, qui l’écarte de sa définition générique (comme d’un récit en prose, principalement destiné au divertissement) pour en faire un mode de raisonnement. Utilisée comme figure rhétorique, elle est également pensée comme un véhicule cognitif permettant de repousser la frontière du savoir, un moyen de compréhension du monde et un instrument de modélisation de l’idée, qui ne contredit pas le raisonnement mais le complète. La seconde hypothèse concerne le rôle central du contexte historique dans cet usage paradoxal de la fiction : le monde intellectuel britannique traverse, à la fin du XIXe siècle une crise épistémologique tandis que l’époque se caractérise progressivement par un âge d’or de la fiction de masse. L’ère édouardienne, située à la croisée de ces mouvements, apparaît donc comme un moment pivot. L’étude replace d’abord la formation intellectuelle et la naissance de la carrière de Chesterton dans le contexte de la vie littéraire de l’époque, afin de proposer une théorie de sa fiction d’examiner sa pratique dans ses articles, ses essais, ses études littéraires. Ses romances et ses récits de détection sont également envisagés puisque ces genres de la littérature de masse permettent à Chesterton de donner corps à sa pensée et de toucher un large public. En définissant des emplois originaux de la fiction, il s’agit d’examiner comment ils s’inscrivent dans une renégociation plus générale du rapport entre savoir et fiction à l’aube du XXe siècleThis thesis explores the tension between fiction and reasoning in the Edwardian oeuvre of writer, journalist and polemicist G. K. Chesterton (1874-1936). Within the framework of fiction theory and the history of ideas, it is hypothesized that Chesterton diverts fiction from its most frequent use as a genre (a narrative in prose aiming at entertainment) to turn it into a mode. Used as a rhetorical figure, fiction is also devised as a cognitive vehicle that pushes back the frontiers of knowledge, a way of understanding the world and a conceptual modelling tool, which does not contradict but completes his reasoning. The second hypothesis of this work rests on the defining influence of the historical background on Chesterton’s imaginative use of fiction: the Edwardian intellectual world goes through an epistemological crisis while the ever-thickening stream of popular fiction turns the era into a Golden Age of storytelling. The era thus appears as a pivotal moment. Chesterton’s formative years and early career will be studied in the literary context of the time to set the scene for his theory of fiction and for an exploration, in practice, of Chesterton’s fictional modes in his articles, essays, literary studies but also in his romances and his detective fiction, as these genres of popular literature allow him to give shape to his reasoning and appeal to a wider audience. Defining Chesterton’s unusual fictional modes will allow us to place him within the wider movement of authors trying to foster a new relationship to fiction at the dawn of the 20th century
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Miotto, Isabel <1985>. "I'm more than a piece in their Games Contemporary American Dystopian Fiction for Young Adults". Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/2348.
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Sakouhi, Sihem. "L' emploi de la première personne de la poésie d'Horace : enquête sur l'écriture autobiographique et la fiction". Strasbourg, 2010. http://www.theses.fr/2010STRA1055.
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L’enjeu de notre travail n’était pas tant, en menant une enquête sur l’écriture autobiographique dans la poésie d’Horace, de connaître la vie de ce dernier à travers son œuvre que de scruter ses rhétoriques et les stratégies de son autoreprésentation. Lorsqu’il compose ses œuvres poétiques, une seule et même préoccupation traverse l’esprit de notre poète depuis les Épodes jusqu’au quatrième livre des Odes, en passant par Épîtres : effleurer la possibilité autobiographique pour mieux y renoncer. Horace se fait une idée plus élevée sur l’acte de l’écriture qu’il investit de finalités esthétique, rhétorique, éthique voire thérapeutique. Il ne soucie guère de livrer le détail intime dans toute sa sincérité et son exactitude ni d’écrire en permanence comme dans un récit autobiographique. Il cherche au contraire à fictionnaliser sa figure finale, à soumettre son personnage au jeu de l’écriture et aux besoins de chaque pièce, à se former et se transformer en exploitant les ressources du langage. Dans les œuvres lyriques, à la voix du poète privé attaché à ses souvenirs et à ses sentiments amoureux et amicaux succède celle du poète officiel inquiet pour le sort de Rome et du poète génie fier de son talent littéraire. Mais, dans l’expérience du je lyrique, il y a constamment un jeu sur les exigences esthétiques héritées des lyriques canoniques de la Grèce archaïque et classique. Avec les Épîtres, notamment, l’écriture autobiographique coïncide avec le moment fort du souci de soi. La lettre se fait l’écho de l’inquiétude de l’être qui cherche le point fixe et l’équilibre, et pour son âme et pour son corps. Mais l’écriture de soi, si elle se charge d’abord d’une fonction informative intrinsèque, se présente aussi comme un exercice spirituel. Elle relève autrement dit, pour suivre Michel Foucault dans « L’écriture de soi », du travail de soi sur soi et de l’ascèse scripturale. Les Satires, enfin, immortalisent la vie d’Horace dans la société romaine et marquent le début de ses relations avec Mécène et Auguste. Leur affinité avec le monde du théâtre lui permet cependant de porter, à la manière de l’orator et du rhetor, un ou plusieurs masques, afin de gérer d’éventuelles tensions sociopolitiques et de transmettre l’idée qu’il se fait de lui-même ou qu’il veut que le public se fasse de lui-mêmeThe aim of our work was not so much, by leading an investigation on the autobiographical writing in the poetry of Horace, to know the latter's life through his work than to scrutinize his rhetoric and the strategies of his self-representation. When composing his poems, a single concern crosses the mind of our poet, from the Epodes to the fourth book of the Odes, through the Epistles: to touch upon the autobiographical possibility to then better give it up. Horace has a higher idea of the act of writing that he invests with aesthetic, rhetorical, ethical and even therapeutic finalities. He does not care about delivering the intimate detail in all its sincerity and accuracy, nor about writing continuously as in an autobiographical narrative. He seeks instead to fictionalize his final figure, to submit his character to the game of writing and the needs of each play, to form and transform himself by exploiting the resources of language. In the lyrical works, to the voice of the private poet attached to his memories and his feelings of love and friendship, succeeds that of the official poet worried about the fate of Rome and of the genius poet proud of his literary talent. But in the experience of the lyrical I, there is always a game on the aesthetic requirements inherited from the canonical lyrics of archaic and classical Greece. With the Epistles in particular, autobiographical writing coincides with the strong moment of self-concern. The letter echoes the anxiety of the being who is looking for the fixed point and the balance for his soul and his body. But the writing of oneself, though it mainly comprises an intrinsic informative function, also appears as a spiritual exercise. In other words, as M. Foucault points out in "The self’s writing", it is a work of soul-searching and a scriptural asceticism. Finally, the Satires immortalize the life of Horace in Roman society and mark the beginning of his relationship with Maecenas and Augustus. Their affinity with the theater world, however, allows him to play, like the orator and the rhetor, one or several characters in order to manage potential socio-political tensions and to convey the idea he has of himself or that he wants the audience to make of himself
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Grootboom, Zoleka Faith. "An investigation of the themes and techniques in L.L. Sebe's "Ucamngco" = Uphando ngemixholo nesimo sokubhala esisetyenziswe kwincwadi ke L.L. Sebe "Ucamngco"". Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/781.
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Giacomelli, Chiara <1997>. "La flash fiction nella Cina continentale: proposta di traduzione e commento all'opera di Ling Dingnian". Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21023.
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La presente dissertazione propone la traduzione di una raccolta di microstorie cinesi Moyi (Trono Infestato) scritta e composta da Ling Dingnian (10 giugno 1951) e pubblicata nel giugno 2012 da una casa editrice taiwanese. Ling Dingnian (inserisca tra parentesi la data di nascita) è una figura di spicco nell’ambito della microfiction cinese e possiede una florida produzione letteraria che spazia tra raccolte di microstorie, romanzi e pubblicazioni di ricerca su riviste letterarie.
Cittadino cinese impegnato politicamente, l’autore attraverso le proprie microstorie si fa portavoce dei valori tradizionali cinesi, simboleggiati da alcuni oggetti o temi fondamentali nelle trame dei suoi racconti. La tradizione però si affianca ad una visione più ampia ed oggettiva: servendosi della brevità e della sinteticità del genere della flash fiction, insieme ad altri artifici narrativi come l’inner change, si celano le contraddizioni e le ambiguità di un impalcatura culturale apparentemente solida e strutturata.
Il corpo della dissertazione, suddiviso in tre capitoli principali presenta prima un'introduzione all'autore e al genere letterario della flash fiction. La seconda parte è composta dalla proposta di traduzione ad una raccolta di micro-storie dell'autore, seguita dal commento traduttologico che va a costituire il terzo capitolo.
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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.
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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.