Rozprawy doktorskie: „Work of fiction”

1

Kidd, Catherine. "Bestial rooms : a work of prose fiction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ39923.pdf.

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Herrmann, Andrew F. "On Being a Homeless Work of Fiction". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/749.

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In this piece the author takes a journey into the meaning of quests through the philosophical terrain of existential phenomenology and authenticity. Unlike quest narratives in literature and popular culture, our life narratives are not yet finished, but ongoing. Comparing the idea of existential homelessness with its undeniable and constant change to that of autoethnographic writing, he examines narrative and memory and how current life events change our understandings of past narratives and our sense of identity. Our life narratives are made up of fragmented thoughts and ideas, the stories others told before we were born—and will tell about us after we are gone.

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Perkins, Aaron M. "Fictions, enabling fictions, and autofiction within painting; or, "This painting is a work of fiction", I said". Thesis, Griffith University, 2022. http://hdl.handle.net/10072/419477.

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This practice-led research project investigates the potential for a philosophically defined and criterial notion of fiction to function within the medium of painting. It develops Kendall L. Walton’s make-believe theory of fiction via Gregory Currie and Richard Wollheim to include a criterion of fictive intent, whereby a painting is fictional if it is intended to prompt an act of imagining in its viewer. Although painting has not art-historically distinguished between fiction and non-fiction, the research demonstrates the intuitive usefulness of such a classification. The research then argues that painted works of fiction offer a means of insight through a visual medium into the everyday fictions that enable our understanding of the real world around us. Using contemporary anglophone autofiction—a mode or genre of writing that purposefully blurs autobiography and fiction—as a model for this inquiry, the research analyses Ben Lerner’s novel 10:04 to identify a range of strategies that confuse the real world and the fictional world of a work. These strategies are characteristic of literary autofiction and include a paratextual communication of fictive intent, an ambiguous authorial presence, the use of text and image, ekphrasis, self-appropriation, and extratextual reference. These are also identified in the painting practice of Avery Singer and so are demonstrated to be applicable across mediums. The creative outcomes of this research project emerge from a painting practice concerned with the relationship between image and text to explore the enabling fiction of a coherent self-narrative. They encompass an artist’s book, a series of paintings that manifest a tension between typographic and anthropomorphic forms, a site-specific ekphrastic catalogue essay, a site-specific collaboration with a screenwriter on an exhibition of fictional paintings, and, ultimately, an autofictional exhibition of paintings that explore a transference between painting and literature through a short story and a typeface.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text

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Riegel, Christian Erich. "The work of mourning and Margaret Laurence's Manawaka fiction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0010/NQ59554.pdf.

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Galletly, Sarah. "Work, class and gender in Canadian fiction, 1890s-1920s". Thesis, University of Strathclyde, 2012. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=25538.

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Brazil, Kevin. "The work of art in postwar fiction, 1945-2001". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:f8102451-09cf-4f92-8e6e-e7c1ced2641c.

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'The Work of Art in Postwar Fiction 1945-2001' explores the responses of postwar novelists to visual art by focusing on the work of Samuel Beckett, William Gaddis, John Berger and W.G. Sebald. In doing so, it opens up a new approach to understanding the relationship between fiction and art in the postwar period as a whole, for what distinguishes these writers is that they use an engagement with visual art in order to historicize their own work as distinctly 'postwar' fiction. This thesis shows that in the writings of these novelists, long running aesthetic issues in the study of the relationship between text and image are reformulated and transformed: medium specificity; ekphrasis; and visual representation as a model for literary realism. Drawing throughout on original archival research, The Work of Art in Postwar Fiction 1945-2001 traces what T.J. Clark terms the 'processes of conversion and relation' between art, its contexts and its commentators, and it is by studying these mediations that the literary consequences of the work of art for these writers are shown. With a historicizing approach throughout, and an interest in the ways in which postwar novelists mediate their engagement with art through history, this thesis contributes to a new understanding of the literature and art of the postwar era, or what Amy Hungerford has called 'the period formerly known as contemporary'. This thesis offers a revisionary account of a relationship previously subsumed under the dominant logic of postmodernism, which according to Fredric Jameson was defined by a 'waning of historicity'. In returning historicity as method and theme to the study of the relationship between literature and art since 1945, The Work of Art in Postwar Fiction 1945-2001 shows the diverse ways in which postwar writers historicized their writing, and reflected on their techniques, in dialogue with visual art. Concerning itself with the distinct challenges posed by focusing on what Hannah Ardent called the 'most recent' past, this thesis also develops new ways of thinking more broadly about the relationships between literature, art and history. Chapter 1, 'Reviewing Postwar Fiction', situates this thesis within recent debates in literary studies surrounding what Mark McGurl has termed a discipline-wide 'hegemony of history'. Chapter 2, on Samuel Beckett, argues that Beckett's postwar art criticism responds to a specific strand of Marxist humanist aesthetics developed after the war, and it studies Beckett's manuscripts to show the relationship between this criticism and the composition of The Unnamable. Chapter 3 discusses William Gaddis's 1955 novel The Recognitions, arguing that the novel pivots around some of the central cruxes of postwar American aesthetic debate: Clement Greenberg's theory of abstraction, and Michael Fried's identification of the problem of 'art and objecthood'. Chapter 4 discusses the work of the British art critic and novelist, John Berger. It shows that Berger's critical account of Cubism shaped the narrative forms of his novels A Painter of Our Time and G., and that these narrative innovations were central to his theory of the artistic and revolutionary 'moment'. Chapter 5 focuses on the relationship between photography, painting and aesthetics in the work of W. G. Sebald. It argues that aesthetic concepts such as 'the readymade' and 'objective chance' offer a better account of Sebald's engagement with art than accounts which draw on trauma theory. The thesis concludes with a short discussion of how the writers studied in this thesis have influenced the contemporary fiction of Jonathan Franzen, Teju Cole, and Tom McCarthy.

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Byrnes, C. "The work of Ian McEwan : a psychodynamic approach". Thesis, University of Newcastle upon Tyne, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311137.

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This thesis traces the 'metaplot' of Ian McEwan's progress, through his professional writing. Completely unknown in 1971, his work has attracted increasing recognition, culminating in the Booker prize in 1998. Early in his career, he gained access to elements of his unconscious through free-association, active imagination, meditation and the use of recreational drugs. These elements, which surfaced gradually and piecemeal, include strong feelings associated with the Oedipus complex, difficulties with masculine self-identification, feelings of rejection, unresolved grief, wishes to regress to the latency period of childhood, and sexuality contaminated with anal-sadistic power issues. McEwan dealt with these themes by creating characters who expressed them through sexual deviations and violence or acted them through to their logical conclusion. Thus he was able to confront previously repressed aspects of his inner life and resolve some of his emotional problems in safety, while availing himself of rich material for his fiction. His writing is not autobiographical, but it will be demonstrated that events in his life and his changing beliefs and values are reflected in his work. He achieves an illusion of authenticity by including real people and events, familiar to readers from recent history and the news, in vividly described settings. He shares with the reader his interest in advances in science and his concerns about the dangers facing mankind and the evils of authoritarian and patriarchal structures in the microcosm and macrocosm of human institutions. He synthesises these components under a strong narrative shelter of complex plots, dramatic suspense, unexpected thrills and shocks. The psychodynamic interpretations offered in this thesis depend on a detailed study of McEwan's published work. Their aim is to isolate the separate threads in the fabric of his fiction and demonstrate the maturation and increasing sophistication of his work.

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Schwarz, Henry. "Subvisible meaning structural invention in the work of 5 Brazilian novelists /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1697706611&sid=8&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Wong, Man Olive, i 王旼. "Men at work: masculinity, solidarity and solitude in Conrad's Fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952446.

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Carr, John Leonard. "Leigh Brackett : American science fiction writer--her life and work /". The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291223654.

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Wong, Man Olive. "Men at work : masculinity, solidarity and solitude in Conrad's Fiction /". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161768.

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Tovey, Julie Anne. "Bible of Dreams : the cultural work of Sylvia Plath's short fiction". Thesis, Birkbeck (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392167.

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Barchow, Winberg Martin. "Fiction and revolutions Thematic work – an including and engaging pedagogy situation". Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-33121.

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Syftet med det här utvecklingsarbetet är att ge ett förslag på hur man som lärare kan engagera och motivera fler elever till att sträva efter att nå målen i ämnena svenska och historia på högstadiet. Utifrån tidigare forskning, olika teoretiker, läroplanen för grundskola 2011 och de nya kursplanerna för svenska och historia utformas ett utvecklingsarbete som utgår från ett tematiskt arbetssätt där skönlitteratur har en central roll i temat och där läromedel ersätts med olika varierade moment som film, museum besök, gästföreläsare etc. Temat kallas revolutionernas tidevarv och behandlar 1700-1800 talet med fokus på Franska revolutionen, ideologier och de samhällströmningar som följer av detta. Eleverna jobbar både i grupp och med tre stycken individuella uppgifter. Temaarbetet sträcker sig över sex veckor och totalt 30 timmar. De frågeställningar som legat till grund för uppsatsen är: Hur kan man jobba didaktiskt för att få fler elever intresserade, engagerade och få dem att känna sig inkluderade för att sträva efter att nå målen? Hur kan man som lärare jobba pedagogiskt för att få mer tid tillsammans med sina elever? Hur kan man utifrån olika lärandeteorier skapa ett större sammanhang och ge en ökad motivation för eleverna i sin undervisning?
The purpose of this work of development is to provide a proposal on how teachers can engage and motivate more students to strive to achieve the goals in Swedish and history in high school. Based on previous research, various theorists, the curriculum of primary education in 2011 and the new curriculum for Swedish history and form a development that is based on a thematic approach in which literature is central to the theme and where teaching materials are replaced with various diverse elements that movie, museum visits, guest speakers, etc. The theme is called revolutions of the era and deals with 1700 - 1800 with a focus on French Revolution, ideologies and the social currents that result from it. Students work in groups and with three individual tasks. Theme work spans six weeks and a total of 30 hours. The issues were the subject of the essay is: How can you work educationally to get more students interested, engaged and make them feel included in order to seek to achieve the goals? How can we as teachers work pedagogically to have more time with their students? How can one based on different learning theories to create a larger context and give a greater motivation for students in their teaching?

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Hibbert, Jeffrey D. "Room for Possibilities: James Joyce and the Rhetorical Work of Fiction". Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/16019.

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English
Ph.D.
The resurgence of interest in James Joyce's politics over the past decades reveals Joyce as a politically astute, if not active, writer. But Joyce's politics were never easily codifiable or traceable to a set of ideologically fixed positions. Instead, this dissertation argues, Joyce uses the novel as a space where political debate can be dramatized, and the novel becomes a form of deliberative rhetoric regarding future possibilities. For Joyce, the practices of rhetoric and aesthetics are complexly intertwined and interdependent, though they remain, in many ways, oppositional and contrary. Joyce and other modernist writers often viewed rhetoric as a discursive form that limited rather than expanded possibilities. But at other moments, Joyce presses rhetoric into the service of aesthetic (and vice-versa) since deliberative rhetoric and poetics (as defined by Aristotle) both attend to the possibilities of future action. This dissertation traces Joyce's evolution from a young socialist writer engaged in rhetorical experiments with the essay to his later dramatization of Irish political oratory in Ulysses. Joyce began his career as a self-described "socialist artist" in 1904, but would consciously eschew socialism within the next few years. This dissertation locates Joyce's early political rhetoric in his essay "A Portrait of the Artist" and the abandoned novel Stephen Hero as unconscious remainders reemerging in A Portrait of the Artist as a Young Man. In the later text, aesthetics attempt to replace rhetoric as a means of creating radical materialist consciousness, but the later text also re-incorporates and reimagines its earlier incarnations. The earlier texts remain as "symptoms" around which the later is written. Drawing on the definitions of "symptom" in psychoanalytic and Marxist theoretical practice, this dissertation argues that A Portrait of the Artist functions as a text because it includes, even though it attempts to rewrite, the political and rhetorical work of its antecedents. In crafting the "Aeolus" chapter of Ulysses, Joyce returns to the art of rhetoric to dramatize the arguments surrounding Irish labor, politics, and language in 1904 Dublin. Unlike his work in A Portrait of the Artist, Joyce presents oratory as a staging ground for reasoned debate and discussion regarding the future course of Irish history. Whereas rhetoric was an unconscious remainder of socialist politics in A Portrait of the Artist as a Young Man, rhetoric is consciously applied in the work of the characters in the episode who are preoccupied with the consequences of the Irish language movement and middle-class industrialization. This dissertation ultimately argues against positions that view rhetoric as a weak surrogate for aesthetics or as a discursive limitation that must be overcome for aesthetics to produce valuable contemplative effects. Aesthetics in Joyce's fiction has productive rhetorical purposes: to lead readers to contemplate false oppositions, consider the means by which history is produced, to attend to the process of political decision-making, and to deliberate about the consequences of actions.
Temple University--Theses

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Dorsett, Margaret H. "Fall Line: a work in progress". Thesis, Virginia Tech, 1989. http://hdl.handle.net/10919/46032.

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An experimental novel, based on the critical theories of Jacques Lacan and Helena Cixous, which explores the exclusion of women from the cultural ideal, and their redefinition as cultural "others" in Western American Society.

The novel incorporates three separate narratives: two first person narratives (Paula Tjunic and Kate Hargrove) and one third person narrative. The two first person narratives examine entire lifetimes. The third person narrative recounts one night in a bar. The first person narratives are written in opposing columns, and are designed in blocks and gaps so that each character can be heard separately, and the reader can interact with the text as a third cultural "other."

A short examination of the theories of cultural "other" in relation to women in the American West, is included in the preface of the novel.

Master of Arts

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Ovenden, Laura. "'Bereiche der Sprachlosigkeit' : language, silence and power in the work of Elisabeth Reichart". Thesis, University of Nottingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246488.

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Parris, Brandy. "Emotional labor, women's work, and sentimental capital in nineteenth-century American fiction /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9316.

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Arthur, Erica. "Emasculation at work : white-collar protest fiction in the 1950s and 1990s". Thesis, University of Nottingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401544.

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Westerman, Jennifer H. "Landscapes of labor : nature, work, and environmental justice in Depression-era fiction /". abstract and full text PDF (UNR users only), 2009. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3342624.

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Thesis (Ph. D.)--University of Nevada, Reno, 2008.
"May, 2009." Includes bibliographical references (leaves 195-212). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

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Pawlak, Solange. "A Work of Speculative Fiction : Intertextuality in Margaret Atwood’s The Handmaid’s Tale". Thesis, Högskolan Dalarna, Engelska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30479.

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Terry, Tobin F. "All Sorts of Shorts". University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1239378783.

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Rivers, Bronwyn Anne. "Mid-nineteenth-century women novelists and the question of women's work". Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365499.

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McDonald, Maria H. "The fiction of connection, structures and emptiness in the work of A.S. Byatt". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0002/MQ28235.pdf.

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Morton, Karen. "A life marketed as fiction : an analysis of the work of Eliza Parsons". Thesis, Sheffield Hallam University, 2005. http://shura.shu.ac.uk/20088/.

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Featherstone, Kerry. "Not just travel writing : an interdisciplinary reading of the work of Bruce Chatwin". Thesis, Nottingham Trent University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324590.

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Sarvestani, Mehrak Kamali, i Mehrak Kamali Sarvestani. "Fictional Uncertainty in Modern Persian Literature: Polyphony, Becoming, and Ambiguity in Shahriar Mandanipour's Work". Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596122.

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Fictional uncertainty is a complex technique that utilizes literary devices such as changing points of view, multiple themes, and fluid characterization. Fictional uncertainty enables an author to create a layered narrative based upon multiple perspectives and a deep look into the characters' individual personalities and inner lives. Every work of fiction involves some amount of uncertainty, but in modern Iranian literature there was a distinct transition in the late twentieth century from greater realism to greater uncertainty. Indeed, the mode of fictional uncertainty is central to Iranian authors' modernist project, focused as it is on the psychological aspects of the charterers' lives and narrative aesthetics. Fiction prior to the 1979 Islamic Revolution usually focused on sociological matters, but post-revolution modernist fiction has been distinguished by emphasis on the deeper realities of characters' individual lives. Fictional uncertainty is the most significant literary technique that authors have used to portray the complexity of Iranians' post-revolutionary experiences. It has provided a tool for a number of Iranian writers to oppose the dominant social, cultural, historical, and religious certainties of post-revolutionary Iranian society. Shahriar Mandanipour, one of the greatest users of this technique, has extended the boundaries of Persian fiction through his experimental fiction. Although Mandanipour does count some traditional realist fictions among his works, his efforts in applying fictional uncertainty make him unique and exemplary. Under the influence of Russian Formalism, Mandanipour mostly uses his content as a pretext for formalist fictional experiments. Mandanipour's focus on "literariness" is the basis of his interest in the technique of fictional uncertainty and his understanding of the essentiality of "form" in fictional works. Fictional uncertainty is not always guided by one particular ideology or discourse, but rather by the ways in which devices such as changing points of view, multiple themes, fluid characters, and unstable settings function in the text. In the case of post-revolutionary Persian literature, fictional uncertainty has also provided authors a way to investigate and recreate the complex dynamics of revolutionary and post-revolutionary life, which is to some extent ultimately related to ideology and discourse. A close reading of Mandanipour's short stories and novels will show that his application of fictional uncertainty is related to the Bakhtinian concepts of "polyphony, dialogue, unfinalizability" and becoming, which are embodied in the plots, characterizations, and points of view in his works. Using these fictional devices, Mandanipour portrays an atomized Iran full of violence, despair, fear, infidelity, revenge, and loneliness. However, his works go far beyond Iran as a historical nation-state and discuss a number of universal subjects like love, death, loneliness, and revenge by application of the technique of fictional uncertainty.

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Laffer, Alex. "A poetics of empathy : discussion of migrants in and around a work of fiction". Thesis, Open University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.694539.

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Daldry, G. "Charles Dickens and the form of the novel : 'Fiction' and 'narrative' in Dickens' work". Thesis, University of Liverpool, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370478.

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COUTINHO, ALEXANDRE MONTAURY BAPTISTA. "TESTIMONY AND FICTION: THE PLACES OF SPEECH IN THE WORK OF ANTONIO LOBO ANTUNES". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5961@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Testemunho e ficção: os lugares da fala na obra de António Lobo Antunes discute a possibilidade de análise dos procedimentos de escrita utilizados por António Lobo Antunes em sua obra. A partir da leitura de quatro romances publicados na última década, a tese marca um dos projetos que particularizam a escrita de ficção do autor: a representação da subjetividade como constructo verbal e a apresentação de personagens criados pelas próprias vozes narrativas, articulados como texto. Neste processo, produzir o verossímil em detrimento do verdadeiro é a estratégia utilizada pelo escritor para conferir aos relatos uma densidade que ponha em tensão as idéias de testemunho e de ficção. O emaranhado de vozes - cuja ação está na base dos romances analisados - aponta para a construção de personagens que são, ao mesmo tempo, lugares discursivos e emblemas da impossível realização de um projeto de vida. Demonstraremos, a partir deste encaminhamento, o modo com que Lobo Antunes encena veementemente a falência dos mitos que sustentaram a vida moderna, chamando a atenção para formas discursivas que formatam a vida contemporânea.
Fiction and testimony discusses the possibility of an analysis of the writing procedures used by António Lobo Antunes on his work. After reading four novels published during the last decade, the thesis highlights one of the projects that specify the writing of fiction of this Author: the representation of subjectivity as a verbal construct, and the presentation of characters created by the narrative voices themselves, articulated as a text. In this process, to produce the believable to the detriment of the truthful is the strategy used by the writer to grant to the accounts a density that put under strain the testimonial and fictional ideas. The entangled voices - whose action is the basis of the novels analyzed - points to the building of personages which are, at the same time, discursive places and emblems of the impossible fulfillment of a life project. We will show, from this reasoning, the way Lobo Antunes passionately stages the debacle of the myths supporting modern life, calling the attention to the discursive ways that format contemporary living.

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Colby, Robin B. ""Some appointed work to do" : women and vocation in the fiction of Elizabeth Gaskell /". Westport (Conn.) ; London : Greenwood press, 1995. http://catalogue.bnf.fr/ark:/12148/cb370337745.

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Johnson, Alfred B. "Net work : social networks, disruptive agency, and innovation in Howells, Fitzgerald, Heller, Pynchon, and Gibson". Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1343471.

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This study uses concepts from network science to analyze the agency of outsider characters who cause change or disruption without necessarily securing economic or political power for themselves. Network science as theorized by thinkers like Duncan Watts (Six Degrees, 2003) and Albert-Laszlo Barabasi (Linked, 2002) explains social networks in terms of social structures: clusters of people, bridges between them, pathways through them. Michel Foucault (The Archaeology of Knowledge, 1971) suggests that new notions must enter public or personal awareness on "surfaces of emergence"—institutions like families and social groups. Michel de Certeau (The Practice of Everyday Life, 1974) looks at inventive ways that users repurpose products, both industrial and cultural, and so become "secondary producers." To analyze the influential-outsider agency of the fictional characters featured in this study, I theorize the clusters, bridges, and pathways of network science as surfaces of emergence on which "secondary productions" can appear and then spread through a social network.The introductory chapter explores and explains the general application of network science to literary criticism. In subsequent chapters, I use a networks-based approach to examine the agency of William Dean Howells's Tom Corey (The Rise of Silas Lapham, 1884), F. Scott Fitzgerald's Jay Gatsby (The Great Gatsby, 1925), Joseph Heller's Milo Minderbinder (Catch-22, 1961), Thomas Pynchon's Pierce Inverarity (The Crying of Lot 49, 1965), and William Gibson's Cayce Pollard (Pattern Recognition, 2003). These characters do unusual things with and from the subject positions in which they find themselves, and—whether or not they are or remain marginalized characters in their social systems—they are innovative and influential in ways that other characters do not understand or anticipate. All five novels depict the diffusion of innovative ideas and practices as a process of unplanned, non-coercive social negotiation, where innovation can originate with any person or group of people in the social network and is dependent on the complex interaction of liminal notions and mainstream thinking. The networking approach to these novels clarifies the ways that their authors have imagined social networks to function and the particular interactions they have imagined to lead to change or disruption.
Department of English

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Wood, Susan M. "Seeing into the mirror the reality of fiction in the work of Carrie Mae Weems /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4900.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 6, 2007) Includes bibliographical references.

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Tait, Lisa Olsen. "Mormon Culture Meets Popular Fiction: Susa Young Gates and the Cultural Work of Home Literature". Diss., CLICK HERE for online access, 1998. http://patriot.lib.byu.edu/u?/MTNZ,25499.

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Burgoyne, Mary M. "'At work on short stories' : the making, marketing, and reception of Joseph Conrad's early short fiction". Thesis, St Mary's University, Twickenham, 2016. http://research.stmarys.ac.uk/1167/.

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Martinez, Nistal Clara. "Rewriting the limits between history and fiction : Jorge Luis Borges in the work of Leonardo Sciascia". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/29011.

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This thesis examines the preoccupation with the relationship between history and fiction present in the work of Leonardo Sciascia and Jorge Luis Borges. By means of different narrative strategies, both authors underscore the narrative elements that underpin any reconstruction of the past, and in this way they link the process of reconstruction of past events to the process of rewriting of a literary work. They emphasise, however, that whereas the literary work can be enriched by multiple rewritings, multiple reconstructions of the same real past event risk threatening its truthfulness. This thesis investigates the different ways in which Borges’s and Sciascia’s works intersect, across three narrative forms: the detective story, the historical essay (inchiesta or ‘enquiry’ for Sciascia) and the historical fiction. The analysis of Sciascia’s texts starts from a focus on the structural similarities with the work of Borges in the detective story, paying particular attention to Il contesto (1971), Todo modo (1974), and Il cavaliere e la morte (1988). It then moves on to Sciascia’s inclusion of fragments of Borges’s texts in two of his inchieste, L’affaire Moro (1978) and Il teatro della memoria (1981). The last chapter of the thesis proposes a metafictional reading of Sciascia’s historical novel Il Consiglio d’Egitto (1963), in the light of the comparisons with Borges’s work undertaken in the previous chapters. The two key aims of this thesis are to show (1) that studying the ways in which Sciascia integrates Borges’s texts in his own writing allows a deeper understanding of Sciascia’s texts, but also underscores traits in Borges’s which might have been downplayed by previous criticism of his work, and (2) that reconsidering in the light of this understanding a number of Sciascia’s other texts where Borges’s influence is not explicit allows us to identify a preoccupation with regards to the relationship between history and fiction shared between both authors.

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Duncan, Alasdair John. "Who are the MySpace generation and how can they be represented in a work of fiction?" Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/20176/1/Alasdair_Duncan_Thesis.pdf.

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This document contains a creative work – the text of a young adult novel, The girl and the sea – and an exegesis examining the MySpace Generation through the methodological prisms of online ethnography and literature review.

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Duncan, Alasdair John. "Who are the MySpace generation and how can they be represented in a work of fiction?" Queensland University of Technology, 2008. http://eprints.qut.edu.au/20176/.

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This document contains a creative work – the text of a young adult novel, The girl and the sea – and an exegesis examining the MySpace Generation through the methodological prisms of online ethnography and literature review.

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Davie, Rosalind. "The other side of silence : the life and work of Mary Webb". Thesis, University of Gloucestershire, 2018. http://eprints.glos.ac.uk/5711/.

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Erika Duncan has commented that ‘because of the intangible sentimental quality of Mary Webb’s special genius, there has been a general reluctance to acknowledge her as a major writer.’ This thesis argues against such dismissive approaches to Webb and makes a case for a re-evaluation of Webb as an unusual writer of pantheist spirituality and nature mysticism and one who can now be appreciated for the ecopoetics of her work. Within this framework the study charts the stylistic qualities of her writing and its mutative shifts through a chronological examination of her work which also includes a biographical account of her life and the major influences which shaped her ideas and writing. Aspects of inter-textuality with other writers will be considered throughout and will underscore the value of Webb’s work whilst emphasising the unique and beautiful quality of her voice. The first chapter, ‘Early Responses’, considers her formative experiences and her earliest essays and poems. ‘Mythological Motifs’ then reviews the mythopoeic nature of Webb’s first two novels and her use of myth in furthering her themes. The ensuing chapter, ‘Preceptive Perception’, evaluates both the didacticism in authorial style and the pertinence of Webb’s vision which are features of her third book. Chapter Four discusses her final two completed volumes as ‘A Dyad’ for they represent, respectively, her weakest and her finest writing. The final chapter, ‘A Medieval Message’, focuses on Webb’s last, incomplete, work, analysing its experimental qualities and its potential to reveal Webb’s last efforts to leave a parting missive for her readers before her death. Central critical concepts are that: in the development of Webb’s religious views from conventional Christianity to pantheism she anticipated modern feminist spirituality; and, in her insistence upon the supreme value of nature and its continual risk from human exploitation in connection with the oppression of women and their need for spiritual freedom, Webb is an unrecognised ecofeminist who was reflecting early twentieth-century issues. In addition, I attempt to discover reasons for Webb’s neglect and positively propose a place for her in literary studies. A Conclusion will summarise the main arguments and indicate possible further avenues of research.

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Hobbs, John Michael. "In the light of Oliveira Martins : the literary inheritance of Oliveira Martins in the work of Guerra Junqueiro, Teixera de Pascoaes and Miguel Torga". Thesis, King's College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313695.

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Gronewold, Laura. "Chick Lit and Its Canonical Forefathers: Anxieties About Female Subjectivity in Contemporary Women's Fiction". Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/238894.

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This dissertation examines the anxieties that the contemporary genre of women’s fiction known as "chick lit" expresses about female sexuality, women and work, and the relationship between female identity and the global consumer marketplace. Furthermore, this project argues that chick lit can be productively traced to male-authored canonical texts that establish tropes and themes that chick lit novelists still grapple with at the turn of the twenty-first century. Chick lit heroines have benefitted from feminist progress, but they frequently participate in a backlash against the advances that empower them to pursue sexual pleasure outside marriage, find fulfilling careers, and challenge constructions of identity. Chapter 1 examines scholarship on constructions of gender and sexuality, affect theory, and Marxist theories. It also explores historical context through critiques of popular women writers. Chapter 2 argues that Samuel Richardson’s Pamela (1740) establishes the first-person confessional narrative voice and a sexualized secondary female character who is punished for her non-normative sexuality. Helen Fielding’s Bridget Jones’s Diary (1996) and Lauren Weisberger’s The Devil Wears Prada (2003) demonstrate that female sexuality must still be negotiated and contained in postfeminist culture. Chapter 3 explores how work contributes to female agency in literature. Theodore Dreiser’s Sister Carrie (1900) depicts a heroine who successfully manages her gender, race, and class performances in order to thrive in an urban space, while Kate Reddy, from Allison Pearson’s I Don’t Know How She Does It (2002), must pass as a non-mother in order to participate in the affective economies that prevail in the gendered workplace. Chapter 4 analyzes the role of consumer culture in female subject formation in a capitalist material culture. In Truman Capote’s Breakfast at Tiffany’s (1958) and Blake Edwards’s film version (1961), heroine Holly Golightly’s proximity to the luxury retailer legitimates her identity. But in Sophie Kinsella’s Confessions of a Shopaholic (2000), heroine Becky Bloomwood struggles against a shopping addiction and strives to define herself outside of the discourse of consumerism. Overall, this dissertation provides an important contribution to the conversation on women’s writing and contemporary identity formation because it addresses literary criticism, contemporary culture, and constructions of female subjectivity.

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Peters, Matthew. "La Rue House". ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/441.

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Andersen, Kat L. "Lonely Game". ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2686.

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Lonely Gameis a collection of short stories exploring different manifestations and consequences of loneliness. Secondary thematic elements include perceptions based on unique life experiences, and how different perspectives play with one’s concept of reality.

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Wyllie, Barbara Elizabeth. "A study of the work of Vladimir Nabokov in the context of contemporary American fiction and film". Thesis, University College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326244.

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Böhnke, Dietmar. "Shades of Gray: Science Fiction, History and the Problem of Postmodernism in the Work of Alasdair Gray". Galda und Wilch, 2004. https://ul.qucosa.de/id/qucosa%3A32037.

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Riehs, Daniel. "Make Your Data Work for You: True Stories of People and Technology". Thesis, Boston College, 2006. http://hdl.handle.net/2345/422.

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Thesis advisor: Alan Lawson
Technology should enhance the human experience. Instead, it often alienates people from aspects of life that are considered most important. Artists are separated from their works, friends are separated from each other, and human ingenuity is filtered though computers before it can impact the world. These five short stories focus mainly on alienations inherent to communications and media technology, but also touch on database management and copyright concerns. Some take place in the present day; others present views of the future. All five stories use fiction to explore the truth of humanity's absurd relationship to technology
Thesis (BA) — Boston College, 2006
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program

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Németh, Andrea. "Mothers and daughters, representations on the adoption triad in contemporary popular and literary fiction : theory and original work". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0035/MQ27368.pdf.

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Barlow, Gillian, University of Western Sydney, of Arts Education and Social Sciences College i of Communication Design and Media School. "Jigsaw : looking at identity, post-colonialism and driving". THESIS_CAESS_CDM_Barlow_G.xml, 2001. http://handle.uws.edu.au:8081/1959.7/260.

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This thesis is in the form of a novel about three work colleagues who, as part of their job, have to drive long distances together. The story is told from the perspective of all of them but mainly from one of the women who tells the story in the first person. The man and two women are so different from each other in personality and outlook on life, and the basis of the novel is their interactions with each other, the frictions within their relationships, and the thoughts that go through their heads while they are driving. These people spend long hours together in the car and in motel rooms yet they never get any closer to each other. The only one of them who seems to get anything from the experience is the woman who is in the first person, as she achieves a greater sense of her own identity. The other two regard the experiences as just another job and of no great importance in their lives.
Master of Arts (Hons)

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Welch, Edward. "A Catholic novelist in context : suggestions for a reassessment of the work of Francois Mauriac". Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:73570115-4495-4492-a21f-59ee6b6543d0.

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This thesis focuses on a writer who was a constant presence in the French literary field for a large part of the 20^th Century and who, by the time of his death, had established himself as one of the major post-war intellectuals, yet who is increasingly typecast simply as a 'Catholic Novelist'. The thesis aim to counter this tendency by highlighting other, intriguing and overlooked aspects of his work and career : the pervasive presence of the body in his novels, his Sartrean sensitivity to the problem of intersubjectivity, or his post-war intervention over decolonisation, and the ethical questions this forced him to confront. The distinctiveness of the thesis lies in its stress on the need to resituate literary texts and other works of art in their socio-cultural contexts - that is to say, in the context of other discourses or representations of the world in circulation at the same time. Thus, Part 1 explores how both his artistic theory and practice are shaped, in unpredictable ways, by the ideological framework of Catholicism into which he is inserted in his early years. Part 2 argues that despite, or perhaps because of, his innate conservatism, Mauriac emerges as a writer who is sensitive to, and captures the nature of, the modern world, and the experience of living in that world. His modern sensibility is reflected in his preoccupation with intersubjectivity, one he shares with other writers of the period who are, perhaps, more recognisably modern. Part 3 examines how his political interventions, and his corresponding transformation from novelist to intellectual, are managed by L'Express magazine, and how in fact he came to collaborate with a journal whose politics were radically different from his own. Overall, through an approach which can be described as materialist and, from a religious perspective, agnostic, the thesis aims to demonstrate how Mauriac can still be seen to have relevant and interesting things to say to a contemporary audience.

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Wohlfart, Irmengard. "Translation studies perspectives on Patricia Grace's Potiki the original work and the German translation : dissertation submitted to the University of Auckland in partial fulfilment of the degree of Professional Master of Arts in Translation Studies, 2007". Click here to access this resource online, 2007.

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Fuerst, Carl. "The lattice-work gun-stinging insect| The story of genre in the science fiction novels of Philip K. Dick". Thesis, Northern Illinois University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3639966.

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This dissertation examines the authorial techniques used by Philip K. Dick to establish his work as science fiction. It focuses on four of his novels (two relatively minor novels in The Cosmic Puppets and Solar Lottery, and two major novels in The Man in the High Castle and Valis). These novels represent four important stages in Dick's career, and in his conception of science fiction as a genre of storytelling. Throughout this dissertation, emphasis is placed on how these novels express their science fiction identity on the language level, from the structure of their sentences, to the organization of their chapters, to the specific generic elements (including pseudotechnology, pseudohistory, and pseudotheology) that each novel includes.

This project provides close readings of each novel. These readings are shaped by narrative theory, and they are informed by Dick's total body of work, and, more generally, 20^th Century American science fiction. The result is a view of science fiction that sees the genre less as a product of plot elements (faster-than-light travel, telepathy, aliens, and so on), and more as a grammar that evokes a specific kind of relationship between reader and work. It also identifies a trajectory to the development of Dick's ideas about science fiction. Over the course of this study, it becomes clear that, in Dick's earlier works, science fiction is presented as an effective means of apprehending the universe. In Dick's later works, however, we can locate an increasing cynicism in the ability of science fiction to offer real meaning to its readers. In the end, while Dick's later novels might relate a rather pessimistic view of science fiction's potential, his career as a whole reflects a dynamic and open-ended search for significance, purpose, and underlying truth.

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