Teses / dissertações sobre o tema "Christian Fiction, historical, romance"
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Veja os 16 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Christian Fiction, historical, romance".
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Lewis, Cassandra. "Sunshowers in Winter: A Novel". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1584.
Texto completo da fonteJagodzinski, Mallory Diane. "Love is (Color) Blind: Historical Romance Fiction and Interracial Relationships in the Twenty-First Century". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1440101084.
Texto completo da fonteWaage, Fred. "The Birth Spoon". Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1939289572.
Texto completo da fontehttps://dc.etsu.edu/etsu_books/1009/thumbnail.jpg
Rosales, Lauren N. ""Dismissed outright": creating a space for contemporary genre fiction within neo-Victorian studies". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6259.
Texto completo da fonteLeafgren, Luke Anthony. "Novelizing the Muslim Wars of Conquests: The Christian Pioneers of the Arabic Historical Novel". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10362.
Texto completo da fonteAlmeida, Marcos Vinícius Lima de. "A lógica do espectro: romance histórico, necromancia e o lugar do morto". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21322.
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Fundação de Amparo à Pesquisa do Estado de São Paulo - FAPESP
Under the premise that our history is constituted under the impact of catastrophes, and that in this context, writing a historical novel will never be a neutral gesture, this paper proposes to investigate the historical novel in contemporary Brazilian fiction, from the perspective of theory and literary creation. This work proposes a hypothesis for the hypothesis of the hypothesis of Lukács (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) and Weinhardt (2011) and Bastos (2007). the reading of the contemporary historical novel. From two key notions, 1) what will be defined in this work as a spectrum logic, 2) and writing as a burial rite, the central premise of this work is to look at history as a fundamentally necromantic practice. These notions are tested, or developed, from the critical reading of two contemporary works: O marechal de costas, by José Luiz Passos (2016) and De mim já nem se lembra, by Luiz Ruffato (2015). If the sign (sema) is a tomb and the writing of history and the relationship with the past is a kind of burial rite (as Jeanne-Marie Gagnebin asserts, in the wake of Michel de Certeau), which separates the past from the present world of the living dead of the world), the past not properly elaborated, not buried, returns as specter: and haunts and defiles the present. In this sense, it is possible to read the contemporary historical novel as a kind of attempt to burial the specters of the past that haunt the present. In the practical section, this work presents a novel, a historical fiction, freely inspired by the figure of Januário Garcia Leal
Sob a premissa que nossa história se constitui sob impacto de catástrofes, e que, nesse contexto, escrever um romance histórico nunca será um gesto neutro, esse trabalho se propõe a investigar o romance histórico na ficção contemporânea brasileira, da perspectiva da teoria e da criação literária. Sem abandonar totalmente as concepções de Lukács, (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) e Weinhardt (2011) e Bastos (2007), esse trabalho propõe uma hipótese para a leitura do romance histórico contemporâneo. A partir de duas noções chave, 1) aquilo que será definido nesse trabalho como lógica do espectro, 2) e a escrita enquanto rito de sepultamento, a premissa central deste trabalho é olhar para a história enquanto prática fundamentalmente necromante. Essas noções são testadas, ou desenvolvidas, a partir da leitura crítica de duas obras contemporâneas: O Marechal de costas, de José Luiz Passos (2016) e De mim já nem se lembra, de Luiz Ruffato (2015). Se o signo (séma) é um túmulo e a escrita da história e a relação com o passado uma espécie de rito de sepultamento (como afirma Jeanne-Marie Gagnebin, na esteira de Michel de Certeau), que separa o passado do presente (o mundo dos mortos do mundo vivos), o passado não devidamente elaborado, não enterrado, retorna como espectro: e assombra e contamina o presente. Nesse sentido, é possível ler o romance histórico contemporâneo como uma espécie de tentativa de sepultamento dos espectros do passado que assombram o presente. Na seção prática, esse trabalho apresenta um romance, uma ficção histórica, livremente inspirada da figura de Januário Garcia Leal
Hughes, Helen Muriel. "Changes in historical romance, 1890s to the 1980s : the development of the genre from Stanley Weyman to Georgette Heyer and her successors". Thesis, University of Bradford, 1988. http://hdl.handle.net/10454/4224.
Texto completo da fonteBuitendach, Samantha Angelique. "Selling translation rights in trade publishing : case studies of Dutch translations of Afrikaans fiction in the Netherlands and Belgium". Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/66256.
Texto completo da fonteDissertation (MIT)--University of Pretoria, 2017.
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Brook, Madeleine E. "Popular history and fiction : the myth of August the Strong in German literature, art, and media". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cb7df46e-ab52-4f27-a084-41d7fab5b54e.
Texto completo da fonteSakai, Luiz Guilherme Fernandes da Costa. "Denegação e desidentidade: a metaficção historiográfica em Nove noites, de Bernardo Carvalho". Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14725.
Texto completo da fonteCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
This study discusses the identity construction and interpellation in Brazilian contemporary literature through historical novel and historiographical metafiction, concepts studied by Györg Lukács and Linda Hutcheon, respectively. These two subgenres reveal a relation that is different from the truthful events in which the novel is based. The historical novel, emerged in 19th century, uses them to attest their fictional verisimilitude, and in the national context, it has joined the taskwork to build a Brazilian identity. The historiographical metafiction, which emerged in the second half of 20th century, uses the truthful events to question, destabilize and rewrite them. Nove noites, from the author Bernardo Carvalho, gets close to this second subgenre. However, a survey of Carvalho s critical fortune has indicated a supposed inverisimilitude trace in his literary production; this discovery questions not only the historical speech, but also the fiction itself. From this starting point, our study is going to investigate, especially in the chosen novel, the bounds between fiction and reality (linked to history) and identity and non-identity in a dialog with the historical novel and the historiographical metafiction. Presenting also Carvalho s critical production, it s evident in this research that he appreciates an experimental and inventive fiction, and denies trends and common sense in relation to literature. Therefore, this research challenges the hypothesis that, by one side, Nove noites has some historiographical metafiction characteristics and points out to a non-identity dimension, concept used by Italo Moriconi to define the crisis in which the Latin-American thought has been facing in this globalized scenery. In the other hand, when he destabilizes his own construction of sense, he overacts the subgenre in which he was primarily associated and strengthen, in another level, the position the writer registers in this critical texts
Este estudo discute a questão da construção e interpelação da identidade na literatura contemporânea brasileira pela via do romance histórico e da metaficção historiográfica, estudados por Györg Lukács e Linda Hutcheon, respectivamente. Essas duas vertentes do gênero literário romance revelam uma díspar relação com os acontecimentos verídicos de que se apropriam. O romance histórico, surgido no século XIX, utiliza-os para atestar a sua verossimilhança ficcional e, no contexto nacional, aliou-se à empreitada de formar uma identidade aos brasileiros. Ao passo que a metaficção historiográfica, que surgiu já na segunda metade do século XX, vale-se deles para questioná-los, desestabilizá-los e reescrevê-los. Nove noites, do ficcionista e crítico Bernardo Carvalho, aproxima-se dessa segunda vertente. Contudo, um levantamento da fortuna crítica desse escritor indicou um traço supostamente inverossímil em sua produção literária, que põe em xeque o sentido não apenas do discurso histórico, mas também da própria ficção. É partindo disso que este estudo objetiva investigar as fronteiras entre ficção e realidade (atrelada à história) e identidade e desidentidade em diálogo com o romance histórico e com a metaficção historiográfica. Apresentando também sua produção crítica, torna-se patente, nesta pesquisa, que Carvalho valoriza uma ficção experimental, inventiva, e refuta modismos e lugares-comuns em relação à literatura. Por isso, este trabalho coloca à prova a hipótese de que, por um lado, Nove noites, possuidor de características da metaficção historiográfica, ilustra e aponta para a dimensão da desidentidade, termo utilizado por Italo Moriconi para definir a crise pela qual o pensamento latino-americano tem passado no cenário globalizado. Por outro, o romance de Bernardo Carvalho, ao desestabilizar sua própria construção de sentido, extrapola a vertente a que inicialmente se associa, reforçando, em outro nível, o posicionamento que o escritor registra em seus textos críticos
Pilote, Pauline. ""Wizards of the West" : filiations, reprises, mutations de la romance historique de Sir Walter Scott à ses contemporains américains, 1814-1840 (James Fenimore Cooper, Washington Irving et Catharine Maria Sedgwick)". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN074.
Texto completo da fonteThis work, belonging to the field of transatlantic studies, analyses to what extend historical romances formed a response to the ongoing wish to provide the United States with a national literature in the first half of the nineteenth century. The genre, fashioned in Great Britain by Walter Scott, was taken up and adapted by his American contemporaries, and in particular, James Fenimore Cooper, Washington Irving, and Catharine Maria Sedgwick. The first chapter tackles the reception of Walter Scott and of his Waverley Novels, and their impact on the American book market. Our analysis in particular of the newspapers and periodicals that flourished in the surge of patriotism following the War of 1812, has enabled us to show that the panegyrics for Walter Scott stood just alongside the recurrent calls in the same pages for the birth of an “American Scott.” The response given by the American authors forms the second part of our analysis. As they appropriate some of the generic traits of the Scottian historical romance in order to comply to the nation’s wish for a portrayal of American history, Cooper, Irving, and Sedgwick use the genre to showcase the American matter – a history full of events worth narrating, ancestors worth celebrating, and a national territory with its own features – that would bring the United States on a level with the European nations. As the writers thus promote a culturally distinct American nation, the genre gradually morphs into a form of national epic. Through this mythogenesis at work in the writings under study, the United States are given a timeline that dissolves into an indeterminate temporality, thereby shaping the Early Republic as an organic nation, fit for contention with its transatlantic counterparts
Piep, Karsten H. "Embattled Homefronts: Politics and Representation in American World War I Novels". Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1109634736.
Texto completo da fonteBiancato, Adriana Aparecida. "A escrita híbrida de História e Ficção de María Rosa Lojo – Amores Insólitos de nuestra historia (2001) – a revisitação literária de encontros históricos inusitados". Universidade Estadual do Oeste do Paraná, 2018. http://tede.unioeste.br/handle/tede/4138.
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Based upon the hybrid history and fiction narratives, as possibilities of reinterpreting the past, we proposed a research that aimed at establishing possible approximations among a series of historical short stories selected from the book Amores Insólitos de nuestra historia (2001), by María Rosa Lojo, with the most recent theoretical approach about the mediation contemporary historical novel, which reveals the mixture of a-critical modalities - the classical and the traditional - with deconstructionist aspects – historical novels of Latin American and historiographic metafictions. In the short stories, as well as in the novels of the most recent modality, we saw a hybrid plot that Fleck (2017) classifies as being a "mediator" between traditionalism and the Latin American criticism / deconstructionism. From the point of view of Lojo's past (2001), we intend to highlight the conquest and the settlement of America through her short narratives, which privileges the expression of excluded voices, as they are not considered by the hegemonic history perspective and which, in many fictional narratives, the Argentinean identity is portrayed under the perspective of the unusual love of female protagonists. This way, we reveal about the possible actions of literature in the face of this silencing, especially, when it comes to the female voice in historiographical reports, with emphasis on the perspectives of the past recorded in the annals of history and reinterpreted by fiction. The corpus that served as the basis for this study and analysis are compound of four short stories from the selected work, being: “La historia que Ruy Díaz no escribió” (p. 45-64), “El Maestro y la Reina de las Amazonas” (p. 127-145), “Amar a un hombre feo” (p. 191-213), and “Otra historia del Guerrero y de la Cautiva” (p. 215-245). Furthermore, as inserted in studies proposals of hybrid genres of history and fiction, carried by the Research Group "Reinterpreting the past in America: processes of reading, writing and translation of hybrid genres of history and fiction - pathways to decolonization", we highlight how the characters are represented on the historical extraction of Lojo's short stories, and, we point out at the mediating aspects that constitute these narratives. The theoretical basis that allowed us to establish the relationship between the hybrid historical novel and historical short tale are anchored in studies by Aínsa (1991), Menton (1993), Fernández Prieto (2003), Esteves (2010), Fleck (2011; 2017), among others.
Com base nas narrativas híbridas de história e ficção como possibilidades de releitura do passado, a pesquisa efetuada procurou estabelecer as aproximações possíveis entre uma série de contos históricos selecionados da obra Amores Insólitos de nuestra historia (2001), de María Rosa Lojo, com os pressupostos teóricos mais recentes sobre o gênero romance histórico contemporâneo de mediação, o qual revela a mescla de aspectos das modalidades acríticas – clássica e tradicional – com os aspectos daquelas mais desconstrucionistas – novos romances históricos latino-americanos e metaficções historiográficas. Nos contos, assim como nos romances da modalidade mais recente, vimos uma escrita híbrida que Fleck (2017) classifica como “mediadora” entre o tradicionalismo e o criticismo/desconstrucionismo latino-americano. Sob a ótica da releitura do passado de Lojo (2001), evidenciamos a conquista e povoação da América por meio de narrativas curtas que privilegiam a expressão das vozes excluídas, que não foram consideradas pela história hegemônica e que, em muitas narrativas ficcionais, são as protagonistas dos amores insólitos retratados na construção da própria identidade argentina. Dessa maneira, revelamos as possíveis ações da literatura frente a este silenciamento, principalmente, da voz feminina nos relatos historiográficos, com ênfase às perspectivas do passado registradas nos anais da história e ressignificadas pela ficção. O corpus que serviu de base para o estudo parte da análise de quatro contos da obra selecionada: “La historia que Ruy Díaz no escribió” (p. 45-64), “El Maestro y la Reina de las Amazonas” (p. 127-145), “Amar a un hombre feo” (p. 191-213) e “Otra historia del Guerrero y de la Cautiva” (p. 215-245). Desse modo, inseridos nas propostas dos estudos sobre gêneros híbridos de história e ficção, impulsionados pelo Grupo de Pesquisa “Ressignificações do passado na América: processos de leitura, escrita e tradução de gêneros híbridos de história e ficção – vias para a descolonização”, evidenciamos como se dá a representação das personagens de extração histórica na contística de Lojo e, especificamos os aspectos mediadores que constituem essas narrativas. Os pressupostos teóricos que nos permitiram estabelecer a relação entre os gêneros híbridos romance histórico e conto histórico estão ancorados em estudos de Aínsa (1991), Menton (1993), Fernández Prieto (2003), Esteves (2010), Fleck (2011; 2017), entre outros.
Piep, Karsten H. "Embattled homefronts politics and representation in American World War I novels /". Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1109634736.
Texto completo da fonteHoltby, Theresa. "Molly Haydock". Thesis, 2018. http://hdl.handle.net/1959.7/uws:51422.
Texto completo da fonteRodrigues, José André Gonçalves. "A Madeira e o mundo: ficção e história em João França e António Loja". Master's thesis, 2016. http://hdl.handle.net/10400.13/1874.
Texto completo da fonteThis work, entitled Madeira and the World: Fiction and History in João França and António Loja, aims to explore aspects of an imaginary island from three historical novels, with protagonists and Madeira scenarios, written by two authors originating in Madeira. To this end, we constitute the corpus with the following novels: on the one hand, A Ilha e o Tempo, de 1972, and António e Isabel do Arco da Calheta, released in 1985, writer João França (1908-1996), literary works that can be considered as founding fictions (in favor of a regional identity of the Madeira archipelago); on the other, the novel Regressos, published in 2008 and materialized in two volumes, António loja (1934), whose plot, set during the Restoration of Independence of Portugal, it can be understood as the fiction of self-determination and, concomitantly, the fiction of the right to happiness to which every human being aspires. Thus being explained the selection of the works in question, the purpose of our approach is to think about the relationship between history and fiction, contributing not only to the recognition of historically significant eras as well as for the study of imaginary place that dialogue with the island and universal context. In a first step, we seek to understand the historical narrative to better grasp the selected corpus; then, we will focus on João França texts in order to highlight the historical setting and the sources on which the fictional narrative, in order, also, to value a writing that tends to a certain modernity, founded a fearless humanist consciousness and utopian; finally, we will analyze the novel Regressos, of António Loja, emphasizing in its various spaces portrayed not only the Madeiran context, where starts ( discounting the scenario of Coimbra the first chapter ) and ends the novelistic action, but especially emphasizing the various countries and regions of the world that the protagonist will go, allowing the novelistic fiction stage a dialogue with other cultures and different ways of thinking. This corpus allows us to show the relationship that both writers have with their land, with customs, with people, but, equally, understand the concern to portray a national and international reality in a distant century and a troubled period of history covering the end of the fifteenth century and will significantly until the mid-seventeenth century.