To see the other types of publications on this topic, follow the link: 19th-century novel.
Dissertations / Theses on the topic '19th-century novel'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic '19th-century novel.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Abraham, Adam. "Spurious Victorians : imitation and the nineteenth-century novel." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:cbf24b85-cc63-42be-ba84-2f065942c4d8.
Full textAbstract:
In 'A Critique of Modern Textual Criticism', Jerome J. McGann writes, '[A]n author's work possesses autonomy only when it remains an unheard melody'. For the published and successful writer in the nineteenth century, such autonomy was often unattainable. Publications such as The Pickwick Papers inspired an array of opportunistic successors, including stage plays, unauthorized sequels, jest books, song books, and shilling and penny imitations. Despite the proliferation, this strain of writing is rarely studied. This thesis recovers ephemeral, scurrilous texts, often anonymous or pseudonymous, and reads them in the context of their canonical sources. Retrieving bibliographical environments, it demonstrates how plagiaristic, parodic, and willfully unoriginal works impacted on the careers of three novelists: Charles Dickens, Edward Bulwer Lytton, and George Eliot. The thesis argues that formal distinctions among modes of Victorian writing - criticism, parody, and plagiarism - often blur. Further, it argues that our understanding of a particular novelist's work must be broadened to include sequels, spinoffs, and imitations: to know a particular author means to know the spurious and oftentimes bad (morally or aesthetically) works that the author inspired. The Spurious Victorians of the title form something of countercanon to the 'major' writers of the period. Thomas Peckett Prest, Rosina Bulwer Lytton, and Joseph Liggins, among many others, informed and influenced the literary history that has in turn denied them admission. William Makepeace Thackeray wrote, 'If only men of genius were to write, Lord help us! how many books would there be?' Of course, Victorian print culture found room for the genius and the subgenius, Boz as well as Bos. 'Spurious Victorians' recovers works that have been lost from view in order to better understand the process by which an individual authorial voice emerged amid an echo chamber of competing, imitative voices.
2
Moctezuma, Linda. "The Singularity of the Single Heroine in the Victorian Novel." Thesis, The University of Sydney, 2020. https://hdl.handle.net/2123/22244.
Full textAbstract:
This thesis studies the emergence of an empowered single heroine in western literature from the 1860s to the 1890s, an emergence which marks a significant development in the novel. The single woman has conventionally been depicted as powerless and pitiful until, in the context of the marriage plot, she is rescued by a man. This depiction persisted in spite of many single women being relatively successful and independent. Towards the end of the century, authors begin to experiment with the heroine’s journey, and the single heroine is offered alternatives to marriage by her authors, thus challenging the traditional marriage plot. Included in this thesis is a close study of three novels by authors who experimented successfully with a single female protagonist: Miss Mackenzie by Anthony Trollope (England), 1865. The Story of an African Farm by Olive Schreiner (South Africa), 1883. Eyes Like the Sea by Mór Jókai (Hungary), 1889. I choose these three culturally diverse novels in order to explore how marriage was so broadly expected of women in life and literature and also to demonstrate how the novel of the time reflects the broad dissatisfaction of women having little choice other than to marry. The novels break the conventional marriage plot in three different ways: Miss Mackenzie through deep introspection; Lyndal in African Farm through sociological and political enlightenment; and Bessy in Eyes like the Sea, through a determination not to be abused and also through a fervour for adventure. These three heroines offer three literary breaks from the traditional marriage plot, and reflect the broad dissatisfactions that existed amongst women who were often forced into marriage. These literary breaks were indicative of a change which was emerging in the novel at the fin de siècle, a change where heroines were breaking stereotypes with a diversity of unprecedented behaviours.
3
Jones, D. Michael. "The Byronic Hero and the Rhetoric of Masculinity in the 19th Century British Novel." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/1476662282/.
Full textAbstract:
From action movies to video games to sports culture, modern masculinity is intrinsically associated with violent competition. This legacy has its roots in the 19th-century Romantic figure of the Byronic hero--the ideal Victorian male: devoted husband, sexual revolutionary and weaponized servant of the state. His silhouette can be traced through the works of authors like Lord Byron, Jane Austen, Sir Arthur Conan Doyle, Rudyard Kipling and Oscar Wilde. More than a literary genealogy, this history of the Byronic hero and his heirs follows the changes that masculinity has undergone in response to industrial upheaval, the rise of the middle class and the demands of global competition, from the Victorian period through the early 20th century.<br>https://dc.etsu.edu/etsu_books/1121/thumbnail.jpg
4
Tam, Ho-leung Adrian, and 譚灝樑. "Realism, death and the novel: policing and doctoring in the nineteenth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B41757828.
Full text
5
Bhattacharya, Sunayani. "Dear Reader, Good Sir: Birth of the Novel in Nineteenth-Century Bengal." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22792.
Full textAbstract:
My dissertation traces the formation and growth of the reader of the Bengali novel in nineteenth century Bengal through a close study of the writings by Bankimchandra Chattopadhyay that comment on—and respond to—both the reader and the newly emergent genre of the Bengali novel. In particular, I focus on the following texts: two novels written by Bankim, Durgeśnandinī (The Lady of the Castle) (1865) and Bishabṛksha (The Poison Tree) (1872), literary essays published in nineteenth century Bengali periodicals, personal letters written by Bankim and his contemporaries, and reviews of the novels, often written and published anonymously. I suggest that by examining the reader of the Bengali novel it becomes possible to understand how the individual Bengali negotiates the changes occurring in nineteenth century Bengal—an era in which traditional beliefs collide with the intellectual and technological innovations brought on by colonial modernity. As my dissertation shows colonialism is far from being a disembodied institution operating at the level of governments and ideologies. Instead, it becomes evident that with the novel, colonial modernity enters the Bengali home in the form of changing moral paradigms. What the Bengali reader chooses to read, and how she performs her reading come to have a real import in her quotidian life.
The three sites of reading I examine—the reader as a textual event in the novels, the reader as imagined in the literary essays, and the anthropological reader writing and responding to the reviews of the novels—revitalises the overdetermined field of the postcolonial novel by shifting the focus from the novel as a stable literary object being consumed by a relatively passive reader, to an active reader whose reading practice shapes both the genre and the subject reading it.
6
Rontree, Mary Elizabeth. "Satire and parody in the fiction of Thomas Love Peacock and the early writings of William Makepeace Thackeray, 1815-1850." Thesis, University of Gloucestershire, 2004. http://eprints.glos.ac.uk/3130/.
Full textAbstract:
This thesis examines the works of Peacock and the early periodical contributions of Thackeray in the light of recent twentieth-century critical interpretations of satire. In particular, attention to Peacock's use of elements of the Menippean sub-genre in his satirical fiction offers a reassessment of his place in the literary tradition. While Thackeray's early writings demonstrate some characteristics of Menippean satire, a review of his work from the broader perspective of Bakhtin's exposition of carnival influences in serio-comic literature provides a new understanding of the origins and uses of his narratorial devices. A comparison of the work of the two authors, within the time constraint of the first half of the nineteenth century, illustrates how nineteenth-century publishing innovations shaped literary perception of satire. Although the high status of the genre in the predominant culture of the previous century was challenged by the growth of the reading public, satire found new energy and modes of expression in the popular magazines of the period. In addition, writers facing the increasing heterogeneity of new reading audiences, were forced to reconsider their personal ideals of authorship and literature, while renegotiating their position in the literary marketplace. Organized in six chapters, the discussion opens with an account of traditional interpretations of satire, and goes on to examine recent analyses of the genre. The second chapter focuses on the relevance of these new interpretations to the work of Peacock and Thackeray and the extent to which the use of Menippean forms of satire enabled each to challenge the established opinions of their period. Changes in concepts of reading and writing and innovations in modes of publication form the substance of the third chapter and this is followed by an analysis of the work of both writers, using Bakhtin's interpretation of the Menippean sub-genre in the broader context of serio-comic discourse and the carnival tradition, Chapter five is a comparative study of the attitudes of both writers towards contemporary literature and the final section places their work in the political context of the period. Both Peacock and Thackeray made extensive use of elements of Menippean satire in their fiction. The content of their work, however, and their modes of writing were highly individual, to some extent shaped by the different markets they supplied. Collectively, their writings illustrate two aspects of the cultural watershed of the early nineteenth century, Peacock reflecting traditional notions of authorship and Thackeray representing a new industry, regulated by the commercial considerations of supply and demand. As satirists,each succeeded in adapting the genre to satisfy both his own authorial integrity and the expectations of his readers.
7
Cosgrave, Isabelle Marie. "'White lies' : Amelia Opie, fiction, and the Quakers." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/18686.
Full textAbstract:
This thesis offers a reconsideration of Amelia Opie’s career as a novelist in the light of her developing religious allegiances over the period 1814-1825 in particular. In twentieth-century scholarship, Opie (1769-1853) was often treated primarily as the author of Adeline Mowbray (1805) and discussed in terms of that novel’s relationship with the ideas of Wollstonecraft and Godwin. Recent scholarship (Clive Jones, Roxanne Eberle, Shelley King and John B. Pierce) has begun a fuller assessment of her significance, but there is still a need for a thorough discussion of the relationship between her long journey towards the Quakers and her commitment to the novel as a moral and entertaining medium. Many scholars (Gary Kelly, Patricia Michaelson, Anne McWhir and others), following Opie’s first biographer Cecilia Lucy Brightwell (1854), have represented Opie as giving up her glittering literary career and relinquishing fiction-writing completely: this relinquishment has been linked to Quaker prohibitions of fiction as lying. My thesis shows that Quaker attitudes to fiction were more complicated, and that the relationship between Opie’s religious and literary life is, in turn, more complex than has been thought. This project brings evidence from a number of sources which have been overlooked or under-utilised, including a large, under-examined archive of Opie correspondence at the Huntington Library, Opie’s last novel Much to Blame (1824), given critical analysis here for the first time, and the republications which Opie undertook in the 1840s. These sources show that Opie never abandoned her commitment to fiction; that her move to the Quakers was a long and fraught process, but that she retained a place in the fashionable world in spite of her conversion. My Introduction gives a nuanced understanding of Quaker attitudes to fiction, and the first chapter exposes the ‘white lies’ of Opie’s first biographer, Brightwell, and their legacy. I then move on to examine Opie’s early works – Dangers of Coquetry (1790), “The Nun” (1795) and The Father and Daughter (1801) – as she flirts with radicalism in the 1790s, and Adeline Mowbray is explored through a Quaker lens in chapter 3. I juxtapose Opie’s correspondence with her Quaker mentor Joseph John Gurney and the celebrated writer William Hayley with her developing use of the moral-evangelical novel – Temper (1812), Valentine’s Eve (1816) and Madeline (1822) – as Opie was increasingly attracted to the Quakers. Chapter 5 analyses Opie’s anonymous novels – The Only Child (1821) and Much to Blame (1824) – alongside her Quaker works (especially Detraction Displayed (1828)) around the time of her official acceptance to the Quakers (1825). The final chapter investigates how Opie balanced her Quaker belonging with her ongoing commitment to fiction, exemplified in her 1840s republications, which I present in the context of her correspondence with publisher friends Josiah Fletcher and Simon Wilkin, and with Gurney. Opie’s ‘white lies’ of social negotiation reveal her difficulties in maintaining a literary career from the 1790s to the 1840s, but her concerted effort to do so in spite of such struggles provides a highly significant insight into the changing religious and literary climates of this long period.
8
TRIVINOS-ARANEDA, SEGUNDO GILBERTO. "GALDOS EN LA JAULA DE LA EPOPEYA: PRIMERA SERIE DE "EPISODIOS NACIONALES." (SPAIN, NOVEL, 19TH CENTURY, EPIC, HISTORY)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/187918.
Full textAbstract:
Esta disertación estudia la Primera Serie de Episodios Nacionales con el propósito de refutar la tesis sobre el carácter esencialmente épico de este grupo novelístico, particularmente la afirmación según la cual determinados Episodios tienen todas las características propias de la epopeya. El estudio en el nivel de la historia y del discurso de la serie muestra que Galdós no escribió relatos con las características de la epopeya sino novelas singularizadas por el triunfo de los protagonistas y los narradores sobre la fascinación ejercida por la "épica militar" y sobre el discurso que la exalta. El desengaño de la identificación de la guerra con la fiesta (Capítulo 2); la metamorfosis de los combatientes en monstruos o demonios; la tensión voces del individuo-voces de la familia-voces de la humanidad; los motivos del naufragio y del niño abandonado; el sistema analógico que equipara los horrores de la guerra con los horrores del infierno o de la pesadilla (Capítulo 4); el contraste entre el discurso militarista y el discurso pacifista o el predominio de las historias de hombres anónimos y célebres que sueñan con la paz y no con la guerra (Capítulo 5) son las principales constantes que muestran la distancia irreductible entre el Episodio y la Epopeya. Es posible hablar de una épica galdosiana únicamente en el caso de comprenderse por tal la escritura del martirio de los hombres y naciones en la época de la "guerra nacional" sobre la "guerra caballeresca" (Capítulo 6). Este estudio no evidencia sólo el rechazo del Episodio a la represión ejercida en la Epopeya contra las voces amorosas, pacifistas o antiheroicas. Reducir la Primera Serie a su dimensión liberadora sería, sin duda, mistificador, pues ella tiene también un reverso represivo. El análisis de las ceremonias de expulsión o censura de los deseos guerreros, libertinos, románticos o revolucionarios (Capítulo 7) permite concluir que las novelas de guerra escritas por Galdós están regidas por la característica tal vez más distintiva de la novela realista del siglo XIX: el miedo a los deseos socialmente perturbadores o peligrosos.
9
Prince, John S. "Utopia Victoriana : the utopian novel in late Victorian Britain, 1871-1905." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259302.
Full textAbstract:
This study focuses on three significant issues addressed by utopian literature of the late Victorian period: the class struggle and the resulting debate about capitalism and socialism, the nature and significance of language, and the influence of Darwin's theory of evolution on attitudes toward human existence. The utopian reaction to each of these three issues reflects the increasingly scientific investigation and analysis of specialized fields of knowledge that developed throughout the nineteenth century. Within the context of major scientific advancements in biology, geology, linguistics, and technology, utopian literature of the late-Victorian period, c. 1871-1905, responds primarily to two opposing nineteenth-century attitudes, the complacent optimism of laissez-faire individualism and the resigned pessimism of naturalistic determinism. Literary utopianism of the late nineteenth century is an attempt to resolve the philosophical and epistemological conflict between the impersonal and seemingly unalterable natural laws of science and the indomitable human will. I contend that the utopian novel re-emerges in the last third of the nineteenth century at the intersection of scientific discourse and literary discourse. I further argue that the late Victorian utopia marks a critical transition between the classic utopia the modern utopia.<br>Department of English
10
Vasavada, Megan. "Novel Gifts: The Form and Function of Gift Exchange in Nineteenth-century England." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13240.
Full textAbstract:
This dissertation draws on studies of gift exchange by cultural anthropologists and social theorists to examine representations of gifts and gift giving in nineteenth-century British novels. While most studies of the economic imagination of nineteenth-century literature rely on and respond to a framework formulated by classical political economy and consequently overlook nonmarket forms of social exchange, I draw on gift theory in order to make visible the alternate, everyday exchanges shaping social relations and identity within the English novel. By analyzing formal and thematic representations of gifting over the course of the nineteenth century, in novels by Jane Austen, Charles Dickens, and George Eliot, I consider the way that gift exchange relates and responds to the emergence of capitalism and consumer culture. I trace two distinct developments in nineteenth-century gift culture: the first, the emergence of an idealized view of the gift as purely disinterested, spontaneous, and free, and the second, the emergence of a view of charity as demoralizing to the poor. These developments, I contend, were distinct ideological formations of liberal economic society and reveal a desire to make the gift conform to individualism. However, I suggest further that these transformations of the gift proceeded unevenly, for in their attention to the logic and practice of giving, nineteenth-century writers both give voice to and subvert these cultural formations. Alongside the figure of the benevolent philanthropist, the demoralized pauper, and the quintessential image of altruism, the selflessly giving domestic woman, nineteenth-century novels present another view of gift exchange, one that sees the gift as a mix of interest and disinterest, freedom and obligation, and persons and things. Ultimately, by reading the gift relations animating nineteenth-century novels, I draw attention to the competing conceptions of selfhood underlying gift and market forms of exchange in order to offer a broader history of exchange and personhood. In its recognition of expansive conceptions of the self and obligatory gifts, this dissertation recovers a history of the gift that calls into question the ascendency of the autonomous individual and the view of exchange as an anonymous, self-interested transaction.
11
Williams, Siân Bethan. "Quixotes, dreamers and 'imaginists' : deluding the heroine in the novel from Richardson to Austen." Thesis, University of Oxford, 1998. http://ora.ox.ac.uk/objects/uuid:5307bedc-a6b9-42be-bdb6-534035c975e9.
Full textAbstract:
The following study is an examination of the deluded heroine in the novel between 1740 and 1820. Through close readings of fiction by Samuel Richardson, Charlotte Lennox, Frances Burney, Charlotte Smith, Ann Radcliffe and Jane Austen, and discussion of relevant works by other authors of the period, the reasons for the prevalence of this figure are considered. The thesis proposes that this choice of protagonist enabled the exploration of a number of the issues that most concerned contemporary novelists. Principal amongst these was the question of identification between reader and literary protagonist. Throughout this period authors engaged in attempts to develop and control the audience's response. The desired end was the "improvement" of readers by the experience of the situations, mistakes and trials of the text's central characters. Increasingly though, the unpredictable and fluctuating nature of the readers' reactions was recognised. The result was a conflict between "text as instruction", the moral education that authors professed to offer, and "text as fiction", the attractions of story, adventure and imagination which were ostensibly valued only as they brought readers to works intended to improve them. The connection of the latter to romance was a further source of tension. The establishment of the novel as a model for life was premised on claims to probability, but aspects of the texts remained which worked against mimetic representation. These oppositions explain the contemporary popularity of the quixotic narrative, since the quixote both enacted the "madness" of excessive imaginative involvement with literature and could also be shown learning to make a "correct" choice of genre for reading. The strategies that can be observed within the quixote novel have a wider application when they are considered alongside the patterns of imitation, influence and parody which characterise the fiction of the period. In order to examine these features, the thesis includes an analysis of two important literary dialogues: those between Richardson and Lennox, and between Radcliffe and Austen. My focus on the heroine acknowledges the significance of gender in the period's fiction. Created by both female and male authors, such figures could be either exemplary models or quixotic warnings. They nevertheless share an experience of delusion followed by enlightenment constructed in order to benefit the "reading Misses" following their adventures. Unlike much recent criticism, however, my concern is more with the author as creative artist, text as literary process and reader as imaginative participant, than with historical or sociological contexts.
12
Walker, Gore Clare Helen. "Plotting disability : physical difference, characterisation, and the form of the novel, 1837-1907." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709332.
Full text
13
Massie, Eric. "Stevenson, Conrad and the proto-modernist novel." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/21610.
Full textAbstract:
This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.
14
Barreiros, Rubiana de Souza. "A presença de romances na Revista Illustrada." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270279.
Full textAbstract:
Orientador: Marcia Azevedo de Abreu<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-13T08:47:40Z (GMT). No. of bitstreams: 1
Barreiros_RubianadeSouza_M.pdf: 2619223 bytes, checksum: 91a6e8da9eb4d62ca4da51e7cd05a71b (MD5)
Previous issue date: 2009<br>Resumo: Esta dissertação tem por finalidade observar a presença do gênero romanesco nas páginas do periódico Revista Illustrada (1876 -1898), editado por Angelo Agostini. Tendo em vista a significativa expressão alcançada pelo gênero nas últimas décadas do século XIX, buscou-se verificar como se deu a sua inserção em um periódico que, a priori, não era um lugar de discussões literárias. Por meio da análise das seções foi possível perceber a forma como são divulgados alguns títulos, os momentos de maior destaque do gênero, a projeção de alguns romancistas e finalmente quais critérios moldavam a concepção de um bom romance para a Revista Illustrada. Esse estudo pretende contribuir para a compreensão da difusão do gênero no Brasil.<br>Abstract: This dissertation aims at observing the presence of novels in the pages of Revista Illustrada journal (1876-1898), edited by Angelo Agostini. Having in mind the remarkable expression reached by the genre in the last decades of 19th century, an attempt was made to verify how its insertion in a journal which was not a space for literary discussions in the first place occurred. Through the analysis of sections it was possible to perceive the manner how some titles are divulgated, in what moments the genre outstands, the eminence of some novelists and, eventually, which criteria built the conception of good novel for Revista Illustrada. This perspective of the novel taken through a specific period intends to contribute to the comprehension of the spread of the genre in Brazil.<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária
15
MacDonald, Tara. "Men of the moment : emergent masculinities in the Victorian novel." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=105365.
Full textAbstract:
This dissertation examines the behaviours and values that qualify as male sexual deviance in Victorian novels from the mid-century and 1890s. Male seducers from mid-nineteenth-century fiction have often been described as later versions of the eighteenth-century libertine or rake. This dissertation argues for a critical reorientation of these figures towards thefin-de-siecle. Specifically, I argue that mid-century depictions of vexed masculine behaviour anticipate important patterns in the representation of male sexuality and morality, and that they gesture to later-century portrayals of masculinity embodied in figures like the dandy or New Man. Examining fiction from these two periods, which are conventionally treated as ideologically discrete, reveals a dialogue about male sexuality between mid- and late-century novels. Indeed, although the 1890s was a decade of sexual change, a literary discourse questioning the boundaries of male sexuality was in formation throughout the Victorian period. [...]<br>Cette dissertation examine les attitudes et valeurs considérées comme participant de la deviance sexuelle masculine dans la littérature de l’époque victorienne, de 1850 à 1890. Les personnages de séducteurs présentés par la littérature romanesque du 1ge siècle sont souvent considérés comme ayant leur origine dans les personnages de libertin ou de débauché dépeints par la littérature du 18e siècle. Cette dissertation suggère, cependant, que ce type de personnage a fait l’objet d’une réorientation critique vers la fin de siècle. En particulier, il est suggéré que les représentations, au milieu du siècle, de ces comportements masculins, anticipent d’importants changements dans la représentation de la sexualité et de la moralité masculines, tels qu’incarnés par les personnages du dandy et de l’Homme Nouveau. L’examen des oeuvres littéraires datant des périodes de la mi-siècle et de la fin de siècle, deux périodes habituellement considérées comme étant distinctes, révèle un dialogue entre celles-ci sur le sujet de la sexualité masculine. Ainsi, alors que les années 1890 sont caractérisées par des changements quant à l’approche à la sexualité, un discours littéraire remettant en question les limites de la sexualité masculine existait dès la période victorienne. [...]
16
Jackson, Lisa Hartsell. "Wandering Women: Sexual and Social Stigma in the Mid-Victorian Novel." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2572/.
Full textAbstract:
The changing role of women was arguably the most fundamental area of concern and crisis in the Victorian era. Recent scholarship has done much to illuminate the evolving role of women, particularly in regard to the development of the New Woman. I propose that there is an intermediary character type that exists between Coventry Patmore's "angel of the house" and the New Woman of the fin de siecle. I call this character the Wandering Woman. This new archetypal character adheres to the following list of characteristics: she is a literal or figurative orphan, is genteelly poor or of the working class, is pursued by a rogue who offers financial security in return for sexual favors; this sexual liaison, unsanctified by marriage, causes her to be stigmatized in the eyes of society; and her stigmatization results in expulsion from society and enforced wandering through a literal or figurative wilderness. There are three variations of this archetype: the child-woman as represented by the titular heroine of Charlotte Bronte's Jane Eyre and Little Nell of Charles Dickens' The Old Curiosity Shop; the sexual deviant as represented by Miss Wade of Dickens' Little Dorrit; and the fallen woman as represented by the titular heroine of Thomas Hardy' Tess of the d'Urbervilles, Hetty Sorrel of George Eliot's Adam Bede, and Lady Dedlock of Dickens' Bleak House. Although the Wandering Woman's journey may resemble a variation of the bildungsroman tradition, it is not, because unlike male characters in this genre, women have limited opportunities. Wandering Women always carry a stigma because of their "illicit" sexual relationship, are isolated because of this, and never experience a sense of fun or adventure during their journey. The Wandering Woman suffers permanent damage to her reputation, as well as to her emotional welfare, because she has been unable to conform to archaic, unrealistic modes of behavior. Her story is not, then, a type of coming of age story, but is, rather, the story of the end of an age.
17
Fan, Yiting. "Capital and the heroine : reconfiguring gender in the Victorian novel." HKBU Institutional Repository, 2011. https://repository.hkbu.edu.hk/etd_ra/1293.
Full text
18
Gernhardt, Phyllis J. "Prentiss Ingraham and the dime novel." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/834145.
Full textAbstract:
This study examines the ideas and values of late nineteenth century American society through the popular art form of dime novel literature. The works of Prentiss Ingraham, one of the most prolific dime novel authors, with over 600 novels to his credit, and one of the most popular, with-at least one reprint of each title, served as the focus of this study. A reading and analysis of 75 of his novels provided insight into the social ideas of his time.The results of this study show nineteenth century America's perceptions of the ideal society and the romanticization of nineteenth century American beliefs. This ideal society was based on a democratic foundation and thrived on a balance between the ruggedness of the frontier and the refinement of Eastern civilization. Likewise, the ideal American hero possessed the same blending of these characteristics.<br>Department of History
19
Frattini, Paula Caldas. "Balzac e a figurabilidade: cenas de figuração e desfiguração humana." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-03122015-151237/.
Full textAbstract:
O problema que o presente estudo procurou delimitar refere-se à relação entre a escritura balzaquiana e a figurabilidade. Diferentemente das questões que se aplicam ao campo pictural, a escritura balzaquiana procura no interior de sua expressão o processo de estruturação e os modelos da produção figurativa. Ao descartar a noção de homologia, a escritura balzaquiana procura, na verdade, competir com as Artes Plásticas no intuito de conceder ao texto ficcional a mesma potencialidade visual do campo pictural. A análise, então, aproxima-se mais do trabalho de figuração presente no tecido narrativo do que da significação do objeto figurativo. Essa visada crítica corresponde ao que é proposto como um estudo da figurabilidade. O eixo de análise proposto possibilitou a abertura deste estudo à Comédie Humaine sem a obrigatoriedade de um recorte temático que implicaria a escolha de determinados romances, uma vez que no trabalho figurativo detectamos um desejo estético fundamental à poética balzaquiana. Um desejo que produz um movimento intenso, não necessariamente coeso e pronto às explorações mais radicais, como as desfigurações. Nesse espaço do texto, o traço figural, o qual se opõe ao figurativo, foi aprofundando. Tal distinção vale ressaltar que se trata de uma distinção entre figural e figurativo em relação à escritura balzaquiana compõe igualmente a discussão pretendida por este estudo.<br>The problem this work has tried to circumscribe refers to the relationship between Balzacs writing and the figurability. Distinctly of the topics that concern the pictorial ground, Balzacs writing pursuits within its own expression the structural process and the models of the figurative production. When Balzacs writing avoids the notion of homology, what it truly desires is to compete with the visual arts in order to endow the fictional text with the same potentiality of the pictorial ground. Thus, the approach of this analysis is closer to the work of figuration woven in the narrative tissue than to the signification of the figurative object. This critical perspective corresponds to a study of figurability as suggested. The proposed axis of this analysis enabled this study an opening to the Comédie Humaine without the obligation of a thematic choice, which would entail an election of defined novels, considering that in the work of the figuration we observe an aesthetic desire essential to Balzac\'s poetics. A desire that imposes an intense movement, that is not necessarily cohesive, and it is set to accomplish radical experiences, such as the disfiguration. In this space of the text the figural trait, which is opposed to the figurative, was developed. The present study also aims the discussion of this distinction it is worthwhile to emphasize that we refer to a distinction between figural and figurative concerning Balzacs writing.
20
Eisenberg, Emma C. "Living in an (Im)material World: Consuming Exhausted Narratives in New Grub Street." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1431940262.
Full text
21
Walker, Stanwood Sterling. "The classical-historical novel in nineteenth-century Britain." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3036607.
Full text
22
Santos, Monica Rodrigues dos. "A Virgem da Polônia e Senhora: uma leitura das protagonistas." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-30072013-110125/.
Full textAbstract:
Esta dissertação pretende trazer para a discussão teórica o romance A Virgem da Polônia, de José Joaquim Rodrigues de Bastos. O livro é aqui tratado e analisado por meio da leitura de sua protagonista, Maria, em paralelo com a conhecida personagem Aurélia, do romance brasileiro Senhora, de José Martiniano de Alencar. O ponto comum entre elas reside em suas posições de comando e poder. Tal posição, cada uma à sua maneira, localiza espacialmente os romances e coloca-os em posição similar enquanto papéis-chave na consolidação do romance no século XIX no Brasil e em Portugal. Para analisar as personagens lado a lado, primeiro foram apontadas suas características principais para, em seguida, verificar as diferenças entre elas e identificar uma possível chave de leitura de cada romance. Por ser o livro português hoje desconhecido do público e da crítica, hipóteses acerca de seu desaparecimento foram levantadas e concluiu-se que ele se deu por diferentes motivos, dos quais se destaca o caráter extremamente religioso e santificado tanto da personagem quanto do livro. Por outro lado, a humanidade de Aurélia, mostrouse como importante indício de sua sobrevivência até hoje. Esta pesquisa pretende, por meio de seus apontamentos e observações sobre A Virgem da Polônia, ainda, trazer à luz um autor hoje esquecido, porém bastante importante para a literatura portuguesa do século XIX.<br>The aim of this dissertation is to bring to theoretical discussion the novel A Virgem da Polônia, by José Joaquim Rodrigues de Bastos. The book is here taken from the analysis of its protagonist Maria, next to the famous character Aurélia, from the Brazilian novel Senhora, by José Martiniano de Alencar. The common point between the protagonists is set on the position of power and command they occupy. This position, each of them particularly, locates the novels geographically and as national samples of the genre, putting them in similar positions as important part of creating the national literary genre on the 19th Century in Brazil and Portugal. To analyze the characters, first of all, there were pointed their main characteristics and then, there were set the differences between them. As the Portuguese novel is today totally ignored by the critics and by the public, some hypothesis on its vanishment were pointed and it was concluded that it happened because of different causes, in which we point: the extremely religious characteristic of the main character and the novel itself. On the contrary, the humanity of the Brazilian character seems to be the key to the surviving of Aurélia. This research intends also, taking into account the observations on A Virgem da Polônia, bring to the light an author today forgotten, however quietly important to the Portuguese literature on the 19th Century.
23
Monnereau, Mado. "Le récit de meurtre en France (1870-1899)." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30032/document.
Full textAbstract:
Derrière l’expression « récit de meurtre » se dissimule une hybridité romanesque propre à la fin du XIXe siècle. En prenant appui sur diverses formes de fiction du crime (des écrits naturalistes et décadents, des romans, des contes et nouvelles et des feuilletons), il conviendra de déterminer quelles en sont les caractéristiques narratives. L’analyse est au cœur du sujet : l’enquête judiciaire, le profilage d’une psychologie de l’assassin et les références historiques constituent autant de pistes présentes dans ce type de récit. Un nouveau type de criminel apparaît ; le criminel élabore de nouvelles méthodes et évolue dans un univers moderne. Cette évolution est guidée par la nécessité de séduire un public plus vaste car l’écriture du crime suscite un véritable engouement. Si la presse transforme le journaliste en enquêteur, lui confiant la mission de tenir le lecteur informé des mystères urbains qui l’entourent, les romanciers sont amenés à puiser leur inspiration dans les récits d’enquête et les portraits criminels relayés par la presse. En outre, la notion de mystère est sous-jacente à celle de récit de meurtre dans la mesure où ces écrits cauchemardesques oscillent entre fantasme et réalité. Il s’agit ainsi de montrer que l’acte démesuré du meurtre recouvre la simple notion de thématique ; par son étude des déviances sociales, l’écrivain cherche à verbaliser des angoisses populaires. Plusieurs influences seront donc à prendre en compte : avec la perspective du changement de siècle, les récits sont affectés par la vague de pessimisme qui balaye l’Europe. Les débuts hésitants de la IIIe République, les Affaires et les attentats anarchistes marquent les esprits. L’objectif de cette thèse sera donc de définir ce qu’est le récit de meurtre à travers ses différentes formes, et son rôle médiatique<br>There is a novelistic hybridity of “the narrative of murder” conducive to the late of the 19th century. Rested on several forms of crime’s fictions (it refers to decadents and naturalists works, novels, short stories, serials), I should explain its narrative forms. Analysis is at the very heart of this matter: inquest, psychological profile of the murderer and historical references participate to these narratives. A new kind of murderer comes out; criminal uses new skills as he evolves in a modern world. This evolution is header by the need to reach a wide audience for murder’s writing arouses such keen interest. If the press tends to change the journalist into a detective, assigning him the mission to keep the reader informed about urban mysteries surrounding, novelists draw their inspiration from the narrative of criminal investigation and portraits of criminals reported by newspapers. Besides, the notion of mystery is related to the one of murder’s narrative in so far these nightmarish writings oscillate between fantasy and reality. The aim is thus to explain the murder as an excessive act which goes beyond the simple idea of a thematic. Thanks to his study of social deviances, the writer tries to voice popular fears. Many influences must be taken into account: due to the turn of the century, a wave of pessimism sweeps through Europe. The third republic’s hesitant beginnings, the “Affaires” and the anarchist attacks make an unforgettable impression. The aim of this thesis will be to define the narrative of murder through the exhibition of its different forms, and its place in media environment
24
Frattini, Paula Caldas. "Walter Scott e Balzac: romancistas da história." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-29112010-100912/.
Full textAbstract:
O nome de Walter Scott é repetidamente mencionado na obra de Balzac, sobretudo em seus textos críticos. Esta dissertação visa expor, para além da admiração patente do escritor, a penetração analítica de Balzac acerca do romance scottiano, o que lhe sugeriu um fundamento essencial para a formulação de sua Comédia Humana. Tendo como objeto de estudo a leitura dos textos críticos de Walter Scott e Balzac - seus prefácios principalmente -, procuramos demonstrar como o uso da História pelo romance tornou-se o elemento fundamental na aproximação entre os autores. Nossa intenção é deslindar, na fatura do romance, como se articula o entrecruzamento entre História e literatura.<br>Walter Scotts name is repeatedly mentioned in the works of Balzac, mostly in his critical writings. This dissertation aims to show, beyond the writers patent admiration, Balzacs penetrating criticism of the Scottian novel which disclosed to him a sound basis for the composition of his Comédie Humaine. Having Scotts and Balzacs critical writings as our object of study mainly their prefaces - we intend to demonstrate how the incorporation of History by the novel became the essential element in this comparative study of the two writers. Our purpose is to elucidate how this intersection between history and literature is articulated in the narrative.
25
Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
Full textAbstract:
Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.<br>The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
26
Kompanietz, Paul-Adrien. "Les imaginaires romanesques de la Terreur (1793-1874). Des lettres trouvées dans des portefeuilles d'émigrés d'Isabelle de Charrière à Quatrevingt-Treize de Victor Hugo." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES003.
Full textAbstract:
Des lettres trouvées dans des portefeuilles d'émigrés (1793) d'Isabelle de Charrière à Quatrevingt-Treize (1874) de Victor Hugo, qui engage une relecture de la période au miroir de la Commune, la Terreur a nourri l'imagination de nombreux romanciers. Déferlement inouï de violence ou expérience démocratique inédite ? La fécondité de ce moment révolutionnaire tient en partie à ses paradoxes et aux tensions que sa mémoire suscite. Au coeur de controverses historiques et idéologiques qui, aujourd'hui encore, ne se sont pas éteintes, la Terreur est pendant tout le XIXe siècle un sujet d'autant plus actuel que les secousses révolutionnaires de 1830 et de 1848, en particulier, en réveillent le souvenir. Excédant le seul genre du roman historique, qui en a fait l'un de ses sujets de prédilection, le traitement romanesque de la Terreur ne résulte pas d'une simple transposition fictionnelle de la réalité historique, mais peut être envisagé comme le fruit d'un système de relations complexes entre l'historiographie, la littérature mémoriale et d'autres genres littéraires. De la Révolution à la Commune, le genre romanesque a été l'un des lieux où s'est inventé ce que nous avons choisi d'appeler, en hommage au grand livre de Daniel Arasse, un« imaginaire de la Terreur» que n'épuise pas l'image de la guillotine. Regarder comment le roman a participé, en complémentarité ou en concurrence avec d' autres types d'écriture, à des constructions discursives et à l'élaboration de cet imaginaire, et comment ces entreprises de figuration romanesque ont pu s'articuler à des enjeux idéologiques et à des choix poétiques, tel est l'enjeu de cette nouvelle enquête. De Ducray-Duminil à Dumas, de Sénac de Meilhan à Barbey d ' Aurevilly, de Germaine de Staël à GeorgeSand, en passant par Ballanche, Nodier, Balzac ou encore Vigny, cet essai de généalogie romanesque prend appui sur un large corpus de textes et entend faire place à des oeuvres méconnues dont le rôle n'a pas été moindre que celui des oeuvres les plus canoniques dans la mise en fiction de la Terreur révolutionnaire<br>From Isabelle de Charrière's lettres trouvées dans des portefeuilles d'émigrés ( 1793) to Victor Hugo's Quatrevingttreize(1874), which reinterprets the period in the mirror of the Commune, the Terror fed the imagination of manynovelists. Unprecedented surge of violence or unheard of democratic moment ? The fecundity of this revolutionary moment is in part due to its paradoxes and the tensions triggered by its memory. At the heart of the historical and ideological controversies that, to this day, have not been extinguished, the Terror was, throughout the 19th century, a subject even more topical than the revolutionary tremors of 1830 and 1848, particularly by reawakening the memory.Exceeding the historical nove! genre, the fictional treatment of the Terror is not the result of a simple fictional transposition of the historical reality, but can be envisaged as the fruit of a system of complex relationships between historiography, memorial literature and other literary genres.From the Revolution to the Commune, the fictional genre was one of the spaces where the invention of what we have chosen to call an "imagination of the Terror" - in homage to Daniel Arasse's great book - was not exhausted by the image of the guillotine. Looking at how the novel participated, in conjunction or competition with other types of writing, in discursive constructions and the development of this imagination, and how undertaking fictional figurationrevolved around ideological issues and political choices, is the challenge of this new investigation. From Ducray Duminilto Dumas, Sénac de Meilhan to Barbey d'Aurevilly, Germaine de Staël to George Sand, via Ballanche, Nodier, Balzac and even Vigny, this genealogy of fiction dissertation is supported by a large corpus oftexts and intends to makeway for little-known works, whose role was no less than that of the most canonical works in fictionalising the revolutionary Terror
27
Uesugi, Makoto. "L’Honneur dans l’œuvre de Stendhal. Enjeux éthiques, esthétiques et politiques." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA092.
Full textAbstract:
Se présentant fréquemment dans l’oeuvre de Stendhal, la notion de l’honneur se caractérise par une complexité dans sa dimension pluridisciplinaire comme par son implication dans l’Histoire. Précédée par un examen préliminaire de la notion d’honneur dans une perspective historique et théorique, la première partie se consacre à l’analyse de l’honneur en tant que principe politique qui apparaît à Stendhal aussi condamnable que louable, impliquant régime monarchique et enthousiasme révolutionnaire. La partie suivante analyse la figure de plusieurs artistes de différentes époques dans les écrits biographiques de Stendhal. La manière idéale de vivre en artiste témoigne de la caducité de l’harmonie entre l’honneur et les arts qui invalide la formule cicéronienne "honos alit artes". La dernière partie retrace l’enquête stendhalienne sur l’honneur comme exigence d’une vengeance atroce marquant les moeurs de l’Italie du XVIe siècle, avant de mettre en clair, à travers quelques exemples tirés des oeuvres romanesques, la poétique propre à l’honneur dans la représentation de l’amour. Dégageant ces enjeux principaux de l’honneur, politiques, éthiques et esthétiques, l’étude se propose de montrer l’ambiguïté idéologique et axiologique de la notion d’honneur dans l’écriture stendhalienne. Elle vise également à éclairer, à travers cette notion qui se réfère nécessairement au passé, la façon dont Stendhal se situe face à son siècle en pleine mutation, soit à la modernité postrévolutionnaire<br>Stendhal’s work frequently presents the idea of honor. It is characterised with complexity in its multidisciplinary dimension as well as through historical implications. Preceded by a preliminary examination of the notion of honor from a historical and theoretical perspective, the first part is devoted to the analysis of honor as a political principle, which in Stendhal's opinion is as contemptible as it is praiseworthy, implicating both the monarchy and revolutionary zeal. The next part analyses several key artists from different eras in Stendhal’s biographical writings. The idealistic manner of living as an artist testifies to a lapse of harmony between honor and the arts which invalidates the Ciceronian formula "honos alit artes". The last part looks back at Stendhal's inquiry into honor as a condition of a horrible form of revenge which was evidenced by Italian customs during the 16th century, before clarifying, using several examples from fiction, the poetics peculiar to honor in the representation of love. Drawing on these main issues of honor, politics, ethics and aesthetics, the study proposes to show the ideological and axiological ambiguity of the notion of honor in Stendhal’s writing. Using this notion, which necessarily refers to the past, it also aims at clarifying the way Stendhal saw his century in the midst of upheaval, namely post-revolutionary modernity
28
Bentley, Colene. "Constituting political interest : community, citizenship, and the British novel, 1832-1867." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36875.
Full textAbstract:
This dissertation asserts a strong connection between democratic culture and the novel form in the period 1832--1867. As England debated constitutional reform and the extension of the franchise, novelists Charles Dickens, Elizabeth Gaskell, and George Eliot endeavoured to define human communities on democratic terms. Drawing on work of contemporary political philosopher John Rawls to develop a methodology that considers constitutions and novelistic representations as analogous contexts for reasoning about shared political values and citizenship, this study provides readings of Bleak House, North and South, and Felix Holt that emphasize each novel's contribution to the period's ongoing deliberations about pluralism, justice, and the meaning of membership in democratic life. When read alongside Bentham's work on legislative reform, Bleak House offers a parallel model of social interaction that weighs the values of diversity of thought, security from coercion, and the nature of harmful actions. Felix Holt and North and South are novelistic contributions to defining and contesting the attributes of the new liberal citizen. Through their central characters, as well as in their respective novelistic practices, Eliot and Gaskell highlight the difficulty of uniting autonomous individuals with collective social groups, and this was as much a problem for literary practice in the period as it was for constitutional reform.
29
Bromling, Laura Cappello, and University of Lethbridge Faculty of Arts and Science. "From the pens of the contrivers : perspectives on fiction in the nineteenth-century novel." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2003, 2003. http://hdl.handle.net/10133/154.
Full textAbstract:
This thesis investigates the way that moral and aesthetic concerns about the relationship between fiction and reality are manifested in the work of particular novelists writing at different periods in the nineteenth century, Chapter One examines an early-century subgenre of the novel that features deluded female readers who fail to differentiate between fantasy and reality, and who consequently attempt to live their lives according to foolish precepts learned from novels. The second chapter deals with the realist aesthetic of W. M. Thackeray; focusing on the techniques by which his fiction marks its own relationship both to less realistic fiction and to reality itself. The final chapter discusses Oscar Wilde's critical stance that art is meaningful and intellectually satisfying, while reality and realism are aesthetically worthless: it then goes on the explore how these ideas play out in his novel, The Picture of Dorian Gray.<br>iv, 120 leaves ; 28 cm.
30
Margrave, Christie L. "Women and nature in the works of French female novelists, 1789-1815." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6391.
Full textAbstract:
On account of their supposed link to nature, women in post-revolutionary France were pigeonholed into a very restrictive sphere that centred around domesticity and submission to their male counterparts. Yet this thesis shows how a number of women writers – Cottin, Genlis, Krüdener, Souza and Staël – re-appropriate nature in order to reclaim the voice denied to them and to their sex by the society in which they lived. The five chapters of this thesis are structured to follow a number of critical junctures in the life of an adult woman: marriage, authorship, motherhood, madness and mortality. The opening sections to each chapter show why these areas of life generated particular problems for women at this time. Then, through in-depth analysis of primary texts, the chapters function in two ways. They examine how female novelists craft natural landscapes to expose and comment on the problems male-dominant society causes women to experience in France at this time. In addition, they show how female novelists employ descriptions of nature to highlight women's responses to the pain and frustration that social issues provoke for them. Scholars have thus far overlooked the natural settings within the works of female novelists of the late eighteenth and early nineteenth centuries. Yet, a re-evaluation of these natural settings, as suggested by this thesis, brings a new dimension to our appreciation of the works of these women writers and of their position as critics of contemporary society. Ultimately, an escape into nature on the part of female protagonists in these novels becomes the means by which their creators confront the everyday reality faced by women in the turbulent socio-historical era which followed the Revolution.
31
Queiroz, Juliana Maia de. "As múltiplas facetas de Joaquim Manuel de Macedo = A carteira de meu tio, Memória do sobrinho de meu tio e A luneta ma'gica." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270282.
Full textAbstract:
Orientador: Márcia Azevedo de Abreu<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-17T22:09:14Z (GMT). No. of bitstreams: 1
Queiroz_JulianaMaiade_D.pdf: 3898310 bytes, checksum: f8b7fce4b03ee1e94c2971bfad9fa51a (MD5)
Previous issue date: 2011<br>Resumo: O presente trabalho tem como foco a investigação da produção e circulação de parte da obra de Joaquim Manuel de Macedo na segunda metade do século XIX, no Rio de Janeiro, bem como a análise dos romances A carteira de meu tio (1855), Memórias do sobrinho de meu tio (1868) e A luneta mágica (1869). Tomando como base os anos em que foram publicadas as referidas narrativas, buscamos verificar por meio da consulta a fontes primárias específicas - as edições diárias do Jornal do Comércio do Rio de Janeiro e catálogos de livros das lojas Garnier e Laemmert - como se deu a inserção de Joaquim Manuel de Macedo no mercado editorial carioca oitocentista. A presente tese busca investigar, de igual modo, de que forma os múltiplos papéis sociais desempenhados por Macedo na sociedade carioca do século XIX (deputado; membro do IHGB; professor do Colégio Pedro II; dentre outros) estavam relacionados a sua produção literária, uma vez que a versatilidade que caracterizou sua atuação como homem de letras no II Reinado pode ser observada na própria estrutura dos romances A carteira de meu tio, Memórias do sobrinho de meu tio e A luneta mágica<br>Abstract: This thesis aims to investigate part of the production and circulation of Joaquim Manuel de Macedo work in the second half of the 19th century in Rio de Janeiro as well as analyses three novels written by the author in the fifties and sixties of that century - A carteira de meu tio (1855); Memórias do sobrinho de meu tio (1868); A luneta mágica (1869). Based on the years those books were first edited and published we verify, by consulting some specific primary sources - the daily editions of Jornal do Comércio do Rio de Janeiro and some bookshop catalogs by the editors and book sellers Laemmert and Garnier - the prestige Macedo obtained in the book market along his career. This thesis aims to investigate, likewise, how the multiple social roles Joaquim Manuel de Macedo played in the society (as a politician; a professor; a member of some imperial institutions) are related to his literary production<br>Doutorado<br>Literatura Brasileira<br>Doutor em Teoria e História Literária
32
Perret, Maxime. "Balzac et le XVIIe siècle : mémoire, création littéraire et discours moraliste dans La Comédie humaine." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030050.
Full textAbstract:
Cette étude est consacrée aux rapports qui existent entre Balzac et le XVIIe siècle littéraire français. Elle s’articule en trois temps : l’analyse de la sélection mémorielle, reçue et opérée par Balzac, concernant le XVIIe siècle politique et littéraire ; l’exploration détaillée des diverses modalités de présence, des usages et des fonctions assumées par le « Grand Siècle » dans La Comédie humaine ; et l’évaluation de la portée et des conséquences de la pratique, au sein de la fiction narrative en prose, d’un discours de type moraliste. Cette recherche d’une part permet d’interroger à nouveaux frais certains fondements de la poétique balzacienne. D’autre part, les différentes modalités de la réception du XVIIe siècle dans le cycle romanesque construit par Balzac entre 1829 et 1850 mettent en évidence de nouveaux circuits de lecture de La Comédie humaine grâce à l’existence de dispositifs textuels spécifiques en réseau. Enfin, ce travail montre la permanence des problèmes liés au développement du genre romanesque du XVIIe au XIXe siècle. Partant, il engage à réviser certains préjugés tenaces de l’histoire littéraire, tant à propos de Balzac qu’à l’égard du « Grand Siècle classique »<br>The present study addresses the multifaceted relationships between Balzac and the French literary 17th century. It consists of three parts: first, an analysis of Balzac’s own memorial selection of 17th-century political and literary events, followed by a detailed exploration of the variety of modes of attendance, practices and functions assumed by the “Grand Siècle” in La Comédie humaine, and finally of an evaluation of the range and consequences of the development of moralist-type thinking within prose narrative fiction. First, this research work allows for a renewed questioning of some foundations of Balzacian poetics. Secondly, the different methods of reception of the 17th century in the novel cycle built by Balzac between 1829 and 1850 highlight new reading circulations of La Comédie humaine by means of specific network-type textual devices. And finally, this study shows the permanence of problems linked with the development of the genre of the novel from the 17th to the 19th century. Hence, it invites to a revision of some deep-rooted prejudice of literary history, as much about Balzac than against the “classical Grand Siècle”
33
Castro, Andreia Alves Monteiro de. "Amor, desejo e transgressão as cartas de amor na novela camiliana." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2013.
Full textAbstract:
O propósito desta dissertação é analisar as várias funções exercidas pelo discurso epistolar, em especial as cartas de amor, nas novelas camilianas do período de 1860 a 1870, de cujo conjunto destacamos Amor de Perdição (1861), Memórias de Guilherme do Amaral (1863), Agulha em Palheiro (1863) e A Sereia (1865). Nestas obras, as cartas têm presença bastante relevante, ligada à forma e, por conseguinte, à elaboração de conceitos e significados de dimensão social e íntima. Muito em voga à época, as cartas se fazem presentes em outros romances oitocentistas: em Eurico, o Presbítero (de Herculano), Viagens na Minha Terra (de Garrett) e O Primo Basílio (de Eça de Queirós). As cartas trocadas pelos casais enamorados revelam muito mais do que uma história de amor contrariado, que seguiria os moldes da escola romântica. Retratam antes de tudo os anseios pessoais, os conflitos e as tensões sociais do Portugal do século XIX. O discurso epistolar acaba sendo um modo de dar dimensão intimista aos dramas maiores da sociedade. Ao olhar perspicaz, inquieto e, até mesmo, desesperançado de Camilo Castelo Branco, que critica os valores da sociedade na qual está inserido, sem muitas das vezes avistar uma saída possível, as cartas tornam-se um modo de trazer novas vozes ao romance. Assim, Camilo fala pelos narradores, pelos seus personagens em diálogo, mas também por aquilo que naquele mundo não se diz, mas se escreve (nas cartas)<br>The purpose of this dissertation is to analyze the several functions exercised by the epistolary discourse, specially the love letters, in the camilian novels in the period of 1860 to 1870, from what collection we point out Amor de Perdição (1861), Memórias de Guilherme do Amaral (1863), Agulha em Palheiro (1863) e A Sereia (1865). In these works, the letters have a very strong presence, linked to the shape and, in consequence, the elaboration of concepts and meanings of social and intimate dimension. Very popular in that time, the letters are present at another eighties romances: at Eurico, o Presbítero (de Herculano), Viagens na Minha Terra (de Garrett) and O Primo Basílio (de Eça de Queirós).The letters changed by the couples in love reveals much more than one annoyed love story which would follow the patterns of the romantic school. They portray before all the personal desires, conflicts and social tensions lived in Portugal of 19th century. The epistolary discourse is a manner of giving an intimate dimension for the main dramas of the society. To the perceptive, anxious and, unhopeful look of Camilo Castelo Branco, that criticizes the values of the society in which he is inserted, many times without seeing a possible solution, the letters become a way to bring new voices to the romance. Therefore, Camilo speaks for the narrators, for his characters in dialogue, but also for what in that world is not said, but it is written (in the letters)
34
Oliveira, Ana Luisa Patrício Campos de. "A ficção camiliana para além de histórias de amor." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-17082009-154723/.
Full textAbstract:
O presente estudo intenciona, fundamentalmente, mostrar que a produção ficcional de Camilo Castelo Branco constitui-se enquanto um legado romanesco que ultrapassa, em muito, a mera veiculação de histórias de amor. Assim sendo, alguns aspectos e temas caros à literatura do escritor de São Miguel de Seide são tomados como pilares desta análise, tais como a presença de um Portugal imerso em relações capitalistas, próprias do período oitocentista; um ambiente propício para o interesse financeiro e o desejo de base mimética, mas infecundo a afeições abnegadas; e a marcante atuação do narrador camiliano, uma instância que não se priva de desvelar, a todo o momento, os motores vis que, consoante sua opinião, impulsionam tanto a engrenagem desta materialista sociedade portuguesa quanto as atitudes das personagens que nela estão inseridas. Por fim, vale ressaltar que o corpus selecionado para esta apreciação da obra camiliana é composto pelos romances Onde está a Felicidade? e Um Homem de Brios, ambos de 1856.<br>The present study intends, primarily, to show that Camilo Castelo Brancos fictional production consists in a Romanesque legacy that passes much beyond the mere transmission of love stories. Thus, some important aspects and themes of the writer of São Miguel de Seides literature are taken as pillars of this analysis, such as the presence of a Portugal immersed in capitalist relations, typical of the 19th century, a proper ambience to the financial interest and the desire of mimetic basis, but barren to unselfish affections, and the camilian narrators remarkable performance, an instance that not abstains from unveiling, every time, the vile engines that, according to his opinion, stimulate as much the gear of this materialist Portuguese society as the characters attitudes inserted in it. Finally, it is pertinent to emphasize that the selected corpus for this camilian works appreciation is composed by the novels Onde está a Felicidade? and Um Homem de Brios, both from 1856.
35
Oliveira, Vinícius Domingos de. "Entre e vá para o diacho: O morro dos ventos uivantes enquanto obra dialética." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-30052018-115739/.
Full textAbstract:
Este trabalho tem por objetivo analisar o romance O morro dos ventos uivantes, de Emily Brontë, tendo como foco suas contradições internas, que, em conjunto, foram nomeadas estrutura de tensões. É essa estrutura de tensões que transforma tal romance em uma obra dialética, na qual as tensões existem não somente no plano do conteúdo como também no da forma. Nosso estudo se concentra, respectivamente, na questão estilística e na questão da estrutura narrativa, sabendo que há outras questões de interesse, mas vendo nelas uma importância mais primária, pois remetem a aspectos formais mais imediatos. Num primeiro momento, procuramos entender o funcionamento das tensões que diferentes formas góticas, míticas e fantasmagóricas instauram no tecido realista da obra. Num segundo momento, o objetivo foi compreender a problemática do foco narrativo, concentrando-nos especialmente no discurso não confiável do narrador primário Lockwood, ao qual a crítica pareceu não dar a atenção devida. Por fim, procuramos argumentar que a obra de Emily Brontë não somente nasce de uma crise histórico-social, como também coloca em evidência aspectos da crise da forma romance, logrando expor alguns de seus limites ideológicos.<br>This work aims at analysing the novel Wuthering Heights, by Emily Brontë, having as focus its internal contradictions, which, put together, were named structure of tensions. It is that structure of tensions that transforms the novel into a dialectical work, in which the tensions exist not only as far as the content is concerned, but also its form. Our study focuses, respectively, on the issue of style and also on the issue of the narrative structure, aware that there are other issues of interest, but seeing in them a more primary importance, because they are connected to more immediate formal aspects. At first, we sought to understand the functioning of the tensions that different gothic, mythical and phantasmagorical forms cause on the novels realist fabric. Secondly, our goal was to comprehend the problematics of the narrative focus, concentrating specially on the unreliable discourse of Lockwood, the primary narrator, to which critics have not paid due attention. Lastly, we sought to argue that Emily Brontës work is not only born from a socio-historical crisis, but that it also puts in evidence aspects of the crisis of the novel form, managing to expose some of its ideological limits.
36
Boulton, Lauren. "Free Women: Fairytales From A Lumbertown Brothel." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1436914200.
Full text
37
Langendorfer, Anne Therese. "Feeling Real: Emotion in the Novels of William Dean Howells and Henry James." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1499858033212105.
Full text
38
Bube, June Johnson. ""No true woman" : conflicted female subjectivities in women's popular 19th-century western adventure tales /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/9508.
Full text
39
Rabosseau, Sandrine. "La figure de la criminelle dans le roman français (1789-1918)." Paris 3, 2008. http://www.theses.fr/2008PA030158.
Full textAbstract:
S’il est une rêverie poursuivie par de nombreux écrivains au XIXe siècle, c’est bien celle d’une femme criminelle dont la beauté, l’énergie et la violence séduiraient l’homme, s’empareraient de lui pour l’enfermer dans les rets d’une féminité toute-puissante et dangereuse. Les romans du XIXe siècle se signalent par une étonnante et foisonnante galerie de criminelles sublimes ou monstrueuses. De 1789 jusqu’au début du XXe siècle, le personnage de la criminelle concentre des craintes, des fantasmes, des projections, qui diffèrent d’un mouvement littéraire à l’autre. Parce qu’elle a transgressé l’image de donneuse de vie, de porteuse de paix et d’épouse fidèle que les hommes lui ont attribuée, la femme criminelle suscite une curiosité. Sujet complexe, relevant de champs aussi divers que la justice, la médecine et la philosophie, le crime féminin déroute. Cette recherche se propose de comprendre les raisons de ce phénomène littéraire à travers quatre axes. C’est l’inscription du personnage de la criminelle dans le cours de l’Histoire qui dans un premier temps nous intéresse. Les grandes criminelles de la mythologie, de la Bible, de l’Histoire et des journaux de l’époque sont une source d’inspiration pour les romanciers. C’est cette intertextualité que nous sonderons avant de voir que la figure de la criminelle est un oxymore poétique : ange de douceur, elle est capable de violence meurtrière. Face à cette dualité se pose le problème de sa représentabilité. Nos écrivains optent pour une représentation du personnage soumise à l’influence du discours scientifique, sécuritaire et médical. Les questions d’éthique et d’esthétique seront examinées dans une dernière partie<br>If there is one reverie pursued by a lot of 19th century writers, it’s the one of a female criminal whose beauty, energy and violence would seduce men, in order to catch them in the toils of an omnipotent and dangerous femininity. 19th century novels distinguish themselves by the portrayal of an astonishing and rich collection of sublime or monstrous female criminals. From 1789 until the beginning of the 20th century, the character of the female criminal concentrates fears, fantasies and projections which differ from one literary movement to another. Because she has transgressed the image of a life-giver, peace-bearer and faithful wife that men have credited her with, the female criminal has aroused curiosity. A complex subject, coming within areas as diverse as justice, medicine and philosophy, crime perpetrated by women is puzzling. This research is aimed at studying the reasons of this literary phenomenon in four main lines. First of all, we will focus on the character of the female criminal in the course of History. The great female criminals of mythology, the Bible, History and newspapers of that time have been a source of inspiration for novelists. We will analyse this intertextuality before arguing that the figure of the female criminal is a poetical oxymoron: a sweet angel, she is also capable of criminal violence. Facing this duality the problem of her representation is posed. Our writers opted for a representation of the character under the influence of the scientific, security and medical discourse. The questions of ethics and aesthetics will be examined in the last section
40
Barnhill, Gretchen Huey, and University of Lethbridge Faculty of Arts and Science. "Fallen angels : female wrongdoing in Victorian novels." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2005, 2005. http://hdl.handle.net/10133/241.
Full textAbstract:
In the Victorian novel, gender-based social norms dictated appropriate behaviour. Female wrongdoing was not only judged according to the law, but also according to the idealized conception of womanhood. It was this implicit cultural measure, and how far the woman contravened the feminine norms of society, that defined her criminal act rather than the act itself or the injury her act inflicted. When a woman deviated from the Victorian construction of the ideal woman, she was stigmatized and labelled. The fallen woman was viewed as a moral menance, a contagion. Foreign women who committed crimes were judged for their 'lack of Englishness.' Insanity evolved into not only a medical explanation for bizarre behaviour, but also a legal explanation for criminal behaviour. Finally, the habitual woman criminal and the infanticidal mother were seen as unnatural. Regardless of the crime committed, female criminals were ostracized and removed from 'respectable' English society.<br>vii, 163 leaves ; 29 cm.
41
Santos, Josy Kelly Cassimiro Rodrigues dos Santos. "O livro dos snobs: o romance inglês nos jornais e periódicos paraibanos do XIX." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8527.
Full textAbstract:
Submitted by Maike Costa (maiksebas@gmail.com) on 2016-08-15T11:13:11Z
No. of bitstreams: 1
arquivo total.pdf: 4049920 bytes, checksum: 42dfc07793d8f6cabdf93f2557808ca6 (MD5)<br>Made available in DSpace on 2016-08-15T11:13:11Z (GMT). No. of bitstreams: 1
arquivo total.pdf: 4049920 bytes, checksum: 42dfc07793d8f6cabdf93f2557808ca6 (MD5)
Previous issue date: 2016-05-10<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The serialized English novel The Book of Snobs (1846) by W. M. Thackeray was published in 1891 in the newspaper O Estado da Paraíba. It was first published in the British magazine Punch (1846) and translated later. The author's main purpose was to show–through satire– a different perspective of the aristocratic society in Victorian England. This paper aims to investigate the English works of fiction and non-fiction in the newspapers in the province of Paraiba, map out the serialized English novels and analyze more thoroughly the novel The Book of Snobs, which is the corpus of this research. Our aim is to understand the circulation and publication practices of the serialized English novel in Paraiba newspapers in the 19th century. We analyzed source materials such as articles, ads, announcements, as well as the English novel itself, which served as a basis to map the presence of English fiction in Paraíba's newspapers. We reflect with authors such as Chartier (1990; 2002; 2011), Barbosa (2007; 2011), Freyre (2000), Ramicelli (2009), Hansen (2004), among others, who helped us to understand the English cultural importance in the development of Paraíba, as well as to understand the space of English novels in serialized in Paraíba‘s newspaper.<br>O romance em folhetim inglês O livro dos snobs (1846), de W. M. Thackeray, foi publicado em 1891 no jornal O Estado da Paraíba. Teve sua publicação primeira na revista inglesa Punch (1846), sendo traduzido posteriormente. O principal objetivo do escritor era mostra por meio da sátira uma visão diferenciada da sociedade da Inglaterra vitoriana. Este trabalho consiste em investigar os textos ficcionais e não-ficcionais ingleses presentes nos jornais da província paraibana, mapear os romances ingleses em folhetim e analisar mais detidamente o romance O Livros dos Snobs, corpus desta pesquisa, com a finalidade de compreender as práticas de circulação e publicação do romance inglês em folhetim nos jornais paraibanos no século XIX. Buscamos analisar fontes como artigos, anúncios, reclames, bem como o próprio romance inglês, que serviram de base para mapear a presença de ficção inglesa em periódicos paraibanos. Refletimos com autores como Chartier (1990; 2002; 2011), Barbosa (2007; 2011), Freyre (2000), Ramicelli (2009), Hansen (2004), entre outros, que nos ajudaram a compreender a importância cultural inglesa no desenvolvimento da Paraíba, bem como a entender o espaço dos romances ingleses em folhetim nos jornais paraibanos.
42
Raterman, Jacob Stuart. "(Mi)lieux critiques : Hybridité et hétérotopie dans La Curée et Au Bonheur des Dames." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1438208762.
Full text
43
Croisy, Marion. "La prison dans la littérature française du XIXe siècle. Représentations romanesques et imaginaire social de la modernité carcérale." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA145.
Full textAbstract:
Au XIXe siècle, les représentations de la prison par la littérature sont nombreuses. Études de mœurs et tableaux parisiens explorent l’univers carcéral, et un certain nombre de romans racontent des épisodes d’emprisonnement (Sue, Les Mystères de Paris, Balzac, Splendeurs et misères des courtisanes, Goncourt, La Fille Élisa). La fascination que suscite la prison dépasse largement la seule communauté des hommes de lettres : enquêteurs, hygiénistes, théoriciens du système pénal, s’emparent aussi de cette question. Le XIXe siècle constitue dans l’historiographie contemporaine un moment déterminant de l’histoire pénale. La prison, depuis la Révolution, est perçue comme la clef de voûte d’un nouveau système de sanction. Cette étude, qui privilégie le regard extérieur sur la prison – celui de l’homme qui n’y est pas enfermé – et le récit à la troisième personne pour les fictions romanesques, s’intéresse aux représentations littéraires de la prison à la lumière de cette mutation historique. Tissant des liens avec les domaines du savoir qui accompagnent l’avènement de la prison pénale, la littérature prend une part importante au discours social qui représente, autant qu’il la construit, la modernité carcérale. De ce discours, le lecteur ne pourra manquer de relever les ambivalences et les contradictions. Roman d’aventures et roman de mœurs sentimental, roman de l’enquête sociale et roman édifiant, roman réaliste et roman naturaliste seront tour à tour explorés pour témoigner de la diversité des figurations. Les implications politiques et morales, esthétiques et poétiques de la représentation par la fiction de l’expérience de l’incarcération constituent un enjeu majeur de cette thèse<br>In the 19th century, there were many representations of the prison in literature. Studies of customs and parisian paintings explore the prison and novels describe scenes of imprisonment (Sue, Les Mystères de Paris, Balzac, Splendeurs et misères des courtisanes, La Fille Élisa). The fascination of prisons achieved popularity well beyond literary people : investigators, hygienists, theorists of the penal system, also questioned the issue of imprisonment. Contemporary historiographical views see the 19th century as a pivotal moment in penal history. Since the Revolution, the prison has been perceived as being the corner stone of a new system of punishment. In light of this historical change, this study analyses the literary representations of prisons from an outside point of view, the view of someone who is not imprisoned, and, the narrative using the third person in novels. Forging links with the areas of knowledge that accompagny the introduction of criminal prison, literature plays an important part in the social narrative that represents the modernity of prison life. In this seminar, the reader will not fail to recognize the ambivalences and contradictions. Novels of adventure and romance, social commentaries and moralistic novels, works of realism and of naturalism will all in turn be explored to reflect the diversity of representations. The political and moral implications, but also aesthetic and poetic figuration by the fiction of the experience of incarceration, are a major challenge of this study
44
Becquet, Alexandra. "Ford Madox Ford et les arts : peinture, musique et arts du spectacle dans l'oeuvre romanesque." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030166.
Full textAbstract:
Ford Madox Ford est un écrivain impressionniste qui se veut historien de son temps et paraît représenter la vie moderne grâce à un texte envisagé à partir du visuel pour faire voir. Il encourage ainsi le rapprochement de son écriture avec l’art des peintres français du XIXème siècle, mais il engage dans ses récits une multitude d’arts et d’esthétiques afin de produire son impression suivant sa pensée originale et singulière. Celle-ci soutient l’accumulation et l’association artistiques mises en œuvre dans les romans en brisant les cadres esthétiques établis pour fusionner arts et esthétiques dans une forme qui s’adapte au réel afin d’en structurer l’informe et de le révéler pour en offrir une expérience au lecteur. Soumis au pictural et au théâtral pour se donner à voir dans des tableaux et des scènes, le récit dévoile en fait comment la modernité résiste à l’illusion mimétique. Peinture et théâtre figurent donc non le visible mais sa perte, et les romans sont poussés par leur objet à la dé-figuration proprement moderne que l’esthétique fordienne promeut et que le cinéma porte. Celui-ci donne alors accès à la vision d’un monde fragmenté et en mouvement par sa totalisation dans la métamorphose continue du filmique, qui en outre invite l’identification visuelle. Mais le cinématographique n’ouvre pas à la totalisation du roman, ni à ce dialogue que l’auteur entend engager avec son lecteur sym-pathique pour lui transférer son œuvre. Ce transfert se fait bien par le texte et sa structure mais en définitive hors de la figuration, grâce à la musique du roman qui à la fois gouverne, rassemble et abolit la représentation, les arts et le texte pour faire com-prendre l’œuvre<br>Ford Madox Ford is an impressionist writer who purports to be a historian of his own time and seems to represent modern life in a text conceived visually to make you see. He thus encourages a parallel between his writing and the nineteenth-century French painters’ art to be drawn ; yet he draws on a vast array of arts and aesthetics in his narratives to forge his impression according to his original and singular conception of art. That conception supports the artistic accumulation and association exercised in the novels while it shatters established aesthetic frameworks to merge arts and aesthetics in a form which adapts to reality to structure its formlessness and reveals it to offer an experience of it to the reader. In obeying pictorial and theatrical norms to be seen as pictures or in scenes, the narrative in fact discloses how modernity resists mimetic illusion. So painting and the theatre do not represent visibility but its loss, and the novels are forced by their object to embrace a thoroughly modern de-figuration which Fordian aesthetics endorses and the cinema realises. The latter then grants access to the vision of a fragmented and moving world totalled by the continuous metamorphosis of film, which besides encourages visual identification. However the cinema does not lead to the totalisation of the novel, nor to the dialog which the writer intends to have with his sympathetic reader in order to transfer his artwork onto him. That transfer does happen by means of the text and its structure but ultimately without figuration, through the music of the novel which at once governs, unites and abolishes representation, the arts and the text so the artwork be com-prehended
45
Lamarque-Rootering, Marie-Pierre. "Les adaptations théâtrales de romans français au XIXe siècle." Paris 3, 2007. http://www.theses.fr/2007PA030155.
Full textAbstract:
Littérature ou imposture ? Les adaptations théâtrales de romans français au XIXe siècle envahissent les scènes parisiennes sous la plume des plus grands écrivains : Paul de Kock, Alexandre Dumas père, Eugène Sue, Paul Féval, George Sand, Alexandre Dumas fils, Octave Feuillet, Jules Sandeau, Emile Zola, Alphonse Daudet, Edmond de Goncourt, Jules Verne… Spéculant sur la popularité d’un roman, elles entraînent dans une spirale créative redondante auteurs, directeurs de théâtre et public, tous prisonniers volontaires d’un système de production fondé sur le lucre. Le roman déborde le cadre étroit du théâtre. Le lit de Procuste se métamorphose en boîte de Pandore. Du texte au hors-texte, le roman transporté au théâtre bouscule tous les codes dramatiques référentiels (génériques, structurels, stylistiques, thématiques et spectaculaires), se joue de la conventionnelle Dame Anastasie et affronte une critique dramatique majoritairement hostile, désorientée par une nouvelle poétique d’origine imitative. Du roman-feuilleton à sa dérivation théâtrale, l’imitation, au sens de copie avec transformation, essence de la création littéraire dans son acception aristotélicienne, modifie le paysage dramatique. Invention ou copie ? La propriété littéraire dicte sa loi au sein de conventions littéraires internationales. Le procédé de l’adaptation théâtrale de romans est légalisé en 1886 lors du Congrès de Berne. De « l’imitation » à « l’adaptation », la dérivation en littérature acquiert un statut d’œuvre seconde, œuvre secondaire, indigne de l’histoire littéraire<br>Literature or imposture ? The theatrical adaptations of 19th century French novels invaded the Parisian scene signed by the greatest writers : Paul de Kock, Alexandre Dumas (the father), Eugène Sue, Paul Féval, George Sand, Alexandre Dumas (the son), Octave Feuillet, Jules Sandeau, Emile Zola, Alphonse Daudet, Edmond de Goncourt, and Jules Verne… Speculating on the popularity of a novel, they swept into a verbose creative spiral authors, theatre directors and the public, all voluntary prisoners of a lucrative production system. The novel went beyond the scope of theatre’s narrow context. The Procrustean Couch : The Weight of Word sis metamorphosed into a Pandora’s Box. From text to out of (con)text, the novel transferred to theatre threw all referential drama codes (generic, structural, stylistics, sets of themes and the spectacular) off balance, making a mockery of conventional censurers. It faces a mainly hostile, dramatic criticism disorientated by poetically imitated origins. From the serial story with its theatrical downward spiral, imitation in the sense of a transformed copy, the essence of literary creation in its Aristotelician sense was modifying an already dramatic landscape. Was it invention or copy ? Literary ownership dictated its law within international literary conventions. The process of the theatrical adaptation of novels was legalized in 1886 during the Congress of Bern. From « imitation » to « adaptation », literature spiralled downward to acquire a secondary, second place status unworthy of literary history
46
Pino, Cheroni-Fernandez Beatriz Joselyn. "L'oeuvre d'Eduardo Acevedo Díaz et la constitution de l'imaginaire national en Uruguay." Paris 3, 2008. http://www.theses.fr/2008PA030139.
Full textAbstract:
Cette thèse est consacrée à l’étude des romans historiques de l’écrivain uruguayen Eduardo Acevedo Díaz : Ismael (1888), Nativa (1890), Grito de gloria (1893) et Lanza y sable (1914). Ce travail est organisé en trois parties auxquelles s’ajoutent une Introduction et une Conclusion : 1 - La conception de l’histoire selon Eduardo Acevedo Díaz qui comprend l’étude du traitement des faits réels, ainsi que celle des personnages historiques. 2 - Autres aspects de l’écriture littéraire, à travers lesquels sont analysés les descriptions de la nature, le « costumbrismo », le traitement des personnages fictifs et divers aspects des instances narratives. 3 - L’œuvre : sa portée et ses résultats cette partie traite des conditions de la création de l’Etat uruguayen et des objectifs d’Acevedo Díaz : contribuer à la création d’une identité nationale et par conséquent à la constitution d’un imaginaire national. On y étudie les différents aspects de ce projet, en partant de l’exaltation des éléments naturels et de la geste indépendantiste pour aborder ensuite les différents aspects de la polémique et finir par la réhabilitation d’Artigas. Cette polémique nous a amené à prêter attention à l’œuvre de divers auteurs tant argentins qu’uruguayens qui à l’époque décrièrent la lutte pour l’indépendance et ses héros, en particulier José Artigas. Eduardo Acevedo Díaz s’investit donc dans l’élaboration d’une légende blanche, tout en discréditant ceux qui s’y opposaient<br>This thesis centres on the study of the historical novels of Uruguayan writer Eduardo Acevedo Diaz: Ismael (1888), Nativa (1890), Grito de gloria (1893) and Lanza y sable (1914). It comprises three parts, in addition to the Introduction and the Conclusion: 1 - Eduardo Acevedo Diaz’s conception of history. This part includes the study of the way in which real facts as well as historical characters are portrayed. 2 - Other aspects of literary writing. In this part the descriptions of nature, the “costumbrismo” and the treatment of different aspects of the narrative instance are analysed. 3 - The works: their scope and significance. This part deals with the circumstances of the creation of the Uruguayan State and Acevedo Diaz’s objectives: contributing to the creation of a national identity and therefore to the shaping of the national imagination. Different aspects of this project are discussed, from the exaltation of geography and the epic of the independence movement, through different controversies, to the rehabilitation of José Artigas. The controversies lead to the examination of various writers – Argentine as well as Uruguayan – who, at the time, violently attacked the fight for independence and its heroes, in particular José Artigas. Thus, Eduardo Acevedo Diaz devotes himself to the creation of a white legend and refutes opposing views
47
Blakeney, Luda Katherine. "Silent Era adaptations of 19th and early 20th century Gothic novels with a special emphasis on psychological and aesthetic interpretations of the monster figure." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/23630.
Full textAbstract:
My research is centred around Silent Era films adapted from nineteenth and early twentieth century Gothic literature with a special emphasis on the figure of the monster and its translation from literary to cinematic form. The corpus I have assembled for the purposes of this analysis comprises sixty-six films made in ten different countries between 1897 and 1929. Many of these films are considered lost and I have endeavored to reconstruct them as much as possible using materials located in film archives. The Introduction lays out the ground covered in the thesis and provides a working definition of ‘monstrosity’ in this context. The first chapter deals with the historical, economic, cultural, social and technological contexts of the films under discussion. The second chapter approaches the eight literary monster figures who form the core of this thesis through the lens of Adaptation Theory. The third chapter examines the elements of cinematic language that were particularly relevant to translating monster characters and Gothic literary narratives into silent film, placing this corpus into the context of silent film history and theory. The fourth chapter reviews a cross-section of intermedial systems of classification that have been applied to monster figures, and proposes a new system that would reflect the multifarious nature of the silent film Gothic literary monster. Chapters Five through Nine offer a theoretical framework for classifying the principal characteristics of the silent film Gothic monster by applying various philosophical and aesthetic concepts. The final chapter summarises the material presented in earlier chapters and offers relevant conclusions demonstrating how these films employ the unique characteristics, conventions, and limitations of the silent film medium in their representations of the Gothic literary monster.
48
Wood, Sarah. "The American Reception of Jane Austen's Novels from 1800 to 1900." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500351/.
Full textAbstract:
This thesis considers Jane Austen's reception in America from 1800 to 1900 and concludes that her novels were not generally recognized for the first half of the century. In that period, she and her family adversely affected her fame by seeking her obscurity. From mid century to the publication of J.E. Austen-Leigh's Memoir in 1870, appreciation of Austen grew, partly due to the decline of romanticism, and partly due to the focusing of critical theory for fiction, which caused her novels to be valued more highly. From 1870 to 1900 Austen's novels gained popularity. The critics were divided as to those who admired her art, and those who found her novels to be dull.
49
Sundt, Catherine Elizabeth. "Constructing Madrileños: The Reciprocal Development of Madrid and its Residents (1833-1868)." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343334471.
Full text
50
Picq, Elisabeth. "Popular fiction in France and England, 1860-1875 : convention, irony and ambivalence in the novels of Paul Féval and Wilkie Collins." Thesis, University of St Andrews, 2000. http://hdl.handle.net/10023/11112.
Full textAbstract:
This thesis is a comparative study of two popular nineteenth-century writers, Paul Feval and Wilkie Collins, and by extension, of their respective traditions, the Roman-Feuilleton and the Sensation novel. At the same time, the thesis seeks to provide new insight into the nature and function of popular fiction as a genre. This study argues that, contrary to common assumptions, popular fiction is a complex and dialogic form. As a comparative project, this thesis underscores similarities and differences between the two writers. Chapter I looks at the narrative structures of the novels. It demonstrates that the use of archetypal story-patterns and characters leaves room for 'both thoughtful and ironically playful narrative experiments, resulting in a surprising degree of self-reflexivity. Chapter Il emphasises the dialogic nature of the texts by examining the ways they evoke and rework different genres and registers. It argues that the mingling of tones and moods serves both to stimulate readers' pleasure and to convey criticism of contemporary society. Making use of Mikhaïl Bakhtin's theories on popular culture, this section highlights the carnivalesque nature of the texts. Chapter III addresses in detail the formal influence of the theatre on the two sets of texts and investigates the use of theatrical metaphors in the novels as a way to explore the workings of society. Chapter IV sets out to redress common assumptions about the conservatism of Féval's narratives and the radical nature of Collins' novels by highlighting the existence of two contrary discourses, one manichean and conservative, the other rebellious and immoral. Chapter V makes use of René Girard's theory of the scapegoat. By showing how the two discourses articulate around a scapegoat figure, it draws a parallel between the mechanisms of popular fiction and social mechanisms. Finally, this section argues that both Féval and Collins were aware of the ideological charge of the form they were using and of its limitations.