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Dissertations / Theses on the topic 'Animals as literary characters'
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1
Berg, Mattsson Alexander. "The unraveling of Orwell´s puzzle : A literary analysis of the characters in George Orwell´s Animal farm." Thesis, Karlstads universitet, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-27052.
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2
Ertin, Serkan. "Dissociation Of Literary Characters: The Use Of." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607301/index.pdf.
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&ldquoDissociative Identity Disorder&rdquo
, also known as split or multiple personality disorder, made its appearance in literature in the form of &lsquo
the double&rsquo
, a projected dual personality. Ralph Tymms is believed to be the first to use the psychological provenance of the double as a literary device. To date, many publications have been made on Dissociative Identity Disorder, and many literary works dealing with &lsquo
the double&rsquo
have been published. However, the subject of the double, in all its literary and psychological manifestations, has not yet found the sufficient research and up-to-date study that it deserves. This paper ventures to study some of the links between Modern British Drama and Clinical and Social Psychology. It analyses the fact that although people adopting Dissociative Identity Disorder as a defence mechanism against social and personal constrictions are viewed outside the norms of personality structure, this practice allows them to create a personal space and a personal voice in the conditions they find themselves in. To this end, the characters Susan, Gareth, and Alan in the plays Woman in Mind, Philadelphia, Here I Come!, and Equus, written by Alan Ayckbourn, Brian Friel, and Peter Shaffer, respectively, will be studied.
3
Olszok, Charis. "Creaturely encounters : animals in the Libyan literary imaginary." Thesis, SOAS, University of London, 2016. http://eprints.soas.ac.uk/23805/.
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4
Winquist, Steven Todd. "A comparative analysis of two secondary sexual characters in birds." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26184.
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This thesis investigates the evolution of two secondary sexual characters in birds, large male body size and exaggerated male tail length. To determine whether the elaboration of these two characters is associated with two correlates of sexual selection intensity, mating system and parental care, I collected and examined morphological information for 1,990 species and natural history data for 745 species. Comparative studies should account for the problem of related species sharing similarities through common descent, so here I investigate associations with contrast scores that measure the variation radiating from unique ancestral nodes in a phylogeny. I show that greater polygyny correlates strongly with increasing male size but only slightly with longer male tail length, and that lesser paternal care correlates strongly with both traits. These results indicate that the evolution of increased male body size and exaggerated male tail length in birds is substantially influenced by the intensity of sexual selection.
5
Paddock, Alexandra Angharad. "Beastly spaces : geomorphism in the literary depiction of animals." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:117bf706-74c4-4682-8ecb-36bc1af34562.
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In 2010, Simon Estok observed that, "the most immediate question ecocriticism can ask is about how our assumptions about animals affect the natural environment". In this thesis, I respond to this challenge by generating a sustained conversation between the hitherto surprisingly distinct fields of animal studies and ecocriticism. I do this by formulating a new critical concept, that of the geomorphic animal, which I use to show how literary representations of animals often expose the many complex ways in which they constitute space rather than simply inhabiting it. This, in turn, should make them central to future ecocritical readings. I focus on two periods, medieval and modern; the broad historical and generic scope of this thesis is intended to demonstrate the conceptual validity and robustness of geomorphic readings. Chapter One shows how concerns with death and symbiosis are expressed through the earth-bound activities of the geomorphic animals of the Exeter Book riddles. Chapter Two examines geomorphic whales in texts deriving from two related traditions: the Book of Jonah and the Physiologus. Chapters Three and Four focus on modern theatre, which affords distinctive ways of articulating the spatial implications of geomorphism. Chapter Three discusses the literary representation of museums and zoos in terms of the interpretative complexities generated by staging and spectacle. Chapter Four, focusing on mediation, discusses the interplay between animals, viewpoints and place in theatre, also taking into account particular issues arising from the adaptation of plays into films. This argument paves the way to addressing the geomorphic depiction of marginalised humans and human groups, suggesting the critical potential of geomorphism as a means of furthering feminist and post-colonialist aims.
6
Smith, Stephen Michael. "Herodotus' use of animals : a literary, ethnographic, and zoological study /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303136548.
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7
Ucar, Ozbirinci Purnur G. "Mythmaking In Progress: Plays By Women On Female Writers And Literary Characters." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/2/12608981/index.pdf.
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This thesis analyzes the process of women&rsquos mythmaking in the plays written by female playwrights. Through writing the lives of female writers and rewriting the literary characters, which have been created by male writers, the women playwrights assume the role of a mythmaker. A mythmaker possesses the power to use the &lsquo
word,&rsquo
thereby possesses the power to control &lsquo
reality.&rsquo
However, for centuries, women have been debarred from generating their own myths, naming their own experiences, and controlling their own &lsquo
realities.&rsquo
Male mythmakers prescribed the roles women were required to perform within the society. Feminist archetypal theorists believe that through a close study of related patterns in women&rsquo
s writing, common grounds, and experiences, the archetypes shared by women will be disclosed. Unveiling these archetypes will eventually lead to the establishment of new myths around these archetypes. As myths are regarded as the source of collective experiences, analyzing how women have rewritten, revised, devised, and originated myths would thus permit women to reclaim the power to name, and hence to influence the so-called reality established by the patriarchy. Hence, this study analyzes the constantly developing process of women&rsquo
s mythmaking/mythbreaking in Liz Lochhead&rsquo
s Blood and Ice, Rose Leiman Goldemberg&rsquo
s Letters Home, Bilgesu Erenus&rsquo
Halide, Timberlake Wertenbaker&rsquo
s The Love of the Nightingale, Bryony Lavery&rsquo
s Ophelia, and Zeynep Avci&rsquo
s Gilgamesh. These playwrights try to depose the stereotypical images attributed to women by male mythmakers.
8
Alcorn, Haili A. "Beauty and the Beasts: Making Places with Literary Animals of Florida." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7462.
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Place theory examines the relationship between human identity and physical locations, asking how meaningful attachments are formed between people and the spots they visit or in which they live. Literature of place exhibits this relationship and the myriad ways humans connect to their environment through storytelling, both fictional and nonfictional. Florida literature, an emerging and dynamic genre, features characters, cultures, and histories heavily embedded in place. Florida’s places also abound with animal presences, and literature about Florida almost always illustrates significant human-animal interactions that drive plots and character development. Therefore, Florida literature invites consideration of how animals influence human attachment to the land in stories written by Florida authors. Scholarly attention has noted the important relationships formed by humans and animals in literature about Florida, but no extensive study incorporating place theory, ecocriticism, and close reading has been done on the literary representation of Florida animals or their contribution to the state’s diverse reputations.
This dissertation brings together theories about place attachment, ecocriticism, and critical animal studies (CAS) to illustrate the roles of fictional and nonfictional animals in works by six Florida authors: William Bartram, Marjory Stoneman Douglas, Marjorie Kinnan Rawlings, Elizabeth Bishop, Rachel Carson, and John Henry Fleming. These works contain prominent animal characters that illuminate four ways of seeing Florida: idyllic Florida, wild Florida, opportunistic Florida, and mysterious Florida. These identities build off historical views about Florida as place: explorers, tourists, and developers projected their hopes for advancement onto the state based on its reputation as an exotic paradise, wild hinterland, or untouched beacon for industry and agriculture. Literature helped to produce these ideas about Florida through travel writing, but Florida stories also critique opportunistic ideologies responsible for harming animals and the environment. Literature can also preserve Florida’s mysteries and myths, offering narratives about nature and animals that challenge notions of human superiority. Thus, literature enacts a dynamic engagement with the four faces of Florida I discuss.
Florida animals are vital to the construction of these four identities. For example, Henry Bunk, the protagonist of Douglas’s Alligator Crossings, sees the Everglades as an idyllic alternative to the city for its many birds and fish. Rawlings depicts Cross Creek as a wild host to deadly snakes, predatory big cats, and ubiquitous insects. Bishop captures through poetry the ordinary activity of Florida fishing in such a way that invites us to question the harm inflicted on animals for the opportunity of recreation. Fleming’s stories suggest that exploration, industry, and science have mostly erased the mysteries of Florida’s natural world, but his enigmatic and monstrous animals, along with their ties to the land, offer hope for reviving a meaningful attachment to the land.
This dissertation connects literary representations of animals to real forms of violence occurring in Florida today, including fishing, caged hunting, and animal captivity. The works examined herein can prompt readers to rethink their own relationships to place and to nonhuman nature. As a cultural force, literature holds the potential for effecting change in our world. Beginning with the local is one way of witnessing this potential for the dynamic interplay between literature and place.
9
Hudson, Don Michael. "The contribution of characterization to the understanding of the Judges 19-21 narrative a literary analysis /." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.
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10
Danna, Elizabeth. "Which side of the line? : a study of the characterisation of non-Jewish characters in the Gospel of John." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/4708/.
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The theme of kpiσιϛ which runs through the gospel has been taken account of in studying the characterisation of "the Jews," but never yet of non-Jewish characters. The method set out covers all the important aspects of characterisation, including both anthropological and rhetorical interests. This method is then applied to the gospel's non-Jewish characters. The Samaritan woman's faith is tentative and hesitating at best; she sees Jesus only as a prophet. Her faith is ambiguous, but not ineffective. The ambiguity in her faith is resolved by the townspeople's. The title Saviour of the World indicates that Jesus has transcended expectations as he inaugurates a new worship which transcends all the old racial and geographical barriers. The pericope of the Greeks is brief, but important, for their arrival signals the coming of Jesus' "hour". At the moment when Jewish rejection of Jesus is becoming complete, a group of Gentiles ask to become part of the redefined people of God. The pericope is, significantly, brief and open-ended. The Johannine Pilate wants to avoid taking a stand for Jesus, and so is forced to take a stand against him. He has the authority simply to drop the charges against Jesus. But he is too afraid of the Jewish leaders to drop the charges, and not sufficiently perceptive or clever to get around the Jewish leaders by more oblique means. More than that, his indecisiveness and fear lead him to become a theomachos. "The Jews" force Pilate to give in by appealing to his patron-client relationship with Caesar. He is outmanoeuvred and shamed by "the Jews", and his actions after the trial are an attempt to salvage some gain from the affair, and revenge his humiliation. While political considerations are not absent from these passages, what is in the forefront is not Roman-Jewish relations but Pilate's reaction to Jesus; where he will take his stand in the kpiσιϛ. Here again the theme of kpiσιϛ appears -1 argue that the theme is relevant to the characterisation of non-Jewish as well as Jewish characters.
11
Schuller, Kyla C. "Sentimental science and the literary cultures of proto-eugenics." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3356443.
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Thesis (Ph. D.)--University of California, San Diego, 2009.Title from first page of PDF file (viewed June 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 302-329).
12
Corwin, Harney James. "Reading with empathy : the effect of self-schema and gender-role identity on readers' empathic identification with literary characters /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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13
Wamitila, Kyallo Wadi. "What`s in a name: towards literary onomastics in Kiswahili literature." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91911.
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A mention of name in literature is almost always likely to recall the question Juliet posed to Romeo about his family name Montague in William Shakespeare´s Romeo and Juliet. In reading creative works we tend to identify characters basically by the names given to them. It is on this basic premise that some character analysis methods tend to define characters by taking recourse to their names and sometimes identifying them in metaphorical terms or as speaking names. Names play a very central and important role in any reading exercise and so would certainly the names given to characters be of importance to us. These are linguistic or semiotic signs that play a very crucial role in the overall linguistic structure of a literary text or its signification. Decoding of the names therefore becomes an important critical engagement in as far as it helps the reader in his deciphering of the text in which the names are. Characters´ names, as this article will show, can be used artistically to achieve a number of goals like encoding a central trait in a particular character´s signification, embracing crucial thematic motifs, ideological toning as well as even showing the particular writer´s point of view. Some of these qualities are easily lost in translation.
14
Bromley, Amy Nicole. "Virginia Woolf and the work of the literary sketch : scenes and characters, politics and printing in 'Monday or Tuesday' (1921)." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/8876/.
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This thesis foregrounds Virginia Woolf’s 1921 volume of short fiction, Monday or Tuesday, examining its aesthetic qualities and formal strategies through the lens of the literary sketch. ‘Sketch’ is a term that has been invoked in criticism of Monday or Tuesday since its publication, but the provenance of the sketch as a literary genre and its centrality to Woolf’s aesthetic practices have not yet been fully examined in Woolf studies. The idea of the sketch is most often raised in analysis of her unfinished memoir, ‘A Sketch of the Past’, and as a descriptor for the general plotlessness of her short fiction; yet, the historical specificity and formal strategies of the sketch as an established literary genre have largely been elided in such discussions. Attending to the frequency and precision of Woolf’s own use of the term ‘sketch’, and particularly to her declared intention to ‘keep the quality of the sketch in the finished and composed work’ (D II 312), this thesis elucidates the sketch as a key mode of writing for Woolf. It argues that she achieved her desired combination of the sketch and the finished work most fully in the first Hogarth edition of Monday or Tuesday. A set of texts more usually encountered in anthologies or integrated with Woolf’s other short fiction, Monday or Tuesday has itself occupied a relatively marginal place in the critical construction of Woolf’s oeuvre. Although there has been a recent surge of work on the short fiction, Monday or Tuesday has yet to be foregrounded as the sole object of a monograph, or to appear as a scholarly edition. This thesis reads Monday or Tuesday in its entirety, in the specificity of its original publication by Woolf’s Hogarth Press, and considers what is at stake in reading this work as a collection of literary sketches. The analysis performed is grounded in the material qualities of the first UK edition, where the woodcuts by Vanessa Bell and the uncorrected mistakes made in the hand-printing of the book contribute to the effects of the sketch as it appears in print. In these aspects, the thesis builds on the substantial body of scholarship on the Hogarth Press and Bloomsbury aesthetics to discuss Monday or Tuesday as a printed sketchbook. It shows how the sketch manifests in Monday or Tuesday’s material appearance, where it combines the ‘evanescent’ and ‘engraved’ qualities later formulated alongside ‘the life of Monday or Tuesday’ in Woolf’s manifesto for ‘Modern Fiction’ (1925). Utilising Woolf’s own terminology throughout, the thesis explores the simultaneous ephemerality and permanence of the sketch, as something which can project into a future moment of writing, and whose significance can be realised belatedly; as something which works explicitly with the surface impression but which also layers moments of making. The thesis begins by drawing on recent scholarship to outline a history of the sketch as a literary genre which was popular throughout the eighteenth and nineteenth centuries in Europe and America, and identifies examples of this tradition with which Woolf was familiar. Woolf’s deployment of the term ‘sketch’ is discussed in detail, from her early journals and juvenilia to her memoir, and the thesis proceeds to study the ways in which the sketch is at work in Monday or Tuesday. It examines the book’s contents under some conventional categories of the sketch: the scene, the character, and the political sketch. The central chapter of the thesis discusses the poetics and narrative strategies of scene-making and character-sketching, and Chapter Four highlights the feminist political inflections of Woolf’s use of the sketch. These readings show how the literary sketch is not defined simply by its fragmentary, ekphrastic or unfinished qualities, but also utilises narrative strategies of suggestion, deferral and interruption. The thesis reaches for finish in the final chapter by examining the material qualities of the book, including an examination of key variants between the first British and first American editions. While it makes serious strategic claims for the sketch as one possible genre through which to approach Monday or Tuesday, the thesis does not claim to definitively categorise these texts as sketches once and for all. Rather, in the attempt to treat these texts in broad-stroke but incisive detail, it acknowledges the procedures of the sketch itself – its representative provisionality, its potential to function as a detailed study, and its creation of a basis for re-working. It takes the idea of the sketch as a critical apparatus by which to perform the experimental reading that Monday or Tuesday’s own narrative strategies invite. The thesis ultimately seeks to foreground the work of both Monday or Tuesday and the literary sketch in Woolf’s modernist aesthetics, and to prepare the ground for future study of their significance for modernism more generally.
15
Mikučionienė, Eglė. "Translation Strategies for Characters’ Speech in the Lithuanian Versions of Katherine Paterson’s The Great Gilly Hopkins and The Same Stuff as Stars." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080805_135811-53994.
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This thesis focuses on the way in which characters’ speech in the well-known American writer Katherine Paterson’s two novels for children, The Great Gilly Hopkins (1978) and The Same Stuff as Stars (2002), is translated by Romualda Zagorskienė and Renata Valotkienė, respectively in 1989 and 2005. The aim of this analysis is to consider and compare how Zagorskienė and Valotkienė deal with lexico-grammatical features that are hard to translate: grammatically deviant forms, colloquial forms, dialect and, especially, kinds of vocabulary that mark each character’s sociolect, such as the use of swearwords or name-calling. Further, the thesis looks at the effects of the strategies they choose on the presentation of characters and their relationships in the novels.
The hypothesis that a number of lexico-grammatical features of characters’ speech will be standardized in translation has been raised, as this is suggested by current theoretical and practical research in translation studies. Thus, at first several relevant theoretical issues, based in particular on Gillian Lane-Mercier and Tiina Puurtinen’s theoretical research on the translation of tenor in fictional dialogues and literary sociolects, as well as what are known as the universals of translation are presented.
In the thesis, the analysis of Zagorskienė and Valotkienė’s strategies is divided into two major parts. First, in Section 3, a detailed analysis of Zagorskienė and Valotkienė’s strategies for translating swearwords... [to full text]Šiame darbe nagrinėjamos veikėjų kalbos vertimo strategijos įžymios amerikiečių rašytojos Ketrinos Paterson knygų vaikams „Smarkuolė Gilė Hopkins“ (The Great Gilly Hopkins, 1978 m.) ir „Kaip ir žvaigždės“ (The Same Stuff as Stars, 2002 m.) lietuviškuose vertimuose. „Smarkuolę Gilę Hopkins“ 1989 m. į lietuvių kalbą išvertė vertėja Romualda Zagorskienė, o „Kaip ir žvaigždes“ – 2005 m. vertėja Renata Valotkienė. Darbo tikslas – išanalizuoti R. Zagorskienės ir R. Valotkienės taikytas vertimo strategijas ir palyginti būdus, kuriais vertėjos perteikė leksines ir gramatines veikėjų kalbos ypatybes, pavyzdžiui, gramatiškai netaisyklingas žodžių formas, šnekamosios kalbos formas, dialektus ir ypač leksiką, kuri būdinga tam tikro veikėjo sociolektui (pavyzdžiui, keiksmažodžius, plūstamuosius žodžius ar epitetus). Be to, šiame tyrime nagrinėjamas vertėjų pasirinktų strategijų poveikis veikėjų ir jų tarpusavio santykių pavaizdavimui. Hipotezė, kad tam tikros leksinės ir gramatinės veikėjų kalbos ypatybės verčiant sunorminamos, keliama remiantis šiuolaikiniuose teoriniuose ir praktiniuose vertimo tyrimuose keliamomis prielaidomis. Todėl, pirmiausia aptariami atitinkami teoriniai klausimai, daugiausia – Gillian Lane-Mercier ir Tiinos Puurtinen teoretiniai vertimo tyrimai, kurių objektas – literatūrinių dialogų intonacijos, emocinių atspalvių (tenor) ir literatūrinių sociolektų vertimas. Aptariamos ir vadinamosios universaliosios vertimo strategijos (translation universals). Nagrinėjant R... [toliau žr. visą tekstą]
16
Pedersen, Jessica. "Gender in Pride and Prejudice : A look at gender roles relating to the characters Elizabeth and Lydia Bennet." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101421.
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This essay will discuss gender in Pride and Prejudice, the timeless work by Jane Austen. It also discusses how a teacher might approach the subject of gender roles in a classroom environment based on a reading project featuring Pride and Prejudice. The different theories will include theories regarding gender as a social concept, gender roles and pedagogical implications. This essay argues that the gender roles in Pride and Prejudice can be used in an EFL classroom to increase students' awareness of gender and gender roles.
17
Bukatz, Tamara. "The practical difficulties of applying current trade mark law, actions for passing off and copyright law to literary fictional characters per se, independent of the original work." Thesis, Bangor University, 2017. https://research.bangor.ac.uk/portal/en/theses/the-practical-difficulties-of-applying-current-trade-mark-law-actions-for-passing-off-and-copyright-law-to-literary-fictional-characters-per-se-independent-of-the-original-work(a440313e-8f53-43ad-8c44-7ee1f5426011).html.
Full textAbstract:
Fictional characters have a gigantic commercial and social appeal. Fans create fanfiction and other transformative works. Professionals create films, plays and artwork or literary, musical, and other works based on the underlying work by another author. These professionals as well as third parties are involved in character merchandising. Disney reported a revenue of USD 45.2 billion just for retail sales of worldwide licensed products in 2014. The appeal of fictional characters is not limited to artistic fictional characters (AFCs), but also encompasses literary fictional characters (LFCs), such as ‘Harry Potter’ and ’The Doctor’. The plot-independent protection of LFCs is more challenging than AFCs, because of their representation in words instead of images. Non-graphic representation inevitably leaves more to the imagination of the reader. Regardless, authors’ interests in their LFCs are worth protecting. Copyright is more appropriate than trade mark law and actions for passing off when it comes to the protection of authors against unauthorized exploitation of LFCs per se for new professional literary and other works, fanfiction, mash-ups or other transformative works by amateur content creators, as well as unauthorized character merchandise. Copyright vests in the author automatically. No formalities are required. No cost is involved. Moreover, under copyright law LFCs would benefit from a set of moral rights, which could protect the LFC per se i.a. against unsavoury distortion or attribution to another than its creator. Trade mark law is ill equipped for the protection of LFCs, i.a. because names of LFCs are often devoid of distinctiveness and are descriptive of posters, notebooks, and similar products which feature the characters. Passing off actions are also suboptimal. Like trade marks, an action for passing off is also trader orientated instead of author orientated. This leads to an imbalance favouring whoever fulfils the criteria for a claim that the tort passing off has been committed. Thus, even a free-riding trader can claim protection against the author who actually created the LFC. However, in order to accommodate copyrightability of LFCs per se, a combination of judicial re-interpretation and changes to the Copyright, Designs and Patents Act 1988 are required. These are set out in this thesis. The effect of the ‘new‘ originality standard (‘the author’s own intellectual creation‘) on LFC copyrightability shall be discussed as well. Both foreign common law jurisdictions (namely Canada and the USA) as well as civil law jurisdictions (namely Germany and France) provide insights into the protection of LFCs by copyright. Each country has its own strong points to offer: In Canada, LFCs are copyrightable, if they are distinct and recognized by the public. Moreover, an exception concerning user-generated content, which affects fanfiction, was introduced into the Canadian Copyright Act 1985 by the Copyright Modernization Act 2012. In the USA, LFCs have been protected since 1930 and two tests have been developed to judge LFC copyrightability. In Germany, quite a number of copyright cases concerning LFCs, in particular with regard to character merchandising, have been decided. Even the Supreme Court held that LFCs can attract copyright. In France, LFCs can enjoy copyright protection even after the economic rights have expired, because the moral rights last indefinitely. In addition to critically evaluating how LFCs could be protected by copyright plot-independently, this thesis also considers how further legal certainty could be provided for parties intending to reuse existing LFCs. In this regard, this thesis looks i.a. into the viability of an extension of PLSclear in collaboration with the Copyright Hub to licensing of LFCs via this system.
18
Pereira, Cilene Margarete. "Jogos e Cenas do Casamento : construção e elaboração das personagens e do narrador machadianos em Contos Fluminenses e Historias da Meia Noite." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269940.
Full textAbstract:
Orientador: Carlos Eduardo Ornelas BerrielTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-11T01:14:41Z (GMT). No. of bitstreams: 1 Pereira_CileneMargarete_D.pdf: 1753260 bytes, checksum: 0a874ff24fc394827cbc5366ad418df6 (MD5) Previous issue date: 2008
Resumo: Em ¿Jogos e Cenas do Casamento¿, nosso objetivo principal é apresentar um estudo detalhado da construção e do modo como Machado de Assis elabora suas personagens e seus narradores em Contos Fluminenses (1870) e Histórias da Meia Noite (1873). Se considerarmos a imagem principal que une as treze narrativas desses livros, veremos que todas ¿ a exceção aparente é ¿Aurora sem dia¿ ¿ são histórias de amor que têm como imagem/tema central o casamento, seja nos preparos que antecedem o contrato ou em seus aspectos cerimoniais, seja na intimidade conjugal dos lares já concebidos. Mais do que isso, há um elo maior entre as histórias, e uma imagem que se afirma como preponderante: o fracasso do casamento. As mocinhas e os heróis machadianos são construídos mediante as dificuldades e os problemas matrimoniais, decorrentes muitas vezes de imposições paternas ou das expectativas (mediadas, sobretudo, pela literatura) e experiências amorosas dos envolvidos. São essas personagens, em última hipótese, que veiculam essas imagens de fracasso e as apresentam ao leitor. Mas nesse processo de captação do amor e do casamento aparece quase sempre um narrador a sussurrar no ouvido do leitor algo acerca da personagem e da imagem amorosa construída por ela. Dessa forma, as imagens e cenas matrimoniais são filtradas (e desestabilizadas) pelas exposições de personagens e narradores, uns a intervirem na concepção amorosa de outros. Por isso, este estudo prioriza não só a caracterização dessas primeiras personagens machadianas, mas também dos narradores desses contos como forma de examinar melhor o modo como ambos constroem essas imagens amorosas e a partir de que outras associações elas nascem e se definem, já que se tratam, na maior parte das vezes, de homens e mulheres inexperientes em relação ao amor e à própria realidade do casamento.
Abstract: In ¿Jogos e Cenas do Casamento¿, our main objective is to introduce a detailed study of the construction and the way Machado de Assis elaborates his characters and narrators in Contos Fluminenses (1870) and Histórias da Meia Noite (1873). If we consider the mainstream image that joins the thirteen narratives of this collectanea, we will see thal all of them ¿ the apparent exception is ¿Aurora sem dia¿ ¿ are love stories that bears as a mainstream image/theme the marriage, either in the preparations that happen before the contract or its ceremonials aspects, either in conjugal intimacy of conceived homes. Moreover, there is a bigger link between the stories and an image that is itself preponderant: the failure of marriage. The ¿machadianos¿ ladies and heroes are constructed the difficulties and matrimonial problems, generated most of the time by father impositions or expectancy (mediated for literature) and love experiences of the involved ones. These characters are in last hypothesis, the ones that take the images of failure and introduce them to reader. But in this process of catching love and marriage, almost always there is a narrator whispering something on the ear¿s reader about the characters and the loving image constructed by the character. In this way, the matrimonial images and scenes are filtered for expositions of the characters and narrators, intervening in the loving conception of each other. Thus, this study prioritizes not only the characterization of the first ¿machadianos¿ characters, but also the tale¿s narrators as a way of examining better how they both construct these loving images and from where other possible associations are born and defined, once they deal, most of the times, with inexperienced men and women in relation to love and the reality of marriage.
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária
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Souza, Melody Pablos. "DA PENA À PELÍCULA: AS PERSONAGENS DE CARANDIRU." Universidade Metodista de São Paulo, 2009. http://tede.metodista.br/jspui/handle/tede/859.
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Previous issue date: 2009-04-06This study focuses the adaptation of the book Estação Carandiru, written by Drauzio Varella, to the movies, concerning the construction of the characters. Therefore, a listing of the characters and their characteristics was made, from both the book and the movie. The main objective is to understand the choices made in this dialog between medias, from where the movie Carandiru, by Hector Babenco, originated, considering that there was a great reduction in the number of characters. For this analysis, the methodological process adopted was the descriptive research. It was verified that most part of the characters origins come from the fusion of literary characters. But it was also found that literary characters were dismembered and some of them were eliminated. No new character was found.(AU)
Este estudo enfoca a transposição da obra literária Estação Carandiru, de Drauzio Varella, para o cinema, no que tange à construção de suas personagens. Para tanto, fez-se um levantamento das personagens e de suas características, de ambas as obras. O objetivo maior é compreender as escolhas feitas durante este diálogo entre mídias, que originou o filme Carandiru, de Hector Babenco, visto que houve uma grande redução no número de personagens. Para esta análise, adotou-se a pesquisa descritiva como procedimento metodológico. Constatou-se que a maior parte das origens das personagens cinematográficas vem de fusões de personagens literárias. Mas também foram encontradas personagens literárias que foram desmembradas e algumas que foram eliminadas. Não se encontrou nenhuma personagem acrescentada.(AU)
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Santoro, André Cioli Taborda. "O que há de literário no jornalismo literário?: estudo sobre a utilização de personagens em narrativas jornalísticas." Universidade Presbiteriana Mackenzie, 2014. http://tede.mackenzie.br/jspui/handle/tede/2347.
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Previous issue date: 2014-08-04Fundo Mackenzie de Pesquisa
This work presents concepts related to the understanding of the approach process between Journalism and Literature: the construction of characters. I propose that the use of characters is a key strategy of in-depth journalistic texts, as the major report and the book report. I also point out that this same strategy, yet to be properly explored in the field of research on media discourse, is one of the main hallmarks of the so-called Literary Journalism. The theoretical and conceptual foundations of this thesis are based on authors who have works on the construction of characters in literature and other discursive genres such as Antonio Candido, Oswald Ducrot, Tzvetan Todorov and Terry Eagleton, among several others. The main object of analysis is the book Abusado, written by the Brazilian journalist Caco Barcellos.
Este trabalho apresenta conceitos relacionados à compreensão de uma das vias de aproximação entre o jornalismo e a literatura: a construção de personagens. Proponho que o uso de personagens se apresenta como uma estratégia fundamental na elaboração de textos jornalísticos aprofundados, como a grande reportagem e o livro-reportagem. E indico que essa mesma estratégia, ainda não devidamente explorada no campo de pesquisas sobre o discurso jornalístico, é uma das principais marcas distintivas do chamado jornalismo literário. O embasamento teórico-conceitual desta tese se ampara em autores que têm obras sobre a construção de personagens na literatura e em outros gêneros discursivos, como Antonio Candido, Oswald Ducrot, Tzvetan Todorov e Terry Eagleton, entre vários outros. O principal objeto de análise é o livro Abusado, do jornalista brasileiro Caco Barcellos.
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Eliotério, Rosane Queiroga. "Personagens planos e esféricos como reveladores de um discurso afrodescendente na obra de Machado de Assis e de Lima Barreto." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/7018.
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O presente projeto tem como escopo apresentar um experimento interventivo, cujas ações incidem na leitura, mais especificamente, no campo da literatura. Visando ampliar o repertório literário de alunos de uma turma do 9o ano do Ensino Fundamental, nos propomos como mediadores e agentes literários, à leitura de textos canônicos de autores brasileiros afrodescendentes. A escola na qual a proposta será executada é integrante da rede pública do município mineiro de Juiz de Fora. Gerado a partir do ProfLetras da UFJF, o projeto teve início pela aplicação de uma pesquisa junto aos alunos. Seu resultado apontou em duas direções: a primeira indicou repertório literário pouco diversificado e muito restrito a best sellers e à literatura infantil-juvenil; já a segunda, sinalizou um interesse pela figura narrativa do personagem. Desse diagnóstico surgiu a proposta de ampliação do letramento literário, pelo estudo dos personagens planos e esféricos na literatura canônica brasileira. Escolhemos os gêneros textuais conto e romance pois, neles, além de os personagens serem relevantes na trama narrativa, há possibilidade de experienciar a ampliação do sistema literário por parte dos alunos. Os pressupostos teóricos deste experimento buscam respaldo em estudiosos da literatura, tais como Iser (1996), que aborda o conceito de repertório literário; já Calvino (2007) e Paulino (2004) citam o cânone literário; Colomer (2007) apresenta a definição de leitura compartilhada; por sua vez, Moisés (1970) e Candido (2007), nos esclarecem quanto ao que venham a ser personagens planos e esféricos; Cosson (2014, 2016), delineia o conceito de letramento literário e de círculo de leitura e, por fim, a definição de pesquisa-ação, nas palavras de Tripp (2005). O experimento foi executado em três momentos. No primeiro, os alunos trabalharam o conto machadiano Mariana, no qual traçaram um perfil de personagens planos e esféricos. Em um segundo momento, eles aprofundaram o perfilamento das características desses seres feitos de palavra, com a Leitura do romance Clara dos Anjos, de Lima Barreto. E, no terceiro momento, fizeram a leitura do conto machadiano Pai contra mãe, tendo a oportunidade de transformar o final do conto, através da ampliação do letramento literário, usando a reescrita, objetivando transformar um personagem plano em esférico. Os seguintes resultados foram alcançados: promoção do letramento literário, ampliação do repertório, constatação da invisibilidade da mulher negra nos âmbitos social e literário, diferença entre personagens planos e esféricos, promoção da autoestima dos discentes, compartilhamento de pontos de vista diferentes de forma a enriquecer as obras lidas.
The present project aims to present an interventional experiment, whose actions focus on reading, more specifically, in the field of literature. Aiming to broaden the literary repertoire of students of a class of the 9th grade elementary school, we propose as mediators and literary agents the reading of canonical texts by Brazilian Afro-Descendant authors. The school in which the proposal will be applied is part of the public network of the municipality of Juiz de Fora in Minas Gerais. Generated from ProfLetras of UFJF, the project began with the application of a research with the students. Its result pointed in two directions: the first indicated a very little diversified literary repertory and very restricted to best sellers and children's literature; however, the second, signaled an interest in the narrative figure of the character. From this diagnosis came the proposal of enlargement of the literary literacy, by the study of the flat and spherical characters in the Brazilian canonical literature. We chose the textual genres short story and novel because in them, in addition to the characters being relevant in the narrative plot, there is a possibility of experiencing the expansion of the literary system by the students. The theoretical assumptions of this experiment seek support in scholars of the literature, such as Iser (1996), who approaches the concept of literary repertoire; Calvino (2007) and Paulino (2004) mention the literary canon; Colomer (2007) presents the definition of shared reading; in turn, Moses (1970) and Candido (2007), clarify us as to what will become flat and spherical characters; Cosson (2014, 2016) outlines the concept of literary literacy and reading circle and, finally, the definition of action research, in Tripp's words (2005). The experiment will take place in three moments. In the first, the students will work on the Mariana a short story by Machado de Assis, in which they will draw a profile of flat and spherical characters. In a second moment, they will deepen the profiling of the characteristics of these beings made of word, with the Reading of the novel Clara dos Anjos, by Lima Barreto. And, in the third moment, they will read the short story Pai contra mãe, by Machado de Assis. The students will have the opportunity to transform the end of the story, through the amplification of literary literacy, using the rewriting, aiming to transform a flat character into spherical.
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Lupold, Eva Marie. "Literary Laboratories: A Cautious Celebration of the Child-Cyborg from Romanticism to Modernism." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1339976082.
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Sansoni, Caterina. "Les personnages d'Elsa Morante : construction, dimension sociale et dynamiques relationnelles des personnages dans l'oeuvre romanesque d'Elsa Morante." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC013/document.
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Les personnages des romans d’Elsa Morante (1912-1985) sont analysés du point de vue du rapport apparemment opposé entre leur dimension sociale et leur évidente typisation littéraire. Ces deux pôles, le premier analysé par le recours à certaines notions d’études sociologiques menées par G. Simmel et E. Goffman, le deuxième axé sur la construction au niveau littéraire des personnages, contribuent à mettre en lumière le réalisme de Morante, qui tourne autour des vicissitudes humaines vécues par des « personnages vivants (bien qu’imaginaires) » : la relation avec l’autre et avec soi-même, la recherche d’une identité, grâce et malgré la présence des stigmates, concourent à créer des personnages tout à fait modernes. Les deux parties de cette étude, examinées roman après roman, s’avèrent indispensables et interdépendantes : d’un côté, le réalisme des dynamiques humaines, de l’autre l’univers narratif, fondé sur un incessant travail de réutilisation et de personnalisation des figures stéréotypées et d’éléments identifiables de la tradition littéraire, de la part de l’auteureThis research focuses on the study of the characters in Elsa Morante's novels. The characters are analysed mostly in relation to the apparently conflictual relationship between their recognizable social dimension and their equally clear literary characterisation. The first aspect is examined with the help of some ideas inspired by the sociological studies carried out by G. Simmel and E. Goffman, while the second is centred on the literary construction of the characters. These two aspects contribute to highlight Morante's understanding of Realism: a concept that revolves around the human events experienced by “living but fictional characters” and that is closely connected to the 20th century. One of the central themes is the relationship with the others and with oneself, together with the search for identity, thanks to and notwithstanding the presence of stigmas. The two dimensions of this study were examined analysing each novel, they are at the same time essential and interdependent: on the one hand we see the realism of human dynamics, analysed with the help of sociological theories, and on the other hand the narrative universe, based on a continuous work of re-use and personalization of stereotypical characters and elements that can be recognised on the basis of literary tradition
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Caetano, Paulo Roberto Barreto. "Para além da construção dos personagens = o conceito de monstruosidade em Lavoura Arcaica, de Raduan Nassar." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270296.
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Orientador: Mario Luiz FrungilloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O romance Lavoura Arcaica, de Raduan Nassar, é um rico objeto para se pensar o caráter referencial dos personagens. A figura paterna, encarnando uma tradição que valoriza o trabalho, o comedimento como valores essenciais à vida, encontra forte resistência nos filhos Ana e André. Assim sendo, o embate que se delineia reflete um clássico confronto entre tradição e liberdade. Tal disputa é fruto (e estopim) para atos tidos como monstruosos: o incesto e o filicídio. Indo além do procedimento da caracterização dos personagens como recurso de análise do romance, esta dissertação se ocupa em discutir a prática de ações capazes de "monstrificar" os personagens. Destarte, a investigação menciona peculiaridades que fazem com que um ser seja visto como ente horrífico. A pesquisa se ocupa também com a noção de concatenação de situações-limite como elemento construtor das idiossincrasias. Com isso, o modo como as pessoas dessa família se tratam, como tratam o tempo e algumas leis fornece subsídios para que eles sejam vistos como "ameaças morais". O lugar do incesto e do filicídio fulgura, portanto, como elemento fundamental na análise desses personagens
Abstract: The novel Lavoura Arcaica, by Raduan Nassar, is a rich object to think the referential character of the personages. The father, embodying a tradition that says how worthy is work, the restraint as values essential to life, finds strong resistance in Ana and André. Thus, the conflict that emerges reflects a classic clash between tradition and freedom. Such dispute is a result (and wick) for acts taken as monstrosity: incest and filicide. Going beyond the procedure of characterization of the personages as an analysis resource of the novel, this paper is concerned about discussing the practice of actions capable of "monsterizing" personages. Therefore, this research mentions the peculiarities that make someone to be seen as being horrifying. This research also deals with the notion of extreme concatenation of the on-the-edge situations such as a building element of the idiosyncrasies. With that, the way the personages treat the time, each other in this family and some laws provides subsidy so they can be seen as "moral threats". The incest and filicide altogether, thus, appear as a key element in the analysis of the personages
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
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Oliveira, Juliana Prestes de. "A SOBREVIDA DE GRACILIANO RAMOS E RICARDO REIS NAS FICÇÕES DE SILVIANO SANTIAGO E JOSÉ SARAMAGO." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/9951.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis work intends to comparatively investigate two contemporary literary works, being these Brazilian writer Silviano Santiago's Em liberdade (1994) and Portuguese writer José Saramago's O ano da morte de Ricardo Reis. The analysis's focus is mainly to elucidate the way which both protagonists' figuration is done, respectively, Graciliano Ramos and Ricardo Reis (Fernando Pessoa's heteronym), and how it serves to feed the literary survival of these two historical figures from each country's literature. For this, we did the individual study of each novel, looking specially for the narrator and the protagonist, and later their figurations' comparison, in order to keep track of thematic approximations and deviation that make easier to understand each protagonist's human format, if they remain the same through the whole plot, as well as, through this, to think literature critical relation with the historical-social context. Thereby, it was important to pay attention to the perspectives that show up and are related in the narratives, interconnected to the narrators and characters' voices, and they contribute to the construction and the act of problematize of each protagonist's identity. With the comparative analysis of Reis and Ramos's trajectories, based on the theories about dialogism, focalization, perspectives and characters' figuration, from the researchers Mikhail Bakhtin, Gérard Genette, Ansgar Nüning and Carlos Reis, respectively, we can define who are these protagonists, their ways to live among the others and to position themselves into the world, we comprehend in a better way, by the end, the thematic implications of each novel's production in connection to their historical and literary contexts.
O trabalho aqui apresentado tem como objetivo investigar, comparativamente, duas obras literárias contemporâneas, sendo essas Em liberdade (1994), do escritor brasileiro Silviano Santiago, e O ano da morte de Ricardo Reis (2001), do escritor português José Saramago. A análise tem como foco, principalmente, a elucidação de como se dá a figuração de ambos os protagonistas, respectivamente, Graciliano Ramos e Ricardo Reis (heterônimo do poeta Fernando Pessoa), e como tal modo serve para alimentar a sobrevida dessas figuras históricas da literatura de cada país. Para isso, realizamos o estudo individual de cada romance, especialmente do narrador e do protagonista, e a posterior comparação de suas figurações, no intuito de rastrear aproximações e afastamentos temáticos que facilitem entender o formato humano de cada protagonista, se permanecem igual durante todo o enredo, bem como, a partir disso, pensar a relação crítica da literatura com o contexto histórico-social. Nesse sentido, foi importante atentar para as perspectivas que aparecem e se relacionam na narrativa, interligadas às vozes dos narradores e dos personagens, e contribuem para a construção e a problematização da identidade de cada protagonista. Por meio da análise comparativa das trajetórias de Reis e Ramos, fundamentadas pelas teorias acerca do dialogismo, focalização, perspectivas e figuração dos personagens, dos pesquisadores Mikhail Bakhtin, Gérard Genette, Ansgar Nüning e Carlos Reis, respectivamente, podemos traçar quem são esses protagonistas as suas maneiras de conviver com os outros e se posicionar diante do mundo, compreendemos melhor, enfim, as implicações temáticas de cada produção romanesca em conexão com seus contextos históricos e literários.
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Österberg, Marika. "Satire and Social Criticism in C. S. Lewis' That Hideous Strength." Thesis, Högskolan Väst, Avd för utbildningsvetenskap och språk, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-5162.
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The essay at hand is a New Historicist reading of C. S. Lewis’ dystopian fantasy novel That Hideous Strength. According to New Historicist theory it is informed by many disciplines, namely, philosophy, history, literary theory, theology, social science, and psychology, and it attempts to lessen injustices of race and class. The essay examines how satire operates in the novel, focusing on its societal targets: totalitarianism, laboratory animals, and education. Lewis’ philosophical idea expressed in his “The Abolition of Man” – that a society that averts from what he calls universal, timeless, objective values will eventually lead to a loss of that which is truly humane – is a main theme of the novel as well as for this essay. Another, complementary, main theme is that a cultivation of the heart is necessary for individuals of society since childhood if society is going to stay humane.
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Louro, Luciana Espíndola Corrêa. "Virtual humano, humano virtual: uma abordagem teórica da personagem em mundos virtuais." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/18067.
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Previous issue date: 2011-05-03The main approach of this dissertation, entitled Virtual Human, Human Virtual, discuss the applicability of a virtual character's definition, classification and creative process in a conceptual and theoretical perspective. In fact, this perspective proposes to include cyberspace, philosophy, literary criticism and computer design's theories. In order to investigate this possibility, the chapters one and two, of this work, discuss the theoretical basis to propose a virtual characther's definition, classification, creative process's concept. Next, chapters three, four and five develops three cases studies to validate the propositions outlined in previous chapters, addressing different kinds of characters, namely: Ragnarök's Iara, a MMORPG Massively Multiplayer Role Playing Game (RAGNARÖK-BRAZIL, 2010); the night elf's race, of the druid's class, in World of War Craft (WoW), a MMORPG (WOWIIK, 2009); and finally a resident of Second Life virtual environment that intends to imitate all aspects of human life (DAMIANI, 2007) , Liberato Lindman
A discussão central desta dissertação, intitulada Humano Virtual, Virtual Humano, gira em torno da aplicabilidade de uma definição, tipologia e processo criativo da personagem virtual sob uma visão teórico-conceitual. Tal perspectiva engloba teorias do ciberespaço, da filosofia, da crítica literária e do design computacional. Com intuito de investigar essa possibilidade, os Capítulos 2 e 3 desta dissertação discutem as bases teóricas para elaborar uma proposta de definição, classificação e conceito do processo criativo da personagem virtual. Em seguida, os Capítulos 3, 4 e 5 da presente pesquisa desenvolvem três estudos de caso para validar as proposições expostas nos capítulos anteriores, cada um abordando um tipo de personagem diferente, a saber: A Iara do Ragnarök, um MMORPG (Massively Multiplayer On Line Role Playing Game) um jogo de interpretação de papéis multiusuário distribuído on-line (BRASIL RAGNARÖK, 2010); a raça dos elfos noturnos, da classe dos druidas, nível iniciante, do World of War Craft (WoW), um MMORPG (WOWIIK, 2009); e por fim o residente do Second Life, ambiente virtual que pretende imitar todos os aspectos da vida humana (DAMIANI, 2007), Liberato Lindman
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Zelenenkaya, Ekaterina. "Material Objects as Means of Portraying Female Characters' Personality in the 20th century : As Exemplified in the three Short Stories by J. D. Salinger, V. Woolf and F. Weldon." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-102465.
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The world we live in is full of material objects that serve as signs and thus are an important tool in literary texts. The purpose of the present essay is to illustrate how material objects are used to portray personalities of female characters, their inner world and attitudes, their ways of life and position in society. It is especially interesting in the context of the 20th century in the Western world, when the culture of consumption was gaining momentum and the role of a woman was gradually changing. The short stories analysed in the essay are written in the Western context in the 20th century, which are “A Perfect Day for Bananafish” by J.D. Salinger, “Moments of Being: ‘Slater’s Pins Have no Points’” by V. Woolf and “The Bottom Line and the Sharp End” by F. Weldon. The material objects mentioned in the texts are classified and analysed due to their role and purpose in the short stories.
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Morón, Avilés Daniela. "La caracterización de personajes a través de adjetivos en dos traducciones al español de la obra Lady Susan de Jane Austen." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/654573.
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La traducción literaria es un complejo proceso que demanda un alto grado de competencia por parte del traductor. Uno de los más grandes retos a los que se enfrenta el traductor literario, aparte de los aspectos lingüísticos y culturales presentes en la obra, es el estilo del autor. Se conoce el especial cuidado que prestaba Jane Austen a su selección de palabras y a sus estrategias narrativas. En el caso de Lady Susan, existe muy poco análisis en cuanto a sus traducciones al español. El presente estudio pretende observar cómo los personajes de la obra caracterizan a los mismos a través de modificadores y predicativos en dos traducciones al español de la obra epistolar Lady Susan de Jane Austen. La metodología para analizar el corpus presenta un enfoque cualitativo y emplea un análisis textual contrastivo.Literary translation is a complex process that demands a high degree of competence from the translator. One of the greatest challenges faced by the literary translator, apart from the linguistic and cultural aspects present in the work, is the style of the author. Jane Austen's special care for word selection and narrative strategies is well known. In the case of Lady Susan, there is very little analysis regarding the translations into Spanish. This study aims to observe how the characters in the book are characterized through modifiers and predicatives in two Spanish translations of Jane Austen's epistolary novel Lady Susan. The methodology for analyzing the corpus has a qualitative approach and uses a contrastive textual analysis.
Trabajo de investigación
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Videira, Joana. "Figuras impropias. La violencia como expresión de la disidencia en la narrativa de Marta Sanz y Sara Mesa." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/671097.
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Esta tesis nace de la interrogación sobre las posibilidades críticas de la representación literaria de la violencia, más específicamente de la búsqueda de la representación de la violencia en los personajes femeninos escritos por autoras contemporáneas. A través de la profundización del estudio de la violencia en la narrativa contemporánea se ha llegado a una idea de violencia ampliada, más allá de la violencia entendida como sangre, herida o crimen. En la búsqueda de esta ampliación de la idea de violencia a los síntomas del cuerpo se ha llegado a la propuesta crítica de la disidencia y la impropiedad de la actuación de los personajes femeninos como forma de violencia hacia un sistema opresor que se nutre de la reglamentación normativa de los comportamientos.
Para el análisis de estas figuras disidentes se leerán algunos personajes seleccionados de obras de dos autoras españolas contemporáneas: Marta Sanz y Sara Mesa. Las dos autoras comparten afinidades que son manifiestas tanto en su obra narrativa, nutrida de personajes femeninos disidentes, como en su presencia en el espacio público, donde se posicionan como autoras comprometidas. Así, esta tesis parte de una selección del corpus de ambas autoras, del que se extraen algunos de los personajes por ellas creados. Cada uno de los personajes sirve como ejemplo de una forma específica de disidencia hacia los comportamientos normativos, homogéneos y uniformizantes que se esperan de un cuerpo y de una existencia de mujer, de adolescente o de niña.
Para organizar la lectura de las formas de disidencia que cada una de las figuras presenta en la narrativa, se hizo una división en dos grandes bloques temáticos. El primero, Cuadro I. Escenas del dolor: la potencia del sufrimiento incluye a tres grandes formulaciones del sufrimiento como forma desde la que los personajes actúan y se rebelan: sacrificio, agonía, angustia. En la segunda parte Cuadro II. Escenas del cuerpo. Episodios de la gestualidad se propone una lectura grupal en la que se analizan conjuntamente y de forma comparada dos grandes grupos de personajes: las niñas y las climatéricas. En estos dos extremos de edad se encuentran dos cuerpos infértiles, dos presentaciones de la materialidad femenina, cada una en un extremo de la curva reproductora.
Para la lectura y análisis de cada uno de los personajes, tal como para su encuadre en las propuestas temáticas de cada capítulo, se ha partido de algunos fundamentos teóricos que sostienen el aparato crítico. En primer lugar, la narratología –y especialmente la narratología cognitiva, con su acento en los mecanismos de recepción y reformulación del sentido en la lectura– nutre la base estructural de este análisis y dota de sentido a las formulaciones de tipo materialista en las que se basa la idea de que, en efecto, estos personajes ficcionales pueden actuar –como praxis– en el mundo. Otro fundamento teórico esencial son los estudios de género, que permiten analizar la lectura de los personajes con una intención que nace y retorna a la vida material de las mujeres. Finalmente, el último de los aparatos críticos fundamentales son los affect studies que justifican y dan sentido a la fundamentación de las posibilidades actuantes y disidentes de los sentimientos y de los afectos.
La intención de esta tesis no es rastrear las obras de Sanz y Mesa o la de abarcar la totalidad de sus figuras femeninas. Con este trabajo se ha querido leer algunas de las líneas de fuga presentes en las figuras femeninas ficcionales, iniciando un diálogo a muchas voces, unas voces que las obras de Sanz y Mesa contienen y que este trabajo intenta articular.This dissertation is the result of an inquiry into the possibilities that the literary representation of violence makes available for criticism as a tool for social commentary—more specifically, of the search for the representation of violence in female characters created by contemporary female writers. By studying violence in contemporary literature written by women we have arrived at an idea of amplified violence, which goes beyond violence understood as blood, wound or crime. Our exploration of this amplification of the idea of violence to encompass the symptoms of the body has led us to propose that the dissidence and improperness of characters’ behavior can be seen as a form of violence directed at an oppressive system that feeds on the normative regulation of behavior. We will analyze those dissident figures through the study of several characters we have selected from the works of two contemporary Spanish writers: Marta Sanz and Sara Mesa. The two authors present similarities both in their narrative work, which contains many dissident female characters, and in the public sphere, where they take a stance as engaged writers. The present thesis deals with a selection of works from their corpus and focuses on some of the characters they have created. Each of the characters exemplifies a specific form of deviation from the normative, homogeneous and uniformizing forms of behavior that are expected from the body and existence of a woman, a teenage girl or a girl. Our aim is neither to provide a complete overview of the works of Sanz and Mesa nor to explore the totality of their female characters. The present thesis is only the beginning of a dialogue between multiple voices—voices that can be found in Sanz’s and Mesa’s work and that our dissertation tries to articulate.
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López, Granados Alicia. "La configuración del personaje femenino en la novelística galdosiana." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/132320.
Full textAbstract:
El propósito fundamental…
El propósito fundamental de esta tesis doctoral es el estudio de la categoría del personaje femenino en la novelística galdosiana, concretamente en cuatro de sus obras: Marianela (1878), La Desheredada (1881), Fortunata y Jacinta, (1887) y Tristana (1892).
El porqué de la selección
De entre las novelas de tesis hemos escogido quizás la menos tendenciosa; pues a diferencia de Doña Perfecta o Gloria, ésta presenta ya visos de ruptura estética que preludian el cambio que se iniciará con La desheredada. El personaje de Marianela es un personaje tipo, pero no de forma absoluta como sí lo son Gloria o Doña perfecta, sino que es ya anunciador de otra perspectiva.
En el trazo evolutivo del personaje que pretendemos analizar no podíamos obviar la obra que marca el punto de inflexión, La desheredada. Aun siendo conscientes de que es una novela ampliamente estudiada, ha sido una inclusión necesaria para entender la evolución del personaje tipo al individuo que culminará en Fortunata y Jacinta, cuya inserción también en este trabajo se justifica porque cierra el círculo de las “Novelas contemporáneas” que iniciara Galdós con La Desheredada. Fortunata es la heredera de Marianela, y es imprescindible su estudio porque representa la decadencia del Naturalismo y preludia una nueva naturaleza, la de aquellos personajes de la etapa “espiritualista”
Por último hemos seleccionado Tristana porque supone una rareza en esta última etapa de “novela espiritualista”, pues presenta otras señas de identidad que no la asemejan a personajes como Benina, puramente espiritualistas.
En cuanto a los objetivos: dos son los primordiales:
El primero presenta un cariz esencialmente descriptivo, pues se trata del análisis de todos aquellos elementos que configuran la morfología del personaje, tanto temáticos, como narratológicos y estructurales. Es, en definitiva, el desvelar el andamiaje que sustenta la creación del actante.
El segundo parte de un abordaje diacrónico, a través del tiempo, una vez descrita la morfología moral y física de cada personaje, tratamos de definirlo en función de la poética narrativa del autor, contextualizada en el decurso de su quehacer literario, para posteriormente analizar comparativamente los cuatro personajes.
En cuanto a la metodología, hemos seguido el llamado modelo psicológico que vincula el personaje y su caracterización a la esfera de la persona, de los atributos de identidad caracterológica, en contraposición al estructural-actancial, que concibe al personaje como agente subordinado a la acción.
En lo concerniente a los mecanismos narratológicos, que entretejen desde otra perspectiva la construcción del personaje, hemos aplicado los conceptos de la narratología de Genette en Figuras III.
Procedimiento metodológico:
A partir de estos modelos, el procedimiento metodológico ha sido el siguiente:
1º Primero, lectura de las obras y selección de la bibliografía, aparte de los estudios clásicos e ineludibles de Montesinos, Ricardo Gullón y Casalduero, hemos seguido el imprescindible estudio de Stephen Gilman Galdós y el arte de la novela europea 1867-1887, así como también las publicaciones de las actas de los Congresos Internacionales Galdosianos hasta su octava edición “Galdós y el siglo XX” (2005), en donde han aparecido estudios sumamente reveladores y sugestivos que indicaban la plena vigencia del escritor canario en nuestras letras actuales.
2º Selección de fragmentos que ilustran cada apartado del trabajo.
Una vez escogidos los artículos, estudios, ensayos más significativos para los intereses que presenta nuestro estudio, seleccionamos los fragmentos o pasajes relevantes que jalonarán a modo de ilustración cada apartado que conforma este trabajo.
3º División: PRIMERA PARTE (análisis descriptivo)
1er. Bloque: Aspectos temáticos: Onomástica, objetos, espacios, sueños, lenguaje…
Así pues, en un primer bloque hemos atendido a aspectos temáticos en las cuatro novelas citadas: en primer lugar, analizando la significación del nombre, como elemento catafórico del texto; en segundo lugar, nos hemos centrado en la descripción de los espacios que habita el personaje, porque se plantean como atributos de la naturaleza del mismo, en este apartado, hemos diferenciado los espacios en función de la clase a la que representan los personajes, y en La desheredada y especialmente en Tristana hemos distinguido entre espacio público-urbano y privado. En relación con el espacio nos hemos detenido en los objetos que aparecen con reiterada presencia y que contribuyen a definir al personaje por su proximidad o pertenencia. Otro de los recursos temáticos, que ofrecen una valiosísima información como mecanismo de introspección psicológica del personaje, son los sueños o insomnios que experimentan las protagonistas, y que analizamos detenidamente en las cuatro obras.
2º Bloque: Procedimientos narratológicos
El segundo gran bloque se centra en los procedimientos narratológicos que conforman la estructura del personaje, y que permiten observar la evolución de la poética galdosiana.
Técnicas como el estilo indirecto libre, el multiperspectivismo, la dramatización del relato, la segunda persona narrativa, el monólogo interior, han vehiculado el lado más íntimo y también más real del personaje.
3er. Bloque: Recursos estructurales: la ironía, el paralelismo, el simbolismo…
En el tercer bloque de este estudio nos hemos ocupado de aquellos recursos estructurales que han permitido definir al personaje desde la ironía, el paralelismo o el simbolismo.
SEGUNDA PARTE (análisis evolutivo)
Hasta aquí sería la parte descriptiva del proyecto, pues la última trata de abordar la evolución en el trazo del personaje desde las novelas de tesis, pasando por las de “la segunda época” hasta llegar a la última etapa denominada “espiritualista”, de las que son reflejo las protagonistas de las obras estudiadas. Analizamos cómo los procedimientos para la configuración del personaje van cambiando, en función de la poética narrativa del autor. A fin de observar cómo la categoría del personaje va trasmutando su apariencia, desde el tipo, característico de la novela tendenciosa, al personaje naturalista, definido por el medio y la sociedad en que habita, hasta la interiorización de éste, en la novela espiritual.
Es por ello un análisis a través del tiempo, desde la década de los setenta a los noventa.This thesis aims to study the evolution of the female character in the Galdós’ novels, through the following works: Marianela (1878), La Desheredada (1881), Fortunata y Jacinta (1887), and Tristana (1892) To address this research we have used the following methodology: First, after reading the works, we developed a scheme that applied to each of the novels, which consists of three parts: the first deals with the thematic aspects that make the morphology of the character, such as the onomastic, objects, dreams, spaces. The second refers to all those narratological mechanisms that reveal the profile of the character, such as: the omniscient narrator, the multiperspectivism, the indirect style, interior monologue, dialogue, the second person narrative, etc. Finally, the third part focuses on those structural aspects that define also the character, such as the antithesis, symbolism, parallelism. Secondly, we selected carefully between a vast corpus of bibliography related to Galdós, choosing those canonical works of recognised specialists, such as Ricardo Gullón, Germán Gullón, S. Gilman, Montesinos and Casalduero; on the other hand, articles, canonical too, along with Isidora magazine, the International Congresses Galdosianos, Cervantes Virtual Library, and the latest articles appeared on university publications. We have selected those that best illuminate our purpose of study, those related to the morphology of the character. Third, we wrote each individual analysis of the work, following the mentioned scheme, divided into three aspects: thematic, narrative and structural. Then, the last point consisted of comparing the four characters, taking into account the different periods that they belonged to. For instance, Marianela is the type of character of the first period, known as “Novelas de Tesis”, Isidora belongs to the “second manner” (Novelas Contemporáneas) like Fortunata, otherwise, Tristana is placed on the last period, called “Novela espiritualista”. In conclusion, this thesis studies the nature of the character from two temporal perspectives: on the one hand, chronological, we follow the chronology of the selected works. On the other hand, diacronical, we study the transformation of the characters regarding to the artistic evolution of the author.
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Oliveira, Ellen dos Santos. "O herói Sepé em duas versões : O Uraguai e Sepé - o morubixaba rebelde." Universidade Federal de Sergipe, 2016. https://ri.ufs.br/handle/riufs/5692.
Full textAbstract:
This paper presents Sepé. Also famous hero, from the perspective of literary heritage
left by Basilio da Gama, in the Uraguai (1769), but as points Bakhtin (1981), an
emblematic figure of a historical universe, mythical and cultural beyond the scope of
this heritage gaining independence such that allows you to cycle through historical
events, artistic and diverse literary. One of these manifestations is Sepe, the rebel
morubixaba (1964), Fernandes Barbosa, part of a group of literary productions whose
base (re) of the Indian story-telling Sepé Tiaraju, since for 144 years the only literary
version known was the range. These works are The lunar Sepe (1913), poem Simoes
Lopes Neto, Tiaraju (1945), historical novel Manoellito of Ornella, the mainland
(1949), a novel by Erico Verissimo, Sepe - the rebel morubixaba (1964), poem epic
Fernandes Barbosa, and Sepé Tiaraju - Romance of the Seven Peoples Mission (1975),
novel Alcy Cheuiche, whose version is adapted to comics. Note, with such productions,
a landmark move that paves the way for a vast cultural artistic production recognition
and reaffirmation of the Indian heroism. Conceiving Sepe, the rebel morubixaba as a
hypertext The Uraguai, believing that the story of Sepé Tiaraju out distorted by Basilio
da Gama, Fernandes Barbosa rewrites the history of the Indian hero, giving it a new
meaning and new life. In his rewriting, it uses several tricks to give the work a garment
and a feature that the poet believes, are worthy of the indigenous hero Sepé Tiaraju, the
warrior Lunar. Therefore, this work is intended to make a comparative reading between
two literary works, one of the eighteenth century, the Uraguai, and one twentieth, Sepe
- the rebel morubixaba, and from that read, analyze and explore the profile of hero these
two epic poems, watching as the modern epic dialogues with the neoclassical epic, is to
rewrite it, is to overcome it. This highlights the mimetic character, in the sense of
emulation, the literary text. This is when a writer is motivated to imitate another, either
to match up or overcome it. In the case studied, Fernandes mimics Gama, when writing
his epic poem based on the story of Sepé Tiaraju in order to overcome it. With his
attempt he just entering his poem in the national epic tradition. This work addressed the
contemporary theory of the epic developed by Anazildo Silva (1984), and treated by
Ramalho and Silva (2007); Ramalho (2013); Silva (2012); and Neiva (2009; 2012).
Were also worked the concepts of dialogism Bakhtin (1981; 1997; 2006), intertextuality
Kristeva (1974), hypertextuality of Genette (2010), among others. On the historical,
social and cultural context were useful studies developed by Candido (1984; 1999;
2006a; 2006b), Teixeira (1999), Verney (1952), Oliveira (2010), Nunes (2013), Rue
(2009) Carvalho (1987), among others.Este trabalho parte de Sepé. Também herói famoso, sob a ótica da herança literária deixada por Basílio da Gama, em O Uraguai (1769), mas, tal como aponta Bakhtin (1981), uma figura emblemática de um universo histórico, mítico e cultural que ultrapassa o âmbito dessa herança, ganhando independência tal que lhe permite circular por manifestações históricas, artísticas e literárias diversas. Uma dessas manifestações é Sepé, o morubixaba rebelde (1964), de Fernandes Barbosa, que integra um grupo de produções literárias que tem como base a (re) contação da história do índio Sepé Tiaraju, já que por 144 anos a única versão literária conhecida era a de Gama. Essas obras são O lunar de Sepé (1913), poema de Simões Lopes Neto, Tiaraju (1945), romance histórico de Manoellito de Ornella, O continente (1949), romance de Érico Veríssimo, Sepé – o morubixaba rebelde (1964), poema épico de Fernandes Barbosa, e Sepé Tiaraju – romance dos Sete Povos da Missão (1975), romance de Alcy Cheuiche, cuja versão é adaptada para histórias em quadrinhos. Nota-se, com tais produções, um movimento divisor de águas que abre caminhos para uma vasta produção artística cultural de reconhecimento e reafirmação do heroísmo do índio. Concebendo Sepé, o morubixaba rebelde, como um hipertexto de O Uraguai, acreditando que a história de Sepé Tiaraju fora falseada por Basílio da Gama, Fernandes Barbosa reescreve a história do herói indígena, dando a ela um novo sentido e um novo fôlego. Em sua reescrita, ele utiliza vários artifícios para dar à obra uma roupagem e uma feição que, o poeta acredita, sejam dignas do herói indígena Sepé Tiaraju, o guerreiro Lunar. Assim sendo, neste trabalho pretende-se fazer uma leitura comparativa entre duas obras literárias, uma do século XVIII, O Uraguai, e outra do XX, Sepé - o morubixaba rebelde, e, a partir dessa leitura, analisar e explorar o perfil do herói nesses dois poemas épicos, observando como o épico moderno dialoga com o épico neoclássico, seja para reescrevê-lo, seja para superá-lo. Isso evidencia o caráter mimético, no sentido de emulação, do texto literário. Isto é, quando um escritor é motivado a imitar outro, seja para igualar-se ou superá-lo. No caso estudado, Fernandes imita Gama, ao escrever seu poema épico baseado na história de Sepé Tiaraju, a fim de superá-lo. Com sua tentativa ele acaba inserindo seu poema na tradição épica nacional. Esse trabalho abordou a teoria contemporânea sobre o épico desenvolvida por Anazildo Silva (1984), e tratadas por Ramalho e Silva (2007); Ramalho (2013); Silva (2012); e Neiva (2009; 2012). Também foram trabalhados os conceitos de dialogismo de Bakhtin (1981; 1997; 2006), intertextualidade de Kristeva (1974), hipertextualidade de Genette (2010), entre outros. Sobre o contexto histórico, social e cultural foram úteis os estudos desenvolvidos por Candido (1984; 1999; 2006a; 2006b), Teixeira (1999), Verney (1952), Oliveira (2010), Nunes (2013), Arruda (2009) e Carvalho (1987), entre outros.
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Chappell, Shelley Bess. "Werewolves, wings, and other weird transformations fantastic metamorphosis in children's and young adult fantasy literature /." Doctoral thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/226.
Full textAbstract:
Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2007.Bibliography: p. 239-289.
Introduction -- Fantastic metamorphosis as childhood 'otherness' -- The metamorphic growth of wings : deviant development and adolescent hybridity -- Tenors of maturation: developing powers and changing identities -- Changing representations of werewolves: ideologies of racial and ethnic otherness -- The desire for transcendence: jouissance in selkie narratives -- Conclusion -- Bibliography -- Appendix: "The great Silkie of Sule Skerry": three versions.
My central thesis is that fantastic motifs work on a metaphorical level to encapsulate and express ideologies that have frequently been naturalised as 'truths'. I develop a theory of motif metaphors in order to examine the ideologies generated by the fantastic motif of metamorphosis in a range of contemporary children's and young adult fantasy texts. Although fantastic metamorphosis is an exceptionally prevalent and powerful motif in children's and young adult fantasy literature, symbolising important ideas about change and otherness in relation to childhood, adolescence, and maturation, and conveying important ideologies about the world in which we live, it has been little analysed in children's literature criticism. The detailed analyses of particular metamorphosis motif metaphors in this study expand and refine our academic understanding of the metamorphosis figure and consequently provide insight into the underlying principles and particular forms of a variety of significant ideologies.
By examining several principal metamorphosis motif metaphors I investigate how a number of specific cultural beliefs are constructed and represented in contemporary children's and young adult fantasy literature. I particularly focus upon metamorphosis as a metaphor for childhood otherness; adolescent hybridity and deviant development; maturation as a process of self-change and physical empowerment; racial and ethnic difference and otherness; and desire and jouissance. I apply a range of pertinent cultural theories to explore these motif metaphors fully, drawing on the interpretive frameworks most appropriate to the concepts under consideration. I thus employ general psychoanalytic theories of embodiment, development, language, subjectivity, projection, and abjection; poststructuralist, social constructionist, and sociological theories; and wide-ranging literary theories, philosophical theories, gender and feminist theories, race and ethnicity theories, developmental theories, and theories of fantasy and animality. The use of such theories allows for incisive explorations of the explicit and implicit ideologies metaphorically conveyed by the motif of metamorphosis in different fantasy texts.
In this study, I present a number of specific analyses that enhance our knowledge of the motif of fantastic metamorphosis and of significant cultural ideologies. In doing so, I provide a model for a new and precise approach to the analysis of fantasy literature.
Mode of access: World Wide Web.
[12], 294 p
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Gregorio, Amélie. "L’«Arabe» dans le théâtre français, du début de la colonisation de l’Algérie aux grandes expositions coloniales (1830-1931) : de représentations en discours." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2105.
Full textAbstract:
Dès 1830, le théâtre s’empare du thème de la conquête de l’Algérie puis il accompagne l’expansion coloniale en Afrique du Nord, événements majeurs qui ont marqué la vie politique française du XIXe et du début du XXe siècle. Véritable phénomène social et culturel de masse, il a fortement contribué à imposer l’esprit colonial et l’idée d’empire dans les mentalités. Mais dans quelle mesure exacte a-t-il été un acteur culturel de cette politique d’expansion et de domination ? Avec quelle fréquence, quelles inflexions ? Quelles représentations de l’« Arabe » a-t-il véhiculé, et comment les a-t-il transformées en discours idéologiques, reçus en direct par un public donné ? A-t-il été aussi le lieu d’une prise de distance, voire d’une contestation de la colonisation ? Au théâtre, l’altérité est mise en mots, mais aussi et surtout portée sur scène, par le corps et la voix du comédien, presque toujours français et blanc. L’autre, « indigène », celui qui interpelle, inquiète ou fascine, acquiert une visibilité accrue, le temps de la représentation. L’altérité est réduite par certains auteurs à des stéréotypes que d’autres mettent au contraire en question. L’image de l’Arabe, mais aussi du Kabyle, du Touareg et du métissé, a suivi les courants idéologiques qui ont sous-tendu les grandes étapes de l’expansion coloniale, jusqu’aux prémices des mouvements de décolonisation. Sur le plan esthétique, la représentation de l’« Arabe » est-elle l’occasion d’un renouvellement en matière de jeu, de langage, de décor et de costume ? La recherche de l’« exotisme » dans les formes spectaculaires laisse-t-elle parfois place au souci de rencontre et (re)connaissance de l’autre ? La portée à la fois littéraire, culturelle, sociale et historique du sujet nécessite de mobiliser et croiser des approches esthétique, dramaturgique, sociocritique et postcolonialeSince 1830, drama has taken over the Algerian conquest theme then backed the colonial expansion in North Africa, two major events which marked French political life from the 19th century to the early 20th century. As a real social and cultural overall phenomenon, it has strongly contributed to impose the colonial spirit and the empire idea into people's minds. But to what extent exactly has it played a cultural role in this expansion and domination policy? At what frequency and with which inflexions? Which representations of the "Arab" has drama conveyed, and how has it transformed them into an ideological discourse, through a live performance received by a given audience? Has it also been a place of distancing, even contesting colonization? Otherness is put into words with drama, but it is also and mostly brought onto the scene through the body and the voice of the actor, almost always French and white. The other "native", the one who puts question, worries or fascinates, gains an enhanced visibility, for the time of the performance. Otherness is reduced to stereotypes by some authors while others call them into question. The image of the Arab – but also of the Kabylian, the Tuareg, and the mixed-race – has followed the ideological currents that have underlain the great steps of the colonial expansion, until the beginnings of the decolonization movement. On the aesthetic level, is the representation of the "Arab" the opportunity of a renewal in terms of performance, language, setting, and costumes? Does seeking "exoticism" in spectacular forms give sometimes way to concern about meeting and knowing, or acknowledging, the other? The literary, cultural, social and historical significance of the subject requires to mobilize and cross aesthetic, dramaturgic, sociocritical and post colonial approaches
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Costa, Ivonete Ferreira da. "INTERTEXTUALIZAÇÃO NA OBRA DE MARINA COLASANTI: O TEAR E O TECIDO." Pontifícia Universidade Católica de Goiás, 2016. http://tede2.pucgoias.edu.br:8080/handle/tede/3563.
Full textAbstract:
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The text brings the analysis of aspects of the literary discourse as the processes of construction of the scenes and the magical universe, in which the narratives of Marina Colasanti are realized, having as it shows the tales of the works Doze reis e a moca no labirinto do vento (2006): "The woman ramada", Uma ideia toda azul (2006): "Beyond the frame", "Between the leaves of green ó" and "Yarn after yarn". The general and specific objectives are to highlight and distinguish the encompassing and generic scenes present in the narratives, to identify the nature of the verbal sign in its relation to the nonverbal sign, and to analyze intertext resources, paratext, among others, as an artistic procedure. The narrative plans are approached, in which the characters are realized mimically, starting from the initial assumption formulated by Dominique Maingueneau. Non-verbal language is an invitation to read verbal language and vice versa. Both are associated with the signs that are constructed through the textual writing: loom and fabric. They can be seen now either explicitly or implicitly, and put in the service of a power that is realized by the act of reading. Thus, in the narrative text, there are traces of a speech in which the text is staged.
O texto traz a análise de aspectos do discurso literário como os processos de construção das cenas e o universo mágico, em que se realizam as narrativas de Marina Colasanti, tendo como mostra os contos das obras Doze reis e a moca no labirinto do vento (2006): “A mulher ramada”, Uma ideia toda azul (2006): “Além do bastidor”, “Entre as folhas do verde ó” e “Fio após fio”. Os objetivos geral e específicos são destacar e distinguir as cenas englobante e genérica presentes nas narrativas, identificar a natureza do signo verbal na sua relação com o signo não verbal e analisar recursos de intertexto, paratexto, entre outros, como procedimento artístico. Abordam-se os planos narrativos, nos quais se dá a realização dos personagens mimeticamente, partindo do pressuposto inicial formulado por Dominique Maingueneau. A linguagem não verbal é um convite à leitura da linguagem verbal e vice-versa. Ambas se associam aos signos que se constroem por meio da escritura textual: tear e tecido. Elas podem ser vistas ora de modo explícito, ora implícito, e se colocam a serviço de um poder que se realiza pelo ato de leitura. Assim, no texto narrativo, há rastros de um discurso em que o texto é encenado.
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Yeh, Tan-hua, and 葉曇樺. "Speech and Thought Presentation of Characters in Literary Works: Analyses of Six Literary Texts of Hemingway’s Short Novels." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/46545252255886717956.
Full textAbstract:
碩士國立屏東商業技術學院
應用外語系(所)
101
Ernest Hemingway is considered one of the greatest writers of the 20th century. In particular, Hemingway’s short novels are regarded as literary masterpieces. Previous studies have focused on the linguistic features of the phonetics, lexis and syntax of literary works, while few other studies have explored the narrative patterns or techniques such as the speech and thought presentation of characters. This research aims to explore the stylistic values and the aesthetic and artistic effects produced by the modes of speech and thought presentation in the six texts from Hemingway’s short novels. The theoretical framework of the analytical techniques of text analysis behind this research is functional stylistics, which is based on Systemic Functional Linguistics (SFL). This study emphasizes the “projection” of the ideational meaning in the three metafunctions of SFL. In addition, descriptive statistics will be utilized to present the analytical results. The four major findings of this research include: (a) The modes of speech and thought presentation in Hemingway’s short novels include FDS primarily but also DS the lesser extent. The purpose of this is to more vividly articulate the conversations of the characters to the readers. (b) Speech presentation (62%) is most frequently present in Hemingway’s short novels, pure narration (29%) is the second most frequently occurring, and thought presentation (9%) is the least frequently present. (c) Of the six selected texts, five are narrated in the third person, and only one is narrated in the first person. Of the five in the third person narration, three employed objective narration, and the remaining two are omniscient and limited omniscient. (d) Hemingway frequently employed third person narration as well as the FDS and DS. The combination of these techniques vividly describes the characters’ interactions so that it resembles reality like a camera. This is Hemingway’s “iceberg principle,” the reader should seek the theme that the writer is eager to convey to his readers. This research analyzes the modes of the speech and thought presentation in Ernest Hemingway’s short novels based on functional stylistics, inspired by SFL. Hopefully, this study may help readers better appreciate and understand writing features in literary works, as well as aid in English literature teaching and learning.
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Parra, Jamie Luis. "Prisoners of Style: Slavery, Ethics, and the Lives of American Literary Characters." Thesis, 2016. https://doi.org/10.7916/D8T72H9W.
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This dissertation reconsiders the relationship between fiction and slavery in American literary culture. “Prisoners of Style” shows how writers from the middle of the nineteenth to the middle of the twentieth century, including Hannah Crafts, Mark Twain, Charles Chesnutt, and William Faulkner, wrestled with enslavement. They found it not only a subject to be written about, but also a problem of characterization. Slavery and the ontological sorcery through which it produced a new kind of individual—the individual who is also a thing—led these authors to rethink basic formal assumptions about realist fiction, especially about what constitutes a literary character. The writers I discuss did not set out to argue for the slave’s humanity or to render her interiority, but instead sought to represent the systematic unmaking of black personhood perpetrated by the laws and institutions that governed chattel slavery in the US. They set out to reveal the ideological violence perpetrated against enslaved blacks, and they did so by writing characters who embodied the categorical uncertainty of the slave, characters who were not allegories for real, full people. The tradition of writing I describe does not represent the fullness of enslaved “persons”; instead it renders something far more abstract: the epistemology that undergirded enslavement—those patterns of thought that preconditioned slavery itself.
The authors I study understood fictionality as a thorny ethical, epistemological, and political problem. In my chapter on Crafts, for example, I look at The Bondwoman’s Narrative alongside a set of non-fiction texts about Jane Johnson, the slave who preceded her in John Hill Wheeler’s household. Reading the novel against legal documents, pamphlets, and histories about Johnson and her escape from Wheeler, the chapter explores what fiction could do that these other modes of writing could not. In moments of sleep, amnesia, and daydreaming, Crafts resists the normative logic of subjecthood and individual rights that underpins the representations of Johnson. In the second half of the project, I demonstrate the significance of fictionality to American literary realism’s evolution into modernism. The final chapter, on Faulkner, places two of his Yoknapatawpha novels within the context of his interest in modernist painting and sculpture. Work by Picasso, Matisse, and other visual artists inspired his concern with surfaces and flatness, leading to a meditation on artifice that runs throughout his major novels. I argue that his flatness—his insistence on the non-referential quality of fiction—is crucial for understanding his characterization and philosophy of history history, in particular the history of Southern plantation slavery.
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Zhong, Yurou. "Script Crisis and Literary Modernity in China, 1916-1958." Thesis, 2014. https://doi.org/10.7916/D89C6VHZ.
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This dissertation examines the modern Chinese script crisis in twentieth-century China. It situates the Chinese script crisis within the modern phenomenon of phonocentrism - the systematic privileging of speech over writing. It depicts the Chinese experience as an integral part of a worldwide crisis of non-alphabetic scripts in the nineteenth and twentieth centuries. It places the crisis of Chinese characters at the center of the making of modern Chinese language, literature, and culture. It investigates how the script crisis and the ensuing script revolution intersect with significant historical processes such as the Chinese engagement in the two World Wars, national and international education movements, the Communist revolution, and national salvation. Since the late nineteenth century, the Chinese writing system began to be targeted as the roadblock to literacy, science and democracy. Chinese and foreign scholars took the abolition of Chinese script to be the condition of modernity. A script revolution was launched as the Chinese response to the script crisis. This dissertation traces the beginning of the crisis to 1916, when Chao Yuen Ren published his English article "The Problem of the Chinese Language," sweeping away all theoretical oppositions to alphabetizing the Chinese script. This was followed by two major movements dedicated to the task of eradicating Chinese characters: First, the Chinese Romanization Movement spearheaded by a group of Chinese and international scholars which was quickly endorsed by the Guomingdang (GMD) Nationalist government in the 1920s; Second, the dissident Chinese Latinization Movement initiated in the Soviet Union and championed by the Chinese Communist Party (CCP) in the 1930s. This crisis was brought to an abrupt end in 1958, when Zhou Enlai, the first premier of the People's Republic of China, relegated the Romanization system pinyin to an official auxiliary status, secondary to Chinese characters, thus concluding the half-century struggle between the Chinese script and the alphabet. The final containment of the script crisis was partly a political decision of the new socialist state, and partly the result of the use of "baihua." The multivalent term baihua--plain speech, vernacular, and a colloquialized written language--enabled an unlikely reconciliation between the phonocentric dreams of a Chinese alphabet and a character-based Chinese national language and literature. This alternative solution to the script crisis, which grew from within the Chinese script, was rehearsed in the first modern Chinese anti-illiteracy program in France during the Great War. The solution was consolidated as a colloquialized written Chinese became the staple of modern Chinese literary writing. The negotiated baihua--imprinted profoundly by the phonocentric-biased discourse- on the one hand registers the historical reality of the modern Chinese writing as a written language; on the other, it keeps alive the phonocentric dreams of modern China.
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Hu, Hui-Wen, and 胡惠文. "A Visual Design with Animal Characters used in Social Media - "Animals'' World"." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/42517207953695297142.
Full textAbstract:
碩士中原大學
商業設計研究所
105
According to special topics “5 Challenges for young generation in 2016” in the “Oursedu Magazine”, the students who were in senior high schools and colleges tried to follow up the international events but without good resources to get the information. Due to the situation, the social media startup “Animals’ World” was born. The cause of the excellent international news platform was to arise the young generations who were born after 1990s international perspective by providing the global breaking news to read. With the cause, the founder of Animals World cooperated with the designer who was in charge of the visual identity and the character design of the social media. The aim of the project is to do visual identity and character design. First, the team collected and organized the cases of famous social media brand visual identity, analyzed the advantages and design style of the brands to create our authentic visual identity. Building up good quality news infographics, “character design” is the most necessary issue for the media. We would decide to focus on the international interaction between the countries of G20 (Group of Twenty). To attract the young generation, we transferred the countries of G20 into animals with anthropomorphic method. In conclusion, the “Animals’ World” intended to do brand segmentation from other social media and aroused the young generations‘ international awareness successfully.
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Yin, Liu Lien, and 劉廉英. "A study on the role of animals in Naoko Awa’s literary fairy tales." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/225935.
Full textAbstract:
碩士國立臺東大學
兒童文學研究所
98
In Naoko Awa's literary fairy tales, there are most of special characteristics that much like a fiction is featured impressively in the plot in which portrayed her characters to the life; human and animals well up with friendly affection and fullness of heart for each other and express it with kindness; The human touch remains throughout as well as warmth. The object of this paper is based on five fairy tales that published by China Times Publishing Co. are 《Song of Wind and Trees》、《The story of the sea at dusk》、《Forests of white parrot》、《Silver Peacock》、《Wild Rose Village distant》(《風と木の歌》、《日暮れの海の物語》、《白いおうむの森》、《銀のくじゃく》、《遠い野ばらの村》). In this paper, by textual analysis we explore what the meanings those animals are on behalf of in Naoko Awa's literary fairy tales; Also, we would like to know what the technique author used to describe the role of animals and what function the role of animals played with. Expect to sum up the meaning of the role of animals in fairy tales from those works. Through an analysis of how Naoko Awa's use the role of animals to occur across contexts, we learn the works deeply and consider the question from different point of view. The content consists of five chapters. Chapter one is a preface. Three verses are in Chapter two that covers a biography of Naoko Awa and whose creative ideas, an introduction to works of Naoko Awa and a brief sketch of the role of animals in her fairy tales. Chapter three discloses Naoko Awa’s portrait techniques for the role of animals in fairy tales. Chapter four describes what the function of the role of animals Naoko Awa gives in fairy tales. Chapter five is a conclusion as below. A. In Naoko Awa's portrait techniques, the animal are bestowed on the sentient in nature a status of individual humanness, supernatural power and mission, and are described with the remaining animal form, which enables the role of animals have a key function in helping mankind with warning against impending natural or man-made disasters, depressed person to get treatment, well function in culture medium and the elimination of confusion and frustration like a wise elder. B. The new mission that the animals were bestowed upon in Naoko Awa's literary fairy tales is only to only to get along with the whole creation so that the meaning and the worth of life is discoverable via experience. C. Naoko Awa makes fairy tales in the field of children's literature a new style and features. A single motif of this children’s literature, Fairy Tales, is here presented to create the subject matters. This presentation may serve as a reference point in writing.
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Sun, Xuebo. "The variegated blossoms :: studies on the children characters in the literary productions of Chi Zijian/." 2007. https://scholarworks.umass.edu/theses/2016.
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Lin, Hsiao-Hsuan, and 林筱烜. "The Creation and Discourse of Animation“Late at Night”－Discussion of Animals Characters and Designs." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/qd3443.
Full textAbstract:
碩士國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
102
In most animations, animal characters are very common. Whether the role of protagonist or supporting, there are still various ways to present. For example, some roles are presented in the form of original nature, and some roles are through physical exaggeration or simple deletion of details, and even more method of anthropomorphing is used, that allow character’s acting to behave almost but not completely like human being. However, the types of performing are not a matter as the role of these animals is always projected by people’s thoughts, feelings, or unique lifestyle. As a result the connection between character and human became more profound. Thus, more topics about animal characters of animation in this paper will be dicussed. This paper is divided into two sections to investigate animal characters. The first part is to introduce and classify various types of animal characters with literary point of view. Also, there is more discussion of animal characters and its meaning from the other animated film. The second section is about exploration of animal characters including the appearance, set difference, and etc. The creation of “Late at Night” is going to present a ghostly mysterious atmosphere with the performance of the animal characters at late night city which combines paper-cut animation and visual effects. The main description is about some characters that is living around us but not being paid attention. These characters have their own secrets hidden in the depths of the heart. These characters lived in the same city. That's the reason why this city is so attractive, when it embraces everyone’s secrets. I proudly present the animation that is full of attractiveness, "Late at Night."
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Kuo, Ling-Miao, and 郭玲妙. "How Animals Are Portrayed In Miyazaki Hayao,s Animated Films And The Creating Of Characters." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/73176523006474561872.
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碩士崑山科技大學
視覺傳達設計研究所
102
This paper is research of the animals positioned and expressions in the script from various animated movies. It contains background, personality, anthropomorphic-way, exhibit feelings, the body-language, appearance, the character in the story as a metaphor for something or implied meaning, with the interaction of species and between different species, according to information provided by the movie, it can let us guess why the creation, reference materials, and trying to tell us something. In the world, Anthropomorphic animal movies have very much, like“ Tom and Jerry”, “Winnie the Pooh”,” Mickey Mouse”,” Rio”,” My Neighbor Totoro” , etc., The most famous is Hayao Miyazaki's films, which is very lively expression and thinking about that what the authors would like to tell us after watching the movie. Therefore, this study chose the facial expressions and movements of animals in Hayao Miyazaki animation as the main discussion and study. Find relevant track in the animation and the track can be take as reference and basis before the creation.
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Wang, Jun-Ping, and 王竣平. "The Image-Making of Characters of the Three Kingdoms: A Discussion on Literary Texts and Electronic Games." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/00035721147097037026.
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碩士國立暨南國際大學
歷史學系
99
This thesis aims to discuss the transformation of images of characters of the Three Kingdoms in the process of transitions from the literary texts to the electronic games. The main objectives of this study are as followed. First of all, how were these characters’ images transform when the texts were spread and changed in different time and countries? Secondly, how were these images designed and created by the electronic games, animations and comic books? Were there some patterns or principles? Thirdly, what viewpoints might players of the electronic games have on the diversification of images of characters of the Three Kingdoms? The thesis divides the texts of the Three Kingdoms into the literary texts and the graphic texts. After examining the spread and changes of literary texts, this thesis explains how the graphic texts and the electronic games depicted the Three Kingdoms period and characters at that time, and what features of these graphic works and electronic games were. Some certain characters would be selected out from different kingdoms to be discussed. The thesis attempts to do some comparisons between their real historical events and their virtual abilities designed in the electronic games in order to analyze how electronic games created images of these characters. Since there are some differences between men’s and women’s images and characteristics, these selected characters would be separately examined by genders. The result of this thesis indicates that there were some patterns of the transformation of images of characters of the Three Kingdoms. In the literary texts, most of male characters had vivid and unique characteristics and descriptions; therefore, no matter how male characters were changed in different texts, some of their original images in the literary texts could always be maintained. On the contrary, because images of female characters were not so fixed or stereotyped and described less in the literary texts, their images became more flexible and varied. Each character, male and female, owned not only one particular image but diverse ones because of the multiple changes from the literary texts to the graphic texts and the electronic games. For those who played electronic games about the Three Kingdoms, their knowledge of related comic books, animations, and electronic games would affect the amount of images of each character. Moreover, the diversification of images resulted in the symbolization of characters’ images. Thus, players might identify these characters of the Three Kingdoms with some certain symbols or names.
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Capelovitch, Lawrence. "The True Characters of Criseyde and of Diomede in Chaucer’s Troilus and Criseyde: A Restoration of the Reputations of Two Misunderstood Characters Unjustly Maligned in Literary Criticism." Thesis, 2011. http://spectrum.library.concordia.ca/973657/1/Capelovitch_MA_S2012.pdf.
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The True Characters of Criseyde and of Diomede in Chaucer’s Troilus and Criseyde: A Restoration of the Reputations of Two Misunderstood Characters Unjustly Maligned in Literary Criticism
Lawrence Capelovitch, B.A., B.C.L.
Criseyde and Diomede have been consistently misunderstood and vilified in literary criticism due to a failure in proper analysis of the text and an uncritical acceptance of influences irrelevant to its interpretation.
Criseyde, considered the ultimate female betrayer in literature, was in fact a victim of the betrayals of the four males who touched her life. She was a survivor in time of war who faced her perils with intelligence and dignity while having to make unwelcome choices and decisions under hostile circumstances beyond her control.
Diomede is vilified as an amoral seducer when the text does not support such determination. He is a plain spoken military man, sincere, practical, intelligent, and worthy of Criseyde’s attention, and, ultimately, her love.
This thesis examines Criseyde’s sexuality, one of several leading motivators of her decisions and actions, a subject not generally analyzed in depth, but necessary for a true understanding of the plot and Criseyde’s character.
By focusing microscopically on the text, Chaucer’s brilliance as poet, psychologist, and literary craftsman will become even more apparent than heretofore, and his masterpiece will be appreciated as a tale of ongoing relevance embodying mores no different than as at the present time.
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Homann, Desiree. "Lerato : a novel and The audacious white novelist : a phenomenological study of black main characters in selected novels by white South African authors." Diss., 2011. http://hdl.handle.net/2263/30251.
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The study takes an in-depth look at eight novels by white South African authors in which the main characters are black. The novels that were studied fell into two main categories, those that highlight (although not always to the same extent) the differences between white and black people and those in which the author takes care to depict the black main character as ‘a person just like any other’, or in which the emphasis is on the similarities between people regardless of race. The novels in the first category can be divided into purely fictional works on the one hand (Toiings (1934), Cry, the Beloved Country (1948) and Swart Pelgrim (1952)) and novels based on historical facts (Die Swerfjare van Poppie Nongena (1978) and Bidsprinkaan (2005)) on the other. In the fictional novels in this category, which are also the oldest/earliest of the selected novels, the narrator patronises the black main character, who is seen as naïve and in some cases at the mercy of baser urges. The researcher shows, however, that the intent of the authors was to gain the reader’s empathy for and understanding of the plight of the black character and, by implication, of black people in general. This applies regardless of whether the novel had an explicit political theme (e.g. Cry, the Beloved Country) or not (e.g. Toiings). The novels in the second category, i.e. those in which black characters are portrayed as not substantively different from white characters (Kennis van die Aand (1973), Proteus (2002) and Lerato (unpublished, 2011) also include novels in which the main theme is a political one (Kennis van die Aand) and those in which political issues are not central to the plot (Proteus) or in which there is hardly any reference to political issues at all (Lerato). The outcomes of the study show that the intention of the authors of the studied novels in the pre-apartheid era was to promote understanding and reconciliation and not to strengthen divisive stereotypes. While this cannot be measured in empirical terms, anecdotal evidence suggests that literature does contribute to social change, albeit in an indirect manner. Despite the harsh criticism (particularly from black authors and scholars) of the practice by white authors to make use of black main characters, it can be argued that, within the South African context, such novels have played a role in achieving mutual understanding and reconciliation. There is a notable shift in the post-apartheid novels. Rather than pleading the case of the black main character with the white audience, Meyer (2002) and Homann (2011) portray their black main characters as equal players in a diverse society. If literature is seen as a reflection of society, this is an encouraging sign that South Africa has substantively moved on from apartheid.Dissertation (MA)--University of Pretoria, 2011.
Afrikaans
unrestricted
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Zöllner-Weber, Amélie [Verfasser]. "Noctua literaria : a computer-aided approach for the formal description of literary characters using an ontology / vorgelegt von Amélie Zöllner-Weber." 2008. http://d-nb.info/989797716/34.
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Bowen, Elizabeth. "Animal Abilities: Disability, Species Difference, and American Literary Experimentation." Thesis, 2020. https://doi.org/10.7916/d8-ah63-1a49.
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Disability and animality have frequently been conjoined in American literature as the limit cases of cognition, language, and narrative. In modern and contemporary fiction, this intersection is not just thematic, but also an opportunity for formal experimentation. My dissertation considers a century-spanning group of authors that includes William Faulkner, Zora Neale Hurston, Toni Morrison, and contemporary disabled writers and artists such as Jillian Weise, Kathy High, and Sharona Franklin. It uses a combination of close reading, historical research, and theoretical analysis to argue that some of the last century’s most influential literary experiments have built upon aesthetic modes associated with both disability and animality. For instance, in The Sound and the Fury, Benjy Compson’s famously associative narration is driven as much by canine-identified sensory tendencies of smell and touch as it is by human cognitive difference, and the folkloric interludes central to Their Eyes Were Watching God are catalyzed by the work-debilitated body of a mule. Few scholars have recognized the extent to which disability and animality are entangled as aesthetic categories, because each field has typically disavowed the other: disability studies makes “full humanity” a goal while assuming the inferiority of nonhumans, and animal studies often elevates nonhuman species by emphasizing their intelligence and physical abilities. My project bridges this impasse by showing how disability and animality come together to push language and literature in new directions, revealing an unrecognized literary tradition in which narratorial capacity, ethical consideration, and even access to the text do not depend on supposedly human-defining abilities like spoken language and written literacy.
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Thabela, Tumisang. "„Standing on the outside‟. Woman's search for identity in Yvonne Vera's Why don't you carve other animals and Without a name." Diss., 2010. http://hdl.handle.net/10500/4811.
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The main purpose of this study is to discuss Yvonne Vera‟s representation of various aspects of women‟s identity in a patriarchal and colonial context as they manifest themselves through the women‟s relationships. I explore ways in which the question of self for some of Vera‟s women seems characterised by marginalisation across racial, cultural, ethnic and generational divides. The short stories and novel studied seem to emphasise that for women, under patriarchy and colonialism in Zimbabwe, seeking an independent and fulfilling identity seems to be interpreted as defying society‟s expectations and dictates. However, even as Vera tells of the various women‟s failure to make breakthroughs, she points at a less gender- inflexible future where both men and women will be valued for their true worth, and not their mere biology, through foregrounding the women‟s stories as they challenge and subvert their societies‟ received norms, traditions and values.English
M.A. (English)
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LU, LI-CHU, and 呂理組. "The Study of the Different Pronunciation between the Literary and Colloquial Chinese Characters in Taiwanese Language and the Transition Four Rules of Sounds、Rhymes and Tones." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/4w5w3a.
Full textAbstract:
碩士開南大學
華語文教學研究所
105
In Taiwan, except the onomatopoeia and loanwords,the Taiwanese language can be expressed and written in Chinese characters, just like other Sino-Tibetan dialects. The Chinese characters are the semantic ideogram. After the World War II, there have been many “sound borrowed”words in Taiwanese lyrics,dictionary, Taiwanese textbooks for the elementary schools, newspapers and media and also the folk literature. So that, most people did not understand the existence of the different pronunciation between the literary and colloquial Chinese characters. In this study, one thousand four hundred characters which have different pronunciation between the literary and colloquial forms but have same sounds and meanings are collected. The author has used inductive analysis, comparison, statistical methods to find the relevance and obtain four simple rules between the literary and colloquial pronunciation. According to the four rules, many ancient and current Chinese words or new making-up words can be proved to be the appropriate written forms for Taiwanese by deductive method. These words can replace those sound-borrowed ones and can show the beauty and depth of culture between the lines.