To see the other types of publications on this topic, follow the link: Author commentary on fiction.
Dissertations / Theses on the topic 'Author commentary on fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 48 dissertations / theses for your research on the topic 'Author commentary on fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Crawford, Fiona. "Augmenting author-activism: An examination of how a continuing primary text and digital media inform contemporary non-fiction author-activism." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/101096/1/Fiona_Crawford_Thesis.pdf.
Full textAbstract:
Using a print magazine and associated digital media, this research focused on the intersection of existing writing practice, transmedia activism, and their interplay with old and new media. It identified and examined existing non-fiction author–activists' practices and considered innovative storytelling approaches that might enhance and extend contemporary author–activist practices to encourage social change.
2
Singh, Parineeta. "Perils and pleasures : a collection of short fiction, and accompanying commentary." Thesis, University of Surrey, 2017. http://epubs.surrey.ac.uk/813914/.
Full textAbstract:
This creative-critical thesis has two parts. The first part aims to collate original short fiction by the candidate. The accompanying second part is a contextualising essay, which aims to provide a reflective commentary on the Gothic elements in the candidate’s work. It begins with studying Canadian short story writer Alice Munro’s work as an example of how the Gothic can be incorporated or introduced in Realist Short Fiction. Since most of Munro’s early work has already been read as Gothic Realism by various other scholars, this thesis focuses on stories from her later volumes such as Hateship, Friendship, Courtship, Loveship, Marriage, Runaway, View from Castle Rock and Dear Life which have not yet been exhaustively studied. Thus, by devoting attention to her later work the candidate hopes to be filling in a notable lacuna or gap. I have chosen to examine a total of ten stories from the later volumes, and to analyse how despite their focus on the quotidian, and their verisimilitude, they invoke the mysterious and the otherworldly dimension which has traditionally been the domain of Gothic texts. Despite the fact that Alice Munro writes primarily realist stories, those which privilege the character’s interior lives, experiences and personal relationships; both her themes, and narrative devices (dreams, diary entries, information uncovered through newspaper accounts, and letters) reinforce her intent to go beyond simple verisimilitude. The ten stories, which I have selected to analyse, are grouped according to theme. There are those dealing with violence (‘Queenie’, ‘Runaway’, and ‘Haven’), those dealing with expressive visuality akin to Gothic texts (‘Winter Wind’, ‘Nettles’, and ‘The Ticket’), and those dealing with the grotesque (‘Cortes Island’, ‘The Office’, and ‘Some Women.’) A short reflective commentary of my own work in each chapter, and how I have incorporated such themes and conventions in my own short fiction will complete the critical section.
3
Smith, Tom Anderson. "An author in two minds : the bicameral brain and a case of conflicting fiction." Thesis, University of Sussex, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443978.
Full text
4
Williams, Carol. "Whose story is it anyway? : the screenwriter as author in the process of adaptation." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/74500/1/Carol_Williams_Thesis.pdf.
Full textAbstract:
This project explores issues confronted when authoring a previously authored story, one received from history. Using the defection of Soviet spies, Vladimir and Evdokia Petrov as its focal point, it details how a screenwriter addresses issues arising in the adaptation of both fictional and biographical representations suitable for contemporary cinema.
Textual fidelity and concepts of interpretation, aesthetics and audience, negotiating factual and fictional imperatives, authorial visibility and invisibility, moral and ethical conundrums are negotiated and a set of guiding principles emerge from this practice-led investigation.
5
Mazur, Christine Teresa. "Gothic fiction, liminality, and popular culture, Stephen King's grotesque social commentary in Salem's lot." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq23418.pdf.
Full text
6
Leister, Lori, and University of Lethbridge Faculty of Arts and Science. "Closing the circle: A novel with critical commentary." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1998, 1998. http://hdl.handle.net/10133/355.
Full textAbstract:
There are two parts to this thesis: a novel, Closing
the Circle, and a critical commentary on the process of
writing a novel from beginning to end.
The novel tells the story of Natasha, a young, late
twentieth century woman who searches for her "roots." It
begins in southern Alberta and she eventually travels to
Eastern Europe where she uncovers the voices in her dreams
and from the past. It deals with the metaphysical question
of a collective unconscious that houses past symbols
pertinent to her search as well as the question as to the
validity of dreams and memory in human life.
The critical commentary addresses issues involved in
writing a fiction vis a vis structure and other literary
devices. It also addresses questions that come with taking
personal familial historical events and writing them into
"story."<br>28 cm.
7
Mazhar, Syeda Faiqa. "A study of the theme of borderland in Nadine Gordimer's fiction." Thesis, University of Bedfordshire, 2007. http://hdl.handle.net/10547/134375.
Full textAbstract:
This doctoral project is an analytical study of South African writer, Nadine Gordimer's fiction produced from 1949 to 1994. She presents a theme similar to the post-colonial critic, Homi Bhabha's notion of borderland which he propounds as a place of creativity and cultural hybridity in his work The Location of Culture (1994). The "borderland" in Gordimer's fiction acts as a liminal space and becomes a connective tissue in her characters' lives. It emerges in the form of crossing physical frontiers and mental barriers which existed in South African society. Through moments of transition, Gordimer makes her characters aware of a liberal person's marginal position, between the reactionary colonial past and the "inbetween-ness" of the borderland in radical future of South Africa. Along with this introductory background, Chapter One establishes the dual working of physical and psychological processes through which Gordimer develops the theme of "borderland" in her fiction. The subsequent three chapters focus on the variety in the presentation of "borderland" encounters in her fiction written before and after Sharpeville (1960). The thesis concludes that the dual development of physical and psychological processes is a central narrative strategy which determines a link between chronology and the presentation of "borderland" in Gordimer's fiction.
8
Price, Amanda C. "Author(ity) figures : anxieties of authorship, freedom, and control." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/241.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>English
9
Hay, Sarah LeeAnn. "Defining and producing "good" fiction the roles of the author, editor, and agent in the publication of "Refresh, Refresh" /." [Ames, Iowa : Iowa State University], 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1473216.
Full text
10
Butt, Maggie. "What if- : english fiction and the constraints of realism : a novel, 'Living in the past', and a critical commentary." Thesis, Cardiff University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249568.
Full text
11
Oliveira, Bruno Lima de. "A autoficção no campo da escrita de si: a construção do mito do escritor em Nove noites, de Bernardo Carvalho, e outros procedimentos autoficcionais na prosa brasileira contemporânea." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1821.
Full textAbstract:
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A literatura brasileira contemporânea apresenta como uma de suas características o retorno do autor, explicado pela participação do escritor, no século XXI, no circuito midiático. A presença assídua de escritores em programas de rádio e televisão, em lançamentos de livros, em feiras literárias, em palestras e congressos etc. confere-lhes uma identidade imagética suficientemente forte para despertar nos leitores o desejo por conhecer mais amiúde o que eles têm a dizer para além do texto literário. Sua participação como personagem literário, no entanto, apesar de conter referências autobiográficas, está longe de representar uma verdade biográfica, mas, ao contrário, cria uma aura de indecisão a respeito das referências narradas. A autoficção, desse modo, seria uma crítica à noção de sujeito e ao demasiado apelo do real em nossos dias. Bernardo Carvalho é um autor exemplar de uma escrita autoficcional. Nove noites é um romance que, além de fornecer signos extratextuais importantes para a construção de uma identidade autoficcional, textualmente baralha os conceitos de verdade e mentira, ficção e realidade, resultando num texto híbrido, característico da mitificação a que se submete o autor contemporâneo. O presente trabalho, preocupado em ofertar uma novidade para os estudos literários, amplia o corpus analisado e não se limita à análise do já canônico Bernardo Carvalho. Sete outros autores somam-se a este para uma maior abrangência do panorama da literatura brasileira contemporânea. Clarah Averbuck, Milton Hatoum, Ivana Arruda Leite, Marcelo Mirisola, Cíntia Moscovich, João Gilberto Noll e Silviano Santiago completam a pesquisa em torno da autoficção<br>The contemporary Brazilian literature presents as one of its features the return of the author, explained by the participation of the writer, in the twenty-first century, in the media circuit. The constant presence of writers in radio and television programs, book launches, literary fairs, lectures and conferences etc. gives them an imagery identity strong enough to awaken in readers the desire to know in a more detailed way what they have to say beyond the literary text. His participation as a literary character, however, although it contains autobiographical references, it is far from being a "true" biography, but, instead, it creates an aura of indecision about the narrated references. The autofiction thus would be a criticism of the notion of subject and the exaggerated appeal of the real today. Bernardo Carvalho is an example of an author writing autofiction. Nove noites is a novel that, in addition to providing important extratextual signs to build an autofictional identity, literally shuffles the concepts of truth and lie, fiction and reality, resulting in a hybrid text, characteristic of myth-making submitted by the contemporary author. This work, concerned about offering something new to literary studies, extends the corpus analysis and it is not limited to the analysis of the already canonical Bernardo Carvalho. Seven other authors are added to him for a more comprehensive panorama of the contemporary Brazilian literature. Clarah Averbuck, Milton Hatoum, Ivana Arruda Leite, Marcelo Mirisola, Cíntia Moscovich, João Gilberto Noll and Silviano Santiago complete the search about the autofiction
12
Smythe, James. "Hereditation: an American tale (a novel) ; and, Taking the index back: what the internet has to offer print fiction (a commentary)." Thesis, Cardiff University, 2007. http://orca.cf.ac.uk/55713/.
Full textAbstract:
Throughout this thesis I attempted to examine the various ways in which 'new media' writing found on blogs and the internet have added functions to their (internet-based) forms, and then discover if it would be possible for the print novel to assimilate those same techniques. The novel that came from the conclusion of these findings, entitled Hereditation, is an epic saga that spans the course of over five hundred years, and features a number of techniques and formatting that are either directly adapted from, or are closely related to, similar techniques that might be found in prose on the internet. The Critical Commentary covers my attempts to decipher the various components of online fiction, and then looks at the ways that these components can be implemented into printed fiction (with special reference to the aforementioned novel). The Commentary also includes a number of 'Blog Entries', far more personal insights into the process than most, as well as presenting an appendix that encompasses a history of the use of the internet as a means for presenting fiction. The thesis attempts to ask whether it is possible to use the information gleamed from the internet as a way of enhancing print fiction, both without resorting to genre fiction stereotypes (such as writing a Science Fiction novel to shoehorn in techniques) and without sacrificing the traditional flow and format of print fiction itself.
13
Carter, Suzanne Marie. "Metafictive techniques and reader response in the postmodern work of Rubem Fonseca (1963-2004) : defamiliarisation, ludism and a critical commentary about fiction?" Thesis, University of Birmingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434080.
Full text
14
Reynolds, Hannah C. "The Electric Era: Science Fiction Literature in China." Wittenberg University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617805441166436.
Full text
15
Li, Mengjun. "Master of Heavenly Flowers Scripture: Constructing Tianhua zang zhuren's Three Personae as Publisher, Commentator, and Writer of Scholar-beauty Fiction." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250608011.
Full text
16
Nicolas, Agathe. "La grande saga de l’industrialisation de la fiction : le renouveau créatif de la franchise Harry Potter." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL024.
Full textAbstract:
Le constat d’une difficulté est à l’origine de cette thèse : est-il encore possible de parler de clôture de la fiction face au fonctionnement contemporain des franchises fondées sur le développement transmédiatique d’univers transfictionnels ? Cette thèse traite des problématiques de création dans le cadre des industries culturelles : quelles sont les influences de l’industrie sur la création d’une fiction ? Quelles sont les influences de la fiction sur les médiations et les représentations de l’industrie ? Quelles sont les conséquences de l’industrialisation sur les circulations de la fiction ? Comment comprendre la permanence d’une figure d’auteur dans un régime de création collective ? L’étude se structure autour de quatre hypothèses principales, correspondant à autant de parties : tout d’abord, il est désormais nécessaire de parler de « fictions industrialisées », dans la mesure où la fiction, ses formes et ses contenus sont façonnés par l’industrie. Réciproquement, on constate l’émergence d’une « industrie narrativisée » : l’industrie participe de la création culturelle mais devient aussi objet culturel marqué par les codes de la fiction. La proposition de la notion de « fiction totale » rend nécessaire de repenser les notions de participation et de convergence qui, paradoxalement, ne sont pas incompatibles avec le concept d’autorité ; ainsi, il semble que l’ouverture de la fiction soit le symptôme d’un verrouillage institutionnel accru. Enfin, cette thèse pose l’hypothèse de l’émergence d’une nouvelle forme d’auctorialité, fondée sur l’assimilation de la figure d’auteur à un triple produit<br>One main question originated this PhD Thesis : is it still possible to talk about the closure of a fiction when contemporain franchises work on continual developments and expansions ? This document questions the concept of fiction through the notion of cultural industry. How is the creation of fiction influenced by its industrial environment ? What consequences does fiction have on its industrial environment ? What does industrialisation do to the circulation of fiction ? How does evolve the notion of authorship in this collective environment for creation ? Our study is structured around four main hypothesis, which are each studied in a dedicated part of this thesis : firstly, we underline the relevance of the notion of « industrialised fictions » ; indeed, fictional contents and formats’ evolutions are deeply linked to industrial developments. Furthermore, these contents and formats are sometimes shaped accordingly to their potential industrial developments. Reciprocally, we emphasize the notion of « narrated industry » : industry participates in cultural creation and is a cultural creation contaminated by fiction. A new notion is therefore necessary : the « totalizing fiction ». We worked on a renewed approach for the notions of convergence and participatory cultures which are, paradoxically, strongly linked to the concept of authority : the oppenness of fiction would be the symptom of an institutional lockout. Finally, this thesis defines the appareance of a new form of authority, shaped on the assimilation of authorship to a product : the author is produced as a figure, as a comercial and cultural object and as a self-creation
17
Tanksley, Charles William. "The failure of storytelling to ground a causal theory of reference." Thesis, Texas A&M University, 2002. http://hdl.handle.net/1969.1/147.
Full textAbstract:
I argue that one cannot hold a Meinongian ontology of fictional characters and have a causal theory of reference for fictional names. The main argument presented refutes Edward Zalta's claim that storytelling should be considered an extended baptism for fictional characters. This amounts to the claim that storytelling fixes the reference of fictional names in the same way that baptism fixes the reference of ordinary names, and this is just a claim about the illocutionary force of these two types of utterance. To evaluate this argument, therefore, we need both a common understanding of the Meinongian ontology and a common taxonomy of speech acts. I briefly sketch the Meinongian ontology as it is laid out by Zalta in order to meet the former condition. Then I present an interpretation of the taxonomy of illocutionary acts given by John Searle in the late 1970s and mid 1980s, within which we can evaluate Zalta's claims. With an ontology of fictional characters and a taxonomy of speech acts in place, I go on to examine the ways in which the Meinongian might argue that storytelling is an extended baptism. None of these arguments are tenable-there is no way for the act of storytelling to serve as an extended baptism. Therefore, the act of storytelling does not constitute a baptism of fictional characters; that is, storytelling fails to ground a causal chain of reference to fictional characters.
18
Palmer, Beth Lilian. "Strategies of sensation and the transformation of the Press, 1860-1880 : Mary Braddon, Florence Marryat and Ellen Wood, female author-editors, and the sensation phenomenon in mid-Victorian magazine publishing." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:30a509c7-2ba3-4477-9d3e-801f61e1b8c1.
Full textAbstract:
This thesis examines the processes of writerly and editorial literary production undertaken by women sensation authors in the 1860s and 1870s. This focus represents a shift from the prevailing critical emphasis on the consumption of sensation fiction to the realm of production and therein allows the thesis to analyse the ways in which sensation operates as a set of rhetorical and linguistic strategies for women writers in the changing publishing conditions of mid-to-late Victorian society. I consider the ways in which sensation is an idiom that permeates all aspects of magazine publishing in this period and demonstrate how it could be adapted and become an empowering discourse for women writers and editors. Furthermore, this thesis sees sensation as an important component in the transformation of the press in the 1860s and 1870s. By analysing the specific ways in which sensational strategies were appropriated and transformed, this thesis reassesses the role of sensation in the creation of women’s writing in the second half of the nineteenth century, and consider its legacies in later ‘New Woman’ writers. I achieve this by examining three women editors, who were part of the transformation of magazine publishing in the period. Mary Elizabeth Braddon (1835-1915), Ellen (Mrs. Henry) Wood (1814-1887), and Florence Marryat (1837-1899) all operated as writers and editors in the mid-to-late nineteenth century. They produced varying types of sensational fiction that they serialised in their own monthly magazines, Belgravia, Argosy, and London Society respectively. Sensation provided a dynamic and flexible means for these women author-editors to assert their status in the context of the expansion of the press in the 1860s and 1870s. I argue that their work invites a more fluid and generous critical definition of sensation.
19
Yu, Xin Xin. "HUMANS, NONHUMANS, ENVIRONMENT, AND TECHNOLOGY IN A POST-NATURAL WORLD: Translation and Commentary of a Story from Where Rain Falls Amiss (Kuyu zhi di 苦雨之地) by Wu Ming-yi 吳明益". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
Find full textAbstract:
As climate change in the Anthropocene rises to prominence in public discussions, literature and translation that engage with ecological issues are also gaining attention in Anglophone academia and the book market. This dissertation seeks to analyse Taiwanese author Wu Ming-yi 吳明益’s most recent short story collection, Where Rain Falls Amiss (Kuyu zhi di 苦雨之地, 2019), and discuss my translation process of one of the short stories, Here Lie Clouds, Two Thousand Metres Up (Yun zai liangqianmi 雲在兩千米). Drawing on ecocriticism and posthumanist theories, my analysis and interpretation of Where Rain Falls Amiss illustrates how it explores the interconnection between human beings, nonhuman organisms, physical landscapes, and technological environments, in a way that incorporates local environmental history and indigenous traditions as well as influences from Anglophone environmental writing and scientific research. Turning to the translation, I contextualised my understanding by interviewing the author Wu Ming-yi and the translator Darryl Sterk, who has translated two books by Wu into English, and I drew inspiration from ecotranslation theories and techniques advocated by Michael Cronin and Darryl Sterk. The commentary presents detailed examples to discuss how I approached the translation of bionyms and descriptions of flora and fauna as well as culture-specific content such as indigenous beliefs and localisms. Overall, I sought to negotiate a balance between terminological precision, cultural specificity, and textual fluency on a case-by-case basis, hoping to produce a translated text that is both instructive and engaging for the target reader. My translation and the source text of Here Lie Clouds, Two Thousand Metres Up can be found at the end of the dissertation.
20
Bush, Douglas Paul William. "Selling a Feeling: New Approaches Toward Recent Gay Chicano Authors and Their Audience." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366247518.
Full text
21
Parv, Valerie. "Healing writes : restoring the authorial self through creative practice : and Birthright, a speculative fiction novel." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16646/1/Valerie_Parv_-_Birthright.pdf.
Full textAbstract:
Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten through one's creative work to achieve a more satisfactory result. Through personal contact, studying authors' accounts of their creative practices, and surveying current literature on narrative therapy, a case is made that, far from being generated purely from imagination, writers' creative choices are driven by an unconscious need to restory ourselves.
22
Parv, Valerie. "Healing writes : restoring the authorial self through creative practice : and Birthright, a speculative fiction novel." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16646/.
Full textAbstract:
Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten through one's creative work to achieve a more satisfactory result. Through personal contact, studying authors' accounts of their creative practices, and surveying current literature on narrative therapy, a case is made that, far from being generated purely from imagination, writers' creative choices are driven by an unconscious need to restory ourselves.
23
Aubague, Mathilde. "Ambiguïtés du récit sério-comique de Rabelais à Fielding : formation du personnage, mystification du lecteur." Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL017.
Full textAbstract:
Notre étude se propose d’analyser les enjeux et les formes de la représentation d’une figure d’auteur dans la fiction narrative comique du XVIe au XVIIIe siècle en Europe. Cette figure, extérieure à la diégèse ou appartenant au personnel narratif, exhibe un discours d’auteur, mime un dialogue avec le lecteur, instaurant une communication narrative fictive avec le lecteur. Cette communication apparaît paradoxale, elle représente une parole orale, problématique dans un texte écrit, et la présence réelle de l’auteur est insituable dans le texte, la figure auctoriale appartenant déjà à l’univers fictionnel. Le dialogue avec le lecteur repose sur une fiction de présence et sur un dispositif rhétorique séducteur dont les enjeux sont pragmatiques. Le récit est donné comme porteur d’enseignements. Il thématise une formation du héros souvent sujette à caution, dont le lecteur doit démêler les enjeux. La structure comique du récit et de l’énonciation contribue à une mystification du lecteur, appelé à interpréter un texte ludique, à la fois comique et sérieux, qui refuse de livrer son sens de façon univoque. Du XVIe au XVIIIe siècle se mettent en place, en relation avec leur contexte d’écriture, les formes d’un genre sério-comique, qui repose sur la parodie et le détournement des codes et des formes de la littérature contemporaine, sur l’instauration d’une attitude intellectuelle ironique et critique et d’une communication fictive avec le lecteur. Nous analyserons les formes de l’ambiguïté énonciative et narrative chez Rabelais, chez l’auteur anonyme du Lazarillo, chez Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux et Henry Fielding<br>Our study intends to analyse the stakes and forms of a figure of author’s representation in the comical narrative fiction in Europe from 16th to 18th century. Such figure, either external to the diegesis or belonging to the narrative characters, produces the speech of an author, mimes a dialogue and by doing so, establishes an imaginary narrative communication with the reader. This kind of communication seems paradoxical. It represents oral speech, which is problematic in a written text; the actual presence of the author cannot be placed within the text whereas the auctorial figure already belongs to the fictional world. The dialogue with the author is set on an imaginary presence and on a seducing rhetorical device with pragmatic stakes. Lessons are expected to be drawn from this narrative. It topicalizes the forming of the hero, which is often questionable, and it is up to the reader to untangle the stakes. The comical structure of the narrative and of the enunciation contributes toward a deception of the reader who is expected to give an interpretation of an entertaining text which is both comical and serious, and which refuses to deliver its meaning in a univocal way. From 16th to 18th century forms of a serio-comic gender are established within their writing context. They rely on parody and diversion of the forms and codes of contemporary literature, on the introduction of an ironic and critical intellectual attitude as well as an imaginary interaction with the reader. We will analyse the different forms of enunciative and narrative ambiguity in Rabelais, in the anonymous author of Lazarillo to Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux to Henry Fielding
24
Letsetsengui, Marthe Prisca. "Les fictions d'auteurs dans la littérature francophone et contemporaine d'Afrique noire, des Caraïbes et du Québec." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC009.
Full textAbstract:
Qu’est-ce que « les fictions d’auteurs » ? Nous désignons par cette thématique un ensemble de textes littéraires qui met l’accent sur la fabrication d’un personnage écrivain et la réception du livre fictif. Ce phénomène est né dans la littérature française à la suite de deux publications consécutives sur la mort de l’auteur. Ces actes de décès de l’auteur ont donc engendré la parade de fabrication de l’auteur dans le roman français pour tenter de lui redonner vie. Ils ont introduit le principe de l’immanence entrainant l’effacement de l’auteur au profit de l’écriture. Ainsi, sans chercher à confronter les différents champs littéraires, cette thèse constitue un panorama des éléments d’identification d’un personnage écrivain dans le roman francophone et un moyen pour l’auteur de dévoiler aux lecteurs les dessous de son métier d’écrivain. Pour saisir l’ancrage de ce romancier fictif dans le texte francophone, cette étude s’appuie sur la sociologie littéraire et la poétique littéraire<br>What is "author's fiction"? By this theme we designate a set of literary texts that focuses on the making of a character writer and the reception of the fictional book. This phenomenon was born in French literature following two consecutive publications on the death of the author. These acts of death of the author have thus generated the author's production parade in the French novel to try to revive him. They introduced the principle of immanence leading to the erasure of the author in favor of writing. Thus, without trying to confront the different literary fields, this thesis constitutes a panorama of the identifying elements of a writer's character in the French-speaking novel and a means for the author to reveal to the readers the underpinnings of his writing profession. To capture the anchor of this fictional novelist in the French text, this study is based on literary sociology and literary poetics
25
Barros, Maria Rita. "A construção da autoria compartilhada no universo da fanfiction." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14614.
Full textAbstract:
Made available in DSpace on 2016-04-28T19:34:43Z (GMT). No. of bitstreams: 1
Maria Rita Barros.pdf: 1700513 bytes, checksum: 6cfc2bb46fcdbb0bc4808ea52ce867ac (MD5)
Previous issue date: 2009-10-22<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This essay focuses on the production written by fans that use digital technology to
upload their work, known in cyberspace as fanfics. These fans are anonymous
people who submit their texts, their fanfics, to the screening of proofreaders and
readers who united by the same literary taste and/or by the desire to improve their
writing style feedback on, and take part in, each others´ work. A look at different
cyber environments, particularly blogs and websites, reveals that fanfics have
become a new type of textual creation. Our aim is to describe the universe within
which fanfics, or fanfictions, exist so as to show how their shared authorship is built.
Unlike school students, fanfic writers place themselves as the subject of their text,
assume their authorship when they position themselves vis-a-vis a text, and, by
making use of different genres, do not let the dialogue end. In order to penetrate the
nature of such fans, who become authors themselves, or co-authors of an original
work, we fall back on the observations made by theorists of Social Discourse
Analysis. Our conclusion is that in cyberspace there is a new space for textual
production, wherein it is possible to dialogue, (re) create, and for fanfics to present a
smooth conception of authorship since they spring from an existing idea already
accepted in the publishing universe and even by other media types. The fanfic writer
places himself as a co-author of an original published work by getting hold of an idea
that already exists, of a style, and starts a new game. Drawn by the voice of the
original author, he seeks to emulate the same features, the same style, so as to find
new players/readers who wish to share and discuss with him his authorship<br>Esta dissertação trata da produção escrita elaborada por fãs que usam a tecnologia
digital para postarem seus textos, conhecidos no ciberespaço como fanfics. Esses
fãs são pessoas anônimas que submetem seus textos, suas fanfics à apreciação de
corretores e leitores que, unidos por um mesmo gosto literário e/ou por uma vontade
de aprimorar o seu estilo na escrita, fazem comentários e participam da produção
uns dos outros. Ao transitar por diferentes espaços virtuais, em especial blogs e
websites, observamos que as fanfics se apresentam como uma nova forma de
criação textual. O nosso objetivo, portanto, é descrever o universo em que
encontramos as fanfics ou fanfictions, para apresentar como se constrói a sua
autoria compartilhada. Diferentemente da atitude dos alunos que produzem textos
na escola, o escritor de fanfics coloca-se como sujeito do seu próprio texto, assume
a sua autoria quando se posiciona a respeito de uma obra e, ao fazer uso de
diferentes gêneros, não deixa o diálogo acabar. Em busca de uma caracterização
desse fã que se torna autor ou coautor de uma obra original- recorremos às
reflexões desenvolvidas pelos teóricos da Análise Social do Discurso. Concluímos
que, no ciberespaço, temos um novo espaço de construção textual, em que é
possível dialogar, (re) criar e as fanfics apresentam uma concepção fluida de autoria,
pois surgem a partir de uma ideia que já existe, já foi aceita pelo mercado editorial e
até por outras mídias o escritor de fanfic se posiciona como um coautor de uma obra
original impressa ao se apropriar de uma ideia já existente, de um estilo e inicia um
novo jogo. Seduzido pela voz do autor primeiro, ele busca assumir o traço, o estilo,
visando encontrar novos jogadores-leitores que queiram compartilhar, discutir com
ele e a sua autoria
26
Mollaret, Damien. "Le détour par l'autre : plurilinguisme et pseudonymie dans les oeuvres de Fernando Pessoa, Vladimir Nabokov, Jorge Luis Borges et Romain Gary." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30026.
Full textAbstract:
« Je ne peux pas supporter mon vrai nom, je me sens aussitôt coincé » affirme le narrateur de Pseudo, roman que Romain Gary a signé de son pseudonyme Émile Ajar. Il ajoute qu’il a « tout essayé pour [se] fuir » et en particulier tenté d’apprendre des langues très éloignées de la sienne, voire d’inventer sa propre langue. Comme Gary, certains écrivains ont considéré leur langue maternelle ou leur patronyme comme des carcans limitant leurs possibilités. Pour tenter de « tout sentir, de toutes les manières » (expression de Pessoa) ils ont pu changer de langue ou prendre des pseudonymes. Afin d’étudier conjointement le plurilinguisme et la pseudonymie, nous avons choisi un corpus de quatre auteurs du XXe siècle : le poète portugais Fernando Pessoa (1888-1935), le romancier russo-américain Vladimir Nabokov (1899-1977), l’écrivain argentin Jorge Luis Borges (1899-1986) et le romancier français Romain Gary (1914-1980). Tous les quatre se situent au carrefour de plusieurs langues et cultures. Maîtrisant le français et l’anglais en plus de leur langue maternelle, ils ont utilisé l’anglais comme deuxième langue d’écriture et ont pratiqué la traduction et/ou l’autotraduction. De plus, ils ont tous pris des pseudonymes et se sont inventé des doubles d’écrivains fictifs. Le concept pessoen d’hétéronyme (très lié à son plurilinguisme) nous a permis d’éclairer les pratiques des trois autres auteurs. Pour cela, nous avons comparé les principaux hétéronymes de Pessoa avec Bustos Domecq (pseudonyme commun à Borges et à Bioy Casares), Émile Ajar (pseudonyme de Gary, incarné par un homme de paille, Paul Pavlowitch) et Sirine (le double russe de Nabokov). Comme la traduction, l’écriture hétéronymique nécessite une certaine dépersonnalisation. Et comme l’autotraduction, elle oblige un auteur à se confronter à un alter ego. Pour écrire dans une autre langue ou inventer un style nouveau dans la sienne, il faut renoncer à une certaine maîtrise et à une part de soi. L’hypothèse de notre travail est que les changements de langues et/ou de noms effectués par ces auteurs constituent finalement moins un rejet de leur identité qu’une façon détournée de faire route vers soi. En les libérant d’eux-mêmes, les hétéronymes leur ont permis de s’observer avec plus de recul, de commenter leur propre œuvre comme si c’était celle d’un autre et de se confier davantage. Il en va de même pour l’écriture dans une langue seconde qui crée, elle aussi, une certaine distance propice aux confessions et aux expérimentations<br>“I cannot stand my real name, I feel immediately stuck” says the narrator of Pseudo, a Romain Gary novel authored under his pseudonym, Émile Ajar. He adds that he “has attempted everything to run away from [himself]”. He tried specially to learn different languages and even to invent his own. Like Gary other writers have considered their mother tongue or their surname as restraints limiting their possibilities. In order to “feel everything in every way” (Pessoa’s expression) they would change their language or use pseudonyms. To jointly study multilingualism and the use of pseudonyms, we focused on four 20th century authors: the Portuguese poet Fernando Pessoa (1888-1935), the Russian-American novelist Vladimir Nabokov (1899-1977), the Argentinian writer Jorge Luis Borges (1899-1986) and the French novelist Romain Gary (1914-1980). The writings of all four authors are at the intersection of several languages and cultures. In addition to their mother tongue, they each mastered French and English. They used English as a second language for their writing, were translators and/or self-translators. Additionally, all four took pseudonyms and invented fictitious alter egos. Pessoa’s concept of heteronym (closely connected to his multilingualism) allowed us to shed light on the work of the three other authors. To do this, we compared Pessoa’s main heteronyms with those of Bustos Domecq (pseudonym of Borges and Bioy Casares), Emile Ajar (pseudonym of Gary, embodied as the straw man Paul Pavlowitch) and Sirine (Nabokov’s Russian alter ego). Like translation, heteronymous writing requires some depersonalization. And like self-translation, it forces the author to confront an alter ego. To write in another language or to invent a new style in one’s own language, one must renounce a part of one’s self. This thesis aims to show that for these authors using pseudonyms and writing in different languages represents less of a rejection of their identities than an indirect way to come back to themselves. Freed from themselves by their heteronyms, they can better appreciate who they are, be self-critical and thus they can open their hearts to their readers. Writing in a second language also creates a certain distance that enables them to confess and experiment
27
Rogers, Robin Taylor. "Harold Frederic's The Damnation of Theron Ware [electronic resource] : a study guide with annotated bibliography / by Robin Taylor Rogers." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000101.
Full text
28
Minucci, Andrea. "“There’s More to Life ThanSitting There SimplyInterfacing” : David Foster Wallace and his Reader in a Literature afterPostmodernism." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169390.
Full textAbstract:
David Foster Wallace felt that literature was at a historical crossroad, and thatpostmodernism had passed the point which it could still be considered a'revolutionary' cultural phenomenon. He felt that the capitalistic machinery of TVand advertisement had absorbed the postmodernist techniques of pastiche,deconstruction and rejection of a distinction between high and low culturalmodels, to a point where there was no longer a difference between reality and itsown representation. Something that represented a problem for both youngnovelists and readers.This thesis analyses Infinite Jest as a response to this very problem, trying tounderstand in which way Wallace wanted to get over postmodernism, establishinga new kind of literature that highlights the artificiality of reality, by using differenttools than postmodernism. Cross-referencing media and literary studies, my thesisargues that Infinite Jest is a novel that emphasizes the fact that it is a construct. Ishow how the book acknowledges, and gives value to the subjectivity of everyhuman experience, but still stressing the idea that all the data that the reader isreceiving is and will always be heavily mediated information. Therefore, I showhow Wallace uses his characters as if they were human recording devices, creatingin this way a book that is some sort of hybrid between literature and TV.Furthermore, I explain how, by means of narrative devices (such as a disruptiveand incomplete plot, hundreds of endnotes), Wallace wanted to restore thecommunicative function of a text, making himself sure that the reader is invited toactively cooperate in the formation of the novel's meaning, ultimately meeting,and engaging into a dialogue with the author's consciousness in the novel'slanguage, breaking that state of self-consciousness and isolation into which thereader has been condemned by postmodernism and capitalism. Showing that“There's more to life than sitting there simply interfacing”1 David Foster Wallace; Infinite Jest; media studies; Postmodernism; Image-fiction Television; intermediality; transmediality; narratology; heteroglossia. 1 David F. Wallce, Infinite Jest, (Back Bay Books 2016), p. 14.
29
Diarra, Myriam. "Figures et fictions d'auteur chez Lucien de Samosate." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040141.
Full textAbstract:
Partant du constat de l'omniprésence de Lucien dans son corpus, notre thèse se propose de dresser un panorama des autoreprésentations auctoriales dans l'ensemble de l'œuvre de Lucien de Samosate, mais dans une perspective résolument théorique. En effet, parce qu'il se constitue comme point focal de sa propre œuvre, Lucien a souvent tendance à faire l'objet d'une lecture biographique de la part de la critique. Cette thèse se donne pour objet de redonner à l'autoreprésentation de l'auteur son sens de geste poétique. En choisissant le terme de figure, auquel on donne ici un sens plus restreint qu'à celui de persona, on s'intéressera uniquement aux moments où l'auteur fait explicitement l'objet de son propre discours.La première partie de notre thèse consiste donc en une importante typologie des mises en scène de soi chez Lucien: on part des apparitions les plus explicites de l'auteur en contexte référentiel, dans le corpus oratoire ou biographique, pour traiter ensuite de la partie fictionnelle du corpus. L'un des objectifs de ce travail est en effet de redonner à Lucien sa place de pionnier dans l'invention de l'autofiction.La seconde partie de notre thèse tire les conclusions poétiques de cette typologie, en dégageant aux autoreprésentations de l'auteur une double fonction : d'abord, elles doivent dire l'individu social et intellectuel, mais dans une démarche qui transcende les genres et la séparation traditionnelle entre référentialité et fiction. Ensuite, les figures de l'auteur ont pour fonction de servir de vecteur à un message métapoétique extrêmement riche, qui va de la théorie de la fiction à celle de la réception<br>The starting point of this PhD thesis was the constatation of Lucian's omnipresence within his own corpus. This phenomenon often led critics to have an excessively biographical approach to this author. The aim of this thesis is thus to give an account of the vast scope of self-representations within Lucian's corpus, in a theoretical perspective, in order to show that the staging of the self can be seen as a poetical gesture. The first part of this work thus consists in a typology of all the auctorial self-representations that can be found within Lucian's œuvre. It ranges from the most explicit forms of authorial presence, in referential works, such as prolaliai and biographies, to the most fictional part of the corpus. The aim of this work is to establish Lucian's position as a pioneer in the invention of autofiction.The second part of this thesis draws the theoretical conclusions of this typology, by showing that authorial self-representations have two main functions : first, they help defining Lucian's social and intellectual identity, beyond generic boudaries ; second, they serve a metaliterary purpose : as vicarious surrogates, Lucian's doubles appear as a powerful means of expressing his aesthetical views
30
Peeters, Elodie. "La réception française et espagnole de la tétralogie havanaise de Leonardo Padura Fuentes." Thesis, Paris 10, 2020. http://faraway.parisnanterre.fr/login?url=http://bdr.parisnanterre.fr/theses/intranet/2020/2020PA100003/2020PA100003.pdf.
Full textAbstract:
Aujourd’hui, la théorie de la réception ne se résume plus simplement à trois éléments : l’auteur, le lecteur et le texte, mais à de multiples paramètres qui faussent la réception. Nous allons démontrer que Leonardo Padura est le représentant de cette nouvelle réception du XXIe siècle. Une réception liée à un partage de données, d’avis et à une surexposition de l’écrivain devenu « star ». Cette sacralisation de Leonardo Padura est due à la volonté de le façonner comme le Cubain par excellence, un écrivain honnête, travailleur et dénonciateur du régime comme le sont tous les écrivains de romans noirs. Cette vitrification rapide et précoce émise lors de la sortie des romans a influencé la réception des œuvres postérieures de Padura et contamine, encore aujourd’hui, les lecteurs de la tétralogie.C’est en nous appuyant sur le cycle des Quatre saisons de Leonardo Padura Fuentes, composé de quatre tomes : Pasado Perfecto, Vientos de cuaresma, Máscaras et Paisaje de otoño, que nous pourrons développer notre propos. Ces quatre tomes forment un tout, ils décrivent les quatre saisons d’une année, l’année 1989. Nous avons choisi ce corpus car il était censé être un ensemble homogène, une suite logique entre les romans. Notre intention est de prouver que la réception de la tétralogie de Leonardo Padura a été faussée depuis sa publication il y a plus de vingt-cinq ans, tout d’abord à cause de la publication des œuvres dans le désordre et ensuite par les articles des journalistes, des universitaires et des lecteurs lambda.L’exemple individuel de Padura constitue une nouvelle forme de réception et représente cette nouvelle génération d’auteurs. Nous verrons que celle-ci aura assurément un impact sur l’Histoire littéraire<br>Today, the theory of reception is no longer only three elements: the author, the reader and the text, but multiple parameters that distort reception. We will demonstrate that Leonardo Padura is the representative of this new reception of the 21st century. A reception related to a sharing of data, opinions and overexposure of the writer, one of Cuba’s most well-known author. This sacralization of Leonardo Padura is due to the desire to shape him as the ultimate Cuban: an honest writer, hardworking and denouncer of the regime as are all writers of detective novels. This rapid and early vitrification of the novels has influenced the reception of the later works of Padura and still contaminates the readers of the tetralogy.It is by relying on Leonardo Padura Fuentes' Four Seasons cycle, composed of four volumes: Pasado Perfecto, Vientos de cuaresma, Máscaras and Paisaje de otoño, that we will be able to expand on. These four volumes form a whole, they describe the four seasons of a year, the year 1989. We chose this corpus because it was supposed to be a homogeneous whole, a logical continuation between the novels. Our intention is to prove that the reception of Leonardo Padura's tetralogy has been distorted since its publication more than twenty-five years ago, first of all because of the publication of the works in the disorder and then by the articles written by journalists, academics and ordinary readers.The individual example of Padura is a new form of reception and represents this new generation of authors. We will see that it will certainly have an impact on the history of litterature<br>Hoy, la teoría de la recepción ya no se resume a los tres elementos: el autor, el lector y el texto, sino a varios parámetros que falsean la recepción. Vamos a demostrar que Leonardo Padura es el representante de esa nueva recepción del siglo XXI. Una recepción vinculada con un reparto de datos, de opiniones y con una sobreexposición del escritor convertido en una « celebridad ». Esa sacralización de Leonardo Padura es debida a la intención de formarlo como el cubano por excelencia, un escritor honesto, trabajador y denunciante del régimen como lo son todos los escritores de novela negra. Esa precoz inmortalización emitida durante la publicación de las novelas influyó en la recepción de las obras posteriores de Padura; marcando todavía hoy a los lectores de la tetralogía.Nos basamos sobre el ciclo de Las Cuatro estaciones de Leonardo Padura Fuentes, compuesto de cuatro tomos: Pasado Perfecto, Vientos de cuaresma, Máscaras y Paisaje de otoño, para poder desarrollar nuestro tema. Esos cuatro tomos forman una unidad, describen las cuatro estaciones de un año, el año 1989. Elegimos ésta recopilación porque se suponía que componía un conjunto homogéneo y una continuación lógica entre las novelas. Nuestra intención es mostrar que la recepción de la tetralogía de Leonardo Padura fue falseada desde su publicación hace más de veinticinco años. Primero, a causa del desorden de la publicación de las obras, segundo por los artículos de los periodistas, universitarios y de los lectores « comunes ».El ejemplo individual de Padura constituye una nueva forma de recepción y representa a esa nueva generación de escritores. Veremos que esa tendrá ciertamente un impacto sobre la Historia Literaria
31
Keita, Mohamed. "Approche psychocritique de l'œuvre romanesque de Tierno Monénembo." Phd thesis, Université Paris-Est, 2011. http://tel.archives-ouvertes.fr/tel-00691942.
Full textAbstract:
La présente thèse a pour but de ressortir l'implicite de l'œuvre de Tierno Monénembo. Elle se structure autour de trois axes principaux ; le premier étudie les instances narratives ; le deuxième porte sur les principaux actants du récit ; le troisième axe permet d'élaborer la genèse du mythe personnel de l'écrivain à travers l'exil. L'analyse psychocritique de l'œuvre de Monénembo se veut être aussi une étude portant sur la psychologie des personnages, elle tâche de mettre en exergue le malaise identitaire des personnages et celui de l'exilé en somme, face à des traumatismes sociopolitiques, les personnages éprouvent la nostalgie du royaume de l'enfance. Cette structure récurrente dans l'œuvre est la résultante d'un passé troublant. Celui-ci se traduit dans le discours des narrateurs. Ces derniers s'inspirent en général de l'univers familial ou de celui du pays natal " mal sorti " du joug colonial français
32
Bell, Anita. "Re-visioning a "novel concept" : beyond vision and revision to advanced editing strategies." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/36431/1/Anita_Bell_Thesis.pdf.
Full textAbstract:
This thesis is a work of creative practice-led research comprising two components. The first component is a speculative thriller novel, entitled Diamond Eyes. (Contracted for publication in 2009 by Harper Collins: Voyager as the first in a trilogy, under the name AA Bell.) The second component is an exegesis exploring the notion of re-visioning a novel. Re-visioning, not to be confused with revision, refers to advance editing strategies required when the original vision of a novel changes during development.
33
Atem, Carole. "Les mémoires apocryphes de Courtilz de Sandras : émergence et triomphe d'une forme romanesque à l'âge classique (1687-1758)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030140.
Full textAbstract:
Qu’ils mettent en avant une figure historique ou un personnage fictif, les Mémoires de Courtilz de Sandras, publiés entre 1687 et 1758, marquent l’essor d’une forme romanesque fondée sur le simulacre de l’écriture mémorialiste. Ces romans empruntent l’aspect de mémoires dont les signataires fictifs sont des acteurs du règne de Louis XIII ou des contemporains parfois célèbres de Courtilz ; cependant, loin d’induire en erreur le lectorat, l’origine fictive de ces récits, qui justifie le qualificatif d’apocryphes, n’a pas empêché les critiques des XVIIe et XVIIIe siècles de déceler derrière les auteurs supposés la présence d’un romancier anonyme. Entre illusion et vérité, ces pseudo-mémoires à la première personne, qui mêlent véracité biographique, exactitude historique et invention romanesque, invitent à redéfinir les notions d’authenticité et de fiction, à la lumière du pacte tacite qui s’établit entre l’auteur et le lecteur, unis dans une conscience commune du simulacre. L’examen des rapports complexes que ces textes entretiennent avec les mémoires et l’histoire permet de les situer dans l’évolution des formes romanesques à l’âge classique. Enfin, la fiction de l’écriture mémorialiste autorise un brouillage des voix dont l’analyse révèle la pluralité des discours mis en œuvre par Courtilz : à la voix du mémorialiste fictif se superpose et souvent s’oppose la voix du romancier, qui, à travers les faits du récit, formule en filigrane un discours satirique sur le monde, incompatible avec celui des personnages. Véritable instrument polémique, la rencontre de ces discours contradictoires participe d’un univers romanesque pessimiste où transparaît l’échec existentiel des héros<br>Whether they highlight a historical figure or a fictional character, the Memoirs of Courtilz de Sandras, published between 1687 and 1758, mark the emergence of a type of fiction based upon the pretence of memorialist writing. These novelistic works assume the form of memoirs whose fictitious authors are individuals from the reign of Louis XIII or well-known contemporaries of Courtilz. Far from misleading the readers, the fictional origin of these narratives, which justifies their being called apocryphal, did not prevent the literary critics of the seventeenth and eighteenth centuries from detecting behind the purported authors an anonymous novelist. Between illusion and truth, these so-called memoirs written in the first person, mixing biographical veracity, historical accuracy and fictional invention, urge to redefine the notions of authenticity and fiction, in the light of the tacit pact between the writer and the reader, united in a common awareness of pretence. Studying the complex relationship that these novels share with authentic memoirs and history permits to situate them in the evolution of the works of fiction in the French classical age. The fiction of memorialist writing allows the mixing of the voices, which reveals the plurality of the discourses used by Courtilz: to the voice of the fictitious memorialist, the voice of the novelist is superimposed if not opposed. Through the narrative, the novelist implicitly expresses a satirical speech about the world, irrelevant with the one of the characters. A real instrument of controversy, the interweaving of the two discourses partakes of a pessimistic fictional world which emphasizes the existential failure of the heroes
34
Hart, Alexander. "Writing the Diaspora : a bibliography and critical commentary on post-Shoah English-language fiction in Australia, South Africa, and Canada." Thesis, 1996. http://hdl.handle.net/2429/6638.
Full textAbstract:
In the aftermath of the Shoah (Holocaust)—the mass murder of 6,000,000
Jews—Jean-Paul Sartre wrote Reflexions sur la Question Juive (1946), in which he
concluded that the fate of the Jews, the fate of the individual non-Jew, and the fate of the entire world are inextricably and reciprocally intertwined. Building on Sartre's perception, Portrait of a Jew (1962) and The Liberation of the Jew (1966) describe what the author, Albert Memmi, terms "the universal Jewish fate": that of being the paradigmatic "colonized" Other—insofar as the Jews are a particularly oppressed minority, that is, their
marginalization epitomizes the fate of all humanity. Further, Memmi argues both that "to be a Jewish writer is ... to express the Jewish fate" and that a "true Jewish literature" is necessarily one which revolts against the imposition and acceptance of this fate. Sartre's
and Memmi's insights posit that Jewish consciousness acts upon both national and world consciousness. Memmi suggests that one means of expressing the Jewish consciousness is through literature. In their imaginative interpretations of the post-Shoah interconnections between the Jew, the nation, and the world, modern Jewish fiction writers of the Diaspora (dispersion)
—at least those whose work foregrounds tropes of Jewish sensibility, incorporating Jewish characters and themes—often delineate a world which, in the aftermath of Auschwitz, is socially and existentially even more precarious than it was before the war. This study examines post-Shoah Jewish consciousness and its relation to national/world consciousness,as represented in the English-language Jewish fiction of Australia, South Africa, and Canada, Commonwealth countries whose diverse Jewish literatures have been overshadowed by the predominant English-language Jewish literary culture of the U.S.A. The structure of this study is bipartite. Part B is an indexed Bibliography enumerating primary works by Jewish prose fiction writers of Australia, Canada, and South Africa. Part A is a critical commentary on Part B. The Introduction (Chapter 1) outlines the
theoretical bases for the study. The three following chapters scrutinize Jewish Australian (Chapter 2), Jewish South African (Chapter 3), and Jewish Canadian (Chapter 4) fiction. Among the writers considered are Australians B.N. Jubal, Judah Waten, David Martin, Morris Lurie, Serge Liberman, and Lily Brett; South Africans Nadine Gordimer, Dan Jacobson, Jillian Becker, Antony Sher, and Rose Zwi; and Canadians Henry Kreisel, A.M. Klein, Adele Wiseman, Mordecai Richler, and Robert Majzels. Each of these three chapters follows a similar format: a description of the origin, history, and demography of the Jewish community; an outline of the important pre-World War II Jewish fiction writers and their work; an examination of representative post-Shoah works; and concluding remarks about
the ways in which the works under consideration here contest and revise both the canons of nation and national literature and the very concepts of nation, canon, and canon-making. An Epilogue (Chapter 5) contextualizes the thematic patterns common to the Jewish fiction of the three countries and suggests ways in which this fiction can be located within the larger framework of Jewish Literature.
35
Janzen, Marike Sophie. "Messenger writers: author position, the international left, and the cold war." Thesis, 2005. http://hdl.handle.net/2152/2243.
Full text
36
Olsen, Andrea E. "A translation of selected short stories by Colombian author Julio Paredes." 2008. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.17363.
Full text
37
Cole, Cathy. "From Davitt to deconstruction : politics and social commentary in feminist crime fiction." 2001. http://hdl.handle.net/2100/973.
Full textAbstract:
University of Technology, Sydney.<br>What first attracted me to crime fiction written by women? Many things, but foremost amongst them were the strong female voice found in the first person narrative, the mythical themes of challenge and resolution, social analysis and politics. Especially politics. In this dissertation I'll investigate the manner in which women writers appropriated the crime genre in the 1970s and 1980s and gave voice to the feminist utopian ideals of equality, access to work and participation in political structures. In doing so, I'll ask, did the writers set out to explore politics close to the feminist heart through the crime novel's stylised conventions of fast moving story line, the charismatic detective, exposure of corruption and the first hand observation of the social disjunction caused by it? I'll also question the authors' reasons for choosing crime when other literary forms were available to them. Was this choice made because crime fiction reflected women's changing status? Because it challenged one of the most masculine of literary bastions and gave the genre a whole new lease on life through the female voice? Or did other factors contribute to their decisions? In exploring crime fiction published since the nineteen seventies and interviewing writers about their literary intents, I will argue that crime fiction increasingly has become the genre in which major political themes are played out. Whilst many feminist non crime writers explored dysfunctional relationships with their partners, parents, and children, feminist crime fiction writers were interested in exposing dysfunctional social and economic relationships. These politics were framed in different ways and not all crime writers actively set out to write polemically. Nor did they see their fiction as a political tool. For many, the crime novel's structures lent themselves to an inadvertent exploration of social themes, an organic process, if you like, of crime and punishment, social analysis and utopian resolution. My exploration of these themes commences in Chapter One, with a broad overview of the scope of the 'political' issues central to my thesis. A serial discussion of politics, of crime writers' interpretations of their political ideas is covered in Chapters Two, Three and Four. The politics that influenced the manner in which I write concludes the dissertation. The achievement of a happy balance in relation to a multiplicity of social and political concerns, I assert throughout my work, confronts women crime writers every time they pick up their pens to write. Whether they set out to write deliberately for women or for a wider audience, to argue against feminist interpretation or, separatist, embrace it, in creating a female victim, a female villain, a female crusading detective, in anticipating their female readers, they are recreating and redefining the ways in which women see the world. And that, I will argue, is political.
38
Hasenzahl, Kerstin. "Spannung zwischen Realität und Fiktion: Die Rolle des Autors in Cornelia Funkes Roman Tintenherz." Thesis, 2011. http://hdl.handle.net/10012/6126.
Full textAbstract:
This thesis explores the tension between fiction and reality in Cornelia Funke’s novel Tintenherz (Inkheart), and the importance of the figure and the function of the author as an influential character of the perception of both. I argue that Tintenherz challenges traditional distinctions between reality and fiction, which are aimed at affecting the reader’s understanding of his/her reality. While this blurring of boundaries is evident in a number of instances throughout the text, it can best be seen in the figure of the intradiegetic author who has also written a novel called “Tintenherz.” This fictional author can interact with his literary figures and influence both the hypodiegetic and his own (intradiegetic) world by adding to the text even after it has been published, thereby challenging the distinction between both reality and fiction, the narrated world and the book itself.
The starting point of my analysis is Roland Barthes’ claim of the “Death of the Author” (1968), which conceives of the author as a “writerly” function that is only present in the creation of the text, rendering the author redundant for the analysis of the text. As Michel Foucault argues, however, the author has to be considered in the interpretation because he/she functions as the authority that forms the discourses contained in the text. Fotis Jannidis goes even further by asserting that there are several functions that can be fulfilled by the author, by the text itself or by the reader. Tintenherz presents another concept of the character of the author (Fenoglio), which I examine in this thesis, based on both how other characters and Fenoglio view the author’s role in the novel.
In the first part of my thesis I explain the “book-within-a-book”-motif that is the foundation of the Tintenwelt (the world that is created in “Tintenherz”) as well as of the blurring between reality and fiction. The borders between the two narrated worlds can be crossed by characters from both worlds under certain circumstances. Since the characters experience both worlds as “real,” the status of both is uncertain.
Fenoglio, the author of “Tintenherz,” is influential in that he can change both the storyline and the narrated world itself. This author, however, is dependent on a reader, who can bring the literary characters and objects to life so that they appear in his/her world. I still argue that the character of the author is the main authority on changing narrated worlds. Contrary to Barthes’ concept of an author who is only present in his/her own text, Funke’s fictional character Fenoglio is influential and wields a large amount of power over the world in which he lives, as well as over the world he created. The presence of the author as a character in the text has an effect on the perception of reality and fiction because he must interact with characters that emerge from his own fictional work.
The empirical author Funke also contributes to this reexamination of the status of reality. Funke set up a homepage through which she can interact with her readers, turning passive readers into a community of active writers and respondents. She claims that it is in her interest to encourage her readers to reflect on their own world. Using quotations from other literary texts, she also establishes a tension between several fictional works or worlds.
My thesis shows the different ways in which the status of fiction and reality are questioned and challenged. I conclude that the author contributes to this questioning: Funke foregrounds the image of the author in the book which makes the readers aware of its function and the functions Jannidis describes. She also presents herself as an influential author, implicitly refuting Barthes’ claim of the “Death of the Author.”
39
Paton, Hazel. "The missing years of Georges Simenon as man, author and protagonist(s)." Thesis, 2021. http://hdl.handle.net/1959.13/1429938.
Full textAbstract:
Research Doctorate - Doctor of Philosophy (PhD)<br>This thesis comprises an historical novel, with an accompanying appendix of notes and a glossary, and a scholarly exegesis. It introduces a new way to interrogate the works of Belgian-born author Georges Simenon by responding to his trifold oeuvre, which includes his novels of the famed Commissaire Jules Maigret, his often overlooked noir novels and his multiple autobiographies. A major focus of the research has been an exploration of the author’s relationship with his younger brother Christian and how he addresses his complex feelings towards him in four discrete works referred to here as the “brother novels”. The novel, The Missing Years, which is at the heart of the present thesis, mirrors Simenon’s output by taking the form of a triptych in which three fictional brothers are all representative of varying aspects of the author himself. The imaginative work involved in this novel, along with the notes and glossary, and the exegesis and bibliography that complete the creative archive, represents a comprehensive study of the author that is not merely biographical but that also becomes in effect a creative archive. The nexus of the creative and critical elements allows a previously unattempted reconstruction of the life of the author. The focus of the novel aspect of the thesis is an interval of five years from the invasion of France by the German forces at the end of the drôle de guerre until towards the end of 1945. By having one persona in Paris and a second in La Rochelle, disparities of life under occupation can be contrasted to show different realities of war and occupation. In reality, Christian Simenon was charged with war crimes towards the end of the war and met his death in 1947, but the imaginative reconstruction has cathected both events within the Occupation period. The reason for choosing this timeframe is to address two aspects receiving attention from scholars, namely the charge that Simenon ignored World War Two in his writings and that his most famous protagonist, in novels spanning some four decades, does not experience the Occupation. It will be demonstrated that while the author attempted to redress the first charge by several novels written from 1947 to 1961, studies show that he tackled the subject of war and conflict in many of his novels through an indirect approach. While he may have had many reasons for keeping Maigret out of the war, this creative archive explores what a detective in that era and under those circumstances would have been able to achieve.
40
Gandolfo, Enza. "My life is over now : a novel and critical commentary." Thesis, 1998. https://vuir.vu.edu.au/15420/.
Full textAbstract:
My aim in writing this novel is to give readers a new experience, one that will force them to reassess their views, opinions and beliefs, so that they will alter the way they look at the world - specifically here, how they look at family relationships and conflicts, at women and mothering, and at migrants.
This critical component of my thesis focuses on these questions exploring in particular the genre of 'migrant' or 'multicultural' literature. I will argue that this genre classification, developed by literary theorists and not by novelists, can have a negative effect on the way the novels of Italo-Australian women writers including my own novel, are (or are likely to be) read and received.
I will be focusing on literary works or works that are aspiring to be literary and not on works of popular fiction in this thesis. My reasons for this are fairly straight forward. First of all, it is a matter of personal interest, and the fact that my novel, My Life is Over Now, is a
literary work and not a work of popular fiction. Second, as far as popular fiction goes - romance, crime, to some extent science-fiction, horror - the 'ethnicity' of the author seems to be either of no relevance at all or so important that is it almost always disguised - writers often
writing under Anglo pseudonyms. Third, the dynamics of the
marketplace, readership and literary theory and criticism operate differently in the area of popular fiction than they do with literary fiction and therefore would require separate analysis.
41
Holmes, Susan. "Blue Collar, Red Dress: A Novel and Critical Commentary." Thesis, 1998. https://vuir.vu.edu.au/318/.
Full textAbstract:
This submission for a Master of Arts by research is comprised of a novel, 'Blue Collar, Red Dress' and a Critical Commentary. 'Blue Collar, Red Dress' is a work of fiction, based on my own experiences of growing up in Housing Commission flats in the 1960s. It is the story of Linda and Heidi, their friendship and their lives as they both make transitions across social classes, one through further education and the other through her work. Ultimately they both realise you cannot eradicate your past, but for one of them the journey ends in tragedy. The Critical Commentary, the theoretical component of the Masters, explores representations of class, and particularly Anglo working-class women, in a range of Australian women's novels from the 1930s to 1960s, and the 1970s to 1990s. My hypothesis is that these representations have taken on a particular focus, and sites of reference, due to the class background and experience of the writers themselves. This thesis involved using an range of qualitative research methods, including the use of both primary and secondary sources. The novel, whilst drawing on my own lived experience, also required historical and social research. The critical commentary was completed using more trdditional research including analysing a range of sources on class issues, analysing literary theory (particularly relating to class, race and gender), searching of literature data bases, and analysis of novels (and reviews of those novels) in the two key periods. I also referred to various sources regarding the background of the writers studied, including autobiographies and directories of Australian writers.
42
Böhme, Claudia. "Mediating Science Fiction Film through Translation and Commentary: The Star Wars Episode 'Attack of the Clones' in Kiswahili." 2018. https://ul.qucosa.de/id/qucosa%3A35329.
Full textAbstract:
The mediation of foreign films for Swahili audiences is an established cultural and linguistic practice in Tanzania that combines translation with commentary and story-telling. It helps audiences make sense of films whose original language and cultural background are unfamiliar to them. Today, an industry has grown around translated foreign films of all genres and from all regions. The practice also makes genres accessible that are still under-represented in Tanzanian film production, such as science fiction. The genre’s depiction of a futuristic, technically advanced and strange world presents a challenge to commentators. Through the analysis of a particular episode of the Star Wars saga, I show how the commentator acts as an ethnodramaturg, who through translation, re-narration and intertextual reference explains and re-enacts the strange cultural universe of the source film and brings it closer to the audience.
43
Silva, Marta Filipa Iria. "Translation and commentary of A Fada Oriana (The Fairy Oriana) by Sophia de Mello Breyner Andresen, a canonical Portuguese author in the teaching system neglected in English." Master's thesis, 2018. http://hdl.handle.net/10362/47281.
Full textAbstract:
Este trabalho de projeto procura traduzir A Fada Oriana, um texto infantil de 1958, situando-o no seu tempo e contexto apropriado, ou seja, um Portugal oprimido, pobre e censurado pela ditadura fascista que se autointitulou de Estado Novo. A realidade do dia a dia e a realidade sociolinguística eram completamente diferente da nossa realidade contemporânea. Sophia de Mello Breyner Andresen foi uma famosa autora Portuguesa que ainda hoje faz parte do Plano Nacional de Leitura no sistema de ensino Português e faz parte do cânon do ensino, mas cujas histórias infantis nunca foram traduzidas para a língua inglesa. A tradução tenta preservar a cultura Portuguesa numa cápsula de tempo, sem a preocupação de domesticar o texto para o leitor-criança moderno, escolhendo então um novo leitor-adulto e mercado académico de nicho onde possa encontrar um equilíbrio saudável entre a fidelidade ao texto fonte, fluência e o prazer do leitor.<br>This project is a translation of A Fada Oriana, a Portuguese children’s book first written in 1958. It wishes to place the text in its appropriate timeframe and context, that is, an oppressed, poor and censured Portugal under the power of a fascist dictatorship that called itself the Estado Novo. The everyday reality and sociolinguistic reality then were completely disconnected from our contemporary reality. Sophia de Mello Breyner Andresen was a famous Portuguese author that is still inserted in the education system today and is part of the teaching canon. Nevertheless, her children’s stories were never translated into English. The translation wishes to preserve Portuguese culture in a time capsule, without attempting to domesticate the text for the child reader; instead it chooses a new adult reader and a niche academic market, where it can hopefully find a healthy balance between fidelity to the source text, fluency and reading pleasure.
44
Pokorná, Jitka. "Užití autobiografických motivů v dílech Edgara Dutky, Elišky Vlasákové a Antonína Bajaji." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-304057.
Full textAbstract:
The work confronts prosaic pieces with noticeable autobiographical features. It deals namely with works of Edgar Dutka, Eliška Vlasáková and Antonín Bajaja. It was not a coincidence to choose right these three Czech authors. They have quite a few features in common. They all belong to the same generation. They are born in the 40's of the 20th century, so they have spent an essential part of their lives (childhood, adolescence and substantial part of their working age) in the second half of the 20th century - in the time of political convulsions and social changes. A childhood spent during this period has become their common literary theme. They all make their memories a literary piece. Each of them does it in a different way and with a different amount of accuracy. Their inspiration comes from their real life, from their memories. The next common feature of these three authors is that they all wrote some of their texts without a vision to make them public. They wrote them for themselves. Book editions were carried out after the year 2000. Last but not least mutual fact is that all of these three authors have been nominated for a prestigious literary price. Edgar Dutka's works show the interdigitation of fictional worlds and also the diffusion of these worlds in the real life of the author. Eliška...
45
LIŠKOVÁ, Marie. "Autorská kniha: Arthur Charles Clarke - Stěna z temnoty." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-204459.
Full textAbstract:
This thesis is devoted to life and work of writer named Arthur Charles Clarke. The first part introduces the author and his work, particulary the short story "The Wall of Darkness". The second part describes the creation of the autor´s book, including the ideological base. All of the parts are thematically connected to each other.
46
Hegarty, Kathryn. "From mountains to molehills : episodes from the life of a survivor : incorporating the exegetical essay, A mirror cracked : women, writing, healing." Thesis, 1998. https://vuir.vu.edu.au/15298/.
Full textAbstract:
This thesis is presented in two parts: a novella and an
exegetical essay. The novella, an autobiography structured episodically, comprises the major part of the work. It is followed by a long essay that critically comments on and contextualises the creative work. The exegesis seeks to explicate and weave theoretical and critical writings about autobiography, particularly those from a feminist perspective, with the life writings of women who have
experienced intra-familial child sexual assault. Finally, the exegesis explores and examines my own incest autobiography in light of research on women's life
writing.
47
Almeida, Patrícia. "O autor de literatura e o seu direito: perspetivas na era digital." Master's thesis, 2017. http://hdl.handle.net/10071/15010.
Full textAbstract:
Os principais objetivos desta pesquisa foram compreender de que forma é que as
dinâmicas associadas ao sistema de direito de autor implicam os escritores,
especificamente na literatura de ficção, e quais as suas opiniões sobre a configuração
atual da cadeia do livro e do direito de autor, abordando estes tópicos do ponto de vista
da hegemonia digital. Simultaneamente, foi importante compreender o modo como este
fenómeno é encarado no meio literário e na perspetiva dos autores que se encontram
no mercado desde o tempo em que o livro impresso era a única possibilidade de leitura
e os autores que, por sua vez, têm uma carreira maioritariamente desenvolvida na era
digital.
Embora as conclusões apontem para uma certa insatisfação para com os modelos
instituídos, o estudo empírico revelou que os autores não estão muito voltados para
outras possibilidades, nomeadamente aquelas produzidas pela internet e pelos suportes
digitais, continuando a preferir a forma clássica de edição e defendendo a importância
que o livro em formato impresso tem junto dos leitores e de si próprios.<br>The main goals of this research were to understand how the dynamics associated with
the copyright system imply writers, specifically in fiction literature, and which are their
opinions on the current configuration of the book chain and copyright, addressing these
topics from the point of view of digital hegemony. At the same time, it was important to
understand how this phenomenon is seen in the literary environment and in the
perspective of the authors that have been in the market since the time when the printed
book was the only possibility of reading and the authors who, in turn, have a career
mostly developed in the digital age.
Although the findings suggest a certain dissatisfaction with the established models, the
empirical study revealed that the authors are not very focused on other possibilities,
namely those ones produced by the internet and digital media, so they still prefer the
classic form of publishing, defending the importance that the book in printed format has
for readers circle and for themselves
48
Dires, Demeke Tassew. "Narrative strategies in selected Amharic novels from 2000 until 2010." Thesis, 2014. http://hdl.handle.net/10500/18483.
Full textAbstract:
The aim of this research entitled Narrative Strategies in Selected Amharic Novels from 2000 until 2010 was to shed light on the relationship among form, meaning (content) and social milieuin establishing the textual and contextual features of fictional narratives. It mainly contends that it is possible to unravel the textual and contextual qualities of fictional narratives by studying form as a narrative strategy. In this research, form, when understood as a narrative strategy, is not only considered as a textual construct which motivates textual meaning but also regarded as a product of the social milieu from which the text emerges. Having this conception, form as a narrative strategy is investigated in selected Amharic novels published from 2000 until 2010 in view of expounding the artistic and thematic features of contemporary Amharic novels, endeavouring to fill the knowledge gap in Amharic literary scholarship about their literary features. The present research applies narratological approaches that range from classical to post-classical
narratology. However, it dominantly uses post-classical conceptions of narratology as guidelines for its discussion. The dissertation comprises six chapters. The first one is an introductory chapter in which the research problems, goals and assumptions are explicated. Chapter two deals with the theoretical framework where the theoretical insight the research utilizes as a guideline is outlined and methodological issues are specified. The following three chapters focus on the analysis. In the third chapter, story is investigated as a narrative strategy in Yeburqa Zemeta (Burka’s Silence) (2000); in the fourth one, focalization is treated as a narrative strategy in Gerač.a Qač.eloč (Grey
Bells) (2005), and in the fifth chapter, characterization is studied as a narrative strategy in
Dèrtogada (Dertogada) (2010). The dissertation concludes with a chapter in which independent findings in the three analysis chapters are summed up and generalizations on the textual and contextual features of the present day Amharic novels are made.<br>Afrikaans & Theory of Literature<br>D. Litt. et Phil. (Theory of Literature)