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Tibbs, Sara Faith. "Queering the Bildungsroman : homosexuality in the Bildungsromane of Jeanette Winterson and Alan Hollinghurst." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676612.
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Fontanella, Marco Antonio Rassolin. "A montanha magica como Bildungsroman." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269356.
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Orientador: Jeanne-Marie Gagnebin de BonsDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A presente dissertação de mestrado dedica-se a verificar como o romance de Thomas Mann A montanha mágica poderia filiar-se ao gênero literário do Bildungsroman. Sua introdução é um breve comentário sobre o estabelecimento do gênero literário do Bildungsroman enquanto tal, seguido de um excurso, igualmente breve, aos temas que ocupavam Thomas Mann aquando da redação deste seu romance, mediante a identificação de temas centrais das Betrachtungen eines Unpolitischen (Considerações de um apolítico). Feito isto, parte-se ao trabalho propriamente dito de pôr A montanha mágica ao lado do romance de Goethe Anos de aprendizado de Wilhelm Meister, paradigma do gênero em causa, para investigar o proveito em lê-Io como Bildungsroman. A própria questão sobre o que seria efetivamente um Bildungsroman desperta polêmica até os dias atuais. Discutir A montanha mágica na qualidade de Bildungsromanimplica,pois - sempretacitamente-, em voltar à pergunta sobre o que teria feito dos Anos de aprendizado de Wilhelm Meister o primeiro romance de uma série que constituiu tradição dentro da literatura de língua alemã. Mas esta pergunta não é apresentada como tal no corpo do texto, pois o que se pretendeu foi cingir-se a aproximar ambos os romances e esclarecer como este expediente é eficaz para compreendê-Ios. Seja como for, espera-se que mesmo a investigação do gênero tomada em si mesma sempre possa aproveitar-se das diversas incursões que se têm feito ao longo do tempo àquelas obras a ele imputadas
Zusammenfassung: In der vorliegenden Arbeit wird der Frage nachgegangen, inwieweit Thomas Manns Roman Der Zauberberg der literarischen Gattung des Bildungsromans zugeordnet werden kann. Die Einleitung der Arbeit besteht aus einem Kurzkommentar über die Entstehung der literarischen Gattung des Bildungsromans; dem folgt, indem die zentralen Themen aus Betrachtungen eines Unpolitischen bestimmt werden, ein Exkurs über die Themen, die Thomas Mann zur Zeit der Niederschrift des Romans beschãftigten. Im Hauptteil der Arbeit wird Der Zauberberg dem Roman von Goethe Wilhelm Meisters Lehrjahre - dem Paradigma der Gattung - zur Seite gestellt, und es wird untersucht, ob Thomas Manns Buch in produktiver Weise aIs Bildungsroman gelesen werden kann. Die Frage, was eigentlich ein Bildungsroman sei, ist auch in heutiger Zeit noch umstritten. Eine Betrachtung Des Zauberbergs aIs Bildungsroman impliziert aIso immer auch - wenngleich unausgesprochen - eine Rückbetrachtung der Gründe, die Wilhelm Meisters Lehrjahre zum ersten Roman einer Gattung werden lieBen, die sich dann - aus heutiger Sicht - aIs Tradition in der deutschsprachigen Literatur etabliert hat. Dieser Fragestellung wird jedoch im HauptteiI der Arbeit nicht nachgegangen, da dieser sich darauf beschrãnkt, beide Romane gegenüberzustellen, um dadurch aufzuklãren, ob dieser Weg geeignet ist, sie zu verstehen. Es wird jedoch gehofft, dass eine Untersuchung der Gattung aIs solche aus den verschiedenen Annãherungen, die im Lauf der Zeit an ihr unterstellte Werke gemacht wurden, Nutzen ziehen kann
Mestrado
Teoria Literaria
Mestre em Letras
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Stincone, Gianluca <1989>. "Bildungsroman tra Europa e Cina." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3180.
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Il lavoro di tesi analizza il romanzo di formazione europeo e cinese. L'elaborato è strutturato in tre capitoli, anche se fondamentalmente si struttura in due sezioni principali. La prima sezione presenta in breve il romanzo di formazione europeo, analizza alcune delle opere rappresentative del genere letterario. Inoltre in questa prima sezione verranno brevemente presentati gli autori e i contesti storici dei romanzi analizzati. Per un analisi più approfondita verranno direttamente citati i testi europei. La seconda sezione si concentra sul contesto storico e letterario del Bildungsroman cinese dell'epoca Qing fino all'epoca contemporanea. In questa seconda sezione verranno inserite le traduzioni degli articoli accademici e un breve estratto del libro Il maestro della notte dello scrittore Bai Xianyong. In ultima analisi verrà effettuata una comparazione tra i due generi in ambito storico, sociale e culturale.
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Church, Joanne. "Jennifer Johnston and the Bildungsroman heroine." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61281.
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Jennifer Johnston, a contemporary Irish novelist, has written nine novels thus far encompassing a wide thematic range. While her protagonists include both male and female, in the three novels, The Old Jest, The Christmas Tree, and The Invisible Worm we witness the emergence of a new kind of heroine: the female Bildungsroman protagonist. I begin my study with a discussion of the traditional Bildungsroman as a male project, which traces the growth and self-development of an adolescent as he approaches maturity. A reformulation is then established allowing for a female version of the genre while differentiating between stories of the failure of development, such as Jane Eyre, and Johnston's stories where development is realized. I propose to demonstrate how Johnston's works exemplify the Bildungsroman form and also explore questions relevant to female development such as the protagonist's relationship to work, to love, to family, to tradition, and to writing.
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Rountree, Wendy Alexia. "THE CONTEMPORARY AFRICAN-AMERICAN FEMALE BILDUNGSROMAN." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997212820.
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Forss, Christoffer. "Alice's Adventures in Wonderland : A Feminist Bildungsroman." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27301.
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This thesis has two aims. The first one is to elucidate how Alice’s Adventures in Wonderland (1865) functions as a Bildungsroman, and the other one is to demonstrate how the novel also has a coming of age aspect based on feminism. Whilst Alice matures in the traditional sense, she also in parallel does so as a stronger female fighting for gender rights with signs of feminism. The feminist angle as well as the surreal world of Wonderland makes the novel a not very obvious Bildungsroman in a genre dominated by male protagonists. For Alice to be a young female child who ends up in a fantasy world thus makes her a very fascinating character. The central hypothesis of this thesis is that what Alice is exposed to and reacts to in Wonderland generally reflects the genre of a Bildungsroman and also specifically a feminist Bildungsroman. Theoretical framework is based on the ideas of Franco Moretti, Mikhail Bakhtin, Thomas Jeffers, Carol Lazzaro-Weis, George Eliot and Elizabeth Drew Stoddard, as well as novels by Eliot and Stoddard. This includes dynamic protagonists, unpredictable development, symbols of modernity, the quest for universality, and minor characters who make sure that the protagonist develops, as well as feminist struggle by means of disregarding the ‘cult of true womanhood’ in a genre and society dominated by men.
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Bristow-Smith, Adam. "Growing up neoliberal : the Bildungsroman under neoliberalism." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/20597/.
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Since the 1970s, the world has seen the ascendance of a new form of global capitalism and, underlying it, a new ideology with its own set of core beliefs and assumptions: neoliberalism. The rise of neoliberalism has had a profound effect on society, culture, and life worldwide. This thesis offers an analysis of one part of that broader socio-cultural picture. It explores how a specific cultural form with a particular societal focus, the literary genre of the Bildungsroman, has been adapted by authors seeking to use the genre to address the dominant political-social system of their day. The Bildungsroman has its roots in the rise of capitalism, and the exploration of certain socio-political problems is central to the genre through its core focus on the relationship between human development, the individual, and society. As such, the rise of a new, dominant form of capitalism has particular significance for it. Taking four novels by four significant authors from across the lifespan of neoliberalism – Ursula K. Le Guin’s The Dispossessed (1974), David Foster Wallace’s Infinite Jest (1996), Margaret Atwood’s Oryx and Crake (2003), and Roberto Bolaño’s 2666 (2004) – this thesis examines how each author has sought to examine, reclaim, redeploy, and problematise the genre in order to address neoliberalism. Two key features of neoliberalism are of particular significance here: neoliberal ideology’s individualised models of human behaviour and societal functioning, and neoliberal capitalism’s global dominance and systemic functioning. Each case-study demonstrates something about how these aspects of neoliberalism have overlapped with, co-opted, and undermined core elements that enable the Bildungsroman to function as a tool for socio-political exploration and critique, and so about how neoliberalism functions culturally. Through these analyses, this thesis explores not only what neoliberalism can tell us about the Bildungsroman but also what the Bildungsroman can tell us about neoliberalism.
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Cunill, Rebeca. "El Bildungsroman femenino de Ángeles Mastretta y Carmen Boullosa: Hacia una perspectiva posmoderna." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2497.
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The traditional Bildungsroman that originated in Europe toward the end of the 18th Century embodied the concept of progress and the belief in the Enlightenment ideals of universality, knowledge and the search for truth. In the classic model of the genre the values of the society represented, those of modernity, are ultimately legitimized. In this dissertation, I argue that the female Bildungsroman of Ángeles Mastretta and Carmen Boullosa respond to a fundamentally postmodern aesthetics and ideological framework. In their novels, “Arráncame la vida” (1985), “Antes” (1989), “Mal de amores” (1995) and “Treinta años” (1999), the Mexican writers challenge the legitimacy of the modern ideals of progress and individual maturity that characterized the traditional, European, male Bildungsroman. These texts reject the essentialist and utopian representation of progressive personal growth and achievement that would invariably lead to a fixed state of maturity.
My study of Mastretta’s and Boullosa’s representations of the Bildung process draws on postmodern theories such as those proposed by Jean-François Lyotard, Linda Hutcheon and Zygmunt Bauman, among others. Their protagonists’ subversive and contestatory attitudes toward many of modernity’s most disseminated master narratives –the traditional concept of maturity, of a coherent sense of self and of childhood and adolescence as steps toward a definitive personal identity, suggest a revision of the traditional principles of the genre. In the context of contemporary Mexican society, these texts ultimately suggest the inadequacy of the conventional form of the coming of age novel to represent the process of individual development. In postmodern Mexico, as this study demonstrates, the referents of modernity have lost their hegemonic value and therefore, the conventional model of the coming of age novel must be reinvented. The implications of the novelists’ reconceptualization of the genre are twofold; on the one hand, it suggests an emancipatory defiance of the modern concepts of individual progress and perfectibility, while on the other, it demands a high degree of tolerance toward the ambiguous and plural nature of postmodern representations of women’s formative journeys.
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Ritchie, Nicol James Samuel. "‘Passion Du Sens’ for an Australian Novella-Bildungsroman: an Australian fiction writer’s purpose-driven exploration of the novella-Bildungsroman form." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15493.
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This thesis consists of a novella and an accompanying exegesis. The exegesis is a critical reflection on the process of creative writing and research that resulted in The Deaths (the novella-Bildungsroman here included). The fiction-writing process also hinged on the periodic specialist-reader feedback of my supervisor, which was brought to bear at various major draft stages. The practical impact of this feedback is also reflected in the exegesis. The exegesis is by no means offered as exhaustive, or prescriptive; it is not a manifesto on how to write a novella-Bildungsroman (or, more specifically a novella-Künstlerroman/artist’s-novel). Rather, taken with the fictional product, this praxis-oriented writing may indirectly, or, in principle, inform a literary creative writing process through the cycles of planning, composition, revision, research and re-development. Read in conjunction with the novella, the exegesis may provide apprentice novellaists with a working definition of a particular contemporary Australian novella-Bildungsroman: one that is flexible, genre-focused, research-driven and evidence-based. It is hoped that writers will find useful the practical insights into the dominant structural forces and modalities that shaped The Deaths as a hybrid genre (novella-Bildungsroman), and those less central, sub-generic, elements which also pertain to The Deaths. Similarly, the literary-critical principles engaged with to address the challenges of realising this novella-Bildungsroman may be useful for contemporary Australian creative writers of ‘literary’ fiction.
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Tuna, Emma. "Weibliche Bildungsromane des 21. Jahrhunderts : Zwei weibliche Bildungsromane des 21. Jahrhunderts im Vergleich mit den männlichen und weiblichen Muster des Bildungsromans des 18. und 19. Jahrhunderts." Thesis, Högskolan Dalarna, Tyska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-25776.
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This thesis examines the patterns of the contemporary female Bildungsroman in terms of the female and male patterns of the protagonist using two contemporary Bildungsromans; Judith Schalansky’s Der Hals der Giraffe and Linda Solanki’s Dem See entlang Richtung verlorene Jugend. The contemporary protagonists are put into comparison to the traditional ones of the 18th and 19th century, when the Bildungsroman emerged as a genre. The traditional protagonists were bound to different experiences depending on their gender, and this thesis examines how the contemporary protagonists have evolved, and if the female protagonists are showing tendencies towards traditional female or male patterns.
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Yoon, Ji Young. "Contesting Americanness in the Contemporary Asian American Bildungsroman." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18357.
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My study examines contemporary Asian American narratives of subject formation through the theoretical lens of the Bildungsroman. A European genre originating in late-eighteenth- and early-nineteen-century Germany, the conventional Bildungsroman is a literary tool whose main objective is to depict an idealized subject's modern socialization. As Franco Moretti nicely captures in his study of the Bildungsroman, The Way of the World, the genre's significance is, above all, its successful representation of a reconciliation of an individual's revolting desires and society's regulatory demands. While highlighting a harmonious convergence of an individual and society, Moretti points to a white European subject's becoming a normative citizen in the rise of bourgeois capitalism. American writers of Asian descent have both utilized and transformed the conventional Bildungsroman form to describe their particular subject formation in the United States. The Asian American Bildungsroman differs from the white American as well as the European Bildungsroman, both formally and thematically, mainly because the racial group's social, political, and economic conditions have been marked by the U.S. exclusion of Asians. Asian American writers' generic interventions of the Bildungsroman thus exhibit their distinctive formal interventions and textual strategies to respond to legal and social exclusions of Asians in this country. In reading four Asian American narratives of subject formation, either novelistic or (auto)biographical in form, I argue the writers invented new versions of the genre, including the communal, the assimilative, the deconstructive, and the competitive Bildungsromane. This dissertation examines how conditions of textual expressions of the contemporary Asian American Bildungsroman have been not only predominantly marked by race but also further affected by class. The significance of the Asian American Bildungsroman is at once its interrogation of the contradiction within the American ideals and its construction of Asian American subjecthood.
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Wartanian, Maria. "Moral Education in Jane Austen's Northanger Abbey and Mansfield Park." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-5854.
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Jane Austen wrote her novels over two hundred years ago. Today many people, especially women, are still affected by them and her characters. She has become famous through her romantic novels where she writes about young women during the late 18th century who spend their days drinking tea and socializing in order to find a man, marry him and live happily ever after. Even though Austen writes romance and her novels remind the reader of fairy tales, she also focuses on presenting important passages and events that occur in these young women’s lives. Many of the novels Austen has written have features of a so-called Bildungsroman; a novel about education which refers to a character’s growth and self-development. The structure of a Bildungsroman often includes the main character, the protagonist, going on a long journey or quest in search of the meaning of life. In this essay I will analyse the heroine’s education in Austen’s two novels Northanger Abbey and Mansfield Park and how Austen educates the reader with these novels. The purpose of this essay is to show that the heroines in Northanger Abbey and Mansfield Park under a long period of time receive moral education through different people and events during their lives. However, it is not only the characters that are educated, my opinion is that the reader is educated as well. Both the reader and the heroines are taught that happiness can only be achieved by good education and high moral standards. I will use some of the features of a Bildungsroman, such as journey, self-development, obstacles and maturity and by examining these features in the novels, I will support my thesis.
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Jones, Angela L. ""I belong to me" : Toni Morrison's Novels as Bildungsroman /." View online, 1990. http://repository.eiu.edu/theses/docs/32211998880370.pdf.
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Farmer, Sandra Jean. "'Trustees of posterity' : Benjamin Disraeli and the European 'Bildungsroman'." Thesis, Middlesex University, 1992. http://eprints.mdx.ac.uk/13473/.
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This thesis studies Benjamin Disraeli's use of the form of the "Bildungsroman" to invent and discover himself. It shows how Disraeli's own life was developing as a "Bildungsroman" while writing four of his twelve novels, Contarini Fleming, Coningsby, Sybil and Lothair, during the period 1832-1870. As each of these four novels is studied in turn in Chapters I-IV respectively, Disraeli's recurring hero appears in four guises, thus illustrating how the form of the "Bildungsroman" undergoes subtle changes. In the open-ended Contarini Fleming (1832) with its emphasis on youth and ambition, Disraeli had intended to create a work similar to the classical German "Bildungsroman" portraying the development of a character. Despite its many comparisons with Goethe's paradigmatic Wilhelm Meisters Lehrjahre, Disraeli's early novel has more of an affinity with Stendhal's Le rouge et Ie noire. The eponymous hero of Coningsby has the distinguishing quality of "insipidness" and is seen from the perspective of an exemplary class representative of the aristocracy. This novel is taken as an example of the English "Bildungsroman", an English "fairy story" because Coningsby's destiny is already predetermined. The hero of Sybil, Charles Egremont's conviction is that one's identity is not inherited but created, which returns to the classical ideal of "Bildung", and which Disraeli reformulated as "vocation". It is argued that poverty and its relief was not the theme of Sybil but was used to point to the opportunities open to a reeducated aristocracy. In Chapter IV it is shown that it is only with Lothair, written in old age, that Disraeli discovers himself and achieves a successful classical "Bildungsroman". The narrator evaluates the represented events in a restrained and indirect manner and demonstrates a concern with analysing what is involved in the hero's discovery of himself and the world. The "Bildungsroman's" valorization of the existing social order prompts Lothair to look towards the past. He refuses to consider the future still open and his discontinuation of the quest for a philosophy of life is presented as a sign of his achieved maturity and his "Bildung" is concluded. In these four self-referential works Disraeli constructed a composite character whose biography was that of the author himself.
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Goudsmit, Anne. "The Counter-Bildungsroman in Northern Irish fiction, 1965-1996." Thesis, St Mary's University, Twickenham, 2013. http://research.stmarys.ac.uk/484/.
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This thesis explores the relevance of the Bildungsroman genre to a selection of Northern Irish writing from the 1960s through to the late 1990s. Synthesizing a range of critical approaches it shows how six novels by Leitch, Duffaud, Patterson, Deane, Madden and Molloy challenge the traditional Bildungsroman. It brings the thwarted Bildungsroman into correspondence with the key elements of ‘minority discourse’ as defined by Mohamed and Lloyd (1990), focusing on subjectivity and identity position. Using Jameson’s concept of the ‘political unconscious’ the thesis demonstrates how fragmented and hybridised subjectivities challenge the two main Northern Irish identarian discourses, Irish nationalism and Ulster unionism. It argues that all six counter-Bildungsromane feature some of the characteristics of ‘minority discourse’ with one even providing an example of ‘minor writing’ as defined by Deleuze and Guattari (1975).
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Santos, Terezinha Goreti Rodrigues dos. "Uma aprendizagem, ou, o livro dos prazeres como bildungsroman." reponame:Repositório Institucional da UnB, 2006. http://repositorio.unb.br/handle/10482/3508.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2006.Submitted by wesley oliveira leite (leite.wesley@yahoo.com.br) on 2009-11-23T22:38:43Z No. of bitstreams: 1 Terezinha Goreti Rodrigues dos Santos.pdf: 1238879 bytes, checksum: be18467297bd915cf4b7fc02dd14474f (MD5)
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O objetivo da presente pesquisa é responder à pergunta se Uma aprendizagem ou o livro dos prazeres - UALP, romance de Clarice Lispector, pode ser analisado como um romance de formação feminino. A narrativa começa com uma vírgula, letra minúscula e a descrição do pensamento da protagonista, num momento de ansiedade. Não existe um enredo linear. Nos moldes da moderna literatura do século XX, exige-se do leitor uma participação ativa para as referências intertextuais, para a ambigüidade de uma leitura superficial e outra em palimpsesto e, principalmente, para as características de Bildungsromane femininos, como a forma epifânica do processo de iniciação feminino, a presença de um mentor masculino que não é o primeiro amante da protagonista, a ausência da mãe, a relação conflituosa com o pai e o rompimento com os padrões da sociedade patriarcal. Vale lembrar que essa é uma obra polêmica, apreciada por parte da crítica e julgada menor por alguns autores. Diane Marting e Rita Schmidt, entre outros, a consideram um Bildungsroman feminino. ________________________________________________________________________________________ ABSTRACT
The aim of this research is to establish if Uma aprendizagem ou o livro dos prazeres – UALP is a female Bildungsroman, or not. The narrative begins with a comma, a small letter and the description of the protagonist’s thoughts in a moment of anxiety. There is no linear plot. As usual in the modern literature of the XXth C., the reader is invited to actively participate, finding intertextual references, in the ambiguity of a superficial reading and another, in palympsest, and mainly to the characteristics of the female Bildungsroman, as, for instance, the epiphanic way of the female initiation process, the presence of a male mentor, who is not the protagonist’s first lover, the absence of the mother, the conflictous relationship with the father and the breaking with the patterns of patriarchal society. It’s worthy to remember that this is a polemic book, approved by some critics and considered failed by others. Diane Marting and Rita Schmidt, among others, consider UALP a female Bildungsroman.
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Gieseke, Astrid. "Die Vaterfiguren im deutschsprachigen Bildungsroman des frühen 20. Jahrhunderts /." München : Dissertations- und Fotodruck Frank, 1986. http://catalogue.bnf.fr/ark:/12148/cb34980321x.
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Müller, Patrick. "Latitudinarianism and didacticism in eighteenth century literature moral theology in Fielding, Sterne, and Goldsmith." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/99168236X/04.
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Frazer, Brentley. "Scoundrel Days Writing Rebellion/Youthful Memoir." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/371134.
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Scoundrel Days: a memoir reads as a first person bildungsroman adventure story set
between the years 1972 and 1998. It narrates from the perspective of an Australian
boy growing up in an obscure Christian cult in outback Queensland. To the casual
reader the text presents as a novel which requires no special introduction, instruction
or foreword. Written as creative nonfiction, Scoundrel Days has attained publication
(UQP 2017) and is marketed in the genre of memoir.
To the astute or critical reader Scoundrel Days presents a multi-linear
challenge. Written in first person present perfect, in a conscious effort to step outside
the genre definition while still retaining the central tenet of nonfiction, the text
occupies several distinct modal perspectives on the liminal field. This effect is
achieved via the employment of a juxtaposition of literary techniques, methodologies
and constraints. Several of these, used by many writers, require little effort to adopt
(minimalism, dramatica theory, et al.), but one of them, English Prime (E-Prime)
creates semantic memory interference and interlopes on subconscious language
processing systems. E-Prime used as a literary constraint “offers access to dynamics
of language ordinarily subliminal” (Zimmerman 2001). Experiments with this
constraint reveal a proliferation of transliminal detail, the space between the
supraliminal and subliminal spectrum of the narrative usually occupied with
presumptions made with the is of identity and the is of predication. Communication
theory tells us the quality of a message depends on the ratio of signal to noise. A
conscious manipulation of dynamic signals inherent in English utilising E-Prime as a
literary constraint requires a complete overhaul of not only personal writing stylistics,
but individual ways of seeing and thinking about our semiotic environment; i.e.
“Writing/speaking in the English language without the copula; excluding tenses of the
verb to be (are, am, is, was, were, be, been and being) and/or their contractions”
(Bourland 1989: 203). If, as Bourland suggests, misuse of the copula results in Deity
mode of speech (Bourland Jr & Kellogg III, 1990) then not using the copula results in
Human mode of speech. I composed the creative work using this constraint.
Typically a literary work composed using a constraint requires some form of
explicit instruction for the reader. Scoundrel Days does not require any reading
instructions. Research reveals that since the invention of the constraint in 1933 until
the present no one has written a creative work in 100% E-Prime (Bourland Jr &
Kellogg III, 1990). Therefore, I present Scoundrel Days as the first creative work in
history written in 100% English Prime. The result? The problem of show don’t tell
fades to insignificance as the narrative moves from the showing to the doing. The
process of authoring this work proved an interesting and creative endeavor, recorded in following exegesis.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Reid, Christopher W. "Invested identities : the economics of self-development in the "Bildungsroman" /." Ann Arbor, Mich : UMI, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?sys=000252601.
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Mansouri, Shahriyar. "The modern Irish Bildungsroman : a narrative of resistance and deformation." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5495/.
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My thesis examines the ways in which the critical structure of modern Irish Bildungsroman deconstructs and re-examines ‘residues of past trauma’ in the form of socio-cultural, psychological, personal and notably political artefacts present in the nation’s unfortunate engagement with the State’s politics of formation. The result is a resistant and radical form which challenges the classical and modern specificity of the genre by introducing a non-conformist, post-Joycean protagonist, whose antithetical perception of history and socio-cultural norms contradicts the conservative efforts of the post-independence Irish State. To examine such a resistant critical structure, this thesis focuses on Roddy Doyle’s A Star Called Henry (1999), Dermot Bolger’s The Woman’s Daughter (1987), William Trevor’s The Story of Lucy Gault (2002), Seamus Deane’s Reading In The Dark (1996), Patrick McCabe’s The Butcher Boy (1992), Frank McCourt’s Angela’s Ashes (1996), Edna O’Brien’s The Country Girls (1960) and A Pagan Place (1970), Nuala O’Faolain’s Are You Somebody? (1996), Francis Stuart’s Black List, Section H (1971), Flann O’Brien’s The Hard Life (1961), and John McGahern’s The Dark (1965). The selected novels provide an invaluable insight into the nation’s perception of sensitive concepts such as modernism and modern Irish identity, and how the confluence of these two produced a critical dialectical discourse which chronicles the formation of a non-conformist, ahistorical modern protagonist. To achieve a historical relevance, this thesis starts by examining Doyle’s fictionalization of 1916 Easter Rising and the chaotic 1920s; Bolger’s exploration of a repressive, inward-looking post-independence Irish society in the 1930s and the 1940s; Trevor’s engagement with a socio-political divide that further split the nation; Deane’s autogenous reading of an internal neocolonial ‘Othering’ during the ‘emergency’; McCabe’s illustration of the State’s architecture of oppression, and societal introversion from the early 1940s to the 1960s; Edna O’Brien’s and Nuala O’Faolain’s exemplary illustration of women’s blighted sexual Bildung in the 1940s, 50s and 60s; and finally examining a radical, ‘chronocentric’ depiction of a socio-political divide fictionalized by Stuart and McGahern, which emerged during the early days of the State and continued to dominate the nation well into the 1960s and the early 1970s. By examining psycho-social, sexual and political traumata reflected in the modern Irish Bildungsroman, this thesis provides a dialectical reading of the gap that appeared between the revolutionary ethos of independent Irish identity formation, rooted in the principles of 1916 Rising and the 1920s, and that which appeared in the form of a tolerant republicanism in the 1980s. To study this socio-historical gap, I examine the nation’s criticism of the State’s politics and structure of formation, manifested in narratives of individual and national formation. The modern Irish Bildungsroman, I argue, appropriates the traditional features of the genre, for instance, chronicling the individual’s psychosocial formation and the potential to re-engage with their society, and produces a critical matrix for a dialectical discourse which enables the nation to voice their concerns vis-à-vis a politically dichotomous post-independence Irish society, a repressed history, and at the same time to externalize their perception of modern Irish formation, being founded on an anti-colonial, non-conservative and politically aware consciousness. The result, which I call the ‘Meta-National Narrative of Formation,’ is a historically resistant and socio-politically conscious narrative which finds independence in rejection, imposition, and deformation, namely, by defying the State’s architecture of formation as well as their nativist, retrograde visions of Irish identity.
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Culkin, David T. "A need to heal: an autoethnographic bildungsroman through the shadows." Diss., Kansas State University, 2016. http://hdl.handle.net/2097/34454.
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Doctor of PhilosophyDepartment of Educational Leadership
Kakali Bhattacharya
Royce Ann Collins
How can an adult make meaning from and develop through experiences of mental illness, spiritual awareness, and death? The purpose of this autoethnographic bildungsroman is to explore how a male in the general population describes how life events have influenced his identity development over a period of 23 years, spanning three decades. The researcher-participant asks two primary questions: 1) How does the individual describe his adult development in terms of life events or “individual and cultural episodes” (Smith & Taylor, 2010, p. 52) related to mental illness, spiritual awareness, and death over time? and 2) How does the individual describe his possible selves in constructing a new sense of identity? Addressing these questions contributes to the literature of adult and continuing education by providing a glimpse into stories of lived experiences over time in the light of adult development.
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Santos, Gildnéia Ramos Blohem. "Hijo de Ladrón, de Manuel Rojas: uma forma do Bildungsroman." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-30012014-095207/.
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Este trabalho inicia-se com a apresentação do autor, sua importância literária e seu contexto histórico, e tem por objetivo analisar a trajetória de Aniceto Hevia, narrador autodiegético do romance Hijo de Ladrón, de Manuel Rojas. O romance se articula em torno aos problemas e experiências das classes socialmente marginalizadas e dos conflitos sociais e econômicos do proletariado no Chile entre o fim do século XIX e o início do XX. Observaremos o Bildungsroman Clássico, gênero discursivo originado na Alemanha, em meio à difusão das ideias burguesas de fins do século XVIII. O intuito aqui é observar como o livro de Rojas, inscrito em um contexto afastado pelo tempo, espaço e circunstâncias sócio econômicas do paradigma do Bildungsroman, mantém afinidades de ponto de vista e de conteúdo em relação ao gênero clássico em questão.This work begins with the introduction to the author, to his literary importance as well as to his historical context, and it has the purpose of analyzing Hevia Anicetos pathway, who is the autodiegetic narrator in the novel Hijo de Ladrón by Manuel Rojas. The novel revolves around the problems and the experiences lived by the socially marginalized classes, and also around the social and economic conflicts experienced by the proletariat in Chile from the end of the 19th Century to the beginning of the 20th Century. We will observe the Classic Bildungsroman, which is a discursive gender originated in Germany in the midst of the dissemination of bourgeois ideas from the end of the 18th Century. Our purpose here is to observe how Rojas book, which is inserted in a context kept away by time, space and socio-economic circumstances of the Bildungsroman paradigm, maintains content and viewpoint affinities in relation to the classical gender in question.
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Hefferon, Marguerite Lee. "The nineteenth-century female Bildungsroman and the Romantic epic tradition." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1239108475.
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Arruda, Aline Alves. ""Ponciá Vicêncio",de Conceição Evaristo: um Bildungsroman feminino e negro." Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/ECAP-76RF2H.
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Essa dissertação pretende determinar as especificidades do discurso afrodescendente de Conceição Evaristo, em Ponciá Vicêncio, que tornariam o romance uma apropriação do gênero Bildungsroman com tons paródicos. Através da comparação com o modelo do romance de formação burguês, Os anos de aprendizado de Wilhelm Meister, de Goethe, percorremos a estrutura do gênero comparando-a com a narrativa criada pela autora mineira. As marcas femininas e étnicas são aqui explicitadas através da relação entre a memória e a diáspora africana, que acompanham a protagonista em sua errância.
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Meszaros, Matyas <1991>. "Due esempi novecenteschi di Bildungsroman Le ceneri di Angela, Agostino." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9955.
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Questo lavoro intende studiare la letteratura di formazione e in particolare alcune sue peculiaritá tramite due suoi esemplari del Novecento. Nella prima parte della tesi si esaminano le caratteristiche della letteratura di formazione basandosi sulla fondamentale monografia di Franco Moretti, Il romanzo di formazione. Nella seconda parte, a partire dalle caratteristiche e dagli elementi principali del bildungsroman già evidenziati, si presenta un confronto tra due romanzi novecenteschi: Agostino di Alberto Moravia e Le ceneri di Angela di Frank McCourt. Ne vengono evidenziate le differenze e le somiglianze, dovute alle differenze culturali, allo sfondo storico, all’ambiente familiare dei protagonisti e più in generale alle differenze della narrativa moraviana e di McCourt. Emerge così la poliedricitá e allo stesso tempo l'universalità di questo genere letterario particolare, in grado di essere presente in periodi storici anche molto distanti fra loro.
Nell’ultimo capitolo si analizzano le trasposizioni cinematografiche dei due romanzi, così da offrire delle riflessioni sui motivi che rendono questo genere così apprezzato dal mondo cinematografico.
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Virbukienė, Eglė. "The Poetics of the Bildungsroman in “Great Expectations” by Charles Dickens, “Of Human Bondage” by William Somerset Maugham and “The Cider House Rules” by John Irving." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130802_123415-73676.
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The object of the present research is the features of the Bildungsroman genre “Great Expectations” by Charles Dickens, “Of Human Bondage” by William Somerset Maugham and “The Cider House Rules” by John Irving.
The aim of the Bachelor Thesis is to explore structural and poetic elements (canons) of the Bildungsroman in the aforementioned novels.
To achieve the aim the following objectives have been set: 1) to overview the history of the Bildungsroman and to present theoretical poetic elements of such a genre; 2) to identify the key features of the Bildungsroman in the aforementioned novels; 3) to carry out the comparative analysis of the novels in the aspect of the Bildungsroman.
The methodology of the Bachelor Thesis includes Jerome Buckley’s conception of the Bildungsroman, which was employed to trace the features of the Bildungsroman in chosen novels. Also, Gintaras Lazdynas’s structural and poetic elements (canons) of the Bildungsroman, presented in his book, were referred to in the present research were used. The comparative literature as a method (the definition of Tötösy de Zepetnek) enabled to analyze novels in the comparative aspect.
Novels portray typical protagonists of the Bildungsroman genre whose quest towards self-identity is long, gradual and full of challenges. However, such journey towards spiritual maturity is crucial, as it provides heroes with a life education and new experiences. Therefore, at the end of their journey, after completion... [to full text]Darbo objektas – bildungsromano žanrinės ypatybės Charleso Dikenso romane „Didieji lūkesčiai“, Williamo Somerseto Maughamo romane „ Aistrų našta“, bei Johno Irvingo romane ‚ „Sidro namų taisyklės“. Bakalauro darbo tikslas – atskleisti, kaip pasirinktuose romanuose atsispindi tradiciniai bildungsromano žanro struktūriniai ir poetiniai elementai (kanonai). Tikslui pasiekti buvo iškelti šie uždaviniai: 1) apžvelgti bildungsromano istoriją, bei pristatyti šio žanro kanonus (poetinius ir struktūrinius elementus); 2) atpažinti pagrindines bildungsromano žanro ypatybes pasirinktuose kūriniuose; 3) analizuoti romanus lyginamuoju bildungsromano aspektu. Bakalauro darbo metodologija apima Jerome’o Buckley’o bildungsromano koncepciją, norint identifikuoti šio žanrinio tipo romano ypatybes pasirinktuose kūriniuose. Taip pat darbe buvo naudojami Gintaro Lazdyno išskirti bildungsromano struktūriniai ir poetiniai elementai (kanonai). Komparatyvistinė literatūra kaip metodas (Tötösy de Zepetneko apibrėžimas) leido analizuoti tris grožinės literatūros romanus lyginamuoju aspektu. Romanai vaizduoja klasikinius bildungsromano protagonistus, kurių kelias link harmonijos bei savęs suradimo yra ilgas, laipsniškas bei pilnas išbadymų. Toks kelias, vedantis link dvasinės brandos, yra labai svarbus, nes būtent šios kelionės metu herojai pereina gyvenimo mokyklą bei įgyja naujos patirties. Būtent dėl šios priežasties savo kelionės pabaigoje, įveikę įvairias dvasinio vystymosi... [toliau žr. visą tekstą]
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Llorente, Cardo Jaime. "Dios ante el abismo. La filosofía de la revelación de Schelling como Bildungsroman del espíritu." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2016. http://repositorio.pucp.edu.pe/index/handle/123456789/113219.
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The aim of the present study is to rebuild the way in which Schelling's later philosophy –that which is represented by his reflection concerning mythology and rational foundations of revelation– describes the triple division of the Absolute in diverse potencies that takes place with the entry of God in temporality and becoming. The process that leads to such fragmentation of the divine is interpreted as a formation novel” analogous to the odyssey that the finite conscience experiences as a result of its constituent openness to Being.El propósito del presente estudio es reconstruir el modo en el que la filosofía tardía de Schelling, aquella representada por su reflexión acerca de la mitología y los fundamentos racionales de la revelación, describe la triple escisión del Absoluto en potencias diversas que tiene lugar con el ingreso de Dios en la temporalidad y el devenir. El proceso que da lugar a esta fragmentación de lo divino es interpretado como un relato de formación” paralelo a la odisea que la conciencia finita experimenta como consecuencia de su constitutiva apertura al Ser.
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Sundqvist, Sofia. "The Emancipation of Celie : The Color Purple as a womanist Bildungsroman." Thesis, Karlstad University, Karlstad University, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-890.
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The Emancipation of Celie: The Color Purple as a womanist Bildungsroman
The purpose of this essay is to study The Color Purple as a Bildungsroman, focusing on the development of the protagonist, Celie. The Color Purple is related to both the traditional Bildungsroman and to the female Bildungsroman, but the essay shows that it can also be seen as a womanist Bildungsroman. Initially, Celie believes that being a woman inescapably means that she has to serve and obey men and she is oppressed by patriarchy. She is eventually introduced to another way of living by the strong female characters of Sofia and Shug who embrace her in a kind of sisterhood, which is vital for Celie as she has nothing else to help her liberate herself from the patriarchal values that keep her down. In conclusion, this essay shows how Celie has developed from being a young girl, forced to act in an adult way, into a woman who displays signs of all the criteria for having achieved a womanist development: she is grown up (not just acting as though she is), she is in charge of a business, a house and, in short, her life. She is serious, she has a universalist perspective, and most importantly, she loves. Furthermore, the essay highlights which characteristics of her development can be linked to the traditional and the female Bildungsroman and which characteristics can be seen as typical of a womanist Bildungsroman.
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Galbiati, Maria Alessandra [UNESP]. "Revendo o gênero: a representação da mulher no Bildungsroman feminino contemporâneo." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/106345.
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galbiati_ma_dr_sjrp.pdf: 740642 bytes, checksum: 72de5bc6a976d5d49f0d74ccc6c4fad1 (MD5)O presente trabalho propõe-se a analisar a forma pela qual a representatividade da mulher está construída nos romances Rubyfruit Jungle (1973), da norte-americana Rita Mae Brown, e Hotel du Lac (1984), da inglesa Anita Brookner, abordados como Bildungsromane femininos contemporâneos. Ao se considerar o contexto sócio-histórico no qual as obras foram produzidas, observa-se que o novo papel da mulher neste cenário aponta uma mudança na sua representação cultural, fortalecendo a crítica social quanto ao status tradicional feminino. Na busca pela afirmação da individualidade e pela realização dos anseios pessoais, as trajetórias das heroínas Molly Bolt e Edith Hope são marcadas por uma situação ainda desfavorável às mulheres, uma vez que a construção do feminino acontece em ambientes desarmoniosos ou traumáticos, apresentando uma contradição entre o espaço conquistado na sociedade contemporânea e sua respectiva representação literária. Assim, as autoras, ao estabelecerem uma espécie de tradição consciente com o paradigma do Bildungsroman, retomam de maneira crítica os valores humanistas da Bildung germânica e problematizam a influência explícita/implícita do pensamento patriarcal na construção do feminino, oferecendo novas perspectivas. A capacidade de autoanálise das duas heroínas sobre sua posição como sujeito no mundo e conscientização de sua diferença sobressai-se. Por isso, seja na fase de despertar na adolescência, seja num momento de renascimento pessoal na meia-idade, Molly e Edith escolhem os próprios valores do aprimoramento estético-espiritual e da liberdade-responsabilidade no processo formativo. Entende-se que estas decisões revelam-se formas de rejeição das normas culturais pré-estabelecidas às mulheres, promovendo a escrita como caminho para a...
This thesis is an examination of the representation of women in the contemporary female Bildungsromane, Rubyfruit Jungle (1973), by Rita Mae Brown, and Hotel du Lac (1984), by Anita Brookner. Considering the socio-historical context in which the works were produced, it is observed that the new role of women in this scenario indicates a change in its cultural representation, strengthening social criticism about the traditional female status. In the quest for affirmation of individuality and fulfillment of personal desires, the trajectories of the heroines Molly Bolt and Edith Hope are still marked by an unfavorable situation for women, since the construction of the feminine character occurs in traumatic or disharmonious environments, and presents a contradiction between the position attained by the character in contemporary society and its respective literary representation. Thus, by creating a sort of conscious tradition with the Bildungsroman paradigm, the female authors critically revisit the humanist values of the Germanic Bildung and question the explicit or implicit influence of patriarchal thought on female representation, offering new perspectives. The ability of the heroines to evaluate their own position as subject in the world and their awareness of their difference stands out. Thus, whether in an awakening in adolescence or a personal rebirth in midlife, Molly and Edith choose their own values for their aesthetic-spiritual improvement and freedom-responsibility in the Bildung process. It is understood that these decisions reveal themselves as forms of rejection of pre-established cultural norms for women, promoting writing as a way of asserting non-patriarchal female identities. It is argued that female Bildungsroman should be addressed by a constant critical interrogation of the form of narrating the personal and social development... (Complete abstract click electronic access below)
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Dyson, Mandy. "Empire girls : white female protagonists, the Bildungsroman and challenges to narrative /." Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09PH/09phd998.pdf.
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Bellamy, Connie. "The new heroines : the contemporary female Bildungsroman in English Canadian literature /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72826.
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Galbiati, Maria Alessandra. "Revendo o gênero : a representação da mulher no Bildungsroman feminino contemporâneo /." São José do Rio Preto, 2013. http://hdl.handle.net/11449/106345.
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Orientador: Peter James HarrisBanca: Carla Alexandra Ferreira
Banca: Marisa Correa Silva
Banca: Arnaldo Franco Júnior
Banca: Orlando Nunes de Amorim
Resumo: O presente trabalho propõe-se a analisar a forma pela qual a representatividade da mulher está construída nos romances Rubyfruit Jungle (1973), da norte-americana Rita Mae Brown, e Hotel du Lac (1984), da inglesa Anita Brookner, abordados como Bildungsromane femininos contemporâneos. Ao se considerar o contexto sócio-histórico no qual as obras foram produzidas, observa-se que o novo papel da mulher neste cenário aponta uma mudança na sua representação cultural, fortalecendo a crítica social quanto ao status tradicional feminino. Na busca pela afirmação da individualidade e pela realização dos anseios pessoais, as trajetórias das heroínas Molly Bolt e Edith Hope são marcadas por uma situação ainda desfavorável às mulheres, uma vez que a construção do feminino acontece em ambientes desarmoniosos ou traumáticos, apresentando uma contradição entre o espaço conquistado na sociedade contemporânea e sua respectiva representação literária. Assim, as autoras, ao estabelecerem uma espécie de tradição consciente com o paradigma do Bildungsroman, retomam de maneira crítica os valores humanistas da Bildung germânica e problematizam a influência explícita/implícita do pensamento patriarcal na construção do feminino, oferecendo novas perspectivas. A capacidade de autoanálise das duas heroínas sobre sua posição como sujeito no mundo e conscientização de sua diferença sobressai-se. Por isso, seja na fase de despertar na adolescência, seja num momento de renascimento pessoal na meia-idade, Molly e Edith escolhem os próprios valores do aprimoramento estético-espiritual e da liberdade-responsabilidade no processo formativo. Entende-se que estas decisões revelam-se formas de rejeição das normas culturais pré-estabelecidas às mulheres, promovendo a escrita como caminho para a... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This thesis is an examination of the representation of women in the contemporary female Bildungsromane, Rubyfruit Jungle (1973), by Rita Mae Brown, and Hotel du Lac (1984), by Anita Brookner. Considering the socio-historical context in which the works were produced, it is observed that the new role of women in this scenario indicates a change in its cultural representation, strengthening social criticism about the traditional female status. In the quest for affirmation of individuality and fulfillment of personal desires, the trajectories of the heroines Molly Bolt and Edith Hope are still marked by an unfavorable situation for women, since the construction of the feminine character occurs in traumatic or disharmonious environments, and presents a contradiction between the position attained by the character in contemporary society and its respective literary representation. Thus, by creating a sort of conscious tradition with the Bildungsroman paradigm, the female authors critically revisit the humanist values of the Germanic Bildung and question the explicit or implicit influence of patriarchal thought on female representation, offering new perspectives. The ability of the heroines to evaluate their own position as subject in the world and their awareness of their difference stands out. Thus, whether in an awakening in adolescence or a personal rebirth in midlife, Molly and Edith choose their own values for their aesthetic-spiritual improvement and freedom-responsibility in the Bildung process. It is understood that these decisions reveal themselves as forms of rejection of pre-established cultural norms for women, promoting writing as a way of asserting non-patriarchal female identities. It is argued that female Bildungsroman should be addressed by a constant critical interrogation of the form of narrating the personal and social development... (Complete abstract click electronic access below)
Doutor
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Timlin, Carrie-Leigh. "The common reader and the modernist Bildungsroman : Virginia Woolf's The Waves." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20607.
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In this dissertation I intervene in and challenge already-existing critical studies of Virginia Woolf's The Waves (1931) that focus on ideas of imperialism, empire and subject-making practices in the novel by arguing for a revisionist reading of The Waves as a Bildungsroman. Unlike the Bildungsroman of the eighteenth and nineteenth century, which utilised standard novelistic conventions to explore the relation between form and reality, I contend that The Waves is a thoroughly modernist reinvention of the Bildungsroman form designed to capture a rapidly industrialising and modernising English society. To capture the socio-political unrest in twentieth-century England at this time, Woolf deviates from the convention of a single-protagonist narration, using multiple perspectives to expose the contradictions in processes of self-formation, especially with regard to the relation between the self, nation and national identity. The correspondence between self, nation and national identity is explored through the silent seventh character, Percival, who I argue is characterised as a hero in the medieval romance tradition to expose the romantic and heroic fictional narratives that provided the framework for ideas of empire and imperialism, then at the core of nationhood and national identity in England. Conversely I argue that the character who narrates a third of the novel's narrative, Bernard, provides us with an alternative to empire and imperialism in subject-making practices. I argue that in the final section of The Waves Bernard deviates from the direct-speech narrative of preceding sections of the novel and engages the reader directly. The reader is thus alerted not only to his or her role as a reader, but also to Bernard's overarching role as primary protagonist in the novel. The reader has progressed alongside Bernard through the narrative in keeping with the genre designation of the Bildungsroman which encourages the progression of the reader alongside the progression of the primary protagonist. The reader is further encouraged in his or her progression by an aesthetic education present in the music and poetry that Woolf incorporates not only in the content, but in the very structure of the text. Two of the novel's characters, Louis and Neville, use poetry to locate their subjectivities within larger historical narratives, while Beethoven's String Quartet No. 13 in B♭ major, Opus 130, informs the structure of the text, contributing to the interactive sonic and non-sonic landscape that actively invites the participation of the reader. The reader's participation in the novel is most fully realised when Bernard addresses the reader directly in the final section of The Waves. This interaction explains and thus concretises Woolf's overarching critiques of empire and imperialism in the novel alongside her proposed methods - which directly oppose the ideology of imperialism - for developing a subjectivity formed in relation to the common, and the individual experience of the common as a historically and materially determined phenomenon. The common in this sense is a community of 'common reading subjects', who like Woolf are not formally educated, but develop a subjectivity through reading premised on an equality of intelligence which enables them to engage critically with, order and make sense of the society and politics of their surrounding world. In this way, I show that Woolf challenges the already existing subject-making practices in twentieth-century England by exposing the contradictions - the exclusion of the marginalised, the poor and women - in ideas of Englishness. She proposes an alternative form of subject-making that is as diverse as her reading public and premised on a non-exclusionary acknowledgement of an equality of intelligence that defies class, gender and social boundaries.
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Kociatkiewciz, Justyna. "Towards the "Antibildungsroman" : Saul Bellow and the problem of the genre /." Frankfurt am Main [u.a.] : Lang, 2008. http://www.gbv.de/dms/hbz/toc/ht015465045.pdf.
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Kociatkiewicz, Justyna. "Towards the Antibildungsroman Saul Bellow and the problem of the genre." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2001. http://d-nb.info/987085808/04.
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Reher, Meike. "Die Darstellung von Musik im zeitgenössischen englischen und amerikanischen Bildungsroman Peter Ackroyd, Vikram Seth, Richard Powers, Frank Conroy, Paul Auster." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2009. http://d-nb.info/999328824/04.
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Thors, Frida. "Nada de Carmen Laforet vista como Bildungsroman femenino ." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-7416.
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Roberts, Timothy Paul English UNSW. "Little terrors:the child???s threat to social order in the Victorian bildungsroman." Awarded by:University of New South Wales. English, 2005. http://handle.unsw.edu.au/1959.4/23930.
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This thesis is a study of rebellious child protagonists in Victorian bildungsroman. It discusses five novels ??? Jane Eyre, The Mill on the Floss, What Maisie Knew, Vanity Fair and Kim ??? that feature ???radical child??? protagonists who use indirect methods of narrative control to resist conservative models of character development. It argues that these novels form a subset of subversive English bildungsromane, which threaten the genre???s traditionally liberal values. Theories of narrative desire, reader seduction and discursive manipulation are used to reveal how the radical child in the Victorian bildungsroman takes command of the reader???s sympathy and gains power over the realist text, despite its physical and social powerlessness. Especially important is the presence of a fantasy counterplot, which coexists with, and ultimately undermines, the bildungsroman???s realistic surface narrative of successful socialisation. The counterplot allows radical child protagonists to develop in a non-linear manner that contradicts bourgeois ideals of stable progress. Focusing instead on sites of rupture between the individual and society, subversive bildungsromane resist both the dialectical model of character, which aims to harmoniously unite the protagonist with the realist world, and the dialogic model of interaction, which requires the restriction of personal liberty for the common good. This rebellious child in the Victorian bildungsroman thus represents an assault on the genre???s democratic ideals. Rejecting compromise, the radical child replaces the bildungsroman???s central ethic of interpersonal responsibility with an individualistic ethic of domination. Indeed, the thesis argues that the appeal of such child protagonistslies in their rejection of the obligatory, but anticlimactic, exchange of freedom for security that underpins the realist bildungsroman???s social contract, a rejection attractive to the reader precisely because it is unrealisable in reality. Finally, the thesis compares this radical child with the Gothic monster. While the monster is punished for its subversion, the radical child???s counterplot enables it to enact most of its subversive desires unpunished. The conservative English bildungsroman thus becomes a more effective way of representing asocial energies than the more obviously radical Gothic genre, which openly displays its anti-democratic sentiments.
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Rozas, Olave María Fernanda. "La tergiversación del bildungsroman en La burla del tiempo de Mauricio Electorat." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109975.
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La siguiente investigación se enmarca dentro del Seminario de grado acerca de la
violencia en la narrativa chilena del siglo XX. Es importante mencionar este aspecto porque
podemos dilucidar cómo la mayoría de la producción literaria de este momento nos ofrece
una visión de mundo donde de alguna u otra forma está inscrita la violencia. En este marco
se sitúa nuestro objeto de estudio, La Burla del Tiempo, de Mauricio Electorat, publicada el
año 2004. Esta novela está escrita desde la lejanía de la Patria, en las tierras francesas que
refugiaron al escritor durante los años de Post dictadura, lo cual permitió mirar con la
distancia adecuada y desde una perspectiva distinta la realidad chilena. Este texto aparece
marcado por una doble coyuntura histórica: en primer lugar, nos presenta una infancia y
adolescencia regidas por la violencia familiar-estatal vividas en dictadura, y, por otro lado,
nos muestra el presente globalizado, que influye tanto en el relato de esas memorias que
constituyen a esos sujetos como jóvenes, así como en los proyectos escriturales implicados
en la novela. De esta manera Electorat se hace cargo sin cinismo ni demagogia de una
historia y una generación por descubrir: adolescentes que no comprenden los valores del
régimen, que protagonizaron una resistencia inexperta, que se fueron sin nada y vuelven
para contarlo.
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Contardo, Schmeisser Ir?ne Andrea. "Bildungsroman y anarquismo en Lanchas en la bah?a de Manuel Rojas." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109945.
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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hisp?nica menci?n LiteraturaEn este acercamiento a las problem?ticas desarrolladas en Lanchas en la bah?a (1932), del escritor chileno Manuel Rojas, se indagar?n los recursos mediante los cuales en Lanchas en la bah?a las ideas anarquistas contribuyen a la desarticulaci?n de los par?metros del modelo can?nico de la novela de formaci?n y, en consecuencia, a una rearticulaci?n de la misma. No obstante estos marcos, la novela adquiriere los rasgos de una contraBildungsroman (Rojo, 2009), que se posiciona de manera distinta, subversiva, respecto del g?nero can?nico. Para llevar a cabo el estudio, se relaciona la novela de Rojas con las diversas concepciones, teorizaciones y realizaciones que ha adoptado la novela de aprendizaje, considerando las perspectivas alemana, (pos)colonial e hispanoamericana. Por otra parte, se analizar?n los rasgos del discurso y cosmovisi?n anarquista y, en particular, del anarquismo chileno, que se filtran en la configuraci?n de las tem?ticas presentes en la obra del autor, as? como en los personajes, las acciones y los espacios en Lanchas en la bah?a.
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Courtois, Cédric. "Itinéraires d’un genre. Variations autour du Bildungsroman dans la littérature nigériane contemporaine." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN031.
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Depuis le début des années 2000, l’un des traits distinctifs de la littérature nigériane tient dans son utilisation du genre littéraire du Bildungsroman , dont cette thèse considère les différentes évolutions chez les romancières et romanciers dits de la troisième génération. En examinant une vingtaine de romans, de Waiting for an Angel (2002) de Helon Habila à Freshwater (2018) d’Akwaeke Emezi, ce travail se propose de brosser un portrait panoramique d’un pan de la littérature nigériane ultra-contemporaine par le prisme du Bildungsroman. Prenant appui sur les études de genre, cette étude considère tout d’abord les différentes variations féminines d’un genre littéraire au penchant androcentrique. Les réécritures féminines du Bildungsroman mettent en lumière le développement (ou son échec) d’un point de vue et d’une voix individuels alors que les héroïnes tentent de (se) construire un moi unifié. La tendance allégorique du Bildungsroman sous sa forme traditionnelle est également centrale, et l’Histoire de la nation nigériane, depuis la guerre civile (ou guerre du Biafra, 1967-1970), jusqu’au début des années 2000, est au cœur des intrigues tissées par les ouvrages du corpus : la Bildung des protagonistes se fait en parallèle de celle de la nation. Enfin, au XXIè siècle, les frontières nationales ne semblent plus être tout à fait pertinentes pour les romancières et romanciers nigérians qui, de par leur propre expérience en tant qu’individus, détaillent les nouvelles conditions de développement dans une société mondialisée, multiculturelle, ou transculturelle, où les frontières (géographiques, identitaires, génériques) tendent à s’estomper voire à disparaître. Nous proposons donc de nous interroger sur l’existence d’une spécificité nigériane du Bildungsroman en ce début de XXIè siècleSince the beginning of the 2000s, one of the distinctive features of Nigerian literature has been the use of the literary genre of the Bildungsroman . This thesis considers the different evolutions of this genre among male and female third-generation Nigerian novelists. It examines more than twenty novels, from Waiting for an Angel (2002) by Helon Habila to Freshwater (2018) by Akwaeke Emezi, thereby providing a picture of contemporary Nigerian fiction. This study aims at analysing contemporary Nigerian fiction through the genre of the Bildungsroman. By using gender theory, it considers the feminine variations on an androcentric genre. These feminine rewritings put forth the development (or lack thereof) of the heroines from an individual viewpoint as they try to build a unified self. The allegorical tendency of the traditional Bildungsroman is also central, and the History of the Nigerian nation, from the civil war (or Biafra war, 1967-1970), to the beginning of the 2000s, is at the heart of the plots woven by the novels chosen in the corpus: the Bildung of the protagonist parallels the Bildung of the nation. Finally, in the 21st century, national borders do not seem to hold any longer for the third-generation writers who, because they experience mobility themselves, describe the new conditions of development in a globalized society, which is increasingly multicultural or transcultural; borders (whether they be geographical, linked to identity, or generic) tend to fade away, or disappear. This thesis examines whether or not a Nigerian specificity of the Bildungsroman exists in the 21st century
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McTizic, Jamila. "It's Different for Girls: Coming of Age in Two Victorian Novels." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/133.
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This thesis examines the feminine coming-of-age stories in The Mill on the Floss and Hard Times and seeks to redefine coming-of-age for Victorian girls as a movement into personal agency. The traditional bildungsroman has been defined in a way that largely excludes the experiences and stories of girls born during the early nineteenth century. Because these girls lacked the options and choices of their male counterparts, it becomes important to redefine what coming-of-age means when there are limited opportunities for personal growth. The middle-class Victorian woman led a largely prescribed existence and her well-being and security was often directly and indirectly tied to the status and conduct of the men in her life, usually her father. Given this, this paper also explores the father’s role in his daughter’s coming-of-age story and how he influences the choices she makes in her life.
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Chrisman, James Atticus. "Marsh's Field: A Novella and Introduction." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429799538.
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Zwierlein, Anne-Julia. "Der physiologische Bildungsroman im 19. Jahrhundert Selbstformung, Leistungsethik und organischer Wandel in Naturwissenschaft und Literatur." Heidelberg Winter, 2006. http://d-nb.info/992549396/04.
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Debenedetti, Sara. "Formação e viagem: a vida de Annemarie Schwarzenbach no romance Lei così amata de Melania Mazzucco." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-08022011-112140/.
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A vida de um jovem e seu percurso pelo mundo em busca de sua identidade é o mote do romance de formação, subgênero que teve seu auge entre os séculos XVIII e XIX. Franco Moretti e Esther Labovitz, entre outros críticos por nós considerados, estudaram a fundo o romance de formação o Bildungsroman , sendo que esta última autora focalizou a variante feminina no Bildungsroman do século XX. O presente trabalho tem como objetivo analisar o romance da escritora italiana Melania Mazzucco Lei così amata. O romance recorta e focaliza uma parte da vida da escritora suíça Annemarie Schwarzenbach, portanto possui as características do romance biográfico. Contudo, pretendemos, neste estudo, evidenciar principalmente as características que fazem dessa obra um romance de formação. Por meio da conturbada trajetória vivida pela protagonista, buscamos reconhecer, nas viagens empreendidas por ela, ao redor do mundo, as características fundamentais do romance de formação. Em particular, com base nos estudos de Mikhail Bakhtin sobre o cronotopo, analisamos as formas com que o tempo vivido nos diferentes continentes Ásia, América e África marcam o percurso formativo da heroína.The life of a young man and his way through the world in search of his own identity is the motto of the formation novel, subgenre which had its climax between the 18th and the 19th centuries. Franco Moretti and Esther Labovitz, among other critics considered by us, studied the formation novel in depth the Bildungsroman , this last author focusing on the feminine variant in the Bildungsroman of the 20th century. This study aims at analyzing the novel of the Italian writer Melania Mazzucco Lei così amata. The novel focuses on part of the life of the Swiss writer Annemarie Schwarzenbach, therefore it presents all the characteristics of the biographical novel. However, in this study, our main intention is to demonstrate all the features that make this work a formation novel. Through the troubled trajectory lived by the protagonist, we try to recognize, in her journeys around the world, the fundamental features of the formation novel. In particular, based on the Mikhail Bakhtins studies of the chronotope, we analyze the forms in which the time lived in the different continents Asia, America and Africa determine the heroines formative course.
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Tello, Barreda Ana Lucía. "La reconfiguración del bildungsroman tradicional en Ximena de dos caminos de Laura Riesco." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2009. http://tesis.pucp.edu.pe/repositorio/handle/123456789/654.
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Nunez, Lena M. "The Female Bildungsroman in George R.R. Martin's A Song of Ice and Fire." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2349.
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This project examines the concepts of the female bildungsroman in literature. In particular it looks at two female characters created by George R.R. Martin, the sisters, Sansa and Arya Stark. The project focuses on the characteristics of the female bildungsroman and whether or not the female bildungsroman is a valid literary concept. This has been done by examining what is a bildungsroman and is there a difference between male and female bildungsroman. The goal is to show that the female bildungsroman is valid and that Sansa and Arya are perfect examples.
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Keeling, Kari Lynn. "“To Make Myself for a Person”: The Bildungsroman in Modern Jewish-American Literature." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1440.
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Anzia Yezierska's Bread Givers and Abraham Cahan's The Rise of David Levinsky share many similarities: they both feature young Jewish protagonists who immigrate to America in search of the better life they believe America can provide. Though their novels have similar trajectories, each author answers the still relevant question of how immigrants might successfully assimilate into American culture in contrasting lights. Cahan's protagonist, in a superficial sense, achieves the "American dream," while Yezierska's Sara achieves a more modest success. However, Sara ultimately navigates the trials of cultural assimilation and identity formation more successfully. Levinsky gains monetary wealth by adapting to American values of independence and class mobility, but Sara achieves the much more valuable goal of a confident identity by tempering her embrace of these traditional American values and not rejecting her cultural origins.
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Ferey, Hélène. "Le corps fragmenté : du Künstlerroman au Rouge et le Noir." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040051.
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Ce travail se propose d’étudier une esthétique propre à l’époque romantique : l’expression parla fragmentation du corps. En effet, l'esthétique romantique trouve dans la fragmentation récurrente du corps une issue à son opacité et un moyen d'exprimer au mieux l'essence du Tout. La tête et l'oeil en sont deux exemples particulièrement expressifs utilisés dans l’art. Mais c’est la main qui synthétise le mieux cette démarche esthétique : en unissant le sensible à l’intelligible, la main se fait centre de gravité de la création artistique.Le Künstlerroman et le Bildungsroman, mettent particulièrement en lumière la prégnance de ces enjeux esthétiques, tant en France qu’en Allemagne. Nous étudions de ce fait ici le Franz Sternbal deTieck, le Wilhelm Meister et le Faust de Goethe ainsi que sept contes d’Hoffmann afin de prouver la récurrence de cette esthétique au sein de genres littéraires aussi divers que le roman, le théâtre ou le conte. Ces trois genres sont également défendus par un corpus français prenant en compte l’un des bastions du romantisme hexagonal, Le Rouge et le Noir de Stendhal, en y alliant plusieurs nouvellestraitant de l’art : Sarrasine et Le Chef-d’oeuvre inconnu de Balzac, Le Fils du Titien de Musset et La Toison d’Or de Théophile Gautier. Ajouter Lélia de George Sand à notre corpus permet de prouver que cette esthétique s'étend jusqu'à l'un des plus grands succès littéraires de son époque. Enfin des oeuvres romantiques offrant au corps le premier rôle telles le Frankenstein de Mary Shelley, Fragoletta deLatouche, La Main du diable d'Alphonse Karr et La Main enchantée de Gérard de Nerval viennent renforcer notre thèseThis work deals with an aesthetics specific to the Romantic Era : the expression through thefragments of the body. For the Romantics the recurrent fragmentation of the body is indeed a solutionto its opacity and the best way to express the real nature of the Whole. The head and the eye are twostrong and meaningful examples used in arts. But the hand is definitely the fragment which bestembodies this aesthetic approach: by bringing the tangible and intelligible together, the hand becomes abridge and the centre of artistic creation.Künstlerroman and Bildungsroman highlight especially well the pregnancy of these aestheticissues both in France and Germany. Therefore Tieck's Franz Sternbald, Goethe's Wilhelm Meister andFaust will be studied in our work as well as seven tales by Hoffmann in order to prove the recurrenceof these aesthetics in various genres such as novels, plays and tales. These three genres are alsorepresented by a French corpus including one of the works of reference in terms of Romantism, LeRouge et le Noir by Stendhal, compared to several short stories dealing with the theme of arts:Sarrasine and Le Chef-d’oeuvre inconnu by Balzac, Le Fils du Titien by Musset and La Toison d’Or byThéophile Gautier. Adding George Sand's Lelia to the corpus allows us to see how this aestheticsinfluenced even one of the greatest successes of its time. At last a few Romantic works featuring thebody as main character such as Frankenstein by Mary Shelley, Fragoletta by Latouche, La Main dudiable by Alphonse Karr and La Main enchantée by Gérard de Nerval reinforce our theory