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Dissertations / Theses on the topic 'Character criticism'
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Mayes-Elma, Ruthann. "A Feminist literary criticism approach to representations of women's agency in Harry Potter." Oxford, Ohio : Miami University, 2003. http://www.ohiolink.edu/etd/view.cgi?miami1060025232.
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Thesis (Ph. D.)--Miami University, Dept. of Educational Leadership, 2003.<br>Title from first page of PDF document. Document formatted into pages; contains vii, 147 p. Includes bibliographical references (p. 125-141).
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Shimizu, Akihiko. "Ben Jonson and character." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11906.
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This thesis discusses Ben Jonson's innovative concept of character as an effect of interactions in dramatic, political and literary spheres. The Introduction observes how the early modern understanding of ‘character' was built on classical rhetorical theory, and argues its relevance to Jonson's rhetorical and performative representations of characters. Chapter 1 looks into the bridge between epigrams and character writing, and examines the rhetorical influence of the grammar-school exercises of Progymnasmata on Jonson's representation of characters in his Epigrams. Chapter 2 examines character as legal ethos in Catiline, analysing the discourse of law that constitutes Cicero's struggle to issue senatus consultum ultimum and examining the way Catiline represents character and mischief to address the problematic issues of power and authority in King James' monarchical republic. Chapter 3 explores Jonson's challenge in his integration of the emblematic characters of Opinion and Truth in Hymenaei, and argues that the underlining contemporary medico-legal discourses help the masque to accommodate conflicting characters. Chapter 4 discusses the problematic characterization of news and rumours in Volpone, The Staple of News and the later masques, and considers the way Jonsonian characters strive to find trustworthy and legible signs of others in their exchanges of information. In Conclusion, the thesis confirms the need to re-acknowledge Jonson's writings in terms of character as rhetorical effect of these imagined interactions.
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Lee, John. "Shakespeare's Hamlet and the controversies of self." Thesis, University of Bristol, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295030.
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Travis, Keira. "Infinite gesture : an approach to Shakespearean character." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102740.
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In this dissertation I develop and theorize an approach to Shakespearean character. I focus on the ways in which characters talk about knowing others and being known; in other words, this is an approach to characters who are themselves approaching characters. The plays I treat in detail are Coriolanus and Hamlet. The words characters in these plays use when they explain their decisions, avoid explaining their decisions, talk about others' decisions, or try to expose others' secrets, are often position-and-movement words. I argue that characters use for these purposes words related by wordplay to the postures and gestures involved in crucial rituals (the "custom of request" in Coriolanus, the fencing match in Hamlet). At the same time, this is a metacritical project: I deal with approaches and attitudes of Shakespeare interpreters. How do we stand in relation to each other? How do editors and critics echo and transform the characters' postural/gestural language, and what are the implications of these echoes and transformations? Why is it worthwhile to work toward awareness of these echoes and transformations? In an extensive introductory section I theorize the kind of reading practiced here as an ethical practice-a practice intended to modify what Michel Foucault calls the rapport a soi.<br>The project's main original contribution is its way of re-conceiving the relationships among several currents in Shakespeare studies. My discussion engages with recent work in textual studies. Examples include work by Leah Marcus and Paul Werstine. It also engages with historically informed treatments of wordplay. Examples include work by Margreta de Grazia and Patricia Parker. And it addresses work that could be said to be part of a move in the field toward "ethical criticism." Examples include work by Stanley Cavell and John Guillory. As well, my discussion engages with psychoanalytic criticism by Marjorie Garber, Coppelia Kahn, and others. While I do not consider myself a psychoanalytic critic, the affinity my approach has with psychoanalysis has to do with my interest in making explicit some of the implications of unreflectively chosen metaphors, word associations, etc. The implications that concern me most are those that have to do with the ways interpreters relate to each other.
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Crowe, Julian. "Money and character in the novels of Charles Dickens." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15063.
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This thesis discusses the relationship between money and character in the novels of Charles Dickens, concentrating mainly on the later novels, from Dombey & Son onwards. Money is extremely important in Dickens's social criticism, and he is always conscious of money-related motives in his conception of character. However, despite its importance and omnipresence, money ought not to be elevated into the key explanatory principle in Dickens's thought. Dickens has been valued for different qualities over the years. Many who value him as an entertainer with a powerful poetic imagination tend to undervalue his social criticism and moralising, and to treat those aspects as non-essential or as belonging to a different side of his life and work. On the other hand those who value him as social and moral critic have combined this with exaggerated claims of thematic coherence. This thesis suggests that we can dispense with such claims while still regarding Dickens's novels as serious contributions to the moral and social debates of his day. A close consideration will be given to most of the later novels, with the intention of placing the money themes alongside other themes, so as to emphasise the many-sidedness of Dickens's social and moral criticism. Other themes explored in the thesis include marriage and the home, and hypocrisy and self-deception. The thesis seeks to do justice to Dickens's thorough-going ambivalence towards money, and to his capacity for revisiting characters and themes from one work to another. The bias of the thesis is towards the personal and individual, but money is inevitably a social topic. Much consideration is therefore given to Dickens's fictional and non- fictional responses to contemporary social problems and attitudes, and also to material not written by Dickens but published by him in Household Words and All the Year Round.
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Barraclough, Jane. "Systems of exchange and reciprocity in Sir Gawain and the Green Knight." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61755.
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Mayes-Elma, Ruthann Elizabeth. "A Feminist Literary Criticism Approach to Representations of Women's Agency in Harry Potter." Oxford, Ohio : Miami University, 2003. http://www.ohiolink.edu/etd/view.cgi?miami1060025232.
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Abdalla, Laila. "The dialectical adversary : the satanic character and imagery in Anglo-Saxon poetry." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59563.
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This thesis examines the positive role of evil in select Old English Poetry, namely The Junius Book, "Guthlac", "Vainglory", "The Whale", "Juliana", "Judith" and "Beowulf". Using a background of Augustan and Boethian thought, each adversarial character is discussed with regard to role and imagery, but specifically in relationship to the protagonist. Evil plays a surprisingly positive role when it offers the protagonist the opportunity to defeat it. The protagonists' honour at the poem's conclusion is necessarily defined by the extent of resisting the antagonists. The hero must fight evil on two levels: the temporal in humans and the metaphysical in Satan. The thesis examines the various levels of victory and indeed failure they achieve, and concludes that of all the heroes only Juliana is completely successful. Although evil itself cannot be defined as "good", this thesis discovers that in its relationship with the human hero, it can indeed give rise to goodness.
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Zeschky, Jan Frederik. "Unlocking the psychology of character : imagery of the subconscious in the works of F.M. Dostoevskii." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/827/.
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This thesis examines imagery of the subconscious throughout the works of Fedor Mikhailovich Dostoevskii and how it can be used to analyse the psychology of his characters and the author himself. While studies exist on the role of, for example, dreams in Dostoevskii’s works, this thesis aims to comprehensively examine the author’s experience and use of subconscious phenomena as a whole, and their most important role in his texts: their effect on the characters who experience them. In each chapter, one form of this imagery in Dostoevskii’s works is explained and analysed with respect to individual characters or themes, and then Dostoevskii’s own experiences of the relevant subconscious phenomenon are explored. Chapter 1 looks at imagery arising through characters’ daydreams, while the author’s recurrent theme of childhood memories is also analysed as a type of nostalgic daydream. Chapter 2 examines the ‘greyer’ area of dreamlike reality, which in itself operates at two poles: confusion between dream and reality; and reality so intense as to appear unreal. The role of the ‘unreal’ city of St Petersburg is also analysed, as well as Dostoevskii’s narrative mode of ‘fantastic realism’. Chapter 3 looks at characters’ hallucinations, while Chapter 4 focuses on the character of Goliadkin in Двойник and his decline into split personality. Chapter 5 analyses the imagery of dreams, be they of anxiety and warning, of catharsis and peripeteia, or those featuring Dostoevskii’s recurring motif of the ‘Golden Age’ of mankind. The final chapter differs slightly in form by focusing on the overarching condition of epilepsy. Analysis of the author’s principal epileptic character, Prince Myshkin in Идиот, reveals the ‘deepest’ point of subconscious imagery, the ecstatic aura. Upon examining the condition’s recorded effects on Dostoevskii, epilepsy is ultimately discerned as the origin of many of the author’s experiences of subconscious phenomena and, in turn, the imagery of the subconscious used in his works. Moreover, experiences of subconscious phenomena are found to be a vital source of literary inspiration and motivation for Dostoevskii; so the correlating imagery of the subconscious is thus able to reveal fictional characters’ deepest drives and can be used as a means to glean vital, otherwise unseen, insights into their psychology.
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Luke, Nicholas Ian. "Shakespearean arrivals : the irruption of character." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:bb8caacb-ef1c-471a-9d3d-9265b2766369.
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This thesis re-examines Shakespeare’s creation of tragic character through the concept of ‘arrivals’. What arrives is not an ‘individual’ but what I call a ‘subject’, which is a diffused dramatic process of arriving, rather than a self-contained entity that arrives in a final form. Not all characters are ‘subjects’. A subject only arrives through dramatic ‘events’ that rupture the existing structures of the play-world and the play-text. The generators of these irruptions are found equally in the happenings of plot and in changes of poetic intensity and form. The ‘subject’ is thus a supra- individual irruption that configures new forms of language, structure, and action. Accordingly, I explain why scrupulous historicism’s need for nameable continuums is incommensurate to the irruptive quality of Shakespearean character. The concepts of ‘process’, ‘subject’ and ‘event’ are informed by a variety of thinkers, most notably the contemporary French philosopher Alain Badiou. Badiou develops an ‘evental’ model of subjectivity in which the subject emerges in fidelity to a ‘truth- event’, which breaks into a situation from its ‘void’. Also important is the process- orientated philosophy of Bergson and Whitehead, which stresses that an entity is not a stable substance but a process of becoming. The underlying connection between the philosophers I embrace – also including the likes of Žižek, Kierkegaard, Latour, Benjamin, and Christian thinkers such as Saint Paul and Luther – is that they establish a creative alternative to the deadlock between treating the subject as either a stable substance (humanism) or a decentred product of its place in the world (postmodernism). The subject is not a pre-existing entity but something that comes to be. It is not reducible to its cultural and linguistic circumstances but is precisely what exceeds those circumstances. Such an excessive creativity is what gives rise to Shakespeare’s subjects and, I argue, underpins the continuing force of his drama. But it also produces profound dangers. In Shakespeare, ‘events’ consistently expose subjects to uncertainty, catastrophe, and horror. And these dangers imperil both the subject and the relationship between Shakespeare and the affirmative philosophy of the event.
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Souza, Valdira Meira Cardoso de. "Sede de nomeada : o amor da glória na produção literária de Machado de Assis /." Assis : [s.n.], 2007. http://hdl.handle.net/11449/103680.
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Orientador: Cleide Antonia Rapucci<br>Banca: Maria de Lourdes Ortiz Gandine Baldan<br>Banca: Regina Célia dos Santos Alves<br>Banca: Luiz Roberto Velloso Cairo<br>Banca: Daniella Mantarro Callipo<br>Resumo: A "Sede de nomeada" ou o "Amor da glória" é um tema que se repete na obra de Machado de Assis. O objetivo deste trabalho é analisar a ação das personagens machadianas que buscam a "nomeada." Partimos do pressuposto de que na busca da glória, as personagens tentam construir uma imagem social vencedora. Por meio do elemento temático identificamos as relações intertextuais estabelecidas entre o romance Memórias póstumas de Brás Cubas e as outras narrativas que constituem o corpus desta pesquisa, a saber: "O alienista, "O segredo do bonzo", "A sereníssima República," "Conto alexandrino," "Cantigas de esponsais," "Um homem célebre" e "Teoria do medalhão". A seleção das narrativas literárias foi baseada nas semelhanças das estratégias empregadas pelas personagens para alcançar a fama. Para realização desta proposta utilizamos noções básicas inerentes ao tema e à crítica temática. Abordamos os princípios teóricos referentes à intertextualidade que apoiaram as análises literárias desenvolvidas nesta pesquisa. Por fim, foram estudadas as concepções de personagem e narrador como elementos da narrativa ficcional.<br>Abstract: The "thirst for fame" or the " love of glory " is a recurrent theme in the work of Machado de Assis. The objective of this thesis is to analyze the action of the Machadian characters in that search for fame. We presume that in the search for glory, the characters try to build a winning social image. Through the thematic element we have identified the intertextual relationships established between Memórias póstumas de Brás Cubas [Posthumous Memoirs of Brás Cubas, often subtitled as The Epitaph of a Small Winner] and the other narratives that constitute the corpus of this research: "O alienista, "O segredo do bonzo ", "A sereníssima República," Conto alexandrino," "Cantigas de esponsais", "Um homem célebre" and "Teoria do medalhão". The selection of the literary narratives was based on the similarity of the strategies used by the characters in order to reach fame. For accomplishment of this proposal we have used basic notions related to theme and to thematic criticism. We approached the theoretical principles related to intertextuality that supported the literary analyses developed in this research. Finally, conceptions of character and narrator were studied as elements of the fictional narrative.<br>Doutor
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He, Yi Lin Pippa. "A study of translations of Chengyu and four-character phrases in The Notes of a Desolate Man." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953643.
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Josephson, Sally-Anne. "The relationship between character and setting: A narrative strategy in Toni Morrison's Song of Solomon." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1250.
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Midhin, Majeed Mohammed. "The artist as a dramatic character in contemporary British drama : a critical study of Stoppard, Barker and Wertenbaker." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20011/.
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The focus of this dissertation is the representation of the artist as a character in British theatre. In this study, which includes three chapters and one introductory chapter, I attempt to show that British playwrights, whether male or female, use their main fictional characters as artists either for self-reflexivity or to comment on the situation of being an artist. In accordance with the above premise, the responsibility of the artist and the function of art is investigated with due reference to radical thinkers, philosophers and writers such as, among others, Immanuel Kant, Oscar Wilde, Georg Lukács, Antonio Gramsci, Walter Benjamin, Viktor Shklovsky, Bertolt Brecht and Jean-Paul Sartre. This investigation concentrates on the conceptualization and contribution of those intellectuals to the definition of the role of the artist. Though I focus mainly on the period from the 1970s to the 2000s onwards, by analysing the dramatic texts of three British playwrights: Tom Stoppard, Howard Barker, and Timberlake Wertenbaker, I also discuss the decade following John Osborne’s Look Back in Anger (1956). In this manner, I trace the key changes that have taken place in British theatre during the second half of the 20th century. Though there is an abundance of critical material on the subject which focuses on the figure of the artist to show self-referral for the dramatist, the present thesis goes beyond that to highlight the role and responsibility of the artist in British theatre, the function of art, the potential dilemmas he or she may confront and the economic and political circumstances surrounding them. The plays examined in this thesis range from those depicting the problematic role of the artist as an intellectual, who is torn between morality and immorality, as in Stoppard’s Artist Descending a Staircase (1972) and Travesties (1974), to those which reject the utilitarian function of art, for example Barker’s No End of Blame: Scenes of Overcoming (1981) and Scenes from an Execution (1984). In the case of Wertenbaker, I highlight the role and dilemmas of female artists as they use theatre as a means to show the hegemonic political and economic constraints imposed on their artistic creativity. By analysing several of Wertenbaker’s plays which centre on the use of the artist as a character, her Three Birds Alighting on a Field (1991) and The Line (2009), reflect the relationship between male and female artists and the dilemmas they faced. This thesis poses the following questions: as a fictional character, how can the artist function as a member of a certain community whilst at the same time retain the distinctiveness of his or her role as an outsider? Is he or she committed to the creative work or to the social usefulness of society? If so, can we expect art or the artist to have the answer to society’s problems? Or is that an overly high expectation to place on the artist? How did artists feel living in a society under censorship? How can they avoid being censored? And if they failed, what is the price of free expression? Springing from the discussion about the dilemmas of the artist in British theatre, it will become apparent how these dilemmas, represented by fictional characters, bring forth the dominant plays about artists. Within the framework of the above mentioned playwrights, it is demonstrated that the pressing dilemma which radical artists are faced with nowadays are multiple: social, commercial and political.
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Souza, Valdira Meira Cardoso de [UNESP]. "Sede de nomeada: o amor da glória na produção literária de Machado de Assis." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/103680.
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souza_vmc_dr_assis.pdf: 1051765 bytes, checksum: 1241f4dd6ea7dee13a7f75e6aec3f13f (MD5)<br>A Sede de nomeada ou o Amor da glória é um tema que se repete na obra de Machado de Assis. O objetivo deste trabalho é analisar a ação das personagens machadianas que buscam a nomeada. Partimos do pressuposto de que na busca da glória, as personagens tentam construir uma imagem social vencedora. Por meio do elemento temático identificamos as relações intertextuais estabelecidas entre o romance Memórias póstumas de Brás Cubas e as outras narrativas que constituem o corpus desta pesquisa, a saber: O alienista, O segredo do bonzo, A sereníssima República, Conto alexandrino, Cantigas de esponsais, Um homem célebre e Teoria do medalhão. A seleção das narrativas literárias foi baseada nas semelhanças das estratégias empregadas pelas personagens para alcançar a fama. Para realização desta proposta utilizamos noções básicas inerentes ao tema e à crítica temática. Abordamos os princípios teóricos referentes à intertextualidade que apoiaram as análises literárias desenvolvidas nesta pesquisa. Por fim, foram estudadas as concepções de personagem e narrador como elementos da narrativa ficcional.<br>The thirst for fame or the love of glory is a recurrent theme in the work of Machado de Assis. The objective of this thesis is to analyze the action of the Machadian characters in that search for fame. We presume that in the search for glory, the characters try to build a winning social image. Through the thematic element we have identified the intertextual relationships established between Memórias póstumas de Brás Cubas [Posthumous Memoirs of Brás Cubas, often subtitled as The Epitaph of a Small Winner] and the other narratives that constitute the corpus of this research: O alienista, O segredo do bonzo , A sereníssima República, Conto alexandrino, Cantigas de esponsais, Um homem célebre and Teoria do medalhão. The selection of the literary narratives was based on the similarity of the strategies used by the characters in order to reach fame. For accomplishment of this proposal we have used basic notions related to theme and to thematic criticism. We approached the theoretical principles related to intertextuality that supported the literary analyses developed in this research. Finally, conceptions of character and narrator were studied as elements of the fictional narrative.
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Ngobeni, D. T. "Nxopaxopo wa mapaluxelo ya vafundhisi eka matsalwa ya mbiya ya ntyekanyeka ra B.K.M. Mthobeni na byi n'wi khele Matluka ra Malungana m." Thesis, University of Limpopo, 2012. http://hdl.handle.net/10386/2375.
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Thesis (M. A.(African Languages)) -- University of Limpopo, 2012<br>It introduces the topic of the study, outlining the aims and purpose of the study. It touches on the significance of the study, methodology and literature review. It also contains definitions of the key concepts used in the study. Chapter two focuses on the obituary of the authors of Mibya ya Nyekanyeka and Byi n’wi khele matluka and characterization through Rimmon -Kennan’s methods.
Chapter three focuses on the way in which the Vatsonga writers percive the character of pastors as depicted in Mibya ya Nyekanyeka and Byi n’wi khele matluka. Chapter four deals with the theme of each of the following books, namely: Mibya ya Nyekanyeka and Byi n’wi khele matluka. Chapter five. This chapter contains the summary, recommendations and conclusion of the study.
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Brown, Molly Anne. "Spenser's Colin Clout : an introductory study." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1001831.
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From introduction: In the sixth book of The Faerie Qveene, the reader is presented with a vision of the Graces and their attendants dancing on Mount Acidale to the piping of a simple shepherd. Spenser identifies this favoured musician as Colin Clout and then goes on to pose a seemingly inconsequential rhetorical question. "Who knowes not Colin Cloute?” he asks. The note of confident pride which can be discerned in the query clearly reveals Spenser's peculiar interest in one of his most intriguing creations. It is almost impossible to read a representative selection of Spenser's poetical works without noticing the hauntingly frequent appearances of his "Southerne shepheardes boye". Colin appears or is named in no fewer than six of Spenser's poems.
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Stott, Luke. "Ipseity : using the Social Identity Perspective as a guide to character construction in realist fiction." Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/23379.
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"Instead of studying, for example, how the psychology of personality limits and prevents real social and political change, we should be studying how political and ideological changes create new personalities and individual needs and motives." The above quotation is from social psychologist Professor John Turner, who is one of the two theorists, the other being Henri Tajfel, most responsible for the Social Identity Perspective, the principle subject of this thesis. The Social Identity Perspective is an approach to Social Psychology that incorporates two sub-theories: Tajfel's Social Identity Theory and Turner's Self-Categorization Theory. This thesis is based upon using the perspective for the purposes of creating more realistic and believable fictional characters in realist fiction. For the purposes of this thesis Pam Morris' definition of realism will be used, that being, 'any writing that is based upon an implicit or explicit assumption that it is possible to communicate about a reality beyond the writing.' According to both theories, individuals can develop two principal identities: the personal self, which is to say a collection of idiosyncratic qualities that define them as a unique individual, and a collective self (or social identity) that encapsulates the status and characteristics of the social groups they belong to in opposition to other social groupings. Turner theorised that the personality of a human being is heavily influenced by their social context at an unconscious level. This influence can be made manifest by their parents, by their school friends and work colleagues, by their romantic partners, and especially by the collective cultural expectations native to the area they choose to reside in. Turner put forward the concept that our personality and actions are therefore influenced by society at the level of how the individual defines himself or herself. This occurs without agency on the part of the individual. These social belief systems therefore mould what the individual thinks, their actions, and their motivations. This thesis will demonstrate a method of usage for elements of Social Psychology, specifically the Social Identity Perspective that underpins the actions, interactions and motivations of the fictional characters contained within the thesis's creative element. It is the contention of this thesis that The Social Identity Perspective will assist an author in marrying together ever more realistic characterisation to other areas of writer research already extensively drawn upon by the author such as those projects focused upon creating a more realistic setting in a historical novel for instance. As previously stated it is the intention of this thesis to apply aspects of social psychology to the creation of realist texts only, the findings however may also be of use to authors who write in other genres, after all even the writer of fantastic fiction still requires characters whose actions are fundamentally recognisable and justifiable to the reader in order for them to be able to make sense of the fiction and as Henry James said, 'one can speak best from one's own taste, and I may therefore venture to say the air of reality (solidity of specification) seems to me to be the supreme virtue of a novel'. It is the aim of this thesis that its findings may highlight the potential of using The Social Identity Perspective and other adjuncts of Social Psychology as tools for both plot construction and character development that is completely realistic. This may then lead to other areas of research, some of which are suggested in the concluding chapter of this thesis.
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Glover, Jayne Ashleigh. "The Harry Potter phenomenon literary production, generic traditions, and the question of values." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1002243.
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This thesis is a study of the first four books of J. K. Rowling’s Harry Potter series. It accounts for the widespread success of the novels by examining their publication and marketing histories, and their literary achievement as narratives including a sophisticated mix of generic traditions. Chapter One looks at the popularity of the novels, comparing their material production and marketing by Rowling’s English language publishers: Bloomsbury in Britain and Scholastic in the United States of America. The publisher’s influence on the public perception of each book is demonstrated by comparative study of its mode of illustration and layout. Further, the design of the books is linked to their strategic marketing and branding within the literary world. The second chapter considers Rowling’s debt to the school story. It concentrates first on the history of this relatively short-lived genre, briefly discussing its stereotypical features and values. Traditional elements of setting and characterisation are then examined to show how the Harry Potter novels present a value system which, though apparently old-fashioned, still has an ethical standpoint designed to appeal to the modern reader. Chapter Three focuses on the characterisation of Harry as a hero-figure, especially on how the influence of classical and medieval texts infuses Rowling’s portrayal of Harry as a hero in the chivalric mode. The episodes of “quest” and “test” in each book illustrate specifically how he learns the values of selflessness, loyalty, mercy and fairness. Chapter Four surveys the contribution of modern fantasy writing to the series. It shows how Rowling creates a secondary world that allows us to perceive magic as a metaphorical representation of power. This focus on the relationship between magic and power in turn has a bearing on our assessment of the author’s moral stance. The thesis concludes by suggesting that Rowling’s unusual mix of genres is justified by the values they share, and which are inscribed in her work: the generic combination forms a workable, new and exciting mode of writing that helps to account for the phenomenal popularity of the series.
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Griswold, Amy Herring. "Detecting Masculinity: The Positive Masculine Qualities of Fictional Detectives." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3971/.
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Detective fiction highlights those qualities of masculinity that are most valuable to a contemporary culture. In mysteries a cultural context is more thoroughly revealed than in any other genre of literature. Through the crimes, an audience can understand not only the fears of a particular society but also the level of calumny that society assigns to a crime. As each generation has needed a particular set of qualities in its defense, so the detective has provided them. Through the detective's response to particular crimes, the reader can learn the delineation of forgivable and unforgivable acts. These detectives illustrate positive masculinity, proving that fiction has more uses than mere entertainment. In this paper, I trace four detectives, each from a different era. Sherlock Holmes lives to solve problems. His primary function is to solve a riddle. Lord Peter Wimsey takes on the moral question of why anyone should detect at all. His stories involve the difficulty of justifying putting oneself in the morally superior position of judge. The Mike Hammer stories treat the difficulty of dealing with criminals who use the law to protect themselves. They have perverted the protections of society, and Hammer must find a way to bring them to justice outside of the law. The Kate Martinelli stories focus more on the victims of crime than on the criminals. Martinelli discovers the motivations that draw a criminal toward a specific victim and explains what it is about certain victims that makes villains want to harm them. All of these detectives display the traditional traits of the Western male. They are hunters; they protect society as a whole. Yet each detective fulfills a certain cultural role that speaks to the specific problems of his or her era, proving that masculinity is a more fluid role than many have previously credited.
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Fried, Spencer J. "Pursuing the Preservation of Place: The Automobile’s Significance to Los Angeles’ Physical Character and the Opportunity for its Continued Existence." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1152.
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Transportation is a discussion of the utmost concern in Los Angeles. The automobile poses great detriment to the environment, people’s economic stability, and the health and safety of the community. A conversation that has, however, been absent from the discussion on transportation is the particular cultural and historical significance and value of the automobile to Los Angeles; it has been seldom discussed that the automobile has been extremely influential to the physical character of the city deems it an object worth preserving. Unlike the literature that exists, this thesis specifies and details ways in which the automobile has influenced and continues to influence the urban context and architecture of Los Angeles. Simultaneously, this thesis discusses the means by which the automobile can be preserved and repurposed into an object contributory to the city’s plans for a sustainable future. By the reevaluation and reinterpretation of the car and car culture, the city would be in effect capable of reclaiming its title as the model future city, a title it achieved and also eventually lost during the 20th century in large part because of the automobile. This thesis further contributes to the greater comprehension of the context of Los Angeles and revives a conversation about the city’s potential to be a precedent for other cities.
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Callahan, Sarah Francis. "A Wonder Whose Origin is not Known: The Importance of the Orphan Hero in Otherworldly Film." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3694/.
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The purpose of this thesis is to explore the importance of the orphan hero in film and his resonance with the American people. It explores the orphan and the American identities, the archetypes found in myths, and the hero in American culture. The three heroes (Batman, Anakin Skywalker, and Harry Potter) represent certain aspects of orphan heroes: the capacity for sacrifice and the need to resist focusing on oneself. The type of hero each becomes has its source in the response he takes to his orphanhood. These young men suffered great loss early in their lives, but found the strength to sacrifice themselves for others, the ultimate sign of a hero.
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Sze, Tin Tin, and 施福田. "Mapping Neverland: a reading of J.M. Barrie'sPeter Pan text as pastoral, myth and romance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4787000X.
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This thesis is prompted by a curiosity about the popularity of the image of Peter Pan. Realising that the familiar and ubiquitous image is as much a product of consumer culture as it is the result of multimodal adaptations and reinterpretations of J. M. Barrie?s Peter Pan, this study attempts to shovel aside present-day conceptions of Peter Pan stories, so as to unearth the bedrock, to see Peter Pan as it was when it was new, back in its own time. To do so, this study goes back to the original Peter Pan texts. Picking out elements that signal the presence of certain literary modes, this thesis explores how the Peter Pan narratives engage with these modes, genres and traditions. One of the motives of the thesis is to rescue Peter Pan from ghettoization in the cosy category of “children?s literature”, and through critical attention to take it seriously as an important work in the literature of the early twentieth century.
Chapter I situates Peter Pan in the pastoral tradition. Adducing William Empson?s concept of the pastoral as the process of “putting the complex into the simple”, this thesis argues that Peter Pan portrays two competing pastoral spaces and lays claim to the tradition by challenging its parameters of innocence. The chapter also invokes Bakhtin?s idea of carnival, asserting that the Peter Pan texts are “carnivalesque” in both their self-referential play with narrative and generic conventions, and with various more or less satirical and transgressive themes. Chapter II traces elements of Pan myths in the texts, and argues that the texts engage with the late-Victorian and Edwardian interest in myth by re-envisioning an avatar of Pan that would take its place amongst other literary Pans of the era, such as those of E. M. Forster, Kenneth Grahame, Elizabeth Browning, and Arthur Machen. The final chapter sets Peter Pan in the midst of a battle of modes of representation and vision, with R. L. Stevenson championing romance and Henry James politely standing for realism. The chapter argues that while the Peter Pan texts belong more to romance, they play with the boundaries of each by critiquing both modes, all the time showing up and relishing the artificiality of narration. The chapter then picks up on the sense of play, pervading Peter Pan’s engagement with every literary mode that has been discussed, and examines the social meanings and aesthetic instances of play against the backdrop of Edwardian England.
Throughout the chapters, by dint of its spirit of play, Peter Pan problematizes the modern family and deconstructs the hierarchy of generations, along with the fundamental anthropological categories of childhood and adulthood, categories which were coming under scrutiny and pressure from the modernizing forces at work at the beginning of the twentieth century. With its sustained exploration of the structure of generations, Peter Pan addresses a problem of modernity in spite of its fantasy setting, and there is a case therefore for considering it under the rubric, elaborated by Nicholas Daly, of “popular modernism”.<br>published_or_final_version<br>English<br>Master<br>Master of Philosophy
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Yantolo-Sotyelelwa, Betty Matase. "The portrayal of characters through dialogue and action in isiXhosa drama : dramatic and cultural perspectives." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/3361.
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Thesis (MA (African Languages))--University of Stellenbosch, 2005.<br>This study aims at highlighting one of the crucial aspects of Xhosa drama: how women have been regarded by a variety of communities as being inferior to men. This stereotype pervades almost all spheres of life. The low status assigned to women find its way into literature as well. Ngewu’s drama “Yeha mfazi obulala indoda” and Taleni’s drama “Nyana nank’uNyoko” has been examined. In most Xhosa literature, women are portrayed as submissive, obedient and minor characters. The advent of Ngewu’s work changed this scenario by portraying women as independent characters. This has led to great conflict with male characteristics and this demonstrates clearly that partriarchal domination is deep rooted in Xhosa culture.
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Compion, Marlette. "'n Ondersoek na Scheherazade as moontlike voorganger in 'n vroulike verteltradisie in enkele Afrikaanse literêre tekste /." Link to the online version, 2005. http://hdl.handle.net/10019/998.
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Cotte, Suzanne. "Léone Vigneault, ou, La construction d'un personnage téléromanesque." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq25540.pdf.
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陳宇. "花木蘭原型的叙事演變及其文化批評 = Culture criticism and narratice evolutionof Hua Mulan's archetype". Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636167.
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Compion, Marlette. "'n Ondersoek na Scheherazade as moontlike voorganger in 'n vroulike verteltradisie in enkele Afrikaanse literêre tekste." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2024.
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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2005.<br>The aim of this study is to investigate the position that has been allocated to women authors by literary theorists. Some literary theorists are of the opinion that the action of writing can be compared to fatherhood, ownership and being a creator, all of which are male dominated images.
Women writers have historically been marginalized by literary theorists, since there is a perception that women cannot write because they are not male. Harold Bloom has postulated that a male writer looks to a precursor in order to write and find his own voice. Before the writer can claim his own, original voice, he must enter into an Oedipal battle with the precusor, and, figuratively speaking, ‘kill’ him in his writing. According to Gilbert & Gubar, who serve here as representatives of the feminist literary theorists, women writers make use of monsterlike figures which serve as metaphors for the inner battle they have to endure to put pen to paper. The problem, however, is that women writers have no (female) precursors to look to. Elaine Showalter postulates 4 models that women writers may use in search of a female precursor or female body of writing, but she does not offer a clear solution.
I am of the opinion that women writers can identity with a female figure or role model. The figure that I propose is Scheherazade, a storytelling character from the Thousand and One Nights, who told stories for a thousand and one nights in order for escape death. I identify a few texts from international literature that make use of this figure, whether as a character in the text, a metaphor for the female character who tells stories or as a metaphor for the author herself.
This study focuses on texts from 3 genres in Afrikaans literature, namely children’s stories, short stories and a novel. It appears from the analysis of the texts that women writers have successfully made use of the Scheherazade character, to address issues concerning the social role and position allocated to women by a patriarchial society. Along with this women writers’ search and longing for a voice of their own and their own identity gets highlighted with the use of a Scheherazade-like female character who tells stories. Lastly it became clear that this figure is also being used by women writers to contemplate the dynamics of writing and to contextualise the role that self-doubt and self-actualisation play in telling and writing stories. Scheherazade thus becomes a vehicle for finding a voice as well as agency.
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Montecillo, Victoria. "The Naïve Ingénue, The Plucky Everyman's Hero, and the Ingénue Gone Awry: The Satirical Deconstruction of Theatrical Character Tropes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/868.
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This thesis looks to explore Urinetown: The Musical through a critical and theoretical framework, analyzing the show's presentation and deconstruction of theatrical character tropes through musical satire. Using the theories of theatre theorists such as Bertolt Brecht, Peter Brook, and Augusto Boal, this thesis discusses the use of theatre as a device for political and social commentary. Additionally, this thesis focuses more specifically on the show's character of Penelope Pennywise as a new kind of character in the theatre: an "ingénue gone awry," within the context of approaching a performance of the character in a performance of the musical.
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Machuca, Jaqueline Castilho. "O segredo de Macabéas = relações entre A hora da estrela, de Clarice Lispector, e o filme homônimo de Suzana Amaral." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270319.
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Orientador: Suzi Frankl Sperber<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-16T07:11:48Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: O trabalho aqui proposto aborda as relações existentes entre o romance A Hora da Estrela, publicado em 1977, por Clarice Lispector, e o filme homônimo de Suzana Amaral, lançado em 1985. Os elementos que estruturam a literatura e o cinema são diferentes e estabelecer parâmetros de comparação fez-se necessário. Assim, as análises aqui expostas estão centradas, sobretudo, no confronto entre a caracterização proposta para Macabéa no livro e no longa metragem. Para tanto, foram utilizadas diferentes correntes teóricas, que vão da teoria da literatura aos estudos sobre cinema. As especificidades de cada texto, livro e filme, ao mesmo tempo em que facilitam a pesquisa, já que os objetos de análise têm características próprias e podem, portanto, ser analisados separadamente, enredam-nos a possibilidades antes não pensadas, pois a transposição da história de Macabéa para o cinema suprime e insere elementos que devem ser confrontados: o texto de Suzana Amaral parece dizer a mesma coisa que o de Lispector, mas com recursos e linguagens diferentes. A supressão do narrador Rodrigo S.M., tão caro ao texto de Lispector, dá ao longa metragem maior destaque à sensibilidade da protagonista que, marcante no livro, é mesclada à tentativa de S.M. em comicizar e ridicularizar a heroína com o intuito de se afirmar dentro da sociedade. Rodrigo não existe no filme, fato que faz com que o texto de Suzana ganhe significações diferentes, pois a datilógrafa passa a ser vista através do olhar das demais personagens e não mais de um narrador. Mas é através do perfil sensível que Macabéa deve ser percebida, tanto em um texto quanto em outro, pois, no romance, a protagonista se desprende de S.M. através de pequenos luxos, pequenos prazeres, que são transpostos em grande número para o texto de Amaral. A emoção sentida por Macabéa em certas passagens ganha vida com a interpretação de Marcélia Cartaxo, que com poucas falas no filme, consegue traduzir para o cinema os sentimentos e as emoções de uma heroína, aparentemente calada por ser marginal, mas que na verdade usa a parcimônia como uma arma para enfrentar o sistema<br>Abstract: This essay shows the relations between the novel The Hour of the Star, published in 1977, by Clarice Lispector, and the movie, with the same title, directed by Suzana Amaral and released in 1985. The elements which structure literature and cinema are different , so it was necessary to establish parameters to compare them.. This way, the analysis exposed here is centered, specially, comparing Macabea's characterization in the novel and in the movie, as well. For that, were used many theoretical thoughts, which go from literature theory to cinema studies. The particularities of the both texts, novel and movie, when analyzed separately, can make the research easier, because the objects that are analyzed have own characteristics and may be studied with their specifies. In the other hand, the translation of Macabea's story to the cinema leave out and place elements which must be studied together with the both texts: Amaral film seems to say the same thing that Lispector's novel, but with different resources. The narrator suppression , so important to the novel, gives to the movie other focus, like Macabea's sensibility, which is presented in the book, but is mixed with Rodrigo S.M. tentative to ridicule the main character , narrator who aims to confirm himself inside the society. Rodrigo doesn't exist in the movie, that's why, Suzana's text wins different meanings, after all the dactylographer can be seen by the other characters and not anymore only by the narrator eyes. But, it is through the sensitive profile that Macabea can be seen : she has little luxuries, little pleasures, which are transported to Amaral's text. The emotion expressed by Macabea in the novel is in the movie with Marcelia Cartaxo interpretation, who has few speeches in the movie, but can translate to the film Macabea's feelings and emotions, apparently quiet because she is marginal, however she uses the silence to face up the society<br>Mestrado<br>Literatura e Outras Produções Culturais<br>Mestre em Teoria e História Literária
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Souza, Rinaldo Pereira de. "O SER DA MULHER IDOSA NA LITERATURA: ENTRE O SAGRADO E O PROFANO." Pontifícia Universidade Católica de Goiás, 2013. http://localhost:8080/tede/handle/tede/3179.
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Previous issue date: 2013-02-07<br>The present dissertation aims to analyze the configuration of the elderly woman
being in the literature, considering the sacred and profane symbolizations attributed
to her in classical and modern aesthetic. Chiefly, from the filing of Benjamin, to
emphasize that in classic work there was the value of cult, while that in modern
work, there is the value of exposition, identifies the elderly personage in the literature.
In fairytales, the old woman is represented the negative force, being the witch or the
sorceress; in juvenile stories about wolf, Dona Benta and Tia Nastácia, as storytellers
and educators assume sacred function, thus diverge from the elderly modern in
existential crisis, in search of self-affirmation, apart from the classical ideal, being a
coming-to-be. Compuses the corpus of this study, texts of classic literature, the fairy
tales, Branca de Neve and João e Maria; Monteiro Lobato juvenile stories, Histórias
de Tia Nastácia and Serões de Dona Benta ; and the modern tales of Clarice
Lispector, A Partida do Trem , and Lygia Fagundes Teles tale, Senhor Diretor . The
study is based on the theories about the symbolic power, the sacred and the profane,
the beautiful and the ugly, art as representation, narrator and loss of aura.<br>A presente dissertação tem-se por objetivo analisar a configuração do ser da mulher
idosa na literatura, considerando as simbolizações sagradas e profanas a ela
atribuída nas estéticas clássica e moderna. Principalmente, a partir da propositura
de Walter Benjamin, ao salientar que na obra clássica havia o valor de culto,
enquanto que na obra moderna, há o valor de exposição, identifica-se a personagem
idosa na literatura. No conto de fadas, a velha é representada como a força
negativa, sendo a bruxa ou a feiticeira; nas histórias infanto-juvenis lobatianas, Dona
Benta e Tia Nastácia, como contadoras de histórias e educadoras assumem função
sagrada, assim divergem das idosas modernas em crise existencial, em busca de
autoafirmação, distanciam do ideal clássico, sendo um vir-a-ser. Compõe o corpus
deste trabalho textos da literatura clássica, os contos de fadas, Branca de Neve e
João e Maria; as histórias infanto-juvenis de Monteiro Lobato, Histórias de Tia
Nastácia e Serões de Dona Benta; e os contos modernos de Clarice Lispector, A
Partida do Trem, e o conto de Lygia Fagundes Teles, Senhor Diretor. O estudo
fundamenta-se nas teorias sobre o poder simbólico, o sagrado e o profano, o Belo e
o Feio, arte como representação, narrador e perda da aura.
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Boso, Ednéa Aparecida da Silva [UNESP]. "Mulheres em transgressão: a visibilidade da voz feminina em Vozes do deserto de Nélida Pinõn." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/94085.
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000650426.pdf: 1066815 bytes, checksum: 1f85a50e2b4d8e621c94d737a8a5f84e (MD5)<br>O objetivo deste trabalho é demarcar o espaço da escritora Nélida Piñon na literatura de autoria feminina, refletindo sobre as vias de acesso que se abriram quando ela retomou uma das personagens mais conhecidas e míticas da história da Literatura Universal, Scherezade, no romance Vozes do deserto (2004). Este estudo permitiu que se realizasse uma reflexão mais acurada sobre a construção desta personagem a partir da perspectiva da critica feminista (SHOWALTER, 1994) e que se revelasse a condição feminina em um sistema hegemônico, coercivo e patriarcal que legitima as situações de poder, submissão, opressão e violência em relação às mulheres. Sendo assim, este trabalho é um convite para que se conheça a contribuição de Nélida Piñon à luz da evolução contemporânea e da emancipação consciente das mulheres que ousaram transgredir os limites do tempo e espaço em prol de sua visibilidade, independência, liberdade e reconhecimento como sujeito da história. Esses aspectos permitem contemplar as três fases: feminina, feminista e mulher, da literatura de autoria feminina estabelecidas por Elaine Showalter. Apesar de esta obra de Nélida Piñon ser ainda pouco estudada pela crítica brasileira, ela é importante também para os estudos da ginocrítica devido ao discurso crítico especializado sobre os textos produzidos por mulheres. Esta dissertação pretende valorizar o ser mulher que protagoniza não somente a história, mas a ascensão do seu próprio destino no mundo. Em conclusão, a escritora é nome de relevo para o universo literário brasileiro, sendo uma profunda conhecedora da história das mulheres e, portanto, atenta e comprometida com o atual cenário sócio-político cultural brasileiro<br>The genesis of this work is to demarcate the area of the writer Nélida Piñon in the female authorship literature reflecting about the access roads that were opened when the author retook one of the most well-known and mythical character of the Universal Literature – Scherezade – in the novel Voices of the Desert (2004). So, this study allowed to realize a more accurate reflection about this character’s construction from the perspective of feminist criticism (SHOWALTER, 1994) bringing out the feminine condition in a hegemonic system, coercity and patriarchal that legitimizes the power situations, submission, oppression and violence against women. Therefore, this work is an invitation to know Nélida Piñon’s contribution in contemporary evolution and women’s emancipation awareness who dared to transgress the boundaries of time and space to promote their visibility, independence, freedom and recognition as a subject of the history. These aspects allow to gaze on the three phases: feminine, feminist and female of the Women’s literature established by Elaine Showalter. Although this novel has been little researched by Brazilian criticism yet, it is also important to the gynocritical studies because the gynocriticism speech is a critical and specialized speech about texts written by women. So, this dissertation intends to enhance (value) the female who stars not only the history but makes possible the rise of her own destiny in the world. To conclude, the writer is outstanding name for the Brazilian Literary Universe and she demonstrates a deep knowledge about women’s history and, therefore, attentive and compromised with the current social political and cultural Brazilian scenery
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Santucci, Isabella Cristina Stangherlin 1988. "O donjuanismo de Stendhal : a figura de Don Juan na construção do "romantismo" stendhaliano." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270069.
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Previous issue date: 2013<br>Resumo: Em 1789 um novo século se impôs ao mundo. Das Luzes à Escuridão, o homem francês tornou-se apenas homem. O medo, o silêncio e o tédio invadiam o coração de uma sociedade. O sublime, ou o grotesco, como diria Victor Hugo, inevitavelmente levaria a outra revolução. Na política, nos costumes, nas artes, o novo urgia por eclodir. Nesse cenário, Stendhal, homem, crítico e escritor de seu tempo, quer-se portador de uma reviravolta nunca antes concebida. Quer, assim, olhar para sua nação e refletir através do reino das palavras o que nela encontrava. Quer, da mesma maneira, retratar a alma de seus contemporâneos, ávida de emoções e de algo que há muito a França desconhecia, o amor-paixão. Para tanto, decide exumar como herói o demônio das terras do midi, o transgressor por natureza, o amante indomável, Don Juan. A presente dissertação, diante desse fato, tem por escopo a análise dessa figura que se torna central na produção romanesca do autor ao se transfigurar em miroir de um século e de uma nação pós-revolucionários. E nesse percurso, passando pelos diversos modelos de Don Juan da história literária pelo próprio Stendhal relembrados e criticados, observaremos de que maneira se constituiu seu ideal de Romantismo, o Beau moderne, em meio à incessante busca por um herói verdadeiro<br>Abstract: In 1789, a new century imposed itself on the world. From Light to Darkness, the French man became just a man. Fear, silence and boredom invaded the heart of a society. The sublime, or the grotesque, as would say Victor Hugo, nothing else could provoke but the revolution. In politics, in mores, in arts, the new urged to hatch. In this scenario, Stendhal, man, critic and writer of his time, wants to hold a twist never before conceived. He wants, then, to look to his nation and reflect through the realm of words that which he could find in it. He wants, in the same way, to portray the soul of his contemporaries, eager for emotions and of something that remained unknown to France for a long time, love-passion. Therefore, Stendhal decides to exhume as hero the devil of midi's land, the transgressor by nature, the untamed lover, Don Juan. This thesis, in the face of this fact, has as its goal the analysis of this figure that became central in Stendhal's novelistic work as he is transfigured in miroir of a century and of a post-revolutionary nation. And along this path, passing through many different Don Juans of literary history, remembered and criticized by Stendhal, we will observe how it has constituted his ideal of Romanticism, the Beau moderne, amid the ceaseless quest for a true hero<br>Mestrado<br>Historia e Historiografia Literaria<br>Mestra em Teoria e História Literária
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Doktorchik, Acacia M., and University of Lethbridge Faculty of Fine Arts. "Sehnsucht and alienation in Schubert's Mignon settings / Acacia M. Doktorchik." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Music, c2011, 2011. http://hdl.handle.net/10133/3051.
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Sehnsucht (longing) and alienation were two central themes of 19th century German Romanticism in literature, music and art. Franz Schubert was one of the great masters of the Romantic era to understand and express these intense emotions through his compositions. This paper discusses Sehnsucht and alienation in Schubert’s settings of the Mignon songs from Johann Wolfgang von Goethe’s novel Wilhelm Meisters Lehjahre (Master William’s Apprenticeship). Mignon, a secondary character in this novel, is a prime example of one who experiences these emotions and whose principal medium of expressing herself is through her five songs. My thesis focuses on how Schubert portrays Mignon’s longing through use of dissonance, harmonic progressions, melodic contour and shifts in vocal register.<br>iv, 46 leaves ; 29 cm
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Vos, Judith Elizabeth. "Identiteitsontwikkeling in geselekteerde jeugverhale van Barrie Hough / Judith Elizabeth Vos." Thesis, North-West University, 2006. http://hdl.handle.net/10394/1407.
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Freitas, Márcia Silva Pituba. "Cinderelas em contextos: um mosaico de identidade, memória e tradição." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20554.
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Previous issue date: 2017-10-10<br>This research aims, as main objective, to contribute to the studies of Linguistics. Text through intertextuality. The corpus starts from the examination of some versions of the Cinderella fairy tale, which were retextualized by Perrault (1697), Brothers Grimm (1812) and Silvio Romero (1885). We observed as relationships in the structure of the tale, quoted by Propp ([1997] 2002), as a patch of selected magical components in each of them. It has become necessary to follow a course to analyze an analysis. Therefore, we start with intertextuality and Linguistics, going through the purposes of the text, author, reader, reading and oral literature and for the future, direct the text and make as re-significations. We find theoretical support in Beaugrande & Dressler ([1981] 2005), Fávero and Koch ([1983] 2012), Nobre (2014), Candido (2004), Kleiman (2014), van Dijk (2012) and Kock (2013). Next, we bring the tale: what it is, its origins, the first records and even some of Cinderella, the role of the narrator and the relevance of memory and identity in the process. For the present theoretical foundation in Câmara Cascudo ([1952] 2008, 2011, [1967] 2012, [1999] 2013) Coelho (2010, 2012), Bettelheim (2015), Hueck (2016), Robin (2016) and Hall ([1997] 2015). Upon arriving at the analysis, we prove, through selected magical elements and their symbology, to intertextuality. We find that there are elements present in the intertextuality that are indispensable for their identification: identity, memory and tradition. These elements are a reflection of the context in which each writer retextualizes its version, since it changes according to an epoch and manifests itself as a result of the culture and tradition of the peoples<br>Esta pesquisa pretende, como objetivo principal, contribuir com os estudos da Linguística Textual por meio da intertextualidade. O corpus parte do exame de algumas versões do conto de fadas Cinderela, que foram retextualizadas por: Perrault (1697), Irmãos Grimm (1812) e Sílvio Romero (1885). Observamos as relações citadas por Propp ([1997] 2002) na estrutura dos contos, considerando as semelhanças e diferenças apresentadas no enredo a partir do recorte de alguns elementos mágicos selecionados em cada um deles. Tornou-se necessário seguirmos um percurso que nos desse esteio até alcançarmos a análise. Por isso, iniciamos pela intertextualidade e Linguística Textual, passando pelas questões do texto, autor, leitor, leitura e literatura oral, que, juntas, dão sentido à investigação e propõem as ressignificações necessárias. Nesse momento, encontramos suporte teórico em Beaugrande e Dressler ([1981] 2005), Fávero e Koch ([1983] 2012), Nobre (2014), Candido (2004), Kleiman ([1989] 2016), Marcuschi ([1983] 2014), van Dijk (2012) e Kock (2013). Em seguida, trazemos o conto: o que é, suas origens, os primeiros registros (e, inclusive, alguns de Cinderela), e discutimos o papel do narrador e a relevância da memória e da identidade no processo de preservação/transformação das narrativas. Para isso, encontramos embasamento teórico em Câmara Cascudo ([1952] 2008, 2011, [1967] 2012, [1999] 2013), Coelho (2010, 2012), Bettelheim (2015), Hueck (2016), Robin (2016) e Hall ([1997] 2015). Chegando à análise, comprovamos, por meio dos elementos mágicos selecionados e de sua simbologia, a intertextualidade. Constatamos ainda que, nesse caso, há elementos indispensáveis para a identificação da intertextualidade, sejam eles: identidade, memória e tradição. Esses elementos são reflexos do contexto em que cada escritor retextualiza a sua versão, pois ela se modifica de acordo com a época e se manifesta como resultado da cultura e da tradição dos povos
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Boso, Ednéa Aparecida da Silva. "Mulheres em transgressão : a visibilidade da voz feminina em Vozes do deserto de Nélida Pinõn /." Assis : [s.n.], 2011. http://hdl.handle.net/11449/94085.
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Orientador: Cleide Antonia Rapucci<br>Banca: Altamir Botoso<br>Banca: Antônio Roberto Esteves<br>Resumo: O objetivo deste trabalho é demarcar o espaço da escritora Nélida Piñon na literatura de autoria feminina, refletindo sobre as vias de acesso que se abriram quando ela retomou uma das personagens mais conhecidas e míticas da história da Literatura Universal, Scherezade, no romance Vozes do deserto (2004). Este estudo permitiu que se realizasse uma reflexão mais acurada sobre a construção desta personagem a partir da perspectiva da critica feminista (SHOWALTER, 1994) e que se revelasse a condição feminina em um sistema hegemônico, coercivo e patriarcal que legitima as situações de poder, submissão, opressão e violência em relação às mulheres. Sendo assim, este trabalho é um convite para que se conheça a contribuição de Nélida Piñon à luz da evolução contemporânea e da emancipação consciente das mulheres que ousaram transgredir os limites do tempo e espaço em prol de sua visibilidade, independência, liberdade e reconhecimento como sujeito da história. Esses aspectos permitem contemplar as três fases: feminina, feminista e mulher, da literatura de autoria feminina estabelecidas por Elaine Showalter. Apesar de esta obra de Nélida Piñon ser ainda pouco estudada pela crítica brasileira, ela é importante também para os estudos da ginocrítica devido ao discurso crítico especializado sobre os textos produzidos por mulheres. Esta dissertação pretende valorizar o ser mulher que protagoniza não somente a história, mas a ascensão do seu próprio destino no mundo. Em conclusão, a escritora é nome de relevo para o universo literário brasileiro, sendo uma profunda conhecedora da história das mulheres e, portanto, atenta e comprometida com o atual cenário sócio-político cultural brasileiro<br>Abstract: The genesis of this work is to demarcate the area of the writer Nélida Piñon in the female authorship literature reflecting about the access roads that were opened when the author retook one of the most well-known and mythical character of the Universal Literature - Scherezade - in the novel Voices of the Desert (2004). So, this study allowed to realize a more accurate reflection about this character's construction from the perspective of feminist criticism (SHOWALTER, 1994) bringing out the feminine condition in a hegemonic system, coercity and patriarchal that legitimizes the power situations, submission, oppression and violence against women. Therefore, this work is an invitation to know Nélida Piñon's contribution in contemporary evolution and women's emancipation awareness who dared to transgress the boundaries of time and space to promote their visibility, independence, freedom and recognition as a subject of the history. These aspects allow to gaze on the three phases: feminine, feminist and female of the Women's literature established by Elaine Showalter. Although this novel has been little researched by Brazilian criticism yet, it is also important to the gynocritical studies because the gynocriticism speech is a critical and specialized speech about texts written by women. So, this dissertation intends to enhance (value) the female who stars not only the history but makes possible the rise of her own destiny in the world. To conclude, the writer is outstanding name for the Brazilian Literary Universe and she demonstrates a deep knowledge about women's history and, therefore, attentive and compromised with the current social political and cultural Brazilian scenery<br>Mestre
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Kemlo, Justine. "A systemic-functional framework for the multimodal analysis of adaptation: the case example of Dracula." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209633.
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This thesis proposes a multimodal systemic functional model for adaptation. Its aim is to provide the analyst with wider insight into the process(es) of adaptation but also with a complex yet manageable apparatus which enables comparison and articulation of these comparisons over and above intersemiotic boundaries. The model has been applied to the case example of Bram Stoker's novel Dracula and seven different film adaptations.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished
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Shishkin, Timur. "Marginalized Characters in Contemporary American Short Fiction." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/297.
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The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.
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Tanguy, Camille. "Le Triomphe de la Folie sur la scène de l’Académie Royale de Musique, portrait d’une figure entre 1697 et 1718." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040006.
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Ce travail est consacré à l’étude du personnage allégorique de la Folie sur la scène de l’Académie Royale de Musique entre 1697 et 1718. Qu’il soit suggéré ou personnifié, ce caractère féminin est abondamment présent dans les spectacles de cette période. A la fin du règne de Louis XIV, la Folie fait peu à peu son entrée à l’Opéra. Entourée de Momus, du Carnaval, de Bacchus, de l’Amour et des personnages de la commedia dell’arte, la Folie « ramène les tendres Jeux », « chasse la Raison cruelle » et invite sans cesse à « goûter les charmes de la vie ». En accédant à l’Opéra, cette figure extravagante et enjouée signale une évolution de ton qui préfigure le changement de mœurs associé à la Régence. Mais au-delà de la philosophie hédoniste qu’elle dispense, quel est le sens caché des paroles de la Folie ? Faut-il voir dans la présence de ce personnage une remise en cause de l’ordre établi, de la politique sociale et de l’austérité marquant la fin du règne ? Son utilisation permet-elle, sous la couverture d’une « maladie de l’âme », de critiquer la politique et les mœurs de Louis XIV ? Qui se cachent derrière le discours subversif de la Folie ? Quel est le rôle de cette figure dans les débats esthétiques de l’époque ? Cette recherche explore le rôle, ainsi que le traitement musical, dramatique et scénique d’une telle figure à travers l’étude d’ouvrages créés à l’Opéra. Nous proposons ici un portrait physique, moral et social de la Folie, à la lumière de multiples documents musicaux, textuels et iconographiques de l’époque, et présentons différents traits de caractère du personnage et plusieurs thèmes qui lui sont liés afin de comprendre les raisons de sa présence à cette époque<br>This work is devoted to the study of the allegorical figure of Folly on the stage of the Académie Royale de Musique between 1697 and 1718. Suggested or personified, this female character is abundantly present in the spectacles of this period. At the end of the reign of Louis XIV, Folly appears little by little at the Opera. Surrounded by Momus, Carnival, Bacchus, the god of love and the characters of the commedia dell'arte, Folly "brings back the soft Games", "banishes the cruel Reason" and continually invites to "taste the charms of life”. By accessing the Opera, this extravagant and playful figure indicates a change of tone that foreshadows the changing attitudes of the Regency. But beyond the hedonistic philosophy that she provides, what is the hidden meaning of Folly’s words? Should we see a calling into question of the established order, the social policy and the austerity marking the end of the reign? Does its use allow, under the cover of a “disease of the soul”, to criticize the policy and manners of Louis XIV? Who hides behind the subversive speech of Folly? What is the role of this figure in the aesthetic debates of the period? This research explores the role, as well as musical, dramatic and scenic treatments of such a figure through the study of works created at the Opera. We propose here a physical, moral and social portrait of Folly, in the light of multiple musical, textual and iconographic documents of the time, and present different character traits and several themes that are related to it in order to understand the reasons for its presence at this time
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Gunn, Torri Kenneth. "Defining Religion with Chinese Characters: Interrogating the Criticism of the Freedom of Religion in China." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19878.
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This thesis seeks to explore the points of dissonance and resonance around the understanding and deployment of the term 'religion' between Human Rights Watch, and the government of the People's Republic of China. In doing this, it is highlighted that a fundamental disjunction exists in the meaning of, and the boundaries of, the word 'religion' between these two groups. The space that this difference creates makes discussions on religion and religious freedom between these two groups extremely problematic, primarily because Human Rights Watch seeks to protect the right to religious freedom of groups and individuals that the Chinese government does not consider ‘religion’, but that Human Rights Watch demands they should.
This thesis addresses the question of the role of social and cultural relativism in the defining, and the subsequent role in defending, of the term and contents of 'religion'.
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Birge, Amy Anastasia. ""Mislike Me not for My Complexion": Shakespearean Intertextuality in the Works of Nineteenth-Century African-American Women." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278175/.
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Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).
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Sotomayor, Liza Rayza Gabriela. "Análisis de la representación gráfica y narrativa visual de personajes en series animadas de crítica social dirigida al público adulto." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/654627.
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El presente trabajo de investigación tiene como objeto de estudio a la caricatura y la comunicación de crítica social. Se plantea como objetivo general analizar los elementos de representación gráfica y las funciones de la narrativa visual en los personajes de las series animadas dirigidas al público adulto mayores de dieciocho (18) años, para comunicar contenidos de crítica social.
La indagación parte de la hipótesis de que la caricatura es una herramienta de comunicación gráfica relacionada al diseño de personajes que contrarresta la compleja información de crítica que se emite en series animadas.
En cuanto a la metodología de la investigación, es de carácter descriptivo y parte del análisis de dos series animadas que comparten el mismo target, pero con distinta temporalidad de realización como South Park (1997 en emisión televisiva) y Big Mouth (2017 en emisión streaming), con la finalidad de comparar atributos gráficos y narrativos, que permitan corroborar la existencia de similitud y tendencia de estructura comunicativa.
Entre los principales resultados obtenidos en la ficha descriptiva de diseño se evidenció la repetición de arquetipos del personaje y la relación entre la representación visual, conformada por las características físicas, la representación narrativa, basada en el rol que desempeña. Ambos como producto construyen la personificación que busca tener similitudes con el espectador y la realidad que lo rodea.
De esta manera, se concluye que la construcción de un personaje para realizar crítica social cuenta con un trasfondo previo a su realización gráfica. Los personajes tienen el propósito de ser el reflejo de la sociedad en sus distintos puntos de vista, para vincular la realidad con los temas desarrollados y satirizarlos para finalmente amenizar un mensaje conciso que lleve al espectador a la intriga, atención y reflexión.<br>The research work has as object of study the caricature and the communication of social criticism. The general objective is to analyze the elements of graphic representation and the functions of visual narrative in the characters of animated series aimed at adult audiences over eighteen (18) years of age, to communicate content of social criticism.
The investigation starts from the hypothesis that the cartoon is a graphic communication tool related to character design that counteracts the complex critical information that is emitted in animated series.
As for the research methodology, it is descriptive and part of the analysis of two animated series that share the same target, but with different timing, such as South Park (1997 on television broadcast) and Big Mouth (2017 on streaming broadcast ), in order to compare graphic and narrative attributes, which allow corroborating the existence of similarity and tendency of the communicative structure.
Among the main results obtained in the descriptive design sheet, the repetition of archetypes of the character and the relationship between the visual representation, made up of physical characteristics, and the narrative representation, based on the role it plays, was evidenced. Both as a product build the personification that seeks to have similarities with the viewer and the reality that surrounds him.
In this way, it is concluded that the construction of a character to perform social criticism has a background prior to its graphic realization. The characters have the purpose of being the reflection of society in its different points of view, to link reality with the developed themes and satirize them to finally liven up a concise message that leads the viewer to intrigue, attention and reflection<br>Trabajo de investigación
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Flint, Angela. "The influence of contemporary events and circumstances on Virgil's characterization of Aeneas." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019/1540.
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李仕芬 and Shi-fan Lee. "The male characters in the fiction of contemporary Taiwanese women writers." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235979.
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Farfan, Penelope. "Ibsen's female characters and the feminist problematic." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59605.
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This thesis locates Ibsen within the intellectual context pertaining to gender that is provided by such influential nineteenth-century texts as Mill's The Subjection of Women and Bachofen's Das Mutterrecht, both of which seemingly feminist works in actuality foreground women only for their importance in the production of better-quality sons who will ensure the endurance of the patriarchy. The attraction of feminists to the dramas of a playwright who avowedly wrote from this patriarchal standpoint is elucidated by a consideration of the appropriation of the woman-centered texts of patriarchal "feminism" by recent feminists seeking material to reinforce their own movement. The apparently paradoxical project of the analysis of three Ibsen characters, Nora Helmer, Rebekka West and Hedda Gabler, in terms of contemporary feminist literary theory suggests a parallel means of appropriation. These potentially redefined female characters are afforded an added dimension of reality by their embodiment by actresses in stage performances that allows theatre history to be related to real-life history, in which, contemporaneously, nineteenth-century women were beginning to take part.
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Costa, Sueli. "From traditional archetypal to feminist archetypal criticism : William Faulkner's female characters in AS I Lay Dying and Light in August." reponame:Repositório Institucional da UFSC, 1995. https://repositorio.ufsc.br/xmlui/handle/123456789/157939.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina , Centro de Comunicação e Expressão<br>Made available in DSpace on 2016-01-08T19:45:50Z (GMT). No. of bitstreams: 1
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Previous issue date: 1995<br>Análise das personagens femininas nos romances As I Lay Dying e Light in August de William Faulkner baseada na crítica tradicional dos arquétipos e revisada através da crítica feminista dos arquétipos. As personagens femininas apresentadas nos dois romances, quando analisadas sob uma perspectiva revisionista, passam de meros arquétipos estáticos nos romances a indivíduos ativos na sociedade e com os mesmos direitos e deveres atribuídos aos indivíduos do sexo masculino.
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Danna, Elizabeth. "Which side of the line? : a study of the characterisation of non-Jewish characters in the Gospel of John." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/4708/.
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The theme of kpiσιϛ which runs through the gospel has been taken account of in studying the characterisation of "the Jews," but never yet of non-Jewish characters. The method set out covers all the important aspects of characterisation, including both anthropological and rhetorical interests. This method is then applied to the gospel's non-Jewish characters. The Samaritan woman's faith is tentative and hesitating at best; she sees Jesus only as a prophet. Her faith is ambiguous, but not ineffective. The ambiguity in her faith is resolved by the townspeople's. The title Saviour of the World indicates that Jesus has transcended expectations as he inaugurates a new worship which transcends all the old racial and geographical barriers. The pericope of the Greeks is brief, but important, for their arrival signals the coming of Jesus' "hour". At the moment when Jewish rejection of Jesus is becoming complete, a group of Gentiles ask to become part of the redefined people of God. The pericope is, significantly, brief and open-ended. The Johannine Pilate wants to avoid taking a stand for Jesus, and so is forced to take a stand against him. He has the authority simply to drop the charges against Jesus. But he is too afraid of the Jewish leaders to drop the charges, and not sufficiently perceptive or clever to get around the Jewish leaders by more oblique means. More than that, his indecisiveness and fear lead him to become a theomachos. "The Jews" force Pilate to give in by appealing to his patron-client relationship with Caesar. He is outmanoeuvred and shamed by "the Jews", and his actions after the trial are an attempt to salvage some gain from the affair, and revenge his humiliation. While political considerations are not absent from these passages, what is in the forefront is not Roman-Jewish relations but Pilate's reaction to Jesus; where he will take his stand in the kpiσιϛ. Here again the theme of kpiσιϛ appears -1 argue that the theme is relevant to the characterisation of non-Jewish as well as Jewish characters.
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CAMARGO, Flávio Pereira. "A dicção ensaístico-ficcional do personagem-escritor na narrativa brasileira contemporânea." Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tde/2845.
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Previous issue date: 2012-08-24<br>In our research, we propose initially to rescue some of the current trends of
contemporary Brazilian prose fiction in order to introduce the reader to some of its main
lines of force, especially a metafictional narrative, produced in the late twentieth century
and early twenty-first century. To accomplish this bibliographical study, we chose to
divide it into two parts. In the first part, entitled A narrativa brasileira
contemporânea, comprising two chapters, we have made some considerations about
the concept of contemporary literature, as we did a rescue of the critical reception of
Brazilian literature produced in recent decades, followed by an extensive discussion on
the issues constituent of metafictional narrative. In the second part, titled A encenação
do fazer literário na prosa de ficção brasileira contemporânea, we propose to
effectively analyze narrative and discursive strategies employed by Sérgio Sant'Anna,
Antonio Fernando Borges and Rubem Fonseca in the preparation of his metafictional
novels, respectively: Um crime delicado (1997), Braz, Quincas & Cia (2002), e Diário
de um fescenino (2003), dedicating to each of these works a specific chapter in which
we seek to highlight the discursive and narrative strategies employed by the authors in
the construction process and elaboration of his novels, in order to explain the different
manifestations of the contemporary metafictional narrative.<br>Em nossa pesquisa, nos propomos, inicialmente, a resgatar algumas das tendências da
prosa de ficção brasileira contemporânea com o objetivo de apresentar ao leitor algumas
de suas principais linhas de força, com destaque para a narrativa metaficcional,
produzida no final do século XX e início do século XXI. Para realizar esse estudo de
cunho bibliográfico, optamos por dividi-lo em duas partes. Na primeira parte, intitulada
A narrativa brasileira contemporânea, composta por dois capítulos, tecemos algumas
considerações acerca do conceito de contemporâneo em literatura, assim como faremos
um resgate da recepção crítica da literatura brasileira produzida nas últimas décadas,
seguido de uma ampla discussão sobre os aspectos constitutivos da narrativa
metaficcional. Na segunda parte, intitulada A encenação do fazer literário na prosa
de ficção brasileira contemporânea, nos propomos a analisar efetivamente as
estratégias narrativas e discursivas empregadas por Sérgio Sant Anna, Antonio
Fernando Borges e Rubem Fonseca na elaboração de seus romances metaficcionais,
respectivamente: Um crime delicado (1997), Braz, Quincas & Cia (2002), e Diário de
um fescenino (2003), dedicando a cada uma dessas obras um capítulo específico nos
quais procuramos evidenciar as estratégias narrativas e discursivas empregadas pelos
autores no processo de construção e de elaboração de seus romances, de modo a
explicitar as distintas manifestações da narrativa metaficcional na contemporaneidade.
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Guerra, Junior Osmar. "Processos de criação do personagem Walter White em Breaking Bad: entendendo o perigo." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21342.
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Previous issue date: 2018-06-28<br>Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Fundação São Paulo - FUNDASP<br>The current research intends to investigate Vince Gilligan’s creation paths during the
development of the character Walter White in the series Breaking Bad. A serial work created
for the television is an open work, in constant evolution and development and subject to
drastic interventions in its narrative path. The author who draws upon an initial proposition to
develop such path must consider possible incoherences throughout the story, which could
occur due to external interferences and characteristics of the market. Such aspect is not found
in the story and this fact instigates is to investigate the paths which were created by the author
in order to establish a natural progression for the character, without losing, however, the
identity and the coherence of the narrative. Our focus is on the analysis of episodes of the
series, as well as interviews given by the author and specific publications on the backstage of
the creation processes, aiming to understand the interactions between script creation
procedures and choices regarding the audiovisual resources adopted by the author throughout
the seasons. We also discuss the series as a genre in the audiovisual context under the
perspective of coherence development throughout time. Our theoretical approach is based on
the concepts of author from Machado (2011) and Bakhtin (2010) in relation to criticism of
creation process and networks of creation (Salles, 2000; 2006; 2008; 2013; 2017) as well as
the semiotic signs developed by Charles Peirce<br>Esta pesquisa pretende investigar os percursos de criação de Vince Gilligan na construção e
desenvolvimento do personagem Walter White, na série Breaking Bad. Uma obra seriada feita
para a televisão é uma obra aberta, em constante evolução e construção, e sujeita a
intervenções drásticas em seu percurso narrativo. O autor que se vale de uma premissa inicial
para a construção deste percurso deve atentar-se para a possibilidade de incoerências no
decorrer da história, dado as interferências externas e características deste mercado, fato este
que não encontramos no decorrer da narrativa da série e que nos instiga a investigar quais
foram os percursos criados pelo autor para estabelecer a evolução natural do personagem, sem
perder, porém, a identidade e coerência narrativa. O foco do estudo está na análise dos
episódios da série, de entrevistas dadas pelo autor e por publicação especifica sobre os
bastidores dos processos de criação da série com a intenção de entender as interações entre os
procedimentos de construção de roteiros e as escolhas de recursos audiovisuais adotados pelo
autor ao longo das temporadas, adotar a perspectiva de processo para discutir a série ao longo
das temporadas e fazer uma reflexão sobre o gênero série no contexto do Audiovisual sob o
ponto de vista da construção da coerência narrativa ao longo do tempo. Para tal, a
fundamentação teórica apoiar-se-á nos conceitos de autor encontrados nos estudos feitos por
Machado (2011) e Bakhtin (2010); em interação com os conceitos da crítica de processos e
redes de Criação (SALLES, 2000; 2006; 2008; 2013; 2017); e com os conceitos sobre signos
semióticos de Charles Peirce