Dissertations / Theses on the topic 'Nonfiction novels'

This thesis comprises of a series of personal essays exploring intersections and parallels between my life and D.H. Lawrence’s classic novel, Lady Chatterley’s Lover. The essays discuss, among other things, Lawrence and tuberculosis, gamekeeping, mining in 20th century England, love, education, and youth. Thus, the collection creates a literary memoir.

Since Truman Capote's In Cold Blood: A True Account of a Multiple Murder and its Consequences was published in 1965, there have been many attempts to define and explain the phenomenon of the "non-fiction novel" as a unified narrative genre. Some of these attempts have been highly theoretical and scholarly, but most have been rather loose definitions referring to an extremely wide range of diverse factual narratives. Over the years, so many different works have been called "non-fiction novels" that it now seems as if the notion of such a unified genre is questionable. Surely it is not generically useful to say that such functionally distinct works as Oscar Lewis's La Vida: A Puerto Rican Family in the Culture of Poverty (1967) and Hunter S. Thompson's Fear and Loathing in Las Vegas: A Savage Journey to the Heart ot the American Dream (1971) belong in the same narrative category. The purpose of this study is to show that many of the works routinely referred to as "non-fiction novels" perform fundamentally different narrative functions and do not belong together in a unified genre. Roman Jakobson's model of communication and his notion of the "dominant function" are used to identify three functional categories into which the narratives discussed in the study logically fall: first, there are predominantly sociological works in which the referential function is the most important element of the communication; second, there are predominantly journalistic works in which the opinions of the writer or emotive function constitute the central narrative concern; and thirdly, we have works performing a dominant novelistic or aesthetic function in the sense that the secondary meanings and themes implied are the most important elements communicated. The thesis follows the following structure. In the introductory chapter, a critique of some of the major generic theories of the "non-fiction novel" as unified genre is offered. The purpose here is not to caricature what are sometimes extremely sophisticated studies. (Indeed, in my own analysis of texts, I am often indebted to the critical insights of the scholars whose theories I question in the introduction.) My purpose is merely to show that the corpus of works each writer refers to can be divided more logically between different dominant narrative functions. The introduction ends with a more detailed explanation of the adaptation of Jakobson's notion of "the dominant" and how it relates to the functional categories identified. Chapter 2 offers analyses of a group of documentary narratives that perform a dominant sociological function but have often been referred to as "non-fiction novels." The chapter starts with an analysis of James Agee's Let Us Now Praise Famous Men (1941), a text widely regarded as the first real American example of the "genre." This is followed by an examination of the anthropological works of Oscar Lewis: Five Families: Mexican Case Studles in the Culture of Poverty (1959), The Children of Sanchez: Autobiography of a Mexican Family (1964), Pedro Martinez: A Mexican Peasant and his Family (1964) and La Vida: A Puerto Rican Family in the Culture of Poverty. I conclude the chapter with an analysis of the recent sociological works of Studs Terkel: Division Street: America (1968), Hard Times: An oral History of the Great Depression (1970) and Working: People talk about what they do all day and how they feel about what they do (1974). In Chapter 3, the notion of subjective participation journalism is explained. This is followed by an analysis of three of the most famous and creative of the works that fall into this functional category: Hunter S. Thompson's Hell's Angels: The Strange and Terrible Saga of an Outlaw Motorcycle Gang (1966), Michael Herr's Vietnam classic, Dispatches (1977), and Norman Mailer's account of a famous protest march, The Armies of the Night: History as a Novel, The Novel as History (1968). Chapter 4 offers a discussion of three works that perform a dominant novelistic function in the realistic tradition of Dostoevski's Crime and Punishment. All three are based on actual murder cases, but the facts of the stories are subordinated to the novelistic themes the author wishes to abstract. They are: Meyer Levin's Compulsion (1957), Mailer's The Executioner's Song (1979) and Capote's In Cold Blood. From this outline, it may appear as if the study is loaded in favour of the sociological works discussed in Chapter 2. This is intentional because, although many critics have referred to them as "non-fiction novels", very little systematic and detailed analysis of these works as a corpus has been forthcoming. This long chapter is an attempt to redress the balance.

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 19, 2010). Thesis advisor: Dr. Berkley Hudson. Includes bibliographical references.

This paper reads Larry Beinhart’s novel The Librarian (2004) and its nonfiction companion Fog Facts (2005) as a double attempt at writing that is politically invested in representing reality but that nevertheless is openly aware of the postmodern crisis of representation. In this sense, I read both books as indicative of a broad cultural search for forms of writing that engage their readers’ reality without simply attempting to return to a less complicated moment before postmodernism. The paper situates both books within crucial textual contexts: a broad ‘epistemic panic’ about the facts and reality at the time, a surge of political nonfiction published in response to George W. Bush’s Presidency, and a longer tradition of political fiction. Tracing how the novel struggles with its nonfiction aspects and how the nonfiction book relies on fiction to make its point, I then look at how the two books evoke political affect to have a realist appeal of sorts despite their insistence on the precarious nature of all realist representation. Reading both books as distinctly popular, mass-market products and thus bringing together the debate around post-postmodernism from literary studies with an interest in reading pleasures informed by popular culture studies, I argue that the two books constitute decidedly popular attempts at a new, meta-aware yet politically engaged textuality.

This paper reads Larry Beinhart’s novel The Librarian (2004) and its nonfiction companion Fog Facts (2005) as a double attempt at writing that is politically invested in representing reality but that nevertheless is openly aware of the postmodern crisis of representation. In this sense, I read both books as indicative of a broad cultural search for forms of writing that engage their readers’ reality without simply attempting to return to a less complicated moment before postmodernism. The paper situates both books within crucial textual contexts: a broad ‘epistemic panic’ about the facts and reality at the time, a surge of political nonfiction published in response to George W. Bush’s Presidency, and a longer tradition of political fiction. Tracing how the novel struggles with its nonfiction aspects and how the nonfiction book relies on fiction to make its point, I then look at how the two books evoke political affect to have a realist appeal of sorts despite their insistence on the precarious nature of all realist representation. Reading both books as distinctly popular, mass-market products and thus bringing together the debate around post-postmodernism from literary studies with an interest in reading pleasures informed by popular culture studies, I argue that the two books constitute decidedly popular attempts at a new, meta-aware yet politically engaged textuality.

This creative project is a representation of the genre of journalism that delves deeper into the lives of ordinary people. The story contained in this creative project represents a literary journalistic account of a woman's life of abuse and neglect. Narrative techniques such as scenes, digression, characterization, and vivid description are utilized to vividly chronicle a tale that strives to be both entertaining and enlightening.
Department of Journalism

Orientador: Francisco Foot Hardman
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-12T14:46:39Z (GMT). No. of bitstreams: 1 Andretta_CyntiaBelgini_M.pdf: 1551521 bytes, checksum: a16e80737b55b94e2aecb4b771c7a0f5 (MD5) Previous issue date: 2008
Resumo: Este trabalho visa introduzir um estudo da componente literária no chamado jornalismo literário, tomando como ponto de partida a análise de três livros: Hiroshima, de John Hersey, A sangue frio, de Truman Capote, e Olga, de Fernando Morais. A proposta é compreender o porquê da rubrica "literário" que os três livros-reportagens escolhidos possuem - a seleção foi feita por meio de uma pesquisa prévia, que apontava esses livros como marcos no chamado "Novo Jornalismo" (variante do nome jornalismo literário), tanto no cenário internacional quanto nacional; também porque são distintos entre si (fragmentos de histórias, romance narrativo e biografia, respectivamente) e, por isso, apresentaram mais dados como corpus do trabalho. Nesse sentido, lança-se mão dessas três obras, reconhecidas tanto pela crítica quanto pelo mercado editorial, para investigar um provável hibridismo entre os discursos literários e jornalísticos. Para tanto, duas questões são de fundamental importância, a saber, a linguagem e a relação do jornalismo e da literatura com o "real", obrigando a um estudo sobre os conceitos teóricos principalmente de literatura.
Abstract: This work aims at to introduce a study of the literary component in the call literary journalism, taking as starting point the analysis of three books: Hiroshima, of John Hersey, The cold blood, of Truman Capote, and Olga, of Fernando Morais. Proposal is to understand for what of heading "literary" that the three chosen book-news articles possess - the election was made by means of a previous research, that pointed these books as landmarks in the call "New Journalism" (variant of the journalism literary name), as much in how much national the international scene; also because they are distinct between itself (fragments of histories; narrative romance and biography, respectively) e, therefore, given more as corpus of the work. In this direction, we use of these in such a way three workmanships, recognized for the critical one how much for the publishing market, to investigate a probable hibridism between the literary and journalistic speeches. For in such a way, two questions is of basic importance, namely, the language and the relation of the journalism and literature with the "real", compelling to a study on the theoretical concepts in special of literature.
Mestrado
Literatura e Outras Produções Culturais
Mestre em Teoria e História Literária

Orientador: Antonio Alcir Bernárdez Pécora
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-23T02:04:49Z (GMT). No. of bitstreams: 1 Andretta_CyntiaBelgini_D.pdf: 1245591 bytes, checksum: 2d4d1aa7ae43bc5fac7e0f98cf113127 (MD5) Previous issue date: 2013
Resumo: A tese investiga a concepção de "literatura" proposta no âmbito do chamado de New Journalism (Novo Jornalismo). Para tanto, apresenta essa tendência jornalística inventariando e analisando os conceitos sugeridos por ele, suas ideias, seus antecedentes, seus autores, seu histórico e, principalmente, os conceitos de "literário" e "literatura" utilizados por seus escritores. O Novo Jornalismo, grosso modo, foi um fenômeno do jornalismo norte-americano, com auge de 1960 a 1980, que pretendia reunir recursos literários a técnicas jornalísticas para escrever romances de não ficção. O estudo produz uma leitura dos romances de Joseph Mitchell(O segredo de Joe Gould), Gay Talese (A mulher do próximo), Norman Mailer (A luta) e Tom Wolfe (Ficar ou não ficar), expoentes do jornalismo literário norte-americano e obras produzidas em diferentes momentos. No âmbito nacional, investiga algumas manifestações que se assemelham ao jornalismo literário produzido nos Estados Unidos e, por isso, pode ter sido influenciado pelo New Journalism. Até o presente momento, pouca bibliografia existe sobre o tema no Brasil, principalmente no que diz respeito a um estudo dessas obras na área de Teoria Literária
Abstract: The thesis investigates the concept of "literature" under the proposal called New Journalism. It presents this trend journalistic inventorying and analyzing the concepts suggested by him, their ideas, their background, their authors, their history, and especially the concepts of "literary" and "literature" used by its writers. The New Journalism, roughly, was a phenomenon of American journalism, with a peak from 1960 to 1980, which aimed to bring together the resources literary journalistic techniques to write non-fiction novels. The study produces a reading of the novels of Joseph Mitchell (Joe Gould's Secret), Gay Talese (The neighbor's wife), Norman Mailer (The fight) and Tom Wolfe (Hooking up), exponents of American literary journalism and works produced at different times. Nationally, investigates some manifestations that resemble literary journalism produced in the United States and, therefore, may have been influenced by the New Journalism. To date, there is little literature on the subject in Brazil, mainly in relation to a study of these works in the area of Literary Theory
Doutorado
Teoria e Critica Literaria
Doutora em Teoria e História Literária

Emmanuel Carrère a publié son premier roman en 1983, dans une période de renouvellement des écritures romanesques et des récits de soi. Nourrie de culture et de pratique cinématographique mais aussi journalistique, son œuvre est d’abord marquée par l’empreinte d’une fiction débridée, avant de se tourner vers le réel. De l’influence de l’épouvante au fonctionnement des tribunaux d’instance, du choix de personnages troubles aux anecdotes autobiographiques sans complaisance, de l’emprise du bovarysme aux origines du christianisme, du désir de performativité à la fascination russe, ses textes frappent par leur hétérogénéité thématique et générique. Pourtant, une grande cohérence se dégage de la lecture de l’édifice. La succession et l’entremêlement des textes dévoilent de plus la dimension ontologique de l’écriture : fils prodigue, Carrère éprouve – notamment par la confrontation à l’autre – les contours d’une vie « déclose ». Esquisser le portrait d’un romancier contemporain plongé « en eaux troubles », montrer en quoi la dynamique propre de l’œuvre peut devenir paradigmatique de grandes lignes de la littérature française au tournant du XXIe siècle, tel est le projet de cette thèse
Emmanuel Carrère published his first novel in 1983, during a period of renewal for novel writing and self-narratives. Enriched by the author’s cinematic knowledge and practical experience in this field, his work was initially characterized by an unbridled type of fiction, before shifting its focus to real life events. From the influence of the horror genre to the inner workings of a civil court, the choice of ambiguous characters and the use of uncompromising personal anecdotes, the influence of Bovarysm and the origins of Christianity, the attraction to performative writing and the fascination for Russia, his books are strikingly heterogenous, in terms of both topic and genre. However, the cohesiveness of this literary monument soon becomes obvious to the attentive reader. The succession and intertwining of his narratives also unveil the ontological dimension of the writing process : like a prodigal son, Carrère tests the delineation of an “unclosed” existence, in particular through the confrontation with others. This thesis aims to sketch a portrait of a contemporary novelist plunged in “muddy waters” and to show how the dynamic at work in his writing can exemplify key features of French literature at the turn of the 21st century

This doctoral thesis studies the relationship between journalism and literature in contexts in which freedom of speech is at risk. It takes as primary sources a variety of nonfiction, crónicas, literary journalism and testimonial novels published by Latin American authors in Spanish, from the 1950s to the 2000s. I propose the concept ‘documentary narratives’ to refer to all literary modes of discourse which are related, in diverse degrees, to a journalistic representation of reality. My corpus covers a wide range of topics such as social protests, dictatorships, civil wars, natural disaster, crime and migration. While scholars have focused on the rhetoric and history of this kind of narratives, my reading considers the real, face-to-face encounter between the journalist and others. I argue that the representation of these encounters influences the pact with the reader and challenges the notion of truthfulness. I contend that documentary narratives can serve as a tool for the transmission of knowledge and the production of public debate in societies marked by political and social instability. In a world overwhelmed by data production and immersed in violent acts against those to be considered ‘Others’, I argue that storytelling is still an essential form of communication among individuals, classes and cultures. Contrary to the authors’s intentions of documenting others’ lives, I conclude that these stories offer an (interrupted) account of oneself, that is, the account of a contemporary storyteller pursuing a rarely fulfilled desire of getting to know the Other truly. The thesis has two appendices. Appendix 1 showcases archival material that support some of my arguments. Appendix 2 includes the transcripts of the interviews that I conducted with eight Latin American authors: Elena Poniatowska, Leila Guerriero, Cristian Alarcón, Arturo Fontaine, Santiago Roncagliolo, Francisco Goldman, Martín Caparrós, and Juan Villoro.

This study is comprised of two parts: an unauthorised biography of the South African musician David Kramer, as well as a reflective look at the process of writing this biography. In this regard the following aspects were looked at closely: finding an appropriate style, biography versus propaganda, conjecturing, the bilingual nature of the text, problems of research, ethics, influences, make-believe, approach to the subject, intertextuality, and fictionalisation. The central question of the biography is to highlight the success of a fellow Worcester (the author’s hometown) boy. The central research questions of the thesis are the fictionalisation of the nonfiction text, intertextuality, and the question of a text written in both English and Afrikaans. With regard to the aforementioned fictionalisation, a biographical text is classified as “nonfiction”, because it deals with a real person and real events. However, a text such as David Kramer – an unauthorised biography presents an alternative perspective, in that the narrative often moves into fiction, or “creative nonfiction”. Written texts are traditionally divided into two fields: fiction or nonfiction. Nonfiction is deemed to be fact, truth, whereas fiction is the fruit of an author’s imagination. But perhaps the notion of truth versus untruth is too limited, and one should include the words “objectivity” and “subjectivity”. Some texts incorporate both elements, be they newspaper editorials which are mostly opinion, advertisements which are highly subjective, or biographies such as Taraborrelli’s Madonna – An Intimate Biography, which often reads as a novel. This doctoral thesis looks at David Kramer – an unauthorised biography, which is at times “faction”, to illuminate the sections where the text fell somewhere between fiction or nonfiction. In attempting this exercise, intertextuality was useful in two ways. Firstly, to ground the text in a reality the reader could believe, as it brought “real” things to the text, such as song lyrics, photographs, et cetera, all things which brought some credibility to the truth of the text, and secondly to place the events being described in a certain timeframe. The use of English and Afrikaans in the biography was to reflect that Kramer uses both languages in his songs, and furthermore, to give an idea of the South Africa at the time of Kramer’s early success: the divides of English/Afrikaans, white/black, liberal/conservative.
Thesis (PhD)--University of Pretoria, 2011.
Unit for Creative Writing
Unrestricted

This study examines the literary and journalistic shifts occurring in the 1960s to which both the nonfiction novel and New Journalism arose in response. This thesis examines the two defining texts of this genre: Truman Capote's In Cold Blood and Norman Mailer's The Armies of the Night . I argue that the nonfiction novel was a natural extension of both Capote and Mailer's investments in and experiences with journalism and also provide literary analysis of their texts in light of these investments. The thesis establishes the context and scope of the nonfiction novel, not so much as a sub-category of New Journalism, but as a literary form unto itself with its own parameters, goals, and ambitions.

碩士
國立彰化師範大學
翻譯研究所
107
For translators, medical nonfiction novels have always been quite difficult to deal with. First of all, a large number of professional terms are written in medical novels as authors might describe his/her work or treatment experience in detail, using a very large number of terms. Thus, when translating a medical nonfiction novel, translators are required to equip medical science in order to cast light on the story and the message for readers who are not familiar with medical background. Second, medical non-fiction novels are literature rather than textbooks, meaning that there are more stories in the books, and not all of them are factual description. Translators are required to maximize the use of translation strategies to make readers understand, follow and even enjoy the novels. In the current study, The Minds of Billy Milligan, a medical nonfiction novel, were examined to explore the commonly-used translation strategies as proposed by Liu (1999). Besides, the performance of the two translations on The Minds of Billy Milligan were analyzed by the results of a questionnaire designed in the study. The text type theory proposed by Reiss (1971) was used for text classification, while the translations were examined from the perspective of reception theory. Finally, the current study explored to what extent the readers accepted the two Chinese translation of The Minds of Billy Milligan through a questionnaire, and analyzed the performance of translations with the results of the questionnaire. Results showed that the translation strategy most commonly used in translating The Minds of Billy Milligan was cutting as proposed by Liu (1999).

鄺可怡.
論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部, 1998.
參考文獻: leaves 337-384.
中英文提要.
Kuang Keyi.
Chapter 第一章 --- 導論 --- p.1-27
Chapter 第一節 --- 小引
Chapter 第二節 --- 張大春對「新聞小說」、「歷史小說」的論述
Chapter 一、 --- 張大春「新聞小說」、「歷史小說」的硏究範圍
Chapter 二、 --- 張大春「新聞小說」、「歷史小說」和「政治小說」 的關係
Chapter 1. --- 論者對張大春「政治小說」的討論
Chapter 2. --- 張大春對「政治小說」評論的回應
Chapter 三、 --- 張大春對「小說」和「新聞」、「歷史」關係的論述
Chapter 第三節 --- 張大春有關小說敘事形式的討論
Chapter 一、 --- 強調小說敘事形式的實驗
Chapter 二、 --- 小說敘事形式的主張
Chapter 1. --- 展現小說「敘述」本身的價値
Chapter 2. --- 從傳統敘事形式的破壞改變讀者的期待閾
Chapter 第四節 --- 張大春「新聞小說」、「歷史小說」及敘事形式的 評價
Chapter 一、 --- 論者對張大春「新聞小說」、「歷史小說」的評價
Chapter 二、 --- 論者對張大春敘事手法的評價
Chapter 第五節 --- 小結
Chapter 第二章 --- 本文硏究目的和方法 --- p.28-37
Chapter 第一節 --- 本文硏究目的
Chapter 第二節 --- 本文硏究方法
Chapter 一、 --- 從小說的敘事結構探討小說主題
Chapter 二、 --- 「敘事學」以及其他理論的配合運用
Chapter 1. --- 敘事學理論框架的應用
Chapter 2. --- 敘事學的局限以及其他理論的配合運用
Chapter 三、 --- 文献資料的應用
Chapter 第三章 --- 張大春「新聞小說」和「歷史小說」的主題脈絡及 寫作背景 --- p.38-59
Chapter 第一節 --- 「解嚴」前後台灣社會的急劇轉變
Chapter 一、 --- 政治：「解嚴」帶來的急劇變化
Chapter 1. --- 「解嚴」以前的政治氛圍（1986-87)
Chapter 2. --- 「解嚴」初年的政治氛圍（1987-90)
Chapter 二、 --- 社會：權力中心的挑戰
Chapter 1. --- 「解嚴」前後台灣社會的綜合分析
Chapter 2. --- 台灣社會「傳媒」角色的改變
Chapter 第二節 --- 張大春「新聞小說」、「歷史小說」的主題脈絡及對 台灣社會的回應
Chapter 一、 --- 張大春對文學與社會關係的討論
Chapter 1. --- 文學對社會、政治的影響力
Chapter 2. --- 文學面對傳播媒體的發展
Chapter 二、 --- 張大春「新聞小說」、「歷史小說」對台灣社會的 回應
Chapter 1. --- 張大春「新聞小說」、「歷史小說」與社會關係的 討論
Chapter 2. --- 張大春「新聞小說」、「歷史小說」兩大主題脈絡
Chapter (i) --- 宣告一切敘述的虛構性
Chapter (ii) --- 以小說「介入」現實
Chapter 第四章 --- 張大春「新聞小說」、「歷史小說」敘述元素的綜合 比較和分析 --- p.60-77
Chapter 第一節 --- 敘述者
Chapter 第二節 --- 聚焦
Chapter 第三節 --- 敘述層次
Chapter 第四節 --- 敘述時間和敘事時間
Chapter 一、 --- 敘述時間
Chapter 二、 --- 時間序列
Chapter 第五節 --- 小結
Chapter 第五章 --- 〈印巴茲共和國事件錄〉對客觀「呈現」的探討 --- p.78-97
Chapter 第一節 --- 小引
Chapter 第二節 --- 〈印巴茲共和國事件錄 〉 對客觀「呈現」的模式
Chapter 一、 --- 〈印巴茲共和國事件錄〉的「事件敘事」
Chapter 1. --- 敘事信息量增多
Chapter 2. --- 敘事者減低介入程度
Chapter 二、 --- 〈印巴茲共和國事件錄〉的「言語敘事」
Chapter 第三節 --- 敘事學以外其他元素的運用
Chapter 一、 --- 新聞報導形式的借用
Chapter 二、 --- 社會科學的分析架構
Chapter 第四節 --- 〈印巴茲共和國事件錄 〉對客觀「呈現」敘事模式的 反省
Chapter 一、 --- 敘事者道破寫作題旨
Chapter 二、 --- 諧擬「菲律賓政變」的新聞報導
Chapter 第五節 --- 小結
Chapter 第六章 --- 〈 將軍碑 〉 從敘事時間的設計質疑歷史書寫 --- p.98-131
Chapter 第一節 --- 小引
Chapter 第二節 --- 〈將軍碑〉的敘事時間分析
Chapter 一、 --- 序列：時間倒錯的淡化
Chapter 1. --- 小說單元部份的分析
Chapter 2. --- 小說的整體時間分析
Chapter 二、 --- 時距：小說的敘事「快板」
Chapter 1. --- 從敘事學角度的分析
Chapter 2. --- 影響敘事速度的其他小說元素
Chapter (i) --- 張大春所言「人物角色意志的速度感」
Chapter (ii) --- 〈將軍碑〉裡人物角色意志與小說敘述速度的關係
Chapter 三、 --- 頻率
Chapter 第三節 --- 〈將軍碑〉與「魔幻現實主義」小說「似是而非」的 關係
Chapter 第四節 --- 〈將軍碑〉 敘事時間的處理對歷史書寫的質疑
Chapter 一、 --- 〈將軍碑〉對直線發展時間觀念的破壞
Chapter 二、 --- 〈將軍碑〉對因果邏輯的破壞
Chapter 第五節 --- 小結
Chapter 第七章 --- 〈大說謊家〉敘述者以及敘述交流模式的探討 --- p.132-169
Chapter 第一節 --- 小引
Chapter 第二節 --- 《大說謊家》敘述者的基本分析及與「後設小說」的 關係
Chapter 一、 --- 全知敘述者的顛覆
Chapter 二、 --- 顯露敘述者的超越
Chapter 三、 --- 無信無不信的敘述者
Chapter 第三節 --- 《大說謊家》對傳統敘述交流模式的改變
Chapter 一、 --- 《大說謊家》的敘述交流情況
Chapter 二、 --- 《大說謊家》敘述者以外各種干擾的聲音
Chapter 1. --- 指涉現實世界的「本文作者」
Chapter 2. --- 指涉現實世界的「編者」
Chapter 3. --- 指涉現實世界的「本文讀者」
Chapter 第四節 --- 小結
Chapter 第八章 --- 《沒人寫信給上校》的敘述層次分析 --- p.170-199
Chapter 第一節 --- 小引
Chapter 第二節 --- 《沒人寫信給上校》外、內敘述層次分析
Chapter 一、 --- 敘述外層
Chapter 二、 --- 敘述內層
Chapter 第三節 --- 《沒人寫信給上校》的「換層敘述」及對後設小說的 轉化
Chapter 一、 --- 小說中換層敘述的分析
Chapter 二、 --- 小說的換層敘述對後設小說的轉化
Chapter 第四節 --- 小說從「敘述層次」的設計回應新聞事件
Chapter 一、 --- 「正文合倂註釋」的敘述層
Chapter 二、 --- 換層敘述下既超然又局限的敘事者
Chapter 三、 --- 「向心的」換層敘述
Chapter 第五節 --- 小結
Chapter 第九章 --- 《撒謊的信徒》從聚焦設計表現對現實隱價 --- p.200-240
Chapter 第一節 --- 小引
Chapter 第二節 --- 《撒謊的信徒》的聚焦分析
Chapter 一、 --- 敘述者一外聚焦者
Chapter 二、 --- 受聚焦者兼內聚焦者：李政男
Chapter 三、 --- 受聚焦者
Chapter 1. --- 不參與故事發展的受聚焦者
Chapter 2. --- 參與故事發展的受聚焦者
Chapter 第三節 --- 《撒謊的信徒》聚焦方式的設計與評價關係
Chapter 一、 --- 聚焦者觀點之間的落差
Chapter 二、 --- 「人物一受聚焦者」的並置比對
Chapter 1. --- 不參與故事發展的「人物一受聚焦者」
Chapter 2. --- 參與故事發展的「人物一受聚焦者」
Chapter 第四節 --- 小結
Chapter 第十章 --- 總論 --- p.241-255
Chapter 第一節 --- 小引
Chapter 第二節 --- 張大春「新聞小說」和「歷史小說」的評價
Chapter 一、 --- 從「上下求索」到「不假外求」的敘事形式探索
Chapter 二、 --- 小說寫作與閱讀層面的開拓
Chapter 第三節 --- 本文硏究方法的檢討
Chapter 一、 --- 「敘事學」轉化運用的試驗
Chapter 二、 --- 整體硏究方法的回顧
Chapter 第四節 --- 結語
附錄 --- p.256-336
Chapter 一、 --- 本文敘事學理論框架的設定
Chapter 二、 --- 凱南《敘事虛構作品：當代詩學》硏究對象資料整理
Chapter 三、 --- 《大說謊家》第一章新聞元素與《中國時報》 報導比較
Chapter 四、 --- 《沒人寫信給上校》小說人物與現實對應關係
Chapter 五、 --- 《沒人寫信給上校》故事事件時間序列
Chapter 六、 --- 「尹淸楓命案」新聞資料整理
Chapter 七、 --- 《撒謊的信徒》故事人物與現實對應關係
Chapter 八、 --- 小說人物李政男與李登輝比較
《撒謊的信徒》故事事件時間序列
參考書目 --- p.337-384

Hierdie studie ondersoek vrae rondom die aard van literêre niefiksie - ook die vierde genre genoem. Die bestaande drieledige genreklassifikasiesisteem maak nie voldoende voorsiening vir tekste waarin die grense tussen feit en fiksie opgehef word nie. Die toename van sodanige hibriede tekste noodsaak dus ‘n uitbreiding van tradisionele genrekategorieë tot ‘n vierde, naamlik dié van literêre niefiksie. Dié ondersoek poog om vrae rondom literêre niefiksie te beantwoord met verwysing na De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) van David van Reybrouck. Dié teks dokumenteer Van Reybrouck se ondersoek na die bewering dat Maurice Maeterlinck die termietnavorsing van Eugène Marais sonder erkenning oorgeneem het. Tydens sy navorsingsreis maak Van Reybrouck kennis met die verwikkeldhede van ‘n postapartheid Suid-Afrika en verwoord sy reiservaring met behulp van metafore uit die entomologie. Die resultaat is dat De plaag ‘n hibriede karakter vertoon wat versoenbaar is met die kriteria vir literêr-niefiksionele tekste.
This study attempts to explore the nature of literary nonfiction (the fourth genre). The existing tripartite classification system does not make adequate provision for texts where the borders between nonfiction and fiction are transcended. A marked increase in such texts therefore necessitates an expansion of the traditional genre categories to accommodate a fourth, namely that of literary nonfiction. De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) by David van Reybrouck will serve as point of departure to explore the genre of literary nonfiction. The said text documents Van Reybrouck’s investigation into the alleged plagiarism by Maeterlinck of Marais’ research on termites. Van Reybrouck’s travels expose him to the complexities of a post-apartheid South Africa, which he expresses by using metaphors derived from the field of entomology. The result of this process is that De plaag displays a hybrid character which complies with the criteria for literary nonfiction.
Afrikaans and Theory of Literature
M.A. (Afrikaans)

Literary representation of character in South Africa is not just problematic but also complicated by racial dynamics, which easily lead to prejudiced portrayal by most writers. Mphahlele's reaction to White writing's "distortion" of the image of Blacks, in his critical texts resulted in his being labelled a protest writer. Concerning his creative writing, he admits that he initially couldn't portray the character of a white person roundedly due to limited acquaintance with him. What he only knows about him and therefore depicts in his early writings is the White stereotype. His acquaintance with the White world through varied interaction gives a leverage that improves his portrayal of the White character. Consequently his later works reflect objective representation of characters from different races. The study therefore concludes that he falls outside the bracket of protest writers, as his literary works prove to transcend the limitations of stereotypical character representation.
Afrikaans and Theory of Literature
M.A. (Theory of Literature)