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Dissertations / Theses on the topic 'Short Story Cycle'
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Glenn, Samuel Jonathon. "Modern Love and Other Stories with an Introduction to the Genre and Scholarship Including a Survey of the Text." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398945327.
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Edwards, Robert. "Mythology, ideology and the contemporary American short story cycle." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/55957/.
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The present study proposes that there is an intrinsic relationship between the contemporary American short story cycle and the myth and ideology of the United States. I argue that the contemporary form of the story cycle has become the genre of choice for certain authors whose work explicitly challenges the dominant ideological discourses of Euroamerica and its underpinning mythologies. The five authors and the texts I discuss are Tim O’Brien and The Things They Carried, Julia Alvarez and How The Garcia Girls Lost Their Accents, Gerald Vizenor and Landfill Meditation, Sherman Alexie and Ten Little Indians, and Thomas King and Green Grass, Running Water. In the thesis I address the interrelationship between ideology and mythology and this is the foundation for my examination of the way that these five disparate writers each uses the story cycle in his or her own distinctive way to challenge a dominant ideology and the mythology that underpins it.
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Hildebrand, Cassidy T. R. "Translation and Analysis of Suzanne Myre’s Short Story Collection Mises à mort: A Case Study in Translating the Short Story Cycle." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24019.
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In translation studies, the short story cycle has been largely overlooked as an object of study in prose translation. This thesis serves as a case study on the practice of translating the short story cycle, using my translation of Suzanne Myre’s 2007 short story collection Mises à mort as a paradigm.
The thesis comprises four sections: the first is devoted to a discussion of the short story cycle, a modernist form of the short story collection. It is a hybrid subgenre, balancing elements of both the traditional short story collection, characterized by heterogeneity, and the novel, characterized by homogeneity. In this first section, I examine a few definitions of the cycle, then I discuss the subgenre according to a four-part criteria established by Gerald Lynch: ‘character,’ ‘place,’ ‘theme’ and ‘style or tone.’ In the second section, I provide an analysis of Mises à mort within the framework of short story cycle criteria; an examination of the characters, setting, overarching themes and stylistic parallels serves to demonstrate how and why I ultimately interpreted the collection as a short story cycle. The third section is my complete translation of the work. In the fourth and final section, I discuss what implications my interpretation of Mises à mort as a cycle had for my translation thereof, and what unique challenges it presented. I compare my first draft, produced in the mindset that I was translating a traditional collection, to my final draft, revised to accommodate the cohesiveness of the work. This thesis serves to demonstrate how a translator can accommodate for the dual nature of the short story cycle, simultaneously maintaining the discreteness and interconnectedness of the stories.
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Lister, Rachel. "Open destinies : modern American women and the short story cycle." Thesis, Durham University, 2005. http://etheses.dur.ac.uk/1280/.
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This thesis examines the juncture between the short story cycle form and gender politics. It explores how twentieth-century women from the United States have been using the form to represent and question gender identity. The introduction outlines commentaries on the story cycle and considers definitions of the form. It includes case studies of earlier twentieth-century cycles by American women: cycles such as Mary McCarthy's The Company She Keeps that have been passed over by critics of the form. Chapter One presents Eudora Welty's The Golden Apples as a cycle paradigm, examining conventions such as the form's metafictional dimension and its preoccupation with communal identity. Chapter Two argues that Grace Paley's scattered Faith narratives set a standard for more dispersed versions of the form. Chapter Three considers how Joyce Carol Oates uses the sequential cycle to represent gender identity as a social construct. Chapters Four and Five examine the macrocosmic cycles of Gloria Naylor and Louise Erdrich and consider changes in their form and gender politics. The final `composite' chapters explore postmodern versions of the form such as Susan Minot's Monkeys. The prose works of Sandra Cisneros stretch across the story cycle continuum, whilst Toni Morrison's Paradise is universally regarded as a novel. Readings of contemporary cycles by Melissa Bank, Elissa Schappell and Emily Carter demonstrate that American women are re-invigorating the form to facilitate the plural identity of the postmodern heroine.
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Kadmos, Helena. "Riding waves: Representing women's relational autonomy in the short story cycle." Thesis, Kadmos, Helena ORCID: 0000-0002-7834-1695 (2015) Riding waves: Representing women's relational autonomy in the short story cycle. PhD thesis, Murdoch University, 2015. https://researchrepository.murdoch.edu.au/id/eprint/27336/.
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The short story cycle is a collection of independent yet interrelated stories. This thesis is interested in the potential of the short story cycle form to tell stories about women’s ordinary lives and, within such stories, to explore the importance to women of continuing relationships of interdependence and care. This discussion is grounded in feminist critical discourses of relational autonomy.
It rests on the claim that the short story cycle is a particularly productive form for writers interested in stories exploring the complexity of apparently mundane moments in women’s relational lives and imagining how particular relationships transform women over the longer course of their lives.
The thesis is the product of a practice- and theory-based approach to research. The first part comprises an original work of fiction, which tells five, interconnected stories about individual women from three generations of one family in Australia, spanning the period between the 1980s and the 2010s. The stories focus on moments that linger, where action is limited, and where change is often nuanced or even imperceptible. The work consciously draws on structural and thematic elements of the short story cycle form uncovered through research into short story cycle theory and existing cycles written about women.
The dissertation comprising the second part of the thesis reflects on the distinguishing features of the short story cycle, its diverse rendering in North America, and its critical treatment by key theorists, highlighting how this mode of storytelling helps make salient women’s relational lives. This thesis also aims to increase awareness of the form in Australian literary scholarship. Therefore, the dissertation offers a close reading of one contemporary Australian short story cycle, Purple Threads, by Jeanine Leane, in order to demonstrate the imaginative significance and effects produced in an Aboriginal inflection of the form.
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Feltner, Jamie. "Dead to You." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1303991023.
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Iredell, James S. "Our Lady of Refuge." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/42.
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This story cycle focuses on the members of the Ordoñez family of Castroville, California from the time of the first generation’s migration from Mexico in the 1950s to the most recent generation who moves out of the town in the 2000s. “The Ordoñez Pride” shows the entire family as they experience a miracle. Cecilia, the matriarch, receives a belated wedding ring that bursts into flame that doesn’t burn her, but everything else it comes into contact with. The flame also magically sparks hers and her husband’s sex life into overdrive and, late in life, they produce three more children, for a total of nine. Following this framing story, we see snapshots of all the other family members at life-changing moments. In “After the Revolution” we see Ray Ordoñez , the family patriarch, grow from a boy into a man, as he defends his sister from what he perceives to be the American ranch owner practicing the right to first night—a custom that was still practiced in rural Mexico in the twentieth century. Eventually, Ray migrates to California and begins his family, becomes assimilated into American culture, and reluctantly welcomes an American boy—his oldest daughter’s boyfriend—into his household.
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Ciuoffo, Valentina <1993>. "Lost and Found: translation into English and comment of Leila Aghakhani Chianeh's debut short story cycle." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14528.
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Airports are the most exemplary site of amalgamation of different languages, often all united and underscored by the usage of English as a lingua franca. Leila Aghakhani Chianeh’s book, Lost and Found, is inevitably international in scope, as it is set at the Lost and Found counter of the airport of Venice, where the stories of her many characters all intertwine. Drawing from an interest towards the English language that is already present in the original Italian book, I was inspired to translate and this book into English. In a certain sense, my work would be more than a translation: a re-translation, for the most part, since many of the conversations from which the events in the book draw inspiration probably happened in the lingua franca and were later transcribed by the author in Italian. Moreover, most chapter titles are internationally understandable, being either written in English or representing toponyms. My work will not just entail translating the book into English, though: it will also include an analysis of the background of the text and the context that has created it and a comment on a few of the stories which appear to be particularly relevant to the aspect of translation.
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Gay, Wayne Lee. "Jeans, Boots, and Starry Skies: Tales of a Gay Country-and-Western Bar and Places Nearby." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28422/.
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Fourteen short stories, with five interspersed vignettes, describe the lives of gay people in the southwestern United States, centered around a fictional gay country-and-western bar in Dallas and a small town in Oklahoma. Various characters, themes, and trajectories recur in the manner of a short story cycle, as explained in the prefatory Critical Analysis, which focuses on exemplary works of James Joyce, Ernest Hemingway, William Faulkner, Shirley Jackson, Italo Calvino, Yevgeny Kharitonov, and Louise Erdrich.
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Rahimli, Rana <1996>. "The expression of the family conflicts in the short story cycle Too Far to Go by John Updike." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17435.
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John Updike belongs to the post-war generation of contemporary American writers, whose work was largely determined by the philosophical direction and the aesthetic level of the contemporary literary process in the United States. The work of John Updike was addressed by such researchers as R. Dottweiler, E. and K. Hamilton, J. W. Hunt, L. Taylor, D. Greiner and many others. The theoretical significance of the dissertation is due to the need to study the problems of literary cyclization in its relations with such categories as world recognition and the style of the writer. The works of American literary scholars devoted to the study of genre studies of American short stories and problems of the literary cycle will be introduced into the thesis. The object of research of the thesis are short novels by John Updike in the 50-70s which together form Too Far to Go. The subject of the study is the theme of the family and its embodiment in the novelistic cycle of John Updike in the same cycle. The purpose of the dissertation is to study the features of John Updike's short stories on the material of the Too Far to Go, following the development of the theme of family, marriage, relations between men and women and its solutions.
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Kealey, Josephene. "The Mythology of the Small Community in Eight American and Canadian Short Story Cycles." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19938.
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Scholarship has firmly established that the short story cycle is well-suited to representations of community. This study considers eight North American examples of the genre: four by Canadian authors Stephen Leacock, Duncan Campbell Scott, George Elliott, and Alice Munro; and four by American authors Sarah Orne Jewett, Sherwood Anderson, John Cheever, and Joyce Carol Oates. My original idea was to discover whether there were significant differences between the Canadian and American cycles, but ultimately I became far more interested in the way that all of the cycles address community formation and disintegration. The focus of each cycle is a small community, whether a small town, a village, or a suburb. In all of the examples, the authors address the small community as the focus of anxiety, concern, criticism, and praise, with special attention to the way in which, despite its manifold failings, the small community continues to inspire longings for the ideal home and source of identity.
The narrative feature that ultimately provided the critical framework for the study is the recurring presence of the metropolis in all of the eight cycles. The city, set on the horizons of these small communities, consistently provides a backdrop against which author and characters seem to measure and understand their lives. Always an influence (whether for good or bad), the city’s presence is constructed as the other against which the small community’s identity is formulated and understood. The relationship between small community and city led me to an investigation into the mythology of the small community, a mythology that sets the small community in opposition to the city, portraying the former as the keeper of virtue and the latter as the disseminator of vice. The cycles themselves, as I increasingly discovered, challenge the mythology by identifying how the small community depends, in large part, on the city for self-understanding. The small community, however, as an idea, and a mythic ideal, is never dismissed as obsolete or irrelevant.
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Whalan, Mark. "Sherwood Anderson and Jean Toomer : gender, racial discourse and the development of the short story cycle in American modernism." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391833.
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Grant, Bernard. "All Hours." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1617105424447492.
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Ramos, Luis Osvaldo. "Tiny Cuba." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1482.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
English
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Slye, Matthew Scott. "Hobo Noah." University of Dayton / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1493072917284069.
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Billingham, Craig. "The Method Writer." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20474.
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This thesis has two components: an exegesis and a creative work. The purpose of Part A: Introduction is to render more transparent the process by which I arrived at the form, genre, and theme of the creative component, and to establish the ground for Parts C and D. It is a framing device, rather than a strictly hermeneutical text. The creative component is Part B: The Method Writer. It is a short story cycle of approximately 45,000 words. In Part C: Scenes from the Middle Distance — On J.M. Coetzee’s Autré-fictions, I discuss notions of writing, truth, and autobiography as they pertain to the writings of J.M. Coetzee. I make reference to Coetzee’s non-fiction and to his trilogy of autré-biographies, Scenes from Provincial Life, and in particular to the third instalment, Summertime. I also discuss Coetzee’s Three Stories (‘A House in Spain’, ‘He and His Man’, ‘Nietverloren’) and several of his novels (In the Heart of the Country, Slow Man, The Childhood of Jesus, and, The Schooldays of Jesus). In Autofiction as Auto-da-fé I move from Coetzee’s notion of auto/autré-biography to autofiction. I read autofiction as a mode of literary confession that interrogates the author/narrator position, and the novel as a literary form. It does so, I suggest, by drawing attention to the shifting degrees of fictionality deployed in a nominally fictional, or imaginative, text. I illustrate my argument with reference to contemporary works of English language literary autofiction: Luke Carman’s An Elegant Young Man, Ben Lerner’s 10:04, and Rachel Cusk’s Outline and Transit.
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AlAjmi, Alanoud Badah. "Uncharted Waters." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1311263424.
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Garza, Kimberly Rose. "The Last Karankawas: Stories." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505288/.
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Garza, Kimberly Rose. ""The Last Karankawas": Stories." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc1505288/.
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Licata, Chiara. "Il ciclo di racconti Nord-Americano : serialità e variazioni nell'opera di Alice Munro." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20014.
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Ma recherche vise à étudier la nouvelle anglo-américaine par rapport à une forme à laquelle elle est inextricablement liée, le cycle de nouvelles, qui, à mi-chemin entre histoire et roman, est érigé en une série d'histoires interconnectées et qui présente certains éléments récurrents (personnages, lieu, thèmes). La réflexion sur le cycle de nouvelles, considéré comme un genre en tant que tel, donnera la priorité à l’analyse de l’oeuvre d’Alice Munro placée dans une perspective comparative, en relation et en continuité, non seulement avec le travail d’écrivains canadiens "maîtres" du genre, mais aussi avec la tradition du cycle de nouvelles américaineMy research aims at studying the Nord-American short story in relation to a form to which it is inextricably linked, the short story cycle, which, halfway between history and novel, is set as a series of interconnected stories presenting some recurring elements (characters, place, themes). The reflection on the short story cycle will give priority to the analysis of Alice Munro's work placed in a comparative perspective, in relation and continuity, not only with the work of 'Canadian writers' masters' of the genre, but also with the tradition of the American short story cycle
Il presente lavoro si propone di analizzare la forma narrativa del ciclo di racconti, mettendone in luce le caratteristiche in relazione all’opera di Alice Munro. Il corpus narrativo di Munro, formato da quattordici raccolte in un arco temporale che copre più di quarant’anni (la prima raccolta, Dance of the Happy Shades esce ne 1968 e l’ultima, Dear Life nel 2012), ben si presta a questo tipo di studio. Nell’ arco della sua prolifica opera Munro ha esplorato le potenzialità della forma breve, rimodulando progressivamente i confini fra i generi, scomponendone le prospettive e gli esiti possibili ora nella direzione della novella modernista (cara a scrittrici come Katherine Mansfield ed Eudora Welty), ora nella creazione di cicli di storie o di serie di racconti interconnessi, destrutturando o risemantizzando la nozione di brevità e di genere letterario. Il lavoro, che si presenta come un case study, si propone un duplice obiettivo: quello di estendere la nozione di ciclo di racconti e di includerla in quella di “politesto” , (ossia quella categoria critica che concepisce l’opera letteraria, la raccolta di racconti ad esempio, come processo aggregativo mettendo in luce tutti quei legami intertestuali e intratestuali che i singoli testi intrattengono fra di loro) e quello di applicare questa categoria all’opera di Alice Munro, ovvero studiare, con gli strumenti della teoria della letteratura e della comparatistica, i rapporti tra i racconti, nella loro natura intra ed intertestuale, e tra le raccolte stesse analizzate sulla base della loro natura politestuale
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Licata, Chiara. "Il ciclo di racconti Nord-Americano : serialità e variazioni nell'opera di Alice Munro." Electronic Thesis or Diss., Toulouse 2, 2019. http://www.theses.fr/2019TOU20014.
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Ma recherche vise à étudier la nouvelle anglo-américaine par rapport à une forme à laquelle elle est inextricablement liée, le cycle de nouvelles, qui, à mi-chemin entre histoire et roman, est érigé en une série d'histoires interconnectées et qui présente certains éléments récurrents (personnages, lieu, thèmes). La réflexion sur le cycle de nouvelles, considéré comme un genre en tant que tel, donnera la priorité à l’analyse de l’oeuvre d’Alice Munro placée dans une perspective comparative, en relation et en continuité, non seulement avec le travail d’écrivains canadiens "maîtres" du genre, mais aussi avec la tradition du cycle de nouvelles américaineMy research aims at studying the Nord-American short story in relation to a form to which it is inextricably linked, the short story cycle, which, halfway between history and novel, is set as a series of interconnected stories presenting some recurring elements (characters, place, themes). The reflection on the short story cycle will give priority to the analysis of Alice Munro's work placed in a comparative perspective, in relation and continuity, not only with the work of 'Canadian writers' masters' of the genre, but also with the tradition of the American short story cycle
Il presente lavoro si propone di analizzare la forma narrativa del ciclo di racconti, mettendone in luce le caratteristiche in relazione all’opera di Alice Munro. Il corpus narrativo di Munro, formato da quattordici raccolte in un arco temporale che copre più di quarant’anni (la prima raccolta, Dance of the Happy Shades esce ne 1968 e l’ultima, Dear Life nel 2012), ben si presta a questo tipo di studio. Nell’ arco della sua prolifica opera Munro ha esplorato le potenzialità della forma breve, rimodulando progressivamente i confini fra i generi, scomponendone le prospettive e gli esiti possibili ora nella direzione della novella modernista (cara a scrittrici come Katherine Mansfield ed Eudora Welty), ora nella creazione di cicli di storie o di serie di racconti interconnessi, destrutturando o risemantizzando la nozione di brevità e di genere letterario. Il lavoro, che si presenta come un case study, si propone un duplice obiettivo: quello di estendere la nozione di ciclo di racconti e di includerla in quella di “politesto” , (ossia quella categoria critica che concepisce l’opera letteraria, la raccolta di racconti ad esempio, come processo aggregativo mettendo in luce tutti quei legami intertestuali e intratestuali che i singoli testi intrattengono fra di loro) e quello di applicare questa categoria all’opera di Alice Munro, ovvero studiare, con gli strumenti della teoria della letteratura e della comparatistica, i rapporti tra i racconti, nella loro natura intra ed intertestuale, e tra le raccolte stesse analizzate sulla base della loro natura politestuale
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Gomes, Jenna M. "The Things He Left Behind." University of Dayton / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1525359214648996.
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Westney, Emma Gaze. "Arabic literary modernism : the short story cycles and the episodic novels of Imil Nabibi and Idwar al-Kharrat." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368130.
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Mazánová, Veronika. "Short Crack Growth in Materials for High Temperature Applications." Doctoral thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2019. http://www.nusl.cz/ntk/nusl-409084.
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Pokročilá vysoce legovaná austenitická nerezová ocel Sanicro 25 s Fe-Ni-Cr matricí byla studována za podmínek nízkocyklové únavy za pokojové a vysoké teploty 700 °C. Široká škála moderních experimentálních technik byla použita ke studiu vzájemně souvisejících efektů chemického složení slitiny, mikrostrukturních změn a deformačních mechanismů, které určují odolnost materiálu vůči poškození. Hlavní úsilí bylo zaměřeno na studium iniciace únavových trhlin a růstu krátkých trhlin, tedy dvě stádia, která hrají zásadní roli ve výsledné celkové délce únavového života materiálu v provozu. • Vnitřní deformační mechanismy byly korelovány s vývojem povrchového reliéfu, který je pozorován ve formě persistentních skluzových stop na povrchu. Bylo zjištěno, že vysoce planární charakter dislokačního skluzu způsobuje vysokou lokalizaci cyklické plastické deformace do persistentních skluzových pásů, což v důsledku vede k nukleaci “Stage I” trhlin, která je spojena s přítomností persistentních skluzových stop na povrchu ve všech studovaných vzorcích. Bylo zjištěno, že praskání dvojčatových hraníc je taktéž spojeno s přítomností persistentních skluzových stop podél povrchové stopy dvojčatové roviny. • Interkrystalická iniciace únavové trhliny byla pozorována pouze zřídka, a to za podmínek zatěžování amplitudami vysoké deformace. Bylo zjištěno že interkrystalická iniciace je spojena s přítomností persistentních skluzových stop na hranicích zrn. Hranice zrn praskají za podmínek externího tahového zatížení zejména z důvodu vysokého počtu nekompatibilit na hranicích zrn, které jsou způsobené tvarem persistentních skluzových stop. • Mechanismy růstu přirozených krátkých trhlin byly studovány na vzorcích vystavených nízkocyklove únava s nízkou i vysokou deformací. Role mikrostruktury byla analyzována pomocí experimentálních technik a diskutována. • Rychlosti šíření nejdelších trhlin byly měřeny na vzorcích s mělkým vrubem. Výsledky byly analyzovány použitím přístupů lomové mechaniky založených na amplitudě KI a J-integrálu stejně jako na amplitudě plastické deformace. Všechny přístupy byly diskutovány v souvislosti s Mansonovými-Coffinovými křivkami únavové životnosti. Jednoduchý mocninový zákon růstu krátkých trhlin založený na amplitudě plastické deformace ukazuje velice dobrou korelaci se zákonem únavové životnosti. • Byla studována role oxidace v podmínkách cyklického zatěžování za vysokých teplot. Bylo zjištěno, že křehké praskání zoxidovaných hranic zrn hraje hlavní roli v počátečních stádiích nukleace trhlin. Později po iniciaci se dráha růstu trhliny mění preferenčně na transkrystalickou. Dráha šíření trhlin je velmi podobná dráze zjištěné při cyklování za pokojové teploty.
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Atherfold, Joanna. "Watermark: a short story cycle." Thesis, 2015. http://hdl.handle.net/1959.13/1309822.
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Research Doctorate - Doctor of Philosophy (PhD)Watermark is a short story cycle exploring intergenerational and personal relationships in coastal communities. The stories observe the complexity of characters drawn together, but also separated, by family, topography and circumstance. Written to reflect experiences from the 1960s through to present times, the stories reveal individuals responding to the uncertainty and disorder of life-changing events and unexpected revelations. Located in a quintessentially Australian landscape, the characters transgress physical and metaphorical boundaries and experience pivotal moments of transformation, even if – and, as it will be argued, because – those times are fleeting or unsustainable. The stories oscillate between their autonomous status and their interconnection within the broader narrative framework of the short story cycle. This structural aesthetic enables continuity through recurring characters, settings and themes. Paradoxically, these elements combine to reflect fractured relationships and unstable characters against a backdrop that is constantly changing. The exegesis draws on the notion of liminality to explore the generic and thematic concerns that emerged during the composition of the stories, particularly in relation to the oppositions and paradoxes evinced above. It looks at the complexities and challenges of the short story cycle with close reference to three short story cycles with coastal settings – The Bodysurfers by Robert Drewe, The Turning by Tim Winton and Having Cried Wolf by Gretchen Shirm. These texts reveal that Australian short story writers regard the coastline as more than simply a setting; it is a place of transition and a viable site to explore character development and transformation.
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Cullen, Patrick. "What came between: short story cycle and critical exegesis." Thesis, 2013. http://hdl.handle.net/1959.13/1040214.
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Research Doctorate - Doctor of Philosophy (PhD)This thesis includes a creative component, What Came Between, and an accompanying critical exegesis. What Came Between is a collection of twelve realist short stories about residents of adjoining terraces in inner-city Newcastle. The collection opens on the 28th of December 1989, the day of the Newcastle Earthquake, and ends a decade later on New Year’s Eve as the BHP steelworks closes and the city’s history of steelmaking comes to an end. This kind of collection, which gains unity from its consistent setting and recurring characters, belongs to the short story cycle genre. The exegesis discusses the two contexts most relevant to What Came Between, that is the realist mode and the short story cycle genre, and notes the relative influences of Raymond Carver and Tim Winton in both instances.
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Knight, Martin Eddy. "On The Edge." Thesis, 2017. http://hdl.handle.net/2440/120269.
Full textAbstract:
Vol. 1 On the edge: Major work -- Vol. 2 On the edge: ExegesisMy creative work is a cycle of thirteen short stories entitled On the Edge. Each story is located in what might be described as Greater Port Adelaide. This is an area which stretches from Alberton and West Lakes northward through the historical port adjacent to the Port River and its Inner Harbour, and thence along the Le Fevre Peninsula from Birkenhead and Semaphore to North Haven and the Outer Harbour. Apart from a number of mansions and holiday homes built close to the beach by wealthy Adelaide businessmen around the turn of the 20th century the area has predominantly been occupied by members of the working class. By working class I mean that group of individuals normally regarded as wage labourers and their families, although under modern economic conditions many of its members are unemployed. Most employment in the area has traditionally been linked to shipping, the wharfs and numerous related maritime trades. Containerisation and other technical innovations drastically reduced the need for labour on the docks, just as globalisation has curtailed opportunities for local employment in manufacturing. It is the results of such shifts that my work seeks to illustrate by creating a montage of differing experiences for residents of the area. To emphasise the cyclical nature of the work I have started with the alienation of a school-leaver frustrated by his lack of opportunity and ended with the death of a seaman, a hang-over from the days of a more cohesive and politically committed society. There are also a number of characters who reappear or are at least mentioned in more than one story. As I was unaware of the existence of such a genre as a ‘cycle’ of short stories I have used my exegesis to undertake a brief enquiry into its history, concentrating on my proposition that such a genre is particularly suited to the exposition of social criticism. To this end I have traced its development from the ancient epic cycles, through the collections of the middle ages, to the final establishment of the cycle as a genre in its own right at the beginning of the 20th century. Subsequently I have concentrated on the works of two Australian authors, Frank Hardy and John Morrison, as I believe that each created a work that should be considered as a ‘cycle’ rather than as a ‘collection’ of short stories. It was reading Morrison’s Stories of the Waterfront that inspired me to write On the Edge. The exegesis begins with a short consideration of the differing modes of ‘realistic’ writing as this is the area I consider myself to be operating in. Indeed, in an era coming to be described as one of ‘post-truth’, I consider realism to be the method incumbent for a socially committed writer to utilise. The final chapter of my exegesis is concerned with those writers whom I feel have had a major influence on my own practice.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2017
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Zacks, Aaron Shanohn. "Publishing short stories : British modernist fiction and the literary marketplace." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-08-6327.
Full textAbstract:
The short story was the most profitable literary form for most fiction-writers of
the late-nineteenth and early-twentieth centuries because it was quick to write, relative to
novels, marketable to a wide variety of periodicals, and able to be re-sold, in groups, for
book collections. While the majority of writers composed short fiction within
conventional modes and genres and published collections rarely exhibiting more than a
superficial coherence of setting or character, modernist authors found in the form’s
brevity helpful restrictions on their stylistic and narrative experiments, and, in the short
story collection, an opportunity to create book-length works exhibiting new, modern
kinds of coherence.
This dissertation examines four modernists' experiences writing short stories and
publishing them in periodicals and books: Henry James in The Yellow Book and
Terminations (Heinemann, 1895); Joseph Conrad in Blackwood’s Edinburgh Magazine
and Youth: A Narrative; and Two Other Stories (Blackwood, 1902); James Joyce in The
Irish Homestead and Dubliners (Grant Richards, 1914); and Virginia Woolf in Monday or
Tuesday (Hogarth, 1921). For these writers, the production of short fiction within the
literary marketplace had definite and important consequences on their texts as well as the
formation of their mature authorial identities. (With the exception of James, I focus on
the early, most impressionable periods of the writers’ careers.) In bucking the commercial
trend of miscellaneous collections, the unified book of stories came to represent, for such
artists, something of a bibliographic rebellion, which, because of its inherent formal
fragmentation, proved a compelling and fruitful site for their exploration of modernist
themes and styles.
The conclusion explores some of the consequences of these experiences on the
writers’ subsequent, longer texts—Lord Jim, Ulysses, and Jacob's Room—arguing that
such so-called “novels” can be understood better if studied within the literary and
professional contexts created by their authors’ engagements with the short story. The
same is true of the “short story cycle,” “sequence,” and “composite,” as strongly-coherent
books of stories have been termed variously by scholars. This dissertation, particularly its
introduction, sets out to provide historical, material background for scholarship on this
too-long neglected literary genre.text
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ZHANG, XUE-MEI, and 張學美. "Short story cycle as a genre:a comparative study of tales of Taipei characters and Dubliners." Thesis, 1987. http://ndltd.ncl.edu.tw/handle/49501060197657828850.
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Vallières, Catherine. "Dispositifs du recueil et composition d’un univers narratif dans La Manufacture de machines de Louis-Philippe Hébert, suivi de Tyché." Thèse, 2017. http://hdl.handle.net/1866/19358.
Full textAbstract:
Mémoire en recherche-créationCe mémoire de maîtrise en recherche-création examine la façon dont la forme du recueil de nouvelles permet la construction d’univers narratifs riches et originaux, particulièrement dans le domaine de la science-fiction. L’axe central de la réflexion concerne les effets unificateurs que peuvent avoir les dispositifs de mise en recueil de récits dont la matière et la manière sont pourtant diversifiées. L’essai se penche sur La Manufacture de machines, recueil écrit par Louis-Philippe Hébert en 1976, et apparemment peu homogène, mais dont l’examen révèle la présence d’une mécanique textuelle qui tout à la fois segmente et unifie la matière narrative. Tyché, le texte de création, consiste en un ensemble de six nouvelles racontant les bouleversements qui suivent l’arrivée d’une planète sur l’orbite de la Terre. Malgré des tonalités, des espaces et des temps différents, le recueil trouve sa cohérence dans la présence de Tyché, à laquelle est liée – directement ou indirectement – certains aspects de l’existence des protagonistes.
This master’s thesis in research and creation examines the way shorts stories cycles allow to elaborate rich and original fictional universes, specifically in science-fiction. The central theme of the reflection concerns the unifying effects that can be found in a collection of short stories despite its diversified narrative content. The first part of this thesis, the essay, analyzes La Manufacture de machines, a short stories collection written by Louis-Philippe Hébert in 1976, which, at first sight, does not seem homogeneous. However, a closer examination reveals the presence of textual mechanisms that simultaneously segment and unify the content of the narrative. Tyché is a set of six short stories about the shifts caused by the arrival of a planet in Earth’s orbit. In spite of different tones, spaces and times, the collection finds its coherence through the presence of Tyché, to which is linked – directly or indirectly – specific aspects of the protagonists’ existence.
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Hayter, Christopher Alexander Dr. "We Are Everyone You Know." 2017. http://scholarworks.gsu.edu/english_diss/173.
Full textAbstract:
The dissertation for my PhD is a composite novel called We Are Everyone You Know. The novel is set in a small town that is neither rural nor suburban, which, like the characters, defies classification. The cast rotates. Main characters become supporting characters in subsequent chapters and vice versa. I employ this strategy so the reader is able to see each character as an individual, that even those who seem to be in the background are living complex lives. The novel explores such themes as poverty, gentrification, the loss of innocence caused by a corrupt world, and the inability of people to realize their identities when the promises of youth turn out to be lies. Each chapter or story is told from either a different point of view or in a different style or genre. While the novel as a whole is grounded around a family and group of friends in a small town, the pieces of the story range in form from simple realism, to modernism, to post-modernism, to surrealism, to meta-fiction. I experiment with genres ranging from crime drama, to disaster survival, to sports comedy, to kung-fu epic, and more. Interspersed between the genre pieces are realist stories of a new lost generation—thirty-somethings who are stuck in permanent adolescence, who work at soul-crushing jobs, and who find neither the shining future that was promised to them in their youth nor the comfortable mediocrity of their parents’ lives. For this project I have been particularly inspired by the works of Louise Erdrich, James Joyce, and Jennifer Egan.
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Igrejas, António M. A. "Os Grão-Capitães Como Sequência De Contos: Paratextualidade, Imagética E Os Contornos De Um Género Literário." 2012. https://scholarworks.umass.edu/open_access_dissertations/622.
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O facto deOs Grão-Capitães: uma sequência de contosde Jorge de Sena pertencerem a um género literário ainda pouco estudado motivou-nos a investigar os elementos que fazem desta coletânea uma sequência de contos. O livro de Sena é, que saibamos, o único em língua portuguesa intitulado como "sequência de contos" pelo seu autor. Com efeito, ambicionamos discutir os pressupostos teóricos do género em questão, como também analisar a matriz estrutural e temática que faz deste volume uma coletânea integrada. O livro de Jorge de Sena utiliza vários elementos estéticos que permitem a sua conceptualização como coletânea de contos integrada. Neste âmbito, estudamos o livro de Sena como paradigma do género sequência de contos e analisamos os elementos de paratextualidade com a imagética carceral e de desolação da sociedade do Estado Novo, que integram os diferentes, contudo interligados, contos num todo orgânico. Deste modo, estudamos como os nove contos que compõem o livro exploram enredos que se complementam e dão à coletânea uma integridade narrativa que só o género "sequência de contos" permite.