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Valle, Ana Luiza Rocha do. "Literatura e Museu: estudo dos museus literários Casa Guilherme de Almeida (SP) e Museu Casa Guimarães Rosa (MG)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-07112016-123416/.
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Este trabalho apresenta alguns dos desafios e possibilidades em torno da musealização da literatura, dando ênfase à via expositiva. Buscamos referências nas discussões nacionais e internacionais sobre o tema, além de uma pesquisa de campo que compreendeu instituições brasileiras, húngaras, francesas, georgiana e sueca. Além do debate teórico em si, traçamos históricos breves de duas organizações: o Comitê Internacional de Museus Literários e Casas de Compositores do Conselho Internacional de Museus, e a Federação Nacional das Casas de Escritores e Patrimônios Literários da França. Dentre as problemáticas abordadas, tratamos das formações de identidades nacionais e da necessidade de que museus - literários ou não - lidem com os conflitos. Com base nesses parâmetros e por meio do estudo da Casa Guilherme de Almeida (SP) e do Museu Casa Guimarães Rosa (MG), discutimos estratégias expográficas e questões curatoriais ligadas à literatura. A ênfase recaiu sobre as exposições de longa duração vigentes nos dois museus: uma sem título, de 2010, no museu paulistano e Rosa dos Tempos, Rosa dos Ventos, de 2012, no mineiro. Ademais, foram estudados os históricos dessas duas instituições, para que pudéssemos compreender a relação delas com o universo literário e com a concepção de museu - nem sempre presente ou mesmo bem aceita nas casas de escritores. A premissa estabelecida para análise dos dados à luz da discussão bibliográfica foi a de que tanto museus quanto literaturas possuem uma função social. Ela se compõe, entre outros elementos de um potencial humanizador ou transformador. Para fundamentar esse conceito, trouxemos as ideias de Mário Chagas, Marília Cury, Mirela Araújo, Waldisa Rússio, Antoine Compagnon, Antônio Cândido e Tzvetan Todorov. Compreendemos que, apesar das posições antagônicas normalmente atribuídas aos dois últimos, há pontos de convergência importantes em ambos os trabalhos no que tange ao potencial humanizador da literatura.<br>This research presents some of the challenges and possibilities concerning the musealization of literature, emphasizing the exhibitional path. We searched for references in the national and international discussions on the theme, besides a research field which included brazilian, hungarian, french, georgian and sweedish institutions. In addition to the bibliographic debate itself, we briefly present the histories of two organizations: the International Comittee for Literary Museums and Composer Houses of ICOM and the National Federation of Writers Houses and Literary Heritage of France. Among the discussed issues, we approached the building of national identities and also the fact that museums - literary or not - should deal with conflicts. Based on these parameters and through the study of House Guilherme de Almeida (SP) and House Museum Guimarães Rosa (MG), we discussed expographic strategies and curatorial issues related to literature. The emphasis was put on the long term exhibitions now presented at the museums: one with no title, from 2010, at the museum from São Paulo (SP), and Rosa dos Tempos, Rosa dos Ventos, from 2012, at the one from Minas Gerais (MG). Plus, the histories of those institutions were studied so we could understand their connexion with the literary universe and the very conception of museum - not always present or even well accepted among writers houses. What we assumed to analyze the data under the light of the bibliographic discussion was that both museums and literatures have a social function. This role is composed, among other elements, by a humanizing or transforming potential. To support this concept, we brought the ideas of Mário Chagas, Marília Cury, Mirela Araújo, Waldisa Rússio, Antoine Compagnon, Antônio Cândido and Tzvetan Todorov. We understand that in spite of the antagonic positions these two are usually considered to have, there are important convergent points of view among their works considering literature\'s humanizing potential.
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Régnier, Marie-Clémence. "Vies encloses, demeures écloses. Le grand écrivain français en sa maison-musée (1879-1937)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040140.
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La réflexion engagée dans la thèse propose une archéologie des représentations collectives se rapportant à l’espace domestique de l’écrivain et à son œuvre au moyen d’une socio-critique des textes où elles prennent corps. À partir de la notion de « maison-musée », la maison-musée de l’écrivain est considérée comme un lieu réel et comme une structure mentale et matérielle où s’inventent, s’organisent, s’exposent et sont conservées des « images d’écrivain » qui, quoique variées, voire hétérogènes, définissent un imaginaire et une imagerie cohérents de la figure de l’écrivain. Dans la thèse, la dimension discursive de la « paratopie » du lieu d’écriture est mise en perspective avec les approches posturales et scénographiques centrées sur la figure de l’écrivain. Pour ce faire, l’étude postule que l’agencement des objets dans les maisons-musées s’appuie sur ces « scéno-mythographies ». Des dispositifs d’exposition divers les transposeraient par la suite dans l’espace muséal. Partant, la thèse montre que les mises en scène de l’écrivain à demeure constituent un levier essentiel des appropriations mémorielles collectives des écrivains et de leurs œuvres parce qu’elles cristallisent des représentations mythiques à succès qui s’actualisent dans l’esprit du temps. Plus largement, elles participent à l’écriture de l’histoire littéraire qui s’institutionnalise au XIXe siècle : elles mettent l’accent sur certains écrivains, sur une mythologie de la création littéraire et sur des œuvres qui ont vu le jour dans de « hauts-lieux littéraires ». Enfin, il s’agit de comprendre les enjeux de poétique et de réception qui lient les maisons des écrivains à leur œuvre littéraire<br>The reflection undertaken in the thesis offers an archaeology of the collective representations relating to the writer’s domestic space and work, by means of a socio-criticism of the texts in which they materialise. From the notion of “house-museum”, the writer’s house-museum is considered a real place, as well as a mental and material structure where « images of the writer » are invented, organised and displayed. Albeit varied, even heterogonous, these images define a coherent imagination and imagery of the writer’s figure. In the thesis, the discursive dimension of the writing place′s “paratopia” is put into perspective with scenographic and postural approaches that are centred on the figure of the writer. To that end, the study predicates that the arrangement of objects in house-museums is based on these ‘‘sceno-mythographies,’’ which are then transposed into the museum space thanks to various display devices. Right from the start, the thesis shows that the writer’s stagings perpetually constitute an essential lever of the writers’ collective memorial appropriations and their works because they crystallise successful mythical representations, which are actualized in the spirit of the age. More broadly, they take part in writing the literary history that is institutionalised in the 19th century: they put the emphasis on certain writers, on a mythology of the literary creation, and on works that came to life in “high literary places.” Finally, the thesis tackles the issues of poetics and reception that link the writers’ houses to their literary work
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Pallej��-L��pez, Clara. "Houses and horror: a sociocultural study of Spanish and American women writers." Thesis, University of Auckland, 2010. http://hdl.handle.net/2292/5937.
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This thesis is a comparative study of haunted house fiction written by women in Spain and the United States from around 1900 onwards. It focuses on the aspect of sentience in buildings, establishing a connection between women's sociocultural history and transformations in the trope of the haunted house. This study highlights the vague presence of the haunted house in Spanish fiction when compared to American literature, and presents two reasons that might account for this circumstance. The first seems to be an overall discouragement of horror and fantasy in Spain that can be traced back at least to the times of the Spanish Empire. The second, which stands as the more important, is the particular situation of women in Spain, where a confluence of sociocultural factors upheld the values of domesticity for longer than in the United States, notably the repression enforced by the Franco dictatorship until 1975. I posit that the presence of the house in horror fiction grows in relation to women's envisioning of the home as the source of their oppression, and that this process is further nourished by underlying inherited anxieties resulting from women's legacy of domesticity. In particular, this study maintains that the sentient house is consolidated in literature the moment that women's primeval need for home enters into conflict with a rejection of domesticity. In order to illustrate this theory, I review work by American writers such as Charlotte Perkins Gilman, Elia W. Peattie, Shirley Jackson and Anne Rivers Siddons, and compare their narratives to those of Emilia Pardo Baza��n, Carmen de Burgos, Merce�� Rodoreda, Carmen Marti��n Gaite, Pilar Pedraza and Cristina Ferna��ndez Cubas in Spain. This thesis contends that Spanish horror literature presents belated but parallel transformations in the trope of the sentient house, which confirm the intertwining of this trope with women's culture across time and space.
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Grossbier, Stephany. "The effectiveness of training and written sanitation standard operating procedures on overall sanitation in a meat processing plant." Online version, 1998. http://www.uwstout.edu/lib/thesis/1998/1998grossbiers.pdf.
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Hunter, Aislinn Paige. "Evocative objects : a reading of resonant things and material encounters in Victorian writers' houses/museums." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/21021.
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This thesis is a study of resonant things in Victorian writers’ houses/museums – a reading of those material objects that seem especially fit to presence the writer to whom they once belonged. Through the study of a selection of autographic objects in the houses/museums of Victorian writers, this thesis considers the following questions: What is resonance? How do things presence the absent individual with whom they are associated? Why do some categories of things – objects seemingly ‘imbued with a lasting sediment of their owners’ (Pascoe 3) – seem especially fit for the task of presencing, and how have we described or understood this phenomenon through narrative? Through a reading of things, categories of things, images, novels, life writing, cultural and critical theory and the house/museum space, this thesis will examine the relationship between presencing things, material metonymy, and remembrance. It will suggest that certain categories of things have qualities that allow them to serve as remembrancers, standing-in-for and eliciting a sense of the absent individual with whom they were once connected. Chapter one lays the ground for this reading of resonant things by contextualizing writers’ houses/museums as sites of literary pilgrimage and introducing and defining some of the key concepts and terms employed in this study such as autographic object, authenticity, contiguity and resonance. Chapter two moves inside the writer’s house/museum in order to demonstrate how things can ‘world’ via a reading of Marion Harland’s late nineteenth-century description of a tour of the Carlyle’s House alongside Martin Heidegger’s concept of worlding. Chapters three, four, five, and six look at different types of museum things, beginning with hair – the object most closely associated with the writer’s body – and then moving on to clothing, writerly tools such as desks and chairs, and ending with handwriting. Through assessing the particular qualities of each categorical thing alongside the concepts we meet these things with and the way that encounters with these things have been described in a variety of narratives, a number of the dynamics contributing to affective encounters with writerly things are uncovered. These dynamics or factors include: autographic ascription, authenticity, contiguity, metonymical fitness, equipmentality, and stasis/conspicuousness. Ultimately this thesis argues that certain things have a particular fitness for the task of evoking or presencing the absent individual for whom they stand, and that in doing so everyday objects undergo a metamorphosis: ceasing to be everyday tools fit for a specific task (for wearing, for sitting, for writing with) and becoming instead tools for remembrance – evocative things that presence both the absent individual with whom they are associated and the world they inhabited in their lifetime.
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Holmgren, Troy Maria. "In the first person and in the house : the house cronotope [i.e. chronotope] in four works by American women writers /." Uppsala : [Uppsala universitet], 1999. http://catalogue.bnf.fr/ark:/12148/cb390531281.
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Bertelsen, Olga. "Spatial dimensions of Soviet repressions in the 1930s : the House of Writers (Kharkiv, Ukraine)." Thesis, University of Nottingham, 2013. http://eprints.nottingham.ac.uk/13390/.
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This study examines spatial dimensions of state violence against the Ukrainian intelligentsia in the 1930s, and the creation of a place of surveillance, the famous House of Writers (Budynok Slovo), an apartment building that was conceived by an association of writers “Slovo” in Kharkiv. This building fashioned an important identity for Ukrainian intellectuals, which was altered under state pressure and the fear of being exterminated. Their creative art was gradually transformed into the art of living and surviving under the terror, a feature of a regimented society. The study explores the writers’ behavior during arrests and interrogation, and examines the Soviet secret police’s tactics employed in interrogation rooms. The narrative considers the space of politics that brought the perpetrators of terror and their victims closer to each other, eventually forcing them to share the same place. Within this space and place they became interchangeable and interchanged, and ultimately were physically eliminated. Importantly, the research illuminates the multiethnic composition of the building’s residents: among them were cultural figures of Ukrainian, Russian and Jewish origins. Their individual histories and contributions to Ukrainian culture demonstrate the vector of Stalin’s terror which targeted not Ukrainian ethnicity as such but instead was directed against the development of Ukrainian national identity and Ukrainian statehood that were perceived as a challenge to the center’s control and as harbingers of separatism. The study also reveals that the state launched the course of counter-Ukrainization in 1926 and disintegrated the Ukrainian intellectual community through mass repressive operations which the secret police began to apply from 1929. The study also demonstrates that, together with people, the state purposefully exterminated national cultural artifacts—journals, books, art and sculpture, burying human ideas which have never been and will never be consummated. The purpose was to explain how the elimination of most prominent Ukrainian intellectuals was organized, rationalized and politicized. During the period of one decade, the terror tore a hole in the fabric of Ukrainian culture that may never be mended.
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Hill, Jobie. "Humanizing HABS: Rethinking the Historic American Buildings Survey's Role in Interpreting Antebellum Slave Houses." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13303.
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The Historic American Buildings Survey (HABS) and the Federal Writers' Project were two government survey programs from the 1930s that, in part, documented slavery in America. Historically stakeholders utilized these resources in isolation of one another. Coordination between the two programs in this study has identified five documented slave houses from the HABS collection that are directly linked to a slave narrative recorded by the Writers' Project. The slave narrative brings to life the spatial density, degree of accommodations, nature of the facilities, and attitudes of those who inhabited the slave house. The relationship between the historical record and the stories of the inhabitants is crucial to our understanding and interpretation of the lifeways and settings of enslaved African Americans in the Antebellum South. Historic preservationists now have five personal accounts of the historic plantation landscape upon which to build future interdisciplinary appreciation and research.
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ALQutami, Mais Yusuf. "Feminist resistance in contemporary American women writers of color unsettling images of the veil and the house in Western culture /." Open access to IUP's electronic theses and dissertations, 2009. http://hdl.handle.net/2069/177.
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Graves, Margaret Susanna. "Worlds writ small : four studies on miniature architectural forms in the medieval Middle East." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5489.
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While academic discussion of ornament within medieval Islamic art has laboured much over the codification and meaning of certain forms, there has been relatively little research to date on the visual and iconographic function of architecture as ornament in this context. Those few authors that have dealt with this issue have focused overwhelmingly on two-dimensional architectural representations, largely ignoring the considerable body of portable objects from the medieval Middle East that imitate architecture through three-dimensional forms, whether in a mimetically coherent fashion or in a more elliptical or reconfigured manner. This thesis proposes, first and foremost, that there is significant cultural meaning inherent in the use of architecture as an inspiration for the non-essential formal qualities of portable objects from the medieval Islamic world. Through iconographic analysis of the relationships that such objects form with architecture, an understanding of both full-size architecture and its miniature incarnations in the medieval urban context is advanced within the thesis. To maximise the intellectual scope of the study whilst still enabling an in-depth treatment of the material, four discrete studies of different object groups are presented. All of these are thought to date from approximately 1000 to 1350 CE, and to come from the core Middle Eastern territories of Persia, Syria and Egypt. The first chapter examines the glazed ceramic ‘house models’ believed to originate in late or post-Seljuq Persia. The second discusses six-sided ceramic tables from the same milieu, and more numerous related tables produced in Syria during the same period. In the third chapter carved marble jar stands from Cairo, apparently produced from the twelfth century onwards, are analysed. The final chapter, on metalwork, broadens its approach to encompass two very different strains of production: inkwells from Khurasan and incense burners from the breadth of the Middle East. Because much of the thesis focuses on material that has been dramatically understudied, it performs the primary action of compiling examples of each of the object types under study. Though this information is presented as a catalogue vi sommaire, this component of the thesis is not regarded as an end in itself. The major tasks of the thesis are the identification of the architectural tropes that are being evoked within each object group, analysis of the manner in which those forms have been modified to suit the miniature context of the objects, and the location of meaning within such diminutive evocations of architectural form. Through comparisons with other objects, full-size architecture, two-dimensional representations of architecture and historical texts, the thesis moves discourse on this type of motif in Islamic art beyond the traditional and sometimes superficial discussion of ‘ornament’, re-setting architectural iconography within larger contexts of urbanisation and city culture of the medieval Islamic world.
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Delassus, Justine. "Visiter les oeuvres littéraires au-delà des mots; des maisons d'écrivains aux parcs à thème, l'impossible pari de rendre la littérature visible." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV054.
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Bien souvent considérée comme un art immatérial, la littérature offre pourtant des traces bien visibles de son existence. Les maisons d'écrivains, les musées et les expositions littéraires ainsi que les parcs à thème constituent des espaces qui matérialisent la littérature. L'objet de notre thèse sera d'étudier ces différents dispositifs et d'interroger leurs liens avec la manière même de concevoir la littérature<br>Often classified as an immaterial art, literature however offers real and visible tracks of its existence as evidenced by writers’ houses, museums and literary exhibitions spreading all over France. The increasing number of theme parks and the development of literary theme parks offer new interesting perspectives. In a multidisciplinary approach involving cultural history, sociology of literary practices and literary theories, the aim of this research work is to question the representations of literature conveyed by these literary spaces. This reflection results from the following paradox: what can be shown to evoke an art of words, only accessible in the act of reading?
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Placquet, Karine. "'The Authority of the Written Word' : ecriture et transgressions dans The Cider House Rules, A Prayer for Owen Meany et A Widow for One Year de John Irving." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00639587.
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Romans de l'écrivain américain contemporain, John Irving, The Cider House Rules, A Prayer for Owen Meany et A Widow for One Year proposent des univers fictionnels distincts mais dirigés par une question identique : le processus de création, qu'il soit identitaire ou littéraire. Construits autour de la représentation des relations entre les personnages et leur environnement, les trois récits accordent une importance particulière à la transgression, toujours envisagée comme un acte de rébellion mais prenant également une connotation positive lorsqu'elle est entendue comme étape primordiale de la création identitaire. Cette double acception ressurgit dès lors que l'on considère le narrateur ou les techniques narratives, eux aussi caractérisés par une alliance de respect et d'écart par rapport aux normes ou conventions. La combinaison des forces antagonistes identifiées à l'échelle de l'histoire et au niveau narratif produit des romans singuliers alliant tradition et modernité, gravité et ironie. En fin de compte, les romans poursuivent un même but : divertir et contester tout à la fois.
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Depoux, Anneliese. "Espaces autres de la littérature. Le patrimoine littéraire à l’œuvre hors le livre." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040199.
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À l’origine de cette thèse, une ambition : observer la littérature à travers ses métamorphoses médiatiques, considérer ce qui se joue dans le social pour faire apparaître les représentations du littéraire qui se manifestent dès lors qu’un texte est réédité sous des formes moins académiques que le livre. Saisi par la place occupée par le littéraire dans l’économie symbolique de l’espace public contemporain, notre regard s’est porté sur les pratiques ordinaires de circulation du texte littéraire dans notre quotidien, la « publicité» d’un objet textuel à valeur littéraire en attachant une importance particulière à la scénographie. Nous nous sommes intéressée dans l’espace de la cité à des espaces et des tâches qui participent de notre quotidien : le transport, le commerce, le loisir. Soit trois expériences situées du littéraire : le métro, l’espace marchand et l’espace muséal.Observant les déplacements du littéraire dans l’espace commun, nous avons examiné des situations de communication qui disputent la valeur qu’on reconnaît au littéraire dès lors qu’il se trouve publicisé ailleurs que dans l’espace livresque. Le cadre théorique de cette recherche est l’occasion de réinvestir la notion d’objet littéraire, regardant les régimes discursifs variés de son inscription dans le social à travers la dimension expositive. La partie empirique de cette recherche considère le déploiement de l’espace littéraire et envisage la question de la littérarité in situ dans la polyphonie urbaine. Au travers de ces incarnations scripturales, il s’agit d’étudier les formes d’une autre consommation de l’objet littéraire et les représentations qui s’instituent dans le geste éditorial hors le livre<br>At the heart of this dissertation is the objective to observe literature through its « media metamorphoses », with a particular emphasis on the literary representations that appear in the social realm once a text assumes a form less academic than that of a book. Intrigued by the space occupied by literature in the symbolic economy of contemporary public space, we have chosen to question the ordinary circulation practices of literary texts in our everyday lives. Our analysis examines the « publicity » (Habermas) of a textual object invested with literary value, with a focus on scenography. Our principal subjects of analysis are city spaces and tasks that compose our daily routine: transportation, trade, and recreation. These subjects manifest as three situated experiences of literature: the metro, merchandising and museums. Observing the emergence of literature in the common space, we have examined situations of communication that contest the value given to literary objects when they are publicized outside of the traditional « book space ». The theoretical framework of this research is the opportunity to reinvest the notion of the literary object, looking at the varied discursive regimes of its inscription in the social world through the expositive dimension. The empirical part of this research considers the deployment of literary space and envisions the question of literarity in situ in the urban polyphony. Through these scriptural incarnations, the goal is to study the forms of another consumption of the literary object and the representations that are constituted through the editorial gest as it occurs outside of the book
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Costa, Fabricio Santos da. "O papel social do escritor e a sociedade no papel, em Érico Veríssimo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/56023.
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Tendo em vista as transformações socioeconômicas e políticas que se operaram no Brasil nas décadas de 1920 e 1930 e suas implicações para o domínio da cultura, a proposta dessa dissertação consiste em examinar as condições sociais de possibilidade de surgimento do escritor moderno e suas diferentes funções, assumidas nesse contexto. Para o nosso estudo tomaremos como caso, ao mesmo tempo paradigmático e singular, a trajetória do escritor Erico Verissimo, que além de recursos associados à origem social, encontrou na emergência da Revista do Globo e Editora Globo um conjunto de condições favoráveis à consecução de um projeto intelectual. Esse projeto, entretanto, não esteve isento de injunções políticas e éticas nas tomadas de posição estéticas. Para o exame dessas articulações elegemos para a análise o romance O resto é silêncio, pois, além de sintetizar um conjunto de procedimentos formais e uma definição ideológica mais categórica, torna explícitos seus pressupostos ao destacar do elenco dos personagens um escritor ficcional, que expressa, em grande medida, os diferentes “partidos” tomados pelo escritor gaúcho naquele contexto histórico. Em síntese, os objetivos principais desse trabalho consistem em traçar um retrato sociológico do escritor Erico Verissimo, de um lado, e examinar a figuração do escritor no romance O resto é silêncio, de outro. Na medida em que observamos a inexistência de condições sociais de estruturação de um campo literário relativamente autônomo, o exame dessas duas dimensões, a sociológica e a ficcional, pressupõe a referência aos diferentes confrontos políticos e culturais que se travavam. A singularidade da posição de Erico Verissimo, nesse sentido, vincula-se ao tipo de experiência social de ruptura com o meio social de origem, de um lado, e a sua inserção e posicionamento nas “disputas” no interior da instância de produção cultural da Globo. Na homologia de posições (políticas, literárias, ideológicas etc.) entre o escritor real e o ficcional, ilumina-se o papel do escritor e suas diferentes missões possíveis na cultura brasileira do período.<br>Given the socioeconomic and political transformations that took place in Brazil in the 1920s and in the 1930s and its implications for the field of culture, the proposal of this dissertation is to examine the social conditions of possibility for the emergence of the modern writer and its different functions, assumed in this context. For our study we will take as an object, paradigmatic and singular at the same time, the trajectory of the writer Erico Verissimo who, in addition to features associated with social origin, found in the emergence of the Magazine and the Globo Publishing House a set of propitious conditions leading to the achievement of an intellectual project. This project, however, was not free of political and ethical injunctions in aesthetic stance. For the examination of these points we elected to analyse the novel The rest is silence, because, in addition to synthesize a set of formal procedures and a more decisive ideological definition, it explicits its assumptions by highlighting among the characters a fictional writer, who expresses, the different “parties” taken by the gaucho writer in that historical context. In summary, therefore, the main objectives of this thesis is to draw a sociological portrait of the writer Erico Verissimo, on the one hand, and examine the figuration of the writer in the novel The rest is silence, on the other. Since we observe the absence of social structuring conditions of a relatively autonomous literary field, the examination of these two dimensions, the sociological and the fictional, presupposes the reference to the different political and cultural clashes then happening. Accordingly, the uniqueness of the position of Erico Verissimo relates to the type of social disruption experience with the original social environment on the one hand, and insertion and positioning in the “dispute” within the instance of cultural production of the Globe Publishing House . On the homology of positions (political, literary, ideological, etc.), between the real and the fictional writer, the role of the writer and his different possible missions in the Brazilian culture of the period are illuminated.
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Sambolin, Aurora. "The phenomenon of self-translation in Puerto Rican and Puerto Rican U.S. diaspora literature written by women : the cases of Esmeralda Santiago's América's Dream (1996) and Rosario Ferré's The House on the Lagoon (1995), from a postcolonial perspective." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/the-phenomenon-of-selftranslation-in-puerto-rican-and-puerto-rican-us-diaspora-literature-written-by-women-the-cases-of-esmeralda-santiagos-americas-dream-1996-and-rosario-ferres-the-house-on-the-lagoon-1995from-a-postcolonial-perspective(7ccb3968-0452-436e-b8ff-c2592da41808).html.
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This research aims to understand self-translation as a postcolonial, social, political, cultural and linguistic phenomenon and it focuses on how it communicates a hybrid transcultural identity that not only challenges the monolingual literary canons and concepts of national homogeneous identities, but also subverts to patriarchal society. Thus, I understand self-translation as a mean of empowerment and contestation. The cases under study are Puerto Rican writers Rosario Ferré and Esmeralda Santiago, and their novels The House on the Lagoon and América’s Dream, written in English and translated into Spanish by the authors themselves. I believe that Rosario Ferré and Esmeralda Santiago are representative of a group of writers, artists and intellectuals who through their work originated from the island and from the U.S. Diaspora, have aimed to give voice to a Puerto Rican postcolonial hybrid identity that has been silenced until recently. Therefore, they disrupt the official national cultural and linguistic discourse about the Puerto Rican identity that has been weaved by the Spanish language in opposition to U.S. colonialist attempts of linguistic and cultural assimilation. This dissertation is located in the intersection between the fields of comparative literature, translation, cultural, gender and postcolonial studies. The question that guides this research is: Is self-translation in the case of Puerto Rico, a result of cultural hybridity in Puerto Rico’s postcolonial context?Therefore, this is a multidisciplinary research project that integrates elements from the humanities and the social sciences. Methodologically, it integrates qualitative and quantitative approaches. Hence, hybridity is embedded in this research not only because it discusses English and Spanish writing, but because it includes textual analysis, content analysis and statistical analysis. The main finding is the deep conection between socio-political context, language, culture, identity, power and translation that supports the idea that self-translation is a postcolonial act, which in the case of Puerto Rico is strongly related to hybridity as an everyday practice of identity affirmation.
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Storey, Helen Caroline. "Gris-gris : a novel ; and, Contextualising research : crafting the rape scene: an exploration of how Toni Morrison and Isabel Allende write rape scenes in The Bluest Eye and The House of Spirits and how their approaches influence the crafting of those in Gris-gris." Thesis, Bath Spa University, 2015. http://researchspace.bathspa.ac.uk/6567/.
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The creative component of this thesis, the novel Gris-gris, explores how a mother's betrayal of her daughter and the resulting rape of that daughter is reiterated through three following generations of women within the same family. In the contextualizing component, I explore approaches to effectively crafting the pivotal rape scenes in Gris-gris to avoid reducing the novel, in the reader's mind, to being primarily one "about rape". I did not want the scenes to be pornographic or voyeuristic, metaphorical or ambiguous. I wanted them to be honest and truly affecting - but not hijack the novel's central narrative, which is how one mother's betrayal reverberates through following generations. Two popular, literary novels with plots that hinge on rape scenes are Toni Morrison's The Bluest Eye and Isabel Allende's The House of Spirits. The architecture and positioning of the rape scenes in these works has much to do with each novel's unique narrative power. My original contribution to knowledge, therefore, is a study -- from the point of view of a practicing creative writer -- of 1) how these two writers craft rape scenes in these novels and 2) how, in the writing of Gris-gris, I situate and develop my own practice in terms of craft, while responding to personal and social considerations. This study will inform the creative writer who is assessing how to modulate scenes of rape in literature as one novelist's considered approach to the delicate balances involved in crafting such scenes.
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Lima, Elisabete Sampaio Alencar. "A Casa: Arquitetura do Texto - Uma Investigação Sobre a Origem do Romance de Natércia Campos." http://www.teses.ufc.br, 2009. http://www.repositorio.ufc.br/handle/riufc/3450.
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LIMA, Elisabete Sampaio Alencar. A casa: arquitetura do texto - uma investigação sobre a origem do romance de Natércia Campos. 2009. 184f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2009.<br>Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-26T14:28:32Z
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Previous issue date: 2009<br>This research aims to understand the creation process of the novel A Casa (1999), by Natércia Campos, and present the results of the study of manuscripts and paratextual documents found in the writer’s collection. It assumes that three texts, "O espelho", "Infância no Minho" and "O Rastro" – with different structures and, probably, written at different times - contributed to the creation of the novel. This hypothesis gave a new direction to our work: no longer the original proposal of the genetic study of the novel A Casa, neither observing its writing process nor using the same methodology in book’s a theme. It applies some assumptions of Genetic criticism – whose object is the manuscript book and the aim is to raise hypotheses about the writer’s creation process, using the marks left in the writing path - for reading, transcription and interpretation of the documents that form the corpus . It presents the results.<br>Esta pesquisa procura entender os processos de criação do romance A Casa (1999), de Natércia Campos, e apresentar os resultados obtidos com o estudo dos manuscritos e da documentação paratextual encontrados no acervo pessoal da escritora. Tem como hipótese que três textos, “O espelho”, “Infância no Minho” e “O Rasto” - com estruturas diferentes e escritos, provavelmente, em épocas diferentes - teriam contribuído para a criação do romance. Essa hipótese apontou uma nova direção ao nosso trabalho: não mais a proposta inicial do estudo genético do romance A Casa, observando seu processo escritural, e não mais o emprego da mesma metodologia num tema do livro. Aplica alguns pressupostos da Crítica Genética - cujo objeto é o manuscrito literário e o objetivo é levantar hipóteses sobre o processo de criação do escritor, a partir das marcas deixadas por ele no caminho da sua escritura - para possibilitar a leitura, transcrição e interpretação dos documentos formadores do corpus. Apresenta os resultados obtidos.
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Bonniot, Aurore. "Imaginaire des lieux et attractivité des territoires : Une entrée par le tourisme littéraire : Maisons d’écrivain, routes et sentiers littéraires." Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20017/document.
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Comment l’imaginaire des lieux issu de la littérature contribue-t-il à valoriser un territoire ? À l’heure où des territoires ruraux, soucieux de renforcer leur attractivité, mènent des actions visant à renouveler leur image, la littérature patrimonialisée peut être considérée comme une ressource : maisons d’écrivains, routes ou sentiers littéraires contribuent ainsi à l’inscription territoriale d’une littérature et de ses imaginaires. Cette thèse s’intéresse à l’invention de tels lieux, à leur animation et à leur intégration territoriale. Elle traite aussi de leur réception et de leur appropriation par les habitants et les touristes. Une analyse statistique des maisons d’écrivain en France dresse une typologie qui souligne les spécificités structurelles, spatiales et organisationnelles de ces lieux polymorphes. En complément,des études de cas renseignent sur la singularité de la relation entre l’auteur et le lieu, et sur la dynamique de la maison en tant que projet de territoire multi-acteurs. Deux méthodes sont mises en œuvre afin de saisir les représentations des visiteurs : une enquête par questionnaire, prolongée par l’analyse d’une voie plus créative et sensible d’expression, les livres d’or. L'analyse des questionnaires souligne la diversité des motifs de visite, non exclusivement littéraires. L'étude des livres d'or met en évidence la dimension immersive d’une expérience où les émotions vont à la rencontre des souvenirs et des imaginaires. Une typologie multiscalaire de parcours littéraires est ensuite réalisée, enrichie par des études de cas. Du Berry à la Provence, des Cévennes au Québec en passant par le Livradois, des parcours littéraires proposent de découvrir une région en compagnie d’un écrivain et de personnages imaginaires. Transcendant l’habituelle démarcation entre le réel et la fiction, ils redéfinissent ainsi la notion d’authenticité. L'ensemble des éléments analysés dans la thèse concourt à qualifier une forme de tourisme combinant connaissance, imaginaire et expérience des lieux, dressant les contours d’une nouvelle pratique touristique de l’espace : celle d’un tourisme littéraire tourné sur l’itinérance et la créativité<br>How does the imaginary of places stemming from literature contributes to enhance a territory? At a time when rural areas, aspiring to strengthen their attractiveness, take actions to renew their image, the literary heritage can be considered a resource: writers' houses, routes or literary trails thus contribute to the territorial inscription of literature and its imagination. This thesis is interested in the creation of such places, in their animation and in their territorial integration. It also deals with their reception and with their appropriation by the inhabitants and tourists. A statistical analysis of writer's houses in France allows for a typology which underlines the structural, spatial and organizational specificities of these polymorphic places. In addition, case studies inform about the peculiarities of the relation between author and place, and about the dynamics of the house as multi-actors territorial project. Two methods are implemented to seize the visitors’ representations: a survey by questionnaire, extended by the analysis of a more creative and more sensitive way of expression, visitors' log (« livres d’or »). The analysis of questionnaires underlines the diversity of the motives for visits which are not exclusively literary. The study of visitors' log highlights the immersive dimensions of an experience where feelings meet memories and imagination. A multiscalar typology of literary routes is then realized, enriched by case studies. From Berry to Provence, from the Cévennes to Quebec via Livradois, literary routes propose the exploring of a region together with a writer and imaginary characters. They so redefine the notion of authenticity by transcending the usual demarcation between the reality and fiction. All the analyzed elements contribute to consider a form of tourism combining knowledge, imagination and experimentation of places, drawing the outlines of a new tourist practice of space : that of a literary tourism focused on itinerancy and creativity
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Huang, Tsai-Chin, and 黃彩勤. "A Study Investigating Poetic Perspective of Six Dynasties in Chen Zuoming’s The Selective Ancient Poems Written in the Cai Shu House." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/48x4x5.
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博士<br>國立東華大學<br>中國語文學系<br>106<br>Although the academia has laid a foundation in the study of Chen Zuoming’s The Selective Ancient Poems Written in the Cai Shu House, there still lacks accurate and systematic arrangement of “Examples” at the beginning of the book. Moreover, the myth about the objective of traditional selected works – “Outstanding works can be extracted after poor works are removed” always exists. Therefore, misunderstandings and contradictions usually exist in the investigations on Chen’ poetic ideas and specific poetry criticisms. Consequently, the unique poetic perspective of Six Dynasties in this book still is not understood by the world, and naturally cannot be evaluated in an authentic and reasonable manner. This selected works collected ancient poems from “the Han Dynasty to the Tang Dynasty.” In general, most of the critics hold a positive attitude towards the overall evaluation of poems in the Hand and Wei Dynasties. However, the overall evaluation of poems from the Jin Dynasty to the Sui Dynasty steadily deteriorates. The style of time in poems in Liang and Chen Dynasties was severely criticized. The book, The Selective Ancient Poems Written in the Cai Shu House, attracts attention because the evaluations behind poems are frequently cited by subsequent critics. One of the important reasons that this selective works attraction attention is Chen’s evaluations of poems Six Dynasties, especially the aesthetic perspective of poems in the Liang and Chen Dynasties. However, what is the meaning of poetic perspective of Six Dynasties reflected in Chen’ The Selective Ancient Poems Written in the Cai Shu House? What kind of poetic theory system is it based on? The 2 questions mentioned above have been constantly investigated and discussed and the results also seem to be persuasive. For example, based on the results of proportions of poets and poems collected in this selected works, previous investigations reach a conclusion – Chen admire poets and poems in the Six Dynasties. Based on the descriptions “This selected works were made in an eclectic manner based on the ideas of two major schools of thought – Wang-Li and Chung-Tan after their cons are taken into consideration” in “Examples,” previous investigations reach a conclusion – Chen paid equal attention to affections and rhetoric. Based on the description of “Spirit, atmosphere, talent, and rules can be found in affections and rhetoric. As long as they are taken into account, outstanding works can be created” in “Examples,” previous investigations reach a conclusion – 4 elements, spirit, atmosphere, talent, and rules, are the bridge and pathway connecting subjective affections and form of aesthetic expression. Nevertheless, mutual contradictions and irregularities tend to be found in the integration of various conclusions. Moreover, Chen’ poetic ideas and poetic perspective of Six Dynasties tend to be misunderstood during the investigations.
To re-clarifying Chen’ selection attitude and guideline in “Examples” at the beginning of the book and concluding that the selection of works in The Selective Ancient Poems Written in the Cai Shu House is successful based on the breakthroughs made by the selection attitude and guideline in selection and compilation framework of traditional selected works, this study also focused on rearranging important texts associated with Chen’s poetic ideas and poetic perspective of Six Dynasties provided in the book and integrating them in a reasonable and systematic manner, including the “Examples” and poetic theories scattered in overall evaluation of poets and evaluations behind poems. Besides, this study also found out the poetic theory system on which Chen’s The Selective Ancient Poems Written in the Cai Shu House is based according to the specific criticisms on poets and poems. Furthermore, this study investigated what kind of unique poetic perspective of Six Dynasties will be developed to construct the new appearance of poems in Six Dynasties if this theory system is specifically embodied in the aesthetic criticisms of poems in Six Dynasties. Moreover, this study applied such poetic ideas and poetic perspective of Six Dynasties to the history of development of poetics in the Ming and Qin Dynasties and acceptance of poems in Six Dynasties to reflect how Chen’ poetic perspective, creative perspective, and aesthetic perspective overcome the restrictions of time. Although Chen’s unique and outstanding perspectives did not win recognition at the time and even were not specifically affirmed and admired by later generations, the poetic ideas and development of poetic criticisms in the Min and Qin Dynasties proved that his grand poetic perspectives are unique and can guide later generations with subtle aesthetic taste.
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Nožička, Josef. "NEDÁME SE! - Působení Mladého hlasatele v letech 1937-1938 a jeho role při obraně republiky." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-321358.
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This graduation thesis is focused on the children's magazine "Mladý hlasatel", which was published by "Melantrich" publishing house during 1935-1941, and his role from September 1937 to September 1938. This thesis would like to analyse principal aspects of its history, especially its influence on readers' interest in issues of active national and state defence. The branches of this analysis are these: current news, belletristic, instructional and educational articles. It also tried to describe the relationship between "Mladý hlasatel" and the other newaspapers and magazines published by "Melantrich", to compile the c. v. of Břetislav Mencák, editor of "Mladý hlasatel". At the same time it found and rebutted many mistakes and inaccuracies, which were unknown. It essentially made visual available this otherwise hard accessible magazine. This thesis would like to be a contribution to the history of "Mladý hlasatel", and to the history of Czech children's magazines and point to the neglected problem of a children's role and potentialities during the Czechoslovak crisis 1938.
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Oldfield, Christina. "Picturing home : home as represented in vernacular image making : written component presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington." 2010. http://hdl.handle.net/10179/1536.
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This project grew out of an interest in notions of ‘home’, what ‘home’ is and its relationship to the ‘house’ as a physical place of dwelling. Specifically, this project explores how the home is represented in vernacular image-making, such as the photographs in the family album and craft methods such as cross-stitch. This lead to an investigation into vernacular photography, collections and archives, and contemporary craft methods. An archive of photographs collected follows the text, as well as drawings and embroideries made during the project. The final work consists of a large-scale projection of a cross-stitch and the photograph it originated from.