Thèses : « Fiction genres »

1

McKelvey, Bridgette. « Fact or fiction ? : photography merging genres in children's picturebooks ». Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/19232/1/Bridgette_McKelvey_Thesis.pdf.

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This paper explores photography in children’s picturebooks and its ability to extend image-making and reading by creating a hybrid genre that merges real and non-real worlds. In analysing the use of photography in such a hybrid genre, the work of Lauren Child (2006, 2001a, 2001b, 2000), Polly Borland (2006), Shaun Tan (2007, 2000, 1998) and Dave McKean (2004a, 2004b, 1995) is deconstructed. These artists utilise photography in contemporary picturebooks that are fictional. In addition, David Doubilet’s images (1990, 1989, 1984, 1980) are discussed, which fuse underwater photojournalism with art, for factual outputs. This research uncovers a gap in picturebook literature and creates a new hybrid by merging genres to produce a work that is both factual and fictional. The research methodology in this study includes a brief overview of photography and notions of truth, contemporary picturebook trend theory, use of a student focus group, industry collaborations and workshops, and environmental education pedagogy. This thesis outlines summaries of research outcomes, not the least of which is the capacity for photography to enrich narrative accounts by providing multilayered information, character perspectives and/ or a metafictive experience. These research outcomes are then applied to the process of creating such a hybrid children’s picturebook.

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McKelvey, Bridgette. « Fact or fiction ? : photography merging genres in children's picturebooks ». Queensland University of Technology, 2008. http://eprints.qut.edu.au/19232/.

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This paper explores photography in children’s picturebooks and its ability to extend image-making and reading by creating a hybrid genre that merges real and non-real worlds. In analysing the use of photography in such a hybrid genre, the work of Lauren Child (2006, 2001a, 2001b, 2000), Polly Borland (2006), Shaun Tan (2007, 2000, 1998) and Dave McKean (2004a, 2004b, 1995) is deconstructed. These artists utilise photography in contemporary picturebooks that are fictional. In addition, David Doubilet’s images (1990, 1989, 1984, 1980) are discussed, which fuse underwater photojournalism with art, for factual outputs. This research uncovers a gap in picturebook literature and creates a new hybrid by merging genres to produce a work that is both factual and fictional. The research methodology in this study includes a brief overview of photography and notions of truth, contemporary picturebook trend theory, use of a student focus group, industry collaborations and workshops, and environmental education pedagogy. This thesis outlines summaries of research outcomes, not the least of which is the capacity for photography to enrich narrative accounts by providing multilayered information, character perspectives and/ or a metafictive experience. These research outcomes are then applied to the process of creating such a hybrid children’s picturebook.

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Glazzard, Andrew. « Character types from populist genres in Joseph Conrad's urban fiction ». Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590818.

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This thesis investigates the relationship between literary and popular/populist fiction by examining Conrad's use of five character types common in popular fiction in the late nineteenth and early twentieth centuries: the detective, the infonner/spy, the spymaster, the anarchist/terrorist, and the swindler. Conrad's fiction has previously been situated in relation to 'exotic' genres such as adventure fiction ; what is original about my thesis is its use of a very wide range of texts from 'urban' genres such as detective and espionage fiction to reconstruct what Conrad's contemporary readers would have expected from novels featuring the character types listed above. This enables a more thorough examination of Conrad's engagement with urban genres than has previously been attempted, using popular texts not previously examined in relation to Conrad. The thesis argues that Conrad appropriated character types from populist genres for three reasons: as a commercial strategy to make his fiction marketable, as a way of responding to topical or contentious social and political issues, and as a means of creative experimentation. The thesis argues that Conrad's fictions are simultaneously ' literary' and 'popular', and that Conrad achieved distinctive aesthetic effects by applying particular literary techniques - what he called "treatment" - to popular subjects such as crime and espionage. This rewriting of genre fiction enabled Conrad to balance the demands of the literary marketplace with artistic and ethical aspirations, and to produce a wide range of narratives that varied significantly in aesthetic effect.

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Phelps, Catherine Margaret. « [Dis]solving genres : arguing the case for Welsh crime fiction ». Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/60053/.

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Walter Benjamin’s suggestion that great literary works not only add to canonical literature but also ‘dissolve’ genres may not seem apt in an examination of crime fiction, a genre noted for its rigidity and structured form. Though much of this mass-marketed, populist fiction cannot be perceived as great literature, nonetheless, some do work to dissolve genres, to re-shape them to different ends. This is especially true of Welsh crime fiction written in English. This thesis posits that there is a wealth of undiscovered Welsh crime fiction written in English and that those neglected works are necessary to the study of both crime fiction and Welsh writing in English. Central to this argument is my assertion that Welsh crime fiction (as it will henceforth be referred as) is a separate genre that contains its own specific tropes and paradigms, markers that are indicative of a certain Welsh cultural identity. As this study also acts as a survey of a previously unexamined area, of necessity, the works under question are the product of a extensive period: from the late-nineteenth century to the present day. While the chapters are arranged thematically, I have also tried to keep a sense of a chronological order with a sense of authors writing against or responding too previous generations of crime writers. In this manner, a tradition can be seen to be forming, one which re-imagines Welsh identity over this protracted period. As this literature springs from a nation that has frequently been defined as ‘other’, the Introduction starts with an examination of the so-called Blue Books and how they came to define the Welsh character for those outside Wales. Following this, Chapter I discusses how English crime writers absorbed these discourses and played out their ensuing anxieties in their work. Chapter II then explores an emergent Welsh crime fiction, one which both mimics and subverts anglocentric paradigms. This subversion is also played out in socialist crime fiction, the focus of Chapter III. Interestingly, these re-workings and re-imaginings of anglocentric norms are dealt with in different ways by male and female authors so Chapters IV and V will deal with male and female appropriations of genre respectively. This thesis concludes by asserting that Welsh identity is influential in forming a new genre, one that takes a rigid and hierarchical structure and adapts it to its own ends.

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Polak, Alan David. « The cultural representation of the Holocaust in fiction and other genres ». Thesis, University of Sheffield, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412785.

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Perreur, Nathalie. « Information et fiction : le mélange des genres à la télévision américaine ». Paris 2, 2010. http://www.theses.fr/2010PA020059.

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Cette recherche doctorale a pour objet le mélange des genres à la télévision aux États-Unis, envisagé à travers le traitement du crime dans l’information télévisée et la fiction sérialisée policière et judiciaire des années 1980 à 2000. L’information télévisée a connu, à partir du début des années 1980, des transformations structurelles profondes : devenue une valeur marchande à part entière, l’information devient davantage inféodée à l’audimat. Ces bouleversements l’ont amenée à assumer une fonction de divertissement, en privilégiant des thématiques susceptibles de capter l’attention du public, et en ayant recours à un traitement sensationnaliste et racoleur des sujets traités. L’un des corollaires de la course à l’audience est la mise en avant insistante du crime dans l’information télévisée, et ce alors même que la criminalité mesurée ne cesse de diminuer. Ce faisant, l’information télévisée néglige son rôle principal de commentateur éclairé pour mettre en avant un usage plus récréatif de l’information. Un sujet comme le crime, traité de manière sensationnaliste, lacunaire et perméable aux pressions politiques, pâtit principalement de cette chute qualitative de l’information. A l’inverse, l’émergence parallèle d’une « néo-fiction » de qualité au cours des années 1980 contribue à favoriser le glissement du divertissement vers le sérieux et le réflexif. Les séries policières et judiciaires peuvent alors servir de palliatif aux dérives ou aux raccourcis pris par l’information en matière de crime. En proposant une voix alternative souvent critique, incitant à la réflexion, cette fiction se défend d’envisager le crime de manière univoque : procédant à l’exposé réaliste des faits criminels et de leurs causes et implications sociales, elle développe une réflexion sur l’ambivalence de la notion de bien et de mal, sur la complexité des ressorts du crime et de ses acteurs, et contribue, en plus de le divertir, à informer le téléspectateur sur la réalité sociale du crime. A travers une étude croisée de ces deux genres et de leurs modes de production, ce travail conclut à confluence des deux genres sur la représentation du crime et de la justice.

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Bozzetto, Roger. « Deux genres des littératures de l'imaginaire : la science-fiction, le fantastique ». Aix-Marseille 1, 1988. http://www.theses.fr/1988AIX10036.

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Le domaine des litteratures de l'imaginaire a ete restructure, en fonction des bouleversements qui ont eu lieu dans le domaine de la representation du monde, qui prend en compte les avancees scientifiques. L'emergence de genres neufs, le fantastique et la sciencefiction vient troubler l'opposition ancienne du merveilleux gratuit et du mimetique referentiel. Avec le genre de la science-fiction, qui se forme en integrant les apports du voyage imaginaire et de l'utopie, nous aboutissons a une fiction speculative, mimetique d'un virtuel. Avec le genre du fantastique, les rapports, donnes comme evidents entre le pensable et le representable, sont mis en question. Ces genres se situent comme deux tentatives heterogenes de maitriser l'alterite : la science-fiction, metaphoriquement, la donnant a voir sur le mode du "si" ; le fantastique tendant a la presenter metonymiquement comme innommable et pourtant-la, engendrant par la un decentrement de la raison. Ces deux genres neufs sont presentes dans leur emergence - en rela- tion avec des textes fondateurs et des ecrivains seminaux ; dans leur evolution - selon les epoques et les cultures ; dans le deve- loppement de leur thematique ; dans leur rapport aux mythologies, et dans l'histoire de leur reception
The scope of the literature of the imaginary has been restructured according to the upheaval which took place regarding a representation of the world taking into account scientific progress. The emergence of new genres, the fantastic and science fiction, perturbed the hitherto valid opposition between what was gratuitously marvellous and the referential mimetic. The science fiction genre, which was formed by integrating the contributions of imaginary travels and the utopia, resulted in a speculative fiction, imitating a virtual. With the fantastic genre, the relation between the conceivable and the representable, hitherti considered as obvious, is open to question. These genre can be considered as two heterogeneous attempts to master alterity : science fiction, metaphorically giving a perception on the mode of "if" ; the fantastic, tending to present it metonymically as unnameable and yet existent - thus engendring an off-centring of reason. These two new genres are presented in their emergence - in relation to the earliest texts (textes fondateurs) and seminal authors ; in their evolution - according to the periods and cultures ; in their thematic development ; in their relations to mythologies, and in the history of their reception

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Tuleu, Vincent. « Approche dialogique des genres littéraires : suivie d'une anthologie dialogique ». Paris 3, 2006. http://www.theses.fr/2006PA030048.

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La théorie littéraire aborde la notion de genre dans une tradition qui se décline entre quatre pôles : les formes, les thèmes, les registres et l’énonciation. L’étude des genres révèle une volonté permanente d’ériger la suprématie d’un genre pour trouver un fondement à la littérarité. Envisager une approche dialogique consiste à postuler qu’une stratégie relationnelle est à l’œuvre dans le texte et que les genres littéraires sont susceptibles de déterminer la nature dialogique de cette relation. Remettre en question le schéma jakobsonien permettra de quitter une conception unilatérale de la transmission, au bénéfice du principe dialogique de toute communication. Une description du processus référentiel à l’œuvre dans le texte littéraire devient alors possible, grâce à la sémantique des mondes possibles. La définition de trois stratégies dialogiques majeures permettra d’envisager le fonctionnement communicationnel de quelques genres littéraires
Literary theory tackles the notion of genre from within a traditional space bordered by four poles: form, theme, register, and utterance. Studies of genre have sprung from a constant desire to ground the supremacy of one particular genre as a means for finding a basis for literariness. A dialogical approach, however, is based on the hypothesis that a relational strategy is at work within the text and that literary genres are able to zero in on the dialogical nature of this relationship. If we question Jakobson’s schema of communication, we are thereby enabled to leave behind a unilateral conception of informational transmission in favour of the dialogical principle underlying all communication. With the help of possible world semantics, it then becomes possible to embark upon a description of the referential processes at play within the literary text. By defining three major dialogical strategies, we are then in a position to discuss the communicational functioning of certain literary genres

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Stewart, Susan Louise Trites Roberta Seelinger. « Genre, ideology, and children's literature ». Normal, Ill. Illinois State University, 2004. http://wwwlib.umi.com/cr/ilstu/fullcit?p3172884.

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Thesis (Ph. D.)--Illinois State University, 2004.
Title from title page screen, viewed November 22, 2005. Dissertation Committee: Roberta Seelinger Trites (chair), Karen Coats, C. Anita Tarr. Includes bibliographical references (leaves 242-256) and abstract. Also available in print.

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Christie, Thomas A. « Notional identities : ideology, genre and national identity in popular Scottish fiction, 1975-2006 ». Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/7149.

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One of the most striking features of contemporary Scottish fiction has been its shift from the predominantly realist novels of the 1960s and 1970s to an engagement with very different modes of writing, from the mixture of realism and visionary future satire in Alasdair Gray’s Lanark (1981) to the Rabelaisian absurdity and excess of Irvine Welsh’s Filth (1998). This development has received considerable critical attention, energising debates concerning how such writing relates to or challenges familiar tropes of identity and national culture. At the same time, however, there has been a very striking and commercially successful rise in the production of popular genre literature in Scotland, in categories which have included speculative fiction and crime fiction. Although Scottish literary fiction of recent decades has been studied in great depth, Scottish popular genre literature has received considerably less critical scrutiny in comparison. Therefore, the aim of my research is to examine popular Scottish writing of the stated period in order to reflect upon whether a significant relationship can be discerned between genre fiction and the mainstream of Scottish literary fiction, and to consider the characteristics of such a connection between these different modes of writing. To achieve this objective, the dissertation will investigate whether the features of any such shared literary concerns are inclined to vary between the mainstream of literary fiction in Scotland and two different, distinct forms of popular genre writing. My research will take up the challenge of engaging with the popular genres of speculative fiction and crime fiction during the years 1975 to 2006. I intend to discuss the extent to which the national political and cultural climate of the period under discussion informed the narrative form and social commentary of such works, and to investigate the manner in which, and the extent to which, a specific and identifiably Scottish response to these ideological matters can be identified in popular prose fiction during this period. This will be done by discussing and comparing eight novels in total; four for each chosen popular genre. From the field of speculative fiction, I will examine texts by the authors Iain M. Banks, Ken MacLeod, Margaret Elphinstone and Matthew Fitt. The discussion will then turn to crime fiction, with an analysis of novels by Ian Rankin, Christopher Brookmyre, Denise Mina and Louise Welsh. As well as evaluating the work of each author and its relevance to other texts in the field, consideration will be given to the significance of each novel under discussion to wider considerations of ideology, genre and national identity which were ongoing both at the time of their publication and in subsequent years. The dissertation’s conclusion will then consider the nature of the relationship between the popular genres which have been examined and the mainstream of Scottish literary fiction within the period indicated above.

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McAvan, Em. « The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror ». Thesis, McAvan, Em (2007) The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/188/.

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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology. I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.

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McAvan, Em. « The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror / ». McAvan, Em (2007) The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. http://researchrepository.murdoch.edu.au/188/.

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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology. I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.

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Kenney, Stephen Robert. « Briefs : A Discussion of Genre and a Presentation of Short Fiction ». Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501044/.

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Eleven short fictions are introduced with a discussion of genre. Genre is looked at as being a matter of degree ranging from absolute prose on one end of the spectrum to a very specific form of poem with conventions of its own such as the Shakespearean Sonnet on the other end of the spectrum. The analysis is made in an appeal for the short-short story (or sudden fiction) as being a genre of its own. It is argued that regardless of what category a fiction may fall into (and some of the distinctions seem arbitrary), that what is most important is success at conveying a meaningful experience.

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com, estrangedcognition@hotmail, et Em McAvan. « The Postmodern Sacred Popular Culture Spirituality in the Genres of Science Fiction, Fantasy and Fantastic Horror ». Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080908.140222.

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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is unreal texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of real world epistemology. I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.

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Torres, Anita. « Promoteurs et écrivains d'un genre littéraire : la science-fiction française ». Paris 8, 1994. http://www.theses.fr/1994PA080973.

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La science-fiction francaise est constituee de lecteurs, d'amateurs, d'auteurs qui, defendent des definitions differentes par rapport a cette litterature. Definitions et choix esthetiques. En concurrence, qui se percoivent a travers les revues, les prix les collections et les polemiques qui animent la vie du milieu. Les choix esthetiques des auteurs sont en relation avec des caracteristiques socio-culturelles
French science-fiction is composed of readers, fans, writers who defend differents definitions in relation to this literature. Rival definitions and aesthetic choices are perceivable through magazines, prizes, publishing houses and polemics which organize the circle's life. Writers's aesthetic choices are bent on social and cultural characteristics

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Elbaum, Henry. « Rhetoric and fiction : interaction of verbal genres in the Soviet literature of the twenties and thirties ». Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75698.

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Soviet literature of the twenties and thirties is examined in the present study in its relationship to other verbal genres, primarily, the speeches of Party leaders, newspaper rhetoric and political posters. The first four chapters of the dissertation focus on such topics as the reception of Marxist-Leninist discourse by peasants and workers as well as its representation in fiction; the refraction of official discursive formulas in characters' speech and the dialogization of Party rhetoric; the integration of political documents into fiction and their structural function. Particular attention is paid to the way the contamination of Party rhetoric by substandard language and its contextual defamiliarization lead, depending on the overall authorial intention, either to a parodic subversion of official cliches or to the internalization of didactic discourse and the enhancement of its communicative effectiveness.
The theme of industrialization is examined in the last two chapters of the thesis in its dialectic interaction with various Neo-Rousseauist conceptions, which either reflect the authors' own ambivalence about socialist construction, or constitute a rhetorical device used in order to reinforce dialogically industrialist ideology.

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Previtera, Roberta. « Le cinéma dans la fiction Hispano-Américaine ». Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040192.

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Ce travail a pour objectif l’analyse de l’influence du cinéma dans la littérature hispano-américaine. L’hypothèse centrale est que dès que le cinéma, par essence un art de masse, a commencé à gagner sa place dans le système des arts, il a influencé la façon dont les écrivains représentent la réalité. L’enthousiasme que le cinéma a réveillé chez de nombreux écrivains latino-américains depuis le début, et la pénurie d’études critiques à ce sujet, font de l’Amérique Latine un terrain très fécond pour mener à bien nos recherches. Notre travail est structuré en trois parties. Dans la première nous introduisons la problématique qui nous intéresse avec une attention spéciale aux travaux de sémiologie et de narratologie élaborés à partir des années soixante. Nous reprenons la séparation structuraliste entre « histoire » et « narration » pour distinguer deux niveaux d’emprunt différents, que nous analysons séparément dans la deuxième et la troisième partie.Dans la deuxième, nous considérons le concept d’influence depuis une perspective intertextuelle, en regardant comment certains récits littéraires ont assimilé des histoires racontées précédemment par le cinéma, les intégrant sous la forme de l’ « insertion » ou à travers un processus de « réécriture ».Dans la troisième partie nous étudions l’influence cinématographique depuis une perspective intermédiale, c'est-à-dire en analysant des cas où le cinéma est évoqué dans sa spécificité médiatique. Dans ces cas, l’emprunt n’a pas lieu au niveau de l’histoire, mais à celui de la narration et les auteurs tentent de reproduire à l’écrit une série de procédés narratifs utilisés à l’écran
This work aims to analyze the influence of cinema on Latin American literature. The central hypothesis is that as soon as cinema, by essence a mass art form, started to win its place in the system of the arts, it influenced the way writers represent reality. The enthusiasm that cinema awoke in many Latin American writers since the beginning, and the lack of critical studies on the subject, make Latin America a very fertile ground for our research. Our work is separated in three sections. First, we introduce the issue at hand, paying special attention to semiology and narratology works starting from the 1960’s. We use the structuralist separation between “story” and “narration” to establish two different levels of borrowing, which we analyze separately in the second and third sections.In the second section, we consider the concept of influence from an intertextual perspective, observing how certain literary texts have assimilated stories previously told by cinema, integrating them under the form of insertion or through a process of rewriting.In the third section we study cinematographic influence from an intermedial perspective, by analyzing cases in which cinema is considered in its specificity as a medium. In these cases, borrowing doesn’t take place at the level of the story, but at that of the narration and the authors attempt to reproduce in writing a series of narrative methods used for the screen

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Stanisic, Biljana. « Fantasy versus Reality : How video game and book genres associate with creative thinking ». Thesis, Linnéuniversitetet, Institutionen för psykologi (PSY), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85441.

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Video games have suffered a negative reputation regarding their influence on children and adolescents, in comparison to its “well-behaved” counterpart, books. Nevertheless, the world of video games is much more diverse than imaginable – from fantasy to reality – and it is possible that different types of video games have different effects on human cognition and behavior. To fill a gap in research, fantasy and non-fantasy genres were the focal point of the correlational study. In this study, we analyze how video game playing habits, video game genre preference, book reading habits and book reading preferences are correlated with creative thinking. Construal level theory explains the importance of psychological distances in enhancing creativity. Fantasy and fiction content, as well as role play, are theorized to be part of creativity due to generation of distance and abstract thinking. Creativity was measured by insight problems and a categorization task. Abstract thinking was also measured by the Behavioral Identification Form. The questionnaire was given out to 154 students during lunch hours at a university in Sweden, throughout the period of March 2019. The results indicated that preference in a genre, whether gaming or literature, did not indicate significant differences in creative thinking. However, the consumption and habit of playing role-play games showed a significant correlation to creativity in comparison to its “rival” – action games. Results showed the same effects for fiction literature versus non-fiction. Theoretical and practical implications for organizations and the workplace are discussed, as well as limitations of the study.

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Myo-Myint, M. « A study of the interpersonal dimension of narrative fiction with specific reference to power and control in Muriel Spark's Memento Mori and its implications for the teaching of English literature in a TEFL context ». Thesis, University of Edinburgh, 1987. http://hdl.handle.net/1842/20053.

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Tremblay, Vianney. « Des points de vue narratifs à la prise de forme : réflexions autour de la bildung romantique / ». Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.

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Doig, Katherine. « Correspondances avec l'absence : la fiction épistolaire monologique aux XXe et XXIe siècles ». Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA127.

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La fiction longue entièrement composée d'une lettre ininterrompue – le roman (ou la pièce) épistolaire monologique – représente un cas de figure négligé, souvent même refusé, par la théorie. Son existence est démontrée ici par un corpus de quinze textes en anglais, français, italien et allemand, de Gide (1902) à Norman (2011) via Yourcenar, Coetzee, Celestini, ou Amis.Ce travail mesure dans un premier temps les dimensions de cet inventaire : sa largeur, grâce à la mise en place d'un cadre formel ; sa longueur historique ; la profondeur de ses interactions avec la lettre réelle, le genre épistolaire, et enfin avec les qualités épistolaires de toute fiction, dont la lettre monologique est un miroir aux déformations calculées.Le corpus révèle l'intérêt de ce cadrage technique grâce à des thèmes récurrents, qui interrogent trois caractéristiques-clé de l'écriture épistolaire. Le thème de la mort de soi (Yourcenar, Coetzee, Bernstein, Robinson, Amis) se conjugue à une réflexion sur la structure physique de tout texte que la lettre rend soudainement tangible, établissant une réflexion sur la lettre-cadavre. Une imagerie apocalyptique (Auster, Coetzee, Amis) problématise ensuite cette idée de la lettre qui se résumerait comme manifestation physique de la mort de l'auteur ; il met en scène un portrait de la temporalité qui ouvre à des superpositions et des rencontres. Ces deux chapitres établissent les pôles du débat pour un dernier, qui emprunte l'imagerie du double pour parler de la communication épistolaire (Gide, Coetzee, Bernstein, Celestini). Après l'absence et la correspondance, ce chapitre interroge le problématique “avec” du titre ; le plan narré de la lettre et le plan dramatique de son envoi sont rejoints par un troisième, pragmatique, posant la question de l'éthique de la correspondance épistolaire, et à travers elle, l'éthique de la fiction même
Long fictions composed of one uninterrupted letter – monologic epistolary fictions – are underrepresented in critical discourse, and frequently shunted more or less overtly beyond its margins. Their existence is brought to light here by one play and fourteen novels in French, English, Italian and German, ranging from 1902 (Gide) to 2011 (Norman) via a cast of authors including Yourcenar, Coetzee, Amis and Celestini.This study aims firstly to fill the critical lacuna, establishing the dimensions of this new sub- genre. It measures the breadth of the formal definitions of the single-letter epistolary novel, the length of its inscription in literary history, and the depth conferred upon it by critical discourse about real letters, the letter-novel genre and a certain epistolary quality to be found in all literature, which our novels set themselves up to reflect and refract.Our rather disparate corpus of texts reveals the interest of this technical framework, haunted as it is by recurrent themes which illuminate the characteristics of monological epistolary writing. Firstly, the theme of one's own death (Yourcenar, Coetzee, Bernstein, Robinson, Amis) shines a light on the physical structure of any text, rendered visible in the format of the letter; this conjunction suggests the idea of the text as corpse. A series of apocalyptic universes complicates this rather empirical portrait, which reads like the symbol of the Death of the Author; novels by Coetzee, Amis and Auster use complex portraits of fictional time to suggest the possibility of coincidence, overlap, meetings both epistolary and literary. These two chapters set up the terms of a final debate concerning literary communication, investigated via the symbol of the double (Gide, Coeztee, Bernstein, Celestini). After the narrative of the text itself and the implied drama of the letter's trajectory, a pragmatic dimension comes to light. This final analysis allows us to investigate the ethics of correspondence, and the letter as one key to understanding those of fiction itself

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Réguant, Frédérique. « La puissance des genres fictionnels de l'imaginaire : sociologie d'une mouvance sociétale ». Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30027/document.

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Magie, monstres, vampires, héros, les images de l’extraordinaire sont omniprésentes et fascinent le grand public. Des librairies qui ouvrent à minuit pour la sortie du dernier Harry Potter, des cinémas bondés pour le dernier volet du Hobbit, des manifestations culturelles de plus en plus importantes, une forte expansion des jeux de rôles, ne sont autre que les indices sociétaux d’une évolution des nouvelles manières de vivre la quotidienneté, le présent. En constante mutation, ces « genres fictionnels de l’imaginaire », comme nous les nommons, ont pénétré de multiples sphères de la vie des individus. Dans cette perspective, nous nous attacherons à analyser et comprendre l’intérêt des publics pour ces genres, ce qu’ils suscitent, tant au niveau individuel que collectif. Nous nous positionnerons dans le cadre d’une sociologie compréhensive et utiliserons certains éléments de compréhension fournis par la sociologie de l’imaginaire notamment dans ce qu’elle apporte à l’étude du présentéisme et de l’être ensemble
Magic, monsters, vampires, heroes, the representations of the extraordinary are pervasive and fascinate the crowd. Bookshops that open at midnight for the release of the last Harry Potter, crowded cinemas for the last movie of the Hobbit trilogy, growing cultural manifestations, role playing games and more, are only symptoms of a societal evolution of new ways to live in our era. In constant mutation, these “fictional literary genres of the imaginary”, as we call them, have penetrated many spheres of people’s lives. In this perspective, we will try to analyze and understand people’s interest for these genres, what they evoke in people’s minds at an individual level and at collective one. We will study this topic in a comprehensive sociology and will use some comprehension elements supplied by the imaginary sociology especially in what it brings to the study of presenteeism

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Ki, Young-In. « La fiction contemporaine des écrivains d’origine asiatique en France et au Royaume-Uni : pour une typologie de la littérature de migration ». Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA034.

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La présente étude propose une topologie de la littérature contemporaine issue de l’immigration asiatique en Europe à travers les romans publiés pendant les vingt dernières années par des écrivains d’origine asiatique établis en France et au Royaume-Uni. Si les études sur la littérature de migration sont en plein essor en Europe, il y a encore quelques lacunes, comme un corpus bien établi des œuvres d’écrivains européens d’origine asiatique. La première partie de cette thèse présente les concepts clés des études de la littérature de l’immigration, telles les notions de migration et de cosmopolitisme, ainsi que les considérations nécessaires à la constitution d’un corpus des auteurs immigrés d’origine asiatique ; elle recense aussi les recherches en cours dans ce domaine. La seconde partie, composée de trois sections, explore d’abord les éléments qui conditionnent l’accès de ces auteurs au champ littéraire en France et en Grande-Bretagne, puis les caractéristiques de leur écriture en matière de style, de structure et de thème. La dernière section tente une typologie d’un corpus des romans en français et en anglais des écrivains immigrés d’origine asiatique, en offrant une vue d’ensemble de cette riche création littéraire en Europe
This study proposes a topology of contemporary literature stemming from Asian immigration to Europe through fiction published in the last twenty years by writers of Asian origin based in France and the United Kingdom. Although studies in immigration literature are burgeoning in Europe, there are still gaps to be filled, such as a well-established corpus of works by European writers of Asian origin. The first part of this dissertation presents the key concepts in immigration literature studies, such as the notions of migration and cosmopolitanism, and the necessary considerations in the constitution of a corpus of immigrant writers of Asian origin, as well as an overview of current research in this field. The second part, comprised of three sections, firstly explores the elements that condition these authors’ access to the literary field in France and in Britain, and secondly, the characteristics of their writing in terms of style, structure and theme. The final section attempts a typology of the corpus of novels in French and English by immigrant writers of Asian origin, offering an overview of the richness of an integral part of European literary creation
본 논문은 프랑스와 영국에 기반한 아시아계 작가들이 최근 20년간 출간한 소설을 통하여 아시아인의 유럽 이민에서 비롯된 동시대 문학의 유형론을 제시하고 있다. 유럽에서 이민 문학 연구가 활발히 이루어지고 있지만, 아시아계 유럽 작가들의 작품에 대한 상세 코퍼스 정립과 같이 아직 채울 부분들이 존재한다. 본 논문의 제 1부는 이주, 국제성과 같은 이민 문학 연구의 주요 개념을 소개하고, 아시아계 이민 작가들의 코퍼스를 형성함에 있어 고려 사항을 비롯하여, 이 분야의 연구 현황을 개관한다. 모두 세 장으로 나눠진 제2부는 우선, 프랑스와 영국 문학계에 대한 이들 작가의 접근을 규정하는 요소들을 살피고, 문체, 구조와 주요 테마의 측면에서 이들 작가의 글쓰기의 특징을 밝힌다. 마지막 장은 아시아계 이민 작가들이 불어와 영어로 쓴 소설 작품으로 이루어진 코퍼스의 유형화를 시도하여, 유럽 문학 창작 활동의 풍요로운 한 분야를 보여주고자 한다

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Björnström, Lovisa. « Vampyr och nagelbitare : En genre- och diskursanalys av barn- och ungdomsrysare och deras ämnesord ». Thesis, Uppsala universitet, Institutionen för ABM, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-253494.

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This master's thesis in Library and Information Science examines how the genre division of the horror fictionis constructed at the children and youth department of a library by studying subject headings of the titles.The aim is to examine what is included in the genre, in the two labelings called vampire and nail-biter/spine-chiller, what separates them, and what difference there is between children and youth thrillers/horror fiction. Also the cover designs and how readers portray these books are studied. The study is made in order to develop the knowledge of the genre to help librarians and borrowers. The great popularity of the genre among borrowers and people in general, and the importance of having knowledge of things that borrowers are interested in, are the motivation of performing the study. The method is a case study and conducted with and based on genre theory which shows how a genre is defined, how it can be divided and what conventions there are for the horror fiction in particular. Discourse analysis helps to see in between what frames the thriller is constructed, and how these elements subdivide the genre and influence it and those who encounter it, library borrowers and librarians. Di-scourse analysis also examines the standards of the thriller.The analysis showed that the discourse of horror fiction includes both the expected features, in terms ofgenre conventions, such as ghosts and vampires, and more commonplace such as sisters. The differences and similarities of these parts in the genre were discussed and compared in the light of discourse analysis and genre theory in order to reveal how these constructions might influence the readers and the borrowers. The major conc-lusions of the study is that the encounter between the unexpected and menacing, and the everyday life is what makes the thriller frightening, now as in history, and so it follows its genre conventions. The discourse of the hor-ror fiction standards are difficult to influence by being expected of borrowers and otherwise they are not thrillers. The study has shown that certain subjects recur more often than other which may affect the borrower in its per-ception of the genre. The genre division helps giving the borrower different kinds of frights and experiences. The joint is that the supernatural is present in the whole genre and convey feelings of excitement and fear which is the most important representative of the genre. This is a two years master’s thesis in Archive, Library and Museum studies.

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Сергеева, Ю. С., et Yu S. Sergeeva. « Рубрика "Мой друг - фантастика" в журнале "Уральский следопыт" 1960-1970-х годов как инструмент популяризации научной фантастики : магистерская диссертация ». Master's thesis, б. и, 2020. http://hdl.handle.net/10995/94048.

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Магистерская диссертация «Рубрика "Мой друг – фантастика" в журнале "Уральский следопыт" 1960–1970-х годов как инструмент популяризации научной фантастики» посвящена проблеме того, как развивалась советская фантастика, как создавался и развивался журнал «Уральский следопыт», какие авторы публиковались в нем, как журнал взаимодействовал с читателем. Мы проанализировали рубрику «Мой друг – фантастика» за 1960-1970 годы, как она развивалась в 1960 – 1970-х годах; выявили и охарактеризовали жанры, которые представлены в рубрике, познакомились с ключевыми авторами; описали способы популяризации научной фантастики в журнале "Уральский следопыт".
The master's thesis «Rubric "My friend is a science fiction" in the journal "Uralskiy Sledopyt" of the 1960s and 1970s as a tool for popularizing science fiction» devoted to problem how Soviet science fiction developed, how the Uralskiy Sledopyt magazine was created and developed, which authors were published in it and how the magazine interacted with the reader. We analyzed the category "my friend is a fiction" for the years 1960-1970s, as it developed in the 1960s and 1970s. We identifed and characterized the genres that are presented in the category; got acquainted with the key authors. We described ways to popularize science fiction in the journal "Uralskiy Sledopyt".

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Raoufinia, Shaghayegh. « Boksamtal i årskurs ett : En kvalitativ studie om samtalsgenrer ». Thesis, Södertörns högskola, Lärarutbildningen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34709.

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The study is based on qualitative research which aimed to show how four teachers interact in book talks with the students i connection with Swedish lessons in first grade. The study has focused on teachers´ questions to analyze the types of conversational genres that arise in connection with book talks in first grade. Data was collected through interviews and observations. The interviews and observations were made at a school in the county of Stockholm. Four teachers´ Swedish lessons were observed and they were interviewed about how they describe and explain their use of book talks in Swedish lessons. Hultin´s categorization for speech genres and rhetorical and non-rhetorical questions´ (2006) served as main theoretical frameworks for analyzing the empirical material. From the interviews, I have come to the conclusion that the teachers are aware of different speech genres, and they use rhetorical and non-rhetorical questions for different purposes. The results of the study show that, depending on their purpose with book talk, teachers use different conversational genres. The reults of the study show that a conversational genre dominated in the book talks that were examined but they also showed elements of other genres to a certain extent. It appears that two conversational genres were dominant in the teaching of teachers, that is, the teaching examination and the text oriented talk. On the other hand the culturally oriented talk and the informal book talk only appeared as compliments to the dominant genres. The study shows that teachers´ awareness of these genres is of great importance for developing the pupils´ reflective minds and skills.

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Trainin, Sarah Jean. « The rise of mass culture theory and its effect on golden age detective fiction ». CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2255.

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Moraes, Elaine Valencise Hidalgo de. « Homepage de fanfictions : um estudo bidimensional de gênero na concepção sociorretórica ». Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14611.

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Made available in DSpace on 2016-04-28T19:34:43Z (GMT). No. of bitstreams: 1 Elaine Valencise Hidalgo de Moraes.pdf: 2405183 bytes, checksum: 9480a5e10e5211778159d46a5b0c7bc5 (MD5) Previous issue date: 2009-12-11
This study aims to analyse a website homepage which contains fanfictions - stories written by fans under the perspective of the socio-rhetorical analysis of textual genres. Specific objectives include: to understand the organisation of the admiring readers and writers of online fanfictions, checking how such groups might fall under the Swales (1990) concept of discourse communities, which he applies to academic communities; to outline a characterization of a fanfiction website and the existing involvement among its users; to discuss the situational context within which the digital fanfiction activities evolve; and to see if Askehave and Nielsen's (2004) bidimentional model of analysis of web files can be applied to the homepage of a fanfiction website. The corpus is the result of a research of ethnographic nature carried out on a specific fanfiction website: Fanfic Addiction. Focus falls primarily on the application of the Swales (1990) criteria of discourse communities to the website user group and on the application of Bhatia's (1993) methodology to the study of textual genres. Attention then shifts to the study of the website homepage using Askehave and Nielsen's (2004) model for digital genres. This study shows that readers and writers of Fanfic Addiction, according to Swales (1990) criteria, are a discourse community, even if they do not constitute an academic community. This study also yields other significant insights, namely the light shed on the context of production of fanfictions, the involvement between admiring readers and writers, and the historical aspects pertaining to such activity. With regards to the study of the fanfiction homepage, it was also observed the feasibility of applying to this genre of website the bidimentional model of analysis, in which the close relationship between the digital environment and textual genres is considered
Esta pesquisa tem como objetivo geral analisar uma homepage de um website que abriga fanfictions histórias escritas por fãs sob a perspectiva dos estudos sócio-retóricos de gêneros textuais. Dentre os objetivos específicos estão: compreender a organização de fãs leitores e escritores de fanfictions online verificando como esse grupo encaixa-se no conceito de comunidade discursiva de Swales (1990) aplicado por ele em comunidades acadêmicas; apresentar a caracterização de um website de fanfictions e o envolvimento existente entre os seus usuários; discutir o contexto situacional em que se inserem as atividades de fanfictions no meio digital; e verificar se o modelo bidimensional para a análise de documentos da web de Askehave e Nielsen (2004) aplica-se à homepage de um site de fanfictions. O corpus é resultado de uma pesquisa de cunho etnográfico, realizada em um website específico de fanfictions - Fanfic Addiction. Focalizou-se, primeiramente, a aplicação dos critérios de comunidade discursiva de Swales (1990) ao grupo dos usuários do site e a aplicação da metodologia de Bhatia (1993) para o estudo de gêneros textuais. Em seguida, procedeu-se ao estudo da homepage do site tendo em vista o modelo de Askehave e Nielsen (2004) para gêneros digitais. O estudo mostra que os leitores de escritores do Fanfic Addiction, segundo os critérios de Swales (1990), constituem uma comunidade discursiva, mesmo em se tratando de uma comunidade não acadêmica. Ainda como resultados da análise, destacam-se os esclarecimentos obtidos sobre o contexto de produção das fanfictions, o envolvimento de fãs leitores e escritores e os aspectos históricos relativos a essa atividade. Quanto ao estudo da homepage de fanfictions verificou-se ainda a viabilidade em aplicar, nesse gênero da web, o modelo bidimensional de análise em que se considera a estreita relação entre o meio digital e os gêneros textuais

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de, Vries Catharina, et Emelie Strandberg. « "They can cut out the world as it is, and just move to the world of ideas." : A Qualitative Study on How Upper Secondary Teachers of English in Sweden Introduce Learners to Different Genres of Fiction ». Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-36750.

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The aim of this study was to explore ways in which ESL (English as a Second Language) teachers introduce different forms of literary writing such as poems, plays, fiction, genres and fantasy in the ESL classroom. The main method used was semi-structured interviews with six upper secondary ESL teachers in the South of Sweden. The interview questions were analyzed taking into account current research within the area, and further based on our own experience. The benefits of using the fantasy genre in teaching was one of the main focuses for this study. The compiled results showed varying strategies to teaching fiction in general. Only fifty percent of the interviewed teachers would actively have chosen the fantasy genre in their teaching practice. However, the interviewees saw potential beneficial outcomes from using the fantasy genre. All but one would consider incorporating the fantasy genre in their future teaching. Despite the negative view on fantasy being an unhealthy escapism, the positive effects outweigh the negative. In conclusion, the results and the analysis are in line with the established author Lloyd Alexander who states the following: “Fantasy is hardly an escape from reality. It’s a way of understanding it.”

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Davey, Maeve Eileen. « Gender and genre in Northern Irish fiction : 1986-2010 ». Thesis, University of Ulster, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.554227.

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This thesis focuses on depictions of gender in contemporary Northern Irish fiction, published between 1986-2010, and the ways in which these depictions subvert, or question the socially constructed nature of gender and invite the reader to interrogate the relationships between gender and the home, workplace, family, politics, and religion. I argue that Northern Ireland's history of civil and colonial violence has hampered the pursuit of gender equality within the state by reinforcing sectarian divisions and preventing the development of a united national identity. I am also interested in the relationship between gender and genre in contemporary Northern Irish fiction. The fact remains that there has been substantially more genre fiction written, published, sold and read in Northern Ireland and about Northern Ireland over the last thirty years than there has been literary fiction. The leading titles of popular women's fiction/chick lit and the crime/thriller hybrid genres are often translated into multiple languages and read by hundreds of thousands, if not millions, of readers worldwide. Yet, Irish Studies has yet to engage in a sustained discussion of genre fiction, with these novels, particularly those which can be categorised as popular women's fiction, being effectively shunned, ignored or casually derided by critics. There are also questions to be raised as to the differing reception for books published in male-dominated genres and marketed in a male-oriented fashion compared to their popular women's fiction counterparts, which largely go unreviewed and almost deliberately unnoticed by critics. Finally, I consider how gender impacts on depictions of the body and ways to write about the physical in the contemporary northern novel. Intimately bound up with issues of religion and cultural conservatism as it is, my thesis argues that that the body should be central in contemporary northern writing which so often grapples with trying to subvert, undermine or make sense of Northern Ireland's politics, religion and cultural leanings.

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Schembri, Peter Mark. « The use of genre by the Hollywood film industry to standardize and regulate the manufacture, content, and consumption of genre film commodities : the commercial success of recombinant science fiction films in the United States marketplace 1977-1989 ». Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36383/1/36383_Schembri_1991.pdf.

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In 1977, Star Wars opened in the United States to become a multimillion dollar blockbuster. Star Wars heralded the arrival of the recombinant science fiction-fantasy film. By the end of the 1980s, recombinant science fiction-fantasy films were the top grossing Hollywood manufactured films of the decade, with E.T., The Extra-Terrestrial (1982) becoming the highest grossing film in Hollywood's history. The use of genre by the Hollywood film industry during the 1980s ensured the continued popularity, and therefore financial success as measured by box-office receipts, of Hollywood recombinant science fiction films. This thesis argues that the Hollywood film industry during the 1980s, used genre as it operated through the Hollywood standard, to regulate and control the interrelationship between: the economic structures and practices of the Hollywood film industry; the content of recombinant science fiction genre films and generic cycles as expressed in Hollywood manufactured film texts; and the consumption by American audiences of these texts. The Hollywood standard is essentially a standardized industrial process. The standardized production/manufacturing conventions of the 1980s Hollywood standard, informed the manufacture of science fiction film commodities by studio executives and contracted creative personnel. The Hollywood standard also influenced the science fiction genre's product/content conventions and formulas. Although the science fiction genre was successfully recombined with the fantasy genre, each genre had its own content conventions and formulas. The manufacture, promotion, distribution, and exhibition of Hollywood manufactured recombinant science fiction films entailed relationships between a complex network of organizations. This thesis details four functions, each a stage of an industrial process operating in a consumer-orientated market economy. All four functions were present in the 1980s Hollywood film industry system: manufacture or creation; entrepreneurship and patronage; promotion and marketing; and consumption. These functions transformed a science fiction film from a conception to a commercial commodity. The Hollywood film industry used genre in an attempt to regulate and control each stage of the Hollywood film industry system. 1980s recombinant science fiction films, as commercial commodities manufactured through an industrial process, were cultural products subject to the supply and demand pressures of the American marketplace. The theoretical approach upon which this thesis is based is a synthesis of a number of social science perspectives. Each chapter of this thesis corresponds to a stage of the industrial process. The basic process of communication model is combined with semiotics in the performance model. The performance model acknowledges that the content of film texts are determined by studio executives and creative personnel who manufactured texts according to the Hollywood standard. During the 1980s, Hollywood film manufacturers were unable to predict, or predicted only to a limited extent, what manufactured genre film commodities would be successful in the marketplace. As a coping strategy, Hollywood film studios engaged in overproduction. Once the film commodity was selected for release in the American marketplace, it was subject to differential promotion, with greater financial resources being allocated to expensive science fiction films that were likely to be potential blockbusters. But every recombinant science fiction film was promoted. As a marketing strategy, genre recombinations could be used to develop a unique brand image for each manufactured film commodity so that it could be targeted at different segments of a mass market. A mass audience of American consumers in the 1980s were aggregates of unique individuals and groups of active consumers, making informed and conscious decisions in the marketplace. When individuals paid to see a recombinant science fiction film, they expected to obtain meanings and pleasure from it. Consumers often used genre as an important strategy to gather initial information about a film prior to viewing, and genre was often used as an strategy for evaluating the film after viewing. Using the concept of cultural forum, this thesis argues that Hollywood manufactured recombinant science fiction film texts 'commented' on ideological conflicts. Individuals and groups were capable of creating opposition readings, and could engage the Hollywood film industry at the level of personal actions; individuals were not being ideologically manipulated. It was upon consumer demand and expectations that the Hollywood film industry system during the 1980s was based. Since consumers in the 1980s were notoriously fickle in their selection of films, the Hollywood film industry used genre in an attempt to direct audience reception of film commodities in the marketplace.

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Toren, Orly. « Histoire alternative des origines du roman : promenades interculturelles dans un monde sans épopée ». Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030165.

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Que signifie repenser l’Histoire littéraire et l’Histoire du roman comme Histoire culturelle ? Le point de départ de notre questionnement sur les formes de représentation adoptées par l’Histoire littéraire porte sur la doxa critique selon laquelle il existe une relation génétique entre l’épopée et le roman, dont la source se trouve dans ce qu’il est convenu de voir comme le texte fondateur de la littérature, l’épopée d’Homère et celui de la théorie littéraire, la Poétique d’Aristote. Si l’épopée homérique est une œuvre de la tradition orale, quelle est sa relation avec le roman, issu, lui, de la scripturalité et de l’émergence de la prose ? Si les récits en prose narrative de fiction apparaissent dans des civilisations sans épopée, quelle est la condition nécessaire pour leur émergence ? Si, de plus, l’apparition d’une prose narrative de fiction est précédée de plusieurs siècles de celle d’une historiographie et que ce phénomène se répète aussi bien dans la Grèce classique qu’au Moyen Âge européen, ou encore en Chine, quelle est la condition nécessaire pour l’essor du roman ? Nous présentons ici l’ébauche d’une Histoire alternative des origines du roman dans la Weltliteratur, en relation avec l’émergence de la scripturalité et la prose et l’essor de l’historiographie À la croisée de plusieurs disciplines académiques, notamment entre les sciences humaines et sociales, notre recherche fait appel d’une part à la théorie et à l’Histoire de la littérature, d’autre part à l’Histoire de l’historiographie, ainsi qu’à la théorie et la philosophie de l’Histoire
Is it possible to rethink Literary History and in particular the History of the Novel as Cultural History which seeks to differentiate between an historical object and it’s representation? Considering the critical doxa, according to which, there exists a genetic link between epics and the novel, leads to one of Western thinking’s most stubborn myths. If epics, and particularly Homer’s, is seen as the novel’s ascendant , although it belongs to oral tradition, how does it explain the fact that as Ancient civilizations as Egypt or China or Israel developed sophisticated prose narratives without having epics? Moreover, if Western literary history refers to Aristotle’s Poetics as it’s foundational text, although by the time it was written, fictional prose didn’t exist yet, and was only to develop a few centuries later, shouldn’t we seek for the missing link between the oral tradition and the rise of the novel? As against this hegemonic and unhistorical representation that considers the novel genre as a Western invention, and as opposed to the historical circumstances that gave birth to the novel, we consider that the key to understanding this phenomenon lies in the emergence of literacy and prose. Indeed, in all civilizations that developed fictional prose writing, it was systematically preceded, not by epics, but by historiography. Our PHD dissertation presents an alternative History of the novel, whose angle is intercultural and interdisciplinary, aiming at recreating a new chronology of the emergence of the novel as a an inevitable historical genre in world’s literature

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Almerud, Eva-Kersti. « Gränsöverskridande i Olga Tokarczuks roman Styr din plog över de dödas ben ». Thesis, Stockholms universitet, Slaviska språk, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-167802.

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My aim with this essay was to write about bordercrossing and border changing in Olga Tokarczuk’s literary work with the main focus on her novel Drive Your Plow over the Bones of the Dead. While writing I came to the conclusion that there are very many different sorts of border changing in the novel, for example borders between countries, borders between fiction and reality, indistinct borders, borders between identities and borders in time and space. However, one distinct bordercrossing, that I had not anticipated, emerged very clearly: the border changing when it comes to genre. Drive Your Plow over the Bones of the Dead characterizes as a detective story, but the more you read the novel, the more you realize, that other themes might be more important than the puzzle. This book holds above all eco fiction and posthumanism. By crossing different borders Olga Tokarczuk has transformed an illusory detective story to a nuanced novel about human life on various levels and in different spaces, about human view on animals and about hunters’ disrespect for animals.

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McKinney, Kelli. « The Luxury of Tears : A Secondary Survivor's Story ». Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2273/.

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As the written accompaniment for The Luxury of Tears, a twelve-minute documentary video exploring the emotional impact of sexual assault on male survivors and their partners, this document examines the visual texts of both the fiction and nonfiction genres. Specifically, I contend that fiction film manufactures male survivorship with regard to rape events in such manner which contributes to the thematization of social silence. Such silence perpetuates the feminization of rape as a social problem, and dissolves the development of male survivor resources. A discussion of production processes, challenges, and resolutions is included.

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Peate, Ailsa Miriam. « Subversive sex, gender, and genre in Cuban and Mexican detective fiction ». Thesis, University of Liverpool, 2017. http://livrepository.liverpool.ac.uk/3009104/.

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This thesis engages with the concepts of sex, gender, and genre in relation to detective fiction produced in Cuba and Mexico. In order to do so, it focuses on a total of 4 novels from two Cuban authors and 5 novels from Mexican writers as case studies to question and consider the extent to which cultural production from each country should be considered original in its own right. After considering both countries' socio-political backgrounds and their attitudes towards gender roles, this research suggests that Cuban detective fiction from a post-Soviet era demonstrates preoccupations with neoliberal policy and its effect on sexuality on the island, and that Mexican detective fiction seeks to foreground women's issues in a country affected by gender violence, however on occasion this intention is undercut by the limiting and limited female characters available, fuelling systemic violence. Given the focus of specific cultural realities for both societies, this thesis concludes that Cuban and Mexican detective fiction are original generic subversions, and should be considered more closely in their own right. This thesis moves beyond academic scholarship previously found in the field due to not only its focus on gendered and sexual identities within examples of Latin American detective fiction, but also as it considers the way in which such representations distort accepted archetypal norms of detective fiction. Furthermore, it coins the phrase 'detective metafiction' to refer to particularly self-aware detective fiction which incorporates historical event and fact, leading the reader to question the very basis of such novels, a highly unusual trait within a genre typically associated with truth and revelation. This research contends that the four authors whose work forms the primary texts of this thesis demonstrate clear breaks with literary and social norms in their representation of gender, sex, and genre. Chapters One and Two consider the work of Cuban authors Leonardo Padura and Amir Valle after the fall of the Soviet Union respectively, and Chapters Three and Four engage with the work of Bef and Rogelio Guedea, both whom have produced detective fiction since the inception of the War on Drugs.

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Hauser, Brian Russell. « Haunted Detectives : The Mysteries of American Trauma ». Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227020699.

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Davies, Ceri Louise. « The breakdown of gender binaries : writing genders in contemporary fiction ». Thesis, Swansea University, 2008. https://cronfa.swan.ac.uk/Record/cronfa42319.

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In Gender Trouble, Judith Butler asked, "[i]s the breakdown of gender binaries ... so monstrous, so frightening, that it must be held to be definitionally impossible and heuristically precluded from any effort to think gender?" (Butler, p. 1999, p.viii). Using this question as a starting point, I look at the way that gender is understood and challenged in contemporary fiction. Specifically, I examine novels and short stories that focus on finding one's place in gender, and the way such narratives write gendered experiences outside of the traditional male/female binary. In the first chapter, I look at females that live as males, exploring various ways of 'doing' gender, both on-stage and off, and the creation of cohesive gender identities. Chapter two looks at the way that sex and gender are medicalised. I argue that the male/female binary is protected by both the media and the medical establishment. This expands into a discussion of the way doctors attempt to preserve this binary in the face of increasing challenges to its very viability. In chapter three, I consider novels that focus on a male-to-female transition, as well as what is at stake in writing gender. Finally, I look at the emergence of 'genderless' characters, both in terms of the viability of the term 'genderless', and the difficulties in finding a suitable language with which to understand and quantify gendered experience.

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Rubio, Eduardo Fava. « O crime e as trangressões da letra : o gênero policial em Juan José Saer e Ricardo Piglia ». Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-21052015-111849/.

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Este trabalho tem por objetivo analisar as relações entre o gênero policial e os romances La pesquisa (1994), de Juan José Saer, e Plata quemada (1997), de Ricardo Piglia. Inseridos nas poéticas singulares e originais de seus autores, ambos os textos refletem, por um lado, as práxis narrativas que tanto Saer quanto Piglia já vinham desenvolvendo havia vários anos quando da publicação dos livros, nos anos noventa. Por outro lado, a leitura dos romances sob a perspectiva das narrativas policiais, frequentemente associadas a uma literatura popular ou de massas, leva à indagação de se e como é possível o desenvolvimento de uma escrita mais complexa e ambiciosa esteticamente em diálogo com as convenções que, em princípio, caracterizam o gênero literário. A partir desta questão, a hipótese de leitura se concentrará no conceito de transgressão dentro da literatura, partindo da ideia de Michel Foucault desenvolvida no ensaio Prefacio a la transgresión. A transgressão pensada na escrita de La pesquisa e Plata quemada, então, pode consistir em um gesto que, ao franquear os limites genéricos, não só reconfigura as poéticas de Saer e Piglia, como também repensa o conceito de gênero policial, bem como a relação dos dois escritores com o contexto cultural em que desenvolvem suas obras.
This study aims to analyze the relations between crime fiction as a literary genre and the novels La pesquisa [The investigation] (1994), by Juan José Saer, and Plata quemada [Burnt money] (1997), by Ricardo Piglia. Inserted into their author´s unique and original poetics, both texts reflect, on the one hand, the narrative praxis that both Saer and Piglia had already been developing for several years when the books were published in the nineties. On the other hand, the reading of the novels from the perspective of crime fiction, a genre often associated with popular or mass literature, leads to the question of how is it possible to develop a more complex and ambitious writing, aesthetically speaking, in dialog with the conventions that, in principle, distinguish the literary genre. From this point on, the hypothesis of reading will focus on the concept of transgression in literature, as it is developed by Michel Foucault in his essay Prefacio a la transgresión [A Preface to Transgression]. Back to the way La pesquisa and Plata quemada are conceived, the transgression can be figured out as a gesture that, by crossing the genre limits, not only reconfigure the way the narrative of Saer and Piglia could be read, but also rethink the crime fiction as a genre and the relations of both authors with the cultural context in which they develop their works.

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Mendonça, Luisa Alves de. « FICÇÃO E HISTÓRIA EM PÃO COZIDO DEBAIXO DE BRASA DE MIGUEL JORGE ». Pontifícia Universidade Católica de Goiás, 2011. http://localhost:8080/tede/handle/tede/3163.

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Made available in DSpace on 2016-08-10T11:06:48Z (GMT). No. of bitstreams: 1 LUISA ALVES DE MENDONCA.pdf: 759518 bytes, checksum: 39c0cb4e137ce1f1c1d07d45adbd4574 (MD5) Previous issue date: 2011-03-11
This dissertation aims mainly analyzing the work Pão cozido debaixo de brasa (2004), Baked Bread under ember (2004) by Miguel Jorge goiano writer. It will analyze the fiction of this author with the intention of identifying in his texts the presence of intertextuality, dialogism, polyphony, and discursive genres. In this aspect, will be discuss the relationship between history and contemporary fiction that takes historical events such as theme and turns them into literary texture. With this thought, it will seek to understand the Miguel Jorge s textual development, whose characteristics are linked to post-modern productions, drawing on the theoretical precepts of Hutcheon and the Maria Luiza Carvalho s essayist work, researcher and scholar of literary productions from Miguel Jorge writer. The theoretical depart from Bakhtin (2003), Kristeva (1974), Braith (1996), for a discussion about the power of the word when used as a discourse / recourse of the lower social classes. We also used the theoretical study of Hayden White (1995), André Trouche (2006), among others, with the intention to show how narratives structure fictionally the historical extractions. It is proposed in this research, a study on the relationship interdiscoursive between History and Fiction in the novels Veias e Vinhos (1985) Veins and Wines (1985) , Nos Ombros do Cão (1991) On Dog s shoulders (1991) and, in particular, Pão cozido debaixo de brasa (2004), Baked Bread under ember (2004). Then, through the concepts of discursive genres, intertextuality and polyphony will be observed the structures used by Miguel Jorge in order to meet the style and form from the writer.
Esta dissertação tem como objetivo primordial analisar a obra Pão cozido debaixo de brasa (2004) do escritor goiano Miguel Jorge. Visa analisar a ficção deste autor com a intenção de identificar em seus textos a presença da intertextualidade, do dialogismo, da polifonia e dos gêneros discursivos. Neste aspecto, serão discutidas as relações entre história e a ficção contemporânea que toma fatos históricos como tema e os transforma em tessituras literárias. Com esse pensamento, procurar-se-á compreender a elaboração textual de Miguel Jorge, cujas características estão vinculadas às produções pós-modernas, valendo-se dos preceitos teóricos de Hutcheon e da obra da ensaísta Maria Luiza Carvalho, estudiosa e pesquisadora das produções literárias do escritor Miguel Jorge. O embasamento teórico partirá de Bakhtin (2003), Kristeva (1974), Braith (1996), para uma discussão sobre o poder da palavra quando utilizada como discurso/recurso das classes sociais menos favorecidas. Utilizou-se também do estudo dos teóricos Hayden White (1995), André Trouché (2006), entre outros, com a intenção de mostrar como as narrativas estruturam ficcionalmente as extrações históricas. Propõe-se, nesta pesquisa, um estudo sobre a relação interdiscursiva entre História e Ficção nos romances Veias e vinhos (1985), Nos ombros do cão (1991) e, em especial, Pão cozido debaixo de brasa (2004). Em seguida, por meio dos conceitos de gêneros discursivos, intertextualidade e polifonia serão observadas as estruturas utilizadas por Miguel Jorge com o objetivo de conhecer o estilo e a forma do escritor.

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Bisson-Fradet, Rachel. « Dialogues entre les genres, les voix et les arts : l'écriture fictionnelle d'Elena Poniatowska (Querido Diego, te abraza Quiela ; Tinisima ; Leonora) ». Thesis, Normandie, 2019. http://www.theses.fr/2019NORMR114.

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À partir d’un corpus constitué de trois romans d’Elena Poniatowska, Querido Diego, te abraza Quiela (1978), Tinísima (1992), Leonora (2011), nous explorons les caractéristiques significatives de l’écriture fictionnelle poniatowskienne qui met la femme au centre de son univers narratif. Notre étude met en relief l’hybridité générique de ces trois ouvrages à partir de l’étude du livre-objet, puis de l’analyse des seuils. Nous montrons que l’auteure recrée la vie et l’oeuvre de trois artistes étrangères exilées au Mexique dans un espace textuel où s’entremêlent réalité historique et fiction romanesque. Dans un deuxième temps, nous explorons la fabrique du texte poniatowskien à travers les procédés scripturaux basés sur le collage de fragments de discours hétérogènes. Nous soulignons l’originalité d’une écriture qui, à la manière d’une mosaïque, imbrique les écrits des protagonistes, des extraits des propres oeuvres de l’auteure et de celles d’autres écrivains, auxquels s’ajoutent des références intermédiales qui transforment l’acte de lecture en exploration des relations entre différents médiums. Par ailleurs, l’approche résolument polyphonique des romans engage un dialogue entre les voix et les textes, offrant un regard global sur la femme artiste au XXème siècle. Enfin, la troisième partie s’attache à mettre en évidence la fabrique des personnages féminins. Les romans ancrent les trajectoires et les choix des trois femmes dans une société androcentrée tout en mettant en évidence l’incidence des personnages masculins dans leur construction transgressive. Les textes (re)présentent des regards sur les milieux traditionnellement hostiles à la femme et sur les parcours de sujets exceptionnels dans l’histoire artistique mexicaine
From a corpus composed of three novels by Elena Poniatowska, Querido Diego, te abraza Quiela (1978), Tinísima (1992), Leonora (2011), we are exploring the main characteristics of Poniatowskia’s fiction writing that puts women at the centre of her narrative world. Our study highlights the generic hybridity of these three works from the study of the book as an object, and then from the analysis of thresholds. We are showing that the writer recreates the lives and works of three foreign artists exiled in Mexico, in a text space where historical reality and novelistic fiction entangle. Then in a second time, we are exploring Poniatowska’s making of the text through the writing process based on sticking heterogeneous pieces of speech together. We are emphasizing the originality of her writing, for in the way of a mosaic, she links the protagonists’ writings, some excerpts from the author’s own works and from other writers, as well as intermedial references, that transforms the act of reading into an act of exploring relationships between different media. Besides, the resolutely polyphonic approach of the novels starts a dialogue between the voices and the texts, showing a global view on women artists in the 20th century. Finally, the third part aims at underlining the making of the female characters. The novels root the three women’s paths and choices in an androcentric society, and at the same time highlight the effects of the male characters on their transgressive developments. The texts (re)present views on traditionally hostile circles to women, and on the journeys of exceptional individuals in Mexico’s artistic history

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Venegas, de luca Pablo salvador. « Pour une sociologie constructiviste et phénoméno-compréhensive de l’expérience fictionnelle : sens et signification de l’expérience vécue de la fiction : une réalité signifiante mise entre parenthèses ». Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAH036/document.

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Les recherches qui analysent le phénomène de la fiction sont innombrables, mais rares sont celles qui l'abordent à partir du large spectre de ce que les sujets-acteurs ordinaires désignent et qualifient eux-mêmes, dans le contexte de leurs vies quotidiennes, comme étant fictionnel ou en tant que fiction. Le point de départ de cette thèse se situe précisément dans cette perspective, mais plus spécifiquement dans le cadre des connaissances de sens commun — univers des représentations subjectives et intersubjectives stabilisées dans le langage — que les sujets-acteurs ordinaires possèdent sur ce qu'ils appellent fiction, pour à partir de celles-ci articuler une compréhension sociologique(constructiviste et phénoméno-compréhensive) du sens, et de la signification, que ces sujets-acteurs confèrent à ce type d'expériences vécues dans le contexte de leurs vies de tous les jours.Dans le cadre de leurs connaissances ordinaires, ou connaissances de sens commun, ce que les sujets-acteurs désignent et signifient comme étant fictionnel — ou en tant que fiction —, dépasse largement le domaine des arts — tels que le cinéma, la littérature, ou le théâtre —, et avant de relever exclusivement de celui-ci, mais bien sûr en l'incluant, il se réfère davantage à un large spectre de situations ludiques que les sujets-acteurs connotent comme fictionnelles, un type d'expériences vécues ayant des caractéristiques fort particulières. Dans le cadre de ce type d’expériences les sujets-acteurs élaborent des représentations qu'ils savent être “fausses”, ils communiquent à d'autres des informations qui se présentent comme si elles portaient sur des choses réelles alors qu'elles sont tout bonnement inventées, ou encore ils s’intéressent à des récits, à des représentations visuelles ou à des actions dont ils savent qu'il s'agit de “semblants”. Dans ce sens, l'étendue de ce type de situations inclut ce que traditionnellement — et institutionnellement— on désigne comme fiction, c'est-à-dire les expériences vécues des sujets-acteurs avec des fictions artistiques — où une œuvre d'art met en scène un univers imaginaire —, tels que lire un roman ou regarder un film de fiction. Néanmoins, ce type de situations comprend aussi un genre d'expériences que les sujets-acteurs ordinaires articulent et signifient à partir d'une opposition ludique face à ce qu'ils désignent comme étant la réalité pour de vrai, ce que les traditions savantes de la fiction auraient un peu plus de mal à cataloguer directement en tant que fictionnelles, mais que dans le contexte d'une démarche sociologique phénoméno-compréhensive nous pourrions apparenter à ce qu'Alfred Schütz désignait comme les mondes de l'imagination et les phantasmes, tel que par exemple les expériences de rêveries éveillées, mais surtout celles de jeux-de-faire-semblant (appelés aussi jeux de faire-comme-si), et que nous pourrions apparenter également aux modalisations ou cadres transformés de la microsociologie d'Erving Goffman. Dans ce panorama, où au premier abord on pourrait penser que cette synonymie utilisée par les sujets-acteurs ordinaires, pour se référer à ces deux types de phénomènes en tant que fictions (les fictions artistiques institutionnalisées d'un côté, les expériences fictionnelles ludiques de l'autre), pourrait être totalement aléatoire et même équivoque, est — bien au contraire — la piste fondamentale et le point de départ à partir duquel s'articule cette recherche doctorale, par laquelle nous cherchons à comprendre le cœur significatif et constitutif de la fiction en tant qu'expérience vécue par des sujets-acteurs ordinaires
Research analyzing the phenomenon of fiction is countless, but rare is the one that approaches it from the broad spectrum of what the ordinary subjects-actors name and qualify themselves, in the context of their daily lives, as being fictional or as a fiction. The starting point of this thesis lies precisely in this perspective, but more specifically in the context of commonsense knowledge — universe of the stabilized subjective and inter-subjective representations within the language — that the ordinary subjects-actors have on what they call fiction, in order to articulate from these a (constructivist and phenomenological) sociological understanding of the meaning, and the significance that these subjects-actors confer to this type of experience in the context of their daily lives.In the context of their ordinary knowledge, or commonsense knowledge, what subjects-actors name and signify as fictional — or as fiction —, goes far beyond the field of arts - such as cinema, literature, or theatre - and before highlighting exclusively this, while including it of course, it refers more to a broad spectrum of playful situations that subjects-actors connote as fictional, a type of experience with very particular characteristics. In the context of this type of experiments, the subjects-actors develop representations of which they know that these are "false", they communicate to others information that is being presented as if it concerned real things while these are simply invented or they are interested in stories, in visual representations or in actions of which they know that these are "semblances". In this sense, the extent of these kinds of situations include that what traditionally — and institutionally— is named as fiction, that is to say the experiences of subjects-actors with artistic fictions — where a work of art depicts an imaginary world —, such as reading a novel or watching a fiction film. However, such situations also include a kind of experience that ordinary subjects-actors articulate and signify from a playful opposition at what they refer to as reality for real, that scholarly traditions of the fiction have a little more difficulty to catalog directly as fictional, but in the context of a comprehensive phenomenological-sociological approach we might resemble to what Alfred Schütz named as the worlds of imagination and phantasms, such as for example the experiences of daydreaming, but above all those of Make-believe Games (also called Pretend Plays), and that we also could resemble to modalizations or transformed frames found in Erving Goffman's microsociology. In this panorama, which at first glance one might think that this synonym used by ordinary subjects-actors, in order to refer to these two types of phenomena as fictions (the institutionalized artistic fictions on one side, the fictional playful experiences on the other hand), could be totally random and even ambiguous, is - quite the contrary - the fundamental way and the starting point from which articulates this doctoral research through which we seek to understand the significant and constitutive heart of fiction as experienced by the ordinary subjects/actors

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Cook, Adele M. « Genre, gender and nation : ideological and intertextual representation in contemporary Arthurian fiction for children ». Thesis, University of Bedfordshire, 2014. http://hdl.handle.net/10547/583211.

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Within late twentieth and early twenty-first century children’s literature there is a significant interest amongst authors and readers for material which recreates the Arthurian myth. Many of these draw on medieval texts, and the canonical texts of the English tradition have been particularly influential. Yet within this intertextual discourse the influence of the Victorian works is noticeable. This thesis explores the relationship between contemporary children’s Arthuriana and the gendered and national ideologies of these earlier works. Using feminist critical discourse analysis, it discusses the evolution of Arthuriana for the child reader, with a particular focus on four contemporary texts: Michael Morpurgo’s (1994) Arthur, High King of Britain, Mary Hoffman’s (2000) Women of Camelot: Queens and Enchantresses at the Court of King Arthur, Diana Wynne Jones’ (1993) Hexwood and the BBC series Merlin (2008-2012). Exploring the historicist and fantasy genres opens up a discourse surrounding the psychology of myth which within the context of Arthurian literature creates a sense of a universal ‘truth’. This work reveals that authorial intent, in both historicist and fantasy narratives, is often undercut by implicit ideologies which reveal unconscious cultural assumptions. The cultural context at the time of textual production and consumption affects the representations of both the ideologies of gender and nation and yet the authority of myth and history combine to create a regressive depiction more in keeping with literature from the Victorian and post-World War II eras. This is explored through a review of the literature for children available since the Age of Reason, and the didactic model which has been prevalent throughout the Arthurian genre. This thesis explores why a regressive representation is appealing within a twenty-first century discourse through an engagement with theories of feminism(s) and postfeminism. This thesis ascertains why the psychology of myth affects the reimagining of Arthuriana, and explores the retrospective nature of intertextuality in order to reflect on the trend for regressive representations in children’s Arthurian literature.

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Leperlier, Henry. « Canadian science fiction, a reluctant genre ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0033/NQ61856.pdf.

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Leperlier, Henri. « Canadian science fiction a reluctant genre ». Thèse, Université de Sherbrooke, 1998. http://savoirs.usherbrooke.ca/handle/11143/2707.

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Cette dissertation vise à une comparaison des littératures de sciences-fiction canadienne anglaise et canadienne française, principalement sous forme de roman ou de nouvelles publiées dans des anthologies. Elle consiste en une introduction générale du phénomène de la science-fiction en général et au Canada. Elle commence par dresser un historique de l'émergence de la science-fiction au Canada, des facteurs ayant favorisé son apparition et des conditions de sa création. Cet historique est suivi d'un examen des relations ambivalentes entre la science-fiction canadienne et la science. Une section de ce chapitre est consacrée aux voyages dans le temps et à leur crédibilité croissante dans le monde scientifique; nous constatons l'absence presque toatle de ce thème dans la science-fiction canadienne française, probablement influencée par une vision linéaire de l'histoire. La dernière partie se concentre tout particulièrement sur les protagonistes des deux courant de science fiction canadienne et des traits qui les différencient ou les unissent dans leurs attitudes et leurs vues philosophiques, plus particulièrement en relation avec les tendances déjà présentes dans la littérature et la société canadienne.

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Leperlier, Henri. « Canadian science fiction : A reluctant genre ». Sherbrooke : Université de Sherbrooke, 1999.

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Smith, Susan Ursula Anne. « Shifting (a)genders : gender, disability and the cyborg in American women's science fiction ». Thesis, University of Leicester, 2010. http://hdl.handle.net/2381/10223.

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Shifting (A)Genders examines the representation of cyborgs in post-war American women’s science fiction, focusing on issues relating to gender and disability. Drawing on ideas expounded in Donna Haraway’s ‘A Cyborg Manifesto’ (1985) and theories of disability that conceptualise the disabled subject as a figure that disrupts the human and gender identity, it explores the ways in which novels by C.L. Moore, Anne McCaffrey, James Tiptree Jr., Joan D. Vinge, Lois McMaster Bujold and Marge Piercy highlight the emancipatory potential of technology for marginalised subjects. While critics argue that Haraway’s theory of the cyborg is idealistic, failing to consider the materiality of the body, this thesis demonstrates that representations of the human-machine in women’s writing emerge at particular historical moments confronting gender stereotypes in science fiction when gender relations are unstable in American society. Situating texts in their socio-historical context, I argue that women writers portray cyborgs differently to male writers and challenge western heteropatriarchal concepts of the human subject. The thesis identifies a shift in focus from representations of female to male cyborgs in women’s writing, which reflect changing perceptions of the gendered and disabled body. It also asserts that anxieties about the instability of gender can be related to moments of social upheaval that define post-war America.

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Pittard, Christopher Allan. « Purity and genre : late Victorian detective fiction ». Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437150.

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Feral, Anne-Lise Louise Josiane. « Genre and gender in translation : the poetological and ideological rewriting of heroine-centred and women-oriented fiction ». Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4105.

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This thesis examines the impact of poetics and ideology on the French translations of eight contemporary heroine-centred and women-oriented fictional texts (including Helen Fielding’s Bridget Jones’s Diary). Using a systemic and descriptive framework (Toury 1995) as well as works on manipulation in translation (Lefevere 1992)(Venuti 1998), I explore the various ways in which these generically hybrid and ideologically complex texts have been rewritten according to the dominant poetics and ideology of the French roman sentimental. Interviews undertaken with editors and translators identify the perceived appeal of these texts to the French market: their romantic plot. As a comparative analysis of originals and translations reveals, this resulted in specific translational strategies regarding gender representations, notably poetological elements subverting a dominant model of romantic femininity. This thesis sheds light on the subtle differences between French and Anglo-American generic traditions and gender ideologies and its contribution is three-fold. Firstly, it adds to an emerging body of case studies which examine poetological and ideological revisions in the French translations of heroine-centred and womenoriented fictional texts (Cossy 2004, 2006, 2006a)(Le Brun 2003). Secondly, as the selection of a thematically – rather than formally – linked corpus of texts is still relatively uncommon in translation and intercultural studies, this thesis advances a new paradigm in the analysis of poetics and ideology in translation (Munday 2008): a self-reflexive approach which favours transversal examinations of specific aspects in thematically linked corpora. Thirdly, this study suggests that if women’s entertainment, produced and translated for mass consumption, reaches a broad audience worldwide and plays an important part in women’s socialisation, interdisciplinary studies of translations across forms can constitute a useful way of detecting the unspoken gender values of the cultures for which and by which they are produced.

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Caputo, Terra. « Love and Excess ? Women's Scandalous Fiction and the Discourse of Gender, 1680-1730 ». Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/349.

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This dissertation explores the surprising intersections among women's scandalous fiction and other popular genres in late seventeenth- and early eighteenth-century England. I use the term "women's scandalous fiction" to refer to the illicit tales of seduction authored by Aphra Behn, Delarivier Manley, and Eliza Haywood. Women's scandalous fiction has consistently been viewed, both by contemporary readers and writers and modern critics, as a distinct genre: contemporary writers explicitly distance their works from its illicit and immoral content and modern critics continue to focus on the transgressive aspects of the works to the exclusion of other considerations. Challenging earlier critics whose analyses rely on the superficial qualities of these texts, in this dissertation I emphasize the ideological consistency that aligns women's scandalous fiction with other popular prose genres of this period. This comparative work reveals a consistent ideal of moderation and restraint-across eighteenth-century genres-that evidences a larger cultural belief in the value of regulating sexual desire. Chapter one establishes the mutability of genre categories in the early eighteenth century in contrast to the narrow specificity of genre definitions constructed as a result of the modern critical "origins of the novel" debate. This chapter shows that, while modern genre distinctions are theoretically useful, it is important to recognize that contemporary readers of the early novel had different and significantly broader ways of categorizing genre. I also discuss eighteenth-century attitudes about gender and genre, and I highlight the importance these attitudes have for understanding the ideological connections among texts in the period. In chapter two I compare women's moral fiction with immoral fiction and argue that, though these genres differ in the nature and degree of their sexualized discourse, both genres convey an implicit critique of failed patriarchal influence. Using self-proclaimed moral fictions-Penelope Aubin's The Strange Adventures of Count de Vinevil and Jane Barker's Love's Intrigues-and stigmatized immoral, scandalous fiction-Behn's The History of the Nun and Haywood's The City Jilt-I argue that many of these texts idealize female self-restraint and hold father figures responsible for women's capacity to perform this model of female identity. Chapter three compares Haywood's Fantomina: or, Love in Maze and Manley's New Atalantis with two English translations of French pornographic texts, The School of Venus and Venus in the Cloister, and explores the ways in which differing patterns of sexual discourse construct surprising ideals of femininity; specifically, analysis of narratives of seduction shows that both genres defer power at moments of sexual encounters to the man, allowing the ideal of feminine passivity to prevail. Chapter four moves to popular periodical papers by Joseph Addison and Richard Steele that construct an ideology of the aesthetic subject that parallels libertine ideology; I argue that the similar constructions of libertine and aesthetic pleasure in Addison and Steele's The Spectator, Addison's "Pleasures of the Imagination" essays, Haywood's Love in Excess, and Behn's Love Letters Between a Nobleman and His Sister are underpinned by the same hegemonic systems of patriarchal authority that govern the ideological constructions of gender discussed throughout this dissertation. Ultimately, the analysis in these chapters shows that we should continue to question the degree to which Haywood, Manley, and Behn are "scandalous writers" whose works challenge dominant eighteenth-century discourses about gender. By instead recognizing the ideological intersections among these texts and "moral" texts of the period, we can see the ways in which these writers engaged with dominant discourses about gender in complex ways.

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Moura, Milena Martins. « Caio no abismo do paraíso : o gênero romanesco e a ficção autobiográfica em Os dragões não conhecem o paraíso, de Caio Fernando Abreu ». Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4186.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Seguindo a ideia exposta por Caio Fernando Abreu em nota introdutória presente em todas as edições de Os dragões não conhecem o paraíso de que o livro pode ser lido não apenas como um exemplar de contos, mas também como um romance-móbile (ou espatifado) e considerando que, por meio do conhecimento de dados biográficos de um escritor, é possível construir a biografia de um escritor através de sua obra, a presente dissertação busca analisar Os dragões não conhecem o paraíso sob a ótica de uma nova perspectiva de leitura, entendendo o livro como um romance de ficção autobiográfica e formação
Following Caio Fernando Abreus statement about Os dragões não conhecem o paraíso [in english, Dragons] in which the author declares that the aforementioned work may be read not only as a short stories book, but also as a mobile-novel (or crashed) and considering its possible, by the knowledge about a writers biographical data, to build an authors biography through his works, this dissertation intends to analyze Os dragões não conhecem o paraíso from a new reading perspective, which comprehends the book as an autobiographical fiction and formation novel

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Thèses sur le sujet « Fiction genres »

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