Memory and learning for a novel written style.

Subjects read and recalled a series of five short stories in one of four plot and style combinations. The stories were written in one of two styles that consisted of opposing clause orders (i.e., independent-dependent vs. dependent-independent), tense forms (i.e., past vs. present), and descriptor forms (modifier modifier vs. modifier as a noun). The subjects incorporated both plot and style characteristics into their recalls. Other subjects, who, after five recalls, either generated a new story or listed the rules that had been followed by the stories read, included the marked forms of the characteristics they learned more often, except for tense. The subjects read and recalled four stories of the same plot and style and then read and recalled a fifth story of the same plot and style or of one of the other three plot/style combinations. Ability to switch style depended on both the characteristic and the markedness.

Arquetipo y homofobia en el relato mexicano de temática gay

En este trabajo se pretende analizar cómo autores de diversas generaciones han contribuido al arraigo en el inconsciente colectivo, y en la misma literatura, a fijar valores y juicios predeterminados por los dogmas religiosos e ideologías de las instituciones gubernamentales. Para poder entender la evolución de los patrones del arquetipo y la homofobia, el análisis se realizará tomando en cuenta el orden cronológico en que se suceden los relatos, que van de la Revolución al término de la primera década del nuevo siglo, es decir cien años. También se analizarán los tratamientos estéticos y narrativos en los relatos.

Re-Visiting Sylvia Townsend Warner

Sylvia Townsend Warner was born in 1893 in Harrow and died in Dorset in 1978. Her writing career was both productive and diverse, spanning poems, short stories, novels, music reviews, a biography, translations of Proust, and a guide to Somerset. But this list, impressive as it is, does not do justice to the idiosyncrasy and heterogeneity of her work. While she is well known mostly for the seven novels she published, those works are all radically different in style and content. Indeed, Townsend Warner's singularity has, it could be argued, made it difficult to place her in the various fields and sub-fields of 20th-century literary studies. She shares as many similarities as differences with the high modernists who dominated the literary landscape of the interwar period. Likewise she fits, yet also resists, the more recent formulations of intermodernist and middlebrow scholarship that have attempted to interrogate and expand the horizons of mid-20th century literature.

O conto literário de temática açoriana: a ilha, o mar e a emigração

O conto literário de temática açoriana reflecte uma visão do mundo particular, resultante de condições geográficas, geológicas, climáticas, sociais, históricas e culturais. A análise dos textos permitiu-nos detectar recorrências temáticas inspiradas em impressões e experiências reiteradas relacionadas com a realidade circundante, as quais requisitam, constantemente, a expressão literária. A ilha, perspectivada eufórica e disforicamente, o mar e a emigração constituem elementos centrais no imaginário açoriano. O presente trabalho identifica e estuda as imagens e os temas mais importantes na trajectória deste conto, mostrando até que ponto se pode falar de uma tradição literária açoriana no contexto da literatura portuguesa.

Velhice na cultura contemporânea: um estudo sobre a perda emocional profunda

A velhice é uma etapa da vida marcada por múltiplas perdas simbólicas e/ou concretas que, embora se apresentem inelutáveis e façam parte integrante do ciclo da vida, são, para o sujeito que as vivencia, experiências penosas que obrigam a novas formas de existir. As sociedades contemporâneas, sociedades hedonistas onde a morte é tabu e o tempo um bem precioso, condicionam amplamente a forma como as pessoas idosas, especialmente as institucionalizadas, lidam com a perda, uma vez que este processo implica a aceitação de uma nova vida e a (re)estruturação da identidade própria. Não alheias ao condicionamento social, a cultura e as mundividências culturais afetam, de forma decisiva, o modo como a adaptação à perda decorre na quotidianidade das instituições de acolhimento para pessoas idosas. A presente investigação, elaborada no âmbito dos Estudos Culturais, assume um carácter qualitativo, com contornos etnográficos, e analisa 15 “mini-histórias” de vida de indivíduos com mais de 75 anos de idade, residentes em estruturas residenciais, e que sofreram uma perda emocional profunda por morte do cônjuge, já na idade adulta avançada. Num momento em que a institucionalização permanente em estruturas de acolhimento é uma das respostas sociais mais utilizadas pelos indivíduos idosos e suas famílias, procuramos, com este estudo, conhecer as condições críticas presentes na interiorização de um perfil adaptativo ou não adaptativo à perda e que, consequentemente, condicionam a forma como se mobilizam as respostas adaptativas na (re)composição do quotidiano do sujeito idoso enlutado.

Da infância para o mundo: as leituras que educam para os valores e formam o carácter

Neste artigo pretende-se reflectir sobre a importância da leitura de contos para o desenvolvimento moral e ético na infância. Partindo da confusão entre valores e opiniões e das dificuldades em educar para os valores num mundo anti-ético, comenta-se a relevância do ritual da ―Hora do Conto‖ – tanto à hora de dormir como durante o dia – e da terapia através dos contos. Defende-se ainda que a reflexão e a consciencialização que advêm da leitura de alguns contos – de que se sugerem exemplos – permitem a aquisição de referências sólidas no âmbito duma ―ética de salvaguarda‖: de si, dos outros, da natureza e do mundo.

Lini Richarda Grol Fonds, 1946-2007

Lini Richarda Grol was originally born in Nijmegen, Netherlands in 1913 and immigrated to Canada in 1954 after working as a nurse in South America for three years from 1951 to 1954. She was granted her first Canadian passport in 1961 and worked full-time as nurse at the Welland County Hospital. While nursing she would enroll in writing courses at McMaster University and Ryerson Polytechnical Institute, now Ryerson University. Eventually she decided to dedicate herself to her writing and artwork and began to only work as a nurse part-time and then later opened the Fonthill Studio to devote herself to her writing and artwork full-time. Her status as an immigrant and career as a nurse provided inspiration for much of her writing and she frequently tackles the experience of the female immigrant in her works. Her first publication was in 1938 in a small literary and women’s magazines in Holland and Belgium and her first work of poetry was entitled Stive Gedachten. None of these publications exist in this archive. Her most well-known publication, Liberation, centers around her experiences leading up to and after the liberation of Holland during World War II. Grol was, and continues to be a prolific writer in the Niagara Region and has been published in the Welland Tribune, Pelham Herald, Thorold News, Parent Magazine, Dunville Chronicle, and various Christian publications and literary newsletters and journals. Grol also started her own poetry magazine entitled Canadian Poets Pen Club to help aspiring writers get published. Perhaps her most recognized achievement was the inclusion of one of her poems and the recognition of her novel Liberation into the Thank You Canada Day celebration in May 1970. Grol participated in many local writers’ groups such as the Welland Writer’s Club, and the Canadian Author’s Association. Grol was membership secretary for the Canadian Author’s Association in 1984. She also founded a writer’s club in 1995 in her retirement home, Holland Christian Homes where members meet to talk about their poems and short stories either in English or Dutch. Participating in and creating a writers’ community is integral to Grol’s identity as an author and can be related to the feelings of isolation she felt as an immigrant to Canada. Grol also hosted her own television shows entitled Discovery with Lini Grol which featured guests, usually local artists and writers, and Holland en Hollanders a cultural program for Dutch immigrants. Grol’s most recent activities include the publication of a one act play entitled Peppermint Problems [1996] and a short story entitled “When our War started in Rotterdam” [2004]. In 1994, she moved to Brampton, Ontario into a Christian retirement center called Holland Christian Homes. For further biographical information about Grol see two books contained within this collection Women of Action [1976] and Something About the Author [1976].

Collection of Canadian periodical clippings and Peninsular Game Club of St. Catharines broadside, 1874, [1910-1950]

Items include: 13 small poems clipped from newspapers. None of the poems list authors. Most of the poems are based on life lessons. Clippings of short stories which appear to have come from a St. Catharines newspaper. The stories include anecdotes, humour and medical advice. There is no author listed on any of the stories. 2 coloured sewing machine advertisements each measuring 9 cm. x 13 cm. and 9 cm. x 14 cm. 1 broadside measuring 27 cm. x 37 cm. and posted by the Peninsular Game Club of St. Catharines. The broadside is a copy of the game laws of 1874 with a warning that breach of these laws will bring rigorous prosecution.

Estelle Cuffe Hawley fonds, 1852-1999, n.d.

Estelle Cuffe Hawley (1894-1995) was an educator, businesswoman and politician, who became the first woman alderman on the St. Catharines City Council. She began her career as a teacher in Peterborough in 1913, and later taught in St. Catharines at Connaught School and St. Paul’s Ward School, where she served as Principal for six years. In 1928-29, she worked as an exchange teacher in Edmonton, Alberta. This would be Estelle’s last year in the teaching profession. She moved back to St. Catharines in 1930 and began a career in business, as an employee of Sun Life Assurance Co. She remained in this profession until around 1952. It was during this period that she became very active in the community and local politics. In 1934 she was elected to the St. Catharines Board of Education, where she advocated for the improvement of teachers’ salaries, the introduction of nursing services in schools, and the inclusion of music in the curriculum. She served as a member of the school board until 1937. The following year, she became the first woman elected to the St. Catharines City Council. As an alderman, she worked to improve the community's social welfare services, serving consecutively as chairman of all committees. She established comprehensive health services (including medical, dental and nursing), in the public, separate and secondary schools of St. Catharines, the first program of its kind in Canada. She was also instrumental in establishing minimum housing standards and engaging the public in local government by arranging a series of lectures by city officials. She remained a member of City Council until 1943. The following year she campaigned unsuccessfully for the mayoralty. In 1953 she married Hubert Hawley and moved to Orillia. She continued to remain active in the community, serving as President of the Ontario Recreation Association from 1950-1953, and editor of their Bulletin from 1955-1961. During the 1960s, she worked with various groups, including the Voice of Women, the Mental Health Association and the Freedom from Hunger Campaign. In addition to this work, Estelle wrote poetry and short stories, some of which were published in the Peterborough Review, the Globe and Mail and the Canadian Churchman. Some of her short stories (often about her childhood experiences) were broadcast on the CBC, as well as her experiences as a Town Councillor (under the pseudonym Rebecca Johnson in 1961). She also broadcast a segment that was part of a series called “Winning the Peace” in April 1944. Estelle was a sought-after public speaker, speaking on topics such as peace, democracy, citizenship, education, and women’s rights. In 1976, Brock University conferred an honorary Doctor of Law degree to Estelle for her leadership as an educator, businesswoman and a stateswoman. Her husband Hubert died that same year, and Estelle subsequently moved to Mississauga. With the assistance of an Ontario Heritage Foundation grant, she began work on her memoir. She later moved back to Orillia and died there in 1995, at the age of 101.

Le conte de fées parodique français du XVIIIe siècle : un discours antimerveilleux

À première vue inoffensif, le conte de fées parodique français du XVIIIe siècle dissimule, sous le couvert de la féérie, un discours anticontesque et antiromanesque. Qu'ils soient explicites ou non, ces propos prennent généralement forme dans les métalepses émises tant par les narrateurs que par les narrataires dans le texte lui-même ou dans le péritexte auctorial. L'élaboration d'une typologie, à partir de dix contes publiés entre 1730 et 1754, offre une vue d'ensemble de ce phénomène narratif épars et ouvre la voie à une analyse transversale des discours tenus dans ce trope. Loin d'être innocent, le contenu des métalepses contesques laisse poindre une nouvelle poétique du conte et du roman qui s'éloigne progressivement de l'idéal classique régissant toujours ces deux genres au XVIIIe siècle.

Le Corps grotesque dans «Les Cent Contes drolatiques» d'Honoré de Balzac

Honoré de Balzac est aujourd’hui connu pour être le père du roman moderne et l’écrivain de La Comédie humaine. Mais nous oublions souvent qu’entre 1830 et 1832, au début de sa carrière, l’auteur a écrit, comme plusieurs écrivains de son temps, des contes. De multiples facteurs peuvent expliquer cet intérêt : les Contes fantastiques d’Hoffmann sont traduits de l’allemand en français et leur succès est immédiat. De plus, les nouveaux modes de publication littéraire, dans les revues et les journaux, favorisent la prolifération du genre. Un corpus retiendra notre attention : Les Cent Contes drolatiques, un projet, impopulaire en son temps, avec lequel Balzac souhaite « restaurer l’école du rire » en France. Au milieu du dix-neuvième siècle, l’auteur recrée des contes comme ceux que Rabelais, Verville et la reine de Navarre écrivaient en leur temps, trois ou quatre siècles auparavant. Pour ce faire, Balzac invente un langage qui simule le vieux français et crée des personnages grotesques. Qu’est-ce, dans l’écriture balzacienne, que l’esthétique du rire, et comment l’auteur exprime-t-il ce concept dans ses Cent Contes drolatiques? Pour répondre à ces questions, nous étudierons les manifestations du grotesque dans l’ensemble de l’œuvre de l’auteur. Aussi, selon Mikhaïl Bakhtine, dans L’Œuvre de François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance , le grotesque, uni au rire, est relié au corps : « Le trait marquant du réalisme grotesque est le rabaissement, c’est-à-dire le transfert de tout ce qui est élevé, spirituel, idéal et abstrait sur le plan matériel et corporel. » Par conséquent, ce sont les représentations du corps que nous examinerons dans ce travail. Finalement, l’étude du corps grotesque dans Les Cent Contes drolatiques montrera une autre facette de l’écriture balzacienne, souvent ignorée par les chercheurs : l’importance du rire et la vision du monde que celui-ci communique à travers la littérature.

Influence du vieillissement sur la réorganisation cérébrale dans la compréhension du discours : apport de l’imagerie optique

Au cours du vieillissement, des modifications dans la compréhension du discours ont été rapportées, attribuées en partie aux changements cognitifs encourus lors du vieillissement. Néanmoins, diverses études suggèrent une réorganisation cérébrale lors du vieillissement. Cette étude a pour but d'évaluer l'influence de l'âge lors d'une tâche de compréhension du discours à l'aide de l'imagerie optique. Comme première hypothèse, il est attendu que les participants jeunes auront plus de bonnes réponses au niveau des micropropositions et des macropropositions et des performances équivalentes au niveau du modèle de situation. La deuxième hypothèse est que les réseaux neuronaux utilisés lors de la compréhension du discours subiront une réorganisation cérébrale lors du vieillissement. Trente-deux participants ont pris part à cette étude : 16 jeunes adultes et 16 adultes âgés. Alors que les participants étaient sous enregistrement en imagerie optique au niveau du cortex préfrontal (CPF), ils ont lu des courtes histoires chacune suivie d’une phrase et devaient décider si elle était en accord ou non avec la précédente histoire. Les résultats ne montrent aucune différence entre les groupes au niveau de l’exactitude des réponses, contrairement à la littérature. Le CPF a été davantage activé par les adultes âgés comparativement aux jeunes adultes témoignant d’une réorganisation cérébrale.

Dramatizing whoredom : prostitution in the work of Tennessee Williams

Cette thèse explore le leitmotiv de la prostitution dans l’oeuvre de Tennessee Williams et soutient que la plupart des personnages de Williams sont engagés dans une forme de prostitution ou une autre. En effectuant une analyse formaliste des textes de Williams qui illustrent toute forme de prostitution, avec une attention particulière à quatre grandes pièces, A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), Suddenly Last Summer (1958) et Sweet Bird of Youth (1959), cette présente étude fait valoir que le dramaturge utilise un mode de fiction—le gothique—en lien avec une pratique transgressive—la prostitution—pour relier les classes sociales et troubler les catégories de prostitution. Ce faisant, Williams offre une vision plus représentative et nuancée de la prostitution. Théoriquement, cette thèse repose sur des oeuvres critiques portant sur le genre, la sexualité et l'histoire de Michel Foucault, David Savran, et Michael Paller afin de situer la dramaturgie de Williams dans le contexte historique et culturel des années 1940 et 1950. La première partie de cette thèse (chapitres un et deux) fournit de nombreuses informations autobiographiques et biographiques qui expliquent pourquoi la prostitution est devenue le thème de prédilection pour Williams. Cette section met l’accent sur sa préoccupation constante à l’égard de sa prostitution artistique (en prostituant son art pour le succès commercial) et sexuelle (en payant pour des prostitués). Cette partie présente également un inventaire détaillé des prostituté(e)s, que je divise en trois catégories: 1) la prostitution des enfants, 2) la prostitution masculine et 3) la prostitution féminine. La deuxième partie de cette étude, composée des chapitres trois et quatre, identifie les personnages de Williams qui s’engagent dans une forme de prostitution morale. Ce groupe comprend ceux qui tirent directement profit de la prostitution des autres ainsi que ceux qui se marient uniquement pour un gain financier ou une promotion sociale ou les deux. L’oeuvre de Williams résiste la représentation stéréotypée de la prostituée en littérature comme étant uniquement de sexe féminin ou provenant des classes sociales défavorisées ou les deux. La prostituée de Williams n’est ni une figure romantique ni une rebelle menaçant la société. Cette thèse conclut qu’en représentant des enfants prostitués, des femmes de rue, des prostitués de sexe masculin, des souteneurs, des proxénètes, des propriétaires de bordels, des leaders corrompus et des personnes qui se prostituent en concluant des mariages de convenance, Williams a effectivement et incontestablement dramatisé la prostitution sous toutes ses formes.