Dissertations / Theses on the topic 'Epiphany in literature'

Thesis (MPhil(R)) - University of Glasgow, 2008.
MPhil(R) thesis submitted to the Department of Scottish Literature, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.

The House of Mirth's main character, Lily Bart, is charaterized a fated character, incapable of exerting free will. With the help of Lawrence Selden and Gerty Farish, she realizes that, for the most part, she has lived and acted according to what others expect of her.

Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-1115104-130630 Includes bibliographical references. Also available via Internet at the UMI web site.

Orientador: Maria Heloisa Martins Dias
Banca: Maria Lúcia Outeiro Fernandes
Banca: Susanna Busato
Resumo: O presente trabalho propõe o estudo da obra Os anjos (2000), da escritora portuguesa Teolinda Gersão, para focalizar a trajetória das personagens femininas que protagonizam o enredo e o conjunto de experiências epifânicas oriundas desse percurso, o que as direciona rumo a uma libertação identitária. Em vista disso, parte-se dos pressupostos teóricos da narrativa de aprendizagem também denominada Bildungsroman, a fim de se investigar como ocorre a sua inovação perante o histórico dessa modalidade na literatura portuguesa com enfoque no sujeito feminino. Nesse processo, constatam-se os elementos pertinentes do gênero em questão e, na análise da estrutura narrativa e das unidades temáticas presentes na obra, argumenta-se em torno da visão feminina, ou seja, do olhar das duas personagens-protagonistas na busca de uma adaptação ao mundo exterior sem que se privem da autoestima ou aceitem a imposição de valores socioculturais. Assim, neste trabalho, reflete-se também sobre o domínio da linguagem e a possibilidade da releitura do discurso persuasivo do outro como elementos agenciadores de desestruturação dos meandros ideológicos contidos na falácia social e descobertas epifânicas a serem decifradas no processo de autoconhecimento dessas personagens.
Abstract: The following thesis proposes to study the novella The Angels (2000), by the Portuguese author Teolinda Gersão, in order to focus on the development of the protagonist female characters of the narrative and the set of epiphany experiences originated from such development, which lead them to their identity liberation. Starting on the theoretical basis of the "novel of formation", also called Bildungsroman, the innovations in the genre of this Portuguese Literature mode are investigated, through the focus on the female subject. In this process, the elements of the genre are observed, as well as the analysis of the narrative structure and the theme units present in the novella. The feminine point of view is discussed, that is, the two main characters and their search for an adjustment to the world they are in, without the loss of their self-esteem, nor the acceptance of the impositions of social and cultural values. Furthermore, this thesis shall reflect about the language domination and the possibility of a re-reading of the persuasion discourse of the 'other' as elements that allow the destructuration of the ideological meanders belonging to the social fallacy, through the process of self-knowledge experienced by these characters.
Mestre

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This paper seeks to understand the method for building happiness in the short stories of Clarice Lispector. The goal is to reflect upon the question of happiness, asking whether happiness can be associated to a moment of lucidity, of self understanding, associated to an epiphany. To this investigation, the following hypothesis were considered: that happiness is written in the writing process and the paradox is one of the keys to this process; that the search for the construction of happiness reflects the union of joys and agonies of human beings, and that the happiness metaphor reveals the proceedings to reach the epiphany. The following short stories were selected to this study: Felicidade Clandestina (Clandestine Happiness) and Feliz Aniversário (Happy Birthday). The theoretical base that supports this analysis is focused on three pillars. Concerning happiness, the philosophical concepts of Aristotle and Epicurus were prioritized. As to the aesthetic effects projected by the discursive action, the references searched were Poe, Cortázar and Sant Anna. To discuss happiness and epiphany, the base used here is the studies of Olga de Sá. This paper explores in its three chapters the genesis of the happiness discourse, the structure of the claricean short story, the story analysis, the happiness dialectic, and the contradictions of beings and language that result in texts built without a happy end. Amongst other conclusions, it was found that in the process of building the happiness discourse some existential truths are revealed in fractions of seconds, and those existential truths question themselves continuously, emulating the contradictions of human beings in finding happiness with an epiphany
A presente dissertação busca apreender o método de construção da felicidade em contos de Clarice Lispector. Objetivando refletir sobre a problemática da felicidade, perguntamo-nos se a felicidade pode ser associada a um momento de lucidez, de entendimento do próprio eu , associando-se à epifania. Consideramos para esta investigação, as seguintes hipóteses: a felicidade está inscrita no processo de escritura, sendo o paradoxo uma das chaves desse processo; a busca da construção da felicidade reflete a união das alegrias e agonias do ser humano e a metáfora da felicidade revela os procedimentos para se chegar à epifania. Para o estudo, foram selecionados os contos: Felicidade Clandestina e Feliz Aniversário . A fundamentação teórica que sustenta a análise é alicerçada em três pilares. No que diz respeito à felicidade, priorizamos os conceitos filosóficos de Aristóteles e Epicuro. Com relação aos efeitos estéticos projetados pela ação discursiva, buscamos referências em Poe, Cortázar e Sant Anna. Para a discussão da felicidade e da epifania, fundamentamo-nos, primordialmente, nos estudos de Olga de Sá. O trabalho procura explorar, ao longo de três capítulos, a gênese do discurso da felicidade, a estrutura do conto clariceano, a análise dos contos, a dialética da felicidade e as contradições do ser e da linguagem que resultam na construção de textos sem happy end. Entre outras conclusões, apreende-se, no processo de construção do discurso da felicidade, a revelação, em frações de segundos, de verdades existenciais que se questionam continuamente, a mimetização das contradições do ser humano no encontro da felicidade com a epifania

Pojęcie epifanii jest dzisiaj często odnoszone do wczesnej estetyki Jamesa Joyce’a. Dzieje się tak nie bez przyczyny – Joyce nie tylko w mistrzowski sposób stosował poetykę epifanii w swoich powieściach, opowiadaniach i utworach poetyckich; to właśnie on pierwszy nadał angielskiemu słowu epiphany znaczenie, w jakim jest ono dzisiaj powszechnie używane przez literaturoznawców. W powieści Stefan bohater (Stephen Hero), pierwszej wersji późniejszego Portretu artysty z czasów młodości, tytułowy bohater powieści podkreśla związek epifanii z literaturą, sugerując, że sporządzenie starannego zapisu literackiego utrwalającego każde „duchowe” doświadczenie epifanii („spiritual manifestation”) jest powinnością każdego artysty – pisarza bądź poety. Mimo że to właśnie Joyce spopularyzował termin epifania w literaturze, konwencja literacka polegająca na sugestywnym przedstawieniu momentu intuicyjnego wglądu lub momentu postrzegania, któremu towarzyszy szczególnie wyostrzona percepcja, istniała i była popularna dużo wcześniej. Krytycy M. H. Abrams, Morris Beja, Robert Langbaum czy Ashton Nichols podzielają pogląd, że ważnym poprzednikiem modernistycznej epifanii literackiej była dobrze znana w epoce romantyzmu poetyka „Momentu”. Za jej twórcę jest zwykle uważany William Wordsworth, ale nie był on jedynym poetą stosującym tę estetykę w swojej twórczości w okresie romantyzmu. Do poetyki epifanii wracają później, chociaż nieco rzadziej niż w romantyzmie, poeci epoki wiktoriańskiej. W okresie modernizmu epifania literacka dość szybko ewoluuje, jednocześnie zyskując na popularności – stosuje się ją niemal powszechnie w modernistycznej prozie jako narzędzie nadające jej strukturę. Jednakże dwudziesty wiek to nie tylko wyraźna obecność epifanii literackiej w prozie – jest ona w dalszym ciągu stosowana w poezji, a wcześniej obowiązujące modele i konwencje ulegają dynamicznym zmianom również tutaj. Pośród poetów, którzy często stosowali poetykę epifanii w swojej twórczości, jednym ze szczególnie godnych uwagi jest Irlandczyk William Butler Yeats. Yeats, wizjoner i okultysta, który uważał się w młodości za duchowego spadkobiercę Blake’a i Shelleya, a u schyłku życia wciąż twierdził, że był jednym z „ostatnich romantyków”, jest dzisiaj często uważany za jednego z najważniejszych i najbardziej interesujących anglojęzycznych modernistów. Jego poezja początkowo powstawała pod wyraźnym wpływem literatury anglosaskiego romantyzmu, później widoczne są w niej wpływy symbolizmu i poezji wiktoriańskiej, a w dojrzałym wieku i pod koniec życia poety – wpływy poezji powstającej w czasie najbardziej dynamicznego rozwoju brytyjskiej literatury doby modernizmu. Ta różnorodność wpływów i wielość inspiracji znajduje swój wyraz w wyjątkowo zróżnicowanych przedstawieniach momentu-epifanii w poezji Yeatsa. Celem pracy doktorskiej Epifania literacka w poezji Williama Butlera Yeatsa (Literary Epiphany in the Poetry of W. B. Yeats) jest zbadanie tych różnorodnych przedstawień oraz odpowiedź na pytanie czy, a jeśli tak, to w jaki sposób i w jakim stopniu, Yeats przekształcał i adaptował istniejące, znane modele i konwencje charakterystyczne dla poetyki epifanii. Opracowanie liczy pięć rozdziałów. W rozdziale pierwszym omawiane są teoretyczne aspekty epifanii w literaturze. Drugi rozdział analizuje w kontekście kulturowym charakterystyczne dla literatury danego okresu użycia poetyki „momentu”, towarzyszące im konwencje oraz wybrane przedstawienia epifanii. Przegląd ten ma ułatwić przyjrzenie się specyfice poetyki epifanii literackiej w poezji Yeatsa w kolejnych rozdziałach i z tego względu omawiana jest tu przede wszystkim literatura powstała między rokiem 1798 (rok publikacji Ballad lirycznych Wordswortha i Coleridge’a) a latami trzydziestymi dwudziestego wieku. W rozdziałach trzecim, czwartym i piątym analizowane są wybrane wiersze Irlandczyka; zachowany jest tu porządek chronologiczny pozwalający na zbadanie, w jaki sposób jego strategie użycia poetyki epifanii zmieniały się na przestrzeni lat. Przeprowadzone analizy pozwalają stwierdzić, że Yeats niejednokrotnie wykorzystywał znane strategie przedstawiania epifanii-momentu, a jednocześnie w istotny sposób je przekształcał i adaptował, tworząc nowe, charakterystyczne dla siebie modele i wzorce. W początkowym okresie twórczości poeta posługuje się konwencjami znanymi w okresie romantyzmu, w tym towarzyszącymi często w tym okresie poetyce epifanii kategoriami wzniosłości i piękna, by konstruować utwory, w których epifaniczny „moment” często pod wieloma względami upodabnia się do swojego pierwowzoru z epoki romantyzmu. W tym czasie Yeats często pisze krótsze wiersze, których zwykle przejrzysta, spójna struktura ma na celu stworzenie określonej atmosfery emocjonalnej („mood”) w końcowej części utworu. Już wówczas w poezji Irlandczyka widoczne są wpływy symbolizmu, a w nieco późniejszym okresie – modernizmu. Ten proces stopniowej zmiany stylu spowoduje odejście od ściśle romantycznych konwencji przedstawiania epifanii, a ilustrują go przywoływane w rozdziale trzecim przemyślenia poety. W poezji opublikowanej w tomiku Responsibilities (1914) wpływy modernizmu są już bardzo wyraźne, a sam moment wglądu ma w wielu przypadkach stosunkowo rzadko spotykaną w poezji romantyków egatywną, pesymistyczną wymowę (np. w „The Cold Heaven” i „The Magi”). W wierszach tego okresu tak język jak i obrazowanie cechuje dalsze odejście od romantycznych wzorców. Jednocześnie Yeats stopniowo odchodzi od wielu stosowanych w romantyzmie konwencji przedstawiania epifanii, wybierając modernistyczny minimalizm i ekspresję pojedynczego obrazu w miejsce bardziej typowej dla romantycznej „chwili” dłuższej formuły opisowej, w której istotna jest dokładnie scharakteryzowana postać podmiotu lirycznego, sceneria i dramaturgia wydarzeń poprzedzających moment wglądu. Ówczesna koncepcja wyrazistego obrazu i pozbawionego abstrakcji języka, którą Yeats przeciwstawia „bezcielesnej emocji” poezji niektórych symbolistów i poetów wiktoriańskich, pod wieloma względami współbrzmi z założeniami imagizmu Pounda. Z drugiej strony charakterystyczna dla poezji Yeatsa w tym okresie tendencja do upatrywania źródła epifanii w tym, co nierealne, wyobrażone, wizyjne jest w dużym stopniu antymodernistyczna – archetypowy modernistyczny „moment” związany jest przecież z estetyzacją tego, co pospolite, codzienne czy banalne. Yeats pozostaje przez dłuższy czas pod wpływem poetyki wizji: w nieco późniejszych wierszach “The Second Coming” i “Leda and the Swan” ta tendencja jest jeszcze wyraźniejsza, a wizyjny charakter epifanii jest zaakcentowany poprzez kontekst, który stanowią ekscentryczne teorie tworzone w tym okresie przez poetę i szczegółowo opisane w A Vision. Irlandczyk wkrótce powraca do niektórych form i konwencji charakterystycznych dla poetyki epifanii w romantyzmie – estetyka ta jest obecna w tomikach The Wild Swans at Coole, The Tower i The Winding Stair and Other Poems. W tym późniejszym okresie twórczości Yeatsa przeżywany „moment” jest jednak w kontekście wymowy całości utworu zwykle pozbawiony wiary i optymizmu, które są zwykle dobrze uchwytnymi cechami jego romantycznego pierwowzoru. Utwory wykorzystujące niektóre konwencje popularne w romantyzmie mają zazwyczaj charakter dialogu teraźniejszości z przeszłością. W przeciwieństwie do wspomnianych wcześniej epifanii-wizji, w których osoba relacjonująca wydarzenia pozostaje często anonimowa, a niekiedy jest całkowicie ukryta, podmiot liryczny jest tu na ogół postacią pierwszoplanową. W tym okresie jako model, który pozwala na wykorzystanie konwencji epifanii, pojawia się niekiedy the greater Romantic lyric – opisana przez M. H. Abramsa, często stosowana w epoce romantyzmu forma dłuższego wiersza, w którym przemyślenia podmiotu lirycznego pozostają w ścisłym związku z obserwowanymi przez ów podmiot elementami określonego miejsca lub krajobrazu i niejednokrotnie prowadzą do doświadczenia wglądu. Inną strategią pozwalającą Yeatsowi na posłużenie się konwencjami jest przywołanie epifanii ukazywanej w sposób typowy dla romantyzmu – jako przeżywany przez podmiot liryczny ulotny moment intuicyjnego poznania, który umożliwia głęboką przemianę. W tym okresie poeta na ogół przekształca tę konwencję: umieszcza tak przedstawiony moment w przeszłości, sugerując, że taki sposób przeżywania jest niemożliwy dla podmiotu lirycznego w jego obecnej sytuacji. Kontrast między „tu i teraz” a „tam i wtedy” jest często dodatkowo podkreślony poprzez formę utworu: spójność i harmonia zwykle krótkiego fragmentu zwięźle opisującego moment krótkotrwałego olśnienia epifanii jest przeciwstawiana modernistycznemu kolażowi lub brakowi harmonii charakteryzującymi całą kompozycję; tym samym wymowa całości utworu zazwyczaj zaprzecza pozytywnej wymowie krótkiego fragmentu. W poezji napisanej po roku 1933 (rok publikacji tomiku The Winding Stair and Other Poems) epifania literacka pojawia się rzadko, kiedy jednak Yeats decyduje się na jej użycie, przybiera ona formy mało konwencjonalne i mało charakterystyczne, a jej sposób prezentacji zawiera niekiedy elementy groteski i surrealizmu.

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O presente trabalho propõe o estudo da obra Os anjos (2000), da escritora portuguesa Teolinda Gersão, para focalizar a trajetória das personagens femininas que protagonizam o enredo e o conjunto de experiências epifânicas oriundas desse percurso, o que as direciona rumo a uma libertação identitária. Em vista disso, parte-se dos pressupostos teóricos da narrativa de aprendizagem também denominada Bildungsroman, a fim de se investigar como ocorre a sua inovação perante o histórico dessa modalidade na literatura portuguesa com enfoque no sujeito feminino. Nesse processo, constatam-se os elementos pertinentes do gênero em questão e, na análise da estrutura narrativa e das unidades temáticas presentes na obra, argumenta-se em torno da visão feminina, ou seja, do olhar das duas personagens-protagonistas na busca de uma adaptação ao mundo exterior sem que se privem da autoestima ou aceitem a imposição de valores socioculturais. Assim, neste trabalho, reflete-se também sobre o domínio da linguagem e a possibilidade da releitura do discurso persuasivo do outro como elementos agenciadores de desestruturação dos meandros ideológicos contidos na falácia social e descobertas epifânicas a serem decifradas no processo de autoconhecimento dessas personagens.
The following thesis proposes to study the novella The Angels (2000), by the Portuguese author Teolinda Gersão, in order to focus on the development of the protagonist female characters of the narrative and the set of epiphany experiences originated from such development, which lead them to their identity liberation. Starting on the theoretical basis of the “novel of formation”, also called Bildungsroman, the innovations in the genre of this Portuguese Literature mode are investigated, through the focus on the female subject. In this process, the elements of the genre are observed, as well as the analysis of the narrative structure and the theme units present in the novella. The feminine point of view is discussed, that is, the two main characters and their search for an adjustment to the world they are in, without the loss of their self-esteem, nor the acceptance of the impositions of social and cultural values. Furthermore, this thesis shall reflect about the language domination and the possibility of a re-reading of the persuasion discourse of the ‘other’ as elements that allow the destructuration of the ideological meanders belonging to the social fallacy, through the process of self-knowledge experienced by these characters.

The starting premise of this dissertation is that the formal techniques of comedy make the comic novel a distinct form within the category of the novel, not just in terms of content, the way one novelistic genre is distinct from another, but also in terms of form, similar to the way poetry is distinct from prose. The argument is that the formal structures of comedy, such as set-ups, punchlines, and comic rhythm, combine to constitute a formally rigorous, almost rule-bound art form. These techniques are explored through close readings of various 20th century comic novels, in particular Voyage au bout de la nuit by Louis-Ferdinand Céline, Le Sabotage amoureux by Amélie Nothomb, Moskva-Pethushki by Venedikt Erofeev and Catch-22 Joseph Heller. The further extension of this argument is that these formal structures create certain fundamental characteristics the comic novel, which in turn instantiate spiritual and emotional functions of the comedy on a structural level. The most important of these functions are that comedy serves creates a sudden, epiphanic awareness of reality, a sense of self-transcendence, and an instant bond between people. Finally, the dissertation considers the limitations of these functions. For example, comedy creates awareness of that which was previously latently grasped, but rarely substantively new knowledge. The sense of self-transcendence it is real but momentary, fleeting. And the connection it fosters between people is instant but limited by its own basic impersonality.

Geographic Intersection: Urban Landscapes, the Natural World, and the Epiphanic Moment is a collection of poetry spanning my undergraduate and graduate career at California State University, Long Beach. The three-part structure of this work largely encapsulates the esthetic concerns and subject matter of my poetry. I investigate the way space is socially, culturally, and geopolitically rendered in an attempt to illuminate the (in)visible substructures and wilderness of urban environments. The natural world is also important to my work, functioning as a catalyst for the revelation and epiphany of existential and biological unity. The appendices are arranged so they seamlessly fluctuate between natural and urban environments, with attention paid to socioeconomic and cultural nuance throughout.

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A narrativa, como tipo textual, tem sido praticada por escritores literÃrios hà muito tempo. O gÃnero conto, especificamente, encontrou preferÃncia em muitos deles, inclusive na Modernidade, e a teoria literÃria nÃo o deixou de fora de seus estudos. Entre os procedimentos narrativos estudados pela teoria, encontra-se a epifania, cuja concepÃÃo à a do escritor irlandÃs James Joyce, a qual se distancia da acepÃÃo original â da religiÃo â e se direciona para o Ãmbito literÃrio. O objetivo desta pesquisa à proporcionar uma perspectiva crÃtica sobre a relaÃÃo entre a brevidade tanto do gÃnero conto quanto dessa concepÃÃo de epifania. A partir do levantamento bibliogrÃfico da teoria literÃria, centrado em tÃtulos que apresentam alguma aproximaÃÃo com a temÃtica e com o conceito joyceano, esta pesquisa concentra-se em torno da especulaÃÃo sobre a presenÃa de procedimentos epifÃnicos em contos modernos e contemporÃneos. A concisÃo do conto comportaria adequadamente a fugacidade da epifania? Essa confluÃncia de brevidades revelaria, entÃo, como a epifania pode estar contida em um conto? Para buscar tais respostas, buscou-se uma delimitaÃÃo dos conceitos de conto e de epifania, a partir de teÃricos da Literatura, e, em seguida, uma anÃlise comparativa de trÃs contos escritos no sÃculo XX que apresentam epifania em seus enredos, a saber: "Amor", de Clarice Lispector; "Olhar", de Rubem Fonseca; e "Axolotle", de Julio CortÃzar.
The narrative, as a type of text, has been practiced by literary writers for a long time. The short story genre, specifically, was preferred by many of them, even in Modernity, and literary theory has not left it out. Among the narrative procedures considered by the theory, there is the epiphany, as was conceptualized by Irish wirter James Joyce, dissociating itself from the original religious sense, and aiming at the scope of literary studies. The goal of this research is to provide a critical perception on the relation between the brevity of the short story genre and of this epiphany concept. From the bibliographic survey of literary theory, centered on titles which present certain approximation to the theme and to the joycean concept, this reasearch focus on the speculation on the presence of epiphanic procedures in modern and contemporary short stories. The hypothesis raised is that a correlation exists between the short story and epiphany, for the concision of the genre would properly contain the fugacity of the procedure. Therefore, the confluence of these brevities would reveal how the epiphany can be enclosed in a short story. To that end, this paper sought a delimitation of the concepts of short story and epiphany from Literature thinkers followed by a comparative analysis of three short stories namely: "Amor", by Clarice Lispector; "Olhar", by Rubem Fonseca; and "Axolotle", by Julio CortÃzar.

Este trabalho tem como objetivo analisar como são feitas as idas e voltas aos cotidianos das três donas-de-casa que são as protagonistas dos contos Devaneio e Embriaguez duma rapariga, Amor e A fuga, de Clarice Lispector e, sobretudo analisar o eventual valor simbólico que a presença dos fatores naturais e da lua exercem sobre estes contos.

Com apoio nos trabalhos de Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) e Yudith Rosenbaum (2002) e dos conceitos-teóricos de gênero apresentados por Chatarina Edfeldt e Anabela Galhardo Couto (2008) em Mulheres que escrevem Mulheres que lêem procuram-se respostas à questões de como, por que e através de que as protagonistas fazem suas escapadas de seus cotidianos e como podem ser extraídos valores simbólicos denunciadores das causas das angústias das personagens.

Dentre as conclusões estão, que as protagonistas sentem um incômodo em suas vidas e são por isto, chamadas para fazerem suas “idas” pelo que a lua e a natureza simbolizam: um chamado para uma outra vida, livre de suas situações aprisionantes. Conclui-se também que após as suas idas as personagens voltam ao seu cotidiano normal por causa dos valores patriarcais internalizados, dentre os quais estão incluídas a culpa, amor à família e a impossibilidade destas mulheres de cuidarem autonomamente de sí mesmas. No entanto, percebem-se que após os questionamentos feitos em suas idas elas voltam conscientizadas, despertadas para uma nova maneira de olharem para si mesmas, suas situações e o papel de gênero que elas fazem.

This work has the purpose to analyze how the departures and arrivals to the daily life are made by the three housewives who composes the main characters in the short-stories Devaneio e Embriaguez duma rapariga, Amor and A fuga, by Clarice Lispector and, above all analyze the eventual symbolic value that the presence of the natures elements and the moon exerts over these short-stories.

With the support of Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) and Yudith Rosenbaums (2002) works and of the theoretic concepts of gender presented by Chatarina Edfeldt and Anabela Galhardo Couto (2008) in Mulheres que escrevem Mulheres que lêem, answers are sought to the questions of how, why and through what, the main characters make escapes from their everyday lives and, how it is possible to extract symbolic values that denunciates the causes of the main characters anxieties.

Within the conclusions are that the main characters feel a discomfort with their lives and are because of that, called to make their “departures” through what the moon and the nature symbolizes: a calling to another life, free from their imprisoning situations. Another conclusion is that they come back because of the internalized patriarchal values, among which are included the guilt, the love to the family and the impossibility of these women to take care of themselves. However, it is noticeable that after the questionings made in their departures and arrivals they return with awareness, awakened to a new way to look at themselves, their situations and the gender roles that they play.

Detta arbete har som syfte att analysera hur turerna och returerna till vardagen görs av de tre hemmafruar som utgör huvudpersonerna i berättelserna Devaneio e Embriaguez duma rapariga, Amor och A fuga, av Clarice Lispector och, framförallt analysera det eventuella symboliska värdet som närvaron av naturens faktorer och månen utövar över dessa berättelser.

Med stöd av Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) och Yudith Rosenbaums (2002) arbeten samt av genus-teoretiska begrepp som pressenteras av Chatarina Edfeldt och Anabela Galhardo Couto (2008) i Mulheres que escrevem Mulheres que lêem, sökes svar till frågeställningarna hur, varför och genom vad, huvudpersonerna flyr från sina vardagsliv och, hur det är möjligt att utvinna symboliska värden som anger anledningarna till huvudpersonernas ångest.

Bland slutsatserna finnes att huvudpersonerna känner ett obehag med sina liv och blir därför, kallade till att göra sina ”turer” genom det som månen och naturen symboliserar: en kallelse till ett annat liv, fritt från sina fängslande situationer. Ytterligare en slutsatts är att de färdas tillbaka på grund av de internaliserade patriarkaliska värderingar, som inkluderar skulden, kärleken till familjen samt omöjligheten för dessa kvinnor att klara sig själva. Emellertid, märks det att efter de diskussioner som de gjort i sina turer kommer de tillbaka medvetandegjorda, uppväckta till ett nytt sätt att se på sig själva, sina situationer och de genusroller som de spelar.

Orientador: Luiz Gonzaga Marchezan
Banca: Maria Dolores Aybar-Ramirez
Banca: Elaine Cristina Cintra
Resumo: Nossa pesquisa de Mestrado tem como propósito comparar Perto do Coração Selvagem, primeiro romance publicado de Clarice Lispector, e O tempo redescoberto, o romance que finaliza uma das realizações literárias mais importantes dos últimos tempos, a obra Em busca do tempo perdido, de Marcel Proust. Para promovermos tal comparação baseamonos na presença de temas que, de forma imbricada, perpassam as duas obras, nas formas da epifania, o que nos levou a estender a discussão para a reação das personagens diante do impacto do mundo sensível, o tempo e a memória (forma de rememoração). Acontecimentos aparentemente banais, anódinos, ao serem apreendidos pelos sentidos (audição, paladar, tato, visão, olfato), assumem uma complexidade que, percebida somente por instantes, confere-lhes o caráter de revelação. Tanto o narrador-personagem proustiano quanto Joana, a protagonista de Perto do Coração Selvagem, são arrebatados por esses momentos reveladores, que muitas vezes desencadeiam processos de rememoração. O tempo é um elemento de importância fulcral para os romancistas em questão; procuramos analisá-lo no âmbito da interioridade das personagens, tomada por nuances afetivas, existenciais, estratificada no labirinto da memória dos protagonistas e representada de maneiras diferenciadas. Para aprofundarmos nossa visão acerca da idéia de epifania, nós a associamos à questão da experiência estética, perspectiva que nos possibilitou uma compreensão mais aprofundada das obras referidas.
Abstract: Our research of Master's degree has as purpose to compare Perto do Coração Selvagem, first published novel of Clarice Lispector, and O Tempo redescoberto, the novel that ends one of the most important literary accomplishments in the last times, the work Em busca do tempo perdido concludes, of Marcel Proust. For us to promote such comparison we based on the presence of themes that, in an associated form, exists in the two works, in the forms of the epiphany, what took us to extend the discussion for the characters' reaction before the impact of the sensitive world, the time and the memory (remembrance form). Events seemingly banal, inoffensive, apprehended by the senses (audition, palate, touch, vision, sense of smell), they assume a complexity that, only noticed by instants, it checks them the revelation character. So much the narrator-character proustiano as Joana, the protagonist of the Perto do coração Selvagem, they are rapturous for those developing moments, that a lot of times unchain remembrance processes. The time is an element of central importance for the novelists in subject; we tried to analyze it in the ambit of the characters' mind, taken by nuances affective, existential, stratified in the maze of the protagonists' memory and represented in differentiated ways. For us to deep our vision concerning the epiphany idea, we associated it to the subject of the esthetic experience, perspective that gave to us the possibility to a deepened understanding of the referred works.
Mestre

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro
Considerando a extensa e intensa abordagem da temática erótica na poesia de Manuel Bandeira, a pesquisa visou à ampliação e ao aprofundamento do estudo desse aspecto de sua obra, com o intuito de complementar os estudos críticos que versam sobre o assunto. Nosso objetivo concentra-se na relevância do conceito de alumbramento, termo empregado em diferentes ocasiões pelo poeta. Essa palavra, que o autor emprega na sua autobiografia e em duas de suas composições, alude, simultaneamente, a uma espécie de revelação divina, capaz de proporcionar a inspiração para a criação do poema, e a uma iluminação resultante do estado de deslumbramento diante da visão da nudez feminina. Dessa forma, com base, sobretudo, nas ideias de Octavio Paz e Georges Bataille, bem como nos apontamentos específicos de Davi Arrigucci Jr. sobre o lirismo bandeiriano, buscamos comprovar, por meio da leitura analítica de poemas exemplares, a associação entre os êxtases erótico, poético e místico, como questão fundamental na obra do poeta pernambucano
Taking into account the extensive and intense presence of the erotic topic in Manuel Bandeiras poetry, this research aims to expand and deepen the study about this aspect of his literary work in order to complement the critical studies that approach this theme. Our objective focuses on the relevance of the concept of enlightenment, a term used by the poet in different contexts. This word, present in the autobiography of the author and in two of his poems, alludes, simultaneously, to a kind of divine revelation capable of providing the inspiration for writing and to an illumination, resultant of a state of dazzle at the vision of a womans nudity. Thus, based mainly on the ideas of Octavio Paz and Georges Bataille, as well as on David Arrigucci Jr.s specific comments about Bandeiras lyricism, we intend to show, by means of an analytical reading of representative poems, the link between the erotical, poetical and mystical ecstasies as a key topic of this authors literary production

Esta dissertação trata da poética de Adélia Prado. Procurei destacar, dentro da vasta obra da autora, sua ligação com o divino a partir da dessacralização de uma linguagem que a este se atribui. A meu ver, a poeta transfere para o cotidiano toda a carga semântica relativa ao sagrado: espiritualiza o concreto e daí constrói sua abstração, reformulando a escrita do corpo originalmente marcada pala imagem de pecado. O corpo representa a possibilidade de concretização da experiência com o divino. Assim, surge uma linguagem que se dobra sobre si mesma e recompõe seus significados para satisfazer as necessidades de um gênero híbrido evidenciado pelo trânsito entre o poético e o prosaico
The subject of this dissertation is Adélia Prados poetics in relation to the modernity that surrounds it. I tried to point out, inside the vastness of the author's work, its connection to the divine, starting with the desacralization of the language that involves it. In my point of view, the poet transfers to the daily, to the ordinary, all significations concerning the sacred: she spiritualizes the concrete and from there builds the concept of abstract. Therefore, she reformulates the writing of the body, originally marked with the image of the sin, so that the body represents the possibility of concretion of the experience with the holy. Thus, emerges a language that folds on itself and restructures its meanings to satisfy the needs of a hybrid sort of genre, made evident by the fusion between the lyrics and the prose

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Nossa pesquisa de Mestrado tem como propósito comparar Perto do Coração Selvagem, primeiro romance publicado de Clarice Lispector, e O tempo redescoberto, o romance que finaliza uma das realizações literárias mais importantes dos últimos tempos, a obra Em busca do tempo perdido, de Marcel Proust. Para promovermos tal comparação baseamonos na presença de temas que, de forma imbricada, perpassam as duas obras, nas formas da epifania, o que nos levou a estender a discussão para a reação das personagens diante do impacto do mundo sensível, o tempo e a memória (forma de rememoração). Acontecimentos aparentemente banais, anódinos, ao serem apreendidos pelos sentidos (audição, paladar, tato, visão, olfato), assumem uma complexidade que, percebida somente por instantes, confere-lhes o caráter de revelação. Tanto o narrador-personagem proustiano quanto Joana, a protagonista de Perto do Coração Selvagem, são arrebatados por esses momentos reveladores, que muitas vezes desencadeiam processos de rememoração. O tempo é um elemento de importância fulcral para os romancistas em questão; procuramos analisá-lo no âmbito da interioridade das personagens, tomada por nuances afetivas, existenciais, estratificada no labirinto da memória dos protagonistas e representada de maneiras diferenciadas. Para aprofundarmos nossa visão acerca da idéia de epifania, nós a associamos à questão da experiência estética, perspectiva que nos possibilitou uma compreensão mais aprofundada das obras referidas.
Our research of Master's degree has as purpose to compare Perto do Coração Selvagem, first published novel of Clarice Lispector, and O Tempo redescoberto, the novel that ends one of the most important literary accomplishments in the last times, the work Em busca do tempo perdido concludes, of Marcel Proust. For us to promote such comparison we based on the presence of themes that, in an associated form, exists in the two works, in the forms of the epiphany, what took us to extend the discussion for the characters' reaction before the impact of the sensitive world, the time and the memory (remembrance form). Events seemingly banal, inoffensive, apprehended by the senses (audition, palate, touch, vision, sense of smell), they assume a complexity that, only noticed by instants, it checks them the revelation character. So much the narrator-character proustiano as Joana, the protagonist of the Perto do coração Selvagem, they are rapturous for those developing moments, that a lot of times unchain remembrance processes. The time is an element of central importance for the novelists in subject; we tried to analyze it in the ambit of the characters' mind, taken by nuances affective, existential, stratified in the maze of the protagonists' memory and represented in differentiated ways. For us to deep our vision concerning the epiphany idea, we associated it to the subject of the esthetic experience, perspective that gave to us the possibility to a deepened understanding of the referred works.

Esta tesis investiga los orígenes arquetípicos de la comedia a través del personaje Charlot y busca dibujar y estructurar el imaginario mítico del cine de Charles Chaplin alrededor del arquetipo del niño. El estudio identifica tres grandes epifanías míticas en la obra de Chaplin –el Charlot burlesco, el Charlot angélico y Monsieur Verdoux– que revelan la dinámica interna coherente de su imaginario, a la vez que iluminan de diferentes maneras la esencia arquetípica del género cómico. Demostramos, por un lado, cómo el himno homérico a Hermes se configura como el relato que funda la comedia en la cultura occidental y, por otro, cómo el cine de Chaplin se erige como su más grande epifanía.
This thesis examines the archetypical origins of comedy through the character The Tramp and intends to design and structure the mythical imaginary of Charles Chaplin’s cinema from the Child archetype. The study identifies three main mythical epiphanies in the work of Chaplin – the burlesque Tramp, the angelic Tramp and Monsieur Verdoux – that unveil the coherent internal dynamics of its imaginary, while they enlighten in different ways the archetypical essence of the comic genre. Firstly, it is demonstrated how the Homeric Hymn to Hermes sets the ground for comedy storytelling in Western culture, and secondly, how Chaplin’s cinema stands as its greatest epiphany.

This dissertation examines the nature of epiphanic discourse in three of Robert Browning's religious poems, namely, 'Christmas- Eve', 'Easter-bay' and 'La Saisiaz'. Chapter 1 investigates epiphany from religious, historical and theoretical perspectives, followed by a discussion of Browning's developing Christian beliefs. Chapters 2 and 3 explore the epiphanic moment in the companion poems, 'Christmas- Eve' and 'Easter-Day'. Chapter 4 explores how the double epiphany initiated from Browning's personal experience recounted in 'La Saisiaz', finds its resolution in 'The Two Poets of Croisic'. Browning's 'good minute' or 'infinite moment' originates in Romanticism and reverberates into the twentieth century mainly in the writing of James Joyce, who first used the word 'epiphany' in its literary sense. Because Browning's faith allowed continual interrogation of Christian doctrine, his experience and reading of epiphanic moments avoid any attempt at closure. Thus they offer the reader both a human image for recognition and a coded legend for individual interpretation
M.A. (English Studies)
M.A. (English)