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Olsen, Thomas Grant. "Novel incest: Negotiating narrative paradox." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/289116.
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Novel Incest: Negotiating Narrative Paradox, investigates how representations of incest disrupt not only family relationships but narrative conventions as well. The conventions governing a narrative's structural movement from beginning to end are upset in ways that often mimic the destruction of family lineage that incest causes. Each narrative instance of incest marks reconsideration not only of Western kinship systems and, more recently, the discourse of bourgeois family structures, but also of specific aspects of the rhetoric of fiction. This history of family and narrative disruption is sketched in my analysis of such seemingly disparate texts as Daniel Defoe's Moll Flanders; Ford Madox Ford's The Good Soldier; John Barth's novels and non-fiction, including The End of the Road, The Floating Opera, The Sot-Weed Factor, Giles Goat-Boy, Lost in the Funhouse, The Friday Book, Further Fridays, LETTERS, Sabbatical, The Tidewater Tales, The Last Voyage of Somebody the Sailor, and Once Upon a Time ; David Lynch's films, including The Alphabet, The Grandmother, Eraserhead, The Elephant Man, Dune, Blue Velvet, and Wild at Heart, and the pornographic film series Taboo I--XVIII . My analysis focuses on author- and reader-centered interpretations and includes both formal and thematic analysis. Psychoanalytic and deconstructive reading strategies are employed to investigate the intersections formed between narrative, rhetoric, and desire. The common thread connecting these texts is their unraveling of conventions in order to restructure the possibilities for narrative fiction.
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Williams, Jocelyn. "Canadian incest autobiography /." Internet access available to MUN users only, 2003. http://collections.mun.ca/u?/theses,177714.
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Jones, Ffion Wynne. "Relative strangers : father-daughter incest in contemporary literature." Thesis, Bangor University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432794.
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Mann, Erin Irene. "Relative identities: father-daughter incest in Medieval English religious literature." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/4873.
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Medieval tales of father-daughter incest depict more than offensively dominant fathers and voiceless, victimized young women: these stories often contain moments of surprising counternarrative. My analysis of incest narratives foregrounds striking instances of feminine resistance, where daughters act independently, speak unrestrainedly, adopt masculine behaviors, and invert masculine gazes. I argue that daughters of incestuous fathers participate in a complex back-and-forth of attraction and rejection that thrusts the fraught nature of the incest into sharp relief, revealing the ways in which medieval families--as well as the medieval church and state--constructed and deconstructed identities and sexualities. Extending Judith Butler's insights on how incest tales interrogate state and kinship networks, I show how the liminal position of daughters in the family destabilizes the sex/gender system as it functioned in both the family and the larger world, secular and sacred. My dissertation thus relocates daughters from the periphery to the center of the medieval family. Christian thematics likewise provide a key framework for both my argument and medieval audiences: biblical translations and retellings, saints' lives, and moral exempla offered familiar points of reference. By revealing how authors and artists employed well-known religious stories to impart political readings of sexuality and of the family, the four chapters of my dissertation assert daughters' key role in medieval Christian culture. I examine both Anglo-Saxon texts--the biblical epic Genesis A and the prose Life of Euphrosyne--as well as the late medieval poem Cursor mundi and Chaucer's Clerk's Tale. My readings are enhanced by recourse to the medieval visual record offered by three manuscripts that illustrate the Lot story--British Library MS Cotton Claudius B.iv, the Old English Hexateuch, and Oxford Bodleian Library MSS Junius 11(the Genesis A manuscript) and Bodley 270b, a Biblé moralisée. Artistic renderings of father-daughter incest are no less unsettled than their literary counterparts, and demonstrate that the position of daughters was so fundamentally unstable that it often varied not only within an era, but also within a single manuscript. I argue that authors and artists radically reimagined the fundamental texts of the Middle Ages, including the Old Testament, to establish new narratives of sin and salvation, self and other, and power and submission.
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McGuire, Kathryn B. (Kathryn Bezard). "The Incest Taboo in Wuthering Heights." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500863/.
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Contemporary analysis of Wuthering Heights necessitates a re-appraisal in light of advancements in the study of incest in non-literary fields such as history, anthropology, and especially psychology. A modern reading suggests that an unconscious incest taboo impeded Heathcliff and Cathy's expectation of normal sexual union and led them to seek union after death. John Milton's Paradise Lost provides a paradigm by which to examine the consequences of incest from two perspectives: that of incest as a metaphor for evil, as represented in Heathcliff; that of incest as symbolic of pre-Lapsarian innocence, as represented in Cathy. The tragic consequences of Heathcliff and Cathy's incestuous fixation are resolved by the socially-condoned marriage of Hareton and Catherine, which illuminates Bronte's belief in the Miltonic theme that good inevitably triumphs over evil.
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McGuire, Kathryn B. (Kathryn Bezard). "The Incest Taboo in Wuthering Heights : A Modern Appraisal." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc277599/.
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A modern interpretation of Wuthering Heights suggests that an unconscious incest taboo impeded Catherine and her foster brother, Heathcliff, from achieving normal sexual union and led them to seek union after death. Insights from anthropology, psychology, and sociology provide a key to many of the subtleties of the novel by broadening our perspectives on the causes of incest, its manifestations, and its consequences. Anthropology links the incest taboo to primitive systems of totemism and rules of exogamy, under which the two lovers' marriage would have been disallowed because they are members of the same clan. Psychological studies provide insight into Heathcliff and Catherine's abnormal relationship—emotionally passionate but sexually dispassionate—and their even more bizarre behavior—sadistic, necrophilic, and vampiristic—all of which can be linked to incest. The psychological manifestations merge with the moral consequences in Bronte's inverted image of paradise; as in Milton's Paradise, incest is both a metaphor for evil and a symbol of pre-Lapsarian innocence. The psychological and moral consequences of incest in the first generation carry over into the second generation, resulting in a complex doubling of characters, names, situations, narration, and time sequences that is characteristic of the self-enclosed, circular nature of incest. An examination of Emily Bronte's family background demonstrates that she was sociologically and psychologically predisposed to write a story with an underlying incest motif.
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Burgess, Jessica. "A theory of the viability of incest: Djuna Barnes's «Ryder», «The Antiphon» and «Nightwood»." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86972.
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In her three major works, Ryder (1928), The Antiphon (1958), and Nightwood (1936), Djuna Barnes explores incest as a mode of being and relating. She focuses on the relationships among the Ryders of Ryder, the Hobbses of The Antiphon, and between Nora Flood and Robin Vote of Nightwood as her three primary instantiations of the incestuous family apparatus. Taken together, Barnes's works present a scale of viability for the incestuous relationship. Through engagement with Barnes's work and her implicit theory of incest, this project seeks to investigate and challenge normative categories of viable relationships that currently do not (nor did they in Barnes's time) include incestuous relationships. Barnes's work suggests that it is the individual instantiations of the incestuous family apparatus that make incest a viable mode of being and relating, just as it is the individual instantiations of the non-incestuous family apparatus that allow the normative definition of the family to thrive. Barnes presents familial relationships as not taboo, and suggests that incest is not necessarily concomitant with trauma, fantasy, or abuse. Through analysis of Barnes's work, this thesis sheds new light on a central dimension of Barnes's work. In addition, through Barnes's conceptions and presentations of incest, the project seeks to open up new understandings of incestuous relationships and their implications, as well as, more generally, consider ways to expand the range of ways-of-life - what I call livelihoods - accepted as valid and valuable (viable) by North American and European culture.Dans ses trois principaux ouvrages, Ryder (1928), The Antiphon (1958), and Nightwood (1936), Djuna Barnes étudie l'inceste, sous tous ses aspects, en tant que façon d'être et comme moyen relationnel. Elle se concentre sur ces relations à travers les Ryders dans Ryder, les Hobbses dans l'Antiphon ainsi qu'entre Nora Flood et Robin Vote dans Nightwood, comme ses trois principaux cas de l'appareil familial incestueux. L'oeuvre de Barnes mis bout à bout représente l'échelle de viabilité de la relation incestueuse. À travers l'engagement de Barnes dans son travail et sa théorie implicite de l'inceste, ce projet vise à questionner et défier les catégories normatives de rapports viables excluant, de nos jours et du temps de Barnes, la présence de rapports incestueux. L'oeuvre de Barnes propose que dans chaque cas, chaque individu de l'appareil familial incestueux fait de l'inceste une façon d'être viable et un moyen relationnel, de même que dans chaque cas, chaque individu d'un appareil familial non incestueux permet la définition normative de la famille épanouit. Barnes aborde la relation familiale comme sans tabou, et suggère que l'inceste ne coïncide pas nécessairement à traumatisme, fantasme, ou abus. Par l'analyse de son oeuvre, cette thèse éclaire une nouvelle avenue à la dimension centrale de son travail. De plus, dans les conceptions et les présentations de l'inceste de Barnes, ce projet tend à ouvrir de nouveaux horizons des relations incestueuses ainsi que leurs implications, autant que, de façon général, élargir la gamme de modes de vie, que j'appelle moyens de subsistance, acceptée comme valide et valable, dans le sens de viable dans la culture Nord-américaine et européenne.
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Clegg, Christine. "Keeping it in the family : acts and desires in post-war representations of incest." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265964.
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Hendricks, Shellee. ""The curiosity of nations" : King Lear and the incest prohibition." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30173.
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The incest prohibition, though ostensibly "universal," has inspired a wide range of explanations and definitions both within and between cultures. Intense debate sprung up around the incest taboo during the matrimonially tumultuous reign of Henry VIII, leading to the great interest in this theme, which flourished on the Elizabethan and Jacobean stages. Although Shakespeare contributed a number of works to the incest canon, King Lear does not treat the incest motif overtly such that many critics have ignored its crucial role in that play. A synthetic theoretical approach is useful in exploring the wide-reaching implications of father-daughter love in Lear, which challenges the parameters of the incest prohibition.King Lear's effort to obstruct the marriage of Cordelia in the first scene constitutes a violation of the incest prohibition according to Levi-Strauss's notion of exogamy. To this violation, Cordelia contributes her belief that marriage requires only partial withdrawal of love from her father. Lear's unfulfilled love for his daughter Cordelia, whom he figures into wife and mother roles, exhibits oedipal traits and seeks gratification in Goneril and Regan. Lear experiences their "unnatural" refusal of his desires as emasculating sexual rejection, which manifests as the disease and guilt of transgression. He understands virtuous love as fatally tainted by sexual desire; the theme of love-as-death gains momentum. The tempest emerges as an agent of justice and punishment. Lear and Cordelia's reunion reasserts the themes of adulterous love and love-as-death, foreshadowing their shared death. Their subsequent capture introduces an expanded notion of the father-daughter relationship, including the possibility of conjugal love, which is consummated in their marriage in death.
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Nesteruk, Peter. "Referentiality and transgression : representations of incest and child sexual abuse in American literature of the twentieth century." Thesis, University of Nottingham, 1994. http://eprints.nottingham.ac.uk/11276/.
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This thesis will consider the incest theme in twentieth century American literature. Antecedents will be considered, especially the rich traditions of the late eighteenth and nineteenth centuries, but the main focus will be on three writers central to the American canon: F. Scott Fitzgerald, William Faulkner, and Vladimir Nabokov. All three of these writers have produced texts in which their claim to literary fame and their appropriation of the incest theme are inextricable: namely, Fitzgerald's Tender is the Faulkner's The Sound and the Fury, Absalom, Absalom! and Go Down, Moses, and Nabokov's Lolita. I will conclude with a chapter which examines how this debt to literary tradition, this canonical pride of place of the incest theme, has been transformed in its trajectory through the latter half of the twentieth century. In the thesis, I will examine the utilisation of these 'variations on a theme' as a form of rhetoric manifesting itself in a wide variety of uses and readings. Pertinent aspects would include: symbolic appropriations with pretensions to universality; transgressive modulations manipulating reader affectivity; referential modes attempting the delineation of a particular - or their collective combination. All of these uses of the incest theme will be seen to participate in the propagation of various codes of normative behaviour, ethics, critiques, or political polemics. The incest theme will be tracked both as a form of didacticism and as a form of literary pleasure. The representation of incest will be observed in its combination with other important literary themes: courtly love, childhood, and their inversions. It will be linked to an aesthetics of transgression and to the representation of child sexual abuse. Its combination with the latter will also provide the grounds for a comparison of child sexual abuse, 'actually existing incest', and the many other uses of the incest theme. The contexts of these uses will also be considered. If I were to attempt to reduce this thesis to a simple proposition, I would suggest that the importance of the incest theme has been due to its rhetorical versatility, its role as a signifier of the limit (of the family, of society, of civilisation, of the representable), and of its ready utilisation for literary shock, the vicarious enjoyment of the second-hand, or, in what amounts to the same thing, literary pleasure. These factors delineate the importance of the incest theme to literature in general, and to American literature in particular. The literary utilisation of the incest theme suggests that the most efficient way to say anything effective is still to make use of that which hides behind the barrier of the unsayable. After giving a summary of the chapters of the thesis, the rest of the introduction will introduce the issues that form the background to an informed evaluation of the place of the incest theme in modern American literature. This background features three inter-related areas; the controversies around the incest taboo, the emergence of child sexual abuse, and the concept and representation of childhood. I will suggest that the issue of child sexual abuse is key to any referential,analogical, or comparative approach to the reading of the incest theme in literature (most especially in those examples which include an adult/child or adult/infant age differential). I shall begin with some definitions of incest, and its relation (and non-relation) with child sexual abuse. 'Incest’ can, of course, mean very different things in literature, in philosophical speculation, in the social sciences, or in the discourses of welfare or feminism. This difference of discourse, a difference of 'register' or genre', suggests that 'translations' between discourses need to be observed carefully. A comment on the American context will be relevant to the discussion of recent American literature. These issues are inextricable from the representations and conceptualisation of childhood that our period has inherited from the past, particularly the traditions and writing of the previous two centuries. I will attempt a brief summary of the concept of childhood, including its transformations up to the seventeenth century, its rationalisation in the legal and medical discourses of the eighteenth century, and its recent evolution. A comment will then follow on the influence of this inheritance upon the emergence of a recognisable child theme in nineteenth century literature (the origin and role of social and literary clichés). As recent theories of incest, sexuality, power, and representation play an inseparable part in any understanding of these issues, I shall complete the introduction with a 'rough' model of the workings of incest and its relationship with representation based upon these recent developments.
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Duncan, Rebecca. "Dark mirrors and disembodied spirits : gender, sexuality and incest in selected fiction by Daphne du Maurier." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/14269.
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Includes bibliographical references (leaves 69-70).Daphne du Maurier has long been considered chiefly as a writer of popular fiction. She is celebrated as a masterful constructor of plot and acclaimed for her ability to infuse novelistic narrative with a nameless and pervasive frisson of unease, but it is only recently that critics have begun seriously to investigate the shadowy complexities of her widely-read novels. In this thesis, three of du Maurier's best-known works 'Jamaica Inn', 'Rebecca' and 'My Cousin Rachel' are examined using psychoanalytic theory and close textual analysis together with autobiographical information. Each novel reveals an informing concern with the stability of identity, and the psychological perils by which the self is both shaped and haunted. In my discussion of Jamaica Inn, Julia Kristeva's theory of abjection elucidates Mary Yellan's confinement within the rigid boundaries of a violently imposed gender role, and her dangerous quest to transgress these limits. In the case of Rebecca, Nancy Chodorow's version of the female Oedipus complex illuminates the bisexual triangle in which du Maurier's nameless heroine finds herself trapped at Manderley, and brings into focus the anxiety which haunts her in her pursuit of maturity. Finally, in the chapter on My Cousin Rachel Jean Baudrillard's work on seduction and Gilles Deleuze's account of masochism help to explain Philip's compulsion to rid himself of his wealth, his land and the house in which he grew up, so that he might live like a servant with his cousin's maternal and alluring widow. In my reading of each of these novels, analysis uncovers a preoccupation with varying combinations of gender, sexuality and incest, a trinity of issues which beset the author in her own life, and which, in her fiction, inflect the protagonists' quest towards or away from a coherent identity. In conclusion it will be suggested that du Maurier's narratives are written with a double-edged pen: at once widely read, popular fiction, and darkly psychological, subvertive literature, in which deep-rooted social and cultural boundaries are destabilized.
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Walter, Laura Maylene. "The Virginity Auction." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1432643881.
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Fernandez, Emmeline. "“Every Family Might Also Be Called a State”: Incest and Politics in the Romantic Era." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587656293042995.
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Roger, Jean-Paul. "L'inévitable, et, Ecrire l'inceste." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21259.
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The inevitable (creativity). Between the ages of seven and fifteen years, Paul had sexual intercourses with his father. He was introduced to this state of matter by pornographic photos. Described as being representations of love, and thinking as such, he accepts to imitate the depicted characters, at the request of his father. From the Laurentians to Montreal, Paul and his father "will make love" everywhere: Onboard the car, at home, in the washroom of a school... They "will make love" despite questions from a mother who seeks to know the truth and whom Paul considers too weak to help him put an end to a relationship that becomes more and more heavier. Finally, Paul is able to say "no" to his father at adolescence.Writing incest (critic). Studying incest literature in Les Enfants du sabbat by Anne Hebert. Taboo that needs to be shut of. But can not be because of the enchanting attraction of transgression; incest is shown and is said, it uncovers itself like a souvenir which repeats, here again, itself, hides behind lust, mysticism, whereas the voluptuous relationship is disembodied. This art of expression of disappearance which is found at each level in the text (tense used in the narration, characters, space) loans also to incest its defence mechanism and censorship as the symbolical exclusion, identification to the aggressor, and the will to succeed which is initialized by the confession of the victim denounciating the crime against human nature.
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Grogan, Christine Lynn. ""The Wound and the Voiceless: The Insidious Trauma of Father-Daughter Incest in Six American Texts"." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3129.
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Cathy Caruth's pioneering study of trauma and the posttraumatic forges a connection between the psychoanalytic theory of traumatic experience and the literary as such. Since trauma defies linguistic processing, she explains, the language used to describe it will always be figural. For this reason Caruth privileges imaginative literature, with its highly mediated nature, as a means of representing the otherwise "unclaimed" experience of trauma. Her influential reflections inform a crucial direction within trauma studies: the search for a narrative voice that articulates trauma effectively.
But how should we think about trauma that is not a singular "event" but a chronic occurrence? Over the last twenty years trauma scholarship has explored how trauma outstrips discursive and representational resources, but has only begun to address the ways gender, race, and class must complicate our understanding of the posttraumatic. I argue that in order to frame an adequate approach to the posttraumatic, we must take account of the cultural, political, and social matrix of trauma. The feminist psychotherapist Maria Root has developed an idea that she calls "insidious trauma" to refer to the cumulative degradation directed toward individuals whose identities, such as gender, color, and class, differ from what is valued by those in power. Though not always blatant or violent, these effects threaten the basic well being of the person who suffers them. Root's conceptualization provides a useful framework for understanding certain long-term consequences of the institutionalized sexism, racism, and classism that systematically denigrate the self worth of the socially othered who are rendered voiceless.
Where Caruth privileges literary representations of the traumatic, I explore how literature can also be a privileged site for the articulation of insidious trauma. My study addresses literary representations of father-daughter incest and the complex trauma associated with it, showing how--in very different ways--six works of modern American literature compel us to confront the traumatogenic nature of social oppression, especially that which is endemic to the structure of the heteropatriarchal family and American racism and classism.
F. Scott Fitzgerald's Tender Is the Night ambivalently exposes the gendered politics of psychological trauma, particularly the conspiracy of silence perpetuated by a psychiatric culture that revictimizes the female victim of incest. Ralph Ellison's Invisible Man uses a story of paternal incest to work through the trauma of racism, challenging stereotypes of black masculinity even as it reinscribes patriarchal phallocentrism. Referencing Ellison's depiction of father-daughter incest, Toni Morrison's The Bluest Eye marks a watershed in the inscription of incest narratives as it is written mostly from the perspective of what I call a "could-be" victim of incest. Morrison includes the perspective of the father while foregrounding the experience of the daughter, exposing child abuse as an extensive social and political problem ultimately supported by imperialist ideals.
Enabled by Morrison, Dorothy Allison's semiautobiographical Bastard Out of Carolina is narrated by a young "white trash" woman who shares her story of sexual violation in defiance of that culture's patriarchal structure. Conforming to certain class stereotypes of father-daughter incest, Bastard Out of Carolina escaped the hostile backlash provoked by Kathryn Harrison's memoir, The Kiss, whose critical reception suggests that, even while allowing some discussion of incest, mainstream culture continued to collude in its silencing within the context of the white middle-class. Finally, I revisit a particularly infamous literary narrative of father-daughter incest, Vladimir Nabokov's Lolita, but in terms of the feminist appropriation of Nabokov effected in Azar Nafisi's memoir, Reading Lolita in Tehran. Problematically downplaying the sexual abuse of Lolita, Nafisi appropriates Nabokov's work to bear witness to the patriarchal subjugation of women in her home country, the Islamic Republic of Iran.
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Caetano, Paulo Roberto Barreto. "Para além da construção dos personagens = o conceito de monstruosidade em Lavoura Arcaica, de Raduan Nassar." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270296.
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Orientador: Mario Luiz FrungilloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-17T22:14:51Z (GMT). No. of bitstreams: 1 Caetano_PauloRobertoBarreto_M.pdf: 587967 bytes, checksum: 1d7432ee7974f2b24848a218c0e9938a (MD5) Previous issue date: 2011
Resumo: O romance Lavoura Arcaica, de Raduan Nassar, é um rico objeto para se pensar o caráter referencial dos personagens. A figura paterna, encarnando uma tradição que valoriza o trabalho, o comedimento como valores essenciais à vida, encontra forte resistência nos filhos Ana e André. Assim sendo, o embate que se delineia reflete um clássico confronto entre tradição e liberdade. Tal disputa é fruto (e estopim) para atos tidos como monstruosos: o incesto e o filicídio. Indo além do procedimento da caracterização dos personagens como recurso de análise do romance, esta dissertação se ocupa em discutir a prática de ações capazes de "monstrificar" os personagens. Destarte, a investigação menciona peculiaridades que fazem com que um ser seja visto como ente horrífico. A pesquisa se ocupa também com a noção de concatenação de situações-limite como elemento construtor das idiossincrasias. Com isso, o modo como as pessoas dessa família se tratam, como tratam o tempo e algumas leis fornece subsídios para que eles sejam vistos como "ameaças morais". O lugar do incesto e do filicídio fulgura, portanto, como elemento fundamental na análise desses personagens
Abstract: The novel Lavoura Arcaica, by Raduan Nassar, is a rich object to think the referential character of the personages. The father, embodying a tradition that says how worthy is work, the restraint as values essential to life, finds strong resistance in Ana and André. Thus, the conflict that emerges reflects a classic clash between tradition and freedom. Such dispute is a result (and wick) for acts taken as monstrosity: incest and filicide. Going beyond the procedure of characterization of the personages as an analysis resource of the novel, this paper is concerned about discussing the practice of actions capable of "monsterizing" personages. Therefore, this research mentions the peculiarities that make someone to be seen as being horrifying. This research also deals with the notion of extreme concatenation of the on-the-edge situations such as a building element of the idiosyncrasies. With that, the way the personages treat the time, each other in this family and some laws provides subsidy so they can be seen as "moral threats". The incest and filicide altogether, thus, appear as a key element in the analysis of the personages
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
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Weaver, Kimberly C. "Mothering and Surrogacy in Twentieth-Century American Literature: Promise or Betrayal." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_diss/77.
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Twentieth-century American literature is filled with new images of motherhood. Long gone is the idealism of motherhood that flourished during the eighteenth and nineteenth centuries in life and in writing. Long gone are the mother help books and guides on training mothers. The twentieth-century fiction writer ushers in new examples of motherhood described in novels that critique the bad mother and turn a critical eye towards the role of women and motherhood. This study examines the trauma surrounding twentieth-century motherhood and surrogacy; in particular, how abandonment, rape, incest, and negation often results in surrogacy; and how selected authors create characters who as mothers fail to protect their children, particularly their daughters. This study explores whether the failure is a result of social-economic or physiological circumstances that make mothering and motherlove impossible or a rejection of the ideal mother seldom realized by contemporary women, or whether the novelists have rewritten the notion of the mother’s help books by their fragmented representations of motherhood. Has motherhood become a rejection of self-potential?
The study will critique mother-daughter relationships in four late twentieth-century American novels in their complex presentations of motherhood and surrogacy: Toni Morrison’s The Bluest Eye (1970), Kaye Gibbons’s Ellen Foster (1990), Dorothy Allison’s Bastard Out of Carolina (1992) and Sapphire’s Push (1997). Appropriated terminology from other disciplines illustrates the prevalence of surrogacy and protection in the subject novels. The use of surrogate will refer to those who come forward to provide the role of mothering and protection.
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Tatelman, Anna. "Seismic Communication." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2707.
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Mayhew, Ann. "“Children I Love You”: Children and Sexuality in Stephen King’s The Shining, It, and ’Salem’s Lot." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/222.
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Throughout his career, Stephen King has created child protagonists and adults with a childlike acceptance of the world who represent “good.” These children and adults are able to observe and fight evil, especially supernatural evil, on a level that close-minded adults are unable to because of their imagination. At the same, King also has a history of adhering to traditional representations of sex in his work, presenting heteronormative relationships as good and transgressive sexualities as evil. Often, these child protagonists are faced with sexuality as a threatening, evil force. In The Shining, Danny Torrance undergoes a forced sexual awakening that aids him in defeating the Overlook Hotel; in ’Salem’s Lot, Mark Petrie is represented as a virginal hero who helps Ben Mears in defeating vampires, yet suffers as a result; in It, King aligns seven children’s journey to defeat evil with their literal sexual awakenings, but at the cost of his female characters. These novels represent a disconnect between what appear to be King’s purpose in sexual representation and what their message to the reader actually are, which is indicative of the underlying problems of his traditional, black-and-white attitude toward sexuality in his fiction.
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Lyon, Elizabeth Lain. "Mothers, Sons, and the Gothic Family in Brown, Poe, and Wharton." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/67.
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Within Gothic literature, the mother is frequently missing. In Charles Brockden Brown’s Edgar Huntly, Edgar Allan Poe’s “Morella,” “Ligeia,” and “Eleonora,” and Edith Wharton’s “Bewitched,” men are left without parents, and they attempt to recuperate a mother-figure. To do so, the men in these texts psychologically project the role of their mother onto other women. Wives, sisters, and daughters all have the potential to become mothers to these men. This is a catastrophe for the women involved, for male perception fails to distinguish females as autonomous, unique beings. By conflating roles in the family structure, men destroy women and thus are left without the nurturing mother-figure – or indeed any female – they desperately need.
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Maynard, Rachel L. ""Some Things Grew No Less With Time:" Tracing ATU 510B from the Thirteenth to the Twentieth Century." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3229.
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This thesis provides a comparative analysis of seven different variants of the fairy tale commonly known as “Donkeyskin,” classified in the Aarne-Thompson-Uther folktale motif index as ATU 510B. By comparing so many different iterations of one fairy tale, it is easier to recognize the inherent attitudes concerning women and their place in society contained in this tale. Additionally, reading multiple variants from different centuries lends a perspective on the way that these attitudes changed over the centuries. Each of the thirteenth century texts considered end with their heroines trapped in loveless marriages, much like the seventeenth-century fairy tale, “Donkeyskin,” their direct literary descendant. The nineteenth century texts then present death or marriage as the alternatives for women, while the twentieth century brings the first instance of a heroine choosing for herself. This comparison allows the reader to learn not only what was considered a “happy ending” at the time, but also to gain a better understanding of the means by which a woman could gain agency.
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Hayes, Martina Louise. "Legacy of Shame: A Psychoanalytic History of Trauma in The Bluest Eye." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1450374298.
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Dargo, Franklin Joseph. "The Dynamics of Loss: Representations of Sororal, Maternal, and Feminine Loss in the Works of Nerval, Chateaubriand, and Baudelaire." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1595356727134133.
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Mera, Ewerton de Oliveira. "Cíniras e Mirra : as figuras do incesto em Ovídio (Metamorfoses, X, 298-502) /." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141901.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta pesquisa apresenta a proposta de investigar a figuratividade poética no texto latino, valendo-se do instrumental teórico que nos fornecem a Poética e a Semiótica Literária, tendo como corpus o episódio de “Cíniras e Mirra”, que integra a obra Metamorfoses (livro X, 298-502) de autoria de Ovídio (43 a.C. - 17 d.C.), considerado um dos maiores poetas da Roma Antiga. As Metamorfoses são um longo poema em versos hexâmetros, composto de quinze livros, que trata do surgimento dos elementos que compõem o mundo e da transformação ocorrida com diversos seres mitológicos em uma narrativa contínua. No trecho selecionado para a análise, conta-se a transformação de uma bela jovem na árvore da mirra, após cometer incesto com o próprio pai, Cíniras, rei de Chipre. Em um trabalho desenvolvido como pesquisa de IC intitulado “Poética e Figuratividade: uma análise de ‘Io’ (Ovídio, Metamorfoses, I, 583-747)”, procurou-se concentrar na primeira etapa dos processos de figuratividade, isto é, na figuração do discurso, quando um tema é revestido por figuras semióticas. Tomando os efeitos de sentido captados pela percepção e apreendidos por meio da leitura como dados de base, pretende-se investigar no corpus o arranjo particular da linguagem. Como resultado dessa investigação produziu-se um discurso metalinguístico a fim de reconhecer os recursos da figuratividade poética determinantes da expressão. Ainda, como base para o desenvolvimento do trabalho, será produzida uma tradução de estudo (literal) acompanhada de notas de referência, com comentários concernentes a dados gerais de cultura (mitologia, história, geografia, filosofia, etc.).
This research is a proposal to investigate the figurative poetics in the Latin text, drawing on the theoretical tools provided by Poetics and Literary Semiotics, with the corpus of the episode "Cinyras and Myrrha", integrating part of the Metamorphoses (Book X, 298-502), by Ovid (43 BC - 17 AD), regarded as one of the greatest poets of Ancient Rome. The Metamorphoses is a long poem in hexameter verses, separated into fifteen books. It depicts the creation of elements of the world and the transmutations of several mythological beings, with a narration that takes place in a continuous form. The selected passage for analysis recounts the transformation of a beautiful young woman into the myrrh tree, after committing incest with her own father, Cinyras, the king of Cyprus. In an already developed undergraduation research entitled “Poetics and Figurativity: an analysis of ‘Io’ (Ovid, Metamorphoses, I, 583-747), we have focused on the first step of the figuration process, that being the figuration of speech, when a subject is covered with semiotic figures. Considering the effects of meaning captured by perception and seized by careful reading as database, we intend to investigate in the corpus particular arrangements of language. The result of this research has produced a metalinguistic discourse to recognize the features of poetical figurativity that are determinants to the expression. Furthermore, as a basis for the development of this work, we will produce a literal study translation, accompanied by background notes, and comments concerning general data culture, such as mythology, history, geography, philosophy, etc.
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Figliolo, Gustavo Javier. "Uma visão do incesto em Juan Rulfo." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106715.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2010Made available in DSpace on 2013-12-05T22:04:44Z (GMT). No. of bitstreams: 1 285328.pdf: 665232 bytes, checksum: f6327474e62fcd4af8908965ed1224c4 (MD5)
Esta pesquisa tem por objetivo analisar o romance #Pedro Páramo#, de Juan Rulfo, através de uma leitura crítica para com as temáticas de incesto e paternidade constituintes da obra. Visivelmente, o incesto ocupa um lugar central na obra do escritor, de mãos dadas com a idéia de pecado e do sentimento de culpa, imagem carregada de uma densa atmosfera religioso-espiritual. Da mesma forma, temos a imagem do patriarca a ser obedecido, como regulador de um sistema social universal e hegemônico. Para tanto, será analisada a estilística de Juan Rulfo, cuja semântica ideológica forja a narrativa de seu Jalisco natal. Nosso enbasamento teórico estará dado pelas teorias de Freud e Lévi-Strauss a respeito do incesto, contestadas pela teoria feminista pós-estruturalista com base em algumas idéias de Michel Foucault e Jacques Lacan.
The purpose of this research is to make an analysis of Juan Rulfo.s novel #Pedro Páramo#, through a critical review of incest and paternity as component of the work. Notoriously, incest has a central rule in the writer.s work, together with the idea of sin and guilt, images set in a dense religious-spiritual atmosphere. In the same way, there exists an image of the patriarch to be obeyed as the ruler of a universal hegemonic social system. So, there will be analyzed Juan Rulfo.s style, whose ideological semantics forges his Jalisco.s narrative. Our theoretical source of analysis will be set on Freud.s and Lévi-Strauss. theses on incest, refuted by pos-structuralist feminist theory with some ideas of Michael Foucault and Jacques Lacan.
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Oliveira, Nicolas Pelicioni de. "Hipótese acerca do desenvolvimento do romance antigo greco-latino a partir de uma análise da tópica do romance História do rei Apolônio de Tiro /." São José do Rio Preto, 2019. http://hdl.handle.net/11449/181593.
Full textAbstract:
Orientador: Cláudio AquatiBanca: Lúcia Sano
Banca: Ulisses Infante
Resumo: Este estudo tem por objetivo levantar uma hipótese acerca do desenvolvimento do romance antigo, na tradição greco-latina, a partir da tópica de História do rei Apolônio de Tiro. A hipótese é possível a partir da afirmação de que o romance de aventuras e de provações (narrativas gregas) não se opõe ao romance de aventuras e de costumes (narrativas romanas), pois a oposição se desfaz diante da constatação de que ambas as tradições apresentam romances sérios e cômicos
Abstract: The purpose of this study is to state a hypothesis about the development of the ancient romance, in the Greek-Latin tradition, from the topic of The Story of Apollonius, king of Tyre. The hypothesis is possible by stating that the Adventure Romance of Ordeal (Greek narratives) is not opposed to the Adventure Romance of Everyday Life (Roman narratives), as this opposition dissipates in front of the evidence that both traditions have serious and comical romances
Mestre
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Tansley, Laura. "Two inches of ivory : short-short forms and feminine expressions." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3206/.
Full textAbstract:
When Jane Austen described her writing as ‘two inches of ivory’ she was being selfdeprecating, maybe even sarcastic. But as I began an investigation into short-short forms and feminine voices her two inches of ivory became poignant, creating an image of a woman writer inside a tiny white space or writing on a tiny white space. This thesis represents the paths I have chosen – the changes in direction and the twists and turns of my creative process during three years spent exploring ideas related to this image. This journey produced themes and questions which spill across three sections: Passing Through, A Middle Place; Short-short Turns; and Harvested Short-shorts. Each element explores the way short-short stories come to us as writers, readers and editors and also considers the responsibilities and processes involved with taking on these roles.
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Leal, Luciana Ferreira. "Elementos do trágico em Eça de Queirós : A tragédia da Rua das Flores e Os Maias /." Assis : [s.n.], 2006. http://hdl.handle.net/11449/106684.
Full textAbstract:
Orientador: Odil José de Oliveira FilhoBanca: Paulo Franchetti
Banca: Sheila Diab Maluf
Banca: Ana Maria Domingues de Oliveira
Banca: Rosane Gazolla Alves Feitosa
Resumo: Esta tese analisa dois romances queirosianos vinculados ao gênero dramático, mais especificamente ao trágico. No primeiro momento, busca-se levar a efeito considerações teóricas acerca do trágico, caracterizando a sua especificidade, tanto na origem, quanto no seu desenvolvimento ulterior. Nesta busca da peculiaridade do sentido do trágico, a atenção volta-se para a evolução do gênero da Antigüidade ao Tempo Cristão, do trágico grego ao trágico moderno. Assim, elementos como Hybris, Antinomias Radicais, Patético, Presságios, Trama e Incesto são considerados para, num segundo momento, os romances em estudo serem analisados. Nesse sentido, tanto em A Tragédia da Rua das Flores quanto em Os Maias poder-se-á perceber a hybris, desmedida, a conduzir à hamartia, erro trágico a determinar a destruição das personagens. Nas duas obras, discute-se a individualidade das personagens, focalizada de maneira a que se constatem polaridades radicais, todavia, em Os Maias, a personagem reage melhor às intempéries individuais e sociais, enquanto a personagem de A Tragédia da Rua das Flores sofre veementemente os conflitos entre o desejo individual e a expectativa da sociedade. Da mesma maneira, nos dois romances, o leitor defronta-se com cenas patéticas e enternecedoras; entretanto, é em A Tragédia da Rua das Flores que o sentimento de comoção pode ser experimentado em grau mais elevado. Em se tratando dos presságios, que predizem a dimensão trágica dos amores incestuosos, através de símbolos e sonhos premonitórios, eles são menos diretos em Os Maias, obra mais complexa, do que em A Tragédia da Rua das Flores. Já peripécia, reconhecimento e catástrofe são elementos da tragédia clássica perfeitamente aplicáveis aos dois romances queirosianos, uma vez que... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This thesis analyses two romances of Queirós linked to the dramatic genre, specifically to the Tragedy. At the first moment, the aim is to solve theoretical considerations about the Tragedy, characterizing its specificity at the point of origin, as it does in its later development. In this search of the Tragic sense's peculiarity, attention is turned from the evolution of Antiquity type to the Christian Era, from the Greek Tragedy to the Modern style. Therefore, elements like Hybris, Radical Antinomies, Pathetic, Presages, Plot and Incest are considered and, as a second step, they are used to promote the romances' analysis. In this sense, both in A Tragédia da Rua das Flores (The Tragedy of the Flowers' Street) as in Os Maias (The Maias), the excessive Hybris becomes noticeable, leading to the Hamartia, a tragic mistake determining the destruction of the characters. In both works, the characters' individuality is analyzed, focusing on radical polarities. However, in Os Maias, the character resists better to the individual and social catastrophes, while the character of A Tragédia da Rua das Flores suffers as a result of the conflicts between individual desire and society's expectation. In the same way, in both romances, the reader faces himself with pathetic and touching scenes. Nevertheless, in A Tragédia da Rua das Flores the feeling of distress is experienced in a higher level. Dealing with Presages, which predict the tragic dimension of incestuous loves, through symbols and premonitory dreams, which are less straight in Os Maias, most complex work than A Tragédia da Rua das Flores. Peripetia, recognition and catastrophe are elements of the Classic Tragedy perfectly applicable to both Queirós' romances, as soon as the development of the intrigue... (Complete abstract click electronic access below)
Doutor
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Pereira, André Cesar. "Jacques Ferron : o dramaturgo de um país incerto (o Quebec)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/61218.
Full textAbstract:
Le Quebec, province francophone du Canada, acquiert aujourd’hui une grande importance en ce qui concerne les aspects économiques, sociaux et culturels. Au Brésil on développe plusieurs études à propos de l’histoire et de la culture québécoises en vue de compreendre les transformations de cette région francophone en Amérique. Ce mémoire vise à agrandir ces études à partir de l’analyse de textes produits pendant les années 50, la période qui précède un important moment de développement social et culturel de la société québécoise : la Révolution tranquille. Pour compreendre ces transformations on doit souligner les sentiments qui la précèdent et on utilise, à cet effet, une littérature en voie de transformation e d´affirmation comme littérature québécoise. Dans le but de réaliser cette analyse on utilise deux pièces de l’écrivain Jacques Ferron, présentées avant la Révolution tranquille. On choisit cet auteur par son importante production littéraire qui cherche la compréhension du Quebec; en outre, les pièces sélectionnées sont importantes car elles présentent des personnages en quête de rupture avec le passé et de valorisation des spécificités du Québec. L´objectif de la présente étude est d’analyser les pièces de théâtre de Jacques Ferron, ici présentées comme représentatives des sentiments sociaux observés au cours de la Révolution tranquille et des transformations culturelles qui étaient en train d’arriver. On met en évidence, encore, l’importance de ces pièces pour la formation d’une littérature propre au Québec, car elles développent par l’intermédiaire de ses personnages, le processus d’affirmation d’une identité proprement québécoise.O Quebec ganha cada vez mais importância em âmbito mundial, em termos econômicos, sociais e culturais. No Brasil desenvolvem-se vários trabalhos voltados à história e à cultura quebequenses no intuito de compreender as transformações dessa região francófona na América. Nosso trabalho vem ampliar esses estudos com a análise de textos produzidos nos anos 50, período que antecede um importante momento de desenvolvimento social e cultural dessa sociedade: a Revolução Tranquila. Para compreendermos as mudanças ocorridas com essa revolução, observamos os sentimentos que a antecederam, nos baseando, para isso, em uma literatura ainda não denominada quebequense. Com o intuito de realizar essa análise, utilizamos como material de pesquisa duas peças teatrais do escritor Jacques Ferron, produzidas antes da Revolução Tranquila – momento que marca o ponto de partida para a valorização das especificidades do Canadá de língua francesa. Justificamos a escolha desse autor por seu importante trabalho voltado à compreensão do Quebec; além disso, as peças selecionadas são igualmente importantes por apresentarem personagens em busca de ruptura com o passado e de valorização de algo particular. Nosso objetivo com essa dissertação é analisar as peças de Jacques Ferron, aqui trabalhadas como antecipadoras dos sentimentos sociais eclodidos na Revolução Tranquila e como anunciadoras das transformações culturais que estavam por ocorrer. Evidenciamos, ainda, a importância desse autor para a formação de uma literatura própria do Quebec, uma vez que desenvolve, por meio de suas personagens, um processo de identificação de uma identidade dita quebequense.
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Neumann, Stephanie. "Gebrochenes Schweigen." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2003. http://dx.doi.org/10.18452/14973.
Full textAbstract:
In der zimbawischen Literatur sind die Themen Nation, Körper, Gewalt, Sprache und Erinnerung aufs engste miteinander verbunden. Durch den Einfluß von Yvonne Vera hat sich in den 90er Jahren das Bild des weiblichen Körpers und insbesondere die Diskussion um koloniale und postkoloniale Gewalt deutlich verändert. Im ersten Teil der Arbeit geht es um die Frage nach Nation. Unterschiedliche Darstellungen von Nehanda und den Kämpferinnen des 2. Chimurenga werden näher beleuchtet. Außerdem geht es um Veras "pastoral novel" in der sie von einer weißen Farmersfrau erzählt. Im zweiten Teil geht es um die Körperkonzepte in der zimbabwischen Literatur. Gewalt in der Familie und vor allem der weibliche Körper als Schlachtfeld steht hier im Mittelpunkt. Die Vergewaltigte und die Prostituierte sind auch weiterhin Symbole für den kolonisierten afrikanischen Kontinent. Vera versucht diese Frauen aus einer anderen Perspektive zu betrachten. Bei ihr geht es um die Erfahrung der Frauen selbst. Der dritte Teil der Arbeit befasst sich schließlich mit der Frage nach der Darstellbarkeit von Gewalt. Wie ist es möglich von Gewalt zu erzählen, ohne die Gewalt zu reproduzieren? Vera beantwortet diese Frage mit der Reflexion über des Erzählen. Bei ihr wirkt Sprache heilend.In Zimbabwean literature, the themes of nation, body, violence, language, and memory are closely connected. The dissertation analyses, how the treatment of these themes changed significantly during the 1990s. The focus lies on Yvonne Vera's work and its influence on the image of the female body and the debate about colonial as well as postcolonial violence. The first part deals with the question of nation at the example of various narratives about Nehanda and other female freedom fighters in the Second Chimurenga. Further material is drawn from Vera's "pastural novel", in which she tells about a white settler woman. The second part looks at body concepts in Zimbabwean literature. Special attention is paid to domestic violence and the image of the female body as battlefield. The raped woman and the prostitute are still widely used as symbols for the colonized African continent. Vera tries to break with this tradition by looking at such female characters from the perspective of their own experiences. The third part, finally, raises the issue of the representation of violence. How is possible to write about violence without reproducing it? Vera answers this question by reflecting about narration. Language thus works as a healing power in her texts.
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Leal, Luciana Ferreira [UNESP]. "Elementos do trágico em Eça de Queirós: A tragédia da Rua das Flores e Os Maias." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/106684.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:35:46Z (GMT). No. of bitstreams: 0
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leal_lf_dr_assis.pdf: 843436 bytes, checksum: a3d77c798018e2d1ec7c7d89ee82584e (MD5)Esta tese analisa dois romances queirosianos vinculados ao gênero dramático, mais especificamente ao trágico. No primeiro momento, busca-se levar a efeito considerações teóricas acerca do trágico, caracterizando a sua especificidade, tanto na origem, quanto no seu desenvolvimento ulterior. Nesta busca da peculiaridade do sentido do trágico, a atenção volta-se para a evolução do gênero da Antigüidade ao Tempo Cristão, do trágico grego ao trágico moderno. Assim, elementos como Hybris, Antinomias Radicais, Patético, Presságios, Trama e Incesto são considerados para, num segundo momento, os romances em estudo serem analisados. Nesse sentido, tanto em A Tragédia da Rua das Flores quanto em Os Maias poder-se-á perceber a hybris, desmedida, a conduzir à hamartia, erro trágico a determinar a destruição das personagens. Nas duas obras, discute-se a individualidade das personagens, focalizada de maneira a que se constatem polaridades radicais, todavia, em Os Maias, a personagem reage melhor às intempéries individuais e sociais, enquanto a personagem de A Tragédia da Rua das Flores sofre veementemente os conflitos entre o desejo individual e a expectativa da sociedade. Da mesma maneira, nos dois romances, o leitor defronta-se com cenas patéticas e enternecedoras; entretanto, é em A Tragédia da Rua das Flores que o sentimento de comoção pode ser experimentado em grau mais elevado. Em se tratando dos presságios, que predizem a dimensão trágica dos amores incestuosos, através de símbolos e sonhos premonitórios, eles são menos diretos em Os Maias, obra mais complexa, do que em A Tragédia da Rua das Flores. Já peripécia, reconhecimento e catástrofe são elementos da tragédia clássica perfeitamente aplicáveis aos dois romances queirosianos, uma vez que...
This thesis analyses two romances of Queirós linked to the dramatic genre, specifically to the Tragedy. At the first moment, the aim is to solve theoretical considerations about the Tragedy, characterizing its specificity at the point of origin, as it does in its later development. In this search of the Tragic sense's peculiarity, attention is turned from the evolution of Antiquity type to the Christian Era, from the Greek Tragedy to the Modern style. Therefore, elements like Hybris, Radical Antinomies, Pathetic, Presages, Plot and Incest are considered and, as a second step, they are used to promote the romances' analysis. In this sense, both in A Tragédia da Rua das Flores (The Tragedy of the Flowers' Street) as in Os Maias (The Maias), the excessive Hybris becomes noticeable, leading to the Hamartia, a tragic mistake determining the destruction of the characters. In both works, the characters' individuality is analyzed, focusing on radical polarities. However, in Os Maias, the character resists better to the individual and social catastrophes, while the character of A Tragédia da Rua das Flores suffers as a result of the conflicts between individual desire and society's expectation. In the same way, in both romances, the reader faces himself with pathetic and touching scenes. Nevertheless, in A Tragédia da Rua das Flores the feeling of distress is experienced in a higher level. Dealing with Presages, which predict the tragic dimension of incestuous loves, through symbols and premonitory dreams, which are less straight in Os Maias, most complex work than A Tragédia da Rua das Flores. Peripetia, recognition and catastrophe are elements of the Classic Tragedy perfectly applicable to both Queirós' romances, as soon as the development of the intrigue... (Complete abstract click electronic access below)
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Costa, de la Paz Amanda. "El incesto como perversión, subversión y suplemento del origen en El cuarto mundo de Diamela Eltit." Tesis, Universidad de Chile, 2012.
Find full textAbstract:
El cuerpo se ha configurado como uno de los elementos centrales en torno a los cuales se articula la obra de Diamela Eltit, aspecto que ha llamado fuertemente la atención de la crítica y de sus lectores en la medida que se formula como acto de transgresión que pone en cuestionamiento las regulaciones y concepciones socialmente establecidas en torno al cuerpo. La puesta en escena de prácticas que pervierten y transgreden la sexualidad normativa como el incesto, el sadomasoquismo, la violación, entre otros, se constituyen como motivos recurrente en la obra de Eltitla cual exige un análisis que considere estas manifestaciones en términos tanto estéticos como políticos. Los estudios de género y los estudios culturales han sido la principal corriente crítica que ha dado cuenta de este aspecto de la obra de Eltit, comprendiendo la perversión y transgresión sexual expuesta en sus obras como práctica que busca decontruir los roles y oposiciones genéricas poniendo en crisis el pensamiento falologocéntrico que los fundamenta. Lecturas que si bien me parecen adecuadas para la comprensión de la obra de Diamela Eltit, no toman en consideración la cosmovisión neobarroca desplegada en ella y que plantea nuevas problemáticas a partir de las cuales es necesario analizar estos aspectos de su obra. Es así que la presente investigación se centrará en el análisis del incesto y su relación con el conflicto en torno al origen presente en las novelas de Eltit, el cual se constituye como uno de los motivos centrales del neobarroco latinoamericano. Considerando la limitada extensión de esta tesina –extensión de carácter tanto temporal como espacial- he decidido dedicarme unicamente al estudio de El cuarto mundo (1988) en la medida que dentro de esta novela las dos problemáticas antes mencionadas se desarrollan en estrecha y compleja vinculación. El análisis se centrará en la relación de los dos hermanos mellizos protagonistas de la narración, tomando en consideración, cuando sea necesario, sus relaciones con otros personajes de la novela, asi como también estableciendo comparaciones con otras novelas de la misma autora en las cuales estas temáticas se desarrollan.
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Paula, Damiana Pereira de. "O processo criativo e a personalidade criadora : um estudo da poética de Anaïs Nin no poema em prosa A Casa do Incesto." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/20943.
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Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Programa de Pós-Graduação em Literatura, 2016.Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-05-20T13:17:20Z No. of bitstreams: 1 2016_DamianaPereiraPaula.pdf: 1251426 bytes, checksum: 27418b3ac4b7dfcfa1588e0634b789c9 (MD5)
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O universo ficcional da escritora Anaïs Nin se destaca no cenário literário pela sua poeticidade e lirismo bem como pela sua preocupação em desvendar o mundo da subjetividade humana por meio da criação de imagens e símbolos. Em sua vasta obra, a autora se dedicou à escrita de diários, romances experimentais, poema em prosa, contos, contos eróticos, cartas, crítica literária e ensaios. O objetivo da presente tese é analisar o tema da criação artística e da personalidade criadora no poema em prosa A casa do incesto. A abordagem estética do poema está centrada em dois aspectos: primeiramente realiza um estudo de suas influências - fortemente marcadas pelo movimento Surrealista, pelas ideias psicanalíticas, pela poesia Simbolista, sobretudo Rimbaud – e, em um segundo momento, explora a relação que o poema mantém com a escrita dos diários. _______________________________________________________________________________________________ ABSTRACT
The fictional universe created by Anaïs Nin is celebrated for its highly poetical and lyrical form, abounding with images and symbols through which the world of human subjectivity is revealed. Nin was a prolific writer and throughout her life published diaries, experimental novels, a prose poem, short-stories, erotica, letters, literary criticism and essays. The present thesis aims at analyzing the theme of artistic creation and the creative personality in the prose poem House of Incest. The aesthetic approach of the poem is focused on two different aspects: Firstly, it explores the influences of the Surrealist movement, psychoanalysis and Symbolism - especially Rimbaud. Secondly, it investigates the connections between the poem and the diaries.
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González, Díaz Soledad. "Del génesis a los Andes: Una lectura del diluvio y las cronologías del Incario a través de las crónicas (siglos XVI- XVII)." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/284906.
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La presente tesis, denominada Del Génesis a los Andes: una lectura del Diluvio y las cronologías del Incario a través de las crónicas (siglos XVI- XVII), está compuesta por dos partes. La primera, da cuenta de los principales hitos del largo viaje textual que el relato del Diluvio, y la cronología que se desprendía de él, emprendieron desde el Génesis hasta las principales crónicas andinas, atendiendo a los azares, reelaboraciones, accidentes y fisuras que evidencia su proceso de transmisión. El objetivo es comprender cómo los cronistas andinos en particular y los autores de textos coloniales en general concibieron ese pasado perdido y ajeno de los orígenes del género humano y del poblamiento del mundo a partir de la descendencia de Noé, el cual heredaron de la tradición exegética tardoantigua y medieval principalmente de Flavio Josefo, san Agustín, Pedro Comestor y Alfonso el sabio. En la primera parte de la tesis también se abordan los otros diluvios que formaron parte de la tradición clásica: los griegos de Ogygio y Deucalión y el babilónico de Beroso, en nombre de quien Annio de Viterbo falsificó la Defloratio caldaica -uno de los textos que conformaban su Antiquitatum variarum- una completa reescritura de la historia de los albores de la humanidad y del episodio del Diluvio, cuya influencia se extendió más allá de los límites del Mediterráneo, cruzando el océano e instalándose en los orígenes mismos del Nuevo Mundo y de los incas. La segunda parte de la tesis, en tanto, trata sobre las cronologías que acompañaron las listas de gobernantes incas y el cálculo del Anno mundi en crónicas como la Historia de los Incas de Pedro Sarmiento de Gamboa, la Miscelánea antártica de Miguel Cabello Valboa, la Historia de las guerras civiles del Perú de Pedro Gutiérrez de Santa Clara, el Compendio y descripción de las Indias occidentales de Antonio Vázquez de Espinosa y la Nueva corónica y buen gobierno de Felipe Guaman Poma de Ayala, además de otros documentos como las Informaciones del virrey Toledo y el Discurso sobre la descendencia y gobierno de los incas. Para ello, las cronologías se abordaron en tanto construcciones, analizando su validez en el contexto mismo de su producción, es decir, en relación con la información transmitida por los registros a las que pertenecían, aplicando en el examen los mismos principios que los exégetas de la Biblia y las investigaciones contemporáneas han empleado en el estudio de la cronología que se desprende de la lista de los patriarcas prediluvianos presente en Génesis 5.The following thesis, named From Genesis to Andes: a reading of the Flood and the chronologies of the Incas through chronicles. XVI and XVII centuries, consists of two parts. The first one accounts of the major milestones of the long textual journey that the Flood story, and the chronology that can be deduced from it, undertook from Genesis to the main Andean chronicles, paying attention to the hazards, re-elaborations, accidents and fissures that evidences its transmission process. The goal is to understand how the Andean chroniclers -in particular- and authors of colonial texts -in general- conceived that lost and alien past of the origins of humankind and the peopling of the world from the descendants of Noah, past that inherited from Late Antique and Medieval exegetical tradition, mainly through Josephus, Augustine, Peter Comestor and Alfons the Wise. The first part of the thesis also addresses the other floods that were part of the classical tradition: the Greeks floods of Deucalion and Ogygio and the Babylonian flood of Berossus, on behalf of who Annius of Viterbo forged the Defloratio caldaica, one of the texts of their Antiquitatum variarum, a complete rewriting of the history of the dawn of mankind and the Flood episode, whose influence extended beyond the limits of the Mediterranean sea, across the ocean, and settled in the New World and Incas origins. The second part of the thesis, thus, is about the chronologies accompanying lists of Inca rulers and the calculation of Anno mundi in the chronicles as the History of the Incas of Pedro Sarmiento de Gamboa, the Antarctic miscellany of Miguel Cabello Valboa, the History of the civil wars of Peru of Pedro Gutierrez de Santa Clara, the Compendium and description of the West Indies of Antonio Vázquez de Espinosa and the New chronicle and good government of Felipe Guaman Poma de Ayala, as well as other documents as the Information about Incas of the Viceroy Toledo and the Discourse on descendants and government of the Incas. To do this, the chronologies are addressed as constructions, analyzing their validity in the same context of its production, that is, in relation to the information transmitted through the records to which they belonged, applying the same principles that the exegetes of the Bible and contemporary research have used in the study of the chronology that can be deduced from the list of pre-diluvian patriarchs of Genesis 5.
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Thach, Thida. "La représentation de la violence faite aux femmes dans 'Un dimanche à la piscine à Kigali' de Gil Courtemanche et 'Je m’appelle Bosnia' de Madeleine Gagnon." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31460.
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La violence faite aux femmes est une réalité encore très présente, surtout dans les sociétés patriarcales, même après des décennies de lutte féministe. C’est aussi un thème privilégié en littérature. La présente thèse propose justement une analyse de ce thème à travers deux romans assez récents qui mettent tous deux de l’avant des aspects particuliers de la question : Un dimanche à la piscine à Kigali de Gil Courtemanche et Je m’appelle Bosnia de Madeleine Gagnon. Nous tenterons de cerner les différentes formes de violences à l’œuvre dans les deux narrations : la violence faite aux filles, celle faite aux femmes, et enfin la violence spécifique qu’engendrent les conflits armés avec le viol comme arme de guerre. Nous proposerons une analyse intersectionnelle de ces formes de violences afin de mesurer les représentations et les répercussions des notions de classe et de race eu égard aux toiles de fond différentes des deux romans : le génocide chez Courtemanche, le nettoyage ethnique chez Gagnon. Nous aborderons aussi les narrations sous l’angle de l’agentivité. Dans des sociétés fondamentalement patriarcales, quel pouvoir peuvent espérer avoir les personnages féminins sur leur destin personnel et collectif? Y a-t-il pour ces femmes fictives des stratégies possibles pour atteindre une liberté d’action, si mince soit-elle?
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"The brother-sister incest motif: Melville and Faulkner." Tulane University, 1987.
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During the early nineteenth century, the brother-sister incest motif appeared with some frequency in Western literature, and by the mid-nineteenth century, it had become a recognizable literary type. In 1852, Herman Melville rang some changes on the traditional motif in his novel Pierre; and in the first half of the twentieth century, William Faulkner made the possibility of brother-sister incest central to two novels, The Sound and the Fury and Absalom, Absalom! In England during the early 1900s, Byron and Shelley in particular used the brother-sister motif to express new ideas of the Romantic movement. For them brother-sister union was a symbol of the regenerative possibilities which could come from man embracing his other self, the feminine part of his psyche. Brother-sister rebellion against a tyrant or a parent was also a favorite theme as Byron and Shelley revolted against a paternalistic culture and celebrated brother-sister love as a symbol of the 'new' man In contrast to Byron and Shelley and in the tradition of the American 'dark' Romantics, Melville used the brother-sister motif in Pierre to suggest that embracing the feminine and throwing away the old order can lead to disaster. Pierre's effort to become a 'new Adam,' loving his possible half-sister with a purity untarnished by original sin serves only to involve him in unanticipated possibilities for new kinds of evil. He sees the inadequacies of the old social order, and even of Christianity, but he cannot forge a new way of being Faulkner shows that the brother who seeks to impose a traditional structure will fail also. Quentin Compson of The Sound and the Fury and Henry Sutpen of Absalom, Absalom!, do not rebel against tradition; rather, they look back toward the 'old' order of Southern culture. As did Pierre, Quentin and Henry try to use their sisters in efforts to reinforce their own identities, but, like Pierre, they fail also Finally, the brother-sister motif in both Melville and Faulkner suggests that the Romantic hope for a 'new' man is vitiated: Man seems stuck with the nature and culture he has always hadacase@tulane.edu
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"Cold War confessions and the metapolitics of incest." Tulane University, 2000.
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This project explores representations of the family in confessional literature produced after 1945. More specifically, I analyze the role confessional representations of father-daughter, or intergenerational, incest played in the postwar imagination and in forging American empire during the Cold War. As a discursive practice by which institutions are able to maintain surveillance and therefore regulation of the body politic, the confessional mode, defined here as any first-person narrative in which research of the past is precipitated by a moment of crisis in the present, is a particularly apt mode of expression to examine for the operations of power during the Cold War. If the confessional provides a way of reading the institutionalized operations of power vis-a-vis sexuality, feminist theories of imperialism and incest provide a way of reading the operations of power vis-a-vis gender. Therefore, the first four chapters of this dissertation specifically focus on those confessional texts (the novels of Styron and Nabokov and the drama of Arthur Miller) that mobilize intergenerational incest as an innocent and desirable organizing principle for family and nation, while the last two chapters concentrate on those confessional texts (the poetry of Plath and Sexton) that participate in forging a conflicting discourse, one that deconstructs the contradictions and pretense of innocence characteristic of the rhetoric, literature and drama of what the historian William Appleman Williams calls the 'imperial anticolonialism' of American foreign and domestic policy during the Cold Waracase@tulane.edu
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Reid, Theresa Ann. "An ethical analysis of discourse on child sexual abuse /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3006549.
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McLary, Laura Ann. "Georg Trakl's sisters: Incest, poetic representation, and the creation of the demon sister." 1996. https://scholarworks.umass.edu/dissertations/AAI9638998.
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The sister-figure that appears in the works of the turn-of-the-century Austrian poet, Georg Trakl (1887-1914) has been the source of speculation and analysis in numerous secondary works, beginning already less than ten years after Trakl's suicide in a military hospital in Cracow. Although current research is generally in agreement that Trakl had an incestuous bond with his younger sister, Margarethe Langen-Trakl (1891-1917), the relationship between Trakl's poetic creation of the sister-figure and his own sister Grete continues to be a contentious issue within the secondary literature. In my study of the development of Trakl's sister-figure, I show that this figure appears at times of crisis or emotional turmoil with Grete. Through creation of the sister-figure, Trakl found a means of expressing the conflicting emotions of attraction and repulsion and guilt that arose out of his relationship to Grete. In the poems and particularly in the unedited dramas, the sister-figure is represented as fragmented, both physically and psychically. The image of the sister as both victim and aggressor, both male and female eventually gives way to a mythical representation of the sister. After Trakl's death, many of his friends and acquaintances had contact with Grete Langen-Trakl. In their depictions of her, they measure her explicitly against her brother and find her lacking in positive qualities, polarizing Georg and Grete into extremes of good and evil. Implicitly, their negative portrayals of Grete are based on Trakl's implication of the sister-figure in an incest scene. Contemporary depictions of her behavior and relationship to her brother frequently employ words expressing disgust and abhorrence or make references to her fate of tragic suffering. As a result of these early attempts to obscure the incest, most secondary works establish a stance of either accepting or rejecting the importance of the incest and the sister-figure in Trakl's oeuvre. I argue that many of these secondary works adopt the tone of the contemporary depictions of Grete Langen-Trakl, which they then apply to their analysis of Trakl's sister-figure. In particular, biographical sketches of Trakl and his sister borrow heavily from the contemporary descriptions of Grete Langen-Trakl and Trakl's representation of a sister-figure.
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Gragera, de León Flor. "A country where everyone was happy incest, trauma, and the missing father in the memory of post-war Spain." 2008. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.17255.
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Delaney, EA. "Of marriageable age : rethinking approaches to father-daughter incest narratives in the long eighteenth century." Thesis, 2005. https://eprints.utas.edu.au/19845/1/whole_DelaneyElizabethAnn2007_thesis.pdf.
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This thesis examines father-daughter incest in three literary works of the long
eighteenth century within a frame of the marriage exchange gone wrong. The
representation of father-daughter incest in this period, unlike contemporary incest
stories that feature girl-children, focuses on the daughter of marriageable age, a
prominent figure in eighteenth-century literature. The incest is often precipitated
at the moment that the father should be planning a marriage alliance for his
daughter but instead begins to see her as a sexual being. The three texts examined
in the thesis are Jane Barker's Exilius, or The Banish 'd Roman (published in
1714), Percy Bysshe Shelley's The Cenci and Mary Shelley's Mathilda, both
written in 1819. The chapters are structured around the three main characters
within the incest plot — the daughter, the suitor(s), and the father. In these texts,
the daughter is past the age of consent, is a desiring subject herself and knows she
is the incestuous object of her biological father. The texts, in which father-daughter
incest is structurally and thematically central, belong to the wider literary
and social debates about marriage and the daughter of marriageable age, which
dominate the century. This thesis focuses on the female characters/daughters of
marriageable age as they struggle to bring their incest experiences into language,
and as they live out the consequences of that experience. The domestic space is a
potentially dangerous one for daughters. Each of these narratives of father-daughter
incest also has political implications. A close reading of the male figures
— the suitor(s) and the fathers — brings to light a Jacobite reading in Exilius, a
critique of the worst kind of patriarchal society in The Cenci and a criticism of a
society that allows excesses and self indulgence in Mathilda.
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DeVries, Vicki Lee. "Female Pygmalion figures in French literature." Diss., 2006. http://p2047-ezproxy.msu.edu.ezproxy1.ats.msu.edu/login.
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Thesis (Ph. D.)--Michigan State University. Dept. of French, Classics, and Italian, 2006.Title from PDF t.p. (viewed on Nov. 17, 2008) Includes bibliographical references (p. 184-190). Also issued in print.
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"Oedipal structures in the novels of Sibusiso Nyembezi." Thesis, 2015. http://hdl.handle.net/10210/14633.
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M.A.The purpose of this study is to look into Oedipal structures in the novels of Sibusiso Nyembezi. The notion of an Oedipal structure is derived from Sophocles' play entitled 'Oedipus the King'. In this play, Oedipus, a forsaken child, learns that he is a son of a Theban King. On the way to Thebes, he encounters and assassinates his father. Oedipus earns himself a title of a king after solving the riddle of the sphinx and marries his own mother ...
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Manyarara, Barbara Chiedza. "Lost his voice? interrogating the representations of sexualities in selected novels by Gabriel Garcia Marquez." Thesis, 2013. http://hdl.handle.net/10500/18672.
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This thesis interrogates García Márquez’s representations of sexualities in the following selected novels: Chronicle of a Death Foretold (1981); The Autumn of the Patriarch (1975); One Hundred Years of Solitude (1967); The Sad and Incredible Tale of Innocent Erendira and her Heartless Grandmother (1972); and Memories of My Melancholy Whores (2004). It is argued here that García Márquez’s employment of the sexuality motif enables him to delve into many worldwide current concerns such as the irrelevance of some socio-cultural sexual practices; commercial sexual exploitation of children; the different manifestations of prostitution; and female powerlessness under autocratic rule. Earlier literary critics have tended to narrowly interpret García Márquez’s employment of the sexuality motif as just a metaphor for colonial exploitation of the colonised. The study also explores the writer’s artistic role and concludes that García Márquez speaks against commercial sexual exploitation of children as he concurrently speaks on behalf of children so exploited. Similarly, the writer speaks on behalf of prostituted womanhood by showing how prostitutional gains do not seem to cascade down to the prostitutes themselves. García Márquez also invests female sexual passivity as a coping mechanism against a dictator’s limitless power over the life and death of his citizens. However, the writer also constructs female agency that grows from the rejection of an initial victimhood to develop into an extremely flawed and corrupt flesh trade that co-opts and indentures children into sex work with impunity. Thus the study breaks new ground to show that García Márquez’s representations of different sexualities are not merely soft porn masquerading as art. His is a voice added to the worldwide concerns over commercial sexual exploitation of children in the main and also the recovery of a self-reliant female self-hood that was previously inextricably bound to male sexual norms. Quite clearly, García Márquez demonstrates that female prostitution is driven by a lack of social safety nets, a lack of other economically viable options and also a distinct lack of educational opportunities for female economic independence, hence the flawed female agency.English Studies
D. Litt. et Phil. (English)
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"Colonial objects, colonial subjects: Cultural strategies of viceregal Peru's noble Incas, circa 1675--1825." Tulane University, 2007.
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This study examines the place of the Inca elites in the Peruvian viceroyalty through the analysis of extant material culture and the documentary record from the mid-seventeenth to the late-eighteenth century. Inca history and genealogy appear as disputed fields in which Spaniards, Creoles, Mestizos, and Indians continually reassessed history and their place in it in light of changing political and social circumstances. Privileging a broad notion of 'text,' visual and written documents are read as integral parts of highly charged debates between various constituencies, all of whom were fighting for social and political standing in a shifting Spanish colonial order Chapter One provides formal analyses and functional contexts for colonial Inca-style tunics, demonstrating that these objects, produced according to Inca aesthetics, functioned as indexes of the Indian elites' participation in the colonial order and their claims of legitimacy derived from their genealogical connections to the ancient Incas. Chapter Two provides an iconological interpretation of the presence of Incas in canvases commissioned to adorn churches, convents, and colleges in Cuzco. All these paintings participated in competing programs about the legitimacy of the Spanish conquest, the legal fiction of a peaceful cession from Inca to Spanish sovereignty, and the place of the Indians and their elites in the colonial symbolic regime. Chapter Three studies the institution of the electoral college of the Alferez Real de los Incas. The institution's charter highlights the ambiguous social position of the Inca elite as a subjected but privileged sector of colonial society. Chapter Four analyses the courtly career of Juan de Bustamante Carlos Ynga, a Mestizo from Cuzco of Inca descent whose successes and failures in Madrid had a powerful impact among the aspiring but discontented Indian elites in Peru, as evidenced in their copious epistolary exchanges Finally, Chapter Five discusses the subversion of the colonial symbolic order, delineated in the previous chapters, by the Spanish authorities themselves, interested, at the end of the eighteenth century, in formulating a new colonial paradigm that minimized the symbolic construction of colonial legitimacy and undermined the place of the Indian elites in the revamped orderacase@tulane.edu
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Meneses, Pedro Manuel Ribeiro de Sousa. "Um valoroso lugar incerto: a cartografia do humano em Uma viagem à Índia de Gonçalo M. Tavares." Doctoral thesis, 2018. http://hdl.handle.net/1822/54992.
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Tese de Doutoramento em Ciências da Literatura (Especialidade em Literatura Comparada)Este estudo tem, como seu objetivo central, analisar Uma viagem à Índia de Gonçalo M. Tavares, explicando alguns dos seus temas e motivos fundamentais e relacionando-a com o seu hipotexto, Os Lusíadas, e com Ulysses de James Joyce, de cujo protagonista, Bloom, se apropriou. Procura-se compreender não só como se atualizam episódios e temas da epopeia camoniana, mas também como se investe de valor filosófico e civilizacional uma figura, Bloom. Inicialmente, damos conta da singularidade do território textual de Gonçalo M. Tavares, traçando algumas das suas linhas temáticas e formais fundamentais, com recurso a alguma formulação teórica do próprio autor em livros como Roland Barthes e Robert Musil ou O senhor Breton, lendo-as enquanto expressão do desejo (Deleuze). Evidencia-se, no primeiro capítulo, como Nietzsche é a referência central para a desconstrução da metafísica que, segundo a nossa leitura, Uma viagem à Índia desenvolve. Definimos, em capítulos iniciais, alguns dos temas principais desta obra, como a ética e a incorporação do banal na arte moderna, em que moldes o autor atualiza a epopeia e, ato contínuo, problematiza a noção de modernidade (Franco Moretti). Um dos temas centrais da epopeia tavariana é o amor, aqui articulado com o tema da melancolia (Roland Barthes). Vemos como Bloom se torna, patologicamente, um ser de pensamento e um teórico, e como isso é intrínseco à condição humana na modernidade tardia (Peter Sloterdijk). Com a viagem, Bloom adensa a melancolia, que se converte em desilusão, crime e tentativa de suicídio. Por um lado, Bloom não teve calma e ironia suficientes para digerir um conhecimento insuportável. Por outro, a viagem, na sua circunstância contemporânea, acentua a inércia e o embotamento de Bloom, pois é previsível e essencialmente óptica (Paul Virilio). De qualquer modo, o sofrimento, na linha de leitura que o texto de Tavares parece propor, não pode ser uma desculpa para não agir, para escapar a reinvenção ético-existencial (Ortega y Gasset), não atualizando a sua potência, mantendo-a pura, como se Bloom fosse imortal (Agamben). Todavia, para lá de um certo limite de dor, que Bloom terá franqueado depois do segundo crime, só é possível continuar vivo sob o signo de Saturno, não é mais possível gastar as possibilidades de um corpo.
This study aims at analysing Gonçalo M. Tavares’s Uma viagem à Índia, explaining some of its fundamental themes and motifs and relating it to its hypotext, Os Lusíadas, and to James Joyce’s Ulysses, whose protagonist, Bloom, has been appropriated. Our work seeks to understand both how the episodes and themes of the Camonian epic are updated, and how a figure, Bloom, is invested with philosophical and civilizational value. First, we discuss the singularity of the textual territory of Gonçalo M. Tavares, tracing some of its fundamental thematic and formal lines, by endorsing some of the author’s theoretical formulations in books such as Roland Barthes e Robert Musil and O senhor Breton, interpreting them as expressions of desire (Deleuze). According to our reading, Nietzsche is clearly the key reference for the deconstruction of the metaphysics which Uma viagem à Índia develops. In our initial chapters, we define some of the main themes of Tavares’ work, such as ethics and the incorporation of the common in modern art, in which ways the author updates the epic, at the same time, problematizing the notion of modernity (Franco Moretti). One of the central themes of the Tavarian epic is love, articulated here with the theme of melancholy (Roland Barthes). We observe how Bloom becomes, pathologically, a being of thought and a theorist, and how this is intrinsic to the human condition in late modernity (Peter Sloterdijk). In his journey, Bloom deepens his melancholy that turns into delusion, crime and in a suicide attempt. On the one hand, Bloom wasn’t calm or ironic enough to digest unbearable knowledge. On the other hand, the journey, in its contemporary occurrence, emphasizes Bloom’s inertia and dullness, since it is predictable and essentially optical (Paul Virilio). In any case, in line with the reading that Tavares’s text seems to suggest, suffering can’t be an excuse not to take action, to avoid ethical-existential reinvention (Ortega y Gasset), without refreshing its power and keeping it pure, as if Bloom were immortal (Agamben). However, beyond a certain limit of pain, which Bloom will have cleared away after the second crime, the only chance of staying alive is under the sign of Saturn, it is no longer possible to spend the possibilities of a body.