Dissertations / Theses on the topic 'Literary naturalism'

English
Ph.D.
My dissertation explores a turn in British literature back toward naturalism in the late modernist period, a literary move I call unnaturalism to refer to the way it resembles but deviates from the classic naturalist tradition of the late-nineteenth and early-twentieth centuries. In the 1930s, Virginia Woolf, Samuel Beckett, Jean Rhys, and George Orwell separately play with the form that can best merge literature and politics. The resulting novels—The Years (1937), Murphy (1938), Good Morning, Midnight (1939), and Coming Up for Air (1939)—might not all look like naturalism, but they share a concern with determinism and social conditions, a tendency toward extreme external detail, and an engagement with contemporary scientific and medical discourse. Socially and politically engaged, these writers work to expose the mechanics behind the ‘natural’ order and reveal social determinism misrepresented as biological determinism. Rather than work to disprove or deny this way of understanding the world, the novels of my study complicate all singular understandings of human development. In short, these writers recover naturalist conventions in order to expose a functional determinism that is not rooted in biology—is not, in another word, natural—but rather constructed and reconstructed by contemporary discourses. By focusing on the details of the immediate, individual experience of women and economic or national outsiders, unnaturalists seek a more accurate presentation of the deep inequalities of society and the forces that keep them in place. In The Years, Woolf focuses on the way women continue to be limited by social norms despite the women’s rights developments of the early twentieth century (the professions were unbarred in 1919 and the Representation of the People Act of 1928 provided women with the same suffrage terms as men). In Murphy, Beckett gestures toward the growing field of experimental psychology, revealing the determinist assumptions on which the field relies. Rhys reveals similar assumptions in popular male depictions of women in Good Morning, Midnight as she addresses and revises Sigmund Freud’s “Femininity” and James Joyce’s Ulysses. Orwell looks at politics and language itself in Coming Up for Air, turning to sensory description as a way of working within a language tradition that he sees as keeping in place an anachronistic class system.
Temple University--Theses

This thesis examines the emergence of literary Naturalism in France from its beginnings in the fiction and letters of the Goncourt brothers, the positivist philosophy of Auguste Cornte, and the literary criticism of Hippolyte Tame. It then tracks the history and reception of naturalistic fiction in England. The second half concentrates on the rise of Naturalism as an American fictional form, from its beginnings in the 1890s through to critical acceptance and success in the first decade of the twentieth century. It then examines the reasons for the comparative success of American Naturalism at a time when naturalistic writing in Europe had become outdated. Literary criticism has been periodised throughout in order to demonstrate its influence on the canon and on the formation of genre. Chapter 1 emphasises that the thesis concentrates on literary history rather than on textual criticism, it also suggests a cultural materialist subtext in that the struggles faced by early naturalistic writers were often the result of opposition from reactionary politicians and Church groups rather than from literary critics. Chapter 2 has two purposes: first, it explicates the genesis of literary Naturalism in nineteenth-century France and puts it into a historical perspective. Second, it explores the way in which genre has influenced the way that critics and readers have perceived Naturalism as a development of the novel. It also examines the way in which Zola perceived genre and how he emphasised the importance of the novel as a social tool. Chapter 3 demonstrates the ways in which English writers developed their own form of naturalistic fiction, but lost momentum towards the end of the nineteenth century. It explores the difference between French and English attitudes towards fiction and suggests that different aesthetic values may be the key to these differences. Chapter 4 introduces early reactions to the fledgling American naturalist writers and the reactions of contemporary critics, such as Howells and James. It also emphasises the importance of Frank Norris’s theoretical views on the future of the American novel and presents an overview of the influence of journalistic writing on fiction and the conflicts that this entailed. Chapter 5 focuses on the literary aesthetics found in the works of Norris and Dreiser and presents case studies of Sister Carrie and The Octopus. This chapter argues that The Octopus, in particular, should be read as a novel of aesthetics, and is Norris’s most cogent statement of his theoretical stance on literature and criticism. Chapter 6 explores the growth of Naturalism as an American form. American writers adopted the broad philosophies of European Naturalism, and this chapter examines how they incorporated those ideas into an American cultural matrix that departed from the European model. The conclusion argues that Progressivism and the general will for reform were catalysts for the success of American literary Naturalism, and that the romantic language of naturalism lent itself to a national literature which dealt with such issues. Naturalistic techniques and perspectives were ideally suited to later novels of protest; therefore, the genre was able to persist in an adapted form well into the 1930s

This dissertation is about the prevalence of religious themes in American literary naturalism, which emerged in the late nineteenth century. The centrality of themes such as the indifference of nature and the struggle for survival are common to naturalism, owing to its close association with post-Enlightenment and post-Darwinian advances in science and philosophy. From a contemporary perspective, where science and religion often appear as oppositional explanations for life and its development, it becomes all too easy to assume that those authors associated with naturalism represented religion in limited ways, or with a spirit of antagonism. However, I demonstrate that religion occupies a central position in naturalism. I argue that the religious themes of Frank Norris, Stephen Crane, Jack London, Upton Sinclair, and Sinclair Lewis are reflections of nineteenth and early twentieth-century theological and cultural histories that saw American Protestantism adjusting to a post-Darwinian and post-Enlightenment context through a process of liberalisation. Whilst I do not set out to form an overarching theory of religion in naturalism, I do argue that the naturalists consistently explore the veracity of the Bible, the humanity of Christ, the eschatological promise of life after death, the socio-economic and socio-political implications of Christ’s teaching, and the concept of original sin. In conclusion, I note that both the Great Depression and post-9/11 America saw a return to naturalism as a mode of representation. I therefore also explore how twentieth- and twenty-first century naturalists continued to incorporate into their works the religious themes explored in the works of the earlier generation of naturalists. The naturalists were, and perhaps continue to be, scientists, philosophers, and non-conventional theologians. Religion and naturalism coexist in a complex relationship that ebbs and flows between orthodoxy and liberalism, but never do they deny the right for the other to exist.

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O presente estudo enfoca, no romance A Normalista, de Adolfo Caminha, publicado em 1893, a relaÃÃo entre a ideia dominante de progresso, que se impÃe de diferentes maneiras aos protagonistas, e a vida da cidade apresentada como pacata e provinciana. Esse romance filia-se à estÃtica naturalista europeia, que se integrou aqui no Brasil ao processo social mais amplo de modernizaÃÃo em que o paÃs estava envolvido. Objetivamos entender a relaÃÃo desse romance com o processo, em curso, de modernizaÃÃo da capital, buscando explicar o jogo dialÃtico entre forma literÃria e processo social, a partir dos pressupostos das obras crÃticas de Antonio Candido e Roberto Schwarz. Na introduÃÃo, apresentamos os objetivos e mÃtodos do trabalho. No primeiro capÃtulo, abordamos o perÃodo que compreende a segunda metade do sÃculo XIX. Vemos, rapidamente, o que motivou o surgimento do Naturalismo; em seguida, tratamos mais especificamente do Naturalismo no Brasil e no CearÃ; apresentamos a relaÃÃo de Adolfo Caminha com a estÃtica Naturalista; depois abordamos a recepÃÃo crÃtica da obra e terminamos o capÃtulo com o entendimento do Naturalismo como experiÃncia ideolÃgica e estÃtica. No segundo, apresentamos, a partir da personagem principal, Maria do Carmo, o posicionamento do narrador e, tambÃm, a prÃpria construÃÃo da narrativa. No terceiro e Ãltimo capÃtulo, analisamos as trÃs personagens em que as ideias de progresso aparecem mais fortemente: JoÃo da Mata, Zuza e LÃdia. Nesse capÃtulo, detemo-nos sobre os conceitos de Candido e Schwarz, a fim de explicar como o romance se organiza. Ao tÃrmino do trabalho, concluÃmos que todas as personagens do romance anseiam pelo progresso e que esse desejo se combina, das mais variadas formas, nem sempre coerentemente, com a vida que elas objetivamente podem levar e com os objetivos que podem atingir na cidade ainda provinciana.
This study focuses on the novel The normalista, Adolfo Caminha, published in 1893, the relationship between the dominant idea of ​​progress, which applies in different ways to the protagonists, and the city life presented as quiet and provincial. This novel joins the European naturalistic aesthetic, which he joined in Brazil to the broader social modernization process in that country was involved. We aim to understand the relationship with this novel process, ongoing modernization of the capital, seeking to explain the dialectical interplay between literary form and social process, from the assumptions of the critical works of Antonio Candido and Robert Schwarz. In the introduction, we present the goals and methods of work. In the first chapter, we cover the period covered by the second half of the nineteenth century. We see quickly what motivated the emergence of naturalism; then we treat more specifically of naturalism in Brazil and CearÃ; We present the Adolfo Caminha relationship with the Naturalist aesthetic; then we approach the critical reception of the work and finished chapter with the understanding of Naturalism as an ideological and aesthetic experience. In the second, we present, from the main character, Maria do Carmo, the position of the narrator and also the construction of the narrative itself. In the third and final chapter, we analyze the three characters in the progress of ideas appear more strongly: JoÃo da Mata, Zuza and Lydia. In this chapter, we are reflecting on the concepts of Candido and Schwarz in order to explain how the novel is organized. At the end of the work, we conclude that all the novel's characters yearn for progress and that this desire is combined, in many different ways, not always consistently, with the life they objectively can take and the goals you can reach the city still provincial .

My proposed PhD, titled Zola's Naturalism in The Rougon-Macquart: The Fatality of Sexuality, aims to study the basics of the naturalistic novel in the second half of the nineteenth-century France. Firstly, I have looked back at previous critical studies that were dedicated to the themes of sexuality and/or fatality in Zola's writing. This introductory chapter helped me understand how far critics have gone and what a long way we still have to go before we can fully appreciate the importance of these themes in the context of naturalism. Throughout the twenty novels that make The Rougon-Macquart series, I studied the fictional characters in their being, their appearance and their evolution in space and time. I therefore investigated whether or not these characters were masters or slaves of their space and time and beyond that, what influences they had on each other. Afterwards, I questioned the fecundity of the theme of sexuality in Zola's work to find out both the aspects of originality in his writing and his contribution to the modern novel. Nevertheless, I have criticized Zola on a wider angle as an emeritus writer with his own "weaknesses". Methodologically, I have largely used the semiotics approach along with psychoanalysis due to the specificity of sexuality. Despite the wide range of critical studies on Zola's novels, in my sense, most of them have so far failed to tackle naturalism at its foundations, i.e. sexuality. In fact, if one attempted to free The Rougon-Macquart from the theme of sexuality, neither the Rougon-Macquart family would exist nor the twenty novels they generated. Studying sexuality therefore appeared to be essential to the understanding of the naturalistic theory. However, and surprisingly so, most of Zola's critics have avoided that inescapable theme, perhaps more likely for reasons of decency rather than for scientific ones. It is in such context that I have decided that it was time to bring it to light for the sake of truth about the knowledge of Zola.

FundaÃÃo de Amparo à Pesquisa do Estado do CearÃ
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O presente trabalho procura analisar a dinÃmica do sistema literÃrio nacional, nos termos desenvolvido por Antonio Candido, a partir de uma provÃncia distante dos grandes centros hegemÃnicos do paÃs, durante o perÃodo de 1856 a 1930. Objetiva-se verificar como os projetos nacionais do Romantismo, do Naturalismo e do Modernismo se comportaram diante das especificidades histÃricas que formaram o campo literÃrio no CearÃ. A tese recorta uma produÃÃo poÃtica e romanesca do perÃodo em tela que, de algum modo, se vincularam estritamente Ãs circunstÃncias locais, mas que ao mesmo tempo se integravam aos pressupostos do nacionalismo oitocentista e, posteriormente, Ãs tendÃncias mais conservadoras do Modernismo. Em contraponto ao corpus literÃrio, o trabalho utiliza uma gama de outras fontes, como cartas, poemas populares, mapas, crÃnicas, estatÃsticas, textos memorialÃsticos etc, a fim de propiciar ao leitor uma dimensÃo mais exata do lugar da literatura na totalidade cultural da regiÃo e do paÃs.
This thesis aims at analyzing the dynamics of the National literary system according to Antonio Candidoâs terms, from a distant province far from big hegemonic centers of the country, embracing the periods of 1856 to 1930. It focuses on observing how such movements as Romanticism, Naturalism and Modernism structured themselves within the historical particularities which were configuring the field of literature in CearÃ. An amount of poetic and romantic production from the above mentioned period, which is somehow closely connected to local circumstances, was selected in this thesis; however, such production was, at the same time, integrated 18th century assumptions concerning nationalism and, afterwards, if was attuned to more conservatives tendencies of Modernism. As opposed to the literary corpus, it is used a range of another sources, such as letters, popular poems, maps, articles, statistics, memoirs etc. to the purpose of supplying the reader with a more accurate dimension regarding the place of literature in the whole of the culture of the region and also of the country.

Este trabalho procura ler o Naturalismo brasileiro como parte importante de um movimento internacional e analisa algumas das adequações estéticas, temáticas e de método pelo qual passou. Considera que, a partir do modelo de romance experimental proposto por Émile Zola, autores como Aluísio Azevedo, Júlio Ribeiro e Adolfo Caminha, entre outros, escreveram romances que transformaram em matéria literária o processo de modernização econômica conservadora do Brasil no final do século 19, construindo personagens e tramas que deixaram marcas mais profundas na literatura brasileira do que tradicionalmente é reconhecido. Romances como O cortiço, A carne e Bom-Crioulo tocaram em questões traumáticas para o país, como a escravidão e o controle da sexualidade dos indivíduos, numa sociedade que se aburguesava em vários sentidos, e significaram uma modernização nas letras e nas mentalidades do país.
This work attempts to read the Brazilian Naturalism as an important fact of this international movement and examines some of aesthetic, thematic and methodological adjustments it has been passed in Brazil. It considers that the model proposed by Emile Zola was adapted in Brazil by authors such as Aluisio Azevedo, Julio Ribeiro and Adolfo Caminha, among others. The novels written by these authors expressed the conservative economic modernization of Brazil in the late 19th century, building characters and plots that have left marks in the Brazilian literature that are deeper than is used to recognize. Novels like O cortiço, A carne e Bom-Crioulo touched on traumatic issues, such as slavery and sexuality of individuals, in a progressively bourgeois society, and meant an expressive modernization in Brazilian letters and mentalities.

LESSA NETA, Benigna Soares, A menina e a província: a espera do progresso no romance a Normalista, de Adolfo Caminha. 2011. 104 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2011.
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O presente estudo enfoca, no romance A Normalista, de Adolfo Caminha, publicado em 1893, a relação entre a ideia dominante de progresso, que se impõe de diferentes maneiras aos protagonistas, e a vida da cidade apresentada como pacata e provinciana. Esse romance filia-se à estética naturalista europeia, que se integrou aqui no Brasil ao processo social mais amplo de modernização em que o país estava envolvido. Objetivamos entender a relação desse romance com o processo, em curso, de modernização da capital, buscando explicar o jogo dialético entre forma literária e processo social, a partir dos pressupostos das obras críticas de Antonio Candido e Roberto Schwarz. Na introdução, apresentamos os objetivos e métodos do trabalho. No primeiro capítulo, abordamos o período que compreende a segunda metade do século XIX. Vemos, rapidamente, o que motivou o surgimento do Naturalismo; em seguida, tratamos mais especificamente do Naturalismo no Brasil e no Ceará; apresentamos a relação de Adolfo Caminha com a estética Naturalista; depois abordamos a recepção crítica da obra e terminamos o capítulo com o entendimento do Naturalismo como experiência ideológica e estética. No segundo, apresentamos, a partir da personagem principal, Maria do Carmo, o posicionamento do narrador e, também, a própria construção da narrativa. No terceiro e último capítulo, analisamos as três personagens em que as ideias de progresso aparecem mais fortemente: João da Mata, Zuza e Lídia. Nesse capítulo, detemo-nos sobre os conceitos de Candido e Schwarz, a fim de explicar como o romance se organiza. Ao término do trabalho, concluímos que todas as personagens do romance anseiam pelo progresso e que esse desejo se combina, das mais variadas formas, nem sempre coerentemente, com a vida que elas objetivamente podem levar e com os objetivos que podem atingir na cidade ainda provinciana.

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A literatura engloba a cultura de um povo, o contexto histórico de uma sociedade e reflete os sentimentos humanos de uma determinada época em prosa e verso. Assim, ela reflete a história de um povo ou nação com todas as suas características sociais, emocionais e científicas. Sendo assim torna-se natural uma interface entre a ciência e a literatura já que ambas bebem da mesma fonte: o homem. Desta maneira, analisaremos o conjunto de poemas de Alberto Caeiro (um dos heterônimos de Fernando Pessoa), nos livros Poesia completa de Alberto Caeiro/Fernando Pessoa, Obra Poética, Obras em Prosa e O Romance Experimental e o Naturalismo no Teatro do autor Èmile Zola fazendo então uma interface entre os conceitos de alguns aspectos científicos e literários, sobretudo o Naturalismo na construção poética do heterônimo Alberto Caeiro, um poeta bucólico que tem como objetivo a experimentação e observação da natureza através das sensações. O enfoque que nos permite fazer a história da ciência com uma interface entre a literatura e a ciência será dada pela conceituação do Naturalismo na ciência e na literatura resultando em uma convergência científico-literária que se acentuou na segunda metade do século XIX, e começo do XX, possibilitando uma convergência entre a ciência e a literatura

A publicação de La Terre, em 1887, provoca, na França, uma avalanche de ataques a Zola e ao Naturalismo. O romance, que dá continuidade à saga dos Rougon-Macquart, aborda não apenas a vida do campo e dos camponeses mas também questões sociais ligadas à realidade agrícola do país no final do século XIX. Ao ser lançado em capítulos, o romance é objeto de severas críticas, como o Manifesto dos Cinco, que ataca violentamente a obra e acusa o autor de obscenidade doentia. Críticos de renome como Anatole France e Brunetière também priorizam a dimensão moral em sua avaliação do romance e deploram o que qualificam de crueza naturalista. A crítica francesa utiliza o romance La Terre para decretar a bancarrota do Naturalismo . No Brasil, o prestígio de Zola e do Naturalismo encontra-se em momento de ascensão como parte do movimento mais amplo de adoção dos moldes literários franceses como recurso para consolidar a independência cultural em relação à literatura portuguesa. Romero, Veríssimo e Araripe Jr. se valem repetidamente do autor francês para discutir seus projetos para a literatura nacional. Araripe Jr. - que por certo período havia se afastado de Zola imputandolhe um pessimismo inadequado ao Brasil encontra, em La Terre, tema para trazer novamente Zola para o centro de suas reflexões. O presente trabalho busca refletir sobre o sentido dessa recepção diversa de La Terre na França e no Brasil, examinando o modo como Araripe Jr. transforma o romance em argumento para discutir questões relativas à formação da literatura brasileira.
Zolas La Terre,(1887) causes an uproar in France and triggers a series of violent attacks against its author and Naturalism, the literary school he represented. The novel, part of the Rougon-Macquart saga, focuses not only on country life and peasants but addresses also the loaded social issues shaking rural France at the end of the 19th century. Published in episodes, the novel is the object of fierce criticism, epitomized by Le Manifeste des Cinq, a heavy invective against the novel and its author, who is accused of inexcusable obscenity. Major critics such as Anatole France and Brunetière also highlight the moral dimension in their censure, and most French critics denounce La Terre as proof that literary Naturalism was dead. In Brazil, however, Zolas prestige and that of Naturalism are on the rise, as they seem apt to help foster a national literature finally rid of Portuguese models. Romero, Veríssimo e Araripe Jr. repeatedly refer to Zola when discussing their projects for Brazilian literature. Araripe Jr., who had for a moment detached himself from Zola due to what he saw as the authors objectionable pessimism, finds in La Terre a good opportunity to reconcile himself with Zolas works. The present dissertation discusses these different responses to the novel, in France and in Brazil, focusing on the way Araripe Jr. makes the novel a powerful argument to buttress his views on the ideal path for Brazilian literature.

In his bestselling nonfiction book about the horror genre, Danse Macabre, author Stephen King lists among his idols "the great naturalist writer Frank Norris" (336). While King primarily writes horror fiction, he has often noted his indebtedness to early American literary naturalists. As these naturalist writers have been such an influence in King's life and writing, it seems logical to explore whether King himself, in addition to being a horror writer, can also be considered a literary naturalist. By looking at ideas of both early and contemporary American literary naturalism, I explore how a variety of King's works utilize the most central tenets of naturalism, including realism, determinism (biological, environmental, and technological) and the seeming paradox of free will within determined environments. I also look at how King's horror can be compatible with, and even expands on, the definition of traditional literary naturalism.

The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.

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This paper intends to present a convergence between naturalism and psychoanalysis - art and "science" - through a behaviorist analysis of Amâncio de Vasconcelos, protagonist of Casa de Pensão, a novel by Aluísio de Azevedo. Centrally based upon Freud's psychoanalytic theory and referring to sociocultural elements from the 19th century which considerably contributed shape the character's behavior, such analysis is centered on the following characteristics: the affective-sexual compulsion and insatiability, whose origins, we suppose, are in his childhood and can be verified through his life, due to his not overcoming Oedipus complex; and the hypocrisy, in both family and social environments, as a result of the determinations imposed by the superego, moral representative of culture.
Pretendemos, neste trabalho, apresentar uma convergência entre naturalismo e psicanálise arte e ciência mediante análise comportamental de Amâncio de Vasconcelos, protagonista de Casa de pensão, romance de Aluísio Azevedo. Com fundamentação central na teoria psicanalítica freudiana e reportando-nos a elementos socioculturais vigentes no século XIX que contribuíam consideravelmente para moldar o comportamento do indivíduo, tal análise centra-se nas seguintes características: a compulsão e a insaciabilidade afetivo-sexuais, cujas origens supomos estarem na infância e percorrem toda a sua vida, em virtude da não superação do complexo edipiano; e a hipocrisia, em âmbitos familiar e social, resultado das determinações impostas pelo superego, representante moral da cultura.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The aim of this research is appraise to what extent the dialogue between journalistic chronicle and novel labeled the naturalist conception of Aluísio Azevedo s first naturalism novel, O Mulato, published in 1881. The chronicles were previously produced, while and after the romance had been released, they have strong elements that launch basis from Aluísio related to naturalism matters. Besides, they were presented as propaganda, about the romance itself, the author and his readers. At this point the issue key of this research is marked, i. e. to what extent the naturalistic theses -- real sense linked to personal expression are shown in novelist-chronicler s speech. To respond this matter, hypothesis that states the procedure difference in the way how chronicle and novel are present in the naturalism context: in chronicle, personal expression is reduced when it faces the involvement taking into consideration criticism as well as social reality, in novel this scenario is inverted and personal expression is promoted to literary status by means of thoughts that dare the power of poetics descriptions. Mikhail Bakhtin and Wayne Booth give theoretical basis and studies about the development of novelistic speech, besides Zola s novel principles and his rupture between theory and writing practical. Findings coming from the research assured us the differences between chronicle and novel considering Zola s naturalistic principle. It makes clear, in the chronicle speech, the denounce and social criticism by means of ironic and the way he declares them, many times in distorted figure; in novel, it is the impressionist speech that assumes the rupture, it could be wanted by objectiveness, or by personal expression, revealing, more than rhetorical pleasure , the ethic commitment with the writer s duty that is, exactly, in his literary-language s conscience
O objetivo central desta pesquisa é analisar até que ponto o diálogo entre crônica jornalística e romance marcou a concepção do primeiro romance naturalista de Aluísio Azevedo, o Mulato, de 1881. Produzidas antes, durante e depois da publicação do romance, as crônicas contêm elementos decisivos para a argumentação de Azevedo sobre as questões pertinentes ao naturalismo. Além disso, apresentam-se como meio de propaganda do romance e de estreita relação do autor com seu público leitor. Aqui se delineia a questão chave desta pesquisa, isto é, até que ponto as teses naturalistas o senso de real aliado à expressão pessoal manifestam-se no discurso do cronista e no do romancista. Para responder a esta problemática, projetamos a hipótese que afirma a diferença de procedimento no modo como crônica e romance inscrevem o ideário naturalista: enquanto na crônica a expressão pessoal se reduz frente ao engajamento de crítica à realidade social, no romance a equação inverte-se e a expressão pessoal ganha estatuto literário por meio do discurso que aposta na força poética das descrições. Fundamentam teoricamente a pesquisa os estudos de Mikhail Bakhtin e Wayne Booth sobre a construção do discurso romanesco, além dos princípios do romance experimental de Zola e suas fissuras entre teoria e prática escritural. Os resultados da pesquisa confirmaram as diferenças entre crônica e romance no campo dialogal com os princípios naturalistas de Zola, de modo a evidenciar, no discurso do cronista, a denúncia e crítica social por meio da ironia e do tom, muitas vezes, caricatural; já no romance, é o discurso impressionista que assume a ruptura, seja com a pretendida objetividade, seja com a expressão pessoal, revelando, mais do que o prazer retórico , o compromisso ético com a tarefa de escritor que está, justamente, na sua consciência da linguagem literária

This study sets out to determine whether or not a primary school library, managed by a school librarian, makes a contribution to the information literacy development of year 6 students (ages 10-11 years old). The methodological approach to this research was interpretivist, ethnographic case studies. This is a shift from other studies on school library impact because it employs direct observation of students, and studies each school as a whole, where prior studies have relied on assessment data. This study relied on data collected in the natural environment where children were working to develop rich descriptions of the schools chosen, to be written into detailed case studies. In order to determine the contribution of the school library to information literacy development, the researcher spent time in three different schools, which had differing levels of library provision. The researcher spent time with a Year 6 (age 10-11 years) class in each school, and observed their information behaviour during a research task assigned by their classroom teacher. In order to streamline the observations, an observation framework was developed. This also ensured that each class in the three schools was observed in the same way. The researcher was immersed in each class for the duration of the class assignment, and walked around during the research lessons and spoke to the children about their research process. Semi structured interviews were conducted with members of teaching staff and head teachers to gain information about the school, and to determine their attitudes about school library provision, employing a librarian and the instruction of information literacy. Each school was then written into a case study to provide a rich picture of the school, and of the specific events during the observation sessions with the students. From the case studies, themes about the ways that the students experienced information emerged, and the findings from each school was the basis for the creation of an information literacy framework and recommendations of best practice found in each of the three schools. The investigation highlighted the important contribution that a well-managed school library made to the development of students information literacy.

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The current survey approaches a study of revisiting the romance O Cortiço, by Aluisio Azevedo, on the clef of Brazilian Realism. Its pragmatic center is on an enigmatic game of a literary meaning, which the narrator author solidaires himself, testing the Brazilian female world. From this complicity, we have decided on a methodology of aesthetic that transgress the gadgets used by its own positive methodology to the orthodoxism of the XIX century. The feminine erotism brings the action showed by the main characters: Bertoleza, Rita Baiana, Pombinha, Léonie and Estela, taking them to a resistant denounce action on a board of a double social representation, house slum tenement. Arises from this structural inversion our problem: the female characters are predictable on the subject of the romance or they transgress the patriarchalism under a trying stare of the Alusiana aesthetic? On the diagnostic of hypotheses launched on this essay, we look for answers to the result of this social contamination under the scientificism of the occidental reason, on the scope of the literary of the XIX century. Although, the rupture seen on the mobility of reports of the female characters actions we repeat on the browse of the main social homogeneity, modified through operative parody present on the performance of each fictional characters. On a continental scenery, the reality of the romance is highlighted trough the analogy with the reality The Country of America , interlacing the vectors white house x half breed slum tenement in the process of creolization. The resultant of this Revisitation is pointed to a poetic relation of the creole culture (Gissant, 2005), and the transgression of the interdict (Baitalle, 2014) applied to a feminine action on the narrative, in O Cortiço. Two chapters presented defend these correlations on the intrigue, through a transitory critic that when profaned the image of a realistic woman, show the presence of trace residues of a creole culture already current in the Country of America , between centuries XIX and XX
A presente pesquisa aborda um estudo de revisitação do romance O Cortiço, de Aluísio Azevedo, na clave do Realismo Brasileiro. Seu núcleo pragmático está no jogo enigmático do significado literário, ao qual o autor-narrador se solidariza, pondo em teste o mundo feminino brasileiro. Dessa cumplicidade, decidimos uma metodologia da estética que transgride os dispositivos em uso pela metodologia positivista própria ao ortodoxismo do século XIX. O erotismo feminino subjaz à ação mostrada pelas personagens protagonistas: Bertoleza, Rita Baiana, Pombinha, Léonie e Estela, levando-as a uma ação de denúncia e resistência no quadro de uma dupla representação social sobrado-cortiço. Emerge dessa invenção estrutural a nossa problemática: as personagens femininas são previsíveis na trama do romance ou transgridem o patriarcalismo sob o olhar experimentalista da estética aluisiana? No diagnóstico das hipóteses lançadas neste estudo, buscam-se respostas ao resultado dessa contaminação social sobre o cientificismo da razão ocidental, no âmbito da crítica da literatura no século XIX. Todavia, a ruptura presente na mobilidade do relato das ações das personagens femininas repete-se na negação dos princípios de homogeneidade social, modificados através da paródia operativa presente na performance de cada uma das personagens ficcionais. No cenário continental, a realidade do romance evidencia-se pela via da analogia com a realidade do "país das Américas", no entrelaçar dos vetores sobrado branco x cortiço mestiço em processo de crioulização. A resultante desta revisitação é marcada por uma poética da "relação" da cultura crioula (Glissant, 2005) e da transgressão do interdito (Bataille, 2014) aplicada à ação feminina na narrativa, em O Cortiço. Os dois capítulos apresentados defendem essas correlações na intriga, pela via de uma crítica transitória que, ao profanar a imagem da mulher realista, mostra a presença dos "rastrosresíduo" de uma cultura crioula já vigente no país das Américas , entre os séculos XIX e XX

Este trabajo tiene como objetivo general demostrar la importancia teórica que la cuestión de la naturaleza tenía para el quehacer de los poetas del siglo XVI en España y reconocerla en las Églogas de Garcilaso y los poemas mayores de San Juan de la Cruz. Los objetivos específicos son: -precisar el concepto de naturaleza (frente al de paisaje, jardín o huerto) y sus implicancias en la tradición de pensamiento occidental. -revisar la bibliografía crítica referida a una comprensión profunda de la naturaleza y que aporte luz a su configuración literaria. -distinguir en qué sentidos es posible reclamar una importancia teórica para la cuestión de la naturaleza en los poetas del siglo XVI español. -ubicar en la bibliografía crítica consultada categorías conceptuales referidas a la naturaleza, conocidas por Garcilaso y San Juan de la Cruz, que forman parte tanto de la tradición de pensamiento como de la tradición literaria occidental. -precisar de qué modos Garcilaso y San Juan de la Cruz sintetizan las opciones teóricas respecto de la configuración literaria de la naturaleza en su época. -analizar los poemas propuestos de los escritores a la luz de los conceptos de tradición y originalidad literarias. -destacar la originalidad de cada poeta para configurar la naturaleza frente a las tradiciones.
Fil: Zubiría de Martín, María Isabel Eugenia. Universidad Nacional de Cuyo. Facultad de Filosofía y Letras.

Considéré généralement comme objet de l’art, sujet de la littérature et catégorie de l’esthétique chinoise, shanshui, les « montagnes-eaux », est censé relever d’un sentiment et d’une conception de la nature relativement différente de celle de l’Occident. Or la construction moderne de shanshui au prisme de la nature n’intègre la multiple pratique paysagère historiquement fondée dans la tradition lettrée, inextricablement liée à l’invention des montagnes-eaux : l’érémitisme, la recherche d’immortalité, l’excursion, la réunion littéraire lettrée, la création poétique, picturale et du jardin. Centrée sur l’histoire tri-séculaire après la chute de la Dynastie Han, en exposant les conjonctures particulières, analysant la notion ‘ziran’ dans l’étude du Mystère, rassemblant et traduisant les écrits et poèmes thématiques qui témoignent des mouvements et tendances extra-mondains dans les milieux lettrés sous les Wei-Jin (220-420), cette thèse vise à montrer que shanshui, plutôt que d’être constitué par la dualité nature/art, est inventé comme un paradigme confrontant, dans une bipolarisation de la réalité lettrée à cette époque, l’espace confucéen et l’espace taoïste, le service et la retraite, les affaires mondaines et la recherche de l’idéal par-delà la société. Autour de shanshui se cristallisent les idées-valeurs comme l’authenticité, la dévotion, la vertu, la liberté, le naturalisme, le mysticisme, la créativité et la transcendance immanente, en cela, nous supposons la co-naissance des montagnes-eaux et d’un idéal-type de l’humanisme classique chinois
Generally regarded as the object of art, the subject of literature and Chinese aesthetic category, Shanshui (mountains-waters) is believed to be relevant to aesthetical feelings as well as the philosophical concept of nature that is different from that of the West. However, the modern construction of Shanshui through the prism of nature does not integrate the multiple landscape practices historically founded in the gentry's tradition, which had contributed to the invention of mountains-waters: eremitism, immortality seeking, excursion, gathering of literary circles, and the creation of poetry, paintings and gardens. Focusing on the history of Wei-Jin (220-420) after the fall of the Han dynasty, exposing the particular contexts, analyzing the notion of 'Ziran' in the Xuanxue school, gathering and translating the writings and thematic poems showing the extra-mundane movements and tendencies in literate milieus under this time, this thesis aims to show that Shanshui, rather than being constituted by the duality of nature and art, has been invented as a cultural paradigm to confront, in a bipolarization of the reality of ruling gentry class, the Confucian space and the Taoist space, service and disengagement, mundane concerns and pursuit of the Ideal beyond society. Around Shanshui the ideas and values such as authenticity, deep affection, virtue, liberty, naturalism, mysticism, creativity and immanent transcendence are crystallized, in this way, we may assume the co-birth of mountains-waters and an ideal type of Chinese classical humanism
山水研究以往側重于詩歌，繪畫與哲學分析，并普遍將山水視為自然再現，自然情感與某種不同於西方自然觀的審美表達。然而，“相對不同”的判定卻是建立在自然／文化兩分的現代二元范式的“普世應用”上的。因為僅僅強調山水源於“發現自然”並不能整合與山水緊密相關且貫穿於士傳統中的文化實踐：如隱逸，遊仙，遊覽，雅集，以及對世外理想之境的不懈書寫，描畫與營造。本論文考察了魏晉時期(220-420)的社會，政治與文化背景：名教自然的對立，隱逸遊仙的結合，魏晉風度，衣冠南渡，僑立，宗教興起，道釋義理在文化士族內部經由玄學促生的思想轉向等；通過分析魏晉玄學中的自然概念，整理翻譯相關的歷史文本與詩歌，試圖說明，與其說山水是自然／藝術的二元構建，毋寧說山水是士階層在仕與隱，經世與玄遠，世表與塵外的現實兩極化中所創建的一種文化範式。圍繞山水，凝聚了一系列具有重要文化特徵的理念与價值——保真，養身，自足，逍遙，自然主義，暢神玄覽，內在超越與審美理想。這意味著與山水共生的是一種中國古典人文主義的理想型。

Les antinaturalistes ! Ce terme fait jaillir les figures de critiques du XIXe siècle, dont les noms sont demeurés plus ou moins gravés dans la mémoire et dans l’histoire littéraire : Barbey d’Aurevilly, Léon Bloy, Léon Daudet, mais aussi Pontmartin, Remy de Gourmont ou Jean-Marie Guyau... auteurs fascinants par leur virulence, leur refus de la modernité, leurs positions philosophiques hors-norme ou novatrices... La présente étude tend à montrer la diversité qui peut animer ce groupe, qui se définit par la négative comme « ceux qui s’opposent à la littérature de Zola ». Cette alliance des contraires leur permet de se constituer en force à part entière sur l’échiquier littéraire.Pour appréhender cette tension entre la pluralité des figures et la force d’un groupe dont l’unité se fracasse sur l’affaire Dreyfus, une première partie proposera quelques parcours dans la sociologie et la philosophie de l’époque, qui mettent en évidence un paysage complexe, traversées par d’étranges phénomènes de ruptures et de continuité. Puis, en questionnant la manière dont les antinaturalistes mettent en forme un discours critique. Un chapitre consacré aux rhétoriques antinaturalistes ne fera que renforcer l’idée de multiplicité au sein de ce groupe. Un double-mouvement de construction et de déconstruction de ce concept, conduira à réévaluer quelques griefs adressés à Zola par ses ennemis pour mettre en lumière des phénomènes de ré-emprunts et des positions singulières et paradoxales, qui témoignent de l’importance de l’auteur naturaliste dans le champ littéraire de la fin du XIXe siècle, tant sur le plan littéraire que sur le plan politique
Antinaturalists! This term brings out the figures of critics of the nineteenth century, whose names have remained more or less engraved in memory and in literary history: Barbey d'Aurevilly, Leon Bloy, Leon Daudet, but also Pontmartin, Remy de Gourmont or Jean-Marie Guyau ... fascinating authors by their virulence, their rejection of modernity, their philosophical positions out of norm or innovative ... The present study tends to show the diversity that can animate this group, which is defined by the negative as "those who oppose Zola's literature". This alliance of opposites allows them to constitute themselves in full force on the literary chessboard.To apprehend this tension between the plurality of figures and the strength of a group whose unity is shattered on the Dreyfus affair, a first part will propose some pathways in the sociology and philosophy of the time, which highlight a complex landscape, traversed by strange phenomena of breaks and continuity. Then, questioning the way in which antinaturalists form a critical discourse. A chapter devoted to antinaturalist rhetoric will only reinforce the idea of ​​multiplicity within this group. A double-movement of construction and deconstruction of this concept, will lead to reevaluate some grievances addressed to Zola by his enemies to highlight phenomena of re-borrowing and singular and paradoxical positions, which testify to the importance of the naturalist author in the literary field of the late nineteenth century, both literary and political

This project asserts that male Naturalist authors were not “hypermasculine” acolytes of strident manhood, but instead offer alternative constructions which they portray as less traumatic and more cohesive than prevailing social notions of normative male behavior. I maintain that the rise of the concept of manhood advocated by Theodore Roosevelt in the early decades of the twentieth century contributed to this misconception, for it generated a discourse of “manly” individualism which became equated with socially acceptable performances of masculinity for many Americans. My first chapter illustrates the gradual evolution of an individualistic, violent, and strident concept of manhood, which I label “strenuous masculinity,” through the rhetoric of Theodore Roosevelt. The second chapter explores the ways in which Stephen Crane’s fiction illuminates the trauma and confusion inherent in strenuous concepts of manhood. Many of Crane’s stories, like “Five White Mice,” demonstrate the failure of individualism, while others, like “The Open Boat,” document a more positive construction of what I call “homosocial manhood.” In my third and final chapter, I attempt to prove that Richard Wright’s early texts showcase a range of possible outcomes of black male attempts to stand up to racial oppression. I document that Uncle Tom’s Children and Native Son both depict a continuum of confrontation, with individual violence on one end of the spectrum and non-violent group protest on the other. Furthermore, because individual resistance is consistently equated with the suffering and death of the protagonists, my project implies that strenuous manhood also fails to provide a site for effectual and sustainable opposition to the negating forces of racial oppression.
Theodore Roosevelt and the transformation of American masculinity -- "The youth leaned heavily on his friend" : alternative constructions of masculinity in Stephen Crane's fiction -- Richard Wright's early fiction as a rejection of the racial oppression of strenuous manhood.
Department of English

“Human/Nature: American Literary Naturalism and the Anthropocene” examines works of fiction from the genre of American literary naturalism that sought to represent the emergence of the environmental crisis known today as the Anthropocene. Reading works by Jack London, Frank Norris, Charlotte Perkins Gilman, and Charles W. Chesnutt, I show how the genre’s well-known tropes of determinism, atavism, and super-individual scales of narration were used to create narratives across vast scales of space and time, spanning the entire planet as well as multi-epochal stretches of geologic time. This reading expands existing definitions of American literary naturalism through a combination of literary analysis, engagement with contemporary theory, and discussion of the historical context of proto-Anthropocenic theories of the late-19th and early-20th centuries. Whereas most earlier understandings of naturalism have focused on human nature as it is determined by environmental conditions, I follow the inverse: the impact of collective human action on the physical environment. Previous definitions of naturalism have only told part of the story of determinism, making it impossible to recognize until now the genre’s unusual capacity to aesthetically capture humanity’s pervasive impact on the planet. Each of the dissertation’s four chapters focuses on a single author, a single aesthetic strategy, and a single problematic in Anthropocene discourse. My first chapter argues that Jack London’s late work (1906–1916) balanced his attempts to understand the human as a species with a growing interest in sustainable agriculture, resulting in a planetary theorization of environmental destruction through careless cultivation. But London’s human-centered environmental thinking ultimately served his well-known white supremacism, substantiating recent critiques that the Anthropocene’s universalism merely reproduces historical structures of wealth and power. Rather than the human per se, Frank Norris put his focus on finance capitalism in his classic 1901 novel The Octopus, embodying the hybrid human/natural force that he saw expanding over the face of the planet in the figure of the Wheat, a cultivated yet inhuman force that is as much machine as it is nature. I show how Norris turned Joseph LeConte’s proto-Anthropocenic theory of the Psychozoic era (1877) into a Capitalocene aesthetics, a contradictory sublimity in which individuals are both crushed by and feel themselves responsible for the new geologic force transforming the planet. While London and Norris focus on the destructive capacities of human agency, Charlotte Perkins Gilman’s 1915 novel Herland takes a utopian approach, depicting a society of women with total control of their environment that anticipates conceptions of a “good Anthropocene.” Gilman built on the theories of sociologist and paleobotanist Lester Ward as well as her own experience in the domestic reform movement to imagine a garden world where the human inhabitants become totally integrated into the non-human background. Yet Gilman’s explicitly eugenic system flattens all heterogeneity of culture, wealth, and power into a homogenous collective. My final chapter builds on the critique of the Anthropocene’s universalism that runs through the preceding chapters by asking whether and how the Anthropocene can be approached with more nuance and less recourse to universals. I find an answer in the stories of Charles W. Chesnutt’s The Conjure Woman (1899) and the theory of the Plantationocene, which sees the sameness of the Anthropocene not as “natural” but as produced by overlapping forms of racial, economic, and biological oppression. Registering this production of homogeneity and its counterforces at once, Chesnutt models what I call Anthropocene heteroglossia, juxtaposing multiple dialects and narrative forms in stories set on a former plantation, depicting heterogeneous social ecologies as they conflict and coexist in markedly anthropogenic environments.

Agreeing with the position held by many feminist critics that the inclusion of women's writing necessarily refocuses the critical view of a given literary tradition, this dissertation argues that the inclusion of fiction by Chopin, Wharton, and Glasgow in the canon of American literary naturalism results in a new perspective on this influential genre. Critics of American naturalism have too often incorrectly assumed that the genre was created by only a few immature, turn-of-the-century, white, male writers employing facile concepts of Social Darwinism and biological determinism. Many critics have concluded, therefore, that naturalism is negligible in the context of an American literary history that values the participation of male and female writers I contend that naturalism is an important genre because male and female writers worked together both to lay the genre's foundation and to develop its themes and forms. My analysis of women writers' naturalistic fiction written between 1892-1905, including Chopin's The Awakening, Glasgow's The Descendant, and Wharton's 'Bunner Sisters' and The House of Mirth, reveals these writers' innovative use of ideas about human evolution and sexual selection to challenge established gender roles. Moreover, an analysis of these writers' fiction from the mid-point of their literary careers during the 1910s, including Wharton's Ethan Frome and The Custom of the Country, and Glasgow's Virginia, and an analysis of the fiction from their later careers during 1920-1932, including The Age of Innocence and The Sheltered Life, foster critical understanding that, after the 1890s, naturalism developed themes of psychological and social determinism and naturalistic modern narrative techniques In these last five novels, Wharton and Glasgow developed unique naturalistic narratives in response to changes in social attitudes and institutions. Exploring the multifarious forces behind social changes, in their 1910s fiction, Wharton and Glasgow took up the widely debated issue of Motherhood as an American institution; in their 1920-1932 fiction, Wharton and Glasgow radically denounced the familial and social destructiveness underlying the unnatural ideal of Woman as a sexually chaste, selfless, and flawless beauty. Finally, recognizing these women's achievement in naturalism makes possible future inquiry into women's writers' contribution to the genre
acase@tulane.edu

Few concurrent literary movements have offered such divergent philosophies of art as did British aestheticism and American naturalism at the turn of the twentieth century. American naturalist writers defined their work through direct opposition to what they saw as the 'literary,' and therefore 'feminine,' qualities cherished by an American intellectual establishment dominated by the principles of aestheticism. In this dissertation, I examine the work of specific naturalist authors in order to demonstrate how this opposition contributes to the shaping of an artistic sensibility which relies upon a remarkably unstable conception of the artist I locate the naturalist artistic sensibility within the context of the volatile cultural climate of the 1890s and the perceived 'crisis in masculinity' that concerned American society. This work investigates the transformation of the cultural tensions arising from ideologies of race, class, and gender into an aesthetic perspective which adopts the language of 'masculinity' as a metaphorical tool to redefine the idea of authorship. I focus on a group of writers, including Stephen Crane, Frank Norris, Jack London, Edith Wharton, and James Weldon Johnson, whose texts are unified by a common concern with the issues of masculinity and artistry. The male-dominated realm of Crane's, London's, and Norris's fiction reflects the authors' investment in the 'bachelor culture' of the late nineteenth century, while the novels of Wharton and Johnson articulate ideas seemingly at odds with the dominant ideology of America at the turn of the century and the very concept of American 'masculinity' itself. Each author, however, attempts to redefine literature as an active, vital enterprise within the gender-based confines of progressive-era American culture. This problematic and persistent connection between masculinity and aesthetics in turn-of-the-century naturalist texts illuminates a significant relationship between the naturalist tradition and a continuing twentieth-century American literary preoccupation
acase@tulane.edu

Literary utopianism and naturalism present apparently polar views regarding the possibilities and limitations of human agency: the former portrays humanity as having created a communal society based upon rationality, while the latter argues that people are victims consumed by their desires. This comparative study of Edward Bellamy's Looking Backward (1888), Frank Norris' McTeague (1899), Theodore Dreiser's Sister Carrie (1900), and Frank Baum's The Wizard of Oz (1900), postulates these fictions as examinations of whether life in America at the end of the nineteenth-century is inevitably caught in state of flux or whether it is possible to attain stability. Yet these works are less interesting for their ostensibly dominant perspectives on the human condition, than for their complicating elements which elevate the works above their prevailing philosophies and prevent them from remaining mere manifestos.

Research Doctorate - Doctor of Philosophy (PhD)
This literary study explores the female condition in four naturalistic novels, namely, Stephen Crane’s Maggie: A Girl of the Street, Edith Wharton’s The House of Mirth, Kate Chopin’s The Awakening, and Gustave Flaubert’s Madame Bovary. The purpose is to reconsider the context of “woman” in this genre by extending from dialectical views with positive and negative connotations towards a reimagining of the “female” with some degree of agency despite claims of “determined conditions” in naturalism. The study’s examination of the heroine’s interplay with “forces” in society illustrates that as exemplified in my chosen novels, these “forces” do not demonstrate total control of an individual’s fate. In exploring the female condition in the novels, the study goes through three steps: namely, examining the condition of the female protagonist in society, analysing the relation between suicide and the role of free will, and investigating the role of the spiritual dimension within the frame of Gaudium et Spes for issues raised in the novels. In relation to the female condition, the study incorporates important issues on female disempowerment and displacement namely, commodification, conspicuous consumption, consumerism, and rugged individualism culled from Marxist-Feminist criticism, Foucault’s and Beauvoir’s concepts on power or free will, and discourses on spirituality within the frame of Gaudium et Spes to clarify issues on marriage, family, human dignity, and self-preservation raised in the novels. It is found that the female protagonist’s non-conformism and defiance of societal “forces” are expressions of willpower that compromises self-preservation and continuity. Despite the socio-cultural disadvantages experienced by the female protagonist, her tragic fate is the result of her choice that suggests a clamour for spiritual regeneration. Her misdirected passions and quest for individuality and self-fulfilment imply a need for something more, which links to the spiritual dimension of her nature. Spirituality within the tradition of Gaudium et Spes highlights the good of the human person with the acknowledgment of divine will, the same aspiration (with emphasis on social awareness) that naturalism conveys for humanity, with its lens however on individual will. Hence, the criticism on naturalism’s reductionist treatment of the non-physical and intense focus on the physical social realities actually point to the same aspiration that Gaudium et Spes projects – the betterment of the human condition and humanity as a whole.

The main aspiration of this thesis is to illustrate on several selected examples (or almost "cases" of clinical kind) from French, Russian, Polish, Italian (and in the second plan also German or English) writtings of the 19th and early 20th century the methods of application and presentation of the Withdrawnnes-motif in literature. And on the basis of them (after attempting to mapping out the network of their possible mutual influences, consequences, concurrency or filiations, in the interpretative part of the thesis, so on the II. to VI. chapter) try to define its final characteristics, periodisation, classification and his general definition. … and, moreover, or on the way to this purpose, perhaps to provide the reader a few other - perhaps more useful, or more interesting - information. Keywords: Autostylisation, Confusion of the dream and the reality, Decadence, Dreaming, Extreme mental states of mind, fin de siècle, Individualism, Literary motives, Modernism, Psychologism, Psychic naturalism, Solipsism, Transposition of identity, Withdrawnnes

Temat gabinetów osobliwości jak dotąd cieszył się zainteresowaniem przede wszystkim badaczy kultury i literatury renesansu, zwłaszcza historyków sztuki zajmujących się dziejami kolekcjonerstwa europejskiego. Jest to zrozumiałe o tyle, że epoka kultury ciekawości była czasem, w którym powstawały pierwsze wunderkamery erudytów. W pracy przyjmuję założenie, że w XIX wieku, a zwłaszcza w jego drugiej połowie, zaistniały warunki do ponownego rozwoju tej formy ekspozycji, która ze sfery arystokratycznych kolekcji przeniosła się przede wszystkim do kultury popularnej i literatury. Celem mojej rozprawy jest opisanie i poddanie interpretacji różnych form obecności gabinetów osobliwości w literaturze drugiej połowy XIX wieku w kontekście kulturowym. Gabinet osobliwości rozumiem jako kolekcję przedstawiającą pomniejszony obraz świata, której konstrukcja zasadza się na przekonaniu, że uniwersum najlepiej reprezentuje to, co unikatowe, rzadkie, osobliwe. Stawiam tezę, że zainteresowanie osobliwościami było konsekwencją wartości wyznawanych przez XIX-wieczną formację kulturową oraz umożliwiało badanie i opisywanie zagadnień pozornie znajdujących się poza obszarem refleksji pozytywizmu, naturalizmu czy scjentyzmu. Przyjmuję, że „osobliwość” jest pojęciem funkcjonalnym w takim znaczeniu, że więcej niż o przedmiocie, mówi o oglądającym, dlatego z jednej strony badam, w jaki sposób XIX-wieczni autorzy przedstawiali swoją epokę za pomocą figury gabinetu osobliwości, z drugiej – rekonstruuję opowieści, które wyłaniają się z aktu patrzenia na to, co osobliwe. Niniejsza praca wpisuje się w kulturową historię literatury zarówno poprzez zakres tematyczny, jak i zróżnicowane instrumentarium badawcze, na które składają się narzędzia stosowane przez literaturoznawstwo, kulturoznawstwo i historię sztuki. Wśród analizowanych utworów znalazły się zarówno powieści, jak i opowiadania, opisy podróży, traktaty filozoficzne, naukowe i popularnonaukowe ukazane na tle przewodników turystycznych oraz artykułów prasowych. Kontekstem dla polskich tekstów są odpowiednio wybrane utwory literatury obcej. Konstrukcja pracy oddaje różne etapy obiegu osobliwości w kulturze i literaturze. W pierwszym rozdziale poddaję interpretacji teksty podróżnicze powiązane z realnie istniejącymi kolekcjami osobliwości. Ich autorami są zarówno pisarze (Józef Ignacy Kraszewski, Sygurd Wiśniowski), jak i uczeni (Karol Darwin, Konstanty Jelski, Benedykt Dybowski) oraz kolekcjonerzy (Michał Tyszkiewicz). Sprawdzam, w jaki sposób badali i opisywali napotkane osobliwości, a zebrane przez nich eksponaty zestawiam z atrakcjami turystycznymi (w rozumieniu Deana MacCannella) i pamiątkami (w rozumieniu Anny Wieczorkiewicz). W rozdziale drugim i trzecim koncentruję się na przedstawionych w literaturze miejscach (w rozumieniu Elżbiety Rybickiej), w których badano, eksponowano i sprzedawano osobliwości, czyli odpowiednio: gabinetach naukowych (m.in. Sartor Resartus, Niewidzialny, Mistrz Twardowski, Xiądz Faust, ale też realne laboratoria Tesli, Szczepanika i Ochorowicza), prywatnych (m.in. Kuzyn Pons, Pan Major, The Spoils of Poynton) oraz magazynach osobliwości (m.in. Magazyn osobliwości, Lalka, Jaszczur, Złota czara). Interpretacje podporządkowane są trzem podstawowym perspektywom: praktyki, poetyki i polityki (wg Susan Pearce) zbierania, pokazywania i oglądania osobliwości. Zaprezentowane w tekstach eksponaty czytam, wzorem kolekcjonerów, metonimicznie (wg Elaine Freedgood). O ile w pierwszych trzech rozdziałach koncentruję się przede wszystkim na osobliwych rzeczach, o tyle ostatni rozdział poświęciłam osobliwościom ludzkim, wystawianym w gabinetach, które należały do wielkomiejskiej kultury atrakcji (od panoptikum po seanse spirytystyczne). Sprawdzam, jakie sensy nadawano ludzkim ciałom w różnych dyskursach, w które wpisywane były osobliwości (wg Anny Wieczorkiewicz). Interpretowane teksty potwierdzają szeroką obecność gabinetów osobliwości w XIXwiecznej literaturze i kulturze oraz żywe zainteresowanie tym, co niezwykłe, niepoznane, niewidzialne. Osobliwość, która podlega oglądowi, badaniu, eksperymentom, umożliwia wprowadzenie „niezwykłości” charakterystycznych dla fantastyki w przestrzeń realizmu, znosząc tym samym ostrą granicę między idealizmem a materializmem, religią a nauką, faktem a cudem; staje się katalizatorem nowoczesności. Przedstawione kolekcje generują własne opowieści o wieku XIX, wpisujące się w poetykę osobliwości, która operuje specyficznymi: środkami wyrazu, konstrukcją narracji i formą tekstu. Wśród opowieści odczytanych z literackich gabinetów osobliwości na plan pierwszy wysuwają się te o powszechnym powinowactwie, o melancholii i utopii oraz o nowoczesnej normie. To jednocześnie opowieści silnie uwikłane w dyskurs klasowy, narodowy i konsumpcyjny. Poprzez eksponowanie osobliwości silnie akcentują, co jest uznawane za normalne, jednak normalność nie stanowi tu atrakcyjnego wzorca. Kontakt z osobliwym umożliwia emancypację ze sztywnych ram społeczeństwa mieszczańskiego i uczestnictwo w kulturze tworzonej przez geniuszy i ekscentryków: podróżników, artystów, uczonych i kolekcjonerów. W swojej pracy chciałam pokazać, że zwrot ku osobliwościom następuje w czasach intensywnego rozwoju nauki, techniki, nowych odkryć, które podkopują dotychczasowe paradygmaty i denaturalizują dotychczasowy obraz świata. Osobliwości pomagają ten obraz na powrót pozszywać w całość, tworząc pomost między przeszłością, nowoczesnością i przyszłością.
So far, cabinets of curiosities have been studied mainly by researchers of Renaissance culture and literature, especially art historians dealing with the history of European collecting. This is understandable, because the age of curiosity was the time when the first erudite wunderkammers were created. In my dissertation, I assume that in the nineteenth century, and especially in its second half, the conditions arose for the re-development of this exhibition form, which in turn entailed its transference from an organising principle of aristocratic collections to the contexts of popular culture and literature. The aim of my dissertation is to describe and interpret the various manifestations of cabinets of curiosities in the literature and cultural context of the second half of the 19th century. I understand cabinets of curiosities as collections presenting a microcosm, the design of which is based on the belief that the universe is best represented by those things that are unique, rare, and peculiar. I argue that the interest in curiosities was a consequence of the values which permeated the cultural formations of the nineteenth-century and functioned so as to enable exploration and description of issues which seemingly neither positivism, naturalism nor scientism were capable of reflecting. I assume that "curiosities" is a functional concept, in the sense that it describes the viewer rather than the object. From this point of view I study both how nineteenth-century authors portrayed their epoch using this figure, and the kinds of stories we can reconstruct from examining curiosities. This work is part of the cultural history of literature both in the sense of its thematic scope and the diverse research instruments it deploys. Among the latter are tools used by literary studies, cultural studies, and the history of art. Works that inform the analysis include novels as well as short stories, travel descriptions, philosophical treatises, scientific and popular science texts, tourist guides and newspaper articles. Foreign literature provides the context for the Polish texts studied. 1 The structure of the work reflects various aspects of the circulation of curiosities in culture and literature. In the first chapter, I interpret travel texts related to real-life collections of curiosities. Their authors included writers (Józef Ignacy Kraszewski, Sygurd Wiśniowski), explorers (Karol Darwin, Konstanty Jelski, Benedykt Dybowski), and collectors (Michał Tyszkiewicz). I inquire into how they researched and described the curiosities they encountered, and how the exhibits they collected were related to tourist attractions (Dean MacCannell) and souvenirs (Anna Wieczorkiewicz). In the second and third chapters, I focus on the places presented in the literature (Elżbieta Rybicka) in which the curiosities were studied, exhibited and sold: scientific cabinets (including Sartor Resartus, Niewidzialny, Mistrz Twardowski, and Xiądz Faust, but also real Tesla, Szczepanik and Ochorowicz laboratories), private collections (including Cousin Pons, Pan Major, and The Spoils of Poynton) and magazines of curiosities (including The Old Curiosity Shop, Lalka, The Skin of Sorrow, and The Golden Bowl). I examine the texts from three basic perspectives: the practice, poetics and politics (Susan Pearce) of collecting, and the showing and watching of curiosities. In common with the collectors, I read the exhibits presented in the texts metonymically (Elaine Freedgood). While in the first three chapters I focus primarily on things, the last chapter is about human curiosities, exhibited in the cabinets that belonged to the metropolitan culture of attractions (from the panopticus to the spiritualistic séances). I examine the significances that have been attributed to human bodies in the various discourses in which curiosities were embedded (Anna Wieczorkiewicz). The interpreted texts confirm the widespread presence of curiosity cabinets in 19thcentury literature and culture, and a vivid interest in what is unusual, unknown, or invisible. The curiosities examined enabled and facilitated the introduction of that "uniqueness", characteristic of speculative fiction, to the realm of realism, thereby abolishing the sharp boundary between idealism and materialism, religion and science, fact and miracle; they became a catalyst for modernity. The presented collections tell their own stories about the nineteenth century, using the poetics of curiosities, which operates with specific means of expression, narrative construction, and textual forms. Among the stories from the literary cabinets of curiosities, there are those inspiring universal affinity, evoking melancholy and utopia, and embodying modern norms. At the same time, these stories are enmeshed in class, national and consumer discourses. Although by displaying curiosities, that which is to be considered normal is strongly signalled, normality nevertheless does not here assume an attractive guise. Contact with curiosities allows 2 emancipation from the rigid framework of bourgeois society and participation in culture created by geniuses and eccentrics: travellers, artists, explorers and collectors. In my dissertation, I show that the turn to curiosities takes place in a time marked by the rapid development of science and technology, and new discoveries that shake the existing paradigms and denature the current image of the world. Curiosities help this image to be sewn back together, creating a bridge between the past, modernity and the future.