Dissertations / Theses on the topic 'Modern Literaturem'

Trabalho de pesquisa que pretende retirar o teatro de Gil Vicente de um possível período mais obscurantista, tardo-gótico, para colocá-lo em meio às grandes transformações ocorridas na Europa durante o século XVI, mais propriamente o Renascimento artístico e cultural. A partir de uma crítica textual de autores contemporâneos como Nicolau de Cusa e Martinho Lutero, ou da literatura da Grécia clássica como Platão e Ésquilo, aproximamos o teatro vicentino das fontes clássicas da literatura, ao mesmo tempo em que, por uma crítica de determinadas correntes hegemônicas na análise da literatura como as que vêm do existencialismo e da psicanálise, afastamos seu teatro dessa crítica que antes obscurece do que propriamente o coloca à plena luz. Posto na luz correta, vemos um Gil Vicente em meio aos grandes movimentos de transformação da civilização mediterrânica do século XVI.
Research that want to remove Gil Vicentes theater from a more obscurantist period, "late Gothic", to put it among the great changes occurred in Europe during the sixteenth century, more specifically, the artistic and cultural Renaissance. From a textual criticism of contemporary authors such as Nicholas of Cusa and Martin Luther, or literature of classical Greece as Plato and Aeschylus, we can approache the Vincentian theater and the classical sources of literature at the same time, for a review of certain currents hegemonic analysis in literature, as the current existentialism and psychoanalysis. This move away his theater from the obscur criticism actually and puts it on light. With the correct approach, we can see Gil Vicente in the midst of the great movements of change in the Mediterranean civilization in the sixteenth century.

O presente trabalho detém-se na leitura de textos da escritora Clarice Lispector produzidos nos anos 1940, 1950 e 1960: Perto do coração selvagem, contos de Laços de família e textos e contos de A legião estrangeira. Com a finalidade de investigar inter-relações entre literatura e outras artes na obra da escritora, o corpus foi confrontado com textos sobre as fontes e tradições da arte moderna, trabalhos críticos sobre a arte moderna no Brasil e estudos sobre o espaço moderno. A partir do conceito de \"espaço polissensorial\", proposto por Pierre Francastel, e do conceito de \"espaço em obra\", proposto por Alberto Tassinari, buscamos discutir homologias estruturais entre o espaço da narrativa clariciana e o espaço da pintura moderna. Os dois conceitos se relacionam a duas funções complementares que pensamos existir nas narrativas estudadas: a figuração e a exposição. Pela primeira, a narrativa apresenta personagens, ações, acontecimentos, eventos etc; e pela segunda, apresenta sinais do fazer. O pintor Wassily Kandinsky escreveu que o artista criador busca na aproximação com a música, a mais imaterial de todas as artes, um modo de exprimir com seus próprios meios sem que a imitação seja um fim em si. Trata-se de um aspecto observável na narradora de Perto do coração selvagem, por isso procuramos discutir de que modo a música, aludida muitas vezes na narrativa, relaciona-se com a estrutura do romance.
This work is focused on readings of Clarice Lispector\'s writings produced in the 1940s, 1950s and 1960s: the novel Perto do coração selvagem, short stories in Laços de família and texts and short stories in A legião estrangeira. Aiming at investigating the inter relations between literature and other forms of art, the writer\'s work corpus was confronted with texts on modern art\'s sources and traditions, Brazilian modern art critique and modern space studies. Based on the concepts of \"polysensorial space\" proposed by Pierre Francastel, and \"space at work\", proposed by Alberto Tassinari, structural homologies were studied between Ms. Lispector\' s narrative space and that of modern painting. The two concepts are related to two complementary functions which we believe exist in the narratives analyzed: figuration and exposition. The former introduces characters, actions, events, etc...in the narrative; the latter presents signs of acting. The painter Wassily Kandinsky wrote that the artist seeks to find in music, the most immaterial among the arts, a form of self-expression, without imitation being an end in itself. Since this is an aspect observed in the narrator of Perto do coração selvagem, we have attempted to discuss in which ways music, often alluded to in the narrative, is related to the novel\'s structure.

Fazil Iskander (1929- ) é um dos mais representativos escritores soviéticos remanescentes da geração do degelo. Devido ao desconhecimento deste autor no Brasil, este trabalho consiste na tradução da novela que lhe deu notoriedade, precedida por uma apresentação e comentário: Sozvezdie Kozlotura, em português, A constelação do capriuro, de 1966. Apesar de pertencer à tradição satírica russa, junto a nomes como Nikolai Gógol e Mikhail Bulgákov, a prosa de Iskander carrega as singularidades da sua origem não-russa. A sua terra natal, a Abkházia, com a sua história e costumes, além de reverberarem na obra do autor, entrecruzam-se com a cultura russo-soviética numa relação complexa que dá às suas narrativas um caráter único. Neste trabalho, foram analisados os elementos que tornam a sátira de Iskander tão inovadora.
Fazil Iskander (1929- ) is one of the most representative remaining writers of the Thaw Generation. Due to the lack of recognition of this author in Brazil, the present dissertation consists in the translation of the short-novel that has made him internationally renowned, preceded by a presentation and commentary: Sozvezdie Kozlotura from 1966, or A constelação do Capriuro in Portuguese. Though the prose of Iskander belongs to the Russian satire tradition, along with names like Nikolai Gogol and Mikhail Bulgakov, it carries the singularities of his non-Russian origin. His motherland, Abkhazia, with its proper history and customs, besides reverberating on his works, entwines itself with the Russian-soviet culture in a complex and tense relationship that gives these narratives their unique nature. In this research, it is analyzed the characteristics that make the satire of Iskander so innovative.

Orientador: Mauro de Souza Ventura
Banca: Laan Mendes de Barros
Banca: Arlindo Rebechi Junior
Resumo: Esta pesquisa tem por finalidade o estudo do universo temático e editorial do suplemento literário Sabático, do jornal O Estado de S. Paulo. Nossa proposta é investigar o jornalismo cultural - entendido enquanto instância de difusão e consagração, que atua nos mecanismos de criação de consensos sobre o valor da cultura e da arte -, intrigados pelo surgimento de um novo produto editorial e cujo nascimento propõe o resgate de um periódico lendário - Suplemento Literário - em um cenário aparentemente adverso a publicação realizadas sob seus moldes. Para tanto, dividimos nossa pesquisa em duas etapas: discussão teórica e análise do objeto. Iniciamos o trabalho abordando o desenvolvimento histórico dos sentidos de cultura e a combinação da mesma enquanto campo autônomo. Discorremos sobre o mecanismo de produção de valor da obra de arte e sobre a formação, estrutura e funcionamento do mercado de bens simbólicos, além de questões referentes à esfera cultural no contexto da pós-modernidade. Em seguida, relacionamos a prática jornalística observada no suplemento literário Sabático aos processos de configuração do campo cultural, buscando compor um conjunto de conceitos, práticas e dilemas a cerca do jornalismo cultural a fim de fundamentar uma proposta de análise do corpus desta pesquisa
Abstract: This essay's purpose is to study the thematic and editorial universe from O Estado de S. Paulo literacy supplement, Sabático. Our purpose is to investigate cultural journalism - understood as an instance of propagation and dedication that operates on the gears of consenso's creation about the value of culture and art -, as we're intrigued by the appearance of a new editorial product which birth proposes the rescue of a legendary journal - Suplemento Literário - in a scene apparently unfavorable to publications of its form. Therefore, we divide our research in two: theoretical discussion an objects' analysis. We begin this work by approaching the historical development of the meanings of culture and its constitution as an independent field. We discourse about the mechanisms of value production of a work of art, and about the formation, structure and operation of the market of symbolic goods, and also about questions related to the cultural sphere in the context of Postmodernity. Next, we connect the journalistic practice observed in the literacy supplement Sabático with the cultural field's configuration processes, in a way to compose a series of concepts, practices and dilemmas about the cultural journalism, in order to justify the analysis' purpose of this essay
Mestre

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A presente dissertação se volta para as diferentes formas de linguagem nas obras literárias de Jean-Paul Sartre e o que determina sua escolha pelo teatro como meio privilegiado para expressar o engajamento do indivíduo junto à coletividade. Sartre se mostra importante no panorama do drama moderno, visto que, ao mesmo tempo em que os personagens de suas peças, partindo de uma situação de total isolamento e desamparo, manifestam sua incapacidade de agir, ainda assim conseguem resgatar a liberdade de atuação constitutiva do gênero dramático. Sartre se empenhou por preservar as características do drama, mesmo diante das investidas épicas e líricas que tomaram conta do gênero dramático a partir do século XIX. A retomada do drama empreendida pela filosofia existencialista tenta sanar o estado de impotência que teria assolado o homem moderno. Nossa hipótese é de que Sartre parece buscar uma forma de legitimar seus dramas na sistematização dos gêneros literários exposta por Hegel em seus Cursos de Estética.
This dissertation's object are the different language forms in Jean-Paul Sartre's literary work and his choice for theatre as privileged means of expressing individual engagement in the collectivity. Sartre has been as an important name in the modern drama panorama, because his characters show an incapacity to act, coming from a situation of total isolation and abandonment, and at the same time are still able to rescue the liberty of acting. This liberty constitutes the drama, so Sartre strove diligently for preserving drama's features, even against the assaults from the epic and the lyric genders, which took over the dramatic gender from the nineteenth century onwards. Retaking the drama, a task undertaken by the existential philosophy, is one step towards solving the state of impotence that had devastated the modern man. We support the hypothesis that Sartre seems to seek for a way of legitimating the drama by means of the literary genders exposed by Hegel in his Lectures on Aesthetics.

Doctor of Philosophy(PhD)
This dissertation aims to examine the manner in which the concept of autonomy (jiritsu) is treated in modern and contemporary Japanese literature. This examination will be performed by analysing the autonomous attitude of a contemporary Japanese writer Nakagami Kenji (1946–1992). This dissertation focuses on examining Nakagami Kenji’s ambivalent attitude towards his act of writing. We will explore the manner in which his act of writing appears to be a paradox between self-identification and the integration into the collective. Then, we will observe the possibility in which Nakagami’s ambivalent attitude is extended to cover Maruyama Masao’s relative definition of autonomy and Karatani Kōjin’s interpretation of Immanuel Kant’s notion of freedom and responsibility. Nakagami’s attempt is certainly not confined to only his works. The notion of autonomy may be applied to perceive a similar thought that was represented by previous writers. We will also examine various never-ending autonomous attempts expressed by Sakaguchi Ango, Miyazawa Kenji and Nakahara Chūya. Moreover, we will analyse how Nakagami’s distrust of the modern Japanese language and his admiration of the body as an undeniable object are reflected in his major novels in detail and attempt to extend this observation into the works of the theatrical artists in the 1960s such as Betsuyaku Minoru, Kara Jūrō, Hijikata Tatsumi and Terayama Shūji and contemporary women writers such as Tsushima Yūko, Takamura Kaoru, Tawada Yōko and Yoshimoto Banana. These writers and artists struggled to establish their autonomous freedom as they encountered the conflict between their individual bodies that personifies their personal autonomy and the modern Japanese language that confines them in the fixed and submissive roles in present-day Japan. In this dissertation, I would like to conclude that Nakagami Kenji’s ambivalent attitude towards his act of writing can be an eternal self-legislation, that is, his endless attempt to establish autonomous freedom, which evolves from the paradox between the individual (body) and the collective (language).

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Próximo de completar setenta anos de sua publicação, La disubbidienza, sexto romance dos mais de trinta livros publicados ao longo da carreira do escritor italiano Alberto Moravia, continua a ser uma obra um tanto ofuscada pelo sucesso de outros livros consagrados do autor: Gli Indifferenti (1929) obteve reconhecimento e repercussão sem precedentes; La romana (1947), Il conformista (1951), Il disprezzo (1954), La ciociara (1957), La noia (1960), entre outros, são incansavelmente citados como obras representativas e que despertam interesse da pesquisa acadêmica. Entretanto, buscaremos aqui instaurar uma reflexão sobre a importância do romance de 1948, uma vez que o próprio Moravia, em uma entrevista concedida a Alain Elkann, que compõe a biografia La vita di Moravia, declara que, como crítico de si mesmo, considerava La disubbidienza uma de suas melhores obras (ELKANN, 1990, p. 176). Dito isto, buscaremos contextualizar esse romance, além de oferecer uma leitura interpretativa do mesmo, a partir da análise de suas veredas, principalmente destacando as características que inserem a obra no gênero literário Romance de Formação, o Bildungsroman.
Close to the seventy-year anniversary of its publication, La Disubbidienza, the sixth novel out of more than thirty books published throughout his career, Italian writer Alberto Moravia, remains somewhat overshadowed by the success of other successful books: Gli Indifferenti (1929) obtained unprecedented recognition and repercussion; La romana (1947), Il conformista (1951), Il disprezzo (1954), La ciociara (1957), La noia (1960), among others, are tirelessly cited as representative works that raise interest in academic research. However, we will try to do some thinking about the importance of the 1948 novel, since Moravia himself, on an interview with Alain Elkann, who writes the biography La vita di Moravia, states that, as a critic of himself, considered La Disubbidienza one of his best works (ELKANN, 1990, p.176). Thus, we will attempt to contextualize this novel, besides offering a comprehensive reading analyzing its paths, mainly highlighting features that place this work in the literary genre Novel of Formation, the Bildungsroman.

Orientador: Jeanne Marie Gagnebin de Bons
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho pretende compreender a especificidade da temporalidade nas narrativas do escritor tcheco Franz Kafka. Para isto, buscamos desenvolver o conceito de origem negativa e aplicá-lo ao romance O castelo (Das Schloß). Entende-se por origem negativa o movimento constante de negação operado pelo texto, em sua construção labiríntica, e pelos protagonistas e outros personagens em todo original, que em Kafka se encontra ausente ou danificado. No percurso do trabalho, narrativas curtas de Kafka serão comparadas a narrativas clássicas de temática semelhante, incluindo textos da Bíblia e da Odisseia. Diferentes abordagens críticas, como as de Walter Benjamin e Max Brod, serão apropriadas e criticadas em busca da formulação do conceito
Abstract: This work aims to comprehend the specificity of temporality in Czech writer Franz Kafka's narratives. In order to accomplish this, we will try to develop the concept of negative origin and apply it to the novel The castle (Das Schloß). By negative origin one understands the constant movement of negation operated, by the text itself through its labyrinthic construction and by the protagonists and other characters, on the presumptions of every original, which in Kafka is either absent or damaged. Throughout this work, short narratives from Kafka will be compared with classical narratives with similar themes, including texts from the Bible and the Odyssey. Different critical approaches, like that of Walter Benjamin and Max Brod, will be appropriated and criticized in search for the formulation of the concept
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária

Caribbean writing is an emigrant tradition. The first waves of native-born authors from the region all spent significant portions of their lives abroad and, almost without exception, built their fame upon the desires of metropolitan audiences for knowledge of their colonies. Accordingly, the famous names of Lamming, Naipaul, Selvon, Césaire and Glissant are all stamped with a slightly less famous departure date. While many critics have noted these facts, there has been little sustained analysis of how the unique social positions and preoccupations of emigrants have affected the works of these five writers or their peers. This thesis is an attempt to address this issue. Its argument is that Caribbean emigrant authors spoke from unique social and conceptual loci. Through detailed, comparative readings of these five authors’ first major works, alongside considerations of their self-assessments, critical opinion on their oeuvres, Pierre Bourdieu’s theory of the literary field and Antonio Gramsci’s theory of the organic intellectual, the argument advanced is that although these authors actively positioned themselves, and were positioned by their readers, in such a way that their emigrant status has had its importance elided, that status is present and potent in their post-emigration works. While the concerns of these writers all altered over the course of their careers, their early experiences of emigration shaped some of their most widely read texts and resulted in a harmony between them that transcends the authors’ differing islands of origin and their later thematic and political preoccupations.

The aim of this thesis is to analyse how the two Greek surrealist poets Embirikos and Engonopoulos construct a poetry of Eros. We start from a philological framework. At the same time the orientation of this thesis is clearly comparative: studying the relationship between Greek and French surrealism and also the relationship between literature and other cultural spheres, especially those in which Embirikos and Engonopoulos were immersed, psychoanalysis and painting. In the introduction we present probable reasons why a comparative study of Eros in the work of the two Greek authors widely known as the “Dioscuri of Greek surrealism” has not yet been undertaken. Those reasons might be the great weight which other questions have had for critical theory, such as “Greekness” or the political position of the surrealists, as well as the great difference between the two authors as regards Eros. Embirikos aspires to jolts of pleasure and his work is filled with eroticism whereas Engonopoulos plays with contradictions and enigmas by creating ambiguous images of love and women. In the first part we begin with an analysis of the possibility of thinking about Eros and how love and the Other become, in poetry, a linguistic creation. The Surrealists consider love to be the solution to all of life’s problems and they identify it with poetry itself. Love and writing in itself become an opening to the Other. It’s through this prism then that we look at the questions of the “surrealist voice”, at the mythology which is created around the “merveilleux”, and the “convulsive beauty”, as well as at the image of women. In the second part, the analysis of Embirikos and Engonopoulos starts from the comparison of French surrealism with the poetic propositions developed in their work. This is the “poem-event” of Embirikos, that is to say the possibility of writing the poem within the flow of its own becoming (and not just a description or preconceived idea), which is directly linked to the concept of “exteriorisation”, that is the research process of the unconscious undertaken in his poetry. For Engonopoulos, we start from the idea of a metaphysical poetry, linked to Greek tradition like a quest for the eternal as well as to the metaphysical painting of De Chirico. Next we look at the forms in which emotions appear in Embirikos and Engonopoulos' work, paying special attention to concepts such as “αγαλλίασις” (“exultation”), “ολοκλήρωσις” (“completeness”) and “χαρά” (“joy”), and next we look at how the presence of death is felt. In the last chapter we return to the comparison with Breton, studying how the “spermatic poetry” of Embirikos and the ambivalent love of Engonopoulos, somewhere between the joy and the sadness of “As soon as midnight strikes” and between the hope and the violence of “Orpheus”, is articulated in comparison with French surrealism. In the third part, the analysis is focused on the figure of the Other: on the voice and language in the first chapter, and of woman in their poetry in the second. Embirikos and Engonopoulos' language, considered as “mixed” (combining forms of demotic language and forms of “katharevousa” or “pure language”) produced a huge scandal at the time of the publication of their works. Here we analyse how this language is felt by the poets, as coming directly from the unconscious in Embirikos and as an object of love in Engonopoulos. We analyse how this language creates love and how it becomes identified with the other object of love, the woman. In the study of this figure, we begin with the analysis of the image of the woman that comes out of the texts in which Embirikos and Engonopoulos refer to the poetics of each other, after which we study the conditions in which the epiphany of woman and the encounter with her take place. Subsequently we analyse her literal construction, studying the common nouns, pronouns and proper nouns that are used to portray her. In this way we arrive at the image of women both present and absent, absorbed in their pleasure in Embirikos, desired, vanishing and paradoxical in Engonopoulos. In Embirikos, Eros and poetry are identified with the research undertaken in psyche. Corporality and eroticisation of the universe as well as his utopia are linked to the psyche. For Engonopoulos words reveal the torments of love; the woman, closely linked to the poetic voice, is, at the same time, the image of the secret that, being inexpressible, is identified with salvation
L'objectif de cette thèse est d'analyser comment Embirikos et Engonopoulos, deux poètes grecs qui se réclament du surréalisme, construisent une poétique de l'amour. Considérant la découverte de l'amour comme étant liée à la découverte d'une poétique, dans cette étude on analyse la création d'une langue poétique qui forme les émotions liées à l'amour et l'image merveilleuse de l'autre. Pour cette étude, nous partons d'une exigence philologique, c'est-à-dire, de la lecture attentive à la lettre des textes. En même temps, l'orientation de la thèse est nettement comparatiste : y sont étudiés les rapports du surréalisme grec avec le surréalisme français et aussi le rapport de la littérature avec d'autres sphères culturelles, spécialement celles dans lesquelles étaient immergés Embirikos et Engonopoulos, c'est-à-dire, la psychanalyse et la peinture. Dans l'état de la question sont exposées les raisons probables pour lesquelles une étude comparative de l'amour chez les deux auteurs grecs généralement reconnus comme « Dioscures du surréalisme grec » n'a pas encore eu lieu. Quelques-unes de ces raisons ont à avoir au grand poids qu'ont eu d'autres questions pour la critique –comme l'« hellénité » ou la position politique des surréalistes– ainsi que la grande différence entre les deux auteurs par rapport à l'amour. Embirikos aspire à l'explosion du plaisir, de telle manière que l'érotisme est partout, tandis qu' Engonopoulos tisse une œuvre qui joue avec les contradictions et les énigmes en créant des images ambigües de l'amour et de la femme. Après cette introduction, sont analysés, dans une première partie, la possibilité de penser l'amour et l'amour surréaliste. Nous partons de la vision de l'amour comme manque, qui porte à voir dans l'objet imaginaire que constitue l'autre le siège de toutes les idéalisations. C'est ainsi que l'amour et l'autre deviennent, dans la poésie, une création langagière. Les surréalistes considèrent l'amour comme la solution à tous les problèmes de la vie en même temps qu'ils l'identifient à la poésie même. L'amour et l'écriture deviennent une ouverture à l'autre. C'est sous ce prisme, donc, que sont étudiées les questions de la « voix surréaliste », de la mythologie qui se crée autour du « merveilleux » et de la « beauté convulsive » –c'est-à-dire, de tout ce qui peut remuer le plus profondément la sensibilité des poètes, dans la vie et dans le langage poétique–, pour passer ensuite à l'étude de l'image de la femme. Dans la deuxième partie, l'analyse d'Embirikos et d'Engonopoulos part de la comparaison du surréalisme français avec les propositions poétiques élaborées dans son œuvre. Ce sont le « poème évènement » chez Embirikos, c'est-à-dire, la possibilité d'écrire le devenir même du poème, (et non pas une description ou une idée préconçue), ce qui est étroitement lié à l'« extériorisation », le processus de recherche dans l'inconscient qui se trouve dans la poétique d'Embirikos. Pour Engonopoulos, nous partons de l'idée d'une poésie métaphysique, liée à la pensée grecque comme recherche d'éternité ainsi qu' à la peinture métaphysique de De Chirico, qui prend corps dans la parole poétique d'Engonopoulos dans les distorsions spatiales et les contradictions avec lesquelles jouent ses poèmes. Ensuite sont étudiés les formes d'apparition des émotions chez Embirikos et chez Engonópulos, en portant une attention spéciale à des concepts comme « αγαλλίασις » (« exultation »), « ολοκλήρωσις » (« complétude ») et « χαρά » (« joie »), pour passer ensuite à comment est ressentie la présence de la mort, si éludée, si moquée, mais si présente. Au dernier chapitre, nous retournons à la comparaison avec Breton, pour voir comment s'articulent en comparaison avec le surréalisme français la « poésie spermatique » d'Embirikos et l'amour ambivalent d'Engonopoulos, entre la « joie » et la « tristesse » dans « Dès que minuit sonne » et entre l'espoir et la violence dans « Orphée ». Dans la troisième partie, l'analyse se centre sur la figure de l'Autre : de la parole et la langue dans un premier chapitre, de la femme dans un deuxième. La langue d'Embirikos et d'Engonopoulos, qualifiée comme « mixte » (c'est-à-dire, combinant de formes de la langue démotique et de formes de la « katharevousa » ou « langue pure ») avait provoqué un grand scandale au moment de l'apparition de leurs œuvres. Nous analysons ici comment cette langue est ressentie par les poètes comme une figure de l'autre, comme venue directement de l'inconscient chez Embirikos, comme un objet d'amour chez Engonopoulos. Nous analysons en même temps comment cette langue est créatrice de l'amour et comment elle s'identifie à l'autre grand objet d'amour, la femme. Dans l'étude de cette figure, de la femme, nous partons de la possible contradiction que pourrait supposer le fait de voir la femme comme autre, comme quelqu'un étranger qui vient « me donner de mes nouvelles », selon les mots de Breton, et en même temps comme une création. Pour ce faire nous analysons l'image de la femme qui se dégage des textes où Embirikos et Engonopoulos se réfèrent à la poétique l'un de l'autre, pour passer à l'étude des conditions dans lesquelles ont lieu l'épiphanie de la femme et la rencontre avec elle, en premier, et sa construction littérale, ensuite, en analysant les noms communs, les pronoms et les noms propres qui lui sont attribués. C'est ainsi que nous arrivons à l'image d'une femme présente et absente, la femme plongé dans son plaisir chez Embirikos, désirée, fuyante et parfois inquiétante chez Engonopoulos. Le surréalisme amène les deux auteurs à une ouverture à l'autre, de laquelle naît la création d'une poétique de l'amour. Chez Embirikos, amour et poésie s'identifient à la recherche dans le psychisme. Toute la corporalité de son œuvre, l'érotisation de l'univers ainsi que son utopie du futur sont nouées à la psyché et à la parole, au « dire », à la possibilité d'« extérioriser ». Pour Engonopoulos les mots sont révélateurs des tourments de l'amour, la femme est révélatrice de la parole et, en même temps, image du secret qui, en étant indicible, devient salvateur.

Fantasies about warrior women circulated in many forms of writing in early modern England: travel narratives such as Sir Walter Ralegh's The Discoverie of Guiana (1595) portray Amazon encounters in the New World; poems like Edmund Spenser's The Faerie Queene (1596) depict women's skill with a spear; and the plays of Shakespeare, John Fletcher, and others stage the adventurous feats of women on the battlefield. In this dissertation, I analyze the social anxieties that emerge when warrior women threaten gender hierarchies in the patriarchal society of early modern England. The battlefield has traditionally been a site for men to prove their masculinity against other men, so when male characters find themselves submitting to a sword-wielding woman, they are forced to reimagine their own masculine identities as they become the objects acted upon by women. In their experience of subjectivity, these literary warrior women often allude to the historical Queen Elizabeth I, whose reign destabilized ideas about gender and power in the period. Negative evaluations of warrior women often indicate anxiety about Elizabeth as an Amazon-like queen. Thus, portrayals of warrior women often end with a celebration of patriarchal dominance once the male characters have successfully contained the threat of the warrior woman through marriage or death. I argue that these depictions of containment indicate a common desire to maintain patriarchal superiority during and after Elizabeth's reign.

The emergence of South-South relations in politics and economics refracts strangely through the literature produced in these postcolonial regions. Two primary worldviews emerge in these texts. The first focuses on the continued presence of imperial powers in the South and their culpability in eruptions of violence. The second shifts to modes of domination emerging within South-South interactions. Salman Rushdie's canonical Midnight's Children examines the Bangladeshi genocide through a variety of literary strategies, especially hyperbole, to produce a crisis of history to indict the Cold War arms trade on equal terms with a war criminal. Similarly, Boubicar Boris Diop's novel Murambi, The Book of Bones helps contextualize the Rwandan genocide within the circuits of international attention—weapons supplies, political support and humanitarian aid—that put the lie to the world's supposed "indifference." On the contrary, Murambi's fragmented and polyvocal form evinces the multiple and contradictory investments Rwandans suffered through. East Africa is also home to a South Asian diaspora that arrived before the European powers and now advance India's exponential trade relations with Africa. M.G Vassanji's The In-Between World of Vikram Lall caricatures one of these "Asian Shylocks" to critique the diaspora's class politics and, simultaneously, the racism and xenophobia that led to their 1969 mass deportation from Uganda by Idi Amin. Vassanji's focalizer weaponizes capital accumulation to claim that it protects against such racism, even if it confirms racist caricatures. This argument is not unlike that made by emergent economies from the postcolonial South, which have turned to neoliberal developmental policies to guarantee their independence. Despite the unsustainability of such policies, both Vassanji's novel and Aravind Adiga's The White Tiger take seriously capitalism's ability to nullify old hierarchies even while building new ones. Adiga's focalizer breaks free of his place in the caste system on the strength of capitalism's ability to profane this scared hierarchy. Such anti-caste politics challenge the category of 'radical politics' as espoused by anti-capitalists and adherents of Gandhi, who fought feverishly for the preservation of caste. Taken together, these two novels represent emergent Southern businessmen who fight local antagonisms through international capital, producing a complicated situation that helps us understand the allure of accumulation in emergent economies and its impact on South-South relationships.

Cornélio Penna (1896-1958) is known by his mysterious writing that takes effect in their novels. In A menina morta, we face a shadowy environment, marked by contrasting expressions, based in an atmosphere of fear and power. Starting from concept of chiaroscuro, the paper shows baroque traces in narrative, aiming to argue the possibility of this shadow, seemingly constant, to express methaphorically, in a reread modernist form from sixteenth century resources, the constructing of a regulated society in fear and in a veiled ban of arguments. Despite relationship caustic, though silent, the restricted subject can confront the patriarchal structure in the novel, dramatizing each more the intrigue. In this intermediate moment, the characters seem to dramatization their relationships, a reinforced trace by the anxiety of knowing they are prey into the spatial labyrinth of the house and discursive labyrinth built by some divergences that, paradoxically, moves the narrative. According to discuss some baroque traces which come up with the chiaroscuro illusion, the labyrinthic images and dramatization from some characters (MIRANDA, 1979), we belive, among other scholars, of Ávila (1971), Peyronie (1997), Sant Anna (2000) and Maravall (2002). For instance of this initial delimitation, other analysis fields are open, considering some aesthetic elements of narrative, like the labyrinth, the chiaroscuro, the oral language and the listeners/readers, are converted in social investigations tools. They are all situated on a critical interface eye which aims to elucidate fear structure functioning based by on a power maintaining that acts modeling some behaviors and discourses (FOUCAULT, 2009; 2010) in order to ensure the patriarchal system tradition.
Cornélio Penna (1896-1958) é conhecido pela escrita misteriosa que imprime em seus romances. Em A menina morta (1954), encontramos um ambiente penumbroso, marcado por expressões contrastantes, ancoradas em uma atmosfera de medo e poder. Partindo inicialmente do jogo de claro-escuro, este trabalho aponta traços barrocos na narrativa estudada, almejando discutir a possibilidade dessa sombra, tão cara à estética barroca e aparentemente constante no romance, metaforizar a construção de uma sociedade pautada no medo e numa interdição velada dos discursos. Desse modo, conscientemente ou não, Cornélio faria uma releitura modernista de recursos seiscentistas. Percebe-se um clima aflitivo de relações cáusticas entre as personagens. Mesmo assim, as ações são silenciosa, seja no questionamento da estrutura patriarcal vigente, ou na agressão ao outro. Nesse ínterim, as personagens parecem teatralizar as relações entre si, traço reforçado pela angústia de se saberem presas ao labirinto espacial da casa-grande e ao labirinto discursivo construído pelo desencontro de informações que, paradoxalmente, movimentam a narrativa. Para discutir os traços barrocos criados pela ilusão do claro-escuro, as imagens labirínticas e o histrionismo das personagens (MIRANDA, 1979), nos valemos, dentre outros estudiosos, de Ávila (1971), Peyronie (1997), Sant Anna (2000) e Maravall (2002). A partir dessa delimitação inicial, outros campos de análise são abertos, considerando que os elementos estéticos da narrativa, como o labirinto, o claro-escuro, a linguagem oral e os ouvintes/leitores, são convertidos em instrumentos de investigação social. Todos situados na interface de um olhar crítico que visa elucidar o funcionamento de uma estrutura do medo, alimentada pela manutenção de um poder que age modelando os comportamentos e discursos (FOUCAULT, 2009; 2010), com vistas a garantir a tradição do sistema patriarcal.

A presente pesquisa trata da relação entre Física e Literatura, representada pelo conto fantástico, e suas possibilidades didáticas, partindo do pressuposto defendido por Zanetic (1989), de que a Física também é cultura. Optamos pelo conto, uma vez que se trata de gênero de leitura rápida, \"de uma sentada só\", como propõe Edgar Allan Poe (2000). Junto a ele, selecionamos a literatura fantástica, caracterizada pela hesitação entre o real e o maravilhoso. Fantástico este que possui uma função educacional, como aponta Rabkin (1977), uma vez que cria na mente uma reversão diametral e abre mundos novos e fantásticos. Dado este contorno, nosso objetivo é pensar em como a literatura, em especial os contos fantásticos, pode ser utilizada nas aulas de física para abordar conceitos e temáticas da física. Para tanto, selecionamos três contos de escritores consagrados da literatura: \"O Pirotécnico Zacarias\" (1974) de Murilo Rubião, \"Os Jardins de Veredas que se Bifurcam\" (1944) de Jorge Luís Borges e \"A Milésima-segunda Noite de Xerazade\" (1845) de Edgar Allan Poe. O primeiro conto ao tratar da indeterminação entre a vida e a morte, permite uma analogia com o paradoxo do gato de Schrödinger da Mecânica Quântica. O segundo conto é, uma história policial que apresenta um labirinto infinito, representado por um livro, onde todas as possibilidades ocorrem ao mesmo tempo, como um jardim de caminhos que se bifurcam. Ideia esta que dialoga com a interpretação dos multi-universos da Mecânica Quântica, proposta pelo físico Hugh Everett III. Por fim, o terceiro conto, apresenta uma história na qual a ciência é descrita de maneira diferente. O conto mostra como é vista a ciência e a tecnologia pelo olhar de quem não conhece a ciência, mostrando nesse sentido, que a ciência é inverossímil a certos contextos. Como metodologia, realizamos um estudo inicial sobre a leitura na aula de física que foi acompanhado de um estudo relativo a estratégias de leitura, no qual propomos a leitura como investigação e como analogia. Além disto, realizamos um estudo literário das obras a partir da semiótica de Greimas. Estudo este que serviu para interpretar e identificar os principais elementos dos contos. Assim, ao relacionarmos o fantástico com a física, nos foi possível observar que na física, o que é fantástico pode ser real. Neste sentido, esta relação nos convida a refletir sobre a nossa realidade, fato imprescindível ao Ensino de Física. Além do mais, acreditamos que o fantástico pode ser trabalhado em sala de aula seja como uma analogia, ou como uma investigação, onde os conceitos científicos passam a ser questionados.
The current research deals with the relationship between Physics and Literature, represented by the fantastic tale, and its didactical possibilities, assuming, as defended by Zanetic (1989), that Physics it\'s also culture. We have chosen the short story, since it is one genre of fast reading, \"of only one sitting\", as proposed by Edgar Allan Poe (2000). Together with this, we have selected the fantastic literature, characterized by the hesitation between the real and the wonderful. This fantastic possess an educational function, as indicated by Rabkin (1977), since it creates in the mind a diametrical reversal and opens news and fantastic worlds. Given this outline, our goal is to think how the literature, especially the fantastic stories, can be used in physics classroom to address issues and concepts of physics. To this end, we have selected three tales from established writers: Murilo\'s Rubião \"O Pirotécnico Zacarias\" (1974), Jorge Luis Borges\' \"The Garden of Forking Paths\" (1944) and Edgar Allan Poe\'s \"The Thousand and Second Tale of Scheherazade\" (1845). The first history, by dealing with the indetermination between life and death, provides an analogy with the Schrödinger\'s cat paradox of Quantum Mechanics. The second story, it\'s a detective story that features and endless labyrinth, represented by a book, where all possibilities occur at the same time, like in a garden of forking paths. This idea dialogues with the multi-universes interpretation of Quantum Mechanics, proposed by the physicist Hugh Everett III. Finally, the third tale, presents a history in which the science is described differently. The story shows how science and technology is seen through the eyes of those who do not know the science, showing whit this, that science is unlikely to certain contexts. As a methodology, we have conducted an initial study on reading in physics classroom that was accompanied by a study on reading strategies, in which we proposed the reading as a research and as an analogy. In addition, we have conducted a literary study of the tales from Greimas\' semiotics. This study was used to interpret and identify the main elements of the tales. Thus, when we relate the fantastic with physics, we were able to observe that in physics, what is fantastic can became real. In this sense, this relationship invites us to reflect on our reality, a fact that is essential to Physics Teaching. Furthermore, we believe that the fantastic can be used in the classroom either as an analogy, or as an investigation, where the scientific concepts are to be questioned.

Thesis (Ed.D.)--Teachers College, Columbia University, 1994.
Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Lenore M. Pogonowski. Includes bibliographical references (leaves 89-104).

This thesis studies representations of queer, male-bodied characters in Vietnamese literature published between 2000 and 2013, taking as its first source the earliest Vietnamese novel that explicitly discusses homosexuality and examining a selection of later texts that deals with queer issues. The author catalogues the Vietnamese queer identities presented in these sources. Using popular identities and the definitions presented in the primary texts, this research presents, analyses and contrasts detailed definitions and common presentations of identities based around homoerotic inclination and gender transgression. On the basis that literature is an example of cultural discourse, this thesis reveals contemporary Vietnamese understandings of and attitudes towards these identities in contemporary Vietnamese society. Following on existing queer studies on other South East Asian contexts, this research is one of the first studies to focus on specifically Vietnamese understandings of these issues. The findings are situated within other regional queer theory.

This thesis contributes to critical discussions of the changes wrought by developing print technologies on the literary cultures of England in the late fifteenth and sixteenth centuries. It adds to these discussions by attending specifically to the ways in which the figurative content of texts was altered by the technology of printing. The thesis argues that certain texts describe the people, places, and processes of printing in ways that can be characterised as developing and engaging a typographic imaginary. The typographic imaginary is posited as a literary phenomenon shared by different writers, a wider cultural understanding of printing, and a means to conceptualize and describe the imaginative otherness that printing introduced to literature. It is suggested that over the course of the sixteenth century printing develops a powerful figurative authority with varied, but recognizable, characteristics. Alongside discussion of early printers' manuals, the thesis particularly addresses works by William Caxton, Robert Copland, William Baldwin, Edmund Spenser and Thomas Nashe. This study proposes that the ways in which printing is figured by these authors constitute a lineage that foreshadows the representation of printing in later works, including Alexander Pope's The Dunciad.

English
Ph.D.
Food and Pleasure in Modern American Literature is a study of the dynamics of pleasure in literary scenes of food, eating, and hungering in American poetry and novels from the early 20th century to the present. From infamous poetic instances of plums and memorialized moveable feasts in the early twentieth century to present-day preoccupations with overdetermined foods and bodies, food scenes in literature help develop character, play out cultural or social dynamics, or dramatize appetite and desire. In many instances, pleasure (or its absence) is what gives such scenes weight and dimension. I apply tools and concepts from both structuralism and phenomenology to explore the tensions between seemingly opposing ideas introduced in food-focused texts, which have been selected from a broad range of genres and eras. Chapters 2 through 6 focus specifically on poetry, which offers the opportunity to explore specific structuralist and phenomenological concepts within the space of a few lines, for closer attention. Chapters 7 through 10 examine fiction and non-fiction prose at lengths which permit many more layers of conflict and desire in regard to food and pleasure. The culminating chapters examine contemporary food writing and recent novels that shed light on the food issues of the present day.
Temple University--Theses

Existing scholarship on modern Tibetan writing takes the 1980s as its point of “birth” and presents this period as marking a “rupture” with traditional forms of literature. This study seeks to go beyond such an interpretation by foregrounding the persistence of Tibet’s artistic past and oral traditions in the literary creativity of the present. An appreciation of genres, styles, concepts and techniques derived from Tibet’s rich and diverse oral art forms and textual traditions exposes the inadequacy of a simple “rupture” perspective. Whilst acknowledging the novel features of modern Tibetan literary creations this work draws attention to hitherto neglected aspects of continuities within the new. It reveals the innovative presence of Tibetan kāvya poetics, the mgur genre, biography, the Gesar epic and other types of oral compositions within modern Tibetan poetry and fiction. It also brings to prominence the complex and fertile interplay between orality and the Tibetan literary text. All these aspects are demonstrated by bringing the reader closer to Tibetan literature through the provision of original English translations of various textual and oral sources. Like any other national literature modern Tibetan literary production is also informed by socio-political and historical forces. An examination of unexplored topics ranging from popular music, Tibet’s critical tradition and cultural trauma to radical and erotic poetries shows a variety of issues that fire the imagination of the modern Tibetan writer. Of all these concerns the most overriding is the Tibetan nation, which pervades both fictional and poetic writing. In its investigation into modern Tibetan literature this thesis finds that Tibet as a nation - constituted of history, culture, language, religion, territory, shared myths and rituals, collective memories and a common sense of belonging to an occupied land - is inescapable. Embracing a multidisciplinary approach drawing on theoretical insights in literary theory and criticism, political studies, sociology and anthropology, this research demonstrates that, alongside past literary and oral traditions, the Tibetan nation proves to be an inevitable attribute of modern Tibetan literature.

Thesis (Ph. D.)--University of Nevada, Reno, 2005.
"August 2005." Includes bibliographical references (leaves 229-239). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.

This dissertation examines integral, challenging contemporary poetry and fiction, and its relationship to notions of the criminal in multiple guises. The present focus on “criminal” excavates not only its literal meaning—the nature of crime, and its specific relation to penal law—but also brings to light how the “criminal” affects the construction of fiction and poetry, and the lives of various individuals (speakers) within the chosen texts. Intricately tied with the criminal are practices that transgress, and this study will also locate specific creations where poets and novelists construct transgressions that challenge contemporary ideas of narrative and poetic modes. This study argues that expanding the term “criminal” opens up not only the current field of “criminal studies,” but also examines contemporary poetry and prose. This dissertation argues that a new formulation of the criminal proliferates practices of subjectivities that are forced upon individuals and taken for granted, and that the “criminal” is intricately tied to works that transgress and experiment.

The criminal, at its most basic, involves the nature of crime; it relates to the penal law; guilty; characteristic of a criminal. Most studies of “criminality” fall under the term “prison literature,” which focuses on individuals who have been incarcerated, and subsequently chronicled their lives in writing. Other studies and novels focus specifically on the struggle of individuals in prison. These texts take incarceration as their primary focus. This dissertation looks to make a distinct break between “prison” writing and “criminal” writing, moving the focus from incarceration to other social boundaries; however, “prison” and “criminal” are two terms that often intersect and overlap. “Criminal” writing does not take incarceration as its jumping off point, though incarceration may play a role; instead, the “criminal” is a spatial way of being in the world that either marks one off from contemporary society, or borders on notions which denote one as outsider. This project looks to expand the field from literatures focusing primarily on incarceration to studies depicting acts of transgression and deviance that may not necessarily land an individual behind bars, but mark one as separate from societal norms, as an outsider. This study envisions the “criminal” as branching out from its basic definition to include a variety of ways individuals “transgress” from their present predicament. This includes but is not limited to illegal acts one partakes in but is not caught, and acts that jeopardize one’s place in society. As such, the “criminal” is opaque, nebulous, harder to pin down; it works from the periphery, the margins, interstitial spaces; whereas “prison” writing already denotes the given fact that one is or has been incarcerated, calling to mind a fixed location and trajectory.

Both poetry and fiction illustrate this branching out in similar and disparate ways, and the focus on both showcases the plurality and broad reach of these genres. The central objects of study will be a range of contemporary American poetry and fiction: James Baldwin’s Giovanni’s Room (1956); Rosmarie Waldrop’s Driven to Abstraction (2010); Joanna Scott’s Arrogance (1990); and C.D. Wright’s One Big Self: An Investigation (2007). These texts give voice to the myriad, opaque notions of the “criminal,” while at the same time blurring the lines of how poetry and prose function; each text, as well, marks off distinct breaks in the artists’ bodies of work. These texts transgress on multiple levels, in turn, mirroring and mimicking the slippery, proliferating term—“criminal.”

Orientador: Suzi Franki Sperber
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente estudo sobre a crítica literária de Benedito Nunes, dividido em dois volumes, parte de variados gêneros textuais (tentativa de romance, poemas, aforismos, crônicas sobre ciência, poesia, filosofia e religião, entrevistas, crítica de poesia e de romances), ou seja, seus primeiros textos nos seguintes periódicos de Belém do Pará: "Arte Suplemento Literatura", do jornal Folha do Norte (1946-1951), onde ele inicia sua carreira de crítico de literatura, continuada nas revistas Encontro (1948) e Norte (1952); sua produção em outros periódicos do Brasil, como seus textos no "Suplemento Dominical" do Jornal do Brasil e nos suplementos de O Estado de São Paulo e O Estado de Minas Gerais (ensaios com análises de poemas, romances e filosofia); e ainda seus primeiros livros: O mundo de Clarice Lispector (1966) e O dorso do tigre (1969), livro que o consagra como um dos expoentes da moderna crítica literária da segunda metade do Século XX no Brasil, principalmente das obras de autores que publicam da década 1940 em diante, a exemplo de Clarice Lispector, Guimarães Rosa e João Cabral de Melo Neto. A compilação de textos nos periódicos, além de possibilitar a identificação das principais leituras de Benedito Nunes, incorporadas à concepção de sua crítica, com leituras iniciais dos filósofos cristãos, São Tomás de Aquino, Pascal e especialmente, um precursor do existencialismo, Kierkegaard, que vai ser uma constante nas análises do ensaísta brasileiro, permite traçar a trajetória intelectual de Benedito Nunes, particularmente como crítico literário. Este, posteriormente, vai acrescentar em suas análises as ideias de Sartre e Heidegger. Com relação especificamente a Heidegger, o qual Nunes estuda durante toda a sua vida, verifica-se a concepção ontológica da criação artística pela linguagem verbal, que, para o filósofo alemão corresponde à fundação do ser pela palavra. Com respeito à divisão deste estudo, o primeiro volume contém a trajetória intelectual de Benedito Nunes, bem como as análises do material compilado nos periódicos e de dois livros do crítico brasileiro (O mundo de Clarice Lispector (ensaio), de 1966 e O dorso do tigre, 1969), enquanto que o segundo volume contém uma amostra do material compilado
Abstract: This dissertation, about the literary criticism of Benedito Nunes, divided in two parts, is based on a variety of textual genres (attempts to write novels, poems, aphorisms, chronicles on science, poetry and philosophy, interviews, criticism on poetry and novels). In other words, this study is about Nunes? first texts on some newspapers of Belém do Pará: "Supplement of Art and Literature", on the newspaper Folha do Norte (1946-1951), in which the author starts his career as a literary critic, also writing on magazines such as Encontro (1948) and Norte (1952). This study is also based on Benedito Nunes? writings on other newspapers of Brazil, such as the "Sunday Supplement" of Jornal do Brasil and on the supplements of journals like O Estado de São Paulo and O Estado de Minas Gerais (texts containing analysis of poems, novels and philosophy); and, still, Nunes? first books: O mundo de Clarice Lispector (1966) and O dorso do tigre (1969). The latter causes the writer to be considered one of the exponents of modern literary criticism in the second half of the twentieth century in Brazil, mainly of the works of art of writers who published from the decade of 1940 on, namely, Clarice Lispector, Guimarães Rosa and João Cabral de Melo Neto, just to name a few. The compilation of the texts published on journals, besides enabling the identification of the main readings of Benedito Nunes, which were incorporated to the conception of his criticism, considering some Christian philosophers as Saint Thomas Aquinas, Pascal, and, particularly, a precursor of existentialism, Kierkegaard, which will be constant in the analysis of the Brazilian author, makes it possible to trace the intellectual path followed by Benedito Nunes, specially as a literary critic. The writer will, lately, add the ideas of Sartre and Heidegger to his analysis. Specifically considering Heidegger, who Nunes studies throughout his whole life, it is possible to see the ontological conception of artistic creation by verbal language, which, to the German philosopher, corresponds to the foundation of the self by the word. Regarding the division of this study, the first part contains the intellectual path Benedito Nunes followed, as well as analysis of the material compiled from the newspapers and from the two books of this Brazilian critic. The second part contains a sample of the material which was compiled
Doutorado
Teoria e Critica Literaria
Doutora em Teoria e História Literária

A reelaboração de mitos caracteriza, fundamentalmente, a obra do francês Michel Tournier. Nesta pesquisa, procurou-se analisar o romance Le Roi des Aulnes, publicado em 1970, que narra a trajetória de uma personagem fantástica em busca de seu destino em plena segunda guerra, no centro do império nazista. O trabalho foca as estratégias empregadas para construir uma narrativa que vincula tão fortemente questões históricas com elementos míticos, além de investigar o potencial crítico da obra. A partir de bibliografia específica, procurou-se situar o conceito de mito, observar seus aspectos religiosos e políticos e analisar a configuração que o autor deu ao mito em sua obra. De modo geral, a recriação mítica se mostrou um conceito insuficiente para a análise e interpretação literária, pois a limitação do romance em sua esfera mítico-religiosa empobrece a compreensão da obra. A pesquisa revelou ainda que entre mito e história há vários processos de travessia de sentido, que operam graças à fabulação e à criatividade do autor, de modo que os elementos históricos foram incorporados à obra de maneira distorcida, velada, por vezes mitologizada, assim como os elementos míticos e fantásticos conduzem uma crítica severa à ideologia e política nazistas. Os aspectos míticos da obra trabalham em função sobretudo de criar as balizas morais dentro das quais as personagens atuam, além de abrir um espaço para que o leitor participe da construção do sentido da obra na medida em que ele é envolvido pelas regras do sistema mítico configurado. Por sua vez, a historicidade da obra conta sobretudo com a instabilidade dos elementos formais, bem como dos paradoxos e vicissitudes engendrados pelos elementos míticos para indicar, muito mais do que o registro de uma época, a projeção literária de uma dilema histórico. Em outras palavras, este romance é profundamente crítico e historicizante justamente porque ele não conta com uma linguagem realista, descritiva e estável; é no reconhecimento da precariedade da expressão, no momento em que apenas uma linguagem multireferenciada e delirante consegue abordar um contexto histórico problemático que a possibilidade de lucidez e elaboração desponta no horizonte.
The re-elaboration of myths deeply characterizes the work of the French writer, Michel Tournier. The present research focused itself on the analysis of his novel Le Roi des Aulnes, published in 1970, which narrates the trajectory of a fantastic character in a quest for his fate in the middle of World War II, at the center of the Nazist Empire. The research focused on the strategies employed to build a narrative that so strongly links historic issues with mythic elements, aside from investigating the critical potential of that work. From a specific bibliography, it tried to place the concept of myth, observe its religious and political aspects and analyze the configuration that the author gave to myth in his work. In general, mythic re-creation showed itself to be an insufficient concept to the literary analysis and interpretation, since limiting the novel to its mythic-religious sphere leads to poor comprehension of the work. The research also revealed that between myth and history there are several sense transference processes, which operate thanks to the author\'s storytelling and creativity, so that historic elements were incorporated to the work in twisted, veiled and at times mythologized ways, just as mythic elements conduce severe critics to nazist ideology and politics. Mythic aspects of the work operate above all to create moral guidelines within which characters act, besides making room for the reader to participate in the construction of the sense of the work, as he gets involved by the configured mythic system. On its turn, the historicity of this work counts above all with the instability of formal elements as well as of the paradoxes and vicissitudes engendered by mythic elements to indicate, far more than the record of a time, the literary projection of a historic dilemma. In other words, this novel is deeply critical and historicizing precisely because it does not employ realistic descriptive and stable language; it is in the recognition of the precariety of expression - on those moments that only multireferenced and delirious language can approach a problematic historic context - that the possibility for lucidity and elaboration shimmers on the horizon.

Orientador: Diana Junkes Bueno Martha
Banca: Maria Clara Paro
Banca: Lívia Fernanda de Paula Grotto
Banca: José Luis Martínez Amaro
Banca: Wilson Alvez Bezerra
Resumo: Nosso estudo tem como objetivo fundamental analisar a construção do silêncio na obra poética de Dulce María Loynaz (Cuba, 1902-1997) e Orides Fontela (Brasil, 1940-1998), por meio de um estudo comparativo das obras de ambas as escritoras. Para essa análise, selecionamos os poemas de Dulce (Versos, 1920-1938; Juegos de agua, 1947 e Poemas sin nombre, 1953) e de Orides, (Transposição, 1969; Helianto, 1973; Alba, 1983). Para além do fato de as duas escritoras serem modernas, e vozes bastante líricas, a temática do silêncio é uma constante em seus respectivos projetos poéticos e é a partir dela que tentaremos estabelecer comparações entre ambas. Como aportes voltados para a fortuna crítica das autoras, serão mobilizados textos críticos sobre suas obras: no caso de Dulce, os trabalhos de Pedro Simón, Dulce María Loynaz, valoración múltiple (1991); de Zaida Capote, Contra el Silencio. Una lectura de Dulce María Loynaz (2009); de Virgilio López Lemus, Dulce María Loynaz: estudios de la obra de una cubana universal (2000), entre entrevistas e depoimentos da autora. Tendo em conta que poucos estudos compõem a fortuna crítica de Orides Fontela consideraremos desde os prefácios de Antonio Candido ao livro Alba (1983); alguns estudos de Benedito Nunes, A recente poesia brasileira. Expressão e forma (1991); de Alcides Villaça, Símbolo e acontecimento na poesia de Orides Fontela (1992); de Haquira Osakabe, O corpo da poesia. Notas para uma fenomenologia da poesia, segundo Orides Fontela (2002), entre outros, além de entrevistas e depoimentos da autora, nos quais podemos encontrar um grau do reconhecimento de sua elaboração poética. Ainda sobre as autoras serão desenvolvidos estudos sobre o contexto em que produziram suas obras. Para tal, recorremos à fortuna crítica, a saber, Hortensia Pichardo, Historia de Cuba (1985); Flora Süssekind, Literatura e vida...
Resumen: El presente trabajo tiene como objetivo fundamental, analizar la construcción del silencio en la obra poética de Dulce María Loynaz (Cuba, 1902-1997) y Orides Fontela (1940- 1998), mediante un estudio comparado de la obra de las autoras. Para ese análisis, selecionamos los poemas de Dulce de los libros (Versos, 1920-1938; Juegos de agua, 1947 y Poemas sin nombre, 1953) y de Orides (Transposição, 1969; Helianto, 1973 y Alba (1983). Más allá del hecho de las escritoras ser modernas y voces bastante líricas, la temática del silencio es una constante en sus respectivos proyectos poéticos y es a partir de ella que intentaremos estabelecer las comparaciones. Como aportes orientados hacia la fortuna crítica de las autoras, serán utilizados textos críticos sobre sus obras: en el caso de Dulce, los trabajos de Pedro Simón, Dulce María Loynaz, valoración múltiple (1991); de Zaida Capote, Contra el Silencio. Una lectura de Dulce María Loynaz (2009); de Virgilio López Lemus, Dulce María Loynaz: estudios de la obra de una cubana universal (2000), entre entrevistas y testimonios de la autora. Teniendo en cuenta que pocos estudios integran la fortuna crítica de Orides, consideraremos desde el prefacio de Antônio Candido en el libro Alba (1983); Benedito Nunes, A recente poesia brasileira. Expressão e forma (1991); de Alcides Villaça, Símbolo e acontecimento na poesia de Orides Fontela (1992); de Haquira Osakabe, O corpo da poesia. Notas para uma fenomenologia da poesia, segundo Orides Fontela (2002), entre otros, además de entrevistas y testimonios de la autora, en los cuales podemos encontrar un grado de reconocimento de su elaboración poética. Aún sobre las autoras serán desarrollados estudios sobre el contexto en que produjeron sus obras. Para ello, acudimos a la fortuna crítica, concretamente, Hortensia Pichardo, Historia de Cuba (1985); Flora Süssekind, ...
Doutor

A tese pretende analisar as relações entre Literatura moderna, Geografia e Sociedade no processo de modernização social, através do estudo de seis escritores: Charles Baudelaire, Machado de Assis, Joseph Conrad, Franz Kafka, Carlos Drummond de Andrade e João Antônio. O percurso busca mostrar como a modernização social, produzindo formas de espaço social abstrato (Lefebvre) adequadas ao processo de acumulação capitalista, é literariamente mimetizada e reconstruída por tais escritores. O processo de modernização aparece, então, como domínio do trabalho abstrato e, em suas crises, como um estado de exceção, figurado pela literatura em três níveis espaciais fundamentais interligados, mas não-idênticos: ao nível do concebido (pela política e as ideologias), do praticado/percebido (na vida cotidiana) e do vivido (nas singularidades subjetivas, nos limites do real inconsciente). Assim, teríamos a Literatura como um meio de mapeamento cognitivo de processos sócio-espaciais modernos.
The thesis intends to analyse the relationships between Modern Literature, Geography, and Society within the process of social modernization, through the study of six writers: Charles Baudelaire, Machado de Assis, Joseph Conrad, Franz Kafka, Carlos Drummond de Andrade and João Antônio. This itinerary aims to show how social modernization, producing forms of abstract social space (Lefebvre) related to the capitalist process of accumulation, is literarily mimetized and reconstructed by these writers. The modernization process appears then as imposition of abstract labor and, in its crisis, as a state of exception, thematized by literature in three interconnected but non-identical spatial levels: at the level of the conceived (by politics and ideologies), of the perceived (praxis in everyday life), and of lived experiences (in subjective singularities, in the limits of the unconscious). Thus, Literature appears as cognitive mapping of modern social and spatial processes.

This thesis explores the development of modem Tibetan literature known as gsar rtsom (new composition), which emerged with great vigour in the 1980s. The first two chapters look at the cultural milieu of Tibet before the Chinese annexation in the 1950s. In doing so, they illustrate that while there were changes occurring in the periphery of the Tibetan cultural world, such as the influence of missionary activities and the impact of British rule in India, these changes never penetrated to the centre of society. The main body of the thesis describes how as a result of the Chinese occupation of Tibet, which brought unprecedented changes and upheaval in Tibetan society, there were profound effects on Tibet's intellectual world. Specifically, the emergence of modem Tibetan literature is directly related to the Chinese Communist Party's attempts to introduce a materialistic and Marxist notion of humanism, and the Party's policy of promoting a secular literary tradition. Modern Tibetan literature emerged first as the officially promoted narrative of an oppressed people. Modern literature was viewed as an instrument for mobilising the masses and disseminating the Communist Party's message. The colonising power determined the style and the subject matter of modern literature. Nevertheless, the thesis also demonstrates that the emergence of modern literature led to a repositioning of the intellectual tradition and the construction of an autonomous cultural space, which seeks to define a modernist discourse on the nature of Tibetan identity. The thesis examines the subject matter tackled by the leading figures such as Gedun Chonphel, Dorji Gyalpo, Lungdun Paljor, Jamphel Gyatso, Tashi Palden and Dondrup Gyal and explores how they addressed issues faced by Tibetans as colonised subjects. The study demonstrates that, within the limits imposed by the Chinese government. modern Tibetan literature has become the forum where, on the one hand, the colonising power is challenged and, on the other hand, the indigenous tradition is contested.

In early modern England, colour was both a material and a textual preoccupation. However, the polychromatic palette that surrounded English men and women, and the particoloured palette of early modern writers, has thus far received little scholarly attention. This thesis rethinks the culture of colour in England between c. 1580 and c. 1660 to stimulate and enhance critical appreciation of colour in early modern literature. In contradistinction to the monochromatic trend of current cultural histories and early modern research, in this thesis I analyse all colours, situating these within their original socio-cultural contexts to substantiate the significance of colour in a literary text. My contextualised and polychromatic colour-concern offers an alternative method to traditional quantitative or symbolic approaches to colour in literature, as it takes into consideration how colour was experienced during an era that was attentive both to the material qualities and textual existence of colour. This thesis explores five "colourscapes," which include the workplace, household, Church, New World, and theatre, in order to finesse connections between colourful environs and attendant colour-configurations in early modern English literature. Attending to rhetorical instantiations of colour, and to the lived experience of colour as manifested in literature, this thesis offers an analytical lens through which early modern scholars, and literary scholars alike, can approach colour in literature.

'Aspects of Modern Scottish Literature and Ecological Thought' argues that the science and philosophy of 'ecology' has had a profound impact on Scottish literature since the mid-nineteenth century to the present day, and relates the work of successive generations of Scottish writers to concurrent developments in ecological thought and the environmental sciences. Chapter One suggests that, while Romantic ways of thinking about the natural world remained influential in nineteenth-century culture, new environmental theories provided fresh ways of perceiving the world, evident from the writings of Scottish mountaineers. Chapter Two explores the confrontation of modernity and wilderness in the fiction and travel writings of Robert Louis Stevenson, and some contemporaries such as John Muir. Chapter Three suggests that ecologically-sensitive local and global concerns, rather than 'national' ones per se, are central to the work of Hugh MacDiarmid, Lewis Grassic Gibbon and others, while Chapter Four demonstrates that post-war 'rural' writers including Nan Shepherd, Neil Gunn, Edwin Muir and George Mackay Brown, often viewed as peripheral, are actually central and of international relevance, and challenges the assumption that there is a fundamental divide between Scottish rural and urban writing. Finally, Chapter Five argues that contemporary writers John Burnside, Kathleen Jamie and Alan Warner are not only reviewing human relationships with nature, but also the role writing has to play in exploring and strengthening that relationship, helping to determine the ecological 'value' of poetry and fiction. By looking at Scottish literature through the lens of ecological thought, and engaging with international discourses of 'Ecocriticism', this thesis provides a fresh perspective in contrast to the dominant critical views of modern Scottish literature, and demonstrates that Scottish writing constitutes a heritage of ecological thought which, in this age of environmental awareness, should be recognised as not only relevant, but vital.

Bibliography: p. 323-332.
This study posits that the concept of the Other is central in modern Hebrew literature. It traces its beginnings in Jewish thought to the Bible, and connects the creation and Eden narratives to contemporary psychoanalytic thought on ego formation and the Other. It considers the importance of the figure of the talush to the focus on the Other in modern Hebrew literature and suggests that the conflicts of the collective versus the individual that are expressed in the early stages of the literature do not disappear as it moves into the present day, but are discernible in different guise and can be seen in the burden of group consciousness which besets Hebrew authors and vitiates their attempts to configure the unique. The feminized Other is seen as especially important in this regard because of the collective textual and thus social repression of women in the tradition. Its presentation is thus taken as a useful measure of the successful resolution of individual as opposed to group narration. The modern Hebrew texts analyzed, beginning with a poem by the late Haskhalah poet, Y.L. Gordon through D. Baron, M.Y. Berdichewski, A. Kahana-Carman, S.Y. Agnon, A Appelfeld and ending with a novel by the contemporary Israeli writer, D. Grossman, support this decision as the collective is subjugated only in Kahana-Carman's text where the feminine is fully realized. The thesis examines the ways the eight narratives grapple with the awareness of the Other, and focuses on the aspects, including body, war and language, that are highlighted variously in each text. The struggles of modern Hebrew writers are also viewed as part of the difficulties entailed in the denotative endeavors of writing itself which strives, towards the always elusive Other that predates ego-formation and thus individuality itself. It is proposed that this intensifies the tensions about the Other in modern Hebrew literature which derive from its specific cultural heritage.

This thesis examines how the faculty of the will was conceptualised in early modern English literature. The attempt to understand its function and purpose was a crucial concern for a vast range of Elizabethan and Jacobean writers, largely because of the important role the notion of the will played in the development of classical philosophy and the reformation of Christian theology. Providing a coherent definition of the will, its powers and associated functions in the human subject did, nonetheless, pose a significant problem for many early modern writers. Although scholars have documented the impact that notions of will had in the theology of the period, an analysis of the way in which the will was represented in the drama of Elizabethan and Jacobean England is missing from current academic criticism. This thesis seeks to remedy this gap in scholarship by clarifying the conceptual difficulties involved in theorising the powers of the will in the philosophy of the age, and by demonstrating how these difficulties are represented and played with in the period's drama. This thesis contributes original knowledge to the field of early modern studies by illustrating: the role that notions of will take in shaping the didactic framework of the morality tradition in late sixteenth-century drama; how the will was used to establish and explore notions of malevolence and acts of moral transgression in early modern plays; the part theories of the will played in shaping how notions of death and human fate were signified in early modern texts. Ultimately, this thesis suggests that the literary representation of the faculty of the will should be understood to be a vital and essential part of early modern intellectual culture.

In modern times German authors have made ample use of the Job-theme. The study examines the transformations that the story of Job has undergone in German narrative and dramatic works from Leopold von Sacher-Masoch's Der neue Hiob (1878) to Fritz Zorn's Mars (1977). The most striking feature of these works lies in their diverse characterization of the Job-figure. As a mythical figure he remains synonymous with the sufferer, but he may be characterized as patient or impatient, humble or arrogant, innocent or guilty, rich or poor, courageous or cowardly; he may be a Jew or a Christian, a Nazi or an anti-Nazi, a believer or an agnostic. The authors have retained most of the characters included in the Old Testament story. The Job-figure usually has a wife (who doubts and despises God), a number of children (who die in an impending disaster), and several friends (who accuse him of wrong-doing). Concerning the plot, most writers have excluded any prologue in heaven. The suffering of the Job-figure (usually brought on by the loss of loved ones, by physical pain and by mental agony) is always central to the story. More often than not, however, the modern Job-figure exhibits a form of impatience and impiety once misfortune has struck. A theophany (literal confrontation with God) does not occur, but a divine agent may be provided in the form of a dream or a vision, or indirectly by nature. An epilogue (the restoration of Job's health, possessions and children) is usually omitted, but some authors imply a renewal of Job, so as to suggest a purpose for and a hope after his arduous trials.
Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta pesquisa tem por finalidade o estudo do universo temático e editorial do suplemento literário Sabático, do jornal O Estado de S. Paulo. Nossa proposta é investigar o jornalismo cultural - entendido enquanto instância de difusão e consagração, que atua nos mecanismos de criação de consensos sobre o valor da cultura e da arte -, intrigados pelo surgimento de um novo produto editorial e cujo nascimento propõe o resgate de um periódico lendário - Suplemento Literário - em um cenário aparentemente adverso a publicação realizadas sob seus moldes. Para tanto, dividimos nossa pesquisa em duas etapas: discussão teórica e análise do objeto. Iniciamos o trabalho abordando o desenvolvimento histórico dos sentidos de cultura e a combinação da mesma enquanto campo autônomo. Discorremos sobre o mecanismo de produção de valor da obra de arte e sobre a formação, estrutura e funcionamento do mercado de bens simbólicos, além de questões referentes à esfera cultural no contexto da pós-modernidade. Em seguida, relacionamos a prática jornalística observada no suplemento literário Sabático aos processos de configuração do campo cultural, buscando compor um conjunto de conceitos, práticas e dilemas a cerca do jornalismo cultural a fim de fundamentar uma proposta de análise do corpus desta pesquisa
This essay's purpose is to study the thematic and editorial universe from O Estado de S. Paulo literacy supplement, Sabático. Our purpose is to investigate cultural journalism - understood as an instance of propagation and dedication that operates on the gears of consenso's creation about the value of culture and art -, as we're intrigued by the appearance of a new editorial product which birth proposes the rescue of a legendary journal - Suplemento Literário - in a scene apparently unfavorable to publications of its form. Therefore, we divide our research in two: theoretical discussion an objects' analysis. We begin this work by approaching the historical development of the meanings of culture and its constitution as an independent field. We discourse about the mechanisms of value production of a work of art, and about the formation, structure and operation of the market of symbolic goods, and also about questions related to the cultural sphere in the context of Postmodernity. Next, we connect the journalistic practice observed in the literacy supplement Sabático with the cultural field's configuration processes, in a way to compose a series of concepts, practices and dilemmas about the cultural journalism, in order to justify the analysis' purpose of this essay

O presente estudo investiga a posição das artes visuais na experiência intelectual e criativa do poeta e escritor modernista Oswald de Andrade (1890-1954). São analisados não apenas seus textos sobre arte, mas também a presença das artes visuais nos livros de poesia Pau Brasil (1925) e Primeiro caderno do aluno de poesia Oswald de Andrade (1927), assim como nos romances Os Condenados (1922-1934) e Marco Zero (1943-1945). Também são discutidas as relações que o escritor manteve com artistas brasileiros e estrangeiros, além de sua participação em situações importantes envolvendo as artes visuais no país, como a Semana de Arte Moderna; a primeira exposição de Tarsila do Amaral no Brasil; o Clube dos Artistas Modernos; os Salões de Maio. A proposta é averiguar como Oswald de Andrade atuou em um período importante para a história da arte moderna no Brasil, especialmente na cidade de São Paulo, compreendendo as décadas de 1910 a 1940, que são as balizas cronológicas adotadas, tomando-se como referências o texto \"Em prol de uma pintura nacional\", publicado em 1915, e o romance Marco Zero II: Chão, publicado em 1945. Singulares do ponto de vista da escrita e das estratégias discursivas que mobilizam, os textos de Oswald de Andrade que discutem as artes visuais revelam um pensamento em constante movimento e atento ao que entendia serem as demandas de uma época de transformações e de luta pela construção de uma sociedade menos opressora, na qual as artes ocupavam posição estratégica. Com base na investigação desse material, defendese aqui que as artes visuais foram um elemento constitutivo de sua experiência intelectual e criativa, não ocupando uma posição secundária em relação à sua atuação como escritor, poeta e jornalista polemista.
This study investigates the position of the visual arts within the intellectual and creative experience of Brazilian modernist writer and poet Oswald de Andrade (1890- 1954). It analyses not only his writings on art but also the presence of the visual arts in his poetry books Pau Brasil [Brazil Wood] (1925) and Primeiro caderno do aluno de poesia Oswald de Andrade [First notebook of the poetry student Oswald de Andrade] (1927), as well as in the novels Os Condenados [The Doomed] (1922- 1934) and Marco Zero [Ground Zero] (1943-1945). This work also discusses the relationships the writer had with Brazilian and foreign artists, as well as his participation in relevant situations involving the visual arts in Brazil, such as the Semana de Arte Moderna [Modern Art Week]; Tarsila do Amaral\'s first exhibition in Brazil; the Clube dos Artistas Modernos [Modern Art Club]; the Salões de Maio [May Salons]. The aim is to examine how Oswald de Andrade took part in an important period of the history of modern art in Brazil, especially at the city of São Paulo, from the 1910s to the 1940s, which are the chronological landmarks assumed here taking the article \"Em prol de uma pintura nacional\" [In favor of a national painting], published in 1915, and the novel Marco Zero II: Chão [Ground Zero II: Ground], published in 1945, as reference points. Remarkable both as style and discursive strategies, Oswald de Andrade\'s writings on art reveal a reflection in constant movement, but always attentive to what the author understood as the demands of a time of transformations and struggle for a less oppressive society, in which the arts had a strategic position. Based on the investigation of the abovementioned materials, this work argues that the visual arts did not occupy a secondary position in relation to Oswald de Andrade\'s activities as writer, poet and controversialist journalist. On the contrary, they were a constitutive element of his intellectual and creative experience.

This thesis considers silence as a problem that is felt particularly acutely in the modern period. The focus is on the silence caused by a general distrust of the representational ability of language, which has manifold manifestations in modern writings. From the existential turn that implies self-cancellation to the symbolist project to create new symbols, modernist writers display an anxiety to speak the unspeakable. This paper’s approach is to offer a metaphoric reading of the role of the Muse as the giver of knowledge and voice in writing practices, and to identify the cause of silence in the confusion over the two distinctive ideas about the goddess. The roots of such confusion are traced to Plato’s epistemological treatises and his exposition of love, as encapsulated in Phaedrus, in which the superimposition of metaphysical knowledge over physical love introduces the aporia into poetry, or literary writing. Subsequent developments of literature, including that of the modernists’, are subject to this aporetic silence. By tracing the trajectories of epistemology and the representation of love up to the eighteenth century, the work shows how the modern problem of silence is triggered by the duality in Kantian epistemology, which is itself a legacy of Platonic metaphysics. Modern silence, therefore, is studied within the critical framework of such metaphysical background, against the metaphoric representation of transcendental imagination as Mother Wit, and its application to the matter of love. The second half of the paper discusses the various responses to this duality found in the ‘transcendental power of imagination’. In the existential writings that defy analytical reason, and the symbolist writings that react against Romanticism, writers struggle to overcome the gap between subjective and objective realities. They therefore fail to give voice to things and feelings without falling back to obscurity or self-erasure – both producing silence on a semantic level. The paper studies works of Hermann Broch and Samuel Beckett to demonstrate the arrival at this great silence, which, though reached via different paths, is the same aporetic silence contained in Platonic epistemology. By examining two works of J.M. Coetzee, this paper also aims to explore the possibility of breaking this silence by going beyond knowledge, and reengaging the service of another Muse her power of love, physicality, and presence.
published_or_final_version
English
Doctoral
Doctor of Philosophy

In the sixteenth century, the cartographic revolution was rapidly changing the experience of everyday life in England. Modes of thinking and inhabiting space (such as astronomy, trigonometry, surveying, and cartography) were advanced and refined, and in England, the map went from rarity to ubiquity in less than seventy years. Navigating Time explores how literary strategies changed in response to this rapid shift in the technology of spatial representation. I consider four epics, the epic being the early modern genre most overtly invested in matters of empire (and thus, in matters of space and history). Building on the insights of the spatial turn in the humanities, I argue that the epic offers a radical critique of the technological innovations of the cartographic revolution and the menace those innovations posed. Alongside this critique, the early modern epic outlined a new poetics centered on navigation. Epics by Holinshed, Spenser, Drayton, and Milton sought to encompass the representational possibilities of the map, but also to highlight and exceed the map's narrative insufficiency. Holinshed's Chronicles reforms the topography of the city, converting its streets and alleys into historical texts and presenting historiography and mapping as competing interpretive frameworks for urban space. The Faerie Queene redefines genre as the conduct of bodies in space, making it thus impossible to fix Faeryland as a mappable terrain, and asserting the continuous interpretation required by allegory against the compression imposed by the map. Drayton's Poly-Olbion seems at first to be a verbal map of Britain, but the poem quietly insists on the power of literature not to mimic but rather to supplant the world it describes, becoming the terrain a map can only represent. Finally, Milton's Paradise Lost creates a form of navigating without a destination, by transforming history into a geographic expanse that cannot be mapped, only wandered.

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Oct. 5, 2009). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English and Comparative Literature; Department/School: English and Comparative Literature.

Thesis advisor: Mary T. Crane
Using the rich concept of imitatio as an organizing theme, this study explores the tangibility of faith and a privileging of an affective, embodied religious subjectivity in post-Reformation England. Moving Imitation asserts that literary and devotional concepts of imitatio--as the Humanist activity of translation and as imitatio Christi--were intensely interested in semiotics. Indeed, if the Renaissance was a period in which literary imitatio flourished, advancements in translation theory were not unaccompanied by anxieties--in this case, anxieties about the stability of language itself. Likewise, as iconophilia turned into iconophobia, a similar anxiety about the reliability of signs also characterized the turmoil of the English Reformation. Moving Imitation examines the overlapping qualities of both types of imitatio in order to point out how an important devotional aesthetic in the period involves a type of embodied imitation. The human body's resonance with the humanity of Christ and the pre-Cartesian worldview that saw the human body as fully engaged with what we consider to be more cognitive functions contributed to a privileging of the body as an acceptable sign of true devotion. Beginning with Sir Thomas Wyatt's paraphrase of the traditional penitential psalms, Moving Imitation explores the translation of penitence in Wyatt's work, and argues that a focus on David's outward gestures and body lends a firmness to a work that is otherwise anxious about the mutable nature of human words. Chapter two examines the suffering bodies in John Foxe's Acts and Monuments and their enactment of a visible imitatio Christi. Terms such as "members" function in its corporeal and communal senses in Acts and Monuments, for the marks of one's membership in the "true church" are born, literally, on one's members. Although much of Foxe's argumentation includes polemical disputes that seek to shut out a copia of meanings to the words, "This is my body," Foxe as an editor exploits the polysemous nature of the body in its corporeal and communal sensibilities. The performative aspects of martyrdom pave the way to a discussion of what I call transformative imitatio in William Shakespeare's Hamlet and The Winter's Tale. Although the theater's ability to "body forth" its fiction is a source of anxiety for antitheatricalists, proponents of the stage saw it as a way to defend the theater. Moving Imitation notes that the characterization of the stage's dangers--the ability to move people's affections--articulates an important Reformist desire: that the individual subject should not only be affected, but also be galvanized into devotional imitation. Such interest in action becomes important in Hamlet; if the central dilemma of the play (Hamlet's inability to take action) is considered against a common religious dilemma (how one stirs oneself towards genuine worship) the solutions as well as the problems overlap. Through the statue scene of The Winter's Tale, Shakespeare defuses the danger attributed to the stage by animating a potentially idolatrous image with life; in ways that were only hinted at in Hamlet, The Winter's Tale makes use of the lively bodies onstage to suggest that the presumed connection between idolatry and the imitative stage is an unwarranted one, and "to see... life as lively mocked" can help to perform redemption
Thesis (PhD) — Boston College, 2009
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English

My thesis sets out to explore the literary representations of Caribbean modernity in selected fiction by Erna Brodber, V.S. Reid, Simone Schwarz-Bart and Joseph Zobel. Reading their texts in relation to modern Caribbean subjectivity, I employ a historiographical approach to pan-Caribbean theoretical movements and link these with the works. I suggest that in the selected fiction we can begin to map a Caribbean modernist literary tradition that seeks to locate the Caribbean subject through terms that reflect the over-determined history and creolised nature of the region. I read their literary representations of Caribbean modernity through the matrix of the plantation, the ship and the creolised city in an attempt to complicate hegemonic discourses that privileges and imposes Western modernity on the development of Caribbean literary modernity. In an attempt to re-locate the Caribbean subject, I suggest that these writers inscribe a series of narrative techniques that complicates traditional Caribbean and Western literary canons. Through the use of the creolised language and folk practices that have long been considered ‘low culture’, they develop a literary discourse that is discomforting and difficult to access. A central aim of my thesis concerns locating the gendered modern subject, who, I argue, has stood on the margins of Caribbean intellectual thought and literary criticism. Underpinning my argument and the basis of my theoretical framework are two observations concerning the Caribbean made by CLR James and Stuart Hall respectively. For James, the Caribbean is a product of a peculiar history, while Hall concludes that for the population of the Caribbean and Caribbean diaspora, a process of translation that significantly differs from hybridity occurred at the point of the region’s present day formation. This notion of a peculiar origin and the process of translation I assert are central to understanding literary representations of Caribbean modernity.

This project delineates a cultural history of modern Hinduism in conversation with contemporary Indian literature. Its central focus is literary adaptations of the Sanskrit epic the Mahābhārata, in English, Hindi, and Bengali. Among Hindu religious texts, this epic has been most persistently reproduced in literary and popular discourses because its scale matches the grandeur of the Indian national imagining. Further, many epic adaptations explicitly invite devotion to the nation, often emboldening conservative Hindu nationalism. This interdisciplinary project draws its methodology from literary theory, history, gender, and religious studies. Little scholarship has put Indian Anglophone literatures in conversation with other Indian literary traditions. To fill this gap, I chart a history of literary and cultural transactions between both India and Britain and among numerous vernacular, classical, and Anglophone traditions within India. Paying attention to gender, caste, and cultural hegemony, I demostrate how epic adaptations both narrate and contest the contours of the Indian nation.

“Resonant Texts” draws from literary criticism, history, biography, media theory, and the history of technology to examine representations of sound and acts of listening in modern experimental fiction and drama. I argue that sound recording technology, invented in the late 19th century, equipped 20th century authors including James Joyce, Virginia Woolf, Ralph Ellison, and Samuel Beckett with new resources for depicting human consciousness and experience. The works in my study feature what I call “close listening,” a technique initially made possible by the phonograph, which forced listeners to focus exclusively on what they heard without the presence of an accompanying image. My study examines the literary modernists’ acute attention to the auditory in their goal to accurately represent the reality of the subjective, perceiving self in increasingly urban, technologically advanced environments.