Tesis sobre el tema "American literature History and criticism Theory, etc"

Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.

In this thesis the author explores the notion that American Chicana/o literature serves as an interactive pedagogical site that nurtures a blend of academic and street discourse, proposing the writing of those who exist on the "downside" of the border of non-standard English and academic discourse-basic writers be acknowledged.

The Great Plains are prevalent among the literature of the nineteenth century, but receive hardly a single representation among the landscapes of the Hudson River School. This is certainly surprising; the public was teeming with interest in the Midwest and yet the principal landscape painters who aimed to represent and idealize a burgeoning America offered hardly a glance past the Mississippi River. This geographical silence is the result of a tension between idealistic and empirical representations of the land, one echoed in James Fenimore Cooper’s The Prairie, Washington Irving’s A Tour on the Prairies, and Margaret Fuller’s Summer on the Lakes, in 1843. Margaret Fuller’s more physical and intimate Transcendentalism unifies this tension in a manner that heralds the rise of the Luminists and the plains-scapes of Worthington Whittredge.

This dissertation argues that numerous parallels exist between Native American literature, especially that by women, and contemporary feminist literary and cultural theories, as both seek to undermine the hierarchy of voice: who can speak? what can be said? when? how? under what conditions? After the ideas find voice, what action is permitted to women? All of these factors influence what African American cultural theorist bell hooks terms the revolutionary gesture of "coming to voice." These essays explore the ways Native American women have voiced their lives through the oral tradition and through writing. For Native American women of mixed blood, the crucial search for identity and voice must frequently be conducted in the language of the colonizer, English, and in concert with a concern for community and landscape. Among the topics addressed in the study are (1) the negotiation of identity of those who must act in more than one culture; (2) ethnocentrism in ethnographic reports of tribal women's lives; (3) misogyny in a "canonical" Native American text; (4) the ethics of intercultural literary collaboration; (5) commonality in inter-cultural texts; and (6) transformation through rejection of Western privileging of opposition, polarity, and hierarchy.

Most contemporary literary theories are either explicitly or implicitly atheistic. This thesis describes a literary theory whose principles are derived from or consistent with Christian theology. It argues against modern objections to such a theory that this is a rationally and ethically legitimate mode of contemporary literary theory. The first half of the thesis constitutes an analysis of deconstruction, of Marxism and of psychoanalysis. These are three of the most influential discourses in modern literary theory, each of which constitutes a significant argument against the existence of God, as this has traditionally been understood in Christian theology. In a chapter devoted to each theory, I examine its relation to Christian theology, and argue that it does not constitute a conclusive argument against the truth-content of such theology. I go on to assess which of its principles can be used in modem Christian literary theory, and which cannot. The second half of the thesis constitutes an analysis of a Christian tradition of thought that pertains to literary theory. In the fourth chapter, I examine the concepts of language and of art expressed or implied in the Bible, St. Augustine and St. Thomas Aquinas, and assess which of these concepts could be used in Christian literary theory today. In the fifth chapter, I examine certain twentieth-century Christian philosophers and literary critics, and assess how their thought could be used in contemporary Christian literary theory. In the final chapter, I synthesize the conclusions to these arguments into the outline of a literary theory that both derives from Christian theology and takes account of the objections to such theology posed by contemporary literary theory.

"A Place to See: Ecological Literary Theory and Practice" approaches "American" literature with an inclusive interdisciplinarity that necessarily complicates traditional notions of both "earliness" and canon. In order to examine how "Nature" has been socially constructed since the seventeenth century to support colonialist objectives, I set American literature into a context which includes ancient Mayan almanacs, the Popol Vuh, early seventeenth and eighteenth century American farmer's almanacs, 1992 Nobel Peace Prize winner Rigoberta Menchu's autobiography, the 1994 Zapatista National Liberation army uprising in Mexico, and Leslie Silko's Almanac of the Dead. Drawing on the feminist, literary and cultural theories of Donna Haraway, Carolyn Merchant, and Michel Foucault, Julia Kristeva, Edward Said, Annette Kolodny, and Joseph Meeker, I argue that contemporary Native American writers insist that readers question all previous assumptions about "Nature" as uninhabited wilderness and "nature writing" as realistic, non-fiction prose recorded in Waldenesque tranquility. Instead the work of writers such as Silko, Louise Erdrich, Simon Ortiz, and Joy Harjo is a "nature writing" which explores the interconnections among forms and systems of domination, exploitation, and oppression across their different racial, sexual, and ecological manifestations. I posit that literary critics and teachers who wish to work for a more ecologically and socially balanced world should draw on the work of all members of our discourse community in cooperative rather than competitive ways and seek to transform literary theory and practice by bringing it back into dynamic interconnection with the worlds we all live in--inescapably social and material worlds in which issues of race, class, and gender inevitably intersect in complex and multi-faceted ways with issues of natural resource exploitation and conservation.

Thesis (Ph.D. (English studies)) -- University of Limpopo, 2011<br>This thesis explores the theme of identity in Es’kia Mpha-hele’s fictional and autobiographical novels, with special attention given to the quest for the lost identity of Afri-can cultural and philosophical integrity. In other words, the revival of the core African experience and the efforts to preserve and promote things African. Mphahlele wrote most of his novels during the time when Africa was under colonial influence. His native land was under the abhorred apartheid system which sought to relegate the African expe-rience to the background. In this sense, he was the voice of the people, reminding them of their past and giving them direction for the future. Chapter One of the thesis outlines the background to the study, defines concepts and gives a survey of African lit-erary identity. It also probes salient aspects which have influenced Mphahlele’s perspective on African identity dur-ing his early years as a writer and socio-cultural activ-ist. Approaches and methodology employed to examine Mphahlele’s writings are also outlined. Chapter Two synthesises the theoretical underpinnings of the study. The thesis adopts Afrocentricity as the basis of analysis, looking at aspects such as the African worldview, humanism (ubuntu) and collectivism. Views by different Af-rican literary critics on what African literature should entail in its distinctive definition are also discussed. Two main literary traditions, orality and the contemporary tradition, which give African literature its unique charac-ter as well as its phases are identified and brought to the fore.Identity in African literature is discussed in detail in Chapters three and four where Mphahlele’s literary works are closely examined. Chapter Five concludes the study and recommends that in order for Africa to forge ahead in her attempt to reclaim and promote her cultural identity, a new perspective must be cultivated and Mphahlele proposes hy-bridity, which is a harmonious co-existence of two or more cultural beliefs without one oppressing the other.<br>The University of Limpopo

This thesis examines Ezra Pound's linguistic theory in relation to literary, philosophical and academic treatments of language in the modernist period. Pound is a central figure in the history of twentieth century literature, and his poetic career marks a sustained engagement with questions of how language can register thought, how it can transmit and communicate images, and, ultimately, how language is able to mediate between artists (or, indeed, language speakers as a whole) and the world. I read Pound's statements on language against the disciplinary history of linguistics, assessing the extent to which his positions are representative of his period, or, conversely, the ways in which they form part of an idiosyncratic worldview. My approach is broadly historical. I begin with Pound's educational background, and move chronologically through his career to the concluding passages of his Cantos. I investigate the extent to which Pound's critical writing engages with new departures taking place in linguistics in the late nineteenth century and the early part of the twentieth century. The scope of my investigation ranges from the legacy of nineteenth century philology to the approaches taken by William Dwight Whitney, Michel Bréal, and Ferdinand de Saussure, to name but a few, in focusing linguistic scholarship on synchronic study of language as function in the early twentieth century, to Franz Boas's and Edward Sapir's studies in the relationship between language and culture between 1910 and 1939. In situating Pound in relation to the history of linguistics as a discipline, I argue that his work asks some of the period's most apposite questions about language and culture, even if his conclusions differ from the dominant academic positions of the time.

Orientador: Maria Betania Amoroso<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-04T04:23:12Z (GMT). No. of bitstreams: 1 Antonio_CarlindoFausto_D.pdf: 873322 bytes, checksum: c209de4caa2bfeb4191e14c9c17ad267 (MD5) Previous issue date: 2005<br>Resumo: O esboço de análise dos Cadernos Negros (1978-2004) é, referenciado na cultura e luta para a superação das desigualdades raciais, um painel descritivo do percurso de vinte sete anos de produção coletiva de autores afro-brasileiros. O trabalho que colocou lado a lado, numa relação dialógica, poemas, contos, teorias, autores, leitores, estudiosos e militantes, numa verdadeira encruzilhada, obedeceu à composição seguinte: nos dois primeiros capítulos, fez-se um breve enquadramento histórico ressaltando a pré-história dos Cadernos Negros e, nos dois subseqüentes, fez-se a descrição e análise das recorrências pautadas pela produção literária e pela teoria desenvolvida pelos próprios autores. Por fim, foram retomadas as questões que constituem uma rede polifônica de adesão à cosmogonia negra e os lugares das noções textuais da negrura<br>Doutorado<br>Literatura Geral e Comparada<br>Doutor em Teoria e História Literária

Although Derrida, Deleuze, and others have shown the centrality of Friedrich Nietzsche's work for contemporary philosophy, the breadth of his influence is only just beginning to be understood in literature. Nietzsche saw himself as a philosopher and as a poet, and wrote in all his major works of the importance of understanding the vital interaction of conceptual thinking and its "practical" application by the litterateur. The place of the philosopher/poet, modelled on Nietzsche himself, was to be considered the highest attainable by man. Yet Nietzsche's elevation of poetic thought contains a dynamic paradox, which he himself not only saw but which was for him a--perhaps the --pivotal aspect of his philosophy: since both thinking and writing occur in the same place, language, man must acknowledge that to engage in either is to accept the destruction of his "unity," and to place his attention "out" into language. To articulate, then, is to establish a double focus, an outer one first (in language), and then an inner one posited in that outer medium. The paradox is that this distancing is both necessary to man and disruptive to his sense of himself. Once one perceives this condition as, after Nietzsche, endemic to man, one can begin to see how pervasively the dilemma can be used as a strength, a source of power, by the writer. This study explores applications of Nietzsche's etrangete. Part One considers Nietzsche's writings themselves, selectively, and some precursors on whom he depended for his insights. Part Two applies these ideas to criticism of a number of contemporary writers, showing how the Nietzschean triangulation of articulation, etrangete, and power (Nietzsche's "eternal recurrence," "Overman," and "will to power") informs such diverse writers as Joyce, Faulkner, John Fowles, and Samuel Beckett. Each of the chapters of Part Two explores an aspect of Part One's conclusions relative to a particular writer, showing how he works within the Nietzschean paradigm whether he would repudiate that paradigm (as in the cases of Faulkner and Fowles), or acknowledge it (as with Joyce and Beckett). The dissertation's effort is to demonstrate that Nietzsche's pervasive influence on contemporary literature is systematic, indigenous, and inescapable.

One of the unfortunate corollaries of poststructuralist theorizing about literary texts has been the equation of a skepticism concerning language with a skepticism concerning meaning. The menace of unrestrained relativism has tended to polarize the critical community into proponents of a 'logo-diffuse' onto-epistemology and proponents of a 'logo-centric' one, and critical practice has followed this lead. The critic who attempts to situate literature within the parameters of such a debate is likely to fail unless he or she appeals to a much more extensive discourse, one which antedates the provincial contours of the current discussion. Medieval mysticism is a significant entry in the lineage of influence which comprises the western tradition. This thesis looks at the apophatic or negative strategies of mystical texts in order to locate meaning in the interplay of negation and affirmation with which they are concerned.

The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.

Many American novels of the late nineteenth and early twentieth centuries discuss prostitution. Some works like Reginald Wright Kauffman's The House of Bondage, (1910) exaggerate the threat of "white slavery," but others like David Graham Phillips's Susan Lenox: Her Fall and Rise (1917) more honestly depict the harsh conditions which caused many women to prostitute themselves for survival. Contemporary critical interpretations of novels addressed in this dissertation began before major shifts in women's roles in the workplace, before trends towards family planning, before women could respectably live on their own, and especially before women won the right to vote. Yet, a century of progress later, this vestigal criticism still influences our study of these texts.Relying on primary source materials such as prostitute autobiographies and vice commission reports, I compare fictional representations of prostitution to historical data, focusing on the prostitute's voice and her position in society. I examine actual prostitutes' life stories to dispel the misconception that prostitution was always a lower-class business. My chapters are ordered in regards to the prominence of the prostitute characters' voices: in Stephen Crane's Maggie: A Girl of the Streets (1893) the heroine seldom speaks for herself; in two Socialist novels--Upton Sinclair's The Jungle (1906) and Estelle Baker's The Rose Door (1911)--prostitutes debate low wages, political corruption, and organized vice; and in Phillips's Susan Lenox, the title character is almost always allowed to speak for herself, and readers can see what she is thinking as well as doing. As my chapters progress, I demonstrate how the fictions become more like the prostitutes' own autobiographies, with self-reliant women telling their stories without shame or remorse. My conclusion, "Revamping `Fallen Women' Pedagogy for Teaching American Literature," suggests how social history and textual scholarship of specific "fallen women" novels should affect our teaching of these texts.<br>Department of English

This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.

Orientador: Sidney Barbosa<br>Banca: Adalberto Luis Vicente<br>Banca: Norma Domingos<br>Banca: Marcio Roberto do Prado<br>Banca: Ricardo Araújo<br>Resumo: Esta tese tem por objetivo o estudo de duas obras literárias que têm como personagens cientistas criadores e suas criaturas artificiais. Trata-se das obras de Villiers de l'Isle-Adam (1838-1889) e de Mary Shelley (1797-1851), representadas pelos romances L'Ève future e Frankenstein, respectivamente. Para tanto, e em primeiro lugar, traçamos um histórico do desejo humano de criar uma criatura artificial perfeita desde a Antiguidade até os dias atuais. Em seguida, passamos à análise das referidas obras, caracterizando e comparando os criadores e suas respectivas criaturas, concluindo, ao final, o que ambas representam em termos metafóricos<br>Abstract: This dissertation aims to study two literary works whose characters are creators scientists and their artificial creatures. The following novels are studied: L'Ève future by Villiers de l'Isle-Adam (1838-1889) and Frankenstein by Mary Shelley (1797-1851). Firstly, it was made a survey of the human desire to create a perfect artificial creature from Antiquity to nowadays. Secondly, we started to analyze such literary works, characterizing and comparing the creators and their creatures, and finally, getting the conclusion what both represent metaphorically<br>Doutor

The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.

Through discursive essays and poetic narrative, Antithetical Commentaries on X, Y and the Disruption of Being explores the tenuous relationship between modes of measurement and the struggle for human relevance in the post-contemporary digital age. In the introductory essay, “Not the Feather, but the Bird”, I give an overview of the inherent problems of object-oriented ontology, and how it relates to aesthetics and social issues of our times. In the Developmental Overview, I detail how I developed my installation approach and techniques, particularly with regard to the three-way dynamic of the artist:work:viewer relationship and how it can encourage a ‘transgression’ that leads to the possibility of a transformative awareness of being. Subsequently, I present a series of ‘antithetical’ commentaries that neither explain nor expand the installation, rather, they create a non-binary duality that, through an entirely non-linear anti-narrative, work to erode the overlay of personal, civic and collective grids present in the memory space/time referenced in the video, TAG. Finally, in “Grid: Towards a Transgressive Humanism.” I propose a path by which installation art might serve to create transgressive opportunities for viewers, rather than the transcendence sought through religious rituals, which often reinforce stigmas, fears and authoritarian social dynamics, or worse, the reductive loop, of many contemporary approaches to art which proclaim their detachment in wordy displays, essentially leading to a form of aesthetic nihilism. This Transgressive Humanism is not presented as a dogma, but rather a revitalization of the work as a vessel of possibilities, an agent of creative growth for the artist and the viewer.

The American Projectivist verse of Jack Spicer, Charles Olson, and Robert Duncan contains within its poetics many epistemological assumptions shared by quantum physics. These assumptions exist in three broad categories: perception, process, and wholeness. In physics, the epistemology of perception has been profoundly altered by the Heisenberg Uncertainty Relation, which creates a symbiotic relationship between the observer and the observed. At least one photon of light is necessary to observe an electron; one photon is sufficient to alter the electron's momentum or position; therefore, a physicist affects an electron's "fate" in the act of observing it. Similarly, in Projectivist poetics, the perceptions of the reader are often enlisted to help "compose" the poem which is offered to him in "pieces," or, as in Robert Duncan's poetry especially, in self-reflexive segments. By "self-reflexive," we further mean that the Projectivist poem often "mirrors itself" as an electron "mirrors itself" as wave or as particle, while it is paradoxically both. A Projectivist poem may pause halfway through and "unravel" itself, i.e., study its own etymology. The reader thus must participate in "putting the poem back together," as the physicist participates in the phenomena he observes. The second epistemological model in physics and poetry stresses becoming, rather than being. Matter at the subatomic level has been defined as energy-in-flux. Similarly, the Projectivist poems of Charles Olson especially often exist as "fields" with no syntactical beginnings or endings. Moreover, the "I" of the Maximus Poems is often seen in a perpetual process of becoming the world of spacetime in the poems, creating a system similar to the being-and-becoming model of particle-and-field in quantum mechanics. Third, wholeness is a premise governing poetry and physics separately and together. Jack Spicer's thematics blend matter and consciousness, as "love and death matter/Matter as wave and particle." Similarly, Robert Duncan's poetics describes a "dancing organization between personal and cosmic identity." In physics, wholeness is seen primarily in an "implicate order" which attempts to overturn the old paradigms of fragmentation and connect matter and consciousness, including language, as interrelated systems of information.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-05-16T11:29:27Z No. of bitstreams: 1 Renata de Souza Spinola.pdf: 2200467 bytes, checksum: ae125ccf661cacec31c41db10c01ff24 (MD5)<br>Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-27T21:24:11Z (GMT) No. of bitstreams: 1 Renata de Souza Spinola.pdf: 2200467 bytes, checksum: ae125ccf661cacec31c41db10c01ff24 (MD5)<br>Made available in DSpace on 2013-05-27T21:24:11Z (GMT). No. of bitstreams: 1 Renata de Souza Spinola.pdf: 2200467 bytes, checksum: ae125ccf661cacec31c41db10c01ff24 (MD5) Previous issue date: 2005<br>Esta dissertação constitui-se numa tentativa de compreender como o conceito de fantástico se difundiu na teoria da literatura e a possibilidade de sua permanência no discurso literário contemporâneo. Para tanto, foi empreendida uma revisão da teoria através da qual esse termo foi divulgado e dos entraves que dela derivam. Ao examinar esse processo, buscou-se identificar que elementos possibilitavam reconhecer um texto como fantástico, os períodos aos quais este tipo de relato esteve associado e as razões pelas quais esse conceito ficou impossibilitado de abranger as narrativas que se desenvolveram no século XX. Dentre essas razões, a maior delas foi atribuída ao surgimento da psicanálise e, por esse motivo, procurou-se observar que tipo de relação a literatura fantástica trava com o discurso psicanalítico. Além disso, buscou-se estabelecer, com base nas teorias revisadas, em novas abordagens teóricas acerca do fantástico e, sobretudo, no próprio discurso da psicanálise, características que pudessem ser identificadas como fantásticas em narrativas contemporâneas, objetivando a reabilitação desse conceito. Para este estudo elegemos as narrativas de Antonio Brasileiro como objeto de abordagem.<br>Salvador

Orientador: Marcio Orlando Seligmann-Silva<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-15T02:30:04Z (GMT). No. of bitstreams: 1 BritoJunior_AntonioBarrosde_D.pdf: 1546688 bytes, checksum: 84f9810b7d789f9d8a439055ffaad6f5 (MD5) Previous issue date: 2010<br>Resumo: Esta tese trabalha com a teoria da cooperação interpretativa e a teoria dos limites da interpretação na obra teórico-crítica de Umberto Eco. Dividida em quatro capítulos, a tese procura recobrir a extensão dos escritos de Eco, abordando, ao mesmo tempo, a sua teoria dos códigos (da década de 1960 e 1970) e a sua teoria da produção dos signos, esboçada majoritariamente nos livros Tratado geral de semiótica (1975) e Kant e o ornitorrinco (1997). Objetivamos estudar, em primeiro lugar, o conflito existente entre a ideia da indeterminação dos sentidos afirmada nas obras pré-semióticas (sobretudo o livro Obra aberta, de 1962) e a concepção posterior de que a interpretação do texto literário depara-se com limites instituídos pelo código e pelo que Eco chama de "unidade fundamental dos comportamentos". Em segundo lugar, tentamos mostrar qual é o lugar ocupado por Eco no quadro mais geral das reflexões sobre a interpretação literária; destacam-se, neste momento da tese, as comparações com os teóricos da desconstrução. Em seguida, em meio a essa comparação, percebe-se que Eco volta-se para a teoria da produção dos signos com o intuito de fortalecer suas teses a respeito dos limites da interpretação. Nos dois capítulos finais, portanto, dedicamo-nos, por um lado, a apresentar as ideias de Eco relativas à percepção, à conceitualização do mundo e à intersubjetividade e, por outro lado, problematizamos, do ponto de vista da reflexão estética, o alcance de suas teses, no que diz respeito à interpretação do texto literário. Analisamos, também, a noção de abdução, destacando o papel que ela desempenha na aproximação das duas abordagens semióticas desenvolvidas por Eco em sua obra teórica - a saber, a semiótica como teoria da cultura e a semiótica como produção de signos - e, sobretudo, a importância que ela tem na formulação da teoria dos limites da interpretação de Eco. Em meio às análises, concluímos que a teoria da cooperação interpretativa e dos limites da interpretação de Eco compromete, em grande medida, o aspecto estético da interpretação do texto literário<br>Abstract: The thesis deals with the theory of interpretative co-operation and the theory of the limits of interpretation within Umberto Eco's theoretical works. Inside its four chapters the thesis aims to cover Eco's writings, by means of the approach of his theory of the codes (from the 1960's and the 1970's) and his theory of sign production, delineated in the books entitled A Theory of semiotics (1975) and Kant and the platypus (1997). First of all, our purpose is to study the conflict between the idea of the indeterminacy of the interpretation affirmed earlier in Eco's pre-semiotic works and the idea according with the interpretation of the literary text stumble upon specific limits imposed by the code and by what Eco calls "behavior fundamental unity". Secondly, we try to show what is the place Eco occupies within the debate about the limits of interpretation, in the realm of the Theory of Literature; at this point, we give special attention to the comparison between Eco's thoughts and the ideas of the thinkers linked to deconstruction trend. After the comparison, we note that Eco turns himself to the theory of sign production in order to make his own beliefs stronger. Therefore, in the last two chapters, we dedicate ourselves, on one hand, to present Eco's reflections on the perception and the conceptualization of the world and the intersubjectivity, and then, on the other hand, we try to render problematic, from the point of view of aesthetics, the range of Eco's ideas on what concerns the literary interpretation. Hence, we analyze the concept of abduction, stressing the role it plays in the merging of both of Eco's semiotic approaches - semiotics as theory of the culture and semiotics as sign production - and, above all, the weight it has in Eco's writings when it comes to the formulation of the thesis according to which there are limits for the literary interpretation. We finish the thesis asserting that Eco's theory of the interpretative co-operation and theory of the limits of the interpretation put in jeopardy the aesthetic features of literary communication<br>Doutorado<br>Teoria e Critica Literaria<br>Doutor em Teoria e História Literária

Orientador: Orna Messer Levin<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-08T21:13:33Z (GMT). No. of bitstreams: 1 Marques_Pedro_D.pdf: 2233015 bytes, checksum: cf40cfc607c84d0de986bbba63783afb (MD5) Previous issue date: 2007<br>Resumo: Primeira parte: a introdução (¿Chegando o ouvido¿) propicia, a partir da fortuna critica do poeta, uma tomada aérea dos assuntos e juízos que serão aprofundados ou refutados. O segundo capítulo (¿Nacionalismo sim¿) avalia a poesia de Olegário Mariano na maior balança da literatura brasileira. Experimenta considerá-la subsumida na tradição nacionalista que tem ocupado nosso pensamento literário e não apenas ele. No fechamento desta seção (¿Modernismo não?¿), discuto Canto da Minha Terra (1927), volume que revela as apropriações de Olegário da cor local modernista. Segunda parte: o capítulo inicial (¿Anacreonte redivivo¿) detecta a entrada de Olegário Mariano numa linhagem de poesia lírica anacreôntica, supostamente inaugurada pelo Anacreonte histórico (séc. VI a.C.). Em seguida, o capítulo mais extenso do trabalho (¿Destrinchando o poema¿) procura examinar um a um os artefatos (em geral sonetos) que compõem ¿a grande máquina¿, o poema indivisível que, a meu ver, configura Últimas Cigarras (1915). Por último, ¿Olegário feito fábula¿ é uma coda ao trabalho. Visa a ilustrar os reflexos literários de Últimas Cigarras em outros poetas. Terceira parte: organização e apresentação de algumas fontes primárias. O leitor terá à disposição reportagens, depoimentos de Olegário Mariano, textos críticos sobre o poeta e, por fim, uma iconografia<br>Abstract: First section: the criticism about this poet, the introduction (¿Coming close the ear¿) presents a synthesis about principal topics and judgments that will be deepened or rejected. The second chapter (¿Nationalis, yes¿) measures Olegário Mariano poetry in the greatest scale of Brazilian Literature. This poetry is considered inside a nationalist tradition the put in motion the Brazilian thought. At the end of this part (¿Modernism, no?¿), I discuss My Land's Song (1927), a book that is replete of modernist local color. Second section: the initial chapter (¿Anacreon revived¿) examines the Olegário Mariano ingress in the lyric poetry of anacreontic genealogy, supposedly inaugurated by the historical Anacreon (sec. VI BC). Subsequently to, the most extensive chapter of this thesis (¿Unraveling the poem¿) examines all the artifacts (general sonnets) that compose the big machine or the indivisible poem that, in may opinion, conform The Last Cicadas (1915). At last, ¿Olegário as fable¿ operates as a coda of this work and explains the literary reflexes by The Last Cicadas in other poets. Thir section: organization and presentation of several primary sources. In here, readers can consult newspapers reports, Olegário Mariano's depositions, critic texts about the poet and, still, an iconography<br>Doutorado<br>Literatura Brasileira<br>Doutor em Teoria e História Literária

Orientador: Suzi Frankl Sperber<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-27T19:03:23Z (GMT). No. of bitstreams: 1 Silva_GustavoRodriguesda_M.pdf: 1551456 bytes, checksum: e4003a3b502430573237a1f412eed5b8 (MD5) Previous issue date: 2015<br>Resumo: Alguns pesquisadores estudaram o estilo tardio, como Gottfried Benn, Havelock Ellis, Edward Said, entre outros. Quem consagra a noção de estilo tardio é Theodor Adorno em seu ensaio El estilo tardío de Beethoven (2008 [1963]). De acordo com Adorno, uma obra tardia é única porque ela causa uma ruptura no cenário literário da época, pois traz novidades impensadas até então. Essa ruptura não é compreendida em um primeiro momento por muitos leitores que, só com um exame detido da obra em questão, como nos propomos nessa dissertação, conseguem captar a grandeza de uma obra tardia. Ela é atemporal, pois se distancia do passado pela inovação, se diferencia do presente pelo estranhamento e prenuncia um futuro, dadas as suas inovações serem consideradas como referências literárias para obras por vir. Logo, cada obra tardia tem um estilo tardio único. Ramón María del Valle-Inclán (1866-1936) tem uma vasta obra literária, com várias peças. Segundo John Lyon, em The theatre of Valle-Inclán (2009), o ápice do teatro de Valle-Inclán são os esperpentos. Quando analisamos o esperpento Los cuernos de Don Friolera (1968 [1921]), observamos que a obra traz algumas inovações literárias para a época, que podem ser enquadradas na noção teórica de estilo tardio. Já o esperpento anterior, Luces de bohemia (2001 [1920]), apresenta a teoria esperpêntica que é posta em prática no esperpento seguinte, justamente Los cuernos de Don Friolera. Em nossa dissertação, vamos mostrar de que forma Valle-Inclán trabalha a teoria estética esperpêntica proposta em Luces de bohemia e em Los cuernos de Don Friolera, e como essa maneira de trabalhar essa teoria se constitui em um estilo tardio. Logo, vamos provar o estilo tardio do esperpento Los cuernos de Don Friolera quando comentarmos as suas inovações quanto à forma e ao conteúdo como a grande variação de possíveis sequências de leitura, a combinação de quatro paródias de movimentos literários espanhóis diferentes dentro do mesmo esperpento, a criação de uma obra que é tanto literária como histórica, entre outros aspectos. Também comentaremos o estilo tardio nos outros dois esperpentos valle-inclanianos: Las galas del difunto (1968 [1926]) e La hija del capitán (1968 [1927]). Defendemos que esse caráter tardio do nosso objeto de estudo reflete o exaurimento das formas literárias existentes e questiona o status de obra ficcional no começo do século XX, além de ditar novos rumos para a literatura espanhola e, quiçá, ocidental<br>Abstract: Some researchers studied the late style as Gottfried Benn, Havelock Ellis, Edward Said, among others. The one who enshrines the notion of late style is Theodor Adorno in his essay El estilo tardio de Beethoven (2008 [1963]). According to Adorno, a late work is unique because it causes a break in the literary scene of the era, because it brings thoughtless news so far. This break is not understood at first by many readers, that only with a close examination of the work in question, as we propose in this thesis, can capture the greatness of a late work. It is timeless because it moves away from past by the innovation, it differs from the present by the estrangement and predicts a future, given the innovations being considered as references to literary works to come. Thus, each late work has a unique late style. The Spanish writer Ramón María del Valle-Inclán (1866-1936) has a vast literary work, with several plays. According to John Lyons in The theatre of Valle-Inclán (2009), the theater apex of that Spanish author is the esperpentos. When we analyze the esperpento Los cuernos de Don Friolera (1968 [1921]), we realize that the work brings some literary innovations for the time, which can be evidenced in the theoretical notion of late style. Already the previous esperpento, Luces de bohemia (2001 [1920]), presents the esperpêntica theory that is put into practice the next esperpento precisely Los cuernos de Don Friolera. In our thesis, we are going to show in what way Valle-Inclán works the esperpêntica aesthetic theory proposal in Luces de bohemia in Los cuernos de Don Friolera and how this way of working this theory constitutes a late style. Thus, we will prove that the late style of esperpento Los cuernos de Don Friolera when commenting their innovations as the form and the content as the wide range of possible sequences of reading, the combination of four parodies of different Spanish literary movements within the same esperpento, the creation of a work that is both literary and historical, among others. We are also going to comment the late style in the other two valle-Inclanianos esperpentos: Las galas del difunto (1968 [1926]) and La hija del capitán (1968 [1927]). We argue that this late character of our matter subject reflects the depletion of existing literary forms and questions the fictional work status in the early twentieth century, in addition to dictate new directions for Spanish literature and perhaps western<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária

Within the last three decades, contemporary North America came to reinvent a socially focused genre of literary personal narratives. These new editorial and writing projects, published in the form of collections of personal narratives, emerged as a tool for the socially voiceless to secure some measure of agency in their contemporary social and cultural situation. Projects such as the Freedom Writers’ Diary or volumes of the Voice of Witness book series fit in the process that is currently labeled social empowerment. Witnesses express a deep urge to share their story in the hope to denounce their experience of an enduring social injustice. The written word, primary a means for self-disclosure, serves to exorcise the suffering associated to this specific predicament. The narrators engage in a powerful self-investigative gesture oriented towards resilience and renewed enfranchisement in regaining control over their life and environment. At the moment of publication, however, these testimonies come to be validated as authentic examples of the injustices they disclose. These examples serve an educational purpose: raising the audience’s awareness and opening deliberative fora for these issues to be discussed and for solutions to be hammered out and eventually implemented. <p>The purpose of this dissertation is to propose a theoretical model for the subgenre of testimonials of social empowerment. With the concept of empowerment as groundwork, the model develops a textual approach framed in a psychosocial structure. I argue that testimonials may be described as examples of Jürgen Habermas’s communicative action. As speech acts aimed at reaching understanding, testimonials capitalize both on the binding and bonding aspects of illocutionary force in the hope to secure with their audience an ongoing dialogue over issues of social justice. The volumes, as unofficial public spheres, mobilize the normative and practical dynamics at work in social movements. These dynamics express as two narrative guiding threads: an aesthetic based on impact, and an ethics based on responsibility. The texts’ aesthetic develops a form of perlocutionary realism instantiating a sense of authenticity and sincerity embodied in the narrators’ voices. The resulting impact is coupled to moral concerns based on a polysemic understanding of social responsibility, on which narrators seek to build their narratives’ ethical potential. A series of case studies allowed to demonstrate that both narrative threads are realized as an appropriation of four paradigmatic forms of rhetorical ethos, each based on a specific realm of the social world: intimacy, justice, spirituality and activism.<p><br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

In my earlier work, ‘First steps towards a rhetorical hermeneutics of literary interpretation’ (2006), I argued that academic reading takes the form of an argument between readers. Four serious weaknesses in that account are its elision of the distinction between reading and discourse on reading, its inattention to non-academic reading, its exclusive focus on ‘interpretation’ as if this constituted the whole of reading or of discourse on reading, and its failure to theorise the object of literary reading, ie. the work of literature. The current work aims to address all of these problems, together with those created by certain other approaches to literary reading, with the overall objective of clearing the ground for more empirical studies. It exemplifies its points with examples drawn primarily from non-academic public discourse on literature (newspapers, magazines, and the internet), though also from other sources (such as reading groups and undergraduate literature seminars). It takes a particular (though not an exclusive) interest in two specific instances of non-academic reception: the widespread reception of Salman Rushdie’s novel The Satanic Verses as an attack on Islam, and the minority reception of Peter Jackson’s film trilogy The Lord of the Rings as a narrative of homosexual desire. The first chapter of this dissertation critically surveys the fields of reception study and discourse analysis, and in particular the crossover between them. It finds more productive engagement with the textuality of response in media reception study than in literary reception study. It argues that the application of discourse analysis to reception data serves to problematise, rather than to facilitate, reception study, but it also emphasises the problematic nature of discourse analysis itself. Each of the three subsequent chapters considers a different complex of problems. The first is the literary work, and its relation to its producers and its consumers: Chapter 2 takes the form of a discourse upon the notions of ‘speech act’ and ‘authorial intention’ in relation to literature, carries out an analysis of early public responses to The Satanic Verses, and puts in a word for non-readers by way of a conclusion. The second is the private experience of reading, and its paradoxical status as an object of public representation: Chapter 3 analyses representations of private responses to The Lord of The Rings film trilogy, and concludes with the argument that, though these representations cannot be identical with private responses, they are cannot be extricated from them, either. The third is the impossibility of distinguishing rhetoric from cognition in the telling of stories about reading: Chapter 4 argues that, though anecdotal or autobiographical accounts of reading cannot be taken at face value, they can be taken both as attempts to persuade and as attempts to understand; it concludes with an analysis of a magazine article that tells a number of stories about reading The Satanic Verses – amongst other things. Each of these chapters focuses on non-academic reading as represented in written text, but broadens this focus through consideration of examples drawn from spoken discourse on reading (including in the liminal academic space of the undergraduate classroom). The last chapter mulls over the relationship between reading and discourse of reading, and hesitates over whether to wrap or tear this dissertation’s arguments up.

Orientador: Adélia Bezerra de Meneses<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-16T09:55:25Z (GMT). No. of bitstreams: 1 Schlecht_CristianedeV_M.pdf: 831227 bytes, checksum: f046f422b379ac0c65e83c0a3a412b8a (MD5) Previous issue date: 2010<br>Resumo: Rachel de Queiroz e Graciliano Ramos são escritores que apresentam muitas semelhanças entre si: ambos são provenientes da região nordeste brasileira e iniciam sua produção ficcional na década de 1930, além de terem sido adeptos de ideologias de esquerda, em particular o comunismo, assim como boa parte da intelectualidade brasileira dessa época. A partir dessas semelhanças, este trabalho propõe um cotejo entre algumas das obras desses escritores: respectivamente O Quinze (1930) e Vidas Secas (1938), de um lado, e João Miguel (1932) e Angústia (1936), de outro. Para tanto, situam-se os dois escritores em face da crítica literária, além de se investigar a importância de cada um deles para o estudo da literatura brasileira até a atualidade. A partir da análise minuciosa de passagens e temas similares nas obras dos dois escritores, pode-se perceber que, apesar das inúmeras semelhanças entre essas obras e seus autores, eles se distanciaram em termos de eficácia estética em seus romances. Essa constatação é feita por meio da análise sobretudo de um elemento ficcional: o foco narrativo. Assim, ao se analisarem os narradores de cada um dos romances, fica explícita a diferença entre Rachel de Queiroz e Graciliano Ramos, chegando-se à conclusão de que este último foi capaz de alcançar, em suas obras, partindo de realidades e temas muito similares ao da escritora, qualidade literária bastante superior<br>Abstract: Rachel de Queiroz and Graciliano Ramos are writers who have many similarities between them: both are from the Northeast of Brazil and begin their fictional production in the 1930s, and were supporters of leftist ideologies, particularly communism, as well as good part of the intellectual community of that time. From these similarities, this paper proposes a comparison between some of the works of these writers, which are, respectively, O Quinze (1930) and Vidas Secas (1938), on the one hand, and João Miguel (1932) and Angústia (1936), on the other. Therefore, the two writers are situated in the face of literary criticism, and the importance of each to the study of Brazilian literature to the present is focalized. Upon careful examination of passages and similar themes in the works of the two writers, one can see that despite the many similarities between these works and their authors, they drifted apart in terms of effectiveness aesthetics in their novels. This observation is made by analyzing a particular element of fiction: the narrative focus. Thus, when analyzing the narrators of each of the novels, is the explicit difference between Rachel de Queiroz and Graciliano Ramos, and one came to the conclusion that Graciliano was able to achieve in his works, starting from the realities and issues that are very similar to Rachel, higher literary quality<br>Mestrado<br>Literatura Brasileira<br>Mestre em Teoria e História Literária

Orientador: Fabio Akcelrud Durão<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-18T14:56:13Z (GMT). No. of bitstreams: 1 Tinti_TauanFernandes_M.pdf: 690660 bytes, checksum: f383a642a724f05ed1c7d2d14b1d9166 (MD5) Previous issue date: 2011<br>Resumo: Este trabalho consiste em uma leitura de Fim de Partida, de Samuel Beckett, construída a partir da hipótese de que esta peça, com o que pode ser definido como uma recusa sistemática a tudo o que lhe venha de fora, é capaz de integrar à sua própria estrutura formal os impasses gerados pelas tentativas de interpretá-la, em um movimento que paradoxalmente fortalece cada vez mais sua lógica interna à medida que a interpretação é negada. Ao longo de três capítulos, busca-se investigar as diferentes ramificações dessa ideia como forma de esboçar a posição-limite na qual a peça se encontra: no primeiro capítulo, a hipótese em questão é desenvolvida a partir da leitura de alguns objetos de Fim de Partida, e a partir disso se argumenta que os personagens se aproximam mais de seus objetos fraturados e ausentes do que de pessoas; no segundo, a condição desses personagens é desenvolvida no sentido de um confronto entre duas formas de temporalidade, a progressão e a circularidade, submetidas ao mesmo princípio de escassez que atravessa outros níveis da peça; no terceiro capítulo, a hipótese central é a de que em Endgame são colocados em questão diversos procedimentos do humor de forma altamente destrutiva, e a significação retroativa que seus destroços passam a ter adquirido nesse processo podem ser extrapolados de modo a produzir um pequeno vislumbre, de dentro da própria peça, tanto de seu estatuto de obra de arte, quanto de sua relação complexa com a tradição<br>Abstract: This work consists in a reading of Samuel Beckett's Endgame built upon the hypothesis that the play, through what can be defined as a deliberate exclusion of everything external to it, is capable of integrating the resulting deadlocks from the attempts of its interpretation to its own formal structure, in a paradoxical movement that strengthens the play's internal logic through the denial of interpretation. Throughout three chapters, this work aims to explore different ramifications of that idea in order to outline the boundary represented by the play: in the first chapter, the interpretative hypothesis is developed upon a reading of the objects of Endgame, culminating in the idea that its characters are closer to the absent and fractured objects that they demand than to proper persons; in the second chapter, their condition is developed in the sense of a confrontation between two forms of temporality, progression and circularity, which are submitted to the same principle of scarcity that penetrates other levels of the play; in the third chapter, the central hypothesis is that Endgame puts into question some procedures of humor in a highly destructive manner, and that the retroactive meaning acquired by the resulting ruins of this process may be extrapolated into a glimpse, from within the play itself, both of its status as a work of art and of its complex relationship with tradition<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária

Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.

Orientador: Sônia Helena de O. Raymundo Piteri<br>Banca: Lilian Jacoto<br>Banca: Márcio Scheel<br>Resumo: Esta dissertação busca realizar uma leitura dos textos Avalovara (1973), de Osman Lins, e O jogo da liberdade da alma (2003), de Maria Gabriela Llansol, tomando como ponto de partida procedimentos metaficcionais que aí se manifestam, com ênfase em apontamentos autoconscientes e autorreflexivos que possibilitam observar de que maneira cada um dos autores direciona o seu texto. Nesse sentido, focalizar-se-á a forma de composição das duas obras, realçando um espaço de escrita no qual personagens, no romance de Lins, e figuras, no texto de Llansol, se encontram, gerando um movimento que se expande em termos de linguagem, linguagem dinâmica que se desdobra em múltiplos caminhos, enveredando por frestas que levam o leitor a redimensionar sua perspectiva de visão sobre a própria literatura<br>Abstract: This dissertation aims to read Avalovara (1973), by Osman Lins, and O jogo da liberdade da alma (2003), by Maria Gabriela Llansol, considering as a starting point the metafictional procedures which manifest in the two texts, with an emphasis on self-conscious and self-reflective notes that allow us to observe how each author guides his text. Therefore, the literary construction of both works will be focused since it highlights a writing space in which characters in Lins's novel and figures in Llansol's text find themselves in this space, creating a movement that expands in terms of language, a dynamic language that opens out to multiple paths and directs its steps to gaps that lead the reader to rethink his perspective on literature itself<br>Mestre

Made available in DSpace on 2018-07-27T17:13:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-28. Added 1 bitstream(s) on 2018-07-27T17:16:52Z : No. of bitstreams: 1 000901718.pdf: 1096974 bytes, checksum: 8120160a281138e459b3d4326f76f817 (MD5)<br>Esta tese tem por objetivo o estudo de duas obras literárias que têm como personagens cientistas criadores e suas criaturas artificiais. Trata-se das obras de Villiers de l'Isle-Adam (1838-1889) e de Mary Shelley (1797-1851), representadas pelos romances L'Ève future e Frankenstein, respectivamente. Para tanto, e em primeiro lugar, traçamos um histórico do desejo humano de criar uma criatura artificial perfeita desde a Antiguidade até os dias atuais. Em seguida, passamos à análise das referidas obras, caracterizando e comparando os criadores e suas respectivas criaturas, concluindo, ao final, o que ambas representam em termos metafóricos<br>This dissertation aims to study two literary works whose characters are creators scientists and their artificial creatures. The following novels are studied: L'Ève future by Villiers de l'Isle-Adam (1838-1889) and Frankenstein by Mary Shelley (1797-1851). Firstly, it was made a survey of the human desire to create a perfect artificial creature from Antiquity to nowadays. Secondly, we started to analyze such literary works, characterizing and comparing the creators and their creatures, and finally, getting the conclusion what both represent metaphorically

Orientador: Fabio Akcelrud Durão<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-13T23:14:32Z (GMT). No. of bitstreams: 1 Telles_LuisFernandoPrado_D.pdf: 2751775 bytes, checksum: 8a0fcc134efdb76f5f2bd139c83bc1f5 (MD5) Previous issue date: 2009<br>Resumo: Esta tese consiste numa interpretação sobre o discurso teórico e o ficcional. Num primeiro momento, são trabalhados os discursos constitutivos das teorias sobre a modernidade e sobre o romance; num segundo, aborda-se o discurso ficcional da obra do autor português António Lobo Antunes. O ponto em comum que orienta a interpretação nas diferentes frentes diz respeito ao interesse em investigar o estatuto da narrativa no âmbito desses discursos. Pretende-se demonstrar um fenômeno coincidente nos três campos de investigação, que diz respeito ao fato de a narrativa ser colocada em xeque, isto é, de o seu estatuto e a sua validade serem questionados e, concomitantemente, esse mesmo questionamento apontar para um retorno de sua validade e, conseqüentemente, para uma sua permanência. Isto é o que se procurou demonstrar pelo trabalho de interpretação de alguns discursos teóricos que buscaram pensar a passagem da modernidade à pósmodernidade, bem como daqueles que procuraram se constituir enquanto teorias do romance. O questionamento a respeito da possibilidade da morte da narrativa acabou demonstrando, paradoxalmente, um retorno ao narrativo; principalmente pelo fato de os próprios discursos que afirmaram isso acabarem se revelando, eles próprios, como construtos narrativos. Essa investigação de cunho teórico se mostra organizada na primeira parte do trabalho, intitulada A modernidade e a narrativa sobre o romance. Esta parte é composta por dois capítulos. No primeiro, procura-se construir um quadro compreensivo das principais questões pertinentes ao debate sobre a modernidade, o fim da modernidade e a pós-modernidade; em especial, dá-se relevância ao trabalho com as teorias de Gianni Vattimo e de Fredric Jameson. Este capítulo inicial intitula-se Mais uma pequena narrativa sobre o fim das grandes narrativas. O segundo capítulo, intitulado Romance: ou sobre como narrar um "mundo abandonado por deus", configura-se como um desdobramento das discussões apresentadas no primeiro e constitui-se de uma interpretação que se faz a partir da articulação da leitura de alguns dos principais estudos pertinentes à teoria do romance. Esta interpretação deve ser entendida como resultado de um construto narrativo também, tal como o que foi realizado no primeiro capítulo. A segunda parte da tese, intitulada A modernidade e a narrativa do romance, é composta pelo terceiro capítulo, em que se pretende construir uma interpretação sobre as variações formais das narrativas de António Lobo Antunes. Por esta, procura-se demonstrar como o já referido fenômeno paradoxal da negação e afirmação da narrativa ocorre no âmbito do discurso ficcional das obras do autor português, de modos distintos e em diferentes níveis. Nas duas últimas seções desse terceiro capítulo, busca-se uma articulação entre essa interpretação da obra de Lobo Antunes e aquelas realizadas nos dois capítulos anteriores. Não há um capítulo conclusivo<br>Abstract: This thesis consists of an interpretation about theoretical and fictional speech. In a first part, they are worked out as through several theories of the modernity and novel; after this, the work of the Portuguese author António Lobo Antunes is approached. The common point that guides the interpretation in such different fronts concerns the interest in investigating the statute of narrative in the realm of those discourses. It intends to demonstrate a coincident phenomenon in the three investigation fields, that concerns the capacity of the narrative to keep in check, that is, its statute and its validity they be questioned and, concomitantly, this questionment points for a return of its validity and, consequently, for its permanence. That was she tried to demonstrate for the work of interpretation of some theoretic speeches that looked for think about the passage of modernity to post-modernity, as well as those that sought to constitute as novel theories. The questionment regarding the possibility of the death of the narrative ended up demonstrating, paradoxically, a return to the narrative; mainly for the fact of the speeches that affirmed that ended up revealing theyself, as narrative constructs. This investigation of theoretic stamp is shown organized in the first part of the work, entitled The modernity and the narrative about the novel. This part is composed by two chapters. In the first, it tries to build an understanding picture of the main pertinent subjects to discussion about the modernity, the end of modernity and the post-modernity; specially, it feels relevance to the work with Gianni Vattimo's and Fredric Jameson's theories. This initial chapter is entitled One more little narrative about the end of the great narratives. The second chapter, entitled Novel: or about how to narrate an "abandoned world by god", it is configured as an unfolding of the discussions presented in the first and constituts of an interpretation that is done starting from the articulation of the reading of some of the main pertinent studies to the theory of the novel. This interpretation should be understood as a result of a narrative construct also, as what it was accomplished in the first chapter. The second part of theory, entitled The modernity and the narrative of the novel, is composed by the third chapter, which intends to build an interpretation about the formal variations of António Lobo Antunes' narratives. By this, it tries to demonstrate as the already referred paradoxical phenomenon of the denial and statement of the narrative happens in the extent of the fictional speech of the Portuguese author's works, of different ways and in different levels. In the last two sections of that third chapter, an articulation is looked between that interpretation of Lobo Antunes' work and those accomplished in the two previous chapters. There is no conclusive chapter<br>Doutorado<br>Literatura Portuguesa<br>Doutor em Teoria e História Literária

Submitted by Juliane Camila Chatagnier null (ju.chatagnier@gmail.com) on 2018-03-09T15:18:53Z No. of bitstreams: 1 TESE JULIANE CAMILA CHATAGNIER.pdf: 1517550 bytes, checksum: 0f619d1b031428befe6918444044f2af (MD5)<br>Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-03-09T18:13:28Z (GMT) No. of bitstreams: 1 chatagnier_jc_dr_sjrp.pdf: 1517550 bytes, checksum: 0f619d1b031428befe6918444044f2af (MD5)<br>Made available in DSpace on 2018-03-09T18:13:28Z (GMT). No. of bitstreams: 1 chatagnier_jc_dr_sjrp.pdf: 1517550 bytes, checksum: 0f619d1b031428befe6918444044f2af (MD5) Previous issue date: 2018-02-16<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>A contemporaneidade tem colaborado com as mudanças na forma como as questões de gênero e sexualidade são vistas na sociedade. Padrões tradicionais vêm sendo quebrados e algumas formas de preconceito não se encaixam mais na comunidade. Hoje, muitos homens e mulheres não têm mais uma identidade única e fixa, e não configuram um par dual, e essa fragmentação das identidades de gênero possibilita a criação de ouras nomenclaturas. Com base nesse contexto de mudanças, as personagens de nosso corpus formam-se mulheres, homens, gays, lésbicas, e a construção do gênero é vista, então, como estratégia narrativa, na qual as escritoras procuram mostrar que há possibilidades para formação de gênero distinta dos padrões impostos pela matriz heteronormativa. Assim, realizamos uma análise de como essas configurações de gênero, masculinos ou femininos, são representadas na literatura, partindo da premissa de que as identidades de gênero sofrem rupturas com os modelos tradicionais e estão deslocadas, devido às diversas orientações sexuais presentes na contemporaneidade. Como corpus deste trabalho, escolhemos cinco obras, de escritoras norte-americanas, brasileiras e inglesas, a partir da década de 1970, a saber: Rubyfruit Jungle (1973), de Rita Mae Brown; The Front Runner (1974), de Patricia Nell Warren; Hotel Dulac (1984), de Anita Brookner; Duas iguais (1996), de Cíntia Moscovich e Sapato de salto (2006), de Lygia Bojunga. A configuração da identidade de gênero das personagens é analisada sob a luz da teoria da performatividade, de Judith Butler (1993; 2003; 2004; 2015), segundo a qual o gênero é constituído por meio da repetição de atos estilizados que se tornam inerentes ao indivíduo. Butler, juntamente à Rubin (1975), Wittig (1982; 1993) e Connell (2000), embasa, também, as questões relativas à construção da masculinidade e/ou feminilidade e Laclau (1990; 2004), Ortiz (1998; 2006) e Santos (1993; 2001), dentre outros, fundamentam o estudo a respeito das modificações ocorridas na sociedade, bem como essas interferem na construção da identidade de gênero.<br>Contemporaneity has contributed to changes in the way gender and sexuality issues are seen in society. Traditional patterns have been broken and some forms of prejudice do not fit into current society anymore. Today, some men and women have no longer a single, fixed identity, and no longer form a dual pair, and this fragmentation of gender identities makes it possible to create nomenclatures. Based on this context of change, the characters of our corpus are women, men, gays, lesbians, and the construction of gender is seen, therefore, as a narrative strategy, in which women writers try to show that there are possibilities for gender formation which differs from the patterns imposed by the heteronormative matrix. Thus, we perform an analysis of how these configurations of gender, male or female, are represented in literature, starting from a premise that gender identities suffer ruptures from traditional models and are displaced, due to diverse sexual orientations present in contemporary times. As a corpus of this work, we chose five works by American, Brazilian and English writers, beginning in the 1970s: Rubyfruit Jungle (1973) by Rita Mae Brown; The Front Runner (1974), by Patricia Nell Warren; Hotel Dulac (1984), by Anita Brookner; Duas iguais (1996), by Cíntia Moscovich and Sapato de salto (2006), by Lygia Bojunga. The configuration of the characters gender identity is analyzed in the light of Judith Butler's theory of performativity (1993, 2003, 2004, 2015), according to which gender is constituted through the repetition of stylized acts that become inherent to individual. Butler, along with Rubin (1975), Wittig (1982, 1993) and Connell (2000), also addresses issues related to the construction of masculinities and/or femininities, and Laclau (1990, 2004), Ortiz (1998, 2006) and Santos (1993), among others, ground the study on the changes that occurred in society, as well as these interfere in the construction of the gender identity.

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-02-27Bitstream added on 2014-06-13T19:27:01Z : No. of bitstreams: 1 monteiro_wwf_me_sjrp.pdf: 373415 bytes, checksum: 5537a3ae814918cd3e9a6b7ca54b6485 (MD5)<br>Esta dissertação busca realizar uma leitura dos textos Avalovara (1973), de Osman Lins, e O jogo da liberdade da alma (2003), de Maria Gabriela Llansol, tomando como ponto de partida procedimentos metaficcionais que aí se manifestam, com ênfase em apontamentos autoconscientes e autorreflexivos que possibilitam observar de que maneira cada um dos autores direciona o seu texto. Nesse sentido, focalizar-se-á a forma de composição das duas obras, realçando um espaço de escrita no qual personagens, no romance de Lins, e figuras, no texto de Llansol, se encontram, gerando um movimento que se expande em termos de linguagem, linguagem dinâmica que se desdobra em múltiplos caminhos, enveredando por frestas que levam o leitor a redimensionar sua perspectiva de visão sobre a própria literatura<br>This dissertation aims to read Avalovara (1973), by Osman Lins, and O jogo da liberdade da alma (2003), by Maria Gabriela Llansol, considering as a starting point the metafictional procedures which manifest in the two texts, with an emphasis on self-conscious and self-reflective notes that allow us to observe how each author guides his text. Therefore, the literary construction of both works will be focused since it highlights a writing space in which characters in Lins’s novel and figures in Llansol’s text find themselves in this space, creating a movement that expands in terms of language, a dynamic language that opens out to multiple paths and directs its steps to gaps that lead the reader to rethink his perspective on literature itself

This dissertation discusses Gayl Jones’s and Toni Morrison’s characterisation of black women’s journeying towards empowered subjectivity and agency. <p><p>Through comparative analysis of eight fictional works, I explore the writers’ idea of female freedom and emancipation, the structures of power affecting the transition from oppressed towards liberated subject positions, and the literary techniques through which the authors facilitate these seminal trajectories.<p><p>My research addresses a corpus comprised of three novels and one book-long poem by Gayl Jones, as well as four novels by Toni Morrison. These two writers emerge in the US literary scene during the 1970s, one of the decades of the second black women’s renaissance (1970s, 1980s). This period witnessed unprecedented developments in US black literature and feminist theorising. In the domain of African American letters, it witnessed the emergence of a host of black women writers such as Gayl Jones and Toni Morrison. This period also marks a turning point in the reconfiguration of African American literature, as several unknown or misplaced literary works by pioneering black women writers were discovered, shifting the chronology of African American literature. <p><p>Moreover, the second black women's renaissance marks a paradigmatic development in black feminist theorising on womanhood and subjectivity. Many black feminist scholars and activists challenged what they perceived to be the homogenising female subject conceptualised by US white middle-class feminism and the androcentricity of the subject proclaimed by the Black Aesthetic Movement. They claimed that, in focusing solely on gender and patriarchal oppression, white feminism had overlooked the salience of the race/class nexus, while focus by the Black Aesthetic Movement on racism had overlooked the salience of gender and heterosexual discrimination. <p><p>In this dissertation, I discuss the works of Gayl Jones and Toni Morrison in the context of seminal debates on the nature of the female subject and the racial and gender politics affecting the construction of empowered subjectivities in black women's fiction.<p><p>Through the metaphor of journeying towards female empowerment, I show how Gayl Jones and Toni Morrison engage in imaginative returns to the past in an attempt to relocate black women as literary subjects of primary importance. I also show how, in the works selected for discussion, a complex idea of modern female subjectivities emerges from the writers' re-examination of the oppressive material and psychological circumstances under which pioneering black women lived, the common practice of sexual exploitation with which they had to contend, and the struggle to assert the dignity of their womanhood beyond the parameters of the white-defined “ideological discourse of true womanhood” (Carby, 1987: 25).<p><p><p><br>Doctorat en philosophie et lettres, Orientation langue et littérature<br>info:eu-repo/semantics/nonPublished

Includes bibliographical references (leaves 246-258)<br>258 leaves ; 30 cm.<br>Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.<br>Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2001

Expressed Silence: A Study of the Metaphorics of Word in Selected Nineteenth-Century American Texts This dissertation explores the patterned use of certain “metaphors of word”——images of reading, writing, listening, and speaking——in four American texts: Emerson’s Nature, Thoreau’s Walden, Hawthorne’s Scarlet Letter, and Melville’s Moby Dick. Assumed in my discussion is the modern view of metaphor as a cognitive device used, not for mere stylistic ornament, but for creating a certain mental perspective. Based on the perspectival view and on the experiential—gestalt account of metaphor, the structures of these metaphors of word are examined in order to discern the systematic nature of their argument and to determine the cultural and historical reasons why language imagery, and not some other type of imagery, was chosen to represent this argument. After surveying the cultural influences of democracy, mercantilism, Romanticism, and Calvinism, I characterize the metaphoric systems of each text and then move on to a closer study of the role of silence within these systems. From this analysis, I conclude that these nineteenth— century texts reflect a shift away from the book toward the voice as a predominant symbol, and away from writing toward speaking as a privileged metaphor. Language imagery works to represent ways of knowing, so that linguistic and epistemic concerns become inextricably intertwined. The process of using language operates as a metaphor for the process of gaining knowledge. In this metaphorics of word, silence emerges as a particularly striking metaphor in the way that it expresses the coalescence of being and knowing, the realization that we know what we know. In this scheme, metaphors of word structure ways of understanding, and the expressed silence metaphor highlights the way interior speech can function in the discernment of knowledge. Ultimately, I contend that the perspective provided by this nineteenth—century metaphorics of word forecasts the modern view of rhetoric as epistemic. By employing linguistic action as a figure for representing epistemic action, a metaphorics of word promotes an understanding of rhetoric’s primary purpose as the interrogation of truth.

And the Word Was Made Flesh: Anthropomorphism in the poetry of WH Auden examines the reasons for the neglect of Auden’s prolific deployment of anthropomorphism by examining the poetry’s critical reception with a view to understanding what larger purpose, what ‘strategy of discourse’ (Ricoeur 2003, The Rule of Metaphor: 5-9), Auden may have had in mind when he revived a trope traditionally regarded as retrograde. Anxious not to be mistaken for a Modern, yet unable to find a social rhetoric to suit his purposes, Auden elected upon a new style of poetry which questioned the very foundations of language by placing anthropomorphism, the ascription of agency and sentience to voiceless entities, at its centre. The study explores anthropomorphism from historical and theoretical perspectives in an attempt to explain the reasons for its demise, at least, within the academy. This study emphasises the importance Auden placed on the everyday activity of reading, the principal focus for the poet’s ‘cultural theory’ (Boly 1991 and 2004: 138). Auden, 'eager to create a tradition of its own' (Emig 2000: 1), abjuring propaganda, hoped to educate the reader to resist the different ideologies which were vying for ascendency during the 1930s. This study will demonstrate that anthropomorphism, with its capacity to suggest alternative words to ‘re-describe reality’ (Ricoeur 2003: 5), played a pivotal role in Auden’s project for cultural renewal. This study demonstrates that the lasting benefit of Auden’s use of anthropomorphism is to have recognised with prescience what critics now recognise as a 'revolutionary and potently counter-cultural tactic of cultural appropriation' (Paxson 1994: 173), a trope that 'engenders within its semiotic structure a hidden critique of Western culture' (Paxson: 50). Evidence from recent linguistic theory is marshalled in support of the trope’s rehabilitation. This study examines a selection of Auden’s four hundred published poems, and it also offers a provisional taxonomy to initiate the complex process of classifying instances of personification and its co-ordinate tropes in poetry.<br>English Studies<br>M.A. (English)

李貴生.<br>論文(哲學博士)--香港中文大學, 1999.<br>參考文獻 (p. 323-341)<br>中英文摘要.<br>Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Mode of access: World Wide Web.<br>Li Guisheng.<br>Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 1999.<br>Can kao wen xian (p. 323-341)<br>Zhong Ying wen zhai yao

Yeung Ka-chung, Lorraine.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2001.<br>Includes bibliographical references (leaves viii-xii (3rd gp.)) and index.<br>Abstracts in English and Chinese.<br>Chapter Chapter One: --- Introduction --- p.1<br>Chapter Chapter Two: --- Aristotelian Tragedy or Greek Tragedy? --- p.6<br>Chapter 1. --- Modern Criticism on Aristotle's Poetics --- p.6<br>Chapter 2. --- Aristotle's Theory of Greek Tragedy --- p.10<br>Chapter 2.1 --- Mimesis and Action --- p.11<br>Chapter 2.2 --- Plot-Structure --- p.12<br>Chapter 2.3 --- The Principle of Probability and Necessity --- p.13<br>Chapter 2.4 --- Tragedy and History --- p.13<br>Chapter 2.5 --- "Pity, Fear and Katharsis" --- p.14<br>Chapter 2.6 --- Recognition and Reversal --- p.15<br>Chapter 2.7 --- The Proper Kind of Agent --- p.16<br>Chapter 2.8 --- The Proper Kind of Circumstances --- p.17<br>Chapter 3. --- The Exclusion --- p.18<br>Chapter 3.1 --- Does Aristotle exclude the Divinity? --- p.19<br>Chapter 3.2 --- Aristotle on Oedipus Tyrannus --- p.21<br>Chapter 4. --- The Role of Divinity in Greek Tragedy --- p.22<br>Chapter 5. --- The Problem of Tragic Action in Greek Tragedy --- p.24<br>Chapter 5.1 --- Aristotle on Tragic Action --- p.24<br>Chapter 5.2 --- The Duality of Tragic Action in Greek Tragedy --- p.26<br>Chapter 5.3 --- The Tragic Sense of Responsibility --- p.28<br>Chapter 6. --- The Different Conception on Happiness --- p.30<br>Chapter 7. --- The Problem of Pathos in Greek Tragedy --- p.31<br>Chapter 7.1 --- Pathos and Truth --- p.31<br>Chapter 7.2 --- The Religious Significance --- p.33<br>Chapter 7.3 --- Pathos and Pity among Mortals --- p.34<br>Chapter 8. --- The Problem of Conflicts in Greek Tragedy --- p.37<br>Chapter 8.1 --- Aristotle and Greek Tragedy on Conflict --- p.38<br>Chapter 8.2 --- Agamemnon ´ؤ Killing Among Family --- p.40<br>Chapter 8.3 --- The Nature of Tragic Conflicts --- p.42<br>Chapter 9. --- Conclusion: Aristotle's Silence --- p.43<br>Chapter Chapter Three: --- Aristotle on Tuche --- p.45<br>Chapter 1. --- Aristotle and the Moral Luck Problem --- p.45<br>Chapter 2. --- Tuche in Aristotle's Physics --- p.48<br>Chapter 2.1 --- "Tuche and ""What Happens for the Most Part""" --- p.50<br>Chapter 2.2 --- "Tuche and ""For the Sake of Something""" --- p.51<br>Chapter 2.3 --- The Implications --- p.52<br>Chapter 2.4 --- Remarks --- p.56<br>Chapter 3. --- Tuche in Aristotle's Two Ethics --- p.57<br>Chapter 3.1 --- Tuche in Eudemian Ethics -- Natural Impulse in the Soul --- p.58<br>Chapter 3.2 --- Tuche in Nicomachean Ethics: External Goods and Tuche; Happiness and Blessedness --- p.65<br>Chapter 4. --- Tuche in Aristotle's Poetics --- p.78<br>Chapter 4.1 --- Hamartia - A Cause in Human Terms --- p.80<br>Chapter 4.2 --- Errors and Misfortune --- p.82<br>Chapter 5. --- Conclusion: Aristotle's Silence on Tuche in Greek Tragedy --- p.85<br>Chapter Chapter Four: --- Tuche in Greek Tragedy --- p.88<br>Chapter 1. --- A Deeper Sense of Exposition --- p.88<br>Chapter 2. --- Tuche as a Goddess --- p.90<br>Chapter 3. --- Tuche and Moira in Greek Tragedy -- The Religious Significance --- p.92<br>Chapter 3.1 --- Tuche and Moira in Oedipus Tyrannus --- p.94<br>Chapter 3.2 --- The Problem of Necessary Chance --- p.97<br>Chapter 4. --- Tuche in Oedipus Tyrannus --- p.99<br>Chapter 4.1 --- Tuche and Sophoclean Irony --- p.99<br>Chapter 4.2 --- Tuche abd Oedipus --- p.103<br>Chapter 5. --- Tuche in Euripides' Tragedies --- p.105<br>Chapter 5.1 --- Tuche in Heracles --- p.106<br>Chapter 5.2 --- Ironic Unconcern - The Tragic Response to Tuche --- p.109<br>Chapter 6. --- The Tragic Views --- p.113<br>Chapter 6.1 --- The Tragic Views on Man - The Mortal Limitation --- p.114<br>Chapter 6.2 --- The Role of the Messenger --- p.115<br>Chapter 6.3 --- The Symbolic Meaning of Nature (Physis) --- p.119<br>Chapter 7. --- Conclusion: Tuche and Nature --- p.123<br>Chapter Chapter Five: --- Tragedy and Philosophy --- p.125<br>Chapter 1. --- From Particular to Universal -- The Significance of the Chorus --- p.125<br>Chapter 2. --- The Different Way of Formulation Question --- p.129<br>Chapter 3. --- The Different Conception Truth - Plato's Simile of the Cave and Oedipus Tyrannus --- p.130<br>Chapter 4. --- Conclusion: Greek Tragedy as Philosophy --- p.132<br>Chapter Chapter Six: --- Conclusion --- p.133<br>Appendix: Related Pictures<br>Chapter 1. --- The Image of Goddess Tuche (of Antioch) on a Coin --- p.i<br>Chapter 2. --- The Image of Goddess Tuche (of Ephseus) on a Coin --- p.i<br>Chapter 3. --- Athena Between Two Warriors --- p.ii<br>Chapter 4. --- Oedipus and Sphinx --- p.ii<br>Chapter 5. --- The Images of Achilles and Priam in a Vase Painting --- p.iii<br>Chapter 6. --- The Images of Achilles and Priam in a Vase Painting --- p.iv<br>Chapter 7. --- The Images of Ajax and Odysseus in a Vase Painting: Side A: argument between Odysseus and Aja over the possession of the arms of Achilles --- p.x v<br>Chapter 8. --- Side B: the casting of votes to award the arms --- p.vi<br>Chapter 9. --- Tondo: Tecmessa covers body of Ajax --- p.vii<br>Bibliography --- p.viii<br>Index --- p.xii<br>Acknowledgement --- p.xv

錢澤紅.<br>目錄頁頁碼有誤, 頁碼271應為261.<br>論文(哲學博士)--香港中文大學, 2004.<br>參考文獻 (p. 238-260).<br>中英文摘要.<br>Mu lu ye ye ma you wu, ye ma 271 ying wei 261.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Mode of access: World Wide Web.<br>Qian Zehong.<br>Zhong Ying wen zhai yao.<br>Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2004.<br>Can kao wen xian (p. 238-260).

黎必信.<br>"2012年3月".<br>"2012 nian 3 yue".<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 355-368).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstract in Chinese and English.<br>Li Bixin.

杜甫詩是中國古典文學的經典，其經典地位奠定於有宋一代。本文以宋代詩話為考察對象，分析文學批評和杜詩經典化的關係，主要內容如下：<br>首先，本文將討論文壇領袖對杜詩的讚賞，如何演化為整個文壇的普遍觀念。文中指出蘇軾和黃庭堅是杜詩的發明者，二人對杜詩的評價，得到宋詩話的熱烈回應，意義不斷得到擴展和深化，由個人詮釋演化為宋人的集體認知，從而確立了杜詩的典範性。蘇軾「一飯未嘗忘君」的評語，經由詩話的討論和闡釋，最終令杜詩得「詩中六經」的評價。黃庭堅「無一字無來處」的評語，也促使詩話研究杜詩出處和用事手法蔚為風氣，不僅確立了杜甫好用事的特徵，也使杜詩成為宋詩風格的模範。<br>其次，本文探討宋代政治和文化背景對宋人接受杜甫的影響。在「李杜優劣」此一議題上，杜詩得到凌駕李白的地位，批評家看重詩歌內容的社會意義多於藝術性，反映唐宋人期待視野的轉移。宋人對杜甫「詩史」的讚譽，也與宋型文化和南宋戰禍連年有密切關係。宋詩話特別重視杜甫和安史之亂有關的詩作，因為安史之亂與宋代歷史背景有不少相似之處，宋人藉著詮釋杜詩的義理，投射了對胡人的痛恨、戰亂中的自傷之情和淑世理想。宋人憑藉認同杜甫，達至自我認同；通過詮釋杜詩，而完成自我呈現。杜甫在安史之亂中的遭遇，使他成了盛唐詩人中最能引發宋人共鳴者，也為宋人的詮釋提供了前提。宋詩話慣以比興和用事手法解釋杜詩，也使杜詩的詮釋空間擴大，更能貼合宋人的情感寄託。<br>此外，本文就宋詩話的本質和批評形式，如何在一定程度上掌握文學經典化的權力進行探討。詩話是新興於宋的詩歌批評形式，「摘句批評」和「論詩辨體」是其慣用的表達方式。在詩話的批評形式下，宋詩話出現了以杜詩為中心的價值取向：評估杜詩的價值，展示杜詩的多元性，樹立杜詩的正統意義，確立杜詩較他人優勝的觀念，凸顯學杜之必要。詩話的批評形式確立了杜詩經典化的重要價值，又憑藉詩話的詩法指導功能，規範了時人的價值判斷和創作。<br>最後，本文考察杜甫在宋代唐宋詩之爭的詩統建構中所處的位置。「宋詩」詩統藉著「一祖三宗」的論述，加強和杜甫的連繫，鞏固自身的正統地位。「唐詩」詩統同樣以杜甫為正統，其論述反而著重否定「宋詩」和杜甫的關係。唐、宋詩同樣以杜甫為正統，使杜詩超然於後世受唐宋詩之爭，對杜詩經典價值的延續有深刻意義。<br>Since its inception in the Song Dynasty, Du Fu 杜甫 ’s poetry has been firmly regarded as a canon in the field of classical Chinese Literature. The process of which, however, has not been clearly examined. Based on Song Dynasty’s Remarks on Poetry 詩話, this thesis is devoted to analyzing the relationship between literary criticism and canonization of Du’s poems.<br>First, this thesis discusses how literary leaders’ commendation on Du’s poetry has become the general view of the Song literati. It particularly highlighted the evaluations of Du’s poems from Su Shi 蘇軾 and Huang Ting-jian 黃庭堅. Their comments were widely quoted and re-interpreted by subsequent authors of Remarks on Poetry, which confirmed and reinforced the importance of Su and Huan’s thoughts. The transition from Su and Huang’s personal interpretation to becoming a widely-held view amongst the literati, affirmed the canonical status of Du’s poetry. Through discussion and interpretation by Remarks on Poetry, Su’s comments on Du Fu as “a ever-loyal official 一飯未嘗忘君 contributed to the commendation on the Du’s poems as “Six works of the Confucian Canon in poetry 詩中六經. Huang commented Du’s poetry as “not a single word [in them] does not have its sources 無一字無來處. This promoted a more in-depth study into the origins of Du’s habitual use of allusions. This not only reaffirmed the intense use of allusions as one of the characteristics of Du’s works but also as the model of Song-styled poetry.<br>Second, this thesis investigates the impact of Song politics and cultures on the Song people’s reception of Du’s poetry. When comparing Li Bai to Du Fu, Du’s works were have consistently received a higher ranking as commentators often value social meanings more than artistic value. This demonstrates a shift in value system from Tang to that of Song dynasty. The Song people’s acclamation of Du as Shishi 詩史 was related to Song culture and the prolonged war in the Southern Song. Remarks on Poetry paid special attention to Du’s works related to An Lu-shan rebellion as this rebellion shared similarities with Song history. In Remarks on Poetry’s interpretation of Du’s poems, it reflected the Song people’s grievance towards foreign tribes and warfare. By agreeing with Du Fu, the Song people can develop its self-identity; through interpreting Du’s poetry, they can self-actualize. Du Fu’s encounter during the An Lu-shan rebellion made him well-received by the Song literati, and gave them the premise for interpretation of Du’s poems. Remarks on Poetry adopted an analogical way of expression, bixiang 比興, and allusion to study Du’s works and this provided more perspectives for interpretation and space for emotional sustenance.<br>Third, this thesis investigates the nature and format of Remarks on Poetry, and why it remains authoritative in literary canonization, despite its apparent arbitrary nature. Remarks on Poetry was a new form of poetry criticism in Song Dynasty. “Commentaries on isolated sentences drawn out from poems, zheju piping 摘句批評, and “Discussion on poetic form distinction, lunshi bianti 論詩辨體, are its usual presentation. Under this new style of critique, Remarks on Poetry developed a kind of value judgment with Du’s poetry as its basis: evaluating the value of Du’s poetry, demonstrating the diversity of his works, establishing an orthodox meaning for his poems, reinforcing the concept of higher ranking of his poems, and highlighting the importance of studying Du’s works. Such a style reinforced the canonical value of Du’s poetry. Coupled by the Remarks on Poetry’s nature as an authoritative reference text it defined the value system of those times and dictated the way in which literary works are to be made.<br>Fourth, this thesis puts Du Fu squarely in the conflict between Tang-styled and Song-styled poetry. Based on the theory “one ancestor and three predecessor, yizu sanzong 一祖三宗 , the Song-styled poetry strengthened its connection with Du Fu and reinforced its orthodoxy. The Tang-styled poetry also set Du Fu as its role-model but its discourse emphasized disconnecting Du’ works with the Song-styled poetry. Despite the conflict between the Tang-styled and Song-styled poetry, Du’s works were still highly recognized as an orthodox example by both groups and this contributed immensely to the continued canonical status of Du’s poetry.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>朱寳盈.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 230-241)<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Zhu Baoying.<br>Chapter 第一章 --- 導論 --- p.1<br>Chapter 第一節 --- 杜甫詩的經典化 --- p.1<br>Chapter 一、 --- 唐或宋？杜詩經典地位的確立 --- p.2<br>Chapter 二、 --- 杜詩經典化的幾個思考重點 --- p.5<br>Chapter 第二節 --- 前人研究成果與本文討論重點 --- p.8<br>Chapter 一、 --- 前人研究成果 --- p.8<br>Chapter （一） --- 整理杜詩在宋代流傳概況和資料 --- p.9<br>Chapter （二） --- 指出杜甫「儒家思想」很大程度出於宋人建構 --- p.10<br>Chapter （三） --- 從唐宋文化的差別辨析唐宋人論杜 --- p.11<br>Chapter （四） --- 以接受美學觀念分析宋代杜詩學 --- p.12<br>Chapter （五） --- 分析杜甫對宋詩風格的典範作用 --- p.13<br>Chapter 二、 --- 本文討論重點 --- p.14<br>Chapter （一） --- 以「經典化」為研究視野分析宋代杜詩學 --- p.14<br>Chapter （二） --- 重視「眾人」的意見 --- p.15<br>Chapter （三） --- 關注「詩話」的作用 --- p.16<br>Chapter （四） --- 探析「詩史」與宋型文化關係 --- p.17<br>Chapter （五） --- 論析唐宋詩之爭對杜詩地位的影響 --- p.18<br>Chapter 第三節 --- 研究目的及方向 --- p.19<br>Chapter 第二章 --- 從個人詮釋到集體認知： 宋代詩話對蘇、黃評杜的回應與杜詩經典化 --- p.22<br>Chapter 第一節 --- 引言 --- p.22<br>Chapter 第二節 --- 宋初詩話「論杜」 --- p.23<br>Chapter 一、 --- 北宋初年詩壇非尊杜 --- p.23<br>Chapter 二、 --- 對杜詩藝術的評價 --- p.28<br>Chapter 三、 --- 小結 --- p.30<br>Chapter 第三節 --- 杜詩價值的發明 --- p.30<br>Chapter 一、 --- 宋人眼中的杜詩發明者 --- p.30<br>Chapter 二、 --- 宋詩話回應蘇、黃評杜的三種模式 --- p.34<br>Chapter 第四節 --- 蘇、黃論杜與杜詩的經典化 --- p.42<br>Chapter 一、 --- 從「一飯未嘗忘君」到「詩中六經」 --- p.43<br>Chapter 二、 --- 從「無一字無來處」到「江西詩派」 --- p.50<br>Chapter 第五節 --- 結語 --- p.56<br>Chapter 第三章 --- 時代的制約：論宋人的期待視野與歷史感懷 --- p.58<br>Chapter 第一節 --- 引言 --- p.58<br>Chapter 第二節 --- 雙重標準的李杜優劣論期待視野的轉移 --- p.59<br>Chapter 一、 --- 宋人對李杜優劣論的回應與再發展 --- p.60<br>Chapter （一） --- 回應元稹、韓愈之論：李杜並尊 --- p.60<br>Chapter （二） --- 李杜優劣論的再發展：獨尊老杜 --- p.65<br>Chapter 二、 --- 宋人品次李杜的兩個標準 --- p.68<br>Chapter 三、 --- 小結：期待視野的轉移 --- p.78<br>Chapter 第三節 --- 自我認同與呈現--安史之亂與宋人的「詩史杜甫」 --- p.79<br>Chapter 一、 --- 宋詩話與杜甫「安史詩」 --- p.79<br>Chapter 二、 --- 安史之亂與宋人的歷史感懷 --- p.90<br>Chapter 三、 --- 杜甫「安史詩」詮釋的先決條件與詮釋空間的擴大 --- p.109<br>Chapter （一） --- 詮釋的先決條件 --- p.110<br>Chapter （二） --- 詮釋空間的擴大 --- p.116<br>Chapter 第四節 --- 結語：宋人的「詩史」杜甫 --- p.124<br>Chapter 第四章 --- 典範意義的產生：詩話的詩法指導作用與杜詩價值的確立 --- p.127<br>Chapter 第一節 --- 引言 --- p.127<br>Chapter 第二節 --- 綜述：在詩話批評形式下的評杜現象 --- p.128<br>Chapter 一、 --- 廣泛的討論和援引為證 --- p.128<br>Chapter 二、 --- 同時摘取杜甫與他人詩句 --- p.133<br>Chapter （一） --- 說明杜詩的出處 --- p.133<br>Chapter （二） --- 強調後世詩人於杜詩的學習 --- p.135<br>Chapter （三） --- 同類並舉 --- p.137<br>Chapter 三、 --- 論詩辨體與杜詩 --- p.143<br>Chapter 四、 --- 小結：宋人開創的評杜現象 --- p.149<br>Chapter 第三節 --- 現象背後的意義 --- p.152<br>Chapter 一、 --- 以摘句褒貶直接賦予價值 --- p.152<br>Chapter 二、 --- 展現杜詩審美價值的多元性 --- p.156<br>Chapter 三、 --- 杜詩的正統意義塑造 --- p.161<br>Chapter 四、 --- 確立杜詩較他人優勝的觀念 --- p.166<br>Chapter 五、 --- 凸顯學杜的必要 --- p.170<br>Chapter 六、 --- 小結：以杜詩為中心的價值取向 --- p.177<br>Chapter 第四節 --- 詩話的功用與典範意義的確立 --- p.178<br>Chapter 第五節 --- 結語 --- p.186<br>Chapter 第五章 --- 唐宋詩之爭與杜甫：論詩統建構與杜詩經典價值的延續 --- p.189<br>Chapter 第一節 --- 引言 --- p.189<br>Chapter 第二節 --- 「唐詩」、「宋詩」的詩統建構與杜甫 --- p.190<br>Chapter 一、 --- 「唐詩」與「宋詩」 --- p.190<br>Chapter 二、 --- 「宋詩」的詩統建構與杜甫 --- p.194<br>Chapter 三、 --- 「唐詩」的詩統建構與杜甫 --- p.203<br>Chapter 四、 --- 小結：以杜甫為「正統」的詩統建構 --- p.213<br>Chapter 第三節 --- 經典價值的延續：超然於唐宋詩之爭中的正統地位 --- p.215<br>Chapter 第四節 --- 結語 --- p.221<br>Chapter 第六章 --- 結論 --- p.224<br>Chapter 第一節 --- 總結 --- p.224<br>Chapter 第二節 --- 餘論 --- p.229<br>主要參考書目 --- p.230