Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-06-15T14:29:48Z No. of bitstreams: 1 Nicássio Martins da Costa_.pdf: 3516646 bytes, checksum: 54cb009a359e0cd9d1ccc07bb4b87e53 (MD5) / Made available in DSpace on 2016-06-15T14:29:48Z (GMT). No. of bitstreams: 1 Nicássio Martins da Costa_.pdf: 3516646 bytes, checksum: 54cb009a359e0cd9d1ccc07bb4b87e53 (MD5) Previous issue date: 2016-04-25 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / FAPERGS - Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul / Este trabalho se propõe a reconstituir e discutir o processo de construção do(s) estereótipo(s) dos piratas em obras literárias de ficção que foram escritas no século seguinte ao auge e ao posterior desaparecimento das atividades de pirataria nos mares do Caribe. Para tanto, reconstituímos esse processo gradual de desaparecimento, a partir da contextualização da situação política e econômica do século XVIII, principalmente das três primeiras décadas, que se caracterizaram por uma série de mudanças, sobretudo no comércio ultramarino, estabelecidas pelo Tratado de Utrecht, em decorrência da Guerra da Sucessão Espanhola. A discussão que realizamos partiu da obra A General History of the Pyrates, de Daniel Defoe, que consideramos o ponto inaugural da construção destes estereótipos, por apresentar dezenove biografias de piratas que conquistaram fama nas primeiras décadas do século XVIII. A narrativa de Defoe, marcada por traços de jornalismo sensacionalista, acabou por enaltecer as características desses piratas junto ao público leitor, provocando, assim, um efeito contrário ao pretendido pelo autor e, principalmente, pela Coroa inglesa, empenhada em difamar ao máximo a imagem dos piratas para facilitar seu processo de eliminação, que já vinha sendo realizado pela Marinha Real Britânica (Royal Navy). As obras literárias que selecionamos para cotejo e análise foram O Conde de Monte Cristo, de Alexandre Dumas, A Ilha do Tesouro, de Robert Louis Stevenson, Contos de Piratas, de Arthur Conan Doyle e O Garoto no Convés de John Boyne. Nelas, pudemos constatar, em maior ou menor grau, tanto apropriações das descrições feitas por Daniel Defoe, evidenciadas na caracterização que seus autores fazem de alguns personagens, quanto a criação de novas características (físicas e comportamentais), que contribuíram, desta forma, para encorpar, difundir e perpetuar o estereótipo dos piratas caribenhos do século XVIII.

In the novel, Robinson Crusoe, Daniel Defoe examines a wide range of complex issues. Defoe takes the typical adventure theme and transforms it into a thought-provoking reflection of many issues involving society. A blending of economic and religious issues is created by first focusing on economy, then bringing the issue of religion in, and finally allowing for the portrayal of the interpenetration between each. Defoe proves that it is possible to live by economic practices and monetary values while still maintaining a good, moral character. The emphasis on economic issues is extremely apparent, as Defoe calls into question the concept of money and its value, as well as its place in society. Crusoe is first portrayed as a man defined by money and ruled by economic principles. Even when removed from society, he is impelled to practice many economic conventions, such as investment, moderation and the idea of profit. Defoe creates Crusoe to be so greatly influenced by money and the economy in the beginning so as to better emphasize the intertwining of his economic side with his religious side. The Christian values and morals of Crusoe dominate the latter part of the novel. He rediscovers the Bible and its teachings and learns the importance of repentance and giving thanks. The provocative progression in unveiling the many layers of Crusoe allows for the reader to see that the man they thought to be defined by money is rather a man trying to live by the Word of God.

Diss.--Konstanz--Universität Konstanz, 1990. / Bibliogr. p. 208-222.

Esta tese apresenta um estudo sobre a criação literária de Daniel Defoe, Robinson Crusoé, escrita em 1719. Seu estatuto de obra clássica com inúmeras adaptações inserea numa cadeia discursiva de porte extraordinário, na qual o personagem revela-se um mito. O presente estudo, alicerçado no conceito de compreensão criadora de Mikhail Bakhtin, buscou uma ampliação de sentidos na análise do objeto empírico, com os seguintes objetivos: questionar um possível uso de obras clássicas como fetiches, o esvaziamento de seus sentidos e averiguar a hipótese de Robinson Crusoé ser um protótipo do homem como ser de linguagem, metalinguístico. O levantamento de tal hipótese foi possível pela concepção da dialogia da linguagem, entendida no conceito do Círculo de Bakhtin. A metodologia utilizada constou de sucessivas leituras da obra em questão, seleção de atos de linguagem expressos pelo personagem e sua categorização. A partir daí foram buscadas as representações do Outro nos enunciados de Robinson durante o período de seu total isolamento na ilha em que naufragou; a procura foi norteada pelo conceito da constituição dialógica da palavra, dado que no contexto de enunciação não havia presença real de interlocutores. Como forma de enfatizar o caráter dialógico da linguagem, realizou-se, também, uma seleção de marcas do Outro no relato autobiográfico do personagem (a obra em seu todo), algumas delas explicitamente visualizadas. As reflexões de diferentes autores acham-se presentes neste estudo: Roland Barthes, Michel de Certeau, Jeanne Marie Gagnebin, Ivonne Bordelois, Zygmunt Bauman, Dominique Maingueneau, Fernando Savater, David Olson, George Steiner. Os resultados do trabalho atestam a propriedade da hipótese formulada e demonstram a força da linguagem na vida humana, confirmando a necessidade de valorização da palavra em meio à crise cultural presente na modernidade líquida. / The following thesis presents a study on Daniel Defoes literary creation Robinson Crusoe, written in 1719. Its status as a literary classic that has been the subject of endless adaptations gives Robinson Crusoe an extraordinary position in the discursive chain, revealing the character as a myth. The present study, based on Mikhail Bakhtins concept of creative understanding, sought to amplify the meanings in the analysis of its empirical object, with the following aims: to question the possible use of classic works as fetishes, to empty its meanings and to investigate the hypothesis of Robinson Crusoe being a prototype of man as a being of language, a metalinguistic being. This hypothesis was enabled by the concept of the dialogism of language, understood within the concept of Bakhtins Circle. The methodology employed consisted of successive readings of the work, the selection of acts of language expressed by the character, and their classification into categories. From this basis, the representations of the Other in Robinsons enunciations during his period of total isolation on the island where he was shipwrecked were sought; the search was guided by the concept of the dialogic constitution of speech, since within the context of the enunciation there were no actual conversational partners present. To stress the dialogic character of language, a selection was also made of the signs of the Other in the characters autobiographical account (the work as a whole), some of which were explicitly visualized. The reflections of different authors are present in this study: Roland Barthes, Michel de Certeau, Jeanne Marie Gagnebin, Ivonne Bordelois, Zygmunt Bauman, Dominique Maingueneau, Fernando Savater, David Olson, and George Steiner. The results of this study confirm the correctness of the hypothesis proposed and demonstrate the strength of language in human life, supporting the need to value speech in the midst of the cultural crisis of liquid modernity.

No description available.

This thesis argues that all subjects are constructed through discourse or ideology and are incapable of acting or thinking outside the limits of that discursive or ideological construction. Based on Louis Althusser¡¦s theory, ¡§individuals are always-already subjects,¡¨ living in ¡§the system of the ideas and representations which dominate the mind of a man or a social group.¡¨ This Marxist notion serves as the point of departure for the thesis, which defines a subject¡¦s imaginary relation to the world. For Defoe and Swift, their ideological subjection to ¡§the system of the ideas and representations¡¨ is presented in their narratives, which relate the respective subject¡¦s imagination to the world in the eighteenth century. The first chapter begins with Ian Watt¡¦s critique of the eighteenth century individualism, which demands domestic alienation. It argues that if Gulliver¡¦s misanthropy loses its moral dimension, his domestic alienation is questionable. As Gulliver¡¦s counterpart, Crusoe bases his autonomy upon nonreciprocal human relationships, and his self-claimed omnipotence, under constant threats, is false and illusory. The second chapter modifies Helene Moglen¡¦s dualistic interpretation of Crusoe¡¦s consciousness and analyzes his internal contradictions from the perspective of Hegelian dialectics. The course of establishing the colonial hierarchy in Robinson Crusoe further exposes the dialectical reality of colonial tension and contradiction, which also lends itself to interpreting the triangular relationships among the Houyhnhnms, Gulliver, and the Yahoos in Gulliver¡¦s Travels. In the third chapter, the focus of concern shifts to the representation of sexual other. Though Roxana and Moll are constructed to emulate Crusoe and embody the female versions of economic autonomy, these two female-based narratives, Roxana and Moll Flanders, bring to light the paradoxes of eighteenth-century male subjectivity that discriminates men from women in terms of domesticity and individualism. While Roxana is further commodified to be enlisted in the service of imperialist ideology to mask the reality of colonial aggression and imperialist expansion, the same sleight of substitution also underlies Swift¡¦s systematic attacks on women in his Irish Tracts and misogynist poems. Lastly, the fourth chapter aims to bring these two categories of difference together. Through Swift¡¦s and Defoe¡¦s imagination, the racial other and their sexual counterpart enter into a metaphorical alliance. Thus Defoe¡¦s Amazon and Swift¡¦s Yahoo trope not only synthesize what are considered two discrete and separate categories of discrimination, but also demonstrate that their creations of race and gender derive from the same source of reference.

My project examines eighteenth-century struggles over literary property and its part in England’s control over its colonies. Debates over literary property set in the context of the larger colonial struggles over ownership help us to understand the relationship between authority and authorship: in the colonies, booksellers and authors worked together to make authority and authorship local, to separate it from England, English constructions of authorship, and the book trade system in London. The figures I analyze––Daniel Defoe, Jonathan Swift, Samuel Johnson, and Mathew Carey––brought new models of print capitalism to the colonies, dispersing an understanding of copyright that was an assertion of local affiliations. In the case of Ireland, these affiliations manifested themselves in a nationalist movement, and in Scotland, in an assertion of equality under the union of Great Britain. In the newly formed United States, the affiliations were among those still struggling for legal recognition after the American Revolution. Using book history in the service of literary analysis, my study is the first devoted to reading the way that liminal figures such as George Faulkner, Alexander Donaldson, Absalom Jones, and Richard Allen have influenced the work of these largely canonical authors, and thus local politics, through their literary production practices. / text

While authors have appropriated literary works for centuries, they have also appropriated historical settings and places well outside their own realities, creating new works in historical settings that reflect a new cultural purpose. The Restoration and eighteenth century are frequent subjects of popular formula-fiction romances due to the distinctive, easily replicated atmospheres; but the period has also inspired serious, traditional historical fiction and fictionalized biography as well as productions of novels from the period. This panel focuses on the long eighteenth century and the period’s intrigue for filmmakers, TV producers and audiences in a modern-day culture

Through four novelists from the eighteenth and nineteenth centuries-Haywood, Defoe, Austen, and Chopin-this work examines the way the mother's importance evolves throughout literature. In Haywood's works, motherhood is seen as a dominant force in her child's life, but not a dominant force in society. Defoe approaches motherhood in a dramatically different way; for him, motherhood is secondary to financial security, and this opinion is reflected in the lives and actions of his characters. In spite of the absence of a maternal influence, Austen's characters do not experience true hardship in the way that Haywood's and Defoe's do. However, their lives are adversely affected by this absence. Chopin's protagonist has never experienced a maternal influence, and this absence has dramatically affected her life. She is unsure about what she wants from life, and this knowledge, along with her realization of society's restrictions upon her, ultimately leads to her suicide.

[pt] Desde o momento em que Cristóvão Colombo colocou seus pés pela primeira vez nas Américas, o espectro da violência privada no mar esteve por perto, fosse ela empreendida pelas mãos dos próprios espanhóis, fosse por aqueles que disputavam com eles o direito de explorar as riquezas recém-descobertas. Nesta tese argumentamos que os relatos de navegação deixados por corsários, piratas e bucaneiros nos séculos XVII e XVII foram parte fundamental para a criação do imaginário europeu acerca do Novo Mundo e de seus habitantes. Procuramos explorar uma diversidade de relatos que, cada qual à seu modo, representaram os dilemas políticos que vieram a desembocar na criação do Estado e do sujeito político modernos. Este processo, contudo, não foi linear, como em uma escala de progresso em direção à civilidade. Pelo contrário, a leitura dos relatos de navegação nos revela uma experiência diversa e frequentemente contraditória. O escopo desta tese abarca os séculos XVI e XVII. Neste período as instituições sociais herdadas da idade média tardia que ordenaram a relação entre indivíduos e sociedade estavam em franco declínio, processo este que somente se aprofundou com a reimaginação da geografia planetária após os descobrimentos. Argumentamos nesta tese que a figura do pirata foi um ator central nesta reimaginação do mundo a partir de suas margens, de suas áreas limítrofes. Ao longo do trabalho, abordamos os relatos de André Thevet e Jean de Léry, Francis Drake, Anthony Knivet, Alexander Exquemeling e, por fim, o romance Rosbinson Crusoé, de Daniel Defoe. Cada um destes trabalhos trouxe algo de novo para a complexa equação que teve lugar nos dois séculos em questão. / [en] Since when Christopher Columbus first came into the Americas, the specter of private violence stood nearby. This thesis argues that the accounts of navigations left by the privateers, pirates and buccaneers of the XVI and XVII centuries were crucial parts for the making of the European imaginary about the New World, its inhabitants, and the European place in it. We explore the diversity of accounts that, each in its own way, represents the political dilemmas that came to a close at the Modern Estate and the Modern political subjects. This process, thought, should not be represented as an unambiguous tale of progressive civilization. On the contrary, the reading of the accounts of navigation reveals a much more ambiguous and frequently contradictory experience. The scope of this thesis encompass the XVI and XVII centuries. During this time, the late medieval social and political institutions that mediated the relations between society and individuals were at a steady decline. The discoveries made by the Spanish and the Portuguese and the following re-imagination of global geography only aggravated the problem, and from the ashes of the late medieval system modernity arose. We argue that the pirate figure was a central actor in this process acting from the margins. During this thesis we explore the accounts of Andre Thevet and Jean de Léry, Francis drake, Anthony Knivet, Alexander Exquemeling and the novel Robinson Crusoé, from Daniel Defoe. Each one of these accounts brought something new to the complex operations that were taking place in those transitional centuries.