In August, 1954, William Faulkner’s twentieth book of fiction, A Fable, was published. As might be expected by anyone knowing of Faulkner’s previous career and critical reception, the reviewers received it with widely divergent opinions. None seems to have found the book an unqualified success, the word “failure” occurs in many of the reviews, and a number confess inability to find motivation for various actions or the pertinence of certain episodes, More than one reviewer reveals quite obviously that he has not been able to follow the plot. As a matter of fact, the runner is one the few main characters who are alive at the end of the story, and his last words on the last page of the book probably contain the essence of the novel, as we shall see. However, reviews are necessarily printed soon after book distribution (this one apparently even before), and A Fable, like most of Faulkner’s books, requires more than one reading. It is apparent that despite several books, hundreds of shorter studies, and dozens of doctoral dissertations (virtually all since 1950) written about him, WIlliam Faulkner still remains a controversial figure. He is still writing and still expressing his highly quotable opinions to interviewers, Since his moral vision has long been a matter of interest and conjecture, since his Nobel Prize Acceptance Speech presumably expressed his own credo for his life’s work, and since some disparity between the work and the credo has been claimed, and investigation of the moral implications of A Fable would appear to be worthwhile. One might ask the following questions: What sort of creature is man? What sort of world does he live in? How may man best live in his world? We shall determine Faulkner’s answers to there questions chiefly as he gave them in A Fable, although other sources may be an occasional help. In conclusion, some attempt will be made to relate this novel to Faulkner’s whole work to date in respect to point of view and artistic value.

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<p>The role of realism in the depiction of animals in Greaco-Roman fable is investigated. The crow and the raven have been chosen as the prism through which the investigation is carried out. Fable will be shown to be a genre founded on a contextually realistic depiction of animals, and this may especially be seen in the corvid fables. Realism must, however, be understood contextually, as what constitutes a realistic depiction of crows and ravens in Graeco-Roman times is quite different than what one would encounter at present. As a result of which the crow and raven are marked by attributes ranging from cleverness, parenting ability, resistance to weather, vocal mimicry, longevity, and augural significance, amongst a host of other characteristics which sometimes coincide with modern views but often do not. Thus Graeco-Roman fables dealing with crows and ravens can be broadly divided into two categories: fables dealing in various ways with their intelligence, and fables dealing with their augural significance.</p> / Master of Arts (MA)

Au seuil de ses Fables, La Fontaine affirme qu’il « chante les héros dont Ésope est le Père ». Souvent prise pour argent comptant, cette généalogie affichée a conduit la critique à envisager la composition des Fables dans le cadre d’un face-à-face schématique entre le « Père » supposé du genre et son Fils incarné dans la France du Grand Siècle. Cette thèse se propose de reprendre sur nouveaux frais la question des sources de l’inspiration « ésopique » de La Fontaine : « chante[r] les héros dont Ésope est le père », qu’est-ce à dire exactement ? À quelle figure auctoriale et à quels ouvrages le nom d’Ésope pouvait-il être associé dans l’esprit d’un poète du XVIIe siècle ? Au travers de quels filtres la « matière ésopique » était-elle passée avant que La Fontaine ne se l’approprie ? Après un examen approfondi de l’origine et de la nature du corpus des fables dites d’Ésope et de la biographie fictive du fabuliste grec (Vie d’Ésope), l’enquête se porte sur la réception et la transmission de ces textes aux XVe, XVIe et XVIIe siècles. Elle révèle que la filiation apparemment directe, évidente et sans médiation entre l’inventeur légendaire de l’apologue et son héritier majeur demande une révision de nos préjugés critiques, à la lumière de l’archéologie d’un modèle, d’un genre et d’une tradition qui s’avèrent d’une complexité et d’une diversité que La Fontaine lui-même ne soupçonnait peut-être pas, mais qui promet à l’analyste moderne la révélation d’un mode d’invention et de réception du genre fable beaucoup plus ouvert, fluide, voire confus, que ne le laisserait supposer l’annotation des éditions du fabuliste français. / At the beginning of his Fables, La Fontaine claims that he « sings the heroes whose father is Æsop ». Because it was often accepted at face value, this self-styled genealogy led the critics to consider the composition of the Fables as a « tête-à-tête » between the so-called « father » of the genre and his spiritual son. In this dissertation, I try to renew the study of the Æsopic sources of La Fontaine. What does « singing the heroes whose father is Æsop » really mean ? Which books could be related to the name of Æsop in the mind of a 17th-century French poet ? After a carefull examination of the origin and nature of the so-called Æsop’s fables as well as the fictionnal biography of the Greek fabulist, the present investigation analyses the reception and the transmission of both Æsop’s life and fables in Early Modernity (15th, 16th and 17th centuries). In the light of this archeological research, the belief in an obvious and direct relationship without any mediation between the legendary inventor of the fable and his most gifted heir turns out to be completely deceptive. The Æsopic tradition proves to be far more various and complex than one might think after reading the comments and footnotes of the critical editions of La Fontaine’s Fables choisies mises en vers.

Littérature et politique, deux domaines distincts qui se retrouvent dans un seul livre ; Kalila et Dimna. Ibn al-Muqaffaʻ, à travers un style littéraire qui adopte la parole amusante qui joint l’utile à l’agréable, traite des questions politiques diverses. Notre travail consiste à dévoiler le côté politique du livre sans pour autant écarter sa dimension littéraire. Ainsi, les trois parties de cette étude ont essayé d’analyser premièrement la représentation du politique dans Kalila et Dimna qui passe par le genre de la fable qui instrumentalise les bêtes de manière particulière pour révéler la réalité du monde humain qui ressemble à celle de la jungle. Puis, deuxièmement, elle a abordé le lien existant entre le discours imaginaire et l’action politique, considérée comme la finalité des démarches entreprises dans l’exercice du pouvoir. Ainsi, nous avons traité des points liés à la conservation du pouvoir et à sa stabilisation comme nous avons évoqué le rapport entre le pouvoir et le savoir. Enfin, nous avons consacré la troisième partie à l’analyse des fondements qui servent d’assise pour l’action politique. Nous en avons étudié trois, il s’agit de la violence, de l’obéissance et de l’esprit de justice. / Literature and politics are two specific domains in one narrative: Kalila and Dimna. Ibn al-Muqaffaʻ, with a literary style that uses amusing words, necessary and pleasant all at once, raises various political questions. Our task is to unveil the political aspect of the book with much consideration for its literary aspect. Thus, this analysis is divided in three parts. In the first part, there is the representation of politics in Kalila and Dimna through a fable that portrays animals in a certain way, in order to reveal the reality in the world of humans that resembles the jungle. In the second part, there is the study of the relation between the imaginary discourse and the political action, considered as the object of any strategic use of power. Therefore, we addressed the points related to the preservation of power, and to its stabilization, as we mentioned the relation between power and knowledge. And finally, we analyzed the foundation of political action, where we observed three elements that are violence, obedience and the spirit of justice.

La présence des paradoxes stoïciens dans l’œuvre de poètes dont les liens avec le Portique sont divers révèle le statut particulier occupé par ces formules déconcertantes dans la pensée romaine. Après l’étude des origines du paradoxe et de ses transformations au cours du développement des écoles philosophiques grecques, la thèse examine la spécificité du paradoxe stoïcien et son adaptation au monde romain. Contre toute attente, les Stoïciens ne renoncent pas à ces affirmations déconcertantes. Grâce à leur efficacité rhétorique, et malgré l’hostilité qu’ils suscitent par ailleurs, les paradoxes sont repris dans des textes étrangers au Portique. Leur adaptation dans des œuvres poétiques - satires de Lucilius, Horace et Perse, épodes, odes et épîtres d’Horace et épopée lucanienne - pourrait nous faire considérer qu’ils sont pervertis et détournés de leur fin première. En effet, le but de ces poètes n’est nullement de faire adhérer le lecteur à l’intransigeante perfection dessinée par les paradoxes stoïciens. Mais le lien entre les paradoxes que l’on trouve dans ce corpus poétique et leur origine stoïcienne est en réalité bien plus intime. Selon des modalités différentes, chaque poète reprend l’essentiel de la démarche paradoxale du Portique : il s’agit bien de réveiller les consciences, et de souligner la radicale nouveauté de la vérité que l’on veut faire entendre, tout en s’assurant que le lecteur peut s’y rallier. La virulence de Lucilius, le ton de confidence horatien, la stupeur lucanienne et l’obscurité de Perse constituent les voies distinctes mais convergentes par lesquelles est menée l’entreprise subtile consistant à choquer pour mieux convertir. / The presence of Stoic paradoxes in the works of poets whose links with the Stoa are complex reveals the particular status of these incongruous formulas in Roman thought. After studying the origins of paradox and its transformations during the development of the Greek philosophical schools, the thesis considers the particularity of Stoic paradox and its adaptation to the Roman world. Unexpectedly, the Stoics do not sign away these disconcerting assertions. By their rhetorical effectiveness, and despite the hostility they also arouse, paradoxes appear in texts which do not belong to the Stoa. Their adaptation in poetic works – satires of Lucilius, Horace and Persius, epodes, odes and epistles of Horace, and Lucanian epic - could make us consider that they are perverted and diverted from their first aim. Indeed, the purpose of these poets is not at all to have the reader adhere to the uncompromising perfection outlined by the Stoic paradoxes. But the link between the paradoxes we find in this poetic corpus and their Stoic origin is actually much more intimate. By different ways, each poet takes up the main of the Stoic paradoxical approach : it consists in waking up the minds, and showing the radical novelty of the truth which one wants to reveal, making sure, at the same time, that the reader can join it. Lucilius’ virulence, Horace’s intimacy, Lucan’s daze and Persius’ abstruse language constitute the different but converging ways by which one subtly undertakes to shock in order to convert.

La reconnaissance internationale de la littérature latino-américaine au XXe siècle a souvent été interprétée par la critique comme le résultat de l’influence du Modernisme, notamment du fait de la lecture, par les auteurs latino-américains, de James Joyce et William Faulkner. Certains auteurs du continent, pourtant, suivent des stratégies différentes : Borges, Bioy Casares et Cortázar utilisent les fondements de la littérature de genre (fantastique, policier, horreur, roman d’aventures) pour opérer une reconfiguration des équilibres entre le champ littéraire et les injonctions politiques, nationales et culturelles. Dans cette optique, le travail de Robert Louis Stevenson sur les publics populaires et le croisement des genres peut être vu comme une référence idéale, du fait de sa complexité et de son souci constant d’expérimentation. Cette étude a donc pour objectif de proposer une comparaison de ces stratégies, en utilisant les outils conceptuels et théoriques de la littérature mondiale. Stevenson, de cette manière, pourra apparaître comme un modèle herméneutique pour penser et résoudre certains dilemmes géographiques et littéraires. / The international recognition of Latin American literature during the twentieth century has been interpreted by critics as a result of a Modernist influence, mainly through the reading of James Joyce and William Faulkner. Some Latin American writers, though, pursued other strategies : Bioy Casares, Borges and Cortázar used the foundations of popular literature (fantastic, detective or horror literature, adventure novel) to reconfigure the relations between the literary field and the political, national and cultural injonctions. For that purpose, Robert Louis Stevenson’s work on popular audience and generic hybridity at the end of the Victorian era can be seen as an ideal point of reference, thanks to its complexity and constant experimentation. The aim of the present study is to analyse this process using world literature’s conceptual and theorical tools. Stevenson can thus be seen as a model to think and resolve some geographical and literary dilemmas.

Syftet med uppsatsen är att se hur moraliska föredömen framställs i två texter av olika karaktär - Stefan Einhorns berättelse ”Läraren” samt Aisopos fabel Lejonet och musen. För att få fram dessa moraliska föredömen genomförs en narrativ analys. För att lyfta likheter och skillnader i de båda texterna används berättar- och lyssnarinstans samt symboler och allegorier från den narrativa analysen. Berättar- och lyssnarinstans används för att se till den konkreta texten medan symboler och allegorier används för att se det underliggande budskapet. I analysen jämförs även texternas sensmoraler och hur de båda är uppbyggda fram till sensmoralen. Texterna jämförs för att se huruvida de båda kan verka som didaktiska texter.Grundtanken är att försöka komma fram till ifall respektive text kan ses som exempel på moraliska föredömen utifrån exemplumgenren. Vidare ligger syftet vid att försöka förstå hur texterna tas emot av läsaren och hur framställningen av de moraliska föredömena sker. Tanken är att se huruvida enklare texter kan fungera som moraliska ”kompasser” för människor. Slutsatsen blir att ingen av de valda texterna har ett narrativt djup vilket gör de svåra att analyser. Men bara för att en text inte har ett narrativt djup så behöver det inte betyda att den inte har en mening eller ett budskap den vill förmedla. Därför fungerar båda verk bra som exemplum då tolkningen är att författarnas syfte med texterna är att vara sedelärande. / The purpose of this paper is to see how the role models in moral are visible in two texts of different character - Stefan Einhorns short story "teacher" and Aisopo's fable Lejonet och musen. To obtain these moral role models a narrative analysis was used. To highlight the similarities and differences in the two texts a narrative- and listen instance as well as symbols and allegories from the narrative analysis are used. Narrative- and listen instance is used to analyze the concrete text and symbols and allegories are used to see the underlying message. The analysis also compared the texts morals and how the two are built up to the moral. The texts are compared to see whether the text can be seen as didactic texts. The basic idea is to try to come to the event and the text can be seen as examples of moral examples based on the exemplum genere. Further the aim at trying to understand how texts are received by the reader and the production of the moral role models occurs. The idea is to see whether simple texts can act as a moral "compass" for the people. The conclusion is that none of the selected texts have a narrative depth which makes them difficult to analysis. But just because a text does not have a narrative depth that does not mean that it does not have a meaning or a message it wants to convey. Therefore both texts works good as exemplum when the interpretation is that the authors' purpose of the texts is to learn the listener about there moral.

[pt] A análise de Dinossauro Excelentíssimo, de José Cardoso Pires, narrativa onde se processa a retomada de um gênero clássico - a fábula - em que a escrita é convertida em signo ambivalente, capaz de entrelaçar novos sentidos a conteúdos fixados pela tradição. Esse mecanismo possibilitou ao escritor interrogar as memórias do cotidiano da ditadura salazarista, incorporando, na ficção, acontecimentos que marcaram a história política recente da sociedade portuguesa. A presente dissertação analisa a construção dessa narrativa, colocando em tensão o caráter alegórico da fábula, a inscrição do gênero no contexto histórico português, as representações do poder e da censura no Estado Novo e a atuação do escritor como intelectual. Por força de sistematização, o estudo se divide em: A poética, O poder e O olhar, eixos temáticos que norteiam os aspectos relevantes da obra. / [en] A study of Dinossauro Excelentíssimo, by José Cardoso Pires, in which a classic genre - the fable - comes back and where the writing turns itself in a signal of many senses, being able to interlace new meanings to the ones traditionally established. This scheme gave the author the chance to inquire the quotidian memories of the Salazar s dictatorship, merging in the fiction outstanding events of the recent Portuguese s political history. This master thesis analyses how the narrative is build, stressing the allegoric character of the fable, the way the genre is contextualized in the Portuguese History, the power and censure exhibition during the New State regime and the performance of the author as an intellectual. By systematization, the text is divided in tree thematic items: The Poetics, The Power end The Look, that drive the relevant aspects of this masterpiece.

Made available in DSpace on 2016-04-26T18:10:26Z (GMT). No. of bitstreams: 1 Jefferson Alves de Lima.pdf: 1727684 bytes, checksum: 4d886382f9a41fabb8704c9bf9e253c3 (MD5) Previous issue date: 2010-11-18 / The observation of the presence of elements of narrative fiction in television news represents the central aspect of this study. Recognized for authors as Elizabeth Bird and Robert Dardene, Paul Weaver, François Jost, Robert Stam and Iluska Coutinho, this strange presence of the attributes of fiction in television news is examined here specially as a basis to build the main unit of the program: the reportage. Before the speech space self-assumed by the television news as a reference for society, we observe an established relationship between the program and the ability of narrative fiction for representing and orienting social values. We examine in this study the approximation of the visual plots, which are converted the news in television, with the orientation of behaviors and contours of life in society that the stories sediment throughout centuries . More specifically, we will examine the approximation of television news reportages with the fables, like Indians Pañcatantras or stories of the grecian Esopo. As a theoretical contribution for this observation, we start from authors of reference and deepen the studies on the televisions areas, journalism, TV journalism and narrative. By analysis of national televisions news Jornal Nacional, of the Rede Globo de Televisão, and Jornal da Cultura, of the TV Cultura, we identify the relation of the television news service with the fables / A observação da presença de elementos da narrativa de ficção no gênero telejornal representa o aspecto central deste trabalho. Reconhecida por autores como Elizabeth Bird e Robert Dardene, Paul Weaver, François Jost, Robert Stam e Iluska Coutinho, esta aparentemente estranha presença dos atributos da ficção no noticiário televisivo é examinada, aqui, especialmente, como base de construção da principal unidade do programa: a reportagem. Diante do espaço de fala auto-assumido pelo telejornal como referência para o conjunto da sociedade, observamos uma relação estabelecida entre o programa e a capacidade das narrativas de ficção à representação e orientação de valores sociais. Examinamos neste trabalho, assim, a aproximação dos enredos visuais, aos quais as notícias são convertidas nas reportagens do telejornal, com a orientação de comportamentos e contornos da vida em sociedade que as estórias sedimentam através dos séculos. Mais precisamente, examinaremos a aproximação das reportagens do telejornal com as fábulas, à moda dos Pañcatantras indianos ou das narrações do grego Esopo. Como aporte teórico para esta observação, partimos de autores de referência e o aprofundamento de estudos realizados nas áreas da televisão, jornalismo, telejornalismo e narrativa. Por meio da análise dos telejornais nacionais Jornal Nacional, da Rede Globo de Televisão, e Jornal da Cultura, da emissora paulista TV Cultura, identificamos esta relação que atravessa os campos, a princípio distintos, dos noticiários televisivos e do gênero literário fábula