Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-12-19Bitstream added on 2014-06-13T19:03:26Z : No. of bitstreams: 1 cruz_caas_dr_assis.pdf: 659742 bytes, checksum: 222912ff4eff7dd7b002344a977d6732 (MD5) / Neste trabalho, procura-se estudar a escritura feminina de Juana Manuela Gorriti (1818-1892) e de Martha Mercader (1926). Juana Manuela Gorriti é uma das fundadoras da literatura feminina na Argentina e graças à reelaboração poética de suas obras por Mercader é que se pode reavaliar sua contribuição para a criação dessa modalidade narrativa. Nosso propósito é verificar como o espaço feminino vai-se formando ao longo do século XIX, por meio da análise de quatro obras de Juana Manuela Gorriti - Oasis en la vida (1888), Peregrinaciones de una alma triste (1876), Cocina ecléctica (1890) e Lo íntimo (1892). Os três primeiros livros referendam os espaços exteriores enquanto o último revela os espaços interiores, o lado íntimo, narrado de forma autobiográfica pela escritora argentina nascida em Salta. Em seguida, analisamos o romance Juanamanuela mucha mujer, de Martha Mercader (1980), o qual narra a vida de Juana Manuela Gorriti e relê suas obras. Trata-se de uma obra que consideramos como um romance histórico contemporâneo, que recria a trajetória da escritora saltenha no campo ficcional, revelando, para o leitor, aspectos e idéias que estavam implícitos no discurso da romancista do século XIX. Dessa forma, é possível concluir que a conquista do espaço feminino beneficiou-se das colocações e proposições de Juana Manuela Gorriti, as quais alcançaram um posicionamento explícito sobre as questões e o universo feminino no relato de Martha Mercader, obra que reafirma e solidifica as vitórias e avanços femininos iniciados nos século XIX e assegura a existência de uma escritura feminina que, a cada dia, amplia-se e se torna mais abrangente. / In this work we intend to study the feminine writing of Juana Manuela Gorriti (1818-1892) and Martha Mercader (1926). Juana Manuela Gorriti is one of the founders of the feminine literature in Argentina and because of the poetical re-elaboration of her writings done by Mercader is that we can re-evaluate Gorriti's contribution to the creation of this modality of narrative. Our purpose is to verify how the feminine space is built up during the nineteenth century. This is accomplished by us through the anlysis of four books by Juana Manuela Gorriti - Oasis en la vida (1888), Peregrinaciones de una alma triste (1876), Cocina ecléctica (1890) and Lo íntimo (1892). The three first books show to us the exterior spaces while the last one reveals the interior spaces - the private ones -, described in an autobiographical way by the Argentinian writer born in Salta. After that we analyse the novel Juanamanuela mucha mujer (1980), by Martha Mercader, in which she tells the life of Juana Manuela Gorriti and re-reads her writings. This is a book we consider a contemporary historical novel, in which the lifetime of the writer from Salta is recreated in a fiction revealing to the readers aspects and ideas already implicit in the own discourse of this novelist of the nineteenth century. In this way, it is possible to conclude that the conquest of the feminine space benefited itself with the positions and propositions of Juana Manuela Gorriti. It is possible to be said once they reached an explicit position about the questions and the feminine universe in Martha Mercader's narrative, whose book reaffirms and solidifies the feminine victories and advances already begun in the ninenteenth century besides asseverating the existence of a feminine writing which has been amplified and enlarges itself more and more.

Orientador: Antonio Roberto Esteves / Banca: Ana Maria Carlos / Banca: Gilberto Figueiredo Martins / Banca: Joaquim Carvalho da Silva / Banca: Andre Luis Gomes / Resumo: O presente trabalho tem por objetivo o estudo do romance Cães da Província, de Luiz Antonio de Assis Brasil, publicado em 1987, que tem como protagonista o dramaturgo José Joaquim Campos de Leão, o Qorpo-Santo. O cenário é a cidade de Porto Alegre das últimas décadas do século XIX, época em que Qorpo-Santo viveu e criou o seu teatro, reconhecidamente inusitado e, por isso, incompreendido. Este romance apresenta elementos instigantes como, por exemplo, a freqüente utilização da intertextualidade, principalmente com a obra do dramaturgo gaúcho. Sendo assim, pretendemos abordar as características gerais que determinam o fator estético, no âmbito do novo romance histórico, contempladas em Cães da Província, para mostrar como a literatura, valendo-se da elaboração da linguagem, trabalha os elementos da história, ordenando-os e reescrevendo-os de modo particular. Ainda que, sem furtar-se a discutir os problemas do homem em sua relação com seus semelhantes, e com o contexto em que está inserido, o novo romance histórico não pretende apresentar verdades absolutas, mas verdades relativas que, pela plurissignificação da linguagem, possibilitam ao leitor confrontar essas variantes para poder escolher dentre elas a que mais se aproxime de seu desejo. / Abstract: This paper aims to study the novel Cães da Província of Luiz Antonio de Assis Brasil, published in 1987, whose protagonist is the playwright José Joaquim Campos de Leão, the Qorpo-Santo. The setting is the city of Porto Alegre in the last decades of the nineteenth century, when Qorpo-Santo lived and created his theater, admittedly unusual and so misunderstood. This novel presents instigating elements such as the frequent use of intertextuality, especially with the work of the south Brazilian playwright. Therefore, we intend to address the general characteristics that determine the aesthetic factor, in the context of new historical novel, contained in Cães da Província, in order to show how the literature, considering the development of language, works with the elements of History, ordering them and rewriting them in a particular way. Even if, without discussing the problems of man in his relationship with his peers, and with the context in which it is inserted, the new historical novel does not intend to present absolute truths, but relative truths that, by the plurisignification of language, enable the reader to confront these variants to choose, among them, the one that comes closest to his desire. / Doutor

Made available in DSpace on 2015-04-11T13:49:14Z (GMT). No. of bitstreams: 1 Samua Campos Lankford.pdf: 579564 bytes, checksum: 7713ed25447950664ca1e02c85ca9359 (MD5) Previous issue date: 2012-08-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Along the research performed in this dissertation, we intend to investigate how one fact, specifically Cabanagem, is narrated according to different writers. At first, we selected some historians, that are: Domingos Antônio Raiol, Luis Balkar Pinheiro e Márcio Souza. However, our main focus was on the way that different novelists, Francisco Gomes de Amorim e Márcio Souza, narrate that event in their books, Os Selvagens and Lealdade, respectively. And as they are compared, we realized that they establish another meaning about Cabanagem: whereas the first one consider it as something criminal and codemnable as well; the second one sees it as an act in favor of freedom and, therefore, very fair. So, whether in the history or in the literature, according to the author, there will always be a different manner to see and narrate the Cabanagem. / Ao longo da pesquisa realizada nesta dissertação, pretendemos investigar como um único fato, especificamente a Cabanagem, é narrado de acordo com diferentes escritores. Inicialmente, selecionamos alguns historiadores: Domingos Antônio Raiol, Luís Balkar Pinheiro e Márcio Souza. Porém, o principal foco esteve no modo como diferentes romancistas Francisco Gomes de Amorim e Márcio Souza , separados por mais de um século, narram aquele acontecimento em suas obras Os Selvagens e Lealdade, respectivamente. E, à proporção que estas são comparadas, percebemos que estabelecem um sentido distinto sobre a Cabanagem: enquanto a primeira considera-a como uma ação criminosa e, portanto, condenável, a segunda a vê como um ato em prol de libertação, e, logo, bastante justo. Assim, seja na história ou na literatura, de acordo com o autor que a narra, a Cabanagem surgirá mediante um ponto de vista diferente, que tanto pode defendê-la, quanto opor-se a ela.

Esta pesquisa teve como objetivo primordial apresentar um estudo sobre a vida de Senhime, neta de Tokugawa Ieyasu, que concluiu a unificação do país, após vários anos de contendas, e estabeleceu o xogunato de Tokugawa que dominou o Japão por quase trezentos anos, tendo como base a tradução integral da obra Senhimesama (A Princesa Senhime) de Hiraiwa Yumie. O trabalho é dividido basicamente em três partes: na primeira parte far-se-á considerações sobre a relação entre a obra e o romance histórico; na segunda parte, será enfocada a personagem Senhime baseada na mescla de fatos históricos e fictícios e, na terceira parte, será abordada a relação entre Senhime e os vários castelos para os quais se viu obrigada a se deslocar nos períodos marcantes de sua vida / This research had as its primary aim to present a study on the life of Sen\'hime, granddaughter of Tokugawa Ieyasu, who concluded the country unification after years of strife, and established the Tokugawa xogunate of Japan which ruled for almost three hundred years. This study is based in the full translation of Yumie Hiraiwa work Sen\'himesama (Princess Senhime). This research is basically divided into three parts: the first part will make considerations about the relation between the work and the historical novel; the second part will focus on Sen\'hime character which is based in a mixture of historical and fictional facts and in the third part, we will look at the relationship between Sen\'hime and the several castles towards which she was forced to move on remarkable periods of her life

Le refus de l’écrivain argentin Andrés Rivera (1928) de considérer certains de ses romans comme historiques est le point de départ de notre réflexion. Nous abordons dans ce travail les relations entre histoire et fiction, les évolutions de l’historiographie ainsi que celles du roman historique. La prolifération de romans historiques en Amérique latine dans les années 80 et 90 et les évolutions dans le style et les thèmes de ces romans ont amené de nombreux critiques à se pencher sur le phénomène et à étudier ce qui caractérisaient ce qu’ils ont appelé le « nouveau roman historique », « le roman historique contemporain » ou encore « le roman historique postmoderne ». Nous avons constitué notre corpus de romans ou courts romans de Rivera en nous appuyant sur la définition de Seymour Menton selon laquelle un roman est historique si son action se déroule de manière prédominante dans un passé non vécu par l’auteur. Nous avons donc choisi les fictions dont la diégèse se situe entre le XIXe siècle et le début du XXe siècle, ce qui correspond à certaines périodes clés de l’histoire argentine : la Révolution de Mai (La revolución es un sueño eterno), les guerres civiles et l’époque de Rosas (En esta dulce tierra, El farmer et Esemanco Paz), l’essor de la bourgeoisie rurale dans les années 80 du XIXe siècle (El amigo de Baudelaire et Lasierva), les années 20 du XXe siècle (El profundo Sur et Hay que matar). Nous proposons d’analyser, dans ce corpus, la lecture de l’histoire argentine que propose Rivera, la conception de l’histoire qui s’en dégage et la réécriture de l’histoire qu’il propose à partir de la fiction. / Argentinean writer Andrés Rivera’s refusal to consider some of his novels as being historical is the starting point of our reflection. In this work we approach the relations between history and fiction, the evolutions of historiography as well as those of the historical novel. The proliferation of historical novels in Latin America in the 1980’s and the 1990’s in particular, and the evolutions in the style and the themes of these novels have brought many critics to look into the phenomenon and to study the characteristics of what they have called the « new historical novel », « the contemporary historical novel » or more « the post-modern historical novel ». The formation of our corpus of novels or short stories by Rivera is based on Seymour Menton’s definition ; a novel is historical if the action takes place in a past that the author did not live. Thus, we chose the fictions in which the diegesis takes place between the 19th century and the beginning of the 20th century, which matches key periods of the Argentinean history : the May Revolution (« La revolución es un sueño eterno »), the civil wars and the period of Rosas (« En esta dulcetierra », « El farmer » and « Ese manco Paz »), the rise of the rural middle classes in the 1880's (« El amigo de Baudelaire » and « La sierva »), the 1920's (« Elprofundo Sur » and « Hay que matar »). Through this corpus, we intend to analyze the reading of the Argentinean history offered by Rivera, the notion of history drawn from it and the rewriting of history based on fiction he proposes

The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso, the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist’s approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier´s El arpa y la sombra and Posse´s Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power.

Dominick LaCapra argues that historians continue to interpret legal documents in a hierarchical fashion that marginalizes intellectual history, as fiction is perceived to be less viable. This dissertation analyzes contemporary literary texts in the Americas that exploit such a narrow reading of documents in order to interrogate the way official history is constructed by introducing false forms of documents into their narratives. These literary texts, or what I label "con-script," are not only historical fiction, but also historicized fiction that problematize their own historical construction. Many critics propose that the new historical novel revises historical interpretation, but there exists a gap between theory and textual practice. Adapted from E.L. Doctorow's notion of "false documents," the con-script acts as an alternative that purposefully confuses fiction and nonfiction, providing tools to critically examine the authority maintained by official narratives. By revealing the fictive nature of these constructions, the con-script alerts readers to the manipulation of documents to maintain political authority and misrepresent or silence marginalized groups. The recent revision of American Studies to include a hemispheric or Inter-American scope provides a context for applying such political claims within a transcultural framework. I compare texts from English-, Spanish-, and Portuguese America in order to identify shared strategies. After a survey of the historical novel's development across the Americas and a critical theory overview, I analyze three types of con-script. "The Art of Con-Fessing" juxtaposes texts from the three languages via Jay Cantor's The Death of Che Guevara, Augusto Roa Basto's Yo el Supremo, and Silviano Santiago's Em Liberdade. These false documents present themselves as apocryphal diaries supposedly written by revolutionary leaders or activists. The authors demythologize untouchable public figures through the gaps in their "own" personal writing. "Mediations of Media" features Ivan Ângelo's A Festa, Tomás Eloy Martínez's La novela de Perón, and Ishmael Reed's Mumbo Jumbo. These journalists interrogate the role of media and political corruption within the construction of national identity; the false documents appear as newspaper clippings, magazine articles and media images. Finally, the subjective process of archiving is examined in "Con-Centering the Archive" via Aguinaldo Silva's No País das Sombras, Francisco Simón's El informe Mancini, and Susan Daitch's L.C.

Made available in DSpace on 2014-07-29T16:19:07Z (GMT). No. of bitstreams: 1 Canedo_ Rogerio Max - pre textual.pdf: 515807 bytes, checksum: f1220fe240c8f804d2ceae85ffa0c315 (MD5) Previous issue date: 2011-08-15 / In this work, I intend to analyze how the poet, the short story writer and the novelist Bernardo Élis makes use of the History of Goiás in order to rebuild, trough fiction, the economic, political and social scenery of this place, in the beginner of nineteenth century. In his novel Chegou o Governador, published in 1987, the author esthetically presents a realm that drives the reader to a specific historical period of Goiás which are the years between 1804 and 1809. These years correspond to the events of the arrival and departure of D. Francisco de Assis Mascarenhas, a distinguished political character of the Portuguese colonial company, who masterfully led the captaincy of Goiás during these years, according to the local historiography which were considered by Bernardo Élis in his novel. It can be observed the novel establishes an explicit dialogue to the historical studies, that is why, in this research we have proposed, it was necessary to analyze the historiographical records that have mapped the central regions of Brazil during the nineteenth century, moreover, to find the notes that were responsible to notice the events of Goiás during the beginning of the nineteenth century. For that reason, the first step I have taken was to take notes about what the History could tell. After that, it was necessary and approach on the amount of Bernardo Élis‟s works, all of them published in a period of more than four decades, in order to perceive the novelist‟s line of thought, related to the social and historical representation. This step let us explore another frequent discussion, the border limit between Literature and History through the reflection done by scholars and important representatives of both fields of knowledge. After that, the research focuses the discussion of the novel as the structure of artistic creation which gets closer to the problematized social events. It is known that this plural narrative has the History‟s features in its foundation and it is able to make use of this feature as the helm to the fictional work. When we bring out these questions, we are in the main purpose of this research: understanding in which theoretical base the Bernardo Élis‟ novel is established, whether in the principles of classic historical novel, theorized by Georg Lukács (1966), or in the operating modes of the new historical novel, discussed by Fernando Ainsa (1991), or if the novel moves among the both models, and if it does, how it happens. Finally, Chegou o governador is analytically seen in the bases of the theoretical principle mentioned. It is possible to verify how Bernardo Élis made use of the history of his people to illustrate it and problematize it through fiction getting a broader and more complex sense of the events that could demonstrate the local historical movement. By doing this, Élis complies with what we believe is the artist's role: show what is not said, sharpening the critical awareness of the reader about the controversial and contradictory progress of the History. / Neste trabalho proponho averiguar como o poeta, contista e romancista Bernardo Élis se apropria da história goiana para reconstruir, pelas vias da ficção, o cenário econômico, político e social próprio desse lugar, no início do século XIX. Em seu romance Chegou o governador, publicado em 1987, o autor apresenta, esteticamente, uma atmosfera que transporta o leitor para um determinado momento histórico de Goiás, a saber, os anos entre 1804 e 1809, correspondentes aos episódios de chegada e saída de D. Francisco de Assis Mascarenhas, ilustre figura política da empresa colonial portuguesa que governou magistralmente a Capitania de Goiás nos anos citados, segundo nos apresenta a historiografia local de que se vale nosso autor da ficção. Percebe-se assim, que a obra romanceada estabelece diálogo explícito com as ciências históricas, por isso mesmo, na pesquisa que propusemos, foi necessário analisar os registros historiográficos que mapearam as regiões centrais do Brasil durante o século XIX, mais especificamente, encontrar os apontamentos que deram conta dos fatos ocorridos em Goiás durante os primeiros anos do mencionado século. Por isso mesmo, o primeiro passo aqui foi anotar o que a história pôde contar. Em seguida, fez-se importante a abordagem sobre o conjunto de obras do autor da ficção, publicado em um período superior a quatro décadas, para perceber uma linha de força inerente ao romancista, a saber, a da representação social, por decorrência, histórica. Esse passo nos permitiu explorar outra discussão ainda hoje muito em voga, a relação entre literatura e história e o limite da fronteira entre as duas áreas, fazendo uso da reflexão de teóricos e importantes representantes dos dois campos. Posteriormente, a pesquisa enfoca a discussão do gênero romance como estrutura de criação artística que melhor se aproxima dos extratos sociais problematizados. É sabido que essa narrativa plural tem em sua fundação as marcas próprias da história, e por esse aspecto, apta a captá-las como mote para a elaboração ficcional. Ao discutir essas questões, chega-se ao fundamento maior dessa pesquisa, compreender sob qual base teórica o romance de Bernardo Élis está balizado: se nos princípios do romance histórico clássico, teorizados por Georg Lukács (1966); ou, se nos modos operacionais do novo romance histórico, discutidos por Fernando Ainsa (1991), ou, ainda, se a obra cotejada transita entre os modelos propostos e, se transita, de que maneira o faz. Por fim, Chegou o governador é visto, analiticamente, com base nas premissas teóricas apresentadas acima. É possível verificar como Bernardo Élis se valeu da história de seu povo para ilustrá-la e problematizá-la através da ficção, obtendo assim um sentido mais amplo e complexo dos fatos, que desse a ver o próprio movimento histórico local. Ao fazê-lo, Élis cumpre com aquilo que acreditamos ser o papel do artista: evidenciar o que não está dito, aguçando a consciência crítica do leitor sobre o andamento controverso e contraditório da história.

Thèse réalisée en co-tutelle avec l'Université Libre de Berlin, Institut für Deutsche und Niederländische Philologie / Avec la conscience grandissante de la constructibilité de l’histoire, l’historiographie et les sciences littéraires se sont beaucoup rapprochées dans les dernières années. Hayden White a montré, dans son livre Metahistory (1973), que dans la construction de l’histoire, les historiens utilisent, pour construire leur récit, des techniques de narration semblables à celles utilisées par les écrivains. La narratologie devient ainsi une discipline qui rend possible le dialogue entre l’historiographie et les sciences littéraires. Par ce dialogue entre les deux disciplines, les théories (post)modernes de l’historiographie et les concepts de la métafiction dans la littérature s’influencent réciproquement. Dans ce contexte, il est d’autant plus intéressant d’analyser le roman Novembre 1918 de l’écrivain allemand Alfred Döblin (1878-1957), qui anticipe sur cette évolution de l’historiographie et de la littérature, mais qui, malgré sa modernité, reste paradoxalement très peu connu et quasiment ignoré par la critique littéraire. Dans son roman historique, Döblin combine le récit épique des faits historiques avec l’analyse existentielle des protagonistes, en vue de décrire l’histoire comme procès. Du point de vue formel, il combine les moyens narratifs expérimentaux et avant-gardistes, avec la conviction traditionnelle de l’auteur réaliste, c’est-à-dire qu’un récit de fiction puisse dire la vérité sur la réalité et l’histoire. Ainsi il crée une forme singulière de récit entre tradition et innovation, forme qu’il caractérise dans ses essais poétologiques à partir de deux concepts clés : « modernes Epos » et « Tatsachenphantasie », « épopée moderne » et « fantaisie de la réalité ». Dans ma thèse, j’entends définir ces concepts clés de la poétique d’Alfred Döblin pour ainsi établir le cadre théorique de l’interprétation du roman Novembre 1918. L’auteur lui-même définit dans ses essais esthétiques la « fantaisie de la réalité » comme union entre des faits réels et des faits fantastiques. C’est pourquoi ma thèse se concentre sur ce jeu fictionnel entre réalité et fantaisie, entre les éléments du récit réaliste et ceux du récit fantastique. « L’incursion de la démonie » et « le narrateur démiurge » sont deux concepts innovateurs de ma thèse qui aideront à mieux comprendre et définir la poétique du roman d’Alfred Döblin. / As a result of the acute understanding of the constructibility of historical writings, the historiography and the literary sciences have come closer in the last few years. Hayden White shows in his book Metahistory (1973) that the narrative techniques historians use in their historical writings are similar to those used by the authors of literary writings. The narratology has also become a discipline, which allows the dialogue between historiography and literary sciences. Thus, the (post)modern theories of historiography and the concepts of metafiction in literature have an impact on one another. In this context, it is more than challenging to analyse the historical novel November 1918 written by the German author Alfred Döblin (1878-1957), as he already anticipates in the 1920es this evolution of historiography and literature. His historical novel November 1918 is, despite its modernity, a relatively unknown novel, not only to the public, but also to the literary critics. Döblin combines in this novel the monumental realistic description of historical events with the existential analysis of his protagonists. As far as the formal aspects are concerned, he combines the experimental narrative techniques of the avant-garde with the traditional elements, thus unveiling the conviction of the traditional realist author that a fictional literary work can bring out a hidden truth about history and reality. Therefore, he creates a unique form of literature linking tradition and innovation. He caracterises this form, in his poetological writings by means of two key-concepts: “modernes Epos” and “Tatsachenphantasie”: “modern epos” and “fantasy of the real”. In my dissertation I intend to define these key-concepts in Alfred Döblin’s poetics with a view to establish the theoretical setting for the interpretation of his novel November 1918. Since Döblin himself defines in his theoretical essays the “fantasy of the real” as portrayal of both real and fantastic elements, my dissertation focuses on this fictional tension between reality and fantasy, between the elements specific to the realist writings and those specific to the fantastic ones. The “incursion of the demonic” and “the narrator demiurge” are two innovative concepts I present in my dissertation. These concepts should lead to a better definition and understanding of Döblin’s novel poetics. / Die Historiographie und die Literaturwissenschaft haben sich in den letzten Jahren sehr viel angenähert. Durch sein bahnbrechendes Buch Metahistory (1973) bringt Haydn White ans Licht, dass sowohl die Schriftsteller als auch die Historiker sich ähnlicher narrativer Verfahren bedienen, um die Wirklichkeit zu beschreiben. Durch dieses Bewusstsein der Konstruktivität und Narrativität von Geschichte ist die Narratologie zur verbindenden Wissenschaft geworden. Darum ist es interessant, sich Alfred Döblins historischem Roman November 1918, einem der großen historischen Romane der deutschen Literatur, zuzuwenden, weil er vieles davon vorwegnimmt, was die (post)modernen Theorien der Historiographie und die metafiktionalen Konzepte der Literatur ins Blickfeld rücken. Aufgrund unglücklicher Rezeptionsbedingungen wurde Döblins Roman bis heute kaum beachtet, sowohl vom Publikum als auch von der literarischen Kritik. In seiner Darstellung der deutschen Revolution verknüpft Döblin die experimentell-avantgardistischen Erzählverfahren und das Misstrauen gegenüber der Erzählbarkeit der Geschichtsprozesse mit der traditionellen Einstellung, dass eine fiktive Erzählung die Wahrheit über Wirklichkeit und Geschichte sagen kann. Dementsprechend schafft er eine einzigartige Erzählform zwischen Tradition und Innovation, die er bereits in seinem Berliner Programm anhand von zwei Schlüsselbegriffen definiert: „modernes Epos“ und „Tatsachenphantasie“. Meine Arbeit versucht, Döblins Geschichtsepos November 1918 im Lichte dieser zwei Begriffe zu analysieren und zu zeigen, wie Döblin sein ästhetisches Postulat der „Tatsachenphantasie“ in seinem Roman literarisch realisiert. Da Döblin selbst die „Tatsachenphantasie“-Ästhetik als Verbindung der wirklichen und der phantastischen Fakten und Elementen definiert, befasse ich mich in meiner Arbeit mit diesem Zusammenspiel zwischen den narrativen Formen der realistischen Erzählung und denjenigen Motiven und Elementen, die in den phantastischen Erzählungen vorkommen. „Der Einbruch des Dämonischen“ und „der Erzähler als Demiurg“ sind zwei innovative Schlüsselkonzepte meiner Arbeit, die zu einer besseren Begriffsbestimmung von Döblins „Tatsachenphantasie“-Ästhetik führen werden.

Title: Images and Symbols in the Historical Novels of Nağīb Maḥfūẓ Author: Martina Hainová Departement: Ústav Blízkého východu a Afriky Supervidor: PhDr. František Ondráš, PhD. Keywords: Nağīb Maḥfūẓ, egyptian literature, history, symbol, image, egyptology, leader, nationalism, identity This thesis examines the role of the symbols in the three historical novels of Nağīb Maḥfūẓ that take place in the Ancient Egypt. In his return to the history of his nation, he shows people the way to their own identity and explains the contemporary situation in the country by using symbols. We try to prove that his novels renew the traditions and connect the modern Egypt with the legends. We demonstrate on the extracts the intentions of the author, confront his deviation from the historical facts and present reasons which led author to do that. For further comprehension, we give details about the historical novel, egyptology and show the impact of european authors on Nağīb Maḥfūẓ.