A tese se dedica ao estudo das relações entre o poético e o político na escritura de Paul Valéry entre 1940 e 1945, anos arrasados pela segunda guerra e também os últimos da vida do escritor. O período estudado começa, assim, no verão de 1940, quando a França perde a batalha contra os alemães, Paris é ocupada pelos nazistas e Valéry, abrigado no norte do país, põe-se a escrever o terceiro Fausto que ele há tempos desejava compor. A pesquisa se estende até maio de 1945, pleno apogeu da Libération Française, quando o escritor publica em jornal gaulista (aquelas que [não] deveriam ser) as Ultima Verba do vencedor do conflito, e termina o poema em prosa LAnge depois de duas décadas de trabalho sobre esse texto. Seguindo a escritura diária dos cahiers de Valéry e as notas do curso de poïética ministrado pelo poeta no Collége de France naqueles anos, a tese busca apreender como as estratégias poéticas das obras analisadas Ultima Verba, LAnge e Mon Faust são concebidas para enfrentar os acontecimentos esmagadores daquele período. Com efeito, elas modulam recursos sensíveis, significativos e formais do ato poético, pondo em contradicção as forças heterogêneas do discurso e sua dicção, da voz e do pensamento (lógos e foné), ser e convenção, estabelecendo uma implicação recíproca do poético e do político: o poeta como político profundo, entre as majorités do som e do sentido. Essa implicação põe em jogo a autonomia e a soberania da linguagem poética, os modos de circulação do discurso numa sociedade democrática e o gesto do poeta frente às aporias do processo de escrita. Desse modo, procura-se menos revelar a política de suas escolhas (as vias que o escritor abre ou fecha; ainda que isso seja parte do problema, não é o principal) do que pensar na política de sua poética, perceptível na modulação das diferentes maneiras de ver que compõem o poema, uma modulação que cala ou interrompe, escuta ou prolonga suas hesitações. Assim, veremos que os dilemas da fiducia política e da ciência moderna elaborados nos brouillons do ciclo fáustico e nas notas do curso de poïética reencontram a hesitação prolongada, o inacabamento e infinitização contínua do ato poético, sempre em curso de driblar injunções fiduciárias e técnicas, num momento em que a Europa moderna tinha mais do que nunca carência de repensar os pactos, moedas, projetos e o próprio para, [vencedor, nesse] momento em curso na literatura e na comunidade. / The thesis aims to study the relations between the poetic and the political in the writings of Paul Valéry from 1940 to 1945, a time crushed by the war and the last years of the poets life. This study covers a period that goes from the summer of 1940 during the last weeks of the Battle of France, when Paris was occupied by the germans and the poet, sheltered in the countrys north, starts to write the third Faust that for a long time he wished to write up to may 1945, in the pinnacle of the Libération Française, when the writer publishes in a gaullist journal (those that should [not] be) the ultima verba of the wars winner, and completes, after two decades of writing labour, the prose poem LAnge. By following the the cahiers daily writings and the Collège de Frances course in poetics lesson notes of those years, we seek to understand the strategies conceived to confront the periods crushing events, specially in the analysed texts Ultima Verba, LAnge and Mon Faust. In fact, they modulate the aesthetic infinitys sensible, significant and formal resources in the contradiction of the heterogeneous forces of the discourse and its diction (its elocution), voice and thought (logos and phone), being and convention, thus establishing a reciprocal implication of the poetic and the political: the poet as a profound politician who works between the majorities of sound and sense. This implication reflects upon the poetic languages autonomy and sovereignty, the discourse circulation modes in a democratic society and the poets act in relation to the writing process issues. Thus, this gesture would be put in place less for revealing the politics in Valérys choices (the paths he opens or closes; this is also part of the problem, but it is not the main question) than for thinking about his poetics own politics, one deployed in the modulation of the different manners of seeing implicated in the poem, a modulation that silents or stops, listens or prolongs their hesitations. Then, we shall see that the fiducias politics and modern science dilemmas elaborated by the faustic cycle drafts and by the course in poetics lesson notes find theirselves in the company of the verse as prolonged hesitation, of the poetics act incompleteness and infinitization, always in the process of dribbling the fiduciary and technical injunctions, in a time when modern Europe had more than ever to rethink the pacts, currencies, projects and even the stop, [winner, in this] moment that had currency in literature and community.

Esta dissertação investiga os modos de representação da realidade no romance Homem em queda, do norte-americano Don DeLillo. O método utilizado é a análise interpretativa de trechos chaves do romance que possam representar a arquitetura de toda a narrativa, ao modo de Erich Auerbach. Escritos do teórico Fredric Jameson acerca do inconsciente político e da questão temporal na pós-modernidade se somam a teorias de Karl Marx (alienação) e Guy Debord (sociedade do espetáculo) para auxiliar a leitura sócio-histórica do romance. / This master\'s thesis investigates the representation of reality in the novel Falling Man, by Don DeLillo. The method is the interpretative analysis of key excerpts of the novel which may represent the whole architecture of the narrative, following the steps of Erich Auerbach. Writings by Fredric Jameson about the political unconscious and temporality in postmodernity as the theories of Karl Marx (alienation) and Guy Debord (society of the spectacle) helped us leading a socio-historical reading of the novel.

Esta tese dedicase ao estudo enunciativo das rasuras presentes no manuscrito de Esaú e Jacob, conservado na Academia Brasileira de Letras, por meio do qual se pretende problematizar os mecanismos de construção do sentido da obra e da ironia em Machado de Assis. Para tanto, partese da análise do binômio aqui denominado de o manuscrito da ficção e a ficção do manuscrito. No primeiro eixo, apresento uma descrição críticogenética do manuscrito do referido romance e de alguns dos demais manuscritos do autor contendo marcas de algum trabalho de escrita para, em seguida, lançarme na análise enunciativa das rasuras operadas no manuscrito, observando de que maneira ocorre uma problemática construção da voz narrativa e do agenciamento discursivo das vozes, apoiandome mormente nas teorias de Émile Benveniste e de Jacqueline AuthierRevuz. No segundo eixo, na esteira sobretudo das análises de Abel Barros Baptista e de JoséLuis Diaz, dedicome ao estudo do autor ficcional, buscando observar em que medida tal recurso romanesco delineia uma complexa imagem autoral e define uma postura enunciativa que inviabiliza a percepção do autor como garantia do sentido do romance e, consequentemente, da ironia, desestabilizando a significação de forma ampla, mas fazendo com que seja recolocada a questão do corpo e da voz da literatura, além de permitir uma possível abertura em direção a novas partilhas do sensível, tal como indica Jacques Rancière. / This thesis is devoted to the enunciative study of the deletions present in the manuscript of Esau and Jacob, preserved in the Brazilian Academy of Letters, whereby I intend to question the mechanisms of meaning construction and the mechanisms of irony in the work of Machado de Assis. For this purpose, an analysis is based on the binomial denominated, here, the manuscript of fiction and the fiction of the manuscript. In the first part, I present a description from a genetic criticism perspective of the referred novels manuscript and other manuscripts from the same author containing signs of a certain working of writing. I proceed to the enunciative analyses of the deletions done in the manuscript, observing how a problematic construction of the narrative voice and a discursive arrangement of the voices occur, basing myself mainly on Émile Benveniste and Jacqueline AuthierRevuzs theories. In the second part, following chiefly Abel Barros Baptista and JoséLuis Diaz analyses, I dedicated myself to the study of the fictional author, aiming to examine to what extent this fiction resource delineates a complex authorial image and defines an enunciative posture that makes infeasible the authors perception as the guaranty of the meaning of the novel and, consequently, the irony. This unbalances the signification widely, but reestablishes the matter of the body and the voice of literature and also enables a possible path towards new distributions of the sensible as Jacques Rancière suggests.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-15T15:10:27Z No. of bitstreams: 1 raquelperalvamartinsdeoliveira.pdf: 423135 bytes, checksum: 936dc9680038ecba9d4af58f966164fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-22T14:56:52Z (GMT) No. of bitstreams: 1 raquelperalvamartinsdeoliveira.pdf: 423135 bytes, checksum: 936dc9680038ecba9d4af58f966164fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-22T14:57:31Z (GMT) No. of bitstreams: 1 raquelperalvamartinsdeoliveira.pdf: 423135 bytes, checksum: 936dc9680038ecba9d4af58f966164fc (MD5) / Made available in DSpace on 2016-07-22T14:57:31Z (GMT). No. of bitstreams: 1 raquelperalvamartinsdeoliveira.pdf: 423135 bytes, checksum: 936dc9680038ecba9d4af58f966164fc (MD5) Previous issue date: 2011-10-25 / Apesar da vasta obra de Machado de Assis, há poucas publicações suas explicitamente dedicadas à crítica literária. No entanto, muitas das narrativas ficcionais machadianas se oferecem como possibilidades de compreensão acerca das suas concepções teóricas e críticas. A relevância dessa pesquisa está, justamente, em investigar e aprofundar os conhecimentos a respeito dos posicionamentos de Machado sobre questões referentes à teoria e à crítica literária, demonstrando também em que medida este entrelaçamento entre o texto ficcional e o teórico pode representar uma afinidade (antecipada) com o conceito de escritura formulado por Roland Barthes no século XX. Através deste mapeamento a ser realizado nos textos ficcionais machadianos, objetivo ressaltar, sobretudo, alguns de seus pensamentos a respeito do fazer literário e dos papéis distribuídos ao autor, ao crítico/teórico e ao leitor. Além disso, a visualização de determinados posicionamentos teóricos e críticos de Machado permite o aprofundamento do debate a respeito do frequente atributo de precursor de tendências, o qual foi muito bem sintetizado por Merquior em De Anchieta a Euclides: breve história da literatura brasileira: “Machado de Assis teve a intuição da crítica moderna.” (1979, p. 162). / Despite the extensive work of Machado de Assis, he has few publications devoted to explicit literary criticism. However, many of the Machado’s fictional narratives are offered as possibilities for understanding his theoretical and critical conceptions. The relevance of this research is precisely to investigate and improve the knowledge about the positions of Machado around issues of theory and literary criticism, demonstrating how this interweaving of theoretical and fictional texts may represent an early affinity with some concepts formulated by Roland Barthes in the twentieth century. Through this analysis of Machado’s fictional texts, I aim to emphasize, above all, some of his thoughts about the literary production and the roles occupied by the author, the critic/theoretic and the reader. Furthermore, the visualization of certain theoretical and critical positions of Machado allows a deeper debate about the common attribute of a trendsetter, which was well summarized by Merquior, in, De Anchieta a Euclides: breve história da literatura brasileira: "Machado de Assis had the insight of modern criticism."

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T19:59:19Z (GMT). No. of bitstreams: 1 Borges_DanielBatistaLima_M.pdf: 5259036 bytes, checksum: d675fa7b00e84371d83927032e12bb74 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação visa ao delineamento de nexos presentes na confluência entre o estudo da narrativa oral e especificidades culturais caipiras na contemporaneidade. Para tanto, recorremos aos relatos de moradores do município de Caçapava, na região do Vale do Paraíba, Estado de São Paulo. Segundo nossa hipótese, os narradores entrevistados para esta pesquisa desenvolvem dois modos de narrar a tradição oral: um primeiro modo, constituído de formas simples, como o causo, o caso e a saga caipira, caracterizado pela estabilidade das formas condensadas na tradição; e um segundo, a estória oral, na qual o narrador tem mais liberdade de criação, e ao qual conferimos a atualização dos significados da cultura via narração. As instâncias narrativas responsáveis por estas narrações formam-se de acordo com os pressupostos de Walter Benjamin para narração da experiência como ressignificação do vivido. Isso nos ajuda a identificar nas narrações dos colaboradores desta pesquisa um indício de que, na contramão de diagnósticos apocalípticos sobre a existência da cultura caipira na atualidade, esta se renova e se atualiza constantemente, dentro de nexos próprios e em interação com mudanças externas, como a industrialização do Vale do Paraíba / Abstract: The aim of this dissertation is to outline the links between oral narratives and contemporary cultural peculiarity among country (caipira) communities. In order to do so we turn to the narratives of the inhabitants of the Caçapava municipality in the Paraíba valley area, São Paulo state. This work is based on the hypothesis that the narrators interviewed develop two ways of recounting oral traditions: the first is through a set of simple formulae, called the causo, the caso and the caipira saga, all characterized by a series of forms which have been fixed and condensed by tradition. The second, the oral story, is a freer style from the point of view of the creator, where meaning is actualized through narration. The narrative instances responsible for these stories are formed according to Walter Benjamin¿s ideas about the narration of experience as a re-signification of lived experience. This helps us to identify traces in the narratives of the collaborators in this research that counter apocalyptic diagnoses about present-day caipira culture. Against these perspectives, the work presented suggests that country or caipira culture continues to renovate and actualize itself, within its own links and interacting with changes from the outside, such as the industrialization of the Paraíba valley / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

In my thesis, I examine the discursive space of the detective fiction genre following Kasai Kiyoshi's periodization in his two-volume seminal work Tantei shosetsuron (The Theory of Detective Fiction, 1998). I investigate how Japanese detective fiction has developed in relation to Japan's modernization, industrialization, nationalism, and globalization, specifically in the 1920s-30s, the 1950s-60s, and from the 1990s to present. By historicizing the discursive formation of the genre in decisive moments in Japanese history, I examine how Japanese detective fiction delineated itself as a modern popular literature differentiating itself from serious literature (junbungaku) and also from other genres of popular fiction (taishu bungaku). My study exposes the socio-political, cultural and literary conditions that conditioned the emergence of the detective fiction genre as a problematic of Japanese society, stitching fantasy and desire for the formation of the national subject in the cultural domain. I investigate the dynamics through which Japanese detective fiction negotiates its particularity as a genre differentiating itself from the Western model and domestically from the conventional crime stories of the Edo and Meiji periods. Chapters One through Three of my study examine Japan's socio-cultural contexts after the Russo-Japanese war, specifically magazine culture and the rise of the detective fiction genre (Chapter I), the I-novel tradition and its relation to the genre (Chapter II), and representations of Tokyo as an urban center, focusing on Edogawa Ranpo's "Inju" (Beast in the Shadows, 1928) (Chapter III). Chapters Four through Six investigate the socio-cultural contexts after World War II, especially Japan's democratization in the 1950s-60s and the rearticulation of the genre through repeated debates about authenticities in Japanese detective fiction (Chapter IV), and the transition from tantei shosetsu (detective fiction) to suiri shosetsu (mystery) focusing on Yokomizo Seishi's Honjin satsujin jiken (The Honjin Murder Case, 1946) and Matsumoto Seicho's Ten to sen (Points and Lines, 1957) as representative works of the two trends (Chapter V), and finally the postmodern "return" to the prewar tradition in the 1990s (Chapter VI).

Notion scientifique et philosophique majeure du XVIIIe siècle, l’expérience s’affirme dans les œuvres du romantisme émergent (1795-1818) à la fois comme un thème privilégié et comme le support d’une élaboration esthétique. Étudier l’appropriation plurivoque de la notion d’expérience dans un corpus comparatiste (Novalis, Mme de Stäel, Coleridge, Tieck, Senancour, Keats, etc.) permet d’examiner, contre un certain héritage de l’histoire littéraire, les nuances de l’identité romantique alors en train de se constituer. L’analyse poétique, couplée à la perspective diachronique qui est celle de l’histoire des idées, fait voir la richesse des conceptions et des attitudes du romantisme en lien avec l’expérience, de la quête à la résignation, de la célébration de l’action au repli introspectif, tout en permettant d’interroger la réception critique et universitaire des œuvres et leur rôle dans la construction d’une certaine identité romantique. / A major scientific and philosophical concept of the eighteenth century, the Experience manifests itself in the works of the new emerging Romanticism (1795-1818); both as a privileged theme and as a contribution to an aesthetic construction.Studying the polyvocal understanding of the notion of experience in a comparative corpus, like in Novalis’, Mme de Stäel’s, Coleridge’s, Tieck’s, Senancour’s, Keats’s, to mention a few, makes it possible to observe, against a certain legacy of literary history, the nuances in the Romantic identity during its own making. The poetic analysis, combined with the diachronic perspective of the history of ideas, shows the wealth of conceptions and attitudes of Romanticism in relation to experience, from the quest to resignation, and from celebration of action to the introspective withdrawal; all while allowing the critical and academic reception of such works to be questioned regarding their role in the construction of a certain Romantic identity.

Orientador: Marco Antônio Domingues Sant'Anna / Banca: Jeane Mari Sant'Ana Spera / Banca: Alice Áurea Penteado Martha / Resumo: O presente trabalho apresenta um estudo analítico/comparativo do conto "A volta do marido pródigo", extraído da obra Sagarana, de Guimarães Rosa com a Parábola do Filho Pródigo, encontrada no Novo Testamento, narrada em Lucas 15.11-32, comparando-o, formal tematicamente, fato que revela seu caráter intertextual. Propõe-se neste estudo uma reflexão acerca da relevância da análise da Bíblia tanto para o seu próprio conhecimento literário quanto para a constatação da mesma como referência consagrada para muitas obras que se tornaram marcos na literatura ocidental, como é o caso do conto selecionado neste trabalho, que configura uma expressão artística de um gênero discursivo pouco estudado na atualidade, que pode se constituir em uma ferramenta muito útil no processo de ensino/aprendizado. Para isso, tem-se como base teórica uma bibliografia referente à intertextualidade, ao estudo literário da Bíblia, ao gênero do discurso da parábola e à crítica e análise literária / Abstract: This essay presents a comparative analytical study of the short story "A volta do marido pródigo" from the book Sagarana, written by Guimarães Rosa, with the Prodigal Son parable, found in the New Testament, in Luke 15:11-32, comparing it formally and thematically with, which reveals its intertextual aspect. This study proposes a reflection on the relevance of the Bible analysis for both its own literary knowledge and it as a great reference for many works that have become memorable marks in Western literature, such as the short story selected in this work, which sets an artistic expression of a little studied genre that may constitute a useful tool in teaching and learning. In order to this, we have a literary theoretical base about intertextuality, literary study of the Bible, parable as a discursive genre and literary criticism and analysis / Mestre

The aim of this essay is to provide a perspective on literature inculpating colonialism using postcolonial literary theory and method. The subject material incorporates four novels studied during the literature modules for the English course at Högskolan Gävle (HIG). The four novels combine to highlight various issues that affect the Self-identity through hybridization and colonial discourse as well as the detrimental nature of the colonial project for indigenous value systems during the period of colonialism. There is also application of theories and concepts raised in academic literature from within and outside the curriculum of HIG. The use of the postcolonial literary methodology provides a critical perspective of the aforementioned literature while implementing theories associated with that movement such as hybridity and the redefining of borders as well as focusing on the social, cultural, political and religious impact of the coloniser’s activities in the colonies as raised in the novels.  The most significant findings of this essay include the roles of isolation and disconnection within the colonial project and the subsequential effects on the colonised and their descendants. There are findings and observations of the level of strategic application of universalistic colonial discourse and the intrinsic application of the language used in the objectification of the indigenous and the subjugation of their value systems. The role of perception is also highlighted including findings on the social implications for the colonies inhabitants, both dissident and conformist, raised within the chosen literature and this essay. The essay also examines the application of various strands of literary theory incorporated within postcolonialism including poststructuralism and psychoanalytic criticism as well as anthropology material.  The conclusion of this essay culminates with the conflicting interpretations of progress as a universalism that counters the theories of postcolonialists and poststructuralists and their subsequent refusal to succumb to literature’s prevalence. The subjectivity of the postcolonial literary theorist and the self-imposed parameters restrict the interpretation of the colonial and postcolonial literature. The aforementioned progress defined by improved standards of health, education and social justice is lacking in presence in both the postcolonial literature and the accompanying literary theory counterpart. Subsequently, the disconnected voice of isolation and the split/double identity take precedence over higher standards of living and the appreciation of access to improved human rights and social justice within postcolonial society.

Poststructuralism may be broadly characterized as a move away from traditional Western foundationalist thinking. Such thinking is exemplified by post-enlightenment transcendentalism, humanism and subject-centredness. This study aims to contribute to the poststructuralist decentering of the subject by means of the application of the critical practice of deconstruction – a type of analysis named and popularized by Jacques Derrida, who is himself frequently classified as a poststructuralist, in which the ruling logic of the text is undermined and the meaning of the text is therefore shown not to be fully present within it – to four texts by a writer who is arguably among the most prominent within the English literary canon: William Shakespeare. The first deconstructive reading centres around the court scene at the climax of the bond story in The Merchant of Venice. Here the apparent contrast between the restrictive law – which views Shylock’s claim of a pound of Antonio’s flesh as valid – and justice and mercy – which regard adherence to this bond as contrary to the spirit of the law – is collapsed, and justice is shown to be capable of being as restrictive as the law, while mercy becomes embroiled in all the trading that occurs in The Merchant of Venice, and demonstrates the capacity to be mercenary. The Tempest is examined next: the starting point is the apparent Nature/Culture distinction within the play. The reading is influenced by Derrida’s use of the notion of supplementarity in his examination in “… That Dangerous Supplement …” of the Nature/Culture distinction in Rousseau. Particular attention is given first to the wedding masque, where the central figure of Ceres, who is goddess of agriculture and marriage, and also the source of seasonal changes, is shown to problematize any absolute distinctions between Nature and Culture. Such distinctions are further collapsed with reference to Prospero and Miranda’s teaching of language to Caliban, as the latter, who supposedly is representative of natural man, is shown to have had his thought supplemented by language before Prospero’s arrival on the island. Hamlet is approached with a reading that again draws from Derrida – this time his exploration of Mallarmé’s “Mimique” in “The Double Session”. Plato’s theory of forms also becomes involved as this chapter plays with the distinction between Being and imitation, destabilizing this distinction within Hamlet and problematizing Hamlet’s question: “To be, or not to be”. And finally, the chapter on Measure for Measure is concerned with the ideas of restraint and freedom, inspecting Lucio’s suggestion that his restraint arises from “too much liberty”, as well as many other instances in the play where restraint, as well as freedom – which seems at times to function in the same way as restraint – seems significant. The reading draws attention to its own impulse to restrain the reader with the truisms it presents by being written in the form of thirty-four aphorisms, and thus alludes to Derrida’s “Aphorism Countertime”. / Dissertation (MA (English))--University of Pretoria, 2005. / Modern European Languages / unrestricted