The aim of the present study is to analyze the representation of the mythic timelessness and the religious subversion in the novel Pedro Páramo (1953) by the Mexican writer Juan Rulfo. The novel is analyzed from a narratological perspective based on the concept of focalization proposed by the French theoretician Gérard Genette. According to Genette it is possible to identify different levels of focalization depending on the position of the narrative voices.The key question in this investigation is if any salvation is possible in the universe of Pedro Páramo and how the mythic timelessness and the religious subversion are represented in the textual intentionality through the narrative voices. The main conclusion is that there is no possible salvation in the fictional universe of Pedro Páramo. The collective sin is so vast that the intermediation between God and the inhabitants of Comala does not work anymore. Thus, the only possible ”salvation” consists in the separation of the soul from the body the people of Comala experience after death. In Pedro Páramo the dead body is liberated from remorses, but - contrary to the Catholic concepts - becomes a conscious materia sentenced to remember eternally.Keywords: Juan Rulfo, Pedro Páramo, narratological analysis, Gérard Genette, textual intentionality, focalization, mythic timelessness, religious subversion, narrative voices.

La dysorthographie est considérée en psychiatrie comme un trouble spécifique des apprentissages. Les découvertes neuropsychologiques de la place des émotions dans les apprentissages confirment une idée soutenue par l'approche psychopathologique psychanalytique selon laquelle le développement cognitif ne peut être dissocié du développement affectif. Notre recherche a porté sur le silence des affects repéré chez certains enfants présentant ce trouble dans notre pratique clinique, émettant l'hypothèse d'une logique psychosomatique sous-tendant ce symptôme. L'analyse du CAT d'un groupe de vingt enfants et l'analyse de la thérapie d'une enfant de neuf ans ont permis de mettre en évidence une répression majeure des affects, une restriction de l'expression fantasmatique, une prévalence des agirs et des sensations en lien avec un attachement fort au perçu. La présence de ces éléments laisse envisager que dans ces cas, le symptôme dysorthographique peut témoigner de l'action de défenses de type opératoire et ne constitue pas un symptôme psychonévrotique exprimant un conflit symbolique. Au-delà de l'hétérogénéité du fonctionnement psychique de ces enfants, l'existence de telles constantes cliniques nous conduit à établir un parallèle entre le symptôme dysorthographique et un symptôme psychosomatique. Ceci ne le laisse cependant pas dépourvu de sens, que nous avons tenté de rechercher à travers l'analyse des mouvements transféro-contre-transférentiels de la thérapie de Jeanne. Nous avons ainsi été amené à proposer l'hypothèse d'un défaut de subversion libidinale à l'origine d'un maintien dans une écriture purement fonctionnelle et mécanique chez certains patients dysorthographiques.

瑪格莉特•愛特伍《使女的故事》可視為是對童話故事的改寫，其採用了童話故事的結構及特色，並且印證了女性透過改寫可展現的顛覆力量。自從1970年代起，女性主義評論家對於傳統童話故事的批評主要可分為兩派，相對於早期評論家總是對童話故事中性別刻板印象的描述多所責難，後期的評論家漸漸傾向將童話故事視為是可提供重新詮釋或改寫的場域。對於小說作者愛特伍而言，童話故事中隱含了許多潛在的矛盾及反動的因素，而這些因素就構成了可供改寫並加以顛覆的空間。透過小說互涉的技巧，愛特伍不只是探究隱含在童話故事中的性別政治議題，同時也將其中的反動因子加以放大，並且加以改寫顛覆。 本文將探討《使女的故事》這本小說對於童話故事以及聖經的改寫以及顛覆。第一章介紹愛特伍、此小說及其與童話故事的關聯性。第二章著重在兩派理論家對於傳統童話故事的爭論（是與父權主義共謀抑或是可提供重新詮釋或改寫的場域），第三章則指出這本小說包含了哪些童話故事的特色，並且探究同時存在於基列政權與童話中的性別議題，也就是父權體制對女性的宰制與壓迫。而第四章分析愛特伍如何藉由突顯出隱含在童話故事中的反動因子，對童話故事以及聖經故事加以解構。最後一章以愛特伍對童話故事的修訂印證了女性重新詮釋或改寫所具有的顛覆力量。 / As a revision of the fairy tale, Margaret Atwood’s The Handmaid’s Tale not only reveals its adoption of the structure and components of fairy tales but also demonstrates the subversive potential for feminist revision of the fairy tale. While classical fairy tales have long rebuked by early feminist critics as conservative and as reinforcing the gender stereotypes, there has been a critical tendency since the 1970s that the genre of fairy tale can be seen as a site of contestation, which offers the opportunities of reinterpretation and revision. Acknowledging that the fairy tale cannot be interpreted one-dimensionally, Atwood unearthes the underlying disturbing elements within classical fairy tales, which constitute the space for feminist reappropriation and subversion. Through the techniques of metafictional writing, Atwood not only explores the sexual politics in fairy tales but also highlights the subversive elements, exaggerates them, and revises the tales. This thesis will discuss The Handmaid’s Tale in terms of its revision of fairy tales and the biblical texts. The first chapter introduces Atwood, the novel, and its relevance to the genre of fairy tale. The second chapter will provide a survey of critical depute on classical fairy tales, such as Perrault’s and the Grimms’, as colluding with patriarchy or as a site of contestation. Chapter Three will point out that this novel can be viewed as a modern fairy tale or a revision of fairy tale in terms of some fairy-tale characteristics and that it explores patriarchal domination and oppression of women not only present in Gilead but also inherent in the fairy tales. Chapter Four will analyze that Atwood explores a subtext that she has found in the tale and deconstructs the dominant discourse of the fairy tale and the Bible. The final chapter will conclude that Atwood’s revision of the fairy tales reveals the subversive potential of feminist reappropriation.

A travers l‟intervention des technologies numériques (films/vidéos, performances, installations multimédias, art en ligne), les artistes contemporains proposent de nouveaux imaginaires corporels et des perceptions inédites des genres. Cette recherche propose une analyse comparée des travaux pluridisciplinaires de Maria Klonaris, Katerina Thomadaki, Steven Cohen et Shu Lea Cheang. Leurs oeuvres permettent d‟élaborer le concept de « jouer le genre » (Judith Butler, 1990), et d‟approcher l‟image de « l‟utopie cyborg sans genre » (Donna Haraway, 1985). Ces possibilités du corps et des sexes font écho à des évolutions technologiques et culturelles, croisant la théorie queer. Ce sont des expérimentations en cours sur des identités en devenir. / Following the actual uses of digital technology (films, videos, performances, multimedia installations and Internet art), contemporary artists offer new visions of the human body and new perceptions of gender. This research offers a comparative analysis of the multidisciplinary works of Maria Klonaris, Katerina Thomadaki, Steven Cohen and Shu Lea Cheang. Their works provides a useful framework for understanding Judith Butler's theory of "gender performativity"(1990) and Donna Haraway‟s vision of "utopian dream of the hope for a monstrous world without gender"(1985). The possibilities of the body and gender respond to technological and cultural evolutions that are linked with queer theory. These works are on-going experiments for identities that are in-the-making.

My dissertation focuses on an analysis of postmodern narrative strategies in Milan Kundera's The Unbearable Lightness of Being (ULB) and The Book of Laughter and Forgetting ( BLF) . By analysing the postmodern ab/use of narrative strategies, I argue that postmodern fiction marks a decided shift from both classical realism and modernism. My dissertation has predominantly been motivated through my contention that postmodern fiction is not elitist as it has been perceived to be. Rather, I suggest that postmodern fiction ab/uses narrative strategies to deconstruct the ontological boundaries between the political and private and fiction and 'fact'. Consequently, postmodern fiction interrogates the contrived intelligibility of History. A further argument that I raise is that postmodern fiction through its (re) appropriation, subversion and use of parodic structures creates.narrative space for the Other. In order not to canonize Kundera's texts, I situate both ULB and BLF as 'nodes' within a diffuse network of intertextual discourse. My analyses of the postmodern narrative strategies in ULB and BLF, attempt to interrogate the diffuse 'nature' of postmodern fiction which resists both authorative analysis and closure. In exploring the relationship between recuperation and postmodern narrative strategies in ULB and BLF and other works and/or texts of fiction, I argue that postmodern fiction does not revel in its narrativity, it constitutes, instead, a political strategy / Afrikaans and Theory of Literature / M.A. (Theory of Literature)

[pt] Esta dissertação tem por objetivo analisar o caminho percorrido pelo corpo homossexual na modernidade até as últimas décadas, quando passou a ser representado de forma normalizada. Propõe-se, primeiramente, uma breve historiografia da homossexualidade: desde sua criação e naturalização por instituições médico-jurídicas em 1869, nas sociedades disciplinares, até o monopólio imagético heteronormativo de Hollywood nas sociedades de controle, e pela apropriação do termo pelas lutas identitárias homossexuais norte-americanas na década de 1970. Em seguida se estabelece uma analise crítica do termo coming-out of the closet (o sair do armário). A análise chega a seu objetivo principal: as supostas motivações da rejeição das representações do gay efeminado, da lésbica masculinizada e dos demais sujeitos não-heteronormativos pela cultura homossexual. Por fim, a reflexão se atém aos filmes Elvis & Madona (2011) e ao documentário Dzi Croquettes, com o intuito de flagrar a presença de personagens representados fora da diferença sexual no cinema brasileiro contemporâneo, o que subverteria uma possível normalização dos corpos em questão. / [en] This dissertation s purpose is to analyze the path that the homosexual body had to pass through since Modern Times until the last decades, when it started to be represented in a normalized way. It starts with a brief historiography of the homosexuality: since its creation and naturalization by medical-legal institutions in 1869, on disciplinary societies, up to Hollywood s heteronormative imaging monopoly in control societies, and finally the appropriation of the term by the American homosexual identity movement in the 70 s. Next, the dissertation s aim is to establish a critical analysis of the term coming out of the closet - when it reaches its main goal: an investigation of the possible reasons why the homosexual culture tends to reject the figures of the effeminate gay (sissy boys), the manned lesbian (butches and dykes) and all the other non-heteronormative subjects. Finally, the reflection focuses on the movies Elvis & Madona (2011) and on the documentary Dzi Croquettes - aiming to perceive how Brazilian contemporary movies are portraying subjects out of the representation based on the sexual difference, what could mean a possible subversion of this normalization of the body.

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No. of bitstreams: 1 wiechmann_nh_dr_arafcl.pdf: 1389999 bytes, checksum: e49f465ba62565f942cdeef5d313bc04 (MD5) Previous issue date: 2016-10-31 / O objetivo desta tese de doutorado consiste em analisar a poesia de Emily Dickinson (1830-1886) sob a perspectiva da crítica literária feminista estadunidense utilizando o conceito de subtexto literário enquanto recurso poético que revele na obra dickinsoniana diversas formas de subversão de normas sociais e literárias do patriarcado. Para isso, nosso corpus de análise se compõe de dezoito poemas e nosso trabalho está estruturado em quatro seções. A primeira discute algumas questões caras à crítica literária feminista estadunidense, como o conceito de autoria feminina e a tradição literária para, então, teorizar sobre o conceito de subtexto literário relacionando-o à ideia de subversão. Também nessa primeira seção analisamos do poema “Tell all the Truth but tell it slant – ”. Já na segunda parte de nossa tese apresentamos o contexto da produção literária estadunidense no século XIX e discutimos o fato de Emily Dickinson ter se recusado veementemente a publicar seus poemas. Os poemas analisados nessa seção são “Publication – is the Auction”, “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” e “Fame is a fickle food”. Na sequência, examinamos o ideal de feminilidade do século XIX e as formas como Dickinson subverte esse ideal nos poemas “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” e “I started Early – Took my Dog – ”. Por fim, analisamos poemas em que Dickinson empreende a subversão da imagem de Deus ao apontar as vulnerabilidades da fé e da condição humana e questionar preceitos religiosos: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” e “God gave a Loaf to every Bird – ”. Como suporte teórico, recorremos a diversos autores que compõem a fortuna crítica de Emily Dickinson bem como a importantes nomes da crítica literária feminista estadunidense, além de outros autores cujos estudos também dialogam com nossa pesquisa. Alguns dos autores utilizados neste trabalho são Virginia Woolf, Sandra Gilbert e Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe e Carlos Daghlian. / The aim of this dissertation is to analyze the poetry of Emily Dickinson (1830-1886) from the perspective of American feminist literary criticism drawing on the concept of literary subtext as a poetic resource that reveals in Dickinson’s work several ways of subverting the social and literary norms of patriarchy. To these ends, I analyze a corpus of eighteen poems, and the text is organized into four sections. The first section discusses some issues that are important to American feminist literary criticism, such as the concept of female authorship and literary tradition; it is then theorized about the concept of literary subtext and I relate it to the idea of subversion. Also, in this first section, I analyze the poem “Tell all the Truth but tell it slant – .” In the second part of this work, the context of American literary production in the nineteenth-century is presented and the fact that Emily Dickinson emphatically refused to have her poems published is considered. The poems analyzed in this section are “Publication – is the Auction”. “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” and “Fame is a fickle food”. After the discussion of the poems, in the third section I examine the ideal of womanhood in the nineteenth century and the ways Dickinson subverts this ideal in the poems “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” and “I started Early – Took my Dog – ”. Finally, in the closing section I study some poems in which Dickinson undertakes the subversion of God’s image, points out the vulnerabilities of faith and human condition, and questions religious precepts: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” and “God gave a Loaf to every Bird – ”. To provide theoretical underpinning, several critics who have written on Dickinson’s work were consulted and significant names in American literary feminist criticism are also discussed, as well as other authors whose studies intersect with our research as well. Included among the writers, critics and researchers mentioned in our work are Virginia Woolf, Sandra Gilbert and Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe, and Carlos Daghlian.

Made available in DSpace on 2016-08-17T13:54:11Z (GMT). No. of bitstreams: 1 Mary Angelica Costa Tourinho.pdf: 3296225 bytes, checksum: c6343752e06c5a4bdac5a962fc69e0db (MD5) Previous issue date: 2008-11-19 / The present work is enrolled in the thematic one that it is put into motion enters the history of the education and the relations of sort; It looks for to follow the performance of pupils that who studied at Normal School of the Maranhão, in the transition of century XIX for the XX, taking as starting point the ideas and theories that compose the national ideal in the related period; it analyzes as the idea of the new , identified with the republic and the innumerable transformations, occurred in the economic and sociocultural area, they go being spread in all domestic territory; it observes as in just restored Brazilian republic, some intellectuals, between which - Teixeira Mendes, Coelho Neto, Barbosa de Godóis, Silvio Romero, Arthur Azevedo - they more go interpreting adjusted workmanships and theoretical chains to its material and regarding context. Part of the estimated one of that the Normal School through the daily action of its pupils, became an important vehicle of reinterpretation of these ideas and the construction of a shape society, where the feminine sex appeared as support basic in the affirmation of adjusted considered social references for the period. Therefore, the research is supported in the method of analysis of the speech, that it looks to point the difference enters the said one in the speech, and the read one for the women, in this context, as in it points Chartier, I understand this particular, allied reading to them to practical daily the specific ones, as subversions , in the perspective of Certeau. For the theoretical representation of the local panorama, that served of field of relational and professional experience, also reference in what searched Certeau calls of bricolagem , as form to mount a critical mosaic , through which if it can glimpse the dinamicidade and mannering multiplicity, sociocultural, of formalists women in the Maranhão of the period. / O presente trabalho inscreve-se na temática que se movimenta entre a história da educação e as relações de gênero; procura acompanhar atuações de alunas e egressas da Escola Normal do Maranhão, na transição do século XIX para o XX, tomando como ponto de partida as idéias, principalmente referente às mulheres, que compõem o ideário nacional do período. Estes referenciais identificam-se com a república e transformações sócio culturais e vão sendo disseminadas em todo território nacional; através de intelectuais - como Teixeira Mendes, Coelho Neto, Barbosa de Godóis, Silvio Romero, Artur Azevedo que produziram e reinterpretaram obras e correntes teóricas que integravam o contexto material e relacional desse período. Parte-se do pressuposto de que a Escola Normal, através da ação cotidiana de suas alunas e egressas, tornou-se um importante veículo de reinterpretação das idéias do novo na construção de uma sociedade modelar, em que o sexo feminino aparecia como sustentáculo fundamental na afirmação de referenciais sociais considerados adequados para o período. Portanto, o trabalho sustenta-se no método de análise do discurso, que procura apontar a diferença entre o dito no discurso, e o lido pelas mulheres, nesse contexto, conforme nos aponta Chartier (2001), entendendo essa leitura como particular e aliada às práticas cotidianas específicadas, como subversões , na perspectiva de Certeau (2002). Para a representação do panorama local, que serviu de campo de vivência relacional e profissional, também se buscou referência no que Certeau (2002) denomina de bricolagem , como forma de montar um crítico mosaico , através do qual conseguimos vislumbrar a dinamicidade e multiplicidade comportamental, sócio-cultural, de mulheres normalistas no Maranhão daquele período.

Le travail de recherche porte sur la réécriture des contes de fées chez Ana Maria Matute. Toute réécriture d’un modèle narratif suppose une interprétation particulière du monde : le message transmis par les romans et les contes de la romancière s’avère en effet ambivalent en fonction du public visé, subvertissant ou non la morale traditionnelle des contes. Si je schéma narratif du genre est respecté lorsqu’elle s’adresse aux enfants, ce schéma est entièrement subverti dans les ouvrages destinés aux adultes, offrant de la sorte une vision paradisiaque et nostalgique d’une enfance perdue. Resituée dans le contexte plus vaste de la littérature espagnole de l’après guerre et étayée à l’aune de différents modèles critiques, notre recherche nous amène à montrer comment dans une structure sociale traditionnelle, les contes de fées et leur subversion motif récurrent ans l’univers romanesque de l’Espagne franquiste, peuvent alors constituer une remise en cause de l’ordre établi. / Our research is about the reelaboration of Fairy Tales in the contemporary Spanish Literature, and most particularly in the works of Ana Maria Matute. Any rewriting of a known narrative model implies a particular interpretation of the world : The message conveyed of a known narrative novels and tales is ambivalent, and dépends on te target audience, subvertin or not the traditional morals of fairy tales. If the tarrative scheme of this genre is respected when she addresses children, this scheme is entirely subverted in books aimed at adult, thus giving a heavenly and nostalgic vision of a lost childhood. Placed int the larger context of post-war how, in a traditional social structure, fairy tales and their subversion, which are recurrent patterns in the novelistic universe of franquist Spain, an then turn out to question the establishment.

The phenomenon of culture jamming is not so well known in the Czech Republic. So I decided to focus on defining this term, which is sometimes translated as cultural sabotage. At the beginning of this dissertation work, I try to introduce important theories that are related to the central concept. I also focus on how culture jamming most often express and what forms are most common. In the part of examples of culture jamming in the world, I try to describe the important foreign culture jamming's groups, including demonstrations of their actions and performances. In the same way I map the Czech culture jamming groups. For a better illustration and approximation of the concept, the whole of this theoretical part is supplemented with a picture attachment. Part of the dissertation work is also a research part, which focuses on the mapping of culture jamming in the Czech Republic. Above all, I try to find out what are the motivations, speeches and goals of Czech cultural saboteurs.