This thesis considers Laurence Sterne's Tristram Shandy in light of Friedrich Schlegel's concept of irony. Departing from previous criticism, which focuses on Sterne's playful narrative techniques, the discussion here elucidates other ways in which Tristram Shandy exemplifies the kind of irony Schlegel theorizes. These ways include: Sterne's "Mischgedicht" method, which amalgamates in a single work many types of style, or diverse permutations of form and content; the depiction of Parson Yorick, who epitomizes Socratic irony as Schlegel defines it in the 108th Lyceum fragment; Sterne's gentle satirizing of systematic thinkers, including his own narrator, Tristram; and Sterne's attitude toward words, knowledge, and reading. At the end of chapter 5, Sterne's irony is unraveled and reconstructed. This disentangling leads to a proposed refutation of recent interpretation of both Sterne and Schlegel. These studies see Sterne and Schlegel's irony as implying lack or flux of meaning. It is the strong contention of the following thesis that an essential aspect of Sterne and Schlegel's shared ironic world view is the continual, optimistic attempt to understand life, which necessarily presupposes a sincere and profound belief in both meaning and the reliable conveyance of it. (Abstract shortened by UMI.)

Inaug.-Diss.--Philos--Köln, 1979. / Résumé en allemand. Bibliogr. des œuvres de L. Sterne p. 227-228. Bibliogr. p. 228-232.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-03-05T16:13:00Z No. of bitstreams: 1 2017_VítorCastelõesGama.pdf: 1983901 bytes, checksum: 8543235d8096a137fd0576ef7f3bb90e (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-03-09T18:40:05Z (GMT) No. of bitstreams: 1 2017_VítorCastelõesGama.pdf: 1983901 bytes, checksum: 8543235d8096a137fd0576ef7f3bb90e (MD5) / Made available in DSpace on 2018-03-09T18:40:05Z (GMT). No. of bitstreams: 1 2017_VítorCastelõesGama.pdf: 1983901 bytes, checksum: 8543235d8096a137fd0576ef7f3bb90e (MD5) Previous issue date: 2018-03-09 / Considerando o apreço que Luiz Ruffato demonstrou por Laurence Sterne, objetiva-se entender as convergências entre as obras dos autores. Para tanto, procede-se à análise bibliográfica dos romances “A vida e as opiniões do cavalheiro Tristram Shandy” e “Eles eram muitos cavalos” em relação ao gênero da sátira menipeia e às outras artes como o cinema, a poesia, a música e o teatro. Observa-se o percurso da menipeia nas obras dos autores com o aporte de teóricos como Mikhail Bakhtin, Northrop Frye, José Guilherme Merquior e Enylton José de Sá Rego para apontar as similaridades e dessemelhanças em suas construções. É necessário ressaltar que este gênero agrega um questionamento social aos autores por discutir também a relação entre literatura e realidade. Questão aprofundada pelos autores também pelo amplo uso de técnicas provenientes de outras artes, por esse motivo as obras são consideradas como híbridas. Para trabalhar esse conceito seguimos com base no antropólogo Néstor Garcia Canclíni. É de importância na análise o conceito de performance, pois na tessitura das obras há um trabalho de mediação com os leitores realizado pela materialidade do livro e por um estilo tipográfico. Este conceito é balizado pelo entendimento de Paul Zumthor, e outros pensadores como Renato Cohen e Regina Melim. Por fim, conclui-se que apesar do distanciamento de séculos entre os autores há um intenso diálogo entre as obras que se iluminam mutuamente e demonstram a utilidade da tradição na vanguarda da literatura contemporânea brasileira. / Considering the appreciation Luiz Ruffato showed for Laurence Sterne. We intend to understand the similitaries between the authors works. Therefore, we proceed to a bibliographical analysis of the novels “The life and opinions of Tristram Shandy, gentleman” and “They were many horses” in comparison to the menippean satire and the cinema, poetry, music and drama. With the theoretical groundwork of Mikhail Bakhtin, Northrop Frye, José Guilherme Merquior and Enylton José de Sá Rego we take notice of the mennipean satire influence in the analysed novels to discover correlations and dissimilarities between them. It is necessary to point out that this literary gender brings a taste for social criticism by discussing also the relation between literature and reality. Which is further questioned by the intense use of techniques derived from other arts. Because of this usage “Tristram Shandy” and “They were many horse” are considered hybrid novels. To work with hybridization we approach the thought of Néstor Garcia Canclini. It is also important the concept of performance, because in the making of the novels there are a personalized form of mediation with the reader and a typographical style. This concept is based in Paul Zumthor’s theory and other authors like Renato Cohen and Regina Melim. In the end, we conclude that in spite of the centuries apart there is an intense dialogue between the authors and their works that demonstrate the usefulness of tradition in contemporary brazilian literature vanguard.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-12-08T16:34:58Z No. of bitstreams: 1 2016_MarceloGonczarowskaJorge.pdf: 12163285 bytes, checksum: 578d23dc906b07e7594753cbdf340403 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2017-01-11T21:13:39Z (GMT) No. of bitstreams: 1 2016_MarceloGonczarowskaJorge.pdf: 12163285 bytes, checksum: 578d23dc906b07e7594753cbdf340403 (MD5) / Made available in DSpace on 2017-01-11T21:13:39Z (GMT). No. of bitstreams: 1 2016_MarceloGonczarowskaJorge.pdf: 12163285 bytes, checksum: 578d23dc906b07e7594753cbdf340403 (MD5) / Esta dissertação versa sobre a primeira etapa do método acadêmico de aprendizado do desenho, a cópia de gravura. Nesta pesquisa, estuda-se o tema por meio de três conjuntos de estampas de Jean-Baptiste Debret (1768-1848), encontrados nas coleções do Départementdes Estampes e de laPhotographie da Bibliothèquenationale de France, em Paris: um gravado por Gilles-Antoine Demarteau (1750-1802) em 1802 e dois outros por L. M. Petit entre c. 1809-1813, o Nouveau RecueilÉlémentaire de Dessine as têtes d´étude d´après David. Neste trabalho, examinam-se as características do método de ensino do desenho utilizado na França, nos séculos XVIII e XIX, e o contexto institucional e econômico no qual se desenvolvia a produção das pranchas didáticas para desenho. A metodologia adotada foi a análise e a comparação de bibliografia sobre o tema, de documentos de época e de cursos de desenho em pranchas, somada à interpretação dos modelos a partir da experiência do pesquisador no aprendizado e no magistério dessa disciplina. Os objetivos principais da pesquisa foram buscar uma melhor compreensão do universo da produção de gravuras didáticas no início dos 1800, das características e das finalidades dos cursos em modelosestampa, as particularidades das pranchas produzidas por Debret e a maneira pela qual a biografia desse artista pode ser reinterpretada a partir das informações colhidas. ________________________________________________________________________________________________ RÉSUMÉ / Cette dissertation plonge dans la première étape de la méthode académique d’apprentissage du dessin, soit la copie de gravures. Dans cette recherche, l´on étudie le sujet par moyen de trois ensembles d´estampes de Jean-Baptiste Debret (1768-1848) trouvés dans les collections du Département des Estampes e de la Photographie da Bibliothèque nationale de France, à Paris: le premier fut gravé par Gilles-Antoine Demarteau (1750-1802) et les deux autres par L. M. Petit (1784-?) entre c. 1809-1813 (le Nouveau Recueil Élémentaire de Dessin et les têtes d´étude d´après David). Dans ce travail, on examine les caractéristiques de la méthode d’enseignement du dessin adoptée en France au XVIIIe et au XIXe siècles et le contexte institutionnel et économique dans lequel se développait la production de planches didactiques. On a opté pour une méthodologie basée sur l’analyse et la comparaison de la bibliographie publiée sur le sujet, des documents de l’époque et des cours en modèles-estampe, outre l´interprétation de ces modèles par le biais de l’expérience personnelle du chercheur en ce qui concerne l’enseignement et l’apprentissage de cette discipline. Les buts les plus importants de la recherche ont été la quête d’une compréhension amélioré de l’univers de la production de gravures didactiques au début des années 1800, des caractéristiques e des objectifs des cours en modèles-estampes, des singularités des planches de Debret par rapport aux autres et de la façon dont la biographie de cet artiste peut être réévaluée d´après les résultats de la recherche.

Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-27T10:53:30Z (GMT). No. of bitstreams: 1 Dias_ElaineCristina_M.pdf: 24298707 bytes, checksum: 5c94e4a0f71f7fc67ae4e98febfac290 (MD5) Previous issue date: 2001 / Resumo: Esta dissertação refere-se ao estudo da pintura de história e das ilustrações que representam os eventos relativos à vida de corte durante os reinados de D. João VI e D. Pedro I presentes em na obra "Viagem Pitoresca e Histórica ao Brasif', do pintor de história e membro da Missão Artística Francesa de 1816, o francês Jean-Baptiste Debret. Este trabalho procura enfatizar a relação existente entre sua formação como pintor de história em Paris e a composição de suas ilustrações a partir do processo de aprendizado da cultura brasileira em fase de constituição. Foi o pintor francês aqui residente durante quinze anos um dos verdadeiros criadores de uma iconografia brasileira em seus desenhos destinados a serem impressos em Viagem Pitoresca e Histórica ao Brasil, obra que foi fundamental na criação de uma imagem do Brasil na cultura francesa e européia / Abstract: Tbis dissertation is concemed to the study of bistorical painting and of images representing the cotidian tife of the portuguese court during the kingdom of D. João VI and D. Pedro I, present in the album "Voyage Pittoresque and Historique au Brésil" , from the historical painter and also member of the French Artistic Mission of 1816, the french Jean-Baptiste Debret. Tbis work intends to stress the relation between bis development as a bistorical painter in Paris and the composition of bis images according to the apprehension process of the young brazilian culture. During the fifteen years of bis life in Brazil, the french painter was one of the creators of a Brazilian Iconography, ilustrated in bis drawings wbich were later printed in the album "Voyage Pittoresque and Historique au Brésil", work that was essential to creation of na image of Brazil in the french and european culture / Mestrado / Mestre em História

The similarities between Swift's Grub Street Hack and Sterne's Tristram are persistent and remarkable, even though the Hack is a satiric pose of Swift and Tristram a comic projection of Sterne. Perhaps the most striking similarity lies in the constant tension between the reader's expectations of a wise narrator and a sequential style and the Hack's and Tristram's perverse frustration of the reader's desire for order. The foolish narrators, in an obstructive style, develop systematic theories based on absurd hypotheses. This perversity is not only witty and amusing, but also a reflection of Swift's and Sterne's eighteenth century “rage for order." To Swift, order is a necessity, to be defended by attacking all that threatens order. Swift imitates the chaos he saw in seventeenth-century style and thought by assuming the mask of a fool who speaks in the accents of hundreds of modern pretenders to learning. But the seeming chaos of the Hack's discourse is ordered by Swift's satiric intent and his views on Gnosticism. In the end, comic order predominates as the quintessence of disorder, the Hack is laughed off the stage. Wit triumphs over dulness. However, the comedy is undermined by tragic associations of evil, madness, and anarchy. To Sterne, conventional order of time and formal logic are illusions. He imitates the disorder in men's minds by assuming a mask and playing many parts. The seeming chaos of Tristram's narration is ordered by the association of ideas, a central group of characters, and the values of humour, common sense, feeling and benevolence. In the end, in spite of suggestions of the world's ill nature, hypocrisy, and corruption, comic order predominates. / Arts, Faculty of / English, Department of / Graduate

In this dissertation I retrace the notion of social individuality in early German liberal thought to respond to the ongoing criticism of liberal individuality as being at its foundation anti-social and atomistic. I concentrate on the exposition of this concept in the works of Wilhelm von Humboldt and Friedrich Schleiermacher at the turn of the 18th to 19th century, who I argue presented the clearest defense of individuality understood as interdependent uniqueness. Analyzing their relevant academic writings, speeches, sermons, letters, diary entries as well as political reports, I situate their conceptualization of social individuality within their wider thought, and examine what social institutions and practices as well as political consequences derive from understanding individuality as inherently social.

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