The purpose of this literary research project is the analysis of the thematic content as well as the formal devices of five of the poems written by Edgar Allan Poe. In order to connect and find the common concepts that pertains to this research, the following poems were chosen: “Annabel Lee” (1849); “Leonore” (1845); “To Helen” (1831); “The sleeper” (1831); and “Ulalume” (1847). In spite of the importance of poetry for Poe, it is noticeable the lack of pieces of research about this issue when compared with the number of researchers about his short stories. With this in mind, our attempt with this work is to make a study regarding one of the most relevant and recurrent subject in his poems: the presence of women, who were an unsolved issue in his entired life. Five poems have been chosen to this purpose, and converging on the concept of women as ethereal symbols and absent lovers existing beyond the limits of the terrestrial body. These descriptions of an idealized concept of women made contrast with some lewd female characters commonly developed by other American authors that were also concerned with horror stories. Our attempt is to take the transgressive allusions present in these poems in the light of Poe`s own background through his life in the American puritan society.

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Hispánica / In this work I will study a particular urban subject present in every society, I will investigate the urban subject of the criminal illustrated in an Edgar Allan Poe’s selection of seven tales. In this case I have decided to rename the criminal as “pariah”. I use this term because I consider that it fits perfectly when defining a person that is “undesirable” and “rejected” by society. The choice of this term is also supported by David Reynolds’s work Beneath the American Renaissance in which he refers to the “asocial” subjects of the urban city as a “pariah”. I have lent this term because I consider that it is suitable to describe the subject being studied. It is also relevant to add that Charles Baudelaire refers to Poe as a “—drunkard pauper, oppressed pariah” (58). The use of the term pariah to refer to Edgar Allan Poe’s protagonists is just a coincidence with Baudelaire’s use of the term.

Memoria (licenciado en ciencias jurídicas y sociales) / No autorizada por los autores para ser publicada a texto completo / El presente estudio se adentra en la labor desplegada por el Ministerio en el cumplimiento de su función de defensa durante la primera administración de don Manuel Montt Torres (1851-1856). Para una mejor comprensión del contexto histórico al que se refiere la obra, en su primer capítulo se describe la situación política, jurídica, social y económica de la época. En un segundo apartado se estudian las memorias de los años en cuestión, no sin antes hacer ineludibles referencias al marco consstitucional vigente y a la situación del Ministerio a la llegada de don Manuel Montt al poder; el tema principal se trata a continuación, desentrañando el cumplimiento de la función de defensa a la luz de los contenidos de las memorias; lejos de presentar un resumen de las mismas, penetra en el desempeño de la labor ministerial, subdividiéndola sintáctica y substancialmente, analizando los aspectos que ocuparon la atención de la secretaría de Estado y haciendo especial hincapié en la gestión jurídica que de ellas se desprende; para ello, se elabora un detallado listado de las leyes y principales decretos que regían la materia hasta esa época, presentándose con posterioridad, las iniciativas legales y normas surgidas durante el primer mandato de don Manuel Montt. La trascripción de las memorias, hecha en la tercera parte de este trabajo, permite al lector acceder con facilidad a estos documentos históricos que se guardan celosamente en contadas bibliotecas y en volúmenes difíciles de hallar. Las estadísticas, relaciones y otros documentos que acompañaban a las memorias originales se anexan al final, de modo de ilustrar el contenido de las mismas de un manera directa y fehaciente.

O que ora apresentamos é um questionamento sobre o papel da interpretação na tradução literária e suas implicações para as questões de recepção. Analisamos diversas traduções em língua portuguesa brasileira de The Tell-Tale Heart, um conto do escritor norteamericano Edgar Allan Poe que apresenta obstáculos tidos como intransponíveis na tradução. A partir da análise comparativa entre o texto em inglês e suas respectivas traduções, analisamos as escolhas de palavras dos tradutores e suas soluções para os itens mais complexos do texto, bem como as diferenças de interpretação de itens lexicais simples. Para fins de embasamento teórico, recorremos a postulados críticos e teóricos diversos tais como os da Literatura Comparada, Teoria Literária, teorias de tradução e interpretação. Inicialmente, fazemos uma análise das contribuições de cada uma dessas áreas, para depois partirmos para as análises propriamente ditas. Com isso, tentamos deixar claro que a tradução de uma obra literária pode ser vista como uma manifestação aculturada de seu texto de partida.

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T07:32:51Z (GMT). No. of bitstreams: 1 Lucas_MonicaIsabel_D.pdf: 12185228 bytes, checksum: e3248f11886182b6eafa8d6f127e446e (MD5) Previous issue date: 2005 / Resumo: Esta investigação propõe o estudo do contexto teórico que envolve a produção do compositor Joseph Haydn (1732-1809), concentrando-se nas idéias de humor e agudeza [Witz], que têm sido freqüentemente relacionadas à produção deste compositor, desde sua própria época. Para isto, selecionamos críticas de jornais e revistas do século XVIII que discorrem sobre esses aspectos da produção haydniana. No sentido de possibilitar a melhor compreensão do sentido setecentista desses termos, é necessário tratar também de outros conceitos relacionados a eles: a idéia de cômico e as visões setecentistas sobre o riso. Estas informações estão contidas em obras teóricas sobre as artes do século XVIII, como a enciclopédia sobre as artes de Sulzer (1771-74) e a estética musical de Schubart (1784). A recuperação destas noções é utilizada para obter uma melhor compreensão das críticas escritas a Haydn em sua própria época. Elas apresentam visões negativas ou positivas de Haydn, e, com os fundamentos teóricos, é possível atribuir seus conteúdos a premissas conservadoras, de orientação retórica, ou que seguiam as tendências da disciplina então recém surgida, a estética. Assim, as críticas a Haydn permitem criar subsídios para estudar o humor e a agudeza em obras que indubitavelmente representam o estilo maduro destes compositor: os quartetos de cordas op. 33 (1781) / Abstract: This investigation proposes a study of the theoretical context that involves the works of Joseph Haydn (1732-1809), concentrating in the ideas of humor and wit [Witz]. This ideas have been related to the music of Haydn since his own time. Therefore, we selected some eighteenth century journal and magazine critics that involves these aspects of his production. In order to have a better comprehension of the eighteenth century meaning of these concepts, it is necessary to handle also other related notions: the idea of comic and the Eighteenth-Century visions about laughter, contained in works like the arts encyclopedia by Sulzer (1771-74) and the music aesthetic by Schubart (1784). These notions enables us to have a better comprehension of the eighteenth century critics involving the music of Haydn. They contain negative or positive visions about his music, and it is possible to attribute this visions to conservative, rhetorically oriented, or to aesthetic (then a recently created discipline) premises. These critics allow us to create subsidies to observe how humor and wit occur in works that undoubtedly represent Haydn¿s mature style: the string quartets op. 33 (1781) / Doutorado / Doutor em Música

Orientador: Paulo Roberto Ottoni / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-01T04:06:50Z (GMT). No. of bitstreams: 1 Santana_VaneteDutra_M.pdf: 3306063 bytes, checksum: c7ae38e2850774e26667a28b787e59fb (MD5) Previous issue date: 2001 / Resumo: Nos estudos literários, os textos traduzidos têm sido tradicionalmente considerados inferiores ao que se convencionou chamar texto original. Perpassando este conceito de originalidade do texto, encontramos uma série de preconceitos que foram se acumulando ao longo do tempo e que, em parte, devem-se mais a questões de mercado que necessariamente literárias. Porém, a despeito disto, a critica de tradução de caráter tradicionalista segue cobrando da tradução e do tradutor uma fidelidade ao "original" impossível de ser a1cançada,não reconhecendo a diferença como fator inerente à tradução. Ao montar o cenário em que se desenrola o jogo de relações entre originalidade, tradução e mercado editorial, e apontar o papel dos diferentes personagens que atuam neste cenário - escritores do texto de partida e do texto de chegada, teóricos, criticos, professores e editores de tradução -, nosso objetivo nesta dissertação é não apenas demonstrar que a constatada supervalorização do "original" se asseyya sobre um conceito equivocado de originalidade que precisa ser revisto, mas também empreender esta revisão. Para chegarmos a este objetivo, partimos do questionamento dos parâmetros usados por aqueles que consideram a tradução inferior ao "original" para distinguir um do outro. Ao analisar nosso corpus, composto por vários "casos" envolvendo questões de tradução, com destaque para a relação entre Charles Baudelaire e Edgar Allan Poe, chegamos à conclusão de que tais parâmetros não existem, o que implica a impossibilidade de se identificar com total segurança uma tradução quando não se dispõe do que chamamos elementos formais de distinção - nome do autor do original, título original, nome do tradutor e data de publicação do original e da tradução. Ao constatarmos que a inferioridade, em termos literários, não é inerente à tradução e, conseqüentemente, a superioridade não é inerente ao "original", esperamos o devido redimensionamento do valor do "original" e reconhecimento do valor da tradução, enquanto resultado e processo, bem como do tradutor / Abstract: Not informed. / Mestrado / Tradução / Mestre em Linguística Aplicada

Tesis para optar al grado de Magíster en Filosofía / El objetivo general de esta tesis es presentar la ontología social del anarquismo tal como es desarrollada en los escritos filosóficos y políticos de Pierre-Joseph Proudhon y Mijaíl Bakunin. Esto se lleva a cabo mediante la revisión de las categorías de fuerza colectiva, poder social y razón colectiva en Proudhon, cuya idea central es la de que las instancias de acción colectiva, y en particular la sociedad, no son simples agregados de factores individuales, sino realidades sustantivas específicas; y del marco naturalista en el que Bakunin integra una teoría del individuo como constituido biológica y socialmente, de la sociabilidad como un desarrollo emergente natural característico de la humanidad y de la libertad como una conquista histórica colectiva que requiere tanto la condición subjetiva de la autonomía como la condición objetiva de la igualdad concreta en términos económicos.

Felix Mendelssohn's Symphony No. 1 in C Minor, Opus 11, is important primarily as a transitional work. It is the first work in which Mendelssohn deploys large orchestral forces in the traditional form of the symphony; thus, it provided Mendelssohn with the means of making the important transition from the relatively small, chamber-music ensemble in which he had previously worked (as represented by the "string symphonies") to large-scale symphonic works. Its historical or biographical importance definitely outweighs its importance as a musical work in its own right; this can be seen by the fact that it is much less performed today than other symphonies by Mendelssohn. In these later symphonies the composer displays his talents in a more fully developed form. Nonetheless, Symphony No. 1 has many excellent qualities. It has several memorable melodies and shows the working of a vigorous, youthful, though somewhat derivative musical intelligence. It has several brilliant and memorable moments, although considered as a whole it must still be regarded as a work that promises a greater talent than it displays.

Following a general historical discussion of the idea of nature, the study continues with an analysis of the main sources for Tennyson's nature, concept. Here some stress is put upon the temperament of the poet as well as upon his scientific, philosophical and religious affinities with the doctrines of progress and evolution. Chapter three deals with the view of nature in Tennyson's poetry. That Tennyson regarded nature merely as the physical world interpreted by science is demonstrated by a treatment of his poetry that recognizes the different moods of the poet. The conclusion arrived at is that, no matter what mood he was in, Tennyson viewed nature with suspicion. His attempts to embrace pantheism or to escape actuality through mysticism, transcendentalism, or romantic primitivism indicated his failure to reconcile his idea of nature with religious beliefs that demanded personal immortality and absolute morality for man. Because of these emotional needs, Tennyson, especially after the publication of Darwin's scientific treatises on evolution, was forced into a dualism that separated moral (or spiritual) man from a vast, cruel, immoral (or amoral) nature that Tennyson saw as antagonistic to both man and God. For Tennyson man's progress had nothing to do with nature. Chapter four argues that Meredith adopted Goethe's idea that nature is a vital, benevolent being that includes man and God in a unity of the real and ideal worlds. Because Meredith avoided the contradictions that science and Kantian transcendentalism introduced into Tennyson's philosophy, he was able to attain to a conception of the creative and ethical oneness of Earth. Hence he could use Darwinism to clarify his basically Goethian concept of nature, for he abjured the ideas of personal immortality and absolute morality and saw man as a creature of Earth who was progressing toward the harmonious altruistic balance of blood, brain, and spirit that existed in essential humanity. Meredith could rejoice in the struggle of life, which he saw as a struggle for balance and not for existence, because he had from the beginning accepted nature as a beneficent Earth to whose operations man must adjust himself. The last chapter discusses the different approaches of Tennyson and Meredith to nature, their attitudes to nature's law, and their ideas concerning man's place in nature. One argument resulting from this comparison is that Tennyson, applying Kant's transcendental theories and his own emotional reactions to his scientific interpretation of nature, was pessimistic about nature, whereas Meredith, approaching nature by way of the Goethian synthesis and a happy outlook that discerned a desirable mean in all nature's operations, was optimistic about her. Moreover, Meredith's idea of nature was more modern than Tennyson's, for Meredith's belief in altruism and co-operation being the primary law of nature is supported by certain present-day biological and sociological theories. / Arts, Faculty of / English, Department of / Graduate

At the height of their popularity in the mid-nineteenth century, a vast transatlantic readership conferred on Longfellow and Tennyson the title "The People's Poet." This examination of Anglo-American Victorian poetry attempts to account for that phenomenon. A poetic work is first defined as an aesthetic experience that occurs within a triangular matrix of text, author, and reader. As reception theorist Hans Robert Jauss contends, both the creator's and the receptor's aesthetic experiences are filtered through a historically determined "horizon of expectations" that governs popular appeal. A historical account of the publication and promotion of Longfellow's and Tennyson's poetry provides empirical evidence for how and why their poetic texts appealed to a widespread readership. This account is followed by an analysis of the class and gender of Victorian readers of poetry that considers the role of "consumers" in the production of both poetry and poetic personae as commodities for public consumption. The development of each poet's voice is then examined in a context of a gendered "separate-sphere" ideology to explain how both Longfellow's and Tennyson's adoption of "feminine" cadences in their respective voices influenced the nineteenth-century reception of their work. The final two chapters analyze select texts—lyric and narrative—to determine reasons for their popular appeal in relation to the level of active reader engagement in the poetic experience. Through affective lyricism, as in Longfellow's "Psalm of Life" and Tennyson's "Break, break, break," these poets demanded that their readers listen; through sentiment transformed into domestic allegory, as in Miles Standish and Enoch Arden, these poets demanded further that they feel. While both Victorian poets were later decanonized by their modern successors, contemporary critics, mainly academic, have restored Tennyson to the literary canon while relegating Longfellow to a second-rate schoolroom status. The conclusion speculates on the possible reasons underlying the disparate reputations assigned to the two poets, both of whom, during their lifetimes, shared equally the fame and fortune that attended their role as "The People's Voice." / Arts, Faculty of / English, Department of / Graduate