Submitted by Maykon Nascimento (maykon.albani@hotmail.com) on 2014-09-17T19:03:50Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao Clara. texto.pdf: 834139 bytes, checksum: 3ccf834ecc4f7a8ac26b08e1bd7e016f (MD5) / Approved for entry into archive by Elizabete Silva (elizabete.silva@ufes.br) on 2014-11-17T18:46:17Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao Clara. texto.pdf: 834139 bytes, checksum: 3ccf834ecc4f7a8ac26b08e1bd7e016f (MD5) / Made available in DSpace on 2014-11-17T18:46:17Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao Clara. texto.pdf: 834139 bytes, checksum: 3ccf834ecc4f7a8ac26b08e1bd7e016f (MD5) Previous issue date: 2014 / Espremidas entre o mar e as montanhas, as cidades de Piúma e Anchieta, no litoral sul capixaba, tiveram sua rotina de redes e anzóis alterada com a chegada da Samarco no final da década de 1970 e, posteriormente, do turismo e da exploração do petróleo e do gás. Incomodados, alguns munícipes promoveram atividades que, acreditavam, construiriam uma representação de identidade regional. Entre essas iniciativas está a publicação de livros didáticos abordando a história e a geografia daqueles municípios. Para compreendermos o processo de produção e a narrativa contida nesses livros, nos apoiamos nos conceitos de representação, apropriação e autoria de Chartier (1990, 2002, 2010, 2012) e na análise das relações entre os três sentidos da história – o cotidiano, o escolar e o acadêmico - e do dilema que acompanha a história escolar desde sua origem e que transformou os livros didáticos em documentos de identidade, pensadas por Carretero (2010). O que se encontrou foi uma representação de identidade local que suporta distintas temporalidades, entre elas se destaca o que se chama de influência Varnhagen que produziu uma identidade como resultado da participação das etnias negra e indígena, mas sob predomínio europeu. / Located between the sea and the mountains, the towns of Piuma and Anchieta, which lie on the southern coast of Espirito Santo, had their livelihoods of fishing changed with the arrival of Samarco in the 1970s and later by tourism, oil and gas. Some residents were affected by these changes and decided to promote activities to create a sense of regional identity. Among these initiatives were the publication of textbooks covering the history and geographical landscape of the area. In order to understand the process of creation of these book and the narrative contained in them, we rely on the concepts of representation, ownership and authorship of Chartier (1990, 2002, 2010, 2012) and the analysis of relations between these three senses of history – quotidian, scholar and academician - and the dilemma that accompanies school history since its inception which has transformed books in identity documents as stated by Carretero (2010). What we found was a local representation of identity that supports different temporalities and among them we will highlight what we call

Esta dissertação de mestrado tem como objetivo apresentar uma reflexão acerca de como o processo de anotação crítica da História geral do Brasil de Francisco Adolfo de Varnhagen, realizado pelos historiadores João Capistrano de Abreu e Rodolfo Garcia colaborou no processo de instituição discursiva do Visconde de Porto Seguro enquanto a autoridade fundamental da historiografia brasileira durante aproximadamente cem anos, quando da publicação da quarta edição de sua História anotada por Garcia. O exame das notas de rodapé e de finais de seção são os objetos privilegiados de análise pois acreditamos que desta forma o reconhecimento essencial a todo fenômeno de autoridade pode ser observado na própria materialidade e discurso constitutivo da referida obra. / This master thesis aims to present a conderation on how the critical annotation process of Francisco Adolfo de Varnhagen’s masterpiece, História geral do Brasil, made by the historians João Capistrano de Abreu and Rodolfo Garcia worked for the establishment of the discursive authority of Visconde de Porto Seguro on the Brazilian history for almost one hundred years, when the fourth edition of his História, annotated by Garcia, was published. The footnotes and the final section notes of Varnhagen’s work are privileged objects of analysis for our postulate because the essential acknowledgement process of any authority phenomenon can be observed on its own constitutive materiality and discourse.

The mfecane was for most of the twentieth century regarded as a historical certainty for the South African public and the Apartheid government, as well as for historians here and world-wide. The mfecane had achieved the permanence of a paradigm and a dominant discourse, as it was accepted equally by settler, liberal, Afrikaner, Africanist and Neo-Marxist historians. This certainty was shaken when Cobbing’s mfecane critique appeared in 1988, with which I concur. This study examines how mfecane history was written from the first published articles in mid-1823 until Walker coined the concept mfecane in 1928. This thesis undertakes a journey through a host of published works, books, pamphlets and articles in journals, magazines and newspapers, from which a number of conclusions emerge. The mfecane narrative was developed over a period of a hundred years in the English language by almost exclusively white, English-speaking male amateur historians and ethnographers. Their occupations, age, ideology and level of education differed markedly, but they shared one European ideological value, the discourse of the European “Image of Africa”, which regarded Africans as the negative Other of their own positively perceived society. This was a culturallyshared view of Africans, which formed the baggage in the mind of all writers examined, and accounts for the mfecane narrative’s negative attitude towards Africans. Furthermore, mfecane history was influenced by racism and the use of literary devices such as the gothic novel and the romance. Authors writing in the 1823 to 1846 period on events which had taken place in the “blank space” beyond the Cape Colony, which most of them had never visited, laid the basis for the mfecane narrative. It constituted a set of geographical or ethnically focused, separate accounts. These separate accounts focused on the themes of Shaka’s creation of the Zulu state, including his expulsion of several chiefdoms; his depopulation of Natal and the flight of the Fingo to the Transkei; the path of destruction of the Hlubi and Ngwane during their flight from Natal via the greater Caledon Valley area to the Transkei; the incorporation of the Kololo and other Sotho chiefdoms into the Mantatees - due to pressure from the invaders from Natal - who subsequently laid waste the Free State and Transvaal as far as Dithakong, where they were defeated; the further depopulation of the Transvaal by the Ndebele during their escape from Shaka; the flight of Moshoeshoe and his people to Thaba Bosiu where he built up the Sotho state, with Moshoeshoe being the only positive figure in this history. This multi-narrative was thereafter repeated without any critical thought by all authors examined until in 1885 Theal created a Zulu-centric, geographically integrated mfecane narrative whereby he integrated the previously separate accounts into one coherent whole - a whole which was so much more than the sum of its parts, but so far without a defining name. That was provided by Walker in 1928 when he coined the Xhosa neologism, mfecane. The Theal, Cory and Walker racist mfecane was thus bequeathed as the mfecane to the rest of the twentieth century.

No description available.

No description available.

Las veladas literarias de Juana Manuela Gorriti transcurren en Lima en la segunda mitad del siglo XIX. A pesar de haber gozado una bonanza económica por la comercialización del guano, cuando se inician las tertulias, el Perú se halla en plena crisis económica. Se aprecia, no obstante, una ilusión de progreso, a través de la ilustración, que no ha sido todavía obliterada por la guerra con Chile que se avecina. Se trata, además, de una época de grandes cambios para la élite letrada, porque aparece la primera generación de mujeres ilustradas del país, en la que destacan personajes como Clorinda Matto de Turner, Carolina Freire de Jaimes, Mercedes Cabello de Carbonera, y Teresa González de Fanning, de las cuales las dos últimas asisten a las tertulias de Gorriti. Ellas aprovechan el importante espacio de debate intelectual de la prensa y su nuevo protagonismo como centro de las familias que cimientan la república para librar una lucha cautelosa y solapada por la evolución del papel de la mujer y sus derechos.

Considering the comedies of the Restoration, and those of Congreve in particular, as the prototype of the comedy of manners and as the model for Sheridan later to revive and emulate, this thesis proposes to point out how the concepts of morality and wit have been a major obstacle to literary critics in analyzing the comedy of manners from its very beginnings, to discuss morality and wit as the basis of a proper evaluation of the comedy of manners both from the standpoint of seventeenth-century precepts and those of a century later, and, finally, to show how, during the early periods in which the comedy of manners flourished,--that of Congreve, 1693-1700; and of Sheridan, 1775-1779--morality and wit were modified and used to suit the divergent sociological and psychological conditions of each period.

This study explores the relationship of Royall Tyler's The Contrast with Richard Brinsley Sheridan's The School for Scandal, to determine whether Tyler used The School for Scandal as a model for The Contrast. Chapter I contains a statement of the problem and an introduction to the historical importance of Tyler and The Contrast. Chapter II discusses the theatrical background of Tyler and the city of Boston. Chapter III includes a brief history of Sheridan and an examination of The School for Scandal. Chapter IV compares The Contrast with The School for Scandal. Chapter V presents conclusions drawn from the evidence examined in Chapters III and IV. The Contrast is not an imitation of The School for Scandal, though both contain elements of similarity.

O objetivo desta dissertação é apresentar uma leitura de O Morro dos Ventos Uivantes (1847), de Emily Brontë, e de Jane Eyre (1847), de Charlotte Brontë, com foco nas convenções góticas contidas nas duas obras e observando as maneiras como tais convenções interferem nos movimentos das duas protagonistas, Catherine e Jane, cada uma lutando para se adaptar ao seu espaço e, ao mesmo tempo, para realizar seus anseios. Apesar de as duas obras serem estruturalmente diferentes uma da outra, ambas compartilham uma atmosfera gótica intensa, bem como uma consequente densidade psicológica que influencia a disposição mental das duas protagonistas. A leitura dos dois romances foi conduzida com a finalidade de explorar as relações encontradas entre os aspectos estruturais, sociais e psicológicos envolvidos, ressaltando os elementos góticos que representam os desafios que Catherine e Jane são forçadas a enfrentar. A obra The Coherence of Gothic Conventions (1986), da crítica literária Eve Kosofsky Sedgwick, é utilizada para identificar e contextualizar a capacidade que as imagens góticas têm de traduzir o peso imposto pelas convenções sociais sobre o processo natural de crescimento das duas protagonistas. Considerando que esse peso é consideravelmente ampliado pelas práticas sociais ligadas a questões de gênero, foi explorado o conceito de Gótico Feminino, como apresentado pela Professora Carol Margaret Davison. Especial atenção é reservada para as imagens relacionadas com espaço – o espaço psicológico necessário para o crescimento emocional das protagonistas; e o espaço físico, que determina onde e como elas devem se movimentar. Aqui o suporte teórico é oferecido pelas poéticas dos elementos primitivos, de Gaston Bachelard, para análise do corpo de imagens apresentadas nos dois romances. A conclusão comenta as soluções encontradas por Catherine Earnshaw e Jane Eyre para abrir caminho e superar os obstáculos que se lhes apresentam; e também ressalta o quanto as convenções góticas conseguem revelar sobre a estrutura social que elas representam. / This thesis consists of a reading of Emily Brontë‘s Wuthering Heights (1847) and Charlotte Brontë‘s, Jane Eyre (1847), focusing on the body of Gothic conventions they hold, and the ways in which such conventions interfere with the movements of the two female protagonists, Catherine and Jane, each struggling to fit into their space, while trying to accomplish their desires. Although the two works are structurally different in several ways, they share an intense Gothic atmosphere and its consequent psychological density, which influences the mental frame of the two protagonists. In order to explore the relations among the structural, social and psychological aspects involved, a reading of the novels has been conducted, focusing on the presence of Gothic elements that stand for the challenges Catherine and Jane are bound to face. Literary critic Eve Kosofsky Sedgwick‘s work The Coherence of Gothic Conventions (1986) is used to identify and contextualise the capacity of Gothic imagery to reveal the weight of social conventions upon the natural process of growth of the two protagonists. Inasmuch as the pressure becomes intensified by the rules of gender settlements, the concept of Female Gothic is explored, as presented by Professor Carol Margaret Davison. Particular attention is paid to the imagery related to space – psychological space for the protagonists to grow emotionally, and physical space, as determinant of where and how they must move. Here the theoretical support is offered by Gaston Bachelard‘s poetics of the primitive elements, unveiling the body of images presented in the two novels. The conclusion indicates the solutions found by Catherine Earnshaw and by Jane Eyre to find their way and overcome the obstacles they meet; with comments on how revealing Gothic imagery is of the social conventions it represents.

This dissertation makes two arguments: First, it elaborates a depressive genealogy of the Victorian novel that asserts a category of realism rooted in affect rather than period or place. Second, it argues for a critical strategy called "depressive reading" that has unique purchase on this literary history. Drawing on Melanie Klein's "depressive position," the project asserts an alternative to novel theories that are rooted in sympathy and desire. By being attentive to mood and critical disposition, depressive reading homes in on the barely-contained negativities of realism. Through readings of novels by William Makepeace Thackeray, Anthony Trollope, Thomas Hardy, and Charlotte Brontë, it explores feelings of ambivalence, soreness, and dislike as aesthetic responses and interpretations, as well as prompts to varieties of non-instrumentalist ethics. In the final chapter, the psychological and literary strategy of play emerges as a creative and scholarly possibility.