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This thesis argues that in the De Rerum Natura of Lucretius Shelley found an insight into the role of contingency in physical and historical process which allowed him to go beyond the limitations of an intellectual inheritance divided between post-Kantian Romanticism and the sceptical revolutionary Enlightenment. This insight entails radical implications for our understanding of the political role of the literary text. Shelley conceives society in evolutionary terms, making poetry a revolutionary clinamen (or mutation) in the iterative cycles of social reproduction. Models drawn from contemporary chaos theory help us to understand how this entropic tendency to disorder can work simultaneously as a negentropic motor of social innovation. Building on the work of Michel Serres, who demonstrates that Lucretius anticipates the recent scientific interest in "determinate indeterminacy," this thesis shows that Shelley's understanding of historical process and the role of the poet in social reproduction has anticipated some of the implications of contemporary "chaos science" in ways that suggest models for the general application of this new paradigm of contemporary scientific thought to literary and political issues.

No substantial studies, at least to my knowledge, have yet been dedicated either to Milton's or to Shelley's extensive poetic use of the grotesque. This omission surprises me, especially given the voluminous critical attention both authors receive. Neither Milton nor Shelley's grotesquerie can be viewed as the basis of artistic method or artistic achievement as we might with, say, Rabelais, or Poe, or even Kafka. And neither Milton nor Shelley is self-consciously an artist of "the grotesque." In fact, Milton, from his seventeenth century perspective, would scarcely have regarded the term as being applicable to literary criticism at all. And as a late Romantic, Shelley defined himself rather as a poet of the imagination. Nonetheless I will show that both artists avail themselves of a grotesque aesthetic to achieve some of their most powerful and provocative poetry: we may here consider, for instance, Milton's memorable descriptions of the incongruities of Hell and the deformities of its fallen denizens in Paradise Lost, or Shelley's Gothic touches and his perplexing distortion of conventional linguistic and dramatic form in Prometheus Unbound. / Aside from general considerations of the grotesque in these texts, I will especially focus on how Milton's and Shelley's uses of the grotesque mode provide us with unique, and often fascinating vantage points from which to appreciate their respective political concerns and revolutionary interests. While I expect this critical approach will elucidate Milton and Shelley in their own separate artistic and political spheres, I am especially interested to compare and contrast the poets, to show how the quite different uses made of the grotesque in Prometheus Unbound and Paradise Lost reflect the various ways in which Shelley responds to Milton in his role as a revolutionary forefather.

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The starting point of this study is the history of the reception of the German romantic writer E. T. A. Hoffmann (1776-1822) in Russia, which reached a highpoint around 1830. The interest in Hoffmann at this time is also reflected in the literary production of some Russian authors. One of the most important pioneers in this area was Antonij Pogorel'skij (1787-1836), at the present time an almost forgotten writer who, nevertheless, is regarded as the first significant representative of the so-called "Russian Hoffmannism." / This study sets out to analyze two comparable short stories, E. T. A. Hoffmann's "Der Sandmann" (The Sandman) and A. Pogorel'skij's "Pernicious Consequences of an Unrestrained Imagination". Besides the extensive comparative interpretation which concerns itself with the questions of origin and genre, as well as plot and character analysis, this study offers an insight into the structure and function of elements of the uncanny in these texts and their realisation in the rhetorical sphere. The correspondence in the content of these two stories justifies the title, "Mystery and Imagination", which has been borrowed from E. A. Poe.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-25Bitstream added on 2014-06-13T20:35:01Z : No. of bitstreams: 1 dias_ma_me_assis.pdf: 316416 bytes, checksum: 731cebe101cfed22b2212aa09a1068d1 (MD5) / Secretaria do Estado de Educação de São Paulo / O presente trabalho propõe analisar o único romance de Monteiro Lobato, O presidente negro (1926). Os objetivos fundamentais da pesquisa são: 1) a apresentação do levantamento sistemático da fortuna crítica de O presidente negro; 2) a proposta de uma leitura da narrativa com ênfase na discussão do gênero ficção científica; 3) propor uma reflexão sobre a figura do publicista Monteiro Lobato e suas visões utópicas e distópicas acerca da realidade brasileira; 4) a análise da estrutura narrativa da obra “para adultos” e a comparação com as personagens das obras infantis verificando a similaridade no processo de criação das mesmas. A justificativa para a realização do trabalho é a necessidade de revisitar o único romance de Monteiro Lobato tendo em vista as manifestações de estudo e crítica dessa obra desde o seu lançamento até as mais recentes acerca da reedição da obra, em 2008, por ocasião das eleições norte-americanas com Barack Obama / The present research proposes to analyze the only novel by Monteiro Lobato, O presidente negro (1926) - (The Black President). The fundamental aims of the research are: 1) The presentation of the collection of systemic facts of critical fortune of O presidente negro; 2) The suggestion of a reading narrative with emphasis on discussion of science fiction genre; 3) The suggestion of a reflection on image of a political writer and his utopian and dystopian visions about Brazilian reality; 4) The analysis of characters from the general literature and the comparison with characters from juvenile literature checking the similarities in the creation process of them. The reason for doing this research is the necessity of revisiting the only novel of Monteiro Lobato considering that the manifestations of study and criticism of this novel since its release until the most recent works on occasion of a new release of the book and, in 2008, also because of the North America elections with Barack Obama

Joseph Joachim Raff, a nineteenth-century composer of Swiss-German descent, emerged during the 1870's as one of the leading composers of the symphony and was heralded by his peers as the successor to the symphonic tradition of Schumann. Of the eleven symphonies published between 186U and 1883, nine are program symphonies. Hired as an amanuensis by Liszt during the latter part of 181+9, Raff became involved in the New Weimar School surrounding Liszt, but disenchantment with their dogmas and a need to preserve his own identity caused Raff to resign his position with Liszt in 1856. Although his symphonies reflect the programmatic philosophy of the Weimar school, they also maintain a strong affinity to the classicism of Beethoven, a quality inherent in Raff's more conservative outlook. In order to become familiar with this large body of orchestral literature which is virtually unknown today, both a programmatic and formal analysis for each symphony has been presented, although in some instances the two could not be separated. The symphonies have been grouped according to related programmatic content. Because of the wider acceptance of symphonies 1, 3 and 5 during Raff's lifetime and the programmatic relationship of nos. 6 and 7 to these, form and thematic charts have been correlated with their more detailed, analyses. The other symphonies discussed are nos. 8-11 which comprise the Seasons cycle. These were Raff's last symphonic works which he composed between 1876-79

Esta investigação busca compreender a formação da família escrava nos Campos de Viamão, Rio Grande de São Pedro, em meados do século XVIII. Abordamos tanto a família nuclear quanto o parentesco estabelecido através do compadrio, identificando os sujeitos envolvidos e as circunstâncias de estabelecimento de tais vínculos. A principal documentação utilizada são os registros paroquiais de batismo, matrimônio e róis de confessados. Procuramos combinar a análise de experiências individuais e da quantificação de dados. Verificamos um alto índice de nupcialidade e que estes enlaces estiveram restritos aos limites da propriedade. Constatamos também que casais formados por homem e mulher escravos foram os que mais convidaram pessoas da mesma condição para compadres e comadres; já os casais mistos e mães solteiras preferiam homens e mulheres livres para batizarem seus filhos. / This research seeks to understand the formation of the slave family in Campos de Viamão, Rio Grande de São Pedro, in the mid-eighteenth century. We address both the nuclear family and the kinship established through godparent, identifying the individuals involved and the circumstances of the establishment of such links. The main documents used are the parish records of baptism, marriage and róis de confessados. We aim to combine analysis of individual experiments and quantification of data. We found a high rate of marriage and that these links were restricted to property boundaries. We also found that couples formed by male and female slaves who were invited more people from the same condition for godfathers and godmothers; already mixed couples and single mothers preferred to free men and women to baptize their children.

Text in German / Summary in English / As a latecomer to the Romantic Movement, Hoffmann viewed art as a force drawn from within. He based his understanding of the artist on the Platonic reasoning about original and imitated art, which Plato correlated with his theories about the perfect World of Ideas. According to Hoffmann, a genius seeks beauty and knowledge as laid down by Neoplatonism, and has inner visions of the ideal world which is his inspiration. Such an especially sensible person, who is being called upon to remember his original, pre-existent state in the World of Ideas will, through this path of realization, be recognized as a true artist and genius. Constantly striving for the Neoplatonic Ideal, the earthly world becomes a place in which he no longer feels at home, and he seeks to be in the aspired ideal world which for Hoffmann is ultimately found in the inner self. / Classics and Modern European Languages / M.A. (Classics and Modern European Languages)

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