Focusing on four early works, then three from his middle period and three from the 1890s, this dissertation explores Meredith’s role as a novelist in the unfolding of a social and literary paradox, namely, that with the death of George Eliot in 1880, the dominant writers of fiction were male, and this remained the case until the advent of Virginia Woolf, while at the same time the woman’s movement for emancipation in all spheres of life—domestic, commercial, professional and political—was gathering in strength and conviction. None of the late nineteenth-century male novelists—James, Hardy, Moore and Gissing, as well as Meredith—was ideologically committed to the feminist cause; in fact the very term ‘feminist’ did not begin to become current in England until the mid-1890s. But they were all interested in one aspect or another of the ‘Woman Question’, even if James was ambivalent about female emancipation, and Gissing, on the whole, was somewhat hostile. Of all these novelists, it was Meredith whose work, especially in its last two decades, most copiously reveals a profound sympathy for women and their struggles to realize their desires and ambitions, both inside and outside the home, in a patriarchal world. The dissertation therefore concentrates on his presentation of his heroines in their relationships with the men who, in one way or another, dominate them, and with whom they must negotiate, within the social and sexual conventions of the time, a modus vivendi—a procedure that will entail, especially in the later work, some transgression of those conventions. Chapter 1 sketches more than two centuries of development in female consciousness of severe social disadvantage, from literary observations in the mid-seventeenth century to the intensifying of political representations in the writings of Mary Wollstonecraft, and the rise of the woman’s movement in the course of the Victorian century. The chapter includes an account of the impact on Meredith of John Stuart Mill’s The Subjection of Women (1869), and an examination of some of his female friendships by way of illuminating the experiential component of his insights into the ‘Woman Question’ as reflected in his fiction and letters. His unhappy first marriage is reserved for consideration in Chapter 2, as background to the discussion of The Ordeal of Richard Feverel (1859). This early novel, Meredith’s first in the realist mode, is widely accepted as being of high quality, and is given extended treatment, together with briefer accounts of three other early works, The Shaving of Shagpat (1855), Evan Harrington (1861), and Rhoda Fleming (1865), and one from Meredith’s middle period, Beauchamp’s Career (1876). Two more novels of this period, The Egoist (1879) and Diana of the Crossways (1885), are generally considered to be among his best works, and their heroines are given chapters to themselves (3 and 4). Chapter 5 provides further contextualization for the changing socio-political circumstances of the 1880s and 1890s, with particular reference to that heightening of feminist consciousness represented by the short-lived ‘New Woman’ phenomenon, to which Diana of the Crossways had been considered by some to be a contribution. Brief discussion of some other ‘New Woman’ novels of the 80s and 90s follows, giving literary context to the heroines of Meredith’s three late candidates in the genre, One of Our Conquerors (1891), Lord Ormont and His Aminta (1894), and The Amazing Marriage (1895). The dissertation concludes with a glance at Meredith’s influence on a few early twentieth-century novelists.

SILVA, Sandra Mara Alves da. Formas Embrionárias dos Romances Indianistas Alencarinos: uma Contribuição à Nacionalidade Literária Brasileira. 2014. 133f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-21T11:52:49Z No. of bitstreams: 1 2014_dis_smasilva.pdf: 1057471 bytes, checksum: ad2b12596d8cca433577efea1341b86f (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-21T12:14:57Z (GMT) No. of bitstreams: 1 2014_dis_smasilva.pdf: 1057471 bytes, checksum: ad2b12596d8cca433577efea1341b86f (MD5) / Made available in DSpace on 2014-05-21T12:14:57Z (GMT). No. of bitstreams: 1 2014_dis_smasilva.pdf: 1057471 bytes, checksum: ad2b12596d8cca433577efea1341b86f (MD5) Previous issue date: 2014 / The brazilian romantics sought to assure the independence of Brazil also into the cultural context, and, for that, used the indianist literature, which explored typically national elements, such as nature, the indigenous populations and their culture, making a distinction between what was properly Brazilian from what was alien to us. Such search was set by Gonçalves de Magalhães when writing the epic poem A Confederação dos Tamoios (1856), which was a target of harsh criticism by José de Alencar in a series of letters that emphasized the formal, thematic and linguistic weaknesses of the text which was intended to be the poem of our nation. The Cartas sobre A confederação dos tamoios (1856) also revealed flaws made by Magalhães and suggested likely “corrections” for them. An incisive reading of such writings allows the observation of estethic set-ups that would be present among our indianism and, consequently, present on the base of the indianist production of the Cearense writer. The intimate relationship between esthetic precepts seen on the epistles and the writing of Alencar’s indianist works took scholars such as Araripe Júnior, José Aderaldo Castello e Marcelo Peloggio to declare that the great indianist works of the writer, O guarani (1857) e Iracema (1865), would all had been based on the letters of 1856. Taking the discussion among the relation between epistolary writings and indianist romances, a parallel is seen between those texts that may identify the possible Embrionary Thematic Forms and Embrionary Structural Forms of the romances in the letters, observing how the ideas present in the letters collaborated with the creation process of the literary works, not giving away the most relevant discussion about the nationalization of Brazilian literature, deeply studying the romantic-age concept of nationality in Brazil and relating the thoughts of Alencar to the thoughts defended by his contemporary intellectuals, in order to showcase the importance of the alencarinas letters to the discussion around Brazilian literary formation. As a matter of fact, we believe that the discussion around the criteria of Brazilian literary nationality gets a new dimension, if once considered the esthetic premises of the letters objectified from works such as O guarani e Iracema, on which the indigenous peoples’ lives, their habits and cultural premises, ideas and feelings, as well as the exhibition of nature, earn relevance and are central to romantic Brazilian literature. / Os românticos brasileiros buscaram firmar a independência do Brasil também no âmbito cultural e, para isso, contaram com a literatura indianista, que explorava elementos caracteristicamente nacionais, a saber, a natureza, o índio e a sua cultura, diferenciando, assim, aquilo que era propriamente brasileiro daquilo que nos era estranho. Essa busca foi cunhada por Gonçalves de Magalhães ao compor o poema épico A confederação dos tamoios (1856), que foi alvo de severas críticas de José de Alencar numa série de cartas que destacavam a fraqueza formal, temática e linguística do texto que intencionava ser o poema da nossa nação. As Cartas sobre A confederação dos tamoios (1856) revelam “falhas” cometidas por Magalhães e sugerem possíveis “correções” para elas. Uma leitura atenta desses escritos permite observar preceitos estéticos que estariam na base do nosso Indianismo e, consequentemente, na base da produção indianista do escritor cearense. A íntima relação entre os preceitos estéticos presentes nas epístolas e a realização das obras indianistas de Alencar levou estudiosos como Araripe Júnior, José Aderaldo Castello e Marcelo Peloggio a afirmarem que as grandes obras indianistas do escritor, O guarani (1857) e Iracema (1865), teriam por fundamento as cartas de 1856. Partindo da discussão em torno da relação entre os escritos epistolares e os romances indianistas, traça-se um paralelo entre esses textos de modo a identificar as possíveis Formas Embrionárias Temáticas e Estruturais dos romances nas cartas, observando como as ideias contidas nas missivas colaboraram com o processo de criação das obras literárias, não deixando de lado a discussão maior sobre a nacionalização da literatura brasileira, estudando a fundo o ideal de nacionalidade da era romântica no Brasil e relacionando os pensamentos de Alencar aos pensamentos defendidos pelos intelectuais contemporâneos a ele, a fim de destacar a importância das cartas alencarinas para o debate em torno da formação literária brasileira. Destarte, acreditamos que a discussão acerca dos critérios da nacionalidade literária no Brasil ganha nova dimensão, uma vez consideras as premissas estéticas das cartas objetivadas em obras como O guarani e Iracema, nos quais a vida dos indígenas, seus usos e costumes, ideias e sentimentos, bem como a exaltação da natureza, ganham relevo e estão, ao mesmo, no centro da literatura romântica indianista.

Les nouvelles de Fitz-James O’Brien ont été réévaluées dès les années 1970 et jusqu’au début du XXIe siècle à la lumière de son origine irlandaise. L’enjeu de cette thèse est d’analyser les processus de re-nationalisation à l’œuvre dans l’interprétation de ses nouvelles : de déplacements sémantiques en projections langagières, le critique risque d’être hanté par l’histoire de l’Irlande. Il est nécessaire pour ce faire de retracer le parcours littéraire et journalistique de O’Brien, depuis ses débuts en tant que contributeur anonyme du courrier des lecteurs du journal nationaliste irlandais The Nation, jusqu’à la fondation du journal satirique américain Vanity Fair et sa mort d’une blessure qu’il a reçue au cours d’un combat de la guerre de Sécession. Il conviendra notamment d’analyser, tout le long de son parcours, le rôle de la bohème littéraire dans la construction d’un idéal artistique sans frontières et le rôle de la presse comme outil de diffusion de cet idéal et, paradoxalement, de construction d’un champ littéraire spécifiquement américain. Nous examinerons ensuite la réception de ses nouvelles et leurs adaptations. Enfin, il s’agira d’étudier les mécanismes interprétatifs qui mettent spécifiquement l’Irlande et l’« irlandicité » au cœur de la lecture des textes, ainsi que de mettre en lumière les effets rhétoriques qui permettent une telle lecture, tant dans les textes critiques que dans les nouvelles elles-mêmes. A cause de la nature éminemment référentielle de l’écriture d’O’Brien, le sens symbolique, parfois satirique, voire allégorique de ses nouvelles se dérobe au lecteur d’aujourd’hui qui se trouve contraint d’effectuer une laborieuse quête herméneutique. / Between the 1970’s and the early years of the 21st century, Fitz-James O’Brien’s short stories have been analysed with reference to his Irish birth. This dissertation aims to examine the mechanisms of re-nationalisation at work in the interpretation of his stories: by means of semantic displacements and linguistic projections, the critic runs the risk of being haunted by Irish history. It is thus necessary to reconstruct O’Brien’s literary and journalistic career, from his early anonymous contributions to the “correspondence” column of the Irish nationalist newspaper The Nation, to the creation of the American satirical magazine Vanity Fair, and his death from a wound he recieved in a skirmish during the American Civil War. This dissertation will analyse particularly the part that literary Bohemia played in creating an artistic ideal of “borderlessness,” and the part that the press played in circulating this idea, all the while partaking in the construction of a specifically American literary field. I will then examine the reception of O’Brien’s stories and how they were adapted throughout decades in various media. Finally, I will study interpretative mechanisms which place Ireland and Irishness at the centre of text-reading and I will highlight the rhetorical effects allowing such a reading, both in the critical texts and in O’Brien’s stories themselves. Because of the highly referential nature of his magazine writing, the symbolical, sometimes satirical or even allegorical meaning of his stories eludes today’s reader, who has no choice but to embark on a laborious hermeneutic quest.

Sehnsucht (longing) and alienation were two central themes of 19th century German Romanticism in literature, music and art. Franz Schubert was one of the great masters of the Romantic era to understand and express these intense emotions through his compositions. This paper discusses Sehnsucht and alienation in Schubert’s settings of the Mignon songs from Johann Wolfgang von Goethe’s novel Wilhelm Meisters Lehjahre (Master William’s Apprenticeship). Mignon, a secondary character in this novel, is a prime example of one who experiences these emotions and whose principal medium of expressing herself is through her five songs. My thesis focuses on how Schubert portrays Mignon’s longing through use of dissonance, harmonic progressions, melodic contour and shifts in vocal register. / iv, 46 leaves ; 29 cm

Henry-Emile Chevalier was forced in exile by the December 1851 Coup d'Etat in France. In March 1853, he came to Montreal and joined Georges-Hippolythe Cherrier who had just started a new periodical called La Ruche Litteraire Illustree. In addition, during his stay in Montreal, Chevalier worked for several periodicals, was an active member of the Institut canadien de Montreal, and wrote many novels and serials depicting Canada's exoticism. This thesis will provide the most accurate biography of Chevalier up to date, it will also present an analysis of the exoticism in his novels and serials (1853-1960), and of his contribution to the evolution of serials in French Canada.

MAGALHÃES, Nathan Matos. José de Alencar e a escravidão: suas peças teatrais e o pensamento sobre o processo abolicionista. 2015. 133f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-07-07T16:38:44Z No. of bitstreams: 1 2015_dis_nmmagalhaes.pdf: 1189900 bytes, checksum: 3483499e02199e690fae3cb02d775b51 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-07-07T17:13:43Z (GMT) No. of bitstreams: 1 2015_dis_nmmagalhaes.pdf: 1189900 bytes, checksum: 3483499e02199e690fae3cb02d775b51 (MD5) / Made available in DSpace on 2016-07-07T17:13:43Z (GMT). No. of bitstreams: 1 2015_dis_nmmagalhaes.pdf: 1189900 bytes, checksum: 3483499e02199e690fae3cb02d775b51 (MD5) Previous issue date: 2015 / José de Alencar was called a slaver for believing that the abolition should not happen immediately, as it was the wish of most abolitionists. Our research investigates the understanding of the Cearence author about the slave regime in Brazil from two of his dramaturgy works – O demônio familiar (1857) and Mãe (1860). Besides these plays, which are the starting point of our study, we use the letters entitled Novas cartas políticas de Erasmo, ao Imperador (1867), for its reading, in comparison with other texts from the author, could provide us with a new perspective of analyses about José de Alencar’s critical thinking. We can affirm that the vision of some researchers about Alencar’s thoughts about slavery is incomplete, thus the necessity of feeling some blanks, having as corpus the Discursos parlamentares de José de Alencar (1977) as well – a work that gathers the political speeches of the Cearence author about the servile element; important works of critics such as Raimundo de Menezes, R. Magalhães Júnior, Raymond Sayers, Décio de Almeida Prado and Luiz Fernando Valente, that address the work of Alencar, as well as the reading of some literary texts that helped us with the critic developed here, among which we have As vítimas-algozes: quadros da escravidão (2010), by Joaquim Manoel de Macedo. Therefore, in the first chapter, we show the way Alencar makes himself present in the Brazilian dramaturgy, approaching a thorny theme for his time: the slavery and the importance of his plays for the progress of emancipation. In the second chapter, we analyze O demônio familiar, which until today arises discussion about being an abolitionist work or not. At last, in the third chapter, we conduct an approach about Mãe, where we highlight the existing relationship between lord and slave and what is the importance of the work for the battle against slavery in the country or for its stay in that time. Thereby, we enlist the points that show the reasons that took the critic to classify José de Alencar as a slaver, as well as the arguments that made some critics see in his works that he encouraged the abolition, but considering the gradual emancipation as the best solution for the society as a whole. / José de Alencar foi taxado de escravagista pelo fato de acreditar que a abolição não deveria ser realizada de maneira imediata, como desejava a maioria dos abolicionistas. Nossa pesquisa investiga, a partir de duas obras da dramaturgia alencarina – O demônio familiar (1857) e Mãe (1860) –, o entendimento do autor cearense sobre o regime escravista no Brasil. Além das peças, ponto de partida de nosso estudo, fazemos uso das cartas intituladas Novas cartas políticas de Erasmo, ao Imperador (1867), pois sua leitura, em comparação com outros textos do autor, pôde nos proporcionar uma nova perspectiva de análise acerca do pensamento crítico de José de Alencar. Podemos afirmar que a visão de alguns pesquisadores sobre o pensamento alencarino acerca da escravidão está incompleta, destarte a necessidade de se preencher algumas lacunas, tendo como corpus, também, os Discursos parlamentares de José de Alencar (1977) – obra que reúne os discursos políticos do autor cearense sobre o elemento servil –, obras importantes de críticos como Raimundo de Menezes, R. Magalhães Júnior, Raymond Sayers, Décio de Almeida Prado e Luiz Fernando Valente, que se debruçaram sobre a obra alencarina, e a leitura de alguns textos literários que nos ajudaram na crítica aqui desenvolvida, entre eles está As vítimas-algozes: quadros da escravidão (2010), de Joaquim Manuel de Macedo. Assim sendo, no primeiro capítulo, é mostrado o modo pelo qual Alencar marca presença na dramaturgia brasileira, abordando um tema espinhoso para sua época: a escravidão e a importância de suas peças para o avanço da emancipação. No segundo capítulo, analisamos a obra O demônio familiar, que até hoje suscita debates sobre o fato de ser ou não uma obra de caráter abolicionista, e, no terceiro capítulo, realizamos uma abordagem sobre a obra Mãe, onde evidenciamos as relações existentes entre senhor e escravo e qual a importância da obra para a luta contra a escravidão no país ou para a sua permanência naquela época. Dessa maneira, elencamos pontos que mostram as razões que levaram a crítica a denominar José de Alencar como um escravagista, assim como argumentos que fizeram com que alguns críticos vissem em suas obras posicionamentos em que levantava a bandeira da abolição, mas considerando apenas a emancipação gradual como melhor solução para toda a sociedade.

FREITAS, Gabriele Freixeiras de. O mito do herói nas obras O Gaúcho e O Sertanejo de José de Alencar. 2015. 144f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-06-30T13:36:56Z No. of bitstreams: 1 2015_dis_ gffreitas.pdf: 631339 bytes, checksum: c548a3fa0364c064ded7989682d31e3e (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-06-30T13:41:45Z (GMT) No. of bitstreams: 1 2015_dis_ gffreitas.pdf: 631339 bytes, checksum: c548a3fa0364c064ded7989682d31e3e (MD5) / Made available in DSpace on 2015-06-30T13:41:45Z (GMT). No. of bitstreams: 1 2015_dis_ gffreitas.pdf: 631339 bytes, checksum: c548a3fa0364c064ded7989682d31e3e (MD5) Previous issue date: 2015 / The objects of study in this dissertation are the aspects of the hero in the regionalist works O Sertanejo (1875) and O Gaúcho (1870), by José de Alencar. Through heroic characters, like Arnaldo and Manuel Canho, the writer from Ceará develops protagonists who represent the different regions of Brazil, thus basing his works on his project valuing the “local color” and the affirmation of a national identity. Guided by the aspects of the hero within the Romantic Movement, we will discuss some relevant features that can both differentiate and approach the characters to the heroes represented in other literary periods. To do so, we will draw a brief overview of the importance of the myth in archaic societies, as well as the origin and development of the mythologem of the hero. Through a detailed study of the hero from Alencar’s point of view, we intend to show how the author makes use of heroic aspects traditionally found in the Greek epopees and tragedies, strengthening the influence of the Homeric narrative in Western culture. However, the hero of the novel, as well as the own genre to which it belongs, has at its core the contradiction, the quest for the realization of their subjectivity in an objective world. Indeed, the hero, responsible for representing the novel, embodies the misfit in adapting to the society they live in and their inability to carry out the desires of the soul in a world unable to achieve them. This dissertation is based on the Works of Mircea Eliade (1972), Afrânio Coutinho (1995, 1999), Lukács (2000), Araripe Júnior (1980), among other researchers. / Esta dissertação tem por objeto de estudo os aspectos do herói nas obras regionalistas O Sertanejo (1875) e O Gaúcho (1870), de José de Alencar. Através de indivíduos heroicos, como Arnaldo e Manuel Canho, o escritor cearense desenvolve protagonistas representativos das diversas regiões brasileiras, baseando assim suas obras em seu projeto de valorização da cor local e afirmação da identidade nacional. Orientando-nos por aspectos do herói, dentro do movimento Romântico, discutiremos algumas características relevantes para a diferenciação e aproximação do protagonista alencarino diante do herói representado em outros períodos literários. Para tanto, traçaremos um breve panorama da importância do mito nas sociedades, assim como a origem e desenvolvimento do mitologema do herói. Através de um estudo minucioso do herói alencarino, pretendemos mostrar como o autor faz uso de aspectos heroicos tradicionalmente encontrados nas epopeias e tragédia gregas, reforçando a influência de narrativas homéricas na cultura ocidental. Todavia, o herói do romance, assim como o próprio gênero ao qual pertence, tem por essência a contradição, a busca pela efetivação da sua subjetividade em um mundo objetivo. Com efeito, o herói responsável por representar o romance personifica o desajuste ao tentar adaptar-se à sociedade em que vive e a sua incapacidade de realizar os anseios da alma em um mundo incapaz de concretizá-los. Este trabalho terá como apoio teórico os pensadores Mircea Eliade (1972), Afrânio Coutinho (1995, 1999), Lukács (2000), Araripe Júnior (1980), dentre outros estudiosos da área.

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AFRICAN LANGUAGES / MA (AFRICAN LANGUAGES)

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