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Orientador: Eliane Moura Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-21T23:54:56Z (GMT). No. of bitstreams: 1 Silveira_GlauciaRegina_M.pdf: 2877241 bytes, checksum: a949f6f8c37d905e4caedd688badb6e2 (MD5) Previous issue date: 1997 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em História

D.Litt et Phil. / Immermann's novel "Munchhausen", one of the few humorous novels in German literature, has had a very mixed reception since it was written about 140 years ago. It was either ignored completely or seen to consist of two diametrically opposed parts which even led to them being published separately.This study sets out to examine the many heterogeneous elements that are present and to determine what factors contribute towards a unity of the novel...

According to classical Greek mythology, Eros was one of the first beings to arise out of Chaos and represented the concepts of harmony and union necessary in creating the world and its creatures. The primary fear that Zola addresses (and exploits) in Germinal is the fear of anarchy and of social chaos. This is accomplished thanks to a relentless textual insistency on eroticism. This emphasis on human sexuality, along with Zola's ground-breaking treatment of the working class, represents the breaking of the two greatest literary taboos in nineteenth century French literature: the vivid depiction of bodily urges and the minute examination of the proletariat. Our thesis is that the revolutionary impact and the incontestable literary longevity of Germinal stem largely from Zola's successful shattering of these timorous traditions--the logical extension of reigning bourgeois morals--via his persistent depictions of the corporeal and the erotic. This essay, therefore, is an attempt to analyze, to describe, and to reconcile the diverse and contradictory elements which comprise the erotic subtext in Zola's most famous novel, that is to provide an erotic reading of Germinal. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

In the early 1890s, Ingeborg von Bronsart (1840-1913) was hailed by the German musical press as the "first lady" of the German stage. Her first two extant dramatic works —Jery und Bately (Singspiel, 1873) and Hiarne (grosse Oper, 1891) — had captivated audiences and were met with enthusiasm from critics. By 1904, Arthur Elson noted that Bronsart was "one of the few really great women composers." Yet by the time her last opera, Die Siihne, premiered in 1909, the magic had faded. Critics rejected the work as unimaginative, while audiences stayed away. Bronsart and her works quickly disappeared from the repertoire and from history. Employing manuscript and contemporary published sources, Chapter One examines Bronsart's life and the rich artistic circles in which she lived and worked. Chapters Two, Three and Four are devoted to each of Bronsart's three extant operas. The individual works are considered with respect to their genesis as well as to more general matters of plot and dramatic structure. Because little is known about Bronsart's music, in order to obtain a better understanding of her style a substantial portion of my discussion concentrates on the musical analysis and dramatic interpretation of each opera. Focusing on the specific numbers and scenes that I consider to be of significant interest, I examine the vocal writing, harmonic language, formal structures, unity and continuity. The thesis concludes with an exploration of broader historiographical issues of reception, gender, genre and aesthetic value, laying the foundation for a renewed interest in this unique composer and her works. / Arts, Faculty of / Music, School of / Graduate

This thesis puts forward the case for a political reading of Thomas Hardy's Wessex Novels. Although the political aspects of these novels cannot be seen as his main preoccupation, it is argued that an awareness of the political motivation of Hardy is necessary for a proper and responsible reading. Through biographical and textual material, and through a comparison of Hardy with Boris Pasternak, it can be shown that a consistent political theme runs through the Wessex novels from the beginning to the end. The main reason why this political theme has not been generally appreciated is attributed to a misconception about Hardy's role as a novelist. For too long Hardy has been popularly described as a defender of the peasant or rustic. In fact, Hardy's interest was with those people who were just above the lowest class. Since he was himself from this slightly higher class, he was naturally sensitive to their difficulties in social improvement. Hardy therefore attacked the systems in society that protected the wealth and power for the middle and upper classes at the expense of the poorer people. The first chapter follows Hardy's early career both as an architect in London, where he developed strong political views that tended towards socialism, and as an aspiring novelist in a market which would not accept expression of those political views. The early novels show evidence of his suppressed political anger as Hardy lapses into outbursts of bitter social satire. The satire disappears after The Hand of Ethelberta when the novels complete a gradual movement towards tragedy. This meant that the discord between the early novels' general optimism and his political anger was eliminated. As a harmonious part of the later novels, Hardy's political attitudes are not so easily discerned. For this reason a special critical approach is needed. The second chapter compares Hardy's novels and political views with those of Boris Pasternak. Pasternak's poetic political novel provides a model for analysing the later more poetic Wessex Novels. Utilising the genre of the "lyrical novel," it is shown how the poet-novelist often pays less attention to narrative development and concentrates on shaping his central concerns within a symbolic structure. The third chapter makes a political reading of Tess of the D'Urbervilles based on the political attitudes established in the first chapter, and on the techniques of the lyrical novel defined in the second. The consistency of Hardy's political views in the Wessex Novels becomes apparent as the same concerns of the early novels are found through an analysis of the novel's symbolic structure. / Arts, Faculty of / English, Department of / Graduate

This thesis concentrates on human relations and the potential for man’s beatitude in Hardy’s major novels through an exploration of suffering, human will, evolutionary meliorism, and Grace, discussed in separate chapters. Chapter I is devoted to an introduction of the major elements of what is here called Hardy’s vision. Relying largely on Florence Emily Hardy’s The Life of Thomas Hardy and on references to some of the novels, a compilation of impressions is arranged into what seems to represent accurately the basic nature of the world and human relations in Hardy’s novels. The emphasis and the thrust of the vision are the ways in which human doings interrelate.

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Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.