A literatura romântica inglesa se constituiu basicamente de poesia, pois foi produzida em uma época em que ficção em prosa era vista como mero entretenimento. Alguns romancistas, excepcionalmente, são rotulados como “românticos”, mas Mary Shelley não aparece entre eles. Durante mais de um século, sua obra permaneceu restrita às sessões dos livros que tratam da exótica literatura gótica. A presente dissertação argumenta que a crítica literária não tem reconhecido a óbvia relação de Frankenstein com o romantismo inglês. Para evidenciar tal envolvimento, será apresentada uma análise do conjunto de imagens do romance que busque revelar os elementos românticos ali contidos. A análise se baseia, principalmente, nas idéias de Northrop Frye a respeito da natureza e função de imagens na literatura. O conceito de intertextualidade também será utilizado como ferramenta para a análise da inserção de imagens no romance e da inserção do romance no contexto do romantismo inglês. O trabalho é dividido em três partes. A primeira explora as relações de Frankenstein com a vida de Mary Shelley e com o romantismo inglês. A segunda expõe a base teórica em que esta dissertação se apóia. A última apresenta a minha leitura da teia de imagens do romance. Ao final, espero poder validar a tese proposta: que Frankenstein incorpora os valores estéticos e filosóficos do romantismo e merece, portanto, ser situado no seu devido lugar no cânone literário inglês como o representante legítimo do romantismo em prosa. / Romantic English literature – written at a time when prose fiction was predominantly a medium for sheer entertainment – is rooted in poetry. One or two novelists may exceptionally be granted the adjective “Romantic”, but Mary Shelley is not ranked among them. For centuries, her work has been restricted to that section in handbooks reserved for exotic Gothic literature. This thesis argues that literary criticism has failed to recognize Frankenstein’s obvious relation with the movement. The argument will be fostered by a brief look at such handbooks, and developed through the analysis of the imagery of the novel, so as to trace the Romantic elements there contained. The analysis relies mainly on the frame developed by Northrop Frye concerning the nature and function of imagery in literature. The concept of intertextuality will also be useful as a tool to account for the insertion of images in the novel, and for the novel’s insertion within the Romantic context. The work is divided into three parts. The first contextualizes the main issues set forth by Frankenstein, establishing connections with the life of the author and with the Romantic movement. The second exposes the theoretical basis on which the thesis is grounded. The last presents my reading of the novel’s web of images. In the end, I hope to validate the thesis proposed, that Frankenstein embodies the aesthetic and philosophical assessments of the English Romantic agenda, and therefore deserves to be situated in its due place in the English Literary canon as the legitimate representative of Romanticism in prose form.

A literatura romântica inglesa se constituiu basicamente de poesia, pois foi produzida em uma época em que ficção em prosa era vista como mero entretenimento. Alguns romancistas, excepcionalmente, são rotulados como “românticos”, mas Mary Shelley não aparece entre eles. Durante mais de um século, sua obra permaneceu restrita às sessões dos livros que tratam da exótica literatura gótica. A presente dissertação argumenta que a crítica literária não tem reconhecido a óbvia relação de Frankenstein com o romantismo inglês. Para evidenciar tal envolvimento, será apresentada uma análise do conjunto de imagens do romance que busque revelar os elementos românticos ali contidos. A análise se baseia, principalmente, nas idéias de Northrop Frye a respeito da natureza e função de imagens na literatura. O conceito de intertextualidade também será utilizado como ferramenta para a análise da inserção de imagens no romance e da inserção do romance no contexto do romantismo inglês. O trabalho é dividido em três partes. A primeira explora as relações de Frankenstein com a vida de Mary Shelley e com o romantismo inglês. A segunda expõe a base teórica em que esta dissertação se apóia. A última apresenta a minha leitura da teia de imagens do romance. Ao final, espero poder validar a tese proposta: que Frankenstein incorpora os valores estéticos e filosóficos do romantismo e merece, portanto, ser situado no seu devido lugar no cânone literário inglês como o representante legítimo do romantismo em prosa. / Romantic English literature – written at a time when prose fiction was predominantly a medium for sheer entertainment – is rooted in poetry. One or two novelists may exceptionally be granted the adjective “Romantic”, but Mary Shelley is not ranked among them. For centuries, her work has been restricted to that section in handbooks reserved for exotic Gothic literature. This thesis argues that literary criticism has failed to recognize Frankenstein’s obvious relation with the movement. The argument will be fostered by a brief look at such handbooks, and developed through the analysis of the imagery of the novel, so as to trace the Romantic elements there contained. The analysis relies mainly on the frame developed by Northrop Frye concerning the nature and function of imagery in literature. The concept of intertextuality will also be useful as a tool to account for the insertion of images in the novel, and for the novel’s insertion within the Romantic context. The work is divided into three parts. The first contextualizes the main issues set forth by Frankenstein, establishing connections with the life of the author and with the Romantic movement. The second exposes the theoretical basis on which the thesis is grounded. The last presents my reading of the novel’s web of images. In the end, I hope to validate the thesis proposed, that Frankenstein embodies the aesthetic and philosophical assessments of the English Romantic agenda, and therefore deserves to be situated in its due place in the English Literary canon as the legitimate representative of Romanticism in prose form.

O presente trabalho dedica-se a analisar comparativamente as obras The Pioneers (1823), The Last of the Mohicans (1826) e The Deerslayer (1841) de James Fenimore Cooper; e O Guarani (1857), As Minas de Prata (1863-65) e Iracema (1865) de José de Alencar sob a perspectiva historiográfica. Tal abordagem justifica-se por estas obras estarem inseridas no contexto de formação de uma cultura histórica no mundo ocidental, intensificado ao final do século XVIII, e que acabou por dar origem à História como disciplina. Logo, considera-se pertinente abordar o romance histórico, assim como outras formas de expressão cultural do período – entre eles a arte pictórica e os museus -, por fazer parte do surgimento do que hoje concebemos como historiografia. Assim, considerando as obras acima como representações do passado, conceito do historiador britânico Stephen Bann, procura-se estudar como elementos da história local – principalmente a paisagem e o passado indígena – articularam-se com convenções do romance romântico europeu, mais precisamente da tradição iniciada por Mme. De Staël, René Chateaubriand, Walter Scott, entre outros. Ao longo da análise, percebeu-se que entre as notas de roda-pé e eventuais referências ao longo das narrativas, tanto Cooper como Alencar referiam-se a documentos de época, o que tinha claramente o objetivo de garantir a veracidade e a verossimilhança de suas criações. Além disso, tais documentos, principalmente no caso de Alencar, onde a produção historiográfica encontrava-se centralizada principalmente no Instituto Histórico e Geográfico Brasileiro, eram similares aos utilizados por historiadores do período. Dessa forma, verifica-se que os primeiros traços da tentativa de se constituir uma literatura original – em contraposição à européia – nesses dois países tinham uma estreita relação com o fazer histórico, o que é o cerne desta contribuição para a compreensão da cultura histórica oitocentista. / The object of this study is to analyse comparatively the works The Pioneers (1823), The Last of the Mohicans (1826) and The Deerslayer (1841) by James Fenimore Cooper; and O Guarani (1857), As Minas de Prata (1863-65) and Iracema (1865) by José de Alencar under a historiographic perspective. Such approach is justified by the fact that these novels are part of the context of formation of a historical culture in the western world, intensified in the end of the eighteenth century, which lies in the origin of History as a discipline. It is, thus, pertinent to study the historical novel, as well as other means of expression – pictorial art and museums among them –, since they are involved in the forthcoming of historiography proper. Hence, considering these literary works as representations of the past, a concept developed by British historian Stephen Bann, we aim to analyse how elements of local history – mainly the landscape and native populations – were articulated with conventions belonging to romantic novels, specifically the tradition initiated with Mme. De Staël, René de Chateubriand, Walter Scott and others. Throughout the analysis, it was perceived that among footnotes and references in the texts themselves, both Alencar and Cooper reffered to documents of the time, which was clearly an attempt to achieve veracity and verisimilitude in their creations. Furthermore, such documents, especially in the case of Alencar, where the historiographic production was centered mainly in the Instituto Histórico e Geográfico Brasileiro, were similar to those used by historians of the time. Therefore, it is verified that the first traces of the effort in constituting an original literature – as opposed to European literature – in these two countries has a straight bond with History writing, which is the focus of this contribution to the understanding of nineteenth-century historical culture.

Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-08T08:25:10Z (GMT). No. of bitstreams: 1 Oliveira_HelderManueldaSilvade_M.pdf: 4912331 bytes, checksum: 5acaaa32d9e9543d03f7839664c88225 (MD5) Previous issue date: 2007 / Resumo: A origem deste estudo são as obras Marinha com barco (1895) e Paisagem com rio e barco ao seco em São Paulo 'Ponte Grande¿ (1895) de autoria de Giovanni Castagneto. Este se inicia com um breve histórico da pintura de marinha correlacionando a produção européia e brasileira. Em seguida, analisamos a produção do artista sob a prática da pintura de série, pois é possível identificar nas obras do pintor uma freqüente repetição de motivos. A partir disto avaliamos a série 'barcos ao seco¿ realizada pelo pintor ao longo de sua carreira e na qual incluímos as obras acima. Por fim, tratamos do período em que o artista expôs em São Paulo e as relações estabelecidas no ambiente cultural paulista. O trajeto foi necessário tanto para uma compreensão da produção paulista e de sua importância no meio artístico da cidade de São Paulo, bem como perceber o lócus do pintor no panorama da pintura de paisagem marinha e no meio artístico brasileiro do século XIX / Abstract: Giovanni Castagneto's Marinha com barco (1895) and Paisagem com rio e barco ao seco em São Paulo 'Ponte Grande' (1895) are the origin of this present study which begins with a brief story of seascape co-relating both the European and Brazilian productions. The following step consists on the analysis of the artist's production under the practice of his serial paintings due to the possibility of identification of a frequent repetition of motives in the painter's works. From this point, we evaluate the series 'barcos ao seco' released by the painter throughout his career and which includes the paintings mentioned previously. Finally, we focus on the period in which the artist exhibited in São Paulo and the relationship established in the cultural environment of the city. This course was necessary for a deeper comprehension of the painter's production in São Paulo as well as his importance in the forming cultural class. Therefore we intend, throughout the chosen paintings, to notice the importance of Castagneto in the both sea and landscape production context and in the Brazilian artistic class / Mestrado / Historia da Arte / Mestre em História da Arte

Orientador: Valquiria Gertrudes Domingues Leão Rego / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-11T12:51:44Z (GMT). No. of bitstreams: 1 Doria_CarlosAlberto_D.pdf: 2382643 bytes, checksum: a52a5d9d551949816ee8d3cc71c5988d (MD5) Previous issue date: 2007 / Resumo: À constituição de uma nova nação corresponde também a formação da idéia que a expressa, o modo de representá-la como objeto do pensamento que abarca os seus caracteres sociais, culturais, econômicos, geográficos, históricos e políticos. O propósito dessa tese é estudar a formação desse objeto de pensamento primeiro como um requerimento da filosofia da história do século XIX e, depois, como noção trabalhada no bojo das teorias evolucionistas do período até ela se materializar através da ¿arte de governar¿. A orientação do estudo é, portanto, dispor a nação como conceito em formação segundo a diretriz de integração dos seus vários componentes. Os autores em cujos textos se persegue esse rocesso são, com prioridade, Euclides da Cunha, Manoel Bomfim e Silvio Romero e, secundariamente, Oliveira Vianna. A tese está dividida em quatro partes e nove capítulos. Na primeira parte, em três capítulos, são expostas as hipóteses do trabalho, o enquadramento histórico do tema e a diretriz de integração que orienta metodologicamente o estudo. Na segunda parte, composta por um capítulo, trata-se da filosofia da história como gênero literário típico do século XIX e dos problemas da absorção de uma nação nova nesse nível de representação da história, tomada como um processo ascensional marcado por descontinuidades ¿ ¿decadências¿ ¿ que também afetam a sua trajetória. Na terceira parte, composta por quatro capítulos, discorre-se sobre a adoção por autores nacionais dos paradigmas do evolucionismo, em variantes darwinistas e pré-darwinistas, como elementos de crítica do conhecimento no tratamento de temas como a hereditariedade e a adaptação, considerando as particularidades do meio e das ¿raças¿ humanas que integram idealmente a nação. É esse tratamento pelos autores nacionais que lhes permite vislumbrar uma agenda política para o Estado, agora como principal fautor da nação ou agente político da sua integração. Finalmente, na quarta parte são apresentados argumentos conclusivos do estudo a partir das correlações das partes da tese / Abstract: As it is well known, the constitution of a new nation also corresponds to the construction of the very idea of nation and its own way to represent it as the object of thought which embraces social, cultural, economic, geographic, historical and political characters. The aim of this dissertation is to study the formation of this object of thought first of all as a request of the Philosophy of History in the 19th century, and further, as a notion worked in the core of the evolutionist theories of the period up to its incorporation as object that the state shall incorporate in the ¿art of governing¿. Therefore, the guideline of the study is to display the nation as a concept under formation, according to the guidelines of the integration of its many components. The authors whose texts we pursue this processes are, primarily, Euclides da Cunha, Manoel Bomfim and Silvio Romero, and secondarily, Oliveira Vianna. The dissertation is divided into four parts and nine chapters. In the first part, in three chapters, the hypothesis of the work, the historic settlement of the theme, and the guideline of the integration which gives the methodological orientation of the study, are presented. The second part, corresponding to one chapter, deals with the Philosophy of History as a typical 19th century literary genre, and with the problems of absorbing a new nation in such a level of representation of History as a rising process marked by discontinuities, ¿decadency¿, which also affect the integration of new nations. The third part, composed by four chapters, discoursed about the adoption of the evolutionism paradigms by home authors in Darwinist and pre Darwinist variations, as elements for knowledge criticism in treating themes, such as heritage and the adaptation along the historical process, considering the particulars of the environment, and of the human ¿races¿ which integrate ideally into the nation. It is this treatment given by home authors that allows them to forsee a politic agenda for the Estate, now as the main nation factor or the political agent of its integration. Finally, the forth part presents final arguments of the study as of the correlations of the dissertation parts / Doutorado / Doutor em Sociologia

This thesis is an investigation of the part played by Theopolis Mission on the Frontier, in the community (both secular and religious)and in the context of race relations. The Journal itself provides the terse, sometimes angry core of commentary on the total situation, and an attempt has been made, by setting it in a broader context, to dispel some of the myths which persist about the role of the Christian missionary, about Khoi Missions (in sharp contast to Xhosa Missions) and about Dr John Phllip. A clear picture has emerged of a people whose life-style, antecedents and history have been inadequately researched in tne period subsequent to 1800.

This thesis explores the relationship between the Female Gothic novel of the late eighteenth and early nineteenth century and the social context of women at that time. In the examination of the primary works of Ann Radcliffe, Mary Wollstonecraft and Mary Shelley, this study investigates how these female writers work within the Gothic genre to explore issues related to the role of women in their society, in particular those concerned with sexual identity. It is contended that the Gothic genre provides these authors with the ideal vehicle through which to critique the patriarchal definition of the female, a definition which confines and marginalizes women, denying the female any sexual autonomy. The Introduction defines the scope of the thesis by delineating the differences between the Female Gothic and the Male Gothic. Arguing that the Female Gothic shuns the voyeuristic victimisation of women which characterizes much of the Male Gothic, it is contended that the Female Gothic is defined by its interest in, and exploration of, issues which concern the status of women in a patriarchy. It is asserted that it is this concern with female gender roles that connects the overtly radical work of Mary Wollstonecraft with the oblique critique evident in her contemporary, Ann Radcliffe’s, novels. It is these concerns too, which haunt Mary Shelley’s texts, published two decades later. Chapter One outlines the status of women in the patriarchal society of the late eighteenth century, a period marked by political and social upheaval. This period saw the increasing division of men and women into the “separate spheres” of the public and domestic worlds, and the consequent birth of the ideal of “Angel in the House” which became entrenched in the nineteenth century. The chapter examines how women writers were influenced by this social context and what effect it had on the presentation of female characters in their work, in particular in terms of their depiction of motherhood. Working from the premise that, in order to fully understand the portrayal of female sexuality in the texts, the depiction of the male must be examined, Chapter Two analyses the male characters in terms of their relationship to the heroines and/or the concept of the “feminine”. Although the male characters differ from text to text and author to author, it is argued that in their portrayal of “heroes and villains” the authors were providing a critique of the patriarchal system. While some of the texts depict male characters that challenge traditional stereotypes concerning masculinity, others outline the disastrous and sometimes fatal consequences for both men and women of the rigid gender divisions which disallow the male access to the emotional realm restricted by social prescriptions to the private, domestic world of the female. It is contended that, as such, all of the texts assert the necessity for male and female, masculine and feminine to be united on equal terms. Chapter Three interprets the heroine’s journey through sublime landscapes and mysterious buildings as a journey from childhood innocence to sexual maturity, illustrating the intrinsic link that exists between the settings of Gothic novels and female sexuality. The chapter first examines the authors’ use of the Burkean concept of the sublime and contends that the texts offer a significant revision of the concept. In contrast to Burke’s overtly masculinist definition of the sublime, the texts assert that the female can and does have access to it, and that this access can be used to overcome patriarchal oppression. Secondly, an analysis of the image of the castle and related structures reveals that they can symbolise both the patriarchy and the feminine body. Contending that the heroine’s experiences within these structures enable her to move from innocence to experience, it is asserted that the knowledge that she gains, during her journeys, of herself and of society allows her to assert her independence as a sexually adult woman.

Cette étude, dans sa description du contexte historique et culturel de Naples autour des années 30 du XIX siècle, s’est orientée, en premier lieu, vers la recherche de la bibliographie plus ancienne (P. Colletta etc) ainsi que sur le dépouillement systématique des vingts volumes du journal “Monitore Napoletano”. Parallèlement elle commence l’étude des anciens guides de la ville, auprès de la Bibllioteca Nazionale de Naples, afin de retrouver les descriptions des collections privées napolitaines, des collectionneurs et du gout artistique de l’époque, la circulation des tableaux parmi les plus prestigieuses collections du royaume, ainsi que les premières descriptions des appartements du prince Leopoldo au Palais Royal de Naples. / The present study in describing the historical and cultural context around Naples the 30 years of the nineteenth century, it is oriented in the first instance, to seek oldest bibliography (P. Colletta, B. Croce, A. Acton, etc.) and to carry out the systematic examination of the twenty volumes of the newspaper "Neapolitan Monitor". In parallel, it was started the study of the ancient city guides, at the National Library of Naples in order to trace the descriptions of the collections Private Neapolitan, collectors and the artistic taste of the time, circulation the paintings in the most prestigious collections of the kingdom, and the first descriptions Prince Leopold of the apartments at the Royal Palace of Naples. / Il presente studio nel descrivere il contesto storico e culturale di Napoli attorno agli anni 30 del XIX secolo, si è orientato, in prima istanza, nel ricercare la bibliografia più antica (P. Colletta, B. Croce, A. Acton, etc.) e ad effettuare lo spoglio sistematico dei venti volumi del giornale «Monitore Napoletano». Parallelamente, ha preso l’avvio lo studio delle guide antiche della città, presso la Biblioteca Nazionale di Napoli al fine di rintracciare le descrizioni delle collezioni private napoletane, dei collezionisti e il gusto artistico del tempo, la circolazione dei dipinti nelle più prestigiose collezioni del regno, nonché le prime descrizioni degli appartamenti del principe Leopoldo a Palazzo Reale di Napoli.

I do not purport to give a definitive argument for or against the influences of the unconscious, for the necessary realm of expertise lies within other fields: psychiatry and psychology. However, the application of psychoanalytic literary theory of the unconscious to the lives, words, and characters of selected female authors in order to explore a richer, more meaningful purpose of their art will be the subject of this literary journey. Specifically, the intent will be an analysis of the relation between the manifest content of three classic works of literature to the unconscious intent relative to the author’s biographical perspective, or the psychology of literature.

No description available.