The problem is the investigation of the possibility of an alternative theory of literature that attempts to show literature's relation to human consciousness. A phenomenological theory of literature is presented as a comprehensive theory of literature as opposed to extrinsic theories that are not comprehensive. The basic assumption is that a comprehensive theory of literature must take into account literature's relationship to human consciousness. The shortcomings of traditional modes of literary theory are discussed in order to provide grounds for the proposed intrinsic alternative. The philosophical foundations for the proposed alternative are laid in the phenomenology of Husserl, Ingarden, Heidegger, and the French existentialists. These four positions are mediated through the introduction of the philosophy of Paul Ricoeur. Finally, the proposed alternative theory of literature is applied to the test case of Joseph Conrad's Lord Jim.

Typescript (photocopy) Includes bibliography.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-18T12:04:23Z No. of bitstreams: 1 Mirella de Lemos Giglio.pdf: 991335 bytes, checksum: 0551e143a1461507f2fc0bc43a1a8b91 (MD5) / Made available in DSpace on 2017-07-18T12:04:23Z (GMT). No. of bitstreams: 1 Mirella de Lemos Giglio.pdf: 991335 bytes, checksum: 0551e143a1461507f2fc0bc43a1a8b91 (MD5) Previous issue date: 2017-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / This project aims to analyze the symbols of Heart of Darkness, searching for elements of depression, using the theories developed by Carl G. Jung. Depression is a subject frequently heard, either presented in formal academic texts or chats among acquaintances. This theme is seen in the history of human kind since the first historical documents, however, its definition would suffer changes according to the point of view men had of themselves. The theory developed by Carl G. Jung depicted that depression might have a creative function for those who suffer from it, as long as the ego encounters the unconsciousness. Joseph Conrad, the author of Heart of Darkness, presented depressive symptoms in his life. He had a life in which he lost his parents at a young age and decided to live alone in the sea, as a sailor. These situations with different obstacles prevented his psychic to develop a strong structure as an adult. His traumas and his sea journeys inspired him to express his private contents and contemplate subjective themes about the human existence. Heart of Darkness presents a plethora of symbols. Some of them express the archetypal journey to Hades’ world, the inner darkness, as the depression process that may result in the transcendence of the consciousness / Esta pesquisa tem como objetivo analisar os símbolos da obra Coração das Trevas, em busca de elementos da depressão por meios da teoria junguiana. A depressão é um assunto tratado frequentemente, seja em formato formal de textos acadêmicos, ou batepapos entre conhecidos. A presença desse assunto está na humanidade desde os primeiros registros históricos, porém a sua definição era diferente de acordo com a visão de homem que as pessoas tinham em cada período. Atualmente, a depressão atinge 350 milhões de indivíduos. Mesmo assim, nos deparamos com uma diversidade de interpretações sobre o assunto e como tratá-lo. A teoria elaborada por Carl G. Jung revelou que a depressão pode ter uma função criativa e transformadora para quem passa por ela, contanto que exista um espaço para o encontro do Ego com o inconsciente. Joseph Conrad, o autor do livro Coração das Trevas, apresentou sintomas depressivos em sua vida. Ele teve uma vida com obstáculos, na qual perdeu os pais na infância e decidiu viver sozinho no mar, como marinheiro. Essas situações dificultaram o fortalecimento de uma estrutura psíquica de um ser adulto. Seus traumas e suas viagens marítimas foram inspirações para o autor expressar seus conteúdos íntimos e comtemplar assuntos subjetivos para toda a humanidade. Coração das Trevas apresenta diversos símbolos. Alguns deles expressam a jornada simbólica ao mundo de Hades, as trevas internas, como o processo da depressão que pode resultar na ampliação de consciência como forma de transcender

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Since Presocratic Greece, suicide in the West has been “known” and controlled, both politically and discursively. Groups as diverse as theologians and literary critics have propagated many different views of self-killing, but, determining its cause and moralizing about it, they have commonly exerted interpretive power over suicide, making it nameable, explicable, and predominantly reprehensible. The four modernist authors that I consider in this dissertation -- Ernest Hemingway, Joseph Conrad, Virginia Woolf, and William Faulkner -- break completely with the tradition of knowing suicide by insisting on its inscrutability, refusing to judge it, and ultimately rendering it “almost unnamable,” identifiable but indefinable. In For Whom the Bell Tolls, Victory, Mrs. Dalloway, and The Sound and the Fury, respectively, these authors portray illustrative, but by no means definitive, modernist self-killings; they construct a distinctive representational space around suicide, one free of causal, moral, theoretical or thematic meaning and, I argue, imbued with the power to disrupt interpretation. “‘Almost Unnamable’: Suicide in the Modernist Novel” examines the power of self-killing’s representational space in early twentieth-century fiction, arguing for its importance not only to the history of suicide in the West but also to the portrayal of death in the twentieth-century novel. / text

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This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected. / I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.

This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.

Thesis (MA)--Stellenbosch University, 2005. / ENGLISH ABSTRACT: The stories and histories of the human race are littered with the remnants of utopia. These utopias always exist in some "far away" place, whether this place be removed in terms of time (either as a nostalgically remembered past, or an idealistically projected future), or in terms of space (as a place that one must arrive at). In our attempts to attain these utopias, we construct our worlddefinitions in accordance with our projections of these ideal places and ways of "being". Our discourses come to embody and perpetuate these ideals, which are maintained by excluding any definitions of the world that run counter to these ideals. The continued existence of utopia relies on the subjects of that utopia continuing their belief in its ideals, and not questioning its construction. Counter-discourse to utopia manifests in the same space as the original utopia and gives rise to questions that threaten the stability of the ideal. Questions challenge belief, and therefore the discourse of the ideal must neutralise those who question and challenge it. This process of neutralisation requires that more definitions be constructed within utopian discourse - definitions that allow the subjects of the discourse to objectify the questioner. However, as these new definitions arise, they create yet more counter-definitions, thereby increasing the fragmentation of the aforementioned space. A subject of any "dominant" discourse, removed from that discourse, is exposed to the questions inherent in counter-discourse. In such circumstances, the definitions of the questioner - the "other" - that have previously enabled the subject to disregard the questioner's existence and/or point of view are no longer reinforced, and the subject begins to question those definitions. Once this questioning process starts, the utopia of the subject is re-defined as dystopia, for the questioning highlights the (often violent) methods of exclusion needed to maintain that utopia. Foucault's theory of heterotopia, used as the basis for the analysis of the three texts in question, suggests a space in which several conflicting and contradictory discourses which seemingly bear no relation to each other are found grouped together. Whereas utopia sustains myth in discourse, running with the grain of language, heterotopias run against the grain, undermining the order that we create through language, because they destroy the syntax that holds words and things together. The narrators in the three texts dealt with are all subjects of dominant discourses sustained by exclusive definitions and informed by ideals that require this exclusion in order to exist. Displaced into spaces that subvert the definitions within their discourses, the narrators experience a sense of "madness", resulting from the disintegration of their perception of "order". However, through embracing and perpetuating that which challenged their established sense of identity, the narrators can regain their sense of agency, and so their narratives become vehicles for the reconstitution of the subject-status of the narrators, as well as a means of perpetuating the counter-discourse. / AFRIKAANSE OPSOMMING: Utopias spikkel die landskap van menseheugenis as plekke in "lank lank gelede" of "eendag", in "n land baie ver van hier", en is dus altyd verwyderd van die huidige, óf in ruimte, óf in tyd. In ons strewe na die ideale, skep ons definisies van die wêreld wat in voeling is met hierdie idealistiese plekke en bestaanswyses. Sulke definisies sypel deur die diskoers, of taal, waarmee ons ons omgewing beskryf. Die ideale wat dan in die diskoers omvat word, word onderhou deur die uitsluiting van enige definisie wat teenstrydig is met dié in die idealistiese diskoers. Die volgehoue bestaan van utopie berus daarop dat die subjekte van daardie utopie voortdurend glo in die ideale voorgehou in en onderhou deur die diskoers, en dus nie die diskoers se konstruksie bevraagteken nie. Die manifestering van teen-diskoers in dieselfde ruimte as die utopie, gee aanleiding tot vrae wat die bestaan van die ideaal bedreig omdat geloof in die ideaal noodsaaklik is vir die ideaal se voortbestaan. Aangesien bevraagtekening dikwels geloof uitdaag en ontwrig, lei dit daartoe dat die diskoers wat die ideaal onderhou, diegene wat dit bevraagteken, neutraliseer. Hierdie neutraliseringsproses behels die vorming van nog definisies binne die diskoers wat die vraagsteller objektiveer. Die vorming van nuwe definisies loop op sy beurt uit op die vorming van teen-definisies wat bloot verdere verbrokkeling van die voorgenoemde ruimte veroorsaak. "n Subjek van die "dominante" diskoers van die utopie wat hom- /haarself buite die spergebiede van sy/haar diskoers bevind, word blootgestel aan vrae wat in teen-diskoers omvat word. In sulke omstandighede is die subjek verwyder van die versterking van daardie definisies wat die vraagsteller - die "ander" - se opinies of bestaan as nietig voorgestel het, en die subjek mag dan hierdie definisies bevraagteken. Sodra hierdie proses begin, vind "n herdefinisie van ruimte plaas, en utopie word distopie soos die vrae (soms geweldadige) uitsluitingsmetodes wat die onderhoud van die ideaal behels, aan die lig bring en, in sommige gevalle, aan die kaak stel. Hierdie tesis gebruik Foucault se teorie van "heterotopia" om die drie tekste te analiseer. Dié teorie veronderstel "n ruimte waarin die oorvleueling van verskeie teenstrydighede (diskoerse) plaasvind. Waar utopie die bestaan van fabels en diskoerse akkommodeer, ondermyn heterotopia die orde wat ons deur taal en definisie skep omdat dit die sintaks vernietig wat woorde aan konsepte koppel. Die drie vertellers is elkeen "n subjek van "n "dominante diskoers" wat onderhou word deur uitsluitende definisies in "n utopia waar die voortgesette bestaan van die ideale wat in die diskoers omvat word op eksklusiwiteit staatmaak. Omdat die vertellers verplaas is na ruimtes wat hulle eksklusiewe definisies omverwerp, vind hulle dat hulle aan "n soort waansin grens wat veroorsaak is deur die verbrokkeling van hul sin van "orde". Deur die teen-diskoers in hul stories in te bou as verteltaal, of te implementeer as die meganisme van oordrag, kan die vertellers hul "selfsin" herwin. Deur vertelling hervestig die vertellers dus hul status as subjek, en verseker hulle hul plek in die opkomende diskoers deur middel van hulle voortsetting daarvan.