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The remarkable challenges Finnegans Wake offers to its readers and to the very process of reading are the results of an evolution of Nonsense literature. Despite the unduly "serious" framework of criticism which has been built up around it, Joyce's anomalous last work is a radical "hoax" upon interpretation. The regular confluences of linguistic deconstruction (via word association as well as recurring word and phrase matrices) and ontological metaphor, developed from authors such as Rabelais, Sterne, and Lewis Carroll, are offered by the Wake as tests to the reader's (qua reader) sensibilities. As Nonsense, Finnegans Wake departs from typified modernist modus operandi (metonymic allusion) and instead explores the limits of metaphor. The stakes of Joyce's hoax are of vital interest to the contemporary student of literature and culture, since the Wake dares the reader to find new meanings rather than to project old ones; to exult its eccentricities and its difference; and all the while to call into question (as the text itself does), its authenticity and authority.

In the first segment of the critical part of my thesis, my thought lays on "L'art du roman" of Virginia Woolf. In the second part, while recognizing certain qualities in the critical work of the English writer, I take side in favor of the literary theories of Celine and Sartre. In the last part of this text, I am exposing my views according to which the Quebec's literature would have greater advantage of being more "engage". The creating part of my thesis takes shape as a "roman engage". The story is about a disillusioned nationalist Quebecer, graduate and unemployed, who decides to change his personality to be like an English Canadian to better start his career in Toronto. Though all the sustained efforts he made to become Canadian, he realizes that he is first and above Quebecer. In ... Dent pour dent, the political message plays a fundamental role, but the esthetical aspects like humor, repetition and rythm are in the first place.

This study uses analysis, comparison, analogy, and inductive reasoning, to defend the thesis that a theological interpretation of the musical imagination can be arrived at through a correlation of myth and musical form. The first part of the study develops the approach to musical symbolism called presentational idealism, from Plato and Aristotle, through Kant, to Susanne Langer. This approach is then developed alongside evidence from various sources for a relationship between myth and music, to reach the conclusion that a mythical analysis of music is productive and practical. / The second part of the study uses selected compositions of Stravinsky to illustrate the application of mythical analysis. By analyzing formal aspects of Stravinsky's music in terms of their mythic, ritual, and archetypal symbols, a theological quest is perceived in his work, which is dominated by three interrelated symbols: death, rebirth, and eternal life. These three symbols parallel another set of symbols which derives from his aesthetic stance: chaos, discipline, and freedom. By treating Stravinsky's compositions chronologically, a development is observed through his Russian, Neo-classical, and Serial periods, which indicates that these symbolic clusters, death/rebirth/eternal life, and chaos/discipline/freedom, are keys both to his aesthetics and to the spiritual development of his imagination. Evidence from Stravinsky himself is given priority, with analysis by scholars and critics introduced where it will clarify the thesis.

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This thesis is an analysis of the chiastic structure in the tenth episode of James Joyce's Ulysses, Wandering Rocks, and how it relates to the chiastic elements in the novel as a whole. My reading of Wandering Rocks and Ulysses is designed to explain the contradiction between the episode's appearance of structural stability and the novel's consistent denial of unifying structures. Chiastic structure will be shown to reflect a formal process of simultaneous growth and decay that develops in the novel, and the reading of Wandering Rocks will establish how the pattern traces points of convergence between the novel's aesthetics and the organic processes that occur in the referential level of the text. While I argue that Wandering Rocks announces an inevitable loss of structural stability, the examination of its structure reveals formal principles that remain consistent throughout Ulysses .

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The Recurrence of Rhythm is an inquiry into the notion that the voice flows ??? a theme that continually recurs in the Homeric poems, Plato's Cratylus and James Joyce's A Portrait of the Artist as a Young Man and Ulysses. Through a re-interpretation of the meaning of rhythmos in pre-Socratic philosophy, I define rhythm as the particular manner in which the voice is flowing, and argue that it is the specific quality of phonetic writing to represent the flowing aspect of the voice. The Greek concept of rhythmos is held to be inseparable from the invention of phonetic writing and the transcription of the Homeric poems, and it is this new definition of rhythm that allows the thesis to engage in contemporary debates concerning the relationship between speech and writing (as developed by Derrida, Ong, Havelock, Parry, Lord and Prier). I also argue that the Platonic concept of rhythm qua metre provides an essential point of mediation between the Greek oral tradition and the history of Western literature, a move that sets the scene for a comparative study of Homer and Joyce. By developing an original concept of recurrence that pertains to both the repetition of themes in the Homeric poems and the heroic experience of living for the sake of the story, this thesis proposes that rhythm and recurrence are interrelated concepts that distinguish the lyrical and dramatic modes that structure the epic form of narrative found in both Homer's poems and Joyce's novels. Drawing upon the esthetic philosophy of Stephen Dedalus, I develop the dialectical theory of genre first outlined by Joyce in the Paris notebook, and argue that the latent lyricism contained in the narrative style of A Portrait is a proto-typical form of the interior monologue found in Ulysses. In opposition to the early modernist paradigm of Joyce criticism, this thesis rejects the notion that mythic archetypes function as Platonic ideals (i.e. the transcendent form of the modernist artwork), but rather holds that heroic themes recur in the mental stream of the modern subject, and manifest themselves immediately through Joyce???s use of the interior monologue technique.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-12-07Bitstream added on 2014-06-13T18:55:25Z : No. of bitstreams: 1 valente_ta_dr_assis.pdf: 4057064 bytes, checksum: 8a54c976b9cba1354b12251c88c90638 (MD5) / Este trabalho tem como objeto de análise os artigos de Monteiro Lobato publicados no jornal O Estado de S. Paulo, entre 1913 e 1923. Para constituição do corpus, foram consultadas todas as edições entre 1913 e 1930, período correspondente à fase de consolidação da imprensa no Brasil (Sodré, 1966; Bahia, 1954). Como objetivo central, tem-se a relação de Monteiro Lobato com o jornal O Estado de S. Paulo, procurando-se a identificação entre o discurso presente nos artigos do escritor e o discurso de um dos principais veículos da imprensa escrita da República Velha. O levantamento dos artigos no período de 1913 – ano do primeiro texto publicado por Lobato no Estado – e 1930 – data emblemática para a história do país e, portanto, para a imprensa de modo geral – desdobra-se ainda em outros focos de análise: a) abordagem das questões temáticas e formais dos textos de Lobato publicados no periódico; b) a participação do escritor nas atividades do Estado; c) a concepção de jornalismo e sociedade comuns ao jornal e ao articulista. A leitura dos textos e a análise sustentada tanto pelos estudos lobatianos quanto pelos estudos sobre a história brasileira revelam a sintonia de Monteiro Lobato com O Estado, ao menos na República recém-instaurada e tão precária no que diz respeito a um projeto de sociedade voltado aos brasileiros. O Estado é o espaço em que as idéias lobatianas dialogam intensamente com outros textos e autores, todos imbuídos da missão de, por meio da ciência e do desenvolvimento econômico, transformar o Brasil na potência americana dos trópicos. O... / This study aims to analyse Monteiro Lobato’s articles published on O Estado de S. Paulo (OESP) newspaper, between 1913 and 1923. For data collection, it was researched all editions between 1913 and 1930, a period when the printing press was established in Brazil (Sodré, 1966; Bahia, 1954). Our main objective is the Monteiro Lobato´s relation with OESP, searching for the identification between the writer´s articles and the speech of one of the main vehicle of the Old Republic printing press. The articles were researched between 1913 – when the very first Lobato’s article was published on OESP – and 1930 – a very important date for the history of the country and, therefore, for all the printing press - is organized in other analysis focus: a ) approaching of the theme and formal questions about Lobato’s published articles; b) the participation of the writer during the OESP activities; c) the conception of newspaper and society to news and writers. The reading of the texts and the analysis carried out for both Lobato studies and Brazilian History of the printing press show the proximity of Lobato and OESP, at least during the new established and so poor Republic dealing about a society project for Brazilian people. The OESP is the place where Lobato’s ideas dialogue deeply with other texts and writers, all impregnated with an objective of, through the science and the economical development, becoming Brazil the American power... (Complete abstract click electronic access below)