Orientador: Nina Virginia de Araujo Leite / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-28T16:43:21Z (GMT). No. of bitstreams: 1 Esteves_LenitaMariaRimoli_D.pdf: 7013581 bytes, checksum: eb6aeb18af9952fa63b616b07337be8c (MD5) Previous issue date: 1999 / Resumo: Este trabalho parte de uma obra literária singular, Finnegans Wake, de James Joyce, para abordar várias questões relativas à linguagem e principalmente à tradução. Essa obra impõe uma leitura diferenciada, que se afaste do que normalmente julgamos ser a leitura e a interpretação de textos emgeral e também literários. A psicanálise, trazida principalmente por textos de Freud e Lacan, mostrou-se uma via ideal de abordagem dessa obra que, ao mesmo tempo, se assemelha e se diferencia de formações do inconsciente como o chiste e o sonho, da poesia - como a psicanálise a concebe - e das produções de sujeitos psicóticos. O primeiro capítulo faz um contraponto entre Finnegans Wake e essas formações, que evidenciamo inconsciente em ação na linguagem. o segundo capítulo vem ligar essa perspectiva da psicanálise à tradução, por meio da obra Letra a Letra, de Jean Allouch, onde o autor propõe, pela íopologia do nó borromeano, uma interdependência entre a tradução e duas outras operações, a transcrição e a transliteração. O terceiro capítulo trata de analisar a escrita de Joyce tendo como contraponto as três operações propostas por Allouch. Analisam-se também traduções de alguns excertos de Finnegans Wake para o português, com a identificação de pontos de impossibilidade.Procura-se demonstrar que se, como propõe Lacan, o sujeito James Joyce apresenta uma constituição psíquica singular, que o diferencia tanto de um psicótico quanto de um neurótico, essa singularidade deve se inscrever em sua própria obra e, justamente nesses pontos de inscrição, a tradução se torna impossível. A tese busca demonstrar que, se a tradução se depara com certos limites, esses limites são determinados pela incidência das duas outras operações, transcrição e transliteração. Em contrapartida, a tradução não pode ser considerada isoladamente, sendo sempre apoiada pelas duas outras operações. Se a tradução tem sido tradicionalmente teorizada com base na oposição forma/sentido, a tese se propõe a considerá-Ia num triplo, composto de forma/sentido/nãosentido / Abstract: The key motivation of this thesis was a singular literary work - Finnegans Wake, by James Joyce - and the several issues it raises related to language and especially to translation. Joyce's work imposes a different reading process, apart ITomwhat we generally consider to be reading and interpretation of texts in general, as well as literary texts. Psychoanalysis, represented mainlyby texts by Freud and Lacan, was considered an ideal way of approaching this text which, at the same time, is similar to and different ITomunconscious formations such as dreams and verbaljokes, poetry - as conceived by psychoanalysis- and the productions of psychotic subjetcs. The first chapter presents a comparison between Finnegans Wake and these formations, which put in evidencethe unconscious at work in language. The second chapter links this psychoanalytical perspective to translation, based on the book Letra a Letra, by Jean Allouch, in which the author proposes, by means of the topology of the Borromean rings, that there is an interdependence between translation and two other operations, transcription and transliteration. The third chapter analyses Joyce's writing in view of the three operations proposed by Allouch. Translations of some excerpts of Finnegans Wake into Portuguese are also analysed, aiming at indicating some points of impossibility.This analysis tries do show that if, according to what Lacan proposes, James Joyce has a singularpsychological make-up, which is neither that of a psychotic nor that of a neurotic, then this singularity must be inscribed in his own work and that, exactly in these points of inscription, translation becomes impossible. The thesis tries to show that, if translation faces some limits, these limits are determined by the incidence of the two other operations, transcription and transliteration. On the other hand, translation can not be considered in isolation, being always supported by the two other operations. If translation has been generally theorized based on the opposition form/sense, this work proposes to consider it in a triple, constituted by form/sense/non-sense / Doutorado / Doutor em Linguística

Orientador: Joaquim Brasil Fontes Junior / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-24T16:11:59Z (GMT). No. of bitstreams: 1 Medeiros_Silvio_D.pdf: 12288076 bytes, checksum: 1943059d45df9da006861a94effc1dab (MD5) Previous issue date: 1999 / Resumo: A proposta dessa tese de doutoramento é mostrar de que forma a imaginação literária pode nos auxiliar na compreensão da realidade histórica contemporânea, marcada por profundas rupturas e transformações na ordem das coisas, e que emerge fazendo tábua rasa de seus legados culturais. A partir do desenvolvimento de um estudo intertextual em torno de três obras da literatura ocidental; a Odisséia de Homero, a Eneida de VirgíTio e o Ulisses de James Joyce, procuramos estabelecer uma tensão entre as poéticas antiga e moderna para refietirmos sobre a falta de verdades estáveis na modernidade, cuja ênfase é depositar cada vez maior peso no pensamento sobre o futuro considerando-o como dinâmico o superior ao passado, o que torna o vasto quadro das experiências passadas em si mesmo obsoleto, decretando dessa maneira o esquecimento da própria memória. Assim, visando uma reflexão significativa sobre o nosso tempo, construímos um jogo intertextual a demandar um núcleo: a desorientaçâo do homem moderno num mundo onde a tradição cultural tende a diluir-se. O resultado desse estudo permite que venhamos a estabelecer um diálogo complexo entre discursos poéticos e filosóficos, fazendo com que a Literatura e a Filosofia figurem como preocupações-chaves no pensamento contemporâneo, para somar forças contra o lado obscuro da modernidade. Nesse sentido, o Ulisses de Joyce, texto que se inscreve no modelo da poesia épica helênica, conquanto apresente uma sucessão vertiginosa de estilos e movimentos, servirá para exemplificar a insatisfação da palavra poética moderna empenhada em sobrepor-se às limitações da realidade / Abstract: The aim of this doctorate thesis is to show in what way literary imagination may help us to understand contemporary historic reality, which is marked by deep ruptures and transformations in the order of things and which emerges making tabula rasa of its cultural heritage. An intertextual study of three works of occidental literature, Homer's Odyssey, Virgile's Aeneid, and James Joyce's Ulysses seeks to establish a tension between the old and the new poetics in order to reflect about the lack of stable truths in modernism, which emphasis lies in putting an each time major weight on thinking about the future, considering it as being dynamic and superior to the past, which turns the wide range of past experiences obsolete in itself, declaring the disremembering of the proper memory. Thus, aiming toward a significant reflection on our time, we are building an intertextual game pointing to a core: the disorientation of modern man in a world where cultural tradition tends to dilute itself. The result of this study allows us to establish a complex dialogue among poetical and philosophical discourses, turning Literature and Philosophy into key issues of contemporary thinking in order to increase strength against the dark side of modernism. In this sense, Joyce's Ulysses, a text which follows the model of Hellenistic epical poetics, since it presents a vertiginous succession of diferent styles and movements, serves as an example of the dissatisfaction of the modern poetic word in attempting to superpose itself to the limits of reality / Doutorado / Filosofia e História da Educação / Doutor em Educação

Elsschot word dikwels 'n siniese skrywer genoem. Alvorens die geldigheid, al dan nie, van hierdie stalling nagegaan word, volg 'n aantal definisies om te probeer bepaal wat sinisme is. Van Dale gee die volgende verklaring van die woord CYNISCH: "schaamteloos ongevoelig, een stuitend of pijnlijk ongeloof in het goede aan den dag leggende, niet gelovende aan oprechtheid of deugd bij de motieven en daden der mensen en dit met spottende lach of op scherpe,sarcastische wijze laten blijken". Intro., p. 1.

What follows is an attempt to circumscribe Virginia Woolf's ideas on life and death, the relation between self and all that which is not self, and the nature of reality, in short, Woolf's vision. I hope that whatever unity and structure may exist in the vision will not be overlooked, and moreover, I intend to avoid imposing a unity where none exists, whether the absence of unity is intentional or accidental

Egerton Ryerson is remembered today mainly as an educational reformer and religious leader. His work in connection with the public library movement in Ontario has received little attention. Yet Ryerson himself attached great importance to the provision of free libraries for the general public, as an extension and completion of the school system. His object was to ensure that all citizens, both young and old, would be able to enjoy the fruits of education. A study of the library system introduced by Ryerson is needed to shed light on a neglected aspect of his career. At the same time, it fills a gap by furnishing a connected account of public library history in Ontario from 1844 to 1876. For source material, the chief documentary items are found in various works edited by J.G. Hodgins. Ryerson's own Annual Reports provide an abundance of valuable information. A search of newspapers and periodicals of the period has revealed some pertinent articles, which have been particularly useful in gauging the reaction in Ryerson's contemporaries to his library scheme. The scheme was first formulated by Ryerson in his 1846 Report, two years after he became Superintendent of Education for Upper Canada. It was given government approval in 1850. School trustees and municipal councils were authorized to start libraries in their communities, and money could be raised for the purpose by an assessment on property. Many of the libraries were placed in school buildings, though they were intended to be used by the adult population of the surrounding district as well as by the students. Local initiative was emphasized. Once a library became established, a government grant was available for the purchase of books, on a matching basis with funds raised locally. All the books had to be selected from a list of authorized publications compiled and annotated by Ryerson, known as the General Catalogue. They were supplied at cost price from a central Depository in Toronto. Most of them came from British and American publishing firms. For about twenty years, the libraries grew and flourished. In I850 free public library service was unknown in Upper Canada. By 1870 there were over a thousand libraries circulating a quarter of a million volumes. The success of the scheme was partly due to the energetic backing Ryerson gave it. After his retirement in 1876, the libraries declined rapidly. Government support was withdrawn, and given instead to the libraries of the Mechanics' Institutes. Of all Ryerson's enterprises, this was one of the few that did not survive. Its collapse was due partly to dissatisfaction with the material available in the General Catalogue, and partly to public apathy. There was also strong opposition from Canadian publishers, who resented the Department of Education buying books in bulk from foreign sources. Even though the libraries disappeared, Ryerson's efforts had not been wasted. During his lifetime, the project filled an important need, and much praise was accorded to it at all levels of society. It was the first real attempt in Canada to extend free library service to the whole population. Though changed in direction during the final quarter of the nineteenth century, the movement started by Ryerson continued to advance at a steady pace through the work of the Mechanics' Institutes. / Education, Faculty of / Graduate

The purpose of this thesis is to determine the importance of biographical inreading to a study of Dante Gabriel Rossetti's The House of Life. Although most of Rossetti's critics have predicated a biographical imperative in examining this work, the validity of their approach can be seriously questioned. The tendency to employ biographical criticism perhaps stems from an excessive concern on the part of both biographers and critics with the sensational details of Rossetti's life. Because of this concern, The House of Life has been treated more as an autobiographical record than, as an integral work of art. It is necessary to re-examine the poem through some approach other than the biographical. Chapter One outlines three standard approaches to the study of literature. The first, the historical or extrinsic, includes the study of the poet's biography as well as the various external influences on him. The second, the organic or intrinsic, concentrates on internal aspects of the literature, such as imagery and form. The third, the synthetic, is a more fluid approach than the other two in that it attempts to employ all available tools of literary criticism, including biography. Chapter Two reviews certain pertinent facts about Rossetti's life and considers a number of biographies and biographical studies which have appeared since his death, and which, to a considerable extent, have created an inaccurate legend about him. Chapter Three considers the specific problem of biographical inreading in The House of Life, and discusses some of the criticism based on that inreading. It also traces the general development of The House of Life from the two essentially biographical preliminary versions (the Fortnightly Review sonnets, and the Kelmscott sonnets) to the complete version of 1881. Chapter Four examines The House of Life as a work of art rather than as a biographical document. A reading of the poem is suggested in which The House of Life is seen as a series of cycles depicting the "transfigured" life of the poet. An exegetical analysis of The House of Life necessarily involves the critic in an examination of biographical data. However, once the development of the sequence has been traced, the critic must employ intrinsic criteria in order to determine the essential structure of the poem. In other words, the best approach to The House of Life synthesizes both the extrinsic and intrinsic methods of criticism. / Arts, Faculty of / English, Department of / Graduate

From the canon of the poetry of E. J. Pratt emerges a composite picture of man, the various elements of which are given cohesion by patterns of images and symbols. It is the purpose of this thesis to trace these patterns, to discover their relation to Pratt's main themes of man and the mechanical universe, and to reveal his view of man. Chapter I discusses the patterns of images and symbols that exist in Pratt's lyrics and less successful narratives. Image patterns of the sea, ships, machinery, heroes, light and religion reveal that Pratt sees man as surrounded by death, which he fights with machines, the products of his reason, and with his feelings which may lead him to sacrifice himself so that others may live. The two most significant image patterns in these poems are those of the sea and of light. The sea symbolizes both death and the Void of the universe, from which, in Pratt, all life comes and to which all life returns. Light symbolizes the determination of the human spirit to overcome death, but in images of hell-fire, light symbolizes the evil in men. Christianity is not so important in Pratt's work as Desmond Pacey and John Sutherland maintain. Pratt does not view Christ as divine. God is no more caring of man than He is of his other natural, products. Chapter II deals with The Roosevelt and the Antinoe as Pratt's greatest expression of the conflict between man and death. Common men rise to godhead when they overcome the forces of death (symbolized by the sea) through feeling for others and through their determination to succeed (symbolized by light). A pattern of images of machines reveals that the power of men acting for others' benefit transcends the power of the natural universe. Religious images suggest that, to Pratt, God is uncaring of men and that those who believe that He is beneficient are deluded. Pratt's world emerges as a world of chance. Chapter III examines The Titanic, in which Fate, rather than death, is the antagonist. The transcience of the material world of man (symbolized by the "Titanic") is posed against the permanence of the natural world (symbolized by the stars). Fate is an eternal force. Patterns of imagery of light dominate the world of the ship and symbolize men's illusions of strength over death, nature, and Fate. A pattern of images of heroes is discussed in relation to the wealthy passengers whose self-sacrifice is a ritual atonement for their hubris, and for the catastrophic results of their materialism on the rest of mankind, represented by the immigrant passengers. Chapter IV examines the patterns of fire, religion, and hero images in Brébeuf and His Brethren. These patterns present Pratt's view that the Jesuits are misguided. Their ambition to succeed as martyrs and as Jesuits blinds them to the need for communication of feeling among men. The Jesuits exist in the illusion that religious abstractions are more vital to men's welfare than are kindness and charity. Both Jesuits and most of the Indians, in their zeal, devote their energies to death rather than to life, and both exhibit in extreme the misdirection of the human will to succeed. Chapter V presents minor patterns of imagery and symbolism in which images are contrasted or balanced to reveal the strengths and weaknesses in men. The chapter concludes with a discussion of the total image of man in Pratt's work: man is both good and evil; he rises to his highest levels through communication with other men in transcending death by heroically opposing it; he sinks to his lowest levels when he becomes an incommunicative agent of death. Man exists in illusion when he believes that his machines or his faith in God and hope in religious systems can overcome death. / Arts, Faculty of / English, Department of / Graduate

The short stories of Virginia Woolf have never received serious scrutiny, critics determinedly maintaining that the novels contain the heart of the matter and that the stories are merely preparatory exercises. Mrs. Woolf, however, provides sufficient evidence that she was "on the track of real discoveries" in the stories, an opinion supported by her Bloomsbury mentors Roger Fry and Lytton Strachey. A careful analysis of her twenty-one known stories suggests that they are indeed important (not merely peripheral to the novels and criticism) and are successful in developing specific techniques and themes germane to her total canon. One of the reasons why the stories have never been taken seriously, of course, is that they simply are not stories by any conventional definition— but are nonetheless "short fiction" of interest and significance. The stories derive from three distinctly separate chronological periods. The earliest group (1917-1921) was published in Monday or Tuesday and included two stories available only in that volume, now out of print. (To enable a complete assessment, I have made these stories available as appendices II and III of this thesis, and included Virginia Woolf's lone children's story as appendix IV since it too is of the early period). This phase of creation utilized one primary technique—that of evolving an apparently random stream of impressions from a usually inanimate and tiny focussing object, and was generally optimistic about the "adorable world." The second phase of her short fiction (those stories appearing in magazines between 1927 and 1938) illustrates a progression in both technical virtuosity and in personal discipline: the fictional universe is now peopled, and the randomness of the early sketches has given way to a more selective exploitation of the thoughts inspired by motivating situations. But vacillation is here evident in the author's mood, and while optimism at times burns as brightly as before, these stories as often presage Mrs. Woolfs abnegation of life. The third group, posthumously published by Leonard Woolf in 1944 without his wife's imprimatur (and recognizably "only in the stage beyond that of her first sketch"), still reveals a desire in the author to pursue her original objective suggested in "A Haunted House"--the unlayering of facts to bare the "buried treasure" truth, using imagination as her only tool. In one respect, and one/Only, the critics who have neglected these stories are correct: the pieces are often too loosely knit, too undisciplined, and too often leave the Impression of a magpie's nest rather than one "with twigs and straws placed neatly together." In this the stories are obviously inferior to the novels. But by neglecting the stories the critics have missed a mine of information: herein lies an "artist's sketchbook,” which, like A Writer's Diary, provides a major avenue into the mind of one of the most remarkable writers of our age. / Arts, Faculty of / English, Department of / Graduate

There is evidence throughout the stories, and in Joyce's letters, to show that Dubliners should be considered as a single entity rather than as a series of unconnected short stories. This thesis examines Joyce's presentation of Dublin's middle class as a unifying principle underlying the whole work. Joyce believed that his city was in the grip of a life-denying "paralysis", and this thesis studies his attempt in Dubliners to relate that paralysis to those attitudes towards experience which his Dubliners hold in common. The stories in Dubliners are grouped to form a progression from childhood through adolescence to maturity and public life. This progression reveals the nature of Dublin's middle class and its effect on its individual member throughout his life. Childhood is a time of comparative freedom, and adolescence shows the individual's increasing conformity to the standards and values of his class. By the time he reaches maturity he is totally trapped in that paralysis reflected in the corruption of the public institutions. The nature of the middle class is revealed by four sub-themes which I designate: "religion," "adventure", "love", and "culture". For the purposes of this analysis the stories are grouped according to these thematic divisions, but Joyce's own order is always taken into consideration. Chapters 1 to IV each examines one of these sub-themes. In Chapter V, "The Dead", which embraces all of these aspects of experience, is treated separately. / Arts, Faculty of / English, Department of / Graduate

This dissertation considers Finnegans Wake as a deconstructive writing that exemplifies many of the textual operations that the French critical theorist Jacques Derrida attempts to define through his use of such "undecidable" terms and "non-concepts" as "difference," "dissemination," "trace," and "grafting." It argues that the Wake operates much like the "bifurcated writing" and "grouped textual field" that Derrida identifies as the only possible site for a deconstructive engagement of the terms and concepts of the Western metaphysical tradition, the tradition that Derrida terms phallogocentrism. The Wake has been an important text in the critical formulations of many contemporary theorists, and, as Derrida has recently acknowledged, his own theories of dissemination and deconstruction have been considerably affected by the Wake during the twenty-five to thirty years that he has been learning to read it. In drawing on Derrida's theories to analyze the Wake, this dissertation utilizes Derrida's terms to "re-mark" in Joyce's text, the disseminative textual operations that Derrida has marked as operative in the texts of the history of philosophy and in "so-called literary" texts like Finnegan’s Wake. In a certain sense, it renders unto Joyce's text that which has always already belonged to it. Drawing on Derrida's investigation of speech and writing, the dissertation considers the Wake's identification of itself as a fusion of speech and writing that requires a "speechreading" on the part of its readers. It supports this consideration by employing Umberto Eco's semiotic methodology to trace the network of metonymic lexemes by which the Wake identifies itself as a writing for the ear as well as the eye. Next it analyzes the Wake's tenth chapter as a chapter that exploits the formula 1+2+3+4=10 and produces a writing that operates as an arithmetical textual machine which problematizes the traditional concepts of presence and being and which also works towards dislodging the phallogocentric organization of writing with such hierarchically organized binary terms as male/female and central/marginal. In order to illustrate how the Wake disseminatively disrupts the binary terms by which phallogocentrism dominates thought, speech, and writing, the dissertation also considers how Joyce's text functions in an Intertextual relationship with some of the writings of Blake and Shakespeare. It does this by analyzing how the Wake dismantles some of the philosophical paradigms operating in the Blake and Shakespeare texts and takes important signifiers from those texts in order to set them to work as signifiers of signifieds that are radically different from those in the texts of Blake and Shakespeare. / Arts, Faculty of / English, Department of / Graduate