Tese (doutorado)—Universidade de Brasília, Departamento de Teoria Literária e Literaturas, 2008. / Submitted by Larissa Ferreira dos Angelos (ferreirangelos@gmail.com) on 2009-09-28T19:14:08Z No. of bitstreams: 1 2008_PieroLuisZanettiEyben.pdf: 3559950 bytes, checksum: 76f512c8815c5f5d8ad9e397aab6bbd1 (MD5) / Approved for entry into archive by Gomes Neide(nagomes2005@gmail.com) on 2011-01-06T15:52:13Z (GMT) No. of bitstreams: 1 2008_PieroLuisZanettiEyben.pdf: 3559950 bytes, checksum: 76f512c8815c5f5d8ad9e397aab6bbd1 (MD5) / Made available in DSpace on 2011-01-06T15:52:13Z (GMT). No. of bitstreams: 1 2008_PieroLuisZanettiEyben.pdf: 3559950 bytes, checksum: 76f512c8815c5f5d8ad9e397aab6bbd1 (MD5) Previous issue date: 2008 / Esta tese tem por objetivo discutir — a partir do conceito de escritura e de suas conseqüências para a teoria literária — a problemática da estrutura de retorno que a linguagem dos textos de Mallarmé e Joyce mantém sobre si mesma. A fim de se alcançar tal objetivo, será ensaiada a matematização de um conceito proposto — o de meta-signo —, cujo intuito é a transmissão do discurso desses textos a partir das teorias da desconstrução e da psicanálise, vistas aqui tão-somente naquilo em que colaboram para o desenvolvimento de uma "crítica da escritura". Na tentativa de compreensão de qual seja o papel da escritura — na redefinição da significância do texto frente aos problemas da leitura e escrita da própria literatura na modernidade — procura-se estabelecer o grafo e o matema do meta-signo sob o efeito dos fenômenos da assemia (Barthes) e da disseminação (Derrida) que, em conjunto com as teorias psicanalíticas acerca da psicose, do real, da letra e da representação, impulsionam a discussão a respeito da destituição e desgaste do funcionamento do signo enquanto representante. Assim, ao estabelecer a relação entre os textos desses dois autores, entendidos como binômios de uma mesma concepção a propósito da escritura, tem-se por definição a constatação dos elementos que obscurecem e apagam os sentidos em uma dada contextura de significância que apenas seria transmissível, mas não comunicável. Compreender o matema proposto seria, desta forma, apontar o discurso como réplica das relações lingüísticas enquanto possibilidades de compreensão metafigurativa, ou ainda como meta- referencial (tendendo a zero no gráfico cartesiano, proposto por Saussure e Jakobson), uma vez que tal discurso parte da nulidade do signo à metonímia complexa de seus elementos que ultrapassem a noção mesma de significação. ______________________________________________________________________________ ABSTRACT / This thesis aims to discuss — from the concept of writing and its consequences for literary theory — the problem of the structure of return that the language of Mallarmé’s and Joyce’s texts keeps up on itself. In order to achieve this objective, the mathematisation of a proposed concept — that of meta-sign — will be essayed, whose aim is transmitting the speech of those texts from the deconstruction’s and psychoanalysis’ theories, seen here as just only in which they collaborate to develop a "critique of writing". In attempt to understand what is the role of writing — redefining the significance of the text facing the problems of reading and writing of literature itself in modernity — we seek to establish the meta-sign’s graph and mathem under the effect of the concepts of asemy (Barthes) and dissemination (Derrida) which, together with the psychoanalytic theories about psychosis, real, letter and representation, impel the discussion about the destitution and wear of the sign’s functioning as a representation. Therefore, in establishing the relationship between the texts of those two authors, defined as binomial of the same conception of writing, we have the finding of the elements that obscure and erase the senses in a given structure of significance that would only be transferable but not communicable. Understanding the proposed mathem would be thus pointing the speech as a reply of the linguistic relations while possibilities of a meta-figurative as well as meta-referential understanding, as this speech departs from the sign nullity to the complex metonymy of its elements that go beyond the notion of meaning.

Autor no autoriza el acceso a texto completo de su documento. / The issue of dominance and submissiveness in Virginia Woolf’s (1927) To The Lighthouse will be the center of this study because of a number of reasons. Virginia Woolf shows an interesting mixture composed of governing and subservient figures in her novels. These first ones are represented mainly by men such as Mr. Ramsay, and the second ones, by women such as Mrs. Ramsay. The creation of this dichotomy is clearly influenced by the Post-Victorian environment in which Woolf grew up and wrote. There is an innovative way to present us these characters because she shows us the reality of dominance and obedience in a sarcastic way, that is, by saying something when she wants to state the opposite. Virginia Woolf’s novels are characterized by the presence of governing and subservient protagonists. This happens due to the context in which she created her novels, that is, the Post Victorian period. Nevertheless, there is an attempt to balance these two complementary forces, dominant and submissive, in order to criticize the established order. She did it in a subtle way, though; the social conventions at that period prevented her from going any further. The aim of this essay will be to discover the element that makes dominance and submission to be apparent in the characters, this key element could be the post- Victorian society or a personal contribution of the author, specifically a modern strategy, to change society from the individual rather than system. This work will be a contribution in the sense that as a starting hypothesis is that dominant and submissive figures in Woolf’s novels are presented in a non-traditional fashion. Therefore, one of the contributions of exploring these seemingly ascendant and passive representations would be to encourage a more realistic approach to characters, leaving aside stereotypical notions. Another contribution of this study, which lies on the examination of artistic and aesthetic motivations, is related to aesthetic purposes of the author. However, these are treated in an innovative way, not explaining much about their nature with practical language, but using rhetoric and poetic resources. Finally, it is important to relate these dichotomies to Woolf’s Modernism.

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa / As human beings, we are in constant awareness of our past and memories. We tend to attach significance to life events, places and people that make up our lives. Remembering a memory allows us to relieve that moment once again, nevertheless it never evokes the same feelings that the original did. Moreover we are not able to remember everything, but unconsciously, we retain specific moments in our mind. Aware of all of this, Virginia Woolf wrote “A sketch of the past” published in “Moments of being”, A Collection of Autobiographical Writings. In this work, Woolf tells us about her early years, and she describes and introduces people and places that build her life. She feels so connected to these situations, that she made them part of her memory. But she also discusses that certain things may get remembered, while others simply fade away. Because of this, she says that she does not control these moments and in the same way that she kept them in her memory, they came to her present reality, making her feel powerless. Although all of these descriptions Woolf never gives an accurate definition of “moments of being”, instead she asserts that these episodes of “ecstasy” are “embedded in a kind of nondescript cotton wool” (Woolf, ‘Sketch’72) forgotten in the everyday life were “a great part of every day is not lived consciously” (Woolf, ‘Sketch’70). These moments are called “moments of non-being”. Moments of being can be related to a moment of evocation, as they reveal something beneath the “cotton wool”.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa / From this richness of descriptions in the novel, this analysis ventures to, first, report how the hegemonic Victorian discourse on marriage is presented in the novel and, second, describe the characters’ relation to this discourse, in other words, how they interact and conflict with it. The last stage in the analysis, from a gender-role perspective, will be an attempt to glimpse Woolf’s modern conception on the nature of human relation through her character’s interaction, and how the discourse on marriage and its gender-role expectations shapes and effects the connection among the characters in the novel.

Solitude and self have been common topics for discussion and scrutiny by philosophers, scholars and writers. However, it was not until the turn of the twentieth century, with women 's enlightenment, that one notices women writers ' interest in understanding their selves in moments of solitude. Women who were conscious of drastic social changes often examined their lives and explored their selves in solitude. Katherine Mansfield and Virginia Woolf represent women writers of their time who shared a common interest in portraying women's quests for self in solitude. The present study shows how the solitary state is a significant precondition for modern women to reflect on their lives or explore their selves at a time when society was undergoing drastic changes. A close study of Katherine Mansfield 's "Frau Brechenmacher Attends a Wedding" (19 l 0), "Kezia and Tui" (1916), "Prelude" ( 1918), "At the Bay" ( 1922), and "All Serene!" (1923) shows that Mansfield always offers her women characters punitive consequences in the endings because of their compromise with their mundane conditions even though they have gained some sense of the self through contemplation and meditation. In the case of Virginia Woolf, she situates her women characters in isolation and contemplation, and often presents her women characters as active seekers of self through meditation and alienation. Autonomy, authenticity, and vision define these women's emerging self in such novels as Night and Day ( 1919), Orlando ( 1928), and To the Lighthouse ( 1927). The present study reveals Katherine Mansfield and Virginia Woolf as two exemplary women writers who examine women in moments of solitude through the interplay of social and psychological reality. Solitude is a recurrent condition and theme in their fiction that is often presented in "contrapuntal" manner (Dunbar ix). The contrast between women 's public and performative existence and their private and unmasked self characterises the fiction of Mansfield and Woolf, allowing the two writers to examine patriarchal oppression of women's acquisition of self against the backdrop of modernity. Mansfield and Woolf's treatment of solitude is particularly important as it sheds light on their shared views and friendship. Solitude is treated as a critical state, a condition, a private space, an attitude, or a refuge from performativity for women in their texts. Yet they have adopted distinct writing strategies in dealing with the subject owing to their difference in experience and literary outlook. Mansfield creates heroines who are more practical and modest in their approach to the subject of self-construction. Woolf creates women characters who often resort consciously to solitude to challenge and reflect upon gender norms, gain a better sense of their selves, and deploy various means to attain self-realisation.

Thesis (S.B. in Literature)--Massachusetts Institute of Technology, Dept. of Humanities, 2006. / Includes bibliographical references (leaves 68-70). / Introduction: "I hear a sound," said Rhoda, "cheep, chirp; cheep, chirp; going up and down" (9). Thus Virginia Woolf introduces Rhoda in her opening to The Waves. But almost immediately, this sound is transformed: " 'The birds sang in chorus first,' said Rhoda. 'Now the scullery door is unbarred. Off they fly. Off they fly like a fling of seed. But one sings by the bedroom window alone' " (10-11). While the birds were originally a unified, collective sound, "going up and down" as one, now they fly away as many, spreading like seeds that will eventually grow individually to create separate new lives. Rhoda implies that they sang as one only because they had no other choice - the door was barred, and they were jailed together. However, the single bird remaining by the window deep in song is a noteworthy figure. Like Rhoda, and human consciousness itself, it might be lonely or free, proudly individual or vulnerable in its solitude. / by Jocelyn Rodal. / S.B.in Literature

No description available.

No description available.

In this dissertation, I analyze the 20th century text, A Room of One's Own, by Virginia Woolf (2005), and I engage with Woolf's concept of a woman's need for a room of her own in which she can be free to think for herself, study, write, or pursue other interests away from the oppression of patriarchal societal expectations and demands. Through library-based research, I identify four screens in Woolf's work through which she viewed and critiqued culture, and I use these screens to reconceptualize "a room of one's own" in 21st Century terms. I determine that the new "room" is intimately and intricately technological and textual and it is reformulated in the digital spaces of blogs, social media, and Web sites. Further, I introduce the new concept of the technologized politically embodied cyborg, or TPEC, and examine the ways 21st Century TPECs are shaping U.S. culture in progressive ways.

No description available.