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

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

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

Beginning with the premise that Virginia Woolf's novels exhibit a dual perspective of psychological mimesis and apocalyptic allegory, this dissertation formulates a critical theory of vision which operates on literary principles extracted, with a number of modifications, from two studies of Romantic transcendence: Thomas Weiskel's The Romantic Sublime: Studies in the Structure and Psychology of Transcendence, and the Second Essay of Northrop Frye's Anatomy of Criticism. The narrative role of the Woolfian "moment of being" is explored in her nine novels as a fictional analogue of Weiskel's "sublime moment," a metaphorical subplot in which the harmonious relation between the self and nature breaks down. When the moment of being does not merely collapse into a cycle of nature worship, it follows an Oepidal path of reactive identification in which the character identifies with the prevailing cultural pattern, or "father." Thus the fictional character experiences the moment of being as a failed psychological transcendence. From the perspective of apocalyptic allegory, these novels engage the imagination of the reader by means of the "logical imagination": that is, the poetic Logos becomes-, the anagogic Word. This revolutionary concept of apocalypse is adapted from the theory of symbols that Frye discusses in Anatomy of Criticism, where the "anagogic symbol" is identified with the divine Word. In Woolf's allegory, "there is no God; we are the words" (Moments of Being, 72). The view of Woolf's vision as a dual perspective implies that Woolf advocated, and developed, fictional forms that juxtapose realistic and mythopoeic constructs. Her characters, plots, and settings represent life in this world as a failed transcendence, while her mythical and metaphorical structures define for the reader an imaginative apocalyptic quest having five identifiable stages: 1) the presentation of an inner psychological realm where the imaginary and the real seem inextricable, 2) the discovery of the "out there" as a solid basis for imaginative identity, 3) the exploration of a crisis of vacancy out of which the imaginative self becomes reborn, 4) the establishment of an imaginative pattern as a prelude to the rejection of the "fatherhood" influence of history and society, and 5) the apocalyptic awakening of "ourselves" from the dream of history and of selfhood. From the investigation of these developments in Woolf's vision emerges a distinct novelistic canon. This study, as a whole, documents Virginia Woolf's "own particular search--not after morality or beauty or reality--no ; but after literature itself" (The Diary of Virginia Woolf, I, 214). / Arts, Faculty of / English, Department of / Graduate

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