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A woman’s choice between a starry-eyed dreamer and a pragmatic businessman ends in disaster. This situation is a motif in the works of Eugene O’Neill, and examining its occurrences in Beyond the Horizon, The Great God Brown, Strange Interlude and Long Day’s Journey into Night sheds light on the “seeker”(the starry-eyed dreamer)and “provider” (pragmatic businessman) characters in O’Neill’s work as well as his understanding of what women believe is the “Ideal Male.” Through his work, O’Neill questions whether women really want a seeker or a provider and, perhaps, would prefer a father instead. Nietzsche, Laing, Lao Tzu, and Frazer are all used to help ground this study of why exactly O’Neill’s women and men seem to get caught up in this cycle that often leaves both sexes dead or insane. / vi, 106 leaves ; 29 cm

Orientador: José Alves de Freitas Neto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T13:49:28Z (GMT). No. of bitstreams: 1 Minelli_Ivia_M.pdf: 1437692 bytes, checksum: f57bf6093559d71b059cbe53e1b8d7f0 (MD5) Previous issue date: 2013 / Resumo: O estudo do gênero gauchesco para a análise das obras de Domingo F. Sarmiento (1811-1888) e José Hernández (1834-1886), fundamentais na história da literatura argentina devido ao intenso debate que seus escritos promovem desde o século XIX, suscita a reflexão sobre as manifestações artísticas e estratégias discursivas desprendidas em Facundo: civilização e barbárie (1845) e Martín Fierro (1872/79), reveladoras de um fervoroso universo simbólico em meio às disputas políticas do período pós-independência. As diferentes acepções sobre gaúchos e indígenas encontradas em cada texto são representativas da heterogeneidade dos projetos civilizacionais oitocentistas, diversidade esta que encontramos em Sarmiento e Hernández na análise de suas perspectivas sobre a intelectualidade argentina, a expressão política relativa ao campo e à cidade, os projetos e rumos civilizatórios para novo país, a adoção de símbolos nacionais, entre outras. Na abordagem aqui proposta, política e cultura se encontram e rompem as forjadas assimetrias entre esses dois autores, indicando na complexa formação do discurso nacional argentino o esforço de manutenção das premissas civilizacionais do século XIX dentre a historiografia até os dias de hoje. Dessa forma, deslocar as análises de Facundo e Martín Fierro com na inserção da temática indígena, por exemplo, é pensar as fissuras de um discurso que homogeneíza o passado da Argentina / Abstract: The studies of gauchesco literary gender to analyze Domingo F. Sarmiento (1811-1888) and José Hernández (1834-1886) oeuvres, which are the bed rock of Argentinean Literary, due to the intense debate that their writings allow since the middle 19th century, raise some reflections about the artistic out comes and the reasoning strategies used in Facundo: civilization y barbarism (1845) and Martín Fierro (1872-1879), both revealing a vivid symbolical universe during the post-independence political period. The different conceptions about gauchos and indigenous people found in each writing also represent the heterogeneity of 19th century civilizing projects, whose diversity is found in Sarmiento and Hernández's perspectives about: the Argentinean intellectuality, the political representation related to the countryside and the city, the civilizational directions to the fresh born nation, the usage of national symbols and so on. In this approach, culture and politics intersect themselves and clash the asymmetries forged between this two authors, pointing the complex formation of Argentinean national discourse and the effort in preserving the 19h century civilizational assumptions among historiography up to date. Thereby, displacing Facundo and Martín Fierro's analysis, by adding the indigenous thematic for instance, is thinking the disruptions in a discourse that standardize the Argentinean past / Mestrado / Politica, Memoria e Cidade / Mestra em História

T.S. Eliot's statement that myth is an ordering device in literature 'is constantly belied by his use of myth in his own poems'. This is the belief of the American critic Richard Chase, noted for his work on myths and mythological themes in English and American literature. Whether or not Chase is right must emerge from the chapters which follow. The purpose will be to examine the effects of the use of myths and mythological patterns on Eliot's work in general, rather than to annotate individual mythological allusions. Simply to recognise an allusion is to raise a question, not to answer one: for we have then to decide what the writer hope to achieve by its use, and whether or not he has succeeded. Unless they lead on to such questions, lists of sources contribute little to our understanding of a work. Far more important than incidental allusions are the mythological themes and patterns on the larger scale, which reveal themselves in recurrent allusions and in basic patterns of symbolism. Again, merely to recognise such a pattern is inadequate: in every case a discovery of its function in both the poem's (or play's) structure and the poet's technique should be our main concern. ... Eliot himself has made it clear that in his case the use of myths and mythological patterns has often been a fully conscious, even self-conscious process. Therefore we may apply to his work the questions mention by Norman: what functions the myths fulfil within individual works; and why Eliot uses them in the first place. This last question leads us back to a more fundamental one; why do many writers, especially modern ones, use myths 'in the first place'? The problem involves discussion of the relation between myths and literature and of the nature of myths themselves, this forms the material of the first chapter. The other chapters will deal with some of Eliot's works, attempting to explain and analyse his use of myths in them, and to illustrate its importance in each case.

M.A. (English) / Please refer to full text to view abstract

Orientador: Robert Wayne Andrew Slenes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-24T11:29:51Z (GMT). No. of bitstreams: 1 Oliveira_JoiceFernandadeSouza_M.pdf: 2473436 bytes, checksum: 03e5d7b025649c7ca47c30e4a4507192 (MD5) Previous issue date: 2013 / Resumo: A pesquisa ora apresentada investiga a experiência de escravos comercializados para Campinas, no período de 1850-1888. Nesse estudo, as principais questões analisadas se referem às relações familiares, às relações de trabalho, à distribuição de ocupações especializadas, às incidências de fuga e às possibilidades de alforria. Para alcançar este objetivo, realizamos micro histórias de três comunidades escravas, utilizando o método de ligação nominativa de fontes para seguir pessoas no tempo e entre séries documentais diferentes. As três escravarias campineiras escolhidas se diferem a partir de seu histórico (se antigas ou de formação recente) e da "velocidade" de sua aquisição de novos cativos (lenta ou rápida) no comércio interno. Nesses cenários investigamos a comunidade escrava em sua totalidade, comparando a experiência de escravos residentes de longa com a vivência dos forasteiros. A partir desse trabalho observamos alguns traços comuns na trajetória dos forasteiros no novo cativeiro, mas principalmente, constatamos a heterogeneidade da experiência daqueles deslocados pelo comércio interno / Abstract: The research presented investigates the experience of bondspeople brought to the city of Campinas - a plantation center in the "historical West" of São Paulo - through the internal trade in slaves that grew rapidly after the end of the traffic in Africans (1850) and reached its height in the 1870s. My story finishes in 1888, the year of abolition. I focus my research on various aspects of slave experience - family relationships (especially marriage and baptism), labor relations, the distribution of specialized occupations, the incidence of flight and possibilities of manumissions - always contrasting the experiences of the descendants of the Africans "founders" of the slave quarters in the first half of the century, with the new "outsiders" post-1850. I construct "micro-histories" - of a small numbers of properties (three, ranging from old to "newly established"), using the method of nominative record-linkage to follow people over time and beteween different documentary series. From this work, I identify some common aspects in the trajectory of outsiders in the new captive, but mainly I apprehend the heterogeneity of experience of those displaced by the internal trade / Mestrado / Historia Social / Mestra em História

Cette thèse cherche à cerner, dans Malicroix d’Henri Bosco, le cheminement qui préside à l’écriture du récit lui-même. Dans ce dessein, nous utilisons une approche poïétique qui s’intéresse à « l’œuvre en train de se faire », selon l’expression de René Passeron. Nous considérons ainsi l’œuvre comme une poétique d’auteur sous forme fictionnelle. La perspective phénoménologique que nous adoptons permet d’étudier le texte sous l’angle de la perception, alors que la mythocritique offre un point de vue privilégié pour réfléchir la perception du monde – particulièrement le monde textuel – par le biais du sacré et de son imagerie. Reconstruisant pas à pas la double structure – horizontale et verticale – du récit, nous nous penchons sur divers aspects de l’œuvre et du processus scriptural. L’horizon de lecture forme le premier chapitre de notre thèse et donne lieu à une vue triple sur le récit : l’histoire et les personnages, le contexte spatio-temporel et le point de vue du mythe comprenant le mythe fondateur du récit et le scénario initiatique qui en découle. Nous regroupons dans le deuxième chapitre l’élaboration de deux notions qui fondent notre étude poïétique, soient les figures et les chronotopes. Les figures consistent en deux groupes, les figures de l’écrivain et celles de l’expression qui jouent des rôles distincts dans le cheminement scriptural et s’inscrivent dans Malicroix par le biais des personnages. L’étude des chronotopes divise le récit en onze temps-espace qui constituent la trame d’un cheminement des figures suivant le parcours du texte. Le troisième chapitre détaille cette traversée des chronotopes qu’effectuent les figures, dessinant le chemin de l’écriture dans le texte selon onze situations successives. Le dernier chapitre de cette étude comporte deux parties. La première met en lumière une poétique d’écrivain bosquienne comme l’auteur la formule dans un bref article intitulé « L’exaltation et l’amplitude ». La seconde, le point d’arrivée de notre étude, intègre les données de la poétique d’écrivain au cheminement des onze situations, fournissant une description des étapes du processus scriptural que suit Bosco en écrivant Malicroix. / This thesis schematizes, in Malicroix by Henri Bosco, the process that presides to the writing of the novel itself. Using a poietic approach, we consider the text as a writer’s poetic that takes a fictional form. A phenomenological perspective allows us to study the novel from the point of view of perception, and mythocritique enables us to reflect on the perception of the world – especially the world of the text – through the angle of the sacred and its symbols. Reconstructing the horizontal and vertical structures of the novel, we reflect on diverse aspects of the text and of the scriptural process. The reading horizon constitutes the first chapter of our thesis and offers a triple view on the novel: the story and the characters, the spatiotemporal context and the mythical point of view. In the second chapter are elaborated two central notions, the figures and the chronotopes. Two groups of figures emerge, one associated with the writer as creator of the text and the other, with the process of expression. The figures play distinct roles in the conception and expression and are represented in Malicroix by way of the characters. The chronotopes study divides the novel in eleven times-spaces that constitute the basis of the figures’ progression through the text. The third chapter details how the figures cross the chronotopes’ series, drawing the scriptural route inscribed in eleven successive situations in the text. The last chapter contains two parts. The first examines the writer’s poetic that Bosco published under the title « L’exaltation et l’amplitude ». The second, which constitutes the final objective of our study, integrates the elements of this writer’s poetic in the eleven successive situations, producing a description of the stages of the scriptural process followed by Bosco while writing Malicroix.

The purpose of this chapter is to acquaint the reader with the general scope and trend of Maxwell Anderson's work in order to give a more complete conspectus for the discussion of his plays. By so doing a foundation will be laid for a more intelligible discussion of the specific aspects of the seven plays concerned in the thesis proper, the title of which is, "An Essay on Character Portrayal, Style, and Technique of' Writing in Maxwell Anderson's Biographical Plays in Verse."

A afinidade significativa entre as reflexões de Giambattista Vico e a poesia de Fernando Pessoa são objeto dessa pesquisa pois há uma correlação entre o poeta criador de heterônimos e o pensador da História, filósofo da natureza humana. Vico resgatou dos antigos egípcios que a humanidade passou por três etapas de evolução: idade dos deuses, dos heróis e dos homens. Entretanto há uma inovação: tudo começou ao mesmo tempo. Em um desenrolar espiralizado, a História evolui em constantes retornos: a essa sequência de estágios Vico chamou de História Ideal Eterna, crivada pelos cursos e recorrências. O objetivo da atual pesquisa é evidenciar que os heterônimos representam a síntese poética da História Ideal Eterna. Como fundamento do estudo temos A Ciência Nova, obra-prima do autor italiano, a qual discursa a respeito do mito como a primeira forma de ciência dos povos arcaicos e sobre o axioma verum ipsun factum. Primeiramente se aborda a época de Vico, sua vida e a formação nos estudos, para se compreender a postura contrária à perspectiva cartesiana. Explana-se a teoria viconiana que distingue quatro tipos de conhecimento: Ciência, Consciência, Verdades Universais e Conhecimento Histórico. Constata-se que o pensador napolitano tinha fundamentos cabíveis para sustentar suas asserções, haja vista que antecipou a antropologia moderna. A partir dessa constatação percebe-se que encontramos na História uma disciplina de apoio na análise literária. Por outro lado, apesar de ser autor do século XX, Pessoa é eterno na história ideal da literatura e sua imortalidade fez-se na construção de poetas que perfazem uma humanidade inteira. Caeiro, Reis e Campos não devem ser lidos separadamente e sim na relação entre eles pois são unidade que se complementa em um desdobrar cíclico que reproduz a evolução da consciência humana. O paralelo entre a vida de um sujeito da raça humana e a própria humanidade se estabelece formando uma visão poética dos elementos da narrativa histórica. O homem arcaico possuía grande poder de sentidos e fantasia corpulenta, por isso tomando o cuidado para não se deixar levar por cristalizações nota-se que os versos de Caeiro remetem à poesia do concreto, como a linguagem e o pensamento dos primeiros homens que viam as coisas com o deslumbre da primeira vez. Reis é a aristocracia que corresponde à segunda idade, a dos heróis, da solenidade do espírito épico contido na Ode. Campos é o poeta das recorrências, da barbárie, da idade dos homens e da civilização ocidental. Concluise que os heterônimos assim como as três idades são um ciclo no sentido de que formam uma sequência de cursos e recorrências. Paradoxal como tudo em Pessoa porque temos um primeiro, um segundo e um terceiro que se originam todos juntos, concomitantemente. A perspectiva viconiana confirma que os heterônimos apresentam uma aparente diversidade porém o mundo deles constitui de fato um uni-verso. Encontram-se também novas possibilidades de leitura para a poesia dos heterônimos. / The significant affinity between the reflections of Giambattista Vico and the poetry of Fernando Pessoa is the object of this research because there is a relationship between the poet, the man who created heteronyms, and the other man who was the philosopher of History and Human Nature. Vico has reclaimed from the ancient Egyptians that the mankind went through three stages of evolution: the age of gods, age of heroes and the age of men. Meanwhile he brings an innovation: it all began in the same time. In a spread out in spiral form, the History evolves into steady returns: this sequence of stages Vico called Ideal Eternal History, pierced by courses and recurrences. The goal of the current research is to highlight that the heteronyms is the poetic synthesis of the Ideal Eternal History. As a basis of this study we have The New Science, the Italian authors masterpiece, which discusses about the myth as science of the archaic peoples and the axiom verum ipsum factum. It first addresses the time of Vico, his life and training in studies, to understand the opinion against Cartesian perspective. For that the Vicos theory is explained, it distinguishes four types of knowledge: Science, Consciousness, Universal Truths, and Historical Knowledge. It appears that the Neapolitan thinker had reasonable grounds to support their assertions, given that anticipated modern anthropology. From this observation we find in History a discipline which gives support in literary analysis. In spite of being an author of twentieth century, Pessoa is eternal in the ideal history of Literature and its immortality was made in the construction of poets who make up a whole humanity. Caeiro, Reis and Campos should not be read separately, but in the relationship between them because they constitute a unit that complements one another, in a cyclical unfolding that reproduces the evolution of the human consciousness. The parallel between the life of a subject of the human race and mankind itself is settles forming a poetic vision of the elements of the historical narrative. The archaic man possessed great power of senses and stout fantasy so being careful not to get carried away by crystallization we notice that the verses of Alberto Caeiro refer to concrete poetry as the language and thought of the first man who saw things with the dazzle of the first order. Ricardo Reis is the aristocracy to which corresponds the second age, the heroes, the solemnity of the epic spirit contained in Odes. Finally Álvaro de Campos is the poet of recurrences, of the barbarity and the age men of the epistolary Western civilization. It is concluded that the heteronyms as well as the three ages are a cycle in the sense that forms a sequence of courses and recurrences. Paradoxical as everything in Pessoa because we have a first, a second and a third that originate all together, simultaneously. The viconian\'s perspective confirms the heteronyms feature an apparent diversity but their world is in fact a uni-verse. We find also new possibilities to reading the poetry of heteronyms.

A afinidade significativa entre as reflexões de Giambattista Vico e a poesia de Fernando Pessoa são objeto dessa pesquisa pois há uma correlação entre o poeta criador de heterônimos e o pensador da História, filósofo da natureza humana. Vico resgatou dos antigos egípcios que a humanidade passou por três etapas de evolução: idade dos deuses, dos heróis e dos homens. Entretanto há uma inovação: tudo começou ao mesmo tempo. Em um desenrolar espiralizado, a História evolui em constantes retornos: a essa sequência de estágios Vico chamou de História Ideal Eterna, crivada pelos cursos e recorrências. O objetivo da atual pesquisa é evidenciar que os heterônimos representam a síntese poética da História Ideal Eterna. Como fundamento do estudo temos A Ciência Nova, obra-prima do autor italiano, a qual discursa a respeito do mito como a primeira forma de ciência dos povos arcaicos e sobre o axioma verum ipsun factum. Primeiramente se aborda a época de Vico, sua vida e a formação nos estudos, para se compreender a postura contrária à perspectiva cartesiana. Explana-se a teoria viconiana que distingue quatro tipos de conhecimento: Ciência, Consciência, Verdades Universais e Conhecimento Histórico. Constata-se que o pensador napolitano tinha fundamentos cabíveis para sustentar suas asserções, haja vista que antecipou a antropologia moderna. A partir dessa constatação percebe-se que encontramos na História uma disciplina de apoio na análise literária. Por outro lado, apesar de ser autor do século XX, Pessoa é eterno na história ideal da literatura e sua imortalidade fez-se na construção de poetas que perfazem uma humanidade inteira. Caeiro, Reis e Campos não devem ser lidos separadamente e sim na relação entre eles pois são unidade que se complementa em um desdobrar cíclico que reproduz a evolução da consciência humana. O paralelo entre a vida de um sujeito da raça humana e a própria humanidade se estabelece formando uma visão poética dos elementos da narrativa histórica. O homem arcaico possuía grande poder de sentidos e fantasia corpulenta, por isso tomando o cuidado para não se deixar levar por cristalizações nota-se que os versos de Caeiro remetem à poesia do concreto, como a linguagem e o pensamento dos primeiros homens que viam as coisas com o deslumbre da primeira vez. Reis é a aristocracia que corresponde à segunda idade, a dos heróis, da solenidade do espírito épico contido na Ode. Campos é o poeta das recorrências, da barbárie, da idade dos homens e da civilização ocidental. Concluise que os heterônimos assim como as três idades são um ciclo no sentido de que formam uma sequência de cursos e recorrências. Paradoxal como tudo em Pessoa porque temos um primeiro, um segundo e um terceiro que se originam todos juntos, concomitantemente. A perspectiva viconiana confirma que os heterônimos apresentam uma aparente diversidade porém o mundo deles constitui de fato um uni-verso. Encontram-se também novas possibilidades de leitura para a poesia dos heterônimos. / The significant affinity between the reflections of Giambattista Vico and the poetry of Fernando Pessoa is the object of this research because there is a relationship between the poet, the man who created heteronyms, and the other man who was the philosopher of History and Human Nature. Vico has reclaimed from the ancient Egyptians that the mankind went through three stages of evolution: the age of gods, age of heroes and the age of men. Meanwhile he brings an innovation: it all began in the same time. In a spread out in spiral form, the History evolves into steady returns: this sequence of stages Vico called Ideal Eternal History, pierced by courses and recurrences. The goal of the current research is to highlight that the heteronyms is the poetic synthesis of the Ideal Eternal History. As a basis of this study we have The New Science, the Italian authors masterpiece, which discusses about the myth as science of the archaic peoples and the axiom verum ipsum factum. It first addresses the time of Vico, his life and training in studies, to understand the opinion against Cartesian perspective. For that the Vicos theory is explained, it distinguishes four types of knowledge: Science, Consciousness, Universal Truths, and Historical Knowledge. It appears that the Neapolitan thinker had reasonable grounds to support their assertions, given that anticipated modern anthropology. From this observation we find in History a discipline which gives support in literary analysis. In spite of being an author of twentieth century, Pessoa is eternal in the ideal history of Literature and its immortality was made in the construction of poets who make up a whole humanity. Caeiro, Reis and Campos should not be read separately, but in the relationship between them because they constitute a unit that complements one another, in a cyclical unfolding that reproduces the evolution of the human consciousness. The parallel between the life of a subject of the human race and mankind itself is settles forming a poetic vision of the elements of the historical narrative. The archaic man possessed great power of senses and stout fantasy so being careful not to get carried away by crystallization we notice that the verses of Alberto Caeiro refer to concrete poetry as the language and thought of the first man who saw things with the dazzle of the first order. Ricardo Reis is the aristocracy to which corresponds the second age, the heroes, the solemnity of the epic spirit contained in Odes. Finally Álvaro de Campos is the poet of recurrences, of the barbarity and the age men of the epistolary Western civilization. It is concluded that the heteronyms as well as the three ages are a cycle in the sense that forms a sequence of courses and recurrences. Paradoxical as everything in Pessoa because we have a first, a second and a third that originate all together, simultaneously. The viconian\'s perspective confirms the heteronyms feature an apparent diversity but their world is in fact a uni-verse. We find also new possibilities to reading the poetry of heteronyms.