Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-01T18:00:19Z (GMT). No. of bitstreams: 1 Moraes_AnitaMartinsRodriguesde_M.pdf: 3653614 bytes, checksum: 0b9c8d86743bc96914c293e84c768594 (MD5) Previous issue date: 2002 / Resumo: A presente tese dedica-se ao estudo de alguns dos pressupostos teóricos subjacentes a leituras críticas de obras das chamadas literaturas africanas de língua portuguesa. Na primeira parte da tese, ¿Traçando o percurso: em terra sonâmbula¿, em que analisamos o romance Terra Sonâmbula, de Mia Couto, duas estratégias de interpretação adquirem destaque: 1) a que enfatiza a busca de traços de oralidade no texto, sugerindo-se que o intertexto com a oralidade determina a estrutura romanesca, sendo a camada dos contos e provérbios decisiva; 2) a que interpreta as estratégias de composição do romance à luz dos desafios que um evento de violência radical, como a guerra civil moçambicana, impõe à narrativa. O recuo teórico, que é empreendido na segunda parte, ¿Desfazendo o traçado: recuo teórico¿, investiga alguns dos pressupostos destas duas estratégias analítico-interpretativas. No capítulo ¿A palavra justa¿, primeiro capítulo da segunda parte, tratamos especialmente do instrumental analítico desenvolvido pelos estudos do discurso testemunhal (com destaque para as teóricas Jeanne-Marie Gagnebin e Shoshana Felman) e pelos estudos pós-coloniais (com destaque para Edward Said, Arlindo Barbeitos e Mudimbe). Nosso foco está na imbricação de estratégias discursivas e posicionamentos ético-políticos, eixo das teorizações dos dois campos teóricos abordados. No segundo capítulo desta segunda parte, intitulado ¿A escrita culpada¿, apresentamos o estudo da dicotomia escrita/oralidade, remontando a Jean-Jacques Rousseau e perpassando teóricos bastante demandados no âmbito dos estudos de traços de oralidade nas literaturas africanas: Vladímir Propp, Walter Benjamin e Paul Zumthor. Nosso interesse é explicitar certas associações (como liberdade, alegria e oralidade versus impedimento, solidão e escrita) e pressupostos (como a linearidade histórica e o condicionamento econômico e/ou de mídia) muitas vezes implicados na reposição desta dicotomia em âmbito dos estudos das literaturas africanas, como também sugerir convergências e divergências nas formulações dos pensadores estudados. A parte final do trabalho (¿Furtivo traçado, algumas considerações finais¿) é dedicada às considerações conclusivas, que relacionam as partes anteriores e incluem uma nova abordagem do romance. De certa forma, a estrutura da tese reflete nosso percurso investigativo, que foi da obra coutiana à investigação teórica, a partir de aspectos de sua fortuna crítica / Abstract: This dissertation is dedicated to the study of some theoretical presuppositions underlying the critical readings of the so-called African Literature of Portuguese Language. In the first part of the dissertation, "Tracing the Path: in Terra Sonâmbula", in which we analyze the book Terra Sonâmbula (Sleepwalking Land), by Mia Couto, two main interpretative strategies are revealed: 1) the one that searches for traces of orality in the text, and suggests that the intertext with orality determines its Romanesque structure ¿ to which the short stories and proverbs are decisive; 2) the one that analyses the novel¿s compositional structures in search of the challenges that a radical event of violence, for example the civil war in Mozambique, imposes to the narrative. The theoretical retreat, which is undertaken in the second part, "Undoing the Path: Theoretical Retreat", investigates some of the suppositions of these two strategies of analysis and interpretation. In the chapter "The Fair Word", first chapter of the second part, we focus on the analytical instruments developed by the studies of testimonial discourses (especially Jeanne-Marie Gagnebin and Shoshana Felman) and the post-colonial discourses (especially Edward Said, Arlindo Barbeitos and Mudimbe). Our focus is on the imbrication between discursive strategies and ethical-political positionings, which form the theoretical core of the two fields approached. In the second chapter of the second part, titled ¿The Guilty Writing¿, we present the study of the dichotomy between writing and orality, remounting to Jean-Jacques Rousseau and perpassing some acclaimed theoreticians of the study of orality traces in African Literature: Vladímir Propp, Walter Benjamin and Paul Zumthor. Our interest is to make explicit certain associations (like freedom, joy and orality versus impediment, solitude and writing) and presuppositions (like the historical linearity and the economical conditioning and/or midia) many times implicated in the repositioning of this dichotomy in the field of African Literature Studies, as well as suggest some convergencies and divergencies in the formulations of these thinkers. The final part of the work (Furtive Writing: Some Final Considerations) is dedicated to conclusive considerations, which relate the previous parts and include a new approach to the novel. Somehow, the structure of the dissertation reflects our investigative path, which went from the Couto's novel to the theoretical investigation of its critical fortune / Mestrado / Literatura Brasileira / Mestre em Teoria e História Literária

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-02-07T19:13:46Z No. of bitstreams: 1 Paranhos, Adriano-Dissert-2013.pdf: 666382 bytes, checksum: 1084c06ca2d8dec746538bb996b26d28 (MD5) / Made available in DSpace on 2014-02-07T19:13:46Z (GMT). No. of bitstreams: 1 Paranhos, Adriano-Dissert-2013.pdf: 666382 bytes, checksum: 1084c06ca2d8dec746538bb996b26d28 (MD5) Previous issue date: 2013 / Essa pesquisa analisou as ideias jurídicas e políticas de José de Alencar no período de 1855 à 1877. Três temas foram privilegiados: primeiro tratamos do pensamento de lencar no tocante a constituição. Em seguida, as ideias sobre a codificação civil produzida por esse publicista. E por fim, as concepções de Alencar no momento da discussão da “reforma do elemento servil”, no final da década de 1860. Sobre esse último ponto, foram analisadas o pensamento produzido por ele quando ministro da justiça e parlamentar. Trabalhamos com diversos tipos de fontes: jornalísticas, manuscritas, Anais do parlamento, panfletos e livros ficcionais e analíticos. / This research analyzed the legal and political ideas of José de Alencar in the period from 1855-1877. Three themes were privileged: the first one deals with Alencar’s thought regarding the constitution. Then the José de Alencar ideas of civil codification. Lastly, Alencar’s conception during the discussion of “reform servile element” in the late 1860s. On this last point, we analyzed his thoughts when we was the justice minister and parliamentarian. We work with different types of sources as: journalistic, manuscript, Annals of parliament, pamphlets and fictional or analytical books.

Dans notre thèse de doctorat, nous avons cherché à tester l’hypothèse selon laquelle l’enjeu européen constituerait, en France, l’épicentre d’une "actualisation" — pour partie assumée, pour partie occultée — de la pensée du juriste allemand Carl Schmitt. Les réflexions politico-philosophiques de Schmitt représentent en soi un assemblage rhétorique et systématique puissant, aisément mobilisable dans le cadre des débats théoriques sur la construction européenne, afin de battre en brèche les affirmations néo-cosmopolitiques, que l’on soit de droite ou de gauche. Il s’est agi, pour nous, de vérifier jusqu’à quel point la pensée politique du juriste se retrouvait "recyclée" dans le débat français contemporain relatif à l’idée d’Europe. Était ainsi ouverte l’opportunité d’évaluer, de manière systématique, la facticité ou la pertinence d’une antinomie :une Europe schmittienne contre une Europe kantienne. Dans un premier temps, nous avons tâché de reconstruire ce que fut la position schmittienne concernant la gestion de l’espace européen, avant d’évaluer, dans un second temps, l’impact causé par une telle pensée sur les réflexions qui animent le débat français contemporain.<p>La première partie de la thèse visait à rendre compte de la vision schmittienne de l’Europe. Schmitt a pensé la décision politique en des termes statonationaux :l’ordre juridique étatique serait modelé sur la base de la nature axiologique et culturelle de l’amitié politique, de la communauté des citoyens soudés par un seul et même critère d’appartenance, souvent religieux ;critère qui précéderait la nationalité et la réalisation "politique". Il s’ensuit que l’ordre mondial ne peut se présenter que sous la forme d’un pluriversum d’États, animés dans leurs relations mutuelles par la dynamique de l’ami et de l’ennemi. Le libéralisme et le pluralisme provoqueraient des regroupements fonctionnels, dont le pan-européisme serait l’une des manifestations les plus visibles, à l’origine d’un sapement du politique et de l’unité souveraine de l’État. Quatre points analytiques permettent d’expliquer l’appréhension schmittienne de la gestion juridico-politique du Vieux Continent :l’indissociabilité du couple conceptuel État-politique, l’idée que la nation demeure l’horizon indépassable de la démocratie, la critique de la notion d’humanité et de toute morale universelle, et l’idée que le droit serait nécessairement d’origine politique, donc particulariste.<p>En France, l’intérêt pour l’œuvre de Schmitt s’est largement accru ces dernières années. Le débat théorique actuel autour du problème de la construction européenne offre d’ailleurs une place particulière à la réactivation de l’argumentaire schmittien statocentré, antilibéral et culturaliste. À gauche comme à droite de l’échiquier politique, intellectuels et philosophes mobilisent raisonnements et schémas discursifs, tantôt réclamés de Schmitt, tantôt très proches des arguments du juriste de Plettenberg. En passant en revue les réflexions d’auteurs aussi différents qu’Étienne Balibar et Pierre Manent, Alain de Benoist et Marcel Gauchet, Daniel Bensaïd et Pierre-André Taguieff, nous avons tenté d’approcher et de rendre compte de la pluralité des emprunts à la pensée de Schmitt et à son appréhension de l’ordre européen, dans le cadre des discussions françaises relatives à l’intégration régionale européenne. Chez certains de ces auteurs, la construction européenne apparaît comme la manifestation avancée d’un phénomène général de dilution du politique. Autrement dit, elle incarnerait un idéal de société qui ramène le politique au niveau du marché. Pour d’autres, Carl Schmitt aurait diagnostiqué mieux que quiconque la mort du droit des gens européen et les travers de l’universalisme abstrait que brandirait l’Union européenne en expansion. Par ailleurs, la théorisation schmittienne de la souveraineté constituerait une référence incontournable pour éclairer les thématiques actuelles relatives à une mutation des niveaux de pouvoir.<p> / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

Orientador: Mário Luiz Frungillo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T21:19:29Z (GMT). No. of bitstreams: 1 Nascimento_FabianaAngelicado_M.pdf: 1238592 bytes, checksum: 01a7a70e9d018c3f112053fde2aa7f39 (MD5) Previous issue date: 2015 / Resumo: O objetivo deste trabalho é analisar a novela Pole Poppenspäler como uma narrativa organizada ao redor do tema da oposição entre o artista e o burguês. Tal perspectiva de análise abrangerá não só o tratamento dado a essa temática, bastante cara à literatura alemã, mas também a sua representação no contexto do Realismo Poético e na própria evolução do gênero novela. Em Pole Poppenspäler o conflito gerado pela transição entre duas diferentes perspectivas, a do mundo pequeno burguês e a do artista, condensa-se, de forma simbólica, na trajetória das personagens Tendler e Paul, ao mesmo tempo em que está presente, de modo realista, a caracterização geográfica e humana das "pessoas simples" ("kleine Leute"), como camponeses, operários e artesãos. Também a regionalização geográfica e linguística estão de acordo com o repertório típico do realismo do século XIX, por meio da representação das paisagens alemãs e do uso de dialetos. Para que a nossa hipótese de interpretação fosse efetivamente realizada, a história do gênero novela foi revista em seus diferentes momentos de existência. Desse modo, pôde-se investigar de que maneira a alteração dos pressupostos históricos provoca alterações na representação do conflito entre as mentalidades do artista e do burguês / Abstract: The goal of this research is to analyze the short-novel Pole Poppenspaeler as a narrative organized around the theme of the opposition between the artist and the bourgeois citizen. Such an analysis perspective will comprehend not only the treatment given to the theme (very dear to German literature), but also the representation the theme has in the context of Poetic Realism, besides the way the genre of short-novel has develop itself. In Pole Poppenspaeler, the conflict generated by the transition between two different perspectives (one from the bourgeois world and another from the artist) condense itself, in a symbolic way, through the characters¿s Tendler and Paul journey; at the same time, it is present (in a realistic manner) the geographic and human characterization of "simple people" ("kleine Leute"), like countrymen, workmen and artisans. Also the geographic and linguistic regionalization are according to the typical repertory of the XIXth century realism. In order to our hypothesis of interpretation be effectively executed, the History of the short-novel as a genre was reviewed in its different moments of existence. Therefore, it is possible to investigate how the alteration of the hystorical processes provokes an alteration in the representation of the conflict between the artist¿s and the bourgeois citizen¿s mindsets. Keywords: German literature, Poetic Realism, motive, short-novel / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

Memoria para optar al grado de Licenciado en Ciencias Jurídicas y Sociales / ¿Es posible fundar regímenes políticos perdurables y duraderos en las condiciones políticas de la modernidad, donde las fuentes tradicionales de legitimidad han desaparecido o se han vuelto ineficaces? ¿Sobre qué cimientos es posible asentar la fundación de un régimen político? ¿Cómo dar respuesta al problema de la fuente de la ley y del origen del poder en condiciones en las que el fundamento de la sociedad política no puede ya anclarse ni en la naturaleza ni en la trascendencia? Puestos en tensión los modos en que los seres humanos organizaron su vida en común a lo largo de la historia, el paso del siglo XIX al XX trajo consigo un cambio decisivo en el modo de comprender el concepto de política impulsado por el pensamiento moderno, a raíz de la ruptura definitiva con la tradición occidental aristotélica, hasta ese momento, hegemónica. De esta manera, una vez roto el vínculo con la trascendencia, deviene ya imposible encontrar un principio absoluto que abone la legitimidad de la ley y del poder y que se constituya en fundamento del orden político. Mediante la obra de Max Weber, Carl Schmitt y Hannah Arendt, tres pensadores que con rigor cierto intentaron dar respuesta al problema origen del poder y la fundación del orden político, nos aproximaremos al fenómeno de lo moderno atendiendo a la desacralización del pasado y su consiguiente dilema: cuál es, de haberlo, su fuente última de sentido y valor.

This essay demonstrates how three popular writers of the twentieth century have created novels that contain echoes of Eliot's poem. They are F. Scott Fitzgerald's The Great Gatsby (1925), Ernest Hemingway's The Sun Also Rises (1926), and John Steinbeck's To a God Unknown (1933). I chose these particular novels because they exemplify widely different and distinctive echoes of the poem. Fitzgerald's use of waste land imagery is readily perceptible the most effective in defining and summing up the temper of the Jazz Age in America. Hemingway's borrowing lies principally in parallel characterization (Jake Barnes as he Fisher King is the outstanding example) and in depicting a morally and spiritually bankrupt world by showing that a satisfactory sexual relationship between man and woman is impossible. Steinbeck's borrowing is unique. HIs novel not only contains the Fisher King figure, desert land imagery, water motif, and the quest theme, but his protagonist, Joseph Wayne, like Eliot's Fisher King-Tiresias protagonist, is able to metamorphose from one "personage" into another. Steinbeck's borrowings are not used by him for the purpose of depicting the world of the Twenties, or any era. He may have done no more than build upon a piece of literature from the immediate past as Eliot had done from the more remote past when he created The Waste Land. There is also a possibility that Steinbeck disagrees with some of Eliot's philosophical ideas and playfully chides the poet for harboring them. In showing the nfluence of the poem on three important American novelists, perhaps this essay will disprove Karl Shapiro's statement that "at no point in the career of Eliot has there been the slightest indication of literary following,"5 and will furnish proof that Robert E. Knoll's statement regarding the influence of The Waste Land is a valid one: What The Rape of the Lock was to the Augustans and Tintern Abbey to the Romantics, The Waste Land has become to the Moderns, It is inescapable.6

No description available.

Se buscará analizar cómo a través de la representación de paisajes y descripciones dadas por viajeros que visitaron el Perú en el siglo XIX se definió una imagen del país, mostrando una diversidad de desigualdades en torno a la geografía, habitantes, costumbres y climas respecto a la Costa. Estas descripciones se fueron consolidando en el siglo XIX y se definieron algunas de las construcciones culturales que prevalecen hasta el día de hoy sobre el espacio geográfico. Los Andes se van presentando de una manera desfavorable para la integración nacional a diferencia de la Costa donde es evidente la circulación de bienes y personas entendiéndose como más fluida. Es en la Sierra donde se hace presente la imagen del indio que está acompañado de lo geográfico, donde indios y Andes se encuentran en un mismo vínculo, donde se inventa la tradición del paisaje como un lugar sombrío, deshabitado y nostálgico-, constituyendo un obstáculo que retarda el progreso nacional. Por medio de las descripciones y representaciones de paisajes, ejecutados por viajeros extranjeros como Antonio Raimondi, George Squier y Charles Wiener se intentará analizar los distintos puntos de vista que contribuyeron a la formación del paisaje de la Sierra del Perú en el siglo XIX.

En España, al igual que en el resto de países europeos a finales del siglo XIX y principios del XX, se hace exhibición de "lo primitivo": personas (indígenas procedentes de los nuevos territorios colonizados) y objetos (piezas de arte y artefactos de la cultura material de los indígenas procedentes de las colonias). Algunas de estas muestras coinciden con las primeras exposiciones organizadas en España: Exposición General de las Islas Filipinas en Madrid (1887), Exposición Universal de Barcelona (1888) y Exposición Internacional de Barcelona (1929). El presente trabajo analiza la presencia o ausencia de "lo primitivo" (personas y objetos) en los principales acontecimientos expositivos españoles, su relación con acontecimientos homónimos en otros países europeos y su posible recepción en colecciones museísticas (museos de antropología, etnología y misionales). / In Spain, as in the rest of European countries at the end of the nineteenth century and beginning of the twentieth, aboriginal from the new colonized territories and "primitive" objects (art and artefacts from the material culture of the colonies) were also exhibited. Some of these events coincide with the first organized Exhibitions in Spain: General Exhibition of the Philippines Islands in Madrid (1887), Barcelona World Exhibition (1888) and Barcelona International Exhibition (1929). This work analyzes the presence or absence of "the primitive" (people and objects) in the major Spanish exhibitions, the relationship with similar events in other European countries and the possible reception in museum collections (museums of anthropology, ethnology and missionary).

Katherine Mansfield (1888-1923), British Modernist writer whose search for authentic selves in the lives of the characters in her short stories, is reflected in her innovative style of writing in which she examines the interior consciousness of their minds. Mansfield questions the inauthentic lives of the characters, revealing that the roles they play are socially imposed forcing them to hide their true selves behind masks. The stories which have been chosen for this study focus on women characters (and men also) who grapple with societal prescriptions for accepted actions, and are rendered mute as a result. The women characters include all age groups and social classes. Some are young and impressionable (The Tiredness of Rosabel, The Little Governess and The Garden Party), others are married and older (Bliss, Prelude and Frau Brechenmacher attends a wedding ), while there are also middle-aged women in Miss Brill and The Life of Ma Parker. / English Studies / M.A. (English)