This thesis deals with three writers, George Gissing, Edmund Gosse and Robert Louis Stevenson. I use the words "introversion" and "extroversion" partly in a geographical sense. George Gissing, for example, in spite of Continental influences remained a very English (in some ways almost insular) novelist, and in that sense an introvert. Edmund Gosse, on the other hand, was a very cosmopolitan critic although his style was typically English. Robert Louis Stevenson provides a third angle. Having been born in Edinburgh he was forced into exile for most of his life, and obviously this had a great effect on his writings. Of the three writers most weight is given to Edmund Gosse. In my analysis of George Gissing I concentrate on some of his best known novels, The Unclassed, The Nether World, New Grub Street and Born in Exile. The Emancipated and By the Ionian Sea deal specifically with Italy. There are four chapters on Edmund Gosse. The first concentrates on the early part of his long career when his main interest was Scandinavian literature. The next two chapters give an account of his impressions of and writings on America and France. In the fourth chapter on Edmund Gosse I concentrate on the part of his career when he had become an established authority on his own country's literature. Robert Louis Stevenson, too, is dealt with in four chapters. First I write briefly about his Scottish works, all inspired by his childhood and youth. Next I deal with his two favourite countries, France and the United States, both associated with his Wife, Fanny. The last chapter follows Stevenson to the South Seas where he spent the last few years of his life and wrote some of his best books. The three writers are compared from time to time. Robert Louis Stevenson and Edmund Gosse knew each other well; George Gissing is the odd man out. But his reaction to foreign influences differs from that of the other two and this makes a comparison very interesting.

Ramon Fernandez, un des plus eminents critiques francais de l’ entre-deux-guerres, revient a l’actualite apres une eclipse de trente-cinq ans. Et en meme temps revient le souvenir d’une carriere commencee avec eclat sous le signe de l’humanisme de la personnalite et terminee prematurement par la mort au moment ou s’effondrait autour de Fernandez le nouvel ordre europeen dont il etait devenu un des principaux porte-paroles. Comment expliquer la trajectoire qui le mena du socialisme au fascisme, de l’extreme-gauche en 1934 a la Collaboration en 1940? Pourquoi le decalage, sensible a ses contemporains, entre la promesse de l’oeuvre et l'apparent echec de l'homme? D'aucuns en ont cherche la clef dans le conflit d'heritages spirituels ou dans le sentiment de declassement social d'un homme ne d'une mere franc;aise d'origine bourgeoise et d'un aristocrate mexicain. Et qui pour comble de difficulte se sentait different de sa generation pour ne pas avoir fait la guerre de 1914-1918. Nous croyons que les racines du drame sont ailleurs, dans le bouleversement subi par un enfant accidentellement prive de son pere a l’age de onze ans, traumatisme qui rencontrant dans le psychisme les traces du fantasme parricidaire, devint le mobile profond de sa vocation. Dans la premiere partie de notre these, nous ex ami nons les faits de la jeunesse de Fernandez et les traits de sa personnalite a la lumiere des concepts psychanalytiques. Dans la deuxieme partie, nous montrons comment les themes, I 'organisation et le langage de sa pensee prennent leur sens dans des idees inconscientes se referant a la mort du pere, problematique que Fernandez essaya d'explorer imaginativement dans ses romans, auxquels nous consacrons la section suivante. Nous montrons enfin comment ses ouvrages critiques successifs reposent sur une identification de caractere paternel avec l'auteur qui evolue selon des modalites psychiques.

Texte remanié de: Diss.--Philosophische Fakultät--Köln, 1979. / Bibliogr. p. 661-683.

This dissertation examines E. E. Cummings's writings in the sonnet genre and in those genres to which the sonnet is related in various ways. Its fundamental point is that, despite the surface impression of poetic iconoclasm for which Cummings has a popular reputation, in choosing to write sonnets he engages in a traditional literary practice. He does this because his purpose is always to be an artist, as defined by the Aesthetic movement which influenced him. In order to argue his embracing of a traditional artistic role, the theory of genres espoused by Alastair Fowler in his book, Kinds of Literature, is used. Chapter 1 of the thesis comprises general introductory material, both to the range of Aesthetic ideas to which Cummings subscribed, and to Fowler's theory of genres. Several key generic kinds are also described. The second chapter makes use of two of these generic models, the sonnet sequence and the silva, as a way of examining Cummings's deployment of the sonnet within the larger context of his poetry collections. It is a survey of the structure of the anthologies he compiled from Tulips & Chimneys (1922) to 95 Poems (1958). The third chapter explores the three sonnet modes which Cummings first identifies and names when compiling the manuscript of Tulips & Chimneys, and continues to use in his collections up to and including is 5 (1926). Chapter 4 shows how certain themes and concerns from these early sonnets are altered and synthesised as Cummings matures from an aesthete to a Romantic poet. Sonnets from his later books are taken to be representative of three central kinds in all of his work after is 5. Chapters 3 and 4 proceed by means of relatively close readings of individual sonnets. This practice fulfils a double role: it penetrates the apparent obscurity of the more difficult poems, and it attempts to preserve the integrity of individual poems which exemplify different generic tendencies in Cummings's work. One of Cummings's reasons for writing sonnets is that the form favours the achievement of what Wordsworth calls "a feeling of intense unity". In undertaking close readings of a few sonnets I have attempted to preserve that feeling.

This thesis involves a comprehensive study of the letters written by Philip Heseltine (Peter Warlock) to Colin Taylor from 1911 to 1929. Warlock first came into contact with Taylor at Eton in 1908 when he studied the piano with him as a schoolboy. Through Taylor's imaginative teaching during the next four years Warlock's interest in and understanding of music, particularly modern music, grew and matured. At the same time a strong bond of friendship developed between the two men and continued until Warlock's early death in 1930. This is clearly illustrated in the surviving 87 letters. Warlock was a great letter writer and over a thousand of them have been preserved, mostly in the British Library. His letters to Taylor have a special significance in that they were written during the entire period of his adult life, most of them during the early formative and creative years. They cover a wide range of topics including the influential friendships with the composers Frederick Delius and Bernard van Dieren, contemporary British and foreign music and his own work as a composer, writer, and scholar. They also give us many important insights into his life and personality, written as they are with rare candour and humour. In this thesis each letter has been carefully and systematically studied and the resulting information used to augment and expand the existing knowledge of Warlock's life and personality, his friendship with Taylor, his music and writings. Because of the wide field which the life and works of Peter Warlock cover, this study has been limited to subjects arising out of the correspondence with Taylor. Where necessary, additional information has been interpolated from other sources, mainly to give a sense of continuity and to explain references which might otherwise seem obscure. For a detailed study of Warlock's music readers are referred to Ian Copley's book, The Music of Peter Warlock, (Dennis Dobson, London, 1979). A definitive biography has yet to be written.

The masters thesis focuses on the work of Erwin Schulhoff influenced by jazz and contemporary popular music, describing all of his works since 1914 until his death. The author studied all of the available work, including autographs. He presents results of his research with plenty of sheet music illustration, interpreting each composition in the context of Czech and international music. In the last chapters he introduces his own transformations of Schullhofs composition.

Esta tese apresenta a descrição da trajetória de Aníbal Machado. Investiga a recepção de sua obra. Analisa oito contos presentes em A morte da porta-estandarte e Tati, a garota e outras histórias, descrevendo os seguintes aspectos: as etapas de um ritual de passagem na experiência vivida pelo protagonista de “O iniciado do vento”; o percurso da personagem principal na busca de uma imagem do passado em “Viagem aos seios de Duília”; o insólito e as características da sátira menipeia em “O defunto inaugural ─ relato de um fantasma”; a semelhança do olhar do sujeito enunciador com o de uma câmera de filme em “O ascensorista”; o fluxo de consciência como forma de demonstrar a ambiguidade do discurso da narradora em “Monólogo de Tuquinha Batista”; as especificidades do gênero dramático na exposição dos acontecimentos em “O piano”; a perspectiva do mundo infantil em contraste com a do adulto em “Tati, a garota”; e a manifestação do trágico em “A morte da Porta-estandarte”. Descreve as semelhanças e as diferenças da construção das narrativas analisadas a partir de seus aspectos formais e temáticos, relacionando-as com textos do autor que não fazem parte do corpus: a presença do discurso indireto livre como revelador da interioridade de personagens, em “Viagem aos seios de Duília”, “Tati, a garota”, “O piano”, “A morte da porta-estandarte e “O iniciado do vento”; a ação da personagem infantil intervindo na visão de mundo do adulto, em “Tati, a garota” e “O iniciado do vento”; a constatação da modernidade como fator interveniente no comportamento ou no destino dos indivíduos, em “O ascensorista” e “O defunto inaugural: relato de um fantasma”; a solidão como um dos sentimentos do homem da cidade grande, em “O ascensorista”, “Tati,a garota”, “Viagem aos seios de Duília” e João Ternura; a manifestação da morte nas dimensões física, social e simbólica, em “O defunto inaugural: relato de um fantasma”, “A morte da porta-estandarte”, “Tati, a garota’, “O ascensorista”, “Viagem aos seios de Duília”, “O iniciado do vento”, João Ternura e “O desfile de chapéus”; a presença de elementos da natureza, como vento e mar, em “ O iniciado do vento”, “O ascensorista”, “Tati,a garota” e João Ternura. / This thesis presents a description of the trajectory of Anibal Machado’s life. It analyzes eight short stories contained in A morte da porta-estandarte and Tati, a garota e outras histórias, describing the following aspects: the stages of a rite of passage experienced by the protagonist of “O iniciado do vento”; the path of the main character in the search for an image of the past in “O iniciado do vento”; the unusual and the features of the Menippean satire present in “O defunto inaugural ─ relato de um fantasma”; the similarity between the eyes of subject of enunciation and camera eye in “O ascensorista”; the stream of consciousness as the way of demonstrating the ambiguity of the narrator’s discourse in “Monólogo de Tuquinha Batista”; the specificities of the dramatic genre in the development of events in “O piano”; the perspective of the child's world in contrast with the adult’s world in "Tati, a garota" and the manifestation of the tragic in "A morte da Porta-Estandarte." It describes the similarities and differences in the construction of narratives analyzed from their formal and thematic aspects, relating them to the author's texts that are not part of the corpus: the presence of free indirect discourse as revealing the characters’ inner selves in Viagem aos seios de Duília”, “Tati, a garota”, “O piano”, “A morte da portaestandarte, and “O iniciado do vento”; the child’s action intervening in the adult’s view of the world, in "Tati, a garota” and “O iniciado do vento”; the realization of modernity as an intervening factor in the behavior or in the individuals’ fate, in “O ascensorista” and “O defunto inaugural: relato de um fantasma”; loneliness as a common feeling of the big-city man in “O ascensorista”, “Tati,a garota”, “Viagem aos seios de Duília” and João Ternura; the manifestation of death in physical, social and symbolic dimensions in “O defunto inaugural: relato de um fantasma”, “A morte da porta-estandarte”, “Tati, a garota’, “O ascensorista”, “Viagem aos seios de Duília”, “O iniciado do vento”, João Ternura, and “O desfile de chapéus”; the presence of natural elements like wind and sea in“ O iniciado do vento”, “O ascensorista”, “Tati,a garota”, and João Ternura.

Esta dissertação propõe uma leitura do romance Admirável Mundo Novo (1932) de Aldous Huxley sob a luz dos conceitos de Zygmunt Bauman da Modernidade Líquida. A narrativa ocorre em uma Londres futurística no século 26, no ano 2540 de nossa Era Comum, ou – na narrativa no ano 632 AF (Após Ford). Subjacente ao cenário distópico de avanço tecnológico e organização altamente desenvolvida, porém, os temas discutidos no romance remetem à circunstância do tempo e lugar de sua produção, o início dos anos 1930, em um contexto de desenvolvimento industrial, tensão política e crise econômica. Nesta pesquisa, eu busco a resposta para a seguinte pergunta: “De quais maneiras a ficção de Huxley antecipa o tipo de sociedade seus leitores vivem no tempo presente, três-quartos de século após sua publicação? Com ajuda das teorias do Professor Zygmunt Bauman, eu construo minha interpretação das metáforas encontradas no romance, que prognosticam as atuais condições de capitalismo de mercado livre, consumismo, obsolescência programada que determinam a ética, a estética e a forma de pensar de nosso tempo presente. As hipóteses de Bauman concernem a liquidez do mundo atual, no qual nada deve durar muito. Esta premissa gera um grande número de consequências, tais como: fragilidade dos laços humanos, pensamento crítico superficial e supremacia dos contatos virtuais sobre ocontato de fato entre as pessoas. A dissertação está dividida em quatro capítulos. No primeiro, eu contextualizo o conceito de distopia. No segundo, eu trago a contextualização necessária sobre o tempo, a obra e o autor. No terceiro, eu introduzo os conceitos de Bauman sobre modernidade sólida e líquida e os conecto com o estudo de Admirável Mundo Novo. No capítulo IV, apresento minha leitura da obra. Ao final da pesquisa, espero encontrar respostas para a questão proposta estabelecendo inter-relações entre os aspectos ficcionais do romance e os traços sociais de nosso tempo atual. / The present thesis proposes a reading of Aldous Huxley’s Brave New World (1932) in the light of Zygmunt Bauman’s concept of Liquid Modernity. The plot of the novel unfolds in the futuristic London of the 26th century, in the year 2540 of our Common Era, or – in the narrative – in the year 632 AF (After Ford). Underlying the dystopian scenario of technological advancement and highly developed organization, however, the themes discussed in the novel actually address the circumstances of the time and place of its own production, the beginning of the 1930’s, in a context of developing industrialization, political tension, and economic crises. In this research, I pursue the answer to the following question: “In what ways does Huxley’s fiction anticipate the kind of society its readers would be living in at our present time, three quarters of a century after its publication?” With the help of Professor Zygmunt Bauman’s theories, I build my interpretation of the metaphors found in the novel, that prognosticate the current conditions of free-market capitalism, consumerism, programmed obsolescence, that determine the ethics, the aesthetics and the ways of thinking of our present times. Bauman’s assumptions concern the liquidity of the contemporary world, where nothing is meant to last long. This premise generates a number of consequences such as overconsumption, frail human bonds, superficial critical thought, and supremacy of online over factual contacts among people. The thesis is devised in three chapters. In the first, I contextualize the concept of dystopia. In the second, I bring the necessary contextualization about the time, the work and the author. In the third, I introduce Bauman’s concepts of solid modernity and liquid modernity and connect them with the study of Brave New World. Finally. In Chapter IV, I present my reading of the novel. At the end of the research, I expect to find the answers to the posed question by establishing critical interrelations between the fictional aspects of the novel and the social features ongoing in our present time.

Este trabalho consiste na análise de pontos considerados relevantes na linguagem musical e violinistica utilizada pelo compositor e violinista Flausino Valle em sua obra mais importante 26 prelúdios característicos e concertantes para violino só.

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-07-13T21:23:16Z No. of bitstreams: 1 A_TESE_CD ROM.pdf: 2091761 bytes, checksum: 9035c3e0ad7dfa1f478928b83d2353d4 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-07-19T21:07:06Z (GMT) No. of bitstreams: 1 A_TESE_CD ROM.pdf: 2091761 bytes, checksum: 9035c3e0ad7dfa1f478928b83d2353d4 (MD5) / Made available in DSpace on 2018-07-19T21:07:06Z (GMT). No. of bitstreams: 1 A_TESE_CD ROM.pdf: 2091761 bytes, checksum: 9035c3e0ad7dfa1f478928b83d2353d4 (MD5) / Este trabalho, que se insere na categoria de pesquisa bibliográfica e estudo analítico, propõe uma incursão por diferentes formas de exílio nas narrativas ficcionais da escritora dominicana Jean Rhys (1890-1979), sejam elas determinadas pelos movimentos e processos de colonização, pela condição feminina ou pela alienação e comodificação no mundo moderno. O enfoque dado à experiência de exílio nestes textos envolve a investigação de uma variedade de espaços, tais como o espaço pessoal da memória, a experiência feminina de espaços nos grandes centros metropolitanos, os espaços marcados pela história do imperialismo, ou ainda o próprio espaço do texto. O estudo tem como objetivo refletir sobre o papel fundamental ocupado pelas figurações de espaço e construções de lugar nas narrativas ficcionais de Jean Rhys, e identificar de que forma as experiências de exílio e errância das protagonistas são determinadas pela precariedade da sua identidade como sujeito feminino colonial. Wide Sargasso Sea, publicado no Brasil sob o título de Vasto Mar de Sargaços, ocupa uma posição central neste trabalho, que também faz uma leitura do jogo intertextual entre este romance de Rhys e Jane Eyre, de Charlotte Brontë. O trabalho inclui o diálogo com outros textos de Rhys, como os romances Quartet, After Leaving Mr Mackenzie, Voyage in the Dark e especialmente Good morning, midnight, os contos “I used to live here once”, “Let them call it jazz”, “Temps perdi”, “The day they burned the books”, “Again the Antilles”, o poema “Obeah night” (publicado em Letters 1931 – 1966), e textos autobiográficos. A pesquisa apoia-se em teorias, conceitos e reflexões que levam em consideração as implicações políticas, ideológicas e históricas dos espaços, e concentra-se em autores que dedicam especial atenção às consequências políticas e simbólicas das conquistas geográficas pelo imperialismo. Ganham relevo o trabalho de escritores que privilegiam o espaço caribenho em seus textos ficcionais e ensaios críticos (Benitez-Rojo, Glissant, Harris, Walcott). Destacamse também os autores que oferecem instrumentos para abordar as questões relacionadas à espacialidade por enfoques diversos (Bakhtin, Benjamin, Carter, De Certeau, Foucault, Lefebvre, Massey), através do enfoque da crítica pós-colonialista (Ashcroft, Bhabha, Carter, Fanon, Griffiths, Hall, Said, Spivak, Tiffin), e da crítica pós-estruturalista (Derrida, Deleuze, Foucault e Guattari). A pesquisa revelou que as figurações de espaço na ficção de Rhys permitem um mapeamento da experiência subjetiva, dando acesso a cartografias alternativas que desafiam as construções ideológicas eurocêntricas e a visão imperialista e patriarcal, propagadas tanto pelo discurso colonial, quanto por discursos literários e cartográficos hegemônicos. Além disso, o estudo concluiu que a polifonia e a opacidade que caracterizam o Caribe ficcional de Rhys e os espaços marginais dos seus textos constroem uma história espacial que, começando e terminando na linguagem, tem o poder de subversão da dimensão poética, capaz de denunciar os limites do discurso lógico e coerente da História. As estratégias narrativas de Rhys trazem à tona as incertezas materiais do tempo e do espaço vividos, histórias de estradas, ruínas, pegadas, trilhas, traços, vestígios de espaços. / This dissertation investigates different forms of exile in the fictional narratives of Dominican writer Jean Rhys (1890-1979), whether determined by the movements and processes of colonization, by the feminine condition or by alienation and commodification in the modern world. The focus given to the experience of exile in these texts involves the investigation of a variety of spaces, such as the personal space of memory, the feminine experience of spaces in the great metropolitan centers, the spaces marked by the history of imperialism, or even the space of the text itself. The study aims to reflect on the fundamental role played by space figurations and place constructions in the fictional narratives of Jean Rhys, and to identify how the protagonists’ experiences of exile and wandering are determined by the precariousness of their identity as a colonial female subject. Wide Sargasso Sea, published in Brazil under the title of Vasto Mar de Sargaços, occupies a central position in this work, which also makes a reading of the intertextual exchanges between Rhys’s novel and Jane Eyre by Charlotte Brontë. This work establishes a dialogue with other texts by Rhys, such as the novels Quartet, After Leaving Mr Mackenzie, Voyage in the Dark, and especially Good morning, midnight, the short stories “I used to live here once”, “Let them call it jazz”, “Temps perdi”, “The day they burned the books”, “Again the Antilles”, the poem “Obeah night” (published in Letters 1931 - 1966), and autobiographical writings. The research is based on theories, concepts and reflections that take into account the political, ideological and historical implications of the spaces, and it focuses on authors who pay special attention to the political and symbolic consequences of the geographical conquests by imperialism. The work of writers who privilege the Caribbean space in their fictional texts and critical essays (Benitez- Rojo, Glissant, Harris, Walcott) are also investigated. This dissertation also examines the works of authors who address post-structuralist criticism (Derrida, Deleuze, Foucault, and Guattari) and spatiality issues either through various approaches (Bakhtin, Benjamin, Carter, De Certeau, Foucault, Lefebvre, Massey) or through postcolonialism (Ashcroft, Bhabha, Carter, Fanon, Griffiths, Hall, Said, Spivak, Tiffin). This research reveals that the figurations of space in Rhys’s fiction allow a mapping of the subjective experience, giving access to alternative cartographies that challenge Eurocentric ideological constructions and the imperialist and patriarchal vision propagated by colonial discourse and by hegemonic literary and cartographic discourses. In addition, the study concludes that the polyphony and opacity that characterize Rhys’s fictional Caribbean and the marginal spaces of her texts construct a spatial history that, beginning and ending in language, has the power of subversion of the poetic dimension, capable of denouncing the limits of the logical and coherent discourse of History. Rhys's narrative strategies bring to light the material uncertainties of lived time and space, histories of roads, ruins, footprints, trails, traces, vestiges of spaces.