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Essa tese ilumina as relações entre tradição, ensaio e história na obra de Alejo Carpentier, entre 1928 e 1980, com o intuito de compreender seu caminho para o antigo. O estudo recoloca a discussão sobre a proposta estética de escritores e movimentos de vanguarda europeus e latino-americanos. Minha principal consideração é de que a visão negativa de Carpentier acerca das vanguardas foi produto de uma estratégia de sagração de seu nome como intelectual e da separação de sua obra dos bens culturais da modernidade, como o rádio. Duas faces de uma mesma moeda colocou no esquecimento uma obra fundamentalmente vinculada à legitimidade moderna, especialmente por uma experiência do tempo vinculada ao presente e a constituição de uma rede intelectual latino-americana da qual Carpentier era partícipe. Por meio da análise de sua obra e do contexto europeu e latino-americano, este estudo realça que o conceito de formação é apropriado pelo autor para valorizar uma trajetória intelectual coesa que rejeitou os padrões de percepção e representação legados pelo surrealismo. Ao mesmo tempo, as múltiplas formas de leitura da tradição clássica inclusive utilizando os mitos de Sísifo e Adão valorizam o lugar autêntico de sua escrita, porém não deixam de ressaltar a presença da artificialidade do surrealismo. / The issue of this thesis is the relation amid tradition, political culture and history in the work of Alejo Carpentier (1928-1980) to understand his way to ancient. This proposal reassesses the dialogue between the aesthetic avant-garde European writers and Latin American manifestations. My main assertation is that Carpentiers negative appraisals by the avant-garde were the product of Rite of his name as intellectual and the distance of his work on the belongings of modernity, like a radio. Two faces on the same coin have been left behind a work linked to the modernity mainly connected to the present and the constitution of an intellectual latin-american web. By the annalisys of the work and the European and latin-american context, this work underlines that the concept of formation emphatizes an intellectual path that was opposed to the patterns of perception and representation legacy by the surrealism. Meanwhile, the different forms of lecture of classical tradition with the myths of Sisifo and Adam who praised the authentic writing on its own, although it maintains the artificiality of surrealism.

胡麗華. / "2006年12月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 133-139). / "2006 nian 12 yue" / Abstracts in Chinese and English. / Hu Lihua. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 133-139). / Chapter 第一章 --- 緒言 --- p.1 / Chapter 第一節： --- 硏究緣起 --- p.1 / Chapter 第二節： --- 前人研究述評 --- p.2 / Chapter 第三節： --- 硏究目標及方法 --- p.8 / Chapter 第二章 --- 王鵬運生平及治詞歷程 --- p.10 / Chapter 第一節： --- 生平槪述 --- p.10 / Chapter 第二節： --- 治詞歷程 --- p.17 / Chapter 第三章 --- 王鵬運詞之題材內容 --- p.36 / Chapter 第一節： --- 半塘詞各集名命意義及主題簡介 --- p.36 / Chapter ´ؤ、 --- 各集命名意義 --- p.36 / Chapter 二、 --- 各集主題簡介 --- p.38 / 小結 --- p.46 / Chapter 第二節： --- 半塘詞分期 --- p.47 / Chapter 一、 --- 初期-個人情志之作 --- p.47 / Chapter 二、 --- 中期-憂時念亂、忠憤之志 --- p.50 / Chapter 三、 --- 後期-南潛歸隱之作 --- p.58 / 小結 --- p.59 / Chapter 第三節： --- 題材內容 --- p.60 / Chapter 一、 --- 懷人之作 --- p.61 / Chapter 二、 --- 贈別之作 --- p.67 / Chapter 三、 --- 思鄉之作 --- p.72 / Chapter 四、 --- 詠物之作 --- p.76 / Chapter 五、 --- 國是之作 --- p.80 / 小結 --- p.87 / Chapter 第四章 --- 王鵬運詞之藝術采光 --- p.89 / Chapter 第一節： --- 「芒角撐腸」、「獨來獨往」一一王鵬運詞之愁苦主調及其意象運用 --- p.89 / Chapter ´ؤ、 --- 歌哭無端、墨痕和淚´ؤ煙 、塵´Ø淚之意象 --- p.89 / Chapter 二、 --- 醉夢之間、尋找依歸-夢、醉之意象 --- p.92 / Chapter 三、 --- 王氏詞悲苦主調的形成原因 --- p.96 / 小結 --- p.97 / Chapter 第二節： --- 「流轉任風光」、「一笑襟塵灑」一一王鵬運詞別調之風格 --- p.98 / Chapter 一、 --- 輕鬆歡愉之情 --- p.98 / Chapter 二、 --- 開豁振作之意 --- p.99 / 小結 --- p.100 / Chapter 第五章 --- 王鵬運詞論 --- p.101 / Chapter 第一節： --- 詞學觀念 --- p.101 / Chapter 一、 --- 「重」、「拙」、「大」之說 --- p.102 / Chapter 二、 --- 體格 --- p.105 / Chapter 三、 --- 詞體發展論 --- p.109 / Chapter 四、 --- 聲律之說 --- p.111 / 小結 --- p.113 / Chapter 第二節： --- 校讎詞籍體例 --- p.113 / Chapter 一、 --- 版本考訂 --- p.114 / Chapter 二、 --- 建立體例 --- p.117 / 小結 --- p.119 / Chapter 第六章 --- 王鵬運於「臨桂詞派」創派之說 --- p.121 / Chapter 第一節： --- 「臨桂派」之說起源 --- p.121 / Chapter 第二節： --- 「臨桂詞派」及王鵬運創派之說 --- p.122 / Chapter 一、 --- 臨桂詞人的活動聯繫 --- p.122 / Chapter 二、 --- 創作取向 --- p.124 / Chapter 三、 --- 理論建立 --- p.126 / 小結 --- p.128 / Chapter 第三節： --- 臨桂詞人群與浙、常二派之分野 --- p.128 / 小結 --- p.130 / Chapter 第七章 --- 總結 --- p.131 / 參考書目 --- p.133 / 附錄 --- p.140 / 附錄一：〈王鵬運生平簡表〉 --- p.140 / 附錄二：〈王鵬運交游詞作一覽表〉 --- p.154

Ce mémoire entend démontrer que le roman Cosmos de Witold Gombrowicz, interprété à la lumière du concept de sémiosis chez Peirce, met en scène un processus d'acquisition du savoir qui doit s'opérer à l'intérieur d'un signe imaginaire, l'icône. De ce fait, en tant qu'il est la représentation d'un sens réalisé au coeur de l'irrationnel, hors des cadres logiques et naturels, le roman crée un effet fantastique en jouant avec le statut réel ou irréel du sens produit. C'est pourquoi ce mémoire se propose également d'établir que Cosmos appartient au récit fantastique, dont l'effet est tributaire du mouvement sémiotique de la pensée accomplie dans l' hypoicône. La sémiosis apparaît dans le texte sous la forme d'une quête de signification, selon laquelle le narrateur s'efforce de construire la réalité chaotique qui constitue son univers. Ce mouvement, entre le chaos et l'organisation des signes, s'inscrit dans l'écriture à la façon d'un musement, à partir duquel s'instaure une sémiosis dont le déplacement s'effectue dans le champ de tension entre le doute et la croyance. Immergé dans un monde marqué par la perte de la transcendance (que cette perte concerne Dieu, le signe ou la Forme), le personnage est incapable de fonder à partir des phénomènes une connaissance objective du réel. C'est en plongeant sa conscience au coeur d'un imaginaire subjectif et intime qu'il parvient à fabriquer une signification fantastique de son microcosme, laquelle consiste en l'expression d'un désir innommable et non communicable. Repliée dans une conscience privée, cette image du désir ne trouve pas de lieu de partage et ne parvient donc pas à signifier sur le plan social. Enfin, la sémiosis accomplie dans l'hypoicône génère un effet fantastique, puisque ses indéterminations sont à l'origine de l'ambiguïté propre aux sentiments d'angoisse et d'étrangeté. Dans Cosmos, ces sentiments, dépourvus de surnaturels, se manifestent dans l'homme et le réel quotidiens, c'est-à-dire à partir d'une réalité normale sur laquelle on ne peut plus porter avec certitude un regard objectif. Le désir intime du personnage et son univers, animés du démoniaque gombrowiczéen, ouvrent le roman à l'inhumain et au surnaturel (interprété ici comme un au-delà du langage). À l'issue de notre réflexion, nous pouvons conclure que Cosmos illustre l'interdépendance nécessaire du savoir et de l'imaginaire, qu'il oppose d'un même geste en interrogeant la validité d'une connaissance acquise au sein d'un espace fantastique. Le savoir repose sur une logique de l'irrationnel et sur un désir intime qu'il tend à neutraliser, lesquels à leur tour discréditent cet acquis. L'hypoicône et le fantastique sont étroitement liés en ce qu'ils soustendent un dépassement et un décentrement, dans l'imaginaire, des codes et des symboles sociaux. Ainsi dégagé de toute censure, leur mouvement rend possible, sur la scène de la représentation, l'expression de l'innommable et de l'inédit, grâce à laquelle la pensée et le savoir collectifs peuvent se renouveler. Somme toute, le roman établit qu'il n'y a pas de connaissance exempte d'imaginaire et de sensualité. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Icône, Imaginaire, Fantastique, Gombrowicz, Sémiotique.

Long poems like Ezra Pound's The Cantos, William Carlos Williams's Paterson, and Louis Zukofsky's "A" collect and preserve cultural documents, much in the manner of archives. Long poems of the so-called "Pound tradition" are arrangements of discrete passages, including direct citations from sources such as letters, historical texts, and other often "non-poetic" documents. Acting as an archivist, the poet selects material for preservation. Critics have used various frames, notably the epic, the sequence, and the collection, to interpret twentieth-century long poems. Though similarities to archives have been noted, an archival frame has not been fully developed. This dissertation draws on the disciplinary practices of the archivists as well as critical imaginings of archives to develop a frame for interpreting long poems as archives. After establishing the parameters of the archival frame, the bulk of the dissertation concentrates on Zukofsky's archival tendencies. Zukofsky worked as an archivist for the Work Projects Administration's Index of American Design project, where he developed strategies for using an archive as a communicative form. He crafted and marketed his own literary archive as a means of establishing a literary reputation and as an alternative means of publication. But not only did he develop pragmatic uses of archives, he also applied his understanding of archival principles to the construction of his long poem "A". The difficulties of reading "A" parallel those of working the Zukofsky archive. Readers are overwhelmed with hermetic details, documents of personal and public incidents, and records that we are unable to relate readily to surrounding material. Reading "A" as an archive, we must respond to the documents that are the component parts of the poem, to each document's situated context, and to the relationships among the parts that make up Zukofsky's "poem of a life."

Essa tese ilumina as relações entre tradição, ensaio e história na obra de Alejo Carpentier, entre 1928 e 1980, com o intuito de compreender seu caminho para o antigo. O estudo recoloca a discussão sobre a proposta estética de escritores e movimentos de vanguarda europeus e latino-americanos. Minha principal consideração é de que a visão negativa de Carpentier acerca das vanguardas foi produto de uma estratégia de sagração de seu nome como intelectual e da separação de sua obra dos bens culturais da modernidade, como o rádio. Duas faces de uma mesma moeda colocou no esquecimento uma obra fundamentalmente vinculada à legitimidade moderna, especialmente por uma experiência do tempo vinculada ao presente e a constituição de uma rede intelectual latino-americana da qual Carpentier era partícipe. Por meio da análise de sua obra e do contexto europeu e latino-americano, este estudo realça que o conceito de formação é apropriado pelo autor para valorizar uma trajetória intelectual coesa que rejeitou os padrões de percepção e representação legados pelo surrealismo. Ao mesmo tempo, as múltiplas formas de leitura da tradição clássica inclusive utilizando os mitos de Sísifo e Adão valorizam o lugar autêntico de sua escrita, porém não deixam de ressaltar a presença da artificialidade do surrealismo. / The issue of this thesis is the relation amid tradition, political culture and history in the work of Alejo Carpentier (1928-1980) to understand his way to ancient. This proposal reassesses the dialogue between the aesthetic avant-garde European writers and Latin American manifestations. My main assertation is that Carpentiers negative appraisals by the avant-garde were the product of Rite of his name as intellectual and the distance of his work on the belongings of modernity, like a radio. Two faces on the same coin have been left behind a work linked to the modernity mainly connected to the present and the constitution of an intellectual latin-american web. By the annalisys of the work and the European and latin-american context, this work underlines that the concept of formation emphatizes an intellectual path that was opposed to the patterns of perception and representation legacy by the surrealism. Meanwhile, the different forms of lecture of classical tradition with the myths of Sisifo and Adam who praised the authentic writing on its own, although it maintains the artificiality of surrealism.

Ce mémoire analyse le thème du voyage dans Le partage des eaux (1953) d'Alejo Carpentier (1904-80). L'examen du récit a été entrepris d'une perspective sociocritique de l'œuvre au sens que Pierre Bourdieu a attribué au concept de "champ littéraire" qui confère à la littérature la capacité de synthétiser et de regrouper des savoirs provenant des autres sciences humaines. L'objectif principal de cette étude consiste à établir la triple signification de la trajectoire de l'homo viator qui, le cas échéant, est le protagoniste du roman. Ce trio interprétatif est formé par des axes qui portent pour titres, "Une reconstitution du temps historique", "Un retour psychanalytique" et "Une immersion mythique". Ce schéma explicatif cherche à démontrer comment le roman de l'écrivain cubain peut être expliqué au terme d'un triple voyage -- historique, psychanalytique et mythique -- qui permet d'arriver à édifier une réorganisation inédite du "temps" et de l'Histoire hispano-américains.

PINTO, Rodrigo Márcio Souza. Do Passeio Público à ferrovia: o futebol proletário em Fortaleza (1904-1945). 2007. 156 f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2007. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-28T15:41:54Z No. of bitstreams: 1 2007_Dis_RMSPinto.pdf: 2383966 bytes, checksum: f7eef38082a5cf4f99c2aa8630efb476 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-06T16:45:37Z (GMT) No. of bitstreams: 1 2007_Dis_RMSPinto.pdf: 2383966 bytes, checksum: f7eef38082a5cf4f99c2aa8630efb476 (MD5) / Made available in DSpace on 2012-07-06T16:45:37Z (GMT). No. of bitstreams: 1 2007_Dis_RMSPinto.pdf: 2383966 bytes, checksum: f7eef38082a5cf4f99c2aa8630efb476 (MD5) Previous issue date: 2007 / The work of the “Public Stroll to the explicit Railroad” the formation of the porting leisure around the ball for the workers of the Fortaleza city. We can observe as the subordinate classrooms if they had together with appropriated of the sport the elites. The places where the sport blossomed and yours specialty didn’t have so accented dichotomies that no long ago the memorialists had observed. The absorption of deriving players of the subordinate classrooms in the elitist teams is clear. The soccer as social leisure if spread between the diverse social classes. The thesis discloses strikes them social lived deeply for the workers, during the working changes implied by the New State. As the elites if related before 1930 with the workers who played soccer, and as they perceived this sport practiced for another social group. I could realize that after the “revolution of the 30” alterations in the relationship of the laboring leisure, mainly for the interference of the State. The text centralizes the look of the historian in the trajectory of construction of the teams of the Athletically Railroad worker Club. As others deriving clubs of workers, the railroad workers had promoted left in intention to construct an independent leisure. The beneficence of the railroad workers would be one of the first promoters of the associative soccer. This practical instigated by the president of the beneficence favored the sprouting of the Railroad worker 14 years later. The work culminates with the victory of the Athletically Railroad worker Club, in 1945, in the pertaining to Ceará state championship. The championship was promoted for the league formed by the teams from the elite. I called this fact a symbolic victory of the laboring classroom against the patronage exploration. / O trabalho do “Passeio Público à Ferrovia” explicita a formação do lazer desportivo em torno da bola pelos trabalhadores da cidade de Fortaleza. Podemos observar como as classes subalternas se apropriaram do esporte junto com as elites. Os lugares onde o esporte floresceu e suas espacialidades não possuíam dicotomias tão acentuadas que outrora os memorialistas observaram. É clara a absorção de jogadores oriundos das classes subalternas nos times elitistas. O futebol como lazer social se espalhou entre as diversas camadas sociais. A dissertação revela os embates sociais vivenciados pelos trabalhadores, durante as mudanças trabalhistas implicadas pelo Estado Novo. Como as elites se relacionavam antes de 1930 com os trabalhadores que jogavam futebol, e como eles percebiam esse esporte praticado por outro grupo social. Percebi posterior a “revolução de 30” as alterações no relacionamento do lazer operário, principalmente pela interferência do Estado. O texto centraliza o olhar do historiador na trajetória de construção do time do Ferroviário Atlético Clube. Como outros clubes oriundos de trabalhadores, os ferroviários promoveram partidas no intuito de construir um lazer independente. A beneficência dos ferroviários seria uma das primeiras promotoras do futebol associativo. Essa prática instigada pelo presidente da beneficência favoreceu o surgimento do Ferroviário 14 anos depois. O trabalho culmina com a vitória do Ferroviário Atlético Clube, em 1945, no campeonato cearense. O campeonato era promovido pela liga formada pelos times da elite. Eu chamei esse fato de uma vitória simbólica da classe operária contra a exploração do patronato.