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Karl May is considered Germany's most published author of popular literature. His influence on generations of German youth cannot be overlooked. Winnetou is one of his major works and depicts the adventures of Old Shatterhand, the German immigrant, and his Blood Brother, the Apache Winnetou. Generations of children grew up reading their adventures and escaping in their imaginations to battle unsavoury Yankees as well as hostile tribes. / May's descriptions of the First Nations of North America have aided in skewing the perception of the North American First Nations in Germany. This thesis aims to work with some of these misperceptions and explain how they came to be. Through the use of Edward Said's theory, Orientalism, which will be applied to Winnetou I-III, this thesis attempts to interpret the role of the European and the non-European, or the Other, within the context of the story. The power structure between the European and the non-European will be one of the main focuses. May's use of the Bible as the perceived 'right' way of dealing with situations and people in comparison to the Apache or Yankee way is an obvious exertion of European thought and control over the non-European way of life. / Winnetou is situated in a unique role in the power struggle between the European and the non-European. He is often seen as having mentalities and beliefs that come across as more European than non-European, and therefore places him in a unique situation, that of a Noble Savage, not a 'red devil'. It is exactly this perception of North American First Nations, that has survived many generations and still lends credit to Winnetou being called an 'apple Indian', red on the outside, white on the inside.

Thesis (M.N.Z.S.)--Victoria University of Wellington, 2007. / Includes bibliographical references.

Inaug.-Diss.: Philosophische Fakultät: Saarbrücken: 1976. _ Bibliogr. p. 247-273.

"Akademiska avhandling för avläggande av filosofie doktors examen vid Institutionen för Orientaliska språk Stockholms universitet." / Includes bibliographical references (p. 261-279).

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-02-05Bitstream added on 2014-06-13T20:35:05Z : No. of bitstreams: 1 pereira_vaac_me_assis_prot.pdf: 656813 bytes, checksum: 1cadba1cb927ea10b50d612aff714dd8 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A obra dramática de Nelson Rodrigues representa o início da modernidade no teatro brasileiro, inclusive no que diz respeito à incomunicabilidade, tema recorrente da literatura do século XX. O objetivo deste estudo é verificar, a partir de autores modernos escolhidos, como a literatura e, em particular o teatro de Nelson Rodrigues, retrataram o tema. Na primeira parte, o assunto é abordado em seus aspectos histórico, social, filosófico e, especialmente, artístico. Depois, na segunda parte, dedica-se um capítulo ao dramaturgo e a suas obras, refletindo sobre elas, para demonstrar como a peça O beijo no asfalto se inscreve em uma tradição literária que representa o homem moderno, sua solidão e a dificuldade de comunicação entre ele e o mundo. / L oeuvre dramatique de Nelson Rodrigues représente la modernité du théâtre brésilien, surtout en ce qui concerne l incommunicabilité, thème toujours présent dans la littérature du XXème siècle. Cette étude a essayé de vérifier, à partir des auteurs modernes choisis, comment la littérature, et, en particulier, le théâtre de Nelson Rodrigues, ont abordé ce thème-là. Dans la première partie, le sujet de l incommunicabilité est envisagé dans ses aspects historique, social, philosophique et, spécialement, artistique. Aprés, dans la deuxième partie, on consacre un chapitre au dramaturge et à ses oeuvres, en y réfléchissant, pour démontrer comment la pièce O beijo no asfalto s inscrit dans une tradition littéraire qui représente l homme moderne, sa solitude et la difficulté de communication entre lui et le monde.

Orientador: Zélia Lopes da Silva / Doutor

After the capture of Taiwan, the Qing Court devoted its energy to securing China's northern border. While fending off the invasion of Russia and Dzungar, Emperors Kangxi, Yongzheng and Qianlong exposed the Southeast maritime frontier to pirates and the British merchants who continued to harass Guangdong during the Jiaqing-Daoguang era. With the support of the Tây Sơn dynasty, pirates in the South China Sea formed an alliance that controlled the major waterways of Guangdong. The discovery of new routes to the East opened new markets for European countries. England seized the opportunity to attack Macao Bocca twice, to break into Tigris and eventually to wage the Opium War. Responding to the growing threat towards her coastal defense, the Qing government dispatched several Viceroys of Liangguang (Guangdong and Guangxi) and Guangdong Commanders in Chief to launch a range of counter measures. In both wars, official used the strategic of coastal defense, in order to cut off the supplement from inland against the pirates and the United Kingdom. Although the pirates and the United Kingdom were different enemies, Qing government used the same method that was not accidental. In the early Qing, coastal defense was managed by the provincial government. Therefore, the development of coastal defense was affected by the quantity of provincial government's resource. Because of the Qing government strictly controlled provincial government's finance; Guangdong's coastal defense was a passive and conservative system. In the context of globalization, Guangdong's coastal defense was challenged by pirates and the United Kingdom. At that time, Navy of Guangdong was weaker than its opponent. As a result, Viceroys of Liangguang (Guangdong and Guangxi) and Guangdong Commanders in Chief insisted to defense the coast line. They believed the opponents would be starved in the sea, however, the result was totally different. Why officials used the same method to deal with pirates and the United Kingdom will be explored in this article, so as to reflect the situation of Guangdong's coastal defense in Jiaqing and Daoguang's era = 自收復台灣後，東南海洋一直處於和平狀態，反觀在北方國境，俄羅斯及準噶爾部卻嚴重威脅清朝的國防。經過康、雍、乾三朝的努力，清廷終於解決北部的邊防問題。但此一形勢在嘉慶、道光年間產生變化，廣東海防卻要面對兩大強敵──海盜與英國。藉着越南西山政權的幫助，廣東海盜乘勢崛興，控制航道，專注於打劫往來船隻，更組成強大的聯盟。而西方國家亦積極東來尋找市場、商品，英國亦為其中之一。為改變與中國貿易的情況，英國曾兩次試圖入侵澳門、強闖虎門，更發動鴉片戰爭，令廣東海防面臨嚴重威脅。在迎戰海盜、英國的過程中，清廷先後委任多名兩廣總督、水師提督，試圖阻止這些強敵。為方便研究，本文選擇當中的重要人物，觀察他們的應敵之道。嘉慶十年（1805），海盜組成大聯盟，勢力如日方中，而那彥成、吳熊光、百齡正是於此時出任兩廣總督。道光十四年（1834）發生律盧卑事件，清廷又先後以關天培、林則徐南下廣東，積極改善虎門防務，防止英國進犯。在兩場戰爭中，當時的官員都堅持嚴守海岸的戰略，以封鎖政策截斷內地物資供應，對抗海盜及英國。面對不同的敵人，清廷使用相同方法並非偶然。海防在清代前期由地方自行管理，所以發展受到地方資源多寡的影響。由於清廷嚴格限制地方財政，加上受地形影響，廣東海防只能維持被動和保守的體制。在全球化的背景下，海盜及英國乘時而起挑戰廣東海防。當時廣東水師實力不及對手，所以兩廣總督、水師提督都固守海岸防線，期望將對手困死海上，但是效果卻是截然不同。本文將探討為何有關官員使用相同方法，應對海盜、英國的入侵的原因，從而反映嘉慶、道光年間廣東海防的情況。

Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão / Made available in DSpace on 2012-10-17T00:38:13Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T21:57:35Z : No. of bitstreams: 1 148286.pdf: 8190843 bytes, checksum: ec41026817c57c11e2b07ca3d02218f9 (MD5) / Este trabalho tem como proposta pesquisar e questionar a relação intertextual entre ficção e história, a partir de dois romances que abordam a Guerra do Contestado, conflito ocorrido entre 1912-1916, no planalto catarinense. Com base na contextualização histórica-social, de um lado e na análise das obras Geração do Deserto de Guido Wilmar Sassi e Império Caboclo de Donaldo Schüler, do outro, observa-se como se efetiva o processo de fusão desses dois campos. Ao refletir sobre essa relação intertextual, os conceitos de estudiosos como Mikhail Bakhtin (dialogismo), Julia Kristeva (intertextualidade) e Linda Hutcheon (história e ficção) se afiguram como referencial teórico possível, na medida em que desenvolvem importantes questões sobre essa interação. Não se tem, contudo, nesta dissertação, um modelo de aplicação prática de uma teoria específica, mas a incorporação de idéias que possam contribuir para a compreensão desse processo intertextual, ao mesmo tempo que traz à baila um episódio histórico brasileiro e sua problemática universal.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura. / Made available in DSpace on 2012-10-22T10:16:19Z (GMT). No. of bitstreams: 1 234045.pdf: 945748 bytes, checksum: ed87fcb6a363df2005e3a3948bfe0f72 (MD5) / O presente trabalho sobre a Guerra do Contestado (1912-1916) discute usos do passado relacionados a este evento, através da distinção entre a política da memória pública, de caráter oficial, e a política da memória coletiva, de caráter popular. A memória pública e a memória coletiva têm características, interesses e finalidades distintas e encaminham estratégias narrativas e políticas de representação diferenciadas. Procurou-se enfatizar as características e condições de produção da memória coletiva e, sendo assim, o imaginário e a oralidade são tratados com interesse especial, assim como o teatro. A idéia de mímesis e seus desdobramentos conceituais, relacionados às políticas de formação cultural e de representação identitária, é trabalhada como perspectiva de análise em vários pontos, mas norteia o trabalho como um todo, agregando e congregando os temas desenvolvidos. Por fim, a intenção que anima o presente trabalho é elaborar uma interpretação da cultura sertaneja do Contestado sob os pressupostos de que suas características culturais consideradas típicas ou exóticas são constituintes do acervo colonial universalizado e transculturado. The present paper on The #Contestado War# (1912-1916) discusses perceptions from the past related to this event, through the distinction between public political memory, which is of official character, and collective political memory, of popular character. Public memory and collective memory have distinct features, interests and purposes and they lead to differentiated narrative strategies and policies of representation. There has been an emphasis on the characteristics and conditions of collective political memory production, therefore the imagery and oral processes as well as the theater, are treated with special interest. The idea of mimesis and its conceptual unfolding related to the political and cultural formation and identity representation is treated as a perspective of analysis in several aspects, but it guides this paper as a whole, aggregating and congregating de themes developed. Finally, the motivating force behind this paper is the desire to elaborate an interpretation of the country culture of #The Contestado# under the assumptions that its cultural characteristics, which are considered typical or exotic, are in fact, part of the universalized and transcultured colonial collection.