Esta dissertação aborda a questão da “inocência americana” em duas obras do escritor norte-americano Henry James, empregando conceitos da Literatura Comparada como base para a análise dos textos escolhidos: The American e Daisy Miller: A Study. Portanto, os conceitos de intertextualidade, influência e alteridade são fundamentais para o estabelecimento das confluências e divergências entre as duas obras. Este trabalho também apresenta uma análise, com base na teoria comparatista da interdisciplinaridade, entre a obra literária Daisy Miller: A Study e o filme Daisy Miller, dirigido por Peter Bogdanovich. O tema recorrente nas obras analisadas, o da “inocência americana”, foi abordado por Henry James em grande parte de sua produção literária, sendo um reflexo de sua própria experiência como o “outro”, bem como de suas observações sobre seus compatriotas, quando confrontados com os valores e tradições vigentes na Europa, no século XIX. James alcançou seu merecido lugar no cânone literário ocidental, graças ao seu estilo incomparável, o qual foi aperfeiçoando durante toda sua carreira e até hoje é parâmetro para escritores contemporâneos. / This thesis approaches the “American innocence” issue in two works of the North- American writer Henry James by using some concepts of Comparative Literature as base to the analysis of the chosen texts: The American and Daisy Miller: A Study. Therefore, the concepts of intertextuality, influence and alterity are vital to establish the confluences and divergences between the analyzed works. This work also presents an analysis, based on the interdisciplinary theory, between the literary work Daisy Miller: A Study and the film directed by Peter Bogdanovich, Daisy Miller. The recurrent theme in the analyzed works, the American innocence, was approached by Henry James in most part of his literary production, being a reflex of his own experience as the “other”, and his observations on his countrymen, when confronted with the values and traditions in vigor in the nineteenth-century Europe. Henry James has achieved his place on the Western literary canon, due to his incomparable writing style, which he had improved through his career and still today is a reference to contemporary writers.

A Star Called Henry (1999), do escritor irlandês Roddy Doyle (1958-), é o primeiro livro da trilogia The Last Roundup, cujo protagonista é Henry Smart. Este nasce em Dublin no início do século XX e desempenha papel importante na luta pela independência da Irlanda. Juntamente com os Irish Volunteers, Smart combate no Levante de Páscoa de 1916, auxilia na escrita da declaração de independência do país e torna-se soldado do Irish Republican Army (IRA) durante a Guerra da Independência (1919-1921). Henry é um herói, mas não do tipo clássico: filho de um assassino de aluguel e de uma adolescente pobre, Smart é ladrão desde os primeiros anos de vida e, durante suas lutas pela Irlanda, afirma não estar interessado no ideal nacionalista, uma vez que luta por dinheiro, comida e reconhecimento. Vivendo às margens da sociedade, Henry Smart desconstrói uma aura romântica em torno do Levante, da Guerra da Independência e dos heróis nacionalistas. O ponto de partida desta pesquisa é o questionamento sobre o impulso do autor em escrever um romance histórico em tempos de prosperidade financeira, pois Doyle publica a obra durante o período conhecido como Tigre Celta (1994-2008). Também questionamos por que o autor decide representar Dublin e os heróis nacionais de modo contrastante com o simbolismo nacionalista. Entendemos que o contexto de publicação do romance influencia a produção artística e, dessa forma, ao escolher a temática histórica, Doyle constrói uma crítica ao nacionalismo do início do século XX e também à sociedade do Tigre Celta. O autor entrelaça temporalidades a fim de expor as lacunas e inconsistências do passado e também do presente. / A Star Called Henry (1999), by the Irish writer Roddy Doyle (1958), is the first book of the trilogy The Last Roundup, whose protagonist is Henry Smart. He is born in Dublin at the beginning of the twentieth century and he plays an important role in the fight for Irelands independence. Along with the Irish Volunteers, Smart fights in the 1916 Easter Rising, helps to write the proclamation of independence and becomes a soldier of the Irish Republican Army (IRA) in the War of Independence (1919-1921). Henry is a hero, but not the classic kind: the son of a hired killer and a poor teenager, Smart is a thief since his early years and, when he fights for Ireland, he is not interested in the nationalist ideal, since he fights for money, food and recognition. Living at the margins of society, Henry Smart deconstructs the romantic aura around the Rising, the War of Independence and the nationalist heroes. The starting point of this research is to investigate the authors impulse to write a historical novel in times of financial prosperity, since Doyle publishes the book during the Celtic Tiger era (1994-2008). We also aim to understand why the author decides to represent Dublin and the nationalist heroes in a way that contrasts with the nationalist symbolism. We understand that the context of publication influences the artistic production, and, therefore, when choosing the historical theme, Doyle criticizes both the early twentieth-century nationalism and the Celtic Tiger society. The author intertwines temporalities in order to expose the gaps and inconsistencies of the past and the present.

Esta dissertação aborda a questão da “inocência americana” em duas obras do escritor norte-americano Henry James, empregando conceitos da Literatura Comparada como base para a análise dos textos escolhidos: The American e Daisy Miller: A Study. Portanto, os conceitos de intertextualidade, influência e alteridade são fundamentais para o estabelecimento das confluências e divergências entre as duas obras. Este trabalho também apresenta uma análise, com base na teoria comparatista da interdisciplinaridade, entre a obra literária Daisy Miller: A Study e o filme Daisy Miller, dirigido por Peter Bogdanovich. O tema recorrente nas obras analisadas, o da “inocência americana”, foi abordado por Henry James em grande parte de sua produção literária, sendo um reflexo de sua própria experiência como o “outro”, bem como de suas observações sobre seus compatriotas, quando confrontados com os valores e tradições vigentes na Europa, no século XIX. James alcançou seu merecido lugar no cânone literário ocidental, graças ao seu estilo incomparável, o qual foi aperfeiçoando durante toda sua carreira e até hoje é parâmetro para escritores contemporâneos. / This thesis approaches the “American innocence” issue in two works of the North- American writer Henry James by using some concepts of Comparative Literature as base to the analysis of the chosen texts: The American and Daisy Miller: A Study. Therefore, the concepts of intertextuality, influence and alterity are vital to establish the confluences and divergences between the analyzed works. This work also presents an analysis, based on the interdisciplinary theory, between the literary work Daisy Miller: A Study and the film directed by Peter Bogdanovich, Daisy Miller. The recurrent theme in the analyzed works, the American innocence, was approached by Henry James in most part of his literary production, being a reflex of his own experience as the “other”, and his observations on his countrymen, when confronted with the values and traditions in vigor in the nineteenth-century Europe. Henry James has achieved his place on the Western literary canon, due to his incomparable writing style, which he had improved through his career and still today is a reference to contemporary writers.

The guitar chord (a sonority based on the open strings of the guitar) is one of Alberto Ginastera's compositional trademarks. The use of the guitar chord expands throughout forty years, creating a common link between different compositional stages and techniques. Chapters I and II provide the historical and technical background on Ginastera's life, oeuvre and scholar research. Chapter IV explores the origins of the guitar chord and compares it to similar specific sonorities used by different composers to express extra-musical ideas. Chapter V discusses Ginastera's initial uses and modifications of the guitar chord. Chapter VI explores the use of the guitar chord as a referential sonority based on Variaciones Concertantes, Op. 23: I-II, examining vertical (subsets) and horizontal (derivation of motives) aspects. Chapter VII explores uses of trichords and hexachords derived from the guitar chord in the Sonata for Guitar Op. 47.

On continue à parler de l’œuvre hébertienne en raison de l’originalité de ses pages. Dans cette occasion, son premier recueil en prose a attiré notre attention. Le Torrent (1950) fait éclater, sur plusieurs plans,  les formes traditionnelles du panorama littéraire canadien d’expression française en produisant une profonde mutation dans la sensibilité qui, dès lors, se fraie des chemins vers le monde intérieur. Dans le cadre de notre mémoire, nous nous intéressons à la couleur, cette donnée sensible ancrée sur « le foyer perceptif » de François Perrault, personnage central du recueil. L’étude de la perception sera abordée dans le cadre de la sémiotique de la présence étant donné que « percevoir » implique, au dire de Jacques Fontanille, la reconnaissance d’une présence située par rapport à la nôtre. Nous essayerons de montrer, par la suite, comment le sensible, dans sa forme condensée, intègre le somatique. / We continue talking about Hebertien works because of their originality In this paper, we are focusing on her first masterwork in prose. The Torrent (1950) broke with the traditional forms of the French-Canadian literary panorama on different levels, producing a profound mutation in sensibility, focusing henceforth on the internal world. This analysis is interested in colour, a phenomenon anchored in the perception of François Perrault, the main character of the story. The study of perception will be carried out by a semiotic of presence because « to perceive » implies, according to Fontanille, to recognize a presence in relationship to our own. We will try to demonstrate, later, how a sensory phenomenon, in a condensed form, is connected with the somatic.

Ce mémoire vise à mettre en lumière l’influence qu’exerce le théâtre dans le roman Le premier jardin d’Anne Hébert. Il s’efforce de démontrer que l’intrigue s’articule autour d’une dichotomie fondamentale entre la remémoration d’un passé collectif, où la protagoniste participe en tant que comédienne, et la résurgence de souvenirs où elle devient spectatrice de son propre passé qui envahit et détracte le présent. Ainsi, cette étude révèle comment les thèmes de la convocation et de l’emprise investissent l’odyssée mémorielle de Flora Fontanges et parvient également à dégager la vision de l’Art et de la création qui anime le roman tout comme le parcours de l’auteure.

Parmi les peintres qui ont marqué la scène artistique québécoise on retrouve Jean-Philippe Dallaire (1916-1965). La force créatrice et originale de sa production se compare avantageusement à d’autres plus connues, comme celle de Pellan. Cette réflexion qui a comme sujet Le surréalisme dans l’oeuvre de Jean-Philippe Dallaire (1938-1965) se veut une clé pour comprendre l’évolution picturale de l’artiste. Notre analyse s’articule autour d’un petit groupe de toiles réalisé en 1957 et jugé comme l’ensemble le plus important de Dallaire. Le traitement des oeuvres combine une facture mi-surréaliste à une facture mi- abstraite et témoigne autant du savoir faire de l’artiste que de sa connaissance des esthétiques modernes. Le surréalisme dans 1’oeuvre de Jean-Philippe Dallaire (1938-1965) propose une lecture contemporaine des oeuvres par une approche sémiologique du langage visuel telle que développée au Québec par Fernande Saint-Martin et Marie Carani. Cette approche appliquée aux oeuvres de ce corpus a permis d’inscrire l’artiste dans la modernité et ainsi de le dissocier d’une tradition québécoise alors essoufflée. / Montréal Trigonix inc. 2018

Call number: LD2668 .T4 1963 N49

James Connolly (1868-1916), Socialist leader, labour union organiser and Irish Republican general, pursued an active career of over thirtyfive years duration in left-wing politics during the period of the Second International. During this time, he played an influential role in the Social Democratic and Labour movements in Ireland, Scotland and the United States. This stuy examines his relationships with the activists and organisations of left-wing labour in Scotland in the period 1890-1916 and moreover, seeks to establish his significance as a "Marxian Syndicalist"; an activist working in a Marxist tradition distinct from both the state socialism of the Social Democratic International and the Marxism - Leninism of the Comintern. Connolly's formative years in the Social Democratic and labour movements of his native Edinburgh (1890-96) are examined in some detail, and an attempt is made to delineate some characteristics both of the mainstream of British Marxism and of the uniqueness of the situation in Edinburgh, which were important for his personal development. Subsequently, his importance in the secession of the Scottish 'impossibilist' faction from the all-British Marxist movement in 1902-3 is analysed. At this point, there is some emphasis on the theories of the Alrerican Marxist, Daniel De Leon, and of their importance both in Connolly's further theoretical development and of the Scottish Left generally. The American contribution to Connolly's thought - and his mature response to it - is then followed up, some consideration being given to his work in the American socialist movement in 1903-10. In the light of this experience, Connolly's further influence on Scottish leftwing labour in the period 1910-15 is traced; particular emphasis is laid on the Syndicalist elements in his thought and on the Scottish responses to it. Finally, there is some discussion of the relationship between the themes of Nationalism, Marxism and Syndicalism within the history of the Scottish Left in the period 1890-1920, and the concrete failure of Marxism within the Scottish working class movement is assessed against the background of the manifest advances of the nontheoretical parliamentary Labour Party.

ENGLISH ABSTRACT: This thesis examines the late novels of Henry James in the light of a distinction between "resolved" and "unresolved" ironies. The first chapter aims to clarify this distinction, arguing that in "traditional" ii'onie works the dominant irony is characteristically "resolved": that is, such works are structured upon the gradual enlightenment of the protagonist, to issue in the extinction of irony as such a protagonist achieves equality of insight with the reader. Such resolution, it is argued, is dependent on the author's access to and acceptance of a stable system of values. Conversely, where such stable communal values seem to the writer to be inconsistent with the unstable reality he perceives, the dominant irony of the work, in not being based upon a clearly defined or implied norm, is likely to remain "unresolved". The second chapter approaches the nineteenth-century novel as the product of a society generally perceived to be based on firmly established values. Resolved irony thus predominates in these novels, but not as the vehicle of a complacent view of society: the irony is usually dependent on the perceived need for change in society, its resolution being posited on a belief in the possibility of such change. As such a belief weakens, an unresolved element becomes more evident in these novels, to predominate by the end of the century. The third chapter uses James' The Ambassadors to show how unresolved irony can result from an author's exploration of his subject beyond the confines of his declared intention. In thi's instance, it is argued, the unresolved irony is a function of a more complex view of his pro, tagonist than James seems to have foreseen. The fourth chapter develops this enquiry by showing that in The Wings of the Dove James' subject once again grew beyond the projected outline, but in this case with James fully avlare of the development. Unresolved irony, though still a product of "unintended" meanings, thus more consciously reflects a critical view of its subject. The fifth chapter adduces The Goleen Bowl as James' most sustained work of unresolved irony. It is the aim to demonstrate that the novel's meaning is entirely a function of this lack of resolution, the controlling vision being that of a society in which professed values are hopelessly at odds with true motives. Joseph Conrad and D.H. Lawrence are consistently used for comparison and contrast with James, partly to demonstrate their awareness of the attractions· and dangers of irony as a response to perplexity, and partly to claim for James a place next to them as a profound commentator on the early twentieth century.