No description available.

By studying the modes by which dialogue is inscribed in Le Cote de Guermantes, as well as the way it operates within the narrative discourse, we show that the sociolectal realism of this novel is derived mostly from the inscription and the circulation, within the fictional discourse, of pragmalinguistic and socio-ideological presuppositions obtaining in the "faubourg Saint-Germain" of the French III$ sp{ rm rd}$ Republic. Indeed, this novel absorbs and reproduces, in addition to a limited number of socially marked words or expressions, the role relationships, the power relationships, and, especially, the discursive strategies of the real world aristocratic ideology. Furthermore, this study demonstrates that if Proustian intratextual utterances undergo many systematisations, distortions and subjectivations promoting the insertion, within the dialogal component, of functional and structural characteristics of the description which modify the temporality of real dialogue and introduce pragmatico-structural modifications unthinkable in the real world, these systematisations, distortions and subjectivations partake of the text's aesthetic and ideological presuppositions, that is the anti-mimetism both of the characters' discourse in novels and of literature, the incapacity of language to reveal the truth directly.

The present study affirms that Jack Kerouac's individual narratives of his Duluoz Legend, as contained in thirteen of his key novels, serve as episodic chapters in which the archetypal hero voyages on a quest through beatific discoveries toward a final self-discovery, a beatific vision.The first two chapters of the present study examine the archetypal relationship between the Beat novel and. beatific vision, studying this vision under four of its root-aspects: American transcendentalism, Catholic apocalyptic writing, Dionysian fulfillment, and Buddhistic unconsciousness. Chapters three, four and five turn from the philosophical patterns of the Duluoz Legend to the more specific plot patterns of these thirteen novels, an archetypal quest pattern which is simultaneously a lament for a lost Eden, an initiation rite, and a monomyth, the single pattern of the journey quest which underlies all myth.The final seven chapters develop the beatific aesthetic as it patterns the Duluoz Legend through the key novels of Kerouac in specific terms of myth and archetype. Chapter six examines the first stage of development, the world child, as embodied in Visions of Gerard (1922-1926), in which the memory of the life of the dead child Gerard, saintly and unspotted and wholly innocent, touches his narrator-brother, Jack Duluoz, the protagonist of the Duluoz Legend, who is beginning a new spiritual life, a new quest. The second (adolescent) stage of initiation, is presented in chapter seven as embodied in Dr. Sax (1930-1936), in which Jack Duluoz moves from eight to fourteen years of age, living in a world of imagination and fears, mixing fantasy and reality, finally unmasking the shadow of himself. Chapter eight considers two novels which deal with the third stage of the archetypal quest, where the protagonist rejects worldly power (flesh, knowledge, action) and makes a crucial discovery of the unknown within the self: Maggie Cassidy, Springtime Mary (1938-1939) and Vanity of Duluoz (1939-1946). Chapter nine examines the Kerouac novels which cover the scape-goat figure of Cody-Dean (Neal) and the resultant auest: events covered horizontally in On the Road (1946-1950) and vertically in Visions of Cody (1944-1952). The realization--that the American dream represented by Dean (teal) can have no validity in the present-brings Duluoz to his fifth period, his descent into hell, the night journey of his soul. Chapter ten analyzes the two Kerouac novels which trace the progress of this night journey: The Subterraneans (1953) and Tristessa (1955-1956). Having returned from hell, shaken and alone, the questing hero is then ready to ascend the mountain to achieve a union with the cycle of nature, in which the narrator withdraws within himself to discover a divinity there and emerge a more self-confident teacher, a Shaman. Chapter eleven treats Kerouac's two novels which explore this union of the individual with the cycle of nature: The Dharma Bums (1955-1956) and Desolation Angels (1956-1957). It is from an anticlimatic mood which follows the descent from the mountain that the quester moves into his final phase, the ultimate discovery of the unknown. Chapter twelve of the present study examines the three Kerouac novels which deal with this theme: Big Sur (1960), Satori in Paris (1965) and Vanity of Duluoz (1968).Chapter thirteen examines the vision for which the protagonist searches cyclically in these thirteen novels: ultimately, ironically, emptiness, the Void at the core of existence, the empty eye of God in which all dualities are resolved into nothingness. The dual recognition and recording of life energy in the moment--the sustaining of the monomyth-is all that remains of man's efforts to form his own art of life.

The purpose of this study was to examine the political economic and social events that gave birth to a so-called fascist movement in Ireland during the early nineteen thirties. The study also attempted to explain the reasons for the failure of the movement. The members were called the "Blueshirts" and although they were significant in the political arena for only a few years there has never been a satisfactory explanation for their impact. Was it truly a fascist movement with the sinister potential of its sister political organizations on the continent? Or was it simply a short-lived reaction to what was called "the repressive policies" of the newly elected Fianna Fail government in 1932? Was their leader, General Eoin O'Duffy, attempting to overthrow parliamentary government? Or was he simply trying to solve the economic problems of Ireland that were the result of the world depression and the Anglo-Irish Economic War? Which, if either, was the explanation for Blueshirtism? In an attempt to answer these questions this writer began by putting the story in historical perspective.

In Proustian aesthetics, the act of reading constitutes a fundamental activity in the elaboration of Remembrance of Things Past. The representation of each art form which the novel proposes to synthesize (architecture, painting, and literature) is based on intertextual relationships that unite texts from non literary (Ruskin, Male), literary (Sand, Sevigne, Racine) and philosophical (Schopenhauer) sources, that contribute to a general conception of art that reintegrates the problem of the reception of art works in the context of an essentially literary experience. In accordance with Hans-Robert Jauss' theory, the presence of such texts enables the reconstitution of the reader's expectations, and provides the context for the multiple representations of the work of art. Consequently, the implicit and explicit interrelations between the Proustian text and its intertext, perceived as an indication of the readers liberty, introduce different strategies of reading into the novel. Not only does the narrative, through its characters, offers a series of examples that are didactic in nature, but the use of quotations creates dynamics that underscores the specificity of the Proustian act of reading and its interdependence on the act of writing. The reception of the text implied by the Proustian reading of the work of art therefore contributes in making Remembrance of Things Past, not a dogmatic exposition of a theory, but rather a long quest through literary creation for knowledge that transcends Plato's idea of the transmission of meaning through art and of communication through the act of reading.

No description available.

Thesis (M.A.)--University of Wisconsin--Madison, 1965. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. 182-189.

This thesis is entitled ‘The "double movement”: parody in the work of Alain Robbe-Grillet, with particular reference to Un Régicide'.The principle objective of the thesis is to illustrate how a re-assessment of Pour un nouveau roman (1963) can explain the reasons behind the paradox of Robbe-Grillet's fiction and lead, consequently, to the reader's appreciation of the tension between meaning and meaninglessness in his novels. The thesis sets about this task in the following way: firstly, it examines the existing confusion over Pour un nouveau roman, and exposes the analytical weaknesses of both established interpretations of Robbe-Grillet's theory. Secondly, a new perspective of Pour un nouveau roman is offered - one which underlines the central significance of the paradoxical movement between the creation and destruction of meaning as outlined in the compilation. Next, this 'double movement' is identified as inherent to all literature, engaged in the dual process of textual assimilation and dissimilation. The self-conscious, ludic nature of the 'double mouvement de creation et de gommage' of Un Régicide is revealed to be essentially that of parody, since the reconstruction of past literary material within its narrative is later exposed and destroyed. Robbe-Grillet's first novel, rich in literary allusions and references, is a particularly dramatic conflict between the forms which it incorporates and their imminent subversion. In this sense, Un Régicide is seen to constitute the paradox of ail Robbe-Grillet's writing, in which the initial creation of meaning leads, through the deferral of a single, determinate significance, to an ultimate deception.

Made available in DSpace on 2014-06-11T19:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-29Bitstream added on 2014-06-13T18:48:37Z : No. of bitstreams: 1 rocha_nm_me_ia_prot.pdf: 11837451 bytes, checksum: 78d30cad5e60e5b55a312c108dd09878 (MD5) / Este trabalho aborda as relações interdisciplinares entre música e arquitectura nas obras multimídia de Iannis Xenakis, denominadas Polytopes. O texto analisa os principais procedimentos composicionais utilizados na construção das peças musicais e arquitetônicas de suas obras iniciais e, posteriormente, dos Polytopes. Ao demonstrar a transferência de conceitos entre composição musical e arquitetônica, identificam-se similares estético-estruturais entre essas duas expressões artísticas. A história existencial de Xenakis, com especial ênfase à sua experiência de guerra é, por fim, reconhecida como uma das mais significantes influências de suas obras multimídia. As análises realizadas contaram com investigações dos contextos histórico-geográfico e sócio-cultural em que os Polytopes se inseriram, bem como com pesquisas sobre os escritos do compositor e outras referências bibliográficas relevantes / This work approaches the transdiciplinary relationship between music and architeture on Iannis Xenakis' multimedia works, named Polytopes. The text analyses the major compositional procedures used on construction of the musical and architectural pieces of his earlier works, and later to the Polytopes. By the demonstrating the transfer of concepts between musical and architectural compositions, it identifies aesthetical-structural similarities between these two artistic expressions. Xenakis' existential history, whith special emphasis to his war experience is, at last, acknowledged as one the most significant influences to his multimedia works. The analysis performed counted on investigation of the historical, geographical, social and cultural contexts in which the Polytopes are embedded, as well as a research on the author's literary works, including other relevant bibliographical references

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2007. / Submitted by Amanda Esteves Silva (amandasilva@bce.unb.br) on 2015-10-06T17:08:49Z No. of bitstreams: 1 2007_WalterMendesdosSantos.pdf: 313658 bytes, checksum: 21e4e9b9f0911a3101b6531a7a63b760 (MD5) / Approved for entry into archive by Marília Freitas(marilia@bce.unb.br) on 2015-10-07T13:44:37Z (GMT) No. of bitstreams: 1 2007_WalterMendesdosSantos.pdf: 313658 bytes, checksum: 21e4e9b9f0911a3101b6531a7a63b760 (MD5) / Made available in DSpace on 2015-10-07T13:44:37Z (GMT). No. of bitstreams: 1 2007_WalterMendesdosSantos.pdf: 313658 bytes, checksum: 21e4e9b9f0911a3101b6531a7a63b760 (MD5) / O presente trabalho pretende estudar a representação literária da imprensa nos romances de Lima Barreto. A partir das obras Recordações do Escrivão Isaías Caminha, Triste Fim de Policarpo Quaresma, Numa e a Ninfa, Vida e Morte de M. J.Gonzaga de Sá e Clara dos Anjos, selecionam-se aspectos jornalísticos e literários presentes para descrever e analisar as relações entre jornalismo e literatura nestes romances, a fim de questionar esta confluência e apontar a articulação textual destas relações no texto barretiano. No capítulo inicial, o autor situa a trajetória de repórter e cronista e o trabalho literário de Lima Barreto na história da imprensa brasileira. Na seqüência, aborda a influência da militância no jornalismo sobre o estilo e projeto literário deste escritor. No capítulo seguinte, examina o posicionamento de Lima Barreto sobre a imprensa de sua época e as contradições apontadas por ele nesta instituição. Nos capítulos quatro e cinco, o autor analisa, respectivamente, a galeria de personagens jornalistas e o papel da imprensa nos enredos do universo romanesco barretiano.