Since the problem of criticism of Conrad has deteriorated often into a case study of supposed or imagined abnormalities, this study will survey this body of criticism and then attempt to place in proper perspective the various elements which comprise Conrad's artistic individuality. This thesis is intended to present an over-all view of the artistic individuality of Conrad, coupled with a more intensive interpretation of representative novels to illustrate this individuality.

No description available.

La présente recherche porte sur la vie et l'œuvre de James Wilson Morrice (Montréal, 10 août 1865 - Tunis, Tunisie, 23 janvier 1924), en attachant davantage une importance particulière aux voyages de l'artiste aux Antilles et aux Caraïbes (1915-1924), retracés à travers ses incomparables dessins, croquis, pochades, aquarelles et peintures à l'huile. En considérant les arrière-plans familial, artistique et formatif sur lesquels advinrent subséquemment la vie et l'œuvre du peintre, l'ensemble des facteurs dynamiques qui orientèrent l'action de Morrice vers de tels lieux, les événements typiques de la vie de l'homme lors de ces pérégrinations exotiques et le dossier complet des documents de travail produits pour une œuvre (notes, croquis, esquisses, pochades, etc.), le texte identifie le cheminement de sa vision et les mécanismes profonds du processus de conception de l'esthétique caraïbe de l'artiste. / The present research relates on James Wilson Morrice's (Montréal, August 10n , 1865 - Tunis, Tunisia, January 23rd , 1924) life and work, specifically on the journeys of the artist in the Antilles and to the Carribbean islands (1915-1924) explained through his incomparable drawings, sketches, watercolors and oil paintings. By considering the family, the artistic and the formatif backgrounds on which happened subsequently the painter's life and work, the dynamic factors which directed Morrice's action to such places, the typical events of the man's life during these exotic wanderings and the complete file of working documents produced for a work (notes, drawings, sketches, etc.), the text identifies the progress of his vision and the deep mechanisms of the artist's Caribbean aesthetics conception process.

Québec Université Laval, Bibliothèque 2012

Marie Corelli was arguably the most popular British novelist of the early 1900s, yet few today even know her name. Though she is not the only author to lose popularity, her enormous influence during her lifetime deserves consideration. What people liked about Marie Corelli can shed light on why the rise of modernism is seen as such a break from the popular in literature. This paper examines two of her bestsellers, A Romance of Two Worlds and The Sorrows of Satan, in light of the fin de siáecle, as well as the critical response to her work from both modernist and postmodern perspectives. Corelli is of interest today because her popular female characters are women who affirm traditional femininity yet also pursue and wield great power. The question I raise is whether Corelli's work is best seen as illustrative of theories about popular literature or as contradictory to them. / by Doris Moss. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

張婉麗. / "2000年8月" / 論文 (哲學碩士)--香港中文大學, 2000. / 參考文獻 (leaves 208-219) / 附中英文摘要. / "2000 nian 8 yue" / Zhang Wanli. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000. / Can kao wen xian (leaves 208-219) / Fu Zhong Ying wen zhai yao. / 摘要 --- p.i / 前言 --- p.v / 目錄 / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 小說敘事者與操縱理論 --- p.8 / Chapter 2.1 --- 小說的敘事者 --- p.8 / Chapter 2.2 --- 操縱理論 --- p.14 / Chapter 2.3 --- 《黑奴籲天錄》的敘事者與譯文操縱 --- p.24 / Chapter 第三章 --- 《黑奴籲天錄》的翻譯背景 --- p.26 / Chapter 3.1 --- 原文的内容 --- p.26 / Chapter 3.2 --- 原文的文化系統 --- p.28 / Chapter 3.2.1 --- 政治 --- p.28 / Chapter 3.2.2 --- 宗教 --- p.3 2 / Chapter 3.2.3 --- 婦女地位 --- p.33 / Chapter 3.2.4 --- 作者 --- p.35 / Chapter 3.3 --- 對 Uncle Tom´ةs Cabin 的評論 --- p.40 / Chapter 3.4 --- 譯文的文化系統 --- p.48 / Chapter 3.4.1 --- 政治 --- p.49 / Chapter 3.4.2 --- 教會的活動 --- p.52 / Chapter 3.4.3 --- 婦女地位 --- p.53 / Chapter 3.4.4 --- 翻譯的功利主義 --- p.55 / Chapter 3.4.5 --- 譯者 --- p.58 / Chapter 3.4.5.1 --- 林纾 --- p.58 / 家庭 --- p.58 / 政治思想 --- p.60 / 婦女觀 --- p.63 / 文學作品 --- p.65 / Chapter (一） --- 創作及文學觀 --- p.65 / Chapter (二） --- 翻譯及翻譯觀 --- p.68 / Chapter 3.4.5.2 --- 魏易 --- p.73 / Chapter 3.5 --- 對《黑奴籲天錄》的評論 --- p.75 / Chapter 第四章 --- 《黑奴籲天錄》的敘事者（一） ´ؤ´ؤ宗教的表述及婦女形象的表述 --- p.85 / Chapter 4.1 --- 宗教的表述 --- p.86 / Chapter 4.1.1 --- 基督教與小說中的人物 --- p.89 / Tom與湯姆 --- p.90 / Cassy與凱雪 --- p.107 / Quimbo與昆蒲、Sambo與三蒲 --- p.110 / Topsy與托弗收 --- p.112 / 其他 --- p.115 / George與哲而治 --- p.116 / Chapter 4.1.2 --- 基督教與敘事者聲音 --- p.126 / Chapter 4.1.3 --- 宗教的表述´ؤ´ؤ總結 --- p.135 / Chapter 4.2 --- 婦女形象的表述 --- p.137 / Chapter 4.2.1 --- 婦女形象 --- p.138 / 婦女角色 --- p.138 / 女性讀者 --- p.148 / Chapter 4.2.2 --- 廚房的比喻 --- p.156 / Chapter 4.2.3 --- 婦女形象的表述´ؤ´ؤ總結 --- p.164 / Chapter 第五章 --- 《黑奴籲天錄》的敘事者（二） ´ؤ´ؤ敘事距離與奴隸制度的關係 --- p.166 / Chapter 5.1 --- 敘事者與小說人物的距離 --- p.166 / Chapter 5.2 --- 敘事者與讀者的距離 --- p.172 / Chapter 5.3 --- 總結 --- p.184 / Chapter 第六章 --- 結語 --- p.187 / Chapter 6.1 --- 譯者對敘事者的操縱 --- p.187 / Chapter 6.2 --- 「忠實的譯者」 --- p.199 / 參考書目 --- p.208

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-06-08T13:24:33Z No. of bitstreams: 1 Antonio Coutinho Soares Filho.pdf: 789799 bytes, checksum: 7d4dabc562cc362d9d4fb980060b0b6c (MD5) / Made available in DSpace on 2017-06-08T13:24:33Z (GMT). No. of bitstreams: 1 Antonio Coutinho Soares Filho.pdf: 789799 bytes, checksum: 7d4dabc562cc362d9d4fb980060b0b6c (MD5) Previous issue date: 2017-05-29 / Universidade Estadual do Maranhão - UEMA / In the whole of Brazilian literature, Osman Lins is a name that stands out for the quality and diversity of his production. Novelist, playwright, essayist, among other attributions, the writer has an aesthetic refinement as well as a reflexive posture in face of the cultural, social and political obstacles of the country. The osmanianos studies often highlight the author's romanesque experiments in his so-called maturity phase. Not exclusively, the prior creation to this period still lacks major critical exams, such as the novel debut, The Visitor (1955) corpus of this research. Besides the interesting textual warp, this work presents a humble fortune review, which gives rise to this work. It should be added that on several occasions the writer affirms that the cosmogonical attitude along with the preoccupations with the national ills and the reflection on the creative process, guide his life and the literary work. That said, one wonders how this worldview is presented in The Visitor. Taking into account the traced interdiscurssive of the narrative and the novelist’s social-critcism and point of view. The proposed analysis considers the mythological, biblical, and liturgical inscriptions as well as the development of his story in the plot. In the face of it, there’s a hypothesis is that Lins, in a subversive modulation brings to the scene elements of the Eden myth and Christian liturgy but he also highlights the contradictions of a society that privileges appearances, victimizing the woman mainly. In the theoretical-critical articulation a review of the analytical itinerary of the corpus is done, with the help of Nitrini (1987, 2001, 2003, 2004), Andrade (2001, 2004, 2014) and Ribeiro (2016), among others. The concepts of threshold — Benjamin (1987), Gagnebin (2010); Devices and profanation, according to Agamben (2009, 2010, respectively), also guide this research. The theoretical-critical complete this framework itself, brings reflections on the poetic–myth creation according to the thinking of Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) and Bastazin (2006). The methodological course, starting from the narrative structure and the critical fortune of the work, examines the aesthetic inversions operationalized by osmanian writing. The visitor, Osman Lins' first creative gesture despite his myth-poetic features presents through an introspective plot a sharp vision of the manipulation game that sustains the society, a principle that distorts the essence of the being and search to conceal the contradictory nature of power / No conjunto da literatura brasileira, Osman Lins é um nome que se destaca pela qualidade e pela diversidade de sua produção. Romancista, dramaturgo, ensaísta, dentre outras atribuições, o escritor possui um requinte estético bem como uma postura reflexiva em face dos entraves culturais, sociais e políticos do país. Os estudos osmanianos, com frequência, destacam os experimentos romanescos do autor em sua chamada fase de maturidade. Não exclusivamente, a criação anterior a esse período ainda carece de maiores exames críticos, a exemplo do romance de estreia, O visitante (1955), corpus desta pesquisa. Além da interessante urdidura textual, essa obra apresenta uma fortuna crítica modesta, o que enseja este trabalho. Acrescente-se que, em várias ocasiões, o escritor afirma que a atitude cosmogônica, aliada às preocupações com as mazelas nacionais e à reflexão sobre o processo criativo, orientam sua vida e o ofício literário. Isso posto, pergunta-se como essa cosmovisão se presentifica em O visitante. Levando em conta o traçado interdiscursivo da narrativa e a postura crítico-social do romancista, a análise proposta considera as inscrições mitológicas, bíblicas e litúrgicas, bem como seus desdobramentos escriturais no enredo. Diante disso, a hipótese é que Lins, numa modulação subversiva, traz à cena elementos do mito edênico e da liturgia cristã, como também expõe as contradições de uma sociedade que privilegia as aparências, vitimando, principalmente, a mulher. Na articulação crítico-teórica, faz-se uma revisão do itinerário analítico do corpus, ao que se conta com o auxílio de Nitrini (1987; 2001; 2003; 2004), Andrade (2001; 2004; 2014) e Ribeiro (2014), dentre outros. Os conceitos de limiar — Benjamin (1987), Gagnebin (2010); dispositivos e profanação, segundo Agamben (2009; 2010, respectivamente), também orientam a pesquisa. Completam o quadro teórico-crítico da mesma, as reflexões em torno da criação mito-poética conforme o pensamento de Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) e Bastazin (2006). O percurso metodológico, partindo da estrutura narrativa e da fortuna crítica da obra, examina as inversões estéticas operacionalizadas pela escritura osmaniana. Portanto, O visitante, primeiro gesto criativo de Osman Lins, não obstante seus traços mito-poéticos, apresenta, por meio de uma trama introspectiva, uma arguta visão do jogo de manipulação que sustenta a sociedade, princípio que desvirtua a essência do ser e busca ocultar a natureza contraditória do poder

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-02T12:31:21Z No. of bitstreams: 1 Eduardo Oyakawa.pdf: 3146353 bytes, checksum: 0051abe6693a8423b12c8c6711bbec0c (MD5) / Made available in DSpace on 2018-04-02T12:31:21Z (GMT). No. of bitstreams: 1 Eduardo Oyakawa.pdf: 3146353 bytes, checksum: 0051abe6693a8423b12c8c6711bbec0c (MD5) Previous issue date: 2018-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study is dedicated to the knowledge of writer Franz Kafka’s literature, under the egis of the religious mystic interpretation. In order to accomplish this goal, Franz Kafka’s biography is presented, to allow his “personality enclosed by a glass wall” to be accurately exposed. Kafka’s life and work are so inextricably combined that it would not be possible to appropriately enlighten his literature without previously understanding his conflicting relationship with parents and girlfriends, as well as his difficulties with work – done with anxiety and discouragement – and with Judaism, basis of his family formation. Following this, this study comprehends analytical multiple visions, emphasizing the hermeneutic polissemy and difficulties of univocally understanding Kafka, without taking into consideration his “literature astonishment”, responsible for making him one of the authors that were mostly read and commented during XX and XXI centuries. Essential scope of the third session is offering a critical view about the efforts to interpret his writings under the religious mystic harness. For this, “Max Brod case” will be discussed and the hypothesis brought by the religions historian Gershom Scholem who presented Kafka as a heretic cabalist. Last but not least, textual hermeneutics will be made (Die Verwandlung, Der Prozess, Der Brau and Forschungen Eines Hund) under cabalistic perspective, trying to uncover Deus Absconditus who is shown in Kafka’s literature with the diversity of chromatic and sonorous tones as a small light shining in the dark / Este estudo é dedicado ao conhecimento da obra do escritor Franz Kafka, sob a égide da interpretação religiosa-mística. Para que logre esse intento, apresenta a biografia de Franz Kafka, a fim de desvelar acuradamente a sua “personalidade encerrada por uma parede de vidro”. Em Kafka, vida e obra se misturam inextricavelmente, de tal maneira que não se pode esclarecer convenientemente a sua literatura sem antes saber de sua relação conflituosa com os pais, com as namoradas, as suas dificuldades concernentes ao trabalho – realizado sob ansiedade e desalento – e com o judaísmo, constitutivo de sua formação familiar. A seguir, este trabalho estuda as multivisões analíticas, sublinhando a polissemia hermenêutica e as dificuldades de se compreender Kafka de maneira unívoca, isto é, sem levar em consideração o “assombro de sua literatura”, responsável por transformá-lo num dos autores mais lidos e comentados no deambular dos séculos XX e XXI. A terceira sessão tem como escopo fundamental oferecer um olhar crítico sobre as tentativas de interpretar os escritos sob o jaez místico-religioso. Para tanto, discute-se o “caso Max Brod” e a hipótese aventada pelo historiador das religiões Gershom Scholem, segundo a qual teria sido Kafka um cabalista herético. Finalmente, faz-se a hermenêutica textual (O Covil, A Metamorfose, O Processo e Investigações sobre um Cão) sob o ponto de vista cabalístico, ou seja, tentando deslindar o Deus Absconditus que, na diversidade de tons cromáticos e sonoros, incide na obra de Kafka como pequena luz brilhando nas trevas

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

The aim of this thesis is to present the literary activities of Zdenek Kalista in 1919- 1924, a period which saw him becoming one of the most prominent figures of the young post- war generation of writers. The research has been primarily based on materials that had been so far ignored or insufficiently reflected (literary remains of Zdenek Kalista, Antonin Matej Pisa, Cestmir Jerabek, Lev Blatny, Jiri Wolker etc., as well as articles from contemporary magazines and daily newspapers) together with Kalista's memoirs. The thesis is divided into five chronologically sorted parts, each reflecting one year of Kalista's life and work and relating them to the literary situation of that time, while continuously describing them from multiple perspectives. In the first part, Kalista's personal life and the activities of the youngest literary generation are analyzed. After that, the focus shifts to the contemporary art groups (Umelecky klub, Literarni skupina, partly Devetsil) and Kalista's relationship with his contemporaries and various key figures of the literary scene (Jiri Wolker, Antonin Matej Pisa, Frantisek Gotz, Stanislav Kostka Neumann etc.). Then, Kalista's activities in the respective years are analyzed, be it for his work in contemporary magazines (Den, Orfeus, Host), his books (collections of...