Orientador: Orna Messer Levin / Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T02:40:42Z (GMT). No. of bitstreams: 1 Fernandes_AnaHelenaCobra_M.pdf: 10025746 bytes, checksum: fc56b4e3477df69e17b1b8c3c1624e67 (MD5) Previous issue date: 2010 / Resumo: Esta Dissertação de Mestrado, composta por dois volumes com naturezas diversas de pesquisa, tem como foco de análise a produção literário/jornalística de Lima Barreto (1881-1922), sintetizado, numa leitura anotada das crônicas do volume Bagatelas, trabalho este, inédito em relação a esse corpus da obra do escritor. Nesse caso, entende-se por inédito, um trabalho sem precedentes, original, em relação às crônicas de Lima Barreto, preparado em edição anotada do volume publicado em 192 do livro Bagatelas, por meio de pesquisa acadêmica, bibliográfica e em arquivos públicos. No Volume I, são apresentados os critérios teórico/metodológicos que onduziram as pesquisas e os resultados de dois outros estudos - um cronológico do percurso editorial do escritor, desde seus folhetins na imprensa até a publicação de suas Obras Completas entre as décadas de 1940 a 196; e outro, também cronológico, da construção da fortuna crítica sobre a sua obra literária na imprensa e em livro entre 1907 e 1949, ambos, necessários para avaliar o trânsito de Lima Barreto e a recepção da sua obra no circuito intelectual das primeiras décadas do século XX. Estão incluídos, também no Volume I, anexos com tabelas em ordem cronológica, e por órgãos de imprensa, da publicação das crônicas e da crítica a Lima Barreto na imprensa / Abstract: This Master's Dissertation, composed by two volumes with the diverse natures of research, has as a focus of analysis the literary/journalistic production of Lima Barreto (1881-1922), synthesized, within a noted reading of the chronicles of the Bagatelas volume, work which is unseen in relation to this body of work of the writer. In this case, it is understood as altogether unseen, a work without precedent, original, in relationship to the chronicles of Lima Barreto, prepared in a noted edition of the volume published in 1923 of the book Bagatelas, by means of academic research - bibliography found in public archives. In Volume I, the theoretical/methodical criteria is presented in order to set research and results of two other studies - one chronological of editorial percussion due to the writer, from his pressed pamphlets to the publication of his complete works between the decades of 1940 and 1960 and another of the critique about his literary work in press and in books between 1907 and 1949 - both, necessary to evaluate the traffic of Lima Barreto and the reception of his work within the intellectual circuit of the first decades of the 20th century / Mestrado / Historia e Historiografia Literaria / Mestre em Teoria e História Literária

M.A. / The aim of this study is to determine the utilisation and effect of literature as instrument of patriotism in order to get the active support of the Soviet population for the war effort of the Soviet Union between 1941 and 1946. In the Soviet Union literature was well able to fulfil this role due to the fact that the Soviet leadership identified the propaganda value of literature, with the result that literature became the official expression of the government's policy. By making use of the different literary genres the inherent patriotism could be awakened and inspired. Literature was therefore mainly responsible for the change in the attitude of the Soviet population from indifference and uninterestedness to one of active support. It is, however, not possible to award to literature solely the responsibility for this change of attitude because other instruments were also used between 1941 and 1946. There is enough evidence that the reaction of the population was to a great extent influenced and determined by literature. Through literature the Soviet population wanted to act as the heroes of the literary works and save their Russian fatherland from the German onslaught.

This research expresses female character portrayal in various drama works written by males. Chapter one is a general introduction that gives the key to this study, the motivation that leads to the selection of this topic; a literary review on the portrayal of female characters in literary works written by males; the scope of study, the basic composition of the ensuing chapters and the definitions of terms that are of paramount importance for this research. Various literary theories are used in Chapter two for the analysis of the research texts. These literary theories include womanism, gender and feminism which expose the social effects caused by the negative perception of females in social life and the negative portrayal of female characters in male dramatic writings. Other literary theories include onomastics as a literary theory, which exposes the relationship between the name giver of a person and the power the name gives to its bearer, as well as psychoanalysis as a theory which proved to be unavoidable, since this study analyses the personal behaviour of the individual characters within their literary environment. Chapter three depicts the general victimization of female characters in male drama works and exposes the various effects of the attitudes of male writers towards female characters in terms of gender role. Chapter four shows a general stereotypical portrayal of female characters in male written drama texts. This chapter shows the impact of stereotyping on female characters from drama works that puts them in a vulnerable position, showing that it is risky to become a victim of ill-treatment in their communities and the literary world. Chapter five deals with the psychological literary review of female characters, showing them as being suicidal and murderers who easily take their own lives and those of other people. Chapter six is a general conclusion of the works which includes observer remarks from other literary researchers of the literature.

The dissertation undertakes an analysis of the dramatic literature engendered by the Vietnam War in the 1960s and 1970s, and illustrates how the dramas of that period reflect the stresses and anxieties that assailed contemporary American society. It investigates the formative influences on the drama, the various styles in which it emerged, and the recurring themes and motifs. The thesis proceeds from the premise that the events of the 1960s fractured American society in a manner unknown since the Civil War. It demonstrates that the social, political, and intellectual divisiveness that characterized the society was interpreted in the theatre by dramatic metaphors of fragmentation of the individual and collective psyche, and that this fragmentation was reflected in characters who experienced a collective and individual sense of loss of cultural identity, cohesion and continuity. Included in the examination of the drama is a description of how the social upheaval of the period influenced playwrights to undertake a reassessment of American values and ethics, and to interpret in dramatic form the nature of the trauma of Vietnam for American society. The study includes a discussion of how individual and collective reality is based on cultural conditioning, and how the challenging of cultural myth in an extra-cultural milieu. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Removed from its artistic origins in the French avant-garde during the interwar period, the European based group known as the situationist international is often represented as being solely occupied with politics to the exclusion of all else, particularly art and aesthetics. In what follows I argue that throughout the sixties the anti-aesthetic position was actually the governing model in France obliging the avant-garde to adjust their strategies accordingly. Artists and artists' collectives that placed politics before aesthetics were the norm, enjoying widespread popularity and recognition from both the public and the French State. These overtly partisan groups and individuals sapped art of the power it had enjoyed in the fifties as a venue removed, or at least distanced from, formal politics. In response, the situationists officially rejected the art world, turning to the popular and vernacular culture of the streets in an attempt to get beyond both classical aesthetic principals and the overt propagandistic objectives of groups such as le Salon de la jeunePeinture. Turning to the climactic moment of 1968 I track the ways in which these debates informed the posters and graffiti which marked the unfinished revolution, sorting out the various aesthetic positions and political persuasions that dominated the events. My thesis contends that the situationists were not anti-aesthetic, that they simply advocated a different kind of aesthetics: one that rejected traditional notions of beauty for the more active and open concept of poiesis or poetry. Beyond words on a page, this notion implied art as a way of life, emphasizing production, creation, formation and action and can be traced back to the groups prewar origins in the Dada and surrealist movements. Moreover, this concept of poetry was not adverse to issues of form being highly dependent on the materiality and physicality of the urban centre, specifically the streets. Finally my conclusion expands upon the similarities between this notion of poetry and the 17th century understanding of beauty, the latter concept being associated with a subtle criticality and strategic wit. It was this interpretation of beauty that defined and produced the art of 1968. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

John Stevens was commissioned by the Chicago Symphony Orchestra (CSO) and the Edward F. Schmidt Family Commissioning Fund to compose a concerto for its principal tubist, Gene Pokorny. The piece began with multiple conversations between composer and performer and from these meetings actualized the influences that shaped the work. The most important influences that the performer mentioned were his passions for American steam locomotives and the Three Stooges, both of which were used by Stevens in his rendering of the composition. This concerto was designed to be played on the famous CC York tuba that was played by the former principal tubist of the CSO, Arnold Jacobs, the same instrument used today. Insight into the history of the York tuba will be given as well as their influence on contemporary manufacturing and design. Focus is given to how Stevens writes the piece idiomatically to the CC tuba and potential performance problems when a performer uses tubas of a different key. Conversations with both gentlemen will display the non-musical influences on Journey and how this effects the composition. Stevens' compositional language is explored and discussed in respect to the challenges and idiosyncrasies within the work. Collegiate tuba professors provide explanation for works level of interest within their respective schools and experiences.

This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.

The secular music of the Eastern European Jews is known today as klezmer. Klezmer was the traditional instrumental celebratory music of Yiddish-speaking Ashkenazi Jews who eventually populated the Pale of Settlement, which encompassed modern-day Poland, Lithuania, Ukraine, Belarus and Romania. Due to the rise of oppression and expulsion, many klezmer musicians or klezmorim immigrated to the United States between 1880 and the early 1920s. These musicians found work in klezmer bands and orchestras as well as Yiddish radio and theater. Some of the most influential klezmorim were clarinetists Naftule Brandwein and Dave Tarras who helped develop an American klezmer style. While the American style flourished, the popularity of pure klezmer began to diminish. As American-born Jews began to prefer the new sounds of big band and jazz, klezmer was considered old-fashioned and was in danger of becoming a lost art form. During the early 1970s, a reawakening study of klezmer developed. Henry Sapoznik, Lev Liberman and Andy Statman were instrumental in creating a klezmer revival in the United States. At the same time, Argentinean-born Israeli clarinetist Giora Feidman was popularizing klezmer in Europe. Klezmer had again become popular and the revival's impact on the concert hall was inevitable. Even though klezmer has existed for centuries, composers have only recently included klezmer elements in their concert works. Characteristic modes (Freygish and Misheberakh), forms (freylekhs and doinas), instrumentation, and rhythms all contribute to create a unique style. Three musical works for clarinet are examined in the dissertation: Simeon Bellison's Four Hebrew Melodies in form of a suite, Simon Sargon's KlezMuzik and David Schiff's Divertimento from Gimpel the Fool. Although the compositions reveal different approaches to the elements, the klezmer influence is evident in each of them. An appendix of clarinet klezmer influenced concert works is included.

This dissertation explores a history of the grotesque and its meaning in art and literature along with those of its related term, the arabesque, since their co-existence, specifically in literature, is later treated by a well-known nineteenth-century American writer in Tales of the Grotesque and Arabesque- Theories or views of the grotesque (used in literature), both in Europe and America, belong to twelve theorists of different eras, ranging from the sixteenth century to the present period, especially Modernism (approximately from 1910 to 1945)--Rabelais, Hegel, Scott, Wright, Hugo, Symonds, Ruskin, Santayana, Kayser, Bakhtin, (William Van) O'Connor, and Spiegel. My study examines the grotesque in American literature, as treated by both nineteenth-century writers--Irving, Poe, Hawthorne, and, significantly, by modernist writers--Anderson, West, and Steinbeck in Northern (or non-Southern) literature; Faulkner, McCullers, and (Flannery) O'Connor in Southern literature. I survey several novels and short stories of these American writers for their grotesqueries in characterization and episodes. The grotesque, as treated by these earlier American writers is often despised, feared, or mistrusted by other characters, but is the opposite in modernist fiction.

Women characters in American literature of the nineteenth century form an overwhelmingly lovely group, but a search through some of the overlooked works reveals a thin but discernible thread of plain, even homely, heroines. Most of these fall into the stereotypical "old maid" category, and, like their real-life counterparts, these "undesirable" women are considered failures, even if they have money or satisfying careers, because they do not have boyfriends, husbands, or children. During the twentieth century, the old maid figure develops into someone not just homely, but downright ugly; in addition, the number of these characters increases, especially in the latter half of the century. In many works written since the 1960s, the woman's ugliness is such an intrinsic part of the story that it could not take place if she were beautiful. In subtle ways, these "ugly woman" stories begin to question the overwhelming value placed on beauty, to question the narrow definition of beauty in American society as a whole, and to suggest that the price for such a "blessing" might indeed be too high. Rather than settling for being a mere "heroine"—which still carries feminine connotations of passive behavior and second-class status—the ugly woman's increase in power over her own life and the lives of others, allows her to achieve a status more in keeping with the more "masculine" and active role of hero.