Thesis (Ph.D.)--York University, 2003. Graduate Programme in English. / Typescript. Includes bibliographical references (leaves 217-228). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NQ99215

Made available in DSpace on 2017-07-10T18:55:47Z (GMT). No. of bitstreams: 1 DISSERTA___ADRIANO__.pdf: 1104764 bytes, checksum: 93c055ec69d8bc346243553b625ff153 (MD5) Previous issue date: 2015-09-12 / This aim of this study is to understand, due to the assumptions of comparative literature, the sacredness of life on the fictional construction, problematizing the intersubjective relations of the characters and their interactions in the urban environment of Rubem Fonseca s literary works. In order to achieve this, besides the specific contributions of literary approach, contributions of anthropology and philosophy were used. The study was based on three short stories of Amálgama (2013) and three short stories of Axilas e outras histórias indecorosas (2011a). The presupposition is that the Literature helps us to question the world that surround us, because the form and the content of the narrations are interrelated. Rubem Fonseca s short stories approach events which, at first glance, refer to an idea of the violence trivialization in different social areas, but the main idea is the questioning about the meaning of life and its ambiguities. In this regard, the emphasized violence on the short stories highlights its contrary, what is outside them and what dialogues with them: the sacredness of life. For the theoretical approach to the subject of the sacredness of life, we chose the reflections about homo sacer, over paper the "scapegoated" in the relationship between the sacred and violence and about biopolitics. / Este trabalho tem como objetivo compreender, a partir dos pressupostos da literatura comparada, o tema da sacralidade da vida na construção ficcional, problematizando as relações intersubjetivas dos personagens e suas interações no contexto urbano na obra literária do autor Rubem Fonseca. Para isso, além das contribuições específicas das abordagens literárias, foram utilizadas contribuições antropológicas e da filosofia. Foram estudados três contos da coletânea Amálgama (2013) e três contos da coletânea Axilas e outras histórias indecorosas (2011a). A pressuposição é a de que a literatura nos ajuda a requestionar o mundo que nos cerca, pois a forma e o conteúdo das narrativas estão a ele inter-relacionados. Os contos de Rubem Fonseca abordam eventos que à primeira vista remetem à ideia da banalização da violência cotidiana em diferentes espaços sociais, mas o que parece estar no centro é um questionamento sobre os significados da vida e suas ambiguidades. Sob esse aspecto, a violência colocada em evidência nos contos realça o seu contrário, o que está fora deles e o que dialoga com eles: a sacralidade da vida. Para a abordagem teórica sobre o assunto de sacralidade da vida, optou-se pelas reflexões sobre o homo sacer, sobre o papel da vítima expiatória na relação entre o sagrado e a violência e sobre a biopolítica

Esta pesquisa revisita a obra do escritor António de Alcântara Machado, tomando como eixo da análise as diversas dimensões da cidade de São Paulo que ela traz à tona. Lembrado na história da literatura brasileira sobretudo pela autoria de Brás, Bexiga e Barra Funda (1927), livro de contos em que trata principalmente da presença italiana e ítalo-brasileira na cidade, o autor é figura ativa nos círculos culturais de São Paulo nas primeiras décadas do século XX, notadamente por sua participação junto aos grupos modernistas. A partir da gama de perspectivas fornecida pela literatura, pelo jornalismo, pela história e pela crítica de espetáculos, sigo suas reflexões acerca de uma série de temas, tais como o lugar de São Paulo na modernização do teatro brasileiro; a renovação da literatura; a criação das identidades brasileira e paulistana; a presença de repertórios estrangeiros na vida cultural e na estética da cidade; e os debates sobre raça, classe e segregação socioespacial. Confiro especial atenção às relações entre cidade e cultura, temas que nos direcionam à convivência tensa entre os diversos tipos que ocupam os espaços da cidade, aos debates sobre a nação e o nacionalismo, à nova composição social e às transformações em curso em São Paulo. Na primeira parte do trabalho, acompanho a maneira como Alcântara Machado, fazendo as vezes de crítico teatral e urbano, observa e participa da produção da cidade, sugerindo intervenções seja no espaço urbano, seja no teatro brasileiro, orientado pela busca de uma modernização pautada por um veio nacionalista bastante específico, que propõe um mergulho nas raízes nacionais enquanto coloca São Paulo na condição de protagonista da história do país. Na Parte II, investigo as aparições de seis tipos sociais da cidade observados e descritos pelo escritor caipiras, bacharéis e funcionários públicos, mulheres, crianças, italianos (e ítalo-brasileiros) e negros , que compõe uma galeria de personagens eloquente em relação à maneira desigual com que a narrativa do progresso é apropriada e vivenciada por diferentes grupos. Concluo o trabalho sugerindo uma visão matizada da obra e de Alcântara Machado, atenta à importância do teatro e dos tipos sociais marginais no conjunto de sua reflexão, à complexidade do quadro da cidade que ele levanta e às articulações entre os diferentes gêneros em que ele escreveu. / This research aims to analyze António de Alcântara Machados work, focusing on many dimensions of São Paulo city treated by him. Recognized on Brazilian literature mostly by Brás, Bexiga e Barra Funda, his short story book about Italian and Italian-Brazilian presence in the city, the writer is an active character in the cultural worlds of São Paulo in the beginning of the 20th century, specially by his participation in the modernists groups. From the range of perspectives provided by literature, journalism, history and theater criticism, I follow his reflections on a series of themes, including the role of São Paulo on the modernization of the Brazilian theater; the creation of Brazilian and paulista identities, the presence of foreign ideas on the cultural life and aesthetics of the city; and debates on race, class and spatial segregation. I draw special attention to the relations between city and culture, themes that bring us back to the tense coexistence between characters living in the spaces of the city; to the debates about nation and nationalism; to the new social composition and transformations in progress in São Paulo. In the first part of the work, I pursue the way in which Alcântara Machado, acting as a theatrical and urban critic, observes and contributes to the production of the city, suggesting interventions either in the urban space or in the Brazilian theater, guided by a very specific nationalist conception, which proposes a dip in the national roots, while placing São Paulo as the protagonist of the history of the country. In Part II, I investigate the apparitions of six characters of the city observed by the writer caipiras, bachelors and civil servants, women, children, Italians (and Italian-Brazilians) and blacks who compose an eloquent gallery in relation to the unequal way in which the speech of progress is appropriated and experienced by different groups. I conclude by suggesting a more qualified view of the work and of the writer, more attentive to the importance of theater and marginal social types in the whole of his thoughts, a view that is more committed to the complexity of the picture of the city he raises and to the articulations between the different genres in which he wrote.

Esta pesquisa revisita a obra do escritor António de Alcântara Machado, tomando como eixo da análise as diversas dimensões da cidade de São Paulo que ela traz à tona. Lembrado na história da literatura brasileira sobretudo pela autoria de Brás, Bexiga e Barra Funda (1927), livro de contos em que trata principalmente da presença italiana e ítalo-brasileira na cidade, o autor é figura ativa nos círculos culturais de São Paulo nas primeiras décadas do século XX, notadamente por sua participação junto aos grupos modernistas. A partir da gama de perspectivas fornecida pela literatura, pelo jornalismo, pela história e pela crítica de espetáculos, sigo suas reflexões acerca de uma série de temas, tais como o lugar de São Paulo na modernização do teatro brasileiro; a renovação da literatura; a criação das identidades brasileira e paulistana; a presença de repertórios estrangeiros na vida cultural e na estética da cidade; e os debates sobre raça, classe e segregação socioespacial. Confiro especial atenção às relações entre cidade e cultura, temas que nos direcionam à convivência tensa entre os diversos tipos que ocupam os espaços da cidade, aos debates sobre a nação e o nacionalismo, à nova composição social e às transformações em curso em São Paulo. Na primeira parte do trabalho, acompanho a maneira como Alcântara Machado, fazendo as vezes de crítico teatral e urbano, observa e participa da produção da cidade, sugerindo intervenções seja no espaço urbano, seja no teatro brasileiro, orientado pela busca de uma modernização pautada por um veio nacionalista bastante específico, que propõe um mergulho nas raízes nacionais enquanto coloca São Paulo na condição de protagonista da história do país. Na Parte II, investigo as aparições de seis tipos sociais da cidade observados e descritos pelo escritor caipiras, bacharéis e funcionários públicos, mulheres, crianças, italianos (e ítalo-brasileiros) e negros , que compõe uma galeria de personagens eloquente em relação à maneira desigual com que a narrativa do progresso é apropriada e vivenciada por diferentes grupos. Concluo o trabalho sugerindo uma visão matizada da obra e de Alcântara Machado, atenta à importância do teatro e dos tipos sociais marginais no conjunto de sua reflexão, à complexidade do quadro da cidade que ele levanta e às articulações entre os diferentes gêneros em que ele escreveu. / This research aims to analyze António de Alcântara Machados work, focusing on many dimensions of São Paulo city treated by him. Recognized on Brazilian literature mostly by Brás, Bexiga e Barra Funda, his short story book about Italian and Italian-Brazilian presence in the city, the writer is an active character in the cultural worlds of São Paulo in the beginning of the 20th century, specially by his participation in the modernists groups. From the range of perspectives provided by literature, journalism, history and theater criticism, I follow his reflections on a series of themes, including the role of São Paulo on the modernization of the Brazilian theater; the creation of Brazilian and paulista identities, the presence of foreign ideas on the cultural life and aesthetics of the city; and debates on race, class and spatial segregation. I draw special attention to the relations between city and culture, themes that bring us back to the tense coexistence between characters living in the spaces of the city; to the debates about nation and nationalism; to the new social composition and transformations in progress in São Paulo. In the first part of the work, I pursue the way in which Alcântara Machado, acting as a theatrical and urban critic, observes and contributes to the production of the city, suggesting interventions either in the urban space or in the Brazilian theater, guided by a very specific nationalist conception, which proposes a dip in the national roots, while placing São Paulo as the protagonist of the history of the country. In Part II, I investigate the apparitions of six characters of the city observed by the writer caipiras, bachelors and civil servants, women, children, Italians (and Italian-Brazilians) and blacks who compose an eloquent gallery in relation to the unequal way in which the speech of progress is appropriated and experienced by different groups. I conclude by suggesting a more qualified view of the work and of the writer, more attentive to the importance of theater and marginal social types in the whole of his thoughts, a view that is more committed to the complexity of the picture of the city he raises and to the articulations between the different genres in which he wrote.

This dissertation argues that Anglophone writers across the nineteenth-century Atlantic World can be seen trying to represent specific natural worlds as intentionally produced by the cultural practices of Indigenous or African Diasporic people. The case studies that support this argument include the work of Anne Wollstonecraft, Nathaniel Hawthorne, Herman Melville, and Gilbert Wilson, and they respectively travel from the plantation worlds of Matanzas, Cuba amidst the island’s “sugar revolution,” New England river wetlands but especially the unrelenting persistence of swamps, desert island archipelagos in the Pacific just before the Guano Wars, and the upper Missouri River basin beds increasingly enclosed by United States military installations. Reading each writer’s representation of these natural and social worlds through the framework of ‘land management,’ this thesis proposes a way of registering and tracing their shared attempt to discern practices that all center around the reproduction of ‘natural variation.’ It contends that these nineteenth-century attempts to observe, speculate, or imagine instances of natural variation, each as a product of Indigenous or African Diasporic land management practices be read as a form of poetics, which this dissertation defines as the rhetorical appropriation and reconfiguration of previous modes of discourse (as opposed to an idea of raw innovation). Here, Wollstonecraft, Hawthorne, Melville, and Wilson each renegotiate the colonial justification narrative, official orders of natural history, the perspective of the travel log, and early ethnographic anthropology, in order to represent myriad relationships between natural resilience and subaltern ‘survivance,’ the convergence of which this dissertation ultimately names ‘endurance.’ Finally, we might think of each renegotiation as itself a form of ‘management’ by which these writers respectively highlight their understanding of literature’s role in empire, but do so, in the hopes of rerouting this relay so that representations of nature come to include the role of cultural practices of land management. This archive of ‘endurance’ might be read, then, as the result of disparate authors who all nevertheless believe that literary work might actually help restore and sustain cultural and environmental realities.

Avec l’avènement de la sexologie à la fin du XIXe siècle, le discours médico-juridique sur les déviances sexuelles et la psychiatrie s’impose dans les sociétés européennes, devenant ainsi la référence en matière de normalité non seulement sexuelle et identitaire, mais aussi, en parallèle, culturelle et morale. Investiguant le domaine littéraire à la recherche de perversions sexuelles, la discipline médico-légale s’empare des personnages et leurs auteurs, désormais tous analysés et critiqués par ce regard « pathologisant ». Sous cet angle, les dandys décadents Paul-Eric de Fertzen dans Les Hors nature (1897) de Rachilde et Dorian Gray dans Le Portrait de Dorian Gray (1890) d’Oscar Wilde sont deux « cas » médicaux exemplaires de déviance androgyne, « homosexuelle » et dégénérescente, car ils ne performent pas (ou mal) la norme hétéronormative et virile en vigueur à l’époque. À l’aide de la théorie queer envisagée comme processus de « “déterritorialisation” de l’hétérosexualité » (Preciado, 2003), ce mémoire remet en question les présupposés historiographiques du « contrat social » (Wittig, 1992) implicite et décloisonne les personnages (et les auteurs) de leurs multiples diagnostics. En relevant dans les trajectoires narratives des protagonistes les ratés initiatiques qui empêchent leur agrégation à la société, dans une perspective ethnocritique, nous nous intéresserons à ce qui construit une identité à la fin du XIXe siècle. Une question principale guide ce travail : comment ces dandys, en étant monstrueux, anormaux, marginaux, mal initiés, se posent-ils en figures queer et « liminaires » (Scarpa, 2009) au sein du récit? / With the advent of sexology at the end of the 19th century, the medico-legal discourse on sexual deviance and psychiatry impose itself in European societies, thus becoming the reference in matters of not only sexual normality and identity, but also, in parallel, in cultural and moral discourse. Investigating the literary field in search of sexual perversions, the forensic discipline seizes the characters and their authors, now all analyzed and criticized by this “pathologizing” gaze. From this angle, the decadent dandies Paul-Eric de Fertzen in Les Hors nature (1897) by Rachilde and Dorian Gray in The Picture of Dorian Gray (1890) by Oscar Wilde are two exemplary medical “cases” of androgynous, “homosexual” and degenerate deviance, because they do not perform (or poorly) the heteronormative and virile norm in force at the time. Using queer theory seen as a process of “‘deterritorialization’ of heterosexuality” (Preciado, 2003), this thesis questions the historiographical presuppositions of the implicit “social contract” (Wittig, 1992) and decompartmentalizes the characters (and the authors) of their multiple diagnosis. By noting in the narrative trajectories of the protagonists the initiation failures that prevent their aggregation into society, from an ethnocritical perspective, we will be interested in what built an identity at the end of the 19th century. A main question guides this work: how these dandies, by being monstrous, abnormal, marginal, poorly initiated, do they pose as queer and “liminary” figures (Scarpa, 2009) within the narrative?

In this paper I will examine the sources for the tradition of the address of the soul to the body or the dialogue between, the two. I will consider the Old and Middle English poetic expressions of the body-and-soul legend in terms of the criticism of the ten poems which specifically belong to that tradition and the elements which constitute that genre. I will also deal with those poems written at the same time which exhibit one or more of those elements, with the body-and-soul tradition in English morality plays, with the Ars Moriendi, and with the Dance of Death. I will demonstrate that a shift occurs in the consideration of death from a concern for the soul to a preoccupation with the grotesque and gruesome aspects of death. The address and dialogue forms fall into disuse as a vehicle for theological argument concerning the responsibility for sin, and the view of death reflected by the popular pictorial representations of the Dance of Death becomes prominent.