Esta dissertação analisa a representação da ambição no romance O pai Goriot, de Honoré de Balzac. A partir da análise da descrição do protagonista desta obra, Eugène de Ratignac, buscamos, com este conceito, expandir a compreensão da mimesis operada por Balzac, em diálogo com a tradição crítica iniciada com Platão e Aristóteles e revista por Erich Auerbach, e com as outras obras do escritor francês compostas no começo da década de 1830, especialmente Eugênia Grandet. / This dissertation analyzes the representation of ambition in the novel O pai Goriot (Father Goriot), by Honoré de Balzac. From the analysis of the description of the protagonist of this work, Eugène de Ratignac, we aim, with this concept, expand the understanding of how Balzac operated his mimesis, in dialogue with the critical tradition started with Plato and Aristotle and reviewed by Erich Auerbach, and the other works of the French writer, mainly Eugênia Grandet, composed in the early 1830s.

O presente trabalho parte da concepção de que o direito constitui um medium de exposição da realidade, em analogia, ainda que distante, com as reflexões sobre a literatura do filólogo alemão Erich Auerbach. Desse ponto de partida, segue-se para a identificação de um tema específico em que essa forma de exposição jurídica poderia, com mais clareza, ser analisada. São então enfocados os conflitos e debates ligados às desapropriações por zona realizadas no século XX na cidade de São Paulo e que estiveram fortemente relacionadas com os movimentos de estruturação e crescimento da metrópole. Da observação das densidades históricas e jurídicas do projeto de saneamento do Rio Pinheiros e da reurbanização do Metrô de Santana, será possível identificar, pelo contraste existente entre eles, uma alteração na forma como, face a um mesmo instituto jurídico a desapropriação variou o modo de conceber o público e o privado, suas funções e limites. Se no começo do século XX foi unanimemente aceito o exercício por uma empresa privada do direito de expropriação de terras particulares ao longo do Rio Pinheiros, as visões se alterariam de tal forma que ato semelhante, nos anos de 1970, levaria a uma profunda divisão do Supremo Tribunal Federal quanto à legalidade da medida. A hipótese pesquisada é a de que a jurisprudência reflete e medeia movimentos mais amplos da sociedade e, por isso, tornou-se mais permeável à representação de outros interesses e alargou seu espectro de exposição da realidade, o que se busca mostrar no epílogo com o exemplo da reintegração de posse de uma favela em São Paulo, em que a racionalidade jurídica mais estrita cedeu lugar a uma representação mais direta de um conflito urbano. / The work departs from the conception that the law is a medium of realitys representation, in analogy, perhaps distant, with the work on literature of the German philologist Erich Auerbach. Taking this as a starting point, what follows identifies a specific subject in law practice in which the laws representation of reality could be clearly analyzed: the conflicts and debates arising from excess condemnation procedures in São Paulo along the 20th century and their relationship to the growth and restructuring of the city as a metropolis. Its aim is to observe legal and historical densities related to urban projects of intervention in the Pinheiros River and the urbanization for the construction of the Santana subway station. In both cases shall be identified, in their contrast, how the conceptions of private and public changed along the years. Even if the analysis keeps centered on the same legal instrument takings procedures it shall nevertheless become clear that conceptions of public and private spheres have undergone deep changes, as well as the functions and roles that each of these spheres plays in Brazilian society. If in the beginning of the 20th century the exercise of excess condemnation rights by a private company was unanimously accepted, the legal mentalities would significantly change so that the same procedure would create a deep dissention within Brazilian Supreme Court Justices when they had to decide on its legality. The research hypothesis is that judicial decisions became more open to the representation of a legal reality containing the interests of different people and groups, what shall be shown in the conclusion by the analysis of a legal action undertaken against a slum in São Paulo at the end of 20th century in São Paulo.

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Literary realism, that is, texts that seek to represent the actual in literature while achieving a sense of verisimilitude, have historically been analyzed and defined by a number of critics. These critics have, with differing approaches, attempted to make comprehensible what it is that constitutes the realist text. In their process of doing so, many have dismantled this specific category of text and isolated its distinguishing components. This study has sought to challenge and elaborate on three of the most influential, scholarly voices that have articulated such ideas about the realist text: Ian Watt, Eric Auerbach and Roland Barthes. The purpose has been to add to this field of knowledge by increasing our understanding of what it is that constitutes literary realism. This has been done by analyzing three realist works that have been previously examined by these critics, and then, by studying two further realist works, more recent in time. These works are, in the order that they have been approached and analyzed: Daniel Defoe’s A Journal of the Plague Year (Published in 1722), Gustave Flaubert’s A Simple Heart (Published in 1877), Virginia Woolf’s Mrs. Dalloway (Published in 1925), Melina Marchetta’s Jellicoe Road (Published in 2006) and Gabrielle Zevin’s Tomorrow, and Tomorrow, and Tomorrow (Published in 2022). As a result, the study has found that technology is a recurring textual element that functions as a coherence-making narrative device in these realist texts, and as a consequence, has laid bare a blind spot in these above-mentioned critics’ definitions of literary realism. Thus, the study suggests that technology should be understood as a distinguishing element in the literary text. The selection of works has, in turn, allowed for the study to both compare and contrast these texts, and to trace the effect that the technological development in the reality preceding the literary text can be said to have on these texts themselves. Here, the study has found that new technologies in the reality preceding the text often occur as new coherence-making textual devices in these literary works, and thus, that the technological development in the actual affects the realist text itself.

This thesis examines the concept of sovereignty, as developed by the jurist Carl Schmitt, and argues that this concept helps to elucidate the very core of Fear and Trembling, a text that continues to be heavily misunderstood despite its great fame in Western thought today. Through a close examination of Schmitt’s formulation of the concept of sovereignty and the method by which he develops this concept through Kierkegaard’s concept of the exception in Repetition, I show how Kierkegaard influenced Schmitt and also how Schmitt’s interpretation is useful for reading Fear and Trembling. However, I also show how Schmitt’s usage of Kierkegaard, despite its ingenuity, is misleading, and present a more faithful reading of Kierkegaard’s concept of exception. With this reorientation, I in turn critique Schmitt’s methodology and the way he understands sovereignty. Following this reinterpretation of sovereignty, I examine the text of Genesis 22 and Fear and Trembling and examine the theological themes that ground the narrative of the Binding of Isaac. I argue that the problem of the Binding and the arguments set forth in Fear and Trembling cannot be understood adequately without a clear awareness of the image of reality that is presupposed. Here, I make use of Erich Auerbach’s illuminating reading of Genesis 22, and Jacob Taubes’ understanding of eschatology. I then examine the problem of violence as presented in the Binding, and how Kierkegaard departs from both Kant’s and Hegel’s critique of Abraham. Finally, I examine Derrida’s reading of Fear and Trembling in The Gift of Death and the way he challenges the height of sovereignty that is implicit within Kierkegaard’s “absolute relation to the absolute.” / Thesis / Master of Arts (MA)

Das Volk bilden: The Pursuit of Volkstümlichkeit by Berthold Auerbach, Heinrich Heine and Johann Gottfried Herder examines the theorization of the concept of the Volk and Volkstümlichkeit by three authors from the late eighteenth and nineteenth centuries: Berthold Auerbach, Heinrich Heine and Johann Gottfried Herder. The term “volkstümlich” has no exact equivalent in English, although it has been rendered as “popular” “folkish” or even the slightly pejorative “folksy.” In German, it expresses both the quality of something proper to a given people or Volk, and the notion of popularity or commonness at which the English terms gesture. I analyze how these authors aim to expand the contemporaneous reading public by shaping the reading practices of audiences otherwise ignored by traditional belletristic literature. It also interrogates how they conceive of the Volk as a co-producer of literature and culture. Each author uses the terms “Volk” and “Volkstümlichkeit” in programmatic texts to refer to shared characteristics among a given people and as a distinction between high and low culture. All three also pursue the goal of creating a widespread reading public through their own literary practices: Herder in his collections of song and poetry, Heine in his poetry, criticism and journalism, and Auerbach through a thematic focus on the village in his fiction and the serial form of the Volkskalender in his role as editor. Each of them pursues a program that is both national and cosmopolitan, writing as they did during a period when invocation of the Volk was not yet primarily the province of conservative nationalists. Chapter one shows how Berthold Auerbach used his dual role as author of the immensely popular Schwarzwälder Dorfgeschichten and as editor of and contributor to various Volkskalender to elevate the way of life he portrays. In doing so, he aimed at uniting the disparate audiences of the common people and the educated, as well as urban and rural populations into a single Volk. Chapter two focuses on several key texts of Heinrich Heine’s to show that he conceived of the Volk as an ideal addressee capable of resolving the contradictions that plague civilization. Contrary to much of the scholarship that sees a pessimistic turn in Heine’s later work, I use his many remarks on the common people throughout his work to draw out a utopian, trans-historical element in his thinking. Two early texts by Johann Gottfried Herder, Über die neuere deutsche Literatur: Fragmente and the Volkslieder project, make up the focus of the third chapter. By importing genres associated with oral traditions and performance into his collections, together with texts by Shakespeare, Herder effaces existing distinctions between popular forms and high literature. The chapter shows that Herder conceives of the Volk not just as a public, but as active participants in literary world-making. My dissertation intervenes in existing scholarship on the literature of the eighteenth and nineteenth centuries by centering Volk as one of the defining concepts of the era and demonstrating how different literary media has been used to imagine and establish relations to it.

En prenant comme point de départ l'interprétation de l'épopée homérique par Erich Auerbach, ce mémoire se consacre à la notion d'immersion fictionnelle, non sous son versant psychologique de phénomène contingent de la conscience imageante, mais sous son versant imaginaire, en tant que mythe sociétal d'immédiateté déterminant des stratégies esthétiques et médiatiques concrètes, que j'articule autour des poétiques contemporaines de construction de mondes (world building). L'enjeu est de saisir les répercussions esthétiques de ce fantasme d'une représentation qui occulterait à la fois sa médiateté et le réel-sensible, à une époque où la transfictionnalité et la transmédiaticité s'élèvent tranquillement comme modes narratifs dominants de notre culture occidentale contemporaine. Avec cette conviction que le terme d'immersion doit être replacé dans le cadre de ses effets, le premier chapitre s'affairera à démêler quelques difficultés théoriques que pose la notion en la problématisant sous l'égide des questions ontologiques de vérité et de la position phénoménologique de Sartre sur l'imaginaire. Tout en posant les outils théoriques nécessaires aux analyses subséquentes, le deuxième chapitre approfondit cette problématisation en empruntant aux théories modales des mondes possibles un cadre conceptuel opératoire, qui amènera, notamment grâce au concept formalisé de «~monde~», à concevoir la fiction comme un mouvement de distanciation. Appuyé par la lecture du roman tolkienien, le troisième chapitre tourne le fantasme d'immersion du côté d'une pulsion encyclopédique de complétude, concrétisée par des stratégies textuelles d'accumulation informationnelle et de virtualisation de données diégétiques laissées en suspens -- effets d'actualité que je qualifie d'extra-narratifs en les présentant en contraste des principes prescriptifs du \emph{muthos} aristotélicien formant une chaîne causale téléologique fondée sur une loi d'économie narrative. Le quatrième et dernier chapitre, articulé autour de la notion encore trop peu étudiée de canonicité, observe les poétiques de construction de mondes telles qu'elles se désamorcent elles-mêmes, dans le contexte des univers partagés, en engendrant des incohérences logiques donnant lieu à la tenue d'un discours auctorial-éditorial régissant les vérités fictionnelles comme moyen de maintenir l'immersivité de la représentation. L'analyse générique des comic-books de superhéros et une enquête sur la gestion éditoriale de l'univers de Star Wars permettront d'identifier les multiples modalités de délimitation de la frontière entre canon et apocryphe. En conclusion, je reviens brièvement sur la notion d'immersion, ainsi exemplifiée, en la resémiotisant comme une médiation compétitive de mise en présence de l'être. / Starting from Erich Auerbach's interpretation of the Homeric epic, this master's dissertation studies the notion of fictional immersion, not in its psychological aspect of a contingent phenomena of human consciousness, but rather in its collective imaginary sense, as a societal myth of immediacy generating concrete aesthetic and media strategies that I investigate from the standpoint of contemporary poetics of world building. The objective is to apprehend the aesthetic repercussions of this desire for a mediation that would conceal both the real and its own mediacy, in a time where transfictionality and transmedia storytelling are becoming more and more the dominant narrative modes of our contemporary western culture. Under the conviction that immersion must be looked at as a set of cultural strategies, the first chapter unravels some theorical difficulties bounded to the term by problematizing it towards ontological questions of truth and Sartre's phenomenological stance on the imaginary. While laying a necessary theorical toolset for subsequent analyses, the second chapter examines these problems by borrowing to possible worlds modal theories a set of working concepts, which will lead to the assumption that fiction is a movement of distanciation, notably with the aide of the formal concept of ``world''. Through a reading of the tolkienian novel, the third chapter directs the desire for immersion towards an encyclopedic impulsion for completeness, embodied by textual strategies such as informational proliferation and allusion to virtual diegetic data -- strategies leaving an impression of the actual that I describe as extra-narrative in contrast to Aristote's \emph{muthos} forming a teological causal chain based on a principle of an unitary narrative. The fourth and final chapter, articulated around the still too little studied notion of canonicity, observes poetics of world building as they neutralize themselves, particularly with shared universes, by generating logical inconsistencies giving birth to authorial and editorial discourses stating fictional truths as a way of maintaining the mediation's immersivity. The analysis of the superhero comics genre and an inquiry of the editorial management of the Star Wars universe will exemplify the multiple modalities of this delimitation between the canon and the apocryphal. As a conclusion, I briefly come back to the notion of immersion itself by redescribing it as a competitive mediation of presence.

Lo studio ha riflettuto su alcune costanti della letteratura comparata che accomunano tale disciplina all’esilio, quando chi lo vive è in grado di contrastare i molti traumi che esso può comportare.L’emigrazione intellettuale avvenuta nel corso degli anni Trenta e Quaranta è l’evento storico a cui lo studio ha fatto riferimento. Costringendo molti intellettuali ad abbandonare i propri posti di lavoro e le proprie case, questa emigrazione ha contribuito a una notevole mobilitazione culturale soprattutto dall’Europa verso gli Stati Uniti d’America, dove ha cominciato a svilupparsi una nuova comparatistica sovranazionale e reazionaria. L’espressione “disciplina dell’esule” suggerisce un provocatorio inquadramento del modo di vedere e affrontare il testo come il mondo: crisi, apertura verso il nuovo e inclusività sono solo alcune parole chiave che, contraddistinguendo tanto la letteratura comparata quanto l’esilio, permettono di chiarire senso e prospettive di entrambe. Si è anche affermato che un tale atteggiamento ha come presupposto due processi culturali che sono caratterizzati da una spiccata dinamicità e disponibilità al cambiamento: la denazionalizzazione della scienza e l’ibridazione del sapere. Senza di essi non avrebbe potuto formalizzarsi una comparatistica “disciplina dell’esule”, da questo punto di vista intesa come un’utopica reazione a un percorso storico tendente sempre più al nazionalismo e all’esclusione. Lo studio ha infine individuato molte di queste idee e di questi valori nell’opera “americana” di Paolo Milano, intellettuale italiano esule negli Stati Uniti che lì si costruì una carriera come professore di letteratura comparata.

Although Andrew Marvell wrote and published relatively little, his poetry collects from the full range of “schools” and idiosyncratic styles present in the seventeenth century: echoes of Herbert, Donne, Milton, Traherne, Herrick, Lovelace, and Jonson, among others, permeate throughout his work. Although much of his imagery seems novel, if not strange, it is clear that Marvell has a deep engagement with several important long-running traditions. His work is conversation with Ovid, Horace, and Theocritus as much as it responds directly to the poets whose lives overlapped with his own. In his engagement with such varied sources, Marvell demonstrates an astounding degree of poetic flexibility. He is a master of imitating voice and style.