Die Angaben zu den Autoren im Verzeichnis wurden von den Autoren ohne Formatvorgaben selbst bereitgestellt und können sich deswegen in Struktur und Ausführlichkeit unterscheiden. Aus der redaktionellen Bearbeitung resultieren teilweise Umstrukturierungen und Umfangsbegrenzungen.

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Made available in DSpace on 2016-08-29T14:11:29Z (GMT). No. of bitstreams: 1 tese_7686_João Paulo Tozetti.pdf: 1201915 bytes, checksum: f425b39d95b21dc9dcfd87a76570b6d5 (MD5) Previous issue date: 2014-06-13 / Em fins da década de 1960, estudiosos como Michel Foucault e Roland Barthes ajudaram a modificar a atuação da crítica literária francesa, ainda muito apegada às perspectivas biografistas. Embora com propostas diversas, os referidos pesquisadores são considerados alguns dos maiores responsáveis pelo redimensionamento do papel que cabe ao autor na literatura e na interpretação literária. Uma década depois, Italo Calvino publica o romance Se um viajante numa noite de inverno, no qual, em meio à ficção, apresenta e discute diversos tópicos das teorias literárias então em voga, em especial a tese da morte do autor defendida por Barthes. A obra do escritor italiano é considerada por muitos críticos como sectária das ideias do semiólogo francês, porém essa premissa não é totalmente aceita. O romance critica a concepção superestimada de autor, mas, ao mesmo tempo, desconfia da proposta teórica que busca eliminá-lo. O objetivo desta dissertação é discutir a noção de autor e a questão da autoria literária por meio da obra de Italo Calvino aqui assumida como objeto de análise. A pesquisa teve como foco dois pontos distintos e interligados: apresentar a polêmica acerca da figura do autor sua pertinência ou não para a interpretação, sua ausência ou presença no texto , discutindo essencialmente a noção de intenção e a morte barthesiana; e ainda relacionar essa crítica, que diminuía a importância do autor, com o pensamento teórico de Italo Calvino para, assim, averiguar de que modo a querela envolvendo a figura do autor é discutida no romance. Dentre os norteadores da discussão, utilizamos o pensamento de Roland Barthes e de Michel Foucault, bem como as considerações do próprio Calvino expostas em diversos de seus ensaios.

Die Angaben zu den Autoren im Verzeichnis wurden von den Autoren ohne Formatvorgaben selbst bereitgestellt und können sich deswegen in Struktur und Ausführlichkeit unterscheiden. Aus der redaktionellen Bearbeitung resultieren teilweise Umstrukturierungen und Umfangsbegrenzungen.

This article focuses on 1950s American iconography and the players participation in <i>Fallout 3</i>s central storyline to explore the satire of <i>Fallout 3</i>. My approach goes beyond Marcus Schulzkes argument that <i>Fallout 3</i> is a morality simulator, which falls into a tradition of non-narrative approaches to studying videogames. Rather than concede that all videogames are a pariah to a traditional media narrative ecology, consisting of novels, movies, and theatre, I claim that <i>Fallout 3</i> is both simulation and narrative. Under this framework, I investigate a critique on war, in relation to the games ridicule of the idea of a 1950s American golden age. The central story episode, Tranquility Lane, where the player is trapped in a simulation of a 1950s suburbia is the primary focus, and its Rockwellian imagery is explored in relation to the <i>Fallout</i> universes post-apocalyptic setting to provide a commentary that works in opposition to the radio propaganda of the artificial intelligence John Henry Eden. In relation to this analysis, I consider Jean Baudrillards notion of simulacra, Mary Caputis analysis of neo-conservatism in America, and the idea of free will for the inhabitants of Tranquility Lane and the player. I show that the narrative requirements constrain the players free will in the simulated open world environment and that the player is essentially in the same position as the inhabitants of Tranquility Lane. As such, I argue that behind the simulation of the <i>Fallout</i> universe is a critique of war in our universe.

This article focuses on 1950s American iconography and the players participation in <i>Fallout 3</i>s central storyline to explore the satire of <i>Fallout 3</i>. My approach goes beyond Marcus Schulzkes argument that <i>Fallout 3</i> is a morality simulator, which falls into a tradition of non-narrative approaches to studying videogames. Rather than concede that all videogames are a pariah to a traditional media narrative ecology, consisting of novels, movies, and theatre, I claim that <i>Fallout 3</i> is both simulation and narrative. Under this framework, I investigate a critique on war, in relation to the games ridicule of the idea of a 1950s American golden age. The central story episode, Tranquility Lane, where the player is trapped in a simulation of a 1950s suburbia is the primary focus, and its Rockwellian imagery is explored in relation to the <i>Fallout</i> universes post-apocalyptic setting to provide a commentary that works in opposition to the radio propaganda of the artificial intelligence John Henry Eden. In relation to this analysis, I consider Jean Baudrillards notion of simulacra, Mary Caputis analysis of neo-conservatism in America, and the idea of free will for the inhabitants of Tranquility Lane and the player. I show that the narrative requirements constrain the players free will in the simulated open world environment and that the player is essentially in the same position as the inhabitants of Tranquility Lane. As such, I argue that behind the simulation of the <i>Fallout</i> universe is a critique of war in our universe.

This thesis examines George Eliot's novel Middlemarch (1872) and Thomas Hardy's Jude the Obscure (1896) in the context of the philosophical quest for salvation in a secularising nineteenth century. This is a quest which retains an exalted ideal of human self-realisation, and foregrounds an ethical basis to the relationship between self and the world, individual and society. In the struggle between the potential for seeing the human as a reduced and ephemeral being, condemned to wander without object or value in an essentially purposeless world, and the quest for a still-transcendent vision of human possibility and a progressive future, pessimistic and optimistic visions of human place and the world are central. Fiction and non-fictional literature of the period interrogate the questions of human place, ethics, and destiny in both individual and social terms, and the role of philosophy in offering an alternative to religious constructions of the world is key for both Eliot and Hardy. Arthur Schopenhauer's pessimism is often recognised as having been influential on Hardy's work, while Ludwig Feuerbach's optimism is noted as having influenced Eliot. These two philosophies will be examined in detail, and measured against their value of and accessibility for ordinary existential human individuals in the world. This thesis makes an original contribution to current thinking by showing the extent to which Eliot's Middlemarch and Hardy's Jude develop dynamic relationships with both Schopenhauer's and Feuerbach's philosophical constructions of the world. This thesis shows that questions of optimism and pessimism rely on a complex set of relations, both in these two novels and in the philosophies of Schopeithauer and Feuerbach themselves, which belie previous critical tendencies to place all four writers in a polarised "pessimistic" or "optimistic" position, and reveals that both novels develop nuanced engagements with both pessimistic and optimistic visions of ethical salvation.

Die Autoren der Beiträge