Gustavo Adolfo Becquer presents a romantic vision of poetry summed up in the sentence "poetry is you" because according to this vision "poetry is feeling and feeling is woman." This means that the concept of poetry is formed by the essential parts of Becquer's world. Woman, presented as the centre of Becquer's poetic universe, is an asexual idea and an attractive and passionate muse at the same time. Poetry, which is feeling as well as woman, can be seen in the same way, and therefore can be not only pure and ideal, but also living and passionate. / The poet is placed in-between the irrational world of feelings and the rational world of writing, and these two worlds, despite their contradictory appearances, are no less than two halves of one whole. For that reason the poet is able to produce written poetry. / Written poetry cannot exist without reason, because it requires the use of the common language. The poet, being sensitive and rational at the same time, can transmit vivid and ineffable poetry through his writing. Nevertheless, words are nothing more then a medium to convey impressions located beyond linguistic signs, and these impressions can be (re)born in the reader's mind and imagination. This thesis demonstrates that Becquer's writing is conceived to provoke in the individual a (re)birth of creative impressions.

No description available.

Made available in DSpace on 2015-03-03T11:52:42Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-04-23Bitstream added on 2015-03-03T12:07:09Z : No. of bitstreams: 1 000810225.pdf: 2886425 bytes, checksum: 5b5b22803525fa83c393e5e610114b6f (MD5) / O presente trabalho apresenta uma reflexão acerca da configuração das personagens fantásticas femininas nas três seguintes obras: “Ojos Verdes” (1861), de Gustavo Adolfo Bécquer; “Mi vida con la ola” (1949-50), de Octavio Paz e “Historia del lagarto que tenía la costumbre de cenar a sus mujeres” (1993), de Eduardo Galeano. Tendo em vista a perspectiva dos estudos mitocríticos que contemplam o aspecto ancestral do feminino maléfico, observa-se o modo como se produzem as manifestações da mulher fatal, vinculada ao feminino terrível e às águas nas literaturas de diferentes épocas. Analisa-se, assim, a representação simbólica que denominamos mulher-sereia, imagem que, repleta da carga mítica, se apresenta nos três contos construindo a figura arquetípica de mulher sedutora e atraente, mas causadora de danos, perigosa e por vezes, fatal. Atenta-se, ainda, para a questão do gênero literário nos referidos contos, analisando sua construção através da personagem feminina, enquanto representação do fenômeno insólito que aparece nas narrativas / This work presents a reflection about the configuration of fantastic female characters in the following three works: “Ojos Verdes” (1981), by Gustavo Adolfo Bécquer, “Mi vida con la ola” (1949-50), by Octavio Paz and “Historia del lagarto que tenía la costumbre de cenar a sus mujeres” (1993), by Eduardo Galeano. In view of the mythcritical studies prospect that comtemplates the malefic female ancestral aspect, observe the way that they produce the manifestations of the femme fatale, linked to the terrible female and to the waters in different times. Thus analized a symbolic representation that we call mermaid-woman, a image that, full of mythical load, presents in these three tales on contours of the archetypal figure of seductive and attractive woman, but damage causer, dangerous and sometimes, deadly. Also, attentive to the literary genre issue in these tales analyzing its construction through the female character, as an unusual phenomenon representation in the narratives

Made available in DSpace on 2016-05-17T16:51:20Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-08-11. Added 1 bitstream(s) on 2016-05-17T16:54:56Z : No. of bitstreams: 1 000864019.pdf: 1052012 bytes, checksum: 30868035736293f5c3dc2f8b6388e85b (MD5) / A presente dissertação de Mestrado tem como título Macário e La cruz del diablo: a caracterização da figura do diabo na literatura fantástica e discute a forma como a figura do diabo se estabelece nas duas obras fantásticas, de autoria de Álvares de Azevedo e de Gustavo Adolfo Bécquer, respectivamente. Para estudar estas duas obras e estabelecer semelhanças e diferenças entre elas, será estudada a figura do diabo, criatura bastante utilizada em obras literárias, especialmente fantásticas; o gênero fantástico, pois ambas as obras possuem características que permitem inseri-las neste. Serão estudadas também algumas características do Romantismo, pois ambas as obras foram escritas durante este período. Outras teorias como as do conto, do teatro, da lenda e da literatura comparada serão brevemente incluídas quando necessárias para a análise das obras / This Masters dissertation called Macário e La cruz del diablo: the figure of the devil's characterization in fantastic literature, discourses about the way as the figure of the devil sets in two Álvares de Azevedo and Gustavo Adolfo Becker 's literary works, respectively. To study these two literay works and find similarities and differences between them, it will be study the figure of the devil, a creature widely used in literary works, especially in fantastic literay works; fantastic literary genre, because both literay works have features which allow insert them in fantastic literay genre. It will be also studied some features of Romanticism, whereas the two literary works studied here, were written during the romantic period. Other theories such as the tale, the theater, the legend and the comparative literature, will be briefly included when necessary, for the analysis of the literay works