Submitted by LIVIA MARIA ZOCCA null (livia_zocca@yahoo.com.br) on 2017-06-16T00:59:02Z No. of bitstreams: 1 Dissertação Livia. Versão 9.pdf: 2060001 bytes, checksum: 78c55dcf08f0cc7e9a988db3a155396e (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-06-19T14:22:24Z (GMT) No. of bitstreams: 1 zocca_lm_me_arafcl.pdf: 2060001 bytes, checksum: 78c55dcf08f0cc7e9a988db3a155396e (MD5) / Made available in DSpace on 2017-06-19T14:22:24Z (GMT). No. of bitstreams: 1 zocca_lm_me_arafcl.pdf: 2060001 bytes, checksum: 78c55dcf08f0cc7e9a988db3a155396e (MD5) Previous issue date: 2017-05-26 / Os estudos comparativos entre literatura e outras artes distintas têm contribuído desde a Antiguidade para maior compreensão de obras, propiciando - concomitantemente à compreensão do objeto literário - o aumento de pesquisas e discussões. O mito bíblico de Salomé foi fortemente retomado na França do fim século XIX e, adquirindo novas e diferentes roupagens do mito original, percorreu o imaginário dos artistas do período através das famosas pinturas de Gustave Moreau, tornando-se um forte símbolo feminino de uma época marcada pelo simbolismo /decadentismo, onde a arte buscava explorar as paixões e os mistérios, em meio aos grandes avanços científicos. Oscar Wilde foi um dos escritores que deu voz à dançarina, construindo em francês mais uma versão entre as muitas variações do mito ao publicar sua peça em 1893. Sua Salomé percorreu a Europa em meio a polêmicas e obteve mais sucesso que as outras obras de mesmo tema – e melhores avaliadas pela crítica do período - dando à personagem maior destaque e repercussão. Encantado com a peça de Wilde, Aubrey Beardsley, em 1894, ilustra a versão inglesa com seu estilo característico - variando da Art Noveau à influência das pinturas japonesas - em um tom erótico e grotesco peculiar. Suas ilustrações correram o mundo com a peça e trouxeram ainda mais notoriedade e significado à versão wildeana, o que permite pensar que o elemento pictórico poderia ultrapassar suas funções tradicionais de simples acompanhante do texto, acrescentando informações à trama, ao preencher lacunas e sugerir novos olhares, ampliando a leitura. Assim, entendendo que o texto verbal e visual não são linguagens incomunicáveis, e sim complementares, e que se isoladas as obras teriam seus significados e sentidos alterados, o presente trabalho busca analisar as relações texto-imagem entre a peça de Wilde e as ilustrações de Beardsley. / Comparative studies between literature and other distinct arts have contributed since the ancient times to a better understanding of art pieces, providing – simultaneously to the understanding of the literary field – an increase in researches and discussions. The biblical myth of Salomé was highly restored in France late in the 19th century and, by featuring a new and different appearance from the original one, covered the imagination of artists from that period through Gustave Moreau’s famous paintings, becoming a powerful female symbol of a time marked by the Symbolism/ Decadentism, when art aimed to explore passions and mysteries among the great scientific advances. Oscar Wilde was one of the writers who gave voice to the dancer, building another version of the myth among several ones by publishing his play in 1893. His Salomé roamed Europe in the middle of controversies and obtained more success than the other pieces about the same theme - and the ones that received the best evaluations of that time - what gave the character a greater focus and impact. Amazed by Wilde’s play, Aubrey Beardsley, in 1894, illustrates the British version with his typical style – ranging from the Art Nouveau to the influence of Japanese paintings – in a peculiar erotic and grotesque shade. His illustrations roamed the world with the play and brought even more visibility and meaning to Wilde’s version, which enables to assume that the pictorial element could overcome its traditional functions of mere text companion, adding information to the plot, by filling in gaps and suggesting fresh perspectives, enlarging the reading. Thus, understanding that spoken and visual texts are not detached, but complementary languages, and that isolated the pieces would have their meanings changed, this work aims to analyze the relations between Wilde’s play and Beardsley’s illustrations.

現代文學與現代藝術之間，有著千絲萬縷的關係，可是在具體操作中，往往被分開來，各自獨立開展研究。自「文化研究」興起，學界方才將兩者結合起來，二十世紀上半葉中國文學界關注英國畫家比亞茲萊(Aubrey Beardsley )(1872--1898)是很好的切入口，因諸多新文學作家(如魯迅、聞一多、梁實秋、邵洵美、郁達夫、葉靈鳳……)都對比亞茲萊有間接或直接的論述。 / 本文將比亞茲萊和中國現代文學結合研究，不囿於文化研究、比較文學研究或視覺文化研究的幾個範疇，嘗試在中國現代文學的領域作跨學科研究，除了發掘學界所忽略的原始材料外，也會從翻譯、出版、藝術、文化、思想幾個領域探討「比亞茲萊在中國」這一現象帶出的「中國現代性」思考。 / 本文導言部份會簡介比亞茲萊在中國現代文學與出版界的再現情況，接著會評述中國在比亞茲萊研究這一學術領域的成果及不足之處，然後從本論文的研究概念、方法與主題進入正式論述。本文第一章會探討被稱為「中國比亞茲萊」的作家葉靈鳳的文字與圖像創作，從一系列原始材料的鋪展與圖文對讀中，筆者將質疑「中國比亞茲萊」這稱謂的實質內容，從而呈現出歷來學者對葉靈鳳及創造社研究的誤讀之處。本文第二章會詳細討論魯迅編《比亞茲萊畫選》的小引及選畫問題，筆者將以西文原典證明歷來學界對小引是「魯迅寫」的錯誤認知，本文將從小引的「魯迅硬譯」開始，探討魯迅的藝術觀與其文字作品呈現精神世界的契合點。本文第三章將以比亞茲萊與中國現代文學中的世紀末思潮為題，探討幾個中國作家筆下呈現的比亞茲萊，筆者將以專題形式討論郁達夫的頹廢與比亞茲萊的異同；梁實秋、聞一多留美歲月中的比亞茲萊論述；張愛玲小說中把比亞茲萊放在第二次世界大戰中的意義。本文第四章將從出版史的角度，考察一個世紀以來比亞茲萊畫冊/圖像在中國的出版情況，探討其中的文化、政治、社會意義。 / 研究比亞茲萊在中國的現象，從百年來中國現代社會的建立，到中國作家不同語境中比亞茲萊的呈現，最終會落入對比亞茲萊藝術「現代性」的思考，本文總論部份將探討比亞茲萊的「中國式面孔」帶來的「中國現代性」迷思，呈現中國現代文學與西方現代藝術糾纏而複雜的面相。 / Modern literature and contemporary arts are inter-related, yet they have been usually regarded as completely different and independent perspectives in academic researches. Cultural Studies is the first academic field to combine these two perspectives for cultural phenomena explorations. The attention and discussion on English illustrator Aubrey Beardsley (1872 - 1898) by the Chinese literature circle (including writers such as Lu Xun、Wen Yiduo、Liang Shiqiu、Shao Xunmei、Yu Dafu、Ye Lingfeng etc.) in early 20th century could serve as a proper entry point for the study of interaction between literature and picture. / This paper will implore Beardsley and modern Chinese literature, not only by applying the theories of cultural studies, comparative literatures and visual arts, but also making an attempt at an interdisciplinary study based on modern Chinese literature. It will be studied how the phenomenon of "Beardsley in China" has led to the thinking of "Modernity of China" through different perspectives including translation, publication, arts, culture and philosophy. / To start, the prelude shall give a brief introduction on the representations of Beardsley in Chinese modern literature and publishing industry. The studies on the topic of "Beardsley in China" and its inadequacies will be commented, followed by an outline of the research concept and methodology adopted in the paper leading to the discourse. The first chapter will focus on text and visual works by the writer Ye Lingfeng, aka Chinese Beardsley. Through the comparative reading of original texts and visual materials, the author challenges the validity of "Ye Lingfeng as Chinese Beardsley" and argues there has been miss-reading of Ye Lingfeng and "Creation Society" (創造社) by scholars in previous studies. In chapter 2, the Introduction and selection of paintings in "The Selected Paintings of Aubrey Beardsley" (《比亞茲萊畫選》) edited by Lu Xun is thoroughly deliberated. Reference will be taken from the original English text to substantiate the argument that the Introduction was actually translated by Lu Xun instead of written by him as miss-interpreted by many scholars. Along this argument, the thesis will further explore how Lu Xun perceived arts and its relationship with his written works. How Beardsley and "Decadence" were represented in works of various important Chinese writers including Yu Dafu, Liang Shiqiu、Wen Yiduo and Eileen Chang is discussed in detail in Chapter 3, followed by an account of the publication history of Beardsley’s works in China and its cultural, political and social significance in Chapter 4. / The study of Beardsley in China under the context of development of Chinese society in the past century and its representations in various Chinese writers’ works will lead to review ofthe modernity of Beardsley’s arts. In the conclusion, the thesis will sum up the myth of "Modernity of China" brought about by Chinese face of Beardsley and reveal the intricate and complicated forms of modern Chinese literature and contemporary western arts. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 徐霞. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 219-232). / Abstracts in Chinese and English. / Xu Xia.

This study contributes to the search for metrical order in the 90,000 extant long lines of the late fourteenth-century Middle English Alliterative Revival. Using the 'Gawain'-poet's 'Patience' and 'Cleanness', it refutes nineteenth- and twentieth-century scholars who mistook rhythmic liveliness for metrical disorganization and additionally corrects troubling missteps that scholars have taken over the last five years. 'Chapter One: Tame the "Gabble of Weaker Syllables"' rehearses the traditional, but mistaken view that long lines are barely patterned at all. It explains the widely-accepted methods for determining which syllables are metrically stressed and which are not: Give metrical stress to the syllables that in everyday Middle English were probably accented. 'Chapter Two: An Environment for Demotion in the B-Verse' introduces the relatively stringent metrical template of the b-verse as a foil for the different kind of meter at work in the a-verse. 'Chapter Three: Rhythmic Consistency in the Middle English Alliterative Long Line' examines the structure of the a-verse and considers the viability of verses with more than the normal two beats. An empirical investigation considers whether rhythmic consistency in the long line depends on three-beat a-verses. 'Chapter Four: Dynamic "Unmetre" and the Proscription against Three Sequential Iambs' posits an explanation for the unusual distributions of metrically unstressed syllables in the long line and finds that the 'Gawain'-poet's rhythms avoid the even alternation of beats and offbeats with uncanny precision. 'Chapter Five: Metrical Promotion, Linguistic Promotion, and False Extra-Long Dips' takes the rest of the dissertation as a foundation for explaining rhythmically puzzling a-verses. A-verses that seem to have excessively long sequences of offbeats and other a-verses that infringe on b-verse meter prove amenable to adjustment through metrical promotion. 'Conclusion: Metrical Regions in the Long Line' synthesizes the findings of the previous chapters in a survey of metrical tension in the long line. It additionally articulates the key theme of the dissertation: Contrary to traditional assumptions, Middle English alliterative long lines have variable, instead of consistent, numbers of beats and highly regulated, instead of liberally variable, arrangements of metrically unstressed syllables. / text

This Ph. D. thesis investigates the use of fantasy by British and Irish 'Decadent' authors and illustrators, including Oscar Wilde, Max Beerbohm, Aubrey Beardsley, 'Vernon Lee' (Violet Paget), Ernest Dowson, and Charles Ricketts. Furthermore, this study demonstrates why fantasy was an apposite form for literary Decadence, which is defined in this thesis as a supra-generic mode characterized by its anti-mimetic impulse, its view of language as autonomous and artificial, its frequent use of parody and pastiche, and its transgression of boundaries between art forms. Literary Decadence in the United Kingdom derives its view of autonomous language from Anglo-German Romantic philology and literature, consequently being distinguished from French Decadence by its resistance to realism and Naturalism, which assume language's power to signify the 'real world'. Understanding language to be inorganic, Decadent writers blithely countermand notions of linguistic fitness and employ devices such as catachresis, paradox, and tautology, which in turn emphasize the self-referentiality of Decadent texts. Fantasy furthers the Decadent argument about language because works of fantasy bear no specific relationship to 'reality'; they can express anything evocable within language, as J.R.R. Tolkien demonstrates with his example of "the green sun" (a phrase that can exist independent of the sun's actually being green). The thesis argues that fantasy's usefulness in underscoring arguments about linguistic autonomy explains its widespread presence in Decadent prose and visual art, especially in genres that had become associated with realism and Naturalism, such as the novel (Chapter 1), the short story (Chapter 3), drama (Chapter 4), and textual illustration (Chapter 2). The thesis also analyzes Decadents' use of a wholly non-realistic genre, the fairy tale (see Chapter 5), in order to delineate the consequences of their use of fantasy for the construction of character and gender within their texts.