Student Number : 7639580 - MA research report - Faculty of Humanities / This research report explores the motif of the water journey as a metaphor for philosophical enquiry in Melville and Conrad by comparing Moby-Dick with Heart of Darkness, and Billy Budd, Sailor with Lord Jim. It takes as its starting-point M.H. Abrams’s essay, “Spiritual Travelers in Western Literature”, and adapts the typology which he introduces by identifying four different kinds of fictional journey, namely, the physical, the experiential, the narrative and the hermeneutic. By concentrating on a broadly-based semiotic approach to interpretation (while also allowing for other critical possibilities), it examines Melville and Conrad’s treatment of certain pivotal issues in metaphysics, epistemology and ethics. It compares the narrative strategies of the two authors and, by offering close readings of the four texts under discussion, it highlights the similarities and differences in the authors’ responses to a universe of teasing complexity, as well as exploring the reader’s engagement with such texts.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-18T12:04:23Z No. of bitstreams: 1 Mirella de Lemos Giglio.pdf: 991335 bytes, checksum: 0551e143a1461507f2fc0bc43a1a8b91 (MD5) / Made available in DSpace on 2017-07-18T12:04:23Z (GMT). No. of bitstreams: 1 Mirella de Lemos Giglio.pdf: 991335 bytes, checksum: 0551e143a1461507f2fc0bc43a1a8b91 (MD5) Previous issue date: 2017-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / This project aims to analyze the symbols of Heart of Darkness, searching for elements of depression, using the theories developed by Carl G. Jung. Depression is a subject frequently heard, either presented in formal academic texts or chats among acquaintances. This theme is seen in the history of human kind since the first historical documents, however, its definition would suffer changes according to the point of view men had of themselves. The theory developed by Carl G. Jung depicted that depression might have a creative function for those who suffer from it, as long as the ego encounters the unconsciousness. Joseph Conrad, the author of Heart of Darkness, presented depressive symptoms in his life. He had a life in which he lost his parents at a young age and decided to live alone in the sea, as a sailor. These situations with different obstacles prevented his psychic to develop a strong structure as an adult. His traumas and his sea journeys inspired him to express his private contents and contemplate subjective themes about the human existence. Heart of Darkness presents a plethora of symbols. Some of them express the archetypal journey to Hades’ world, the inner darkness, as the depression process that may result in the transcendence of the consciousness / Esta pesquisa tem como objetivo analisar os símbolos da obra Coração das Trevas, em busca de elementos da depressão por meios da teoria junguiana. A depressão é um assunto tratado frequentemente, seja em formato formal de textos acadêmicos, ou batepapos entre conhecidos. A presença desse assunto está na humanidade desde os primeiros registros históricos, porém a sua definição era diferente de acordo com a visão de homem que as pessoas tinham em cada período. Atualmente, a depressão atinge 350 milhões de indivíduos. Mesmo assim, nos deparamos com uma diversidade de interpretações sobre o assunto e como tratá-lo. A teoria elaborada por Carl G. Jung revelou que a depressão pode ter uma função criativa e transformadora para quem passa por ela, contanto que exista um espaço para o encontro do Ego com o inconsciente. Joseph Conrad, o autor do livro Coração das Trevas, apresentou sintomas depressivos em sua vida. Ele teve uma vida com obstáculos, na qual perdeu os pais na infância e decidiu viver sozinho no mar, como marinheiro. Essas situações dificultaram o fortalecimento de uma estrutura psíquica de um ser adulto. Seus traumas e suas viagens marítimas foram inspirações para o autor expressar seus conteúdos íntimos e comtemplar assuntos subjetivos para toda a humanidade. Coração das Trevas apresenta diversos símbolos. Alguns deles expressam a jornada simbólica ao mundo de Hades, as trevas internas, como o processo da depressão que pode resultar na ampliação de consciência como forma de transcender

Made available in DSpace on 2015-04-14T13:37:36Z (GMT). No. of bitstreams: 1 401707.pdf: 1827822 bytes, checksum: 1e98105c733bff382354f6d48265364a (MD5) Previous issue date: 2008-04-28 / O agente secreto de Joseph Conrad foi publicado pela primeira vez em 1907 e, desde ent?o, foi lido e debatido - principalmente por estudiosos da literatura - devido a sua t?cnica liter?ria ?nica e ao tratamento dado pela narrativa a temas como a espionagem, pol?tica e drama familiar. Ap?s os atentados do "Onze de Setembro", entretanto, O agente secreto foi redescoberto sob uma perspectiva "prof?tica", uma vez que seu enredo cont?m elementos tristemente familiares para n?s: um grupo de homens que odeiam a moderna sociedade capitalista e desejam destru?-la; uma conspira??o para atacar um dos principais s?mbolos dessa sociedade; um atentado com uma "ferocidade destrutiva t?o absurda quanto incompreens?vel"; um terrorista que vaga pelas ruas em busca de uma oportunidade para explodir a sim mesmo e todos em torno. Tais elementos, a despeito de escritos h? cem anos, nos remetem a uma busca n?o apenas sobre os elementos liter?rios de praxe enredo, narra??o, estilo mas numa perspectiva hist?rica e sociol?gica entre a percep??o da nossa virada de s?culo (XXI) e aquela da ?poca de Conrad (XX). Para completar essa busca, servimo-nos de uma abordagem multidisciplinar. Conclu?mos que O agente secreto descreve a??es e sentimentos de extrema humanidade e universalidade. Tais a??es e sentimentos ultrapassam classifica??es hist?ricas e sociais e tamb?m revelam algumas das profundas e terr?veis verdades sobre a atemporal natureza humana.

Made available in DSpace on 2016-04-28T14:16:20Z (GMT). No. of bitstreams: 1 Fabiana Dias Klautau.pdf: 9928422 bytes, checksum: 4c7e29e60807fb86fc2b38919431d035 (MD5) Previous issue date: 2014-08-08 / The purpose of this dissertation is the analysis of some aspects presented in Conrad Gesner´s Historia animalium (1551-1558), such as some information included in animal´s descriptions, its sources and images, as a vehicle of knowledge transmission. We intend to demonstrate that the content in Gesner´s work, as well as in his contemporary fellows, showed particular features which were consisted not only of anatomical and physiological animal´s descriptions, but they were especially comprised of information which today would be considered additional, as for example, what the ancients would say about each animal, the legends, the fables, its use in medicine, in culinary, in art, etc. All this correlated information was called, by some scholars of this period, the emblematic world view and they determined the scope of animal History in the sixteenth century. In order to demonstrate the interrelated information in Gesner´s writings, we selected not only his writings but also some works of other writers. One of them is Andrea Alciati´s Emblematum Libellus (1531), to which is attributed the dissemination of the emblems - a group of text and image designed to be deciphered, bringing intricate topics such as religion, love, betrayal, politics, moral, among others, which were widely covered in Gesner´s work. We also selected some examples of medieval bestiary to demonstrate how animals were described and illustrated in this kind of work, as well as Ovid´s (43 a.C 17 d.C) Ars Amatoria and the Methamorphoses, aiming at investigating this type of literature and, in later editions, the kind of images involving animals in these poems, in order to accomplish the case study about the mythical beast known as the Minotaur / O objetivo dessa Dissertação é analisar alguns aspectos na obra História animalium (1551-1558) de Conrad Gesner (1516-1565), entre eles, o tipo de informação contida na descrição dos animais, algumas de suas fontes e as imagens como via de transmissão de conhecimentos. Nossa intenção é demonstrar que o conteúdo da obra elaborada por Gesner, assim como por alguns de seus contemporâneos, apresentava características particulares e era composta não apenas por descrições acerca da anatomia e fisiologia das bestas, mas eram especialmente carregadas de informações adicionais, como por exemplo, o que os antigos diziam sobre cada animal, lendas, fábulas, uso na medicina, na culinária, na arte, etc. Todas essas informações interligadas faziam parte de uma rede de conhecimentos chamada por alguns estudiosos desse período de visão emblemática de mundo e de natureza, que caracterizou a História dos animais no século XVI. Para demonstrar algumas informações inter-relacionadas na obra de Gesner, selecionamos, além de seus escritos, trabalhos de outros autores. Um deles foi o Emblematum Libellus (1531) de Andrea Alciati (1492-1550), ao qual é atribuída a difusão dos emblemas - um conjunto de texto e imagem criados para serem decifrados, que traziam intrinsicamente mensagens de diversos temas como religião, amor, traição, política, moral entre outros, e que foram amplamente difundidos nas descrições de Gesner. Selecionamos também alguns exemplos de bestiários medievais para demonstrar como os animais eram descritos e representados nesse tipo de trabalho, bem como A arte de amar e as Metamorfoses de Públio Ovídio (43 a.C 17d.C) para averiguar o tipo de literatura, e em edições posteriores, de imagens que envolviam animais contidos nesses poemas, peculiarmente para realizar o estudo de caso sobre a besta mítica conhecida como minotauro. Contudo, foi possível expor ao longo do nosso trabalho o tipo de informação trazida nos textos e nas imagens das diferentes obras selecionadas

Made available in DSpace on 2016-04-28T14:16:23Z (GMT). No. of bitstreams: 1 Decio Hermes Cestari Junior.pdf: 1836314 bytes, checksum: e7d63f5b7f7450761733426e00c19a54 (MD5) Previous issue date: 2015-09-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to analyse the concept of discovery in the nineteenth century by exploring the behaviour of scientists and the common people at that time. We have started by studying original documents on X rays published by Wilhelm Conrad Roentgen. We have found that some evidences proving that scientists claim the discoveries to themselves. This claim was important because it led them to achieve an elevated scientific recognition. To develop this work we have considered different scientific approaches in order to understand the behaviour of members of scientific community. Therefore, the fields of philosophy of science and sociology of science were also applied to support some parts of this research. By analysing publications of that time it was possible to understand the concept of scientific discovery among common people during the nineteenth century. In the last part of our research we have analysed the concept of science currently used in popular science books. We could find misconceptions such as trying to explain science from discoveries or describing experiments as if they were crucial, that is, the story of winners. It's possible to note that some of those misconceptions found in the common sense of the nineteenth century can also be found in the current popular science books / Este trabalho tem por objetivo analisar o conceito de descoberta científica no final do século XIX a partir do estudo do comportamento dos cientistas e da sociedade da época. Iniciamos nosso trabalho com a análise dos documentos originais publicados por Wilhelm Conrad Roentgen, nos quais encontramos evidências de que o cientista reivindica prioridade sobre a descoberta. Essa prioridade é importante para que o cientista receba o reconhecimento de seus pares. Para desenvolver este trabalho foi necessário analisar o comportamento dos membros da comunidade científica a partir de diferentes perspectivas, para isso, buscamos referências em outros campos do conhecimento, como a filosofia da ciência e a sociologia da ciência. Através da análise dos periódicos do final do século XIX e início do século XX, foi possível compreender a concepção de descoberta predominante no senso comum da sociedade daquele período. Na parte final deste trabalho analisamos a concepção de descoberta científica utilizada nos livros de divulgação científica atuais. Encontramos abordagens que procuram explicar a ciência a partir das descobertas científicas ou de experimentos considerados definitivos, ou seja, a história dos vencedores. Observamos que é possível encontrar nos atuais livros de divulgação científica concepções de descoberta semelhantes às encontradas no senso comum do século XIX

No description available.

Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006.

Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. Barry Faulk, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.

Since Presocratic Greece, suicide in the West has been “known” and controlled, both politically and discursively. Groups as diverse as theologians and literary critics have propagated many different views of self-killing, but, determining its cause and moralizing about it, they have commonly exerted interpretive power over suicide, making it nameable, explicable, and predominantly reprehensible. The four modernist authors that I consider in this dissertation -- Ernest Hemingway, Joseph Conrad, Virginia Woolf, and William Faulkner -- break completely with the tradition of knowing suicide by insisting on its inscrutability, refusing to judge it, and ultimately rendering it “almost unnamable,” identifiable but indefinable. In For Whom the Bell Tolls, Victory, Mrs. Dalloway, and The Sound and the Fury, respectively, these authors portray illustrative, but by no means definitive, modernist self-killings; they construct a distinctive representational space around suicide, one free of causal, moral, theoretical or thematic meaning and, I argue, imbued with the power to disrupt interpretation. “‘Almost Unnamable’: Suicide in the Modernist Novel” examines the power of self-killing’s representational space in early twentieth-century fiction, arguing for its importance not only to the history of suicide in the West but also to the portrayal of death in the twentieth-century novel. / text

The short story was the most profitable literary form for most fiction-writers of the late-nineteenth and early-twentieth centuries because it was quick to write, relative to novels, marketable to a wide variety of periodicals, and able to be re-sold, in groups, for book collections. While the majority of writers composed short fiction within conventional modes and genres and published collections rarely exhibiting more than a superficial coherence of setting or character, modernist authors found in the form’s brevity helpful restrictions on their stylistic and narrative experiments, and, in the short story collection, an opportunity to create book-length works exhibiting new, modern kinds of coherence. This dissertation examines four modernists' experiences writing short stories and publishing them in periodicals and books: Henry James in The Yellow Book and Terminations (Heinemann, 1895); Joseph Conrad in Blackwood’s Edinburgh Magazine and Youth: A Narrative; and Two Other Stories (Blackwood, 1902); James Joyce in The Irish Homestead and Dubliners (Grant Richards, 1914); and Virginia Woolf in Monday or Tuesday (Hogarth, 1921). For these writers, the production of short fiction within the literary marketplace had definite and important consequences on their texts as well as the formation of their mature authorial identities. (With the exception of James, I focus on the early, most impressionable periods of the writers’ careers.) In bucking the commercial trend of miscellaneous collections, the unified book of stories came to represent, for such artists, something of a bibliographic rebellion, which, because of its inherent formal fragmentation, proved a compelling and fruitful site for their exploration of modernist themes and styles. The conclusion explores some of the consequences of these experiences on the writers’ subsequent, longer texts—Lord Jim, Ulysses, and Jacob's Room—arguing that such so-called “novels” can be understood better if studied within the literary and professional contexts created by their authors’ engagements with the short story. The same is true of the “short story cycle,” “sequence,” and “composite,” as strongly-coherent books of stories have been termed variously by scholars. This dissertation, particularly its introduction, sets out to provide historical, material background for scholarship on this too-long neglected literary genre. / text