O objetivo desta dissertação é o de investigar as disputas pelo poder subjacentes no texto literário do autor cherokee/canadense Thomas King, mais especificamente em seu romance publicado em 1993 intitulado Green Grass, Running Water. Serão destacadas as estratégias performáticas empregadas na desconstrução de representações opressivas de nativo-americanos por discursos ocidentais que compõem um complexo campo de batalha onde vozes em conflito disputam por direitos discursivos nas relações de poder. Se por um lado temos a tradição epistemológica positivista/cartesiana que trabalha há cinco séculos no sentido de exercer controle sobre as representações simbólicas dos nativo-americanos, a fim de que poder executivo e discursivo possa ser exercido sobre eles, por outro lado temos que Thomas King proporciona ao leitor o acesso a uma estrutura cíclica, não hierarquizada da narrativa e do epistêmio nativo-americanos. Esta investigação irá apontar os momentos de conflito entre essas vozes e analisará uma potencial interpretação democrática, de terceira via para esses encontros aparentemente binários. Espera-se ser possível indicar que Green Grass, Running Water propicia um privilegiado campo simbólico para que conflitos culturais e epistemológicos possam ocorrer e ser resolvidos com alguma espécie de resolução positiva em relação ao aspecto frequentemente belicoso dos engajamentos nativos e ocidentais. Para tanto, investigaremos a tradição bíblica e judaico-cristã de hierarquização e como o processo de nomeação de indivíduos e categorias permite que ocorra uma relação de dominação. Discutiremos a estrutura organizacional das comunidades, baseando-nos nas proposições de Zygmunt Bauman, com o intuito de averiguar de que forma o texto literário lida com questões como o pertencimento a grupos que possuem critérios subjetivos de aceitação, permitindo-nos responder se tais critérios permitem uma opção de filiação ou se representam uma demanda coletiva opressiva sobre o indivíduo. Uma análise dos discursos científicos de verdade também será feita, contrastando-os com a construção mítica coletiva das narrativas nativo-americanas como construções alternativas de verdade. Finalmente, teremos um capítulo sobre o poder narrativo da fotografia (mídia presente no romance em diversos momentos), no qual os usos da câmera serão descritos e analisados em seus potenciais de malícia e de narração distorcida. / The aim of this paper is to investigate the power struggles underlying the literary text of Canadian/Cherokee author Thomas King in the novel Green Grass, Running Water, published in 1993. We will highlight the performative strategies employed in the deconstruction of oppressive representations of the Native American by Western discursive and mediatic voices. The novel offers an interweaved narrative of Native and Western cultural materials that, together, will compose a complex battlefield of contentious voices that, ultimately, weigh on the balance of power relations to claim discursive rights. On the one hand, we have the epistemological tradition of a Positivist/Cartesian logic that has been working for five centuries to hold sway over the symbolic representations of the Native Americans in order to exert executive and discursive power over them; on the other hand, Thomas King provides the reader a glimpse of the cyclical, non-hierarchized structure of Native narrative and episteme. This investigation will point out the moments of conflict between these two voices and attempt to elaborate on the potential democratic/third-way interpretation of these seemingly binary encounters. We hope to be able to indicate that Green Grass, Running Water provides a privileged symbolic battleground for cultural and epistemological clashes to occur and be settled with some sort of positive resolution to the long-lasting contentious nature of Native and Western engagements. In order to accomplish that, we will delve into the biblical and Judeo-Christian tradition of hierachization and how the process of naming of individuals and categories allows for domination to occur. We will elaborate on the structural organization of communities, based on the propositions of Zygmunt Bauman, in order to assess how the literary text handles issues such as belonging to groups that have subjective criteria for acceptance, aiming at answering whether these criteria allow for an option of membership or if they pose as oppressive collective demands over the individual. An analysis of the scientific discourses of truth will also be provided, contrasting them with the collective mythmaking of Native American narratives as alternative constructors of truths. Finally, we will have a chapter on the narrative power of photography (a medium present in the novel at various moments), in which the uses of the camera are described and analyzed in their guileful and (mis)narrating potentials.

Alice Munro, ganhadora do prêmio Nobel em 2013, é escritora exclusivamente de contos, e suas narrativas percorrem um imaginário de espaços desnaturalizados que questionam a ordem estabelecida sob um aparente equilíbrio. Esta tese analisa alguns contos das obras: Ódio, amizade, namoro, amor, casamento; Fugitiva; Felicidade demais; O amor de uma boa mulher e Vida querida, para estabelecer um diálogo entre as questões de leitura e o efeito estético produzido, seguindo a corrente de Wolfgang Iser. A busca de uma leitura da écriture féminine se faz necessária na construção de uma alteridade radical, o que permite repensar as questões de gênero e espaço. O texto, como fronteira e paisagem literária, nos permite pensar de que forma a leitura se transforma em espaço necessário para a compreensão do Outro. O percurso no imaginário de Alice Munro tem como ponto de partida o espaço, passando pelo lugar, delineando um corpo até chegar ao rosto, espaço último de alteridade. Desenvolvemos uma categoria denominada em nossa pesquisa como lítero-corpóreo, espaço fronteiriço entre uma materialidade corpórea, e a leitura que transforma as realidades vividas. As correntes literárias de espaço que utilizamos são diálogos entre literatura, geografia e filosofia: Luis Alberto Brandão, Doreen Massey e Gaston Bachelard são alguns dos teóricos que embasam a pesquisa. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2017-09-01T12:19:41Z No. of bitstreams: 1 Tese Ana Júlia Poletto.pdf: 1865019 bytes, checksum: bbf5aab52f5237cca265b704fd64c677 (MD5) / Made available in DSpace on 2017-09-01T12:19:41Z (GMT). No. of bitstreams: 1 Tese Ana Júlia Poletto.pdf: 1865019 bytes, checksum: bbf5aab52f5237cca265b704fd64c677 (MD5) Previous issue date: 2017-09-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES. / Alice Munro, lauréat du prix Nobel en 2013, est écrivain exclusivement de contes, et ses récits présentent un imaginaire d’espaces dénaturés qui remettent en question l'ordre établi dans un équilibre apparent. Cette thèse se propose d'analyser quelques contes des œuvres : Un peu, beaucoup, pas du tout ; Fugitives; Trop de bonheur; L'Amour d'une honnête femme ; et Rien que la viepour établir un dialogue entre les questions de lecture et l'effet esthétique produit, selon la théorie isérienne. La recherche d'une lecture de l'écriture féminine est nécessaire pour construire une altérité radicale, ce qui permet de repenser le genre et l'espace. Le texte, tel que la frontière et le paysage littéraire, nous permet de réfléchir sur la façon dont la lecture devient l'espace nécessaire à la compréhension de l’Autre. Le parcours dans l’imaginaire de Alice Munro a comme point de départ l’espace, a suivre le lieu, les corps jusqu’à arriver au visage, l’espace dernier de l’altérité. Nous avons développé une categorie que nous appelons ‘litero-corporel’, l’espace de frontière dans une matérialité corporel et la lecture pour transformer la réalité. Nous avons faire un dialogue entre la littérature, la géographie et la philosophie: Luis Alberto Brandão, Doreen Massey et Gaston Bachelard sont certains des penseurs que nous utilisons dans notre thèse.

O objetivo desta dissertação é o de investigar as disputas pelo poder subjacentes no texto literário do autor cherokee/canadense Thomas King, mais especificamente em seu romance publicado em 1993 intitulado Green Grass, Running Water. Serão destacadas as estratégias performáticas empregadas na desconstrução de representações opressivas de nativo-americanos por discursos ocidentais que compõem um complexo campo de batalha onde vozes em conflito disputam por direitos discursivos nas relações de poder. Se por um lado temos a tradição epistemológica positivista/cartesiana que trabalha há cinco séculos no sentido de exercer controle sobre as representações simbólicas dos nativo-americanos, a fim de que poder executivo e discursivo possa ser exercido sobre eles, por outro lado temos que Thomas King proporciona ao leitor o acesso a uma estrutura cíclica, não hierarquizada da narrativa e do epistêmio nativo-americanos. Esta investigação irá apontar os momentos de conflito entre essas vozes e analisará uma potencial interpretação democrática, de terceira via para esses encontros aparentemente binários. Espera-se ser possível indicar que Green Grass, Running Water propicia um privilegiado campo simbólico para que conflitos culturais e epistemológicos possam ocorrer e ser resolvidos com alguma espécie de resolução positiva em relação ao aspecto frequentemente belicoso dos engajamentos nativos e ocidentais. Para tanto, investigaremos a tradição bíblica e judaico-cristã de hierarquização e como o processo de nomeação de indivíduos e categorias permite que ocorra uma relação de dominação. Discutiremos a estrutura organizacional das comunidades, baseando-nos nas proposições de Zygmunt Bauman, com o intuito de averiguar de que forma o texto literário lida com questões como o pertencimento a grupos que possuem critérios subjetivos de aceitação, permitindo-nos responder se tais critérios permitem uma opção de filiação ou se representam uma demanda coletiva opressiva sobre o indivíduo. Uma análise dos discursos científicos de verdade também será feita, contrastando-os com a construção mítica coletiva das narrativas nativo-americanas como construções alternativas de verdade. Finalmente, teremos um capítulo sobre o poder narrativo da fotografia (mídia presente no romance em diversos momentos), no qual os usos da câmera serão descritos e analisados em seus potenciais de malícia e de narração distorcida. / The aim of this paper is to investigate the power struggles underlying the literary text of Canadian/Cherokee author Thomas King in the novel Green Grass, Running Water, published in 1993. We will highlight the performative strategies employed in the deconstruction of oppressive representations of the Native American by Western discursive and mediatic voices. The novel offers an interweaved narrative of Native and Western cultural materials that, together, will compose a complex battlefield of contentious voices that, ultimately, weigh on the balance of power relations to claim discursive rights. On the one hand, we have the epistemological tradition of a Positivist/Cartesian logic that has been working for five centuries to hold sway over the symbolic representations of the Native Americans in order to exert executive and discursive power over them; on the other hand, Thomas King provides the reader a glimpse of the cyclical, non-hierarchized structure of Native narrative and episteme. This investigation will point out the moments of conflict between these two voices and attempt to elaborate on the potential democratic/third-way interpretation of these seemingly binary encounters. We hope to be able to indicate that Green Grass, Running Water provides a privileged symbolic battleground for cultural and epistemological clashes to occur and be settled with some sort of positive resolution to the long-lasting contentious nature of Native and Western engagements. In order to accomplish that, we will delve into the biblical and Judeo-Christian tradition of hierachization and how the process of naming of individuals and categories allows for domination to occur. We will elaborate on the structural organization of communities, based on the propositions of Zygmunt Bauman, in order to assess how the literary text handles issues such as belonging to groups that have subjective criteria for acceptance, aiming at answering whether these criteria allow for an option of membership or if they pose as oppressive collective demands over the individual. An analysis of the scientific discourses of truth will also be provided, contrasting them with the collective mythmaking of Native American narratives as alternative constructors of truths. Finally, we will have a chapter on the narrative power of photography (a medium present in the novel at various moments), in which the uses of the camera are described and analyzed in their guileful and (mis)narrating potentials.

Alice Munro, ganhadora do prêmio Nobel em 2013, é escritora exclusivamente de contos, e suas narrativas percorrem um imaginário de espaços desnaturalizados que questionam a ordem estabelecida sob um aparente equilíbrio. Esta tese analisa alguns contos das obras: Ódio, amizade, namoro, amor, casamento; Fugitiva; Felicidade demais; O amor de uma boa mulher e Vida querida, para estabelecer um diálogo entre as questões de leitura e o efeito estético produzido, seguindo a corrente de Wolfgang Iser. A busca de uma leitura da écriture féminine se faz necessária na construção de uma alteridade radical, o que permite repensar as questões de gênero e espaço. O texto, como fronteira e paisagem literária, nos permite pensar de que forma a leitura se transforma em espaço necessário para a compreensão do Outro. O percurso no imaginário de Alice Munro tem como ponto de partida o espaço, passando pelo lugar, delineando um corpo até chegar ao rosto, espaço último de alteridade. Desenvolvemos uma categoria denominada em nossa pesquisa como lítero-corpóreo, espaço fronteiriço entre uma materialidade corpórea, e a leitura que transforma as realidades vividas. As correntes literárias de espaço que utilizamos são diálogos entre literatura, geografia e filosofia: Luis Alberto Brandão, Doreen Massey e Gaston Bachelard são alguns dos teóricos que embasam a pesquisa. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES. / Alice Munro, lauréat du prix Nobel en 2013, est écrivain exclusivement de contes, et ses récits présentent un imaginaire d’espaces dénaturés qui remettent en question l'ordre établi dans un équilibre apparent. Cette thèse se propose d'analyser quelques contes des œuvres : Un peu, beaucoup, pas du tout ; Fugitives; Trop de bonheur; L'Amour d'une honnête femme ; et Rien que la viepour établir un dialogue entre les questions de lecture et l'effet esthétique produit, selon la théorie isérienne. La recherche d'une lecture de l'écriture féminine est nécessaire pour construire une altérité radicale, ce qui permet de repenser le genre et l'espace. Le texte, tel que la frontière et le paysage littéraire, nous permet de réfléchir sur la façon dont la lecture devient l'espace nécessaire à la compréhension de l’Autre. Le parcours dans l’imaginaire de Alice Munro a comme point de départ l’espace, a suivre le lieu, les corps jusqu’à arriver au visage, l’espace dernier de l’altérité. Nous avons développé une categorie que nous appelons ‘litero-corporel’, l’espace de frontière dans une matérialité corporel et la lecture pour transformer la réalité. Nous avons faire un dialogue entre la littérature, la géographie et la philosophie: Luis Alberto Brandão, Doreen Massey et Gaston Bachelard sont certains des penseurs que nous utilisons dans notre thèse.

Scholarship has firmly established that the short story cycle is well-suited to representations of community. This study considers eight North American examples of the genre: four by Canadian authors Stephen Leacock, Duncan Campbell Scott, George Elliott, and Alice Munro; and four by American authors Sarah Orne Jewett, Sherwood Anderson, John Cheever, and Joyce Carol Oates. My original idea was to discover whether there were significant differences between the Canadian and American cycles, but ultimately I became far more interested in the way that all of the cycles address community formation and disintegration. The focus of each cycle is a small community, whether a small town, a village, or a suburb. In all of the examples, the authors address the small community as the focus of anxiety, concern, criticism, and praise, with special attention to the way in which, despite its manifold failings, the small community continues to inspire longings for the ideal home and source of identity. The narrative feature that ultimately provided the critical framework for the study is the recurring presence of the metropolis in all of the eight cycles. The city, set on the horizons of these small communities, consistently provides a backdrop against which author and characters seem to measure and understand their lives. Always an influence (whether for good or bad), the city’s presence is constructed as the other against which the small community’s identity is formulated and understood. The relationship between small community and city led me to an investigation into the mythology of the small community, a mythology that sets the small community in opposition to the city, portraying the former as the keeper of virtue and the latter as the disseminator of vice. The cycles themselves, as I increasingly discovered, challenge the mythology by identifying how the small community depends, in large part, on the city for self-understanding. The small community, however, as an idea, and a mythic ideal, is never dismissed as obsolete or irrelevant.

The dissertation investigates the correlations among the development of general anthologies of Canadian literature, the Canadian canon, and visions of national identity. While literature anthologies are widely used in university classrooms, the influential role of the anthology in the critical study of literature has been largely overlooked, particularly in Canada. The dissertation begins with an analysis of the stages of development of general anthologies of Canadian literature, demonstrating that there are important links between dominant critical trends and the guiding interests of the various phases of anthology development and that anthologies both reflect and participate in moulding views of the nation and its literature. Focusing then upon five eighteenth- and nineteenth-century Canadian authors, the dissertation traces their treatment in anthologies and analyzes in detail the impact of stages of anthology development upon authors’ inclusion and presentation. The reception of Frances Brooke, John Richardson, William Kirby, Susanna Moodie, and Emily Pauline Johnson over a span of nearly 90 years is examined, and points of inclusion and exclusion are scrutinized to determine links with prevailing critical interests as well as canonical status. These case studies reveal the functions of anthologies, which include recovering overlooked authors, amending past oversights, reflecting new areas of critical inquiry, and preserving the national literary tradition. Their treatment also reveals the effect of larger critical concerns, such as alignment with dominant visions of the nation, considerations of genre, and reassessments of past views. The dissertation shows that the anthology is a carefully constructed, culturally valuable work that plays an important role in literary criticism and canon formation and is a genre worthy of careful scrutiny.

This thesis investigates three contemporary Canadian texts— Ruth Ozeki’s A Tale for the Time Being, Margaret Atwood’s Oryx and Crake, and Rita Wong’s forage—that treat information as an object that can be wasted and recuperated. Using information theory and a new sub-field of critical waste theory called “Discard Studies,” I explore how the authors studied in this thesis place these two lines of thought alongside one another to examine how the concept of recycling information challenges the material, cultural, and ideological structures that distance humans from their waste. Specifically, I read the event of recycling as an interruptive act that triggers a reassessment of the (im)material connections that tether humans to their waste, vast (inter)national networks of exchange, and environmental crises related to our garbage.

Ce projet de mémoire porte sur le mouvement de l’absurde qui s’établit au théâtre dans les années 1950 et 1960. Il a pour objectif de saisir comment la scène absurde, dans sa dimension du comique et de la dérision, se déploie au sein du champ théâtral québécois. Selon l’historiographie théâtrale, le théâtre québécois de la première moitié du XXe siècle correspond, souvent avec quelques années de retard, à la modernité européenne et française. Ce même modèle d’émulation devient cependant problématique après la Seconde Guerre mondiale et durant la deuxième moitié du siècle. Pour preuve : l’absurde éclot en France dans les années 1950 autour d’un corpus d’œuvres et d’auteurs assez bien défini et connu de tous, alors que le mouvement, au Québec, reste un continent enfoui qui passe difficilement le seuil de la perception courante. La crise du logocentrisme et de la conception humaniste traditionnelle qui marque la période d’après-guerre, ainsi que le désir croissant de fonder une dramaturgie nationale originale font en sorte que certains dramaturges québécois proposent une reconfiguration complète de l’art théâtral. Jacques Languirand, Robert Gurik et Yves Hébert Sauvageau en font partie, et c’est à travers trois de leurs créations théâtrales originales que nous souhaitons explorer cette problématique. Nous commencerons par inscrire le théâtre québécois d’après-guerre dans le large contexte de son époque. La deuxième partie de l’étude aborde les questions relatives au dépassement du cadre dramatique traditionnel qui fait en sorte que la langue, pour nos dramaturges, ne permet plus d’être un vecteur d’affirmation identitaire, et constitue désormais un objet dérisoire. Nous explorerons ensuite le principe de dérision après la Seconde Guerre mondiale au sein du théâtre de l’absurde français et comment il se manifeste dans l’élaboration du langage théâtral des trois pièces au corpus. Finalement, la dernière partie du mémoire propose de cerner le plaisir de la dérision propre au théâtre, en étudiant les pièces à l’aide des principales théories sur l’humour. Cette recherche s’opère par le biais d’une saisie théorique multiple, au croisement de l’approche intermédiale historique du théâtre québécois et des concepts et des procédés de la théorie du comique. / This master’s thesis focuses on the absurdist thespian movement that took hold in the 1950s and 1960s. Its objective aims to understand how the absurd scene, in its dimension of comedy and derision, unfolds within the Quebec theatrical field. According to theatrical historiography, the Quebec theater of the first half of the 20th century corresponds, often with a few years of delay, to European and French modernity. However, this exact model of emulation became problematic after the Second World War and during the second half of the century. For instance, the absurd flourished in France in the 1950s around a corpus of works and authors notably defined and known to all, whereas in Quebec the movement remained a buried continent that had difficulty crossing the threshold of common perception. The crisis of logocentrism and the traditional humanist conception that marked the post-war period, as well as the growing desire to found an original national dramaturgy, led certain Quebec playwrights to propose a complete reconfiguration of theatrical art. Jacques Languirand, Robert Gurik, and Yves Hébert Sauvageau are among them, and it is through three of their original theatrical creations that we wish to explore this issue. We will begin by placing post-war Quebec theater in the broad context of its time. The second part of the study addresses questions related to the overcoming of the traditional dramatic framework which, for our playwrights, means that language can no longer be a vehicle for affirming identity, and henceforth constitutes a derisory object. We will then explore the principle of derision after the Second World War within the French theater of the absurd and how it manifests itself in the elaboration of the theatrical language from three plays of the corpus. Conclusively, the last part of this thesis proposes to identify the pleasure of derision specific to the theater by studying the plays with the help of the main theories on humor. This research is carried out through a multiple theoretical approach, at the crossroads of the historical intermedial approach of Quebec theater and the concepts and procedures of comedy theory.

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