This thesis explores ways in which T. S. Eliot, when he wrote his most autobiographical poetic work<em> Four Quartets</em>, might have been influenced by Thoreaus famously autobiographical prose work <em>Walden</em>, written nearly a century earlier<em>.</em> Much evidence suggests that Eliot knew of the earlier writer and his work. Not only did Eliot assign <em>Walden</em> as suggested reading in a course he taught, but as time went on Eliot also admitted that he was influenced by the New England literary tradition. Reading <em>Four Quartets</em> in light of <em>Walden</em> and its context not only helps a reader understand the connections between the two works, it also gives a reader a better understanding of <em>Four Quartets</em>' fundamental meanings. Although Eliot in <em>Four Quartets</em> adds another layer of his spiritual goals beyond those expressed in <em>Walden</em>, he expresses his religio-philosophical quest for Incarnational "still point[s] of the turning world" (<em>Burnt Norton</em> 62) using autobiographical aspects and poetic tropes that are in many ways strikingly similar to the expressions also present in <em>Walden</em>. </p> <p>The chapters of this thesis unfold these concepts. My Introduction highlights some of the key connections. Chapter One sets the stage for the discussion of the Incarnation by explaining how <em>Four Quartets</em>' spiritual round-trip journey from England to America is grounded in real world places and experiences. This chapter also explains how this guardedly autobiographical re-collection of an almost-real journey includes a response to Eliots personal history and to his literary ancestors, including Thoreau<em>.</em> In Chapter Two, I unpack the similarities and differences between many of the religio-philosophical questions asked in the two works, focusing in on Eliots and Thoreau's complex handlings of such themes as simplicity versus complexity, Incarnation, stillness versus activity, and the difficulty of achieving spiritual goals. Finally, these religio-philosophical questions are incarnated in very similar poetic devices and tropes within both works; in Chapter Three, I describe the most important of these. The "still point of the turning world" (Eliot, <em>Burnt Norton</em> 62) and the "mathematical point" (Thoreau, <em>Walden</em> 1.100) are rich metaphors that form the heart of this chapter.</p>

This thesis explores ways in which T. S. Eliot, when he wrote his most autobiographical poetic work<em> Four Quartets</em>, might have been influenced by Thoreaus famously autobiographical prose work <em>Walden</em>, written nearly a century earlier<em>.</em> Much evidence suggests that Eliot knew of the earlier writer and his work. Not only did Eliot assign <em>Walden</em> as suggested reading in a course he taught, but as time went on Eliot also admitted that he was influenced by the New England literary tradition. Reading <em>Four Quartets</em> in light of <em>Walden</em> and its context not only helps a reader understand the connections between the two works, it also gives a reader a better understanding of <em>Four Quartets</em>' fundamental meanings. Although Eliot in <em>Four Quartets</em> adds another layer of his spiritual goals beyond those expressed in <em>Walden</em>, he expresses his religio-philosophical quest for Incarnational "still point[s] of the turning world" (<em>Burnt Norton</em> 62) using autobiographical aspects and poetic tropes that are in many ways strikingly similar to the expressions also present in <em>Walden</em>. </p> <p>The chapters of this thesis unfold these concepts. My Introduction highlights some of the key connections. Chapter One sets the stage for the discussion of the Incarnation by explaining how <em>Four Quartets</em>' spiritual round-trip journey from England to America is grounded in real world places and experiences. This chapter also explains how this guardedly autobiographical re-collection of an almost-real journey includes a response to Eliots personal history and to his literary ancestors, including Thoreau<em>.</em> In Chapter Two, I unpack the similarities and differences between many of the religio-philosophical questions asked in the two works, focusing in on Eliots and Thoreau's complex handlings of such themes as simplicity versus complexity, Incarnation, stillness versus activity, and the difficulty of achieving spiritual goals. Finally, these religio-philosophical questions are incarnated in very similar poetic devices and tropes within both works; in Chapter Three, I describe the most important of these. The "still point of the turning world" (Eliot, <em>Burnt Norton</em> 62) and the "mathematical point" (Thoreau, <em>Walden</em> 1.100) are rich metaphors that form the heart of this chapter.</p>

This thesis examines epic impressions between two disparate literary genres, the classical Homeric epic and the science fiction novel, Frank Herbert's Dune in particular. This is done by applying Jung's archetypes and his notion of the collective unconscious to both literary works. This thesis argues that, through intertextual dialogue, continuities can be seen to exist between the Homeric epic and Dune and other science fiction texts of a similar nature. Chapter one examines epic impressions through a study of the classical heroic superhuman. This superhuman, his birth, divine attributes and heroic adventures shall be isolated and applied to both the classical hero and the hero of Herbert's narrative. Chapter two will examine the relationship between prescience ("hyperawareness") and the divine oracle of the classical epic. Chapter three will examine the archetype of the "Terrible Mother" and the masculine fear of feminine powers that works to keep the feminine subordinate. / English Studies / M.A. (English)

Quando nos debruçamos sobre as letras de samba e tango compostas entre 1917 e 1945, notamos a reiterada presença nos sambas do personagem chamado malandro e outros de seu universo. No caso do tango, testemunhamos a do denominado compadrito e outros relacionados a ele nos tangos. Essa presença se relaciona a uma contradição constitutiva, já que esses gêneros musicais, muitas vezes relacionados à representação do nacional, propagavam um modo de vida marginal, fora do apregoado como ideal de cidadão pelos respectivos Estados nacionais. É nosso objetivo nesta tese analisar como, nas composições nas quais aparece esse tipo de personagem, emergem embates, nas diferentes formas da heterogeneidade discursiva, entre vozes que identificamos, de um lado, como filiadas com a perspectiva marginal e, de outro, com posicionamentos relacionados às ações disciplinadoras dos Estados nacionais. Trabalharemos com composições elaboradas no período de 1917-1945, momento privilegiado de discussões de cunho nacionalista, quando o samba e o tango foram, por diferentes motivos e em distintas medidas, sendo associados a questões identitárias. Os referenciais teóricos que norteiam nossa pesquisa se relacionam especialmente aos estudos discursivos e enunciativos; porém, tendo em vista o caráter interdisciplinar de nosso trabalho, também lançaremos mão de conceitos relacionados aos estudos históricos, sociológicos, musicológicos e das ciências da comunicação. / When we dedicate our attention to the samba and tango lyrics produced between the years 1917 and 1945, we notice in them the persistent presence of the character known as malandro (smooth operator), and others belonging to his universe, as well as of the character known as compadrito, and others related to him in the tango songs. Such presences are related to a constitutive contradiction, for those musical genres which were constantly related to a national representation produced a propaganda of a marginal way of life, that is, the one of the outcast opposite to the ideal of citizen such as defended by national States. In this thesis, we take the compositions in which those characters are presented, and aim to analyze the way how clashes are established in the different manners of discursive heterogeneity. We identify voices sided with the marginal perspective, and we also identify other voices, on the other side, whose position stands for the one defended by the disciplining perspective of the national States. In such a frame, we work with lyrics composed in the period from 1917 to 1945, given that is a privileged moment for discussions from a nationalist perspective. Due to several reasons and different measures, that was the period when the samba and the tango were associated to identity matters. The theoretical references heading this research are mainly related to the enunciation and discourse studies; however, once we aim at maintaining the interdisciplinary aspect of our study, we also make use of conceptions related to the historical and sociological studies, as the ones belonging to the fields of musicology and communications

Como um mesmo crítico, a partir de sua perspectiva, leu Graciliano Ramos e, depois, Guimarães Rosa? Essa foi a pergunta primordial que motivou todo o andamento da pesquisa. A ela se seguiram outras: quais dificuldades impunham o trânsito entre leituras dos dois escritores brasileiros que talvez sejam os mais complexos prosadores do século XX? Quais os procedimentos de leitura crítica adotados? Quais transformações são perceptíveis na sucessão do ofício da crítica literária? Quais diálogos (declarados, velados, acidentais), para concordância ou discordância de pontos de vista, foram estabelecidos entre as leituras de diferentes críticos? Englobando dificuldades, procedimentos, transformações e diálogos, essas indagações dizem respeito a dois problemas centrais que podemos especificar como tensão entre a escrita dos escritores e a leitura dos críticos e tensão metodológica entre os críticos. Sendo assim, partindo da crítica de rodapé nos anos 1940, selecionamos oito críticos para tratar de tais indagações e problemas: Sérgio Milliet, Alvaro Lins, Franklin de Oliveira, Wilson Martins, Antonio Candido, Alfredo Bosi, Luiz Costa Lima e Adélia Meneses. O estudo comparativo, com foco em oito críticos e dois escritores, permitiu desenvolver abordagens, capítulo a capítulo, com um triplo interesse, ou seja, investigar três problemas principais: condições de recepção, leituras da crítica, questões de método. / How did the same critic read first Graciliano Ramos and then Guimarães Rosa from the same perspective? It was the main question which motivated throughout the course this research. It was followed by others: what were the difficulties imposed by the transit among the readings of the two Brazilian authors who may be the most complex prose writers of the twentieth century? What were the critical reading procedures adopted? What changes are noticed in succession of the literary criticism\'s craft? What dialogues (declared, veiled, accidental), agreeing of conflicting points of view have been established among the readings of different critics? Encompassing difficulties, procedures, changes and dialogues, these questions relate to two central problems that we can specify as \"tension between the writings of the writers and the reading of the critics\" and \"methodological tension\" among critics. Thus, starting from the newspaper criticism of the 1940s, we have selected eight critics for researching these questions and problems: Sergio Milliet, Alvaro Lins, Oliveira Franklin, Wilson Martins, Antonio Candido, Alfredo Bosi, Luiz Costa Lima and Adelia Meneses. The comparative study, focusing on eight critics and two writers, allowed the development of approaches, chapter by chapter, with a triple interest, that is, investigate three main problems: conditions of reception, readings of the criticism, questions of method.