The analyses in this thesis explore similarities and differences in Jewish (and later Jewish-Israeli) and British literary texts from the nineteenth to the mid-twentieth centuries. The comparison is based on two connections between the two cultures: the first is the shared mythical roots, and the second the spatial and historical connection between the two cultures in relation to (post)colonialism. The research examines literary means that convey and consider alterity, and the manner in which the location of the monstrous Other is indicative of the relationship of the respective imagined community and sovereignty. This investigation focuses on the employment of certain Gothic tropes, specifically the use of the setting as a means of exploring and expressing individual and collective identities. A connection between the British and Jewish cultures surfaces in nineteenth to mid-twentieth century literary use of Gothic elements. Furthermore, the comparative analysis will show that the texts in Hebrew and English examined in this thesis similarly utilise Gothic tropes in order to explore concerns of modernity. This thesis re-establishes the inherent links between the Jewish and British cultures, which manifest in similar use of spatial metaphors and ancient myths for the exploration of the angst modernity. These similarities stem not only from the cultural connection, but are the result of the two nations’ preoccupation with sovereignty at an era when they underwent opposite processes of immigration and colonisation. Both literatures utilise Gothic tropes because the Gothic is a genre that is predominantly engaged with social critique and spatial awareness. The interplay between space, myth, and language is exposed as fundamental for the (re)construction of identities in relation to spatial awareness. These issues continue to be relevant in contemporary discussions of identities.

abstract: ABSTRACT Emile Zola is considered one of the fathers of 19th century French Naturalist literature. He is famous for his eloquence, sarcasm and is well known for being a provocateur. He wants to follow the principles of science: observation of his characters in their living environment (or milieu). He holds that individuals inherit physical and personality traits from their ancestors, such as atavism, which can be passed from grandfather to father and father to son. This assumption leads to Social Darwinism and impacted Zola like many other European intellectuals who believed in the new social sciences. Religion was going extinct on the old continent and the trend was to apply these theories to literature and humanities. The author also captures the political and social unrest of a struggling working class in his novel Germinal, where starving miners rebel against the bourgeois class that exploits them. Baldomero Lillo is a Chilean naturalist follower of Emile Zola who found inspiration in Germinal to write Sub Terra-short stories depicting the grim life of the coal miners. The author knows them well since he shared his existence with the miners in Lota, in the southern region of Santiago. Unlike Zola, Lillo, who was less educated and less inclined to trust science, opts for a compassionate Naturalism which relates more to his culture and personal inclinations. Le milieu or el medio ambiente in the Sub Terra stories is dreadful and the author seeks to expose the master/slave relationship in a society that still resembles the European Middle Ages. Le milieu, that is to say the external forces that surround the miners (their geographical, social and political environment), eventually engulfs and condemns them to a life of servitude and misery. Determinism on both continents decides the fate of each member of the society.   / Dissertation/Thesis / M.A. French 2012

<p> This dissertation examines the theme of strangeness in Arabic and Latin American literature between 1880 and 1920. Through analytical readings of novels and other prose fiction of the late-nineteenth and early-twentieth centuries, I show the salience of strangeness, alienation and estrangement as motifs in these works. In the first chapter of the dissertation, I examine earlier works of prose to provide context. In the second chapter, I focus on strangeness as manifested through sexual transgression. Finally, in the last chapter, I analyze narratives of physical estrangement, such as travel, urban alienation, and disconnect from nature. </p><p> In analyzing strangeness, I show its close relationship with modernity. Indeed, alienation is a hallmark of modernity, rising from a disconnect with one&rsquo;s society and physical environment. Alienation and estrangement are also metaphorical ways of addressing the relationship with the Other, especially if that Other is a colonizer or ex-colonizer. Strangeness is therefore expressive of problematics of national identity, at a time of budding decolonization and post-colonial nation-building. </p><p> Finally, this dissertation shows how the early prose literature of the turn of the twentieth century, in Latin America and in the Arab world, has expressed essential anxieties of modernity, and set the course for the canonical works of the later twentieth century.</p><p>

Esta tese tem como proposta uma leitura de aspiração ensaística da correspondência entre os escritores Carlos Drummond de Andrade e Mário de Andrade durante o Modernismo, entre 1924 e 1929, com destaque para a afirmação da identidade do poeta brasileiro em sua relação com o nacionalismo. A correspondência, abordada como diálogo epistolar, é analisada cronologicamente, relacionando os temas propostos à produção artística dos escritores. A troca de opinião sobre originais dos próprios autores é um dos focos da análise do texto, em especial as cartas que envolvem a gênese do livro Alguma poesia, publicado por Carlos Drummond de Andrade em 1930. As cartas têm como antecedente o cuidado de si, oriundo da cultura greco-romana, exercido pelos antigos filósofos como um exercício espiritual e de reflexão sobre o cotidiano. Desse modo, a partir do convite epistolar de devotar-se ao Brasil feito por Mário, Carlos elabora poemas como respostas, em um diálogo que ganha permanência poética / This dissertation presents a reading of the correspondence between the writers Carlos Drummond de Andrade and Mario de Andrade from 1924 to 1929, during the Modernism period, highlighting the identity assertion from the Brazilian poet in relation to nationalism. The mentioned correspondence is approached as an epistolary dialogue and it is chronologically analised relating the topics of literary works of both writers. The exchange of opinions between the writers about their own original texts is one of the focus of the reading presented here, including commentaries about Alguma poesia, published in 1930 by Carlos Drummond de Andrade. The letters are associated by the author of this text to the idea of "the care of the self", proposed by Michel Foucault. The writers epistolary dialogue is determined and associated to their literary production especially considering the poetic work. Therefore from the epistolary invitation done by Mario to devote himself to Brazil, Carlos elaborated poems as answers. These answers remain in his poetry work

Orientador: Rubens Pereira dos Santos / Banca: Rosane Gazolla Alves Feitosa / Banca: Susana Ramos Ventura / Resumo: A presença de Eça de Queiroz tanto nas letras portuguesas como nas brasileiras sempre foi marcante, fato que ainda hoje se mantém atuante na recepção de sua produção literária pelos escritores contemporâneos. Esta dissertação focaliza duas obras que trazem em comum a personagem Carlos Fradique Mendes. Os textos base para a aproximação entre as cartas foram A Correspondência de Fradique Mendes, uma das últimas obras do escritor português, e um romance contemporâneo, Nação Crioula: a correspondência secreta de Fradique Mendes, do angolano José Eduardo Agualusa. As motivações para o desenvolvimento da pesquisa surgiram do interesse em se trabalhar com obras de diferentes contextos históricos e sociais, na tentativa de mostrar a relação entre os dois espaços que, ao abarcarem as fronteiras são capazes de aproximarem-se, uma vez que Angola e Portugal possuem relações históricas em virtude da colonização. E, ainda, optamos por verticalizar o estudo nas correspondências que compõem as narrativas. Os pontos principais para o desenvolvimento deste texto tiveram respaldo nas teorias sobre a literatura comparada, intertextualidade, paródia, entre outras, sem deixar de lado o contexto social da literatura portuguesa e no caso de Angola, da literatura africana de língua oficial portuguesa. Nossas reflexões ao longo do trajeto demonstraram que a personagem criada por Eça de Queiroz, Antero de Quental e Jaime Batalha Reis ainda permanece presente no imaginário do leitor, ao que concluímos que o presente estudo mostra como os textos dialogam entre si, mesmo com o decorrer dos anos. A pesquisa também contribui para o legado queirosiano, assim como para os interessados no estudo das literaturas africanas de língua portuguesa, que segue despertando o interesse de leitores e pesquisadores contemporâneos / Abstract: The presence of Eça de Queiros both in Portuguese Literature as the Brazilian was always outstanding, fact that even today remains active in the reception of his literary production by contemporary writers. This dissertation focuses on two works that brings in common the character Carlos Fradique Mendes. The basic texts for the approximation between the letters were A Correspondência de Fradique Mendes, one of the last works of the Portuguese writer, and a contemporary novel Nação Crioula: a correspondência secreta de Fradique Mendes, by the Angolan Jose Eduardo Agualusa. The motivations for the development of the research arose from interest in working with works of different historical and social contexts, attempt to show the relations between the two spaces that, to comprise the borders are capable of approaching, once Angola and Portugal have historical relations as a result of the colonization. And we still choose to verticalize the study in the letters that compose the narratives. The main points for the development of this paper were backed in theories about the Comparative Literature, intertextuality, parody, among others, without leaving aside the social context of Portuguese Literature and in the case of Angola, of the African Literature in Official Portuguese language. Our reflections along the way demonstrated that the character created by Eça de Queiros, Antero de Quental and Jaime Batalha Reis still remains present in the reader‟s imaginary, we conclude the present study shows how the texts have discuss among themselves, even with over the years. The research also contributes to the queirosean legacy, as well as for those interested in the study of African literatures in Portuguese Language, that follows arousing the interest of readers and contemporary researchers / Mestre

Esta tese tem como proposta uma leitura de aspiração ensaística da correspondência entre os escritores Carlos Drummond de Andrade e Mário de Andrade durante o Modernismo, entre 1924 e 1929, com destaque para a afirmação da identidade do poeta brasileiro em sua relação com o nacionalismo. A correspondência, abordada como diálogo epistolar, é analisada cronologicamente, relacionando os temas propostos à produção artística dos escritores. A troca de opinião sobre originais dos próprios autores é um dos focos da análise do texto, em especial as cartas que envolvem a gênese do livro Alguma poesia, publicado por Carlos Drummond de Andrade em 1930. As cartas têm como antecedente o cuidado de si, oriundo da cultura greco-romana, exercido pelos antigos filósofos como um exercício espiritual e de reflexão sobre o cotidiano. Desse modo, a partir do convite epistolar de devotar-se ao Brasil feito por Mário, Carlos elabora poemas como respostas, em um diálogo que ganha permanência poética / This dissertation presents a reading of the correspondence between the writers Carlos Drummond de Andrade and Mario de Andrade from 1924 to 1929, during the Modernism period, highlighting the identity assertion from the Brazilian poet in relation to nationalism. The mentioned correspondence is approached as an epistolary dialogue and it is chronologically analised relating the topics of literary works of both writers. The exchange of opinions between the writers about their own original texts is one of the focus of the reading presented here, including commentaries about Alguma poesia, published in 1930 by Carlos Drummond de Andrade. The letters are associated by the author of this text to the idea of "the care of the self", proposed by Michel Foucault. The writers epistolary dialogue is determined and associated to their literary production especially considering the poetic work. Therefore from the epistolary invitation done by Mario to devote himself to Brazil, Carlos elaborated poems as answers. These answers remain in his poetry work

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Neste trabalho analisamos os contos âPetÃniaâ, âO Convidadoâ e âO Lodoâ de Murilo RubiÃo observando neles a presenÃa da Mitologia grega a partir da teoria da Intertextualidade. Procuramos encontrar os mitos gregos correspondentes Ãs referÃncias dadas pelo autor, as ligaÃÃes entre os mitos e os contos e a contribuiÃÃo que a escolha da Mitologia Grega dà ao texto muriliano. Inicialmente observamos o trajeto da Mitologia Grega desde sua presenÃa na cultura oral atà sua fixaÃÃo em textos literÃrios que escolhemos usar como comparativo e fazemos um pequeno percurso da teoria da Intertextualidade, explorada nos capÃtulos seguintes. Logo em seguida, emparelhamos os aspectos dos contos aos mitos selecionados sugerindo os mitos usados para a leitura proposta. Por fim analisamos atravÃs da Intertextualidade a forma como o mito foi utilizado por RubiÃo e como, ao observarmos esses mitos, à possÃvel uma diferente leitura e uma revisÃo dos contos e dos mitos gregos. ConcluÃmos que a partir da leitura dos mitos gregos, à possÃvel a percepÃÃo, atravÃs de intertextualidade, com os contos de RubiÃo e que tal influÃncia nÃo apenas traz a nosso sÃculo esses mitos como os renova, o eu afeta tanto a leitura do conto quanto a do mito que, agora sob nova leitura, pode ser revisto e expandido em seu entendimento / In this work, we analyze the short stories âPetÃniaâ, âO Convidadoâ and âO Lodoâ, written by Murilo RubiÃo, observing the presence of Greek Mythology from the perspective of the Intertextuality Theory. We aimed at finding the Greek myths which correspond to the references given by the author, the connection between the myths and the short stories, and the contribution of Greek mythology provided the authorâs writing. Initially, the journey of Greek mythology since its presence in the oral culture until its settlement in literary texts that were chosen to use as a comparative was observed. Then, a brief path of the Intertextuality Theory was accomplished, being explored in the following chapters. Next the aspects of the short stories with the myths selected were paired, suggesting the myths used for the reading proposed. Finally, by means of Intertextuality, we analyzed the way how the myth was used by RubiÃo and how, when observing these myths, a different reading and a review of the short stories and also of the Greek myths is possible. We concluded, from the reading of the Greek myths, that the perception with RubiÃoâs short stories is possible by means of intertextuality, and also that such influence not only brings these myths to our century, but it also renews them. The self affects not only the reading of the short story but also of the myth that, now, under a new perspective of reading, might be reviewed and expanded in its understanding.

O arrivismo social, tema largamente abordado na literatura do século XIX, tem uma de suas grandes representações em na personagem Julien Sorel do romance Le rouge et le noir (1830) de Stendhal. Sorel é uma personagem verdadeiramente engendrada pelos acontecimentos históricos e sociais da época em que o romance foi escrito. Beneficiando-se de seu conhecimento dolatim e da Bíblia, vai aos poucos conquistando posições vantajosas nas casas em que é acolhido como preceptor e secretário. Escrito quase meio século depois de Le rouge et le noir, A mão e a luva (1874), do brasileiro Machado de Assis se passa no Rio de Janeiro do Segundo Reinado. Diferentemente de Stendhal, Machado de Assis não constrói a trama da heroína Guiomar a partir de fatos históricos específicos. Entretanto, a obra brasileira propicia ao leitor uma aguçada percepção dos costumes vigentes no Segundo Reinado, em mais de uma esfera social. Do nascimento humilde à vida adulta confortável, a trajetória de Guiomar traz à tona nuanças de uma sociedade em transformação. Esse estudo tem por objetivo observar a construção e o desenvolvimento dos protagonistas Julien Sorel e Guiomar em seus respectivos contextos literários, a fim de estabelecer, entre as narrativas, possíveis conexões. Não obstante, ao longo do trabalho, para além das semelhanças, tais como capacidade de adaptação e ambição, pôde-se perceber diferenças substanciais entre Julien e Guiomar: enquanto aquele destaca-se por não se adequar à norma social estabelecida, esta encaixa-se perfeitamente na sociedade em que vive, dominando amplamente suas regras. É o que tentaremos demonstrar e o que faz o objeto dessa dissertação. / The theme of social ambition, widely explored in 19th century literature, finds in the character Julien Sorel of Stendhals 1830 novel The Red and the Black one of its greatest representations. Sorel is truly engendered by the historical and social events of the novels period. By taking advantage of his knowledge of Latin and the Bible, he gradually gains a privileged position in those houses where he comes to work as a tutor and secretary. Written almost half a century after The Red and the Black, The Hand and the Glove (1874), by Brazilian writer Machado de Assis, takes place in Rio de Janeiro during the 1850s. Unlike Stendhal, Machado does not build his heroine Guiomars plot from specific historical events. Yet the novel offers the reader a heightened perception of life during the Second Reign, in more than one social class. From her humble origins to her comfortable adult life, Guiomars trajectory brings out the nuances of a changing society. The present study observes the construction and development of both protagonists Sorel and Guiomar in their respective literary contexts, in order to establish possible connections between the two narratives. Their similarities notwithstanding, such as their adaptability and ambition, this research has also identified substantial differences between Sorel and Guiomar. While he stands out for not conforming to the established social norms, she becomes perfectly adapted to the social environment where she lives, in complete control of its rules. This is the main object and argument of this dissertation.

<p> This dissertation constructs a philosophy of perception that creates what I call a &ldquo;perceptive ontology of objects.&rdquo; This ontology emphasizes, not the subjective perspectivalism of human identity, but the dynamic emergence of objects into objecthood through impersonal modalities of space, time, light, and sound. Objecthood is an attempt to render perceptive experience as something neither wholly subjective nor wholly objective. Here objects are connected with subjectivity and yet still external. I argue that modernist authors present changeable, novelistic surfaces, which submit the novel&rsquo;s material objects to epistemological doubt. This creates radically interruptive moments of heightened perception, rupturing immediate experience from the more conventionally mimetic, referential, and social surfaces of the novel found within literary realism. These perceptive experiences create representational effects which I call &ldquo;the mimesis of sensation.&rdquo; This creates a sensory surface in the story world through which the reader aligns with the perceptive experiences of characters. This form of readerly connection is distinct from either Aristotelian empathy on the one hand, or Brechtian estrangement, on the other. &ldquo;The moment,&rdquo; a temporality distinct from the present, the modernist works of authors like Mallarm&eacute;, Woolf, Joyce, and Kafka foreground perception itself, altering visions of time to construct discrete and static temporalities. These discontinuous moments create forms of abstract continuity. They thus create a dialectical relationship with narrative. </p><p> These event-like ruptures, occurring through encounters with the surface of objects, offer two distinct notions of time that could serve as alternatives to the post-structuralist critique of the materiality of the signifier as seen in theorists like Derrida and Barthes. First, the surface of the text becomes an expansive medium of perception: a collection of perpetual gestures, interruptions, reflections, and possibilities which arises, not through linguistic play, but through a composite surface of language and perception. A totality emerges through perceptive processes in relation to this medium, not through the infinite deferral of the signified, but through the ongoing logical recession of the object through epistemological immanence. Here I also take an important departure from the work of other theorists of modernity&mdash;Baudelaire, Bergson, Benjamin, and Deleuze, and others&mdash;who suggest an imagistic immediacy to the experience of non-chronological time. My notion of the modernist literary object is distinctively not a ready-to-point-to image. I critique the centrality of images in 20^th-century theories of temporality, arguing that modernism constructs moments of readerly critical alignment not through the satisfaction of visual desire, but by foregrounding processes of apprehension, perception, and inquiry: attempting to decipher an object which is never quite fully known. </p><p> Even as the modernist techniques I study draw attention to the artifice of representation and the difficulties of constructing knowledge, they also frame objects of perception, constructing scenes of aesthetic totality&mdash;available to the spectator so long as she acknowledges the mediated lens through which she looks. I see totality as the possibility that perception could be made whole, the possibility that there is a form of subjectless experience in which perceptive inquiry creates order (as forms of abstract continuity). These totalities, perceivable not in chronologies of external perceptible phenomena, but within impersonal faculties of apprehension, as they coincide with these forms of deeper time, also invoke pathos (through the acknowledgment of dimensions of fate). In four chapters, each devoted to a respective modernist author, the project shows how the works of Mallarm&eacute;, Woolf, Joyce, and Kafka reveal relationships between what I call modernism&rsquo;s &ldquo;moments&rdquo; and the receding totality of the object. </p><p> Chapter 1 of the dissertation argues that a relationship exists between Mallarm&eacute;&rsquo;s reception of impressionism and the poet&rsquo;s linguistic theory. Here I examine Mallarm&eacute;&rsquo;s writings on the impressionist <i> plein air</i> technique in his essay, &ldquo;The Impressionists and &Eacute;douard Manet&rdquo; (1876). <i>Plein air</i> means more for Mallarm&eacute; than just painting outdoors. Air, in Mallarm&eacute;&rsquo;s eyes, is a full presence. Atmosphere is the key to a deep and abstract form of naturalism in his work. Other subjects in this chapter include atmospheric modalities like breath or respiration, speech and the sounds of words, or aspects of nature like weather. In Chapter 2, the novelistic objects of perceptive ontology in Woolfian impressionism create a temporal rupture from realism&rsquo;s more conventional referential representation. I argue that Woolf creates <i> another type of realism</i> through her experiments with time. Importantly, I break from the work of 20^th-century continental theorists of radical time influenced by Bergson (like Deleuze) in which the image plays a central, functional role. Woolf&rsquo;s moments challenge the idea of a Bergsonian image-form not subject to doubt in order to open the imaginative field of literature to what I call &ldquo;the mimesis of sensation.&rdquo; (Abstract shortened by ProQuest.) </p><p>

This dissertation is a comparative study of the work and ideas of the Nobel Prize-winning Norwegian author Sigrid Undset (1882-1949) and the American Willa Cather (1873-1947). Their mutual admiration and written correspondence began in the 1920s and culminated during Undset's World War II refugee years in New York, when the two women met and developed a warm friendship. While several scholars are aware of their personal connection, no one has ever examined it. I do not claim that the writers influenced each other's work. Instead I examine the thematic and historical issues that most influenced them and attracted them to each other. Both had a very early devotion to nature, and both contemplated a career in science. At puberty both suffered a traumatic loss--death of a parent for one, removal from Virginia to the prairie for the other--which had a profound impact on their personal and artistic development, particularly around issues of sexuality, commitment, and love. I then explore the ways Undset's and Cather's early writing wrestled with the power of the erotic impulse, its effect on the artist's need for autonomy, and the conflict between the artist's life and socially expected female roles. I discuss the significance of their personal choices--which were reflected in choices made by heroines of their early novels--and place them in the context of Symbolist responses to the social disruptions of the late Victorian era. These include changing attitudes toward sexuality, feminism, art, and idealism, particularly the effect of thinkers like Darwin, Nietzsche and Freud on social attitudes; the apotheosis of Romanticism in the Decadent movement; the emergence of an increasingly mystical politics as the authority of religion waned; and the moral shattering of Western civilizations by World War I. The dissertation concludes at this point, when both women were faced with ruptures in their personal lives, both formally changed their religious affiliations, and both entered the decade in which they produced their most powerful work. Appendices include previously untranslated and unpublished texts (in both languages) of tributes each woman wrote about the other during the last years of their lives.