Orientador: Sônia Helena de O. Raymundo Piteri / Banca: Lilian Jacoto / Banca: Márcio Scheel / Resumo: Esta dissertação busca realizar uma leitura dos textos Avalovara (1973), de Osman Lins, e O jogo da liberdade da alma (2003), de Maria Gabriela Llansol, tomando como ponto de partida procedimentos metaficcionais que aí se manifestam, com ênfase em apontamentos autoconscientes e autorreflexivos que possibilitam observar de que maneira cada um dos autores direciona o seu texto. Nesse sentido, focalizar-se-á a forma de composição das duas obras, realçando um espaço de escrita no qual personagens, no romance de Lins, e figuras, no texto de Llansol, se encontram, gerando um movimento que se expande em termos de linguagem, linguagem dinâmica que se desdobra em múltiplos caminhos, enveredando por frestas que levam o leitor a redimensionar sua perspectiva de visão sobre a própria literatura / Abstract: This dissertation aims to read Avalovara (1973), by Osman Lins, and O jogo da liberdade da alma (2003), by Maria Gabriela Llansol, considering as a starting point the metafictional procedures which manifest in the two texts, with an emphasis on self-conscious and self-reflective notes that allow us to observe how each author guides his text. Therefore, the literary construction of both works will be focused since it highlights a writing space in which characters in Lins's novel and figures in Llansol's text find themselves in this space, creating a movement that expands in terms of language, a dynamic language that opens out to multiple paths and directs its steps to gaps that lead the reader to rethink his perspective on literature itself / Mestre

Orientador: Cláudia Maria Ceneviva Nigro / Banca: Anselmo Peres Alós / Banca: Cleide Antonia Rapucci / Banca: Flávia Andrea Rodrigues Benfatti / Banca: Giséle Manganelli Fernandes / Resumo: A contemporaneidade tem colaborado com as mudanças na forma como as questões de gênero e sexualidade são vistas na sociedade. Padrões tradicionais vêm sendo quebrados e algumas formas de preconceito não se encaixam mais na comunidade. Hoje, muitos homens e mulheres não têm mais uma identidade única e fixa, e não configuram um par dual, e essa fragmentação das identidades de gênero possibilita a criação de ouras nomenclaturas. Com base nesse contexto de mudanças, as personagens de nosso corpus formam-se mulheres, homens, gays, lésbicas, e a construção do gênero é vista, então, como estratégia narrativa, na qual as escritoras procuram mostrar que há possibilidades para formação de gênero distinta dos padrões impostos pela matriz heteronormativa. Assim, realizamos uma análise de como essas configurações de gênero, masculinos ou femininos, são representadas na literatura, partindo da premissa de que as identidades de gênero sofrem rupturas com os modelos tradicionais e estão deslocadas, devido às diversas orientações sexuais presentes na contemporaneidade. Como corpus deste trabalho, escolhemos cinco obras, de escritoras norte-americanas, brasileiras e inglesas, a partir da década de 1970, a saber: Rubyfruit Jungle (1973), de Rita Mae Brown; The Front Runner (1974), de Patricia Nell Warren; Hotel Dulac (1984), de Anita Brookner; Duas iguais (1996), de Cíntia Moscovich e Sapato de salto (2006), de Lygia Bojunga. A configuração da identidade de gênero das personagens é analisada... / Abstract: Contemporaneity has contributed to changes in the way gender and sexuality issues are seen in society. Traditional patterns have been broken and some forms of prejudice do not fit into current society anymore. Today, some men and women have no longer a single, fixed identity, and no longer form a dual pair, and this fragmentation of gender identities makes it possible to create nomenclatures. Based on this context of change, the characters of our corpus are women, men, gays, lesbians, and the construction of gender is seen, therefore, as a narrative strategy, in which women writers try to show that there are possibilities for gender formation which differs from the patterns imposed by the heteronormative matrix. Thus, we perform an analysis of how these configurations of gender, male or female, are represented in literature, starting from a premise that gender identities suffer ruptures from traditional models and are displaced, due to diverse sexual orientations present in contemporary times. As a corpus of this work, we chose five works by American, Brazilian and English writers, beginning in the 1970s: Rubyfruit Jungle (1973) by Rita Mae Brown; The Front Runner (1974), by Patricia Nell Warren; Hotel Dulac (1984), by Anita Brookner; Duas iguais (1996), by Cíntia Moscovich and Sapato de salto (2006), by Lygia Bojunga. The configuration of the characters gender identity is analyzed in the light of Judith Butler's theory of performativity (1993, 2003, 2004, 2015), according ... / Doutor

梁建輝. / 稿本(據電腦打印本複印) / Thesis (M.A.)--香港中文大學硏究院中國語文學部. / Gao ben (Ju dian nao da yin ben fu yin) / Includes bibliographical references (leaves 305-323). / Liang Jianhui. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan Zhongguo yu wen xue bu. / Chapter 第一章 --- 緒論 --- p.1-26 / Chapter 第一節 --- 硏究本題的目的 --- p.1-11 / Chapter 第二節 --- 硏究本題的困難 --- p.11-15 / Chapter 第三節 --- 硏究本題的方法 --- p.15-18 / 注釋 --- p.19-26 / Chapter 第二章 --- 王充、劉勰論文的基本前提 --- p.27-78 / Chapter 第一節 --- 「文」的意義 --- p.27-54 / 注釋 --- p.55-60 / Chapter 第二節 --- 「文」的功能 --- p.61-76 / 注釋 --- p.77-78 / Chapter 第三章 --- 王充、劉勰的文體論 --- p.79-155 / Chapter 第一節 --- 論「武頌」 --- p.79-105 / 注釋 --- p.106-110 / Chapter 第二節 --- 論「史傳」 --- p.111-123 / 注釋 --- p.124-126 / Chapter 第三節 --- 論「諸子」 --- p.127-135 / 注釋 --- p.136-139 / Chapter 第四節 --- 論「論¨®Ơ」 --- p.140-153 / 注釋 --- p.154-155 / Chapter 第四章 --- 王充、劉勰的創作論 --- p.156-245 / Chapter 第一節 --- 論「模擬」 --- p.156-178 / 注釋 --- p.179-183 / Chapter 第二節 --- 論「言意」 --- p.184-193 / 注釋 --- p.194 / Chapter 第三節 --- 論「夸飾」 --- p.195-220 / 注釋 --- p.221-227 / Chapter 第四節 --- 論「繁簡」 --- p.228-242 / 注釋 --- p.243-245 / Chapter 第五章 --- 王充、劉勰的批評論 --- p.246-297 / Chapter 第一節 --- 論「奇」 --- p.246-267 / 注釋 --- p.268-272 / Chapter 第二節 --- 論「古」、「今」 --- p.273-292 / 注釋 --- p.293-297 / Chapter 第六章 --- 結語 --- p.298-304 / Chapter 第一節 --- 綜論王充、劉勰論文觀點的異同 --- p.298-301 / Chapter 第二節 --- 對漢魏六朝文論發展的一些假設 --- p.301-303 / 注釋 --- p.304 / 參考書目 --- p.305-323

This thesis examines the fragile perimeter that separates an illusory reality from the supposedly more authentic Real it conceals, which forms a key focus of Slavoj Žižek’s work, and in this thesis I offer a study of the relations between this aspect of Žižek’s work and film theory. In particular, this thesis is an elaboration on and interrogation of Žižek’s employment of the Lacanian notion of the Real in critiques of the inadequacy of 1970s and 1980s film theory and its widespread adoption of a Lacanian model of film-spectator relations. By way of illustration, I consider the microgenre of films released between the years 1998 to 2000 that includes the Matrix trilogy, David Fincher’s Fight Club, Peter Weir’s The Truman Show, and Alex Proyas’ Dark City, which are all similarly fascinated by the border between a fake reality and an ostensibly more genuine real. However, I also argue that this cycle of films does more than illustrate a fascination with that which is in excess of signification: this cycle of films equally participates in the reappraisal of this important phase of film theory. This thesis proceeds from a consideration of Žižek’s assertion that Lacanian psychoanalysis is missing from the dominant field of film theory. To assess this claim, I re-examine the era of political modernism. From this it becomes clear that what Žižek is noting is not the total absence of Lacanian psychoanalysis, but, rather, an absence of the version of Lacan to which he is drawn. This thesis considers aspects of the Real that contaminate the form and matter of these films, in addition to the thematic exploration of the shadowy world beyond reality. In pursuing this investigation, this thesis utilises the insights of the deconstructive work of Jacques Derrida, to consider the terms ‘form’, ‘content’ and ‘matter’. These words are ubiquitous in film studies, and I aim to explicate not their final meaning, but the way in which the Real interrupts the very stability of vocabulary used in film studies. I interrogate the concepts of gaze and voice as privileged instances of the way in which the Real can rupture the symbolic in narrative film. Without seeking to reject these aesthetic figures, through critical readings of key theories of embodiment, the grotesque and the abject (such as those of Marks, Shaviro, Sobchack, Bakhtin and Kristeva), I suggest how the body and its representation provides a more sustained motif where the Real leaves its trace in these films. This thesis proposes that it is above all through such representations that these films offer a response to the themes with which politically modernist film theory has been historically concerned. The Edge of the Construct films achieve this in their evocation of an intolerable namelessness at the centre of the human subject and the social world it inhabits. / Thesis(Ph.D.) -- School of Humanities, 2008

Expressed Silence: A Study of the Metaphorics of Word in Selected Nineteenth-Century American Texts This dissertation explores the patterned use of certain “metaphors of word”——images of reading, writing, listening, and speaking——in four American texts: Emerson’s Nature, Thoreau’s Walden, Hawthorne’s Scarlet Letter, and Melville’s Moby Dick. Assumed in my discussion is the modern view of metaphor as a cognitive device used, not for mere stylistic ornament, but for creating a certain mental perspective. Based on the perspectival view and on the experiential—gestalt account of metaphor, the structures of these metaphors of word are examined in order to discern the systematic nature of their argument and to determine the cultural and historical reasons why language imagery, and not some other type of imagery, was chosen to represent this argument. After surveying the cultural influences of democracy, mercantilism, Romanticism, and Calvinism, I characterize the metaphoric systems of each text and then move on to a closer study of the role of silence within these systems. From this analysis, I conclude that these nineteenth— century texts reflect a shift away from the book toward the voice as a predominant symbol, and away from writing toward speaking as a privileged metaphor. Language imagery works to represent ways of knowing, so that linguistic and epistemic concerns become inextricably intertwined. The process of using language operates as a metaphor for the process of gaining knowledge. In this metaphorics of word, silence emerges as a particularly striking metaphor in the way that it expresses the coalescence of being and knowing, the realization that we know what we know. In this scheme, metaphors of word structure ways of understanding, and the expressed silence metaphor highlights the way interior speech can function in the discernment of knowledge. Ultimately, I contend that the perspective provided by this nineteenth—century metaphorics of word forecasts the modern view of rhetoric as epistemic. By employing linguistic action as a figure for representing epistemic action, a metaphorics of word promotes an understanding of rhetoric’s primary purpose as the interrogation of truth.

This project begins by examining current trends in the study of medieval literature, particularly in the area of medieval literature dealing with religious conflict. Literary review demonstrates that since the late 20th century, critical examination of medieval literature has been dominated by postcolonial analyses. A dedication to postcolonial analyses, in effect, has stagnated the field of medieval literary analysis, particularly in regard to those texts representing religious differences. By focusing examination on two seminal medieval texts, "The Prioress's Tale" from Geoffrey Chaucer's The Canterbury Tales and the anonymous Song of Roland, this dissertation argues that traditional, postcolonially-inspired analyses are ineffective and inconsequential for modern, post-9/11 audiences, particularly high school students. More substantial and authentic readings are revealed through an application of Jeffrey Jerome Cohen's monster theory, a hypothesis articulated in his essay "Monster Culture (Seven Theses)" (1996) which, when coupled with conventionally psychoanalytic concepts of psychical reality and jouissance, reveals that the cultural creation of monsters is unchanging across time and culture. By illustrating this phenomenon through the Christian creation of Jewish and Muslim monsters, through literary examinations of "The Prioress's Tale" and Song of Roland respectively, this project hints that the same cultural forces feeding monster creation in the Middle Ages are alive in our modern age in the creation of terrorist monsters. The project culminates by arguing that the most effective way to teach literature of the Middle Ages to post-9/11 students is to focus on literature ripe with religious conflict in order to tap into affective connections to be found between modern students and the people of the Middle Ages. This is a bond best forged through a discussion-driven approach to literary instruction. / A future for medieval studies -- Monster Jews in the creation of the Christian psychical reality -- The necessity of Saracen monsters in the formation of the Christian self -- The future of medieval studies : teaching The prioress's tale and Song of Roland in contemporary high school classrooms. / Department of English

Made available in DSpace on 2014-12-17T15:07:11Z (GMT). No. of bitstreams: 1 AndrewYSM_DISSERT.pdf: 1257696 bytes, checksum: 309b05179e3d4e5c72b883b5c4785af1 (MD5) Previous issue date: 2014-05-28 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / The literary critic Terry Eagleton obtained notoriety in academic circles when he was recognized intellectually for his bestselling book Literary Theory: An Introduction. In this book, the English author boldly proposes the end of literature and literary criticism. However, Eagleton proposed years before, in his book Criticism and Ideology (1976), a scientific system of analysis of literary texts, which seemed less radical, both in theory and in method, than in his later theoretical proposal. Based on this, the objective of this dissertation is to present the English literary critic?s initial method, explaining the reasons that led him to abandon his initial project - of develop a method of analysis of the literary text on a Marxist scientific perspective - and to propose, in the following years, in his most famous book and others, a revolutionary vision that would go beyond textual analysis and make literary texts have a practical intervention in society. Finally, we explain what would be his idea of revolutionary criticism / O cr?tico liter?rio Terry Eagleton obteve notoriedade no meio acad?mico ao ser reconhecido intelectualmente com seu livro best-seller Teoria da Literatura: uma introdu??o. Nesse livro, o autor ingl?s prop?e, ousadamente, o fim da literatura e da cr?tica liter?ria. Contudo, anos antes, Eagleton prop?s, no livro Criticism and Ideology (1976), um sistema cient?fico de an?lise do texto liter?rio aparentemente menos radical, tanto em teoria quanto no m?todo, que sua proposta te?rica posterior. Com base nisso, o objetivo dessa disserta??o ? apresentar o m?todo inicial do cr?tico liter?rio ingl?s, explicitar os motivos que o levaram a abandonar seu projeto inicial de elaborar um m?todo de an?lise do texto liter?rio sobre uma ?tica cient?fica marxista e a propor, nos anos seguintes, em seu livro mais famoso e em outros, uma vis?o revolucion?ria, que iria muito al?m de an?lises textuais e faria os textos liter?rios terem uma interven??o pr?tica na sociedade. Por fim, explicitaremos qual seria sua ideia de cr?tica revolucion?ria

Orientador: Orna Messer Levin / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-08T21:13:33Z (GMT). No. of bitstreams: 1 Marques_Pedro_D.pdf: 2233015 bytes, checksum: cf40cfc607c84d0de986bbba63783afb (MD5) Previous issue date: 2007 / Resumo: Primeira parte: a introdução (¿Chegando o ouvido¿) propicia, a partir da fortuna critica do poeta, uma tomada aérea dos assuntos e juízos que serão aprofundados ou refutados. O segundo capítulo (¿Nacionalismo sim¿) avalia a poesia de Olegário Mariano na maior balança da literatura brasileira. Experimenta considerá-la subsumida na tradição nacionalista que tem ocupado nosso pensamento literário e não apenas ele. No fechamento desta seção (¿Modernismo não?¿), discuto Canto da Minha Terra (1927), volume que revela as apropriações de Olegário da cor local modernista. Segunda parte: o capítulo inicial (¿Anacreonte redivivo¿) detecta a entrada de Olegário Mariano numa linhagem de poesia lírica anacreôntica, supostamente inaugurada pelo Anacreonte histórico (séc. VI a.C.). Em seguida, o capítulo mais extenso do trabalho (¿Destrinchando o poema¿) procura examinar um a um os artefatos (em geral sonetos) que compõem ¿a grande máquina¿, o poema indivisível que, a meu ver, configura Últimas Cigarras (1915). Por último, ¿Olegário feito fábula¿ é uma coda ao trabalho. Visa a ilustrar os reflexos literários de Últimas Cigarras em outros poetas. Terceira parte: organização e apresentação de algumas fontes primárias. O leitor terá à disposição reportagens, depoimentos de Olegário Mariano, textos críticos sobre o poeta e, por fim, uma iconografia / Abstract: First section: the criticism about this poet, the introduction (¿Coming close the ear¿) presents a synthesis about principal topics and judgments that will be deepened or rejected. The second chapter (¿Nationalis, yes¿) measures Olegário Mariano poetry in the greatest scale of Brazilian Literature. This poetry is considered inside a nationalist tradition the put in motion the Brazilian thought. At the end of this part (¿Modernism, no?¿), I discuss My Land's Song (1927), a book that is replete of modernist local color. Second section: the initial chapter (¿Anacreon revived¿) examines the Olegário Mariano ingress in the lyric poetry of anacreontic genealogy, supposedly inaugurated by the historical Anacreon (sec. VI BC). Subsequently to, the most extensive chapter of this thesis (¿Unraveling the poem¿) examines all the artifacts (general sonnets) that compose the big machine or the indivisible poem that, in may opinion, conform The Last Cicadas (1915). At last, ¿Olegário as fable¿ operates as a coda of this work and explains the literary reflexes by The Last Cicadas in other poets. Thir section: organization and presentation of several primary sources. In here, readers can consult newspapers reports, Olegário Mariano's depositions, critic texts about the poet and, still, an iconography / Doutorado / Literatura Brasileira / Doutor em Teoria e História Literária

Orientador: Marcio Orlando Seligmann-Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T02:30:04Z (GMT). No. of bitstreams: 1 BritoJunior_AntonioBarrosde_D.pdf: 1546688 bytes, checksum: 84f9810b7d789f9d8a439055ffaad6f5 (MD5) Previous issue date: 2010 / Resumo: Esta tese trabalha com a teoria da cooperação interpretativa e a teoria dos limites da interpretação na obra teórico-crítica de Umberto Eco. Dividida em quatro capítulos, a tese procura recobrir a extensão dos escritos de Eco, abordando, ao mesmo tempo, a sua teoria dos códigos (da década de 1960 e 1970) e a sua teoria da produção dos signos, esboçada majoritariamente nos livros Tratado geral de semiótica (1975) e Kant e o ornitorrinco (1997). Objetivamos estudar, em primeiro lugar, o conflito existente entre a ideia da indeterminação dos sentidos afirmada nas obras pré-semióticas (sobretudo o livro Obra aberta, de 1962) e a concepção posterior de que a interpretação do texto literário depara-se com limites instituídos pelo código e pelo que Eco chama de "unidade fundamental dos comportamentos". Em segundo lugar, tentamos mostrar qual é o lugar ocupado por Eco no quadro mais geral das reflexões sobre a interpretação literária; destacam-se, neste momento da tese, as comparações com os teóricos da desconstrução. Em seguida, em meio a essa comparação, percebe-se que Eco volta-se para a teoria da produção dos signos com o intuito de fortalecer suas teses a respeito dos limites da interpretação. Nos dois capítulos finais, portanto, dedicamo-nos, por um lado, a apresentar as ideias de Eco relativas à percepção, à conceitualização do mundo e à intersubjetividade e, por outro lado, problematizamos, do ponto de vista da reflexão estética, o alcance de suas teses, no que diz respeito à interpretação do texto literário. Analisamos, também, a noção de abdução, destacando o papel que ela desempenha na aproximação das duas abordagens semióticas desenvolvidas por Eco em sua obra teórica - a saber, a semiótica como teoria da cultura e a semiótica como produção de signos - e, sobretudo, a importância que ela tem na formulação da teoria dos limites da interpretação de Eco. Em meio às análises, concluímos que a teoria da cooperação interpretativa e dos limites da interpretação de Eco compromete, em grande medida, o aspecto estético da interpretação do texto literário / Abstract: The thesis deals with the theory of interpretative co-operation and the theory of the limits of interpretation within Umberto Eco's theoretical works. Inside its four chapters the thesis aims to cover Eco's writings, by means of the approach of his theory of the codes (from the 1960's and the 1970's) and his theory of sign production, delineated in the books entitled A Theory of semiotics (1975) and Kant and the platypus (1997). First of all, our purpose is to study the conflict between the idea of the indeterminacy of the interpretation affirmed earlier in Eco's pre-semiotic works and the idea according with the interpretation of the literary text stumble upon specific limits imposed by the code and by what Eco calls "behavior fundamental unity". Secondly, we try to show what is the place Eco occupies within the debate about the limits of interpretation, in the realm of the Theory of Literature; at this point, we give special attention to the comparison between Eco's thoughts and the ideas of the thinkers linked to deconstruction trend. After the comparison, we note that Eco turns himself to the theory of sign production in order to make his own beliefs stronger. Therefore, in the last two chapters, we dedicate ourselves, on one hand, to present Eco's reflections on the perception and the conceptualization of the world and the intersubjectivity, and then, on the other hand, we try to render problematic, from the point of view of aesthetics, the range of Eco's ideas on what concerns the literary interpretation. Hence, we analyze the concept of abduction, stressing the role it plays in the merging of both of Eco's semiotic approaches - semiotics as theory of the culture and semiotics as sign production - and, above all, the weight it has in Eco's writings when it comes to the formulation of the thesis according to which there are limits for the literary interpretation. We finish the thesis asserting that Eco's theory of the interpretative co-operation and theory of the limits of the interpretation put in jeopardy the aesthetic features of literary communication / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Expressed Silence: A Study of the Metaphorics of Word in Selected Nineteenth-Century American Texts This dissertation explores the patterned use of certain “metaphors of word”——images of reading, writing, listening, and speaking——in four American texts: Emerson’s Nature, Thoreau’s Walden, Hawthorne’s Scarlet Letter, and Melville’s Moby Dick. Assumed in my discussion is the modern view of metaphor as a cognitive device used, not for mere stylistic ornament, but for creating a certain mental perspective. Based on the perspectival view and on the experiential—gestalt account of metaphor, the structures of these metaphors of word are examined in order to discern the systematic nature of their argument and to determine the cultural and historical reasons why language imagery, and not some other type of imagery, was chosen to represent this argument. After surveying the cultural influences of democracy, mercantilism, Romanticism, and Calvinism, I characterize the metaphoric systems of each text and then move on to a closer study of the role of silence within these systems. From this analysis, I conclude that these nineteenth— century texts reflect a shift away from the book toward the voice as a predominant symbol, and away from writing toward speaking as a privileged metaphor. Language imagery works to represent ways of knowing, so that linguistic and epistemic concerns become inextricably intertwined. The process of using language operates as a metaphor for the process of gaining knowledge. In this metaphorics of word, silence emerges as a particularly striking metaphor in the way that it expresses the coalescence of being and knowing, the realization that we know what we know. In this scheme, metaphors of word structure ways of understanding, and the expressed silence metaphor highlights the way interior speech can function in the discernment of knowledge. Ultimately, I contend that the perspective provided by this nineteenth—century metaphorics of word forecasts the modern view of rhetoric as epistemic. By employing linguistic action as a figure for representing epistemic action, a metaphorics of word promotes an understanding of rhetoric’s primary purpose as the interrogation of truth. / Arts, Faculty of / English, Department of / Graduate