Zugl.: Berlin, Humboldt-Universiẗat, Diss.

Thesis (M.A.)--Florida State University, 2005. / Advisor: Dr. Helen Burke, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 19, 2005). Document formatted into pages; contains v, 62 pages. Includes bibliographical references.

No description available.

Scholars argue that Coetzee’s novels critique and disavow the origins and legacy of the novel tradition and its influence on the contemporary novel. They also claim that J.M. Coetzee’s novels herald in the demise of the contemporary novel. These interpretations are motivated by the political readings of postcolonialism and postmodernism. The premise of this dissertation is to depart from those postcolonial and postmodern approaches and offer close readings of Coetzee’s novels through the origins and legacy of the early eighteenth-and nineteenth century novel. My study argues that several of Coetzee’s novels allude to the intellectual, historical, and cultural legacies of the eighteenth-and nineteenth-century novel. I argue that the origin and rise of the English novel and its subgenres provide Coetzee with ideas to use in his own novels. These paradigms in Coetzee’s novels espouse —rather than renounce — the influence and tradition of the early novel, showing that its inspiration remains relevant in the contemporary novel. Thus, the general premise of this dissertation is that Coetzee does not necessarily “write back” to the canon and the origins of English novel, but rather he writes through and with those enduring forms and structures. This study shows that there are literary connections between the early beginnings of the novel and the contemporary novel that offer cogent examinations —examinations that find compromise between the past and present rarely made through postcolonial or postmodern approaches.

No description available.

It is the purpose of this paper to illustrate from the novels themselves that Defoe's protagonists are essentially isolated individuals and that this isolation is the result of the circumstances of their births, the nature of their professions, their spiritually isolating religious beliefs, and their attitudes toward their fellow men.

Esta tese apresenta um estudo sobre a criação literária de Daniel Defoe, Robinson Crusoé, escrita em 1719. Seu estatuto de obra clássica com inúmeras adaptações inserea numa cadeia discursiva de porte extraordinário, na qual o personagem revela-se um mito. O presente estudo, alicerçado no conceito de compreensão criadora de Mikhail Bakhtin, buscou uma ampliação de sentidos na análise do objeto empírico, com os seguintes objetivos: questionar um possível uso de obras clássicas como fetiches, o esvaziamento de seus sentidos e averiguar a hipótese de Robinson Crusoé ser um protótipo do homem como ser de linguagem, metalinguístico. O levantamento de tal hipótese foi possível pela concepção da dialogia da linguagem, entendida no conceito do Círculo de Bakhtin. A metodologia utilizada constou de sucessivas leituras da obra em questão, seleção de atos de linguagem expressos pelo personagem e sua categorização. A partir daí foram buscadas as representações do Outro nos enunciados de Robinson durante o período de seu total isolamento na ilha em que naufragou; a procura foi norteada pelo conceito da constituição dialógica da palavra, dado que no contexto de enunciação não havia presença real de interlocutores. Como forma de enfatizar o caráter dialógico da linguagem, realizou-se, também, uma seleção de marcas do Outro no relato autobiográfico do personagem (a obra em seu todo), algumas delas explicitamente visualizadas. As reflexões de diferentes autores acham-se presentes neste estudo: Roland Barthes, Michel de Certeau, Jeanne Marie Gagnebin, Ivonne Bordelois, Zygmunt Bauman, Dominique Maingueneau, Fernando Savater, David Olson, George Steiner. Os resultados do trabalho atestam a propriedade da hipótese formulada e demonstram a força da linguagem na vida humana, confirmando a necessidade de valorização da palavra em meio à crise cultural presente na modernidade líquida. / The following thesis presents a study on Daniel Defoes literary creation Robinson Crusoe, written in 1719. Its status as a literary classic that has been the subject of endless adaptations gives Robinson Crusoe an extraordinary position in the discursive chain, revealing the character as a myth. The present study, based on Mikhail Bakhtins concept of creative understanding, sought to amplify the meanings in the analysis of its empirical object, with the following aims: to question the possible use of classic works as fetishes, to empty its meanings and to investigate the hypothesis of Robinson Crusoe being a prototype of man as a being of language, a metalinguistic being. This hypothesis was enabled by the concept of the dialogism of language, understood within the concept of Bakhtins Circle. The methodology employed consisted of successive readings of the work, the selection of acts of language expressed by the character, and their classification into categories. From this basis, the representations of the Other in Robinsons enunciations during his period of total isolation on the island where he was shipwrecked were sought; the search was guided by the concept of the dialogic constitution of speech, since within the context of the enunciation there were no actual conversational partners present. To stress the dialogic character of language, a selection was also made of the signs of the Other in the characters autobiographical account (the work as a whole), some of which were explicitly visualized. The reflections of different authors are present in this study: Roland Barthes, Michel de Certeau, Jeanne Marie Gagnebin, Ivonne Bordelois, Zygmunt Bauman, Dominique Maingueneau, Fernando Savater, David Olson, and George Steiner. The results of this study confirm the correctness of the hypothesis proposed and demonstrate the strength of language in human life, supporting the need to value speech in the midst of the cultural crisis of liquid modernity.

Esta tese apresenta um estudo sobre a criação literária de Daniel Defoe, Robinson Crusoé, escrita em 1719. Seu estatuto de obra clássica com inúmeras adaptações inserea numa cadeia discursiva de porte extraordinário, na qual o personagem revela-se um mito. O presente estudo, alicerçado no conceito de compreensão criadora de Mikhail Bakhtin, buscou uma ampliação de sentidos na análise do objeto empírico, com os seguintes objetivos: questionar um possível uso de obras clássicas como fetiches, o esvaziamento de seus sentidos e averiguar a hipótese de Robinson Crusoé ser um protótipo do homem como ser de linguagem, metalinguístico. O levantamento de tal hipótese foi possível pela concepção da dialogia da linguagem, entendida no conceito do Círculo de Bakhtin. A metodologia utilizada constou de sucessivas leituras da obra em questão, seleção de atos de linguagem expressos pelo personagem e sua categorização. A partir daí foram buscadas as representações do Outro nos enunciados de Robinson durante o período de seu total isolamento na ilha em que naufragou; a procura foi norteada pelo conceito da constituição dialógica da palavra, dado que no contexto de enunciação não havia presença real de interlocutores. Como forma de enfatizar o caráter dialógico da linguagem, realizou-se, também, uma seleção de marcas do Outro no relato autobiográfico do personagem (a obra em seu todo), algumas delas explicitamente visualizadas. As reflexões de diferentes autores acham-se presentes neste estudo: Roland Barthes, Michel de Certeau, Jeanne Marie Gagnebin, Ivonne Bordelois, Zygmunt Bauman, Dominique Maingueneau, Fernando Savater, David Olson, George Steiner. Os resultados do trabalho atestam a propriedade da hipótese formulada e demonstram a força da linguagem na vida humana, confirmando a necessidade de valorização da palavra em meio à crise cultural presente na modernidade líquida. / The following thesis presents a study on Daniel Defoes literary creation Robinson Crusoe, written in 1719. Its status as a literary classic that has been the subject of endless adaptations gives Robinson Crusoe an extraordinary position in the discursive chain, revealing the character as a myth. The present study, based on Mikhail Bakhtins concept of creative understanding, sought to amplify the meanings in the analysis of its empirical object, with the following aims: to question the possible use of classic works as fetishes, to empty its meanings and to investigate the hypothesis of Robinson Crusoe being a prototype of man as a being of language, a metalinguistic being. This hypothesis was enabled by the concept of the dialogism of language, understood within the concept of Bakhtins Circle. The methodology employed consisted of successive readings of the work, the selection of acts of language expressed by the character, and their classification into categories. From this basis, the representations of the Other in Robinsons enunciations during his period of total isolation on the island where he was shipwrecked were sought; the search was guided by the concept of the dialogic constitution of speech, since within the context of the enunciation there were no actual conversational partners present. To stress the dialogic character of language, a selection was also made of the signs of the Other in the characters autobiographical account (the work as a whole), some of which were explicitly visualized. The reflections of different authors are present in this study: Roland Barthes, Michel de Certeau, Jeanne Marie Gagnebin, Ivonne Bordelois, Zygmunt Bauman, Dominique Maingueneau, Fernando Savater, David Olson, and George Steiner. The results of this study confirm the correctness of the hypothesis proposed and demonstrate the strength of language in human life, supporting the need to value speech in the midst of the cultural crisis of liquid modernity.

O escritor ganhador do Prêmio Nobel de Literatura John Maxwell Coetzee publicou Foe em 1987. Ao lermos esse romance, somos imediatamente levados à ilha de Robinson Crusoe - e, conseqüentemente, ao mundo ficcional de Daniel Defoe. O objetivo deste trabalho é tomar a leitura da obra Foe, de Coetzee, como um comentário sobre a estética de construção de um romance. Esta é uma dissertação argumentativa, dividida em três partes. O primeiro capítulo introduz o autor e contextualiza as discussões sobre a Escrita, a História e a Ficção. O segundo capítulo traz o suporte teórico, que consiste na apresentação das idéias de Linda Hutcheon sobre Historiografia e nas conceitualizações sobre Meta-ficção, de Patricia Waugh. Ambas conduzem à referência poética ao Anjo da História feita por Walter Benjamin. A terceira parte comenta o romance Foe e o insere no conjunto da obra de Coetzee, apontando elementos compartilhados com os outros romances do autor. Na conclusão, espero validar a tese proposta, de que Foe é realmente um romance auto-reflexivo que reflete as condições de produção de sua época. / Nobel prize winner John Maxwell Coetzee published Foe in 1987. When reading that novel, we are taken back to Robinson Crusoe’s island – and, consequently, to the world of Daniel Defoe’s fiction. The aim of this work is to undertake the reading of Coetzee’s Foe as a study on the aesthetics of novelmaking. This is an argumentative thesis, divided into three parts. Chapter one introduces the author and contextualizes the discussions on Writing, History and Fiction. Chapter two brings the theoretical background, that consists of the presentation of Linda Hutcheon’s ideas about Historiography and Patricia Waugh’s conceptualizations on Metafiction, both of them relating to Walter Benjamin’s poetic reference to the Angel of History. The third part submits an analysis of Foe, and connects this novel with the other works written by Coetzee. In the conclusion, I hope to validate the thesis proposed, that Foe is, ultimately, a self-reflexive novel that reflects the aesthetics of novel making of its own time.

O escritor ganhador do Prêmio Nobel de Literatura John Maxwell Coetzee publicou Foe em 1987. Ao lermos esse romance, somos imediatamente levados à ilha de Robinson Crusoe - e, conseqüentemente, ao mundo ficcional de Daniel Defoe. O objetivo deste trabalho é tomar a leitura da obra Foe, de Coetzee, como um comentário sobre a estética de construção de um romance. Esta é uma dissertação argumentativa, dividida em três partes. O primeiro capítulo introduz o autor e contextualiza as discussões sobre a Escrita, a História e a Ficção. O segundo capítulo traz o suporte teórico, que consiste na apresentação das idéias de Linda Hutcheon sobre Historiografia e nas conceitualizações sobre Meta-ficção, de Patricia Waugh. Ambas conduzem à referência poética ao Anjo da História feita por Walter Benjamin. A terceira parte comenta o romance Foe e o insere no conjunto da obra de Coetzee, apontando elementos compartilhados com os outros romances do autor. Na conclusão, espero validar a tese proposta, de que Foe é realmente um romance auto-reflexivo que reflete as condições de produção de sua época. / Nobel prize winner John Maxwell Coetzee published Foe in 1987. When reading that novel, we are taken back to Robinson Crusoe’s island – and, consequently, to the world of Daniel Defoe’s fiction. The aim of this work is to undertake the reading of Coetzee’s Foe as a study on the aesthetics of novelmaking. This is an argumentative thesis, divided into three parts. Chapter one introduces the author and contextualizes the discussions on Writing, History and Fiction. Chapter two brings the theoretical background, that consists of the presentation of Linda Hutcheon’s ideas about Historiography and Patricia Waugh’s conceptualizations on Metafiction, both of them relating to Walter Benjamin’s poetic reference to the Angel of History. The third part submits an analysis of Foe, and connects this novel with the other works written by Coetzee. In the conclusion, I hope to validate the thesis proposed, that Foe is, ultimately, a self-reflexive novel that reflects the aesthetics of novel making of its own time.