Thesis--Greifswald. / Vita: p. [105]-106. Includes bibliographical references (p. 104).

Thesis--Greifswald. / Vita: p. [105]-106. Includes bibliographical references (p. 104).

The Earthly Paradise was William Morris’s first real success, and it remained his best-known work even after his death. It has not fared as well since the mid-twentieth century, when it became overlooked and problematic, as the Morris of The Earthly Paradise years became coextensive with a portrait of Victorian middle-class myopia. This verdict has been brought to the doors of the poem’s first readers, who are imagined to have liked it for uncomplicated reasons of fashion and entertainment. I reconsider these assumptions by returning to the contemporary reception of the poem to ask what audiences thought about Morris as a public figure, what it was that they so responded to in his work, and what the poem itself says about reception—the relationship between story, audience, and speaker. I argue both within the text and in the reception of it, such relationships are nearly always understood as communal, as storytellers—Morris and those in his text—address audiences as collective publics, and speak on behalf of them. Moreover, this speech is always marked by a mutually inclusive relationship with text, so that stories are properly understood as arising from the discursive field established through the participation, both textual and vocal, of anyone who understands himself or herself addressed by the discourse.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2014-10-17T15:07:49Z No. of bitstreams: 2 Tese - Eduardo Vieira Gervasio - 2013.pdf: 1070897 bytes, checksum: 0ae04a0e29d8726c3a52ead25d470b00 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-10-20T17:21:31Z (GMT) No. of bitstreams: 2 Tese - Eduardo Vieira Gervasio - 2013.pdf: 1070897 bytes, checksum: 0ae04a0e29d8726c3a52ead25d470b00 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-20T17:21:31Z (GMT). No. of bitstreams: 2 Tese - Eduardo Vieira Gervasio - 2013.pdf: 1070897 bytes, checksum: 0ae04a0e29d8726c3a52ead25d470b00 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-11-22 / This work investigates the myth of the earthly Paradise in Brazilian literature in two moments of Brazilian literature. On the one hand, we go through the travel literature and chronicles of the sixteenth and seventeenth centuries who built the image of Brazil as a terrestrial paradise, and secondly, we analyze the review and remitização this same myth revisited by novelist Ana Miranda in the late twentieth century. For this achievement are important theoretical work of Michel de Certeau, Hayden White that provide a study of the relationship between history and literature, since the corpus of work includes, on de one hand, accounts and chronic and, secondly, the historical narratives novelist. For the study of mythical and symbolic content present in the speeches of these authors are important theoretical contributions of Mircea Eliade, Joseph Campbell and Gilbert Durand. To study the myth of the earthly Paradise in the colonial period the authors Sergio Buarque de Holanda and Laura de Mello e Souza, references that support the theoretical discussion of the thesis were used. The task of literary criticism, the study is a contribution to understanding the critical fortune of travel literature and also of novelistic work of Ana Miranda. In the novels demonstrate the echo of ancient myths in his plost, using the mythical fable of the writer. We note that the narrative structures are compromised whit certain immutable and eternal principles that mediate the benchmark instances of the everyday and imaginary, mythological reprinting the prototypes into new configurations. This reprint Ana Miranda reflect on the paradisiacal landscape that suggests that this is just a mirage, which emerges most strongly denouncing a space before Hell than Heaven. The American Paradise, a constant in colonial tradition, it becomes a nightmare, at which Eden is remitized by the author, becoming a place to reverse this blissful garden. / Este trabalho procura investigar o mito do Paraíso Terrestre na literatura brasileira em dois momentos da literatura brasileira. Por um lado, percorremos a literatura de viagem e crônicas dos séculos XVI e XVII que construíram as imagens do Brasil como Paraíso Terrestre e, por outro, analisamos a revisão e a remitização deste mesmo mito revisitado pela romancista Ana Miranda no final do século XX. Para tal realização são importantes os trabalhos teóricos de Michel de Certeau e Hayden White que proporcionam um estudo das relações entre história e literatura, uma vez que o corpus do trabalho contempla, por um lado, relatos e crônicas e, por outro, as narrativas históricas da romancista. Para o estudo do conteúdo mítico-simbólico presente nos discursos destes autores são importantes as contribuições teóricas de Mircea Eliade, Joseph Campbell e Gilbert Durand. Para o estudo do mito do Paraíso Terrestre no período colonial foram utilizados os autores Sergio Buarque de Holanda e Laura de Mello e Souza, referências que sustentam a discussão teórica da tese. Como tarefa de crítica literária, o estudo pretende ser uma contribuição para compreensão da fortuna crítica da literatura de viagens e, também, da obra romanesca de Ana Miranda. Nos romances demonstramos o ressoar de mitos antigos em suas tramas, utilizando-se da fabulação mítica da escritora. Notamos que as estruturas narrativas estão comprometidas com certos princípios imutáveis e eternos que intermedeiam o referencial cotidiano e as instâncias do imaginário, reimprimindo nos protótipos mitológicos em novas configurações. Esta reimpressão em Ana Miranda se reflete na paisagem que sugere o paradisíaco em que este é apenas uma miragem, onde surge com maior força um espaço que denuncia antes o Inferno do que o Paraíso. O Paraíso americano, uma constante na tradição colonial, transforma-se em pesadelo, momento em que o Éden é remitizado pela autora, transformando-se num lugar às avessas deste jardim venturoso.

Si l’iconographie de l’Arbre sec ou arbre sans feuilles de la Légende du bois de la Croix a marqué le Moyen Age, paradoxalement, elle a peu attiré l’attention des historiens de l’art des XXe et XXIe siècles. Afin de combler cette lacune, nous proposons de développer ce thème dans notre thèse de doctorat. Nous montrons l’aspect formel que les images donnent à cet arbre, l’évolution de sa morphologie au fil des siècles, sa période d’apparition, celle de sa disparition, ainsi que le symbolisme qui lui est attaché, un symbolisme puissant, en relation avec la recherche du Salut. Les images qui illustrent un épisode crucial de la Légende du bois de la Croix — la vision de Seth, le fils d’Adam et Eve, avec l’arbre dénudé au centre du Paradis terrestre — constituent le pivot de notre recherche. Viennent se greffer d’autres images de l’Arbre sec, que nous appelons des « variantes » : la représentation de l’Arbre sec de la légende est transposée dans des contextes extra légendaires, tels ceux des romans d’Alexandre le Grand et du Lancelot-Graal, tel celui de la Divine Comédie, ceux du Devisement du monde de Marco Polo et des Voyages de Jean de Mandeville, ou encore du Pèlerinage de l’âme de Guillaume de Digulleville. L’Arbre sec est aussi dans le tableau de Petrus Christus, la Vierge à l’Arbre sec. Les images montrent l’Arbre sec dans un lieu intemporel, ou au Paradis, ou un lieu qui s’apparente au Paradis. Ce végétal est accompagné de la figure du Christ ou de personnages ou d’animaux le symbolisant. Dans tous les cas, le symbolisme fort et multiple de cet arbre sacré est conservé. L’Arbre sec est tout à la fois un rappel de l’arbre de la connaissance du bien et du mal, une évocation de l’arbre de la Croix et de l’arbre de vie. / The iconography of the Dry Tree or leafless tree is present through out the Middle Ages, but paradoxally, its study has only attracted few historians of art of the XXth and XXIst centuries. To compensate for this, we choose to devote our thesis to an extensive study of this tree. We examine the formal aspect given to the Dry Tree depicted in the images, the evolution of its physical form through the centuries, the period when it first appears and when it disappears, as well as the symbolism it carries, a powerful signification related to the quest for Salvation. The core of our research is the images that depict a crucial episod in the Legend of the wood of the Cross — Seth’s vision of the leafless tree of the Earthly Paradise. Other images of the Dry Tree, which we call « variations », are also examined : the theme of the Dry Tree taken from the Legend is transposed in extra-legendary contexts such as in the romances of Alexander the Great and the Lancelot-Graal, the Divine Comedy, the Million by Marco Polo and the Voyages by Jean de Mandeville, as well as the Pilgrimage of the soul by Guillaume de Digulleville. The Dry Tree is also depicted in Our Lady of the Dry Tree by Petrus Christus. The images show the Dry Tree in Paradise or in a place which symbolises Paradise, with Christ in the Dry tree, or figures or animals as symbols of Christ. The powerful and multiple symbolism is present : the Dry Tree is a reference to the tree of the knowledge, to the tree of the Cross and to the tree of life. Therefore, it is no surprise that the images show man in his quest for the Dry Tree, ie in the quest for God.