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The key to an understanding of what Poe attempted to accomplish with his art lies in his depictions of order and disorder in the universe. Poe's explorations of order and disorder revolve around journey and abyss motifs exemplified in his imaginative approaches toward nature, conscience, art, intuition, and apocalypse. These imaginative approaches serve to unify Poe's- work as a whole and emphasize his importance as a questing artist who not only sought to define the shape of reality in terms of stability and chaos but also sought to formulate a final metaphysical ordering of chaos and finitude.

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This study traces archetypal images in selected prose fiction by Edgar Allan Poe and shows his consistent use of such imagery throughout his career, and outlines the archetypal images that Poe uses repeatedly throughout his works: the death of the beautiful woman, death and resurrection, the hero's journey to the underworld, and the quest for forbidden knowledge. The study examines Poe's use of myth to establish and uphold archetypal patterns. Poe's goal when crafting his works was the creation of a single specified effect, and to create his effects, he used the materials at hand. Some of these materials came from his own subconscious; however, a greater portion came from a lifetime of study and his own understanding of the connections between myth and archetypal images.

This study is based upon the prose works of Poe and covers the topis of politics and social reforms, contemporary attitudes toward death, customs, science and pseudo-science, and contemporary literature. The thesis attempts to prove that Poe's works show manifest evidences of his being a product of his times.

Submitted by WALMIRA SODRÉ AUSTRÍACO MORAES null (walmira.sodre@hotmail.com) on 2016-04-12T00:03:48Z No. of bitstreams: 1 TESE MORAES, Walmira Sodré Austríaco .pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-04-13T13:50:30Z (GMT) No. of bitstreams: 1 moraes_wsa_dr_sjrp.pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5) / Made available in DSpace on 2016-04-13T13:50:30Z (GMT). No. of bitstreams: 1 moraes_wsa_dr_sjrp.pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5) Previous issue date: 2016-03-01 / Não recebi financiamento / O corpus desta pesquisa constitui-se dos contos de Edgar Allan Poe, The Domain of Arnheim or Landscape Garden, publicado pela primeira vez em 1847, e Landor’s Cottage. A pendant to “The Domain of Arnheim”, publicado pela primeira vez em 1849. Aos dois contos agrupam-se as pinturas de René Magritte que recebem o mesmo título do conto de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) e The Domain of Arnheim (1962). O recorte materializa-se mediante a análise dos efeitos estéticos e das várias produções de sentidos metafóricos registrados nas telas e nos contos. Para tanto, propomos uma discussão que tem como referencial um processo de interpretação sígnica atravessado por uma historicização da relação original entre Poe e Magritte por meio da análise de outras telas e textos subjacentes àqueles que constituem o objeto da nossa investigação. O estudo constrói uma teia de relações em cuja base está a metáfora – pensada em sua historicidade dinâmica – considerada como princípio, meio e fim das injunções estabelecidas. Estimamos, como prioridade, o deslocamento histórico-estético que essa figura sofreu, e a contextualização destaca, portanto, a sua ação transformadora pela qual literatura e pintura interagem por semelhança, por similitude e/ou por dessemelhança. Nesse sentido, a relação dialética proposta constitui-se, no âmbito de nossas discussões, pelo predomínio da metáfora a partir de suas atuações no discurso literário e pictórico e entre eles, e, ainda, em face dos seus deslocamentos. Essa relação privilegia a formação de um quadro teórico que alinhe o ut pictura poesis aos efeitos advindos do uso da metáfora, o que possibilita, a nosso ver, a aproximação efetiva entre literatura (Poe) e pintura (Magritte), com ênfase, sobretudo, nas relações de similaridades estruturais que mantêm entre si. / The corpus of this dissertation is the short stories by Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, first published in 1847, and Landor’s Cottage. A pendant to “The Domain of Arnheim” first published in 1849. To both tales are the paintings by René Magritte that receive the same title of Poe's short stories: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) and The Domain of Arnheim (1962). The focus of the research is the analysis of the aesthetic effects and of the various productions of metaphorical meanings registered on the canvas by René Magritte and the short stories by Edgar Allan Poe. In order to accomplish this objective, this dissertation develops a discussion that has as a reference the process of meaning interpretations permeated by a historicization of the original relationship between the two artists through the analysis of other paintings and texts underlying those that, effectively, are the object of the present research. The analysis established with relationships whose base is the metaphor - thought in its dynamic historicity - considered as beginning, middle and end of the established relationships. The study focuses, in the first place, the historical-aesthetic displacement that the metaphor has gone through and this contextualization emphasizes, therefore, the transforming action of this figure of speech through which literature and painting interact between themselves by similarity and/or dissimilarity. In this sense, the dialectical relationship proposed constituted by the predominance of the metaphor from its performances in the literary and pictorial discourse and between themselves and, above all, in their movements. This relationship favors the formation of a theoretical framework that aligns the ut pictura poesis of the effects arisen out of the use of the metaphor, which enables a more effective link between literature (Poe) and painting (Magritte) with emphasis, especially, on the relationship among their structural similarities. / El corpus de esta investigación es los cuentos de Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, publicada por primera vez en 1847, y Landor’s Cottage. A pendant to “The Domain of Arnheim”, publicada por primera vez en 1849. Los dos cuentos se agrupan las pinturas de René Magritte que reciben el mismo título del cuento de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) y The Domain of Arnheim (1962). La delimitación se materializa a través del análisis de efectos estéticos y de las diversas producciones de significados metafóricos inscritos en las pantallas de René Magritte y los cuentos de Edgar Allan Poe. Para este, el trabajo se presenta un debate que tiene como referencia proceso de interpretación medio atravesado por un historicismo la relación original entre los dos artistas mediante el análisis de textos y otras pantallas que aquellos que, efectivamente, son el objeto de esta investigación. El análisis se basa una red de relaciones en que la base es una metáfora, pensaba en su historicidad, considerado como principio, medio y fin de las relaciones establecidas. Según las estimaciones del estudio, como una prioridad, el desplazamiento historia y estética que la metáfora ha sufrido y esta contextualización se destaca, por lo tanto, a la acción transformadora de esta figura por que la literatura y la pintura interactuar por similitud o disimilitud. En este sentido, la relación dialéctica propuesta se lleva a cabo por un predominio de la metáfora de sus actuaciones en los discursos literarios, pictóricos y entre ellos y, sobre todo, en sus desplazamientos Esta relación favorece la formación de un marco teórico que pueda alinear el ut pictura poesis de los efectos derivados de la utilización de la metáfora, lo que hace que el enfoque más eficaz entre la literatura (Poe) y la pintura (Magritte) con énfasis, especialmente en las relaciones de similitud estructural que mantiene entre ellos.

Submitted by Nadir Basilio (nadirsb@uninove.br) on 2018-01-24T20:10:40Z No. of bitstreams: 1 Joel Santos de Abreu.pdf: 1629144 bytes, checksum: a4cd3a9bd64f9256947ec337fdc873d5 (MD5) / Made available in DSpace on 2018-01-24T20:10:40Z (GMT). No. of bitstreams: 1 Joel Santos de Abreu.pdf: 1629144 bytes, checksum: a4cd3a9bd64f9256947ec337fdc873d5 (MD5) Previous issue date: 2017-09-25 / The objective of study in this dissertation is aimed to understand the affectivity in regards to the complex perspective of Edgar Morin and the psychoanalysis of Sigmund Freud. We have listed the specific objective as the following: to analyze the influences of affectivity in education. The following questions have been addressed: What are the contributions of Morin and Freud to the concept of affectivity? What are the influences of the use of affectivty in education? The nature of this research focuses on the bibliography and scholarly works of Morin and Freud. In the course of the research, it has been noted that the phenomena of affectivity are varied, constant and unavoidable. They permeate the entire life of any individual. In interpersonal relationships, their manifestations and influences are intense. Especially when they involve children and adolsecents, who are extremely vulnerable, because they are in the midst of forming their own character. Affectivity is positive when it is in the sphere of emotions of subjective well-being, and it can be of great contribution to the performance of the educator in the classroom through the processes of tachinha and learning. However, when affectivity is negative, it can lead to conflicts within a group, which can be very detrimental to the group’s goals. Interpersonal relationships are charged with antagonistic influences within them, which involve the defense mechanisms that are universal to every individual. Often times, teachers can unconsciosuly influence their students in a very negative way. Therefore, in the field of education, the search for knowledge in regards to the functioning of the human mind by the teacher can be of great benefit. The educator who invests in the pursuit of this type of knowledge, with no doubt, has the plausible attempt to be successful in his or her pedagogical practice. / Esta disertación tuvo como objeto del estudio la afectividad de la perspectiva del pensamiento complejo de Edgar Morin y del psicoanálisis de Sigmund Freud. Como objetivo específico, elencamos lo siguiente: analizar las influencias de la afectividad en la educación. Las siguientes preguntas fueron dirigidas: ¿Cuáles son las contribuciones de Morin y Freud sobre la afectividad? ¿Cuáles son las influencias de esa función psíquica en la educación? Se trata de una investigación de naturaleza bibliográfica pautada en diferentes obras de estos dos autores. En el transcurso de la investigación, se percibió que, los fenómenos afectivos son variados, constantes e inevitables. Permanece en la vida entera de cualquier individuo. En las relaciones interpersonales sus manifestaciones e influencias son mucho más intensas. Principalmente, cuando involucra a niños y jóvenes por seren extremadamente vulnerables, por estar en plena fase de formación de carácter. La afectividad cuando es positiva, por encontrarse en la esfera de las emociones de bienestar subjetivo, puede ser de gran contribución para el desempeño del educador en el aula, en el proceso de enseñanza y aprendizaje. Cuando, sin embargo, negativa, su tendencia es de causar conflictos de consecuencias muy perjudiciales a los objetivos de un grupo. Las relaciones interpersonales son cargadas de influencias antagónicas entre sí, que constituyen el universo psíquico de todas las personas. A menudo, inconscientemente, los profesores pueden influenciar a sus alumnos de manera bastante negativa. Por lo tanto, en la educación, la búsqueda de conocimientos sobre el funcionamiento de la mente humana por parte del docente, podrá ser de gran beneficio. El educador que invierte en la búsqueda de ese conocimiento, sin duda, tiene el plausible intento de tener éxito en su práctica pedagógica. / Esta dissertação teve como objeto de estudo a afetividade sob a perspectiva do pensamento complexo de Edgar Morin e da psicanálise de Sigmund Freud. Como objetivo específico elencamos o seguinte: analisar as influências da afetividade na educação. Orientaram a pesquisa as seguintes questões: Quais as contribuições de Morin e Freud a respeito da afetividade? Quais as influências dessa função psíquica na educação? Tratou-se de uma pesquisa de natureza bibliográfica pautada em diferentes obras desses dois autores. No decorrer da pesquisa, percebeu-se que, os fenômenos afetivos são variados, constantes e inevitáveis. Permeiam a vida inteira de qualquer indivíduo. Nos relacionamentos interpessoais suas manifestações e influências são bem mais intensas. Principalmente, quando envolvem crianças e jovens por serem extremamente vulneráveis, por estarem em plena fase de formação de caráter. A afetividade quando positiva, por se encontrar na esfera das emoções de bem-estar subjetivo, pode ser de grande contribuição para o desempenho do educador em sala de aula, no processo de ensino e de aprendizagem. Quando, porém, negativa, sua tendência é causar conflitos de consequências muito prejudiciais aos objetivos de um grupo. As relações interpessoais são carregadas de influências antagônicas entre si, que constituem o universo psíquico de todas as pessoas. Muitas vezes, inconscientemente, os professores podem influenciar seus alunos de maneira bastante negativa. Portanto, na educação, a busca de conhecimentos sobre o funcionamento da mente humana por parte do docente, poderá ser de grande benefício. O educador que investe na busca desse saber, sem dúvida, tem o plausível intento de ser bem-sucedido em sua prática pedagógica.

Some of the most interesting facets of Edgar Allan Poe's fiction are his imaginative speculations concerning the metaphysical experiences of the soul, the individual psychic "identity." His interest focuses primarily on three related aspects of the soul's experiences (1) metempsychosis (or reincarnation and transmigration); (2) suspension between "death" and the after-life or states of unconsciousness and consciousness, sleep and waking; and (3) the terrors, real or imagined, of premature burial.

For the purpose of this study, Poe's tales were read and considered carefully in chronological order, the idea being to discover growth and development. Poe's literary career was relatively brief (1832-1849), and there are no dramatic or definite breaks or periods. Though his production shows growth in sophistication and artistry, it has been deemed more instructive to group Poets first-person narrators according to the part they play in the story, that is, (1) main actor or protagonist, (2) minor character, (3) observers and (4) combinations of the foregoing three. An attempt will be made to note both variation and pattern, and hence artistic skill, in Poe Is handling of each particular type of narrator.

In the last twenty-five years there has been a boom in scholarship on Charles Brockden Brown that connects his work to social developments that occurred in the early American republic. Brown scholars often read him as a man ahead of his time as his writing addresses, hints at, or even inverts social mores. The scholarship around Brown's novel Edgar Huntly has concentrated on how the narrative addresses westward expansion and white settlers' relationship with Native Americans or the ways in which Edgar Huntly connects to Revolutionary society. Kate Ward Sugar engages with this narrative in a different way, exploring the dynamic of sleepwalking as a way to address male homosocial bonds. Scholars though continue to side step the eroticism within this narrative and the implications of somnambulism's status as a mental illness being tied to an unnamed desire. My thesis will therefore address this gap in the scholarship by integrating a queer and historicist reading of Edgar Huntly to suggest that Brown's use of sleepwalking is done to reflect a social fear of the homoerotic. It is the goal of my thesis to explore Edgar Huntly as a narrative that weaves the danger of sodomy to sleepwalking, suggesting an implicit relationship between madness, illness, and same-sex desire. In order to fulfill this goal this thesis will employ a queer historicist approach, which aims to engage with the ambiguity of Brown's work to reveal insights into the early American republic. After all as Brown wrote in Edgar Huntly, "There are two modes of drawing forth the secrets of another, by open and direct means and by circuitous and indirect" (4). To develop this paper's argument, I will need to explore the casual relationship between the loss of Waldegrave's letters and Edgar's emotional distress as the cause of his sleepwalking. Brown himself described this as, "...a supposition not to be endured. Yet ominous terrors haunted me", as Edgar's dread is fixated upon the potential of an unauthorized reader seeing these texts (91). Furthermore, close readings of Brown's description of Edgar's fixation on Clithero will highlight his unspeakable desire. This relationship will also allow us to later compare their fates as Clithero becomes, "a madman whose liberty is dangerous, and who requires to be fettered and imprisoned as the most atrocious criminal," while Edgar leaves for Europe with his fiancé (193). Finally, drawing upon medical and legal texts from this period will show how Edgar Huntly suggests a pathologization of sexuality within the time period, in particular the developing figure of a secularized sodomite. This reading of Edgar Huntly not only expands the scholarship on sexuality in Brown's writing, but also the history of sexuality, pointing towards a social development currently unexplored by scholars of the early American republic.