Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-05-12T12:54:41Z No. of bitstreams: 1 YURE DE FREITAS PIRES.pdf: 1239854 bytes, checksum: d8a54fb67c48c869478b3188e1d826ef (MD5) / Made available in DSpace on 2017-05-12T12:54:42Z (GMT). No. of bitstreams: 1 YURE DE FREITAS PIRES.pdf: 1239854 bytes, checksum: d8a54fb67c48c869478b3188e1d826ef (MD5) Previous issue date: 2017-02-15 / This work contributes to the definition and understanding of the science fiction that both lacks clarification and definition for many admirers or not, both scholars and readers, for confusing a science fiction with other styles, those arising from fantasy, horror, realism, realism Fantastic, among many others. We draw a time line with three works of science fiction to more effectively demonstrate a regency of his art about facts that permeate a reality and imaginary, a science and a literature. Such works as What are The War of the Worlds by H. G. Wells, 1984 by George Orwell and The Martian Chronicles by Ray Bradbury. In addition to the portrayal here as functions that differ from the elements inherited from other literary genres and their transmutations, a question of an element for man throughout his evolutionary process, a war. We use war as the most defining of scientific and technological progress, banks are broadly defined in these three works. And finally, about these requirements, what is more inherent in science fiction is its feedback between the real and imaginative, imaginative and real. / Este trabalho vem colaborar para uma compreensão a mais da ficção científica por leitores a fim de que não confundam a ficção científica com outros estilos, já que essa ficção advém da fantasia, horror, realismo, realismo fantástico, entre diversos outros sedimentos. Traçamos uma linha temporal com três obras de ficção científica para demonstrar, com mais eficiência a regência de sua arte sobre fatos que permeiam a realidade e o imaginário, a ciência e a literatura. São objetos de estudo as A Guerra dos Mundos de H. G. Wells, 1984 de George Orwell e As Crônicas Marcianas de Ray Bradbury. Além de retratar aqui as funções que se diferenciam dos elementos herdados de outros gêneros literários e suas transmutações, cunhamos a questão de um elemento chave para o homem em seu processo evolutivo, a guerra. Usamos a guerra como maior definidor do progresso científico e tecnológico, os quais são amplamente descritos nestas três obras. E por fim, sobre esses requisitos, o que mais é inerente à ficção científica é sua retroalimentação entre o real e imaginativo, imaginativo e real.

This thesis argues for a revised understanding of time in modernist literature. It challenges the longstanding critical tradition that has used the French philosopher Henri Bergson's distinction between clock-time and durée to explicate time in the modernist novel. To do so, it replaces Stephen Kern's influential understanding of modernity as characterized by the solidification of a homogenous clock-time, with Peter Osborne’s notion of modernity as structured by a competing range of temporalizations of history. The following chapters then read the fictional and historical writings of H. G. Wells, D. H. Lawrence and Virginia Woolf alongside such a conception of modernity, and show that all these writers explored different versions of historical time. Wells explored geological time in The Time Machine (1895) and An Outline of History (1920), Lawrence adapted Friedrich Nietzsche's thought of eternal recurrence in Women in Love (1920), Movements in European History (1921) and Lady Chatterley's Lover (1928), and Woolf imagined an aeviternal historical continuity and a phenomenological historical time in Between the Acts (1941). By addressing historical time, this thesis enables a reassessment of the politics of modernist time. It challenges the view that the purported modernist exploration of a Bergsonian private time constitutes an asocial and ahistorical retreat from the political. Rather, by transferring Osborne's notion of a 'politics of time' to the literary sphere, this study argues that the competing configurations of politically-charged historical time in literary modernism, form the analogue of the competing versions of such a time within modernity, emblematized by the contrasting accounts of historical time of Martin Heidegger and Walter Benjamin.

This thesis investigates the rise of aviation and its influence on modernist literature in the first half of the twentieth century, arguing that the emergence of heavier-than-air flight facilitated experimentation and innovation in modernist writing in order to capture the new experience of flight and its impact on the modern world. Previous critical discussions largely focus on militarist and nationalist ideas and beliefs regarding the uses of the aeroplane, and in doing so overlook the diversity of attitudes and approaches towards aviation that had greater influence on modernist thought. Through a historicist reading of a selection of modernist texts, this study extends scholarly debates by linking alternative views of aviation and modernist literary and narrative experimentation. I begin my study by exploring how H.G. Wells's calls for the establishment of a world government (necessitated by the emergence of aviation) led to an increasingly assertive and urgent tone in his later writings. His works serve as a useful starting point to read the more experimental, modernist prose forms that follow in his wake. While Wells's texts were affected on a pragmatic level, those of the modernists were affected in a more imaginative, perceptual, and sensory way, which highlights the deeper extent to which aviation influenced modernist thought. For Virginia Woolf, the all-encompassing aerial view offered a new way of seeing the connections between living things, leading to an expanded narrative scope in her later writings. For William Faulkner, flight as aerial performance and spectacle was a liberating experience and became a metaphor for escape from an increasingly capitalistic and creativity-deprived world. John Dos Passos, in contrast, saw the effects of air travel as harmful to the human senses and perceptions of the world around, leading him to incorporate aspects of flight into his fast-paced, multi-modal narratives in order to convey and critique the disorienting and alienating experience of flight. Collectively, these chapters show that as much as the aeroplane was capable of causing mass destruction, it was also constructive in the way that it enabled these new ways of thinking, and it is this complex and paradoxical nature, this thesis proposes, that makes the aeroplane an important modernist symbol.

H. G Wells’s novel The Time Machine is a significant work of science fiction that dramatizes the themes of degeneration and social inequality, themes that were very relevant during the Victorian era in relation to the discovery of evolution. Degeneration was seen as the degradation of society into primitiveness far from the Victorian standards, and the problem of social difference, where the gap between poor and rich was very wide, became the visible proof of the difference between the evolved and civilized and the degenerated and primitive. The purpose of this essay is to analyse how the frame narrative, the story surrounding the main adventure, affects the theme of degeneration in the novel. The framework reveals the reactions of the people present at the dinner parties, where the Time Traveller recounts his journey into a degenerated future. The guests are all representing different factions of Victorian society, such as the Provincial Mayor, the Very Young Man and the Editor who all have their own motives and agendas in relation to degeneration, social differences and time travel. By examining the guests’ individual motives, the essay argues that they do not want to believe in time travel since it would include believing in a degenerated future where all the glory of their present-day Victorian era would crumble into chaos and pandemonium. This essay shows that by denying the relevance of the Time Traveller’s story, despite the evidence presented, the dinner guests are condemning themselves to the degenerated future they are afraid of, hence making the novel a warning example of not accepting new ideas.

<p>"I Have Dreamed a Dream..." is an analysis of the three short stories "Mr Skelmersdale in Fairyland", "The Door in the Wall" and "A Dream of Armageddon" by H.G. Wells. The essay makes a comparison of the three short stories from the perspectives of the dreamland, the inner struggle of the protagonist and the message of the story. The purpose is to show that the three seemingly similar short stories have different outcomes and deliver different messages to the reader. The essay finally presents a theory of how these messages coincide despite their differences.</p> / <p>"Jag har drömt en dröm..." är en analys av de tre novellerna "Mr Skelmersdale in Fairyland", "The Door in the Wall" och "A Dream of Armageddon" av H.G. Wells. Uppsatsen gör en jämförelse av de tre novellerna utifrån tre perspektiv: drömvärlden, huvudpersonens inre kamp och historiens budskap. Syftet är att visa hur de tre till synes lika novellerna har olika resultat och presenterar olika budskap till läsaren. Uppsatsen framför slutligen en teori för hur dessa budskap överensstämmer trots sina olikheter.</p>

The financial crisis of 2008 has been the most significant global economic phenomenon of the new century. Sudden and largely unanticipated, this crisis nonetheless marks the latest in a series of financial panics that forms a welldocumented feature of finance capitalism stretching back to the Dutch Tulip Bubble of 1637 and beyond, including such notorious crises as the South Sea Bubble of 1720, the Railway Shares panics of 1837 and 1847, the Wall Street Crash of 1929, and Black Monday in 1987. These and other crises have fostered a complex and diverse intellectual response - particularly since the South Sea Bubble - that has included interventions not only from economists and economic historians, but poets, dramatists, novelists, and others. This raises the question of whether the novel’s contribution to our wider understanding of financial crises has been fully acknowledged and assessed. In this thesis, the complex and shifting relationship between literary and non-literary responses to financial crisis is explored through an examination of the ideas of political economists, philosophers, journalists, financiers, and others, including Adam Smith, David Ricardo, Lord Overstone, Walter Bagehot, Herbert Spencer, Thorstein Veblen, Joseph Schumpeter, and J.M. Keynes, that situates their theories alongside readings of novels of financial crisis from the 1850s onward.

"I Have Dreamed a Dream..." is an analysis of the three short stories "Mr Skelmersdale in Fairyland", "The Door in the Wall" and "A Dream of Armageddon" by H.G. Wells. The essay makes a comparison of the three short stories from the perspectives of the dreamland, the inner struggle of the protagonist and the message of the story. The purpose is to show that the three seemingly similar short stories have different outcomes and deliver different messages to the reader. The essay finally presents a theory of how these messages coincide despite their differences. / "Jag har drömt en dröm..." är en analys av de tre novellerna "Mr Skelmersdale in Fairyland", "The Door in the Wall" och "A Dream of Armageddon" av H.G. Wells. Uppsatsen gör en jämförelse av de tre novellerna utifrån tre perspektiv: drömvärlden, huvudpersonens inre kamp och historiens budskap. Syftet är att visa hur de tre till synes lika novellerna har olika resultat och presenterar olika budskap till läsaren. Uppsatsen framför slutligen en teori för hur dessa budskap överensstämmer trots sina olikheter.

The thesis aims to give an overview of the treatment of media in texts that have formed modern dystopian writing and to which new additions in the genre necessarily relate. This set of texts consists of George Orwell's Nineteen Eighty-Four, Aldous Huxley's Brave New World and When the Sleeper Awakes by H. G. Wells; first chapter substantiates this selection and proceeds to define the concepts of "media" and "dystopia". Second chapter is concerned with the understanding of history in dystopian societies and shows that the very concept of historicity is undesirable for a totalitarian state, which seeks to blur history and reduce it to a three-point schema "before the Event - the Event (revolution) - after the Event". Closer analysis then shows that the Event itself can be divided into a further triad that has to be completed in order to pass into eternal post-Event society. Third chapter describes the use of citizens as media and shows that while Huxley's society uses what Michel Foucault calls "biopower" to achieve this goal, Orwell's society rather uses the concept of "discipline". Fourth chapter turns to printed media a the privileged role they are ascribed in the novels: The authors see literature as an embodiment of individuality and, at the same time, as a guarantee of tradition established by an...