No description available.

No description available.

This doctoral dissertation, «The Retrospective Novel: The Romance of the Self,» focuses on the relationship between literary genres, ideology, and history. The novels I analyze are widely regarded as masterpieces of the last two centuries of Western literature. They include works by authors such as Melville, Conrad, Gide, Pirandello, Svevo, Roth, Faulkner, and Mann. All these novels present a biographical structure, in which the life of the protagonist is narrated retrospectively either by the hero himself (like in Pirandello’s Mattia Pascal) or by one of his friends (as in Thomas Mann’s Doctor Faustus). The research aims to examine the relationship between the retrospectivity of these novels and the rise of modern bourgeois society. The goal is to define the retrospective novel as a genre that, by continuing the Romantic tradition, reacts to Western ideas of modernity and to the realist novel. The dissertation discusses the formal features of retrospective novels to investigate the relationship between the crisis of linear plots and the existence of tragic heroes. The analysis takes into consideration the tension between polyphony and monologism, the combination of essayism and narration, and the importance of a centralized moral point of view that questions the predominant moral discourse of society. The discussion of these formal aspects of retrospective novels lets emerge the craving for epic anti-bourgeois heroes that characterizes retrospective novels. By employing a novel theoretical framework, the dissertation aims to reappraise capital texts of the Western canon and to reevaluate the underestimated influence of Romanticism on the development of the modern Western novel.

Indiana University-Purdue University Indianapolis (IUPUI) / This project responds to previous available literature on the subject of heroism, which tends to deal with either an isolated work or with genre- and archetype-specific analysis, and applies their concepts to case studies of Frank Miller’s various heroic models. In particular, this project addresses the film Sin City and the graphic novel The Dark Knight Strikes Again, arguing that DK2 serves as a departure of sorts from Miller’s ideals of heroism in his middle years (such as those presented in Sin City), as the protagonist becomes more of a revolutionary engaged in revamping society than the vigilante or “lone wolf” on the fringes of society. With the aforementioned sources as a general background, it is evident that Miller’s heroic ideals shift in their active capacity and scope but remain more or less steady in their strong individual sense of ethical duty. In addition, these sources aid in establishing the comparisons Miller actually invites to traditional, “archetypal” understandings of the hero as well as to the particular heroic form of Ayn Rand, which he explicitly references in DK2. Miller’s response to these previous models bolsters the assertion that theories of heroic ideals are inherently political as they deal with representations of the kind of person a hero must be, in turn involving issues of gender, ethnicity and class.

In his Book of the Courtier, Castiglione appeals to the Renaissance notion of self-fashioning, the idea that individuals could shape their identity rather than relying solely on the influence of external factors such as birth, social class, or fate. While other early modern authors explore the practice of self-fashioning—Niccolò Machiavelli, for example, surveys numerous princes identifying ways they have molded themselves—Castiglione emphasizes the necessity of modeling one's-self after a variety of sources, "[taking] various qualities now from one man and now from another." In this way, Castiglione advocates for a self-fashioning grounded in a discriminating kind of synthesis, the generation of a new ideal form through the selective combination of various source materials. While Castiglione focuses on the moves necessary for an individual to fashion himself through this act of discriminatory mimesis, his views can explain the ways authors of the period use source material in the process of textual production. As poets and playwrights fashioned their texts, they did so by consciously combining various source materials in order to create not individuals, as Castiglione suggests, but characters to represent new cultural ideals and values. Early moderns viewed the process of textual, as well as cultural production, as a kind of synthesis. Creation through textual fusion is particularly common in early modern accounts of the heroic, in which authors synthesize classical conceptions of the hero, which privilege the completion of martial feats, and Christian notions of the heroic, based on the contemplative nature of Christ. In this dissertation, I demonstrate how Thomas Kyd in The Spanish Tragedy (1585), Edmund Spenser in The Faerie Queene (1590), William Shakespeare in Titus Andronicus (1594), and John Milton in A Mask Presented at Ludlow Castle (1632) syncretized classical and Christian notions of the heroic ideal in order to comment upon and shape political, social, and literary discourses. By recognizing this fusion of classical heroism with contemplative heroism, we gain a more nuanced understanding of the reception of classical ideas within an increasingly secular society.

No description available.

No description available.

Thesis (PhD)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: This dissertation is an interdisciplinary study of various historical novels which dealt to a greater or lesser degree with the Great Trek and were written between the 1840s and the 1930s in Dutch, Afrikaans and English but with particular emphasis on H.P. Lamont's War, Wine and Women and Stuart Cloete's Turning Wheels (1937). The analysis of all these fictional reconstructions focuses on the portrayal of the Voortrekkers found in them. Much attention is also paid to the historical contexts in which the two principal works in question were written and the great controversies which they occasioned because both of their authors had had the temerity to challenge the long-established myth of the heroic Voortrekkers, one of the holiest of the iconic cows in the barns of their Afrikaner descendants. Chapter I, "Introduction", is a statement of the purpose of the study, its place in the context of analyses of the history of Afrikaner nationalism, its structure and the sources on which it is based. Chapter II, "The Unfolding of the Myth of the Heroic Voortrekkers", traces its evolution from the 1830s to the 1930s and explores how both English-speaking South Africans and Afrikaners, especially Gustav PrelIer, purposefully contributed to it. Also highlighted in this chapter is the significance of the Great Trek Centenary and the events leading up to it in the middle and late 1930s in intensifying Afrikaner nationalism. Chapter III, "The Heroic Myth in Early Dutch and Afrikaans Novels about the Great Trek", considers especially how these works were used as vehicles for placing before Afrikaners the historic virtues of their ancestors both to provide models for emulation and to stimulate their ethnic pride. Chapter IV, "Sympathetic English Reconstructions of the Great Trek", deals with two novels, Eugenie de Kalb's Far Enough and Francis Brett Young's They Seek a Country, both of which reproduced the heroic myth to some extent. Chapter V, "Rendezvous with Disaster? The South Africa in Which Lamont Wrote War, Wine and Women" establishes the context of intensifying Afrikaner nationalism which this immigrant from the United Kingdom encountered in the late 1920s when he accepted a lectureship at the University of Pretoria and why this context was hostile to a novel which was critical of Afrikanerdom. Chapter VI, "Wa1~ Wine and Women: Its General Context and Commentary on South Africa" explores how this work, conceived as a "war book" dealing with the 1914-1918 conflict in Europe, depicted both Englishmen and Afrikaners negatively. Chapter VII, "Academic Freedom vs. Afrikaner Nationalism: The Consequential Strife over War, Wine and Women" deals with the hostile reception of Lamont's pseudonymously published novel, the physical assault on him and his dismissal from his lectureship at the University of Pretoria. Chapter VIII, "The Rhetoric of Revenge in Lamont's Halcyon Days in Africa", explores how the author, after relurning lo England, used his pen as a weapon for striking back al his Afrikaans foes in South Africa. Chapter IX, "Stuart Cloete's Portrayal of the Voortrekkers in Turning U'heels", focuses on the portrayal of various ethnic types in his gallery of characters. Chapter X, "The Con troversy over Turning U'heels", handles the hostile and apparently orchestrated reaction to Cloete's book and how it was eventually banned. Chapter XI, "Conclusion: Quod Eral Demonstrandum", summarises several thematic findings which a detailed examination of the novels in their historical context yields. / AFRIKAANSE OPSOMMING: Hierdie verhandeling is 'n interdissiplinêre studie van verskeie historiese romans waarin daar in 'n mindere ofmeerdere mate op die Groot Trek gefokus word en wat geskryfis tussen die 1840's en die 1930's in Nederlands, Afrikaans en Engels, maar met die klem op H. P. Lamont se War, Wine and Wamen en Stuart Cloete se Turning Wheels (1937) in die besonder. Die analise van al hierdie fiktiewe rekonstruksies fokus op die uitbeelding van die Voortrekkers daarin. Daar word ook in die besonder aandag gegee aan die historiese kontekste waarbinne hierdie twee hoofwerke geskryfis en die groot polemiek daarrondom, omdat beide outeurs die vermetelheid gehad het om die lank reeds gevestigde mite van die heldhaftige Voortrekkers, een van die heiligste ikoniese koeie in die skure van die Afrikanernageslagte, uit te daag. Hoofstuk I, "Introduction", stel die doel van die studie, waar dit staan in die konteks van analises van die geskiedenis van Afrikanernasionalisme, die skruktuur en die bronne waarop dit gebaseer is. Hoofstuk II, "The Unfolding of the Myth of the Herioc Voortrekkers", volg die evolusie van Afrikanernasionalisme van die 1830's tot die 1930's en ondersoek op beide Engelssprekende Suid-Afrikaners en Afrikaners, veral Gustav Preller, doelgerig hiertoe bygedra het. In hierdie hoofstuk word daar ook beklemtoon hoe betekenisvol die honderdjarige herdenking van die Groot Trek en die gebeure wat daartoe aanleiding gegee het gedurende die middel- en laat 1930's, bygedra het tot die versterking van Afrikanernasionalisme. Hoofstuk III, "The Heroic Myth in Early Dutch and Afrikaans Novels about the Great Trek", bespreek veral hoe hierdie werke gebruik is om aan Afrikaners die historiese deugsaamheid van hulle voorvaders voor te hou en wat as voorbeelde moet dien wat nagestreef moet word en om hulle etniese trots te stimuleer. Hoofstuk IV, "Sympathetic English Reconstructions of the Great Trek", bespreek twee romans, Far Enough van Eugenie de Kalb en TheySeek a Country van Francis Brett Young, wat altwee die heroïse mite in 'n sekere mate herproduseer. Hoofstuk V, "Rendezvous with Disaster? The South Africa in Which Lamont Wrote War, Wine and Women" vestig die konteks van groeiende Afrikanernasionalisme wat hierdie immigrant van die Verenigde Koninkryk in die laat 1920's teëgekom het toe hy 'n lektoraat aan die Universiteit van Pretoria aanvaar het, en hoekom hierdie konteks vyandiggesind was teenoor 'n roman wat krities was teenoor die Afrikanerdom. Hoofstuk VI, "Wa1~ Wine and Women: Its General Context and Commentary on South Africa" ondersoek hoe hierdie werk, beskou as 'n "oorlogsboek" wat handeloor die 1914-1918 konflik in Europa, beide die Engelse en die Afrikaners in 'n negatiewe lig gestel het. Hoofstuk VII, "Academic Freedom vs. Afrikaner Nationalism: The Consequential Strife over War, Wine and Women" skenk aandag aan die vyandige ontvangs van Lamont se roman (gepubliseer onder 'n skuilnaam), die fisieke aanval op hom en sy ontslag as lektor van die Universiteit van Pretoria. Hoofstuk VIII, "The Rhetoric of Revenge in Lamont's Halcyon Days inAfrica", ondersoekhoe die outeur, na hy na Engeland teruggekeer het, sy pen as wapen gebruik het in 'n teenaanval op sy Afrikaanse vyande in Suid-Afrika. Hoofstuk IX, "Stuart Cloete's Portrayal of the Voortrekkers in Turning Wheels", fokus op die uitbeelding van verskeie etniese tipes in sy gallery karakters. Hoofstuk X, "The Controversy over Tumng Wheels", bespreek die vyandige en klaarblyklike georkestreerde reaksie op Cloete se boek, en hoe dit uiteindelik verban is. Hoofstuk XI, "Conclusion: Quod Era! Demonstrandum", bied 'n opsomming van verskei tematiese bevindinge aan, wat deur 'n gedetaileerde ondersoek van die romans opgelewer is.

This thesis seeks to interpret the cinematic representations of Hong Kongers’ identity quest during a transitional state/stage related to the sovereignty transfer. The Handover transition considered is an ideological one, rather than the overnight polity change on the Handover day. This research approaches contemporary Hong Kong cinema on two fronts and the thesis is structured accordingly: Upon an initial review of the existing Hong Kong film scholarship in the Introduction, and its 1997-related allegorical readings, Part I sees new angles (previously undeveloped or underdeveloped) for researching Hong Kong films made during 1982-2002. Arguments are built along the ideas of Hong Kongers’ situational, diasporic consciousness, and transformed ‘Chineseness’ because Hong Kong has lacked a cultural/national centrality. This part of research is informed by the ideas of Jacques Derrida, Homi Bhabha and Stuart Hall, and the diasporic experiences of Ien Ang, Rey Chow and Ackbar Abbas. With these new research angles and references to the circumstances, Part II reads critically the text of eight Hong Kong films made during the Handover transition. In chronological order, they are Boat People (Hui, 1982), Song of the Exile (Hui, 1990), Days of Being Wild (Wong, 1990), Happy Together (Wong, 1997), Made in Hong Kong (Chan, 1997), Ordinary Heroes (Hui, 1999), Durian Durian (Chan, 2000), and Hollywood Hong Kong (Chan, 2002). They meet several criteria related to the undeveloped / underdeveloped areas in the existing Hong Kong film scholarship. Hamid Naficy’s ‘accented cinema’ paradigm gives the guidelines to the film analysis in Part II. This part shows that Hong Kongers’ self-transformation during transition is alterable, indeterminate, and interminable, due to the people’s situational, diasporic consciousness, and transformed ‘Chineseness’. This thesis thus contributes to Hong Kong cinema scholarship in interpreting films with new research angles, and generating new insights into this cinematic tradition and its wider context.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-29T11:33:01Z No. of bitstreams: 1 Maria Júlia Alves Garcia Montero.pdf: 5192514 bytes, checksum: 7d38eae0fd495448df4ad8b63cb80da2 (MD5) / Made available in DSpace on 2018-08-29T11:33:01Z (GMT). No. of bitstreams: 1 Maria Júlia Alves Garcia Montero.pdf: 5192514 bytes, checksum: 7d38eae0fd495448df4ad8b63cb80da2 (MD5) Previous issue date: 2018-08-09 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The present work analyzes two alphabetization programs that took place in Latin America: National Literacy Crusade "Heroes and Martyrs for the Liberation of Nicaragua" (CNA), held in Nicaragua in 1980, and the Youth and Adult Alphabetization Movement of São Paulo (MOVA-SP), carried out between the years of 1989 and 1992, in São Paulo, both organized based on the ideas of Paulo Freire, counting also with his direct participation. We have studied how, and if, the theme of feminism appears in the official documents of both programs, and whether the presence of this theme in these documents is due to the existence or not of a movement - or organization - of women in the country with the vanguard character, as Marta Harnecker conceptualizes. The concepts of gender, patriarchy and sexual division of labor, coined by authors such as Heleieth Saffioti, Carole Pateman, Iris Young, Danièle Kergoat, among others, were the theoretical basis of the present study. The research was conducted through documentary analysis. We studied official documents (political-pedagogical project, booklets, among others) of the two programs and analyzed a) if the subject of gender relations appeared; b) whether this appearance reinforced or questioned patriarchal gender relations; c) how it appeared, whether directly, indirectly, and in what context. We were able to conclude that the Nicaraguan documents have a greater presence of the theme, and that this is due to a more organized and centralized women's movement that, unlike the São Paulo movement - then fragmented and with a predominantly institutionalized activism - directly influenced alphabetization in the country. We do not affirm this, however, without reservations, since in both programs feminism appears as a very specific "subject", which reveals a difficulty in dealing with the theme of feminism transversally and even a theoretical difficulty in relation to it / O presente trabalho analisa dois programas de alfabetização que ocorreram na América Latina: A Cruzada Nacional de Alfabetização “Heróis e Mártires pela Libertação da Nicarágua” (CNA), realizada em 1980 na Nicarágua, e o Movimento de Alfabetização de Jovens e Adultos de São Paulo (MOVA-SP), realizado entre os anos de 1989 e 1992, em São Paulo, ambos organizado com base nas ideias de Paulo Freire, contando inclusive com sua participação direta. Estudamos como, e se, o tema do feminismo aparece nos documentos oficiais de ambos os programas, e se a presença ou não deste tema em ditos documentos deve-se à existência ou não de um movimento - ou uma organização - de mulheres no país com o caráter de vanguarda, como conceitua Marta Harnecker. Tivemos como base teórica do presente trabalho os conceitos de gênero, patriarcado e divisão sexual do trabalho, cunhados, respectivamente, por autoras como Heleieth Saffioti, Carole Pateman, Iris Young, Danièle Kergoat, entre outras. A pesquisa foi realizada por meio da análise documental. Estudamos documentos oficiais (projeto político-pedagógico, cartilhas, entre outros) dos dois programas, e analisamos a) se o tema das relações de gênero aparecia; b) se essa aparição reforçava ou questionava as relações patriarcais de gênero; c) como ele aparecia, se de forma direta, indireta, e em que contexto. Pudemos concluir que os documentos nicaraguenses têm uma presença maior do tema, e que isso se deve a um movimento de mulheres mais organizado e centralizado que, ao contrário do movimento paulistano - então fragmentado e com uma atuação majoritariamente institucionalizada -, influenciou diretamente a alfabetização no país. Não afirmamos isso, no entanto, sem ressalvas, uma vez que em ambos os programas o feminismo aparece como um “tema” bem específico, o que revela uma dificuldade de transversalização do feminismo e mesmo uma dificuldade teórica com relação a ele