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O herói Sepé em duas versões : O Uraguai e Sepé - o morubixaba rebeldeOliveira, Ellen dos Santos 25 January 2016 (has links)
This paper presents Sepé. Also famous hero, from the perspective of literary heritage
left by Basilio da Gama, in the Uraguai (1769), but as points Bakhtin (1981), an
emblematic figure of a historical universe, mythical and cultural beyond the scope of
this heritage gaining independence such that allows you to cycle through historical
events, artistic and diverse literary. One of these manifestations is Sepe, the rebel
morubixaba (1964), Fernandes Barbosa, part of a group of literary productions whose
base (re) of the Indian story-telling Sepé Tiaraju, since for 144 years the only literary
version known was the range. These works are The lunar Sepe (1913), poem Simoes
Lopes Neto, Tiaraju (1945), historical novel Manoellito of Ornella, the mainland
(1949), a novel by Erico Verissimo, Sepe - the rebel morubixaba (1964), poem epic
Fernandes Barbosa, and Sepé Tiaraju - Romance of the Seven Peoples Mission (1975),
novel Alcy Cheuiche, whose version is adapted to comics. Note, with such productions,
a landmark move that paves the way for a vast cultural artistic production recognition
and reaffirmation of the Indian heroism. Conceiving Sepe, the rebel morubixaba as a
hypertext The Uraguai, believing that the story of Sepé Tiaraju out distorted by Basilio
da Gama, Fernandes Barbosa rewrites the history of the Indian hero, giving it a new
meaning and new life. In his rewriting, it uses several tricks to give the work a garment
and a feature that the poet believes, are worthy of the indigenous hero Sepé Tiaraju, the
warrior Lunar. Therefore, this work is intended to make a comparative reading between
two literary works, one of the eighteenth century, the Uraguai, and one twentieth, Sepe
- the rebel morubixaba, and from that read, analyze and explore the profile of hero these
two epic poems, watching as the modern epic dialogues with the neoclassical epic, is to
rewrite it, is to overcome it. This highlights the mimetic character, in the sense of
emulation, the literary text. This is when a writer is motivated to imitate another, either
to match up or overcome it. In the case studied, Fernandes mimics Gama, when writing
his epic poem based on the story of Sepé Tiaraju in order to overcome it. With his
attempt he just entering his poem in the national epic tradition. This work addressed the
contemporary theory of the epic developed by Anazildo Silva (1984), and treated by
Ramalho and Silva (2007); Ramalho (2013); Silva (2012); and Neiva (2009; 2012).
Were also worked the concepts of dialogism Bakhtin (1981; 1997; 2006), intertextuality
Kristeva (1974), hypertextuality of Genette (2010), among others. On the historical,
social and cultural context were useful studies developed by Candido (1984; 1999;
2006a; 2006b), Teixeira (1999), Verney (1952), Oliveira (2010), Nunes (2013), Rue
(2009) Carvalho (1987), among others. / Este trabalho parte de Sepé. Também herói famoso, sob a ótica da herança literária
deixada por Basílio da Gama, em O Uraguai (1769), mas, tal como aponta Bakhtin
(1981), uma figura emblemática de um universo histórico, mítico e cultural que
ultrapassa o âmbito dessa herança, ganhando independência tal que lhe permite circular
por manifestações históricas, artísticas e literárias diversas. Uma dessas manifestações é
Sepé, o morubixaba rebelde (1964), de Fernandes Barbosa, que integra um grupo de
produções literárias que tem como base a (re) contação da história do índio Sepé
Tiaraju, já que por 144 anos a única versão literária conhecida era a de Gama. Essas
obras são O lunar de Sepé (1913), poema de Simões Lopes Neto, Tiaraju (1945),
romance histórico de Manoellito de Ornella, O continente (1949), romance de Érico
Veríssimo, Sepé – o morubixaba rebelde (1964), poema épico de Fernandes Barbosa, e
Sepé Tiaraju – romance dos Sete Povos da Missão (1975), romance de Alcy Cheuiche,
cuja versão é adaptada para histórias em quadrinhos. Nota-se, com tais produções, um
movimento divisor de águas que abre caminhos para uma vasta produção artística
cultural de reconhecimento e reafirmação do heroísmo do índio. Concebendo Sepé, o
morubixaba rebelde, como um hipertexto de O Uraguai, acreditando que a história de
Sepé Tiaraju fora falseada por Basílio da Gama, Fernandes Barbosa reescreve a história
do herói indígena, dando a ela um novo sentido e um novo fôlego. Em sua reescrita, ele
utiliza vários artifícios para dar à obra uma roupagem e uma feição que, o poeta
acredita, sejam dignas do herói indígena Sepé Tiaraju, o guerreiro Lunar. Assim sendo,
neste trabalho pretende-se fazer uma leitura comparativa entre duas obras literárias, uma
do século XVIII, O Uraguai, e outra do XX, Sepé - o morubixaba rebelde, e, a partir
dessa leitura, analisar e explorar o perfil do herói nesses dois poemas épicos,
observando como o épico moderno dialoga com o épico neoclássico, seja para
reescrevê-lo, seja para superá-lo. Isso evidencia o caráter mimético, no sentido de
emulação, do texto literário. Isto é, quando um escritor é motivado a imitar outro, seja
para igualar-se ou superá-lo. No caso estudado, Fernandes imita Gama, ao escrever seu
poema épico baseado na história de Sepé Tiaraju, a fim de superá-lo. Com sua tentativa
ele acaba inserindo seu poema na tradição épica nacional. Esse trabalho abordou a teoria
contemporânea sobre o épico desenvolvida por Anazildo Silva (1984), e tratadas por
Ramalho e Silva (2007); Ramalho (2013); Silva (2012); e Neiva (2009; 2012). Também
foram trabalhados os conceitos de dialogismo de Bakhtin (1981; 1997; 2006),
intertextualidade de Kristeva (1974), hipertextualidade de Genette (2010), entre outros.
Sobre o contexto histórico, social e cultural foram úteis os estudos desenvolvidos por
Candido (1984; 1999; 2006a; 2006b), Teixeira (1999), Verney (1952), Oliveira (2010),
Nunes (2013), Arruda (2009) e Carvalho (1987), entre outros.
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Morphologie du héros épique des chansons de geste de langue d'oïl "écrites" au XIVe siècleMalfait-Dohet, Monique January 1998 (has links)
Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished
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The existential quest for exemplary autonomy in three major novelsOrr, David J. 01 January 1998 (has links)
Presenting and applying an ideal developmental model for the classical existential hero, or main character, provides a functional paradigm for discrimination between essentialist and existential texts. In particular it allows for degrees of fine existential differentiation amongst the hero's acts of any literary work. The paradigm does so by making it possible clearly to discern and describe the "recuperation" that a reader must do to render an "impaired" text intelligible.
The paradigm covers four phases of transformational activity by the hero, more or less successfully negotiated, depending on the given work under analysis; vacillation/bad faith; crisis/arrest; abrogation/nothingness; and nihilation/project choice. Only one of the three novels so analyzed, Camus' The Stranger, contains a hero, Meursault, who is able to engage this paradigm successfully. The other two novels, not generally associated with existentialism, Heller's Something Happened and Chopin's The Awakening, reveal important and explicable variations of the model, but neither finally gives an exemplary authentic hero. The value of this paradigm is the way it functions as a dynamic heuristics, as a template, to isolate and render meaningful the dimensions of the career of each main character of these works as an "existential murderer." After an introduction of the paradigm, the thesis analyzes the tragic suicide of Mrs. Edna Pontellier, the comic infanticide of Bob Slocum, and the tragicomic homicide of Meursault.
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El héroe en la novela histórico-romántica Española : (Macías, de Larra; Sancho Saldaña, de Espronceda, y Doña Blanca de Navarra, de Navarro Villoslada)Dionne, Chantal January 1996 (has links)
No description available.
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The Retrospective Novel: The Romance of the SelfMecozzi, Lorenzo January 2022 (has links)
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.
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Frank Miller's Ideals of HeroismJones, Stephen Matthew 18 May 2007 (has links)
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.
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The Hybrid Hero in Early Modern English Literature: A Synthesis of Classical and Contemplative HeroismPonce, Timothy Matthew 12 1900 (has links)
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.
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Literary challenges to the heroic myth of the Voortrekkers : H.P. Lamont's War, wine and women and Stuart Cloete's Turning wheelsHale, Frederick 12 1900 (has links)
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.
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