The South African author C Louis Leipoldt is known as an Afrikaans poet and as one of the ‘Driemanskap’ with Celliers and Totius. Together with Eugene Marais, they wrote the first serious Afrikaans literary poetry in the early decades of the Twentieth Century. The ‘Driemanskap’, grouped together for its clear national(ist) thrust, is well-known as part of the Tweede Afrikaanse Taalbeweging not only for celebrating the universal effects of nature but also for extolling the virtues of forgiveness after the South African War. Apart from his extensive canon of Afrikaans literature and a sizable discourse in the culinary field, not much is known about The Valley, Leipoldt’s so-called ‘English’ novels written in the late 1920s and early 1930s in English, a language he was equally at home in. The titles of these novels making up The Valley trilogy are Gallows Gecko, Stormwrack and The Mask. Despite several efforts to have the novels published with leading publishing houses in both Britain and the United States of America, both during and after his lifetime, the three ‘English’ novels of C Louis Leipoldt remained unpublished for 69 years. It was in 2001 that for the first time they appeared unedited in a compendium volume. Prior to 2001, two of the novels were published −in 1980, the year of the centenary of Leipoldt’s birth, an abridged edition of Stormwrack appeared, edited by Stephen Gray and published by David Philip, Cape Town. It was re-published by Human&Rousseau in 2000. An abridged edition of Gallows Gecko appeared in 2001, under the title Chameleon on the Gallows which the editor Stephen Gray explains he changed for stylistic reasons. Leipoldt uses the form of historical fiction in his trilogy as a way of conveying historical meaning by relating the chronicle (1820 – 1930) of the place he calls the Valley, recognizable as Clanwilliam. Initially, the Valley is at peace and is sketched in its idyllic state. After the Jameson Raid of 1895, the prospects of the South African War become a reality for the inhabitants of the Cederberg as they are torn apart by their emotions, feelings and loyalties. The course of events drastically changes when war finally comes to the District. Discontinuity and change is a strong theme in the novels. Eventually the inhabitants ofthe Valley find that the former, respectful relations, based on tradition and tolerance, have given way to sectarian interests. This changes the social fibre of the once idyllic environment. The Valley is a lamentation of lost opportunities for a culturally unified South Africa. Its voice is one of moderateness and is inclusive for all South Africans, addressing race relations as a theme as well as decrying sectionalism. In the light of this, it is argued that Leipoldt is revealed as a political liberal and cultural pluralist. This can be heard through the voices of the characters in The Valley and seen by the way Leipoldt meant the events in his fiction to serve as an allegory for the way he saw South Africa emerging at the time. He was writing against the Nationalists, particularly against the narrative of Gustav S Preller, who spent his working life constructing a volksgeskiedenis that resulted in a significant public history that dominated Afrikaner historical thinking from circa 1905 to 1938. In this sense, it is argued, The Valley is an alternative history to the dominating Preller historiography, and because it is in the form of narrative/historical fiction, it can also be seen as an alternative form of history, to be read against certain theoretical texts, without in any way detracting from the voices of criticism against deconstructivist history. / Thesis (DPhil)--University of Pretoria, 2012. / Historical and Heritage Studies / unrestricted

Made available in DSpace on 2016-04-28T19:34:19Z (GMT). No. of bitstreams: 1 Regina Celia Carbonari de Almeida Miranda.pdf: 1092839 bytes, checksum: fe8aba7405f6fe920d3407a3f03dce62 (MD5) Previous issue date: 2007-10-31 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis that is now presented is situated at the Linguistic Historiography scope and has as general objective to examine the relation between historical and linguistic nationalism through the controversy established between Carlos de Laet e Camilo Castelo Branco, in the last quarter of the XIX century, indicating a confrontation of the space-duration feature of portuguese language, building diferent senses to brazilian history. To do this job, we traced these two following objectives: to search, in the selected polemics, the relationship between language, history and linguistic nationalism, and identify the construction of brazility senses to the brazilian portuguese through the historical development determinations, checking the gramatical codification process, under the Brazilian history. From XIX century, Brazil takes influences of other nations, farthes on the portuguese people, who presents new cultural perspectives, causing intelectual and material changes in the country. At this time, Brazil was taken by great libertarian ideals, which stimulated the nation throug the political, social and economical independence. Came to sight many controversies covering the naturalization related to the language in use on Brazil, because Brazil, nearly out of the independency process had a moment of nationalistic passions. This research justify itself in order to find an historical approach of the Portuguese Language, in a period of time when large number of intelectuals wanted to keep the kingdom linguistics model against a small group os those who wished a new language, entirely free of the portuguese rules, released from Portugal. We picked up a polemic established by a brazilian journalist and a portuguese writer, which shows the tensions brought at the time of our iminet Republic, unleashing a linguistic nationalism. The study of this polemic revealed the relashion between the tag of language and history, turning this document capable to remove the veil of language and a part of a man history. In such case, we were allowed to see in what way the portuguese language in use in brazil got distance from the portugal gramatical rules. Based upon Linguistical Historiography s teorical fundaments we were able to re-read and re-write the facts of our language and it s hirtory, by the pricipals of the contexture and the imanent theoretical adaptation. Examinating this polemic we found the linguistics and historical tags that revealed conflicts brought by the independency, the beggining of our linguistic nationalism, profit of miscegenation of Brazilian and Portugal history and the great number of cultures here stablished in the last quarter of XIX century / Esta dissertação situa-se no âmbito da Historiografia Lingüística e tem por tema o estudo da relação língua, história e nacionalismo lingüístico, a partir da polêmica travada entre Carlos de Laet e Camilo Castelo Branco, no último quartel do século XIX, que marcou um confronto do aspecto espaço-temporal da língua portuguesa, construindo diferentes sentidos para a história do Brasil.Para executar essa tarefa traçaram-se os objetivos de examinar, na polêmica selecionada, a relação língua, história e nacionalismo lingüístico; identificar a construção de sentido de brasilidade para o português do Brasil por meio das determinações histórico- culturais, verificar os processos de codificação gramatical, sob à luz da História do Brasil. A partir do século XIX, o Brasil recebe influências de outros povos, além dos portugueses que apresentam novas perspectivas culturais, que ocasionam mudanças nas condições intelectuais e materiais do país.Nesse período, o Brasil foi tomado por grandes ideais libertários, que impulsionaram a nação para a independência não só política, como econômica e social. Surgiram inúmeras polêmicas em que se debateram questões de nacionalização relativas à língua em uso no Brasil, pois o Brasil recémsaído da independência vivia um momento de paixões nacionalistas. Essa pesquisa se justifica por buscar uma abordagem histórica da Língua Portuguesa, em um período em que grande número de intelectuais desejava a continuidade dos padrões lingüísticos do reino contra um pequeno grupo dos que desejavam uma língua, totalmente desvinculada das normas lusitanas, independente de Portugal. Selecionou-se a polêmica travada entre um jornalista brasileiro e um escritor português, por se entender que retrata as tensões geradas pela independência e iminência da República, desencadeando um nacionalismo lingüístico. A análise da polêmica revela a relação entre as marcas lingüísticas e históricas, o que a torna um documento capaz de desvelar a língua e a história do homem. Dessa forma, permite que se perceba em que medida o português em uso no Brasil se distancia da norma lusitana. Embasou-se teoricamente nos fundamentos da Historiografia Lingüística que permite uma reeleitura e reescritura dos fatos da língua e de sua história , por meio dos princípios: da contextualização, da imanência e da adequação teórica . A análise da polêmica demonstrou que as marcas histórico-lingüísticas presentes nela revelam os conflitos gerados pela independência, o desencadear do nacionalismo lingüístico e que o português em uso no Brasil pouco se distancia da norma vigente em Portugal, apresentando marcas de nacionalismo lingüístico, fruto do entrelaçamento da história do Brasil e de Portugal e das etnias e culturas aqui existentes, no último quartel do século XIX

Made available in DSpace on 2016-04-28T19:34:36Z (GMT). No. of bitstreams: 1 Edson Luiz da Silveira.pdf: 4146700 bytes, checksum: e22565e09608fc4176c3f0a72888fc18 (MD5) Previous issue date: 2009-05-21 / Secretaria da Educação do Estado de São Paulo / The dissertation has as its subject a historic-historiographic study about the Portuguese Language in Brazil in the XVIII century, in a document of textual gender letter. This document is known as Chilean Letters and Tomás Antônio Gonzaga, an arcadist poet, is supposed to be its author. According to the theoretic-methodologic orientations proposed by Koerner (1995, 1996), for the Linguistic Historiographic, we will examine the linguistic marks which form the Chilean Letters, using the context principles, stability and the theoretical adaptation. By considering the Chilean Letters in the gender letter, our support is Bazerman, who considers the textual genders as linguistic movements historically created by social groups, according to their needs in communication in the socio-interational process, which involves a net of speakers in a established community. The Chilean Letters, as we infer from the analysis, have the social role of being a communication channel between two speakers in a specific historical moment. In this sense, we can say that the Letters, because of being a satire, are also an accusation against the behavior of a politician. Tomás Antônio Gonzaga uses a pseudonym in the Chilean Letters, Critilo, and talks to another arcadist poet, Cláudio Manuel da Costa, whose pseudonym is Dorotheo, accusing the political activities and tricks of the boaster Minésio, who is the governor of Minas Gerais. According to the linguistic conceptions found in the Letters context, we can say that, in the XVIII century, there was the conception that the language should reflect the same logic of the thought, which comes from some classical philosophers, like Aristoteles. For History itself, not only the official event, the one created by facts of diplomacy and martial expression of a nation, but also, the peripherical events, which are not official, have got since the XX century, the historian´s attention. So, the aspects influenced by the language are the goal of the experts ´s investigation. The analysis of the Letters was done and we got some results; they are: - because of being a mixed work, the Chilean Letters show us a combination of two genders: letter and satire - The Chilean Letters, written in rhyme and in a poetic language, allow the author/poet some freedom, concerned to the Portuguese language spoken in the XVIII century, and make him use same logic of the thought / A Dissertação tem como tema um estudo histórico-historiográfico da Língua Portuguesa em uso no Brasil no século XVIII, em um documento de gênero textual carta. Este documento é conhecido por Cartas Chilenas e sua autoria é atribuída ao poeta árcade, Tomás Antônio Gonzaga. Seguindo as orientações teórico-metodológicas propostas por Koerner (1995, 1996), para a Historiografia Lingüística, a Dissertação examina as marcas lingüísticas constitutivas das Cartas Chilenas, utilizando os princípios da contextualização, da imanência e da adequação teórica. Por incluirmos as Cartas Chilenas no gênero carta, apoiamo-nos em Bazerman, para quem os gêneros textuais são construtos lingüísticos historicamente criados por grupos sociais, dependendo de suas necessidades de comunicação no processo sócio-interacional, que envolve a rede de falantes numa determinada comunidade lingüística. As Cartas Chilenas, conforme depreendemos da análise, cumprem o papel social de estabelecer um determinado canal de comunicação entre dois falantes num momento histórico definido. Neste sentido, queremos dizer que As Cartas, por circunscreverem a sátira, cumprem também o papel de denúncia, que funciona como uma espécie de reprovação sobre o comportamento de uma figura política. Tomás Antônio Gonzaga utiliza, nas Cartas Chilenas, pseudônimo de Critilo e se dirige ao destinatário de nome Dorotheo, que é atribuído a outro poeta árcade, Cláudio Manuel da Costa, denunciando as peripécias políticas e histriônicas do fanfarrão Minésio, que vem a ser o governador de Minas Gerais. Do ponto de vista das concepções lingüísticas presentes no contexto em que as Cartas foram elaboradas, podemos dizer que, no século XVIII, havia a idéia de que a língua deveria refletir a mesma lógica do pensamento, ideal que remonta à época clássica de pensadores como, por exemplo, Aristóteles. Para a História, não mais é imprescindível o evento oficial somente, aqueles fomentados por fatos da diplomacia e da expressão bélica de uma nação; também os eventos periféricos, extraoficiais ganham, na nova concepção de História que se estabelece a partir do século XX, a atenção do historiador. Assim, os aspectos permeados pela língua tornam-se alvo da investigação dos especialistas. Feita a análise das Cartas, chegamos a alguns resultados; são eles: - por ser uma obra mista, As Cartas Chilenas apresentam a mistura de dois gêneros: carta e sátira. - as Cartas Chilenas, escritas em versos e em uma linguagem poética, permitem ao autor/poeta certa liberdade em relação à língua portuguesa no século XVIII o que a faz desviar da orientação da época de língua com a mesma lógica do pensamento

A escritora inglesa Jane Austen possui, além do status de autora canônica, um apelo popular não apenas em função de sua qualidade como escritora, mas também pela força imagética de suas obras quando adaptadas para o cinema. Em Amor e Inocência (2007), o diretor Julian Jarrold apresenta um episódio ocorrido na vida da autora, com base em fatos extraídos da biografia Becoming Jane Austen, escrita em 2003 por Jon Spence. O filme explora um possível envolvimento entre a jovem Jane e o estudante irlandês Tom Lefroy. Essa produção, enquanto apresenta o início da carreira da escritora, sugere que o trauma da relação mal sucedida com Lefroy possa ter sido a fonte temática que inspirou sua obra ficcional posterior. Esta dissertação verifica de que forma o filme articula as questões históricas sobre a vida de Austen com as situações ficcionais apresentadas em seus romances para chegar a um produto final tão coeso e verossímil, embora ficcional. Especial atenção é dada ao estudo da construção da personagem protagonista, que resulta da combinação entre o conteúdo imagético das obras de Austen e os elementos biográficos pesquisados por Spence. Além dessas fusões, há ainda que ser considerado o ícone Jane Austen, que habita o imaginário dos ingleses e dos leitores pelo mundo afora. Na evolução das adaptações fílmicas das obras de Austen testemunhamos a fusão entre as personagens e a própria autora, especialmente no caso de Elizabeth Bennet, em Orgulho e Preconceito (1813). Para realizar esta análise, lanço mão dos conceitos de adaptação e apropriação propostos por Linda Hutcheon, e do conceito de metaficção historiográfica estabelecido pela mesma autora em A Poetics of Postmodernism: History, Theory, Fiction (1988). Ao término do trabalho, espero que esta discussão investigativa e argumentativa seja útil em três aspectos: contribuindo para o debate sobre autores usados como personagens na ficção derivativa contemporânea; identificando certas necessidades culturais que subjazem ao culto do ícone Jane Austen, conhecido como Austenmania; e verificando até que ponto o conceito de metaficção historiográfica dá conta de propostas narrativas em que a personagem histórica retratada é também uma escritora. / Jane Austen enjoys more than the status of canonical author: she is also popular not only because of her achievements as a writer but also for the cinematic appeal of her novels. In Becoming Jane (2007), director Julian Jarrold presents the story of Jane Austen from an episode occurred early in the author’s life. Based on facts extracted from Jon Spence’s biography Becoming Jane Austen (2003), the film explores a supposed relationship between young Jane and an Irish Law student, Tom Lefroy. In Becoming Jane we witness the beginning of Austen’s writing career, and the film speculates that the trauma of a failed relationship with Lefroy was the inspiration for Austen’s mature novels. This work verifies the ways in which the film articulates the historical aspects of Jane Austen’s life with fictional events as presented in her novels to reach a cohesive and credible – although fictional – result. Special attention is paid to the process of constructing a fictional Jane as main character, combining the images contained in her novels with the biographical elements presented by Spence; it is also considered in this analysis the evolving nature of Jane Austen as an icon that inhabits not only the English imaginary but also that of readers all over the world. In the evolution of Austen filmic adaptations, we witness a fusion between her characters and the author herself, especially Elizabeth Bennet from Pride and Prejudice (1813), which adds to the intertextual layers of any film analysis. To deal with the questions of film adaptations, I refer to the concepts of adaptation and appropriation as posed by theoretician Linda Hutcheon. For the specific analysis of the phenomenon of author as character, I turn again to Linda Hutcheon and the concept of historiographic metafiction presented in A Poetics of Postmodernism: History, Theory, Fiction (1988). I hope, by the end of this thesis, that this investigative and argumentative analysis is helpful in three instances: contributing to the discussion of the use of authors as characters in contemporary fiction, be it filmic or literary; identifying the cultural needs of readers and critics that perpetuate the cult of Jane Austen, known as Austenmania; and verifying to what extent historiographic metafiction alone is enough to deal with narratives in which the historical character portrayed is also a writer.

A escritora inglesa Jane Austen possui, além do status de autora canônica, um apelo popular não apenas em função de sua qualidade como escritora, mas também pela força imagética de suas obras quando adaptadas para o cinema. Em Amor e Inocência (2007), o diretor Julian Jarrold apresenta um episódio ocorrido na vida da autora, com base em fatos extraídos da biografia Becoming Jane Austen, escrita em 2003 por Jon Spence. O filme explora um possível envolvimento entre a jovem Jane e o estudante irlandês Tom Lefroy. Essa produção, enquanto apresenta o início da carreira da escritora, sugere que o trauma da relação mal sucedida com Lefroy possa ter sido a fonte temática que inspirou sua obra ficcional posterior. Esta dissertação verifica de que forma o filme articula as questões históricas sobre a vida de Austen com as situações ficcionais apresentadas em seus romances para chegar a um produto final tão coeso e verossímil, embora ficcional. Especial atenção é dada ao estudo da construção da personagem protagonista, que resulta da combinação entre o conteúdo imagético das obras de Austen e os elementos biográficos pesquisados por Spence. Além dessas fusões, há ainda que ser considerado o ícone Jane Austen, que habita o imaginário dos ingleses e dos leitores pelo mundo afora. Na evolução das adaptações fílmicas das obras de Austen testemunhamos a fusão entre as personagens e a própria autora, especialmente no caso de Elizabeth Bennet, em Orgulho e Preconceito (1813). Para realizar esta análise, lanço mão dos conceitos de adaptação e apropriação propostos por Linda Hutcheon, e do conceito de metaficção historiográfica estabelecido pela mesma autora em A Poetics of Postmodernism: History, Theory, Fiction (1988). Ao término do trabalho, espero que esta discussão investigativa e argumentativa seja útil em três aspectos: contribuindo para o debate sobre autores usados como personagens na ficção derivativa contemporânea; identificando certas necessidades culturais que subjazem ao culto do ícone Jane Austen, conhecido como Austenmania; e verificando até que ponto o conceito de metaficção historiográfica dá conta de propostas narrativas em que a personagem histórica retratada é também uma escritora. / Jane Austen enjoys more than the status of canonical author: she is also popular not only because of her achievements as a writer but also for the cinematic appeal of her novels. In Becoming Jane (2007), director Julian Jarrold presents the story of Jane Austen from an episode occurred early in the author’s life. Based on facts extracted from Jon Spence’s biography Becoming Jane Austen (2003), the film explores a supposed relationship between young Jane and an Irish Law student, Tom Lefroy. In Becoming Jane we witness the beginning of Austen’s writing career, and the film speculates that the trauma of a failed relationship with Lefroy was the inspiration for Austen’s mature novels. This work verifies the ways in which the film articulates the historical aspects of Jane Austen’s life with fictional events as presented in her novels to reach a cohesive and credible – although fictional – result. Special attention is paid to the process of constructing a fictional Jane as main character, combining the images contained in her novels with the biographical elements presented by Spence; it is also considered in this analysis the evolving nature of Jane Austen as an icon that inhabits not only the English imaginary but also that of readers all over the world. In the evolution of Austen filmic adaptations, we witness a fusion between her characters and the author herself, especially Elizabeth Bennet from Pride and Prejudice (1813), which adds to the intertextual layers of any film analysis. To deal with the questions of film adaptations, I refer to the concepts of adaptation and appropriation as posed by theoretician Linda Hutcheon. For the specific analysis of the phenomenon of author as character, I turn again to Linda Hutcheon and the concept of historiographic metafiction presented in A Poetics of Postmodernism: History, Theory, Fiction (1988). I hope, by the end of this thesis, that this investigative and argumentative analysis is helpful in three instances: contributing to the discussion of the use of authors as characters in contemporary fiction, be it filmic or literary; identifying the cultural needs of readers and critics that perpetuate the cult of Jane Austen, known as Austenmania; and verifying to what extent historiographic metafiction alone is enough to deal with narratives in which the historical character portrayed is also a writer.

A escritora inglesa Jane Austen possui, além do status de autora canônica, um apelo popular não apenas em função de sua qualidade como escritora, mas também pela força imagética de suas obras quando adaptadas para o cinema. Em Amor e Inocência (2007), o diretor Julian Jarrold apresenta um episódio ocorrido na vida da autora, com base em fatos extraídos da biografia Becoming Jane Austen, escrita em 2003 por Jon Spence. O filme explora um possível envolvimento entre a jovem Jane e o estudante irlandês Tom Lefroy. Essa produção, enquanto apresenta o início da carreira da escritora, sugere que o trauma da relação mal sucedida com Lefroy possa ter sido a fonte temática que inspirou sua obra ficcional posterior. Esta dissertação verifica de que forma o filme articula as questões históricas sobre a vida de Austen com as situações ficcionais apresentadas em seus romances para chegar a um produto final tão coeso e verossímil, embora ficcional. Especial atenção é dada ao estudo da construção da personagem protagonista, que resulta da combinação entre o conteúdo imagético das obras de Austen e os elementos biográficos pesquisados por Spence. Além dessas fusões, há ainda que ser considerado o ícone Jane Austen, que habita o imaginário dos ingleses e dos leitores pelo mundo afora. Na evolução das adaptações fílmicas das obras de Austen testemunhamos a fusão entre as personagens e a própria autora, especialmente no caso de Elizabeth Bennet, em Orgulho e Preconceito (1813). Para realizar esta análise, lanço mão dos conceitos de adaptação e apropriação propostos por Linda Hutcheon, e do conceito de metaficção historiográfica estabelecido pela mesma autora em A Poetics of Postmodernism: History, Theory, Fiction (1988). Ao término do trabalho, espero que esta discussão investigativa e argumentativa seja útil em três aspectos: contribuindo para o debate sobre autores usados como personagens na ficção derivativa contemporânea; identificando certas necessidades culturais que subjazem ao culto do ícone Jane Austen, conhecido como Austenmania; e verificando até que ponto o conceito de metaficção historiográfica dá conta de propostas narrativas em que a personagem histórica retratada é também uma escritora. / Jane Austen enjoys more than the status of canonical author: she is also popular not only because of her achievements as a writer but also for the cinematic appeal of her novels. In Becoming Jane (2007), director Julian Jarrold presents the story of Jane Austen from an episode occurred early in the author’s life. Based on facts extracted from Jon Spence’s biography Becoming Jane Austen (2003), the film explores a supposed relationship between young Jane and an Irish Law student, Tom Lefroy. In Becoming Jane we witness the beginning of Austen’s writing career, and the film speculates that the trauma of a failed relationship with Lefroy was the inspiration for Austen’s mature novels. This work verifies the ways in which the film articulates the historical aspects of Jane Austen’s life with fictional events as presented in her novels to reach a cohesive and credible – although fictional – result. Special attention is paid to the process of constructing a fictional Jane as main character, combining the images contained in her novels with the biographical elements presented by Spence; it is also considered in this analysis the evolving nature of Jane Austen as an icon that inhabits not only the English imaginary but also that of readers all over the world. In the evolution of Austen filmic adaptations, we witness a fusion between her characters and the author herself, especially Elizabeth Bennet from Pride and Prejudice (1813), which adds to the intertextual layers of any film analysis. To deal with the questions of film adaptations, I refer to the concepts of adaptation and appropriation as posed by theoretician Linda Hutcheon. For the specific analysis of the phenomenon of author as character, I turn again to Linda Hutcheon and the concept of historiographic metafiction presented in A Poetics of Postmodernism: History, Theory, Fiction (1988). I hope, by the end of this thesis, that this investigative and argumentative analysis is helpful in three instances: contributing to the discussion of the use of authors as characters in contemporary fiction, be it filmic or literary; identifying the cultural needs of readers and critics that perpetuate the cult of Jane Austen, known as Austenmania; and verifying to what extent historiographic metafiction alone is enough to deal with narratives in which the historical character portrayed is also a writer.

No description available.

Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2018-03-08T17:21:26Z No. of bitstreams: 2 Bernardo_Gasparotto2017.pdf: 1699649 bytes, checksum: 24833b14df27784de20f4db2cfc620d7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-08T17:21:26Z (GMT). No. of bitstreams: 2 Bernardo_Gasparotto2017.pdf: 1699649 bytes, checksum: 24833b14df27784de20f4db2cfc620d7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / At the turn to the 20th century, a series of literary movements took place, which resulted in an alteration of the dogmas of literary writing and in the concept of literature itself. One of these movements was the Brazilian Modernism whose great exponents were Oswald de Andrade and Mario de Andrade, the former with Manifesto Pau-Brasil (1924) and Manifesto Antropófago (1928), and the latter with Macunaíma (1928). These productions permitted the embodiment of what was intended as the “anthropophagic process” of Brazilian culture, and for that, they employed the metaphor of the autochthonous cannibal. Based on this metaphorical image, we approached several productions made by the European chroniclers who had their first encounters and impressions on this figure and custom. Thus, by examining the conceptions developed by the chroniclers such as Christopher Columbus (1492-1493), Hans Staden (1557), Theodore de Bry (1590), Gabriel Soares de Sousa (1587), José de Anchieta (1563), Hernán Cortés (1866), among others, we bring a compendium of the representation of the autochthonous cannibal figure in the Latin-American space (in the context of the discovery of America and the first contacts between civilizations), which is explored and reconfigured in literature in the three works that will be analyzed, namely: El entenado (1983), by the Argentinean Juan José Saer; Terra Papagalli (1997), by the Brazilians José Roberto Torero and Marcus Autelius Pimenta, both works being models of the new Latin-American historic novel; and Meu querido canibal (2000), by the Brazilian Antonio Torres, constituting a historiographic metafiction. In these works, there are various perspectives on how to portray the cultural manifestation of the cannibalistic ritual, as well as the meaning effects produced from this ritual. We also examined the ways in which such cultural practice is approached by the writers who produce their discourse from an enunciative locus of the hybrid, interracial, syncretic and transcultural Latin America. From this analysis, we aim to highlight that, due to the theoretical process that resulted from this awareness – with emphasis the Brazilian modernist movement as a great exponent –, Latin America developed a theoretical-critical framework and a literary production based on cultural anthropophagy – from which resulted the Latin-American historical novel – that support the local literary production, giving voice and opportunity to those who were colonized and had their discourse marginalized by the canon guidelines. / Na virada para o século XX, ocorreu uma série de movimentos literários, o que resultou em uma alteração nos dogmas da escrita literária e no próprio conceito de literatura. Um desses movimentos foi o Modernismo brasileiro, que teve como grandes expoentes Oswald de Andrade e Mario de Andrade, aquele com o Manifesto Pau-Brasil (1924) e o Manifesto Antropófago (1928), e este com Macunaíma (1928). Essas produções foram fundamentais na corporificação do que se pretendia com o “processo antropofágico” da cultura brasileira, utilizando, para isso, a metáfora do autóctone canibal. Com base nessa imagem metafórica, retomamos diversas produções realizadas pelos cronistas europeus que tiveram seus primeiros embates e impressões sobre tal figura e costume. Assim, mediante o exame das concepções desenvolvidas por cronistas como Cristóvão Colombo (1492-1493), Hans Staden (1557), Theodore de Bry (1590), Gabriel Soares de Sousa (1587), José de Anchieta (1563), Hernán Cortés (1866), entre outros, trazemos um compêndio da representação da figura do autóctone canibal no espaço latino-americano (no contexto do descobrimento da América e primeiros contatos entre civilizações), que passa a ser explorada e reconfigurada pela literatura nas três obras analisadas, quais sejam: El entenado (1983), do argentino Juan José Saer; Terra Papagalli (1997), dos brasileiros José Roberto Torero e Marcus Aurelius Pimenta, ambos modelos de novo romance histórico latino-americano; e Meu querido canibal (2000), do brasileiro Antonio Torrres, uma metaficção historiográfica. Nessas, apresentam-se perspectivas diversas sobre a forma de retratar a manifestação cultural do ritual canibalesco, bem como os efeitos de sentido que são produzidos a partir desse ritual. São observadas, ainda, as formas como tal prática cultural é utilizada pelos escritores que produzem seu discurso a partir de um locus enunciativo da América Latina híbrida, mestiça, sincrética e transcultural. A partir dessa análise, buscamos, pois, evidenciar que, graças ao processo teórico que resultou dessa conscientização – destacando-se, como um dos maiores expoentes, o movimento modernista brasileiro –, a América Latina desenvolveu uma linha teórico-crítica, bem como uma produção literária com base na antropofagia cultural – da qual o romance histórico crítico latino-americano é fruto –, que serve para ancorar a produção literária local, dando voz e vez àqueles que foram colonizados e tiveram seu discurso marginalizado pelas diretrizes do cânone europeu.

The purpose of this essay was to conduct a survey of the earliest workers at the Sandviken ironworks in Gävleborgs county, Sweden, during the period of 1863-1870 in order to determine their places of birth or origin. The study is primarily based around four books and one article which describe historiographic terms and methods, two books covering the processes behind industrialization and urbanization in the 19th century by historian Lars Nilsson and Welsh historian John Elliot. The two other works originate from Sandin, Sjödin and Skogsbergs book about the town of Sandviken and it’s earliest foundations alongside an article written by Yngve Terenius in 1968 covering the excavation of the canal in Sandviken. The essay’s survey area is limited to the immediate area surrounding the town of Sandviken.The majority of source materials come from the Sandviken municipality’s archives of the Sandviks ironwork company’s historical archives. There, the census records concerning the workers of the company throughout 1863, 1866 and 1870 were studied alongside the parish’s household examination rolls that detailed the birthplace and origins of the workers found within the census records. The result of this study shows that a majority of the workers present in Sandviken throughout the period of 1863-1870 came from the counties of Dalarna, Värmland and Västra Götaland respectively. To summarize, 529 workers’ backgrounds were surveyed. Of these 529 workers, 302 workers were born in counties outside of Gävleborg, whereas 102 hailed from Dalarnas county, 43 from Värmlands county, and 41 from Västra Götalands county. The remaining 227 workers were born in parishes within Gävleborgs county. Four parishes within the county had the largest contribution to the workers’ immigration during the period, namely: Ovansjö parish with 95 workers, Torsåker parish with 39, Högbo parish with 33 and finally Valbo parish with 21. The study showed that the amount of workers from Gävleborgs county steadily increased from 1866 to 1870. In accordance to Sandin et als. book and Terenius' article, they mention workers from Värmland and Västra Götaland as being of importance in the early days of the ironworks. This study confirms those theories. However, alongside the 529 workers there are 935 family members whom weren’t included in the survey. The study results are presented in circular diagrams under the section titled ”Undersökning”, and onwards. The diagrams titled ”tillfälligt anställda arbetare” cover the temporary workers at the ironworks for the year they’re represented. The other 9 diagrams titled ”arbetares födelseorter” pertain to the birthplace of the workers for each year. The final six diagrams under the title ”statistisk sammanslagning” are diagrams describing a merge in numerical data from the surveys of temporary workers and the house examination rolls for each year they’re represented / Uppsatsens syfte var att kartlägga och utforska ursprunget hos de första Sandviksarbetarna mellan perioden 1863-1870. Utifrån forskningsläget framhävs bland annat teorier om industrialisering och urbanisering, samt demografiska grunder som tillämpas i uppsatsens undersökning. Däribland dem behandlas Lars Nilssons bok Den urbana transitionen som beskriver Sveriges urbaniseringsförlopp under 150 år, och engelsmannen John Elliotts bok The industrial development of the Ebbw valleys som förklarar förändringen av ett dalområde i sydöstra Wales genom Storbritanniens industrialisering. För en koppling till den demografiska undersökningen beblandas även Martin Dribe och Maria Stanfors bok Demografins grunder, syftandes till att förse uppsatsen med teorimaterial. Däribland dessa verk finns två litterära källor som beskriver Sandvikens allra tidigaste stadier för både bruket och orten, Slaggsten och syren av Gösta Sandin, Stig Sjödin och Stig Skogsberg som lägger en bakgrund till Sandvikens framväxt och Om kanalen genom Sandviken tagen ur 1968 års upplaga av tidskriften Ur Gästrikland av Yngve Terenius. Terenius behandlar kanalgrävandet i Sandviken 1862-1863, och beskriver hur flertalet av arbetarna som var verksamma där härstammade från bland annat Värmland. Sandin et al. belyser att värmlänningar tillika dalslänningar var verksamma i Sandviken under anläggandet av bruket, och stadens tidiga framväxt. Avgränsningarna drogs utefter geografiska aspekter och Sandvikens bruk med tillhörande närområde inom Högbo socken blev styrande. Undersökningsfrågan som riktades mot källmaterialet ämnade besvara varifrån de första arbetarna kom, vilka födelseorter de har, eller var de är skattskrivna ifall födelseorten saknas. Källmaterialet som användes härstammade från Sandviks historiska arkiv, och det som slutligen granskades var Sandvikens bruks mantalslängder för åren 1864, 1867 och 1870 där mantalslängderna avser det föregående året, förutom längden för år 1870. Kompletterande material till mantalslängderna behövdes för att fastslå arbetarnas födelseorter, därför blev husförhörslängderna för år 1861-1865 samt 1866-1870 hos Sandvikens kyrkoarkiv avseende Högboförsamling aktuella. Resultaten sammanställdes och presenterades genom cirkeldiagram, där arbetares födelseort eller skattskrivningsort påvisades. Resultatet av undersökningen visar i korthet att den arbetsmigration som Sandin et al. tillika Terenius omtalade anses ha stämt rörande Värmland, men att Dalarna var länet där de allra flesta arbetarna härstammade ur. Av samtliga 529 personer som återfinns i källmaterialet är majoriteten, uppemot 302 arbetare, från orter och län utanför Gävleborgs län, där 102 stycken arbetare härstammar från Dalarna. På andraplats kommer Värmlands län med 43 arbetare, och Västra Götalandslän på tredje plats med 41 arbetare. Utifrån Gävleborgs län och dess närliggande socknar var Ovansjö den socken som majoriteten av arbetarna härstammade från med 95 arbetare, följd av Torsåker med 39, Högbo med 33, och slutligen Valbo med 21 arbetare. Genom denna undersökning har ursprunget hos de tidigaste arbetarna vid Sandvikens bruk kartlagts, och den påvisade invandringen från andra län var markant.

Keywords "Long" 18th century; 18th century; Baroque; Enlightenment; Czech National Revival; history of Czech language; development of Czech language; Czech language in the Baroque period; Czech language in the times of the Czech National Revival; Czech language in the "long" 18th century; manuscript; scribe's usage; cultural Czech language; books of historiographic records; historiography; "folk chronicles"; gramatography; grammar books; Baroque stylistics; Baroque rhetoric; history of spelling; development of spelling; history of phonetics; development of phonetics; history of morphology; development of morphology; development of the lexis; Chlumec nad Cidlinou; Kutná Hora; Milčice; Nové Strašecí; Pelhřimov; Roudnice nad Labem; František Šolc; Vojtěch Kegler; František Jan Vavák; Filip Ignác Dremsa; Antonín Štěpán; Vojtěch Jílek; Václav Preinhelter. Abstract The traditional view describing Czech literary works written in the period from the late 17th century to the end of 18th century as signs of decline in the level of Czech language and literature has been successfully overcome by linguists over the past few decades. However, most papers covering the topic were focused on prints; handwritten sources are being analysed marginally and unsystematically. The aim of this dissertation is to provide a more...