A presente dissertação discute a representação do passado em A Costa dos Murmúrios. Analisa-se a maneira pela qual o período colonial é retratado na obra, investigando as estratégias utilizadas por Lídia Jorge, para conceber um registro diferenciado desse tempo histórico. A história de Portugal é reavaliada criticamente, provocando uma ruptura com os padrões ideologicamente estabelecidos. Versões até então negligenciadas, passam a contribuir fortemente para um conhecimento pluralista do passado lusitano. O estudo revela a desconstrução do discurso oficial efetuada pelo romance, que relativiza as verdades propagadas pelo cânone. O trabalho verifica de que forma a narrativa de Jorge promove a articulação entre história e ficção, problematizando a tradicional distinção entre elas. Além disso, procura-se identificar como o romance A Costa dos Murmúrios dialoga com as inovadoras teses de Hayden White, Walter Benjamin, Linda Hutcheon, entre outras, surgidas no clima de renovação epistemológica que se instalou a partir de meados do século XX / The present dissertation discusses the past representation in A Costa dos Murmúrios. We intend to analyze the way by which the colonial period is pictured in the novel, searching for the strategies used by Lídia Jorge to conceive a distinctive record of this historical period. Portugals history is re-evaluated and questioned, what results in a rupture with the ideological established patterns. Versions so far neglected, start to contribute to a overall understanding of the portuguese past. This study reveals the deconstruction of the regimes ideological discourse performed by the novel, which relativize the truths radiated by the standard nations narrative. This work examines how Jorges narrative promotes the articulation between history and fiction, problematizing their traditional distinction. This analysis seeks to identify how the novel is related to the innovated theses of Hayden White, Walter Benjamin, Linda Hutcheon, among others, emerged as part of the epistemological renovation process of the early XX century

O objetivo da presente dissertação é entender como ocorre a ficcionalização da memória da guerra colonial portuguesa nos romances Os Cus de Judas e A Costa dos Murmúrios e as estratégias usadas pelos autores para expressar essa memória em termos literários. Essas narrativas ao constatarem o colapso da antiga utopia colonialista do discurso nacional português, propõem uma revisão dos antigos valores nacionais e da retórica do regime salazarista, que afetou de forma profunda a vida dos autores. Em ambas as narrativas, a experiência da guerra é reconstruída através do testemunho e da reavaliação das reminiscências do passado das personagens, o que confere às obras um perfil confessional. Ao desmontar o tradicional relato histórico, relativizando verdades universalmente aceitas, a ficção visa preencher as lacunas do discurso histórico oficial, entendido como uma escritura dos vencedores. O confronto entre a memória individual resgatada pelas personagens e a memória legitimada da nação tem uma função redentora sobre o passado na medida em que interrompe a lógica dominante no momento presente. O estudo das referidas obras individualmente é concluído com uma análise sob o viés comparativo que visa estabelecer semelhanças e possíveis discrepâncias na forma de representação das memórias da guerra colonial / The aim of the present dissertation is to understand how fictionalization of the Portuguese colonial war memory occurs in the novels Os Cus de Judas e A costa dos Murmúrios and the strategies used by the authors to express this memory in literary terms.These narratives, atesting the collapse of the old colonialist utopia spread by the portuguese nations narrative, propose a re-evaluation of outdated national values as well as the rhetoric of Salazars regime, which affected profoundly these writers lives. In both narratives, the war experience is reconstructed through the characters testimonials and re-evaluation of their past reminiscences, what gives them a confessional profile. Dismounting the traditional historical narrative by the relativization of widely accepted truths, fiction intends to fill the gaps of the official historical record, seen as a discourse comiited with the dominant classes. The confrontation between the characters individual memory and the legitimized nation's memory, has a libertarian dimension about the past, as it interrupts the dominant logic of the present. The study of the refered novels individualy is concluded with a comparative analisys which stablish similarities and possible discrepancies between their representation of the colonial war memories

Este trabalho tem como objetivo principal entender, a partir da análise do romance As naus, de António Lobo Antunes, as faces do sujeito pós-moderno e suas escolhas diante de uma sociedade líquida e fluida. Nesse romance, homens da contemporaneidade e mitos da história encontram-se em um tempo comum e convivem naturalmente na cidade de Lisboa. Alguns personagens desse romance, publicado em 1988, servem de base para a reflexão de uma sociedade fragmentada e marcada pelo deslocamento constante dos sujeitos que a compõem. A excentricidade é grande marca do homem que se encontra perdido no tempo e espaço retratado em As naus e essa marginalização contribui para a constante busca e necessidade de reconstrução da identidade nacional. A partir de conceitos como riso e carnavalização, é possível desconstruir fatos da história portuguesa, entendidos como verdade absoluta durante séculos, e que, na contemporaneidade, não apresentam o sentido de outrora. Desta maneira, esta dissertação mostra o humor presente na obra de António Lobo Antunes e desmistifica nomes, fatos e o império glorioso de Portugal; mostra ainda como na obra o passado é utilizado para se desconstruir criticamente o presente, através da metaficção historiográfica. Em suma, o desembarque desprovido de glória em Lisboa dos antigos heróis ilustres, cinco séculos depois de terem partido, é o fato culminante dessa elaborada antiepopeia / Through the analysis of the novel Return of the Caravels by Antonio Lobo Antunes, this study aims to shed light on the nuances of a post-modern character and his decisions in the context of a liquid and fluid society. The novel, published in 1988, sets an anachronism in which individuals from contemporary times and ancient Portuguese myths naturally coexist in the city of Lisbon. Some of the characters in this novel are the focus of this study, which examines a fragmented society marked by the constant displacement of individuals who compose it. In The Return of the Caravels, eccentricity is the main quality of a man who is lost in time and space. The characters marginalization fuels a continuous attempt to reconstruct the national identity. Additionally, the concepts of laughter and carnivalization serve as tools to deconstruct facts of the Portuguese history that have been regarded as absolute truth. In contemporary society, however, meanings ascribed to those facts have shifted. Thus, this thesis not only highlights the use of humor in the work of Antonio Lobo Antunes but also demystifies names, facts, and the glory of the Portugal Empire. Furthermore, this thesis discusses how, through historiographic metafiction, past events are used for a critical deconstruction of the present society. In short, this intricate anti-epic novel culminates in the dishonored return of Portugals legendary heroes to the city of Lisbon five centuries later

Esta dissertação tem como objetivo analisar de que maneira a representação dos eventos históricos referentes ao cerco de Lisboa de 1147 empreendida nos textos historiográficos Conquista De Lisboa aos Mouros (1147) de Osberno, Crónica de cinco reis de Portugal atribuído a Fernão Lopes, Crónica de Dom Affonso Henriques, do Frei António Brandão, e História de Portugal: 1.ª época, desde a origem da monarquia até D. Afonso III de Alexandre Herculano, é reconfigurada na narrativa ficcional História do Cerco de Lisboa, do escritor português José Saramago. Especificamente, tencionou-se identificar, por meio do estudo de fontes históricas referentes à conquista de Lisboa de 1147, aspectos característicos da narrativa histórica oficial de tal evento histórico e da apresentação de suas personagens importantes; determinar em que medida textos historiográficos portugueses são intertextualmente apropriados pelo narrador de História do Cerco de Lisboa; averiguar qual é a atitude do narrador em relação ao discurso histórico oficial referente a tal momento histórico; verificar de que maneira as personagens históricas envolvidas no cerco e na tomada de Lisboa são representadas no romance; e determinar em que medida a reescrita do cerco de Lisboa empreendida no romance é dessacralizadora e paródica. A análise do romance foi norteada teoricamente, por um lado, por estudos referentes às muitas instâncias do cruzamento entre discurso literário e discurso histórico – especialmente por obras dos historiadores Hayden White, Paul Ricoeur, Carlo Ginzburg, Saul Friedländer e Dominick LaCapra – e, por outro, pela atribuição do conceito de metaficção historiográfica, de Linda Hutcheon, à narrativa saramaguiana. Depois do estudo do romance à luz das obras históricas, concluiu-se que o narrador de História do cerco de Lisboa reconfigura o intertexto historiográfico de maneiras distintas, que vão da reprodução literal de excertos e da referência nominal a seus autores até a absorção paródica de grandes blocos das obras de origem. Essas citações aparecem em geral emolduradas por comentários irônicos da instância narrativa, conferindo uma apreciação pouco sacralizada e bastante díspar da observada nas fontes históricas consultadas aos eventos e personalidades históricas importantes. Outra forma de retomada intertextual refere-se ao resgate de figuras menores do passado português, o soldado Mogueime e a princesa moura Oureana, e das vozes mouras silenciadas pela conquista. Além de problematizar o passado lusitano por meio da apropriação intertextual de obras que o enfocam, o narrador saramaguiano questiona os métodos de escrita historiográfica ao ficcionalizar o embate de pelo menos duas concepções de história distintas, uma representada pelo Historiador e outra por Raimundo Silva, bem como de sugerir a leitura do passado mediante a técnica do palimpsesto. / This thesis aims to analyze how the representation of historical events related to the 1147 siege of Lisbon undertaken in the historiographical texts Conquista De Lisboa aos Mouros (1147) by Osberno, Crónica de cinco reis de Portugal by Fernão Lopes, Crónica de Dom Affonso Henriques by Frei António Brandão, and História de Portugal: 1.ª época, desde a origem da monarquia até D. Afonso III by Alexandre Herculano is reconfigured in the ficcional narrative History of the Siege of Lisbon, by Portuguese writer José Saramago. Specifically, we meant to identify, through the study of historical sources concerning the conquest of Lisbon, characteristic features of the official historical record of this historic event and how the its important characters are presented; to determine to what extent Portuguese historiographical texts are intertextualy appropriated by the History of the Siege of Lisbon narrator; to find out what is the narrator's attitude towards the official historical record concerning such historical moment; to verify how the historical characters involved in the siege and conquest of Lisbon are represented in the novel; and to determine to what extent the rewriting of the siege of Lisbon undertaken in the novel is unsanctified and parodic. The novel’s analysis was theoretically guided, on the one hand, for studies related to the various instances of crossings between literary discourse and historical discourse – especially works by historians Hayden White, Paul Ricoeur, Carlo Ginzburg, Saul Friedlander and Dominick LaCapra – and, on the other hand, the assignment of the concept of historiographic metafiction, by Linda Hutcheon, to Saramago’s narrative. After the study of the novel in the light of the historical sources, it was concluded that the History of the siege of Lisbon’s narrator reconfigures the historiographical intertext in different ways, ranging from literal reproduction of excerpts and nominal reference to their authors to the parodic absorption of large blocks of works. These quotes are usually framed by ironic comments of the narrative instance, giving an assessment that isn’t sanctified and is quite disparate from that given by the consulted historical sources to the historical events and its important figures. Another form of intertextual resumption refers to rescue of smaller figures of Portuguese past, as the soldier Mogueime and the Moorish princess Oureana, as well as the Moorish voices silenced by the conquest. Besides questioning the Lusitanian past through intertextual appropriation of sources, Saramago’s narrator questions the historiographical writing methods by fictionalizing the clash of at least two different conceptions of history, represented by the historian and by Raimundo Silva, as well as suggest the reading of the past throught the use of palimpsest technique.

A obra de Lídia Jorge, iniciada em 1980, com a publicação de O dia dos prodígios, constitui um dos mais significativos e relevantes conjuntos de escritos da literatura portuguesa contemporânea. Entre coletâneas de contos, peças de teatro, poemas e textos da literatura infantil, seus dez romances, publicados até 2011, versam sobre diversos aspectos da natureza humana e da vida portuguesa, especialmente no tocante aos fatos ocorridos após a Revolução dos Cravos (1974), compondo um dos mais importantes panoramas da evolução sociopolítica em Portugal desde então. O projeto de pesquisa que deu origem a esta tese buscou contemplar quais aspectos desse panorama aparecem com maior consistência ao longo de sua escrita romanesca e qual sua relação com os fatos Históricos do país, em sua fase democrática. Aliada a isso, a escrita de Lídia Jorge apresenta, ao longo dos dez romances, uma reflexão sobre o próprio ato de escrever e sobre a relação entre a História e sua representação na ficção contemporânea portuguesa. Assim, sob a perspectiva da metaficção historiográfica, conforme a definem Hutcheon (1991) e White (1995), esta tese faz uma leitura dessas dez obras, buscando compreender o projeto estético-ideológico da autora, como ele se consubstancia e de que maneira se desdobra, desde O dia dos prodígios até A noite das mulheres cantoras (2011). Este trabalho propõe que os romances de Lídia Jorge constituam, até agora, três diferentes fases: o percurso inicial, formado pelos quatro primeiros romances O dia dos prodígios (1980), O cais das merendas (1982), Notícia da cidade silvestre (1984) e A costa dos murmúrios (1988); a segunda fase, de que fazem parte A última dona (1992), O jardim sem limites (1995) e O vale da paixão (1998); e a terceira fase, constituída pelos romances O vento assobiando nas gruas (2002), Combateremos a sombra (2007) e A noite das mulheres cantoras (2011). Serviu como espinha dorsal para a construção deste estudo a imagem do bordado como técnica para a construção de imagens, as quais, em conjunto e por si sós, constituem um painel representativo de um povo, de sua História e de sua relação com sua própria identidade. Em suma, este trabalho busca caracterizar quem é e como escreve um dos mais importantes nomes da literatura portuguesa contemporânea. / Lídia Jorges work, started in 1980 with the novel O dia dos prodígios, forms one of the most significant and relevant sets of literary pieces produced in the Portuguese contemporary literature. Among short stories, plays, poems, and books for children, her ten novels so far, published between 1980 and 2011, evolve around several aspects of human nature and of the Portuguese life, especially the ones occurred after the Carnation Revolution (1974) building one of the most important overviews of the Portuguese sociopolitical evolution since then. The research project which originated this dissertation aimed to comprehend which aspects of that overview show more consistently in her novelistic writing, as well as its relation with the historical events of the country, in its democratic period (after 1974). In addition, Lidia Jorges writing presents, throughout her so-far ten novels, a reflection upon the act of writing itself and its relation with History and how it is represented in Portuguese contemporary fiction. Therefore, under the perspective of historiographic metafiction, as defined by Hutcheon (1991) and White (1995), this dissertation provides an analysis of her so-far ten novels, aiming at understanding the writers aesthetic and ideological project, how it consubstantiates and how it develops, since O dia dos prodígios and A noite das mulheres cantoras (2011). This work proposes that Lidia Jorges novels be divided into three different moments: the initial phase, made up of her first novels O dia dos prodígios (1980), O cais das merendas (1982), Notícia da cidade Silvestre (1984), and A costa dos murmúrios (1988); the second moment, in which belong A última dona (1992), O jardim sem limites (1995), and O vale da paixão (1998); and the third moment, which includes O vento assobiando nas gruas (2002), Combateremos a sombra (2007), and A noite das mulheres cantoras (2011). As foundation for developing this study, it was used the image of the needlework as metaphor for building imagery which, as a set and each one by itself, constitute a representative panel of a people, their History, and their relation with their own identity. In short, this work aims to characterize who one of the most important of the Portuguese contemporary literature is and writes.

Esta dissertação tem como objetivo analisar de que maneira a representação dos eventos históricos referentes ao cerco de Lisboa de 1147 empreendida nos textos historiográficos Conquista De Lisboa aos Mouros (1147) de Osberno, Crónica de cinco reis de Portugal atribuído a Fernão Lopes, Crónica de Dom Affonso Henriques, do Frei António Brandão, e História de Portugal: 1.ª época, desde a origem da monarquia até D. Afonso III de Alexandre Herculano, é reconfigurada na narrativa ficcional História do Cerco de Lisboa, do escritor português José Saramago. Especificamente, tencionou-se identificar, por meio do estudo de fontes históricas referentes à conquista de Lisboa de 1147, aspectos característicos da narrativa histórica oficial de tal evento histórico e da apresentação de suas personagens importantes; determinar em que medida textos historiográficos portugueses são intertextualmente apropriados pelo narrador de História do Cerco de Lisboa; averiguar qual é a atitude do narrador em relação ao discurso histórico oficial referente a tal momento histórico; verificar de que maneira as personagens históricas envolvidas no cerco e na tomada de Lisboa são representadas no romance; e determinar em que medida a reescrita do cerco de Lisboa empreendida no romance é dessacralizadora e paródica. A análise do romance foi norteada teoricamente, por um lado, por estudos referentes às muitas instâncias do cruzamento entre discurso literário e discurso histórico – especialmente por obras dos historiadores Hayden White, Paul Ricoeur, Carlo Ginzburg, Saul Friedländer e Dominick LaCapra – e, por outro, pela atribuição do conceito de metaficção historiográfica, de Linda Hutcheon, à narrativa saramaguiana. Depois do estudo do romance à luz das obras históricas, concluiu-se que o narrador de História do cerco de Lisboa reconfigura o intertexto historiográfico de maneiras distintas, que vão da reprodução literal de excertos e da referência nominal a seus autores até a absorção paródica de grandes blocos das obras de origem. Essas citações aparecem em geral emolduradas por comentários irônicos da instância narrativa, conferindo uma apreciação pouco sacralizada e bastante díspar da observada nas fontes históricas consultadas aos eventos e personalidades históricas importantes. Outra forma de retomada intertextual refere-se ao resgate de figuras menores do passado português, o soldado Mogueime e a princesa moura Oureana, e das vozes mouras silenciadas pela conquista. Além de problematizar o passado lusitano por meio da apropriação intertextual de obras que o enfocam, o narrador saramaguiano questiona os métodos de escrita historiográfica ao ficcionalizar o embate de pelo menos duas concepções de história distintas, uma representada pelo Historiador e outra por Raimundo Silva, bem como de sugerir a leitura do passado mediante a técnica do palimpsesto. / This thesis aims to analyze how the representation of historical events related to the 1147 siege of Lisbon undertaken in the historiographical texts Conquista De Lisboa aos Mouros (1147) by Osberno, Crónica de cinco reis de Portugal by Fernão Lopes, Crónica de Dom Affonso Henriques by Frei António Brandão, and História de Portugal: 1.ª época, desde a origem da monarquia até D. Afonso III by Alexandre Herculano is reconfigured in the ficcional narrative History of the Siege of Lisbon, by Portuguese writer José Saramago. Specifically, we meant to identify, through the study of historical sources concerning the conquest of Lisbon, characteristic features of the official historical record of this historic event and how the its important characters are presented; to determine to what extent Portuguese historiographical texts are intertextualy appropriated by the History of the Siege of Lisbon narrator; to find out what is the narrator's attitude towards the official historical record concerning such historical moment; to verify how the historical characters involved in the siege and conquest of Lisbon are represented in the novel; and to determine to what extent the rewriting of the siege of Lisbon undertaken in the novel is unsanctified and parodic. The novel’s analysis was theoretically guided, on the one hand, for studies related to the various instances of crossings between literary discourse and historical discourse – especially works by historians Hayden White, Paul Ricoeur, Carlo Ginzburg, Saul Friedlander and Dominick LaCapra – and, on the other hand, the assignment of the concept of historiographic metafiction, by Linda Hutcheon, to Saramago’s narrative. After the study of the novel in the light of the historical sources, it was concluded that the History of the siege of Lisbon’s narrator reconfigures the historiographical intertext in different ways, ranging from literal reproduction of excerpts and nominal reference to their authors to the parodic absorption of large blocks of works. These quotes are usually framed by ironic comments of the narrative instance, giving an assessment that isn’t sanctified and is quite disparate from that given by the consulted historical sources to the historical events and its important figures. Another form of intertextual resumption refers to rescue of smaller figures of Portuguese past, as the soldier Mogueime and the Moorish princess Oureana, as well as the Moorish voices silenced by the conquest. Besides questioning the Lusitanian past through intertextual appropriation of sources, Saramago’s narrator questions the historiographical writing methods by fictionalizing the clash of at least two different conceptions of history, represented by the historian and by Raimundo Silva, as well as suggest the reading of the past throught the use of palimpsest technique.

In Portugal, as in other countries, a common characteristic of many of the novels published in the past twenty years is the recourse to a repertoire of literary devices that recall those of the historical novel.                 On the basis of critical studies published in the 1990’s, and in particular Fernández Prieto’s Poética de la Novela Histórica, this thesis undertakes a study of the Portuguese historical novel with the aim of defining, to the extent possible, the limits of this literary genre, and to examine in detail some of its intrinsic—and pertinent—semantic and pragmatic traits: the setting of a fictional narrative in the past, the introduction of historical persons and events and, not the least, the transtextual relationship between the fictional and the historiographic text.        Special attention is given to some of the more innovative forms of the contemporary historical novel, to highlight how by emphasising certain generic traits —that refer to the reader’s acquired knowledge— the author can compensate for the absence of others. Despite the inherent ”heterodoxy”, this device justifies grouping these novels under the general heading of the historical novel. The thesis explores the analogies between some of these innovative narrative strategies of the contemporary historical novel with transtextual practices characteristic of literature predating the 19th Century and by which a certain ”historical knowledge” is requisite for decoding the text. The thesis also establishes a set of generic traits that the historical novel shares with epic poetry. In light of these analogies, the thesis proposes a reading of Os Lusíadas as a historical poem. With this the author hopes to provide a contribution to a theory of historical fiction, understood as a genre encompassing, in addition to the novel, all forms of fictionalisation that rely on the historical discourse. © Mauro Cavaliere                                           ISBN  91-7265-442-2

THIS THESIS IS IN THE EXAMINATION PROCESS Christian Frederik Louis Leipoldt was born in on 28 December 1880 in the Rhenish House in Worcester, Cape Province, the fourth child of the Reverend Christian Friedrich Leipoldt and Anna Meta Christina Leipoldt (born Esselen). His father left the mission field to take up the position of the dominee in the Dutch Reformed Church in Clanwilliam where the Leipoldt family went to live, from 1884. Leipoldt received his education from his father at home, on a broad range of subjects, including several languages and also in the natural sciences. He became interested in writing from a very young age and sent pieces of his writing for publication when still a boy. When he was fifteen he began sending dried plant specimens to Professor McOwan in Cape Town, from Clanwilliam. It was through his interest in botany that Leipoldt met Dr Harry Bolus, a life-long friend. Leipoldt wrote the Civil Service examinations in 1897 after which he went to Cape Town to work as a journalist. Living in Cape Town he served on the staff of the pro-Boer newspaper, The South African News from 1898 until it was closed down by the British authorities in 1902, when he travelled to Britain to look for work as a journalist in London. Soon after arriving there he took up the offer from Bolus who would lend him money to study medicine at Guy’s Hospital. It was more or less at this time that some of his early literature on the South African War was written, for instance, his well-known poem, Oom Gert Vertel (published in 1911). After successfully obtaining his MRCS medical qualification in 1907, winning gold medals for medicine and surgery in the process, he briefly served as Acting House Surgeon at Guy’s until 1908 when he travelled to Europe to work in a number of hospitals to receive further training. Later the same year he took up a post as medical adviser to J D Pulitzer, the American newspaper owner. Thereafter he worked as a doctor in London except for the time he proceeded on a four month visit to the East in 1912, the experience of which he penned in a manuscript entitled ‘Visit to the East Indies.’In 1914 he returned to South Africa to take up a post as Medical Inspector of Schools with the Transvaal Education Department. During the First World War in South Africa, he was drafted into the army as the personal medical doctor to the Prime Minister at the time, Genl Louis Botha. He resigned from his post as Medical Inspector in 1923 to take up an offer from Dr F V Engelenburg to serve on the editorial staff of the pro-Smuts newspaper De Volkstem,. He worked there until 1925 when he and the newly appointed editor Gustav Preller did not see eye to eye and it was then that he decided to return to Cape Town. His second Cape Town period (1925 – 1947) was characterized by the most prolific writing, during which he published a great many works across a broad range of topics. Furthermore, though he never married, he adopted Jeffrey Leipoldt, and took in a number of boys as boarders in his home ‘Arbury’ in Kenilworth, Cape Town. At the same time as he wrote most prolifically for a wide range of publications including many novels, he taught pediatrics at the University of Cape Town Medical School and practised as a pediatrician in the city. C Louis Leipoldt was a versatile person who published across a wide range of fields, to include literature, medical studies, letters to friends and associates, the history of wine and cookery, and what few seem to be aware of, his three English historical novels that make up The Valley, written in English between 1928 and 1932. Whilst Leipoldt’s early work such as Oom Gert Vertel gave voice to the suffering of the Afrikaner people, in The Valley, his voice is one of protest against the isolationist policies of the National Party of the 1920s.</p/> Whilst Leipoldt will be known for his work as the inaugural medical inspector of schools of the Transvaal Education Department, the inaugural lecturer in pediatrics at the University of Cape Town and Cape Town’s first practising pediatrician, he will also be known for his wide oeuvre as a writer. For example, he served as the Medical Association of South Africa’s first editor of its South African Medical Journal, a post he held for 18 years. Leipoldt never married and died on 13 April 1947 in Cape Town. His ashes were scattered in the Pakhuis Pass near Clanwilliam, where there is a memorial to his life. / Thesis (DPhil)--University of Pretoria, 2012. / Historical and Heritage Studies / unrestricted

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

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.