A presente tese representa um esforço no sentido de contextualizar a caminhada do ensaio de interpretação do Brasil, durante o século XIX, com base em três aspectos: a construção do tema nacional, em Varnhagen; a aquisição de uma linguagem de corte subjetivo, em Joaquim Nabuco; e o relacionamento entre ciência e literatura, em Euclides da Cunha. Na introdução, ocorrem aproximações de natureza conceitual acerca das características mais salientes do ensaio como gênero na literatura e da noção de identidade nacional. No primeiro capítulo, os objetivos se transferem para a investigação dos antecedentes da interpretação do Brasil, principalmente aqueles localizados nos textos de não ficção, a exemplo da carta de Pero Vaz Caminha e dos relatos de viagem durante o período colonial. O segundo capítulo descreve os esforços para a criação de uma língua literária correspondente ao novo estatuto de independência política, tendências inventariadas pela prosa e poesia do período, em textos como a História Geral do Brasil, de Francisco Adolfo de Varnhagen. O influxo de uma nova subjetividade sobre a linguagem constitui o escopo do terceiro capítulo que também reproduz parte da fortuna crítica do ensaio O Abolicionismo, de Joaquim Nabuco. Em quarto, o diálogo entre ciências sociais e a interpretação do Brasil servem de contraponto ao levantamento de obras que já aproximam a questão social (o caso de Os Sertões, de Euclides da Cunha). No quinto capítulo, uma breve reconstituição da passagem do ensaio de interpretação do Brasil no século XX. Por último, na coda, a trajetória do ensaio de interpretação do Brasil, até meados de 1900 / This study is focused in the interpretation of Brazil, in the period time of the XIX century, based on three aspects: the building of the nationalist matter, in Varnhagen; the acquisition of subjective language, in Joaquim Nabuco and the relationship between science and literature, in Euclides da cunha. The introduction, presents the conceptual nature about the more visible traces of the essay in the literature e and notion of national identity. In its first chapter, the narrative follow the roots of Brazils interpretation, especially in those non fictional texts like the letter of Pero Vaz Caminha and the journey reports during the colonial period. The second chapter describes the creation of a literary language after the process of political independence. It can be found in written productions such as poetry and novel, but mostly in texts like História Geral do Brasil, by Francisco Adolfo de Varnhagen. The uprise of this new subjectivity in the language concerns the matter of the fourth chapter that also brings the criticism about the essay O Abolicionismo, de Joaquim Nabuco. In the coda, there is a brief reconstitution of Brazils way of interpretation, until near 1900

Submitted by Eliezer Mendes Lopes (mendesfurg@gmail.com) on 2015-04-29T17:49:54Z No. of bitstreams: 1 JULIANE CARDOZO DE MELLO.pdf: 9166968 bytes, checksum: 8d40129db82acbb15096aefa6f0ddacc (MD5) / Approved for entry into archive by Vitor de Carvalho (vitor_carvalho_im@hotmail.com) on 2015-05-15T19:32:33Z (GMT) No. of bitstreams: 1 JULIANE CARDOZO DE MELLO.pdf: 9166968 bytes, checksum: 8d40129db82acbb15096aefa6f0ddacc (MD5) / Made available in DSpace on 2015-05-15T19:32:33Z (GMT). No. of bitstreams: 1 JULIANE CARDOZO DE MELLO.pdf: 9166968 bytes, checksum: 8d40129db82acbb15096aefa6f0ddacc (MD5) Previous issue date: 2013 / A presente dissertação tenciona reiluminar parte da obra e da vida do jornalista alemão Carlos de Koseritz, reconhecido no estado do Rio Grande do Sul por sua contribuição para o desenvolvimento da imprensa no século XIX e por sua luta política em prol dos imigrantes. Os primeiros anos de Koseritz no Brasil, vividos nas cidades gaúchas de Rio Grande e Pelotas, bem como a sua produção literária, foram descritos de maneira sucinta pelos seus biógrafos pela falta de acesso aos textos, jornais e documentos da época. No entanto, foram localizados, em pesquisas na Biblioteca Rio-Grandense (Rio Grande – RS), periódicos com escritos do autor e com polêmicas envolvendo-o, já que era considerado pelos seus opositores o “Dom Quixote do jornalismo” (DIÁRIO DO RIO GRANDE, 22 fev. 1860, p. 2). Além disso, foram encontradas duas obras literárias que vinham sendo apenas citadas pela crítica e pela historiografia: Um drama no mar, publicada em formato de folhetim em 1862 e, posteriormente, em volume impresso em 1863 e um volume da primeira edição do romance Laura: também um perfil de mulher (1875). A novela Um drama no mar tem sua origem em fatos verídicos retratados no jornal Eco do Sul nos dias anteriores à publicação do primeiro capítulo do folhetim, o que evidencia que seu autor valeu-se dos dados do periódico, transpondo-os para a ficção. Já o romance Laura: também um perfil de mulher aproxima-se do romance urbano e da ficção do restante do país, como a de Joaquim Manuel de Macedo e a de José de Alencar. Pretende-se, portanto, através das fontes primárias e dos periódicos, trazer à luz esse período biobibliográfico esquecido de Carlos de Koseritz, relacionando-o aos escritos consagrados do jornalista, a fim de evidenciarmos uma aproximação entre os primeiros escritos e os posteriores, já que ambos eram norteados pelo mesmo intuito: a contribuição para o desenvolvimento do Brasil, seja através das letras, seja através da política, da economia, da ciência. / This thesis aims to enlighten part of the work and life of the German journalist Carlos de Koseritz, recognized in Rio Grande do Sul state not only by his contribution for press development in the 19th century, but also by his political struggle for the immigrants. Koseritz’s first years in Brazil, spent in the cities of Rio Grande and Pelotas (Rio Grande do Sul state), as well as his literature, were described briefly by his biographers due to the lack of access to texts, newspapers and documents of the time. Nevertheless, during researches at the Riograndense Library (Rio Grande – Rio Grande do Sul state), it was found journals with works of the author and polemics involving him. He was considered by his opponents as the “Don Quixote of the journalism” (RIO GRANDE DAILY, 22 Feb. 1860, page 2). Besides that, two literary works were found, which only had been mentioned by the book review and the historiography: Um drama no mar, published as a feuilleton in 1862 and, later as a printed version in 1863, and a first edition of the novel Laura: também um perfil de mulher (1875). The novel Um drama no mar is based on true facts pictured in Eco do Sul newspaper just on the previous days from the publication of the feuilleton’s first chapter, which evidences that the author took advantage from the journal’s data, converting them into fiction; as to the novel Laura: também um perfil de mulher, it gets close to the rest of the country’s urban novel and fiction, just as of Joaquim Manuel de Macedo and of José de Alencar. Therefore, it is intended to bring to light through the primary sources and the journals, that forgotten bibliographic time of Carlos de Koseritz, relating it to his established works, in order to evidence an approach between first and later works, once both were oriented with the same purpose: the contribution for the development of Brazil, be it through literature, politics, economy or science.

<p> The Spanish-American War of 1898 ended Spain&rsquo;s colonial empire in the Western Hemisphere, and represented the symbolic pinnacle of U.S. imperialism throughout the Caribbean and the Pacific. During this historical juncture, the U.S. launched the invasion of Puerto Rico and established itself as the governing power. My analysis of this defining event in Puerto Rico&rsquo;s history focuses on the &lsquo;discursive&rsquo; and &lsquo;representational&rsquo; practices through which the dominant representations and interpretations of the Puerto Rican campaign were constructed. In revisiting the U.S. &lsquo;imperial texts&rsquo; of &rsquo;98, most of which have not been studied extensively, it is my intent to approach these narratives critically, studying their ideological and political significance regarding the U.S. acquisition of Puerto Rico as a colony. </p><p> The &lsquo;War of &rsquo;98&rsquo; has been typically represented as an inter-metropolitan conflict, thus relegating to a secondary place the contestatory discourses produced within the colonies. It is the purpose of my dissertation to examine &lsquo;dialectically&rsquo; the cultural counter-discourse produced by the Puerto Rican Creole elite alongside the U.S. official discourses on Puerto Rico, concerning its colonial past under Spanish domination, the military occupation of the island, and its political and economical future under the American flag. With this purpose in mind, I chose to study four post-1898 Puerto Rican novels, specifically Jos&eacute; P&eacute;rez Losada&rsquo;s <i> La patulea</i> (1906) and <i>El manglar</i> (1907), and Ram&oacute;n Juli&aacute; Mar&iacute;n&rsquo;s <i>Tierra adentro</i> (1912) and <i> La gleba</i> (1913), all of which have been underestimated and understudied by literary scholars. </p><p> As a gesture of resistance in the face of the disruption of the old social order (that is, the old patterns of life, customs, traditions and standards of value) caused by the U.S. invasion and occupation of Puerto Rico in 1898, the island&rsquo;s intellectual elite&mdash;most of which were descendant of the displaced coffee <i>hacendado</i> families&mdash;responded by fabricating an ideology-driven national imaginary and iconography that proposed a hispanophile, nostalgic, and romanticized rendering of the late-19th century coffee landscape (i.e. the pre-invasion period) as an idyllic <i> locus amoenus</i>, thus becoming an emblem of national and cultural identity and values against American capitalist imperialism, the &lsquo;Americanization&rsquo; of Puerto Rico&rsquo;s economy and political system, and the rapid expansion of U.S. corporate sugar interests. </p><p> This dissertation has two distinct yet complementary purposes: first, it examines critically the imperial/colonial power relations between the United States and Puerto Rico since 1898, while questioning the hegemonic discourses both by the Americans and the Puerto Rican cultural elite regarding Puerto Rico&rsquo;s historical and political paths; secondly, it is an attempt to do justice to the literary works of two overlooked Puerto Rican novelists, approaching them critically on several levels (historical, literary, and ideological) and bringing their works out of the shadows and into today&rsquo;s renewed debates around Puerto Rico&rsquo;s unresolved colonial status and U.S. colonial practices still prevalent today.</p><p>

This dissertation is an exploration of relationships between fiction and history as illuminated by historiographic fiction in general and the historiographic novel in particular. Here the term historiography is employed particularly in several of its many meanings: as the study of the materials and techniques of history, the study of what it means to be a historian, and the study of the philosophy of history. All of these are comprehended in the larger definition of issues pertaining to the writing of history. Four twentieth-century novels are presented and analyzed as historiographic novels. The common element in analysis of all the novels is the examination of historiographic material encoded in narrative, plot, characters, theme, structure or style. Each analysis focuses on one historiographic assumption or problem and brings in perspectives of historians or theorists of history as well as non-novelistic, critical perspectives of the authors themselves. E. M. Forster's Howards End (1910) is analyzed as an imaginative exposé of causality in historical thinking. All the King's Men by Robert Penn Warren (1946) is presented as a gloss on Isaiah Berlin's critique of Leo Tolstoy's second epilogue to War and Peace. Several essays by philosopher Eric Voegelin provide the theoretical framework for a historiographic analysis of Milan Kundera's The Book of Laughter and Forgetting (1978). The historiographic reading of Graham Swift's Waterland (1983) turns on the convergence of tensions between natural and human history with conflicting ideas of what constitutes revolution. In the process of these analyses, the study establishes general properties of the historiographic novel, as opposed to related categories (historical novel, nonfiction novel, and historiographic metafiction, for example). The isolation, description, and examination of historiographic novels as a category of history is offered as a contribution to the debate about the relationships, respectively, between narrative and objectivity, and experience and representation.

En mi deseo por mostrar una nueva perspectiva tanto en Cárcel de Amor como en La Celestina, encontré un artículo que encierra muchas de mis ideas sobre estas dos obras medievales: “El Ojo de la Mente”, escrito por Michael Rifaterre. Para Rifaterre lo que realmente importa en la intertextualidad de los ibros medievales es el hecho de que se busca un texto homólogo, se hacen asociaciones a textos ya conocidos, se apela a los archivos mentales tanto del lector como del escritor. En otras palabras, la memoria es el estilo que sirve para presentar el contenido. Esto para mí es una perspetiva fascinante que me hizo ver muchas obras desde puntos de vista diferentes. Si la memoria es un determinante de estilo y un elemento influyente en el contenido, la memoria define en gran parte tanto el estilo como el contenido. Empecé por considerar a La Celestina a partir de esta premisa y me pareció más abstracta que nunca. Pensé como Gilman en su libro Arte y Estrutura, que la obra es un continuum de la conciencia, es conciencia hablada. Reduje los personajes a imágenes a movimientos de pantomima como hizo Dorothy Clarke en su libro, Decalogue and Deadly Sins in La Celestina. Concluí como Lida de Malkiel que la obra da suficiente tiep para que se comunique una noción de realidad y de verosimilitud psicológica, no para el desarrollo emocional de los personajes como piensa Malkiel, sino un tiempo suficiente para afianzar un concepto en la memoria. Visto desde un ángulo menos abstracto, el hecho de que a memoria es determinante de estilo y contenido acercó en mi opinión a La Celestina más al género de la novela. Me hizo considerar aspectos como el narrador fidedigno y la narración confiable o no confiable en una obra que según algunos, no tiene narrador. En Cárcel de Amor encontré el primer juicio por jurado de las obras medievales que he leído. En esta obra vi una clara separación, casi simétrica entre lo que es real y lo que es abstracto. Pasamos de lo abstracto a lo concreto para recordar algo. Tenemos una prisión alegórica y una real, un duelo alegórico y uno real, las armas del alma pecadora y las armas que matan al hombre, el rey que es Dios y un rey que está en una corte real, el juicio final que propone la teología cristiana y un juicio por jurado en el que la memoria juega un papel muy importante. La memoria prevalece por sí sola en estas obras. Llega a ser un elemento de narración, y un marcador de identidad. En el aspecto religioso, cumple una función moral. En el aspecto humano da nuevas dimensiones a los personajes. En el aspecto literario es un fuerte marcador de estilo y contenido que abre nuevas puertas a la interpretación de estas obras.

In this study we examine the development of the female poetic voice in the Puerto Rican context. Taking from the theoretical frameworks of Cultural Studies, Feminist Studies and New Historicism we re-read the political, cultural and literary history of Puerto Rico and its relation to the construction of the representations of Woman in texts written by women as well as those by men. In the first chapter we analyze the weight of gender and history in the elaboration of general discourse. We point out how all texts speak from a particular gendered perspective and respond to a historically determined moment which requires critical analysis that takes into consideration these contextual phenomena. From here we begin to re-examine the development of the female poetic creation from the end of the nineteenth century to the 1930s. We study the change of sovereignty and the political, social and cultural impact that this had on the literature of Puerto Rico. Mainly, we look into the gestation of a political-literary discourse created by Puerto Rican intellectuals, who were at the same time, responsible for the political and cultural events of the island. The second chapter explores the creation of a new political project for Puerto Rico which begins in 1940s and culminates with the Commonwealth. In addition, we review the political projects of the Commonwealth which required the active participation of literature since it was through literature that a cultural nationalism would be built, a nationalism that would compensate for the lack of an independent political state. Concluding this second chapter, we re-examine the decades of the sixties and seventies, viewing them as a period of change and of social and political struggle. We study the gradual separation of the literary and political spaces, which allowed a more transgressive discourse as well as a more authentic female voice. The third chapter is a critical analysis of the female poetic voice through the twentieth century. Among the selected poets are: Clara Lair, Haydee Ramirez de Arellano, Marigloria Palma, Angelamaria Davila, Olga Nolla, Manuel Ramos Otero and Mayra Santos Febres.

For Latinos living in the continental United States, migration is an experience that is at once familiar, as a historical phenomenon that shapes our lives, and ephemeral, as a series of momentous events in the lives of individuals, families, and communities that are rarely memorialized. Latino migration has contributed to a redesigned ethnic landscape in the northeastern U.S. although this migration is far less discussed as a contested site of Latino migration than that into the western United States. The two largest groups of Latinos in the Northeast, Dominican and Puerto Rican migrants and their descendants, have recorded the narratives of their migrations in cultural texts through autobiography, folklore, prose, and poetry. The texts I discuss, by Pura Belpré, Pedro Henríquez Ureña, Antonia Pantoja, Junot Diaz and Angie Cruz are a part of North American literary history as well as Latino literary history. The core question guiding this research is: how do migration narratives reveal new perspectives, speak back, or contradict our existing understanding of Dominican and Puerto Rican migrations? A secondary question is in what ways do these texts contribute to a collective memory for Latino communities and thereby add to our understanding of ethnic identity? I argue these texts reveal the heterogeneity of the migrants' identities and their migration experiences. Four of the five authors identify with an Afro-Latino diasporic identity and contribute to our memory of Afro-Latino culture. The texts express the differential experience that women and men migrants have in their lives premigration in their home countries, as well as their lives post-migration. A close reading of migration narratives yields evidence of the migrants' agency, contradicting notions of passive Latina women and passive migrants who unquestioningly accept oppressive cultural practices. Tracing the moments of the migrants' agency in the texts balances structural arguments that suggest that migration was almost inevitable since the migrants came from very poor countries. These migration texts reveal erasures, correct stereotypes, and amend existing knowledge with subjugated knowledges that come from the migrants' first person perspective. The new perspectives contribute to a usable past for Latino communities.

The meaning of democracy was contested theoretical and political terrain in classical Athens. In this dissertation I examine three contending theoretical views of democracy found in the works of three Greek thinkers--Thucydides, Aeschylus and Plato--present at the height of Athenian democracy. I show that each view draws upon competing conceptions of nature, language, truth, and power in order to claim the contested terrain. I argue that the heroic view of democracy, portrayed in Thucydides' History of the Peloponnesian War, saw politics as the means by which states achieve immortal glory through feats of war which simultaneously destroy them. In this view political power was delivered by the unified voice--the single identity--of the Athenian assembly produced by the power of persuasion. I interpret the tragic view, represented by Aeschylus' Oresteia, to criticize the heroic tradition of politics as dangerously unbalanced. The Oresteia offers an alternative view of democracy in which multiple voices divided against themselves produce not weakness but balance as a shield against the loss of limits implied in the heroic view. I argue that the ambiguity of language, and the ambiguous identity it produces, is affirmed by tragedy to be a source of political strength and not a sign of political disintegration. The Platonic view articulated in the Republic opposes both the heroic view of politics and its tragic revision. I contend that the Republic, while appearing to oppose democracy, actually seeks to place it on a more secure foundation grounded in the logical concept of identity and rational thought applied to the soul. I argue that the Platonic attempt to found political order on the twin concepts of logical and psychological identity maintained by rational thought and language actually recapitulates on a grand scale the same dangers it identifies in its heroic opponents. And I suggest in conclusion that our Platonic legacy may effectively blind us to the dangerously heroic trajectory of the modern political state.

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