Em fins do século XIX um jovem empresário estadunidense fundou uma empresa exportadora de bananas na República da Costa Rica: a United Fruit Company. Mesmo que o comércio de bananas e outras frutas tropicais tenha representado apenas uma parte dos produtos exportados pelos países da América Central a exportação de café, por exemplo, sempre foi mais significativa , as companhias bananeiras foram eternizadas por diversos romancistas em alguns dos países centro-americanos em que atuaram. Este trabalho pretende mostrar a trilogia bananeira: Viento fuerte (1949), El Papa verde (1954) e Los ojos de los enterrados (1960) do escritor guatemalteco Miguel Angel Asturias, como uma possibilidade de representação da história da United Fruit Company na Guatemala. Utilizando romances como fonte histórica e realizando a articulação entre o discurso literário e o discurso histórico, a intenção é mostrar a interpretação de Asturias sobre a ação desta multinacional em seu país. Problematizando o encontro entre ambos os discursos e fazendo dialogar a informação histórica sobre o ocorrido e o tratamento literário que Asturias dá a esses mesmos fatos em sua trilogia bananeira. / In the end of the XIX Century a young American enterpreneur founded in the Republic of Costa Rica a company to export banana: the United Fruit Company. Even though the banana commerce and other tropical fruits had represented only a part of the exported products by the Central America countries the coffee export for instance has always been more significant the companies that traded bananas were eternalized by a great variety of novelists in some Central American countries were they acted. This work aims to show, as a possibility to represent the History of the United Fruit Company in Guatemala, the books that composes the Banana Trilogy: Viento fuerte (1949), El Papa Verde (1954) and Los ojos de los enterrados (1960) from the Guatemaltec writer Miguel Angel Asturias. Using novels as a historic source and accomplishing the joint between the literary and historic speech, the intention is to show the interpretation of Asturias concernig the action of this muitinational company in his country, to open debate between both speeches and to articulate the historic information and the treatment that Asturias gives to this information in his Banana Trilogy books.

No description available.

This thesis explores the relationship between Creation and the saints Cuthbert and Guthlac in their Anglo-Latin and Old English vitae. It argues that this relationship is best understood through received theological exegesis concerning Creation's present state in the postlapsarian world. The exegesis has its foundation in Augustine's interpretations of the Genesis narrative, though it enters the textual tradition of the vitae via an adapted portion of De Genesi contra Manichaeos in Bede's metrical Vita Sancti Cuthberti (VCM). Both Augustine and Bede argue, with slight differences, that fallen Creation can be restored into prelapsarian harmony with humanity by way of sanctity. Each individual vita engages with this understanding of the Fall in distinct, though ultimately interrelated, ways, and the chapters of this thesis will therefore explore each text individually. Chapter 1 argues that the anonymous Vita Sancti Cuthberti (VCA) unites Cuthbert's ability to restore Creation with the theme of monastic obedience, linking the ordering of a monastery to the restoration of prelapsarian harmony. The VCA also seeks to create sites for potential lay pilgrimage in the landscapes of Farne and Lindisfarne by highlighting the present efficacy of Cuthbert's miracles. Chapter 2 argues that Bede's VCM not only reveals his early attempt to fashion Cuthbert into the primary saint for Britain, via a focus on Cuthbert's obedience to the Divine Office, but also that the restoration of Creation functions as a ruminative tool. Chapter 3 argues that Bede transforms the nature of Cuthbert's sanctity in his prose Vita Sancti Cuthberti (VCP) from static to developmental, influenced by the Evagrian Vita Antonii, and that Creation is adapted to function as the impetus for, and evidence of, Cuthbert's progression. Chapter 4 argues that Felix's Vita Sancti Guthlaci (VSG) unites the development of Guthlac with a physically delineated Creation, and that the restoration of Creation is elevated to an even greater degree here than in Bede's hagiography. Chapter 5 argues that the author of the Old English Prose Guthlac (OEPG) grounds his vita by utilizing a landscape lexis shared with contemporary boundary clauses, so that here the relationship between the saint and Creation has greater force; it further argues that Guthlac A uniquely connects Guthlac with the doctrine of replacement, consolidating links between his arrival to the eremitic space and the restoration of prelapsarian Eden.

[pt] Esta pesquisa pretende analisar qual o papel do negro na obra do intelectual Sílvio Romero. A análise, terá como base as obras A literatura brasileira e a crítica moderna (1880), A história da Literatura Brasileira (1888), Martins Penna: ensaio crítico (1901) e Brasil Social e outros estudos sociológicos (2001) nas quais o autor mobiliza um repertório racialista para se pensar a composição racial na identidade nacional. Acreditando na existência de uma lacuna no entendimento de como o intelectual sergipano pensa a população negra, se introduz essa questão em um contexto marcado pela ação da Geração de 1870 que elaborava uma cultura capaz de renovar mentalidades daquela contemporaneidade através dos ideais cientificistas caracterizados como sendo verdades absolutas, agindo em contraposição aos pilares imperiais que seriam representados como símbolos do atraso. Para realizar esse processo, a ação intelectual romeriana é dividida em três fases: crítica radical, crítica equilibrada e pessimismo, escolhendo obras que representassem essas fases e que trouxessem respostas para a seguinte pergunta: qual o papel do negro na obra de Sílvio Romero? / [en] This research intends to analyze the role of black people in the work of the intellectual Sílvio Romero. The analysis will be based in the works: A literature brasileira e a crítica moderna (1880), A história da Literatura Brasileira (1888), Martins Penna: ensaio crítico (1901) e Brasil Social e outros estudos sociológicos (2001) which the author mobilizes a racialist repertoire to think about racial composition in national identity. Believing in the existence of a gap in the understanding of how the Sergipe intellectual thinks about the black population, we will introduce this issue in a context marked by the action of the Generation of 1870, which elaborated a culture capable of renewing mentalities of that contemporaneity through the scientistic ideals characterized as being absolute truths, acting in opposition to the imperial pillars that would be represented as symbols of backwardness. To carry out this process, we divided the author intellectual action into three phases: radical criticism, balanced criticism and pessimism, choosing works that represent these phases and that bring answers to the following question: what is the role of black people in the work of Sílvio Romero?

This research report explores the link between the novels of Ingrid Winterbach / Lettie Viljoen, a third culture and the neo-Victorian novel. The study is therefore situated within the cultural-philosophical framework of a third culture, which implies that the two cultures of science and literature do not function as separate disciplines, but as an organic unit. Researchers in the interdiscipline of literature and science identify the Age of Science (1879–1914) – including the Victorian era (1837–1901) – as a historical period where the existence of such a third culture was observed. This period was characterised by numerous scientific discoveries, and Darwin’s theory of evolution generated heated debates in Victorian society. Nineteenth-century literature (and specifically the Victorian novel) therefore reflects the spirit of an age where the interaction between science and literature was particularly evident. In our information-driven society, the focus is once again on scientific discovery and dissemination of knowledge, prompting social critics to typify the current period as “neo-” or “retro-Victorian”. The contemporary imagination still problematises Darwin’s theory of evolution, and fiction such as Winterbach’s therefore not only renegotiates the fixed modernistic boundaries between science and literature, but also revisits the nineteenth- century genres simptomatic of a similar third culture. Winterbach’s novels (1984–2006) display a distinctive predisposition towards natural history and Darwinistic principles and are therefore postmodern adaptations of nineteenth-century conventions. Darwinistic concepts such as growth, metamorphosis,transformation, evolution and the origin, naming and extinction of species are therefore accentuated. Winterbach’s fictionalisation of a nineteenth-century worldview can be linked to the work of her ancestors in the Afrikaans literary tradition, Eugène Marais and C. Louis Leipoldt (both amateur scientists). Her popularisation of scientific knowledge and revisitation of Victorian codes also link her to a neo-Victorian novelistic movement (a contemporary permutation of the Victorian tradition). Her oeuvre therefore also displays similarities to that of her British contemporary, A.S. Byatt, a prominent neo-Victorian novelist. An exploration of the natural world in this tradition, however, also implies an exploration of supernatural spheres, a trend which is equally evident in texts by congeners such as (George) Eliot, Marais, Leipoldt, Winterbach and Byatt. / Afrikaans / D.Litt. et Phil. (Afrikaans and Theory of Literature)

The subject matter of this thesis is manuscript and scribal culture in the age of print. Its first part explores the flourishing scholarship of post-medieval scribal culture in Europe and beyond over the past 25-30 years, as well as recent trends and turns in the historiography of printing and of literacy. These studies make a strong case for a radical revision of how these fundamental cultural phenomena should be viewed. As a part of the so-called cultural turn and postmodernist revisionism of the 1980s and 1990s, the new trend has been to reject the dichotomies of manuscript versus print and of literacy versus illiteracy in favour of more ambiguous and complex images where multiple media and modes of transmission and reception coexist and interact with each other. The second part of the thesis deals with literary culture in nineteenth-century Iceland: both the general framework of the production, dissemination and consumption of texts, and the individual case of the farmer, fisherman and scribe Sighvatur Grímsson (1840-1930) and his cultural surroundings. Focussing on Sighvatur’s life between 1840 and 1873, the thesis presents an argument about the function of the scribal medium within a poor, rural, and de-institutionalized society. Central to the theoretical framework is a microhistorical approach and the juxtaposition of both narrow and wide scope, zooming from one individual protagonist out to his local surroundings and communities and further out to Icelandic scribal and literary culture as a whole. The scope of the thesis can be described in terms of four concentric circles: the individual, his intimate community, Icelandic society, and the wider European and global context during the ‘post-Gutenbergian era’.

Through research into suggested sources a study was made to provide a collection of supplemental reading materials for use by teachers of American history at the junior high school level. These materials are intended to provide information, to promote individual achievement, to spark interests, and to be a motivation for independent reading.

A search for self through historical reconstruction constitutes a crucial concern of the American postmodern historical novels of Pynchon, Barth, Mailer, Coover, and Doctorow. This concern consists of a self-conscious dramatization, paralleled by contemporary theorists' arguments, of the constructedness of history and individual subject. A historian-character's process of historical inquiry and narrative-making foregrounded in these novels represents the efforts by the postmodern self to (re)construct identity (or identities) in a constructing context of discourse and ideology.

Plus connu sous le pseudonyme de Jean de La Hire, l’écrivain, éditeur et homme politique français Adolphe d’Espie (1878-1956) a aujourd’hui disparu de la plupart des mémoires. Ses œuvres ont pourtant marqué nombre de lecteurs de son époque, comme le jeune Jean Paul-Sartre qui se délectait de ses romans. Son parcours ne peut par ailleurs manquer d’interpeller. Romancier résolument élitiste, le jeune d’Espie fréquente Pierre Louÿs, José-Maria de Heredia, Colette et Willy, et se rêve en nouveau Balzac. Pourtant, c’est dans le roman populaire qu’il se rendra célèbre, et qu’il publiera la majorité de sa très vaste production. Il en couvrira tous les genres : roman sentimental, policier, d’aventures, de cape et d’épée, et de science-fiction. Son itinéraire politique étonne également. Longtemps engagé auprès des républicains-socialistes, il devient maire de Banyuls-sur-Mer sous cette étiquette, et rédacteur en chef d’une revue politique parrainée par Léon Bourgeois et Ferdinand Buisson. D’Espie bascule cependant dès 1940 du côté de la collaboration. Il prend alors la tête des Éditions Ferenczi qu’il aryanise et met au service de la propagande nazie, propagande à laquelle il contribue aussi de sa plume. Ambitieux et opportuniste, d’Espie a choisi en politique comme dans les lettres, les chemins qui menaient le plus vite au succès, au mépris d’idéaux vite oubliés, et d’une postérité qui ne pourra lui pardonner ses errements. / Mostly known under the pseudonym Jean de La Hire, the French writer, editor and politician Adolphe d’Espie (1878-1956) might not be on many people’s minds nowadays. Yet, his works were very popular in his time, delighting a vast audience including young Jean-Paul Sartre, who names him as one of his favorite authors. And his baffling itinerary raises many questions. Beginning his literary career as a very elitist novelist, young d’Espie befriends figures such as Pierre Louÿs, José-Maria de Heredia, Colette and Willy, and dreams to become the new Balzac. He still ended up owing his fame to popular literature. His prolific production in the field covers many genre: romance novel, crime novel, adventure novels, and even science fiction. The paths he followed in politics puzzle as well. A long standing supporter of the “radical” movement, and elected mayor under this label, d’Espie became editor in chief of a political review sponsored by future Nobel Peace Prize-winning Léon Bourgeois and Ferdinand Buisson. In 1940, d’Espie however sides with the German occupying forces. He takes the helm of a publishing house confiscated to Jewish owners, and writes and publishes propaganda in favor of the Nazis. Ambition and opportunism seem in both cases the reason accounting for these flip-flops – d’Espie always going for the quickest way to success, disregarding both his ideals and a posterity that will not be able to forgive his mistakes.

Novel The Fellow What is knowledge? Who should own it? Why is it used? Who can use it? Is knowledge power, or is it an illusion? These are some of the questions addressed in The Fellow. At the time of Australian federation, the year 1901, while a nation is being drawn into unity, one of its primary educational institutions is being drawn into disunity when an outsider challenges the secure world of The University of Melbourne. Arriving in Melbourne after spending much of his life travelling around Australia, an old Jack-of-all-trades bushman finds his way into the inner sanctum of The University of Melbourne. Not only a man of considerable and varied skill, he is also a man who is widely read and self-educated. However, he applies his knowledge in practical ways, based on what he has experienced in the