The thesis focuses on art conception of Josef Knap. In introduction is indicated differentiation between opinion tendencies inside young afterwar writer?s generation, so called generation groups (mainly Devětsil, Literární skupina). These are comparated with opinion tendencies by Josef Knap. Chapter called ?Resources of first teoretic studies by Josef Knap? reports a summary of author?s basic critical criterions by the medium of he rated the literature. This chapter is attending to context with art discussions in czech literature between 19th and 20th centuries, resources of these discussions and it seeks to analyze their references with ideological purposes. There are reflected relations to contemporary discussions about ?regionalismus?, tradition and successive politicizing discours of theoretic reflection of art. On the basis of this is researched relation between Knap?s art conception and problems of ?ruralismus? construct. The last chapter attempts to analyze Knap?s publicism in agrary press on the basis contemporary culture events and polemics between political left and rights.

La Chute du Mur et la Réunification inaugurent une nouvelle ère pour Berlin : celle de sa reconstruction et de sa normalisation en tant que capitale de la nouvelle Allemagne. Dans le même temps, la ville connaît, comme toute grande métropole, les transformations de son espace conjointes de notre époque postmoderne. Ses métamorphoses se retrouvent dans les fictions de l'extrême contemporain, qui y voient une chambre d'écho à leurs préoccupations identitaires. Cette thèse s'attache à préciser cette image de Berlin à l'aune de ces fictions. L'étude se consacrera à un corpus de romans urbains, issu des littératures française, belge, allemande et suisse-allemande, allant de 1989 à 2009, témoignant d'un intérêt qui transcende les frontières nationales. Fictions procédant de l'imaginaire du labyrinthe, elles réinventent une ville sensible, complexe, traversée par les contradictions, mais profondément vivante et tournée vers l'avenir à l'image du chantier qui caractérise le Berlin contemporain. / The Fall of the Wall and Reunification inaugurate a new era for Berlin: the reconstruction and its standardization as the capital of the new Germany. At the same time, like any metropolis, the city knows the typical transformations of our postmodern time. These Metamorphoses can be found in the most recent fiction and echo the identity issue. This thesis attempts to clarify the image of Berlin in the light of these fictions. The study will focus on a corpus of urban novels, from the French, Belgian, German and Swiss-German literature, from 1989 to 2009, reflecting an interest that transcends national borders. Novels based on the fantasy of the maze reinvent a sensitive; complex city, crossed by contradictions, but deeply alive and looking to the future like the construction that characterizes the contemporary Berlin.

Ao longo das leituras dos romances do autor moçambicano Mia Couto é possível observar que, sistematicamente, o escritor propõe ao leitor a aproximação e a interlocução entre o mundo subjetivo das personagens no interior do texto e a História de Moçambique, protagonizada por esses atores ficcionais em recortes cronológicos em que passado e presente permanentemente estão em diálogo. Dessa forma, manifesta-se em sua prosa uma relação intrínseca entre a produção literária e, portanto, as especificidades próprias do campo ficcional e o comprometimento do autor com a realidade histórica de seu país. Através das personagens presentes em seus contos e romances, a História de Moçambique se apresenta e o autor constrói uma perspectiva crítica do país delineando uma realidade social e concreta manifesta vivamente no espaço onde as personagens circulam e vivem. O cenário moçambicano descrito, portanto, em seus romances e contos, aproxima o leitor da realidade histórica e também social do país, reunindo a dinâmica material da vida em Moçambique - com suas especificidades culturais e as tradições locais bem como uma reflexão acerca do próprio papel social da literatura. / Throughout the readings of the novels of the Mozambican author Mia Couto is possible to observe that, systematically, the writer proposes the reader to approach and dialogue between the subjective world of the characters within the text and history of Mozambique, starring actors such fictional clippings in chronological in which past and present are constantly in dialogue. Thus, manifest in his prose an intrinsic relationship between literary productions and, therefore, the specificities of the field of fiction and the author\'s commitment to the historical reality of his country. Through these characters in his stories and novels, history of Mozambique is presented and the author builds a critical perspective of the country outlining a concrete social reality and manifests strongly in the space where the characters live and circulate. The Mozambican scenario described thus in his novels and stories, the reader approaches the historical reality and also the country\'s social, gathering material dynamics of life in Mozambique - with their specific cultural and local traditions - as well as a reflection of their own social role of literature.

Esta dissertação se propõe a analisar a trajetória dos romances ingleses no Rio de Janeiro nas três primeiras décadas do século XIX. Para tanto, utilizamos os documentos de requisição de liberação de livros da Mesa do Desembargo do Paço com a finalidade de apontar os responsáveis pela importação dessas obras literárias, bem como indicar quais romances ingleses tinham maior circulação. Visando esboçar o percurso dos romances, examinamos os anúncios de compra, venda, aluguel e leilão de dois periódicos importantes: a Gazeta do Rio de Janeiro (1808 1821) e o Diário do Rio de Janeiro (1821 1831). / The purpose of this dissertation is to analyse the circulation of English novels in Rio de Janeiro in the first three decades of the nineteenth century. The documents of the Mesa do Desembargo do Paço (the institution responsible for the censorship and liberation of books) in Rio de Janeiro will be used in order to bring light to the booksellers who were responsible for the importation of English novels as well as to highlight which of these novels were bestsellers. For an overview of the trade of English novels in Rio de Janeiro, the advertisements of two of the most important newspapers of the beginning of the nineteenth century will be taken into account: the Gazeta do Rio de Janeiro (1808 1821) and the Diário do Rio de Janeiro (1821 1831)

Orientador: Lilian Lopes Martin da Silva / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-10T22:29:09Z (GMT). No. of bitstreams: 1 Sampaio_IsabelSilva_D.pdf: 25612595 bytes, checksum: cea226ba5cc5bfc13883e064d110f4a9 (MD5) Previous issue date: 2008 / Resumo: No segundo semestre de 1970, as revistas que publicavam fotonovelas no Brasil ocupavam o segundo lugar em tiragem e circulação, entre todos os títulos de revistas em circulação naquele momento, perdendo apenas para os quadrinhos infantis: somadas as tiragens de todas as revistas de fotonovela da época, as cifras mensais ultrapassavam um milhão de exemplares. A partir da constatação da existência de poucos trabalhos acadêmicos a respeito da fotonovela, este trabalho propõe-se a investigar o tema sob a perspectiva teórica da História Cultural, com o objetivo de reconstruir uma parte da história desse impresso e produzir uma determinada memória da leitura de fotonovelas, tendo como foco o leitor e a leitora e suas lembranças pessoais das práticas de leitura que caracterizavam a apropriação da fotonovela / Abstract: In the second half of 1970, the magazines that published photonovels in Brazil were the second group in number of issues and distribution, among all the kinds of magazines circulating in the country at that time, overcome only by children cartoons, as Donald Duck and Mickey Mouse. All the titles of photonovel magazines together reached, at the time, more than one million of issues printed and sold monthly. But even with such a number of readers, photonovels didn¿t deserve much attention from academic researchers. This work aims investigate this them from the theoretical perspective of Cultural History, with the purpose to build a determined memory of the photonovel reading, by interviewing its readers to learn about the reading practices associated to the appropriation of this kind of magazine / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

O objeto de estudo nesta pesquisa é a verificação da influência da indumentária e da moda na caracterização da personagem de ficção nos romances brasileiros do século XIX, através da análise dos romances Cinco Minutos (1856), A Viuvinha (1857), Lucíola (1862), A pata da gazela (1870) e Senhora (1875), de José de Alencar; Iaiá Garcia (1878), Memórias póstumas de Brás Cubas (1881), Dom Casmurro (1899) e Quincas Borba (1891), de Machado de Assis; e O cortiço (1890), de Aluísio Azevedo. No estudo são efetuadas analogias entre moda, roupa e literatura, com a finalidade de identificar a presença da moda e da indumentária como suporte narrativo pelos autores para a caracterização das personagens nos romances analisados, bem como detectar o caminho da construção do imaginário do leitor por meio de representações aproximadas de modelos das roupas descritas pelos romancistas, sendo utilizados, para isso, recursos iconográficos como a fotografia, a ilustração e as notícias e imagens de jornais e revistas de época. Também são apresentadas nesta pesquisa as questões econômicas, sociais e culturais que abrangem a contextualização do século dezenove em consonância com os fatos apresentados nos romances. O período refere-se de 1850 a 1890 / This research studies the influence of clothing and fashion in the characterization of the figures in 19th Century Brazilian fiction, analyzing novels like Cinco minutos (1856), A Viuvinha (1857), Lucíola (1862), A pata da gazela (1870) and Senhora (1875), of José de Alencar; Iaiá Garcia (1878), Memórias Póstumas de Brás Cubas (1881), Dom Casmurro (1899) and Quincas Borba (1891), Machado de Assis; and O cortiço (1890), Aluísio Azevedo. In this study, analogies are made between fashion, clothing, and literature for the purpose of identifying the authors use of fashion and clothing as narrative support for portraying and understanding the characters. The study also tries to include images such as period photographs and illustrations to help shape the readers imaginary construction of the characters. In this research, the economic, social, and cultural issues of the period (1850 to 1890) are also presented to help understand the historical context of the time presented in the novels

O principal objetivo deste trabalho é realizar uma leitura atenta que demonstre a importância do ciúme para a tessitura narrativa nos romances de Italo Svevo: Una vita (1892), Senilità (1898) e La coscienza di Zeno (1923). A partir da ordem de publicação de cada obra, pretende-se desvelar as relações amorosas, desnudando o modo como o ciúme apresenta-se nas histórias vividas pelos personagens. As diversas teorias que discorrem sobre o ciúme, ainda que de modos diferentes, convergem em um ponto, ou seja, no caráter triplo desse sentimento que terá, portanto, o triângulo como a forma geométrica que melhor o representa. Todavia, o ciúme será analisado neste estudo, sobretudo, à luz da teoria do filósofo francês, René Girard. Este trabalho ainda trata de duas questões fundamentais na obra de Svevo, intrinsicamente ligadas ao ciúme: o ambiente triestino, onde se desenrolam as histórias e o caráter inapto de seus protagonistas. / The main goal of this work is to produce an attentive reading that demonstrates the importance of jealousy shaping the narrative web in Italo Svevo\'s novels: Una vita (1892), Senilità (1898) e La coscienza di Zeno (1923). Following the chronological order of each piece, the intent is to unveil the amorous relationships by uncovering the manner jealousy is presented in characters\' histories. The diverse theories lecturing on jealousy -though may diverge in some aspects- end up converging in one: the triple aspect of the feeling, the triangle for its geometrical shape that very well represents it. However, jealousy will be taken in this study, most of all, enlightened by the french philosopher theory of René Girard. Furthermore, this thesis also deals with two important matters of Svevo\'s work, intrinsically linked to jealousy: the Triestian enviroment, where main characters\' storyline and inaptitude flourish.

A Pena do Cronista tem como proposta evidenciar a contribuição do gênero crônica na produção ficcional de Machado de Assis. Tendo como pressuposto duas fases distintas na produção romanesca do escritor carioca já exaustivamente pontuadas pela crítica literária machadiana, a análise deste trabalho desenvolve a hipótese de que a mudança na forma romanesca a partir de Memórias Póstumas de Brás Cubas tem implica o uso dos procedimentos composicionais desenvolvidos nas crônicas. Para tanto, o objetivo dessa tese é compreender, a partir da análise estrutural do romance Memórias Póstumas de Brás Cubas e das crônicas Comentários da Semana, Crônicas de O Futuro, Ao Acaso, História de Quinze Dias, História de Trinta Dias e Notas Semanais, os modos de produção ficcional desenvolvidos pelo autor. Desse modo, respaldando-se na narratologia de Gerard Genette, sobretudo nos conceitos de metalepse e as cinco funções do narrador - de regência, testemunhal, narrativa, de comunicação e ideológica -, a análise desenvolveu a compreensão estrutural dos quatro romances anteriores da chamada primeira fase - Ressurreição, A Mão e A Luva, Helena e Iaiá Garcia - (os quais compõem a chamada primeira fase) e os três posteriores - Memórias Póstumas de Brás Cubas, Quincas Borba e Dom Casmurro para evidenciar suas particularidades composicionais e observar a contribuição do gênero crônica na produção romanesca machadiana. Partindo da análise dos primeiros textos escritos em prosa e publicados no jornal Marmota Fluminense, buscamos compreender os modos de utilização dos procedimentos retóricos baseados em Oliver Reboul, Chaïm Perelman e Lucie Olbrechts-Tyteca. Para compreender os diferentes modos técnicos composicionais nas crônicas, utilizamo-nos dos conceitos de discurso polêmico, dialogismo e polifonia recorrendo a trabalhos do círculo de Bakhtin, ao conceito de corporalidade, de Dominique Maingueneau, de performatividade de Paul Zumthor e de autor implicado de Wolfgang Iser e Paul Ricoeur. Em capítulo específico tratamos do conceito de boato desenvolvido por Jean-Noël Kapferer, observando tanto a conceituação quanto a utilização desse procedimento nas crônicas, bem como o recurso ficcional do boato aplicado no romance Dom Casmurro em três perspectivas: o boato do autor suposto, o boato do romance e o boato produzido pelas leituras do romance. Por fim, para estabelecer as diferenças entre os modos de produção das crônicas e dos romances, utilizamos os conceitos de poder, disciplina, panóptico, verdade, método arqueológico, método genealógico, perspectivismo e arbitrariedade de Michel Foucault e os conceitos de esquizoanálise, significante despótico, multiplicidades rizomáticas e multiplicidades arborescentes de Guilles Deleuze e Félix Guattari. Essa diferenciação permitiu-nos propor que, nas crônicas, o autor faz uso rico desses procedimentos como meio de questionar os lugares de produção dos discursos de verdade das instituições científicas, políticas e religiosas do Brasil Império; e, supostos esses sujeito discursivo e procedimentos técnicos, o modo como o autor transforma em objeto de análise esse lugar de produção da verdade nos três primeiros romances da segunda fase. / The Chroniclers Pen has as a proposal to highlight the contribution of the chronicle genre in the fictional production of Machado de Assis. Taking into consideration the fact that there are two distinct phases in the carioca novelists production - already exaustively demonstrated by literary criticism on Machado - this analysis will be based on the hypothesis that the change in his literary form from The Posthumous Memoirs of Bras Cubas (1881) onwards is intimately related to compositional procedures developed in his chronicle work. The central objective of this thesis is, therefore, the better understanding - from the structural analysis of the novel The Posthumous Memoirs of Bras Cubas and the chronicles Comentários da Semana (Weeks Comments), Crônicas de O Futuro (Chronicles of the Future), Ao Acaso (By Chance), História de Quinze Dias (History of Fifteen Days), História de Trinta Dias (History of Thirty Days) and Notas Semanais Weekly Notes) - of the fictional modes of production undertaken by the author. Thereby, drawing on Gerard Genettes narratology particularly on his concepts of metalepsis and the five functions of the narrator regency, testimonial, narrative, communication and ideological this analysis developed the structural comprehension of the four novels that are part of his so-called first phase The Hand and the Glove (1874); Helen (1876); Mistress Garcia (1878); and the three later The Posthumous Memoirs of Bras Cubas; Philosopher or Dog? (1891) and Dom Casmurro (1899) in order to highlight their particular formal aspects and observe the contribution the chronicle genre gave to the production of Machados novels. Based on the analysis of the first texts written in prose and published in Marmota Fluminense newspaper, we seek to understand the ways Machado de Assis makes use of rhetorical procedures with the aid of theoretical apparatus developed by Oliver Reboul, Chaim Perelman and Lucie Olbrechts-Tyteca. In order for us to understand the different formal devices of composition in the chronicles, we make use of the concepts of \"controversial speech\", \"dialogism\" and \"polyphony\" with reference to the Bakhtin Circles works, on Dominique Maingueneaus concept of corporeality, on Paul Zumthors performativity and, finally, on Wolfgang Iser and Paul Ricoeurs implicated author. In particular chapter we deal with the concept of rumor developed by Jean-Noël Kapferer, examining both the conceptualization and the use of this procedure in chronicle as well as the fictional feature rumor applied in the novel Lord Taciturn in three perspectives: the rumor of the alleged perpetrator, the rumor of romance and the rumor produced by the readings of the novel. Finally, in order to establish the differences between the modes of production of the novels and the chronicles, we use the concepts of power, discipline, panopticon, truth, archaeological method, genealogical method, perspectivism and arbitrariness of Michel Foucault and the concepts of schizoanalysis, significant despotic, rhizomatic multiplicities and arborescent multiplicities of Guilles Deleuze and Felix Guattari. This distinction allowed us to realize that in the chronicles, the chronicler makes a rich use of these procedures as a way to question the place of production of truth discourses in scientific, political and religious institutions of empire of Brazil, and from this conclusion, how it constitutes this discursive subject as an author in the three novels of the second phase. Machado de Assis, through these procedures, makes that place of production of truth his object of analysis.

Les histoires comiques forment, de 1612 à la fin du siècle, un genre narratif divertissant qui, bien que traversé par des influences diverses, trouve sa cohésion dans de nets partis pris esthétiques : une écriture naturelle, une attention portée aux réalités, une apparente vérité des lieux, des situations et des personnages, ainsi que la présence d’une thématique sérieuse sous une fantaisie de façade. La redécouverte de ces oeuvres par la critique moderne a permis de souligner le rôle qu’elles ont joué dans l’évolution du roman au XVIIe siècle, après plusieurs siècles d’oubli ou de dénigrement. Assurément, avant toute analyse, les histoires comiques marquent surtout l’esprit par leur bouffonnerie : leurs auteurs n’écartent aucun ressort facétieux, si grossier soit-il, pour provoquer le rire. C’est, en effet, sur la mise en scène grotesque du corps que repose le plaisir franc et simple de ces oeuvres : visages difformes, anatomies disproportionnées, gesticulations, chutes, maladies, coups, chairs blessées ou sensuelles tissent le matériau narratif. Notre thèse propose de sonder cette présence ostentatoire du corps humain et de démontrer qu’elle est au centre de la fabrique du genre deshistoires comiques. En sus de cette exploration, notre étude cherche à affiner l’interprétation du divertissement corporel en prenant en compte son contexte culturel et anthropologique. Il s’agit de comprendre comment, au-delà de son rôle poétique et générique, le corps devient signifiant pour les auteurs du la narration comique du XVIIe siècle. / From 1612 to the end of the century, comic novels constitute a entertaining narrative genrewhich, despite many diverse influences, finds its cohesion in firm aesthetic choices : a natural writing, an attention to reality, an outward truthfulness of places, situations and characters, as well as serious themes under the apparent farce. When the modern critique rediscovered those works, it underlined their crucial part in XVIIth century novel’s evolution, after a long period of oblivion or denigration. Indeed, previous to any analysis, comic novels strike mostly by their buffoonery : their writers don’t hesitate to use triviality and vulgarity to create laughter.Surely, the simple and franc pleasure of reading comic novels is based on the grotesque staging of the body : deformed faces, disproportionate anatomies, gesticulations, falls, illnesses, punches, armed or sensual fleshes forge the narrative material. Our thesis proposes to investigate the ostentatious presence of the human body and to demonstrate that it is at the heart of the construction of the comic novel as a genre. In addition to this exploration, our study seeks to sharpen the interpretation of the corporeal entertainment by taking into account its cultural and anthropological context. The aim is to understand how, beyond its poetical andgeneric part, the body becomes meaningful to the authors of XVIIth century comic narration.

The dominant theme in Regain is that of death leading to rebirth. This dissertation attempts to explore Giono's narrative techniques within this context. No single chapter will be devoted to a specific technique; instead, the various devices used by the author are discussed as they emerge from the structure of the chapters. Justifying the field of study as defined in the "Introduction", the following three chapters outline the passage of life from death to eventual rebirth. With acknowledgement to Frank Kermode, who writes: "A concord of past, present and future three dreams which, as Augustine said, cross in our minds, as in the present of things past, the present of things present, and the present of things future" ¹, the first three chapters bear his terminology for their headings. Chapter One, "The Present of Things Past", deals with Mameche's loss of her husband and son. Chapter Two, "The Present of Things Present", focuses upon Mameche' s realization of Gaubert's departure, and the decision that she must do something to save the dying village of Aubignane. Chapter Three, "The Present of Things Future", sees Mameche setting out in search of a wife for Panturle, and succeeding. This brings to an end Part One of the novel. Interwoven throughout the chapters are paradigms from Greek mythology, rich in universal symbolism, and the author's belief in man's ability to fuse himself with his surroundings. The conclusion summarizes the findings of this study, attempting to show how an analysis of Giono's narrative technique provides an insight into such a novel as Regain. ¹The Sense of an Ending (London: Oxford University Press, 1966), rpt., 1970, p. 50.