Esta dissertação trata dos Estudos Animais, área que se desenvolve como um rico campo de interdisciplinaridade já em sua origem. Mas para que não se julgue aprioristicamente um campo em suas particularidades, há que se esclarecer pontos em comum aos teóricos das mais diversas origens acadêmicas que compõem os Estudos animais e traçar planos para um futuro significativo. Após estabelecer os necessários diálogos entre teoria e campo social, passo à análise de certos pontos das obras Desonra e Elizabeth Costello, com o objetivo de evidenciar o potencial deste corpus para o desenvolvimento da crítica das categorias de humanidade e animalidade segundo os aportes do Pós-humanismo e inserindo-a no campo dos Estudos Animais. O teórico fundamental para este trabalho é Jacques Derrida, principalmente em sua obra O animal que logo sou. Após apresentar um panorama dos Estudos Animais, sobretudo sob a abordagem de Paul Waldau, trago ao encontro desses autores a pós-humanista Rosi Braidotti, de cuja obra The Post-human retiro as categorias do devir-planetário e devir-animal, as quais dão consequência às análises do corpus literário deste trabalho. Dialogo, ainda, com a Mitleidsethik, a ética da compaixão de Schopenhauer. Concluo que as tarefas dos Estudos Animais e do Pós-humanismo se assemelham no que toca à maior compreensão das interações interespecíficas, para a proposição consequente de novas formas de conviver num mundo mais-que-humano. / This dissertation deals with the Animal Studies, an area that develops as a rich field of interdisciplinarity already in its origin.. But in order not to make an aprioristic judgement of a field in its particularities, it is necessary to clarify points in common to the theoreticians of the most diverse academic origins that compose the Animal Studies and to draw up plans for a significant future. After establishing the necessary dialogues between theory and social field, I proceed to the analysis of certain points of the works Disgrace and Elizabeth Costello, with the objective of highlighting the potential of this corpus for the development of the critique of the categories of humanity and animality according to the contributions of Posthumanism and inserting it in the field of Animal Studies. The fundamental theorist for this work is Jacques Derrida, mainly in his work O animal que logo sou. After presenting an overview of the Animal Studies, especially under the approach of Paul Waldau, I bring to the meeting the post-humanist Rosi Braidotti, whose work The post-human retreat the categories of becoming-earth and becoming-animal, which give consequence to the analysis of the literary corpus of this work. I also dialogue with the Mitleidsethik, the ethic of compassion of Schopenhauer. I conclude that the tasks of Animal Studies and Post-humanism are similar in relation to the greater understanding of the inter-species interactions, for the consequent proposition of new ways of living in a more-than-human world.

O escritor ganhador do Prêmio Nobel de Literatura John Maxwell Coetzee publicou Foe em 1987. Ao lermos esse romance, somos imediatamente levados à ilha de Robinson Crusoe - e, conseqüentemente, ao mundo ficcional de Daniel Defoe. O objetivo deste trabalho é tomar a leitura da obra Foe, de Coetzee, como um comentário sobre a estética de construção de um romance. Esta é uma dissertação argumentativa, dividida em três partes. O primeiro capítulo introduz o autor e contextualiza as discussões sobre a Escrita, a História e a Ficção. O segundo capítulo traz o suporte teórico, que consiste na apresentação das idéias de Linda Hutcheon sobre Historiografia e nas conceitualizações sobre Meta-ficção, de Patricia Waugh. Ambas conduzem à referência poética ao Anjo da História feita por Walter Benjamin. A terceira parte comenta o romance Foe e o insere no conjunto da obra de Coetzee, apontando elementos compartilhados com os outros romances do autor. Na conclusão, espero validar a tese proposta, de que Foe é realmente um romance auto-reflexivo que reflete as condições de produção de sua época. / Nobel prize winner John Maxwell Coetzee published Foe in 1987. When reading that novel, we are taken back to Robinson Crusoe’s island – and, consequently, to the world of Daniel Defoe’s fiction. The aim of this work is to undertake the reading of Coetzee’s Foe as a study on the aesthetics of novelmaking. This is an argumentative thesis, divided into three parts. Chapter one introduces the author and contextualizes the discussions on Writing, History and Fiction. Chapter two brings the theoretical background, that consists of the presentation of Linda Hutcheon’s ideas about Historiography and Patricia Waugh’s conceptualizations on Metafiction, both of them relating to Walter Benjamin’s poetic reference to the Angel of History. The third part submits an analysis of Foe, and connects this novel with the other works written by Coetzee. In the conclusion, I hope to validate the thesis proposed, that Foe is, ultimately, a self-reflexive novel that reflects the aesthetics of novel making of its own time.

Esta dissertação propõe uma leitura da chamada ficção australiana de J. M. Coetzee composta por Elizabeth Costello (2003), Homem lento (2005) e Diário de um ano ruim (2007). Esses romances da fase madura do autor compartilham um núcleo de questões estéticas e éticas, configurando um conjunto significativo marcado pela inflexão autorreflexiva. O trabalho acompanha a constituição e a trajetória dos escritores-personagens Elizabeth Costello e Señor C, discutindo como a inserção do recurso do duplo do escritor desestabiliza as noções de autor, personagem e narrador, além de borrar os limites entre ficção e não ficção. A dramatização do processo criativo no centro das obras é outro foco da análise, com o objetivo de entender a encenação da impossibilidade do romance nos moldes do realismo formal. O estudo ainda tenta sugerir a resposta de Coetzee sobre a validade do romance no mundo contemporâneo. / This dissertation presents a reading of J. M. Coetzees so-called Australian fiction comprising the works Elizabeth Costello (2003), Slow Man (2005), and Diary of a Bad Year (2007). These novels, belonging to the authors late prose, share core aesthetic and ethical issues. They are meaningful works characterized by self-reflexive inflection. This study follows Elizabeth Costello and Señor C in their writer-characters constitution and journey to discuss how the presence of the writers double, as literary device, destabilizes the notions of author, character, and narrator, as well as it blurs the boundaries between fiction and non-fiction. The dramatization of the creative process in the center of Coetzees works is another focus of analysis aiming to understand the impossibility of staging the novel in formal realism patterns. This work also attempts to suggest Coetzees response on the validity of the novel in the contemporary world.

Depuis les débuts de W. B. Yeats en tant que dramaturge dans les années 1890, le personnage de théâtre irlandais semble pris dans une tempête de mémoire, chavirant entre deux écueils également mortifères, l’impossibilité d’oublier (hypermnésie) et celle de se souvenir (amnésie). Cette crise de la mémoire et par conséquent de l’identité entraîne une prolifération de troubles mentaux chez les personnages et une utilisation métaphorique croissante et peut-être inconsciente de la maladie mentale par les dramaturges comme théâtralisation des bouleversements de la société contemporaine. W. B. Yeats (1865-1939) et J. M. Synge (1871-1909) font de la mémoire dysfonctionnelle non seulement l’un des thèmes centraux de leur œuvre théâtrale, mais plus encore la matière même de leur écriture, alors que la mémoire désacralisée et déstabilisée est réécrite, remodelée par une prolifération de récits mensongers et contradictoires (paramnésie). Ce travail veut alors définir le rapport entre mémoire, maladie mentale et Modernisme sur une période relativement longue (1892-1939) afin d’observer l’évolution des modes d’inscription de la mémoire à l’intérieur du texte en se centrant sur les trois troubles de la mémoire identifiés à l’époque et à la lumière desquels seront étudiées successivement les pièces. Il s’agit de faire un aller-retour entre la perception intuitive de la mémoire par la littérature et les théories psychiatriques contemporaines, l’hypothèse centrale étant que le texte théâtral intègre certaines notions cliniques dans l’étude de la mémoire, ce qui permettrait de voir dans cette relation entre texte médical et texte théâtral l’un des éléments d’un (pré-)Modernisme irlandais. / Ever since Yeats started writing plays in the 1890s, the Irish character seems to be struggling between two opposite pitfalls of memory: on the one hand an impossibility for him to forget, and the other hand an impossibility to retain memories. This memory crisis, which entails an identity crisis, leads to an increasing staging of mental disorders by the playwrights to represent, perhaps involuntarily, a destabilised contemporary society. W. B. Yeats (1865-1939) and J. M. Synge (1871-1909) use mental disorder not only as a theme, but also as a literary ploy as memories in their plays are relived and reconstructed in misleading and contradictory tales. This work focuses on the relationship between memory, mental disorder and Modernism in a long period (1892-1939) in order to underline the evolutions of the representation of dysfunctional memory in the texts. It successively examines the plays in the light of the three major memory disorders identified by psychiatrists at the time: amnesia, hypermnesia and paramnesia. This work relies on a parallel reading of the intuitive perception of memory by literature and the contemporary psychiatric theories, the underlying hypothesis being that some clinical notions of memory dysfunctions have been integrated to the theatrical corpus, which could be a feature of an Irish (early) Modernism.

Magister Artium - MA / This thesis will critically analyse two theatrical adaptations of J. M. Coetzee's Foe (1986). Primarily, this thesis will be seeking to understand the complex relationship of the primary text to its adaptations more closely, regarding them not only as second-order versions or interpretations of the novel, but also to consider the way they may retrospectively construct new readings and understandings of the source text. This thesis will not only consider the way in which Foe is used in the adaptations but also how Robinson Crusoe (1719) influenced the adaptors and adaptive process. Theories of adaptation will be discussed, drawing extensively on work by Linda Hutcheon (2006) and Robert Stam (2005). One of the key ideas in adaptation theory is that adaptive fidelity to the source text is neither possible nor desirable, but that adaptation is a more complex, multi-layered intertextual and intermedial interplay of fictional material. One of the aims of this thesis is to ask whether or not Foe can be successfully transposed to the stage. This thesis will serve as a close analysis of the two theatrical adaptations, focusing on the beginning and endings of the respective adaptations. This research will contribute a new approach to Coetzee studies and to Foe in particular by exploring how these texts can lead to a broader understanding of Coetzee's work and the way it crosses into different media.

Esta dissertação busca estudar a relação entre escrita biográfica e imaginação histórica nas obras de João Manuel Pereira da Silva, especialmente em Plutarco Brasileiro. As vinte biografias produzidas pelo historiador nesse trabalho constituem a fonte principal desta pesquisa. A partir delas, é possível compreender o pensamento do autor sobre a utilização da capacidade imaginativa no trabalho historiográfico. / This dissertation seeks to study the relationship between biographical writing and historical imagination in the works of João Manuel Pereira da Silva, especially in Plutarco Brasileiro. The twenty biographies produced by the historian in this work constitute the main source of this research. From these, it is possible to understand the author's thinking about the use of the imaginative capacity in the historiographic work.

This study addresses two works of fiction--Samuel Beckett's Malone Dies and J. M. Coetzee's Foe--and is separated into two chapters. The first chapter analyzes the indeterminate nature of postmodern space within the two novels as related to M. M. Bakhtin's idea of the chronotope found in his work The Dialogic Imagination. The second chapter addresses the self-reflexive creation of this postmodern space within each novel's hypodiegetic narratives and discussions of narrative creation within each respective diegetic narratives. In each novel, characters as authors create or discuss "inner" narratives that reflect upon the way chronotopes are created in fiction and reveal problematic aspects of those chronotopes. This narrative creation produces what I call a "postmodern creative chronotope" that self-reflexively embraces indeterminacy at the same time that it critiques the elements that produce this indefinite relationship between time and space, a strategy that is especially postmodern. I contextualize the discussion by introducing theories of postmodernism, specifically those of Jean-François Lyotard and Linda Hutcheon. Lyotard's claim that postmodernism resists totalizing structures and Hutcheon's contention that it engages in a simultaneous complicity and critique inform the relationships between time and space in both Beckett's and Coetzee's text. Additionally, theories of postmodern space contribute to the more specific discussion of the postmodern chronotopes in both novels. Spatial theorists like Edward Soja and Henri Lefebvre, among others, have attempted to reassert issues of space in what has been an ontological and epistemological framework that has prioritized time. Their reassertion of spatiality reconnects the two halves of the spatio-temporal framework of the chronotope in narrative. Beckett and Coetzee employ similar indeterminate and self-reflexive chronotopal strategies in their novels. Coetzee, however, inserts a number of global/political issues into his self-reflexive discussion of chronotopal creation and definition.

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Thesis (Ph. D.)--University of Oregon, 2003. / Includes vita and abstract. Includes bibliographical references (leaves 299-309). Also available for download via the World Wide Web; free to University of Oregon users.