Dissertação (mestrado)—Universidade de Brasília, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2015-01-28T12:37:01Z No. of bitstreams: 1 2014_MariangelaFerreiraAndradePraia.pdf: 868636 bytes, checksum: c019a22c9043eb53c513c637abf4fbba (MD5) / Approved for entry into archive by Ruthléa Nascimento(ruthleanascimento@bce.unb.br) on 2015-02-10T19:40:32Z (GMT) No. of bitstreams: 1 2014_MariangelaFerreiraAndradePraia.pdf: 868636 bytes, checksum: c019a22c9043eb53c513c637abf4fbba (MD5) / Made available in DSpace on 2015-02-10T19:40:32Z (GMT). No. of bitstreams: 1 2014_MariangelaFerreiraAndradePraia.pdf: 868636 bytes, checksum: c019a22c9043eb53c513c637abf4fbba (MD5) / Esta dissertação aborda questões em torno da escritura joyceana. Stephen Dedalus, personagem-conceito assume a escrita do texto e brinca de artífice, dando margem para que o texto trabalhe questões como aspectos de sua criação, uma certa característica de hospitalidade, seus desdobramentos e a reflexão acerca do gênero textual. A hospitalidade derridiana é discutida também sob os olhares da tradução, que se revela enquanto abertura infinda. Nesse ponto o trabalho também discute a relação cíclica texto-leitor-texto e suas leis. A discussão acerca do gênero textual envolve Biografia, Autobiografia, Retrato, Confissão, Diário, Ensaio. Os pactos leitorautor-texto, o pacto e o espaço biográfico. Por fim, as questões da criação conversam com Gilles Deleuze e Félix Guattari sobre o plano da imanência, o da composição e o que mais nos importa do personagem-conceitual que é Stephen Dedalus. _______________________________________________________________________ ABSTRACT / This dissertation addresses issues concerning Joyce’s writing. The conceptual persona Stephen Dedalus undertakes the writing of the text and acts as an artificer, letting the text work issues such as aspects of its creation, a certain trait of hospitality, its consequences and reflections on genre. Derrida’s hospitality, which is also discussed from the standpoint of translation, is revealed as a conceptual opening up. At this point the cyclical text-reader-text relationship and the laws governing it are then discussed. The discussion on genre involves Biography, Autobiography, Portrait, Confession, Diary, Essay; all the possible pacts readerauthor- text, and then the biographical pact and biographical space. Finally, the issues of criation converse with Gilles Deleuze and Félix Guattari on the plane of immanence, composition and what matters most importantly, Stephen Dedalus as a conceptual persona.

Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T20:39:26Z (GMT). No. of bitstreams: 1 Moira_Amara_M.pdf: 2083817 bytes, checksum: 688ce4a9ffecb500ae13e648428af24b (MD5) Previous issue date: 2013 / Resumo: O fato de existirem sete traduções do "Dubliners" de James Joyce poderia indicar duas situações diametralmente opostas: de um lado, que é possível já existir uma versão cujo brilho seria capaz de apagar, pelo menos temporariamente, a necessidade de se retraduzir os quinze contos; de outro, que há algo neste livro que resistiu e segue resistindo às mais obstinadas tentativas de tradução. O estudo destas traduções, entretanto, demonstrará que poucas são as divergências nas propostas que as animam, diferindo entre si tão-somente no grau de ousadia com que buscaram recriar o "Dubliners" em português: no geral, todas as sete (quatro brasileiras e três lusitanas) seriam filhas dum mesmo desejo de preservar a camada superficial de sentido a qualquer custo, mesmo que isto implique em apagar algumas das características mais intrigantes da prosa joyceana (a saber, a possibilidade de usos verbais dos personagens inadvertidamente despontarem na voz do narrador, as experiências coloquiais que abundam em qualquer dos contos [desvios da norma culta, expressões que não conhecem registro nos principais dicionários da língua, giros lexicais de sentido obscuro, peculiaridades do inglês falado na Irlanda, falas vazias de significação ou demasiado vagas, etc.] e as repetições que criam uma teia de sentidos dentro da obra). Pensando nisto e munido de um conhecimento minucioso tanto do texto inglês quanto do das versões em nosso idioma, empreendi uma nova tentativa de tradução do "Dubliners", tradução de viés acadêmico por vir acompanhada de notas e de um arcabouço teórico sólido, mas que não coloca em segundo plano a necessidade de se recriar a instigância do original irlandês. No que toca à obra joyceana, o crítico Hugh Kenner será uma das pedras de toque do projeto, enquanto que, no tocante à teoria da tradução, Walter Benjamin servirá como iluminador de caminhos. A versão castelhana de Guillermo Cabrera Infante, o genial escritor cubano e um admirador de Joyce, será um modelo de possibilidades criativas: não temos uma versão que se lhe equipare, uma versão que se proponha a criar uma obra rigorosa e de fato literária. Eis o desafio a que me proponho nesta dissertação / Abstract: The fact that there are seven translations of James Joyce's "Dubliners" could indicate two diametrically opposite situations: on the one hand, that it is possible that the splendour of one of these versions would be able to suppress, temporarily at least, the need for another translation; on the other, that there is something in this book that resisted and keeps resisting to the most obstinate attempts of translation. However, the analysis of these translations will show that there are few differences between their proposals: in general terms, all them ( four Brazilians and three Lusitanians) descended from the same desire of preserving at any cost the superficial layer of sense, even when it deletes some of his most intriguing characteristics (as some idioms of the characters appearing in the narrator's voice, or the numerous coloquial experiences, or the repetitions that create a web of signifiers inside the work). With that in mind and provided with a thorough knowledge of the English text as well as of the Portuguese translations, I undertake another attempt to translate it, an academic attempt with plenty of notes and a solid framework but bringing also to foreground the necessity of recreating a literary work, a work that deserves to be called literature. Hugh Kenner will be the touchstone regarding the Joycean criticism, while Walter Benjamin will illuminate new paths in translation studies. Guillermo Cabrera Infante, the bright Cuban writer and an admirer of Joyce, was my model of creative possibilities: we do not have a version as good as this one. This is my challenge with this dissertation / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Indiana University-Purdue University Indianapolis (IUPUI)

Concept-clé de la critique littéraire anglo-saxonne depuis plus d’une cinquantaine d’années, le modernism demeure méconnu en France, du fait de sa proximité avec des concepts voisins, telles la modernité et l’avant-garde, qu’il ne recoupe qu’imparfaitement. S’il peut concerner toutes les tentatives expérimentales dans les différents genres littéraires, c’est le roman qui se trouve au cœur de cette étude, laquelle met en perspective des textes de James Joyce, André Gide, Ramón Gómez de la Serna et Virginia Woolf, souvent victimes d’une forme de binarisme critique. Ils ont en effet longtemps été analysés comme des romans encore mimétiques, plus réalistes que les romans réalistes cependant, ou, plus fréquemment, comme des symboles de l’œuvre autoréférentielle définie par les dogmes new criticists et structuralistes. La présente étude cherche à emprunter une troisième voie, par le biais, notamment, de la théorie littéraire des mondes possibles, davantage susceptible de rendre compte du projet moderniste qui ne vise plus en effet à représenter le réel, mais à créer la vie. L’acception traditionnelle du modernisme en tant qu’ensemble de mouvements est ainsi confrontée à une perspective nouvelle qui permet de l’analyser comme une éthique et une pratique particulière de la fiction. Les romans expérimentaux du début du XXe siècle construisent en effet des univers fictionnels ambigus, informés à la fois par la tradition et par une exigence inédite de modernité, le texte moderniste refusant la table-rase avant-gardiste pour mieux se construire en mémoire vivante de la littérature. C’est ainsi une cartographie critique que la présente étude se propose d’établir, afin de permettre au lecteur l’accès à cette terra incognita du comparatisme hexagonal. / Although it has been a key concept of literary criticism in the English-speaking world for more than a half-century, modernism remains a relatively misunderstood notion in France, owing to its proximity to somewhat close concepts such as modernity and avant-garde, which it only partially overlaps. The concept is relevant to experimentation in all literary genres, but this study focuses on the novel, with texts by James Joyce, André Gide, Ramón Gómez de la Serna and Virginia Woolf. Those have often been mischaracterized by literary critics as either mimetic novels — though more realistic than realist novels — or more frequently as emblematic of the self-referential text, as defined by the dogmas of new criticism and structuralism. This study seeks an alternative to those two limited analytical options, particularly by using possible worlds theory, which is more susceptible of accounting for the modernist project of creating life rather than representing the real. The traditional definition of modernism as an ensemble of movements is therefore confronted to a new perspective which allows for its analysis as a particular ethics and praxis of fiction: the fictional worlds built by experimental novels of the early twentieth century are ambiguous, caught between tradition and modernity, since modernist texts, in becoming the living memory of literature, refuse to erase the past completely. This study thus proposes to establish a critical cartography, one that will allow the reader to access a terra incognita of French comparative studies.

This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.

The purpose of this thesis will be to examine closely James Joyce’s Ulysses with respect to François Fénelon’s The Adventures of Telemachus. Joyce considered The Adventures of Telemachus to be a source of inspiration for Ulysses, but little scholarship considers this. Joyce’s fixation on the role of teachers and mentor figures in Stephen’s growth and development, serving alternately as cautionary figures, models or adversaries, owes much to Fénelon’s framework for the growth of Telemachus. Close reading of both Joyce’s and Fénelon’s work will illuminate the significance of education and mentorship in Joyce’s construction of Stephen Dedalus. Leopold Bloom and Stephen’s relationship in Joyce’s Ulysses closely mirrors that of Mentor and Telemachus as seen in Fénelon’s The Adventures of Telemachus. Through these numerous parallels, we will see that mentorship serves as a better model for Bloom and Stephen’s relationship in Ulysses than the more critically prevalent father-son model. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

No description available.

Indiana University-Purdue University Indianapolis (IUPUI) / James Joyce’s Ulysses is a work of art that engendered scandal in every stage of its production, dissemination, and reception. The work is now hailed as the prose monument of modernism, a twentieth-century masterpiece, and revolutionary in its stylistic technique, its foregrounding of language and psychological drama, and its ambiguity. Ulysses is, in truth, a simple tale, about a lifetime of one day, in a world of one place, in the lives of one people, played out on a stage of pages. The telling of the tale is far from simple—it is among the greatest literary artifacts of our cultural heritage. But the text of Ulysses continues to be entangled in the tension of its status as both a literary artifact, created by an artist, and a cultural artifact, influenced by the aspects of its currency. Among the many questions the novel begs is, who controls the meaning of a work of literary art? This thesis begins to answer that question. Chapter 1 surveys available materials and outlines four waves in the history of textual scholarship of Ulysses. This chapter reads like the prose version of a library catalogue. Sorry, it is a symptom of academese. Chapter 2 outlines the history of censorship and suppression of Ulysses. Chapter 3 gives a historical context to legalizing the work and discusses the implications of the ban upon the development and reliability of the text. Chapter 4 outlines the second scandal of Ulysses, at the close of the twentieth century, now commonly referred to as the Joyce Wars. Chapter 5 discusses the influences upon Gabler’s editorial method and the resultant text. Together, these chapters tell the story of the book's creation and life in print.

This dissertation examines how the trait of intelligence is portrayed in novels of twentieth-century Britain, and how this portrayal grapples with the quantitative revolution in the conception of intelligence, brought on by the invention of IQ testing in the 1900s. I trace the construction of characters’ intelligence across different genres, starting with Arthur Conan Doyle’s Sherlock Holmes stories, through the modernist Bildungsromane of Henry James, James Joyce, and Virginia Woolf, to Iris Murdoch’s realism, and finally to Lee Child’s late twentieth- century serial thrillers featuring Jack Reacher. I posit that the IQ model of intelligence as abstracted, quantified, and statistically measurable is profoundly at odds with the novelistic investment in the unique individual subject. This project traces the narratological strategies of characterization through which intelligence—or cleverness, or smartness, or brightness—are conveyed to the reader. Novels, generally speaking, do not provide the IQ scores of their characters; and though we might occasionally encounter an explicit narratorial characterization of some fictional being or other as “remarkably clever,” most often we must rely on perceptions of behavior, speech, and thought in order to assess characters’ intelligence, much as we do in real life. As the psychometric paradigm gained prominence in the psychological circles in the United States, England, and Europe, and as more people were exposed—and subjected—to intelligence testing, its values and assumptions gained more cultural traction. Attributes like mathematical facility, logical and systemic thinking, or a large vocabulary, are likely to yield a high score on an IQ test, as well as a favorable judgment in an informal, casual assessment, such as that of a date or a new acquaintance at a party. This dissertation, therefore, explores how this permeation of the psychometric paradigm into general culture affect the novelistic construction of smartness. Ultimately, I argue that against the IQ model, the novels I am reading construct a conception of intelligence as a coherent set of cognitive abilities, remarkably consistent across genres, which overlaps, yet reconfigures, the priorities and epistemological frameworks of psychometrics. This model centers on the notion of observation, i.e., a mix of sensory susceptibility to impressions and the cognitive skill of taking notice of the world and of other people. It is both anchored to the body by connoting a sensory experience, and divorced from it in conveying a more purely cognitive process, one of directing attention and processing information, thus renegotiating psychometric assumptions regarding embodiment and sensory experience—as well as the relationship between the individual’s intelligence, the world, and the minds of others.