Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-04Bitstream added on 2014-06-13T19:32:23Z : No. of bitstreams: 1 weber_b_me_arafcl.pdf: 1458043 bytes, checksum: 57916e541c6e7cec9ba8335daf23710d (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / James Joyce configura-se como um dos autores mais importantes do século vinte, e suas técnicas inovadoras influenciaram diversos escritores e artistas por gerações. Contudo, apesar de seu evidente prestígio no campo literário e cultural, pouco são os trabalhos versando sobre suas adaptações para o cinema. A intenção do presente estudo é de analisar os implícitos sexuais marcados no conto Os Mortos de James Joyce e sua representação na adaptação cinematográfica de John Huston, de 1987. Será levado em conta, como abordagem teórica, as questões levantadas por Seymour Chatman e David Bordwell a respeito das relações existentes entre literatura e cinema, tais quais o narrador literário e cinematográfico. Segundo Chatman essas questões são de essencial importância para o estudo das relações entre os dois meios, porque possibilitam uma abordagem não baseada no biografismo. Também serão levados em consideração os trabalhos de Linda Hutcheon (Theory of adapatation, 2006) e de Robert Stam (Literature and film: a guide to the theory and practice of film adaptation, 2005) acerca da teoria da adaptação, teoria desenvolvida ao longo dos últimos trabalhos desses autores. O estudo, considerando tais argumentos, examinará um possível significado dessas relações sexuais implícitas no conto e em sua adaptação. Os Mortos compõe o último conto da coletânia intitulada Dubliners, de James Joyce, publicada em 1914 / James Joyce is one of the most important twentieth century authors, and his cutting edge techniques influenced many authors and artists from his and subsequent generations. However, in spite of his prominent prestige on literary and cultural grounds, few works study the adaptation of his texts to cinema. The objective of this study is to analyze implicit sexual relations in Joyce’s The Dead and in its representation in John Huston’s cinematographic adaptation, 1987. This work will consider, as theoretical approach, the issues raised by Seymour Chatman and David Bordwell about the relation between literature and films, such as the literary and the cinematographic narrator. According to Chatman (1990) this questions are fundamental for this type of study due to the fact that they allow an approach not based on pure author’s biography. This study will also take into account Linda Hutcheon’s Theory of adaptation (2006) and Robert Stam’s Literature and film: a guide to the theory and practice of film adaptation (2005) about the theory of adaptation, theory developed throughout these two author’s last works In addition to that, this study will consider one way of regarding these implicit sexual relations in the short story and in its adaptation to the cinema. The Dead is the last short story from the collection entitled Dubliners, by James Joyce, 1914

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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

This dissertation makes the case that treating digitized corpora of literary works as cognitive artifacts can provide particular insight into how the reading mind apprehends events within an imagined world and, thereby, provide potentially useful functional models for event perception, emotional memory, and determining what’s “real.” Most essentially, it will make the case that the deepest feature of narrative cognition may involve an “information distribution” assessment, wherein the variation of information density over time cues the mind to attend to denser events with increased attention, potentially saving more of their content for long-term memory. This mimics what cognitive research has frequently established for real-world processing of emotionally stimulating events, wherein emotional memory tends to be better retained over time, with more detail, fewer conflations, and more resistance to fading, while neutral events tend to be relegated to gist or forgotten. Put together, this produces an ordering of autobiographical memory that resembles a glimmering string of pearls: densely detailed memories strung together over time, separated by thinner, looser memories and gist, with a particular cluster of these “pearls” towards the middle for the memory bump of the mid-teens to mid-twenties. While many have argued for larger schemas or socially influenced self-regard as the major driver for memory emphasis in one’s Life Story, if autobiographical memory is anything like a novel, it may prove a bit simpler: most of the bigger pearls mark where one’s sensory array “dilated” in moments of arousal, and their lustrous, persistent “shine” may be a matter of how likely it was that one returned to those memories over time. Chapter 1 examines what we do and don’t know about the reading mind, settling on a narrower definition of immersive narrative reading as an exceptional cognitive state which moves in and out of what cognitive psychologists call “flow” and a more passive, vivid “daydream.” This is an inherently unstable activity that requires a great deal of assistance from the text, thereby providing useful targets of analysis for researchers interested in perception, emotion, and memory, with a particular eye towards embodied cognition. It then discusses key gaps in the scientific literature and literary scholarship around event perception and narrative cognition, some of which this project aims to partially fill through quantitative analysis of literary texts. This chapter will also discuss the promise and perils of treating literary corpora like the novels in Project Gutenberg as cognitive artifacts: the known limitations of using “canon” texts as a representative sample of literature in general, the rarity of reading, and what it means to “backsolve” cognition through its artifacts. Chapter 2 describes a series of experiments conducted on a corpus of a few thousand novels and nonfiction narratives contained in Project Gutenberg and the Nickels and Dimes Project. Leaning on the “string of pearls” metaphor for autobiographical memory organization, this chapter will promote a model of long-form narrative’s fundamental mnemonics as something that mimics that organizational pattern: information density that varies over time, predicting not only the pace of in-narrative time passing, but which “moments” or features of the narrative will be important for the reader to remember over multiple reading events, while others will be forgotten or relegated to gist. This pattern closely mimics models of autobiographical memory in cognitive psychology, not only of so-called “flashbulb memory” or surprising, high-affect events, but also of Life Story in general: vast periods of fleeting detail, with dense memory clusters around events that were encoded in moments of arousal, with curious memory affects just before and after those events, possibility illustrating what Jefferey Zacks presents as a “gating” model of event perception. Drawing on the scientific literature on event segmentation, arousal and memory, and time perception, and likewise drawing on literary scholarship on time and stylistics in the novel, this chapter will explore the implications and limitations of using POS tagging to try and tease out quantifiable units of “information” from large corpora of novels utilizing one-way repeated measures MANOVA. Applications for these findings in literary scholarship will be discussed throughout—for instance, while scenes involving sex or violence are predictably information-dense in most texts in the corpus that were hand-scored for accuracy (and subsequently used as training texts for the algorithm), in-book variation from the norm and from nearby passages is more predictive than a raw density score alone. For example, when Stephen Dedalus has sex in Portrait of the Artist as a Young Man, imagistic detail goes down compared to nearby scenes and compared to the more detail-dense passages in the text, which seems to be typical of Joyce: while he does vary density according to temporality and that maps roughly to “significant” scenes, the most emotional scenes tend to be written more sparely (spare for that author, that is—Joyce is not Hemingway). That may be an authorial quirk, or it may be that he relies upon a second strategy to stimulate a reader’s emotional response: semantic content that’s normally cued to a strong negative or positive valence. Chapter 3 will attend to the ways some authors resist narrative’s “ease of use” in order to prompt their readers to interrogate what’s Real. This chapter zooms in on a specific period of American and British literature, and a genre within that brief time: the rise of Creative Nonfiction and/or New Journalism, with a close read or “case study” of George Orwell’s Homage to Catalonia and James Agee’s Let Us Now Praise Famous Men. This chapter proposes that the authors set out to create narratives that would reflect the “real” lives of their subjects, with an objective of making those lives feel real to their readership. But were they successful? Drawing on cognitive psychology research in psychosis, metacognition, and temporal sense, this chapter aims to elucidate how literary narratives like these may “aim to fail” at certain features of deep narrative form (as discussed in the prior chapters) in order to “startle” their readers into a less passive state, in order to better mimic the qualia of witnessing something in the real world, and thereby produce a sense that the subjects within the text are Real. These embedded structural failures are often more subtle than anything Brechtian, but nevertheless can be found both quantitatively and in close reading, which may indicate that when a long-form narrative text purposefully aims to make a reader uncomfortably aware of Reality--especially when motivated by known, deep ethical concerns--it may “work” in ways that have less to do with the subject or content of the text and more to do with form.

Indiana University-Purdue University Indianapolis (IUPUI)

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

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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.