Orientador: Marcos Aparecido Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T03:34:58Z (GMT). No. of bitstreams: 1 Roque_MauraVoltarelli_M.pdf: 1840200 bytes, checksum: 6b7c506e1fe78869236b908ac33c4565 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação de mestrado realiza um estudo da obra da poeta contemporânea brasileira Dora Ferreira da Silva, buscando compreender alguns de seus procedimentos poéticos fundamentais a partir da análise crítica de sua obra. Dentre esses procedimentos está a realização de um "diálogo com o invisível" por meio do qual a poeta chama e afirma imagens míticas, de um tempo outro, afirmando-as no presente contra a sua desaparição. Neste sentido, sua poética realiza a sobrevivência dessas imagens que voltam e se fazem novamente possíveis no presente, esse tempo de carência, ausente de deuses. Na realização de tal diálogo com o invisível, buscamos também mostrar a constituição do que pensamos ser um lugar fundamental na construção de sua poética: o espaço do entrelugar, essa zona de indefinição, situada em um intervalo, onde a poeta, em um duplo movimento, se situa entre potências opostas, como mito e logos, sombra e luz, morte e vida, que coexistem em sua obra poética, deixando que ela se mostre em sua materialidade, na artesanal operação sobre as palavras, e não se deixe ver, ou não se deixe dizer totalmente, em sua proximidade com o mito. Nesse entrelugar que faz dela, antes de tudo, moderna, a poesia de Dora Ferreira da Silva confunde e indetermina e, como diria Vilém Flusser, fascina, como tudo que ainda não foi descoberto / Abstract: This dissertation realizes a study of the work of contemporary Brazilian poet Dora Ferreira da Silva, trying to understand some of their basic poetic procedures from critical analysis of her work. Among these procedures is the realization of a "dialogue with the invisible" through which the poet calls and affirms the mythical images of another time, stating them at the present against their disappearance. In this sense, her poetic realizes the survival of these images, they come back and become again possible in our time, this time of poverty and penury, absent from the gods. In the realization of the dialogue with the invisible, we also try to show the constitution of what we think is a fundamental place in the construction of her poetry: the space of the between-place, this area of uncertainty, situated in a interlude, where the poet, in a double movement, is between opposing powers such as myth and logos, shadow and light, death and life, that coexist in her poetic work, letting it show in its materiality, artisan operation on the words, and do not get to see, or do not be mean totally, in its proximity to the myth . In this between-place, that makes it, above all, modern, the Dora Ferreira da Silva's poetry confounds and indeterminate and, like say Vilém Flusser, fascinates, as all that has not yet been discovered / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

Orientador: José Alves de Freitas Neto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T14:36:09Z (GMT). No. of bitstreams: 1 Vieira_FelipedePaulaGois_M.pdf: 1337919 bytes, checksum: 415ed55304105db092b286b8dd345f94 (MD5) Previous issue date: 2012 / Resumo: O presente texto de dissertação analisa os limites do Real Maravilhoso como conceito e discurso estético-político de representação da América Latina. A intenção é buscar nos debates entre os principais expoentes da chamada nova narrativa hispano-americana reflexões sobre a identidade do continente. Essa literatura iniciada nos anos de 1950 e continuada nas décadas seguintes é responsável por fomentar uma ideia de unidade latino-americana, criando um pastiche sobre aquilo que seria a América. Como salienta grande parte dos estudiosos do tema, a narrativa desse período, de maneira consciente, tentou realizar a busca de um centro do espaço americano e começou propensa a dar uma versão típica da nossa realidade: a América como espaço do maravilhoso. Divergindo dessa representação, na década de 1990 tem início o movimento McOndo, criado pelos escritores chilenos Alberto Fuguet e Sergio Gómez, para definir uma geração de novos escritores latino-americanos cuja principal característica era rechaçar o aspecto mágico que passou a ser o ?selo? dos autores do Real Maravilhoso. Analisar os limites e as implicações políticas desses discursos, assim como as formas através das quais os intelectuais da década de 1960 e 1990 representaram a América Latina, é o principal objetivo do trabalho / Abstract: This dissertation explores the limits of the Real Maravilhoso as a concept and an esthetic-political speech of Latin America representation. The purpose of it is looking for reflections about the continent identity through discussions among the main exponents of the new Spanish American narrative. This literature that was introduced in the 1950s and has been proceeded in the following decades is responsible for promoting a concept of Latin-America unity, creating a common sense of what would be America. As emphasized by many literary critics and historians, the narrative of this period, in a conscious way, tried to achieve the search of a center of an American space and began tending to give a typical version of our reality: America as a place of wonder. Diverging from this representation, in the 1990s the movement McOndo has begun, created by chilean writers Alberto Fuguet and Sergio Gómez, to define a generation of new Latin American writers whose main feature was to reject the magical aspect that became the "seal" of the Real Maravilhoso's authors. Analyze the limits and political implications of these speeches, as well as the intellectuals of the 1960s and 1990s represented Latin American, is the main objective of this study / Mestrado / Historia Cultural / Mestre em História

The way we read and interpret literature is frequently influenced by factors that operate beyond the scope of the average reader's awareness. In this thesis, selected works by two Wayuu writers, Estercilia Simanca Pushaina and Vicenta Maria Siosi Pino, are analyzed and interpreted in an attempt to unveil some of these behind-the-scenes agents and issues, as well as explore how the stories' classification in the children's literature genre reveals a deep-rooted colonial tendency to infantilize indigenous individuals in contemporary Colombia. Despite the fact that the two authors, both mestizo women who self-identify with the Wayuu indigenous group of northern Colombia, prefer to write short stories that highlight the child and adolescent experience, the implicit themes and the complexity of their texts reject the "children's story" label that has been imposed on their literature. Furthermore, this thesis discusses how the two authors utilize the colonial trope of the Indian-as-child to their advantage by capsizing the imagery, thus rejecting the original power of the symbol and claiming it as their own. The first section of this investigation provides certain contextual specifics related to the cultural and social environment of the Wayuu indigenous group, particularly regarding that experienced by women. The second chapter includes an explanation of the impact a book's genre and its "paratext" may have on the reception and interpretation of these texts, and additionally proposes that the colonial practice of infantilizing indigenous people appears in both the assignment of genre as well as in several extratextual elements surrounding the stories. Chapter three offers an in-depth analysis of five selected pieces of the Wayuu authors' writing and explores how the texts may be read on multiple levels. This close reading reveals several examples of overt criticism towards the hegemonic society as well as displays instances of a more subtle rebellion; both explicit and implicit messages effectively expose and protest the current conditions of abuse, oppression and injustice that continue to anguish the Wayuu people.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

La présente thèse étudie le développement historico-esthétique du conte littéraire polonais au XXe siècle sur la base d’un corpus qui s’étend de la Jeune Pologne à 1989, en se limitant à la littérature pour adultes. Cette étude se combine avec une réflexion théorique sur la nature du conte en tant que forme littéraire et propose l’outil de la convention pour cerner sa dynamique et sa polymorphie. Dans le conte, nous distinguons quatre niveaux de convention :le monde représenté, les motifs, la narration et le style. Les modèles conventionnels de ces quatre catégories, exposés dans le premier chapitre, servent de repères pour évaluer l’apport des écrivains à la convention du conte dans les deuxième et troisième chapitres. Le deuxième chapitre met en évidence le dynamisme historique qui anime le conte au XXe siècle dans la littérature polonaise, tandis que la troisième partie dégage de façon transversale les principales tendances esthétiques dans l’écriture féerique. Ainsi, le fil de la convention permet de tracer un panorama historique ainsi que de dégager les tendances esthétiques majeures du conte dans la littérature polonaise du XXe siècle, se révélant par là un outil pertinent dans l’étude du conte littéraire. Notons enfin que cette étude du conte littéraire offre un nouveau regard sur quelques uns des écrivains majeurs de la littérature polonaise du XXe siècle :B. Lesmian, W. Gombrowicz, St. I. Witkiewicz, Br. Schulz, T. Konwicki, St. Lem, Sl. Mrozek, Cz. Milosz et bien d’autres. /<p><p>Based on a wide corpus of adult literature, the present doctoral thesis is devoted to the historical and esthetical development of Polish literary fairy tale in the twentieth century from the Young Poland to the year 1989. It proposes at the same time a theoretical reflection on the literary form of fairy tale. Accordingly the convention is used as the main tool to apprehend its dynamics and its polymorphism. In the fairy tale, four conventional levels can be distinguished: represented world, motives, narration and style. Presented in the first chapter, the conventional models of theses four categories are used as reference points to gauge writers’ contribution to the fairy-tale convention in the second and the third chapters. The second chapter highlights historical dynamism of the fairy tale in Polish literature of the twentieth century, while the third part draws transversally the main esthetical tendencies in fairy-tale writing. Therefore the convention allows to outline an historical panorama and to define the main esthetical tendencies in Polish literature of the twentieth century, which proves its relevance in the study of literary fairy tale. Moreover this study of literary fairy tale takes a fresh look at some of the most important Polish writers of the twentieth century: B. Lesmian, W. Gombrowicz, St. I. Witkiewicz, Br. Schulz, T. Konwicki, St. Lem, Sl. Mrożek, Cz. Milosz. <p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-18T14:56:13Z (GMT). No. of bitstreams: 1 Tinti_TauanFernandes_M.pdf: 690660 bytes, checksum: f383a642a724f05ed1c7d2d14b1d9166 (MD5) Previous issue date: 2011 / Resumo: Este trabalho consiste em uma leitura de Fim de Partida, de Samuel Beckett, construída a partir da hipótese de que esta peça, com o que pode ser definido como uma recusa sistemática a tudo o que lhe venha de fora, é capaz de integrar à sua própria estrutura formal os impasses gerados pelas tentativas de interpretá-la, em um movimento que paradoxalmente fortalece cada vez mais sua lógica interna à medida que a interpretação é negada. Ao longo de três capítulos, busca-se investigar as diferentes ramificações dessa ideia como forma de esboçar a posição-limite na qual a peça se encontra: no primeiro capítulo, a hipótese em questão é desenvolvida a partir da leitura de alguns objetos de Fim de Partida, e a partir disso se argumenta que os personagens se aproximam mais de seus objetos fraturados e ausentes do que de pessoas; no segundo, a condição desses personagens é desenvolvida no sentido de um confronto entre duas formas de temporalidade, a progressão e a circularidade, submetidas ao mesmo princípio de escassez que atravessa outros níveis da peça; no terceiro capítulo, a hipótese central é a de que em Endgame são colocados em questão diversos procedimentos do humor de forma altamente destrutiva, e a significação retroativa que seus destroços passam a ter adquirido nesse processo podem ser extrapolados de modo a produzir um pequeno vislumbre, de dentro da própria peça, tanto de seu estatuto de obra de arte, quanto de sua relação complexa com a tradição / Abstract: This work consists in a reading of Samuel Beckett's Endgame built upon the hypothesis that the play, through what can be defined as a deliberate exclusion of everything external to it, is capable of integrating the resulting deadlocks from the attempts of its interpretation to its own formal structure, in a paradoxical movement that strengthens the play's internal logic through the denial of interpretation. Throughout three chapters, this work aims to explore different ramifications of that idea in order to outline the boundary represented by the play: in the first chapter, the interpretative hypothesis is developed upon a reading of the objects of Endgame, culminating in the idea that its characters are closer to the absent and fractured objects that they demand than to proper persons; in the second chapter, their condition is developed in the sense of a confrontation between two forms of temporality, progression and circularity, which are submitted to the same principle of scarcity that penetrates other levels of the play; in the third chapter, the central hypothesis is that Endgame puts into question some procedures of humor in a highly destructive manner, and that the retroactive meaning acquired by the resulting ruins of this process may be extrapolated into a glimpse, from within the play itself, both of its status as a work of art and of its complex relationship with tradition / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Orientador: Jefferson Cano / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T16:57:18Z (GMT). No. of bitstreams: 1 CardozodeSouza_AnaPaula_M.pdf: 1873419 bytes, checksum: 70ca46cb40404012f5ced087c43c2195 (MD5) Previous issue date: 2015 / Resumo: As crônicas de Machado de Assis revelam vários aspectos da sociedade brasileira do século XIX. Esta dissertação tem por objetivo analisar "A Semana", a última e mais longa série do literato, publicada entre os anos de 1892 e 1897, que pode dizer muito sobre os primeiros anos da República vistos pelos olhos do cronista. Em decorrência da extensão da série, priorizo aqui a visão do cronista sobre a criminalização e a repressão das práticas populares no período. Analiso também a recorrência desses assuntos nas demais colunas de seu veículo original de publicação, a Gazeta de Notícias, visando contribuir para a ampliação do conhecimento acerca do período inicial do regime republicano e da obra machadiana. Procurei traçar ainda o perfil do narrador ficcional dessa série e de sua importância para a compreensão destes textos / Abstract: Machado de Assis' "crônicas" reveal several aspects of the Brazilian society in the 19th century. Published between 1892 and 1897, "A Semana" is the author's last and longest series and tells us a lot about the first years of the Brazilian republic as seen by Machado de Assis. This dissertation prioritizes and analyzes his view of the criminalization and repression of popular practices in the period, as well as the recurrence of these topics in the other columns of "Gazeta the Notícias", the newspaper where the "crônicas" were originally published. By doing so, we intend to expand the knowledge of the initial period of the republican regime and Machado¿s work, as well as draw the profile of the fictional narrator of the series and its importance in the comprehension of these texts / Mestrado / Historia Social / Mestre em História

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T19:03:23Z (GMT). No. of bitstreams: 1 Silva_GustavoRodriguesda_M.pdf: 1551456 bytes, checksum: e4003a3b502430573237a1f412eed5b8 (MD5) Previous issue date: 2015 / Resumo: Alguns pesquisadores estudaram o estilo tardio, como Gottfried Benn, Havelock Ellis, Edward Said, entre outros. Quem consagra a noção de estilo tardio é Theodor Adorno em seu ensaio El estilo tardío de Beethoven (2008 [1963]). De acordo com Adorno, uma obra tardia é única porque ela causa uma ruptura no cenário literário da época, pois traz novidades impensadas até então. Essa ruptura não é compreendida em um primeiro momento por muitos leitores que, só com um exame detido da obra em questão, como nos propomos nessa dissertação, conseguem captar a grandeza de uma obra tardia. Ela é atemporal, pois se distancia do passado pela inovação, se diferencia do presente pelo estranhamento e prenuncia um futuro, dadas as suas inovações serem consideradas como referências literárias para obras por vir. Logo, cada obra tardia tem um estilo tardio único. Ramón María del Valle-Inclán (1866-1936) tem uma vasta obra literária, com várias peças. Segundo John Lyon, em The theatre of Valle-Inclán (2009), o ápice do teatro de Valle-Inclán são os esperpentos. Quando analisamos o esperpento Los cuernos de Don Friolera (1968 [1921]), observamos que a obra traz algumas inovações literárias para a época, que podem ser enquadradas na noção teórica de estilo tardio. Já o esperpento anterior, Luces de bohemia (2001 [1920]), apresenta a teoria esperpêntica que é posta em prática no esperpento seguinte, justamente Los cuernos de Don Friolera. Em nossa dissertação, vamos mostrar de que forma Valle-Inclán trabalha a teoria estética esperpêntica proposta em Luces de bohemia e em Los cuernos de Don Friolera, e como essa maneira de trabalhar essa teoria se constitui em um estilo tardio. Logo, vamos provar o estilo tardio do esperpento Los cuernos de Don Friolera quando comentarmos as suas inovações quanto à forma e ao conteúdo como a grande variação de possíveis sequências de leitura, a combinação de quatro paródias de movimentos literários espanhóis diferentes dentro do mesmo esperpento, a criação de uma obra que é tanto literária como histórica, entre outros aspectos. Também comentaremos o estilo tardio nos outros dois esperpentos valle-inclanianos: Las galas del difunto (1968 [1926]) e La hija del capitán (1968 [1927]). Defendemos que esse caráter tardio do nosso objeto de estudo reflete o exaurimento das formas literárias existentes e questiona o status de obra ficcional no começo do século XX, além de ditar novos rumos para a literatura espanhola e, quiçá, ocidental / Abstract: Some researchers studied the late style as Gottfried Benn, Havelock Ellis, Edward Said, among others. The one who enshrines the notion of late style is Theodor Adorno in his essay El estilo tardio de Beethoven (2008 [1963]). According to Adorno, a late work is unique because it causes a break in the literary scene of the era, because it brings thoughtless news so far. This break is not understood at first by many readers, that only with a close examination of the work in question, as we propose in this thesis, can capture the greatness of a late work. It is timeless because it moves away from past by the innovation, it differs from the present by the estrangement and predicts a future, given the innovations being considered as references to literary works to come. Thus, each late work has a unique late style. The Spanish writer Ramón María del Valle-Inclán (1866-1936) has a vast literary work, with several plays. According to John Lyons in The theatre of Valle-Inclán (2009), the theater apex of that Spanish author is the esperpentos. When we analyze the esperpento Los cuernos de Don Friolera (1968 [1921]), we realize that the work brings some literary innovations for the time, which can be evidenced in the theoretical notion of late style. Already the previous esperpento, Luces de bohemia (2001 [1920]), presents the esperpêntica theory that is put into practice the next esperpento precisely Los cuernos de Don Friolera. In our thesis, we are going to show in what way Valle-Inclán works the esperpêntica aesthetic theory proposal in Luces de bohemia in Los cuernos de Don Friolera and how this way of working this theory constitutes a late style. Thus, we will prove that the late style of esperpento Los cuernos de Don Friolera when commenting their innovations as the form and the content as the wide range of possible sequences of reading, the combination of four parodies of different Spanish literary movements within the same esperpento, the creation of a work that is both literary and historical, among others. We are also going to comment the late style in the other two valle-Inclanianos esperpentos: Las galas del difunto (1968 [1926]) and La hija del capitán (1968 [1927]). We argue that this late character of our matter subject reflects the depletion of existing literary forms and questions the fictional work status in the early twentieth century, in addition to dictate new directions for Spanish literature and perhaps western / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Argues that, without the publication of Charles Darwin's "Origin of Species," Bram Stoker's novel "Dracula" and Oscar Wilde's novel "The Picture of Dorian Gray" would not have been written with their distinct style and themes, as evolution clashes with degeneration and female power (and the sexuality derived from that power) clashes with the new science. Stoker and Wilde combine the science of the late 19th century with the characters of their imaginations. Natural and sexual selection plays a part in these characters' core development. The mixture of sexuality, science and power in these two novels all combine to formulate what is known as Victorian sexology.

From the point of view of literary qualities, Prophetic Traditions stand out among Arabic literature. This study aims at selecting some unique words the Prophet used, and search for their presence or absence in the Arabic Although several sources were used, the reliance for the choice of words is mainly on An-Nihayah fi gharib al-Athar of Ibn al-Athir; and for comparison, several published works. literature. The objective is to find out how the Prophetic words affected the literature. An analysis is attempted to arrive at the meaning of these words as used in Hadith literature, literatures preceding or following it, and compare to find whether they have been used at all, and, if used, in the same meaning or not, or whether they are used in a unique sense. Thus, this study brings to light differences between Prophetic literature, and literatures other than it. / Arabic and Islamic Studies / M.A. (Islamic Studies)