De 1993 a 2004, Walter Kempowski publicou uma série em dez volumes intitulada Das Echolot. Ein Kollektives Tagebuch. (A ecossonda. Um diário coletivo) Nessa obra, Kempowski procurou retratar alguns dos episódios principais da Segunda Guerra Mundial através da apresentação de documentos redigidos, em sua grande maioria, na época dos acontecimentos: diários, cartas, memórias, discursos ou programas de rádio. Esses documentos foram ordenados de acordo com o dia no qual foram escritos, compondo um grande diário coletivo que retrata os acontecimentos de uma perspectiva abrangente e multiforme. Nesta tese, o volume Barbarossa 41, que narra a invasão da URSS em 1941, foi tomado como exemplo para questionar o papel do autor nessa montagem monumental de citações que, à primeira vista, parece reduzir-se à organização formal dos documentos. Para analisar a forma como se estabelece o significado dos elementos organizados no livro observou-se 1) a própria estruturação do livro, 2) as citações de algumas das principais personagens, que podem ser consideradas como exemplares e 3) a sequência interna de dois dias completos do diário. As citações das personagens exemplares foram comparadas com os documentos originais de onde foram extraídas, buscando-se identificar as intenções que guiaram o autor na seleção e no recorte dos textos. O resultado dessa pesquisa indica que o papel do autor na constituição do sentido da narrativa nascida da conexão dos fragmentos é decisivo. Com uma outra seleção e um outro recorte, as personagens deixariam uma impressão diferente no leitor. Também foi confirmado que a organização específica do material criou um panorama da Segunda Guerra que se deve às intenções do autor, ainda que esse fato permaneça, em grande parte, despercebido pelo leitor. / From 1993 to 2004, Walter Kempowski published a sequence of ten books named Das Echolot. Ein Kollektives Tagebuch. (The Echo Sounder. A collective diary.) In these books, Kempowski aims to depict main episodes of the Second World War by presenting documents written mostly while the events took place: diaries, letters, memories, speeches or radio programs. Those documents were sorted according to the day they were written, and so they composed a great collective diary which depicts the events in a comprehensive and multifaceted perspective. In this thesis, the volume Barbarossa 41, which narrates the invasion of the USSR in 1941, was taken as an example to question the role of the author in this monumental montage of quotations that, at the first sight, seems to be just a formal organization of documents. In order to determinate how the meaning of the elements organized in the book gets established, the following items were observed: 1) the own structure of the book, 2) the quotations of some of the main figures that can be considered as exemplary and 3) the internal sequence in two whole days of the diary. The quotations of the exemplary characters were compared with the original documents, in order to identify the intentions that guided the author in the selection of the texts and the excerpts that would be published. The result of this research indicates that the role of the author in the constitution of the sense of the narrative which comes from the connection of the fragments is crucial. With another selection of texts and excerpts, the characters would leave a different impression on the reader; it was also confirmed that the specific organization of the material has created a panorama of the Second World War that is due to the intentions of the author, even if this fact remains mostly unnoticed by the reader.

Wet : a Project is a ficto-critical essay, a writer's diary, concerned with language, trauma, the body and image. A complement to Wet, it is greatly informed by Probyn's model of 'belonging' as a writing subject, and psychoanalytic theorisation such as Gibb's analysis of psychosomatic speech, Pines' and Anzieu's conceptualisations of the 'skin ego', Kristeva's account of sensation and its relation to language and Lacan's development of the ego in the mirror stage. In addition, it engages Herman's analysis of trauma and Scarry's account of pain, and their relationships to language, the body and subjectivity. Interspersed with autobiographical accounts, Wet : a Project explores the milieus, spaces and specific geographical sites in which trauma, language, forms of identity, desire, belonging and becoming, emerge or assert their visibility. / Doctor of Philosophy (PhD)

De 1993 a 2004, Walter Kempowski publicou uma série em dez volumes intitulada Das Echolot. Ein Kollektives Tagebuch. (A ecossonda. Um diário coletivo) Nessa obra, Kempowski procurou retratar alguns dos episódios principais da Segunda Guerra Mundial através da apresentação de documentos redigidos, em sua grande maioria, na época dos acontecimentos: diários, cartas, memórias, discursos ou programas de rádio. Esses documentos foram ordenados de acordo com o dia no qual foram escritos, compondo um grande diário coletivo que retrata os acontecimentos de uma perspectiva abrangente e multiforme. Nesta tese, o volume Barbarossa 41, que narra a invasão da URSS em 1941, foi tomado como exemplo para questionar o papel do autor nessa montagem monumental de citações que, à primeira vista, parece reduzir-se à organização formal dos documentos. Para analisar a forma como se estabelece o significado dos elementos organizados no livro observou-se 1) a própria estruturação do livro, 2) as citações de algumas das principais personagens, que podem ser consideradas como exemplares e 3) a sequência interna de dois dias completos do diário. As citações das personagens exemplares foram comparadas com os documentos originais de onde foram extraídas, buscando-se identificar as intenções que guiaram o autor na seleção e no recorte dos textos. O resultado dessa pesquisa indica que o papel do autor na constituição do sentido da narrativa nascida da conexão dos fragmentos é decisivo. Com uma outra seleção e um outro recorte, as personagens deixariam uma impressão diferente no leitor. Também foi confirmado que a organização específica do material criou um panorama da Segunda Guerra que se deve às intenções do autor, ainda que esse fato permaneça, em grande parte, despercebido pelo leitor. / From 1993 to 2004, Walter Kempowski published a sequence of ten books named Das Echolot. Ein Kollektives Tagebuch. (The Echo Sounder. A collective diary.) In these books, Kempowski aims to depict main episodes of the Second World War by presenting documents written mostly while the events took place: diaries, letters, memories, speeches or radio programs. Those documents were sorted according to the day they were written, and so they composed a great collective diary which depicts the events in a comprehensive and multifaceted perspective. In this thesis, the volume Barbarossa 41, which narrates the invasion of the USSR in 1941, was taken as an example to question the role of the author in this monumental montage of quotations that, at the first sight, seems to be just a formal organization of documents. In order to determinate how the meaning of the elements organized in the book gets established, the following items were observed: 1) the own structure of the book, 2) the quotations of some of the main figures that can be considered as exemplary and 3) the internal sequence in two whole days of the diary. The quotations of the exemplary characters were compared with the original documents, in order to identify the intentions that guided the author in the selection of the texts and the excerpts that would be published. The result of this research indicates that the role of the author in the constitution of the sense of the narrative which comes from the connection of the fragments is crucial. With another selection of texts and excerpts, the characters would leave a different impression on the reader; it was also confirmed that the specific organization of the material has created a panorama of the Second World War that is due to the intentions of the author, even if this fact remains mostly unnoticed by the reader.

ENJEUX ÉTHIQUES ET ESTHÉTIQUES DE QUELQUES REPRÉSENTATIONS LITTÉRAIRES DES CONFLITS AU PROCHE-ORIENT AU XXe SIÈCLERésumé : Le corpus à partir duquel cette thèse construit sa réflexion est composé des œuvres de :Myriam ANTAKI, Les Versets du pardon, en1999 ; d’Anouar BENMALEK, L'Amour loup, en 2002 ; de Hubert HADDAD, Palestine, en 2007 ; de Sahar KHALIFA, Chronique du figuier barbare, en 1978 ; de Jean-Marie Gustave LE CLÉZIO, Étoile errante, en 1992 ; de S. YIZHAR, (Sipur Hirbet Hiza, 1949), Hirbat-Hiza, en 2010 (trad. franç.).Pour ces écrivains, les crises apparaissent comme un puissant générateur d'écriture et permettent d’apprécier selon différents points de vue les conflits du Moyen Orient. En effet, d'aires géographiques et culturelles différentes, les auteurs retenus sont tous sensibles aux questions de conflits qui fragilisent cette partie du monde, leur écriture est un moment intense qui invite le lecteur à plonger dans cette histoire. Cette thèse ambitionne donc d’investir, à partir de six textes littéraires contemporains français et francophones, les conflits du Proche-Orient en général et singulièrement le conflit qui oppose l’État d’Israël aux Arabes palestiniens à partir de 1948 date à laquelle le statut des Juifs a été transformé par la création d’un État et où parallèlement celui des Palestiniens a été transformé en statut de peuple sans terre. Si la thématique pointe le Proche-Orient dans son ensemble, la lecture est davantage orientée sur le conflit israélo-palestinien comme générateur principal des guerres qui se jouent dans cette partie du monde depuis 1946 ; étant entendu que la majorité des conflits du Proche-Orient sont inextricablement liés les uns aux autres et tirent leurs origines dans la question palestinienne. Cette réflexion ne prétend pas résoudre ou trouver des solutions aux problèmes que connaît le Proche-Orient : telle n'est pas l'intention de la littérature. Les textes affrontent l’Histoire mais exposent, par des moyens littéraires et romanesques, ces tensions en représentations possibles de la vie des peuples et des sociétés en jeu. Elle propose un point de vue sur des écritures en quête d’altérité tout à la fois esthétique, éthique et épistémique, et tente d’apprécier la lucidité des personnages toujours à la recherche de l’Autre, afin de poser de nouveaux rapports entre Juifs israéliens et Arabes palestiniens. Non plus des rapports conflictuels de haine et d’intolérance mais des rapports de considération et de reconnaissance réciproque.Mots-clés : représentation, Shoah, Nakba, altérité, relation, éthique / Ethnic and aesthetic issues of literary representations of conflicts in the Middle-East during the twentieth centurySummary:The program (corpus) around which the reflexion this thesis revolves, is based on the literary books below:Myriam ANTAKI, Les Versets du pardon, 1999 ; Anouar BENMALEK, L’Amour loup, 2002 ; Hubert HADDAD, Palestine, 2007 ; Sahar KHALIFA, Chronique du figuier barbare, 1978 ; Jean-Marie Gustave LE CLÉZIO, Étoile errante, 1992; S. YIZHAR, (SipurHibertHiza, 1949), Hirbat-Hiza, 2010 (French trad.).For these writers, crisis acts as a powerful source of inspiration for their artworks and enable us to look upon and appreciate from numerous points of view the conflicts occurring in the Middle-East. Indeed, coming from different geographical and cultural regions of the world, the authors quoted above are significantly conscious about the conflict matters which disrupt this particular part of the world. And their writings enable the reader to experience a real submersion in this particular world. Thus theaim of this thesis, based on these six contemporary, modern literary artworks, is to commit to these conflicts of the Middle-East and have an overview of the matter, particularly the Israeli-Palestinian conflict which aroused from the establishment of the state of Israel in 1948 and intercommunal violence in Mandatory Palestine between Jews and Arabs. Despite the fact that the theme aims the Middle-East in general, the argument is focused on the Israeli-Palestine conflict. The latter being the main source of conflict and wars occurring in this part of the world since 1946, provided that the majority of these conflict matters are inextricably linked to each other and furthermore that they erupted due to the Palestinian matter in particular. This thesis will not attempt to solve or provide answers to the problems faced in the Middle-East: it is not the aim of literature. The texts face History but, by means of literary and Romanesque writings, they provide an overview, a picture of the lives of these societies, these nations out there. It provides with an angle on and about writings in search of otherness in both an aesthetic and ethnic way and furthermore in an epistemological way. Also, the latter tries to appreciate the lucidity of the characters which are in an everlasting search of otherness, in order to alight new relations between Israeli Jews and Palestinian Arabs. No more conflictual relationships based on hatred and intolerance but relationships based on mutual consideration, appreciation and acknowledgement.Key words: representation, Shoah, Nakba, otherness, relationship, ethnic

[pt] A dissertação O espetáculo das máquinas acesas Procura, através do levantamento da esquecida história das diversões óticas na Corte Imperial, reavaliar a importância desses objetos e construções para a afirmação de um cotidiano mediado pela tecnologia. A partir da análise dos pasquins, folhetins e romances publicados entre 1830 e final da década de 1870, mostra-se como a literatura representou essa realidade de converg6encia entre arte e indústria, ci6encia e entretenimento. / [en] The dissertation The Show of the lighting machines searchs, throught the forgotten history of the opticals inventions in the brazilian Imperial Court, to reavaliate the importance of these objects and constructions in afirmating a quotidian life based on technology. Analysing the press-publication, folhetins and novels published between 1830 and the end of the decade 1870, we can see how literature represented this convergence among art and industry, science and entertainment.

This study explores the social ‘vision’ of three Shona women writers vis-à-vis their Zimbabwean society, attempting to ascertain whether this vision is entrenched in the post-independence context or has been shaped by the whole canvas of colonization and its impact on Shona society. For this purpose, Tsitsi Dangarembga’s Nervous Conditions (1988), Yvonne Vera’s Why Don’t You Carve Other Animals (1992) and Freedom Nyamubaya’s Dusk of Dawn (1995) have been selected to explore the representation of Zimbabwean society in different artistic genres. The approach is mainly socio-historical, examining the selected texts in the context of Zimbabwean history and paying attention to how the socio-political dynamics in both colonial Rhodesia and post-independence Zimbabwe influence the creative output of Zimbabwean writers, in general, and of the selected writers, in particular. In addition, this study refers to other aspects of literary theory, especially African feminist theories, since all three writers discuss the plight of black African women. This study consists of four chapters arranged according to the historical period in which the texts are set, which coincides with publication date. Chapter One provides a general background to Zimbabwean writing in English to root the study in the socio-historical experiences of the country. This chapter thus considers the works of both white and black writers. Chapter Two discusses Nervous Conditions, critiquing it as a women’s narrative in a social realist mode, because it portrays the social and political forces as significant shapers of human lives. Chapter Three analyzes Why Don’t You Carve Other Animals as a text in the fabulist mode, which re-imagines cultural and literary politics. Nyamubaya’s poetry, discussed in Chapter Four, is autobiographical and ideological. It revisits the Zimbabwean liberation war, situating it within both the private and national spheres, and arguing that such a standpoint emanates from Nyamubaya’s need to make sense of her own experiences during the war and in post-independence Zimbabwe. In conclusion, the study summarizes the major findings of the research, analyzing these against the background to Zimbabwean writing in English given in Chapter One. / Dissertation (MA (English))--University of Pretoria, 2007. / English / unrestricted

No description available.

180 Abstract The English-language title of the work Holokaust jako fikce is not entirely unambiguous, because the equivalent, The Holocaust as a Fiction, due to its indefinite article, comes close to denial of the Holocaust as a historical phenomenon. That is of course utterly unacceptable nonsense; however, we encounter denial (concealment) of the Holocaust in history even during the course of the war. Here the author intends to emphasize the basic limits of his own theme. It is not the Holocaust as a historical event - the extermination of European Jewry by means of National Socialist politics in the years 1939-45 - but rather the literary works representing these events. The methodological point of departure is the theory of fictional worlds (Lubomír Doležel etc.), and what interests us is the transfer of actual events into possible and fictional worlds, the representation of the results of that crossover in literary works. The work is divided into four chapters. After delimiting the approaches terminologically and theoretically, each focuses on a functional approach to the given representation. The Holocaust is investigated in this manner in three main chapters: the Holocaust as testimony, the Holocaust as a limit situation and the Holocaust as a literary transduction. The Holocaust as testimony devotes...

O romance Wo warst du, Adam? (1951), de Heinrich Böll, e o \"diário coletivo\" Das Echolot. Barbarossa \'41. (2002), de Walter Kempowski, são representações literárias da Segunda Guerra Mundial. O romance foi escrito e publicado no período do pós-guerra, quando a sociedade alemã se encontrava em meio ao sofrimento por perdas materiais, perdas de familiares, e, também, confusa com a manipulação propagandística que havia sofrido por parte do governo alemão. Começava, ainda, a ter acesso a informações sobre os horrores e crimes bárbaros que haviam sido cometidos por soldados nazistas, principalmente contra o povo judeu. O \"diário coletivo\", por sua vez, é formado por colagens de textos individuais autênticos, escritos em sua maioria durante os acontecimentos da Segunda Guerra Mundial, por seus participantes e por aqueles que vivenciaram tal período. Não há nenhuma voz que relacione os testemunhos, a interpretação de tantas vozes dissonantes fica a cargo, exclusivamente, do leitor. Por haver cinquenta anos de intervalo entre as publicações, além de diferenças quanto ao gênero literário, esta pesquisa tem como objetivo verificar se a mudança de estrutura literária e a focalização das personagens/testemunhas estão ligadas à mudança da perspectiva atual da Segunda Guerra Mundial, a qual decorre da memória coletiva do grupo social sobre um acontecimento passado e da qual a literatura incorpora elementos. Não se trata de um estudo empírico sobre a recepção das duas obras literárias, mas sobre o potencial que as obras têm em configurar uma imagem da guerra para o leitor. Em função disso, estabelece-se uma comparação de algumas personagens e testemunhas centrais, não somente daquelas que participaram ativamente da guerra, mas também de quem esteve atento aos seus desdobramentos ou, ainda, a partir das perspectivas daqueles que seriam classificados como vítimas. O trabalho se abstrai de julgamentos pessoais sobre as testemunhas, mas os textos que produziram são analisados, comparando-as com as personagens ficcionais do romance. / The novel Wo warst du, Adam? (1951), from Heinrich Böll, and the \"collective diary\" Das Echolot. Barbarossa \'41. (2002), from Walter Kempowski, are literary representations of the Second World War. The novel was written and published in the post-war period, during which the german society found itself amidst suffering for material and for family losses, and also confused with the manipulative propaganda that had been used by the german government. The society was also gaining access to information about the horrors and hideous crimes that had been perpetrated by the nazi soldiers, especially against the jewish people. The \"collective diary\", on its turn, is composed by a collage of authentic individual texts written mostly during the Second World War, by people who participated in it and by those who lived during that period. There is no voice to connect the testimonies, and the interpretation of such an amount of dissonant voices is left exclusively to the reader. Because of the fifty-year period between the publications and the differences in literary style, this research aims at verifying if the change in literary structure and the focus on the characters/witnesses are connected to the change in the current perspective towards the Second World War, which derives from the collective memory of the social group regarding an event that took place in the past and from which literature incorporates some elements. This research is not an empirical study on the reception of both works. It studies the potential these works have in configuring an image of the war to the reader. Thus, a comparison is established between some characters and central witnesses, not only those who had actively participated in the war, but also those who had accompanied its developments, or even from the perspective of those qualified as victims. The work refrains from making judgements of the witnesses as individuals, but their texts are analyzed and they are compared with the fictional characters of the novel.

Cette recherche a pour objet l’étude de la question de la rencontre dans l’œuvre italienne de Matteo Ricci, à partir d’une lecture biographique des Lettere et du Della entrata della Compagnia di Giesù e Christianità nella Cina. Le propos entend ajouter à la figure de l’écrivain sino-chrétien, celle d’un Matteo Ricci auteur d’une œuvre italienne digne intérêt, tant d’un point de vue civilisationnel que littéraire. Notre démarche s’appuie sur une lecture de ses écrits comme anatomie de sa rencontre avec le Céleste Empire et comme biographie d’un voyage littéraire, ce corpus étant appréhendé comme phénoménologie littéraire de la rencontre. Une réflexion autour du concept d’altérité permet d’analyser les textes ricciens en tant que biographie d’un regard particulier sur la Chine et les Chinois, une vision qui promeut, à partir d’une interprétation humaniste et chrétienne, la rencontre sensible avec l’Autre lointain, portée par le désir. Nous avons voulu mettre en évidence la façon dont Matteo Ricci, au fil de son œuvre missionnaire et littéraire, élabore une nouvelle herméneutique du monde chinois, en rupture avec l’imagologie issue de l’Europe médiévale. Le dernier volet de notre analyse entend l’écriture de Ricci comme la biographie d’une parole et comme la proposition d’une mystique et d’une esthétique de la rencontre. Fidèle à la tradition chrétienne, il redéfinit néanmoins les rapports entre l’Occident et l’altérité païenne par la promotion d’un nouveau langage : l’inculturation. D’un point de vue littéraire, son écriture propose une démarche stylistique singulière qui mêle esthétique du divers, historiographie en tension vers l’épique et apologétique chrétienne. / This thesis aims at studying the question of the encounter in Matteo Ricci’s Italian work, starting from a biographical reading of Lettere and of Della entrata della Compagnia di Giesù e Christianità nella Cina.This study supplements the figure of the Sino-Christian writer with that of Matteo Ricci as the author of an Italian work that is worthy of interest both from the point of view of civilisation and of literature. My approach relies on a reading of his writings as an anatomy of his encounter with the Celestial Empire and as a biography of a literary travel, the set of texts being apprehended as a literary phenomenology of the encounter.Reflecting on the concept of alterity allows one to analyse Ricci’s texts as the biography of a particular look on China and Chinese people — a vision which, from a Humanist and Christian interpretation, promotes the tangible encounter with a distant Other, born by desire. Throughout his missionary and literary work, Matteo Ricci constructs a new hermeneutics of the Chinese world that breaks away from the imagology produced by medieval Europe.The final section of the analysis envisages Ricci’s writing as the biography of a discourse, as putting forward a religious interpretation and an aesthetics of the encounter. Being faithful to the Christian tradition, he however redefines the relationships between the Western world and pagan otherness by promoting a new language — inculturation. From a literary point of view, his writing proposes a singular stylistic approach, one that mingles aesthetic diversity and historiography which gestures towards the epic and Christian apologetics.