Thesis--University of Chicago, 1912. / Includes bibliographical references.

My thesis is concerned with Theodor Adorno (1903-1969), the Frankfurt School theorist, and the implications of his philosophy for literary studies. I show that Adorno's thought may offer a valid contribution to the analysis of literary texts, even texts with which he is not historically associated. More specifically, I link Adorno with texts that emerge out of situations of political extremity but are not necessarily understood as "political" protest literature. Drawing on a variety of Adorno's texts, I assert that key concepts within Adorno's thought - truth content, immanence, the non-identical - allow us a way of understanding literary texts that appear apolitical, but in fact are speaking to the social and material relations of their specific (political) context. Adorno's exposition on the interface between the artwork and history usefully engages authors that problematise or dismantle our traditional conception of what constitutes the "political" - overt manifest content that aligns itself with a particular ideological position. I have chosen three twentieth-century authors (J.M. Coetzee; Margarita Karapanou; Michael Ondaatje) whose literature bear the burden of political extremity (respectively, South African apartheid, the 1970s Greek military junta, and the Sri Lankan civil war), and is at loggerheads with the literature of political commitment emerging from each of those situations. Each of these authors asserts his or her aesthetic autonomy over prescriptive understandings of literature as a vehicle actively espousing a particular nationalist, political, ideological or even aesthetically formalist position. The work of these authors, I argue, embodies an alternative Adornian version of engaged literature. In short, my thesis operates as a two way conversation asking: "What can Adorno's concepts give to certain literary texts?", and reciprocally, "What can those texts give to our traditional understanding of Adorno and his applicability?" This thesis is an act of rethinking the literary in Adornian terms, and rethinking Adorno through the literary.

Made available in DSpace on 2018-07-27T17:13:41Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-03-26. Added 1 bitstream(s) on 2018-07-27T17:16:31Z : No. of bitstreams: 1 000884024.pdf: 29917613 bytes, checksum: e066f34a4ca23656f0679ff1053869b2 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta pesquisa de doutorado situa-se no campo dos fundamentos da educação e volta-se para o estudo teórico do conceito de catarse na estética de Georg Lukács e na pedagogia histórico-crítica de Dermeval Saviani. A catarse é analisada como um processo de desenvolvimento do indivíduo em direção a uma relação cada vez mais consciente com o gênero humano. Defende-se a tese que o ensino de literatura na educação escolar tenha por objetivo a desfetichização da realidade humana, produzindo-se a catarse por meio do trabalho com os clássicos. Esta pesquisa integra um estudo mais amplo que tem sido desenvolvido pelo Prof. Dr. Newton Duarte, com apoio do CNPq e da CAPES, intitulado Arte e formação humana em Lukács e Vigotski. / Situated in the field of foundations of education, this PhD research is a theoretical study of concept of catharsis in Georg Lukács' aesthetics and Dermeval Saviani's historical critical pedagogy. Catharsis is analysed as a development process of the individual in direction to a more and more conscious relation with the humankind. Is defended the thesis that the teaching of literature in school education should have been the aim to defetishize the social reality promoting the cathartic process by means the work with the classics. This PhD research is connected with a broader study that is been developing by Prof. Dr. Newton Duarte, supported by CNPq and CAPES, entitled Art and Human Development in Lukács and Vygotsky.

This dissertation works and is worked by the chiasmus in-between the language of space and the space of language. Fragmented narratives of live(d) experience from the everyday life of pedagogy are juxtaposed with theoretical traces from Lacanian psychoanalysis and Derridean deconstruction. The text(ure) of the work labours with and against the grain of hegemonic inscriptions in multiple sites of pedagogy - tarrying within uncertainty - on the tremulous grounds of a 'third' discourse. Located always already within the materiality of language, the work labours within spaces of provocative dissonance in-between theoretical positionings. Readings of spatiality from architecture and human geography intersect and disseminate with readings of language from post/colonial ethnography and cultural studies. Rereadings resonate within the vibrancy of a growing literature on writing otherwise within the spaces of interdisciplinarity. Reading outside the literature of pedagogy infuses the inside writing as boundaries are disturbed and subjectivities destabilized. Research is rewritten as messy text as/in a rigour of ruins in the gaps and intervals of the spaces in-between. As semiotic tropes of language shift toward performativity, the text ex-scribes in order to disrupt the circumscriptions of normative praxis. The text seeks invocations for risking radical responsibilities in the everyday experience of living pedagogy - in the tensionaliry of the always already and the not-yet there. The work of this dissertation labours beneath and beyond the text in semiotic dispositions - through an Aokian re-reading of Lacanian metonymy for pedagogy - a doubling movement of metonymy/metaphor in tropic moments - within a 'third' discourse generating openings for transformation. Excentric circumscriptions dis/appear into the space of no-thingness - a site of ambiguity that is both thing and nothing and yet neither thing nor nothing - an ongoing response to an invitation to write a paper/not paper. A writing that tarries within its inscription - ghosted by a reading relationship with itself. A writing that seeks a jouissance of vacancy in tracking the spectrality of paper ghosts. The possibilities for transformation happen in chiasmatic passages from trope to performativity through re-readings and mis-readings. From a working text emerge articulations of a radical rhetoricity evoking ongoing labour from the para-sitic spatial punctuations of AuthorTextReader. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Orientador: Newton Duarte / Co-orientador: Dermeval Saviani / Banca: Ana Carolina Galvão Marsiglia / Banca: Angelo Antônio Abrantes / Banca: Lígia Márcia Martins / Banca: Luci Regina Muzzeti / Resumo: Esta pesquisa de doutorado situa-se no campo dos fundamentos da educação e volta-se para o estudo teórico do conceito de catarse na estética de Georg Lukács e na pedagogia histórico-crítica de Dermeval Saviani. A catarse é analisada como um processo de desenvolvimento do indivíduo em direção a uma relação cada vez mais consciente com o gênero humano. Defende-se a tese que o ensino de literatura na educação escolar tenha por objetivo a desfetichização da realidade humana, produzindo-se a catarse por meio do trabalho com os clássicos. Esta pesquisa integra um estudo mais amplo que tem sido desenvolvido pelo Prof. Dr. Newton Duarte, com apoio do CNPq e da CAPES, intitulado "Arte e formação humana em Lukács e Vigotski". / Abstract: Situated in the field of foundations of education, this PhD research is a theoretical study of concept of catharsis in Georg Lukács' aesthetics and Dermeval Saviani's historical critical pedagogy. Catharsis is analysed as a development process of the individual in direction to a more and more conscious relation with the humankind. Is defended the thesis that the teaching of literature in school education should have been the aim to defetishize the social reality promoting the cathartic process by means the work with the classics. This PhD research is connected with a broader study that is been developing by Prof. Dr. Newton Duarte, supported by CNPq and CAPES, entitled "Art and Human Development in Lukács and Vygotsky." / Doutor

Aphoristic thoughts must be distinguished from their articulation in aphorisms, for they are found in all other genres of discourse as well. Within these discourses they present non-discursive points, i.e. points where the mind interrupts the linear progression of the text in order to stop and contemplate a momentary end of thinking. This study seeks to isolate the thought from thinking. It does so in a series of reflections on German, French and English aphoristic texts. These reflections explore a viable alternative to the contextualist paradigms of literary criticism, history, and philosophy. Instead of reintegrating the isolated thought in an extended historical narrative or critical argument, this method seeks to respond to it with another thought. The "context" of the thinker's thought is not a genre, a literal text, or field of inquiry, but a world that is only rarely textual in a literal sense. Unlike the disciplines to which most serious reflection is devoted, the aphoristic utterance makes sense outside a formal discipline. One motif around which the independent sections of this study are arranged are Goethe's and Nietzsche's thoughtful wanderer, exposed to the elements outside. Another is Nietzsche's gay or cheerful science, in which ultimately nihilistic ideals like certainty, consistency and truth are diagnosed, treated with and replaced by the wit, partiality and idiosyncracy of the aphorist. In addition, the study discusses aspects of the scholarship, addresses the problem of the aphoristic collection, and attempts an inventory of aphoristic ends.

This book speaks for the view that the human body, "with its miracle of order," as Whitehead says, is the basis of both passion and intellectual clarity in the construction of texts by readers and writers alike. Critically, its antecedents are the theories of relativity and quantum mechanics which, in spite of being ignored by classicists of the old humanism, or alleged "humanities," have changed forever our sense of the relations between subjects and events, disorder and order in real life. And yet my ideas are equally derived from the work of poets and artists, scientists of feeling, who have proven in all eras, and not without risk, that the mind is not a transcendental authority but an occasion that constructs and reconstructs itself from the changing materials of sense and through the most precise recognitions of order inherent among them. The chapters are as follows: (I) "The Idea of Faith": a repudiation of classical dualism via a critique of Santayana's Scepticism and Animal Faith. (II) "Risking Belief: An 'Allegory of Reading' thinspace": an interpretation of the final scene of A Midsummer Night's Dream as a critique of the classical ideal of rational love. (III) "IF ...: Getting Beyond the Dynamics of Contradiction in Wallace Stevens' 'Palace of the Babies' thinspace": a demonstration of how textual ambiguities unthinkable to classical poetics are resolved through coenesthesis in the reader. (IV) "Wallace Stevens Reading: The Idea of Acoustic Order in 'The Idea of Order at Key West' thinspace": an argument via a computer-aided study of Stevens' vocal performance in favor of the idea that the grammar of a text is generated not from an extrinsic "competence" but within the act of enunciation itself. (V) "The Exquisite Corpse of Charles Baudelaire: The Female Imaginative Sublime in a Post-materialist Phenomenology of Experience": a demonstration of how Baudelaire, in cultivating "flowers from evil" subverts his narrators' and even his own male-dominant, idealist poetics with one rooted in the physical as represented not only by the artificiality of modern life about which he is candid, but by an underlying, creative vitality in the female erotic.

This dissertation examines key texts from the intermediate and mature periods of Vasily Grossman’s career in order to determine the relationship between his evolving philosophy and the poetics that characterize his writing. While significant critique has been applied to the nature of Grossman’s philosophy, comparatively less has looked at the aesthetic and technical aspects of his writing itself; still less to the connection between Grossman’s abstract concepts and his accomplished texts. My effort has been to bridge the gap between these two areas of inquiry and to ascertain the quality of their tightly intertwined and complex relationship. I analyze four of Grossman’s key texts in depth, with reference to several other writings. Of the primary texts considered in my study, two are essays from the writer’s intermediate period: “The Hell of Treblinka” («Треблинский ад») and “The Sistine Madonna” («Сикстинская мадонна»);” of the two longer works, one is Grossman’s multi-volume masterpiece novel Life and Fate (Жизнь и судьба) and the other is his novella (повесть) and final fictional work Everything Flows (Все течет). These texts were chosen for their aptness at demonstrating key features of Grossman’s prosody and philosophical thinking, both those that remained constant and those that evolved over time. The following study establishes that Grossman’s writing itself, by means of the formal structures he employs throughout his works, constitutes the embodiment and realization of his ethics. Specifically, the following work considers modes of movement and generation in Grossman’s writing that speak to the value he places on the individual human experience.

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