'Aspects of Modern Scottish Literature and Ecological Thought' argues that the science and philosophy of 'ecology' has had a profound impact on Scottish literature since the mid-nineteenth century to the present day, and relates the work of successive generations of Scottish writers to concurrent developments in ecological thought and the environmental sciences. Chapter One suggests that, while Romantic ways of thinking about the natural world remained influential in nineteenth-century culture, new environmental theories provided fresh ways of perceiving the world, evident from the writings of Scottish mountaineers. Chapter Two explores the confrontation of modernity and wilderness in the fiction and travel writings of Robert Louis Stevenson, and some contemporaries such as John Muir. Chapter Three suggests that ecologically-sensitive local and global concerns, rather than 'national' ones per se, are central to the work of Hugh MacDiarmid, Lewis Grassic Gibbon and others, while Chapter Four demonstrates that post-war 'rural' writers including Nan Shepherd, Neil Gunn, Edwin Muir and George Mackay Brown, often viewed as peripheral, are actually central and of international relevance, and challenges the assumption that there is a fundamental divide between Scottish rural and urban writing. Finally, Chapter Five argues that contemporary writers John Burnside, Kathleen Jamie and Alan Warner are not only reviewing human relationships with nature, but also the role writing has to play in exploring and strengthening that relationship, helping to determine the ecological 'value' of poetry and fiction. By looking at Scottish literature through the lens of ecological thought, and engaging with international discourses of 'Ecocriticism', this thesis provides a fresh perspective in contrast to the dominant critical views of modern Scottish literature, and demonstrates that Scottish writing constitutes a heritage of ecological thought which, in this age of environmental awareness, should be recognised as not only relevant, but vital.

This thesis is a comparative literary study which is conducted by placing the reception of Russian literature in Spain during the period 1918-36 within the context of the interplay of literature and the social and political situations in which it is written. It first places the boom in the publication of Russian literature in the late 1920s and 1930s within the context of the history of the reception of Russian literature in Spain, providing a comprehensive survey of that history. Next, it describes the impact of the Russian Revolution and the formative years of the Soviet Socialist state on the political situation in pre-Civil War Spain, including the ideological links between the political situations of both countries. In pre-Civil War Spain, the revolutionary atmosphere changed the mood, subject matter and style of literature, and certain writers, recognizing their civic duty, began to produce literature that had a socially critical and didactic role. During that period, given the political context and the development of politically committed literature, Spanish intellectuals and artists of a Marxist persuasion derived incentive from their Russian counterparts. Russian literature has traditionally been the forum for social criticism, and has had a profoundly revolutionary dimension. Pre-revolutionary writers such as Dostoevsky and Andreev have been perceived by outsiders as revolutionary writers, and, in that capacity, have enjoyed great popularity abroad, including Spain. In the Soviet era, Mayakovsky was often considered to be the "Poet of the Revolution", and Gorky was the chief spokesman in the promotion of socialist ideals in literature in the twenty years following the Revolution. In Spanish pre-Civil War fiction, both the social novel and poetry were instrumental in conveying overtly Marxist messages. The thesis concludes with a comprehensive study about certain Spanish writers and their works, in the domains of poetry and the novel, specifically seeking evidence of the impact of the literature and ideology which was emanating from Russia in the first third of the twentieth century.

My thesis analyses the oeuvre of the American writer Mary McCarthy (1912-1989), with the focus on the figure of the outsider looking in. McCarthy uses outsider figures in her texts as prisms through which distinctive historical moments as well as problems of gender, race and religion are studied against the backdrop of the changing climate of the American 'red' 1930s, the anxious '50s, and the late '60s torn by the Vietnam war. Examples of McCarthy's recurring protagonists are the New York Bohemian girl of the '30s in the predominantly male world marred by the Great Depression, the Jewish character stereotyped as the Other by the poorly hidden anti-Semitism of the American society of the early 1940s, and the orphan child exposed to adult cruelty, who finds her only solace in the Catholic religion. Their position of being outsiders who live in a society not their own by birthright, is shown to be crucial for their acquisition and knowledge of truth, and links insight to marginality, which is reinforced by McCarthy's technique of ironically detached observation, the 'cold eye' of her prose. McCarthy herself appears as an outsider character throughout her writing, both as the historical figure and as the protagonist of her autobiographies. Her self-image, shaped by her orphaned childhood and her youth as a Bohemian girl among leftist intellectuals, is subject to conflicting impulses of confession and concealment. McCarthy's wide use of autobiographical details in her fiction and elements of fiction in her autobiographies led most critics to study her work from a chiefly biographical point of view. My own approach to Mary McCarthy's writing takes their findings into consideration, and includes the analysis of the historical, political, and social contexts of McCarthy's texts, as well as the intertextual dialogue with a few select writings by McCarthy's contemporaries such as Philip Roth and Sylvia Plath.

In the context of a renascent interest in the thought of Jean-Paul Sartre, this thesis proposes a close examination of one of his less studied texts, the study of Gustave Flaubert, L'Idiot de la famille (1971-72). The analysis focuses on theoretical developments that emerge from Sartre's biographical enquiry, pursuing an interdisciplinary approach combining a consideration of literary theory and literary history with the perspective of Sartre's philosophy of subjectivity. L'Idiot is situated amongst a wide variety of texts by Sartre, from Qu'est-ce que la littérature? (1948) to the Critique de la raison dialectique (1960), identifying theoretical innovations within Sartre's understanding of the subject (ch. 1), his social theory (ch. 2), his theory of the imaginary (ch. 3), of literary production (ch. 4) and of reading (ch. 5). Additionally, hitherto largely unexplored passages highlight Sartre's reflections on the situation of the late 1960s. Previous analyses of the philosophical innovations presented in L'Idiot have often focused on the strictly theoretical passages in the biography. The present thesis also concentrates on the 'imagined' scenes presented throughout the text. Read as an integral part of Sartre's method, it is suggested that the dramatization facilitated by the biographical format is an integral part of the theoretical enquiry. Despite the lack of explicit referencing provided by Sartre, the biography is explored in its open character, identifying a series of resonances and similarities with a diverse range of authors. The different chapters consider thinkers whose relationship with Sartre has received little or no attention (such as Pierre Bourdieu and Walter Benjamin), or whose work resonates with Sartre in ways that have so far gone unnoticed (Roland Barthes, Maurice Merleau-Ponty and Maurice Blanchot).

Orientador: Márcio Orlando Seligmann Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T13:12:14Z (GMT). No. of bitstreams: 1 Santos_BrunoMendesdos_M.pdf: 1426800 bytes, checksum: d5e451f4db00da1f0cfd93ce9ad5765b (MD5) Previous issue date: 2014 / Resumo: Este trabalho trata dos limites entre memória e ficção em algumas obras de Günter Grass (1927-) - a saber, O tambor (1959), Gato e rato (1961), Anos de cão (1965) e Nas peles da cebola (2006) - tendo em vista o seu teor testemunhal sobre o período entre guerras e pós-guerra, levando em conta a situação do autor como sujeito e objeto social, em um dos ambientes mais representativos da história global no século XX. Com o suporte de teorias da literatura, da cultura e da filosofia, além do aparato de textos críticos, ensaísticos e jornalísticos, bem como de outros textos literários sob perspectiva comparativa, deseja-se observar os processos de ficcionalização da memória individual, de romanceação da autobiografia e de construção da memória cultural através da literatura / Abstract: This work deals with the boundaries between memory and fiction in some pieces of Günter Grass (1927-) - namely, "The tim drum" (1959), "Cat and mouse" (1961), "Dog years" (1965) and "Peeling the onion" (2006) - taking into account its testimonial content from Nazism and postwar era, considering the author's position as social subject and object, in one of the most representative environments of world history in the twentieth century. Using theories of literature, culture and philosophy as support, as well as critics, essays and journalistic texts, besides other literary texts in a comparative perspective, it aims to observe the processes of fictionalizing individual memories, writing an autobiography in the form of a novel and building cultural memory through literature / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Orientador: Maria Eugenia da Gama Alves Boaventura Dias / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T03:05:41Z (GMT). No. of bitstreams: 1 Buzelli_JoseLeonardoSousa_D.pdf: 1858513 bytes, checksum: bfc496e95e360b3b9d608adc1bd7ac61 (MD5) Previous issue date: 2014 / Resumo: Esta tese analisa os poemas e textos em prosa de Murilo Mendes dedicados à Espanha (à sua paisagem geográfica, econômica, política, cultural e religiosa) e a várias de suas personalidades culturais; procuro demonstrar como o catolicismo muriliano o leva a escolher o país ibérico como matéria poética em um momento de crise de sua fé, em um período em que o franquismo, um regime de inspiração fascista apoiado pelo papa Pio XII e pela maioria do clero católico espanhol, oprimia sua própria população sob o pretexto de defender o cristianismo contra o comunismo ateu de orientação russa. Analiso com vagar o uso retórico que Mendes faz da nostalgia por um passado cristão altamente idealizado, contrastando-o com um presente percebido como brutal e mesquinho, em duas de suas obras: Tempo Espanhol, um conjunto de poemas publicado em Lisboa, em 1959, e Espaço Espanhol, livro em prosa de publicação póstuma, escrito na segunda metade da década de 1960 / Abstract: This thesis analyzes Murilo Mendes¿ poems and prose texts dedicated to Spain (to its geographic, economic, political, cultural, and religious landscapes) and to several of its cultural personalities; I try to demonstrate how Mendes¿ Catholicism drives him to choose the Iberian country as a poetic subject in a moment of crisis of his faith, and during a period when Franquism, a Fascist inspired regime supported by Pope Pius XII and the majority of the Spanish Catholic clergy, was oppressing its own population under the pretext of defending Christianity against Russian-oriented atheistic communism. I analyze at great length his rhetoric use of nostalgia for a highly idealized Christian past, contrasting it to a present seen as brutal and mean, in two specific titles: Tempo Espanhol, a book of poetry published in Lisbon, in 1959; and Espaço Espanhol, written in prose in the second half of the 1960s but never published during the author¿s lifetime / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Orientador: Marcos Aparecido Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T18:11:25Z (GMT). No. of bitstreams: 1 Gessner_Ricardo_M.pdf: 638555 bytes, checksum: 0933463313391057219d1b30675d048c (MD5) Previous issue date: 2014 / Resumo: Esse trabalho tem como objeto de estudo o livro Distraídos Venceremos, de Paulo Leminski. Publicado em 1987, não obteve êxito comercial, foi pouco elogiado e ainda é pouco mencionado e estudado pela fortuna crítica. Em vista disso, esse trabalho propõe um estudo sobre o livro, levando em consideração uma leitura atenta do prefácio, análises e interpretações de um corpus selecionado de poemas, levantamento da fortuna crítica sobre a obra poética de Leminski, e um diálogo entre essas discussões, tendo como objetivo verificar qual a proposta do livro e como ela se realiza / Abstract: This dissertation has the objective to study Distraídos Venceremos, published by Paulo Leminski, in 1987. The book didn't have editorial success, and still was not studied. A detailed lectured and interpretation of a selected corpus will be done; also commentaries about the critic fortune of Leminski's literary works, and verify how the propose of Distraídos Venceremos is articulated by the poet, and how it appears in the selected poems / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

M.A. / The aim of this study is to determine the utilisation and effect of literature as instrument of patriotism in order to get the active support of the Soviet population for the war effort of the Soviet Union between 1941 and 1946. In the Soviet Union literature was well able to fulfil this role due to the fact that the Soviet leadership identified the propaganda value of literature, with the result that literature became the official expression of the government's policy. By making use of the different literary genres the inherent patriotism could be awakened and inspired. Literature was therefore mainly responsible for the change in the attitude of the Soviet population from indifference and uninterestedness to one of active support. It is, however, not possible to award to literature solely the responsibility for this change of attitude because other instruments were also used between 1941 and 1946. There is enough evidence that the reaction of the population was to a great extent influenced and determined by literature. Through literature the Soviet population wanted to act as the heroes of the literary works and save their Russian fatherland from the German onslaught.

No description available.

The period of 1919 to 1939 was a significant one for the development of the literature of Oregon and the Pacific Northwest. The literary work produced in the region prior to the first world war was greatly influenced by the "Genteel tradition" of the late nineteenth century. By 1939, however, the literature of Oregon and the region had emerged from the outdated literary standards of the pre-war period and had found a new, realistic, natural voice, strongly regional in nature and rooted in the modern American tradition.