Levando em conta a importância dos textos memorialísticos, e a de Miguel Torga no cenário literário português, esta tese propõe um estudo de uma das obras-primas deste autor, A criação do mundo. Fundamentada no modelo descritivo e interpretativo de leitura proposto por Fredric Jameson, a análise mostra que na organização formal da narrativa que difere tanto dos outros escritos do autor quanto de outros textos memorialísticos conhecidos, os mascaramentos ou estratégias de contenção suavizam assuntos com os quais Torga não consegue lidar e falam mais do autor do que é manifesto no texto. / Taking into account both the importance of memorialistic texts and of Miguel Torga in the Portuguese literary scene, this thesis proposes a study of one of this author\'s masterpieces, The creation of the world (A criação do mundo). Based on Fredric Jameson\'s descriptive and interpretive model of reading, the analysis shows that in the formal organization of the narrative, that differs from other writings by the author as well as from other well-known memorialistic texts, the maskings or contention strategies serve to soften up matters which Torga can\'t deal with and end up saying more of the author than what is manifest in the text.

John Crowley’s Little, Big is an innovative piece of fantasy writing. This thesis aims to prove that Crowley’s innovation lays the groundwork for new avenues in which fantastic space can be manipulated and constructed. Deep study in Euclidean geometry, modern physics, and occult astronomy reveal a new fantastic space, and a new concept for the threshold of Faerie. Crowley’s fantastic space is constructed as infundibular; with layers of concentricities that funnels his characters to their final destination of self-actualization and the heaven-like realm of Faerie. Crowley amalgamates the boundaries of Faerie and the primary world in an unusual fashion that is noted as Coalesced Fantasy: a fantasy wherein there is ultimately no dichotomy between Faerie and the primary world, as there is no division between the fantastic and science. This deliberate aim to blend boundaries is to establish an All in One theory. Faerie and the primary world oppose each other as antithetical conical space, and Crowley’s Edgewood house serves as the threshold to allow man to access the divinity and vastness of Faerie. Faerie (Divinity/macrocosm) and man (microcosm) exist in and amongst one another; everything is connected and every path intersects, spinning on a hyperbolic plane in this new, quantifiable space. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-02-22T17:23:11Z No. of bitstreams: 1 ANGÉLICA MARIA ALVES VASCONCELOS.pdf: 1010534 bytes, checksum: f34a3da74e5e69cd5ee6d89ac305023d (MD5) / Made available in DSpace on 2017-02-22T17:23:12Z (GMT). No. of bitstreams: 1 ANGÉLICA MARIA ALVES VASCONCELOS.pdf: 1010534 bytes, checksum: f34a3da74e5e69cd5ee6d89ac305023d (MD5) Previous issue date: 2016-11-24 / The purpose of this dissertation is to analyze, through a phenomenological hermeneutic approach, of literary work Sleepwalking Land of Mia Couto, from the perspective of language as an aesthetic phenomenon and as a process of "essentialization", under the theoretical concepts of the being, especially based on Martin Heidegger who defined: "language is the home of the being". It aims to understand the dynamics of the work writing and literary writing, divided into two metonymic cores that dialogue and intercommunicate in the dynamics of the artistic process: the macrocosm and the microcosm. The first part of the fictional language on the human universe; the second refers to the fictional itself, language as an artistic product. It also seeks to understand the process of construction of the literary work. Notes the language of the characters of Terra Sonâmbula, especially of the protagonists, but not only of them, searching for clues that indicate which ones have greater possibilities of awareness and in what stage they are in this attempt to glimpse their own being. Through their trajectories are revealed the internal and external interferences that influence, positively or negatively, the process of essentialization of these characters. / O objetivo desta dissertação é fazer uma análise, por meio de uma abordagem hermenêutica fenomenológica, da obra Terra Sonâmbula, de Mia Couto, na perspectiva da teoria da linguagem como fenômeno estético e como processo de “essencialização” do ser, sob os conceitos, principalmente, de Martin Heidegger que definiu: “A linguagem é a morada do ser”. Visa compreender a dinâmica da escrita-escritura da obra, dividida em dois núcleos metonímicos que se dialogam e se intercomunicam na dinâmica do processo artístico: o macrocosmo e o microcosmo. O primeiro, parte da linguagem ficcional relativa ao universo humano; o segundo se refere ao ficcional em si, à linguagem enquanto produto artístico. Procura, ainda, entender o processo de construção da obra literária. Observa a linguagem dos personagens de Terra Sonâmbula, em especial dos protagonistas, mas não só deles, buscando pistas que indiquem quais tem maiores possibilidades de conscientização e em que estágio se encontram nesta tentativa de vislumbrar seu próprio ser. Por meio de suas trajetórias revelamse as interferências, internas e externas, que influenciam, positiva ou negativamente, no processo de essencialização desses personagens.

Neste trabalho, nós nos propusemos a apresentar ao leitor brasileiro uma obra haitiana que julgamos de grande importância: o livro Pays sans chapeau de Dany Laferrière. Não se tratava simplesmente de traduzir a obra, mas também de apresentar as características da história cultural do país e suas peculiaridades lingüísticas. Para uma maior compreensão desses aspectos pareceu-nos necessário, numa primeira parte, traçar o histórico do Haiti, desde os tempos em que era habitado pelos índios Arawaks, passando pelas grandes navegações que trouxeram os europeus, sua independência e outros acontecimentos que fazem parte do imaginário desse povo. A segunda parte situa o autor do livro dentro de um panorama de escritores haitianos, aponta suas preferências literárias não só haitianas e reflete sobre como ele vê suas relações culturais e lingüísticas com a França, os Estados Unidos e a África. Essa reflexão levanta elementos para tratar do tema da dualidade lingüística daqueles que se expressam na língua que herdaram do colonizador e como essa questão aparece na produção literária do autor. A terceira parte traz reflexões sobre a tradução e o trabalho do tradutor: sua leitura, interpretação e suas escolhas. / This paper proposes to introduce Brazilian readers to a piece of Haitian literature that we deem of the greatest importance, namely, Dany Laferrière\'s Pays san chapeau. More than merely translating this work, however, we strive to examine the characteristics of the country\'s cultural history and its linguistic peculiarities. For a better understanding of these traits, we found it necessary, in the first part, to trace the history of Haiti, from the time she was inhabited by the Arawak Indians to the great age of navigation that brought with it the Europeans, to the country\'s independence and other events that comprise the social imaginary of her people. The second part places the author in the milieu of other Haitian writers, indicates his literary preferences (Haitian or otherwise) and considers how he conceives his cultural and linguistic relations with France, the United States and Africa. This reflection provides us with elements to approach the linguistic duality of writers who express themselves in a language inherited from their colonizers and enables us to see to how this duality emerges in the author\'s literary production. The third part comprises considerations on the craft of translation and on the work of translators: their reading, interpretation, and choices.

中國古代典籍異文繁多，古人訓釋典籍，理當參詳眾本異文，考定字句意義。在校勘學研究方面，前人所論古人校書方法，亦有謂其廣集異本，進行比對校勘，把注家引用異文當作專為校勘之手段。至於訓詁學及異文研究的討論方面，前賢學者亦以為古人注書標示異文，僅為展示他本差異，校勘異同。即使論及異文，亦只局限於討論同一種書的不同版本，或今古文之別，並認為直至清人注書校書，方通過異文比對，探求古書字詞真義。 / 本論文集中討論由漢代至唐代古書注疏與異文之關係，以鄭玄《禮記注》、韋昭《國語解》、王肅《孔子家語注》、楊倞《荀子注》、成玄英《莊子疏》為中心，輯錄諸書有關異文，囊括古今文字異文、互見文獻、引書異文、出土文獻異文、類書異文等，以之比對該書注文，查考當中有關聯者。在訓詁學研究方面，本文據上述比對材料，考證漢唐注疏諸家運用異文以為訓詁之例，詳析其以異文為訓詁的方法及準則，繼而考察後代注疏對漢代經師注書方法的承傳，以及對後世訓詁方法的影響，從而梳理異文訓詁從漢代開始的發展脈絡。在語言學研究方面，則通過古籍傳注與異文的比對，分析一些古代字詞之通名與別名，以及辭書未有收錄的通假字、近義字，望能補正前說之未備。 / 在個別典籍及注家的研究方面，則根據注家所選用之異文，探討其學術思想之淵源及取向，如從鄭玄《禮記注》與出土文獻郭店簡、上博簡〈緇衣〉的相合詞例，探討三種版本於〈緇衣〉文意理解相輔相成的關係；從韋昭《國語解》的異文選材，查探其注史方法，並與杜預《春秋左傳注》相關釋項比對，考析二書之互見關係；從王肅《家語注》的選材運用，探討《孔子家語》的真偽，並王肅對《家語》學說淵源的看法；從楊倞《荀子注》對諸書之參考程度，分析楊倞對荀子與諸子關係的看法；從成玄英《莊子疏》大量採納互見文獻《淮南子》、《文子》，考析其對三書關係的看法，並側探成玄英的道家思想背景。 / It is generally believed that annotators before the Qing dynasty provided textual variances of ancient texts simply for the purpose of collation. This thesis proposes that textual variances actually serve as a type of commentaries on language and content from the Han through the Tang dynasties, and it examines the various examples of such usage. The texts covered by this study include Zheng Xuan's 鄭玄 (ca. 127-200) Liji zhu 禮記注, Wang Su's 王肅 (ca.195-256) Kongzi jiayu zhu 孔子家語注, Wei Zhao's 韋昭 (ca. 204-273) Guoyu jie 國語解, Cheng Xuanying's 成玄英 (fl. 631-656) Zhuangzi shu 莊子疏, and Yang Liang's 楊倞 (fl. 805-820) Xunzi zhu 荀子注. Through investigating their selecting criteria of textual variances, this research examines their scholarship and their influence on later scholars. The first chapter investigates the relation between the excavated texts and the received edition of "Ziyi" 緇衣. The second chapter evaluates Wei Zhao’s method in commentating Guoyu and comparing it with Du Yu's 杜預 (ca. 222-285) annotation to the Zuo zhuan 左傳. The third chapter delves into the authenticity and the origin of Kongzi jiayu 孔子家語. The fourth chapter analyzes Yang Liang’s perceptions towards the relation between Xunzi 荀子 and the other works of Han and pre-Han philosophers. The last chapter explores Cheng Xuanying's appreciation of the relation between Huainanzi 淮南子, Wenzi 文子, and Zhuang Zi 莊子, as well as his Daoist background. Ultimately, it aims to shed light on the method in citing textual variances as commentary and its development. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 林麗玲 = The relation of textual variances to the commentaries of ancient texts / Lam Lai Ling. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 168-173). / Abstracts also in English. / Lin Liling = The relation of textual variances to the commentaries of ancient texts / Lam Lai Ling.

Aqui neste espaço, a que comumente se destina o resumo, bem poderíamos chamá-lo advertência. Talvez deixasse no leitor a impressão mais forte de que não se trata simplesmente da apresentação geral daquilo que deve vir nas páginas posteriores; mas uma censura leve aos desavisados. Sejamos breve. Menos que mapa, só um roteiro. Ao longo do texto tentamos demonstrar por que escolhemos Catatau, e não outro romance talvez melhor acabado ou que fosse sinônimo redondo da literatura praticada no Brasil dos anos de 1970. Nosso ponto de vista: Catatau, enquanto objeto artístico, permanece um óbice ao enquadramento da produção literária de um período e ao mesmo tempo formaliza o impasse artístico e social brasileiro na década de 1970. Lemos Catatau como um ponto privilegiado de onde se pode apreender uma interpretação do Brasil a partir do envolvimento de Paulo Leminski na dinâmica de correspondências entre sua aspiração vanguardista e a impossibilidade dessa constituição em um ambiente de fechamento. Catatau, enigma até certo ponto impenetrável em suas qualidades, nos valeu mais por suas possíveis e prováveis irregularidades. Um desafio acima das forças exige armas. Nesse sentido, fomos procurar as mais adequadas para o enfrentamento: uma abordagem crítica que, como procedimento metodológico e também tomada de posição frente ao texto e à vida, possibilitasse o alargamento seguro do campo de visão. Assim, elementos da Teoria Crítica nos pareceram ser precisos ao deixar o alvo mais vulnerável a nossas investidas. Ao alcançarmos um distanciamento justo, tentamos enfrentar o Catatau como problema literário não resolvido. Dessa maneira, é possível achar em um canto ou outro deste trabalho as tentativas de solucioná-lo. Mas nunca as fizemos de forma direta, demos algumas voltas em torno da atividade artística de Paulo Leminski, contudo sempre a partir dos momentos cruciais da elaboração de Catatau estendendo-se até sua recepção no ambiente conturbado dos anos de chumbo. Uma categoria que se nos apresentou feito um flanco aberto foi a do narrador. Cartesius, produto da estratégia autoral, ao abrir mão de truques e artifícios do realismo formal, rasga os véus da representação. De maneira discreta no conto Descartes com Lentes e de forma mais ostensiva em Catatau, em que o espírito vanguardista, sobretudo sua atitude derrisória, habita o corpo do texto. O riso leminskiano hesita entre a autopreservação e o ataque. O resultado desse movimento é o impasse. Esse encontra correspondência na imagem de Occam, o lado obscuro do nosso atraso que neutraliza a razão cartesiana, bem como na de Articzewski, que é esperado por Cartesius. Para nós, a visão alegórica desta sobreposição de impasses é a encenação de Renatus Cartesius oscilando entre o uso da erva e o da luneta. Enquanto a desrazão e a espera alimentam o impasse, o imobilismo que nos caracteriza emite maus sinais. / These lines, along which one usually unfolds an abstract, might as well be termed as warning. Perhaps it would allow the reader a more vivid impression, once it consists not in a general presentation of the following pages, but rather an advice to the rash ones. One shall be brief. Not a map, just a script. On the course of this text one has tried to show why Catatau was chosen, instead of a maybe better finished novel or some acknowledged sample of what was typically written in Brazil during the 1970s. The present point of view: Catatau, as an art object, remains an impediment to the framing of a periods literary production and, at the same time, formalizes Brazilian artistic and social impasse over the decade. One reads Catatau as a privileged locus from which it is possible to apprehend an interpretation of Brazil through Paulo Leminskis correspondence dynamics between his avant-garde aspiration and its impossibility under an enclosing environment. Catatau, an enigma up to a certain point inscrutable in its qualities, derives its importance mainly from its possible and probable irregularities. A challenge beyond ones forces demands weaponry. In this sense, one has searched for the most adequate one to combat: a critical approach which, as methodological procedure and assumed position in text and life, would safely enlarge the visual array. Therefore, elements derived from the Critical Theory seemed precise as they made the target more vulnerable under ones assault. After reaching a just distance, one has tried to assail Catatau as a nonresolved literary problem. In this way it is possible to find, here and there along the work, attempts to solve it. However, this was never done straightforwardly; one has besieged Paulo Leminskis artistic activity, always departing from crucial moments in Catataus conception following to its reception during the turbulent lead-years. A category presented itself as a weak flank, the narrators. The authorial strategy product, Cartesius - given up formal realisms tricks and devices - tears the representational veils: discretely in the short story Descartes com Lentes, and yet more ostensively in Catatau, where avant-gardes spirit, especially in its derisory vein, inhabits the texts own body. Leminskis laughter oscillates between self-preservation and attack. Impasse is the result of such movement. The later echoes in Occams image, the obscure side of our delay neutralizes the Cartesian reason, as well as in Articzewskis, who Cartesius awaits. The allegoric vision seems us the portrayal of Renatus Cartesius oscillating between the weed and the lunette. While the unreason and the attendance support the impasse, our characteristic steadiness affords bad omens.

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Presentation in panel, Samuel Beckett’s Dystopias.

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