Orientador: Lucia Granja / Banca: Juliana Maia de Queiroz / Banca: Luciene Marie Pavanelo / Banca: Patrícia Kátia da Costa Pina / Banca: Priscila Renata Gimenez / Resumo: Esta pesquisa tem como objetivo mapear e analisar aspectos do interesse pela leitura literária, no Rio de Janeiro do final dos anos 1870, a partir das relações de aproximação e distanciamento entre os conteúdos divulgados pelo jornal O Cruzeiro e aqueles escritos por Machado de Assis em tal suporte. Partiremos do seguinte problema: como os escritos machadianos de 1878, em relação com alguns conteúdos das páginas jornalísticas do Jornal O Cruzeiro, que lhes serviam como suporte, concebia, documental e ficcionalmente, o interesse pela leitura literária do Oitocentos brasileiro e dialogava com seus leitores? Partimos da hipótese de que esses textos machadianos funcionavam como narrativas de passagem em que o leitor era preparado para provar de outras fontes de leitura, testando e formando o seu interesse pela leitura literária. Pretendemos, ainda, refletir acerca das relações entre literatura, jornalismo, ficção e história, tendo como recorte condutor a questão da recepção/leitura, tudo isso por meio da investigação bibliográfica e documental, análise das narrativas, além da reflexão a partir de textos críticos e teóricos que versam sobre a proposta em questão. Para tanto, esta pesquisa fundamentar-se-á em estudos sobre as narrativas de Machado de Assis (1878), o receptor/leitor, a recepção/leitura, o Oitocentos brasileiro e, a todo instante, recorrer-se-á aos estudos sobre o leitor implícito de Wolfgang Iser (1999), o leitor modelo de Umberto Eco (1986), o público indicado por... / Resumen: Esta pesquisa tiene como objetivo mapear y analizar aspectos del interés por la lectura literaria, en Río de Janeiro de finales de los años 1870, a partir de las relaciones de aproximación y distanciamiento entre los contenidos divulgados por el periódico O Cruzeiro y aquellos escritos por Machado de Assis en este soporte. Partiremos del siguiente problema: ¿como los textos machadianos de 1878, en relación con algunos escritos de las páginas periodísticas del Jornal O Cruzeiro, que les servían como soporte, concebía, documental y ficcionalmente, el interés por la lectura literaria de los ochocientos brasileños y dialogaba con sus lectores? Partimos de la hipótesis de que estos textos machadianos funcionaban como narrativas de paso en que el lector estaba preparado para probar de otras fuentes de lectura, probando y formando el su interés por la lectura literaria. Pretendemos, aún, refletar acerca de las relaciones entre literatura, periodismo, ficción e historia, teniendo como recorte conductor la cuestión de la recepción/lectura, todo eso por medio de la investigación bibliográfica y documental, analice de las narrativas, además de la reflexión a partir de textos críticos y teóricos que versan sobre la propuesta en cuestión. Para tanto, esta pesquisa fundamentarse en estudios sobre las narrativas de Machado de Assis (1878), lo receptor/lector, la recepción/lectura, el Ochocientos brasileño y, a todo instante, recorrerse a los estudios sobre el lector implícito de Wolfgang Iser (1999), el lector modelo de Umberto Eco (1986), el público indicado por Pierre Bourdieu (2007), a los horizontes de expectativas organizados por Robert Jauss (2002), a las reflexiones históricas sobre el lector expuestas por Roger Chartier (1998), a los lectores de Machado de Assis puntuados por Hélio Guimarães (2004), a la visión crítica sobre ―Notas semanais‖ sugerida ... / Doutor

Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.

Orientador: Orlando Nunes Amorim / Banca: Márcio Scheel / Banca: Maria Lúcia Outeiro Fernandes / Banca: Pablo Simpson / Banca: Rogério Barbosa da Silva / Resumo: Este trabalho é uma análise da poesia experimental de Ana Hatherly (Porto, 1929 - Lisboa, 2015), artista multifacetada que se movimenta pelos terrenos da literatura, das artes plásticas, do cinema e da crítica literária. Partindo de uma tentativa de definição do conceito de poesia experimental e de uma delimitação do corpus a ser estudado, demonstra-se que, muito embora essa designação faça referência ao fenômeno literário internacional surgido na segunda metade do século XX, a dificuldade de uma definição teórica mais rigorosa decorre, em parte, das múltiplas - quase incontáveis - poéticas identificadas sob esse rótulo ao longo das últimas décadas (Poesia Concreta, Visual, Fonética, Sonora, Cinética, Digital, Holopoesia, Biopesia, E-poetry, etc.). Soma-se a isso a incompreensão da crítica convencional sobre os métodos e processos experimentais ao subsumir manifestações estéticas diversas como representativas da mesma categoria generalizante. Ademais, o uso indiscriminado do termo experimental confere ao conceito um tom de imprecisão, provocado não só por parte da crítica, mas também alimentado pelo hermetismo dos poetas. O experimentalismo poético se transformou, desse modo, num "hiperônimo elástico", imenso guarda-chuva empunhado pela crítica, fetichizado pela lógica do mercado literário e, ainda, pelo seu inacabamento intrínseco, o que impede, de saída, o estabelecimento de fixações conceituais sumárias. Este trabalho pressupõe, portanto, a impossibilidade de afirmações... / Abstract: This study analyses Ana Hatherly's (Porto, 1929 - Lisbon, 2015) experimental poetry. She is a multifaceted artist who circulates in the fields of literature, the plastic arts, cinema, and literary criticism. This research initially tries to define the concept of experimental poetry and to delimit a corpus to demonstrate that, despite this designation referring to the international literary phenomenon which arose in the second half of the XX Century, it is hard to define experimental poetry with theoretical rigor. This is partly due to the multiple - almost countless - poetics which have been thus labelled (Concrete, Visual, Phonetic, Sound, Kinetic, Digital Poetry, Holopoetry, Biopoetry, E-poetry, etc.) in the last decades. Moreover, conventional criticism misunderstands the methods and experimental processes by subsuming different aesthetic manifestations under the same generalising category. Besides, the indiscriminate use of the term experimental renders it imprecise, which is to blame on critics and also on the poets' hermeticism. Consequently, poetic experimentalism has become an "elastic hypernym", a huge umbrella wielded by critics, fetishised by the logics of the literary market and by its intrinsic unfinishedness which flatly rejects fixed conceptual categorizations. Hence, the premise of this research is that unequivocal affirmations about poetic experimentalism are impossible to make, and it takes into account Hatherly's warning about the contemporary compulsion ... / Doutor

Orientador: Norma Wimmer / Banca: Giséle Manganelli Fernandes / Banca: Nelson Luís Ramos / Banca: Andressa Cristina de Oliveira / Banca: Kênia Maria de Almeida Pereira / Resumo: Com o intuito de evidenciar como a loucura é formalmente construída nas narrativas de Guy de Maupassant (1850−1893), analisamos vinte e três narrativas breves do autor francês - a saber, "Fou ?" (1882); "La folle" (1882); "Madame Baptiste" (1882); "Un parricide" (1882); "Denis" (1883); "La main d'écorché" (1975); "La reine Hortense" (1883); "L'enfant" (1883); "Lui ?" (1883); "Mademoiselle Cocotte" (1883); "La chevelure" (1884); "Un fou ?" (1884); "La petite Roque" (1885); "Lettre d'un fou" (1885); "Un fou" (1885); "L'auberge" (1886); "Un cas de divorce" (1886); "Le Horla" (primeira versão, 1886); "Le Horla" (segunda versão, 1887); "L'homme de Mars" (1887); "Madame Hermet" (1887); "Qui sait ?" (1890) e "Le docteur Héraclius Gloss" (1921) - com claras referências à loucura de alguma de suas personagens. Entendemos a loucura, conforme Michel Foucault, como um fenômeno socialmente percebido, o que pode ser demonstrado pelas diferentes maneiras como o louco foi tratado em cada época, mantendo constante apenas sua posição marginalizada na sociedade. Como um discurso dissonante em relação ao discurso racional, a palavra do louco desafia a ordem vigente, expondo as falhas e contradições na maneira como compreendemos o mundo, tornando-se um discurso incômodo e indesejado. Isso explica por que a palavra do louco tem sido sistematicamente silenciada (seja investindo essa palavra de alguma sabedoria oculta ou considerando-a apenas como artigo de curiosidade: a palavra do louco nunca é... / Abstract: In order to show how madness is formally constructed in the narratives of Guy de Maupassant (1850-1893), we have analyzed twenty-three short narratives by the French author - namely, "Fou?" (1882); "La folle" (1882); "Madame Baptiste" (1882); "Un parricide" (1882); "Denis" (1883); "La main d'écorché" (1975); "La reine Hortense" (1883); "L'enfant" (1883); "Lui ?" (1883); "Mademoiselle Cocotte" (1883); "La chevelure" (1884); "Un fou ?" (1884); "La petite Roque" (1885); "Lettre d'un fou" (1885); "Un fou" (1885); "L'auberge" (1886); "Un cas de divorce" (1886); "Le Horla" (first version, 1886); "Le Horla" (second version, 1887); "L'homme de Mars" (1887); "Madame Hermet" (1887); "Qui sait ?" (1890) and "Le docteur Héraclius Gloss" (1921) - with clear references to the madness of some of its characters. We understand madness, according to Michel Foucault, as a socially perceived phenomenon, which can be demonstrated by the different ways in which the madman was treated in each age, keeping only his marginalized position in society. As a discordant discourse in relation to rational discourse, the madman's speech defies the prevailing order, exposing the flaws and contradictions in the way we understand the world, making itself an unwelcome and unwanted speech. This explains why the speech of the madman has been systematically silenced (either by investing that speech from some hidden wisdom or by considering it only as an article of curiosity: the madman's speech is never considered ... . / Résumé: Afin de montrer comment la folie est formellement construite dans les récits de Guy de Maupassant (1850-1893), nous avons analysé vingt-trois récits courts de l'auteur français - à savoir, « Fou ? » (1882) ; « La folle » (1882) ; « Madame Baptiste » (1882) ; « Un parricide » (1882) ; « Denis » (1883) ; « La main d'écorché » (1975) ; « La reine Hortense » (1883) ; « L'enfant » (1883) ; « Lui ? » (1883) ; « Mademoiselle Cocotte » (1883) ; « La chevelure » (1884) ; « Un fou ? » (1884) ; « La petite Roque » (1885) ; « Lettre d'un fou » (1885) ; « Un fou » (1885) ; « L'auberge » (1886) ; « Un cas de divorce » (1886) ; « Le Horla » (première version, 1886) ; « Le Horla » (deuxième version, 1887) ; « L'homme de Mars » (1887) ; « Madame Hermet » (1887) ; « Qui sait ? » (1890) et « Le docteur Héraclius Gloss » (1921) - avec des références claires à la folie de certains de leurs personnages. Selon Michel Foucault, la folie est perçue comme un phénomène socialement perceptible, comme en témoignent les différentes manières dont le fou a été traité à chaque époque, ne conservant que sa position marginalisée dans la société. Discours discordant par rapport au discours rationnel, la parole du fou défie l'ordre dominant, révélant les défauts et les contradictions de la façon dont nous comprenons le monde, ce qui en fait un discours importun et non désiré. Cela explique pourquoi la parole du fou a été systématiquement réduite au silence (soit en investissant cette parole dans une sagesse ... / Doutor

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This analysis of apocalyptic rhetoric brings nine generations of the written text of the Johannine Apocalypse into a contemporary (1989-1994) framework which includes phenomena such as self-determination, mutual interdependence and psychoterror. The discussion is mediated by disciplines and backgrounds of Religion and Literature. The critical method is religio-literary. Literary themes from the Johannine Apocalypse, especially themes of annihilation, torment, blessedness and rapture, structure the discussion. These themes are related to ideas of self-determination such as were proclaimed at the United Nations World Conference on Human Rights (UNWCHR), Vienna, 1993. The discussion questions the axioms of self determination, especially the matter of indivisibility which came to issue during UNWCHR, Vienna, 1993. Some policies and practices of the Australian government's human rights activities are discussed. Attention is then redirected to the Johannine Apocalypse as a polyvalent source of apocalyptic ideation and a source of social empowerment.

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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.