Thesis (Ph. D.)--University of California, San Diego, 1997. / Vita. Includes bibliographical references (leaves 185-200).

Made available in DSpace on 2015-05-14T12:39:56Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1056086 bytes, checksum: b26ddaaca87851b370c007148e02b85e (MD5) Previous issue date: 2014-03-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work, The romantic hinterland: reading O sertanejo, from Alencar, and Inocência, from Taunay, investigates the backwoods theme in literary representation, particularly, in the two works in question. The first contacts between Indians and colonists were responsible for the formation of a miscegenation that would be represented in the literary imagination, and would be highlighted by the writers of the nineteenth century. In this configuration, the Indian component was followed by a result of miscegenation with the Portuguese colonizers, the backcountry man. Thus, we divide the work into two parts. At first, we studied the Brazil-backcountry from José de Alencar, through the representations of the earth, the backcountry man and woman. Second, we study the Brazil-backcountry from Taunay, with his backcountry man and woman. To do so, this study was supported by the dialectical criticism of Antonio Candido and his disciples, and by the appliance of the understanding concepts of the backcountry universe disseminated by the sociologist and anthropologist Darcy Ribeiro, as well as, by Sergio Buarque de Holanda . Thus, literary, historical and sociological elements were brought together to an intertextual analysis of the various constituents of the nuances present in the backcountry universe in the researched literary corpus, O sertanejo and Inocência. / O presente trabalho, O Sertão romântico: leitura de O sertanejo, de Alencar, e de Inocência, de Taunay, investiga a temática sertaneja na representação literária, n O sertanejo e Inocência. Os primeiros contatos entre índios e colonizadores foi responsável pela formação de uma miscigenação que seria representada no imaginário literário, forma também bastante disseminada e utilizada pelos literatos do século XIX. Nesta direção, o elemento silvícola foi seguido por sua resultante da miscigenação do colonizador com o português, o sertanejo. Destarte, dividimos o trabalho em duas partes. Na primeira, estudamos O Brasil-sertanejo de José de Alencar, configuradas as representações da terra, do homem e do feminino sertanejo; Na segunda, estudamos O Brasil-sertão de Taunay, com seu homem e mulher sertanejos. Para tanto, utilizamo-nos dos estudos da crítica dialética do pesquisador Antonio Candido e seus discípulos, e aplicamos os conceitos da apreensão do universo sertanejo disseminados pelo antropologista e sociólogo Darcy Ribeiro, além da contribuição de Sergio Buarque de Holanda. Foram englobados, desta forma, elementos literários, históricos e sociológicos, numa combinação da intertextualidade dos diversos matizes constituintes do universo sertanejo presentes nos corpus literários aqui estudados, O Sertanejo e Inocência.

The aim of this MA thesis is to describe and evaluate the manner in which Richard Flanagan captured Japanese culture in his 2013 novel, The Narrow Road to the Deep North. Since the main motif of the work is the life of an Australian prisoner of war, a topic that has been significant in the creation of Australian national identity, the novel is firstly analysed from its position in the wider context of Australian literature. Richard Flanagan provided the readers with a complex work, which presents the given motif not only from the perspective of the Australian prisoners-of-war, but also from the perspective of their predominantly Japanese captors. The inclusion of the points of view of the Japanese ranks the novel among the contemporary adaptations that provide a more comprehensive view on the events of World War II. For that reason, the novel is assessed as to the complexity and accuracy of the selected and incorporated areas of Japanese culture, whether there is a tendency for schematization in the depiction, and therefore a display of the so-called "Orientalism", as described by Edward Said. This MA thesis aims to analyse whether, and to what degree Flanagan's novel differs from other works of the Australian literature that deal with the events of World War II and Japan. The analysis focuses on...

The following contribution interweaves culturalanthropological and media studies approaches to analyze the concept of 'community' in a phenomenon of the new media, the socalled 'milblogs.' These communities use the blogosphere to create and distribute a master arrative about the relationship of American civil society with its military and, thus, about how segments of American society attempt to come to terms with the War on Terror. The contribution emphasizes the interaction of bloggers with their audience in the narrative process of imagining, proclaiming, and nurturing such communities.

This is a book about contemporary American(ized) narratives and the audiences they call into being. It brings together eight very diverse case studies covering and investigating a wide range of media, genres, and modes to ask how contemporary 'texts' encourage 'imagined communities' of readers/viewers that operate as 'public spheres' of social and political deliberation, self-fashioning, and debate. In asking this question, the contributions collected in this volume shift perspectives in a number of ways: They question the boundary between the audiences of (often popular and broadly circulating) narratives on the one side and national public spheres on the other; they thus encourage rereading the transnational mobility of American(ized) narratives not simply as a phenomenon of popular culture but as an indicator of emerging transnational public spheres; and they invite us to look closely at the narrative dynamics with which these texts operate their audiences as public spheres.

Critics of animal rights often deride the movement’s proponents for having a sentimental, juvenile misconception of what animals really are, an argument bolstered by the fact that few twenty-first-century Americans besides those engaged in the industries of animal exploitation have any prolonged contact with real animals other than their pets. Until the first decades of the twentieth century, however, American cities teemed with diverse animal residents and workers, and a rapidly increasing percentage of humans grew in their conviction that these animal neighbors should be extended considerations and rights. Shifting ideas about these animals’ roles within United States society were captured in a number of new bestselling literary genres centered around “realistic” depictions of animal characters. Because animals are often conceptualized as a “contrast class” to humanity—a fundamental “Other” by which humans establish what qualities make themselves distinct and (typically) superior—analyzing these texts and their circulation within nineteenth-century culture reveals how Americans understood authority and systems of governance, and in particular how they modeled an ideal American manhood nourished by animal bodies. What forms of exploitation and control were permissible in a man’s treatment of his animals often reflected other power dynamics within society, and so these texts also provide insight into issues of class, race, and gender. Although the historical trajectory of popular culture depictions of realistic animals shows a general increase in compassion, egalitarianism, and the extension of rights, the successful removal of much animal exploitation from visibility has allowed that exploitation to grow in spite of the increasing popular sentiment to the contrary. / English

<p>Tema ovog rada jeste poezija britanske popularne kulture dvadesetog veka, odnosno, stihovi pop i rok pesama britanskih muzičkih autora. Polazna teza disertacije jeste to da se tekstovi popularnih pesama mogu smatrati poezijom, te da se uobičajene metode koje se koriste pri analizi tradicionalnog pesničkog stvarala&scaron;tva mogu upotrebiti i kada je reč o pop i rok tekstu.<br />Iako se popularna muzika odavno posmatra kao bitan činilac u kulturi dvadesetog i dvadeset prvog veka, i kao takva jeste predmet brojnih kritičkih studija, primećuje se iznenađujuća činjenica da se te studije uglavnom bave njenom kulturolo&scaron;ko-sociolo&scaron;kom ulogom, zbog čega je i istražuju upravo iz tog ugla. Za razliku od njih, ovaj rad se usredsređuje na pesničke elemente popularne muzike (poetika), i to tako &scaron;to ih tumači kao i svaki drugi književni tekst (hermeneutika). Ponekad se ovoj analizi dodaje i muzikolo&scaron;ka, jer se značenje popularnih pesama stvara kombinacijom tekstualnog i muzičkog aspekta.<br />U odabiru bendova koji su postavljeni u sredi&scaron;te analize od velike koristi bila je teorija Kira Kitlija (Keir Keightley) o romantičarkoj i modernističkoj autentičnosti popularne muzike. S obzirom na to da su studije popularne muzike uglavnom posvećene romantičarsko autentičnim stvaraocima, predmet istraživanja ove disertacije jesu tri modernističko autentične grupe, a to su Bitlsi (The Beatles), Kvin (Queen) i Mjuz (Muse). Njihovi tekstovi su tematski podeljeni u četiri grupe: pesme o ljubavi, narativne pesme, pesme o unutra&scaron;njem svetu i pesme o spolja&scaron;njem svetu; i analizirani su u skladu sa takvom podelom.<br />Nakon izvr&scaron;ene analize, izveden je zaključak da se tekstovi rok i pop pesama uistinu mogu smatrati poezijom, čak i kada stihovni element neke pesme služi pre svega kao pratnja muzičkom. Na ovaj način, utvrđeno je da pop i rok poeziji i te kako pripada mesto u &scaron;irokoj i raznorodnoj oblasti pesničkog stvarala&scaron;tva.</p> / <p>The topic of this research was the poetry of 20th century British popular culture, i.e., the lyrics of pop and rock songs written by British authors. The basic thesis of the dissertation was the idea that popular music lyrics can be considered to be poetry, and that the usual methods used to analyse traditional poetry can thus also be used in the analysis of pop and rock lyrics.<br />Even though popular music has long been considered a valuable factor in the 20th and 21st century culture, therefore being the topic of numerous critical studies, most of these studies have, surprisingly, been focused almost exclusively on the culturological and sociological importance of popular music and have thus approached it accordingly. This research is instead focused on its poetical elements (poetics), interpreting them as it would any other kind of literary text (hermeneutics). Sometimes, musicological element is also added to the analysis, given that the meaning of popular songs is created by the combination of both text and music.<br />Keir Keightley&rsquo;s theory of Romantic and Modernist authenticity in music has been greatly helpful in choosing the bands on which the research was to focus. Since popular music studies mostly deal with Romantic authenticity, three bands which display Modernist<br />vii<br />authenticity &ndash; The Beatles, Queen, and Muse &ndash; were here chosen as subjects instead. Their lyrics were divided into four thematic groups: songs about love, narrative songs, songs about the inner world, and songs about the outer world; they were analysed according to these thematic focuses.<br />After the analysis was done, the following conclusion was drawn: pop and rock lyrics can indeed be considered poetry, even when the textual element is only secondary to the musical one. It has thus been proved that pop and rock texts should be regarded as part of the vast and varied area of poetry in general</p>

The present thesis explores works of Pavel Růžek and Jerzy Pilch, its central focus being the analysis and interpretation of their approach towards one's own biography and one's identity as a writer. Although both authors come from the same generation, they address different literary traditions and construct different poetics. What they have in common, however, are literary motifs rooted in their biographies, such as alcoholism, the mythology of childhood, [the existence of] "fateful places," even particular types of women or other characters (including animals). Additionally, the thesis scrutinises the position of both writers in the consciousness of Polish and Czech readership along with their place on the two literary markets.

Captain America and Iron Man are both iconic American heroes, representing different American values. Captain America was created during the Golden Age of comics and represents a longing for the past, while Iron Man was created at the height of the Cold War and looks forward to a new America. This paper will first establish the historical and cultural relationship between comic books and propaganda, beginning with the first appearance of Superman. It will pay special attention to the similarities and differences of Captain America and Iron Man, focusing on their representation of American values over time, and discuss how that aspect of the characters affects their ongoing titles today.

Esta Tese visa aprofundar algumas questões da poética nabokoviana, a partir de uma tradução inédita do russo para o português brasileiro de capítulos de (Druguíe Beregá), de 1954, uma das variações de sua autobiografia, chamada, na Rússia, de romance. Incluída em seleções e antologias no mundo todo, esta obra de Nabókov possui uma história repleta de matizes linguísticos e estilísticos: um de seus princípios foi um conto-ensaio escrito em francês, Mademoiselle O (1936), recomposto e traduzido para o inglês, tornando-se uma primeira versão em livro de memórias, Conclusive Evidence, ou Speak, Memory (1951, EUA e Inglaterra, respectivamente), revertido e reformulado em russo, por sua vez retransformado em uma versão final, Speak, Memory: An Autobiography Revisited (1967). A comparação entre os textos corrobora a hipótese de que as transformações que se concretizam na recriação de , obra mediadora, são fundamentais para a leitura tanto da última versão em inglês, como também da primeira. Para Nabókov, essa reescritura, além do processo criativo inerente ao ato tradutório, passa a ser uma releitura e revisão de sua própria obra, com alterações que vão além das peculiaridades de cada língua. Dessa forma, faz-se necessário ler, traduzir e examinar cada versão como texto independente. A tradução, em todas as suas formas e manifestações, como mote e como prática, tem papel essencial na obra e na vida de Nabókov. É com ela que ele inicia sua trajetória literária, é por meio dela que ele retorna à Rússia e à língua russa. A relação do escritor com o tradutor e a (auto)tradução é crucial e a Tese tem o propósito de refletir sobre não uma Arte da Tradução nabokoviana, mas Artes da Tradução, já que transformam o tradutor em escritor, o autotradutor em revisor, e o revisor em reescritor. / This dissertation aims to deepen some issues about the Nabokovian poetics, presenting the first Russian translation into Brazilian Portuguese of some chapters of (1954), one of the variations of his autobiography, known as a novel in Russia. Included in selections and anthologies around the world, this work has a history full of linguistic and stylistic nuances: one of the first versions was a story-essay written in French, Mademoiselle O (1936), recomposed and translated into English, becoming a memoir, Conclusive Evidence, or Speak, Memory (1951, USA and England, respectively), reworked in Russian, and then reprocessed into a final version: Speak, Memory: An Autobiography Revisited (1967). A comparison of the texts shows that the transformations performed in recreating , an interposed work, are key to reading the last version in English, as well as the first. For Nabokov, this rewriting, besides the creative process inherent to the act of translation, becomes a reinterpretation and revision of his own work, full of changes beyond the peculiarities of each language. Thus, it is necessary to read, translate and study each version as a autonomous text. Translation in all its forms and expressions, as a theme and as a practice, plays an essential role in Nabokov\'s work and life. It is translating that he began his literary career, it is through it that he returns to Russia and Russian language. The writer\'s relationship with the translator and (self)translation is critical and the dissertation aims to reflect on not a Nabokovian Art of Translation, but multiple Arts of Translation since they transform the translator into a writer, the self-translator into an editor, the editor into a rewriter.