Na virada do pós-estruturalismo, um olhar menos unificado e universalizante do espaço como mero palco esvaziado de significação se vê proposto. Este, como já denunciava Michel Foucault nos anos 1970, deixará de ser percebido como fixo e simplesmente referencial, para adquirir, nos mais diversos fóruns de discussão, caráter dialético e dinâmico, o qual se alinha às questões centrais desta nova forma de conceber o mundo, a filosofia e o fazer científico. Paralelamente, estudos acerca da constituição da subjetividade apontam para o status oscilante desta, demonstrando como o sujeito é fruto de uma multiplicidade de discursos, os quais tornam impossíveis quaisquer esforços em demarcá-lo dentro de fronteiras estanques. Percebe-se aqui, portanto, um imbricamento das noções de ser e deslocar-se, no qual a apropriação de metáforas e do campo semântico em torno da noção de trânsitos mostrar-se-á constitutiva da obra literária, agindo como importante operador no desenvolvimento da trama e suas personagens. O presente trabalho tem por objetivo analisar a obra Alias Grace (1996) de Margaret Atwood, à luz da teoria do gênero, a fim de mapear a desconstrução de essencialismos acerca das protagonistas, Grace Marks e Simon Jordan. No romance, Atwood dá voz à personagem histórica Grace Marks, uma jovem imigrante irlandesa do século XIX, a qual se torna mentora e cúmplice do assassinato de seu patrão, Thomas Kinnear, e da governanta e suposta amante deste, Nancy Montgomery. Perceberemos ao longo da narrativa que esta personagem-narradora utilizar-se-á das diversas fronteiras que ronda e ultrapassa, como uma forma de expandir sua identidade a partir da manipulação sistemática que faz da linguagem. Paralelamente, Atwood cria uma personagem que desempenhará o papel de principal interlocutor da imigrante: o Dr. Simon Jordan, um jovem médico americano, cuja trajetória pessoal também é marcada por vários deslocamentos. Em um movimento antecipatório da psicanálise freudiana, ele se propõe a desvendar a mente de Grace, a fim de tentar extrair desta uma verdade, estabelecendo um diagnóstico que lhe confira sucesso e reconhecimento profissional. Como veremos, a autora empenhará uma crítica do masculino, na qual ele se verá gradativamente destituído de tudo aquilo que lhe conferiria status dentro do rol de expectativas daquela sociedade. Ademais, estabeleceremos uma leitura de um aspecto formal empregado ao longo das páginas do romance: as entradas paratextuais. A partir deste recurso, veremos nossas leituras de ambas as personagens sendo reforçadas em um constante deslizamento entre fontes, documentais e ficcionais, ligadas ao imaginário da época. Para tal, trabalhos de Philip Wegner (2002) e Neil Smith (1993) acerca da noção de espaço, Bronwen Walter (2001), Lorna McLean e Marilyn Barber (2004) sobre a imigração irlandesa no Canadá, Roland Barthes (1986), Gérard Genette (1987) e Linda Hutcheon (1990), acerca dos paratextos, bem como considerações de Chris Weedon (1987), Jane Flax (1990), R.W. Connell (1997), Judith Butler (1990), entre outros, em torno do gênero e pós-modernismo servirão de aparato teórico para esta investigação. / In the Post-structuralist turn, a less unified and universalizing concept of space as merely a meaningless stage is proposed. Such notion, as Michel Foucault announced in the 1970s, will no longer be perceived by its fixity and/or as simply referential, in order to acquire, in the most multiple forums of discussion, a dynamic character, which is aligned to central questions of this renewed way of conceiving the world, Philosophy, and Epistemology. In parallel fashion, studies concerning the constitution of subjectivity point towards its oscillating status, showing how the subject is the product of multiple discourses, which make any demarcating of solid frontiers, a hard task. Therefore, one can observe an imbrication of the notions being and displacing, in which the appropriation of metaphors and the semantic scope around the notion of transience is shown to be constitutive of the literary text, performing a relevant role in the development of the plot and its characters. The present work aims at analyzing the novel Alias Grace (1996) by Margaret Atwood, under the light of Gender theory, in order to map the deconstruction of essentialisms around the protagonists, Grace Marks and Simon Jordan. In her book, Atwood gives voice to the historical figure Grace Marks, young Irish immigrant in the XIX century, which becomes mentor and accomplice of murder of her employer, Thomas Kinnear, and his mistress and governess of the house, Nancy Montgomery. It can be seen that, throughout the narrative, Grace will negotiate with the various borders that she delineates, and even crosses, as a means of expanding her identity through the systematic manipulation of language she engages with. In parallel fashion, Atwood creates a character that will play the role of this immigrants main interlocutor: Dr. Simon Jordan, a young American physician, whose personal trajectory was also marked by several displacements. In an anticipatory movement of the Freudian psychoanalysis, he is determined to unveil the mysteries of the human mind, revealing the truth behind Graces case in order to gain success and professional recognition. As we will demonstrate, the author establishes a criticism around masculinity, in which he will gradually lose everything that gives him status as a man of his times, within the set of expectations in that society. Furthermore, we will analyze a formal aspect employed along the pages of the novel: its paratextuality. Through this resource, we will see our reading of both the protagonists being reinforced in the constant slippery move between sources, documental and fictional, linked to that eras imaginary. In order to do that, works by Philip Wegner (2002) and Neil Smith (1993) around the notion of space, Bronwen Walter (2001), Lorna McLean and Marilyn Barber (2004) on the Irish immigration in Canada, Roland Barthes (1986), Gérard Genette (1987) and Linda Hutcheon (1990), regarding paratexts, as well as the studies by Chris Weedon (1987), Jane Flax (1990), R.W. Connell (1997), Judith Butler (1990), among others, around gender and postmodernism will serve as the theoretical apparatus for this investigation.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-05-15T12:12:21Z No. of bitstreams: 1 annacostapintoribeiro.pdf: 919872 bytes, checksum: e3e89afcb365c0a93060ca3b443fbe54 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-22T15:19:51Z (GMT) No. of bitstreams: 1 annacostapintoribeiro.pdf: 919872 bytes, checksum: e3e89afcb365c0a93060ca3b443fbe54 (MD5) / Made available in DSpace on 2018-05-22T15:19:51Z (GMT). No. of bitstreams: 1 annacostapintoribeiro.pdf: 919872 bytes, checksum: e3e89afcb365c0a93060ca3b443fbe54 (MD5) Previous issue date: 2018-03-28 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Entre os principais autores que investigaram o desenvolvimento psíquico precoce,partindo de um referencial psicanalítico,e formularam hipóteses para tentar esclarecer quais são os fatores relacionados ao surgimento de patologias mentais,podemos citar a pediatra e psiquiatra húngara Margaret Mahler (1897-1985). Suaprincipal contribuição para a psicanálise infantil foi a inovadora técnica de atendimento à criança pequena e sua extensa teoria sobre o desenvolvimento psíquico precoce, conhecida como a teoria da simbiose e separação-individuação. Mahler descreveu patologias decorrentes das vivências não satisfatórias nas fases iniciais do desenvolvimento, como a psicose autística e a psicose simbiótica,e caracterizou momentos de perturbaçõesnaturais e inerentes ao desenvolvimento emocional precoce, que podem,equivocadamente,ser interpretados como patologias. Apesar da grande contribuição que ela trouxe para a compreensão do desenvolvimento mental infantil, pouca atenção é dada ao seu pensamento teórico e clínico. O presente trabalho consiste em uma investigação teórico-conceitual, que tem como objetivo analisar os conceitos de “desenvolvimento normal”, “crises inerentes ao desenvolvimento” e “psicoses” na teoria de Margaret Mahler. Como suporte teórico, foram usados os três livros publicados pela autora e colaboradores: The PsychologicalBirthoftheHumanInfant(1975), InfantilePsychosisandEarlyContributions(1979), OnHumanSymbiosisandthe Vicissitudes ofIndividuation(1968), bem como suas publicações em forma de artigos e suas comunicações orais. / Among the main authors who investigated the early mental development from a psychoanalytic viewpoint, and elaborated hypotheses trying to clarify which factors are related to the emergence of mental illnesses, the Hungarian pediatrician and psychiatrist Margaret Mahler (1897-1985) should be mentioned. Her main contribution to child psychoanalysis was her innovative technique for the treatmente of young children and her extensive theory of early mental development, known as the symbiosis and separation-individuation theory. Mahler described pathologies resulting from unsatisfactory experiences in the early stages of development, such as autistic and symbiotic psychosis. She also described moments of disturbance that are natural and intrinsic to early emotional development and may incorrectly be perceived as mental pathologies. Despite her great contribution to the understanding of child mental development, little attention has been given to her theoretical and clinical thinking. This dissertation presents a theoretical-conceptual research, aiming to analyze the concepts of “normal development”, “crisis intrinsic to development” and “psychosis” in Margaret Mahler's theory. Content from the three books published by the author and contributors were used as theoretical support: The Psychological Birth of the Human Infant (1975), Infantile Psychosis and Early Contributions (1979), On Human Symbiosis and the Vicissitudes of Individuation (1968), as well as her published articles and lectures.

Margaret Oliphant's fiction has generated some interest in recent years, but her prose essays have been ignored. Critics contend her essays are unimportant and dismiss Oliphant as a hack writer who had little sympathy with her sex. These charges are untrue, however, because many influences complicated Oliphant's writings on the Woman Question. She suffered recurring financial difficulties and gender discrimination, she lacked formal education, and most of her work was published by Blackwood's, a conservative, male-oriented periodical edited by a close personal friend. Readers who are aware of these influences find Oliphant's earliest three essays about the Woman Question especially provocative because in them Oliphant explored the dichotomy between the perceived and the real lives of women. Oliphant refined her opinions each time she wrote on the Woman Question, and a more coherent, more clearly feminist, perspective emerges in each succeeding article. In "The Laws Concerning Women," despite Oliphant's apparent position, pre-feminist markers suggest that she is tentative about feminist ideas rather than negative towards them. "The Condition of Women" offers even more prefeminist markers, Oliphant's ostensible support of the patriarchal status quo notwithstanding. In "The Great Unrepresented," an article cited by some as proof that Oliphant was against women's suffrage, she argues not against enfranchising women, but against the method proposed for securing the vote. In this article, many pre-feminist markers have become decidedly feminist. Scholars may have overlooked Oliphant's feminism because her rhetorical strategies are more complicated than those of most other Victorian critics and invite her audience to read between the lines. Although her writing sometimes lacks unity and focus, and her prose is often turgid, convoluted, and digressive, she creates elaborate inverse arguments with claims supporting patriarchy but evidence that supports feminism. A rich feminist subtext lies beneath the surface text of Oliphant's essays, demonstrating that her perspective on the Woman Question is far more complex than it initially appears.

This essay explores the theme of deep ecology in Margaret Atwood’s novel Oryx and Crake. It analyzes how the novel deals with the topics of environmental disasters and the apocalypse. It describes humanity’s effect on the planet and how the inventions of the Crakers and the BlyssPluss pill can be seen as good things. It argues that Crake can be seen as the savior of this new and improved world that he creates and that the human species’ annihilation is the only way. / Den här uppsatsen utforskar tema såsom ekokritik och djupekologi i Margaret Atwoods roman Oryx and Crake. Den analyserar hur romanen behandlar  ämnena miljökatastrofer och apokalypsen. Den beskriver människans effekt på planeten och hur uppfinningar såsom Crakers och BlyssPluss pillret kan vara bra saker. Vidare argumenterar den att Crake kan vara vår räddare för denna nya och förbättrade värld som han har skapat och hur förintelsen av människan är den enda rätta vägen.

Leung, Eva. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 133-138). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgment --- p.iv / Introduction --- p.1 / Chapter Chapter One: --- Misrecognition / Non-Recognition / Chapter Section One: --- the lack of the first bond --- p.14 / Chapter Section Two: --- the significant others --- p.37 / Chapter Section Three: --- the other important individuals --- p.67 / Chapter Chapter Two: --- Recognition / Chapter Section One: --- recognition bringing at-homeness --- p.93 / Chapter Section Two: --- abused recognition --- p.105 / Chapter Section Three: --- recognising the strangers in the selves --- p.114 / Conclusion --- p.130 / Works Cited --- p.133

Chilean dance impresario Marquis George de Cuevas was born Jorge Cuevas Bartholin (1885-1961) and is best remembered as a fashionable socialite of the 1940s and 50s who married heiress Margaret Rockefeller Strong and founded several ballet companies in Europe and America in the wake of the great Ballet Russes era. This dissertation examines how Cuevas cultivated his fictionalized public persona, an identity that is essentially queer on several levels.vCuevas participated, reflected and resisted the several labels that were imposed on him. As Spanish aristocrat, American citizen, international ballet patron, Parisian socialite, and heir to the Russian dance avant-gardes, Cuevas distanced himself from his Chilean origins. Proud of having achieved “real” success by triumphing abroad, however, Cuevas was always acutely aware of his shortcomings as a foreigner. Classed as an eccentric other, Cuevas participates in the larger discourse of cosmopolitanism, engaging with the issue of what it means to be foreign in the cities of Paris, New York and Santiago de Chile. The four chapters that comprise this dissertation explore the ways that boundaries of class, sexuality, gender, race, and citizenship are broken, or momentarily disrupted by Cuevas. I situate Cuevas’s foreign aspirations in the context of the South American obsession with Europe, and Paris in particular. I also examine how Cuevas inhabits the roles of dandy and flâneur in an attempt to fit in the modern urban context of Paris. Anxiety regarding the figure of the foreigner and social upstart is perceived in the arguable failure of Cuevas’s best-remembered social event, a grand costume ball that was to gather the most fashionable men and women of the international Café Society. Perhaps Cuevas’s most successful project was the making of his own chameleonic identity, which emerges in the letters addressed to French-Romanian author Princess Marthe Bibesco, who wrote the libretto for the ballet initially entitled The Bird Wounded by an Arrow, which also crucially establishes Cuevas’s artistic manifesto. An account of Cuevas’s life and works treads into the swampy terrain of fiction, and this dissertation offers a literary approach that considers Cuevas as a figure of legend. / text

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura

This thesis examines three works: Margaret Atwood's The Robber Bride and Alias Grace, and Angela Carter's Nights at the Circus. All three novels feature female characters that contain elements or myth fragments of mermaids and sirens. The thesis asserts that the images of the mermaid and siren have undergone a gradual process of change, from literal mythical figures, to metaphorical images, and then to figures or myth fragments that reference the original mythical figures. The persistence of these female half-human images points to an underlying rationale that is independent of historical and cultural factors. Using feminist psychoanalytic theoretical frameworks, the thesis identifies the existence of the siren/mermaid myth fragments that are used as a means to construct the category of the 'bad' woman. It then identifies the function that these references serve in the narrative and in the broader context of both Victorian and contemporary societies. The thesis postulates the origin of the mermaid and siren myths as stemming from the ambivalent relationship that the male infant forms with the mother as he develops an identity as an individual. Finally, the thesis discusses the manner in which Atwood and Carter build on this foundation to deconstruct the binary oppositions that disadvantage women and to expand the category of female.

Thesis (Th. M.)--Covenant Theological Seminary, 2007. / Abstract. Includes bibliographical references (leaves 125-128).

University of Macau / Faculty of Social Sciences and Humanities / Department of English