This dissertation is basically a reading the book of Lamentation as a literary whole in a sense of a text-centred approach, which aims to interpret the Scripture as divine communicative action. The major philosophical resources that I employ in this study are the Speech-Act theory developed by J. Austin and J. Searle, and the concepts particularly exemplified in the work of K. Vanhoozer. I look at repetition and literary techniques in Lamentations as a clue to its structural unity. In the body of the dissertation, Instead of historical-critical approaches, I claim that the meaning exists not ‘behind the text,’ but ‘in the text itself as a whole.’ One of the most important literary approaches to understanding the book of Lamentations is to note the poetic voices, which interweave in the text. The poetic voices are my main focus of understanding the book of Lamentations. I explain the literary meaning reading the text and demonstrate that we must find the canonical level of the meaning which supervenes on the literary level. The meaning of a text at a literary level must be carefully studied and modified by the ‘fuller sense (or meaning)’ derived from the canonical context. The ‘fuller sense’ of Scripture associated with divine authorship emerges only at the level of the whole canon. Here for the canonical meaning of the text, I focus on Vanhoozer’s assertion, having proposed the suitability of speech act theory for the various tasks of biblical interpretation and theological hermeneutics. When we read the text, there is no utterance from God in Lamentations. It is the missing voice. The main theme of Lamentations is "Where is the true comfort?". The text presents no comfort. In the literary context, God keeps silent (non-speaking). Canonically, however, Christian readers as God’s people read the Bible, connecting it to Jesus Christ. Within the canonical context, we can indeed find an answer and God’s answering speech (that is, His act), because Jesus is their true comforter acting as God’s response. We can find this response in his teaching (e.g. Jesus’ Sermon on the Mount) and in his mission (e.g. presenting his body as the temple, being Immanuel, God-with-us). / Dissertation (MA(Theology))--University of Pretoria, 2009. / Old Testament Studies / unrestricted

Orientador: Elide Rugai Bastos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T00:52:31Z (GMT). No. of bitstreams: 1 Faustino_JeanCarlo_M.pdf: 15529548 bytes, checksum: c865363afd158560499b8b280f7d2727 (MD5) Previous issue date: 2004 / Resumo: Este trabalho tem o propósito de realizar uma análise sociológica do romance "O Idiota" de Dostoiévski, escrito em 1868. Após uma revisão bibliográfica, a análise é apresentada em três diferentes momentos. No primeiro momento, é realizada uma verificação de como as estruturas sociais da época encontram-se presentes no romance. No segundo momento, é analisada a idéia central do romance e a separação entre essencial e acessório através da integração das partes ao todo. No terceiro e último momento, o resultado dessas duas partes da análise são resgatadas para se construir uma síntese que é contraposta ao pensamento de outros autores da época em que o romance foi elaborado / Abstract: This work intends to carry out a sociological analysis of Dostoevsky novel "The ldiot", written in 1868. After a bibliographical revision, the analysis is presented at three different stages. At the first moment, it is conducted a verification of how the current social structures are present at the nove!. Later, the novel's central idea and a separation between the essential and secondary are analysed through the integration of the parts of the whole. Finally, the result of these two parts is recovered in order to build a synthesis that confronted with to the thought of other authors of the time when the novel was written / Mestrado / Mestre em Ciências Sociais

This thesis considers past autobiographical theory and questions whether it addresses the autobiography of the female writer. Autobiographies of Harriet Jacobs, Margaret Sanger, and Maxine Hong Kingston are examined to reveal their polyvocality, use of the autobiographical "I", and rhetorical strategies maintained in order to create a close relationship with the reader. Particular attention is paid to Mikhail Bakhtin's theory of dialogism and Sidonie Smith's autobiographical "I."

Ce mémoire porte sur le terrorisme dans l’œuvre de Dostoïevski. Au travers d’une analyse s’appuyant sur la théorie mimétique de René Girard ainsi que sur ses contributions sur Dostoïevski, l’auteur dégage de l’œuvre du romancier russe certains des motifs et éléments de représentation pouvant constituer l’ébauche d’une analytique dostoïevskienne du terrorisme. Cette analytique dostoïevskienne réfute le paradigme de la violence religieuse et conteste la notion de violence découlant de la radicalisation (idéologique ou religieuse) pour rendre compte du terrorisme. Elle montre comment la religion ou l’idéologie sont superficielles et comment doivent plutôt nous intéresser un ensemble de déterminants et médiations psychologiques – les désirs, pulsions, émotions et fantasmes au fondement de la violence – pour rendre compte de la violence. L’analyse des trois figures dostoïevskiennes de Chatov (Les Démons), Raskolnikov (Crime et Châtiment) et Stavroguine (Les Démons) mettent chacune en lumière trois explications causales simplifiées des ressorts et motivations de la violence terroriste. L’étude de Chatov met de l’avant le désir mimétique frustré que sous-tend la violence ainsi que la blessure narcissique, la posture réactionnelle d’opposition et le désir de revanche qu’il produit. Celle de Raskolnikov expose les rêves prométhéens et les désirs d’élévation aux fondements de la violence, mais aussi le récit héroïque auto-mystificateur qu’elle sous-tend. Enfin, l’étude de Stavroguine démontre la centralité de la dimension sexuelle pour rendre compte de la violence terroriste. / This memoir focuses on terrorism in Dostoyevsky's work. Through an analysis based on René Girard's mimetic theory as well as his contributions to Dostoevsky, the author draws from the work of the Russian novelist some of the motifs and elements of representation that constitute the outline of a Dostoevskian analytics of terrorism. This Dostoevskian analytics refutes the paradigm of religious violence and challenges the notion of violence stemming from radicalization (ideological or religious) to account for terrorism. It shows how religion or ideology is superficial and how we should instead be interested in a set of psychological determinants and mediations – desires, impulses, emotions and fantasies at the root of violence - to account for violence. The analysis of the three Dostoevskian figures of Chatov (The Demons), Raskolnikov (Crime and Punishment) and Stavrogin (The Demons) each bring to light three simplified causal explanations of the motives and dynamics of terrorist violence. Chatov's study puts forward the frustrated mimetic desire behind violence as well as the narcissistic wound, the reactionary posture of opposition and the desire for revenge it produces. Raskolnikov's analysis exposes Promethean dreams and desires of elevation to the foundations of violence, but also the heroic self-mystifying narrative that it underlies. Finally, Stavrogin's study demonstrates the centrality of the sexual dimension in accounting for terrorist violence.

This study aims to examine the norm-breaking body in Sara Stridsbergs literary fantasy Drömfakulteten (2006) or The Faculty of Dreams (English translation, 2019) which explores Valerie Solanas’ life. Solanas is known for the feminist text SCUM Manifesto (1968, Swedish translation, 2003) and for shooting the artist Andy Warhol.  Solanas has a very distinct separation between body and mind that is apparent in the novel. She ignores her body and whishes not to be aware of it. She only ever thinks about her manifesto, which becomes her mind. To explore the norm-breaking body, my essay is based on Mikhail Bakhtin’s theories of the grotesque body. In this work, I also present different theories that have been inspired by the grotesque, for instance; the female grotesque and the gurlesque. While the grotesque focuses more on the body as a biological organism, the female grotesque and gurlesque focus more on how the female body and femininity is perceived in society and how they break the societal norms. The women are making a “spectacle of themselves”, in Mary Russo’s words. I want to apply these theories on the protagonist, Valerie Solanas, and analyze how the grotesque and norm-breaking body is portrayed in the novel. To further the exploration between body and mind I have the decided to analyze the meaning of the manifesto for Solanas, and also the narrator’s role in how her body is described to the reader.

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This thesis explores the relationship between the plurality of polyphonic and independent voices and consciousnesses, a Mikhail Bakhtin's concept, in two plays by Lope de Vega. El maestro de Danzar y El bobo del colegio are two of his least known and studied. Both plays present protagonists, simple citizens, which pretend to court two noble ladies. Under these circumstances, they are forced to avoid social rejection, issue guaranteed by their humble lineage. In order to complete their undertaking, they disguise as a dance teacher and a university fool. This process shields them from, the above mentioned, traditional disapproval they are subject to. It also entitles them to become, symbolically and virtually, the main dialogic executors in the play. Bakhtin depicts the process of embracing an alternate identity, different from their own, as a vital part of carnival. It compels the leading characters, El maestro and El bobo being no exception, to undergo two changes. First, they become a new individual, recognizable only to those who are aware of their masks. Second, their voices attract attention to the point of influencing the preeminent nobles of the comedy to follow their lead. Further, their ideas come to matter more than those of any other voice in the comedy. In the beginning they follow an ideal, and are subdued by social hierarchy. At the conclusion, they finish leading and controlling the polyphonic relationship between the independent voices and consciousnesses of the other characters in the play. And rather than a conflict, both comedies depict a harmonic social interaction of all their characters. Although scholarship exists analyzing individual plays, a comprehensive study of the effective association between language and disguise favoring a villano over high-class citizens has never been undertaken. This is Lope's strategy to plainly contrast the traditional social differentiation of classes.

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