Made available in DSpace on 2014-06-11T19:26:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-12-13Bitstream added on 2014-06-13T18:55:23Z : No. of bitstreams: 1 marques_h_me_assis.pdf: 949117 bytes, checksum: 8d86eb39ddea992a5d287642026d248a (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Autor de um vasto conjunto de obras literárias, José Lins do Rego apresenta em seus romances um estilo espontâneo, natural, e uma linguagem poética com fortes traços da oralidade. É o caso, por exemplo, de Menino de engenho, livro de estreia, publicado em 1932, em que o narrador autodiegético reúne suas recordações de infância, regida pelo signo da perda, e retrata a situação histórico-social da região nordestina dos tempos do patriarcado em decadência. Tendo isso em vista, este trabalho tem como principal objetivo desenvolver um estudo sobre a representação da infância no contexto da família patriarcal no Brasil e verificar em que medida o elemento social presente como tema desempenha papel fundamental na constituição da estrutura narrativa, ou seja, analisar como forma e conteúdo complementam-se ao longo da trama / Author of a wide range of literary texts, José Lins do Rego presents in his novels a spontaneous, natural style, and a poetic language with strong signs of orality. It can be verified, for example, in Menino de engenho, debut book, published in 1932, in which the autodiegetic narrator joins his childhood memories, determined by the sign of loss, and depicts the historical and social situation in the Northeastern region during the period when the patriarchal family was in decline. Therefore, this dissertation objectives to develop a study about the representation of childhood in the context of the patriarchal family in Brazil and to verify how the social element has an important role in the constitution of the narrative structure, in other words, analyzing how literary form and content are different aspects that complement each other along the story

No description available.

No description available.

Made available in DSpace on 2015-03-26T13:44:32Z (GMT). No. of bitstreams: 1 texto completo.pdf: 677093 bytes, checksum: e687d7fd934edcdb22b3b2ba7f03209b (MD5) Previous issue date: 2014-04-11 / The present work consists in a research that turns around the meanings that the fictional space assumes in the Brazilian literature since its first manifestations and during colonial periods, until the third modernism's stage that corresponds to the generation of 45 that is inserted in the work of João Guimarães Rosa. In this sense, it is exposed a panoramic view of regionalism at Brazilian literature from the theoretical route presented by Antonio Candido that approaches the way how the fictional texts assume the space in its literal or symbolic dimension. In this last meaning, the range of the spatial focus incorporates proper elements from modernity as: the narrator, language and reader space. These elements are discussed in perspective of Rosa's work in a general way and more specifically in the short stories As margens da alegria e Os cimos, the first and last respectively from the book Primeiras estórias (1962). In the case of short stories, it is done a comparative analysis highlighting common aspects, notable in the structural composition; and differences evoked by the perception of childish character regarding space. The space is characterized as element that allows to conceive the immersion of the childish character as perceptive subject in a world socially shared. The character's displacement, as physical as internal, evokes the imagination and gives a sign to an existential learning. On the other hand, in the case of short story as genre, the narrative assumes an ambiguity associating fictional poetic and reality. Thus, it is also discussed aspects related to the production context of Guimarães Rosa's work, spatially linked to a more urban perspective, from a Brazil that had a strangeness of the modernization. The perception of the environment by the childish character emphasizes the study of fictional space in the short stories of Joao Guimarães Rosa. / O presente trabalho consiste numa pesquisa que gira em torno das acepções que o espaço ficcional assume na literatura brasileira desde suas primeiras manifestações ainda em períodos coloniais, até a terceira fase do modernismo, que corresponde à geração de 45, na qual está inserida a obra de João Guimarães Rosa. Nesse sentido, é explanado um panorama do regionalismo na literatura brasileira a partir do percurso teórico apresentado por Antonio Candido que aborda a forma como os textos ficcionais pressupõem o espaço seja em sua dimensão literal ou simbólica. Nessa última acepção, o leque do enfoque espacial abarca elementos próprios da modernidade, a saber: o espaço do narrador, o da linguagem e o do leitor. Esses elementos são debatidos na perspectiva da obra rosiana de uma forma geral e mais especificamente nos contos As margens da alegria e Os cimos, primeiro e último, respectivamente, do livro Primeiras estórias (1962). Em se tratando dos contos, é feita uma análise comparativa evidenciando aspectos em comum, notáveis na composição estrutural; e diferenças evocadas pela percepção da personagem infantil no que tange ao espaço. O espaço caracteriza-se como elemento que possibilita conceber a imersão da personagem infantil, enquanto sujeito perceptivo, em um mundo socialmente partilhado. O deslocamento da personagem, tanto físico quanto interno, evoca a imaginação e acena para um aprendizado existencial. Por outro lado, em se tratando de conto enquanto gênero, a narrativa assume uma dubiedade associando ficção poética e realidade. Assim sendo, também são discutidos aspectos relacionados ao contexto de produção da obra de Guimarães Rosa, vinculados espacialmente a uma perspectiva mais urbana, própria de um Brasil que passava por um surto de modernização. A percepção do entorno pela personagem infantil referencia o estudo do espaço ficcional nos contos de João Guimarães Rosa.

Cornélio Penna (1896-1958) is known by his mysterious writing that takes effect in their novels. In A menina morta, we face a shadowy environment, marked by contrasting expressions, based in an atmosphere of fear and power. Starting from concept of chiaroscuro, the paper shows baroque traces in narrative, aiming to argue the possibility of this shadow, seemingly constant, to express methaphorically, in a reread modernist form from sixteenth century resources, the constructing of a regulated society in fear and in a veiled ban of arguments. Despite relationship caustic, though silent, the restricted subject can confront the patriarchal structure in the novel, dramatizing each more the intrigue. In this intermediate moment, the characters seem to dramatization their relationships, a reinforced trace by the anxiety of knowing they are prey into the spatial labyrinth of the house and discursive labyrinth built by some divergences that, paradoxically, moves the narrative. According to discuss some baroque traces which come up with the chiaroscuro illusion, the labyrinthic images and dramatization from some characters (MIRANDA, 1979), we belive, among other scholars, of Ávila (1971), Peyronie (1997), Sant Anna (2000) and Maravall (2002). For instance of this initial delimitation, other analysis fields are open, considering some aesthetic elements of narrative, like the labyrinth, the chiaroscuro, the oral language and the listeners/readers, are converted in social investigations tools. They are all situated on a critical interface eye which aims to elucidate fear structure functioning based by on a power maintaining that acts modeling some behaviors and discourses (FOUCAULT, 2009; 2010) in order to ensure the patriarchal system tradition. / Cornélio Penna (1896-1958) é conhecido pela escrita misteriosa que imprime em seus romances. Em A menina morta (1954), encontramos um ambiente penumbroso, marcado por expressões contrastantes, ancoradas em uma atmosfera de medo e poder. Partindo inicialmente do jogo de claro-escuro, este trabalho aponta traços barrocos na narrativa estudada, almejando discutir a possibilidade dessa sombra, tão cara à estética barroca e aparentemente constante no romance, metaforizar a construção de uma sociedade pautada no medo e numa interdição velada dos discursos. Desse modo, conscientemente ou não, Cornélio faria uma releitura modernista de recursos seiscentistas. Percebe-se um clima aflitivo de relações cáusticas entre as personagens. Mesmo assim, as ações são silenciosa, seja no questionamento da estrutura patriarcal vigente, ou na agressão ao outro. Nesse ínterim, as personagens parecem teatralizar as relações entre si, traço reforçado pela angústia de se saberem presas ao labirinto espacial da casa-grande e ao labirinto discursivo construído pelo desencontro de informações que, paradoxalmente, movimentam a narrativa. Para discutir os traços barrocos criados pela ilusão do claro-escuro, as imagens labirínticas e o histrionismo das personagens (MIRANDA, 1979), nos valemos, dentre outros estudiosos, de Ávila (1971), Peyronie (1997), Sant Anna (2000) e Maravall (2002). A partir dessa delimitação inicial, outros campos de análise são abertos, considerando que os elementos estéticos da narrativa, como o labirinto, o claro-escuro, a linguagem oral e os ouvintes/leitores, são convertidos em instrumentos de investigação social. Todos situados na interface de um olhar crítico que visa elucidar o funcionamento de uma estrutura do medo, alimentada pela manutenção de um poder que age modelando os comportamentos e discursos (FOUCAULT, 2009; 2010), com vistas a garantir a tradição do sistema patriarcal.

Being an integral part of cultural modernity, literary modernity is an on-going, self-negating, and self-rejuvenating process. It has always been engaged in a dialectical relationship with tradition and is inseparable from the quest for reality based on artistic autonomy and communicative intersubjectivity. In the first half of my thesis, I attempt to show how and why literary tradition has played a decisive role in the process of literary modernity, how and why the Chinese literary tradition is different from its Western counterpart; how and why Chinese literary modernity is influenced by, but different from Western literary modernity; and what is the specific path that Chinese writers have been taking to achieve literary modernity, as is distinct from the route that has been followed in the West, i. e., from romanticism to realism to modernism and to postmodernism. The second half of my thesis comprises a detailed study of two of China's foremost writers, Lu Xun and Shen Congwen, by way of illustrating my arguments. The first two chapters investigate some core concepts in the Western and Chinese literary traditions and the formative roles that they have played respectively in. shaping the process of literary modernity in the West and China. In our study of Chinese literary modernity and modern Chinese writers, we should pay special attention to the important role of the Chinese literary tradition, while taking into consideration the impact of Western literature and China's historical contingency. The interactions between these three factors constitute the special character of China's literary modernity. The third and the fourth chapters deal with respectively the fiction of Lu Xun and Shen Congwen, as well as their conceptions of literature. Through a close investigation of a few selected stories by these two writers, I wish to demonstrate how their works embody the general ideas of literary modernity, and at the same time reveal the peculiar features of China's own literary modernity. In conclusion, I suggest that modernity and tradition have always been intertwined in a complex, dynamic, and dialectic relationship, which has proved to be not only the motive force, but also the unfailing source for the achievements of modern literature, both Chinese and Western; and subjective reflection should be integrated with the lifeworld, and combined with inter subjective communication. / Arts, Faculty of / Asian Studies, Department of / Graduate

My dissertation, In the Beginning was the Sign, examines the entangled histories of literary modernism and mathematical modernity and revisits their claim to a radical rupture with the past. Informed by Lacanian psychoanalysis, media theory, and deconstruction, I trace how the interplay of literary and mathematical form transformed classical imaginations of the human. Authors like Carl Einstein, Robert Musil or Ernst Cassirer challenge the organic concept of subject formation as Bildung with a new and purely symbolic kind of mathematical abstraction that informs their writing on both thematic and formal levels. In the tradition of Plato’s Meno, they adduce these new forms of mathematical knowledge to find genuinely modern answers to the classical question of the good life. Paradoxically, in striving to portray their own time as a radical novelty that was able to break with its cultural heritage, these authors summon the canon at its most canonical. The mathematician Hilbert, for instance, rewrites the opening of the Gospel of John, translating logos as ‘sign’ rather than ‘word.’ Analyzing literary, philosophical, and mathematical texts in German, English, and French, I show that the questioning of the logical foundations of thought in the so-called foundational crisis in mathematics was re-mediated through a new genealogical exploration of the foundations of European rationality in the texts of classical antiquity.

My dissertation demonstrates how representations of schizophrenic characters in novels can combat widespread misuses of psychiatric terms and help readers empathize with mentally ill people if we read these novels with some understanding of psychiatry and the psychoanalysis that influenced them. I undertake a critical genealogy of the schizophrenia concept's migration from the mental health professions to fiction, concentrating on the period from the German invasion of Paris in June 1940 to the events of May 1968, with some attention to contemporary uses of the schizophrenia concept by cultural theorists. Experimental novelists writing during the apogee and aftermath of National Socialism from the 1940s to the 1970s represent schizophrenia as they understood it to express the painful emotions produced by World War II's challenge to the value of experimental writing. In the postwar fiction of Samuel Beckett (1906-1989) and Georges Perec (1936-1982), imitating schizophrenia results in careful disclosures of disintegrating life-worlds: in Beckett's case, the dissolution of the James Joyce circle and the communities of modernist exiles it exemplified, which the German invasion of Paris destroyed; in Perec's case, the deaths of his parents in the defense of France and the Holocaust, and the annihilated six million Jews including his mother. Reading Beckett and Perec's novels develops readers' abilities to empathize with both schizophrenic people and the loved ones of Holocaust victims. While those who avoided the concentration camps like Perec did not experience their horrors firsthand, losing relatives and other loved ones transformed their lives, just as losing two thirds of its Jewish population devastated European culture despite reticence to acknowledge the Holocaust's monstrous effects in the postwar years. Late modernist fiction can thus both help readers understand the Holocaust's cultural impact and foster the skills necessary to understand experiences of severe mental disorder. Such empathic understanding is more humane than romanticizing or stigmatizing schizophrenia or other mental illnesses, and it helps us register the Holocaust's degradation of humanity anew rather than walling off this event in the past or regarding it solely as a Jewish issue. Late modernist fiction provides a more precise, caring alternative to the romanticizing/stigmatizing binary perpetuated by postwar cultural theorists because, from the 1930s to the 1970s, the fiction gradually transitions from reinforcing that binary to enabling empathy for traumatized and mentally ill people. Such fiction anticipated recent phenomenologies of schizophrenia - real experiences of distress and impairment rather than socially constructed concepts of madness - and traumatic shame, an emotional experience of oneself or one's community as inadequate in response to failure, especially the Holocaust as a failure of European culture and modernity. Both traumatic shame and severe mental disorder can make the body conspicuous, alienate people from their cultures, and disintegrate structures of salience and belonging that make sustained relationships and projects possible. Recent existential-phenomenological theories of mental disorder enable reintegrating schizophrenia representation in fiction into the history of literary modernism, especially its concern with historical forces disrupting the minds of individuals. These theories explain changes in mentally ill people's sense of possibilities for developing themselves and relating to others, from the way they experience their bodies to the way they use language. Hence I use these theories to demonstrate how knowledge of schizophrenia enabled post-Holocaust novelists to travesty and transform earlier novelists' uses of fictional minds to interrogate cultural change. / English

This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-09T10:25:46Z No. of bitstreams: 1 Leonardo da Silva Claudiano.pdf: 1127772 bytes, checksum: 56fcb8781328c3028d14b101a9e2d8c8 (MD5) / Made available in DSpace on 2018-11-09T10:25:46Z (GMT). No. of bitstreams: 1 Leonardo da Silva Claudiano.pdf: 1127772 bytes, checksum: 56fcb8781328c3028d14b101a9e2d8c8 (MD5) Previous issue date: 2018-09-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present dissertation aims to detect by the modernist view of António de Alcântara Machado, the physical transformations occurred in São Paulo city in the first XX century decades, as well to understand how it was recognized by him as (re) configurations of social interactions in presence of the urban cartography expansion, technological insertion and new urban actors. Is important to say that the Alcântara Machado was one of the most important name of São Paulo's modernism and composed almost all of his work in the São Paulo city, overcoming the original place, the wealthiest neighborhoods and the working classes. Through their work is possible to appreciate of some concrete and invisible barriers that separated them, and, paradoxically, the innumerable possibilities of meeting in their public/segregatory spaces. In this view point, need ask about the multiple experiences with the modern, in addition to the official discourses building in symbols of progress and universal well-being. In dialogue with the writer, another names of the period were summoned, making it possible, by approaching and/or arguments distancing, to understand their read place and city statement. This research also objective to contribute to the debate between History and Literature; between History and City / A presente dissertação busca captar, pelo olhar modernista de António de Alcântara Machado, as transformações físicas ocorridas na cidade de São Paulo nas primeiras décadas do século XX, bem como entender de que modo foi percebida, por ele, as (re)configurações das interações sociais diante da ampliação cartográfica urbana, inserção tecnológica e novos atores citadinos. Vale dizer que Alcântara Machado figura entre os principais nomes do modernismo paulista e compôs praticamente toda sua obra na cidade de São Paulo, percorrendo, para além do Triângulo original, os bairros mais abastados e as regiões operárias. Através de sua obra é possível o vislumbre de algumas das fronteiras concretas e invisíveis que os separavam, bem como, paradoxalmente, as inúmeras possibilidades de encontro em seus espaços públicos/segregatórios. Por essa ótica, inquere-se sobre as múltiplas vivências com o moderno, para além dos discursos oficiais ancorados em símbolos de progresso e bem-estar universais. Em diálogo com o escritor, outros nomes do período foram convocados, possibilitando, pelo aproximação e/ou distanciamento das colocações, entender o seu local de leitura e enunciado de cidade. Esta pesquisa intenta, igualmente, contribuir para o debate entre História e Literatura; entre História e Cidade