(in English): This work focuses on the novel titled Lucía Jerez which represents the only novel written by Cuban author, heroe and so-called freedom fighter José Martí. The objective of this work was to prove that this short book rightly can be seen as a modernistic novel and even can be considered as the first one in which all of the modernistic tendencies of new aesthetics are present. Using specific examples from the original novel, I tried to show the importance of this book in the context of the history of Spanish-American literature and to demonstrate several elements of the modernistic creation. Firstly I had proceeded from my personal feelings and beliefs which I later completed by opinions of literary critics. In most cases we concided, but of course there were some points in which my view differed in comparision with a general assertion. Despite these discrepancies in the understanding of some aspects of the book, I think José Martí managed to create a unique work. Lucía Jerez contains everything that is according to theories of modernistic work and Martí also achieved to impress Hispanoamerican character to the book. Even though we can find traces of Romanticism, Lucía Jerez is inherently modernistic work because of its critical approach.

[pt] Os Modernismos português e brasileiro iniciam-se com sete anos de diferença (1915 - 1922), o português com a publicação da revista Orpheu, o brasileiro com a Semana de Arte Moderna. Como países à margem dos centros hegemônicos, Portugal e Brasil convivem com um déficit de autonomia cultural. O modernismo representa, nos dois casos, ainda que partindo de pressupostos distintos, uma forma de superação dessa desvalia. Se era essencial ser absolutamente moderno, como dizia Rimbaud, tal postura implicava uma ruptura com a tradição, e, como conseqüência, uma releitura da própria história. É nesse ponto que os caminhos começam a bifurcar-se. No caso do Brasil, esta releitura estará marcada pela necessidade de reformulação-libertação do seu papel de ex-colônia; no caso de Portugal, a questão do império, quando abordada, será tratada por sua carga simbólica, desvinculada da existência concreta das colônias, uma vez que a prioridade era europeizar o país. Para discutir estas diferenças vamos concentrar-nos nas obras de Almada Negreiros e Oswald de Andrade e ver como nelas se dá a relação entre elaboração de uma cultura nacional e invenção de uma nova linguagem. / [en] Portuguese and Brazilian modernist movements started between 1915 and 1922, with the Orpheu Magazine and the Week of Modern Art, respectively. As both nations were at the margins of the hegemonic centers, they parthake a deficit in cultural autonomy. Modernism represented for them, although for different reasons, the possibility of overcoming this deficit. If it was essential to be absolutely modern, as Rimbaud said, a rupture with tradition was necessary, opening the way for a re-reading of their own history. At that point their routes started to diverge. For Brazil, this rereading signified a rupture with its colonial past. For Portugal, the priority was to become european and the imperial issue, when discussed, incorporated a symbolic tone, divorced from the concrete existence of its colonies. To discuss those differences, we will focus on the writings of Almada Negreiros and Oswald de Andrade. Through their works, we will relate national identity with the invention of a new language.

This dissertation reconstructs the tradition of “democratic modernism” in the United States from its origins in the fertile avant-garde circles of the early 1910s through the maturation of American modernism as a cultural institution in the 1920s, the subsequent challenge to its authority by the radical social movements of the 1930s, and culminating in the ideological battles and profound geopolitical shift during and after World War II. It focuses on the overlapping intellectual careers of four literary figures – William Carlos Williams, Kenneth Burke, Archibald MacLeish, and Charles Olson – against the background of a wider cohort that included Marianne Moore, Malcolm Cowley, Edmund Wilson, F. O. Matthiessen, Melvin Tolson, Ruth Benedict, Edward Dahlberg, Dwight Macdonald, and Allen Ginsberg. The dissertation argues that debates over form and experience, strongly influenced by the writings of Ezra Pound and John Dewey, defined these central figures’ efforts to conceptualize a democratic subject grounded in aesthetic experience. For the democratic modernists, the poetic subject became a metaphor for a fully realized democratic subject, and “poetry” came to symbolize not just verse but also a heightened aesthetic orientation towards society that could serve as the basis for cultural reform and, for a time, revolutionary transformation. In reconstructing democratic modernism as a tradition, this dissertation aims to rethink the origins of the postwar counterculture as the political and philosophical heir of radical democracy in the interwar period. As the counterculture emerged in the shadow of the Cold War, leading figures such as Olson and Ginsberg helped shift the political ideals of the 1930s left towards aesthetic practice, preserving a cultural space for radical democracy between official anti-Communism and the aesthetic autonomy professed by intellectual elites. It concludes that the “true contrary” that Olson urged his fellow poets and artists in the late 1940s to seek through aesthetic practice had been there before him and continues to be a relevant stance within American society. This tradition proposes that through an active and critical inquiry into the conditions of one’s experience and the values that make them up, any person through receptivity, imagination, and poetic speech, broadly construed, can mediate the seeming oppositions in society, creating new forms of understanding, ritual, and symbolic experience.

[pt] Almada Negreiros e Oswald de Andrade ocupam lugares semelhantes e de muita importância nos movimentos modernistas de 1915, em Portugal e de 1922, no Brasil. No campo da dramaturgia - em sintonia com as experiências das vanguardas européias do século passado - escrevem textos revolucionários, que rompem com as tradições teatrais de seus países. Esse trabalho propõe um diálogo entre as principais obras dramáticas dos dois artistas, no sentido de estabelecer aproximações, paralelos, contrastes e diferenças. / [en] Almada Negreiros and Oswald de Andrade - importants figures of the modernists movements in Portugal, 1915, and Brazil, 1922 - write a revolutionary dramaturgy. This study discusses similarities and differences among theirs most important works and the eventual relationships between these plays and the european historical vanguards of the XXth century.

How do we perceive literature? In our times computer games and Internet have made us grow more comfortable to the usage of non linear storylines. But how does this apply to printed literature? In this essay, called “From a to b through d h and o. Non linear storytelling in our time” I have focused on nonlinear literature from different time periods and I have studied novels such as James Joyce’s Ulysses as well as works by William S. Burroughs, Italo Calvino, Laurence Stern and Julio Cortázar. What they all have in common is the ambition to explore the structure of literary language and the way it can be transformed. The area is vast and I will concentrate on only a few authors. These writers will show the diversity of my subject when I explore different styles and techniques such as the cup-up technique used by Burroughs and the interpretation of pictures as a foundation of telling a story, explored by Calvino. In order to do this, I have also studied modernism and postmodernism and the ways authors back then experimented with the written language. Finally I take a look at how the use of Internet and computers may affect the way books are written today and I try to answer the question whether nonlinear literature has a future in our highly technological times. After going through this literature I hope I will have offered a good picture of what nonlinear literature is and how I have applied its techniques to my own text “If dogs could speak”.

Uppsatsen undersöker skildringen av den kvinnliga samkönade sexualiteten i Agnes von Krusenstjernas romanserie Fröknarna von Pahlen. Den utgår från den queerteoretiska tanken att identiteter är uppbyggda på motsatser och att heterosexualitet behöver homosexualitet för att definiera sig själv. Således är homosexualitetens funktion att vara allt det som heterosexualiteten inte är. Det finns en diskrepans mellan samkönat begär och den homosexuella identiteten, och den homosexuella identitetens uppgift är att hålla den heterosexuella identiteten ren. Jag fokuserar den gräns som Krusenstjerna drar mellan lärarinnan Bell von Wendens homosexuella identitet och hennes elev Angela von Pahlens samkönade begär, samt hur Angelas sexuella identitet, trots hennes samkönade begär, hålls ren genom skildringen av Bells homosexuella identitet. Den gräns som dras mellan Bells homosexuella identitet och Angelas samkönade begär är emellertid inte rigid. Därför är det inte alltid tydligt när Angelas samkönade relationer till Bell, Stanny Landborg och Agda af Sauss går från att vara vänskapsrelationer till att bli kärleksrelationer. Jag anser att det är häri Krusenstjernas subversiva potential ligger.

Playsam in Kalmar AB are world famous for their design of the toys they sell. Together with their CEO Carl Zedig the goal was to find a new product for the company.  The process has far from been linear, I started off in one direction, got rejected, turned another way and we finally decided to create a rocking horse in a De Stijl style. At the same time taking consideration of the demands from Playsam and myself.Playsam’s products are archetypes of ordinary objects around us such as the car or the aeroplane. The company mainly produces its toys in wood and the stylized shape together with the blank painted surface has become a hallmark for them.De Stijl, the Dutch art movement containing artists, designers and architects such as Piet Mondrian, Theo van Doesburg and Gerrit Rietveld. Given inspiration for the rocking horse was Rietveld’s chair Red-Blue.I, Niklas Bonnevier, have a technical background and I am shaped by that. I rather draw with a ruler than by free hand, I often think mathematically instead of in free shapes. In my projects I often work with humour and playfulness, but with great seriousity as a base.The challenge in the project was to take in consideration the factors that would affect the shape and make decisions of what was the most essential to reach the goal. Compromises had to be done since all factors could not get the space they demanded. To renounce the thoughts of Rietveld in the making of the chair Red-Blue hurt in the designer soul but the main thing is that the product works for what it is meant to. Playsam also have to be allowed to say theirs if the result is supposed to be a commercial product in their range of products.

<p>Playsam in Kalmar AB are world famous for their design of the toys they sell. Together with their CEO Carl Zedig the goal was to find a new product for the company.  The process has far from been linear, I started off in one direction, got rejected, turned another way and we finally decided to create a rocking horse in a De Stijl style. At the same time taking consideration of the demands from Playsam and myself.Playsam’s products are archetypes of ordinary objects around us such as the car or the aeroplane. The company mainly produces its toys in wood and the stylized shape together with the blank painted surface has become a hallmark for them.De Stijl, the Dutch art movement containing artists, designers and architects such as Piet Mondrian, Theo van Doesburg and Gerrit Rietveld. Given inspiration for the rocking horse was Rietveld’s chair Red-Blue.I, Niklas Bonnevier, have a technical background and I am shaped by that. I rather draw with a ruler than by free hand, I often think mathematically instead of in free shapes. In my projects I often work with humour and playfulness, but with great seriousity as a base.The challenge in the project was to take in consideration the factors that would affect the shape and make decisions of what was the most essential to reach the goal. Compromises had to be done since all factors could not get the space they demanded. To renounce the thoughts of Rietveld in the making of the chair Red-Blue hurt in the designer soul but the main thing is that the product works for what it is meant to. Playsam also have to be allowed to say theirs if the result is supposed to be a commercial product in their range of products.</p>

Thesis (Ph. D.)--Florida State University, 2004. / Advisor: Dr. S.E. Gontarski, Florida State University, College of Arts and Sciences, Humanities Program. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.

This dissertation argues that a number of works of Canadian fiction usually designated as modernist fit more properly into the category of “late modernism”: a category that has only recently begun to emerge as a bridge between post-war modernism and emergent postmodernism. These works are aligned by their use of abstract, absurdist, or surrealist narrative structures and consequently by their refusal to adhere to conventional strictures of social realism. Because of this refusal, literary critics have identified the late-modernist emphasis on narrative form as necessarily ahistorical or apolitical. Conversely, I argue, these works are socially and politically engaged with the historical contexts and material conditions of their inception, composition, and consequent reception. I argue herein that the works of Sheila Watson, Elizabeth Smart, Malcolm Lowry, and John Glassco tend towards non-representational narrative forms, and in doing so, they engage in modes of cultural critique. These critiques are focused by a negotiation of what has been multiply identified as a “contradiction” in modernist art: while on the one hand the texts break with traditional forms of social-realist narrative out of a need to find new forms of expression in an effort to rebel against conservative, bourgeois sensibilities, on the other hand they are always produced from within the self-same socio-political economy that they critique. Whether this position is identified as a “modernist double bind” (following Willmott) or a “central paradox” of modernism (following Eysteinsson), I have argued that each author negotiates these internal contradictions through the integration of autobiographical material into their writing. In reading these works as part of a unified late-modernist narrative tradition, this dissertation aims to destabilize critical and popular understandings of mid-century Canadian prose and argue for an alternate reading of artistic interpretation of the twentieth-century Canadian condition. Such a reading challenges current canon formation because it destabilizes traditional critical accounts of these texts as instances of eccentric expression or singular moments of genius. Instead, we are asked to consider seriously the tendency for play with subjectivity and autobiographical material as an interpretive strategy to express the mid-century, post-war condition.