This dissertation examines the narrative of Augustine's Confessions in light of his conception of memory and time. It responds to two long-standing scholarly debates about the work. The first of these concerns the historicity of Augustine's autobiography in Books 1-9, for Augustine's version of events is not always consistent with the historical record. The second concerns what the last four non-historical books (Books 10-13) have to do with this autobiography. The first chapter argues that the story of the Confessions is about the present author as he narrates the content of his mind. Thus, it shows how all thirteen books may be considered equally autobiographical. The second chapter proposes that Augustine judges the veracity of his stories according to his memory of events, since he does not believe that he has access to the events themselves as they once unfolded in time. Due to his unequivocal condemnation of lying and deceit in De mendacio and elsewhere, he must have considered his story in the Confessions to be true from this perspective. The third chapter explains how Augustine's view of memory allows his story to be considered true even when it diverges from the historical record. Memory is imperfect, and Augustine believes that memories, too, have agency in recollection. Thus, the historical innacuracies in Augustine's story may in fact be understood as evidence of the veracity of the account as he recalls it rather than as evidence against the story's historicity. The fourth chapter explores Augustine's proposal that time is a distentio animi, or a fragmented swelling of the mind. Augustine believes that the mind may find respite in an activity called intentio through which one may experience eternity while the body still participates in time. The conclusion suggests that confession was for Augustine a means by which one could practice intentio. Thus, the Confessions is a story about the author/narrator as he progresses through his present, from the presence of his past in Books 1-9 to the presence of God in Books 10-13. / text

Orientador: Sylvia Helena Telarolli de Almeida Leite / Banca: Roberto de Oliveira Brandão / Banca: Karin Volobuef / Resumo: Esta dissertação procura analisar o romance Quase memória, de Carlos Heitor Cony, com base em alguns tipos de ironia considerados relevantes para a compreensão da narrativa, bem como o modo como ela é utilizada pelo autor e qual a função desempenhada ao longo do texto, especialmente na relação entre as personagens principais da narrativa. Para tanto, faz-se, primeiramente, um levantamento acerca da ironia, levando-se em conta os tipos mais relevantes para a compreensão da narrativa: ironia socrática, ironia romântica, ironia como figura de retórica capaz de tornar ambíguo um determinado discurso, ironia e humor (especialmente sua capacidade de desmistificar uma situação ou pessoa) e o modo bastante acentuado da ironia nas relações entre os homens - característica bastante marcante no romance Quase memória. Essas características da ironia são utilizadas na análise dos elementos principais do romance - foco narrativo, personagens, empo, memória e a idéia de duplo presente no texto. Além disso, tenta-se, contribuir, de alguma forma ao estudo da obra de Carlos Heitor Cony, ainda insuficientemente trabalhada nos meios acadêmicos. / Abstract: The aim of this paper is to analyze Carlos Heitor Cony's novel Quase memória. In order to gain access to this particular narrative and its variety of meanings different concepts of irony, as it has been defined along literatyhistory, have been outlined and employed - ranging from the so-called Socratic irony to Romantic irony, as well as to irony as a narrative device aimed at producing ambiguity. How irony is employed by the author and the important relo it plays throughout the book, particular with regards to characterization, point of view and memory, are therefore the main concerns of this study, whose purpose it is furthermore to contribute to the still insufficient number of literary studies dedicated to the novels of Carlos Heitor Cony. / Mestre

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-03-22Bitstream added on 2014-06-13T20:20:14Z : No. of bitstreams: 1 adorno_ct_me_ararafcl.pdf: 1177338 bytes, checksum: aa5cb49baec6dfdf926898196af456dd (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação procura analisar o romance Quase memória, de Carlos Heitor Cony, com base em alguns tipos de ironia considerados relevantes para a compreensão da narrativa, bem como o modo como ela é utilizada pelo autor e qual a função desempenhada ao longo do texto, especialmente na relação entre as personagens principais da narrativa. Para tanto, faz-se, primeiramente, um levantamento acerca da ironia, levando-se em conta os tipos mais relevantes para a compreensão da narrativa: ironia socrática, ironia romântica, ironia como figura de retórica capaz de tornar ambíguo um determinado discurso, ironia e humor (especialmente sua capacidade de desmistificar uma situação ou pessoa) e o modo bastante acentuado da ironia nas relações entre os homens - característica bastante marcante no romance Quase memória. Essas características da ironia são utilizadas na análise dos elementos principais do romance - foco narrativo, personagens, empo, memória e a idéia de duplo presente no texto. Além disso, tenta-se, contribuir, de alguma forma ao estudo da obra de Carlos Heitor Cony, ainda insuficientemente trabalhada nos meios acadêmicos. / The aim of this paper is to analyze Carlos Heitor Cony's novel Quase memória. In order to gain access to this particular narrative and its variety of meanings different concepts of irony, as it has been defined along literatyhistory, have been outlined and employed - ranging from the so-called Socratic irony to Romantic irony, as well as to irony as a narrative device aimed at producing ambiguity. How irony is employed by the author and the important relo it plays throughout the book, particular with regards to characterization, point of view and memory, are therefore the main concerns of this study, whose purpose it is furthermore to contribute to the still insufficient number of literary studies dedicated to the novels of Carlos Heitor Cony.

Being affected by a serious or life-threatening illness implies an existentially changed situation that is accompanied by a number of questions about the illness itself, consequences of the illness in an everyday context and implications for the future. The purpose of this dissertation is to examine people’s meaning-making when they are affected by a serious illness and to determine how the illness acquires meaning in the context of their lives. The dissertation thus deals with what can be referred to as existential meaning-making. A hermeneutical approach was adopted, drawing more specifically on Paul Ricoeur’s narrative theory that emphasises the importance of different dimensions of time and memory in the understanding of narratives. An empirical study was carried out of illness narratives collected in research interviews with six women who had been diagnosed with serious illnesses, such as cancer, stroke and heart attack. The analysis reveals that the discovery of the illness and the period following was characterized by chaos and a lack of time perspective, feelings of lack of freedom and thoughts about death, but also feelings of responsibility towards the family. Experiences of the health services were also important in accounts of this early period, particularly wishes for more empathic encounters with the professionals. In the women’s accounts of the long term living with the illness, death continues to emerge as a back drop to their everyday experiences of the illness, but gradually more as confronting the problem of death rather than giving up life. Over time, relationships to significant others and the importance of everyday life also constitute increasingly important themes. In their expectations for the future, the women account for some experiences that have been important in creating a sense of hope and heightened vitality, and thus a new ‘wholeness’, such as being close to nature as well as their religious or spiritual experiences. These results are discussed in terms of how memories of significant events or places play an important role in existential meaning-making, and also how reflections on these memories can be seen as a process of existential ‘learning’.

Made available in DSpace on 2015-05-14T12:39:39Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 1133714 bytes, checksum: 64c52da1cc28dc4225149ac67981e9f1 (MD5) Previous issue date: 2012-10-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The chronicle stands as a singular genre, especially for transiting between the fields of literature and journalism. Rubem Braga is considered one of the most representative chronicle writers in Brazilian literature, with a particular condition of being a writer who gained notoriety for only writing literary chronicles. With an extensive chronicle production started in the thirties of the last century, including about fifteen thousand chronicles, over six decades of literary journalism, the capixaba writer has left a respectable legacy of books containing collections of texts that caught popular taste. With an unusual style for the canons of his time, the chronicler Rubem Braga has composed chronicles with a cutting subjective lyricism that has enchanted generations over the years. Among his collections of chronicles, the book A borboleta amarela, object of critical and public recognition, presents texts in which the theme recurrence of the narrative of time category is noticeable, particularly the modulations of the poetic moment and duration. In these texts, we see a nostalgic narrator, restoring ambiance, past people and events, which gives clear primacy to the old days, taking a poignant and painful look raised from the perception of the transience of things and of the world and from the inexorability of the action of time. / A crônica se destaca como um gênero singular, especialmente por transitar entre os campos da literatura e do jornalismo. Rubem Braga é considerado um dos mais representativos cronistas da literatura brasileira, com a particular condição de ser um escritor que ganhou notoriedade escrevendo apenas crônicas literárias. Com vasta produção cronística iniciada na década de trinta do século passado, abrangendo um em torno de quinze mil crônicas, ao longo de seis décadas de jornalismo literário, o escritor capixaba deixou um respeitável legado de livros contendo coletâneas de textos que conquistaram o gosto popular. Com um estilo inusitado para os padrões de seu tempo, o cronista Rubem Braga compôs crônicas com um cortante lirismo subjetivo que tem encantado gerações ao longo dos anos. Dentre suas coletâneas de crônicas, o livro A borboleta amarela, objeto de reconhecimento de crítica e de público, apresenta textos nos quais é perceptível a recorrência temática da categoria narrativa do tempo, particularmente das modulações do instante poético e da duração. Neles, podemos perceber um narrador nostálgico, restaurando ambiências, fatos e pessoas pretéritos, que confere clara primazia aos tempos de outrora, tendo um olhar pungente e doloroso advindo da percepção da transitoriedade das coisas e do mundo e da inexorabilidade da ação do tempo.

My thesis attempts to answer the question of how narrative time is portrayed in Stephenie Meyer’s Twilight (2005). To examine this, I have chosen to utilize Gérard Genette’s use of the concepts order, duration, and frequency. These concepts are mainly taken from Genette’s Narrative Discourse: An Essay in Method (1980). In order to develop the discussion about time and narrative I also incorporate Martin Hägglund’s Dying for time: Proust, Woolf, Nabokov and About Time: Narrative, Fiction and the Philosophy of Time by Mark Currie. The analysis establishes that Meyer uses all three, order, duration, and frequency, in order to convey a very specific narrative. The order of the story shows how the character of Alice, who can see the future, has a very conditional relationship with time. Through the duration, we learn how the love interest, Edward Cullen, is highly prioritized in the main character and narrator’s eyes. This is also shown in the frequency, where the first-person narrator highly affects the passage of events by repeating specific actions. Twilight, in other words, uses many different ways to depict a distinct relationship with time

Nossa pesquisa teve como objeto de estudo os romances Mãe, materno mar (2001), do angolano Boaventura Cardoso (1944-), e Um rio chamado tempo, uma casa chamada terra (2003), do moçambicano Mia Couto (António Emílio Leite Couto [1955-]). O estudo centrou-se na análise comparativa dos dois romances, procurando desvendar, através da forma, as estratégias empregadas na construção temporal de suas narrativas, e a capacidade de as mesmas refletirem e iluminarem o conflito modernidade versus tradição na experiência social onde as obras se produziram. E, conseqüentemente, apontar o quanto tais estratégias revelam das peculiaridades do gênero romanesco em sua versão africana. Para embasar a hipótese do tempo como elemento-chave em nosso estudo, elegemos alguns recursos teóricos e interpretativos de Norbert Elias, Paul Ricoeur e Leda Martins, além das contribuições gerais da crítica literária africana e africanista. / The object of our study are the novels Mãe, materno mar (2001) by the Angolan writer Boaventura Cardoso (1944-), and Um rio chamado tempo, uma casa chamada terra (2003) by the Mozambiquean writer Mia Couto (António Emílio Leite Couto [1955-]). The research focuses upon a comparative analysis of these novels by pointing to the strategies applied to temporal constructions into these narratives, as well as their capacity of reflecting and illuminating the conflict between modernity versus tradition in the social experience where these works have been produced. And therefore, to discover how such strategies would reveal the peculiarities of the genre novel in its African version. In order to base the hypothesis of \"time\" as a key-element in our study, we elected some theoretical and interpretative resources from Norbert Elias, Paul Ricoeur, and Leda Martins; as well as general contributions from African and Africanist literary criticism.

The aim of this thesis is to set up characteristic attributes of saga time structure and with concern to these to show how the Old Norse people understood time. Main attention is concentrated on the time structure of the family sagas. First, it is shown the principal of the dating in saga and how it differs from the principal of dating in annal and chronicle. I proceed to deal with the most common time indications to appear in saga and their role in the storytelling. The focus point of this thesis is a comparison of narrated time and time of narration. To support this intention, I use the three concepts of Gerard Genette - duration, order and frequency. Based on the duration concept, I try to investigate why extensive time leaps abound in sagas and what on the other hand appears to have been given some extra author's attention. According to the order concept, a question is discussed to what extent the saga holds the chronological composition. Within the frequency concept, it is compared how many times an event occurs to how many times it is narrated. In the following chapters the time structure of the kings'sagas and the legendary sagas is discussed. The crucial difference between the time structure of these and the structure of family saga is established. There is a conclusion to each chapter,...

This article is the first of a series exploring domination culture through the ways narrative has been indoctrinated as reality and weaponized as a holding cell for captives. Within this exploration, the narrative of domination is placed in relation to higher dimensional realms of the unknown; this being the before and after of domination culture. This positioning will allow for the reality of a simultaneous existence within the labyrinth of domination and a higher dimensional unknown to be framed. Within this series of articles, I question the roll of the rogue characters shamanistic agents of resisting domination, the fear of dark matter as a sub-narrative of domination, the power of submitting to the limits of human perception and the way perceived darkness can help unveil the structure of the narrative of domination. This article will begin to define this narrative and introduce the poetic freedom, of what lies beyond human perception.

Nossa pesquisa teve como objeto de estudo os romances Mãe, materno mar (2001), do angolano Boaventura Cardoso (1944-), e Um rio chamado tempo, uma casa chamada terra (2003), do moçambicano Mia Couto (António Emílio Leite Couto [1955-]). O estudo centrou-se na análise comparativa dos dois romances, procurando desvendar, através da forma, as estratégias empregadas na construção temporal de suas narrativas, e a capacidade de as mesmas refletirem e iluminarem o conflito modernidade versus tradição na experiência social onde as obras se produziram. E, conseqüentemente, apontar o quanto tais estratégias revelam das peculiaridades do gênero romanesco em sua versão africana. Para embasar a hipótese do tempo como elemento-chave em nosso estudo, elegemos alguns recursos teóricos e interpretativos de Norbert Elias, Paul Ricoeur e Leda Martins, além das contribuições gerais da crítica literária africana e africanista. / The object of our study are the novels Mãe, materno mar (2001) by the Angolan writer Boaventura Cardoso (1944-), and Um rio chamado tempo, uma casa chamada terra (2003) by the Mozambiquean writer Mia Couto (António Emílio Leite Couto [1955-]). The research focuses upon a comparative analysis of these novels by pointing to the strategies applied to temporal constructions into these narratives, as well as their capacity of reflecting and illuminating the conflict between modernity versus tradition in the social experience where these works have been produced. And therefore, to discover how such strategies would reveal the peculiarities of the genre novel in its African version. In order to base the hypothesis of \"time\" as a key-element in our study, we elected some theoretical and interpretative resources from Norbert Elias, Paul Ricoeur, and Leda Martins; as well as general contributions from African and Africanist literary criticism.