Made available in DSpace on 2016-04-28T19:59:18Z (GMT). No. of bitstreams: 1 Celiane Mendes.pdf: 395196 bytes, checksum: 7aff63d4a98bd8ec2dc93b7ceccc1030 (MD5) Previous issue date: 2009-06-30 / Secretaria da Educação do Estado de São Paulo / The objective of this work is to study the narrator category in two works of Lygia Bojunga A bolsa amarela (1976) and O sofá estampado (1980) in order to elucidating the author project entered in them. Thus, deserves attention, in this study, the narratives procedures that are in the service of an authoral project construction. In the search of bojunguiano project, the work takes support in the theoretical studies of Wayne Booth (1980) the American critic especially in The Rhetoric of Fiction, a work in which, Booth organizes and illustrates the concept of implied author a double of real author . For the critic, the author can not be absent from the narrative, in addition to defining how to tell, the author included this mode in the narrative, projecting it to the authoral category, that also becomes fictional instance. First of all, we present a chapter about the critical fortune around the corpus studied here, for the purpose of understanding the differents theoretical-critical perspectives, already adopted in the critical study of selected works. Second of all, we turn our attention to the narrator s movements both in A bolsa amarela as in O sofá estampado to see how such procedures contribute to the construction of the bojunguiano project. The used method for reading the corpus was descriptive and analytical. Given the analysis undertaken, we have seen that the authoral project of the fiction writer identified in both works suposes an effect of approximation of the reader in relation to the narrative scene, causing the reflection about the narrated story and, in the course of his reading, a reflection about himself giving to the studied narratives an aesthetic effect that also includes the course of the reader s formation / Este trabalho tem como objetivo o estudo da categoria narrador em duas obras de Lygia Bojunga A bolsa amarela (1976) e O sofá estampado (1980) -, com vistas à elucidação do projeto autoral nelas inscrito. Deste modo, merecem destaque neste trabalho os procedimentos narrativos que estão a serviço da construção de um projeto autoral. Na busca desse projeto bojunguiano, o trabalho procura respaldo teórico nos estudos do crítico norte-americano Wayne Booth (1980), especialmente em A Retórica da Ficção, obra na qual o estudioso sistematiza e ilustra o conceito de autor implícito um duplo do autor real. Para o crítico, o autor não pode se ausentar da narrativa; além de definir o modo de narrar, o autor inscreve este modo na própria narrativa, projetando nela a categoria autoral, tornada também instância ficcional. Num primeiro momento, apresentamos um capítulo sobre a fortuna crítica em torno do corpus aqui estudado, a fim de conhecermos as diferentes perspectivas teóricocríticas já adotadas no estudo das obras selecionadas. Num segundo momento, voltamos nossa atenção para os movimentos do narrador, tanto em A bolsa amarela como em O sofá estampado, a fim de verificar como tais procedimentos contribuem para a construção do projeto autoral bojunguiano. O método adotado para a leitura do corpus foi o descritivo-analítico. Diante da análise empreendida, pudemos constatar que o projeto autoral da ficcionista gaúcha, identificado em ambas as obras, supõe um efeito de aproximação do leitor em relação à cena narrativa, provocando a reflexão sobre a história narrada e, no percurso da sua leitura, uma reflexão sobre si mesmo o que confere às narrativas estudadas um caráter estético que também contempla o percurso de formação do leitor

Made available in DSpace on 2016-04-28T19:59:18Z (GMT). No. of bitstreams: 1 Carla Tatiana Boa.pdf: 957327 bytes, checksum: 365e1e9560dc751450b46cb82da11ea6 (MD5) Previous issue date: 2009-09-25 / Secretaria da Educação do Estado de São Paulo / This dissertation proposes to analyze the novel The Rats from Dyonelio Machado. The objectives are to show in the perspective taken by the narrator's voice, realistic aspects in the modern discourse of Dyonelio Machado, as to reflect, on the use of film language. To achieve these objectives, was selected the following issue: How the narrative discourse of The Rats reveals a dialogic discourse in construction modernrealistic? The hypotheses − the novel The Rats outlines a critical tension that resists the pressures of social and historical context to reconstruct a correlation between real and speech, and use resources of the film language to account for a small and distressing construction of the modern subject −, guided the development of work and sought to prove the issue problem. The theoretical foundation on the narrative discourse relies in texts such as the Narrative Discourse from Gérard Genette (1995), Notes on Literature I, Theodor W. Adorno (2003), The Theory of the Novel: Issues of Literature and Aesthetics of Mikhail Bakhtin (2002). Film discourse, in turn, is based on the theoretical criticism proposals from Arlindo Machado, Ismael Xavier and Eisenstein. Among the conclusions, stand out: in The Rats, the distressing search of Naziazeno represents the many hardships of the man in the also oppressive capitalist society of our time; the symbolism of the figure of rats, refer to the dispossessed individuals in the capitalist urban world, and refer to the annihilation of the individual in a problem that extends to the community / Esta dissertação propõe-se a analisar o romance Os Ratos, de Dyonelio Machado. Tem como objetivos evidenciar, na perspectiva assumida pela voz do narrador, aspectos realistas no discurso moderno de Dyonelio Machado, assim como refletir, sobre o emprego da linguagem cinematográfica. Para atingir tais objetivos, selecionou-se o seguinte problema: Como o discurso narrativo de Os Ratos revela um discurso dialógico em construção moderno-realista? As hipóteses − o romance Os Ratos traça uma tensão crítica que resiste às pressões do contexto sócio-histórico ao reconstruir uma correlação entre real e discurso; e emprega recursos da linguagem cinematográfica para dar conta de uma reconstrução miúda e angustiante do sujeito moderno −, nortearam o desenvolvimento do trabalho e procuraram por a prova a questão-problema. A fundamentação teórica acerca do discurso narrativo se apóia em textos como Discurso da Narrativa, de Gérard Genette (1995); Notas de Literatura I, de Theodor W. Adorno (2003); A Teoria do Romance: Questões de Literatura e de Estética, de Mikhail Bakhtin (2002). O discurso cinematográfico, por sua vez, assentase em propostas teórico-críticas de Arlindo Machado, Ismael Xavier e Eisenstein. Entre as conclusões, ressaltam-se: em Os Ratos, a busca aflitiva de Naziazeno representa as muitas agruras do homem na também opressiva sociedade capitalista do nosso tempo; a simbologia da figura dos ratos remete-se aos indivíduos despossuídos no mundo urbano capitalista, além de referir-se ao aniquilamento do indivíduo numa problemática que se estende à coletividade

Ce travail d'investigation est fondé sur une analyse discursive des notions de race et de classe sociale dans la production narrative de l'écrivaine Marvel Moreno, née à Barranquilla. Dans un premier temps, il a été nécessaire de déterminer les antécédents du sujet pour pouvoir, ensuite, élaborer un corpus de récits qui rendent compte de ces deux notions. Nous avons finalement reconstruit le code raciste et le code social de l'œuvre à travers l'étude de termes comme racisme, noir, métis, mulâtre, blanc, noir, aristocratie, décadent, bourgeois, parvenu ou nouveau riche et classe moyenne. La pertinence de cette étude est validée par l'absence, jusqu'à aujourd'hui, d'un travail qui explique, à partir de l'œuvre, de la théorie littéraire et de l'histoire colombienne, les préjugés et stéréotypes au sein de la société décrite par l'écrivaine. D'un point de vue méthodologique, nous avons analysé les opinions exprimées par les voix narratives lorsqu'elles décrivent et qualifient les personnages et les situations. Par conséquent, nous avons démontré que dans l'univers fictif de l'auteure, les idées reçues depuis la Colonie façonnent les modes de pensée et les relations de la haute société de Barranquilla, société raciste et discriminante. / The present research establishes an analysis of the discourse and narrative of the Barranquillan author Marvel Moreno. First, it was necessary to determine the background investigation on the same topic to be able to later elaborate a corpus which took into account the maximum of value judgments about the two notions, consequently. Finally, the reconstruction of the terms racist-code and social-code of the author’s literature, was reconstructed in accordance with the theoretical definitions as well as with the literature itself, analyzing terms such as racism, race, black person or negro, half blood, mulatto, white person, “down at heel person”, an upstart person or parvenu and middle class, aristocracy and bourgeoisie. The pertinent of this study is therefore justified by the absence so far of another study that treats the same chosen narratives and discourses used by the author to explain the social conflict in the fictional Barranquilla. From a methodological point of view, the goal was to see how narrators and characters judge and were judged. Consequently, it was demonstrated that the narrative voices focus on describe the social and racial codes belonging to the upper class, which at the same time and through their prejudices construct the rest of the society validating in this way the elite’s racist and excluding identity. / La presente indagine consiste in un’analisi discorsiva delle nozioni di razza e di classe sociale nella narrativa di Marvel Moreno, scrittrice di Barranquilla. In un primo momento è stato necessario determinare gli antecedenti dei due temi, per poi stabilire un corpus di racconti che ne trattano. Infine, si sono ricostruiti il codice razzista e il codice sociale dell’opera attraverso lo studio di termini come razzismo, razza, meticcio, mulatto, bianco, negro, aristocrazia, borghesia, fallito, arricchito, nuovo ricco e classe media. L’importanza di questa ricerca è avvalorata dall’assenza, fino ad oggi, di un lavoro che chiarisca i pregiudizi e gli stereotipi della società rappresentata dall’autrice a partire dall’opera stessa, dalla teoria letteraria e dalla storia colombiana. Da un punto di vista metodologico si sono analizzate le opinioni delle voci narranti per descrivere e qualificare personaggi e situazioni. Di conseguenza, si è dimostrato che, all’interno dell’universo fittizio dell’autrice, le ideologie ereditate dal periodo coloniale configurano modalità di pensiero e relazioni di potere nella società.

Made available in DSpace on 2016-03-15T19:45:54Z (GMT). No. of bitstreams: 1 Gisele Montoza Felicio.pdf: 766176 bytes, checksum: 5308f81bb1ff9bd3b42a0e980796410e (MD5) Previous issue date: 2013-12-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Knowing human behavior and the societies through the literary text, without losing its artistic character, it becomes a research as possible when considering that each novel brings various social voices that reveal the thought or ideology of an age, according to Mikhail Bakhtin.. It will be analyzed in this study how the 19th century and contemporary societies react in front of women who live a double life. Machado de Assis introduces us, in Memórias Póstumas de Brás Cubas (2012), Virgília that through dissimulation maintains a double life. Marçal Aquino, in Eu receberia as piores notícias dos seus lindos lábios, features a protagonist Lavínia, which by means of psycho-emotional instability also maintains a double life. / Conhecer o comportamento humano e as sociedades por meio do texto literário, sem perder seu caráter artístico, torna-se uma pesquisa possível ao considerar que cada romance traz várias vozes sociais que revelam o pensamento ou a ideologia de uma época, de acordo com Mikhail Bakhtin. Será analisado no presente trabalho de que modo as sociedades oitocentista e contemporânea reagem diante de mulheres que vivem uma vida dupla. Machado de Assis nos apresenta, em Memórias Póstumas de Brás Cubas (2012), Virgília que por meio da dissimulação mantém uma vida dupla; Marçal Aquino, em Eu receberia as piores notícias dos seus lindos lábios (2011), apresenta uma protagonista Lavínia que por meio de sua instabilidade emocional e psicológica mantém uma vida dupla.

This study is a thematic-descriptive investigation of the reproduction and transformation of norms in the theoretical discourse on the novel during the 1960s. Primary literature consists of articles and essays published in West German literary and cultural journals 1959-1967. The term ‘discourse’ is applied partly in accordance with Busse/Hermanns/Teubert (1994), the term ‘theory of the novel’ chiefly in accordance with Lämmert (ed. 1984). ‘Ideology’ is not used in the sense of ‘false ideology’ but rather as an umbrella term for various types of value-related statements. From this, the theory-of-the-novel discourse is perceived as an aesthetic-ideological discourse, containing statements directed at the contemporary novel which have clear programmatic function and significant thematic width. The objective of the investigation is to show that specific comprehensive thematic fields – Werteverlust (breakdown and loss of values), Subjektproblematik (‘problematisation of the concept of the subject’), Sprachproblematik (language related problems) and Realitätszerfall (reality loss, breakdown of the reality concept) – bear discursive significance as regards the discussion of literary norms during the 1960s, and that this discussion realises itself as two aesthetic-ideological discourses competing for interpretative precedence. The major issues are: Which reiterated patterns of argumentation, i.e. norm-related categories, concepts and rhetorical patterns, are used in the discourses for diagnoses and programmatic imperatives? How are the comprehensive thematic fields accentuated? What is treated, postulated or set aside as ‘truth’? How - based on the above – is the novel formulated as a ‘problem’ (‘crisis of the novel’)? The investigation confirms that the comprehensive thematic fields are particularly central to the theoretical discussion of literature in the 1960s. This manifests itself as a discursive re-evaluation process which may be characterised as a conflict between an ‘aesthetic-conservative discourse’ and a ‘discourse of change’ (‘Veränderungsdiskurs’) where the right to define and evaluate the novel in terms of literature is at stake. It is in the collision between these two discourses and their largely incompatible concepts of literature that the novel discursively becomes a ‘problem’. The discourses are maintained by specific reiterated patterns of argumentation which in the investigation are subsumed under the following headings: die negative Modernität (negative modernity), das bloß Moderne (phenomena of ‘fashionable character’, simply expressing trends) and das Überzeitliche und das Ganze (the timeless and the totality); respectively die traditionelle, bürgerliche Gesellschaft (traditional bourgeois society), die technisch-sprachliche Realität (technolinguistic reality) and der subjektive, sprachliche Realitätsausschnitt (‘subjective language based slice of reality’). The first group of argumentation patterns is linked to universal, ‘eternal’ and essential categories and inherited norms, ethical-aesthetical educational grounding and a ‘rhetoric of the spirit’ or of ‘mankind’, oriented around a specific reception of German Classicism and Idealism, a downgrading of the present and an upgrading of the past. The other group embraces an incipient constructivism, contextually bound and societal categories and norms as well as implicitly critical programmes of enlightenment, devaluing the past and ‘acknowledging’ rather than criticising the present. In doing so they tend rather to realise a rhetoric of the linguistic and political reality and of more modest programmatic proposals.

Esta tesis doctoral se centra en la prospección de lo fantástico en la narrativa breve del escritor francés Honoré de Balzac (1799-1850). La investigación se estructura en cinco capítulos, más el dedicado a las referencias bibliográficas. Tras los aspectos de tipo teórico e histórico ligados a lo fantástico, se analizan las circunstancias culturales, ideológicas y personales que intervinieron en la gestación de lo fantástico balzaquiano. A continuación se estudia la articulación formal de lo fantástico en los once textos balzaquianos seleccionados. Siguiendo el modelo de análisis propuesto por Joël Malrieu se han estudiado cuatro categorías: personaje, fenómeno irracional, espacio-tiempo y narrador.Del estudio se desprende que los relatos fantásticos balzaquianos se ajustan a la caracterización estética del género que establece Malrieu. Balzac conoce y domina la técnica compositiva inherente a lo fantástico en el relato breve, pudiendo afirmar que esta faceta creativa va más allá de una simple concesión a la moda pasajera del momento. / This doctoral thesis focuses on the search for the fantastic ingredient in the short stories by the French writer Honoré de Balzac (1799-1850). The research is organized in five chapters, plus the bibliography.After examining the theoretical and historical aspects linked to the fantastic component, we analyze the cultural, ideological and personal circumstances which took part in the gestation of the fantastic elements in Honoré de Balzac. Afterwards, we study the formal articulation of this in the eleven texts by Balzac that we have selected. Following the analysis scheme proposed by Joël Malrieu, we have studied four categories: character, irrational phenomenon, space-time and narrator. From this research, we can conclude that Honoré de Balzac short stories come into the aesthetic characterization of the genre established by Malrieu. Balzac knows very well the writing technique inherent to the fantastic ingredient in the short story. Definitely, we can state that this creative facet is more than a simple concession to the temporary fashion of his time.

Uppsatsen ämnar belysa hur Harry Martinsons Aniara (1956) förebådar postmodernismen trots att verket är rotat i den modernistiska traditionen. Analysen tar upp två aspekter med fokus på innehåll och berättarteknik där verket visar prov på en postmodern idévärld. Först behandlas miman, och resonemang förs kring att hon och hennes produktion bör ses som en masskulturell företeelse snarare än som elitistisk diktkonst. Analysen anknyter till Baudrillards teori om hyperverklighet och simulacrum och visar på hur miman skapar detta med sin kultur­produktion. Här framstår två tolkningsalternativ: ett där miman i egenskap av masskultur upp­värderar synen på masskulturen och pekar framåt mot postmodernismen, och ett andra där hon blir en negativ symbol för masskulturen. Detta eftersom hon döljer verkligheten för befolkningen så pass länge att de slutar försöka lösa sin situation. Den andra aspekten är Aniaras förhållande till metanarrativ, vilket belyses utifrån Lyotards teorier om vad som kännetecknar det postmoderna samhället. Analysen visar hur metanarrativen ses som omöjliga inom fiktionen och istället byts ut mot lokalt meningsskapande. Verket i sin helhet bjuder också på motstånd mot metanarrativ genom att (1) utge sig för att vara en klart av­gränsad händelse, (2) skriva ut ett motstånd mot djuplodande tolkningar och slutligen genom att (3) mimaroben som ska förmedla revyn över människan i tid och rum inte är pålitlig nog att lägga fram en allmän sanning. Sammantaget konstateras att verket är rotat i modernismen men att det samtidigt förebådar postmodernismen i dess syn på masskultur, hyperverklighet och meta­narrativ. / The aim of this essay is to highlight tendencies of postmodernism in Harry Martinson’s Aniara (1956), a work that has traditionally been placed in a modernist context. The analysis centers around two aspects in the text with the aim of finding traces of a postmodern world view. First the “mima”, an enigmatic machine that consoles the passengers in the first six years of the journey, is reasoned to be a mass cultural phenomenon rather than an elitist poetic device, as pre­vious studies have suggested. The cultural production of the machine is then analyzed in the light of the theories of hyper reality and simulacrum, as conceived by Jean Baudrillard. The analysis renders two possible implications, one where the machine can be viewed as a precursor to a post­modern positive attitude of mass culture, and one more modernistic where the machine in its role as mass culture numbs the passengers and prevents them from acting on their situation in time. The second part of the analysis focuses on the view of metanarratives, as expressed within the fiction and in the wok as a whole. Jean-François Lyotard and his explanation of postmodernism’s incredulity towards metanarratives is used as a theoretical standpoint. The analysis shows that metanarratives are considered impossible within the fiction of Aniara as during the course of the journey, they are replaced with more local methods of creating meaning. On the whole, the book could be seen to replace the metanarrative of human progress by one telling of the inadequacy and inert destructibility of humanity. However, the analysis shows that metanarratives are rejected all together. The construction of a new metanarrative is made impossible by (1) the fictitious accounts clearly being a local event, (2) the text openly stating the impossibility of deeper interpretation and finally (3) the work employing a narrator too unreliable to be able to convey the unarguable truths necessary to create a new metanarrative.

The aim of this dissertation is to explore the functions of narration in Amy Tan’s novel The Hundred Secret Senses. The dissertation is divided into three parts: 1 ‘Introduction’, 2 ‘Analysis’ and 3 ‘Conclusion’. After presenting the writings of Amy Tan and my chosen primary literature, I give a brief survey of terms, theories and previous research. Part 2 ‘Analysis’ is presented in an order that corresponds approximately to the chronology of the primary literature, and will be divided into three chapters: 2.1 ‘Explain, Build a Relationship and Reflect’, 2.2 ‘Influence Thinking and Behaviour’ and 2.3 ‘Remember, Unify and Transmit’. Chapter 2.1 has the first half of the novel as its main focus. It is organised mainly after the clarity of the narrator’s voice, i.e. if the narrator shows (e.g. ‘indirect explanation’) or tells (e.g. ‘explicit explanation’), and analyses how narration functions in order to ‘explain’, ‘build a relationship’ and ‘reflect’ on events and other things. Chapter 2.2 elaborates on the narration that takes place before and after the trip to China, an event that divides the novel into two halves. This chapter deals with the function of ‘influence’, which can be seen as a result of the narrator’s authority and is summarised in the section called ‘Steps of Influence’. Chapter 2.3 delves into the functions of narration most visible in the novel’s second half, which takes place in China. The functions of ‘remembrance’, ‘unification’ and ‘transmission’ have many sub-functions in common, which could perhaps be seen as a result of the blurred perspectives in the novel’s plot. Part 3 aims to summarise the results of the analysis. A theme that recurs through the analysis of functions is the relationship and balance of authority between the two characters/narrators. Sometimes a narrator’s authority, or a shift in this balance, is a prerequisite of a function of narration.

In this dissertation the boundaries between normality and disability are investigated, as well as how these boundaries can be represented and changed through literary works. The purpose of this study is to examine the representation of disabled characters according to the theoretical insights of cognitive narratology. In order to analyse the boundary between normality and disability, this study focuses on focalisation and the narration as narrative techniques. The representation of disabled characters is a well-known phenomenon in literature in general but this dissertation analyses and discusses four novels which have been identified as texts in which the representation of disabled characters plays a significant role. These novels are: Is Sagie (1987) by Jan van Tonder, Raaiselkind (2001) by Annelie Botes, Siegfried (2007) by Willem Anker en Een vir Azazel (1964) by Etienne Leroux. Disablility, as a deviation from normality, is represented in different ways in literature, and has different functions. The theoretical argument is that the investigation and interpretation of the representation of disablilty in literature will provide insight in disability as a social phenomenon, as a literary act and as an act of understanding. Cognitive narratology uses the theoretical concepts of frames and scripts to describe the way in which human perceptions are structured and may even become fossilised in the human mind. Subsequent expreriences and information are therefore determined by existing codes and rules. The understanding or negotiation of new information is based on preferences that evolve from prior knowledge and programming. Cognitive choices are made on the basis of existing frames and scripts and determine whether a concept is new, standard, stereotypical, unusual, indefinite or ambiguous. This study shows how frames and scripts on disability are undermined within the novels and how disability is used as a functional novel element. / Thesis (MA (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2013.

In this dissertation the boundaries between normality and disability are investigated, as well as how these boundaries can be represented and changed through literary works. The purpose of this study is to examine the representation of disabled characters according to the theoretical insights of cognitive narratology. In order to analyse the boundary between normality and disability, this study focuses on focalisation and the narration as narrative techniques. The representation of disabled characters is a well-known phenomenon in literature in general but this dissertation analyses and discusses four novels which have been identified as texts in which the representation of disabled characters plays a significant role. These novels are: Is Sagie (1987) by Jan van Tonder, Raaiselkind (2001) by Annelie Botes, Siegfried (2007) by Willem Anker en Een vir Azazel (1964) by Etienne Leroux. Disablility, as a deviation from normality, is represented in different ways in literature, and has different functions. The theoretical argument is that the investigation and interpretation of the representation of disablilty in literature will provide insight in disability as a social phenomenon, as a literary act and as an act of understanding. Cognitive narratology uses the theoretical concepts of frames and scripts to describe the way in which human perceptions are structured and may even become fossilised in the human mind. Subsequent expreriences and information are therefore determined by existing codes and rules. The understanding or negotiation of new information is based on preferences that evolve from prior knowledge and programming. Cognitive choices are made on the basis of existing frames and scripts and determine whether a concept is new, standard, stereotypical, unusual, indefinite or ambiguous. This study shows how frames and scripts on disability are undermined within the novels and how disability is used as a functional novel element. / Thesis (MA (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2013.