O presente estudo tem como objetivo analisar a construção do nacionalismo egípcio na obra Trilogia do Cairo, de Nagib Mahfuz, romance em três volumes que recobre o período histórico de maturação do nacionalismo egípcio até o momento que antecedeu o nasserismo, respectivamente de 1917 a 1944. Desse modo, inicialmente são apresentadas as teorias sobre o nacionalismo, no intuito de situar as correntes teóricas que descrevem o desenvolvimento dos conceitos de nação, estado e estado nacional ao longo da história, a saber, a teoria clássica, a modernista, a essencialista e a etno-simbolista. Em seguida, este trabalho apresenta o contexto histórico do nacionalismo egípcio e sua confluência com o nacionalismo árabe. Apesar de a Trilogia do Cairo não abranger o período que se estende do início até a decadência do nacionalismo de expressão nasserista, o presente estudo considera importante mencioná-lo como um todo, no intuito de contextualizar aquilo que o romance já anunciava como premente na sociedade egípcia, a necessidade de autonomia política dentro de um projeto de base nacionalista. A fim de se estabelecer as relações entre autor, obra e instituição, na sequência são discutidos os diversos pareceres críticos do romance, além de sua abordagem enquanto discurso literário e prática discursiva. Desse modo, através da narrativa da inscrição da história no discurso literário, analisado no presente estudo sob o formato de cronotopos, se pretendeu efetivar uma exposição do modo como as personagens fictícias e históricas, que participaram do processo de tentativa de emancipação do Egito, construíram o nacionalismo. / This work intends to analyse the construction of egptian nationalism in Cairo Trilogy, by Nagib Mahfuz, novel composed by tree volumes that recover the period between 1917 and 1944, regarded to the real rising of nacionalism and the previous nasserism age. Initially this study introduces theories about nationalism in order to define the concepts of nation, state and national state, after that, the context of egptian and arabic nationalism is introduced. Although Cairo Trilogy recovers the period before nasserism age, this reference is important to sign the need of political autonomy within an egpitian nationalist project. The following discussion is about linguistics and literary criticism related to the novel, in whish is made the reflexion about literary discourse and discourse practices. Thus, through the narrative inscription of history in literary discourse, analysed in this study by the notion of chronotope, this work intended to make an exhibition about how ficcional and historical characters, who participated the egption freedom process, built the nationalism.

O presente estudo tem como objetivo analisar a construção do nacionalismo egípcio na obra Trilogia do Cairo, de Nagib Mahfuz, romance em três volumes que recobre o período histórico de maturação do nacionalismo egípcio até o momento que antecedeu o nasserismo, respectivamente de 1917 a 1944. Desse modo, inicialmente são apresentadas as teorias sobre o nacionalismo, no intuito de situar as correntes teóricas que descrevem o desenvolvimento dos conceitos de nação, estado e estado nacional ao longo da história, a saber, a teoria clássica, a modernista, a essencialista e a etno-simbolista. Em seguida, este trabalho apresenta o contexto histórico do nacionalismo egípcio e sua confluência com o nacionalismo árabe. Apesar de a Trilogia do Cairo não abranger o período que se estende do início até a decadência do nacionalismo de expressão nasserista, o presente estudo considera importante mencioná-lo como um todo, no intuito de contextualizar aquilo que o romance já anunciava como premente na sociedade egípcia, a necessidade de autonomia política dentro de um projeto de base nacionalista. A fim de se estabelecer as relações entre autor, obra e instituição, na sequência são discutidos os diversos pareceres críticos do romance, além de sua abordagem enquanto discurso literário e prática discursiva. Desse modo, através da narrativa da inscrição da história no discurso literário, analisado no presente estudo sob o formato de cronotopos, se pretendeu efetivar uma exposição do modo como as personagens fictícias e históricas, que participaram do processo de tentativa de emancipação do Egito, construíram o nacionalismo. / This work intends to analyse the construction of egptian nationalism in Cairo Trilogy, by Nagib Mahfuz, novel composed by tree volumes that recover the period between 1917 and 1944, regarded to the real rising of nacionalism and the previous nasserism age. Initially this study introduces theories about nationalism in order to define the concepts of nation, state and national state, after that, the context of egptian and arabic nationalism is introduced. Although Cairo Trilogy recovers the period before nasserism age, this reference is important to sign the need of political autonomy within an egpitian nationalist project. The following discussion is about linguistics and literary criticism related to the novel, in whish is made the reflexion about literary discourse and discourse practices. Thus, through the narrative inscription of history in literary discourse, analysed in this study by the notion of chronotope, this work intended to make an exhibition about how ficcional and historical characters, who participated the egption freedom process, built the nationalism.

Scholars argue that Coetzee’s novels critique and disavow the origins and legacy of the novel tradition and its influence on the contemporary novel. They also claim that J.M. Coetzee’s novels herald in the demise of the contemporary novel. These interpretations are motivated by the political readings of postcolonialism and postmodernism. The premise of this dissertation is to depart from those postcolonial and postmodern approaches and offer close readings of Coetzee’s novels through the origins and legacy of the early eighteenth-and nineteenth century novel. My study argues that several of Coetzee’s novels allude to the intellectual, historical, and cultural legacies of the eighteenth-and nineteenth-century novel. I argue that the origin and rise of the English novel and its subgenres provide Coetzee with ideas to use in his own novels. These paradigms in Coetzee’s novels espouse —rather than renounce — the influence and tradition of the early novel, showing that its inspiration remains relevant in the contemporary novel. Thus, the general premise of this dissertation is that Coetzee does not necessarily “write back” to the canon and the origins of English novel, but rather he writes through and with those enduring forms and structures. This study shows that there are literary connections between the early beginnings of the novel and the contemporary novel that offer cogent examinations —examinations that find compromise between the past and present rarely made through postcolonial or postmodern approaches.

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Despite the recognized importance of Anna Letitia Barbauld, Maria Edgeworth, and Charlotte Smith as commentators on 1790s radicalism, pedagogy, and novel conventions, their writings for children and for adults tend to be studied separately. Indeed, despite each writer's familiarity with the others' work, these figures are rarely discussed together. I argue that studying these authors' cross-generic works using a comparative approach reveals the ways in which novels and children's books have informed and influenced each other, both in their reciprocal developments and as distinct genres. I further argue that even as the juvenile fiction of Barbauld, Edgeworth, and Smith seems rather tamely oriented toward the integration of natural history with conduct lessons, the genre was in fact a vital means by which each writer weighed her own social-welfare and aesthetic priorities within contexts of political upheaval.

This study provides a new account of the evolution of the eighteenth-century British novel by reading it as a response to contemporary interest in, and self-consciousness about, print communication. During the eighteenth century, print went from being a marginal technology to being one with an increasingly wide circulation and a diverse range of applications. The pervasive adoption of print generated anxiety about its positive and negative effects, prompting a series of responses from writers. Examining the work of five British novelists from across the long eighteenth century, this dissertation investigates the influence of eighteenth-century philosophical thinking about human understanding and social interaction on the assumptions that these novelists made about the way their work would be received. In particular, this thesis explores the ways in which these novelists respond to contemporary philosophical ideas about the cognitive functions of the imagination by experimenting with the form of their work in order to generate new kinds of reception. But this study also shows that, while these five novelists drew on the tenets of eighteenth-century moral philosophy, their work exposed a number of the limitations of that philosophy by putting it into practice. Each chapter in this study focuses on a different aspect of the intersection of mediation and imagination. Chapter One considers the ways in which Locke's understanding of probability informed Richardson's attempts to promote specific affective reading practices with his epistolary fictions and editorial commentary. Chapter Two reads Sterne's manipulations of the material page in Tristram Shandy as an attempt to expose the limitations of print communication and to suggest new ways of reading that could overcome those limitations. Chapter Three examines the writing of Smith, Kames, Mackenzie, Reeve and Godwin in order to illustrate both the promise and the danger that these authors attribute to imaginative sympathy and to the reading practices that promote sympathetic reactions. Chapter Four explores Scott's experiments with a form of fiction that could collapse the distance between writing and orality in order to force readers to reevaluate the complex relationship of sound and writing in the establishment of communities in an age of print.

This study provides a new account of the evolution of the eighteenth-century British novel by reading it as a response to contemporary interest in, and self-consciousness about, print communication. During the eighteenth century, print went from being a marginal technology to being one with an increasingly wide circulation and a diverse range of applications. The pervasive adoption of print generated anxiety about its positive and negative effects, prompting a series of responses from writers. Examining the work of five British novelists from across the long eighteenth century, this dissertation investigates the influence of eighteenth-century philosophical thinking about human understanding and social interaction on the assumptions that these novelists made about the way their work would be received. In particular, this thesis explores the ways in which these novelists respond to contemporary philosophical ideas about the cognitive functions of the imagination by experimenting with the form of their work in order to generate new kinds of reception. But this study also shows that, while these five novelists drew on the tenets of eighteenth-century moral philosophy, their work exposed a number of the limitations of that philosophy by putting it into practice. Each chapter in this study focuses on a different aspect of the intersection of mediation and imagination. Chapter One considers the ways in which Locke's understanding of probability informed Richardson's attempts to promote specific affective reading practices with his epistolary fictions and editorial commentary. Chapter Two reads Sterne's manipulations of the material page in Tristram Shandy as an attempt to expose the limitations of print communication and to suggest new ways of reading that could overcome those limitations. Chapter Three examines the writing of Smith, Kames, Mackenzie, Reeve and Godwin in order to illustrate both the promise and the danger that these authors attribute to imaginative sympathy and to the reading practices that promote sympathetic reactions. Chapter Four explores Scott's experiments with a form of fiction that could collapse the distance between writing and orality in order to force readers to reevaluate the complex relationship of sound and writing in the establishment of communities in an age of print.

This study provides a new account of the evolution of the eighteenth-century British novel by reading it as a response to contemporary interest in, and self-consciousness about, print communication. During the eighteenth century, print went from being a marginal technology to being one with an increasingly wide circulation and a diverse range of applications. The pervasive adoption of print generated anxiety about its positive and negative effects, prompting a series of responses from writers. Examining the work of five British novelists from across the long eighteenth century, this dissertation investigates the influence of eighteenth-century philosophical thinking about human understanding and social interaction on the assumptions that these novelists made about the way their work would be received. In particular, this thesis explores the ways in which these novelists respond to contemporary philosophical ideas about the cognitive functions of the imagination by experimenting with the form of their work in order to generate new kinds of reception. But this study also shows that, while these five novelists drew on the tenets of eighteenth-century moral philosophy, their work exposed a number of the limitations of that philosophy by putting it into practice. Each chapter in this study focuses on a different aspect of the intersection of mediation and imagination. Chapter One considers the ways in which Locke's understanding of probability informed Richardson's attempts to promote specific affective reading practices with his epistolary fictions and editorial commentary. Chapter Two reads Sterne's manipulations of the material page in Tristram Shandy as an attempt to expose the limitations of print communication and to suggest new ways of reading that could overcome those limitations. Chapter Three examines the writing of Smith, Kames, Mackenzie, Reeve and Godwin in order to illustrate both the promise and the danger that these authors attribute to imaginative sympathy and to the reading practices that promote sympathetic reactions. Chapter Four explores Scott's experiments with a form of fiction that could collapse the distance between writing and orality in order to force readers to reevaluate the complex relationship of sound and writing in the establishment of communities in an age of print. / Arts, Faculty of / English, Department of / Graduate

This dissertation examines the philosophical contributions of transatlantic peace reform discourse to American literature (1790-1865). My title is drawn from a dialogue between Ralph Waldo Emerson and Thomas Carlyle in which Emerson comments that, although his pacifist anarchist friends in the New England Non- Resistance Society are “fanatics of a dream,” they also contribute the only original American political philosophy. Taking up Emerson's invitation, I consider what it would mean to treat the peace reform movement as philosophical in the sense that it both engaged Enlightenment philosophy and produced its own philosophical ideas. Questions about ontology, determinism, and Idealism are inseparable from peace reformers’ debates. While my research includes peace society archives, journals and tracts, and a broad range of literary texts and genres, my primary emphasis is on novels that constitute distinctive efforts at nonviolent social transformation. I have selected texts that not only refer to peace reform, peace principles, or peace societies, but do so in a philosophically complex and dialogic way, demonstrating a metafictive awareness of how fiction might function as social intervention. My aim is to describe the unique intellectual challenges faced by advocates of peace principles and to broaden scholarly narratives of transatlantic peace reform’s early history and the diverse voices and texts it involved. My dissertation includes American Indian writers like George Copway, formerly enslaved authors such as William Wells Brown, and work by white writers like William Godwin, Charles Brockden Brown, Herman Melville, and Harriet Beecher Stowe. I emphasize philosophical problems and theoretical legacies that remain with us today, drawing on critics of violence and power like Gayatri Spivak, Donna Haraway, and Theodor Adorno, as well as recent scholarship that aims to re-theorize violence and the politics of its hermeneutics. Understanding the diverse transatlantic contexts and theoretical complexity of peace reform can both offer new insights into literary texts and also unsettle national narratives that minimize the significance of nineteenth-century pacifist thought.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A tese se insere nos estudos sobre o gótico literário. Seu objetivo principal é mostrar o lar como lugar crucial para o desenvolvimento das temáticas caras ao gênero, destacando o corpo feminino como pivô. Na primeira parte, foram analisados estudos teóricos sobre o romance inglês, apontando para uma possível mudança na maneira como o gótico vem sendo tratado. Na segunda parte, obras ficcionais importantes para a discussão do lar e do corpo feminino dentro da tradição gótica foram analisadas, promovendo a articulação de tais obras com as diretrizes teóricas pertinentes. Finalmente, a terceira e última parte terá os romances Ciranda de Pedra, Daughters of the House e Lady Oracle como foco, a fim de apontar o modo como a narrativa gótica contemporânea assimilou as questões tratadas anteriormente / The present work is a study about the literary Gothic. Its main objective is to show the house as a crucial place for the development of themes related to the Gothic, highlighting the female body as a central figure. In the first part, theoretical studies related to the English novel are analyzed and a possible shift in the way the Gothic is dealt with is described. In the second part, relevant fictional works for the discussion of the house and of the female body in the Gothic tradition are analyzed in dialogue with pertinent theoretical ideas. Finally, the third and last part brings forth the novels Ciranda de Pedra, Daughters of the House and Lady Oracle in order to show how contemporary Gothic fiction deals with the issues previously discussed