O objetivo desta tese é estudar os romances The Coup e Brazil, de John Updike, para mostrar que muito mais que apresentar contradições dos países onde estão ambientados, esses romances lidam com os Estados Unidos - tema constante do autor. Ambos romances mostram, por meio de uma organização formal diversa ao restante da obra de Updike, uma visão que países centrais têm dos países periféricos e, ao apresentar sua percepção do Outro, o Norte fala de si mesmo. Assim, por meio de uma leitura política - como proposto por Fredric Jameson - desses romances pode-se verificar como elementos como a Guerra Fria, o expansionismo, irreversibilidade histórica, igualdade racial, por exemplo, demonstram o movimento do modo de produção capitalista na qual os Estados Unidos são protagonistas. É essa revelação, escondida pelas estratégias de contenção e contida na forma dos romances, que proponho mapear na (re)leitura desses textos literários. / The objective of this thesis is to study the novels The Coup and Brazil, by John Updike, in order to show that much more than presenting contradictions from the countries where they are settled, these novels deal with the United States - the author's constant theme. Both novels show, through a formal organization which is different from the rest of the author's literary work, a vision the central countries have of the peripheral countries and, by showing its perception of the Other, North speaks about itself. Thus, through a political reading - as proposed by Fredric Jameson -of these novels, it is possible to verify how elementssuch as the Cold War, expansionism, historical irreversibility, racial equality, for instance, demonstrate the moviment of the caitalist mode of production in which the United States are protagonist. It is this revelation, hidden by the strategies of containment and in the form of the novels, which I propose to map in the (re)reading of these literary texts.

O objetivo desta tese é estudar os romances The Coup e Brazil, de John Updike, para mostrar que muito mais que apresentar contradições dos países onde estão ambientados, esses romances lidam com os Estados Unidos - tema constante do autor. Ambos romances mostram, por meio de uma organização formal diversa ao restante da obra de Updike, uma visão que países centrais têm dos países periféricos e, ao apresentar sua percepção do Outro, o Norte fala de si mesmo. Assim, por meio de uma leitura política - como proposto por Fredric Jameson - desses romances pode-se verificar como elementos como a Guerra Fria, o expansionismo, irreversibilidade histórica, igualdade racial, por exemplo, demonstram o movimento do modo de produção capitalista na qual os Estados Unidos são protagonistas. É essa revelação, escondida pelas estratégias de contenção e contida na forma dos romances, que proponho mapear na (re)leitura desses textos literários. / The objective of this thesis is to study the novels The Coup and Brazil, by John Updike, in order to show that much more than presenting contradictions from the countries where they are settled, these novels deal with the United States - the author's constant theme. Both novels show, through a formal organization which is different from the rest of the author's literary work, a vision the central countries have of the peripheral countries and, by showing its perception of the Other, North speaks about itself. Thus, through a political reading - as proposed by Fredric Jameson -of these novels, it is possible to verify how elementssuch as the Cold War, expansionism, historical irreversibility, racial equality, for instance, demonstrate the moviment of the caitalist mode of production in which the United States are protagonist. It is this revelation, hidden by the strategies of containment and in the form of the novels, which I propose to map in the (re)reading of these literary texts.

The first ten years of democracy (1994-2004) in South Africa was an important period marked by a plethora of research activities in South Africa. The 2004 exhibition of artworks by academic staff from the Vaal University of Technology (VUT) was an example of one such event. A critical reading of these artworks exhibited diverse representations of their world views and also informed the initial research for this study. All the artworks on exhibition illustrated a commonality of purpose in the artists’ interrogation and representation of their fragmented identities in a transforming political landscape. Therefore, this thesis considers a political reading of the ideas of identity, place and displacement in the artworks of thirteen female artists at VUT from 1994 to 2004. The rationale of this thesis was to examine in what way the artists’ construction and representations of identity, place and displacement were influenced by the environmental factors of the historical, political and academic culture in the microcosm of the Vaal region. However, the inclusion of Tracey Rose in this study extended the discourses of identity, place and displacement to consider the disjunctures and continuities of cultural practices in ethnicities in South Africa. This thesis furthermore proposed to address the gendered omissions of female artists from contemporary literature and therefore focuses on the creative productions of female artists from VUT. The significance of this study lies in the contribution of knowledge on the existing body of literature of art and artists in South Africa and in initiating the exercise of documenting the visual history of the Vaal region. The theoretical underpinnings are informed by the discourses of cultural studies, postcolonial studies and feminism/s. The thesis delimits the political and historical events of South Africa from pre-history to contemporary South Africa. A postcolonial reading of history is carried out in order to draw attention to inconsistencies and fallacies inherent in the colonial recording of historical events relevant to this study. The influential historical and political events in the discourse of place and displacement have been included in view of their depiction or references made by the artists discussed in this study and to contextualise the geopolitical space of the Vaal Triangle. The political events before and after the decline of apartheid were included to frame the strategy of decolonisation of the new political dispensation. A context for the shifting identities of the artists in a neoliberal democracy, namely the political and historical events germane to the Vaal Triangle and to the artists dealt with in this study, is provided to position the ideological divide between Afrikaner nationalism and a neoliberal democracy. The thesis provides a brief overview of South African art in order to delineate a national perspective and framework for the discussion of the artworks later in the study that are located predominantly in the Vaal Triangle. An average of three artworks per artist were selected for discussion. The selected artworks reflect heterogeneous interpretations of the discursive themes of landscape, the positions of women, shifting timelines and contemporary politics in South African social and cultural practice. There was an observable divide in the artworks that displayed explicit and implicit signifiers referring to the constructs of identity, place and displacement. Identities formed in the spaces of colonisation and in the dislocated, displaced, raced and gendered identities, inform the world views of the artists selected for this study. / Thesis (DPhil)--University of Pretoria, 2011. / Visual Arts / unrestricted

Submitted by Aelson Maciera (aelsoncm@terra.com.br) on 2017-06-28T16:47:52Z No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-07-03T18:35:26Z (GMT) No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-07-03T18:35:35Z (GMT) No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) / Made available in DSpace on 2017-07-03T18:39:47Z (GMT). No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) Previous issue date: 2017-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This dissertation aims to analyze William Shakespeare’s play Hamlet – prince of Denmark (1603) in dialogue with its filmic transcreation, Franco Zeffirelli’s Hamlet (1990) in order to verify the treatment given to the play’s theme: corruption, madness (real or fake) versus wisdom, incest, and Oedpus complex. On the assumption that for Haroldo de Campos (1994) tanscreating means not only to be loyal to the original text, but it also means to be free to create, which desmystifies the ideology of fidelity and abolishes the superiority of the source text to value the translation and the receiving culture, this research has a political reading of both play and film to go beyond the text surface through a better comprehension based on the historical, social and ideological factors of their productions. After all, the transformations made in the original text to suit the film to the 90’ s audience in another social and historical moment represent “forces that expand or reduce the work” (DINIZ, 2003, p.97). The interpretation method is the political reading in the three reading levels/horizons presented by Fredric Jameson in The Political Unconscious (1992). / Esta dissertação almeja a análise da peça Hamlet - príncipe da Dinamarca (1603) de William Shakespeare em diálogo com sua transcriação Hamlet (1990) de Franco Zeffirelli no intuito de verificar como o diretor italiano conversa em seu filme com o texto do bardo inglês, sobretudo, no que diz respeito ao tratamento dado as linhas fundantes (imagens) da peça: a corrupção, a loucura (fingida ou verdadeira) versus a sapiência, o incesto, e o complexo de Édipo. Partindo do pressuposto de que para Haroldo de Campos (1994) transcriar é nutrir-se do texto original desmistificando a ideologia da fidelidade e abolindo a superioridade da fonte a fim de valorizar a tradução e a cultura receptora, esta pesquisa faz uma leitura política da peça de Shakespeare e do filme de Zeffirelli no intuito de ir além do conteúdo manifesto (composto pelo enredo e tentativas de harmonização das contradições nelas contidas), avançando para a compreensão das obras permeadas por fatores históricos, sociais e ideológicos de suas produções. Afinal de contas, as transformações feitas no texto original em função da necessidade de se adequar o filme ao gosto de uma audiência em um outro momento sócio-histórico, no caso, a década de 1990, representam “forças modeladoras no sentido de expandir ou reduzir a obra” (DINIZ, 2003, p.97). O método de interpretação é o da leitura política da peça e do filme nos três níveis/horizontes de leitura apresentados por Fredric Jameson em O Inconsciente Político (1992).

This thesis aims to analyze Czech literary criticism of the 1990s from the perspective of political reading. In the first part, the basic tendencies of Polish literary criticism are introduced: these form a contrast to the Czech context and also problematize some underlying notions of Czech literary historiography. The second part discusses the following terms: politics and police Rancière), depoliticization (Schmitt, Barthes) and ideology (Eagleton). These are adjusted to the specifics of the Czech context. The practical part of the thesis looks at the political interpretation of the critical reception of three novels by Michal Viewegh. The topics of the reception becomes the focus here: the debates around these novels include suppressed political messages such as the fight for the historical narrative of the previous political regime, or the disputes over high and low literature. These reflect the helplessness of the literary field, caused by the pressure of the commercialized book market. This part also looks at the contemporary debates on the so-called authentic literature and two program manifestoes. These examples show that the Czech literary field's proclaimed split from politics is only rhetorical: the result is not its autonomy, but an unreflected heteronomy.

In my dissertation Theory of Petrified Worlds on the Example of Anti-Utopian and Dystopian Literature, I deal with anti-utopian and dystopian literature, which has been largely neglected by Czech scholarship. After the introduction to the issue I deal with the detailed analysis of the novel We by Yevgeny Zamyatin, after which I devote my attention to the theoretical definition of terms, including the historical mapping of previous research. I focus on the historical context of the emergence of the genres, including a deeper analysis of its beginnings, i.e. the development of utopian literature from Plato to William Morris and Herbert George Wells, and in detail describe the emergence of anti-utopian literature primarily as an opposition to utopian tendencies and its evolution into dystopia. A major part of the work deals with a specific semiotic analysis of the characteristic and constitutive features of the genres of anti-utopian and dystopian literature of the 20th and 21st centuries. This includes, among other things, the closed and petrified world of the novels, which gave the name to the presented theory, the strict division of society, the existence of newspeak, the characteristics of the main and secondary characters, as well as the social and political context of the analysed works. In...