Orientador: Orna Messer Levin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T01:32:43Z (GMT). No. of bitstreams: 1 Lamonica_LucasdeCastro_M.pdf: 28700376 bytes, checksum: cc793f5c477faa30a2bff6eeadfcf698 (MD5) Previous issue date: 2015 / Resumo: Filomena Borges é um romance de Aluísio Azevedo, publicado em folhetim pela Gazeta de Noticias entre 18 de dezembro de 1883 e 13 de janeiro de 1884. Esta dissertação resulta do estudo desse romance em seu contexto de produção e circulação, recorrendo à leitura de periódicos coetâneos e de obras literárias relacionadas. Através das fontes primárias, descobrimos que esse romance foi constituído em íntima relação com a imprensa. Ao invés de seguir o caminho convencional, de obra literária que usa o jornal como veículo de publicação, Filomena Borges surgiu a partir do jornal; a imprensa foi mais para esse romance que um suporte ¿ foi uma matriz da qual ele tirou recursos de conteúdo e forma. Por seu caráter folhetinesco, ele foi desconsiderado pela história literária, tendo sido tratado como um romance menor dentro do conjunto da obra de Azevedo. Sua única função seria, então, o divertimento. No entanto, recuperando a crítica coetânea do romance e suas repercussões, descobrimos que ele tinha outro sentido, que se perdeu com o tempo: o político. Por incluir D. Pedro II como personagem e colocá-lo em situação indecorosa, Aluísio Azevedo dividiu a crítica coetânea entre detratores e defensores do imperador. Revelou-se, assim, o caráter político da obra, que serviu como intervenção no debate político. As críticas do romance puderam ser compreendidas através da comparação com outras obras do período e com outros aspectos da atuação do autor e da Gazeta. A partir dessa reconstituição, os temas do romance, como o casamento, as viagens e a política, puderam ser explicados de maneira mais adequada, levando em consideração os critérios de sua época / Abstract: Filomena Borges is a novel by Aluísio Azevedo published in a feuilleton by Gazeta de Noticias between December 18th 1883 and January 13th 1884. The study of this novel results on this dissertation and it consider its context of production and circulation, recurring to the reading of coeval periodics and related literary works. Through primary sources we have discovered that this novel was conceived within an intimate relation with the press. Instead of following a traditional path, a literary work that uses a newspaper as a publication vehicle, Filomena Borges arose from the newspaper itself; the press had more than a supporting role - it was a source from which the novel gathered form and content. Because it had a feuilletonistic character it was disregarded by literary history, being considered only as a minor book within Azevedo¿s work. Its only function would be, therefore, entertainment. Nonetheless by recovering the novel coeval critic and the repercussions, we have found out that it had another meaning that was lost in time: political. Since it included D. Pedro II as a character, and by putting him in an unseemly situation, Aluísio Azevedo has divided the contemporary critics within the emperor¿s detractors and defenders. It was thus revealed the novel political feature, which has been used as an intervention on the political debate. The criticism around the novel could be understood throughout the comparison with other works of the period and other aspects of the author¿s procedure as well as the procedure of Gazeta. From this reconstitution, the themes presented in the novel, such as marriage, travels and politics were able to be explained in a more adequate matter regarding the criteria of its time / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Czech Literary Anarchism in the Context of Socialism and the Women's Movement (1890-1914) Abstract The thesis focuses on Czech pre-WWI anarchism. It analyses it as a modernist movement comprising various activities spanning political propaganda, proposals of social organisation and thinking about moral values as well views on the arts and literary production. The aim is to present literary texts written by anarchists against a backdrop of other types of expression. At the same time, the thesis assesses anarchism in the historical context of other political, social, artistic and philosophical movements. We study the interweaving of ideological and aesthetic schemes of Czech anarchism, especially with socialism and feminism, but also concerning decadence, Friedrich Nietzsche's philosophy and writings of the German Friedrichshagen poets' and anarchists' circle. The thesis focuses on how anarchism understands human beings and their relationship to the world and society. Given the anarchists' focus on the free individual, we present strategies of emancipation from traditional conventions and institutions such as marriage, family and the state. We also concentrate on reforms concerning morals and similarities with the feminist turn to one's own bodily and psychical experiences as starting points for setting...

In his Defence of Poetry (c. 1580), Philip Sidney argues that poetry—a category in which he includes all imaginative fiction—aims at the education of its readers. Archepollycyes studies the attempts of a loose group of sixteenth-century writers around Sidney to write fiction that lives up to this aim, in order to understand the methods they developed to educate readers and the relationship between this education and the politics of the monarchical state. Sidnean fiction demands long study on the part of its readers because it aims to transform their mental habits and create new internal resources for right action. The works of fiction I study here—Thomas Sackville and Thomas Norton’s Gorboduc, George Buchanan’s Baptistes, Sidney’s Arcadia, Mary Sidney Herbert’s Antonius and A Discourse of Life and Death, and Fulke Greville’s Mustapha—were products of their authors’ experiments with genre, narrative, translation, and style as tools to achieve this aim. Through the reading experience these works invite, readers exercise their judgment in the interpretation of fictional examples and reflect explicitly on the mental habits of generalization and application that inform decisions about how to act in new circumstances. Readers also come to see these habits of judgment as shared with others and experience the act of reading as participation in both real and imagined interpretive communities. I argue that these interpretive communities are best understood as loose political institutions, networks of organization and affiliation whose members could think and act together through common habits of judgment and the mutual resolution that results from recognizing this commonality. I adopt the term “archepollycyes” from Gabriel Harvey in order to describe the role of such institutions in monarchical politics. Harvey coins the term to describe the foundational forms of political knowledge, action, and organization, in contrast to the day-to-day work of government and the business of political rule. “Archepollycyes” hold a political community together in spite of changes in its ruler or government; understanding and creating such institutions was thus a means of responding to the escalating crises of succession, absolutism, and civil war that confronted early modern monarchies. By reading and writing fiction, I argue, Sidney and a broader network of writers aimed to act at a distance from contemporary political conflicts by founding “archepollycyes,” loose institutions capable of acting independent of the monarchical state and outside of existing structures of government, but on behalf of the long-term stability of a political community. In this way, I offer a new way of thinking about fiction and political institution in relation to the contested emergence of the modern sovereign state.

Ce mémoire s’intéresse au travail d’enquête et plus spécifiquement à la méthode du détective privé dans le diptyque que composent Un privé à Tanger (1987) et ma haie : Un privé à Tanger II (2001) du poète français Emmanuel Hocquard. Suivant l’hypothèse que le diptyque ne constitue pas seulement un travail sur l’enquête, mais bien un travail d’enquête, nous chercherons à rendre compte, dans toute sa complexité et sa richesse, de la teneur de cette enquête. Puisant à la fois dans les théories de l’enquête, les études littéraires, les études médiatiques et la philosophie, ce mémoire s’affairera à montrer le fonctionnement du diptyque comme ouvrage de savoir. Dans un premier temps, nous travaillerons à détailler la généalogie de la figure du privé et du polar sous le signe desquels est posé le diptyque. En insistant sur les nombreuses affinités entre la pratique littéraire de l’écrivain hard-boiled états-unien Raymond Chandler et celle d’Emmanuel Hocquard dans Un privé à Tanger I et II, nous chercherons à aborder leur relation sous l’angle de l’héritage plutôt que sous celui du pastiche. Puis, fort de cette compréhension du rapport étroit entre le poète français et le polar américain, nous travaillerons, dans un second temps, à analyser la structure du diptyque à l’aune de ce que nous appellerons, à la suite de Christophe Hanna et Philippe Charron, la méthode du privé. Dans un troisième temps, nous nous intéresserons à l’objet et aux visées de l’enquête hocquardienne. Si, comme l’affirme Gilles A. Tiberghien et Jean-François Puff, l’enquête hocquardienne est autoréflexive et autobiographique, notre travail sera non pas de montrer un caractère spéculaire, mais plutôt de cerner la façon dont, chez Hocquard, l’anecdotique et le personnel sont intégrés à une réflexion politique et éthique. / This dissertation explores the investigative work and the implementation of the private detective method in the diptych Un privé à Tanger, an oeuvre written by the French poet Emmanuel Hocquard and composed of Un privé à Tanger (1987) and ma haie : Un privé à Tanger II (2001). Following the hypothesis that the diptych is not only a work on investigation, but also a work of investigation, we will seek to understand the terms of this inquiry in all its complexity. Through the use of a diverse theoretical framework – combining investigation studies, literary studies, media studies and philosophy –, this dissertation aims to make plain of the inner operations of the diptych as a work of knowledge. Firstly, we will delineate the genealogy of the diptych and detail its relation with the hard-boiled novel and the writings of Raymond Chandler; a relation that can’t and won’t be described as a pastiche. Secondly, we will analyse the structure of the diptych through its connection to what we’ll name, following the works of Philippe Charron and Christophe Hanna, the private’s method. Thirdly, we will turn our attention to the object of the diptych’s investigation. As claimed by Gilles A. Tiberghien and Jean-François Puff, the hocquardian investigation can be characterize as self-reflective and autobiographical, our work will then be to make clear of the ways in which, in the works of Hocquard, the realm of the anecdotal and the personal, is used for ethical and political thinking.

This dissertation, All Things Commune: The Communal Imaginary in Twenty-First-Century French Fiction & Poetry, is animated by two fundamental questions: How can life be led differently, together? And, what is French literature’s radical political potential? Over the course of this project, I argue that twenty-first-century French literature is a site of radical political imagination, and, in certain cases, a veritable form of radical political practice. Through close readings of works by a diverse set of authors – including Jean Rouaud, Yannick Haenel, Virginie Despentes, and Jean-Marie Gleize – I reveal a countercurrent of twenty-first-century French literature bound up in a radical politics that is invested in imagining alternative forms of community that are autonomous from the French state, capitalism, governance, and traditional political structures. I read these literary works in light of theories of community developed by collectives such as Tiqqun and Le Comité invisible and critical theorists like Giorgio Agamben, Jean-Luc Nancy, and Jacques Rancière. All Things Commune demonstrates how reading these authors and theorists together reveals a shared imaginary of alternative communal life and radical Leftist politics, which I place under the rubric of destituent power. All Things Commune insists on the profound continuities between contemporary French literature, history, and politics. Overall, this project questions the narrow political frameworks through which twenty-first-century French literature continues to be read and demonstrates how radical politics appear in unexpected ways in a period of literature sometimes reduced to the reactionary or the apolitical.

In this thesis, I examine a critical procedure appropriate to Black South African autobiography of the 1950s and early 1960s. In particular, I examine these autobiographies as examples of counterhegemonic writing in which the self counters the hegemonic apartheid notion of identity, based on racial and cultural purity, and I propose that the hybrid selves encoded in these narratives have the capacity to inform a new South African nationhood. Chapter One necessitates an autocritique, in which I locate my own discourse within the intersecting discursive strands of Western and local theory, an effort that is guided by the imperatives that emerge from the autobiographies themselves. In Chapter Two, I suggest that the postcolonial autos displaces Humanist, and appropriates postmodernist, conceptions of the "I". Rewriting the terms of the autobiographical pact, the authority of grapos is re-instated in counternarratives that give privileged status to the bios - to lives that claim "I AM!" and selves that reconstruct identity. A related concern is the relationship between autobiographical criticism in South Africa and hegemony. In the chapters that follow, I examine the various ways in which counterhegemonic selves are constructed in Tell freedom, Down Second Avenue, Drawn in colour: African Contrasts and The Ochre People. Peter Abrahams's autobiography is discussed largely in terms of Frantz Fanon's insights on identity construction and the notion of a "hybrid I". Es'kia Mphahlek's (re)writing of the self - whose main feature is ambivalence - forms the focus of Chapter Four. These notions are developed in the final chapter, which focuses on Noni Jabavu's narratives that encode an "in-between" cultural identity and, as in the autobiographies of Abrahams and Mphahlele, a metonymic "I". / English Studies / D. Litt. et Phil. (English)

In this thesis, I examine a critical procedure appropriate to Black South African autobiography of the 1950s and early 1960s. In particular, I examine these autobiographies as examples of counterhegemonic writing in which the self counters the hegemonic apartheid notion of identity, based on racial and cultural purity, and I propose that the hybrid selves encoded in these narratives have the capacity to inform a new South African nationhood. Chapter One necessitates an autocritique, in which I locate my own discourse within the intersecting discursive strands of Western and local theory, an effort that is guided by the imperatives that emerge from the autobiographies themselves. In Chapter Two, I suggest that the postcolonial autos displaces Humanist, and appropriates postmodernist, conceptions of the "I". Rewriting the terms of the autobiographical pact, the authority of grapos is re-instated in counternarratives that give privileged status to the bios - to lives that claim "I AM!" and selves that reconstruct identity. A related concern is the relationship between autobiographical criticism in South Africa and hegemony. In the chapters that follow, I examine the various ways in which counterhegemonic selves are constructed in Tell freedom, Down Second Avenue, Drawn in colour: African Contrasts and The Ochre People. Peter Abrahams's autobiography is discussed largely in terms of Frantz Fanon's insights on identity construction and the notion of a "hybrid I". Es'kia Mphahlek's (re)writing of the self - whose main feature is ambivalence - forms the focus of Chapter Four. These notions are developed in the final chapter, which focuses on Noni Jabavu's narratives that encode an "in-between" cultural identity and, as in the autobiographies of Abrahams and Mphahlele, a metonymic "I". / English Studies / D. Litt. et Phil. (English)

Text in Afrikaans / In this thesis the term post-colonialism in the Afrikaans drama is investigated, focussing on the post-sixties. The term post-colonialism is difficult to define. Not only are theories of post-colonialism in a state of continuous flux and shifting emphasis, but as a result of different colonial dominations, separate identities have been constructed in South-Africa; so that defining the terms colonial, post colonial and post-colonial proves to be even more problematic. The purpose of this study is to determine to what extent the Afrikaans drama fits into these discourses. The basic point of departure is the fact that post-colonialism played a considerable role in the development of the Afrikaans drama, at the same time providing a more varied scope. The research covers several aspects of post-colonialism in Afrikaans drama; each dealt with in a separate chapter. A multitude of perspectives are featured within the broader discourse in order to obtain multiple norms and standards in a phase of self-criticism. The focus falls mainly on themes and not on performance aspects. New perspectives on issues such as canon texts, silence, hero-worship, the portrayal of woman, patriarchy, and neo-colonialism are presented (chapter 1). In chapter 2 focus falls on the period before 1960, and notably the question of nationalism (associated with apartheid) and the portrayal of the Afrikaner. The literary canon, forms of violence and the position of the super-Afrikaner are viewed in a new light during the re-writing of post-colonial history and the resulting paradigm shifts after 1960. Renewed emphasis is placed on discourse concerning land (chapter 3). Contrasting concepts regarding race, class, language, gender and religion are reconsidered in order to contribute towards the heterogeneous nature of post-colonialism (chapter 4). The function of theatre is to re-evaluate in the context of a post-1994 democratic system. Texts now focus especially on empowerment, re-discovery and re-ordering of history, reconciliation, inter-cultural contact and a post-apartheid syndrome (chapter 5). Anti-hegemonic resistance in Afrikaans literature since the sixties has confronted writers with the challenge of depicting or creating a larger post-colonial reality through their texts. / Afrikaans & Theory of Literature / D. Litt. et Phil. (Afrikaans)

All bodies of critical discourse on any given literary canon seek visibility through self- celebration, subversion of competing critical ideas and identification with supposedly popular, scientific and incisive critical theories. Thus, the literary-critical quest for significance and visibility is, in essence, a quest for „space‟, „voice‟ and „authority‟ in the discussion of aspects of a given literary corpus. This research explores the politics of „space‟, „voice‟ and „authority‟ in „white critical thought‟ on „the black Zimbabwean novel‟. It unfolds in the context of the realisation that as a body of critical discourse on „the black Zimbabwean novel‟, „white critical thought‟ does not only emerge in an intellectual matrix in which it shares and competes for „space‟, „voice‟ and „authority‟ with other bodies of critical thought on the literary episteme in question; it also develops in the ambit of Euro-African cultural politics of hegemony and resistance. Thus, the research sets out to identify the ways in which „white critical thought‟ affirms and perpetuates or questions and negates European critical benchmarks and cultural models in the discussion of selected aspects of „the black Zimbabwean novel‟. The investigation considers the fissures at the heart of „white critical thought‟ as a critical discourse and the myriad of ways in which it interacts with competing critical discourses on the „the black Zimbabwean novel‟. It derives impetus from the fact that while other versions of critical thought on „the black Zimbabwean novel‟ have received extensive metacritical discussion elsewhere, „white critical thought‟ remains largely under-discussed. This phenomenon enables it to solidify into a settled body of critical thought. The metacritical discussion of „white critical thought‟ in this research constitutes part of the repertoire of efforts that will help check the solidification of critical discourses into hegemonic bodies of thought. The research makes use of Afrocentric and Postcolonial critical tenets to advance the contention that while „white critical thought‟ on „the black Zimbabwean novel‟ is fraught with fissures and contradictions that speak directly to its complexity and resistance to neat categorisation, it is largely vulnerable to identification as part of the paraphernalia of European cultural and intellectual hegemony in African literature and its criticism, given its tendency to discuss the literature outside the context of critical theories that emerge from the same culture and history with the literary corpus in question. / African Languages / D. Litt. et Phil. (African Languages)

Amharic literature has always occupied an important place in the history of the literary traditions of Ethiopia. Although this literature is believed to be strongly related to the politics of the country, there has been no study that proves this claim across the different political periods in the country. It would be ambitious to deal with all the literary genres in this respect. Therefore, delimiting the investigation of the problem is considered to be useful to filling the knowledge gap. Accordingly, this comparative research which investigates a representation of Ethiopian politics in selected Amharic novels across three political periods: 1930 – 2010 was designed. The objective of the research is to investigate the representation of Ethiopian politics in selected Amharic novels. The basic research question focuses on how these representations can be explained. An eclectic theoretical approach (the New Historicism, Bourdieu’s System Theory and the Critical Discourse Analysis) is employed to understand the representations. The main method of data collection focuses on a close reading of non-literary and literary texts. A purposive sampling technique is used to select the sample novels as the technique allows to select those that yield the most relevant data using some criteria. Based on the criteria set, sixteen novels are selected. The manners in which the political events represented in the novels are examined using different parameters. The parameters also look into the methods used in representing the political events and the time in which the events were represented, i.e. whether they are represented contemporarily, post-contemporarily or before the actual happening of the event. Having read the novels critically, the political events that took place in the three respective states are identified, analyzed and interpreted. The analysis mainly shows that different novels represented the political events in different manners: lightly or deeply, overtly or covertly, positively or negatively, contemporaneously or post-contemporaneously. Regarding the ‘how’ of the representations, it is observed that the critical novels, for instance, Alïwälädïm and Adäfrïs are covert and use symbols, direct and indirect allusions and other figures of speeches, and other techniques including turn taking, and size of dialogues to achieve their goals. Some political events are found to be either under-represented or totally un-represented in the novels. In some cases, same political events are represented differently in different novels at different times. Some novels that criticized the political events of the governments contemporaneously have been removed from market, republished in the political period that followed and exploited by the emerging government for its political end. There are some patterns observed in the analyses and interpretations of the politics in the novels. One of the patterns is that sharp criticisms on the events of an earlier political period are usually reflected in novels published in a new period. The critique novels of the Haileselassie government, for instance, Maïbäl Yabïyot Wazema, were published during the Darg period, and those that were critical of the Darg government, for instance, Anguz, were published in the EPRDF period. Another pattern observed is that there is no novel that praises a past regime, even despite being critical of a contemporary government. No novel written during the Darg period admired the Haileselassie period; and no novel written during the EPRDF period appreciated the Darg period. There are cases in which novelists who were critical of the contemporary Haileselassie and Darg periods, for instance, Abe and Bealu, respectively, ended up in detention or just disappeared and their novels, Alïwälädïm and Oromay, respecitely were banned from being circulated. Unlike the two previous political periods, the critique novels of the EPRDF period, for instance Dertogada, Ramatohara, and Yäburqa Zïmïta, have been published, or even republished, several times. Novels written during the Haileselassie period, such as Alïwälädïm, which were critical of the respective contemporary period, made their criticism covertly, using probes and imaginary settings and characters, while the critique novels of the EPRDF period, criticize overtly, and boldly. Generally, it could be concluded that the novels had the power to reflect history, and show human and class relationships implicitly, through the interactions of characters, story developments, and plot constructions, and the impact that politics has on the literature, and the influence of literature on politics. / Classics and World Languages / D. Phil. (Theory of Literature)