Esta tese de doutorado analisa dois romances do escritor Norte-Americano Robert Coover como exemplos de escrita hipertextual e de hiperficção no suporte do livro de papel. A complexidade dos romances John's Wife e The Adventures of Lucky Pierre integra os elementos culturais característicos da atual fase do capitalismo e as práticas tecnologizadas que vêm forjando uma subjetividade diferente na escrita e leitura hipertextual, a subjetividade pós-humana. Os modelos da complexidade dos romances derivam do conceito de atratores estranhos da Teoria do Caos e de rizoma da Nomadologia. As transformações no grau de corporeidade dos personagens estabelecem o plano em que se discute a turbulência e a pós-humanidade. As noções de padrões dinâmicos e atratores estranhos e os conceitos do Corpo sem Órgãos e do Rizoma são interpretados para se revisar a narratologia e chegar a categorias apropriadas ao estudo dos romances. A leitura exercitada nesta tese põe em prática a proposta de leitura corpórea de Daniel Punday. As mudanças no grau de materialidade dos personagens são associadas aos estágios de ordem, turbulência e caos na estória, agindo sobre a constituição da subjetividade ao longo do processo de leitura. A inscrição dos planos de consistência que Coover realiza para se contrapor à linearidade e acomodar as feições hipertextuais nas narrativas em papel descreve a trajetória rizomática dos personagens. O presente estudo leva a concluir que a narrativa hoje se constitui antes como um regime numa relação rizomática com outros regimes na prática cultural do que como forma e gênero predominantemente literários. Também se conclui que a subjetividade pós-humana emerge alinhada a uma identidade de classe que tem nos romances hipertextuais a sua forma literária predileta. / This doctoral dissertation analyzes two novels by the American novelist Robert Coover as examples of hypertextual writing on the book bound page, as tokens of hyperfiction. The complexity displayed in the novels, John's Wife and The Adventures of Lucky Pierre, integrates the cultural elements that characterize the contemporary condition of capitalism and technologized practices that have fostered a different subjectivity evidenced in hypertextual writing and reading, the posthuman subjectivity. The models that account for the complexity of each novel are drawn from the concept of strange attractors in Chaos Theory and from the concept of rhizome in Nomadology. The transformations the characters undergo in the degree of their corporeality sets the plane on which to discuss turbulence and posthumanity. The notions of dynamic patterns and strange attractors, along with the concept of the Body without Organs and Rhizome are interpreted, leading to the revision of narratology and to analytical categories appropriate to the study of the novels. The reading exercised throughout this dissertation enacts Daniel Punday's corporeal reading. The changes in the characters' degree of materiality are associated with the stages of order, turbulence and chaos in the story, bearing on the constitution of subjectivity within and along the reading process. Coover's inscription of planes of consistency to counter linearity and accommodate hypertextual features to the paper supported narratives describes the characters' trajectory as rhizomatic. The study led to the conclusion that narrative today stands more as a regime in a rhizomatic relation with other regimes in cultural practice than as an exclusively literary form and genre. Besides this, posthuman subjectivity emerges as class identity, holding hypertextual novels as their literary form of choice.

Este trabalho investiga se no Brasil o lugar social destinado pela sociedade às pessoas que possuem diagnósticos relativos à psicose é semelhante àquele que o poder soberano destina ao homo sacer. Para isso, o referencial teórico estudado baseia-se na pesquisa de Agamben sobre o homo sacer e na teoria psicanalítica da psicose, mas não de forma exaustiva, e sim recortando possíveis contribuições. Essas noções subsidiam toda discussão que vai dos primeiros entendimentos sobre loucura, atravessando o ideal de eugenia, até desembocar na reforma psiquiátrica e no Serviço de Residência Terapêutica SRT como contraponto à política manicomial. Já para a pesquisa de campo, a metodologia escolhida baseou-se numa pesquisa qualitativa, com o uso de entrevista semiestruturada e de diários de campo. Os participantes foram divididos em três perfis: moradores do SRT que são egressos de períodos de longa internação em hospitais psiquiátricos, com nosologia relativa à psicose; cuidadores do SRT; e técnicos de nível superior que atuam na área da saúde mental. A análise das entrevistas foi baseada na análise de conteúdo. Os resultados evidenciam que a história da loucura no Brasil foi marcada pela exclusão, mas que os acontecimentos do século XX evidenciaram que o psicótico deixa de estar apenas no lugar do excluído e é jogado no lugar do homo sacer. Simultaneamente ao psicótico como homo sacer está a figura do neurótico como sobrevivente, mas ambos vivem a insegurança de se afogarem no rio da biopolítica. Já as falas dos moradores, cuidadores e técnicos reconheceram o hospital psiquiátrico como um lugar onde as pessoas são abandonadas por todos para morrer: abandonadas pelas famílias, abandonadas pela equipe do hospital, abandonadas pelo poder público, abandonadas pela sociedade como um todo. Mais que um lugar de abandono, o hospital psiquiátrico era um lugar de morte. A este lugar de morte surgiu como contraponto uma saúde mental voltada para a inserção social e territorial das pessoas acometidas de transtornos mentais, e o SRT mostrou-se um importante equipamento para efetivar tais ações. Para os participantes, o SRT é tudo o que o hospital psiquiátrico não é: Enquanto o hospital leva as pessoas para longe da cidade, a residência traz de volta para ela. Enquanto o hospital aprisiona irresponsavelmente, a residência liberta responsavelmente. Enquanto nos hospitais existem pacientes internados, na residência existem moradores que participam da sociedade. Enquanto nos hospitais corpos são usados desrespeitosamente, na residência vidas são vividas dignamente / This work problematizes and investigates if in Brazil the social place destined by the society to the people that have diagnoses related to the psychosis is similar to the one that the sovereign power destines to homo sacer. For this, the theoretical framework studied is based on Agamben\'s research on homo sacer and on the psychoanalytic theory of psychosis, but not in an exhaustive way, but rather by cutting possible contributions. These notions subsidize any discussion that goes from the first understandings about madness, crossing the ideal of eugenics, until it ends in the psychiatric reform and the Service of Therapeutic Residence - STR - as a counterpoint to the asylum policy. For the field research, the chosen methodology was based on a qualitative research, with the use of semi-structured interviews and field diaries. Participants were divided into three profiles: residents of the STR who are graduates of periods of long stay in psychiatric hospitals, with nosology related to psychosis; STR caregivers; and higher education technicians who work in the area of mental health. The analysis of the interviews was based on content analysis. The results show that the history of madness in Brazil was marked by exclusion, but that the events of the twentieth century showed that the psychotic is no longer only in the place of the excluded and is played in the place of homo sacer. Simultaneously with the psychotic as homo sacer is the figure of the neurotic as survivor, but both live the insecurity of drowning in the river of biopolitics. The speeches of the residents, caregivers and technicians have recognized the psychiatric hospital as a place where people are abandoned by all to die: abandoned by the families, abandoned by the hospital staff, abandoned by the public power, abandoned by society as a whole. More than a place of abandonment, the psychiatric hospital was a place of death. To this place of death a mental health aimed at the social and territorial insertion of the people affected by mental disorders appeared as a counterpoint, and the STR proved to be an important equipment to carry out such actions. For participants, the STR is all that the psychiatric hospital is not: While the hospital takes people away from the city, the residence brings it back to it. While the hospital imprisons irresponsibly, the residence frees responsibly. While in hospitals there are hospitalized patients, in the residence there are residents who participate in society. While in hospitals bodies are used disrespectfully, in residence lives are lived worthily

Made available in DSpace on 2017-07-10T18:55:42Z (GMT). No. of bitstreams: 1 Caroline De Bastiani.pdf: 1257009 bytes, checksum: 9ab2d74703ed004e73e315f48e24d2fd (MD5) Previous issue date: 2014-03-20 / This study aims to highlight the Manuel Puig city perspective as well as the imagery of the city design developed by the author throughout his life, based on the study of living space, memory, national identity and city look that have been recorded in their works through interaction with the arts. The Puig novels A Traição de Rita Hayworth (1968), The Buenos Aires Affair (1973) and Cae la Noche Tropical (1988), present different points of view linked to the various stages of his life. The first project, as an example, puts the reader on the mediocrity of the inhabitants of a town in Argentina, whose ideal reference is the capital city Buenos Aires, which aims New York City as a symbol of chimeric city while refusing his hometown, dismissing it. The third work, when dealing with the lives of two Argentine women who are living in Brazil, puts the caller on a breakup of the protagonists with their home country, showing the beauties and privileges of the city of Rio de Janeiro, while denying the city of Buenos Aires. The works were selected as the corpus of study for presenting elements that enable the configuration of the city imaginary showed by Puig: a cinematographic mark, visual arts, music and poetry. The city perspective of the characters evolves in each of the three novels, in relation to the conception of Argentina as the ideal city, changing as the life of the Argentine writer suffers multiple cultural shock upon contact with the reality of many countries and cities that were passed by him due to exile experienced as a result of the Argentine political moment / Este estudo objetiva evidenciar o olhar citadino em Manuel Puig, assim como a concepção imagética de cidade desenvolvida pelo autor ao longo de sua vida, tendo como base de estudo os espaços habitados, a memória, a identidade nacional, e o olhar citadino, aspectos que foram sendo registrados em suas obras mediante a interação com as artes. Os romances La traición de Rita Hayworth (1968), The Buenos Aires Affair (1973) e Cae la Noche Tropical (1988), de Manuel Puig, apresentam diferentes pontos de vista vinculados às diversas etapas de sua vida. A primeira obra, por exemplo, coloca o leitor diante da mediocridade dos habitantes de uma cidade do interior da Argentina, que têm como referência de cidade ideal a capital Buenos Aires. A segunda obra o faz mergulhar nos sonhos e desejos de Gladys, argentina de Buenos Aires, que almeja Nova Iorque como símbolo de cidade quimérica ao mesmo tempo em que recusa sua cidade natal, menosprezando-a. A terceira obra, ao tratar da vida de duas senhoras argentinas que estão vivendo no Brasil, coloca o interlocutor diante de um rompimento das protagonistas com seu país de origem, evidenciando as belezas e privilégios da cidade do Rio de Janeiro, enquanto recusa à cidade de Buenos Aires. As obras citadas foram selecionadas como corpus de estudo pois apresentam elementos recorrentes que possibilitaram a configuração do imaginário citadino apresentado por Puig: a marca cinematográfica, as artes plásticas, a música e a poesia. O olhar citadino das personagens evolui em cada um dos três romances citados em relação à concepção da Argentina como cidade ideal, transformando-se à medida que a vida do escritor argentino sofre múltiplos choques culturais ao entrar em contato com a realidade dos diversos países e cidades pelos que transitou devido ao exilio vivenciado como resultado do momento político argentino

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-22T17:24:37Z No. of bitstreams: 1 angiemirandaantunes.pdf: 1309439 bytes, checksum: bcce9e5e64deec08ea5b879150fe574b (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-22T17:41:11Z (GMT) No. of bitstreams: 1 angiemirandaantunes.pdf: 1309439 bytes, checksum: bcce9e5e64deec08ea5b879150fe574b (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-22T17:41:33Z (GMT) No. of bitstreams: 1 angiemirandaantunes.pdf: 1309439 bytes, checksum: bcce9e5e64deec08ea5b879150fe574b (MD5) / Made available in DSpace on 2017-05-22T17:41:33Z (GMT). No. of bitstreams: 1 angiemirandaantunes.pdf: 1309439 bytes, checksum: bcce9e5e64deec08ea5b879150fe574b (MD5) Previous issue date: 2014-10-03 / Este trabalho perscruta tanto a obra poética quanto a produção crítico-teórica W. H. Auden (1907-1973) com o intuito de desvelar as nuances da passagem da modernidade para a pósmodernidade no âmbito literário. A trajetória deste poeta anglo-americano ao longo de seus 45 anos (1928-1973) de produção nos permite vislumbrar e acompanhar as alterações da sua lírica, sempre atrelada às questões sociais e existenciais de seu tempo. A fim de mapear as marcas do trânsito de Auden entre a modernidade e a pós-modernidade, sem descurar da reflexão acerca das mesmas, fez-se necessário cotejar as teorizações do poeta com outros autores para tratarmos de numerosas questões, dentre as quais, destacamos linguagem, poesia, sujeito, sociedade, história, crítica literária. Tais procedimentos nos permitiram a seleção de um conjunto de poemas representativos das mudanças verificadas nos modos de Auden conceber a poesia e as suas funções sociais e existenciais, poemas estes analisados pari passu com nossas considerações teóricas. / This paper investigates both the poetic work and the critical-theoretical production of W. H. Auden (1907-1973) searching to unveil the nuances of the passage from modernity to postmodernity in the literary context. The way made by this Anglo-American poet throughout his 45 years (1928-1973) of production allows us to perceive and track changes in his lyric that is always linked to social and existential issues of his time. In order to follow Auden’s path between modernity and postmodernity, without neglecting the reflection about them, it was necessary to put side by side the theoric thoughts of the poet with those from other writers to talk about many issues, among which we highlight language, poetry, subject, society, history, literary criticism. These procedures allowed us to select a set of representative poems of real change in the ways that Auden conceives poetry, and its social and existential functions, these poems were analyzed pari passu with our theoretical considerations.

Cette étude met en lumière la dimension carnavalesque telle que théorisée par Mikhaïl Bakhtine chez Rabelais dans le roman cubain contemporain (El arpa y la sombra d’Alejo Carpentier, Paradiso de José Lezama Lima, De donde son los cantantes de Severo Sarduy, Tres tristes tigres de Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” de Reinaldo Arenas, La piel y la máscara de Jesús Díaz). Il s’agira principalement de montrer comment les caractéristiques de « ce monde à l’envers » qui marque la « vision carnavalesque » proposée par le théoricien russe s’inscrivent dans l’écriture, tant dans l’intégration des codes du carnaval comme motifs littéraires que dans les techniques narratives employées. Dans une lecture dépassant le concept baroque associé jusqu’ici aux romans cubains de notre corpus, nous envisageons la résurgence de traditions populaires anciennes de la fête carnavalesque, le mélange entre hommage et irrévérence, sacralisation et désacralisation, comme le symptôme d’une crise du sujet cubain, l’expression postmoderne du rejet des idoles en même temps que la manifestation d’un désir profond de retrouver une liberté provisoire dans la représentation littéraire carnavalisée et de se plonger dans l’âge d’or célébré par la fête. / This study sets out the Bakhtine “carnival dimension” in the Cuban contemporary novel (El arpa y la sombra by Alejo Carpentier, Paradiso by José Lezama Lima, De donde son los cantantes by Severo Sarduy, Tres tristes tigres by Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” by Reinaldo Arenas, La piel y la máscara by Jesús Díaz). Our main concern is to demonstrate that “upside down world characteristics” that fixe the “carnavalesque vision” proposed by the Russian theorist is part of the writing in the integration of the carnival’s codes both as literary themes as narrative techniques. In a reading exceeding the baroque concept associated up to now with the Cuban novels of our corpus, we envisage the resurgence of the carnival’s former popular traditions, the mixture between tribute and irreverence, sacralization and deconsecration, as the symptom of the Cuban subject’s crisis, the postmodern expression of the rejection of the idols at the same time as the demonstration of a deep desire to recover a temporary freedom in the carnivalized literary representation and to plunge into a golden age celebrated by the carnival.

I denna uppsats har kontaktytorna mellan det sublima och det absurda undersökts utifrån hur Lyotard och Camus definierar respektive begrepp. Uppsatsen har utgått från en forskningssituation där få jämförelser mellan dessa begrepp – som i sig kan te sig undflyende och vaga – verkar finnas. Syftet med undersökningen har således varit att låta nya perspektiv på de båda begreppen träda fram genom deras relation till varandra. Utifrån jämförelsen mellan det sublima och det absurda kan det konstateras att det tycks finnas klara kontaktytor mellan begreppen. Dessa kontaktytor har yttrat sig genom att begreppen delar likheter i följande avseenden: (1) de är båda negativa begrepp, (2) de innefattar liknande kritik mot rationalism, (3) båda begreppen innefattar moment av en för subjektet inledande känsla av hämmande som övergår i en stärkande känsla, (4) de påvisar distansen mellan subjektet och världen, (5) båda innefattar liknande anspråk på konsten som ett slags materialiserad form av deras egen innebörd. Utöver dessa direkta kopplingar uppmärksammades att det Camus kort beskriver som ”känslan av det absurda” kan ses som analogt med det sublima, vilket skulle kunna innebära att den absurda insikten, såsom Camus beskriver den är direkt kopplad till en sublim känsla. Alla dessa aspekter hänger förvisso samman, men det intressanta är att Lyotard och Camus skriver om dem på liknande vis i sina respektive texter. Relationen mellan begreppen kan således uttydas inte endast i generella, utan i specifika likheter.

This work is about the way we understand the concept of meaning of life. We particularly dwell upon existential analysis of American psychologist Irvin Yalom. We focus on his work as opposition to pessimism and nihilistic moods in nowadays society. In the other part of this work we have described basic concepts connected with the topic meaning of life and philosophical context with emphasis on Fridrich Nietszche's and Albert Camus's work and psychology of Viktor Frankl. The main goal of this work is to find if there is a way out in Yalom's existential analysis in confrontation with postmodern nihilism and feeling of meaningless of human life. Powered by TCPDF (www.tcpdf.org)

Hierdie studie ondersoek die aard van en opvattings oor reisliteratuur oor Kenia sedert 1963. Dit is ’n faset van die literatuur oor Kenia waaroor daar tot dusver nog nie indringend navorsing gedoen en besin is nie. Reisliteratuur het ’n lang geskiedenis in Afrika. ’n Aantal boeke is gedurende die negentiende eeu oor Afrika geskryf en Kenia is nie afgeskeep nie. Onder die skrywers tel Johann Ludwig Krapf, Joseph Thomson, graaf Samuel Teleki von Szek en Luitenant Ludwig von Höhnel. Van die geografiese kenmerke van die land wat indruk op hulle gemaak het, was die sneeubedekte Berg Kenia, die mere en die Groot Skeurvallei. Gedurende die twintigste eeu was daar ’n tyd toe skrywers van mening was dat vinniger vervoermiddels en massatoerisme ’n negatiewe invloed op individuele toerisme en die sogenaamde ideale omstandighede vir die skryf van reisliteratuur sou hê. Onlangse studies beklemtoon egter die hernieude belangstelling in reisliteratuur. Buitelandse kennis oor Kenia word aangevul deur reisliteratuur, hoewel dit ook ’n genre met sy eie reëls en geskiedenis is wat insae in die skrywers, uitgewers en lesers van die genre bied. Sedert 1963 is verskillende kategorieë reisliteratuur oor Kenia gepubliseer. Bekende skrywers wat Kenia besoek het en oor hulle ervarings geskryf het, sluit in Bill Bryson, Alberto Moravia, Shiva Naipaul, Paul Theroux en Wilfred Thesiger. ’n Prominente figuur in die kader van reisliteratuur is die plaaslik gebore fotojoernalis Mohamed Amin, wat die Camerapix-fotografie- en uitgewersagentskap begin het. Kenia se eks-Britse koloniale literatuur is deel van die postkoloniale era. Dit is egter nie waar dat die meeste van die tekste deel van die postkoloniale diskoers is nie. Aangesien al die boeke buite Kenia ontstaan en gepubliseer is, veral in die Weste, weerspieël die literatuur verskillende (nie-inheemse) perspektiewe van “die ander” asook verskillende soorte sosiopolitieke invloede. Deur sowel die hulpmiddels van die geskiedenis as die literatuurteorie te gebruik, is dit moontlik om die tekste beter te verstaan. In die postmoderne era is navorsing uit meer as een perspektief van besondere waarde. Reisliteratuur oor Kenia sedert 1963 is nie deur professionele historici geskryf nie en bewys dat verskeie mense tot die hibridiese dissipline van die geskiedenis kan bydra. Al hierdie tekste is gepubliseer en beklemtoon die rol van die gepubliseerde woord. Die tekste is in verskeie kategorieë reisliteratuur in een van die Europese tale, en nie in Kiswahili of een van Kenia se inheemse tale nie, geskryf. Die boeke bevestig onder meer die belangrikheid van die Swahili-geskiedenis, die bou van die Uganda Railway, die land se onafhanklikwording in 1963, die rol van presidente Jomo Kenyatta en Daniel arap Moi en die menslike nood in Kenia. Die geskiedenis van Kenia kan nie verstaan word sonder kennis van die land se geografie en natuurlewe nie, want die kenmerke was dikwels ’n uitdaging vir die mense en het allerlei soorte oorlewingstrategieë geverg. Die landskap trek ook baie besoekers na die land toe. / Thesis (DPhil)--University of Pretoria, 2013. / gm2013 / Historical and Heritage Studies / Unrestricted

This study focuses on exploring the relationship between domestic workers and the children they help to raise from the child’s perspective, using attachment theory (Bowlby, 1988) and psychoanalytic theory (referring specifically to Klein (1952) and Fairbairn (1952/2006) as some theoretical bases). Also, the concepts of the social unconscious (Weinberg, 2007) and social ghosts (Gergen, 2000) are used to provide a link to the relationship having social implications and functions in the South African context. All theories were used in an anti-essentialistic, reflexive and heuristic way, without reification or objectification of the various terms and concepts within the theories. Also, the paradigmatic point of departure for this research is postmodernism (Apignanesi, Sadar, Curry&Garrat, 2003), focusing on the contextual and socially constructed view of knowledge production. From this point of departure, the methodology is qualitative and the research design autoethnographic (Bochner, 1997; Ellis 1998; 2000; Muncey, 2005; Holman Jones, 2005). My own story is presented where I have used various data sources such as my own memories, a letter (Babbie&Mouton, 2008), and photographs which were analysed according to the principles of visual narrative analysis found in Riessman (2008) primarily. Further data was collected through the use of two radio talk shows, where participants were invited to share their stories with regard to being raised by a domestic worker. This data was analysed using thematic narrative analysis (Riessman, 2008), in which the narratives (kept as whole as possible) were analysed, each case in turn, using themes from the narratives themselves and deductive psychoanalytic themes. Some of the themes elicited were possession (where charges felt in possession of their domestic worker), absence (in relation to the child’s biological mother experienced both by domestic workers biological children and the domestic workers charges), loss (especially in relation to a caregiver), the male caregiver (a paternal figure to his charges), the politicisation of the relationship (the relationship between domestic worker and charge as product of a political system), reconciliation and action (a call for empathy and change), and an intertwining of cultures (where black and white, male and female, rich and poor exist inextricably linked with one another as a product of segregation). I have also maintained a consistent critical and reflexive stance throughout. In conclusion I have presented the contribution of this work to social science and society. Similarly, some limitations of this study are presented, as well as directions for further research. Copyright / Dissertation (MA)--University of Pretoria, 2010. / Psychology / unrestricted

The full text of this thesis/dissertation is not available online. Please <a href="mailto:upetd@up.ac.za">contact us</a> if you need access. Read the abstract in the section 00front of this document. / Dissertation (MA (Semitic Languages))--University of Pretoria, 2006. / Ancient Languages / unrestricted