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This study approaches parody as a multifarious literary form that has assumed diverse forms and functions throughout history. The study handles this diversity by classifying parody according to its objects of imitation. Three major parodic kinds are specified: parody directed at texts and personal styles, parody directed at genre, and parody directed at discourse. In the light of this classification, this study argues that different literary-historical periods in Britain have witnessed the prevalence of different kinds of parody &amp / #8211 / a phenomenon that may be accounted for mainly through the dominant literary, cultural, social, and ideological characteristics of each period. Although all periods from the Middle Ages to the present are considered in this regard, the study attributes a special significance to the postmodern age, where parody has become not only an essential area of inquiry but also a highly popular and widely produced literary form. In line with this emphasis, the study contends further that postmodern parody is primarily discourse parody. It argues, in other words, that discourse is the most essential target of parody during the postmodern age &amp / #8211 / a phenomenon which can again be explained through the major concerns of postmodernism as a movement. In addition to situating parody and its kinds in a historical context, then, this study engages in a detailed analysis of parody in the postmodern age, preparing the ground at the same time for making an informed assessment of the direction parody in general and its kinds in particular may take in the near future.

The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso, the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist’s approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier´s El arpa y la sombra and Posse´s Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power.

Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-05-22Bitstream added on 2014-06-13T19:42:27Z : No. of bitstreams: 1 arauz_var_dr_arafcl.pdf: 518515 bytes, checksum: aad5577c808839d40806e7925738424e (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem como objetivo empreender uma análise sobre a construção dos mundos ficcionais da trilogia I nostri antenati, composta pelos romances Il visconte dimezzato (1952), Il barone rampante (1957) e Il cavaliere inesistente (1959) de Italo Calvino, considerando esses romances como um marco para as escolhas estéticas que acompanhariam esse autor por toda a sua produção ao longo do século XX. Essa leitura está apoiada em três pontos, ou seja, a atuação discursiva de cada um dos narradores; o diálogo estabelecido entre os romances e outros textos literários; e o lugar dessas três narrativas no contexto da produção de Calvino. As três personagens singulares que povoam esses mundos são: um visconde simetricamente dividido, o qual passa a viver entre opostos inclusive no seu trato com a linguagem; um jovem barão, que de cima das copas das árvores acompanha e participa dos destinos da humanidade e até mesmo das mudanças no campo da literatura no final do século XVIII; e um cavaleiro que, apesar de ser o melhor dentre os paladinos do exército francês não é nada além de uma armadura vazia, sustentada por um conjunto de regras e instituições presentes no imaginário das novelas de cavalaria. Assim, as narrativas se propõem a tratar dos antepassados do homem contemporâneo, questionando as posturas positivistas e racionalistas do período conhecido como modernidade, além de serem textos cujos narradores se percebem como elementos de mundos ficcionais singulares e refletem sobre o ato de narrar. Considera-se ainda fundamental o papel do leitor como co-construtor de sentido, responsável enquanto instância discursiva pela existência de uma série infinita de interpretações iniciada pela leitura. Finalmente, entende-se que esses três romances pertencem ao início de uma mudança na escritura de Calvino, que passa a oferecer uma discussão sobre o lugar do homem... / This work has the aim of making an analysis of the construction of the fictional worlds of I nostri antenati trilogy, comprised by Italo Calvino’s novels Il visconte dimezzato (1952), Il barone rampante (1957) and Il cavaliere inesistente (1959). It considers those novels as a landmark to the aesthetic choices that would follow the author along his work during the 20th century. This reading is supported by three points, which are the discourse of each narrator; the dialogue established between the novels and some other literary texts; and the position of these three novels in the context of Calvino’s works. The three singular characters who inhabit these worlds are a symmetrically divided viscount, who starts to live between oppositions, including his way of dealing with language; an young baron, who is on the top of the trees and who follows and participates in the destiny of mankind and even in the changes on literary issues at the end of the 18th century; and a knight who, though he is the best among French army paladins, is nothing beside an empty piece of armor, supported by a framework of rules and institutions that is related to the cavalry novels imaginary. Thus, these narratives propose to discuss the ancestors of contemporary men, by questioning the positivist and rationalist positions of the period known as modernity, moreover they are texts whose narrators see themselves as some singular fictional world components and they reflect about the narrative act itself. We also consider fundamental the rule of the reader as a meaning cobuilder, a discursive instance who is responsible for the existence of an infinite series of interpretations, started on the reading act. We finally understand these three novels as inserted in the beginning of the changing in Calvino’s writing, when he starts to discuss the place of mankind in the face of the challenges presented to it after... (Complete abstract click electronic access below)

Orientador: Maria Lúcia Outeiro Fernandes / Banca: Adriana Iozzi Klein / Banca: Maria Gloria Cusumano Mazzi / Banca: Rejane Cristina Rocha / Banca: Hilário Antonio Amaral / Resumo: Este trabalho tem como objetivo empreender uma análise sobre a construção dos mundos ficcionais da trilogia I nostri antenati, composta pelos romances Il visconte dimezzato (1952), Il barone rampante (1957) e Il cavaliere inesistente (1959) de Italo Calvino, considerando esses romances como um marco para as escolhas estéticas que acompanhariam esse autor por toda a sua produção ao longo do século XX. Essa leitura está apoiada em três pontos, ou seja, a atuação discursiva de cada um dos narradores; o diálogo estabelecido entre os romances e outros textos literários; e o lugar dessas três narrativas no contexto da produção de Calvino. As três personagens singulares que povoam esses mundos são: um visconde simetricamente dividido, o qual passa a viver entre opostos inclusive no seu trato com a linguagem; um jovem barão, que de cima das copas das árvores acompanha e participa dos destinos da humanidade e até mesmo das mudanças no campo da literatura no final do século XVIII; e um cavaleiro que, apesar de ser o melhor dentre os paladinos do exército francês não é nada além de uma armadura vazia, sustentada por um conjunto de regras e instituições presentes no imaginário das novelas de cavalaria. Assim, as narrativas se propõem a tratar dos antepassados do homem contemporâneo, questionando as posturas positivistas e racionalistas do período conhecido como modernidade, além de serem textos cujos narradores se percebem como elementos de mundos ficcionais singulares e refletem sobre o ato de narrar. Considera-se ainda fundamental o papel do leitor como co-construtor de sentido, responsável enquanto instância discursiva pela existência de uma série infinita de interpretações iniciada pela leitura. Finalmente, entende-se que esses três romances pertencem ao início de uma mudança na escritura de Calvino, que passa a oferecer uma discussão sobre o lugar do homem... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work has the aim of making an analysis of the construction of the fictional worlds of I nostri antenati trilogy, comprised by Italo Calvino's novels Il visconte dimezzato (1952), Il barone rampante (1957) and Il cavaliere inesistente (1959). It considers those novels as a landmark to the aesthetic choices that would follow the author along his work during the 20th century. This reading is supported by three points, which are the discourse of each narrator; the dialogue established between the novels and some other literary texts; and the position of these three novels in the context of Calvino's works. The three singular characters who inhabit these worlds are a symmetrically divided viscount, who starts to live between oppositions, including his way of dealing with language; an young baron, who is on the top of the trees and who follows and participates in the destiny of mankind and even in the changes on literary issues at the end of the 18th century; and a knight who, though he is the best among French army paladins, is nothing beside an empty piece of armor, supported by a framework of rules and institutions that is related to the cavalry novels imaginary. Thus, these narratives propose to discuss the ancestors of contemporary men, by questioning the positivist and rationalist positions of the period known as modernity, moreover they are texts whose narrators see themselves as some singular fictional world components and they reflect about the narrative act itself. We also consider fundamental the rule of the reader as a meaning cobuilder, a discursive instance who is responsible for the existence of an infinite series of interpretations, started on the reading act. We finally understand these three novels as inserted in the beginning of the changing in Calvino's writing, when he starts to discuss the place of mankind in the face of the challenges presented to it after... (Complete abstract click electronic access below) / Doutor

These stories explore contemporary people who find their lives taking a shape they fear. These people often try to cling to their old life, control a loved one who is changing, or seek an escape. Their aspirations are often higher than where they land. Their situation resembles the writer’s situation in attempting to shape the lives of characters: they attempt to control what often cannot be controlled.

This paper explores narratology with a focus on metaphorical and physical voice in Don DeLillo’s 1982 novel, The Names. Beginning with an overview of previous criticism on the novel and an exploration of its post-modern qualities, I progress into a discussion of meaning, and how it can be found in the narratological voice. The concepts of semantic and vocal form of meaning are taken into consideration. Moreover, it is demonstrated how language in The Names is both representational and experiential.Analysing the novel both in print and in audiobook format, I study voice from the perspective of post-classical narratology. With the use of audionarratological theory, I illustrate how voice in The Names is transformed into an explicit and amplified presence when encountered in its audiobook form. In this context, ideological characteristics of the voice are explored, and I look at how they are semiotically communicated.Finally, since criticism of post-modern fiction usually focuses on representational and metafictional qualities of language, this paper advocates for future research on the experiential qualities of language and asks for this mindset to be applied when analysing post-modern fiction. It is illustrated how the experience of listening to an audiobook version can add to the interpretation of a printed work.

This diploma thesis focuses primarily on the relation between inner and outer landscape in postmodern fiction, i.e. on specific concepts of individual fictional spaces and the ways in which they resonate with the protagonists' means of perception. As a particular starting point, these four works are used: Trýznivé město by D. Hodrová, Pravěk a jiné časy by O. Tokarczuková, Země vod by G. Swift and prose collections Fikce and Alef by J. L. Borges. In the diploma thesis, the term "inner landscape" refers to a spectrum of concepts connected with the theme of subjective perception, among which the most important are topics of recollection and descending into deeper layers of the space - i.e. to the symbolical or mythical layer - and, thus, deeper to understanding one's identity. Therefore, a crucial part of the diploma thesis is to grasp characteristic features of individual fictional worlds and to interpret them in relation to perception and identity of characters. This interpretation is based on the definition of individual topoi and dominants as well as on the presupposition of the vertical structure of the works which implies merging of different time, space and conceptual levels. In the diploma thesis, the dynamic aspect is accentuated so the attention is paid to the protagonists' moving through...

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