In this dissertation it is argued that literary theories have traditionally extended abundant attention on authors and texts, neglecting, with very few exceptions, the impor- tant role of the READER. To address this imbalance, par- ticular attention will be paid to the view of Wolfgang Iser, that a literary text can only elicit a response when it is read, and that it is virtually impossible to describe this response without also analysing the READING PROCESS. I share this view as it makes logical sense: a literary text remains meaningless, a mere 'paper and ink' production without the involvement of the reader. It is also the reader's own com- petence, his sense of aesthetic perception which enables him to make sense of the, in the literary text embedded message, hence the title: "The Nature of Aesthetic Perception in Literature. The Interaction between Text and Reader in the Process of Perceiving Literary Texts." / Afrikaans and Theory of Literature / M.A. (Theory of Literature)

Orientador: Márcio Orlando Seligmann-Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T16:35:40Z (GMT). No. of bitstreams: 1 Vieira_Cristiana_D.pdf: 592475 bytes, checksum: b99a36482ad9f3a531f1f25b14b92642 (MD5) Previous issue date: 2013 / Resumo: O trabalho aqui apresentado é um estudo da obra da escritora de origem ucraniana, Irène Némirovsky, a partir de três de seus principais textos, David Golder, Vin de Solitude e Suíte Francesa. Este último foi publicado postumamente, graças à dedicação e ao trabalho de reescritura de suas filhas, Denise Epstein e Élisabeth Gille. A escritora nasceu em Kiev, no ano de 1903, quando os pogrons assolavam a Rússia e promoviam a migração de quase dois milhões de judeus para outros países. Sua obra foi reconhecida e publicada em sua maioria entre 1925 e 1940, na França, antes da captura e morte da autora em 1942 no campo de concentração de Auschwitz, aos 39 anos. Esses textos ficaram à deriva por mais de 60 anos, sem republicação e relegados ao esquecimento. Com o aparecimento de Suíte Francesa, no ano de 2004, toda a obra da autora foi republicada e seus textos traduzidos em mais de trinta países. Os aspectos gerais são a história dos judeus russos no início do século XX, a migração para outros países, sobretudo na Europa e aos Estados Unidos, a situação da França no período entre as duas guerras mundiais e a perseguição aos judeus que culminou com o Holocausto. Nesse cenário vêm inserir-se as questões íntimas, entre as quais a mais relevante é a relação de ódio com a mãe, que dará origem a muitos de seus textos / Abstract: The project presented here is a study of the work of the Ukrainian writer, Iréne Némirovsky, from 3 of her main works, David Golder, Vin de Solitud and Suíte Francesa. This last one was published posthumously, thanks to the dedication and work of the rewriting of her two daughters, Denise Epstein and Élisabeth Gille. The writer was born in Kiev, in the year of 1903, when pogroms ravaged the Jewish population and Russia was promoting the migration of almost two million Jews to other countries. Her work was recognized and published mostly between 1925 and 1940 in France before the author was captured and killed in 1942 at the Auschwitz Concentration Camp at the age of 39. These works were forgotten and not republished. With the appearance of Suíte Francesa, in 2004, all of her works were republished and her works were translated in over 30 countries / Doutorado / Teoria e Critica Literaria / Doutora em Teoria e História Literária

This thesis in its theoretical part deals with psychoanalytic and poststructural - ie posthumanistic views on the three interrelated, but in some aspects contradictory concepts of love, desire and jouissance. These concepts are examined as components (as will be pointed out) of not merely traditionally depicted heterosexual relationships. The above mentioned aspects considering the concept of love are mythology and constructedness, afterthat with respect to the concept of desire the aspect is the never-ending postponement, and in the view of jouissance the aspects are the loss and fragmentation of the self, its relationship to Freudian libido, and to the death instinct. This thesis traces the development of forms of the above concepts used by the psychoanalytic and poststructuralist authors such as Sigmund Freud, Jacques Lacan, Jacques Derrida, Judith Butler, Luce Irigaray, Hélène Cixous and Julia Kristeva, in their primary texts and also takes account of how they are received in the secondary literature. The theoretical part is therefore based on the scrutinization of primary texts and relevant secondary literature on these issues in the field of philosophy, gender and cultural studies and feminist and critical theory. In the second part the Czech literary texts dealing with the topics of...

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Este trabalho investiga a relação entre o leitor e o texto ficcional de um ponto de vista psicanalítico com o intuito de contribuir para uma metapsicologia do leitor literário. Ao leitor pressuposto na tessitura do texto, articula-se a singularidade do efeito que uma obra literária pode produzir em cada leitura, no encontro com cada leitor. Inspirada pelo método psicanalítico e a ficcionalidade do processo interpretativo, esta investigação parte de uma leitura do texto Água Viva de Clarice Lispector. Como recurso metodológico, abandonando o paradigma da psicanálise aplicada à literatura, a interpretação não será do texto nem da autora, mas da experiência de leitura a partir do que foi denominado, neste estudo, como campo transferencial entre leitor e texto literário. Um encontro que promove a transformação de ambos, leitor e texto. A cooperação imaginativa do intérprete, neste espaço intersubjetivo, torna-o deste ponto de vista, também interpretado do texto e este apontamento nos permitiu considerar que a alterabilidade do leitor e, portanto, a leitura de si mesmo a partir do texto literário, é condição imprescindível e inevitável para o mergulho nas páginas de um texto ficcional. No caso da obra literária escolhida, a convocação do leitor para uma participação criativa é feita por meio de uma travessia pelo reino do irrepresentável, paradoxalmente formado pela representabilidade da palavra. A experiência de leitura de Água Viva mostrou que este encontro se inscreve no leitor por meio de seu efeito e reescreve, como resultado, uma nova narrativa. Deste modo, a criação literária escrita nos remete à criação literária da leitura / This paper investigates the relationship between readers and fictional literary works from a psychoanalytic perspective. Our goal is to contribute to the reader´s metapsychology concerning fictional text. For every literary text there is an assumed reader, with assumed reactions to the work, but at the same time, in each reading, in each encounter with a particular reader, a singularity of response is produced. Our investigation is inspired by the psychoanalytic method and by the idea that every interpretative process is partly fictional. Clarice Lispector´s novel, Água Viva was its primary object. As methodological resource we abandoned the idea of applied psychoanalysis and rejected any biographic interpretation of the author´s life, or even an interpretation of the text as a given work of art that would need deciphering. Our interest was in interpreting a certain experience of reading and looking into what has been called in this paper the transference field between reader and literary work. When we look into this relationship as an encounter, we see it transforms both reader and text. There is an intersubjective space that is filled by the reader´s (or interpreter´s) imaginative input, and a movement is established that makes the reader read him or herself from what is presented in the text. To read oneself from the text is an inevitable and necessary condition to plunge into the pages of fictional work. The reading of Água Viva has shown that the effect of the encounter between reader and text is inscribed in the reader, producing a new narrative as a result. In this way, literary writing production actually produces the literary creation of reading

Este trabalho investiga a relação entre o leitor e o texto ficcional de um ponto de vista psicanalítico com o intuito de contribuir para uma metapsicologia do leitor literário. Ao leitor pressuposto na tessitura do texto, articula-se a singularidade do efeito que uma obra literária pode produzir em cada leitura, no encontro com cada leitor. Inspirada pelo método psicanalítico e a ficcionalidade do processo interpretativo, esta investigação parte de uma leitura do texto Água Viva de Clarice Lispector. Como recurso metodológico, abandonando o paradigma da psicanálise aplicada à literatura, a interpretação não será do texto nem da autora, mas da experiência de leitura a partir do que foi denominado, neste estudo, como campo transferencial entre leitor e texto literário. Um encontro que promove a transformação de ambos, leitor e texto. A cooperação imaginativa do intérprete, neste espaço intersubjetivo, torna-o deste ponto de vista, também interpretado do texto e este apontamento nos permitiu considerar que a alterabilidade do leitor e, portanto, a leitura de si mesmo a partir do texto literário, é condição imprescindível e inevitável para o mergulho nas páginas de um texto ficcional. No caso da obra literária escolhida, a convocação do leitor para uma participação criativa é feita por meio de uma travessia pelo reino do irrepresentável, paradoxalmente formado pela representabilidade da palavra. A experiência de leitura de Água Viva mostrou que este encontro se inscreve no leitor por meio de seu efeito e reescreve, como resultado, uma nova narrativa. Deste modo, a criação literária escrita nos remete à criação literária da leitura / This paper investigates the relationship between readers and fictional literary works from a psychoanalytic perspective. Our goal is to contribute to the reader´s metapsychology concerning fictional text. For every literary text there is an assumed reader, with assumed reactions to the work, but at the same time, in each reading, in each encounter with a particular reader, a singularity of response is produced. Our investigation is inspired by the psychoanalytic method and by the idea that every interpretative process is partly fictional. Clarice Lispector´s novel, Água Viva was its primary object. As methodological resource we abandoned the idea of applied psychoanalysis and rejected any biographic interpretation of the author´s life, or even an interpretation of the text as a given work of art that would need deciphering. Our interest was in interpreting a certain experience of reading and looking into what has been called in this paper the transference field between reader and literary work. When we look into this relationship as an encounter, we see it transforms both reader and text. There is an intersubjective space that is filled by the reader´s (or interpreter´s) imaginative input, and a movement is established that makes the reader read him or herself from what is presented in the text. To read oneself from the text is an inevitable and necessary condition to plunge into the pages of fictional work. The reading of Água Viva has shown that the effect of the encounter between reader and text is inscribed in the reader, producing a new narrative as a result. In this way, literary writing production actually produces the literary creation of reading

À l’image des cas exposés par Freud, les romans de May Sinclair sont des objets déconcertants. Souvent qualifiés de textes hybrides qui se tiendraient à mi-chemin entre deux époques (celle des victoriens et le modernisme), ils se distinguent également par l’importance accordée aux discours théoriques. Esprit curieux au parcours singulier, May Sinclair est en effet également une essayiste prolifique, dont les publications sur le vote féminin et la condition des femmes, les articles de psychologie et de psychanalyse (issus de son implication auprès de la pionnière Medico-Psychological Clinic), les critiques littéraires ou les développements sur le néo-idéalisme semblent être en dialogue constant avec ses écrits de fiction. Ceux-ci ne sont jamais pour autant des romans à thèses. Bien au contraire, la prose sinclairienne s’attache systématiquement à remettre en question le cadre de référence, à prolonger le questionnement ou à affiner l’analyse, et propose ainsi un contrepoint intéressant aux modèles woolfiens de représentation du féminin. Afin de saisir ce qui fonde la démarche sinclairienne et de la situer dans son contexte intellectuel et artistique immédiat, ce travail propose une étude du dialogue intertextuel transdisciplinaire entre les différents travaux d’écriture Sinclair. Il s’agit plus précisément de montrer comment la pensée par cas et la pratique de l’étude de cas, telle qu’elle était pratiquée par Freud au tournant du XXe siècle, vient influencer la fiction sinclairienne, placée sous le signe d’une négociation singulière entre l’énigme et le modèle, entre l’abstrait et l’inconnu. / May Sinclair’s novels, like Freud’s case narratives in their times, rely on singularity. If their conflicting Victorian and modernist dynamics are often underlined, another type of structural hybridity is also perceptible, namely the important role played by theoretical discourses. May Sinclair is indeed a prolific essayist, whose papers on femininity and women Suffrage, on psychology and psychoanalysis (based on her involvement with the Medico-Psychological Clinic), and on her neo-idealist philosophy, as well as her many literary reviews, are ingrained in her fiction, which still manages to stay away from any form of didacticism. Indeed, Sinclair’s fiction seems to constantly try and challenge its theoretical framework and raises new issues on the representations of feminine consciousness. It thus provides us with an interesting counterpoint to Woolf’s. In order to highlight the specific dynamics of Sinclair’s approach to fiction and to situate Sinclair’s novels within their intellectual and artistic context, this thesis explores the transdisciplinary, intertextual dialogue between Sinclair’s fiction and non-fiction. More precisely, this work aims at showing how the psychoanalytical case-based reasoning method initiated by Sigmund Freud at the turn of the twentieth century plays a central role in Sinclair’s writings, which appears as a complex negotiation between enigma and model, or between the abstract and the unknown.

University of Macau / Faculty of Social Sciences and Humanities / Department of English

Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2007. / Bibliography: p. 239-289.

Thesis (Ph. D.)--University of California, San Diego, 1997. / Vita. Includes bibliographical references (leaves 185-200).