The purpose of this essay is to perform a comparative psychoanalytic reading of The Great Gatsby (1925) and The Picture of Dorian Gray (1891) in terms of the titular characters’ narcissistic behavior. My claim is that Jay Gatsby and Dorian Gray can be seen as different depictions of narcissism. Literary critics in previous research characterized Gatsby and Gray as narcissists, but, there has not been a comparison between the two with focus on their narcissism. Gatsby and Gray display crucial differences which suggests that they portray narcissism in different ways. Theodore Millon identified four subtypes of the original narcissistic personality in order to better identify different types of narcissists. My aim is to use his subtypes to identify, and provide the causes and effects of Gatsby’s and Gray’s particular narcissistic behavior. My analysis indicates that Gatsby can be seen as a fictional illustration of the unprincipled and compensatory narcissist while Gray can be viewed as a fictional characterization of the amorous narcissist.

This essay focuses on the alienation experienced by Rusty-James in S.E. Hinton’s Rumble Fish (1975). It more specifically centers on the causes of his alienation and how the alienation is illustrated in the novel. The analysis shows that the alienation Rusty-James experiences is caused partly by socioeconomic factors; for example his lack of hope for the future is closely connected to the fact that he belongs to a low socioeconomic class. In addition, there are also psychological factors, for example a childhood trauma. The alienation and its causes are mainly illustrated through the symbolism of the featured Siamese fighting fish and how Rusty-James’ relationships are depicted.

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Submitted by Igor Matos (igoryure.rm@gmail.com) on 2017-02-09T15:08:15Z No. of bitstreams: 1 DISS_2015_Rayssa Duarte Marques Cabral.pdf: 2097959 bytes, checksum: 861794f749d9db4f65edef9bf13f2b8a (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-02-10T10:36:00Z (GMT) No. of bitstreams: 1 DISS_2015_Rayssa Duarte Marques Cabral.pdf: 2097959 bytes, checksum: 861794f749d9db4f65edef9bf13f2b8a (MD5) / Made available in DSpace on 2017-02-10T10:36:00Z (GMT). No. of bitstreams: 1 DISS_2015_Rayssa Duarte Marques Cabral.pdf: 2097959 bytes, checksum: 861794f749d9db4f65edef9bf13f2b8a (MD5) Previous issue date: 2015-04-16 / CAPES / Esta dissertação tem como objeto de estudo a obra Feriado de mim mesmo (2005), do escritor brasileiro contemporâneo Santiago Nazarian. Tendo em vista a produção recente, o presente trabalho visa a contribuir para a formação da crítica literária acadêmica do autor, bem como refletir sobre a literatura contemporânea e a contemporaníssima, os escritores recém-chegados das Gerações 90 e Zero Zero e seu processo de canonização; além de tratar do extremo da individualização, ao que chamamos de “umbiguismo solipsista”, fazendo uma reflexão sobre o gênero romance e seus protagonistas cada vez mais introspectivos. A análise crítica da obra contou com certo aparato da Psicanálise, por meio da utilização de conceitos como “estádio do espelho”, “consciente”, “inconsciente” e “pequeno outro” e “grande outro”, para preencher e esclarecer certas lacunas deixadas na narrativa. Para tanto, optou-se pela apresentação da análise por meio da apresentação pormenorizada do enredo que foi linearmente, recontado e, quando cabível, interrompido por esta pesquisadora. / This dissertation has as study object the book Feriado de mim mesmo (2005), by the contemporary Brazilian writer Santiago Nazarian. Considering the recent production, this paper aims to contribute to the formation of the author’s academic literary criticism, and also to reflect on contemporary literature and “the most contemporary” literature, the newcomers writers of 90s and Zero Zero generations and their process of canonization; to treat the extreme individualization, to what we call “umbiguismo solipsista”, making a reflection on the romance genre and its protagonists increasingly introspective. The critical analysis of the work took some apparatus of psychoanalysis, by the use of concepts such as “mirror stage”, “aware”, “unconscious” and “small other” and “big other”, to fill gaps and clarify certain left in the narrative. Therefore, we opted for the presentation of the analysis through detailed presentation of the plot that was linearly recounted and, when appropriate, interrupted by this researcher.

In this paper I have strived to provide a new view on a timeless classic of children’s literature, Winnie-The-Pooh. In psychoanalytic literary criticism concepts and theories of psychoanalysis is implemented while interpreting literature; in this paper, I have interpreted the novel incorporating concepts of the psychoanalytic schools of Sigmund Freud and Jacques Lacan while arguing that the denizens of the Hundred Acre Wood are manifestations of parts of the narrator’s unconscious. The first two sections of the paper present the theories and concepts of the two major schools of psychoanalysis as an introduction aimed at increasing the readability of the interpretation. The individual interpretations of each character are then presented separately, every section in some way involving psychoanalytic theory. Kanga, Roo, Piglet, Winnie-the-Pooh, Christopher Robin, Rabbit, Owl and Eeyore are shown to be repressed memories, feelings or thoughts. Included theoretical concepts are the Oedipus complex, the sexual development of infants, the journey of children towards consciousness, Lacanian desire and lack, Freudian dream interpretation and the conception that the unconscious is structured as language, among others.

<p>In this paper I have strived to provide a new view on a timeless classic of children’s literature, Winnie-The-Pooh. In psychoanalytic literary criticism concepts and theories of psychoanalysis is implemented while interpreting literature; in this paper, I have interpreted the novel incorporating concepts of the psychoanalytic schools of Sigmund Freud and Jacques Lacan while arguing that the denizens of the Hundred Acre Wood are manifestations of parts of the narrator’s unconscious. The first two sections of the paper present the theories and concepts of the two major schools of psychoanalysis as an introduction aimed at increasing the readability of the interpretation. The individual interpretations of each character are then presented separately, every section in some way involving psychoanalytic theory. Kanga, Roo, Piglet, Winnie-the-Pooh, Christopher Robin, Rabbit, Owl and Eeyore are shown to be repressed memories, feelings or thoughts. Included theoretical concepts are the Oedipus complex, the sexual development of infants, the journey of children towards consciousness, Lacanian desire and lack, Freudian dream interpretation and the conception that the unconscious is structured as language, among others.</p>

Les XIXe et XXe siècles sont caractérisés comme des siècles de la critique. La plus grande partie de cette thèse porte sur l’analyse de la « Nouvelle Critique » en relation avec l’œuvre de Jean Racine. Ce mouvement critique qui a marqué les années soixante, s’intéresse plutôt aux structures sous-Jacentes qui peuvent être dégagées d’une œuvre littéraire.Les représentants de la Nouvelle Critique qui sont en principe, Lucien Goldmann, Charles Mauron et Roland Barthes dégagent de l’œuvre racinienne, chacun de sa propre façon, une structure de base. La critique sociologique de Goldmann, la psychocritique de Mauron et la critique structurale de Barthes offrent plusieurs pistes de réflexion.Présenter les méthodes proposées par la Nouvelle Critique, dégager l’essentiel de ses théories et apprécier leur valeur en démontrant la raison qui les a rendues fondamentales ainsi que comprendre la polémique déclenchée autour d’elle sont pour ce travail des tâches à accomplir. Or, cerner les enjeux de la « Nouvelle Critique » dans la critique racinienne en examinant les critiques faites par d’autres critiques constitue l’objectif de ce travail. / The nineteenth and twentieth centuries are characterized as centuries of literary criticism. The primary objective of this thesis will focus on the methodology used by “New Criticism” in relation to the work of Jean Racine. The New Criticism was a formalist movement, popular in the sixties, which focuses on objectively evaluating the underlying structure and text from literary work.Representatives of ‘‘New Criticism”, such as, Lucien Goldmann, Charles Mauron and Roland Barthes utilized structure methods to interpret Racine's literary works. The Sociological criticism of Goldmann, the Psychoanalytic criticism of Mauron, and the Structuralism of Barthes offer several areas of consideration.The aim of this study is to present the methods proposed by “New Criticism”, to reveal the essence of its theories, to assess their value by demonstrating the reason of their importance, and to understand controversy sparked around this formalist movement. So, identifying the “challenges of the ‘’New Criticism” in Racine’s criticism’’ by examining the criticisms made by other critics is the purpose of this work.

Les XIXe et XXe siècles sont caractérisés comme des siècles de la critique. La plus grande partie de cette thèse porte sur l’analyse de la « Nouvelle Critique » en relation avec l’œuvre de Jean Racine. Ce mouvement critique qui a marqué les années soixante, s’intéresse plutôt aux structures sous-Jacentes qui peuvent être dégagées d’une œuvre littéraire.Les représentants de la Nouvelle Critique qui sont en principe, Lucien Goldmann, Charles Mauron et Roland Barthes dégagent de l’œuvre racinienne, chacun de sa propre façon, une structure de base. La critique sociologique de Goldmann, la psychocritique de Mauron et la critique structurale de Barthes offrent plusieurs pistes de réflexion.Présenter les méthodes proposées par la Nouvelle Critique, dégager l’essentiel de ses théories et apprécier leur valeur en démontrant la raison qui les a rendues fondamentales ainsi que comprendre la polémique déclenchée autour d’elle sont pour ce travail des tâches à accomplir. Or, cerner les enjeux de la « Nouvelle Critique » dans la critique racinienne en examinant les critiques faites par d’autres critiques constitue l’objectif de ce travail. / The nineteenth and twentieth centuries are characterized as centuries of literary criticism. The primary objective of this thesis will focus on the methodology used by “New Criticism” in relation to the work of Jean Racine. The New Criticism was a formalist movement, popular in the sixties, which focuses on objectively evaluating the underlying structure and text from literary work.Representatives of ‘‘New Criticism”, such as, Lucien Goldmann, Charles Mauron and Roland Barthes utilized structure methods to interpret Racine's literary works. The Sociological criticism of Goldmann, the Psychoanalytic criticism of Mauron, and the Structuralism of Barthes offer several areas of consideration.The aim of this study is to present the methods proposed by “New Criticism”, to reveal the essence of its theories, to assess their value by demonstrating the reason of their importance, and to understand controversy sparked around this formalist movement. So, identifying the “challenges of the ‘’New Criticism” in Racine’s criticism’’ by examining the criticisms made by other critics is the purpose of this work.

Les XIXe et XXe siècles sont caractérisés comme des siècles de la critique. La plus grande partie de cette thèse porte sur l’analyse de la « Nouvelle Critique » en relation avec l’œuvre de Jean Racine. Ce mouvement critique qui a marqué les années soixante, s’intéresse plutôt aux structures sous-Jacentes qui peuvent être dégagées d’une œuvre littéraire.Les représentants de la Nouvelle Critique qui sont en principe, Lucien Goldmann, Charles Mauron et Roland Barthes dégagent de l’œuvre racinienne, chacun de sa propre façon, une structure de base. La critique sociologique de Goldmann, la psychocritique de Mauron et la critique structurale de Barthes offrent plusieurs pistes de réflexion.Présenter les méthodes proposées par la Nouvelle Critique, dégager l’essentiel de ses théories et apprécier leur valeur en démontrant la raison qui les a rendues fondamentales ainsi que comprendre la polémique déclenchée autour d’elle sont pour ce travail des tâches à accomplir. Or, cerner les enjeux de la « Nouvelle Critique » dans la critique racinienne en examinant les critiques faites par d’autres critiques constitue l’objectif de ce travail. / The nineteenth and twentieth centuries are characterized as centuries of literary criticism. The primary objective of this thesis will focus on the methodology used by “New Criticism” in relation to the work of Jean Racine. The New Criticism was a formalist movement, popular in the sixties, which focuses on objectively evaluating the underlying structure and text from literary work.Representatives of ‘‘New Criticism”, such as, Lucien Goldmann, Charles Mauron and Roland Barthes utilized structure methods to interpret Racine's literary works. The Sociological criticism of Goldmann, the Psychoanalytic criticism of Mauron, and the Structuralism of Barthes offer several areas of consideration.The aim of this study is to present the methods proposed by “New Criticism”, to reveal the essence of its theories, to assess their value by demonstrating the reason of their importance, and to understand controversy sparked around this formalist movement. So, identifying the “challenges of the ‘’New Criticism” in Racine’s criticism’’ by examining the criticisms made by other critics is the purpose of this work.