O objeto de estudo deste trabalho são as obras The Country and the City, de Raymond Williams, publicada em 1973, e Duas Meninas, de Roberto Schwarz, de 1997. Na primeira, o foco incide principalmente sobre a obra de Thomas Hardy e o romance Jude, the Obscure, autor de fundamental importância para Williams; na segunda, em Dom Casmurro, de Machado de Assis, e em Minha Vida de Menina, de Helena Morley. A partir da premissa de que a crítica de arte pode e deve ser um instrumento de aferição social, tanto Williams quanto Schwarz questionam os pressupostos da cultura hegemônica e da tradição literária, com consequências não só para a literatura como também para a sociedade. Em Cambridge, Williams constata um problema de perspectiva histórica na representação do meio rural, ligado à ideologia que sustenta o sistema capitalista no centro, cujo avanço e democracia acredita serem questionáveis. No Brasil, na periferia do capitalismo, Roberto Schwarz detecta a reposição do atraso, por vezes aparentemente em vias de ser superado, como constata a partir das dinâmicas sociais explicitadas em Minha Vida de Menina. Assim, esta tese discute os pressupostos teóricos de Williams e de Schwarz, com a finalidade de explicitar os modos como os dois críticos leem a literatura, a sociedade e a tradição. O objetivo é o de demonstrar que a crítica literária pode ser uma ferramenta de produção de conhecimento, e que, vistos pelo olhar desses críticos, Brasil e Inglaterra, centro e periferia do capitalismo, têm muito a revelar um sobre o outro. / The aim of this study is to present a reading of The Country and the City, by Raymond Williams, published in 1973, and Duas Meninas, by Roberto Schwarz, 1997. In order to exemplify Williamss way of approaching literature, I investigate how the critic analyses the work of Thomas Hardy, especially the novel Jude, the Obscure. Departing from the idea that cultural criticism could and should be an instrument of social assessment, both Williams and Schwarz question the hegemonic culture and the literary tradition, with consequences both to society and literature, in the works mentioned above. In Cambridge, Williams realizes that there usually is a problem of perspective whenever the country is depicted in the English literature, a problem connected to the ideology that sustains the capitalist system in the center. To him, both progress and democracy can be put to doubt in there. In Brazil, the periphery of capitalism, Roberto Schwarz points to the reinstatement of old social problems, at times apparently almost to be left behind, as proven by the social dynamics found in Minha Vida de Menina, by Helena Morley. Therefore, in this dissertation I discuss the main topics of the theoretical apparatus of Williams and Schwarz, aiming at demonstrating how both critics approach literature, society and tradition. The main drive of this paper is to demonstrate that literary criticism could and should be a tool to enlighten the knowledge a society has of itself, and that, seen through the perspective of these critics, Brazil and England, center and periphery of capitalism, are pieces that have a lot to reveal about each-other.

O objeto de estudo deste trabalho são as obras The Country and the City, de Raymond Williams, publicada em 1973, e Duas Meninas, de Roberto Schwarz, de 1997. Na primeira, o foco incide principalmente sobre a obra de Thomas Hardy e o romance Jude, the Obscure, autor de fundamental importância para Williams; na segunda, em Dom Casmurro, de Machado de Assis, e em Minha Vida de Menina, de Helena Morley. A partir da premissa de que a crítica de arte pode e deve ser um instrumento de aferição social, tanto Williams quanto Schwarz questionam os pressupostos da cultura hegemônica e da tradição literária, com consequências não só para a literatura como também para a sociedade. Em Cambridge, Williams constata um problema de perspectiva histórica na representação do meio rural, ligado à ideologia que sustenta o sistema capitalista no centro, cujo avanço e democracia acredita serem questionáveis. No Brasil, na periferia do capitalismo, Roberto Schwarz detecta a reposição do atraso, por vezes aparentemente em vias de ser superado, como constata a partir das dinâmicas sociais explicitadas em Minha Vida de Menina. Assim, esta tese discute os pressupostos teóricos de Williams e de Schwarz, com a finalidade de explicitar os modos como os dois críticos leem a literatura, a sociedade e a tradição. O objetivo é o de demonstrar que a crítica literária pode ser uma ferramenta de produção de conhecimento, e que, vistos pelo olhar desses críticos, Brasil e Inglaterra, centro e periferia do capitalismo, têm muito a revelar um sobre o outro. / The aim of this study is to present a reading of The Country and the City, by Raymond Williams, published in 1973, and Duas Meninas, by Roberto Schwarz, 1997. In order to exemplify Williamss way of approaching literature, I investigate how the critic analyses the work of Thomas Hardy, especially the novel Jude, the Obscure. Departing from the idea that cultural criticism could and should be an instrument of social assessment, both Williams and Schwarz question the hegemonic culture and the literary tradition, with consequences both to society and literature, in the works mentioned above. In Cambridge, Williams realizes that there usually is a problem of perspective whenever the country is depicted in the English literature, a problem connected to the ideology that sustains the capitalist system in the center. To him, both progress and democracy can be put to doubt in there. In Brazil, the periphery of capitalism, Roberto Schwarz points to the reinstatement of old social problems, at times apparently almost to be left behind, as proven by the social dynamics found in Minha Vida de Menina, by Helena Morley. Therefore, in this dissertation I discuss the main topics of the theoretical apparatus of Williams and Schwarz, aiming at demonstrating how both critics approach literature, society and tradition. The main drive of this paper is to demonstrate that literary criticism could and should be a tool to enlighten the knowledge a society has of itself, and that, seen through the perspective of these critics, Brazil and England, center and periphery of capitalism, are pieces that have a lot to reveal about each-other.

This thesis re-examines the writing of Raymond Williams. It has two goals. Firstly, it explores Williams's concept of cultural materialism, which theorises the role played by cultural forms in the creation and contestation of a national political order. Secondly, it extrapolates Williams's implicit critique of the unitary British state, and his theory of how cultural forms relate to that state. In Chapter One, I argue that Williams developed his theory of culture by combining a theoretical critique of national literary traditions with an interest in the emergent drama of nineteenth-century Scandinavia and twentieth-century Ireland and Wales. This theme is developed in Chapter Two, where I suggest that certain cultural and political experiences in Wales helped Williams to develop a cultural theory that was more generally applicable. Central to Williams's political aspirations was an attempt to expand and democratise the education system. In Chapter Three, I argue that Williams's novels can be understood as university fiction, providing examples of the kind of university he wished to develop. Since universities arose as institutions generating a sense of unified national culture during the imperial period, to re-think the work of the university is also to re-think the political make-up of the nation. This theme is expanded in Chapter Four, where I argue that Williams related the break-up of the British empire to the break-up of the British state, via devolution in Scotland and Wales. Williams theorised the part played by fiction and other cultural forms in enabling those nations to develop their own voices. He also showed that fiction could provide an imaginative critique of the unitary British state from a series of other perspectives, notably feminism and ethnic subcultures. Finally, in Chapter Five I argue that Raymond Williams can be understood as a film theorist, and demonstrate that a similar renegotiation of British identities occurs in contemporary film. An interest in the political make-up of the British state, and an attempt to develop alternative political and cultural formations, spanned Williams's career. This aspect of his work has hitherto received little critical attention. By discussing Williams in relation to the political break-up of Britain, this thesis makes a significant contribution to our understanding of the Williams oeuvre.

Raymond Williams argues that a community’s cultural texts naturally draw upon its lived experience, and are thus a trustworthy expression of life within that community. This thesis explores the subject positions expressed in two contemporary texts—Wang Yuan’s Lipstick (又 红), and Ning Ying’s I Love Beijing (夏日暖洋洋)—to understand how urban Chinese individuals experience and comprehend the transformations convulsing their cities. To facilitate this, my primary goal in this thesis is to build a theoretical framework that uses the psychoanalytic work of Jacques Lacan and Slavoj Žižek to create the concept of the fantasy construction of the desiring subject. Using this concept, and drawing on two aspects of the cultural theories of Walter Benjamin—his heavily citational methodology and his theory of the flâneur—I examine the role of fantasy in the construction of contemporary urban Chinese individuals as desiring subjects. / Graduate / 0305 0295 / stetard@me.com

Structures of feeling represent the interaction between personal lived experience and fixed social values and meanings, which are found in interpretations of works of art. Studying various interpretations of any play in performance can provide a point of access into a culture because the choices made in the production can be compared to each other and to the written text and then reveal how the theatrical company views particular issues within their own time period. This study looks at productions of The Winter's Tale between 1981 and 2002 at the National Theatre and the Royal Shakespeare Company. Using numerous versions of this play not only increases the depth of our understanding of the play but also reveals how the actors and directors interact with British culture. Each production reveals a director's vision for the production as well as his or her own experience within the culture. Some issues and ideas that are reflected in these interpretations include both optimism and cynicism with regard to the political situation and public figures, an increase in spectacle, and secularization.

Enid Blyton and Agatha Christie were the most successful British women writers of their time. Christie and Blyton were contemporaries, living and writing in the United Kingdom during the first half of the twentieth century. This study takes into consideration these similarities in its examination of the depiction of dominant discourses in relation to emergent, alternative and oppositional discourses in their writing. This thesis suggests that while Enid Blyton and Agatha Christie offer alternatives to the dominant patriarchal discourses of the British Empire in the first half of the twentieth century, they show allegiance, too, to the dominant discourses of their time. Specific consideration is given to the portrayal of discourses concerned with gender, feminism, classism, British colonialism, racism, and xenophobia in their writing. The work of Enid Blyton and Agatha Christie was extremely popular in their time and still is today. Their important contribution to popular literature in England in the early twentieth century justifies a study of a selection of their work in relation to detective fiction and children’s literature as well as to studies of social history that include the investigation of how dominant discourse is both endorsed and challenged. / Thesis (DLitt)--University of Pretoria, 2010. / English / unrestricted

文中所稱之「文化取向的傳播研究」，是以英國的文化研究（CULTURAL STUDIES）為 代表。第一章導論，分析傳播之主流研究，並指出其極限，進而說明文化研究正可補 其不足。第二章試圖勾勒出研究的內涵。第三、四、五章闡釋文化研究的巨擘──雷 蒙•威廉斯之三組核心概念，分別是：１•文化、傳播與過程社區（COMMUNITY OF PROCESS） ；2•感知結構（STRUCTURE OF FEELING） ；３•整體傳播過程中的意圖 （INTENTION） 與霸權（HEGEMONY）。第六章結論，檢討威廉斯所代表之文化研究， 並嘗試指出威廉斯論點中何供本地文化及傳播研究借鏡之處。

This thesis considers a theoretical tradition which is concerned with how adult literacies education might not always serve to socialise students into existing society, instead encouraging possibilities for desirable alternatives to it. Without this possibility, adult literacies education might only be understood as a socialising machine that slots students into society as it stands and where the role of research is to describe its operation. My research describes a long-standing refusal by educators, researchers and students to accept this possibility and my thesis continues this tradition. Through the analysis and interplay of the work of Pierre Bourdieu, James Paul Gee, Paulo Freire, Jacques Rancière, I distinguish between empowerment and emancipation in the context of literacies education. I set out the assumptions that Bourdieu and Gee make, how they understand power, identity, discourse and oppression, and what this means for the practice of an empowering adult literacies education. I also present assumptions made by Freire and Rancière, how they understand equality and oppression, and how an emancipatory literacies education might be understood and practiced. In particular, I describe how education for ‘empowerment’ encourages practices underpinned by the assumption that ideological processes prevent students from understanding how oppression is manifested. In contrast, I describe how an emancipatory education implies enacting educational relationships that are not reliant on this assumption, whilst exerting a social response to societal oppression. I make three claims. Firstly, that the idea of an emancipatory literacies education has come to be neglected or conflated with the idea that literacies education might empower, which has come to hold great sway. In so doing, I critique Freire’s work whilst reclaiming it as an emancipatory project. Secondly, that the educational practices associated with adult literacies for empowerment can be understood to encourage the socialisation of students into society as it stands. This emphasises the importance of distinguishing between empowerment and emancipation in the context of adult literacies education. Finally, that emancipation is a notion that must continue to be questioned and explored if educators, students and academics are to take responsibility for the practice of adult literacies education and its consequences. An emancipatory literacies education cannot be reliant upon the assumption that discourse is inherently ideological. Instead, it is predicated upon teachers and students assuming that emancipation is possible and acting on that assumption.

本論文中，我利用雷蒙‧威廉斯的文化唯物論，來分析伊莉莎白‧蓋茲凱爾的第二本「社會問題小說」《北與南》中所呈現出的經濟制度、社會與文化間的關係，並進一步探討蓋茲凱爾對維多利亞時代的社會問題所提出的「解決方案」。 由於《北與南》這本小說的主要焦點在於工業化資本主義規章與生活型態的討論，故一直以來，《北與南》所接受的批評也多屬於社會議題層面，與其相關的解決之道，多數批評家，尤其是馬克斯主義的批評家，多半批評蓋茲凱爾試圖以「資本主義」架構解決當代的經濟與社會問題，但我則認為玆凱爾並非完全認同資本主義文化，而是藉由小說中所呈現出的各種衝突，塑造一種新興文化，=而威廉斯理論中有關「下層結構」與「上層結構」之間，以及殘留、統治、與新興這三種文化間的辦證關係，不僅能讓我門重新衡量經濟、社會與文化間的關係，更提供了閱讀蓋茲凱爾小說的另一種文化觀點。 / In this thesis, I apply Raymond Williams's theory of cultural materialism to analyze the relationships among the economic system, society, and culture presented by Elizabeth Gaskell in her second "social-problem" novel, North and South, and thus to examine Gaskell's "solution" to her contemporary social problems. With its focus on the dominant philosophy of industrial capitalism, North and South has received repeated criticism on several social issues and their related solutions. When most critics, especially the Marxist critics, attack Gaskell's "capitalist" solutions to economic and social problems in her society, I argue that Gaskell actually portrays an emergent culture within various conflicts in her novel. Williams's convepts of dialectical relationship between "the base" and "the super-stucture," and among the residual, the dominant, and the emergent cultures not only help to re-evaluate relations among economy, society, and culture, but also offer a cultural reading of Gaskell's novel.

<p>Pat Barker’s fictional account of the Great War, The Regeneration Trilogy, completed in 1995, is considered to be her most important work to date and has captured the imagination of the reading public as well as attracting considerable scholarly attention. Although the trilogy appears to be written in the realistic style of the traditional historical novel, Barker approaches the past with certain preoccupations from 1990s Britain and rewrites the past as seen through these contemporary lenses. Consequently, the trilogy illustrates not only how the past returns to haunt the present, but also how the present reciprocally haunts perceptions of the past. The haunting quality of the trilogy is developed through an extensive, intricate pattern of intertextuality. This reciprocal haunting at times breaks the realistic framework of the narrative, giving rise to anachronisms.</p><p>This study offers a reading of trauma, class, gender and psychology as thematic areas where intertexts are activated, allowing Barker to revise and re-accentuate stories of the past. Drawing on Michel Foucault’s concept of discourse and Mikhail Bakhtin’s notion of dialogue, it focuses on the trilogy as an interactive link in an intertextual chain of communication about the Great War. Received versions of history are confirmed, expanded on and sometimes questioned. What is innovative about the trilogy is how Barker incorporates discursive formations not only from the Great War period, but from the whole twentieth century. The Great War is regenerated and transformed as it passes from one dialogic context to another. My reading shows that the trilogy presents social structures from different historical epochs through dialogism and diachronicity, making the present-day matrices of power and knowledge that continue to surround, determine and limit people’s lives highly visible. The Regeneration Trilogy regenerates the past, simultaneously confirming Barker’s claim that the historical novel can also be “a backdoor into the present”.</p>