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This thesis focuses on the keyword sospiro (‘sigh’) in the poetry of Guido Cavalcanti. It reads this word in relation to the lyric poetry of Occitania and Italy, and medical literature related to lovesickness. It approaches Cavalcanti’s work in this way in order to avoid the distortion of a Dantean lens, as part of a trend since the anniverary of his death in 2000 towards considering Cavalcanti’s work on its own terms. Inspired by Raymond Williams’ Keywords, this thesis looks beyond the familiar presence of sospiro in lyric poetry, revealing a word acting as a locus of innovative expression. It finds that while the sigh is generally regarded as a literary commonplace, it can in fact tell us much about the society and culture in which it is used. Sospiro is then traced in medical literature, charting its evolution as a symptom of the disease of lovesickness. Against this backdrop, a reading of sospiro in Cavalcanti’s poetry is given which argues for the need to listen to both the lyric and medical contexts when interpreting the role of this word. As such, this thesis offers a consideration of these two contexts in parallel, through sospiro, for the first time.

This investigation tests the validity of three theories of languages applied to data on lexical gender in the Medieval period of the Romance languages. By analyzing and comparing data from the Miracles of Our Lady, in combination with data from various other researchers, certain patterns of regularity and irregularity can be observed. The primary focus addresses the lexical gender assignment of nouns in the various Romance languages, in particular in the merger of the Latin neuter gender with the masculine and feminine genders. The overall changes and stasis of the history of lexical gender in the Romance languages, can be applied to various theories of language change in order to analyze and understand various phenomena. The phenomena examined in this investigation include the topics of lexical gender change and stasis, 'undecided' and ambiguous lexical gender assignment, and mass-gender elements. In addition, the theories of Lightfoot (1979, 1991), Keller (1994) and Croft (1996, 2000) are used to eludidate contemporary theoretical understanding of this topic. Lightfoot and Keller are chosen as representatives of Formalism and Functionalism, respectively, as they are often used in order to describe and discuss historical language change; the theory of Croft is a new theory which can benefit from further research. It is found that the theory of Croft (2000) best explains the research questions, but more work is recommended in order to fully understand the various phenomena of lexical gender in the history of the Romance languages, and in order to ensure the veracity of the theory, Croft's (2000) Evolutionary Theory must be tested further.

Univ., Habil.-Schr.--Tübingen, 2002. / Literaturverz. S. 195 - 203.

Thèse--Uppsala. / "Je ne publie maintenant que la première partie concernant le franc̜ais."--Avant--propos. "Bibliographie" : p. [155]-167.

Thesis--Bern. / Vita. Includes index. Bibliography: p. 67-68.

Issued also as thesis, Zürich. / "Verzeichnis der benutzten werke": p. [xiv]-xvi.

Orientador: Maria Célia de Moraes Leonel / Banca: Luiz Gonzaga Marchezan / Banca: Cleusa Rios Pinheiro Passos / Banca: José Oscar de Almeida Marques / Banca: Alcmeno Bastos / Resumo: O tema desta tese é o medo em Grande sertão: veredas, na perspectiva do discurso narrativo - que traz a representaçào do estabelecimento e da manutenção do poder glorioso que controla o medo - e no plano da enunciação que apresenta o medo como um dos impulsionadores da narração de Riobaldo que tem dúvida sobre a realização do pacto, motivo de medo, e teme a morte. Examinando-se a luta do narrador com as palavras, assume-se a linha interpretativa filosófica aliada à análise de orientação política, tnedo o sertão como símbolo de uma realidade mais ampla, que estrapola as fronteiras da região e do período histórico compreendido no romance. Tem-se o objetivo de mostrar que a preciptação e o andamentamento da narração, que influem no modo como Riobaldo a tece, relacionam-se com a consciência do medo primordial e do inventado. O embasamento teórico da pesquisa é constituído por três grupos de estudos. Primeiro, os que tratam do medo e poder como: Ética e Tratado político de Espinosa e Arte retórica e Arte poética de Aristóteles. Segundo, ensaios críticos sobre Guimarães Rosa como: grandesertão.br: o romance de formação do Brasil de Willi Bolle, "O homem dos avessos" e "Jagunços mineiros de Cláudio a Guimarães Rosa" de Antonio Candido, "Trilhas no Grande sertão"de Proença; As formas do falso de Walnice Galvão; Os descaminhos do demo: tradição e ruptura em Grande sertão: veredas de Rosenfield, "Guimarães Rosa: a revolução rosiana" de Oliveira, entre outros. Terceiro, estudos sobre a criação literária como: Discurso da narrativa de Genette e O tempo na narrativa de Benedito Nunes que examinam o tempo, a perspectiv, avoz e as "visões" narrativas. / Abstract: The theme of this thesis is the fear in Grande sertão: veredas in the perspective of the narrative speech - that brings the representation of the establishment and maintenance of the glorious power that controls the fear - and in the plan of the enunciation that presents the fear as one of the propellers of the narration of Riobaldo that has doubt about the accomplishment of the pact, reason of the fear, and feras the death. As we analyze the narrator's figth with the words, the philosophical interpretative line allied is assumed to the analysis of political orientation, having the sertão as symbol of a wrider reality that exceeds the borders of the region and of the historical period comprehended in the romance. The purpose is to show that the precipitation and the course of narration, that influence the way Riobaldo weaves it, arelinked with the conscience of the primordial fear and of the invented one. The theoretical basis of the research is constituted by three groups of studies. First, the ones that deal with fear and power as: Espinosa's Ética and Tratado político and Aristóteles' Arte retórica and Arte poética. Second, critical assays on Guimarães Rosa such as: Willi Bolle's grandesertão.br: o romance de formação do Brasil, Antonio Candido's "O homem dos avessos" and "Jagunços mineiros de Cláudio a Guimarães Rosa"; Proenças' "Trilhas no Grande sertão"; Walnice Galvão's As formas do falso; Rosenfield's Os descaminhos do demo: tradição e ruptura em Grande sertão: veredas; Oliveira's "Guimarães Rosa: a revolução rosiana", among others. Third, studies about the literary creation such as: Ganette's Discurso da narrativa and Benito Nunes' O tempo na narrativa that examine the time, the perspective, the voice and the narrative "visions". / Doutor

Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2008. / Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-10-18T15:49:34Z No. of bitstreams: 1 niceiasantos.pdf: 946178 bytes, checksum: 53bb16b5ca9810e832767c4111589d09 (MD5) / Approved for entry into archive by Bruna Vieira(bruninha_vieira@ibest.com.br) on 2013-06-18T22:11:23Z (GMT) No. of bitstreams: 1 niceiasantos.pdf: 946178 bytes, checksum: 53bb16b5ca9810e832767c4111589d09 (MD5) / Made available in DSpace on 2013-06-18T22:11:23Z (GMT). No. of bitstreams: 1 niceiasantos.pdf: 946178 bytes, checksum: 53bb16b5ca9810e832767c4111589d09 (MD5) Previous issue date: 2008 / A presente dissertação de Mestrado analisa o livro A superfície das águas, da escritora pelotense Hilda Simões Lopes, a partir da perspectiva do romance histórico. O trabalho divide-se em cinco capítulos. No primeiro, é feita uma comparação entre a referida obra e as demais da escritora. No segundo, são analisadas as relações entre a História e a Ficção, resgatando a historicidade dos dois gêneros desde a Grécia Antiga até o novo romance histórico. Também se discute como a romancista apropria-se da História, da época das charqueadas até a ditadura militar, e utiliza-se das fontes como inspiração literária, buscando elementos nos jornais da década de 1930, pertencentes ao acervo da família Simões Lopes. No terceiro, são analisados o mito do herói, os aspectos do trágico e da comédia, o mito das revoluções e a carnavalização estilística e social. No quarto, aponta-se para a diferença entre a História e a Ficção, com relação ao tempo, e se analisa, ainda, o tempo da escrita, o tempo da narrativa, o tempo da leitura e as diferenças entre eles. No quinto, discute-se a relação da obra em foco com a História da Literatura. / The mastership dissertation analyzes the book A superfície das águas, of the pelotense writer Hilda Simões Lopes from an historic romance perspective. The work is divided in five chapters. In the first chapter, a comparison is done between this book and the other writer’s books. In the second chapter, it is analyzed the relations between History and Fiction, considering the historicity of both genders since the Ancient Greece till now. It is also discussed how the romancer appropriates herself of the History, from the time of charqueadas till the military dictatorship, and uses the resources, which literary inspiration is based in newspapers from the decade of 1930, which belong to the patrimony of Simões Lopes family. In the third chapter, it is analyzed the myth of the hero, the aspects of the tragic and of the comedy, the myth of revolutions and the stylistic and social carnivalization. In the forth chapter, it is pointed out to the difference between the History and the fiction in relation to time, and it is still analyzed the time of writing, the time of narrative, the time of reading and the differences among them. In the fifth chapter it is discussed the relation of this book with the History of Literature.

Made available in DSpace on 2014-06-12T18:32:55Z (GMT). No. of bitstreams: 2 arquivo7465_1.pdf: 956673 bytes, checksum: 67710a30c00bd4a1df53a42557283768 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2012 / O presente trabalho visa a investigar os romances «A república dos sonhos» e «Voltar a Palermo», de Nélida Piñon e Luzilá Gonçalves Ferreira, salientando o autobiográfico como campo de instauração de novos significados, questionando as convenções que sustentam os gêneros do discurso / da literatura e ficcionalizando experiências vividas, bem como fazer emergir os sentidos relativos ao resgate de eventos situados no pretérito. Partindo da heterogeneidade implícita na experiência da viagem, analisaremos a função da memória feminina visando a problematizar as conexões entre a transculturalidade, a identidade e a escrita que desarticula as construções identitárias monológicas e amplia os espaços para a constituição de novas subjetividades