Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Ciências de Educação, Programa de Pós-graduação em Educação, Florianópolis, 2010 / Made available in DSpace on 2012-10-25T04:35:07Z (GMT). No. of bitstreams: 1 276580.pdf: 1188581 bytes, checksum: 82c4ca2d953c7f2a257506f7ade7d3bf (MD5) / O presente trabalho objetiva analisar, compreender e explicitar a Formação objetiva do sujeito representada pelos personagens Swann, Marianinho e Diadorim, a partir do pensamento de Th. Adorno sobre cultura e formação, tencionando pelos pressupostos teóricos dos Estudos Culturais. Discute-se a partir de algumas teses sobre a cultura em Theodor W. Adorno a assertiva de Stuart Hall sobre a necessidade de uma nova configuração do social na contemporaneidade, assertiva essa com a qual corroboram certas argumentações de Nestor Garcia Canclini, o qual enaltece a indústria cultural em sua dimensão integradora, apesar do efeito deletério de uma globalização concebida de forma unilateral pelos países centrais em detrimento dos periféricos. Esta discussão é materializada nos romances, como exemplo do campo empírico, de Marcel Proust: Un amour de Swann; de Mia Couto: Um rio chamado tempo, uma casa chamada terra e de João Guimarães Rosa: Grande Sertão: Veredas, cujos personagens Swann, Marianinho e Diadorim (Reinaldo), cada um, na sua particularidade, desnuda as implicações dialéticas da formação objetiva do sujeito no mundo contemporâneo. O objetivo deste trabalho, portanto, é alcançar melhor compreensão desse tema, por meio: 1) da análise qualitativa de alguns escritos de Adorno, Hall e Canclini; 2) da verificação de como se localiza neles o conceito de cultura; 3) das leituras que estabelecem interfaces (aproximações e distanciamentos) conceituais entre Adorno e Hall frente à problemática da formação; 4) da recepção dos romances em alguns interlocutores privilegiados de Proust, Couto e Rosa. Os três personagens são analisados enquanto sujeitos que colocaram em prática sua formação, elaborando certos mecanismos subjacentes a sua subjetividade. Estes personagens são tomados como exemplo guia que materializa os pressupostos teóricos em torno da formação no âmbito da Teoria Crítica (Th. Adorno) e dos Estudos Culturais (S. Hall e G. Canclini). Outra razão que nos levou a escolher esses romances, além de sua beleza literária, é sem dúvida, de ordem pessoal, pois os três personagens de certa forma refletem um percurso vivencial semelhante ao nosso, uma vez que, ao viver tais experiências, nos defrontamos com outras tantas pessoas que resultaram de formações entrecruzadas, ou seja, pessoas que sintetizam as diversas realidades das quais foram fruto. Vivenciamos, pois, na realidade, como os mecanismos culturais e os dispositivos formativos são acionados diante de situações que requerem uma atitude diferenciada. Este trabalho argumenta ainda que a idéia da formação e o contexto cultural exercem um papel central na elaboração dos mecanismos culturais enquanto condição para a realização do sujeito. A teoria crítica e os Estudos Culturais, nossas principais referências, figuraram, neste trabalho, enquanto instrumentos (tecnologias, meios) dos quais nos valemos para tentar compreender um pouco mais algumas das mazelas universais representadas, em certa medida, pelos personagens acima analisados. Tais análises buscam contribuir para pensar a necessidade de se incluir o contexto sócio-cultural quando se fala em dispositivos educacionais que ambicionam a universalidade.

Four anthologies of sixteenth-century French prose contes are examined, with the aim of elucidating the processes which informed their compilation and the reading strategies which they imply, and the relationship between the structural coherence of unframed anthologies and that of collections incorporating a frame-story structure.'Framed' collections and their structures have served as the yardstick against which unframed anthologies have been measured, and judged to be loose compilations whose component tales may be read in any order. Though the view of framed collections implied by this comparison may also be questioned, this study con-centrates on the structural aspects of four anthologies - those by Philippe de Vigneulles and Bonaventure Des P6riers, and the anonymous Parangon de Nouvelles and Parolles Joyeuses - while yet noting the major points of similarity and dissimilarity with framed collections. Evidence for the methods of construction involved and for the reading strategies which were envisaged are sought in the prolegomena, and in the general or particular structural ties made explicit or especially prominent in the stories. This search is extended through a survey of the deeper and implicit levels of consonance between stories, where related elements may be considered to have played an important part in thejuxtaposition of particular narratives or the construction of the whole text and may also influence the ways in which they will be read. Finally, the closure of each anthology is examined and the contribution of its terminal structures evaluated. The evidence of the features identified and classified leads to the conclusion that in each anthology there is a strong linear structure which, while it cannot prevent other reading strategies, encourages a predominantly sequential approach to the stories.

The thesis explores the diversity and experimentalism that typifies the narrative writings of the Scapigliatura. It offers a reading of key-texts by Rovani, Tarchetti and Dossi which focusses on the narrative techniques and structures which are used in the construction of meaning. Although critical attention addresses itself to the text and the narrative elements distinctive to it, it considers too the influence that context and circumstance exercise over the production of the work. The introduction looks at the particular problems that Italian Unification of 1861 with its accompanying political and cultural changes brought to the writer. This is followed by the body of the thesis which is made up of readings of specific texts. Chapters 2 and 3 study Tarchetti's and Rovani's very different attempts to produce committed, didactic writing with the instruments of popular fiction and the devices of the feuilleton. The 4th chapter discusses Dossi's semi-autobiographical fiction, L'altrieri and Vita di Alberto Pisani, in which although here too the narrator interpellates the reader through the medium of the text, empirical questions relating to the reading-public and the political climate no longer present themselves. The fragmentation of text and self that is witnessed in Dossi's writing returns as a theme in the discussion of Tarchetti's racconti fantastici in the last of the genre-related chapters. Here the function of the fantastic is examined together with the narratological elements of the genre. The last two chapters take up one aspect of this: the assault the fantastic makes on our sense of the integrity of character. The textual construction of character is discussed in relationship to Tarchetti's novel Fosca, where it is inscribed as an unstable, ambivalent category dependent on who is employing the linguistic register at any given time, and Dossi's misogynistic treatise La desinenza in 'A' which has to find the devices to construct and sustain a reductionist image of all women as Woman fixed in a few immutable traits.

Accounts of French medieval verse have always supposed that there was no readily identifiable general theory of poetry in the Middle Ages. At most, it is accepted that there were arts of versification (the Latin Poetrie of the XII/XIII centuries, the French Arts de Seconde Rhetorique of the XVth century), which covered points of grammar, rather than of "theory" as the term is usually understood. However, there were non-literary theories which were systematically used by certain medieval poets. They derived from Greco-Arabic, rather than Latin, learning. The most unstable of these were theories concerning the relationship of mind and body - in sleep, in semi-wakefulness and in melancholy. Encyclopedists and men of learning began to relate poetry to the sciences of the quadrivium in Late Antiquity (Augustine, Boethius). This tendency became increasingly clear in the XII/XIII centuries, at the same time as the diffusion of texts like the Avicenna Canon of Medicine and the pseudo-Aristotelian Problemata. Jean de Meun was the first French author to relate the new sciences to poetic expression on an important scale. His discoveries were exploited by a number of poets in the XIV/XV centuries. The first major poets to use an art of poetry (that is, an ars poetica, rather than an ars versificatoria) and to apply its lessons to their work were Chastelain and Francois Villon. Their use of Averroes's commentary on Aristotle - the Poetria Aristotelis - has gone unnoticed. Towards the end of the fifteenth century French poetry evolved away from its interest in science in the direction of a number of ill-defined aims. Some of these were moralizing, others appear to be concerned with pure technique. Almost none of the poetry then written attempted to imitate the qualities of classical verse. It was concerned with problems of formal expression, rather than with exploring the structure of the mind or of the universe, as previously.

The thesis is a style-study of Le Lys dans la Vallee. Previous assessments of the novel's style have often been unfavourable. This derives at least in part from critics ' tendency to concentrate to on selected parts of the novel - whether to illustrate the Honore de Balzac-Felix de Vandenesse identification, or Balzac's supposedly flawed prose. The partiality of such approaches may be remedied by acknowledging the creative autonomy which Balzac has delegated to his 'creature', Felix de Vendenesse, and by seeing the novel as Felix's valiant bid for creativity, as Felix's coherent vision of his past and of the world. Balzac does, moreover, give Felix ample motivation for writing such a narrative. Although, then, an examination of the historical context in which le Lys was written confirms that many of its themes are cliches of the period, their combination, organisation, -and justification are unique. Felix's vision is epitomised in the way he establishes verbal links between experiences separated in time but related in intensity of feeling. The objects he describes are infused with his own subjective values, and become, therefore, what are called material images. These centre in groups on the four natural elements of earth, air (light and sound), fire and water, and on the various references to movement in the narrative. All these images and themes are then seen to converge on the plant, especially in the descriptions of the bouquets, which are thus at the centre of a network of correspondences whose source and brilliant internal justification are to be found in the description of Felix the poet-child-mystic. However brilliantly coherent, this vision is also the escapist fantasy of a child who never progresses from his adolescent fixations. Hence the importance of Natalie de Manerville's rejoinder. Hence, too, the originality of Balzac in composing a supremely coherent but at the same time supremely vitiated 'paradis imaginaire'.

The aim of this thesis is to further the inquiry into Flaubert's insights into language and their implications for the meaning of novels. In the perspective of assumptions underlying the eighteenth-and early nineteenth-century views of language, the novelist's own attitudes towards language are examined. Discussion of his early autobiographical works focuses ' particularly on the problem of inarticulacy and how it is ultimately objectified into a literary theme in the mature works. The thesis then considers the attractions and dangers which Flaubert recognises in accepting language as a means of ordering what is external to us. The problems inherent in the idealistic search to match experience and words derive in Flaubert's view from the inorganic nature of words themselves and from the idealist's unawareness of the distance between verbal reality and the world he inhabits. By contrast, the bourgeois response is to use language as a self-generating, stereotyped system. A discussion of the complex problem of Flaubert's use of speech in the novel shows the author to be subverting not only the conventions of literary speech, but also the possibility of communication between characters. The discussion of Bouvard et Pecuchet, in the perspective of Flaubert's mistrust of the significance of words, seeks to highlight his belief in the absurdity, of epistemological conceptualisation, in the last chapter, the subject of silence in the novels is considered: employed in an original way by Flaubert, it serves to illustrate the emptiness of human experience.

This thesis traces the history and development of the literary genre known as the satirical eulogy or paradoxical encomium, which flourished in France during the Renaissance. The first chapter investigates the origins of the genre and its widespread use in Greek and Latin literature. Particular attention is paid to Lucian, whose influence was important when the genre was revived. Between the end of antiquity and the fifteenth century there is virtually no trace of it, and so the next chapter passes straight to Erasmus' Moriae Encomium. A section on other, less famous Neo-Latin eulogies is followed by one on the various Italian manifestations of the genre. The second part of the thesis attempts to show how these diverse ingredients were combined in different ways at different stages to make the French satirical and ironical encomia. There had always been three main types of eulogy, each typified by one of Lucian's works. These categories were, broadly speaking, the praise of a vice, the praise of a disease or physical defect, and that of an unpleasant or insignificant animal or insect. French Renaissance eulogies also tended to fall into one of these categories and are therefore discussed in three groups. Of especial importance throughout are the numerous other literary forms, such as the 'blason' the 'hymne-blason', the epitaph and the paradox which modified and were modified by the classical genre. The conclusion suggests, tentatively, some of the reasons for what the thesis has shown to be a European, rather than a purely French phenomenon, the rise of a genre so popular as to appeal to writers of genius as dissimilar in temperament as Erasmus, Rabelais and Ronsard.

The aim of this study is to examine the life and work of Filippo de'Nerli and to see what this reveals about the politics society and historiography of his time. The first part of the study is biographical, tracing Nerli's involvement with politics and administration at various stages of his career. His period as governor of Modena is seen in the context of the war of the League of Cognac, the part which he played in cultural activities in Florence is considered, and in particular an attempt is made to analyse the changes which took place in the role of the Florentine ottimati in the mid sixteenth century as a result of the establishment of Medici absolutism. The second part of the study is devoted to an examination of Nerli's history of Florence. The sources of his work, its nature and the extent to which it served as a source for his contemporaries are considered and Nerli's relations with his fellow historians at Cosimo's court and in the Florentine Academy are discussed. Finally an attempt is made to reach certain tentative general conclusions about the nature and methods of historical writing in sixteenth century Florence. The aim throughout is to place Nerli in his correct context and this reveals him as a typical representative of his class who, for that reason, is a valuable subject for a study such as this.

This thesis examines the depiction of Fascism together with manifestations of dissent and anti-Fascism in the twentieth century Italian novel. The first chapter considers literary prefigurations of Fascism from 1890 onwards, including the treatment of the Superuomo by D'Annunzio, Papini, Marinetti and Soffici, and also the vulgarization of the Superuomo myth in Sarfatti's 'Dux', one of Mussolini's official biographies. Also mentioned are several accounts of the First World War which reveals social dissatisfactions that proved fertile soil for Fascist exploitation. The second chapter concentrates on a number of Fascist and pro-Fascist novels, that is novels written in homage to the regime and the bestsellers whose conservative values, and preoccupations with the nuclear family, coincide with the Fascist regime's domestic policies. The third chapter examines the covert expressions of disenchantment and dissent formulated against the regime; from the antipathy of Palazzeschi and Gadda to Moravia's dissection of middle-class vacuousness, and to the concern for the conditions of the peasants, the emergence of Neorealism and the importance of the influence of the American novel for disenchanted novelists. The fourth chapter compares and contrasts the works of Si lone and Ferrero, two novelists writing in exile, who denounced the injustices and hypocrisies of the regime's domestic policies in order to undermine its international prestige. The fifth chapter analyses the retrospective portrayal of Fascism from 1943-1960, and the ideology of regeneration that developed as a reaction against the cynicism and inhumanity of the regime. The fictional treatment of the Resistance movement and various war journals are also discussed, together with the hostility of reactionary writers towards post-war Italy. A short conclusion outlines some peripheral but relevant considerations, and suggests the difficulties of attempting an accurate assessment of the degree of influence exerted on the novel by Fascism.

This thesis draws on the rapid development of scholarship in both Translation Studies and Postcolonial Studies in recent times and seeks to explore the interdisciplinary overlap between them with a study of English translations of French Caribbean texts of a Martinican origin. The thesis corpus focuses on three well-known Martinican writers and an examination of their key texts. The authors were chosen in order to deconstruct the mythologization of these texts and identity in translation, particularly considering how in some instances misrepresentations have come to be embedded in the anglophone understanding of the texts. The corpus consists of Frantz Fanon’s texts Peau noire, masques blancs (1952) and its translations by Charles Lam Markmann (1967) and Richard Philcox (2008) and Les Damnés de la terre (1961) and its translations by Constance Farrington (1963) and Richard Philcox (2004); Patrick Chamoiseau’s novels Chronique des sept misères (1986), translated by Linda Coverdale (1999), Solibo magnifique (1988), and Texaco (1992) both translated by Rose-Myriam Réjouis and Val Vinokurov (1999 and 1998, respectively); and Mayotte Capécia’s novelette Je suis Martiniquaise (1948), translated by Beatrice Stith Clark (1997). This study is important because of the approach taken in examining these canonical texts and therefore provides an original contribution to knowledge in several ways. Firstly, the purpose of the translation analysis is to ascertain if Western translation strategies tend to prevail, even when translating texts from a different socio-cultural background. Secondly, by using this analysis, we can then assess the degree to which the identity of both the source language text and, to an extent, the author have been manipulated for the purposes of appealing to the target language readership and market. Thirdly, I then propose both an alternative methodology for examining Caribbean texts in translation using Édouard Glissant’s theory of Relation as a foundation, and also a reading of the concept of ‘translation’ that extends beyond the linguistic to take in ethnography and transformation of the Self, with both approaches exploring the concept of identity and how it is created in both source and target language text. My findings indicate that, although in theory, Translation Studies is moving away from a primarily Western, binary appreciation of translation strategies, this movement has not yet manifested itself meaningfully in the practice of translation. This establishes that these Caribbean depictions of identity have been modified to appeal to a Western anglophone target market. However, a fully developed Caribbean focused translation theory has also not yet been put forward, nor indeed, a translation theory that focuses on the practice, rather than the theory of translation, thus demonstrating areas open to future scholarship and study.