Thesis (M.M.)--Boston University. A thesis presented to the faculty of the School of Fine and Applied Arts, Boston University, in partial fulfillment of the requirements for the degree Master of Music, August 1963.

The general aim of this thesis is to further undermine the convention that British moral philosophy of the early eighteenth century is best conceived as a struggle between rationalist and sentimentalist epistemologies. I argue that the philosophers considered here (Samuel Clarke, Francis Hutcheson, Gilbert Burnet, John Balguy and John Gay) situated their moral epistemologies within the wider framework of an attempt to prove the ‘reality' of virtue in terms of virtue being an achievable, practical endeavour. To this end, they were as much concerned with the attributes that motivated or caused God to create in the way that he did – his communicable attributes - as they were with our own natural moral abilities. I maintain that this concern led Clarke, Burnet and Balguy to look beyond a rationalist epistemology in an attempt to account for the practical possibility of moral action. I claim that it led Hutcheson to develop a moral theory that reflected a realist theistic metaphysics that went some way beyond an appeal to providential naturalism. I argue that it led Gay to try to synthesise the approaches of rival moral schemes in order to offer a unified account of agency and obligation. The thesis has three key objectives: 1) to examine the relationship of rationalism to obligation and motivation in the work of Clarke, Burnet and Balguy, and 2) to explore the relative roles of sense and judgment in the moral epistemologies of Hutcheson, Burnet, Balguy and Gay and to (re) examine the nature of Hutcheson's moral realism, and 3) to investigate the theistic metaphysical claims made by all parties with respect to their arguments about moral realism.

As a man of letters with an exceptionally extensive and diverse output, Samuel Johnson (1709-1784) has invited consideration from a variety of angles. The present study offers a 'reading' of Johnson as a framer of distinctions. His distinction-making activity is viewed as a capital feature of the oeuvre, characterizing it across almost its entire range, a very substantial body of evidence is adduced in support of this reading. Broken up by distinction-type, the mass of evidence sorts itself out into seventeen different categories themselves grouped under seven 'thematic' heads. The organization of the inquiry on taxonomic lines is intended both to throw into relief the multiform character of Johnson's distinction-making praxis (something not heretofore remarked) and also to provide a comprehensive, systematic and easily 'readable' account of it. That the evidence testifying to Johnson's distinction-making turned out to be so voluminous could not but occasion the thought that it might be an involuntary activity, a 'drive' grounded in the very 'set' of his psyche which comes in consequence to be viewed as in some sort 'formed for distinction-making'. This thought evolved into the thesis that the present study undertakes to defend, in doing which it becomes a psychocritical investigation inscribed within the theoretical frame of psychological stylistics whose aim is to make inferences and advance hypotheses about the build and workings of a mind from an analysis of the linguistic and stylistic data it generates.

This dissertation corrects the notion that fiction written in the late 1920s through the early 1940s fails to achieve the mastery and innovation of high modernism. It posits late modernism as a literary dispensation that instead pushes beyond high modernism's narrative innovations in order to fully express individuals' lived experience in the era between world wars. This dissertation claims novels by Elizabeth Bowen, Evelyn Waugh, and Samuel Beckett, as exemplars of a late modernism characterized by invocation and redeployment of conventionalized narrative forms in service of fresh explorations of the dislocation, inauthenticity, and alienation that characterize this era. By deforming and repurposing formal conventions, these writers construct entirely new forms whose disfigured likenesses to the genres they manipulate reveals a critical orientation to the canon. These writers' reconfigurations of forms--including the bildungsroman, the epistolary novel, and autobiography--furthermore reveal the extent to which such conventionalized genres coerce and prescribe a unified and autonomous subjectivity. By dismantling these genres from within, Bowen, Waugh, and Beckett reveal their mechanics to be instrumental in coercing into being a notion of the subject that is both limiting and delimited. These authors also invoke popular forms--including the Gothic aesthetic, imperial adventure narrative, and detective fiction--to reveal that non-canonical texts, too, participate in the process by which narrative inevitably posits consciousness as its premise. I draw upon Tyrus Miller's conception of late modernism to explicate how these authors' various engagements with established forms simultaneously perform immanent critique and narrative innovation. This dissertation also endorses David Lloyd's assertion that canonical narrative forms are instrumental in producing subjectivity within text and thereby act as a coercive exemplar for readers. I invoke several critics' engagements with conventional genres' narrative mechanics to explicate this process. By examining closely the admixture of narrative forms that churns beneath the surfaces of these texts, I aim to pinpoint how the deformation of conventionalized forms can yield a fresh and distinctly late modernist vision of selfhood.

English Studies / M.A. (English)

This thesis attempts to examine some of Mqhayi' s literary works to establish their merit in terms of the images that are realised. In the main this necessitates the evaluation of the literary and linguistic qualities of his contributions which include essays and lectures, poetry and the translation of UAdonisi waseNtlango. This thesis further analyses and interprets Mqhayi 's thoughts and ideas regarding politics, economy and religion. Mqhayi gives these a universal image which prevents the critic from viewing him only in an African sense. From this study, specific subjects such as ubuntu, education, Christianity, culture and nation building emerge as the cornerstones of his literary intentions. The thesis also analyses images which are portrayed through skilful use of language and literary devices to determine their relevance in the present South African situation. Mqhayi shows tremendous foresight by interpreting a present situation to determine the future. Some of his predictions which manifest themselves in no uncertain terms at the present moment arc given attention in this study. Mqhayi uses his imbongi poetic licence to criticise and resolve without alienating his people against what he perceives to be wrong in society relating to culture, modern education, politics, economics and Christianity. In his opinion western values should not replace traditional Xhosa values, but a situation of compromise should be created which would result in a reconciliation of traditions. In the analysis and interpretation of his views it becomes clear that his focus and emphasis is on similarities which by far oumumber differences as a yardstick for better understanding. His translations from English literature and especially from Afrikaans (UAdonisi waseNtlanga) which he learned through self-tuition show a concerted attempt to bridge cultural and ideological divisions. In the final analysis the study of Mqhayi, other than revealing his exceptional literary ability establishes his supreme belief mirrored in his essays and poetry, that blacks and whites of this country should seek a radical break vvith the past and embrace the future as a people. / African Languages / D. Litt. et Phil. (African Languages)

Made available in DSpace on 2016-12-08T16:03:14Z (GMT). No. of bitstreams: 1 113146.pdf: 11298829 bytes, checksum: 5ae3f75a3d805415757ee25f63d63480 (MD5) Previous issue date: 2013-05-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta pesquisa parte do texto de autoria do escritor irlandês Samuel Beckett acerca da obra dos irmãos Abraham e Gerardus van Velde em meados do século XX. A análise de Beckett sobre esses artistas contém uma gama de conceitos e considerações críticas que fundamentam esta pesquisa teórica sobre pintura e de onde parte a reflexão em torno da representação e dos termos utilizados pelo autor de referência, sendo estes: fracasso, impedimento e desmoronamento. Estes permeiam toda a pesquisa e são pensados na pintura contemporânea com base em dois pintores, Jean Rustin e Margherita Manzelli, nos quais o corpo entendido aqui como corpo transgressor e inominável encontra correspondência nos personagens beckettianos. Esta abordagem é desdobrada pela interlocução com outros autores a fim de chegar-se ao termo Disability e os conceitos de contaminação e monstruoso como condição dentro da arte contemporânea, mais precisamente no teatro e na pintura, que desborda os termos informe, fracasso e impedimento suscitando um olhar ¿mais-além¿ sobre os conceitos elaborados pelo autor de referência.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, 2011. / Submitted by Jaqueline Ferreira de Souza (jaquefs.braz@gmail.com) on 2011-09-23T12:45:27Z No. of bitstreams: 1 2011_GabrielAntunes.pdf: 445638 bytes, checksum: fb8960ca89c3963df52b210a8d2bfe31 (MD5) / Approved for entry into archive by Jaqueline Ferreira de Souza(jaquefs.braz@gmail.com) on 2011-09-23T12:45:45Z (GMT) No. of bitstreams: 1 2011_GabrielAntunes.pdf: 445638 bytes, checksum: fb8960ca89c3963df52b210a8d2bfe31 (MD5) / Made available in DSpace on 2011-09-23T12:45:45Z (GMT). No. of bitstreams: 1 2011_GabrielAntunes.pdf: 445638 bytes, checksum: fb8960ca89c3963df52b210a8d2bfe31 (MD5) / Essa dissertação investiga a escrita errante de Samuel Rawet em três contos e duas novelas nos quais procura-se os motivos e principais temas para o desenvolvimento de seu projeto literário. Para isso, é de extrema importância desenvolver as questões periféricas que cercam o estudo crítico que se realiza sobre o autor, incluindo aí uma reflexão sobre o silêncio que envolve seu texto literário a partir de personagens no extremo do conflito e que por isso deforma a própria estrutura dos textos, criando espaços em branco, permitindo que certa mudez invada a literatura. É proposta uma comparação de tal silêncio com o apresentado por Primo Levi em suas obras de testemunho sobre os campos de concentração. Em segundo lugar uma análise acerca da importância dada por Rawet ao sentimento de ódio em toda sua obra, como um guia e arma daqueles que, em sua solidão, necessitam enfrentar situações radicais em suas caminhadas noturnas. O ódio aparece como principal afeto da obra rawetiana. Contudo, é dada, também, prioridade aos textos teóricos e entrevistas do autor, tendência que já existe, a tempos, entre os críticos. Por fim, uma análise das metamorfoses híbridas da personagem Ahasverus, o judeu errante, suas relações com um corpo em perpétuo desequilíbrio e suas relações profanas e sagradas com uma ideia de Deus. _______________________________________________________________________________ RESUMÉ / Cette dissertation étudie l'écriture errante de Samuel Rawet. On se sert pour cela de trois contes et deux nouvelles dans lesquels on a cherché les raisons et les principaux sujets pour un tel projet littéraire. En effet, c'est d'une importance très grande le développement des questions péripherique pour les études critiques faits à présent sur l'auteur, à savoir: une réflexion sur le silence qui enveloppe son texte littéraire, à partir des personnages poussés à des conflits extrême, et que pour cette raison-là déforment l'estructure même du texte, en créant ainsi des espaces vides, ce qui permet l'invasion d'une mutité dans la littérature. On a proposé une comparaison de ce silence avec celui présenté par Primo Lévi dans ses oeuvres de témoignages de survivants de camps de concentration. Ensuite, on a fait l'analyse de l'importance accordée par Rawet au sentiment de haine à travers de son oeuvre. Cette haine est comme un guide ou une arme pour ceux qui, dans sa solitude, ont besoin de faire face à des situations extrêmes dans leurs promenades nocturnes. La haine apparaît ainsi comme le pricipal affect dans l'oeuvre de Samuel Rawet. On a donné, aussi, beaucoup d'importance aux travaux théoriques et aux interviews données par l'auteur, tendence, d'ailleurs, déjà suivit par les critiques. À la fin, on a fait l'analyse des métamorphoses hybrides du personage Ahasvérus, le juif errant, ses rapports avec un corps en perpétuel déséquilibre et sa relation sacrée et profane avec l'idée de Dieu.

Dissertação (mestrado)—Universidade de Brasília, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-10-15T14:32:29Z No. of bitstreams: 1 2013_FatimaRejanedeMeneses.pdf: 620723 bytes, checksum: f0031c9a1e74972484649b71a2d93d82 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-10-15T16:22:57Z (GMT) No. of bitstreams: 1 2013_FatimaRejanedeMeneses.pdf: 620723 bytes, checksum: f0031c9a1e74972484649b71a2d93d82 (MD5) / Made available in DSpace on 2013-10-15T16:22:57Z (GMT). No. of bitstreams: 1 2013_FatimaRejanedeMeneses.pdf: 620723 bytes, checksum: f0031c9a1e74972484649b71a2d93d82 (MD5) / Nesta dissertação são analisados quatro contos de Samuel Rawet, da obra Contos do imigrante, mostrando como se dá a representação da incomunicabilidade na construção que o autor faz dos personagens imigrantes judeus no Brasil na década de 1950. O estudo toma como base os conceitos de alteridade e identidade de Stuart Hall e as bases da filosofia do diálogo, de Martin Buber. Os contos “O profeta” e “A prece” mostram as consequências da Segunda Guerra Mundial e o extermínio dos judeus nos campos de concentração. Em “Judith”, o ponto principal é o preconceito enfrentado pela protagonista judia por ter se casado com um não judeu. “Gringuinho” é o relato do sofrimento de uma criança que vive a alteridade como um sentimento de rejeição. Oscilando entre o passado e o presente, os personagens de Rawet encontram-se em situações de conflito geradas pelas diferenças étnicas e religiosas e pelas dificuldades com a língua, o que traz como consequência a solidão e o silêncio. _______________________________________________________________________________________ ABSTRACT / This dissertation analyzeds four tales by Samuel Rawet, Contos do imigrante, showing how is the representation of the incommunicado in the construction the author makes of Jewish immigrants characters in Brazil in the 1950s. The study builds on the concepts of otherness and identity by Stuart Hall and the foundation of the philosophy of the dialogue, by Martin Buber. The short stories “The Prophet” and “Prayer” show the consequences of the Second World War and the extermination of the Jews in the concentration camps. In “Judith”, the main point is the prejudices faced by the protagonist for having married a non-Jew. “Gringuinho” is the story of the sufferings of a child living the otherness as a feeling of rejection. Oscillating between the past and present, characters Rawet is e in a conflict generated by ethnic and religious differences and difficulties with language, which brings as a consequence the solitude and silence.

Esta pesquisa teve como objetivo central contribuir para o resgate da obra de Samuel Rawet, principalmente através da análise de sua primeira coletânea, Contos do Imigrante, publicado em 1956. Buscou-se estabelecer o lugar de sua produção literária, sob duas óticas concomitantes e convergentes: a da literatura judaica produzida no Brasil e a da literatura brasileira no gênero que Rawet privilegiou, o conto. Na busca da consecução dessas metas, a pesquisa foi dividida em cinco partes: O capítulo primeiro, Fortuna Crítica de Samuel Rawet, apresenta um levantamento, ao longo da carreira de Rawet, sobre como se procedeu a recepção de sua obra pela crítica especializada; para tanto, foram pesquisados jormais, revistas de literatura e livros de crítica literária. Constatou-se que, em termos gerais, os especialistas sempre acolheram favoravelmente os textos de ficção publicados por Rawet, não obstante algumas poucas opiniões desabonadoras. Porém, o que surpreende, por sua escassez, é a quantidade de textos que tratam da obra de Rawet, a crescente indiferença dos analistas. O capítulo segundo, Uma Autobiografia, procura traçar um panorama da vida de Rawet, com absoluta ênfase para os aspectos relacionados com sua produção literária. Para tanto, foram compilados trechos de entrevistas concedidas por Rawet em diferentes momentos de sua carreira. Estes depoimentos foram contextualizados pelo autor por meio de análises das condições de vida dos judeus na Europa Oriental e de como se procedeu o grande êxodo da Rússia e da Polônia, principalmente para os Estados Unidos, mas também para o Brasil e para outros países americanos. O capítulo terceiro, Narratividade, Linguagem, Exclusão, analisa os primeiros cinco contos da coletânea Contos do Imigrante, ou seja, os contos em que Rawet se detém em protagonistas judeus, em suas relações com as respectivas famílias e com a comunidade judaica, grupos tradicionalmente tidos como pilares da vivência judaica. O capítulo quarto, A Responsabilidade Social, busca observar, por meio da leitura dos cinco contos “não-judaicos” da coletânea Contos do Imigrante, o surgimento da consciência social no jovem Samuel Rawet, na medida em que se sente, cada vez, mais um pensador brasileiro. Por fim, o capítulo quinto, Bibliografia Geral, relaciona todas as obras de Samuel Rawet e tudo o que foi escrito a seu respeito, de cuja existência o autor teve conhecimento, além de outras obras de caráter geral utilizadas no texto. Apesar de ter presente que essa relação é incompleta, acredito que poderá servir de ponto de partida para outros interessados, e espero ter dado um passo, ainda que modesto, no caminho de uma sistematização da bibliografia de e sobre Samuel Rawet, cuja importância é correlativa da importância do próprio Samuel Rawet para a literatura brasileira e para a produção cultural judaico-brasileira. / This research has had as its central purpose to contribute for the rescue of Samuel Rawet’s work, mainly through the analysis of his first book, Contos do Imigrante (Immigrant stories), published in 1956. It was sought to establish the locus of his literary production, under two concomitant and converging optics: that of the Jewish literature produced in Brazil, and that of the Brazilian literature of the genre privileged by Rawet, the short story. Searching to attain these goals, the research has been divided into five parts: Chapter one, Samuel Rawet’s Critical Fortune, surveys the reception of Rawet’s works by the specialized critique alongside his career; newspapers, literature magazines, and books on literature critique were searched. It has been observed that, in general terms, specialists have always given Rawet’s fictional works a favorable welcome, notwithstanding some few dissonant opinions. However, what astonishes us, for its scarcity, is the number of texts dealing with Rawet’s work, the growing indifference of the critics. Chapter two, An Autobiography, tries to draw a panorama of Rawet’s life, with absolute emphasis on the aspects related to his literary production. For this purpose, passages extracted from interviews given by Rawet in different points of his career have been compiled. These testimonies were contextualized by the present author by means of analyses of Jewish life conditions in Eastern Europe and of the particularities of the great exodus from Russia and Poland, mainly to the United States but also to Brazil and other American countries. Chapter three, Narrativity, Language, Exclusion, analyses the first five stories in the anthology Contos do Imigrante, that is, those in which Rawet focuses on Jewish protagonists, the relationships with their respective families and with the Jewish community, groups that are traditionally held as pillars of the Jewish life. Chapter four, Social Responsibility, tries to observe, through the reading of the five "non-Judaic" stories of the anthology Contos do Imigrante, the appearance of a social conscience in the young Samuel Rawet as he feels more and more like a Brazilian thinker. At last, chapter five, General Bibliography, presents a list of Samuel Rawet’s books and all that has been written about him, of whose existence the present author has had acquaintance, besides other works of general character that the author has made use of. Despite being aware that this relation is not complete, I believe that it may serve as a starting point for other researchers, and I hope to have advanced a step, if modest, towards the systematization of a bibliography by and on Samuel Rawet, whose importance is correlate to the importance of Samuel Rawet himself for Brazilian literature and for the Jewish-Brazilian cultural production.