Através das representações da violência presentes nas obras ficcionais escritas por Ivan Ângelo A Festa (1976) e A casa de vidro (1979), durante a Ditadura do Pós-64, é possível relacionar o discurso literário às dimensões sociais. Pelo crivo da história e conceitos originários da Crítica Literária e da Literatura Comparada aplicados ao campo da Sociologia da Literatura, é possível compreender com sensibilidade e rigor alguns episódios e elementos da vida social brasileira, tais como: o papel do escritor em tempos de repressão à liberdade de expressão. Esse exercício reflexivo, arriscado e recente na sociologia materializa tanto os estudos literários quanto os sociológicos, de modo que o imaginário adquire status de objeto social, o que introduz, na análise sociológica dos textos (verbais e imagéticos) e suas circunstâncias de produção, a afirmação de uma das características mais sociais e humanas: a narratividade. A escrita criativa é uma fonte de acesso a posicionamentos tanto estéticos quanto políticos, e através dessas interfaces mesclam-se a memória, o esquecimento e a construção da ideia do passado. Por isso, a prática da leitura sob essa via ressignifica o sentido do presente e avança um passo a mais em direção à literatura como um fato social inegável e como ato ao mesmo tempo individual e coletivo que persiste através dos tempos e da cultura nacional. / It is possible to establish relations with literary discourse and social dimensions by means of the representations of violence existent in the fictional works The celebration (1976) and The tower of glass (1979) written by Ivan Ângelo during the Post-64 dictatorship. It is conceivable to comprehend sensibly and rigorously some episodes and elements of Brazilian social life, such as the role of the writer in times of freedom of expression repression by sifting through history and concepts from Literary Criticism and Comparative Literature applied to the field of Sociology of Literature. This risky and recent in sociology reflexive exercise enriches the study of literature and sociology in a way that fictional thought receives status of social object which introduces the statement of one of the most social and human features, the storytelling, in the sociological analysis of verbal and imagery texts and their production circumstances. Creative writing is a source of entry to both aesthetic and political positioning and, through these interfaces, memory, oblivion and the construction of the past are all mixed. Therefore, the practice of reading under this comprehension reframes the meaning of the present and advances another step towards literature as an undeniable and social fact and also as a fact that is at the same time individual and collective and that persists through time and through national culture.

Ce travail suit un objectif : montrer et démontrer le fait que dans le dit du texte tout n’est pas dit. Le voyage du personnage sur trois continents et la structure propre à l’écriture romanesque d’ordre épisodique contribuent à la distorsion de l’hégémonie d’un seul discours. A ceci, il faut ajouter la fragmentation de l’espace qui, comme procédé à la fois esthétique et stratégique, permet au romancier d’échapper à l’emprise discursive d’une idéologie qui se veut ubiquitaire. Ce travail envisage le narrateur, non comme une altérité constituée, mais comme une figure composite faite des pensées hétéroclites du romancier. Elle recèle une grande réserve de contradictions. Nous tentons de reconnaître dans le texte les intermittences du dire et du silence : des éléments hétérogènes qui se déploient sur une grille de nuances entre l’aliénation, le dégoût et la poésie.De la même manière que l’espace vacille entre la poésie et le monde prosaïque, les pôles sémantiques du texte, esthétiques et idéologiques, changent de frontières. Des unités sémantiques se transforment en des altérités glissantes qui tendent à échapper au procédé de conceptualisation. À la différence de toute approche critique idéaliste qui prétend à atteindre le sens absolu de l’objet en essayant de fusionner l’œuvre et la vie, nous montrons comment le sens esthétique suit son chemin de crête, demeure funambulesque. Nous abordons le concept de l’hétérogénéité non comme un concept purement esthétique qui caractérise la trame de l’écriture célinienne, mais comme un esprit sous-jacent à l’univers intellectuel de l’auteur. Par le recours aux divers procédés, le style de Céline illustre le vacillement de l’agencement sémantique entre l’aliénation et la libération, entre l’engagement et le désengagement, entre l’affirmation et le dénigrement. / This work follows an objective: to show and to demonstrate the fact that in the said of the text everything is not said. The journey of the character on three continents and the structure of episodic novel writing contribute to the distortion of the hegemony of a single discourse. To this must be added the fragmentation of space which, as a process both aesthetic and strategic, allows the novelist to escape from the discursive grasp of an ideology that claims to be ubiquitous. This work envisages the narrator, not as a constituted otherness, but as a composite figure made up of the heterogeneous thoughts of the novelist. This figure contains a great reserve of contradictions. We try to recognize in the text the intermittencies of saying and of silence: heterogeneous elements which unfold on a grid of nuances between alienation, disgust and poetry.In the same way that space vacillates between poetry and the prosaic world, the semantic poles of the text, aesthetic and ideological, change borders. Semantic units are transformed into slippery alterity that tend to escape from the process of conceptualization. Unlike any idealistic critical approach which claims to reach the absolute meaning of the object by trying to merge work and life, we show how the aesthetic sense follows its crest path. We approach the concept of heterogeneity not as a purely aesthetic concept that characterizes the framework of Celine's writing but as a spirit underlying the Celinian intellectual universe. Through the use of various methods, Céline's style illustrates the semantic vacillation between alienation and liberation, between commitment and disengagement, between affirmation and denigration.

The subject of this dissertation is the publishing of poetry in Sweden 1976–1995. The purpose is to examine the position of poetry in the Swedish book market and in the literary process. It is an empirical and statistical study based primarily on an inventory of the published works. The study shows that the publication of Swedish poetry collections in 1976–1995 consisted of 3 848 titles (new works only), which was more than ever before. Publication was consistent over the period, partly due to the allocation of the literature grant introduced by the Swedish government in 1975, but also to the technical development which made it possible for small and private publishers to release collections of poetry at a lower cost. The main publishers were the general publishing houses of Bonniers, Norstedts and Wahlström & Widstrand, but more than a third of the collections were published by vanity press and self publishers. Publication was strongly concentrated to the capital area. Regardless of the size of the publisher, poetry collections were printed in small numbers and generally sold poorly. Along with the technical development offset-printed books replaced duplicated publications, and more books were hardbound. The publishing houses made bigger efforts than ever before to publish female poets. The number increased over the period, but the men were still in a clear majority by 1995. The women were also largely responsible for rejuvenating the body of authors. The number of debutants was relatively constant during the period. The results in this dissertation indicate a hierarchic order among the publishing houses that determine the conditions for the authors and their works. This is verified through analyses of coverage in the national and regional daily papers, as well as three analyses of the authorships of Yngve Aldhagen, Else-Britt Kjellqvist and Bruno K. Öijer. The dissertation concludes that poetry exists on the publishing lists mainly for symbolical reasons; to publish poetry gives cultural capital to the publishers.

Elsa Fougt (1744–1826), a woman entrepreneur, was one of the leading figures in the late eighteenth-century Swedish book trade. Her main enterprise was the printing house Kongl. Tryckeriet (the Royal Printing House), which was responsible for printing and publishing the official documents of the Swedish realm. Besides her office as Royal Printer, she also ran a publishing house, two bookshops and a type foundry, as well as being the editor of the Swedish newspaper Stockholms Weckoblad. The dissertation analyzes Fougt's different enterprises and her position in the book trade between 1780 and 1810, from the perspectives of sociology of literature and gender history. It consists of five independent articles, preceded by an introductory chapter which summarizes the articles and discusses their main findings. The first two articles explore the office of the Royal Printer during the whole eighteenth century, while the third article concerns Elsa Fougt’s position as Royal Printer. The fourth article is a study of Fougt's publishing house, and the fifth and final article focuses on her international bookshop, where, among other things, she sold clandestine books imported from the STN in Switzerland. Fougt's successful career was made possible by a number of favourable circumstances, the most important being her family background and network. Her father Peter Momma held the office of Royal Printer, and Elsa Fougt and her husband Henric inherited his position when he died. When Henric passed away in 1782, Elsa – as a widow – was legally allowed to take up the office of Royal Printer independently. The fact that Elsa Fougt was a woman does not seem to have particularly affected her role as Royal Printer. In comparison with her predecessors, her position as Royal Printer appears to have been rather strong. She was a shrewd businesswoman who successfully negotiated with the authorities for higher financial compensation. Her office was obviously of greater importance than her gender. Being both a publisher, a printer, and a bookseller, Fougt handled most of the functions of the book trade, although she distinguished between these different functions. Furthermore, rather than just being an intermediary of books, she also took part in the creation of them, for example by initiating texts and editing manuscripts. In the book trade of her time, Fougt can be seen as both a traditionalist – holding the inherited office of Royal Printer – and an innovator, representing a more modern literary system with increased specialization.

This thesis is an exploratory examination of the social characteristics of 139 poets featured in a selection of five small press Canadian literary journals. The investigation charts and analyzes the demographics of 64 poets who were published in 1967, and 75 poets who were published in four small press literary magazines in 2010. The 2010 magazines were purposely sampled as representatives of specific geographical areas in Canada (i.e., the West Coast, the Prairies, Central Canada, and the East Coast). The results indicate that in 1967 female poets were less likely to be published; however, 43 years later, this bias has been rectified. Another notable difference between the two groups of poets is that in 1967 ethnic minorities were more likely to be published. Educational achievement was an important factor for both the 1967 and 2010 poets, as was location, occupation and editorial duties. / Graduate

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 296-320).

Através das representações da violência presentes nas obras ficcionais escritas por Ivan Ângelo A Festa (1976) e A casa de vidro (1979), durante a Ditadura do Pós-64, é possível relacionar o discurso literário às dimensões sociais. Pelo crivo da história e conceitos originários da Crítica Literária e da Literatura Comparada aplicados ao campo da Sociologia da Literatura, é possível compreender com sensibilidade e rigor alguns episódios e elementos da vida social brasileira, tais como: o papel do escritor em tempos de repressão à liberdade de expressão. Esse exercício reflexivo, arriscado e recente na sociologia materializa tanto os estudos literários quanto os sociológicos, de modo que o imaginário adquire status de objeto social, o que introduz, na análise sociológica dos textos (verbais e imagéticos) e suas circunstâncias de produção, a afirmação de uma das características mais sociais e humanas: a narratividade. A escrita criativa é uma fonte de acesso a posicionamentos tanto estéticos quanto políticos, e através dessas interfaces mesclam-se a memória, o esquecimento e a construção da ideia do passado. Por isso, a prática da leitura sob essa via ressignifica o sentido do presente e avança um passo a mais em direção à literatura como um fato social inegável e como ato ao mesmo tempo individual e coletivo que persiste através dos tempos e da cultura nacional. / It is possible to establish relations with literary discourse and social dimensions by means of the representations of violence existent in the fictional works The celebration (1976) and The tower of glass (1979) written by Ivan Ângelo during the Post-64 dictatorship. It is conceivable to comprehend sensibly and rigorously some episodes and elements of Brazilian social life, such as the role of the writer in times of freedom of expression repression by sifting through history and concepts from Literary Criticism and Comparative Literature applied to the field of Sociology of Literature. This risky and recent in sociology reflexive exercise enriches the study of literature and sociology in a way that fictional thought receives status of social object which introduces the statement of one of the most social and human features, the storytelling, in the sociological analysis of verbal and imagery texts and their production circumstances. Creative writing is a source of entry to both aesthetic and political positioning and, through these interfaces, memory, oblivion and the construction of the past are all mixed. Therefore, the practice of reading under this comprehension reframes the meaning of the present and advances another step towards literature as an undeniable and social fact and also as a fact that is at the same time individual and collective and that persists through time and through national culture.

BAHIA, Ryanne Freire Monteiro. O pobre na literatura: análise sociológica da obra O Cortiço. 2012. 126f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-25T12:53:04Z No. of bitstreams: 1 2012-DIS-RFMBAHIA.pdf: 943043 bytes, checksum: d87b7f82846453d9e7176adb4cef4531 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-10-25T17:10:02Z (GMT) No. of bitstreams: 1 2012-DIS-RFMBAHIA.pdf: 943043 bytes, checksum: d87b7f82846453d9e7176adb4cef4531 (MD5) / Made available in DSpace on 2013-10-25T17:10:02Z (GMT). No. of bitstreams: 1 2012-DIS-RFMBAHIA.pdf: 943043 bytes, checksum: d87b7f82846453d9e7176adb4cef4531 (MD5) Previous issue date: 2012 / O objetivo geral desse trabalho é produzir uma leitura possível sobre a representação do pobre por meio do romance O Cortiço, de Aluísio Azevedo. Questiona-se: De que forma o pobre surge sob a perspectiva Aluisiana? Que construtos simbólicos ela define e fortalece? O primeiro capítulo apresenta de forma sucinta a filiação intelectual de Aluísio Azevedo: o naturalismo, assim como descreve o campo de estudos. No capítulo dois, encontra-se a fundamentação teórica acerca dos eixos analíticos que sustentam a discussão, a saber: representação social, sociologia da literatura e pobreza. O terceiro capítulo marca o início da análise de dados propriamente dita. Nesta, a pobreza é exposta através dos conceitos de estigma social de Erving Goffman e de distinção social de Bourdieu, amparados nos estudos de Sevcenko. O quarto capítulo trata da antinomia entre disciplina para o trabalho e vadiagem, recaindo na associação imediata entre classes pobres e classes perigosas. No capítulo cinco, são apresentadas as teorias raciais do século XIX e sua influência direta da escrita da obra O Cortiço. À guisa de uma conclusão, é possível afirmar que o pobre é representado por ,pelo menos, duas correntes interpretativas : a de vítima da estrutura social, e a de sujeito responsável por seu estado de penúria. A pobreza é um estigma que representa uma forma de violência simbólica. Na contemporaneidade, pobre é aquele que necessita de auxílio, seja por intermédio do poder público, seja pela da caridade civil. Pensadores como Serge Paugam e Georg Simmel compreendem a pobreza pelo viés da tutela, do assistencialismo. O presente estudo problematiza a pobreza na perspectiva de Anthony Giddens, como algo dotado de um valor subjetivo, o qual não pode ser mensurado unicamente por meio das estatísticas da pobreza, mas pela percepção dos próprios atores sociais. De forma específica, buscaremos expor discursos, as ditas “produções de verdade”, sobre a pobreza, percebendo com isso as metamorfoses conceituais atinentes ao sentido da pobreza; bem como o pobre deixou de representar uma conexão com o divino, através da economia de salvação na Idade Média para transformar-se no estorvo, obstáculo da modernização. A pobreza é um problema complexo, possuindo raízes históricas, políticas e econômicas. Com esse texto, procuramos incitar uma reflexão sobre o pobre, sujeito social e sua teia de significações, as quais ele está vinculado por sua simples condição. A concepção literária adotada na análise neste trabalho é a perspectiva mediadora, a qual seria um meio termo entre a visão materialista e a estética ou idealista. Ela admite a criatividade do autor, a inventividade, mas permeada por idéias, sentimentos e questões relativas a um contexto de produção que é social e histórico.

Através das representações da violência presentes nas obras ficcionais escritas por Ivan Ângelo A Festa (1976) e A casa de vidro (1979), durante a Ditadura do Pós-64, é possível relacionar o discurso literário às dimensões sociais. Pelo crivo da história e conceitos originários da Crítica Literária e da Literatura Comparada aplicados ao campo da Sociologia da Literatura, é possível compreender com sensibilidade e rigor alguns episódios e elementos da vida social brasileira, tais como: o papel do escritor em tempos de repressão à liberdade de expressão. Esse exercício reflexivo, arriscado e recente na sociologia materializa tanto os estudos literários quanto os sociológicos, de modo que o imaginário adquire status de objeto social, o que introduz, na análise sociológica dos textos (verbais e imagéticos) e suas circunstâncias de produção, a afirmação de uma das características mais sociais e humanas: a narratividade. A escrita criativa é uma fonte de acesso a posicionamentos tanto estéticos quanto políticos, e através dessas interfaces mesclam-se a memória, o esquecimento e a construção da ideia do passado. Por isso, a prática da leitura sob essa via ressignifica o sentido do presente e avança um passo a mais em direção à literatura como um fato social inegável e como ato ao mesmo tempo individual e coletivo que persiste através dos tempos e da cultura nacional. / It is possible to establish relations with literary discourse and social dimensions by means of the representations of violence existent in the fictional works The celebration (1976) and The tower of glass (1979) written by Ivan Ângelo during the Post-64 dictatorship. It is conceivable to comprehend sensibly and rigorously some episodes and elements of Brazilian social life, such as the role of the writer in times of freedom of expression repression by sifting through history and concepts from Literary Criticism and Comparative Literature applied to the field of Sociology of Literature. This risky and recent in sociology reflexive exercise enriches the study of literature and sociology in a way that fictional thought receives status of social object which introduces the statement of one of the most social and human features, the storytelling, in the sociological analysis of verbal and imagery texts and their production circumstances. Creative writing is a source of entry to both aesthetic and political positioning and, through these interfaces, memory, oblivion and the construction of the past are all mixed. Therefore, the practice of reading under this comprehension reframes the meaning of the present and advances another step towards literature as an undeniable and social fact and also as a fact that is at the same time individual and collective and that persists through time and through national culture.

Depuis ses débuts littéraires, les classiques sont régulièrement convoqués dans l’écriture hautement intertextuelle d’Elfriede Jelinek par le truchement de citations tronquées, disséminées. Sa production dramatique récente est marquée par une confrontation redoublée avec les classiques germanophones, avec de nombreuses récritures produites depuis le milieu des années 2000. Parmi elles, le texte de théâtre Ulrike Maria Stuart (publié en ligne pendant trois jours en 2006, imprimé seulement en 2015) fait écho à la pièce de Friedrich Schiller Marie Stuart, et FaustIn and out (accessible gratuitement sur le site de Jelinek depuis 2011) joue avec l’œuvre « incommensurable » de Goethe, (l’Ur-)Faust. Cette étude effeuille les différentes strates du palimpseste et met au jour les espaces investis par la récriture à travers un parcours balisé, dispositif à entrées multiples permettant de décrire le fonctionnement et les enjeux de la récriture du point de vue de sa production, mais aussi de sa réception, notamment dans les mises en scène. En analysant comment l’espace de la récriture se mue en désécriture et tire profit d’une écriture « seconde » ou mineure (Deleuze), les enjeux macrostructurels, esthétiques et socio-littéraires de ces textes se font jour. La confrontation à la classicité entre en résonance avec le nouveau positionnement de l’autrice au sein du champ littéraire, notamment à travers le processus de classicisation de son oeuvre, influant également sur le destin éditorial singulier des œuvres de notre corpus. / Since her literary debut, the classics have regularly surfaced in the highly intertextual writing of Elfriede Jelinek by means of fragmentary and fleeting citations. Her recent dramatic productions are marked by an ever greater confrontation with the Germanic classics, with numerous rewritings produced since the mid-2000s. Among these, the play Ulrike Maria Stuart (published online over three days in 2006 and only published in print in 2015) echoes Friedrich Schiller’s play Marie Stuart, while FaustIn and out (accessible free of charge on Jelinek’s website since 2011) toys with the “immeasurable” work of Goethe, (Ur-)Faust. This study unravels the different strata of the palimpsest and revises the spaces occupied by rewriting through a well-defined path, an approach with multiple entry points that allows the functioning and issues of rewriting to be described from the perspective of both its production and its reception, notably in form of dramatization. By analysing how the space of rewriting evolves into a sort of unwriting and takes advantage of “secondary” or minor (Deleuze) writing, the macrostructural, aesthetic, and socio-literary stakes of these texts emerge. The confrontation with classicity resonates with the new positioning of the author within the literary field, especially through the process of the classicisation of her works, and influences the uncommon editorial approach framing the works of the corpus under investigation.