This thesis is focused on Virginia Woolf¡¦s mourning in her Mrs. Dalloway and To the Lighthouse based on the theory of the work of mourning. Since Freud¡¦s grounding essay, ¡§Mourning and Melancholia¡¨ first appeared in 1918, numerous critics, like John Bowlby and Therese Rando, have followed Freud¡¦s path to study the process of the work of mourning. Julia kristeva also proposes ¡§the sublimatory hold over the lost Thing¡¨ as a way of curbing mourning. In To the Lighthouse, Virginia Woolf restarts her work of mourning, which she fails when her mother, Julia Stephen dies. Woolf writes down and expresses her memories and affections of her mother through her fictional surrogate, Lily Briscoe. Through Lily¡¦s completion of her painting in the end of the novel, Woolf also completes her own work, not only the work of art but also her belated work of mourning. The reason that Woolf writes about her work of mourning in a belated time is that she has not find an appropriate voice of her own to speak out her mind. It is until the creation of Mrs. Dalloway, in which she experiments with the technique of stream-of-consciousness, that Woolf finds a voice of her own. As a result, after the composition of Mrs. Dalloway, Woolf starts her work of mourning in To the Lighthouse. The first chapter begins with an introduction to the theories of mourning and Robert Humsphrey¡¦s theory of the techniques of stream-of-consciousness in modern novel. The second chapter is the discussion of Mrs. Dalloway. By means of her experiment of the new technique of narration, Woolf is able to reveal her belief of the work of mourning through the doubling of the sane Clarissa Dalloway and the insane Septimus, that any suppression of the work of mourning may cause insanity. The third chapter explains how Woolf restarts her belated work of mourning in To the Lighthouse. Since some of the plots of the novel derive from Woolf¡¦s own experiences, verbalizing her past is Woolf¡¦s first step of her work of mourning. Moreover, Woolf expresses her feelings and sentiments for her mother, represented as Mrs. Ramsay, through Lily Briscoe, the surrogate mourner in the novel. By means of the technique of stream-of-consciousness, Woolf is able to speak out her true thoughts about her mother through Lily¡¦s observation of Mrs. Ramsay. Therefore, in the end of the novel, Woolf and her surrogate, Lily, are finally able to finish their own work of art and of mourning as the story ends. In the last chapter, I suggest that Woolf¡¦s new invention of the technique of stream-of-consciousness as her own voice in Mrs. Dalloway initiates her next novel, To the Lighthouse. This is why Woolf restarts her work of mourning of her mother three decades later¡Xbecause she is finally able to speak of her own.

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Este trabalho tem por objetivo analisar o filme The Hours (2002), adaptaÃÃo cinematogrÃfica do romance homÃnimo de Michael Cunningham (1998). No livro, o fluxo de consciÃncia à utilizado para representar a percepÃÃo interior dos personagens. Para a traduÃÃo da tÃcnica, principal desafio do processo de adaptaÃÃo segundo o roteirista David Hare (2002), evitou-se o flashback e voice-over. No lugar da descriÃÃo do pensamento, o filme transforma a subjetividade dos personagens em aÃÃo exterior, por meio dos diÃlogos e da caracterizaÃÃo dos atores. O nosso pressuposto à de que a trilha musical, composta pelo mÃsico norte-americano Philip Glass, à o elemento fÃlmico que sugere a expressÃo de um fluxo de consciÃncia na pelÃcula. NÃo sà pelo estilo da composiÃÃo, pÃs-minimalista, se aproximar de conceitos estÃticos da ficÃÃo de fluxo de consciÃncia, mas tambÃm pelo modo como essa mÃsica se entrelaÃa Ãs imagens. Nesse sentido, procuramos articular autores da teoria literÃria (Wood, 2012; Humphrey, 1979), dos estudos musicais (Gorbman, 1987; Ross,2009) e da cultura visual (Mitchell, 1986; RanciÃre, 2009) para tratar da relaÃÃo entre texto, imagem em movimento e som. Consideramos que esses elementos estÃo em constante convergÃncia na contemporaneidade, jà que a literatura, o cinema e a mÃsica estÃo inseridos em um mundo onde hà um deslocamento contÃnuo entre as instÃncias do dizÃvel e do visÃvel. / This dissertation aims to analyze the The Hours (2002), a film adapted from the homonymous novel written by Michael Cunningham (1998). In the book, the stream of consciousness is utilized to represent the inner perception of the characters. To translate the technique, the main challenge in the adaptation process, according to the screenwriter David Hare (2002), flashback and voice-over were avoided. Instead of describing thoughts, the movie transforms subjectivity in external actions, through dialogues and the characterization of the actors. Our hypothesis is that the score, composed by the American musician Philip Glass, is the filmic element that suggests the expression of the stream of consciousness in the movie. Not only the post-minimalism aesthetic is close to concepts of the stream of consciousness fiction, but also the way the music intertwines itself with images. This way, we try to articulate ideas by authors of literary theory (Wood, 2012; Humphrey, 1979), musical studies (Gorbman, 1987; Ross, 2009) and visual culture (Mitchell, 1986; RanciÃre, 2009) to deal with the relationship between text, moving image and sound. We consider these elements are in constant convergence in contemporaneity, since literature, cinema and music are inserted into a world where there is a constant displacement between the instances of the speakable and of the visible, in which forms and materialities are constantly mixing up.

The appearance of the stream of consciousness novel in the early Twentieth century marked a revolutionary moment in the history of English-language literature. Authors such as Joyce, Woolf and Faulkner aimed at simulating through language the inner workings of the human mind which were explored by contemporary psychology and philosophy. Their experiments with linguistic and narrative possibilities make their work a stimulating subject of study, both in the original and in translation. Although stream of consciousness novels by different English-speaking authors have been examined together linguistically before (e.g. Humphrey 1954, Dahl 1970, Cohn 1978), no translation study of this kind has yet been attempted. In this thesis I examine how the main traits of the stream of consciousness genre, such as the apparent lack of narratorial control, privacy and spontaneity of the fictional discourse, are recreated in Italian. The core of this thesis is formed by a set of systematic comparative analyses of linguistic parameters which contribute to conveying these traits: punctuation, exclamatory utterances, interjections and lexical repetition. For the purpose of my investigation, I built a corpus of six English stream of consciousness passages with their nineteen Italian translations and re-translations. The source texts are drawn from Joyce’s A Portrait of the Artist as a Young Man (1916) and Ulysses (1922), and Woolf’s Mrs Dalloway (1925) and To the Lighthouse (1927); the target texts from their complete translations published from 1933 to 1995. The analysis starts from the investigation of local translational choices and proceeds to identify patterns of behaviour. This qualitative method is complemented by a quantitative examination of the frequency of particular translation solutions both within and across target texts. The series of (re)translations are also compared diachronically and related to the retranslation hypothesis, according to which later translations tend to be closer to the source text. My research also puts the stream of consciousness phenomenon into the Italian socio-cultural context by examining how it was received in Italy across the Twentieth century.

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This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 0593 / tarastar@gmail.com

This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 2015-04-16 / 0593 / tarastar@gmail.com

Édouard Dujardin (1861-1949), fondateur de la Revue wagnérienne et de la Revue Indépendante de littérature et d’art, n’a pas été seulement un théoricien du symbolisme, il en a été le praticien. Son œuvre littéraire entre 1885 et 1893 explore aussi bien le vers que la prose, en retrace les questionnements. Résolument engagée dans l’avant-Garde, elle ne s’attaque pas seulement à l’édifice du réalisme, elle remet en cause le modèle de la mimèsis dans une recherche formelle intense. Ainsi l’œuvre de Dujardin se fait-Elle, de manière exemplaire, témoin de cette crise du vers que traversait l’univers des lettres. Genres, formes et confrontation entre les arts délimitent ce parcours en trois parties, qui ne suit pas un plan linéaire ou chronologique, mais un questionnement spécifique déterminé par chaque ouvrage. Pour cette raison, nous avons commencé par son théâtre, qui soulevait la question de l’identité du personnage. Le prénom Antonia nous a ainsi servi de fil conducteur pour aborder la relation vers et prose, telle qu’elle se manifeste soit dans le poème en prose soit dans le vers libre. Dans une seconde partie, nous avons interrogé les formes, la prose poétique de ses nouvelles et de son roman, qui répondent partiellement aux critères définissant le poème en prose. Enfin, dans le cadre de la confrontation entre les arts, nous nous sommes intéressés au phénomène textuel Les Lauriers sont coupés, considéré par la critique comme un procédé de « monologue intérieur », puis au rapport entre poésie et musique par l’étude de l’ouvrage Litanies mélopées pour chant et piano, qui met en vis-À-Vis poème et musique. / Edouard Dujardin (1861-1949), the founder of Revue wagnérienne (the Wagnerian Journal) and Revue Indépendante de littérature et d’art (the independent journal of literature and art) has not only been a theoretician on symbolism but also a practitioner. His literary work between 1885 and 1893 explores verse as well as prose and traces back its questionings. Being resolutely engaged in the avant-Garde, it does not only tackle the structure of realism but also questions the model of mimesis in a sort of formal and intense research. It thus happens that Dujardin’s literary work testifies, in an exemplary way for that matter, to the crisis in verse that the literary universe was undergoing. Genres, forms and confrontations of different forms of arts define this course in three parts which does not follow a linear plan nor a chronological one but rather a specific questioning determined by each literary work. This is the reason why we started by studying his drama which raised the question of the character’s identity. The name of Antonia was thus used as a thread to tackle the relationship between prose and verse, as shown in the poem in prose or in free verse.In a second part, we questioned the forms-The poetic prose of his short stories and of his novel- which partly fulfil the criteria of the poem in verse. Lastly, in the context of the confrontation between the different types of arts, we focused on the text viewed as a phenomenon- Les Lauriers sont coupes- considered by critics as a form of “stream of consciousness” then on the connection between poetry and music through the study of the work Litanies, “mélopées” for piano and song, which confronts poem and music.

As an artist, my work reflects my own life experiences, allowing me to reinterpret and process difficult events in a new light. Creating art is a therapeutic process for me, enabling me to explore and understand my past and my own Self. In line with James Baldwin's views, I believe that the duty of an artist is to provide their audience with an opportunity to rediscover themselves; to help them explore their inner selves. In my experience, to achieve that goal, the first and most important hurdle the artist needs to cross is exploring themselves. In the process of answering questions about their own selves, they can touch many other souls. In Fragmented Self, I employ composited 3D animations of my own body parts juxtaposed over still and moving images. Each body part and piece in Fragmented Self is a metaphorical representation of a specific experience I have lived through. The resulting pieces are meditative, surreal, and abstracted spaces that speak to the complexities of life experiences. I believe each body holds messages from the past, and in Fragmented Self, I disembody and fragment my own body to study and explore my own Self. Drawing inspiration from Walt Whitman's Leaves of Grass in which he proclaims, "I contain multitudes", I see my Self as a composite of various selves shaped by different life experiences coming together to form one Self. I believe that I am a constantly evolving individual, influencing my everyday encounters and choices. As in the Japanese tradition of Kintsugi, in Fragmented Self, I trace the gold lined cracks that unite my multitudinous selves into one in hopes of answering the question "What makes me who I am today?" / Master of Fine Arts / Fragmented Self is a body of artwork created in an effort to learn about my own Self. The work explores how I see my Self as containing multiple selves. The project utilizes video and 3D rendering to create digital composites with semi-realistic aesthetics. The finished work includes 3 pieces focusing on ideas of time, perception, and fragmentation.

Made available in DSpace on 2016-04-28T19:58:56Z (GMT). No. of bitstreams: 1 Daniel Vladimir Tapia Lira de Siqueira.pdf: 1277487 bytes, checksum: a3a83befa0dc7bf8a90c7071ed682092 (MD5) Previous issue date: 2015-08-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study elects the short story by Clarice Lispector, Devaneio e embriaguez duma rapariga as the corpus of the research, to explore possible correspondence between stream of consciousness and daydreaming, concepts belonging respectively to literature and psychoanalysis. The aim is to investigate similarities in conceptualizing the two areas of knowledge, highlighting contributions to an enriching reading of the text. The author is known for his mastery in the use of stream of consciousness, which is used as narrative resource for the construction of the short story, as well as the daydreaming, as its title indicates. The initial motivation is the question: the stream of consciousness in the Clarice Lispector s short story would be a constructor procedure which in psychoanalysis is called daydreaming? In order to answer the question, we seek to grasp the structuring fantasies of daydreaming and formulated the hypothesis that this is a form of expression of the stream of consciousness. Therefore, it resorts to the analytical and comparative methods, adopting as procedure to research and to analysis the critical fortune and theoretical works that contextualize the issue of daydreaming and the stream of consciousness. Also, it investigates the way in which is the construction of daydreaming in Clarice s short story and the effect that this feature gives the narrative. The conclusion is that the literary concept of stream of consciousness includes the psychoanalytic concept of daydream. According to the analysis, it seems that the character uses to daydream as escape from a frustrating reality. Thus, using the psychoanalytical concept of figurability also it was also concluded that the writer has a special appreciation for the visual arts and this is present markedly in her writing / A pesquisa elege o conto de Clarice Lispector, Devaneio e embriaguez duma rapariga, como corpus de investigação, buscando averiguar possíveis correspondências entre fluxo de consciência e devaneio, conceitos pertencentes, respectivamente à literatura e à psicanálise. O objetivo é investigar aspectos comuns na conceituação das duas áreas de conhecimento, destacando contribuições para uma leitura enriquecedora do texto. A autora é reconhecida por sua maestria no uso do fluxo de consciência, que é utilizado como recurso narrativo para a construção do conto, assim como o devaneio, como já assinala o próprio título. Nossa motivação inicial foi o questionamento: o fluxo de consciência, no conto de Clarice Lispector, seria um procedimento construtor do que, em psicanálise, se denomina devaneio? Com o objetivo de responder a indagação, busca-se apreender as fantasias estruturadoras do devaneio e formula-se a hipótese de que esta seja uma das formas de expressão do fluxo de consciência. Assim, recorre-se aos métodos analítico e comparativo, adotando como procedimento a investigação e análise da fortuna crítica e das obras teóricas que contextualizam a questão do devaneio e do fluxo de consciência. Além disso, investiga-se a maneira como se dá a construção do devaneio no conto clariciano e o efeito que tal recurso confere à narrativa. Conclui-se que o conceito literário de fluxo de consciência engloba o psicanalítico de devaneio. A partir da análise, constata-se que a personagem recorre ao sonhar acordada como fuga de uma realidade frustrante. Desse modo, utilizando-nos também da concepção psicanalítica de figurabilidade constatamos que a escritora tem um apreço especial pelas artes visuais e isto se faz presente de forma marcante em sua escrita

Made available in DSpace on 2016-08-10T11:06:52Z (GMT). No. of bitstreams: 1 CLESSIO PEREIRA BASTOS.pdf: 867810 bytes, checksum: 5a2f69fc9c1080af8f638c462cb0e6dd (MD5) Previous issue date: 2013-02-18 / This dissertation brings to the reader a study of the evolution of the novel production techniques, involving their new directions, since the late nineteenth century, when the text have left to be a mirror of visible factors to become a sort of magnifying glass that enlarges, for the reader, various aspects of the human perceptions. This research aims to show the route taken by the techniques of literary production and so to examine attentively the current resources used by authors in preparing their narratives in order to place the human being and its key issues at the center of cogitations. To reach this objective, we must reflect on how previous methods were unable to bring the reader into the text, making his or her its coauthor. What was called here new novel resulted from transformations faced by literature, technology and psychoanalysis in the period after the Industrial Revolution, when Sigmund Freud showed with his studies the bottomless pit of human consciousness. Since then, the art undertook itself to deepen this gap in order to set man in his innermost and purest reality. Given this new possibility, Literary Criticism had to change their methods of analysis and to discuss these new forms arising in the current context. Basing on this new building whose component parts include the interior monologue, the stream of consciousness and philosophical aspects relating to language , the novel Manual da paixão solitária, by Moacyr Scliar and Jabuti Award winner in 2009 in the category fiction, served as our object of analysis. Through a skillful "unreading", this book provides a kaleidoscopic view of the story originally found in chapter 38 ofthe Book of Genesis. To achieve this study, we made use of the literary and philosophical reflections by Humphrey (1976), Rosenthal (1974) and Costa (2008), among others, as theorical basis for this research. / Faz-se, nesta dissertação, um estudo sobre a evolução das técnicas de produção romanesca, envolvendo seus novos rumos, a partir do final do século XIX, quando o texto deixa de ser espelho de fatores visíveis para se transformar numa espécie de lupa que amplia, para o leitor, variados aspectos das percepções humanas. Esta pesquisa tem por fim evidenciar o percurso feito pelas técnicas de produção literária e deter-se, de forma mais cuidadosa, nos atuais recursos utilizados pelos autores na elaboração de suas narrativas, de modo a colocar o ser humano e suas questões fundamentais no centro das cogitações. Para tanto, é preciso refletir sobre como os métodos anteriores eram incapazes de trazer o leitor para dentro do texto, tornando-o então seu coautor. O que aqui foi denominado de novo romance resultou das transformações da literatura, da tecnologia e da psicanálise, no período posterior à revolução industrial, quando Sigmund Freud evidenciou com seus estudos o poço sem fundo da consciência humana. A partir de então, a arte empreendeu-se em aprofundar neste abismo, com o fim de configurar o homem em sua realidade mais íntima e mais pura. Diante desta nova possibilidade, a Crítica Literária precisou modificar seus métodos de análise e discutir essas novas formas surgidas no atual contexto. Fundamentando-se nessa nova construção, da qual faz parte o monólogo interior, o fluxo da consciência, e aspectos filosóficos referentes à linguagem, o romance Manual da paixão solitária, de Moacyr Scliar, vencedor do prêmio Jabuti, em 2009, na modalidade ficção, serviu-nos de objeto de análise. Por meio de uma habilidosa desleitura, este livro possibilita uma visão caleidoscópica do relato originalmente encontrado no capítulo 38 do livro de Gênesis. Para concretizar tal estudo, serviram de lastro para esta pesquisa, as reflexões literárias e filosóficas de Humphrey (1976), Rosenthal (1974) e Costa (2008) entre outros.