Orientador: Maria Betânia Amoroso / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T05:03:06Z (GMT). No. of bitstreams: 1 Sigrist_VaninaCarrara_D.pdf: 6057497 bytes, checksum: 7af1d1594edb347c0249128368ed4329 (MD5) Previous issue date: 2012 / Resumo: Italo Calvino, questionando-se sobre novas necessidades impostas pelo enfraquecimento de diversos paradigmas conceituais e metodológicos das áreas exatas e humanas do conhecimento, dedicou-se intensamente como editor, crítico e ficcionista à leitura de incontáveis textos científicos e literários, com a mesma postura de curiosidade e de disciplina crítica, principalmente a partir dos anos 1960. Assim, ele desfez a visão cristalizada de que a literatura seria território exclusivo da expressão da subjetividade do autor em contato com o mundo, e de que a ciência se basearia unicamente em procedimentos de precisão e rigor, transmitidos por uma linguagem também exata. Aproximou por diversas vezes literatura e ciência, pensando-as como um híbrido de padrões e de exceções, de regras e de descumprimento das regras. Seu importante ensaio "Cibernética e fantasmas", de 1967, funcionou na pesquisa como núcleo argumentativo potencial para todo o percurso traçado pelas dezenas de textos seus, uma vez que nele são apresentados todos os elementos mínimos da discussão: o caráter combinatório-científico da literatura, o autor literário como máquina da escrita, a extrapolação da linguagem pela literatura como seu valor mítico e o leitor como fantasma responsável pela efetivação desse mito. Projetando esses elementos sobre uma seleção ensaística do período de 1965 a 1985, constata-se que as principais ciências que teriam contribuído para sua obra foram a cibernética, a antropologia, a etnologia, a matemática e a astronomia, concebidas em extrema mobilidade, sem rígidas fronteiras entre si. O escritor, recusando a estética naturalista-realista e a perspectiva antropocêntrica que a sustentaria, privilegiou teorias estruturalistas e semiológicas, a ideia do humano como uma dentre várias formas de vida, os modelos narrativos das culturas primitivas indígenas e ocidentais, a matematização dos procedimentos literários e a progressiva indistinção entre mundo escrito e mundo nãoescrito. Como crítico, entretanto, Calvino tendeu a explorar as afinidades entre literatura e ciência mais do que as especificidades de cada uma, incorrendo em uma postura interpretativa essencialmente estruturalista, abandonando, em certa medida, a noção de mito apresentada em "Cibernética e fantasmas" como momento determinante da linguagem literária. Foi com o objetivo de tentar reencontrar as especificidades literárias em seu discurso que lemos As Cosmicômicas (1965), um projeto de narrar o cosmo que alia ciência e literatura, máquina e humor, mostrando que tais elementos se misturam indefinidamente / Abstract: Italo Calvino, concerned about new demands due to the dissolution of some conceptual and methodological paradigms used in exact and humanistic areas of knowledge, mainly from the 1960's on, had been intensely dedicated as an editor, a critic and a fiction writer to reading several scientific and literary texts, with the same attitude of curiosity and critical discipline. He undid a traditional point of view which used to consider literature pure expression of an author's subjectivity in front of the world, and to consider science exclusively as a set of precise and rigorous procedures, demonstrated through a language also exact. He put literature and science side by side many times, taking them as a hybrid of standards and exceptions, rules and contraventions. His important essay "Cybernetics and ghosts", dating 1967, served in this research as a potential argumentative core for the entire path through dozens of his writings, because in this text all the basic elements of the discussion are presented: the combinatory-scientific nature of literature, the literary author as a writing machine, the explosion of language due to its mythic value and the reader as a ghost responsible for the effectiveness of this myth. Projecting these elements upon a selection of essays from 1965 to 1985, we can see that the main sciences that would have contributed for his writings were cybernetics, anthropology, ethnology, mathematics and astronomy, conceived in extreme mobility, with no clear boundaries among them. Refusing the naturalistic-realistic aesthetics and its anthropocentric perspective, the writer privileged structuralist and semiologic theories, the idea of human as one of several forms of life, narrative models from indigenous and western primitive cultures, the mathematization of literary procedures and the progressive indistinction between written and non-written world. But as a critic Calvino tended to explore the affinities between literature and science, more than the particularities of each one, reaching a way of reading essentially structuralist and leaving behind, in a certain way, the notion of the myth presented in "Cybernetics and ghosts" as an essential moment of literary language. It was with the purpose of trying to find again literary particularities in his speech that we read Cosmicomics (1965), a project of narrating cosmos which associates science and literature, machine and humor, showing that such elements get melted indefinitely / Doutorado / Teoria e Critica Literaria / Doutora em Teoria e História Literária

Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-29T13:14:59Z No. of bitstreams: 1 Tese completa.pdf: 1292437 bytes, checksum: 88c293c4232314645ea3dd00c6952f12 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-29T13:34:04Z (GMT) No. of bitstreams: 1 Tese completa.pdf: 1292437 bytes, checksum: 88c293c4232314645ea3dd00c6952f12 (MD5) / Made available in DSpace on 2017-03-29T13:34:04Z (GMT). No. of bitstreams: 1 Tese completa.pdf: 1292437 bytes, checksum: 88c293c4232314645ea3dd00c6952f12 (MD5) / A tese trata de narrativas que primaram por representar figurações extremas da infância, mais especificamente da infância sexualizada ou sedutora. O corpus inclui obras consagradas e conhecidas pelo tratamento polêmico da infância, como Lolita, de Vladimir Nabokov, A tragédia brasileira, de Sérgio Sant'Anna, Elogio da madrasta, de Mario Vargas Llosa, e O caderno rosa de Lori Lamby, de Hilda Hilst; assim como obras menos previsíveis como Teorema, de Pier Paolo Pasolini, e O bom crioulo de Adolfo Caminha. Nesses trabalhos, discuto o diálogo com as imagens tradicionais da infância, e igualmente a subversão polêmica dessas mesmas imagens, introduzindo uma concepção ou imagem sui generis daquele que conhecemos como o infante, ou aquele que se encontra no estágio infantil da sexualidade ou da psique. Vemos que o mito, como categoria supostamente a ser superada por essas narrativas (o mito da inocência infantil), retornará ao texto literário por vias insuspeitas e/ou alternativas, numa espécie de reconfiguração ou reatualização da infância mítica. / The thesis analyses narratives which present us extreme figurations of childhood, more specifically the figure of the sexual or seductive child. The literary corpus includes acclaimed works, known for their controversial treatment of childhood, such as Lolita, by Vladimir Nabokov, A tragédia brasileira, by Sérgio Sant'Anna, Elogio da madrasta, by Mario Vargas Llosa, and O caderno rosa de Lori Lamby, by Hilda Hilst. The analysis also considers less predictable works, such as Teorema, by Pier Paolo Pasolini, and O bom crioulo, by Adolfo Caminha. In the mentioned narratives, I will discuss their dialogue with traditional images of childhood, as well as a polemic subversion of those same images. The result would be a sui generis concept or image of the one we know as the infant, or the one who is in the infantile stages of psychosexual development. The myth as an allegedly overcome category in those narratives (the myth of childhood innocence) returns in unsuspected or alternative ways, reconfiguring or readapting the mythic childhood.

Este artículo trata sobre los espectáculos televisivos, y se propone esbozar una explicación de los mitos audiovisuales que consumimos y sobre por qué los consumimos de forma ritual. En la primera parte, se ofrece una definición de los espectáculos televisivos; en la segunda parte, se propone una teoría y metodología para el estudio de los mitos y ritos audiovisuales; y, en la tercera parte, se postulan las funciones rituales del consumo de mitos audiovisuales. / This paper is about television spectacles, and it intends to outline an explanation of the audiovisual myths that we consume and why we consume them ritually. In the first part, we offer a definition of television spectacles; in the second part, we propose a theory and methodology for the study of audiovisual myths and rites; and, in the third part, we postulate the ritual functions of the consumption of audiovisual myths.

Cette recherche comparatiste évoque les aspects essentiels de la dimension française dans la poésie bessarabienne du XXe siècle. L’exemple si suivi de l’imagerie française, déterminante dans la synchronisation, voire la postsynchronisation littéraire de l’espace roumainophone (y compris celui bessarabien) avec le monde occidental, se manifeste depuis toujours. Lors de cette migration imagologique la réception de l’élément étranger implique la notion du temps. Au temps linéaire historique d’une société est opposé le temps cyclique de l’image, sinon du stéréotype. La crise du temps engage la crise identitaire. Dans le contexte littéraire local la quête identitaire évolue implicitement avec la recherche esthétique. Des motifs empruntés, dans la plupart des cas de souche française, mythiques ou paramythiques, récurrents ou occasionnels – tout est invoqué afin de raccorder une littérature marginale avec le centre convoité, qu’il soit roumain, français, européen… L’ouvrage se structure autour de la thématique réitérative (voyage, île, ville…), ou singulière (Cythère, Guernica…). Une place importante occupe les thèmes poésie et peinture, paysage et recherche identitaire, ainsi que l’étude d’anthropologie culturelle « Mythe ou paramythe ». Une grande partie du texte est accordée au suivi imagologique de la présence française en régime totalitaire. Suite à une mentalité stéréotypée, l’image française devient, respectivement, symptomatique. Elle symbolise, par ailleurs, un exutoire culturel. Déterminant dans la constitution de l’imaginaire esthétique bessarabien, le phénomène de réminiscence et d’intertextualité contribue à l’émergence d’un tableau poétique varié et disparate. / This comparative research suggests the essential points of French dimension of the Bessarabian poetry in the twentieth century. The explicit example of the French imaging, decisive for synchronization, indeed literary postsynchronisation of the Romanian space (including Bessarabian) with the western world, has always manifested. During this imagological migration receipt of the foreign element involves the concept of time. The historical linear time of a society is against the cyclical time of the image, if not the stereotype. The crisis of time obliges the identity crisis. In the context of local literary quest for identity is changing with the implicit aesthetic research. The borrowed motifs, in most cases of French descent, mythical or paramythical, recurring or occasional - everything is invoked to connect the marginal literature with a coveted center, whether Romanian, French, European ... The work is structured around the reiterative theme (travel, island, city ...) or singular (Cythere, Guernica ...). An important place occupies the themes poetry and painting, landscape and identity research, and the study of cultural anthropology "Myth or Paramyth“. Much of the text is given to monitoring imagological of the French presence in totalitarian regimes. Following a stereotyped mentality, the French image becomes, respectively, symptomatic. Moreover, it represents a cultural outlet. Decisive for the constitution of the Bessarabian aesthetic imagination, the phenomenon of reminiscence and intertextuality contribute to the emergence of a poetic picture varied and disparate.

This thesis examines the use of elements of myth and ritual in the work of Peter Brook, focusing primarily on The Mahabharata ( 1986 ). The argument proposes that Brook uses myth and ritual as an integral part of his search for the culture of links .. This thesis examines the precise functioning of myth and ritual in Brook's theatre, and places his work in relation to the concepts of interculturalism and postmodernism. In so doing, The Mahabharata is seen as a valid and important step in Brook's search for the culture of links. Chapter One formulates broad-based concepts of myth and ritual, and examines their function in society and culture, as well as their role in theatre. Chapter Two offers a brief discussion of the use of elements of myth and ritual in Brook's productions, beginning with King Lear (1962), and ending with 0rghast (1971). The discussion illustrates the multiple functions which myth and ritual serve in Brook's work. Chapter Three examines the trend of interculturalism, placing Brook's work within this franlework. Attention is given to the moral and political issues implicit in interculturalism. The chapter highlights the need for intercultural theatre to be evaluated in terms of artistic criteria, rather than on anthropological or political grounds. Finally, there is a discussion of the work of other intercultural theatre practitioners. Chapter Four examines Brook's Mahabharata. A detailed discussion of the authenticity and visual presentation of Brook's interpretation shows how Brook mediates between the Indian epic and a Western audience An examination of the critical response offers insights into the dangers of insensitive cross-cultural contact.. Chapter Five offers a critical summary of the argument. Brook's search for the culture of links has led him to use elements of myths and rituals of non-Western cultures. In so doing, Brook seeks to bring their living quality to his work, and to forge links between the peoples and cultures of the world.

La "rencontre à Naxos " est l'une des nombreuses étapes du parcours aventureux qui jalonne et façonne l'itinéraire mythique de Bacchus.De l'Antiquité romaine à l'époque moderne, elle a nourri et inspiré la littérature et les arts ne cessant de se modifier au cours de treize siècles, dans un long processus d'acculturation et de métamorphoses.La "rencontre" a fait l'objet de nombreuses versions, dans lesquelles le personnage d'Ariane connaît un destin tragique ou heureux.Mais quelle version de la légende les romains vont-ils utiliser et s'agit-il toujours de la troisième version, la plus célèbre, lorsque Bacchus découvre Ariane abandonnée? C'est accompagné de son cortège composé de Ménades, Eros, Pan et de Silène que Bacchus découvre Ariane à Naxos. Il en tombe amoureux, lui offrant de devenir sa compagne et de séjourner avec lui éternellement, auprès des dieux de l'Olympe. Bacchus dévoile l'un de ses multiples visages, celui de la bienveillance et de l'amour. L'image d'Ariane se métamorphose, de simple mortelle elle devient un personnage divin.Au Moyen Âge le mythe sera mainte fois revisité et métamorphosé alors que la Renaissance s'en inspirera à de nombreuses reprises. / "Encounter in Naxos" is one of many steps the adventurous journey that marks ans shapes the mytical route of Bacchus. Fron ancient Rome to modern times, it has nurtured and inspired litterature and the arts not ceasing change over thirteen centuries, in a long process of acculturation and metamorphosis. The meeting has been many versions, in which the character of Ariadne knows a tragic or happy fate.But which version of the legendery Roman-they will use and is it the third version, the moste famous, when Bacchus discovers Ariadne abandoned?This is accompanied by his retenue composed of maenads, Eros, Pan and Bacchus then Bacchus discovered Ariadne auf Naxos. He falls in love, offering to become his wife and stay with him forever with the gods of Olympus. Bacchus reveals one of its many faces, one of kindness and love. The image of Ariadne metamorphosis from mere mortal becomes a divine character.In the Middle Ages the myth be revisited many times and metamorphosed while the Renaissance will inspire many times.

The exploration of Christian myths as literary resources in the work of Spanish poets writing between 1920 and 1944 has to date been attempted by scholars focusing on the works of individual poets, notably Luis Cernuda and Lorca. In this doctoral thesis, I aim to cover one of the few gaps in the criticism of this period by pointing to the use of Christian myths by a range of poets working with a similar intention, and within a common heritage. The Christian myths that I shall examine here, are approached in two different ways: firstly structurally, analysing them as Biblical references and fragments of myths –using Strauss’ nomenclature ‘Gross Constituent Units’—which appear decontextualised in many of the works, with a non-religious intention, that is, as a metaphor for something else. Secondly, thematically, by suggesting that there are four mythic topics common to many of the poets writing at those times, which are: creation by means of the word; the loss of Paradise; suffering; and the announcement of a new world to come. Through these myths, the poets reflect an evolution in their lives and Poetics. A phenomenological perspective is adopted in order to explain the role of the myths in the poems and to trace common grounds through the myth among the poets and as continuators of a Western poetic tradition since Romanticism (Prieto de Paula, 2002:59).The story line that these four topics constitute is very similar to the Romantic plot that M. H. Abrams had defined for the British Romantics and that Philip Silver and Derek Harris had already applied to the poetry of Luis Cernuda. This mirroring of the myth in the British and German Romantics has led the thesis towards a contextualisation of the work of the poets of 1927 in the modern Western literary tradition. They are seen in this specific context of practice as inheritors of a line which goes from European Romanticism, through the Modernism, Symbolism, Pure Poetry, and Avant-garde to the group of 1927, and therefore they are expressing typically modern topics by means of religious images and myths. As well as those conventionally studied as belonging to the “Generación del veintisiete”, the thesis discusses Ernestina de Champourcin, Elisabeth Mulder, Lucía Sánchez Saornil, Ana María Martínez Sagi and Rosa Chacel, and proposes a new way of seeing the group of poets writing between the 20s and the Civil war and after this in the exile as a new expression of the same Modernity.

À la fin des années 70, lorsqu’on commence à s’interroger autour des changements historico-politiques qui intéressent les deux “moitiés” de l’Europe, la crise du bloc communiste et la fin des idéologies, la référence à la Modernité est inévitable : on discute la crise de la modernité, d’une modernité inaccomplie ou accomplie. Comment est-ce que le paradigme littéraire change en cette “période de mutation”? Comment s’exprime dans la littérature contemporaine la recherche du sens? On assiste, dans le panorama littéraire, au retour du sujet et du besoin anthropologique de la narration, à la fonction du narrateur comme témoin et médiateur d’histoires d’autrui. À travers la narration de récits de vie, des destins “fragmentés”, des biographies réinventées, on peut remarquer l’intention de ressusciter des “marginalia”, des traces oubliées par l’Histoire : on essaie de donner un sens à une vie ou de saisir une vie par le sens, de représenter la quête d’un centre métaphysique par le personnage qui revit le conflit et la dissociation entre “âme et forme”. Ce sont des récits de filiations, ils narrent des relations père-fils, de l’histoire de la faute et de l’origine du pouvoir, mais aussi des vies marginales, des traces de l’histoire et du rôle du narrateur en tant que témoin. Les auteurs ont recours au mythe : on s’interrogera alors sur le sens nouveau de la représentation du mythe dans ces récits en tant qu’interprétation allégorique du contemporain et d’une relation nouvelle au temps ; on questionnera son utilisation en tant qu’allégorie vide et énigmatique. / In the late 70s, when one begins to wonder about the historical and political changes regarding the two “halves” of Europe, the crisis of the communist bloc and the end of ideology, the reference to Modernity is inevitable: the crisis of modernity is discussed – a modernity accomplished or unaccomplished. How does the literary paradigm change in this “time of mutation”? How is it expressed the search for meaning in the contemporary literature? We are the witnesses, in the literary scene, of the subject’s return and of the anthropological need of narration (the function of the narrator as a mediator of others’ stories). Through the narration of life stories, “fragmented” destinies, reinvented biographies, we can see the intention of resurrecting the “marginalia”, the traces forgotten by history: we try to give meaning to a life or to grasp a life by meaning, we try to represent the quest for a metaphysical centre through the character reliving the conflict and the dissociation between “soul and forms”. The authors use the myth: we will ask the new meaning of the representation of myth in these stories as an allegorical interpretation of contemporary and a new relationship to time; we will question its use as empty and enigmatic allegory.

This quasi-experimental study (N = 139) measured the effect of a reader response based instructional unit of the novel Speak on adolescents’ rape myth acceptance. Participants were eighth grade language arts students at a Title I middle school in a major metropolitan school district. Seven classes were randomly assigned to treatment (n = 4) or control (n = 3) condition. Two teachers participated in the study and both taught both treatment and control classes. The study lasted a period of five weeks. Participants were pretested using the Rape Myth Acceptance Scale (Burt, 1980) and a researcher created scale, the Adolescent Date Rape Scale (ADRMS). Analysis of pretests showed the ADRMS to be a reliable and valid measure of rape myth acceptance in adolescents. Factor analysis revealed it to have two major components: “She Wanted It” and “She Lied.” Pretests supported previous studies which found girls to have significantly lower initial levels of rape myth acceptance than boys (p < .001). A 2 (group) x 2 (instructor) x 2 (sex) ANCOVA using ADRMS pretest as a covariate and ADRMS posttest as a dependent variable found that treatment was effective in reducing rape myth acceptance (p < .001, ή2 = .15). Boys with high rape myth acceptance as demonstrated by pretest scores of 1 standard deviation above the mean on ADRMS did not have a backlash to treatment. Extended analysis revealed that participants had significantly lower scores posttest on Factor 1, “She Wanted It” (p < .001, ή2 = .27), while scores on Factor 2, “She Lied” were not significantly lower (p = .07). This may be because the content of the novel primarily deals with issues questioning whether the main characters assault was a rape rather than a false accusation. Attrition rates were low (N = 15) and attrition analysis showed that drop outs did not significantly alter the treatment or control groups. Implications for reader response instruction of young adult literature, for research on rape myth acceptance in secondary schools, and for statistical analysis of effect size using pretests as filters are discussed.

This thesis is an exploratory examination of identity construction and children’s media, with a focus on the Palestinian political groups of Fatah and Hamas. It looks at how children’s media are framed within the context of the Arab-Israeli conflict. It examines how internal and external social factors contribute to identity formation and the interaction among these elements during times of conflict and war. This thesis hypothesizes that both Fatah and Hamas use various myths to differing degrees in order to frame their conception of a Palestinian identity. Specifically, it explores the use of the Myth of Battle, the Myth of Hero, the Myth of Victim, the Myth of Religion, the Myth of Land and the Myth of Other. It seeks to determine which of these myths each group emphasizes through a qualitative and quantitative visual ethnographic content analysis. The quantitative analysis uncovered interesting, albeit not statistically significant, differences between Fatah’s and Hamas’ use of all of the myths in their videos. Specifically it found that both groups made equal and great use of the Myth of Religion; that Hamas produced the videos with the greatest focus on the Myth of Battle and the Myth of Hero; and that neither group greatly emphasized the Myth of Victim, the Myth of Land or the Myth of Other. Finally, the analysis discovered positive correlations between the Myth of Hero and the Myth of Battle as well as between the Myth of Battle and the Myth of Other.