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Although F. Scott Fitzgerald's The Great Gatsby has received extensive critical attention since the middle of the century, there remains an unaddressed and unanswered question that demands further exploration: what makes Gatsby "great?" It seems that the source of Gatsby's greatness, for narrator Nick Carraway, is that Gatsby has a quality that sets him apart from others: it is not a "flabby impressionability," but a "heightened sensitivity to the promises of life" and "an extraordinary gift for hope" that Nick has never seen before, nor does he expect to see again (6). I contend that what Nick sees as Gatsby's belief and hope in the possibilities of life are embodied in what Kierkegaard discusses in his works Either/Or and Fear and Trembling as choosing to live an ethical existence free from the pain of the material world. Gatsby makes this choice (of living ethically) when the young James Gatz chooses to become Jay Gatsby and free himself from the pain of losing Daisy. Through this choice, according to Kierkegaard, the ethical individual is inducted into the knighthood as a knight of infinity. If the knight makes one more movement, he becomes a knight of faith who believes, "Nevertheless I have faith that I will get her--that is, by virtue of the absurd, by virtue of the fact that for God all things are possible" (Fear and Trembling 46). Gatsby is a "son of God" that "sprang from his Platonic conception of himself"; he is a Kierkegaardian knight who has chosen an ethical existence; he is a knight who has the ability to look impossibility in the eye and still have faith to the point of absurdity, even if a reunion with his love (Daisy) is not possible. This is Gatsby's "extraordinary gift for hope," which Kierkegaard attributes to "the only great one," the knight of faith. Thus, Nick's narrative is not only a canonization of his "great" knight, but an imaginative recollection that traces the movements of his knight, Gatsby, down the same path Kierkegaard imaginatively follows and observes his great knight of faith in Fear and Trembling.

<p>The purpose of this essay is to explore how different means are used to create indeterminate meaning in Henry James’s novella<em> The Turn of the Screw</em>. It suggests that the indeterminacy creates gaps in the text which the reader is required to fill in during the reading process, and that this indeterminacy is achieved chiefly through the use of an unreliable narrator and of ambiguity in the way the narrator relates the events that take place. The reliability of the narrator is called into question by her personal qualities as well as by narrative factors. Personal qualities that undermine the narrator’s reliability are youth, inexperience, nervousness, excitability and vanity. Narrative factors that damage the narrator’s reliability concern the story as manuscript, the narrator’s role in the story she narrates, and her line of argumentation. The ambiguity in the way events are reported is produced by ambiguous words, dismissed propositions and omissions. The essay demonstrates how the unreliable narrator and the ambiguity combine to make the reader question the narrator’s account and supply his or her own interpretation of key elements in the story, that is, how they invite the reader to “co-author” the text.</p>

The purpose of this essay is to explore how different means are used to create indeterminate meaning in Henry James’s novella The Turn of the Screw. It suggests that the indeterminacy creates gaps in the text which the reader is required to fill in during the reading process, and that this indeterminacy is achieved chiefly through the use of an unreliable narrator and of ambiguity in the way the narrator relates the events that take place. The reliability of the narrator is called into question by her personal qualities as well as by narrative factors. Personal qualities that undermine the narrator’s reliability are youth, inexperience, nervousness, excitability and vanity. Narrative factors that damage the narrator’s reliability concern the story as manuscript, the narrator’s role in the story she narrates, and her line of argumentation. The ambiguity in the way events are reported is produced by ambiguous words, dismissed propositions and omissions. The essay demonstrates how the unreliable narrator and the ambiguity combine to make the reader question the narrator’s account and supply his or her own interpretation of key elements in the story, that is, how they invite the reader to “co-author” the text.

Magistro baigiamajame darbe ,,Pasakotojo diskursų įvairovė šiuolakiniame lietuvių ir lenkų moterų romane (R. Šerelytė, K. Sabaliauskaitė, M. Gretkowska, D. Terakowska, O. Tokarczuk)ʻʻ nagrinėjami šiuolaikiniai lietuvių ir lenkų moterų romanai: Renatos Šerelytės ,,Mėlynbarzdžio vaikai“, Kristinos Sabaliauskaitės ,,Silva Rerum“ (I dalis), Manuelos Gretkowskos ,,Moteris ir vyrai“, Dorotos Terakowskos ,,Lėliukė“, Olgos Tokarczuk ,,Dienos namai, nakties namai“, šių romanų pasakotojo diskursai ir jų įvairovė. Darbo tikslas – atskleisti pasakojimo būdų įvairovę ir reikšmę šiuolaikinėje lietuvių ir lenkų moterų prozoje. Tikslui pasiekti keliami tokie uždaviniai: aptarti literatūrinio pasakotojo esmę ir raiškos ypatybes – išanalizuoti ir interpretuoti pasakotojo diskursų įvairovę kaip vienijantį kūrinio komponentą bei aptarti pasakotojo diskursų aktualumą minėtuose romanuose. Manoma, kad darbe esantis ketinimas atskleisti pasakotojo vaidmenį meniniame tekste yra vertingas, nes kaip tik meninė pasakotojo diskursų įvairovė suteikia kūriniui bene daugiausia įtaigos, prasminės gelmės. Taip pat ketinama įtikinti, kad ir skaitytojui pasakotojas yra svarbus, gebantis perteikti kūrinio intrigą, leidžiantis pažvelgti į įvykius individualizuotai. Magistro darbe pasitelkiami naratologiniai ir komparatyviniai literatūros kūrinių analizės aspektai, nors vieningos metodų sistemos sąmoningai nesilaikoma. Pasirinktųjų romanų kultūrinė ir meninė įvairovė sunkiai paklustų griežtai ribojančiai metodo... [toliau žr. visą tekstą] / The Master’s thesis “Variety of Narrator’s Discourses in Modern Lithuanian and Polish Feminine Novels (Renata Šerelytė, Kristina Sabaliauskaitė, Manuela Gretkowska, Dorota Terakowska, Olga Tokarczuk)” analyzes modern Lithuanian and Polish feminine novels, namely: “Children of Bluebeard” by Renata Šakalytė, “Silva Rerum (Part I)” by Kristina Sabaliauskaitė, “Woman and Men” by Manuela Gretkowska, “Chrysalis” by Dorota Terakowska, “House of Day, House of Night” by Olga Tokarczuk, narrator’s discourses of these novels and their variety. The goal of this research is to reveal the variety and significance of narrative techniques in modern Lithuanian and Polish women’s prose. To achieve the goal, the following tasks were set: to discuss the literary narrator’s essence and expression features — to analyze and interpret a variety of narrator’s discourses as a unifying component of the work as well as to discuss the relevance of the narrator’s discourses in the abovementioned novels. It is believed that the intention to reveal a narrator’s role in an artistic text is valuable, just as the variety of narrator’s artistic discourses provides by far the most suggestive and meaningful pieces of the entire novel. It also intends to convince the reader that the narrator is important, capable of conveying the intrigue of the work, allowing looking into the events in an individualized manner. The Master’s thesis deploys the narratological and comparative aspects of the literacy analysis... [to full text]

A internação hospitalar da irmã obriga a narradora de O sistema dos Anjos a realizar uma viagem às pressas do Rio de Janeiro para uma cidade ao sul do Brasil. A partir deste deslocamento, histórias da infância, da adolescência e do início da vida adulta vão surgindo na memória da viajante. A dissertação, em forma de romance, foi estruturada a partir de duas narrativas, ambas escritas em primeira pessoa, que formam um sistema único e colocam em dúvida a identidade daquela que está narrando. Quem o eu, quem o outro é o fio invisível que atravessa essa ficção composta de capítulos que ambientam diferentes fases, desde a gênese da família dos Anjos até a sua dissolução / The hospitalization of her sister compels the narrator of O sistema dos Anjos: memorabilia de uma família brasileira to make a hurried trip from Rio de Janeiro to a city in the south of Brazil. From this displacement, stories of childhood, adolescence and the beginning of adult life surface from the memory of the traveller. The thesis, in novel format, is built around two narratives, both written in first person, presenting a unique system and casting doubt on the identity of the speaker. Who I am, who the other is, form the invisible line that per passes this fiction, composed of chapters that harbor different phases, from the genesis of the dos Anjos family to its dissolution

A presente dissertação trata dos romances Memória de Elefante, Os Cus de Judas e Conhecimento do Inferno do escritor português António Lobo Antunes. Para tal, a perspectiva assumida foi tentar entender as obras por parâmetros detectáveis nas mesmas e em outros meios pelos quais o autor dirige-se ao público como crônicas e entrevistas. Essa perspectiva permitiu destacar um aspecto essencial da obra do autor que a crítica em geral chama de uma certa tendência à autobiografia. Esse caráter autobiográfico não só é afirmado por Lobo Antunes como ele propõe sua expansão a todos os livros; só não se sabe se exclusivamente os literários ou não. A partir dessa expansão e de experimentações que algumas falas permitem é possível dissociar a idéia do autor estudado da idéia de autobiografia tradicionalmente demarcada que é estudada por Philippe Lejeune em Le Pacte Autobiographique. Além do que se torna aceitável dizer que, para o escritor português, autobiografia seria uma escrita que provasse a existência de um narrador. Baseando-se na hipótese de que Lobo Antunes deseja, de um modo geral, garantir sua existência e, desse modo, marcar a presença do humano no planeta, a dissertação buscou estabelecer uma outra autobiografia possível deste narrador a fim de destacá-lo e destacar o humano que ele expõe / This dissertation deals with the novels Memória de Elefante, Os Cus de Judas and Conhecimento do Inferno from the portuguese writer António Lobo Antunes. To that end, the view taken was to try to understand the work by parameters detectables in the same and others ways by which the author turns to the public like chronicles and interviews. That prospect highlights an essential aspect in the work of the author, that criticism in general calls "a certain tendency toward autobiography." This autobiographical character is not only claimed by Lobo Antunes as he proposes to expand to all books, but it is not known whether only the literature, or not. From this expansion and experimentation that allowed by some discourses is possible to separate the idea of an author studied from the idea of autobiography traditionally demarcated this subject is studied by Philippe Lejeune in Le pacte Autobiographique. In addition to what is acceptable to say, for the portuguese writer, autobiography is a writing that would prove the existence of a narrator. Based on the hypothesis that Lobo Antunes want, in general, ensure their existence and thus mark the presence of humans on the planet, the dissertation sought to create another possible autobiography of this narrator to highlight it and the humans he explains

A internação hospitalar da irmã obriga a narradora de O sistema dos Anjos a realizar uma viagem às pressas do Rio de Janeiro para uma cidade ao sul do Brasil. A partir deste deslocamento, histórias da infância, da adolescência e do início da vida adulta vão surgindo na memória da viajante. A dissertação, em forma de romance, foi estruturada a partir de duas narrativas, ambas escritas em primeira pessoa, que formam um sistema único e colocam em dúvida a identidade daquela que está narrando. Quem o eu, quem o outro é o fio invisível que atravessa essa ficção composta de capítulos que ambientam diferentes fases, desde a gênese da família dos Anjos até a sua dissolução / The hospitalization of her sister compels the narrator of O sistema dos Anjos: memorabilia de uma família brasileira to make a hurried trip from Rio de Janeiro to a city in the south of Brazil. From this displacement, stories of childhood, adolescence and the beginning of adult life surface from the memory of the traveller. The thesis, in novel format, is built around two narratives, both written in first person, presenting a unique system and casting doubt on the identity of the speaker. Who I am, who the other is, form the invisible line that per passes this fiction, composed of chapters that harbor different phases, from the genesis of the dos Anjos family to its dissolution

Sobretudo a partir do início da década de 1980, José Saramago notabilizou-se como um dos escritores de língua portuguesa a conquistar considerável apreço da crítica literária sem, em contrapartida, cobrar um texto que se possa considerar dos mais herméticos na literatura contemporânea, o que decerto contribuiu para a formação de um público leitor significativo. Entendendo que o narrador de seus romances, gênero em que o autor mais escreveu, responde bastante por essa combinação relativamente exitosa de público e crítica, esta dissertação volta-se diretamente para esta instância enunciativa. Investigamos o narrador saramaguiano, então, a partir do reconhecimento de dois vetores que consideramos distintivos desta instância enunciativa e que nomeamos como expansão digressiva e concentração moralizante. Apresentando e detalhando de que consiste cada um desses vetores, defendemos o reconhecimento possível de uma oscilação regulada entre ambos os movimentos. Expomos também as categorias narrativas e tensivas que nos parecem sustentar a expansão digressiva e a concentração moralizante. Paralelamente, desenvolvemos uma análise de parte da fortuna crítica saramaguiana, com a qual fizemos nossas análises se confrontarem - em especial quando essa crítica problematiza o quantum de moderno e de tradicional haveria nos romances do tal português. Defendemos, por fim, que as opções discursivas na instância enunciativa nos permitem aproximar a função desempenhada pelo actante narrador do éthos de um orador, tal como concebido pela retórica clássica. Verificamos, ainda, como os vetores expostos ao longo do trabalho dialogam com a categoria semiótica do estilo. Baseamo-nos em dois romances de José Saramago - Memorial do convento (1982) e A caverna (2000) - e utilizamos como referencial teórico a semiótica de linha francesa, nascida com Saussure, desenvolvida por Hjelmslev e aprimorada por Greimas e, mais recentemente, por Zilberberg. / Mainly after the 80\'s decade, José Saramago has become one of the acclaimed writers in the Portuguese language literature to conquer considerable appreciation of the literature critique. Nevertheless, he presents a text that is not to be considered one of the most hermetic in the contemporaneous literature which surely contributes to gathering a significant public of readers. Understanding that the narrator of his novels, genre that he has produced the most, responds to this successful blend of public and critique, this research focuses directly to this enunciation instance. Therefore, we investigate the saramaguian narrator from the recognition of two vectors that are considered distinctive form this enunciation instance which were defined as digressive expansion and moralizing concentration. Presenting and detailing the constitution of those two vectors, we defend the possible recognition of a regulated oscillation between both movements. We also expose the narrative and tensive categories which seem to support the digressive expansion and moralizing concentration. Aside from that, we developed an analysis of part of the saramaguian critique fortune, confronting it to our analysis especially when this critique problematizes the extent of modern and traditional quantum in the Portuguese writer`s novels. At last, we defend that the discourse options in the enunciation instance allow us to approximate the developed function by the acting narrator of the ethos of an orator as conceived by the classical rethoric. We verified how the vectors exposed throughout the work dialog with the semiotic category of style. We based our analysis in the novels Memorial do convento (1982) e A caverna (2000) by José Saramago and we used as theoretical reference the French semiotics, born with Saussure, developed by Hjelmslev, imporved by Greimas and, more recently, by Zilberberg.

A presente dissertação trata dos romances Memória de Elefante, Os Cus de Judas e Conhecimento do Inferno do escritor português António Lobo Antunes. Para tal, a perspectiva assumida foi tentar entender as obras por parâmetros detectáveis nas mesmas e em outros meios pelos quais o autor dirige-se ao público como crônicas e entrevistas. Essa perspectiva permitiu destacar um aspecto essencial da obra do autor que a crítica em geral chama de uma certa tendência à autobiografia. Esse caráter autobiográfico não só é afirmado por Lobo Antunes como ele propõe sua expansão a todos os livros; só não se sabe se exclusivamente os literários ou não. A partir dessa expansão e de experimentações que algumas falas permitem é possível dissociar a idéia do autor estudado da idéia de autobiografia tradicionalmente demarcada que é estudada por Philippe Lejeune em Le Pacte Autobiographique. Além do que se torna aceitável dizer que, para o escritor português, autobiografia seria uma escrita que provasse a existência de um narrador. Baseando-se na hipótese de que Lobo Antunes deseja, de um modo geral, garantir sua existência e, desse modo, marcar a presença do humano no planeta, a dissertação buscou estabelecer uma outra autobiografia possível deste narrador a fim de destacá-lo e destacar o humano que ele expõe / This dissertation deals with the novels Memória de Elefante, Os Cus de Judas and Conhecimento do Inferno from the portuguese writer António Lobo Antunes. To that end, the view taken was to try to understand the work by parameters detectables in the same and others ways by which the author turns to the public like chronicles and interviews. That prospect highlights an essential aspect in the work of the author, that criticism in general calls "a certain tendency toward autobiography." This autobiographical character is not only claimed by Lobo Antunes as he proposes to expand to all books, but it is not known whether only the literature, or not. From this expansion and experimentation that allowed by some discourses is possible to separate the idea of an author studied from the idea of autobiography traditionally demarcated this subject is studied by Philippe Lejeune in Le pacte Autobiographique. In addition to what is acceptable to say, for the portuguese writer, autobiography is a writing that would prove the existence of a narrator. Based on the hypothesis that Lobo Antunes want, in general, ensure their existence and thus mark the presence of humans on the planet, the dissertation sought to create another possible autobiography of this narrator to highlight it and the humans he explains