Esta tese analisa a relação entre a ficcionalização da História Moderna e o desenvolvimento de uma ética da vida cotidiana no romance O arco-íris da gravidade, do norte-americano Thomas Pynchon. Para a sua análise e interpretação, será desenvolvido, no primeiro capítulo, um aporte teórico-metodológico que coteje a complexidade formal da narrativa (que dificulta a sua síntese temática) para se estabelecer, a partir daí, as condições de possibilidade de detecção de núcleos temáticos recorrentes que, numa rede de interconexões não-concêntrica ou dispersiva , perspectivizam no romance uma totalização fraturada do sistema-mundo moderno e contemporâneo. No segundo capítulo a ficcionalização do século XX é apresentada em suas configurações metafísica e intra-mundana, e no capítulo final são analisadas as condições que ela impõe para a formação, dentro do real ficcional, de rotinas e modos de vida eticamente positivos / This dissertation analyzes the relation between the fictionalization of Modern History and the development of an ethics of daily life in Thomas Pynchons Gravitys rainbow. For the novels interpretation, the first chapter develops a theoretical and methodological approach capable of dealing with its formal complexity (one which obscures thematic synthesis) in order to establish, thereby, the conditions of possibility of detection of recurring thematic elements, which in their turn through a dispersive or non-concentric network of connections puts into perspective some fractured totalization of the modern and contemporary world-systems. The second chapter presents the novels fictionalization of the Twentieth Century in its mundane and metaphysical configurations, whereas the last chapter analyzes the conditions they settle for the formation, within the fictional reality, of ethically positive routines and modes of life

Esta dissertação aborda a teatralidade da palavra poética em Paranoia, primeiro livro de poemas de Roberto Piva, publicado no início dos anos 1960. Não se trata de poesia dramática, mas de poemas endereçados a uma assistência, operando nos limites entre Lírica e Épica, poesia e prosa oratória. A teatralidade do orador-declamador frente a um auditório está inscrita no texto, através de recursos como apóstrofes, anáforas, enumerações, o uso de paralelismos linguísticos, narrativas de forte teor imagético, efeitos de amplificação, paradoxos. Os poemas configuram-se, em grande parte, como caminhadas e reflexões de um sujeito lírico pela metrópole paulistana em meados do século XX, reconstituídas em chave onírica, sob o pathos da paranoia. Este sujeito é acometido por visões, que compõe um painel de acento épico de seu lugar e seu tempo, através da reelaboração de tópicos barrocos como o mundo como teatro, o mundo como labirinto, o mundo como sonho e a loucura do mundo. / This dissertation approaches the theatricality of the poetic word in Paranoia, the first poetry book by Roberto Piva, published in the beginnings of the sixties on the XX century. It´s not about dramatic poetry, but poems adressed to an audience, dealing with the borders of Lyric and Epic, poetry and oratory prose. The theatricality of the public orator-declaimer in front of an audience is inscribed in the text, using resources like apostrophe, anaphora, enumeration, linguistic parallelism, narrative of strong imagetic content, amplification effect, paradox. The poems are shaped, mostly, as walks and meditations of a lyric subject on the metropolis of São Paulo city in the middle of the XX century, reconstructed on a onirical key, under the pathos of paranoia. This subject is assaulted by visions, which compose a pannel of epic content about his place and his time, through the reworking of baroque style topics, such as world as theatre, world as labyrinth, world as dream, and world\'s madness.

Esta tese analisa a relação entre a ficcionalização da História Moderna e o desenvolvimento de uma ética da vida cotidiana no romance O arco-íris da gravidade, do norte-americano Thomas Pynchon. Para a sua análise e interpretação, será desenvolvido, no primeiro capítulo, um aporte teórico-metodológico que coteje a complexidade formal da narrativa (que dificulta a sua síntese temática) para se estabelecer, a partir daí, as condições de possibilidade de detecção de núcleos temáticos recorrentes que, numa rede de interconexões não-concêntrica ou dispersiva , perspectivizam no romance uma totalização fraturada do sistema-mundo moderno e contemporâneo. No segundo capítulo a ficcionalização do século XX é apresentada em suas configurações metafísica e intra-mundana, e no capítulo final são analisadas as condições que ela impõe para a formação, dentro do real ficcional, de rotinas e modos de vida eticamente positivos / This dissertation analyzes the relation between the fictionalization of Modern History and the development of an ethics of daily life in Thomas Pynchons Gravitys rainbow. For the novels interpretation, the first chapter develops a theoretical and methodological approach capable of dealing with its formal complexity (one which obscures thematic synthesis) in order to establish, thereby, the conditions of possibility of detection of recurring thematic elements, which in their turn through a dispersive or non-concentric network of connections puts into perspective some fractured totalization of the modern and contemporary world-systems. The second chapter presents the novels fictionalization of the Twentieth Century in its mundane and metaphysical configurations, whereas the last chapter analyzes the conditions they settle for the formation, within the fictional reality, of ethically positive routines and modes of life

The American Projectivist verse of Jack Spicer, Charles Olson, and Robert Duncan contains within its poetics many epistemological assumptions shared by quantum physics. These assumptions exist in three broad categories: perception, process, and wholeness. In physics, the epistemology of perception has been profoundly altered by the Heisenberg Uncertainty Relation, which creates a symbiotic relationship between the observer and the observed. At least one photon of light is necessary to observe an electron; one photon is sufficient to alter the electron's momentum or position; therefore, a physicist affects an electron's "fate" in the act of observing it. Similarly, in Projectivist poetics, the perceptions of the reader are often enlisted to help "compose" the poem which is offered to him in "pieces," or, as in Robert Duncan's poetry especially, in self-reflexive segments. By "self-reflexive," we further mean that the Projectivist poem often "mirrors itself" as an electron "mirrors itself" as wave or as particle, while it is paradoxically both. A Projectivist poem may pause halfway through and "unravel" itself, i.e., study its own etymology. The reader thus must participate in "putting the poem back together," as the physicist participates in the phenomena he observes. The second epistemological model in physics and poetry stresses becoming, rather than being. Matter at the subatomic level has been defined as energy-in-flux. Similarly, the Projectivist poems of Charles Olson especially often exist as "fields" with no syntactical beginnings or endings. Moreover, the "I" of the Maximus Poems is often seen in a perpetual process of becoming the world of spacetime in the poems, creating a system similar to the being-and-becoming model of particle-and-field in quantum mechanics. Third, wholeness is a premise governing poetry and physics separately and together. Jack Spicer's thematics blend matter and consciousness, as "love and death matter/Matter as wave and particle." Similarly, Robert Duncan's poetics describes a "dancing organization between personal and cosmic identity." In physics, wholeness is seen primarily in an "implicate order" which attempts to overturn the old paradigms of fragmentation and connect matter and consciousness, including language, as interrelated systems of information.

Made available in DSpace on 2014-12-17T15:07:11Z (GMT). No. of bitstreams: 1 AndrewYSM_DISSERT.pdf: 1257696 bytes, checksum: 309b05179e3d4e5c72b883b5c4785af1 (MD5) Previous issue date: 2014-05-28 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / The literary critic Terry Eagleton obtained notoriety in academic circles when he was recognized intellectually for his bestselling book Literary Theory: An Introduction. In this book, the English author boldly proposes the end of literature and literary criticism. However, Eagleton proposed years before, in his book Criticism and Ideology (1976), a scientific system of analysis of literary texts, which seemed less radical, both in theory and in method, than in his later theoretical proposal. Based on this, the objective of this dissertation is to present the English literary critic?s initial method, explaining the reasons that led him to abandon his initial project - of develop a method of analysis of the literary text on a Marxist scientific perspective - and to propose, in the following years, in his most famous book and others, a revolutionary vision that would go beyond textual analysis and make literary texts have a practical intervention in society. Finally, we explain what would be his idea of revolutionary criticism / O cr?tico liter?rio Terry Eagleton obteve notoriedade no meio acad?mico ao ser reconhecido intelectualmente com seu livro best-seller Teoria da Literatura: uma introdu??o. Nesse livro, o autor ingl?s prop?e, ousadamente, o fim da literatura e da cr?tica liter?ria. Contudo, anos antes, Eagleton prop?s, no livro Criticism and Ideology (1976), um sistema cient?fico de an?lise do texto liter?rio aparentemente menos radical, tanto em teoria quanto no m?todo, que sua proposta te?rica posterior. Com base nisso, o objetivo dessa disserta??o ? apresentar o m?todo inicial do cr?tico liter?rio ingl?s, explicitar os motivos que o levaram a abandonar seu projeto inicial de elaborar um m?todo de an?lise do texto liter?rio sobre uma ?tica cient?fica marxista e a propor, nos anos seguintes, em seu livro mais famoso e em outros, uma vis?o revolucion?ria, que iria muito al?m de an?lises textuais e faria os textos liter?rios terem uma interven??o pr?tica na sociedade. Por fim, explicitaremos qual seria sua ideia de cr?tica revolucion?ria

Orientador: Miriam Viviana Garate / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-07T10:12:18Z (GMT). No. of bitstreams: 1 Grotto_Livia_M.pdf: 1256403 bytes, checksum: 02b3185dc3ec05c7bc5578e720eb1b40 (MD5) Previous issue date: 2006 / Resumo: O presente estudo sobre a obra de Ricardo Piglia parte de uma dupla concepção da estrutura formal do conto, delineada sobretudo no ensaio ¿Teses sobre o conto¿ (O Laboratório do escritor), para estendê-la como fundamento de toda a sua produção ficcional. Sob esse aspecto, são objeto de análise os contos ¿O preço do amor¿ (1975) e ¿O fluir da vida¿ (1988) - no Brasil, publicados em Prisão perpétua - e os romances Respiração artificial (1980), A Cidade ausente (1992) e Dinheiro queimado (1997) / Abstract: El presente estudio sobre la obra de Ricardo Piglia parte de una doble concepción de la estructura formal del cuento, delineada sobretodo en el ensayo ¿Tesis sobre el cuento¿ (Formas breves), para extenderla como fundamento de toda su producción ficcional. Bajo ese aspecto, son objeto de análisis los cuentos ¿El precio del amor¿ de Nombre falso (1975), ¿El fluir de la vida¿ de Prisión perpetua (1988), y las novelas Respiración artificial (1980), La ciudad ausente (1992) y Plata quemada (1997) / Mestrado / Literatura Geral e Comparada / Mestre em Teoria e História Literária

Text in Afrikaans / Summaries in Afrikaans and English / Die inhoud en vorm van 'n preek is 'n eenheid. Beide aspekte vorm deel van die teologiese teorie van die prediking. In hierdie studie word daar teoreties besin oor 'n bepaalde vorm van prediking. Dit behels 'n ondersoek na die literere vorm waarin die boodskap gestruktureer en verwoord word. Die Skrif bevat 'n verskeidenheid literere vorme wat deur Bybelskrywers aangewend is om die intensie van die teks effektief te kommunikeer. Elk van hierdie vorme besit 'n eiendomlike kommunikatiewe aard. Die ontwikkeling van die moderne literatuurwetenskap sedert die tagtigerjare van die twintigste eeu het stukrag verleen aan die insig dat die Bybel ook as 'n versameling godsdienstige literatuur bestudeer kan word. Dit het meegebring dat die intensie van die teks van die Bybel op 'n teologies verantwoordbare wyse, met inagneming van die historiese verbande, beter begryp kan word deur die gebruikmaking van insigte uit ander literatuur. As sodanig word erkende literere kunsvorme wat naas die logies-analitiese ook die emotiewe betrek, aanvaar. Die resultaat van hierdie ondersoek dui aan dat die preek as kunsvorm geevalueer en in die moderne preekteorie geregverdig kan word. Die proses van transformasie wat die moderne hermeneutiese benadering kenmerk; die veranderde beleweniswereld en verstaanshorison van die huidige hoorders asook die eiesoortige aard van Bybelse literatuur is vanuit 'n kommunikatiewe aanname in 'n kunsvorm binne die moderne homiletiese teorie haalbaar. Die teorie orienteer binne die kommunikatiewe handelingsteorie as meta-teorie wat ingestel is op dialogiese kommunikasie wat betekenisgewing deur waarnemerbetrokkenheid bevorder en 'n bepaalde denkwyse by die hoorders tot gevolg het. Die tradisionele vorm van prediking, gekenmerk deur absolute dominasie van die rede en intellektualisme uit die modernistiese tydvak, het teen die einde van die tweede millennium in ernstige diskrediet gekom. Die radikale verandering in die samelewing deur die moderniseringsproses met gepaardgaande paradigma verskuiwinge dwing die homiletiek om teoreties te herbesin. In hierdie studie word die preek as kunsvorm afgebaken tot die verhalende preekvorm, konseptueel ontwikkel en teoreties omskryf asook geplaas binne die moderne homiletiese teorie as komponent wat daarby pas. Die resultaat is verkry deur 'n vergelykende studie van gemeenskaplike wesenstrekke wat voorkom by erkende kunsvorme in die moderne kunsteorie; die verhalende kunsvorm in die moderne literere teorie met spesifieke verwysing na die Afrikaanse roman asook die verhalende preekvorm in die moderne homiletiese teorie. Deur hierdie vorm van prediking in die moderne preekteorie op te neem, kan 'n sinvolle bydrae gemaak word om die Christelike boodskap deur oortuiging sander enige vorm van dwang te kommunikeer. / In a sermon form and content are one. Both aspects form part of the theological theory of preaching. This theoretical survey investigates one of the various literary forms through which the biblical writers attempted to communicate the intention of the biblical text in the most effective way. Each of these forms possesses a distinctive communicative character. The development of modern literary theory since the eighties of the twentieth century was a propulsive force leading to the conviction that the Bible was also a collection of religious literature. This conviction implied that the intention of the biblical text could be more clearly understood in a theological justified manner within the historical context by using insights gained from other literature. Acknowledged literary art forms adhering to the emotive as well as the logic-analytical are embraced as such. In this study the sermon as an art form is limited to narrative preaching, developed as a concept; theoretically described and placed within the modern homiletical theory as a suitable component. Results are obtained by means of a comparative study of mutual features that are distinctive to acknowledged art forms in the modern theory of art; narrative art forms in modern literature theory specifically in the modern Afrikaans novel, as well as the narrative form of preaching in the modern homiletical theory. The modern homiletical theory is orientated within the communicative acts theory as meta-theory focusing on dialogical communication which promotes meaning through the involvement of the observer. The conclusions reached indicate that the sermon as an art form can be evaluated and justified within the modem homiletical theory. Taken up in this theory, it can prove significant in communicating the Christian message to the listeners in a convincing rather than compulsive manner. / Practical Theology / D.Th. (Practical theology)

O objetivo desta dissertação é analisar alguns dos momentos decisivos do processo de formação da poesia norte-americana, marcados pelas quatro primeiras edições (1855, 1856, 1861,1867) de Leaves of Grass, de Walt Whitman. A escolha desses momentos sublinha o caráter engajado do projeto poético de Whitman, que não visava à mera aclimatação da poesia européia no Novo Mundo, mas sim à constituição formal de uma poesia norte-americana adequada à realidade social de seu país. Nesse sentido, a leitura das quatro primeiras edições de Leaves of Grass pressupõe dois movimentos complementares: o entendimento dessa poesia enquanto resposta aos inúmeros conflitos que perpassam as décadas de 1850 e 1860 norte-americanas, quando a modernização, encabeçada pela industrialização e pelo trabalho livre, entra em choque definitivo com estruturas sociais de origem colonial, baseadas tanto na exploração do trabalho escravo como na própria constituição descentralizada da república; e a configuração literária desses problemas, em que veremos elementos constitutivos da poesia romântica européia em relação dialética com formas locais de expressão, muitas vezes estranhas ao quadro literário do Velho Mundo, mas reforçadas pela pretensão de se fazer valer (não sem contradições) uma literatura de caráter nacional. Para tanto, nossa análise toma não apenas a longa tradição de estudos hitmanianos, que atualmente têm se dedicado à revisão histórica de Leaves of Grass centrada quase que exclusivamente na experiência social norte-americana, mas a própria tradição crítica brasileira, na qual se consolidou um importante corpo de conceitos e debates acerca da posição periférica das literaturas do Novo Mundo em relação à Europa, o que nos permite tanto colocar a literatura de Whitman em um quadro mais abrangente de formação literária como observar ali algumas questões comuns às experiências brasileira e norte- americana para a consolidação de seu sistema literário, tais como o caráter empenhado da elite literária; a busca de novas formas; a representação e afirmação, na lírica, do indivíduo e da natureza do país; as questões éticas e econômicas ligadas ao problema da escravidão; e a relação ambígua e contraditória com os movimentos literários europeus. / The purpose of this dissertation is to analyze some of the decisive moments in the making of North American poetry, determined by the development, from 1855 to 1867, of the four initial editions of Walt Whitman\'s Leaves of Grass. The choice of these remarkable moments serves to underline the engaged feature of Whitman´s poetical accomplishment, which implied not the mere transposition of European literary thought into the New World, but mainly the formal constitution of a national poetry fit for the social environment of the United States. In this sense, the analysis of these four Leaves of Grass´ editions (1855, 1856, 1861, 1867) presupposes two complementary ways: firstly the acknowledgment of Whitman´s poetry as a response to the social tensions in North American midnineteenth century, when modernity, led by free labor and industrialization, collides with colonial and pre-modern social structures, based upon slavery and the very descentralized commercial Republic constitution; secondly the literary configuration of these tensions, in which we observe elements of the literary Romanticism dialetically linked to local forms of expression, some of them alien to the literary achievements of the Old World, but reinforced by the founding project of a national literature. To attend these questions, this dissertation recovers the long tradition of Walt Whitman studies - dedicated in the present time to the historical revisioning of the poet´s works centered almost exclusively in the North American social experience - by the light of the Brazilian critical tradition, in which very important concepts and debates over the periferical position of New World literatures were consolidated. This theoretical perpective allows us not only to place Leaves of Grass in a wider perspective of New World literatures but also to build a indirect comparative view that rests upon some important questions to the North American and Brazilian literary traditions, as the engaged ethos of their literary elites; the search for new literary forms; the lyrical affirmative representation of national individuals; the economical and ethical responses to slavery; and the ambiguous and contradictory relation with European literary movements.

Text in Afrikaans / Summaries in Afrikaans and English / Die inhoud en vorm van 'n preek is 'n eenheid. Beide aspekte vorm deel van die teologiese teorie van die prediking. In hierdie studie word daar teoreties besin oor 'n bepaalde vorm van prediking. Dit behels 'n ondersoek na die literere vorm waarin die boodskap gestruktureer en verwoord word. Die Skrif bevat 'n verskeidenheid literere vorme wat deur Bybelskrywers aangewend is om die intensie van die teks effektief te kommunikeer. Elk van hierdie vorme besit 'n eiendomlike kommunikatiewe aard. Die ontwikkeling van die moderne literatuurwetenskap sedert die tagtigerjare van die twintigste eeu het stukrag verleen aan die insig dat die Bybel ook as 'n versameling godsdienstige literatuur bestudeer kan word. Dit het meegebring dat die intensie van die teks van die Bybel op 'n teologies verantwoordbare wyse, met inagneming van die historiese verbande, beter begryp kan word deur die gebruikmaking van insigte uit ander literatuur. As sodanig word erkende literere kunsvorme wat naas die logies-analitiese ook die emotiewe betrek, aanvaar. Die resultaat van hierdie ondersoek dui aan dat die preek as kunsvorm geevalueer en in die moderne preekteorie geregverdig kan word. Die proses van transformasie wat die moderne hermeneutiese benadering kenmerk; die veranderde beleweniswereld en verstaanshorison van die huidige hoorders asook die eiesoortige aard van Bybelse literatuur is vanuit 'n kommunikatiewe aanname in 'n kunsvorm binne die moderne homiletiese teorie haalbaar. Die teorie orienteer binne die kommunikatiewe handelingsteorie as meta-teorie wat ingestel is op dialogiese kommunikasie wat betekenisgewing deur waarnemerbetrokkenheid bevorder en 'n bepaalde denkwyse by die hoorders tot gevolg het. Die tradisionele vorm van prediking, gekenmerk deur absolute dominasie van die rede en intellektualisme uit die modernistiese tydvak, het teen die einde van die tweede millennium in ernstige diskrediet gekom. Die radikale verandering in die samelewing deur die moderniseringsproses met gepaardgaande paradigma verskuiwinge dwing die homiletiek om teoreties te herbesin. In hierdie studie word die preek as kunsvorm afgebaken tot die verhalende preekvorm, konseptueel ontwikkel en teoreties omskryf asook geplaas binne die moderne homiletiese teorie as komponent wat daarby pas. Die resultaat is verkry deur 'n vergelykende studie van gemeenskaplike wesenstrekke wat voorkom by erkende kunsvorme in die moderne kunsteorie; die verhalende kunsvorm in die moderne literere teorie met spesifieke verwysing na die Afrikaanse roman asook die verhalende preekvorm in die moderne homiletiese teorie. Deur hierdie vorm van prediking in die moderne preekteorie op te neem, kan 'n sinvolle bydrae gemaak word om die Christelike boodskap deur oortuiging sander enige vorm van dwang te kommunikeer. / In a sermon form and content are one. Both aspects form part of the theological theory of preaching. This theoretical survey investigates one of the various literary forms through which the biblical writers attempted to communicate the intention of the biblical text in the most effective way. Each of these forms possesses a distinctive communicative character. The development of modern literary theory since the eighties of the twentieth century was a propulsive force leading to the conviction that the Bible was also a collection of religious literature. This conviction implied that the intention of the biblical text could be more clearly understood in a theological justified manner within the historical context by using insights gained from other literature. Acknowledged literary art forms adhering to the emotive as well as the logic-analytical are embraced as such. In this study the sermon as an art form is limited to narrative preaching, developed as a concept; theoretically described and placed within the modern homiletical theory as a suitable component. Results are obtained by means of a comparative study of mutual features that are distinctive to acknowledged art forms in the modern theory of art; narrative art forms in modern literature theory specifically in the modern Afrikaans novel, as well as the narrative form of preaching in the modern homiletical theory. The modern homiletical theory is orientated within the communicative acts theory as meta-theory focusing on dialogical communication which promotes meaning through the involvement of the observer. The conclusions reached indicate that the sermon as an art form can be evaluated and justified within the modem homiletical theory. Taken up in this theory, it can prove significant in communicating the Christian message to the listeners in a convincing rather than compulsive manner. / Philosophy, Practical and Systematic Theology / D.Th. (Practical theology)

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