Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-01-12T13:11:31Z No. of bitstreams: 1 MariaValeskaRochaDaSilva_DISSERT.pdf: 773091 bytes, checksum: ba247396d351b4a1068a04d4fbb184b0 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-01-16T13:31:12Z (GMT) No. of bitstreams: 1 MariaValeskaRochaDaSilva_DISSERT.pdf: 773091 bytes, checksum: ba247396d351b4a1068a04d4fbb184b0 (MD5) / Made available in DSpace on 2017-01-16T13:31:12Z (GMT). No. of bitstreams: 1 MariaValeskaRochaDaSilva_DISSERT.pdf: 773091 bytes, checksum: ba247396d351b4a1068a04d4fbb184b0 (MD5) Previous issue date: 2015-03-31 / Este trabalho tem como objetivo identificar o conceito est?tico de humor subjacente ?s discuss?es travadas pela cr?tica liter?ria brasileira do s?culo XIX em torno de Mem?rias p?stumas (GUIMAR?ES, 2004), (ROMERO, 1897). No intento de atingi-lo, fez-se necess?rio percorrer dois caminhos: o primeiro deles, acompanhando o processo de estrutura??o do conceito de humor ingl?s at? sua manifesta??o em Tristram Shandy (KLIBANSKY, 1979); (WATT, 2010); o segundo, identificando as particularidades da manifesta??o do humor ingl?s em Mem?rias p?stumas e a din?mica alimentada pela cr?tica brasileira com a quest?o da identidade nacional (CANDIDO, .2012), (MAGALH?ES J?NIOR, 2008). / This paper aims to identify the aesthetic concept of humor underlying Brazilian 19th-century critical readings of Epitaph of a small winner, by Machado de Assis (GUIMAR?ES, 2004; ROMERO, 1897). First, we follow the structuring process of the concept of English humour from the Hippocratic theory of humors through Tristram Shandy, by Laurence Sterne (KLIBANSKY; PANOFSKY; SAXL, 1979; WATT, 2010). Finally, we analyze it in Epitaph of a small winner considering the concept of national identity in Brazilian literary milieu at the time (CANDIDO, 2012; MAGALH?ES J?NIOR, 2008).

The similarities between Swift's Grub Street Hack and Sterne's Tristram are persistent and remarkable, even though the Hack is a satiric pose of Swift and Tristram a comic projection of Sterne. Perhaps the most striking similarity lies in the constant tension between the reader's expectations of a wise narrator and a sequential style and the Hack's and Tristram's perverse frustration of the reader's desire for order. The foolish narrators, in an obstructive style, develop systematic theories based on absurd hypotheses. This perversity is not only witty and amusing, but also a reflection of Swift's and Sterne's eighteenth century “rage for order." To Swift, order is a necessity, to be defended by attacking all that threatens order. Swift imitates the chaos he saw in seventeenth-century style and thought by assuming the mask of a fool who speaks in the accents of hundreds of modern pretenders to learning. But the seeming chaos of the Hack's discourse is ordered by Swift's satiric intent and his views on Gnosticism. In the end, comic order predominates as the quintessence of disorder, the Hack is laughed off the stage. Wit triumphs over dulness. However, the comedy is undermined by tragic associations of evil, madness, and anarchy. To Sterne, conventional order of time and formal logic are illusions. He imitates the disorder in men's minds by assuming a mask and playing many parts. The seeming chaos of Tristram's narration is ordered by the association of ideas, a central group of characters, and the values of humour, common sense, feeling and benevolence. In the end, in spite of suggestions of the world's ill nature, hypocrisy, and corruption, comic order predominates. / Arts, Faculty of / English, Department of / Graduate

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My study utilizes ecocriticism, eco-Marxism, and posthumanism to discover how the sympathetic practices of both reading and ecology provide us with what I call an oiko-logic. Specifically, I read Jonathan Swift’s Gulliver’s Travels, Laurence Sterne’s Tristram Shandy, Herman Melville’s Moby-Dick, and John Williams’ Butcher’s Crossing. In Gulliver’s Travels we see Gulliver as an ecological threat in every journey, and Swift says that this is because we forget ourselves and deliberately choose to not attune—sometimes even choosing destruction. For Swift, we bungle things no matter which system we try, and we create degenerative devolution despite the fact that we can help. Sterne’s fundamental ecological question is how people and the entities they dwell with (living and non-living) have real interactions—which means considering domestication’s bilateralism. Humans and animals can interact beneficently in Sterne’s work, and individualism becomes oiko-logically untenable since calculations of value and affordability must include others. In Moby-Dick the whale’s values are more moral than Ahab’s, and through comparisons available in the text of Moby-Dick we begin to see inside Melville’s eco-values to the impact of a heroic animal agency as Moby-Dick follows his values—while our conscience hangs in crooked corridors. In Butcher’s Crossing and representations of buffalo slaughter, correlative human-animal experiences of thirst, ferality, and slaughter are contrasted with western bison hunters on the plains and aliens in such a way that the alien is between humanity and itself. In oiko-logic, literature and ecology share a sympathetic practice similar to the Native American sensibility of Mitakuye Oyasin: “all my relations.”

Cette thèse veut explorer l’idée de l’existence d’un roman de la non-linéarité, à travers un inventaire de la critique et l’analyse comparée de quatre ouvrages considérés comme appartenant à cette tradition (The life and opinions of Tristram Shandy, gentleman, de Laurence Sterne ; Pale fire, de Vladimir Nabokov ; La vie mode d’emploi, de Georges Perec ; House of leaves, de Mark Z. Danielewski).Dans le premier chapitre, est postulée la thèse de deux traditions dans l’histoire du roman : la tradition du roman réaliste, et une tradition caractérisée par l’utilisation de formes non linéaires. L’analyse des études sur la tradition réflexive du roman, sur la théorie du chaos appliquée à la littérature, sur les marges textuelles, sur la lecture et sur l’intertextualité seront pris en compte pour soutenir cette thèse.Sur la base de ces questionnements, le deuxième chapitre esquisse une définition du roman de la nonlinéarité, qui comprend un répertoire des procédés et des thèmes communs à cette tradition, ainsi qu’une réflexion sur ses approches du monde et de l’identité humaine.Le troisième chapitre laisse la place à l’analyse des textes du corpus. Les quatre romans sont analysés chacun pour ses spécificités, et aussi dans la perspective de vérifier le postulat d’une tradition d’un roman de la non-linéarité. En s’appuyant sur de nombreux exemples extraits des romans pris en considération, l’analyse s’articule en huit sections : le problème du commencement ; l’intertextualité ; la complexité du récit de vie ; les questions de l’interruption, de la procrastination et de l’absence ; les approches dutemps ; les approches du langage ; le thème du jeu ; l’impossibilité de la fin. / This thesis aims to explore the idea of the existence of a novel of nonlinearity, through an inspection of the criticism and the comparative analysis of four works considered as belonging to this tradition (The Life and Opinions of Tristram Shandy, Gentleman, by Laurence Sterne; Pale Fire, by Vladimir Nabokov; Life, a User’s Manual (La vie mode d’emploi), by Georges Perec; and House of Leaves, by Mark Z. Danielewski).The first chapter postulates the thesis of two traditions in the history of the novel: the tradition of the realist novel, and a tradition distinguished by the use of nonlinear forms. In order to support this thesis, I’ll take into account studies about the reflexive tradition of the novel, about chaos theory as applied to literature, about the margins of the text, about the reading experience, and about intertextuality.On the basis of this examination, the second chapter outlines a definition of the novel of nonlinearity, which includes a repertoire of the literary devices and themes common to this tradition, and a reflection about its perspectives upon the world and human identity.The third chapter is dedicated to the analyses of the texts included in the corpus. The four novels are analyzed for their distinctive features, and also in the aim of verifying the premise of the existence of a novel of nonlinearity. Drawing on numerous examples selected from the novels, these analyses are structured in eight sections: the problem of beginning; intertextuality; the complexity of life narratives; the issues of interruption, procrastination and absence; the approaches to time; the approaches to language; the theme of the game; and the impossibility of an ending.

Typescript (photocopy). / Digitized by Kansas Correctional Industries / Department: English.

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Zugl.: Frankfurt am Main, Univ., Diss., 2007.

Thesis (Ph. D.)--University of Amsterdam, 1996. / Includes bibliographical references (p. 217-[232]) and index.