Submitted by admin tede (tede@pucgoias.edu.br) on 2017-10-10T14:30:25Z No. of bitstreams: 1 EVANDRO ROSA DE ARAUJO.pdf: 576411 bytes, checksum: edd9e1f33489babdc95a6264aab5377b (MD5) / Made available in DSpace on 2017-10-10T14:30:25Z (GMT). No. of bitstreams: 1 EVANDRO ROSA DE ARAUJO.pdf: 576411 bytes, checksum: edd9e1f33489babdc95a6264aab5377b (MD5) Previous issue date: 2011-08-01 / This thesis, a study of the evolution of the novel, reflects on the changes that literary narrative underwent over time, until it reached more evolved forms of writing. In traditional narrative the theme, space, time and characters were externally developed and the plot was linear. The models were pre-established, inspired by Walter Scott's narratives and by various historical novels which had been developing in Europe. But the different changes in the behavior of the post-Industrial Revolutionary urban man influenced the manner of writing novels. So, in order to show a little of the process of change in the way narratives were written, this study uses José de Alencar’s O Guarani and James F. Cooper’s The Last of the Mohicans, both historical narratives which provide a little of the early demonstrations of the genre, in an artistic setting with idealized characters and linearity of events, where the narrator is omniscient. James Joyce’s Ulysses was also used to show some aspects of the evolution of novelistic narrative, in which the artist developed a story which completely abandons the moulds pre-defined by the early idealized, romantic phase. Written in the interwar period, Ulysses focuses on the strains and uncertainties of modern life. In the pages of his book, Joyce presents the daily life of the citizens of contemporary Dublin, breaks with linearity and uses innovative techniques to show that time is far more complex than one could imagine. Theorists of the novel, such as Rosenthal (1974), Rosenfeld (1969), Humphrey (1976), D'Onofrio (1982), served as a basis for this study. / Esta dissertação desenvolve um estudo sobre a evolução do romance, refletindo sobre as mudanças que se processaram na narrativa literária ao longo do tempo, até chegar a formas mais evoluídas de escrita. Nas narrativas tradicionais, a temática, o espaço, as personagens e o tempo eram desenvolvidos de forma exterior, e o enredo primava pela linearidade. Os modelos eram pré-estabelecidos, inspirados nas narrativas de Walter Scott e nos muitos romances de tendência histórica que vinham sendo desenvolvidos na Europa. Mas as diversas mudanças ocorridas no comportamento do homem citadino pós-Revolução Industrial influenciaram também a maneira de produzir romances. Desse modo, para mostrar um pouco dessa mudança na maneira de se construir narrativas, processada ao longo do tempo, foram utilizadas nesta dissertação as obras O Guarani, de José de Alencar, e O Último dos Moicanos, de James F. Cooper, que são narrativas históricas que trazem um pouco das primeiras manifestações desse gênero, em um cenário plástico, com personagens idealizadas e uma preocupação com a linearidade dos acontecimentos, e cujo narrador é onisciente. Foi usado também na pesquisa o livro Ulisses, de James Joyce, para mostrar alguns aspectos da evolução da narrativa romanesca, em que o artista conseguiu desenvolver uma história que foge completamente aos moldes pré-definidos pela primeira fase romântico-idealista. Produzida no período entreguerras, o livro Ulisses focaliza, em muitos momentos da narrativa, as mazelas e incertezas da vida moderna. Joyce representa nas páginas do seu livro o cotidiano do cidadão da Dublin contemporânea, rompe com a linearidade e utiliza técnicas inovadoras para mostrar que o tempo é muito mais complexo do que se imagina. Serviram de lastro para este estudo as reflexões dos teóricos do romance Rosenthal (1974), Rosenfeld (1969), Humphrey (1976), D’Onofrio (1982) entre outros.

No description available.

In his works, A Portrait of the Artist as a Young Man (1916) and Ulysses (1922), James Joyce demonstrates what he perceives to be the paralyzing effects of those institutionalized religions that sit at the center of cultures. Drawing on Michel Foucault's analysis of institutional dressage as well as his use of Jeremy Bentham's Panopticon prison in Discipline and Punish (1981), this thesis argues that Joyce's portrait of the Catholic Church's influence on Irish culture is his attempt to display its ubiquitous and inextricable power. In both works, Joyce focuses on the internalization of this power which emanates from the physical manifestations of the Church's presence, the strict tenets of its doctrine, and its concept of an omnipotent, omniscient God who, embodied in an individual's conscience, becomes the perfect "surveillant." Tracing the influence of Catholic dressage on his first protagonist, Stephen Dedalus, who unequivocally abandons the Catholic faith in A Portrait, Joyce reveals the overwhelming power that the Church held over the cultural consciousness of Ireland, an influence rivaled solely by the British colonial powers. Similarly, in Ulysses, Joyce introduces Leopold Bloom, the Jewish Other, who stands outside the institutional structure of the Church and provides a removed but critical perspective on the Catholic rituals and beliefs which, according to Joyce, were intricately woven into the Irish Weltanschauung. Indeed, while Joyce's critique of the Church's power is clearly evident in the narrative of the novel, in a larger context this criticism is directed at the stifling effects of all institutional powers on individual consciousness. Similarly, Foucault's cultural theories examine the intricacies of such power within a culture and their effect on the individual, who, in short, is a product of these elements. This thesis explores these dynamics in Joyce's works to further understand his position as one of the central novelists of the twentieth century. / Graduation date: 1997

本篇論文的目的在於討論詹姆斯˙喬伊斯（James Joyce）的小說《尤利西斯》（Ulysses）中對女性角色的描摹與傅柯（Michel Foucault）思想中所關切的議題：論述（discourse）、知識與權力、個體主體性之間的相互作用，並且論證喬伊斯的小說充分落實及展演傅柯的理論表述。透過研究小說中女性角色以何種形貌出現在1904年的都柏林與思考他們如何被形塑成為其樣貌，我發現喬伊斯呈現出一道女性主體之光譜，在此光譜中，不同女性角色面對著論述力量的運作，映照出不同程度的個體主體性。更重要的是，喬伊斯對這些角色的處理預示了傅柯念茲在茲的獨立且自決的個體主體性能夠出現的可能。本論文的第一、二章著重討論論述的規範化（normalization）機制，憑藉規範化的技術，任何特定的言說論述得以確立合法性地位，並且於已被規範化的個體身上展現其權力效應（power-effect）。第一章論證愛爾蘭國族主義的論述展現如同傅柯理論中所探討的論述之規範化力量，控制並且充分利用小說的太陽神牛（“Oxen of the Sun”）該章中的產婦普里福伊太太（Mrs Purefoy）之馴服的身體，本章的討論說明，龐大論述的網絡中女性個體主體性的完全臣服且消匿無蹤。第二章藉由格蒂（Gerty）與二位奧蒙德飯店酒吧的女侍（Ormond barmaids）與論述言說的互動，討論個體主體性形成的過程所涉及到論述力量的影響，論述施加於此三位角色身上的既是個體化（individualization）的力量又同時發揮規範化的效果。第三章的討論落實傅柯對「真理」（truth）不證自明的真實性（truthfulness）的質疑和批判。莫莉（Molly）在小說最終章的獨語，表現出她面對論述力量宰制時足以獨立思考且批判的主體性，就此而言，喬伊斯對莫莉的處理合乎傅柯對個體獨立的主體性之期待。這樣的光譜式研究，目的並非在於塑造個體主體性的刻板典型（stereotype），而是將此一光譜視為個體主體性出現的種種可能性與可行的面貌。藉由喬伊斯小說與傅柯理論的對話，我期望《尤利西斯》中女性角色的主體性這道光譜，能夠於討論個體主體性之相關議題時，提供某種程度上可行的解決之道。 / The goal of my thesis is to argue that Joyce’s portrayal of the female characters in Ulysses fleshes out Foucault’s theoretical formulation of the interplay of discourse, power and knowledge, and individual subjectivity. Studying the appearances of the female citizens in 1904’s Dublin and how they are shaped into such appearances, I argue that Joyce’s characterization demonstrates Foucauldian distrust of the discursively elaborated truth (truthful knowledge) and anxiety about the encompassing exercise of power and discourse functioning in an individual’s sense of self and subjectivity. More importantly, Joyce envisions a spectrum of subjectivities in his delineation of these Irishwomen—the spectrum that expresses distinct degrees of subjectivities formed in different individuals in the face of various discursive practices incessantly entrenching and shaping their lives. In this spectrum, Joyce also prefigures the actualization of Foucauldian struggle for the coming about of a self-determined and autonomous subjectivity in an individual against the ubiquitous discursive dominations. Chapter One and Two focus on the normalization mechanism of discourse and the discursive power-effect achieved in the individual. In Chapter One, the discussion is to demonstrate how the discourse of Irish nationalism incorporates what Foucault theorizes about the normalizing technologies by means of which a specific discourse attains its discursive effect and exerts coercion upon the individual. The lying-in Mrs Purefoy in “Oxen of the Sun” represents the subjection and omni-disappearance of the individual’s subjectivity within the discursive network. Chapter Two stresses the simultaneously individualizing and normalizing forces of discursive power concerning the making of an individual subjectivity. With their interactive gestures and responses to discourses, Gerty and the two Ormond barmaids seem to have attained the individual identity of her own, whereas the presumable individuality of theirs is still enveloped in the process of normalization. Foucault’s critical attitude towards the “truthfulness” of the so-called truth and the neutrality of any seemingly truthful knowledge finds a counterpart in Molly’s soliloquy in “Penelope”—the finale of Ulysses. Discourse as a construct on which Foucault insists is incorporated in the interrogative attitude that Molly has towards the ostensibly neutral discursive statements. Molly’s actions and thoughts register her subversive and resistant gestures towards the imposing discursive practices. She would epitomize the possible actualization of the Foucauldian prospect of an autonomous and self-determined subjectivity taking form in the individual. From the omni-subjection of an individual to the individuality within normalization and to the coming forth of the individual’s subjectivity, my discussions of Mrs Purefoy, of Gerty and the two Ormond barmaids, and of Molly comprise a spectrum showing distinct power-effect demonstrated respectively in these women through discursive practice. My study does not intend to stereotype the result of discursive practice imposed upon these women by locating these female characters in such a spectrum of subjectivities. Rather, I see the spectrum as a multiplicity of subjectivities taking shape in distinct individuals confronted with discourse and power. In addition to sharing the similar insight with Foucault, Joyce rather has the vision, prior to Foucault’s theorizing, in which the Foucauldian anticipation of the liberation from the regime of discourse is made possible. The enormous pressure facing today’s people in the forming of subjectivity is definitely the normalizing power, the imposing discursive knowledge as truth, and the power-effect which shapes individuals’ life without being discerned. It is to be hoped that the correspondence between Joyce’s characterization and Foucault’s critical concerns could propose a practicable solution to the issue of individual subjectivity.

This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected. / I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.

The purpose of my thesis is to analyze notions of the sublime in James Joyce’s Ulysses and how the sublime is evoked and presented in Joyce’s work. The present work will examine concepts of the sublime from the Classical and Medieval period, through the Enlightenment, and into the Romantic era to develop my own definition. Placing the sublime in a historical perspective allows me to discover how the sublime is at work through Joyce’s creative use of complex narrative approaches. The beauty of aesthetic perfection was achieved by employing all of Joyce’s artistic faculties. My thesis investigates how Ulysses’ experimental writing technique, unique structuring, and difficult prose created a work of genius which evokes the sublime. By analyzing Joyce’s use of language, unconventional narrative, and ambiguity in Ulysses I will explore how the sublime is aroused.

No description available.

This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.

The purpose of this thesis will be to examine closely James Joyce’s Ulysses with respect to François Fénelon’s The Adventures of Telemachus. Joyce considered The Adventures of Telemachus to be a source of inspiration for Ulysses, but little scholarship considers this. Joyce’s fixation on the role of teachers and mentor figures in Stephen’s growth and development, serving alternately as cautionary figures, models or adversaries, owes much to Fénelon’s framework for the growth of Telemachus. Close reading of both Joyce’s and Fénelon’s work will illuminate the significance of education and mentorship in Joyce’s construction of Stephen Dedalus. Leopold Bloom and Stephen’s relationship in Joyce’s Ulysses closely mirrors that of Mentor and Telemachus as seen in Fénelon’s The Adventures of Telemachus. Through these numerous parallels, we will see that mentorship serves as a better model for Bloom and Stephen’s relationship in Ulysses than the more critically prevalent father-son model. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

<p>This project examines the events from 1866 to 1871 in Korea between the United States and Joseon, with a specific focus on the 1866 <i>General Sherman</i> Incident and the United States Expedition to Korea in 1871. The project also examines the present memory of those events in the United States and North and South Korea. This project shows that contemporary American reactions to the events in Korea from 1866 to 1871 were numerous and ambivalent in what the American role should be in Korea. In the present, American memory of 1866 to 1871 has largely been monopolized by the American military, with the greater American collective memory largely forgetting this period. </p> <p>In the Koreas, collective memory of the five-year crisis (1866 to 1871) is divided along ideological lines. In North Korea, the victories that Korea achieved against the United States are used as stories to reinforce the North Korean line on the United States, as well as reinforcing the legitimacy of the Kim family. In South Korea, the narrative focuses on the corruption of Joseon and the Daewongun and the triumph of a “modernizing” Korean state against anti-western hardliners, and is more diverse in how the narrative is told, ranging from newspapers to K-Dramas, leading to a more complicated collective memory in the South. </p> <p>This Thesis shows that understanding the impact that the first state-to-state encounters had on the American-Korean relationship not only at the time but also in the present, is key to analyzing the complicated history of the Korean-American relationship writ large.</p>