Orientadores: Carlos Eduardo Ornelas Berriel, Alexandre Soares Carneiro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-08T10:16:43Z (GMT). No. of bitstreams: 1 Bragion_AlexandreMauro_M.pdf: 1118581 bytes, checksum: 2b34d927c9b3a15f84e6d48758d61fec (MD5) Previous issue date: 2007 / Resumo: O presente texto objetiva apresentar uma leitura do romance infantil Saudade, de Thales Castanho de Andrade, visando mostrar como ele ao atender aos anseios da oligarquia rural paulista e brasileira se configura como um instrumento pedagógico que, durante as primeiras décadas do século XX, veiculava entre os leitores mirins um discurso ruralista que fazia do campo e da vida rural o caminho para a felicidade do brasileiro. Para isso, além da análise crítica da estrutura de Saudade, estabelece-se aqui uma leitura histórica que abrange o período no qual o referido romance foi produzido, bem como também expõe os referenciais pedagógicos que ele sustenta e o sistema literário que o circunda. / Abstract: The objective of this text is to present a reading of the childrens novel. Saudade by Thales Castanho de Andrade with the aim of showing how it, by complying with the interests of the dominant rural society of Sao Paulo and Brazil, becomes a pedagogical instrument which, in the two first decades of the 20th century, made a ruralist discourse which presented rural and country life as a way for the happiness of Brazilians circulate among young readers. Thus, besides the critical analysis of the structure of Saudade, a historical reading comprising the period in which the novel was written is carried out as well as the pedagogical references which it supports and the literary system in which it is included are exposed. / Mestrado / Literatura Brasileira / Mestre em Teoria e História Literária

The thesis deals with the Utopian and dystopian aspects of Ursula K. Le Guin's The Dispossessed and Always Coming Home. To provide a basis for comparison with the endeavours of previous utopists, the first part is devoted to a historical account of literary Utopias, and to an examination of the signposts of the genre. This history is restricted to practical blueprints for the ideal commonwealth and excludes creations of pure fantasy. In tracing Utopian development from Plato to Wells, the influence of historical events and the mainstreams of thought, such as Renaissance humanism, the Reformation, the rising importance of science, the discovery of new lands, the Enlightenment, Locke's Theory of Perfectability, Bentham's utilitarianism, the Industrial Revolution, socialism, the French Revolution, Darwinism, and the conflict between capital and labour is demonstrated. It is also shown how the long-range results of the Russian Revolution and the two world wars shattered all Utopian visions, leading to the emergence of the dystopia, and how the author reversed this negative trend in the second part of the twentieth century. In a study of forms of Utopian presentation, the claim is made that The Dispossessed features the first Utopia that qualifies as a novel: not only does the author break with the genre's tradition of subordinating the characters to the proposal, she also creates the conflict necessary for novelistic structure by juxtaposing her positive societies with negative ones. In part two, the Utopias and dystopias of both books are examined, and their features compared to previous endeavours in the genre. The observation is made that although the author favours anarchism as a political theory, she is more deeply committed to the Chinese philosophy of Taoism, seeing in its ideals the only way to a harmonious and just existence for all. In order to prove her point, Le Guin renders her Utopias less than perfect, placing one society into an inhospitable environment and showing the other as suffering from genetic damage; this suggests that the ideal life does not rest in societal organization or beneficent surroundings, but in the minds of the inhabitants: this frame of mind—if not inherent in a culture—can be achieved by living in accordance with the tao. Lastly, an effort is made to determine the anthropological models upon which Utopian proposals are constructed. The theory is put forth that all non-governed, egalitarian Utopias represent a return to the societal arrangements of early man, when his communities were still small and decentralized, and before occupational specialization began to set in; that all democratic forms of government are taken from the Greek examples, that More's Utopia might well have been modelled on the Athenian clans of the pre-Cleisthenes era, and that the Kesh society of Always Coming Home is based exclusively on the kinship systems of the Pueblo Indians of the American Southwest. / Arts, Faculty of / English, Department of / Graduate

My dissertation maps the "scattered hegemonies" of the British Empire in the nineteenth-century British feminist utopian tradition. Beyond recovering this significant tradition of feminist thought and women's writing, my project considers the way these works both contest and replicate the dominant hegemony of the Victorian period. In the first chapter, "A Feminist Satirical Disutopia, Elizabeth Burgoyne Corbett's New Amazonia," I argue that New Amazoniais a satirical disutopiathat bears witness to the dystopic reality of women's status in nineteenth-century Britain. Through elliptical critiques of her own feminist utopia, Corbett creates a hybrid genre, enabling a multifaceted critique of her present and the space for theorizing a feminist future. The second chapter, "The Extinction of Patriarchy: F.E. Mills Young's War of the Sexes as a Parody of Patriarchy," considers the function of the gendered role-reversal in Young's feminist utopia. War of the Sexes, like New Amazonia, is less concerned with imagining an ideal future and focuses instead on exposing and investigating gendered oppression in the Victorian period. Through role-reversal, Young critiques the separate spheres doctrine that constructs gender difference and shows that the doctrine has deleterious effects on the nation's development. While both New Amazoniaand War of the Sexescritique gender inequality through role-reversal, Florence Dixie's Glorianadirectly addresses inequality through sustained gender performance. In "From Reform to Revolution: Gender Subversion in Florence Dixie's Gloriana," I aver that Dixie uses the title character's cross-dressing to undermine the gender roles created by the separate spheres doctrine. Throughout Gloriana, Dixie illustrates that gender is a social construction and that gendered oppression has a complex relationship to other intersecting forms of oppression, especially classism and imperialism. In "India as Feminist Utopia: Gender, Identity, and Nation in Amelia Garland Mears' Mercia," I demonstrate that Mears unlike Dixie, sees the scattered hegemonies of Victorian culture as too embedded to correct. Whereas Dixie's heroine starts a feminist revolution in Britain, Mears' heroine abandons England to find feminist utopia in India. Yet even as Mears replicates stereotypes and exoticizes the Other, she, like Dixie, recognizes the value of intersectional feminist critique. All four of these chapters highlight the heterogeneity of feminist thought to be found in nineteenth-century feminist utopias. Yet, even the most disparate visions of a feminist future respond to the same scattered hegemonies of the British Empire. In the conclusion, I bring two feminist utopias not traditionally categorized as British into the conversation: Annie Denton Cridge's Man's Rightsand Rokeya Sakhawat Hossain's Sultana's Dream. I include Cridge and Hossain as necessary components to complicate my analysis of the transnational flows of knowledge and the ways in which the scattered hegemonies of Empire continue to be replicated in Victorian literary studies and contemporary feminist thought in the Global North. I argue that the exclusion of works like Cridge's and Hossain's from the study of British literature further illustrates the persistent adherence to imperialistic nationalism in the Global North and point to a Global Anglophone feminist utopian tradition.

This thesis approaches eighteenth-century utopian thinking from a new methodological angle, namely by utilising the Reception Reader, an open-access text reuse detection tool, to study a sub-corpus of 39 utopian works available in ECCO (Eighteenth Century Collections Online), the largest collection of digitised eighteenth-century texts printed in the British and Irish Isles. As the first study of text reuse in utopian thinking, this thesis shows that text reuse detection is a viable method for gaining new insights into eighteenth-century utopian thinking. Engaging with existing theories of text reuse in historical materials, this thesis proposes a theoretical framework that is particularly suited for the study of text reuse in eighteenth-century books, with an emphasis on the interrelationship between text reuse and contemporary print culture. This thesis argues that an investigation of text reuse patterns at three interconnected levels—reflecting print culture, genre popularity, and individual authors’ persuasive strategies—results in a better understanding of the presence and purpose of text reuse in eighteenth-century utopian works. This thesis posits that text reuse was often a deliberate choice on the part of the author to signal belonging to a shared intellectual tradition, and, most importantly, to support the overall critical aim of the utopian work. Individual instances of text reuse in utopian works are signs of deliberate or unintentional engagement with the culture that surrounded these works. A more nuanced interpretation of how utopian thinking interacted with contemporary print culture is crucial for recognising why utopian thinking continued to be prevalent throughout the eighteenth century.

No description available.

Thesis (MPhil)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: This thesis examines the genre of dystopian fiction in the graphic novel, V for Vendetta in which a futuristic police state, run by a totalitarian regime is portrayed. Since V for Vendetta draws on a number of other dystopian texts, New Historicist theory is employed which begins its analysis of literary texts by attempting to look at other texts as well as the historical context in which it originated, to aid in the understanding of that text. Therefore, V for Vendetta with its thorough character development and multi-dimensional storyline that the larger format of the graphic novel allows, is studied alongside other highly regarded novels. The characteristics of the nightmarish anti-utopia is identified and analysed in V for Vendetta by looking at real examples of totalitarian regimes from history. The chapters are divided into what I identified as the main themes of the totalitarian dystopia. Chapter one explains the concept of the utopia in order to grasp the concept of dystopia, and more specifically, the Totalitarian dystopia. Chapter two looks at the social structure of V for Vendetta as well as the common Totalitarian dystopia. Chapter three discusses the issue of censorship which is a recurring theme in dystopian fiction. Chapter four examines the manner in which the totalitarian regime manipulates the populace of the dystopia through propaganda. Chapter five discusses the systems of surveillance and lack of privacy in the Totalitarian dystopia and a chapter on the protagonist in dystopia concludes this study. / AFRIKAANSE OPSOMMING: In hierdie studiestuk word die genre van distopiese fiksie in die grafiese roman, V for Vendetta behandel, wat ’n futuristiese polisiestaat teen die agtergrond van ’n totalitêre staatsbestel uitbeeld. Omdat V for Vendetta by soveel ander distopiese tekste leen, word dit vanuit die teoretiese oogpunt van New Historicism bestudeer, wat in die ontleding van ’n roman ander tekste asook die geskiedkundige konteks van daardie roman ondersoek, ten einde dit beter te begryp. Daarom word V for Vendetta, wat vanweë die grafiese roman se langer formaat wat ruimte skep vir deeglike karakterontwikkeling en ’n veelvlakkige storielyn, as volwaardige roman naas ander hoogaangeskrewe romans behandel. Aan die hand van ware voorbeelde van totalitêre regimes uit die geskiedenis word die eienskappe eie aan ’n nagmerriestaat in V for Vendetta geïdentifiseer en geanaliseer en dit is waardeur ek my laat lei het ten opsigte van die hoofstukindeling. In hoofstuk een word die begrip van utopie eers duidelik gemaak om die distopie, en meer spesifiek die Totalitêre distopie te verstaan. In hoofstuk twee word daar gekyk na die sosiale samestelling en magstruktuur binne V for Vendetta en die Totalitêre distopie in die algemeen. Hoofstuk drie bespreek die kwessie van sensuur - ’n gewilde tema in distopiese fiksie. In hoofstuk vier word ondersoek ingestel na die manier waarop die Totalitêre-distopie die burgery breinspoel deur propaganda. Hoofstuk vyf bespreek die verskynsel van bewaking en die skending van privaatheid in die totaliêre distopie en in die sesde hoofstuk word daar gefokus op die protagonis in die distopie.

Made available in DSpace on 2016-04-27T17:27:31Z (GMT). No. of bitstreams: 1 Joy Nunes da Silva Barros.pdf: 1110129 bytes, checksum: 096a3a4e8b29a8c8976bb8423bc16205 (MD5) Previous issue date: 2009-12-08 / Secretaria da Educação do Estado de São Paulo / The present dissertation mainly aims at analyzing the concept of utopia in the work of Herbert Marcuse, taking as a guiding hypothesis the assertion that the faith Modernity has in the progress brought by clarification seems to have faded and therewith the great projects of social emancipation will no longer find a place in directing political struggles in modern times. This hypothesis will be analyzed in the light of Marcusean thinking, perceiving it as a consequence of what the author denominated one dimensional society, a social configuration, product of the development of Modernity, which has been able to absorb all forms of thinking that are contrary to it and impose itself as the only reality possible. Thus, the issue that directs the development of this master s thesis is the endeavor to clarify the philosophical status that the concept of utopia occupies in Herbet Marcuse's thinking, which has close ties with Hegelian Dialectics, as well as the correlation between utopic thinking and political action from the perspective of the Frankfurt philosopher / A presente dissertação tem como objetivo principal analisar o conceito de utopia na obra de Herbert Marcuse, tomando como hipótese norteadora a asserção de que a fé ostentada pela Modernidade no progresso trazido pelo esclarecimento parece ter se esmorecido e com isso os grandes projetos de emancipação social passam a não encontrar mais lugar no direcionamento das lutas políticas no tempo hodierno. Essa hipótese será analisada à luz do pensamento marcusiano, entendendo-a como uma consequência daquilo que o autor denominou sociedade unidimensional, uma configuração social, produto do desenvolvimento da Modernidade, que se tornou capaz de absorver todas as formas de pensamento que lhe são contrárias e impor-se como única realidade possível. Neste sentido, a questão que direciona o desenvolvimento desta dissertação é a de buscar esclarecer o estatuto filosófico que o conceito de utopia ocupa no pensamento de Herbert Marcuse, que mantém estreito vínculo com a dialética hegeliana, assim como a correlação entre o pensamento utópico e a ação política a partir da obra do filósofo frankfurtiano

In this study, the manipulations of history and language in the dystopias of &ldquo / Nineteen Eighty-Four&rdquo / by George Orwell, &ldquo / We&rdquo / by Yevgeni Zamyatin and &ldquo / Brave New World&rdquo / by Aldous Huxley are examined. The principal aim of this investigation is to demonstrate that in these imaginary societies absolute stability is achieved through the manipulations of these two domains. The thesis argues that if the domains of history and language are not taken under control, they are to provide the subjects with the standard of comparisons which would enable them to realize that they are in fact dominated. However, once these domains are manipulated, they are transformed into the means of the dystopian rulers for mentally impoverishing people in a way that they would not be capable of conceiving the flaws within the system and therefore, would not attempt to challenge the order or require a change. In this sense, it is proposed that the subjects of these closed societies, who are formed as a result of the reshaping of history and language, would lack the mental capabilities to identify their subjection and behave automatically in the manner that is imposed on them by the political order. Moreover, in this study, the relationship of the genre dystopia with political theory is explored / it is indicated that dystopias are not only literary works, but rather they are also texts of social criticism containing certain warnings about the future course of events. Relying on this argument, it is claimed that such an invasion of the minds by the control over history and language in our three dystopias is the exaggerated version of the ideological relationships of the individuals to these two realms in the contemporary societies. Thus, having in mind that in the dystopias examined here the manipulations of history and language are the preconditions of the use of other realms (such as religion, sexuality and science), it is concluded that these texts enable modern individuals to see that in order to maintain a critical distance with the established political and social order, the multiplicity of linguistic resources and knowledge of history are very crucial.

The present project sets out to discover what the Xingshi yinyuan zhuan ('A Tale of Marriage Destinies that will Bring Society to its Senses'), an anonymous novel of manners from seventeenth-century China, can tell us about life in the world out of which it emerged. Seventeenth-century records depict China on the verge of modernity as a world torn between the traditional agricultural society and the new challenges of urban life, commerce and a money economy. The shifts from conventional norms and values gave rise to concepts of Utopia and anti-utopia: to nostalgia for the lost paradise of the past and to apocalyptic satire on present conditions. Scholars have noted the prominence of utopianism in seventeenthcentury fiction but no detailed study has been undertaken so far. Utopianism is here explored in terms of the indigenous Chinese traditions. The text of the Xingshi yinyuan zhuan is analysed to see how it perceives and reflects the seventeenth century Chinese world. Utopia serves as an analytical construct to recreate a glimpse of society and the moral evaluation of the world through the eyes of a contemporary observer. The body of the thesis analyses three major motifs in the Xingshi yinyuan zhuan: the healers, the elite and the mother. Critical comparison with other contemporary literary and historical sources attempts to place the novel into its context. The visions of Utopia and anti-utopia provide insight into the dreams and nightmares as seventeenth-century Chinese minds may have perceived them, shedding light on the vernacular culture as opposed to the officially recognised and imperially ordained culture of China.

ABSTRACT A CRITICAL EVALUATION OF THE SOCIALIST JOURNAL AYDINLIK WITHIN A MARXIAN THEORETICAL FRAMEWORK G&uuml / ndogan, Ercan Ph.D., Department of Political Science and Public Administration Supervisor: Assoc. Prof. Dr. Mehmet Okyayuz July 2005, 855 pages The thesis concerns with the conception of class and revolution in Marxian meta-theory and examines its reception by the Turkish Marxist left through an analysis of the Socialist Journal Aydinlik (1968-1971). Survey demonstrates that the reception is obscured by strategic debates, and is also not perfectly realized due to the needs of the rapid development of the Turkish socialist left after 1960s. Marxian theory is used mainly to justify the national democratic revolutionary strategy which is presented as only valid strategy, against socialist revolutionary strategy. National Democratic Revolutionary strategy is suggested to close the gap between Marxian framework which exclusively focuses on the proletarian socialist politics and the undeveloped revolutionary conditions of the underdeveloped societies. However, this gap is closed only at the expense of creating new gaps between Marx and the country. Class phenomena are analyzed in the framework of the imperialism-feudalism-comprador bourgeoisie alliance and popular or national classes. This strategy suggests that only after national democratic revolution is perfectly completed, socialist revolutionary struggle can be valid. It thereby postpones the possibility of socialist struggle and hence Marx to an undetermined future.