[pt] A dissertação analisa a ficção de André Sant`Anna e se divide em 3 capítulos. O primeiro estabelece um paralelo entre certos procedimentos narrativos utilizados por Sant`Anna e outros próprios à vanguarda das artes visuais do último século. Destaca-se, desse modo, tanto a especificidade do texto de Sant`Anna quanto a maneira como este aponta, pelo mencionado paralelo ou não, para as novas tecnologias de representação visual. O segundo capítulo confronta alguns textos de Sant`Anna com o livro PanAmérica (1967), de José Agrippino de Paula, tomando este como uma matriz à qual os textos de Sant`Anna responderiam de diferentes modos, formal ou conteudisticamente. O terceiro capítulo confronta a ficção de Sant`Anna com as considerações de Hal Foster sobre o real, o abjeto e a razão cínica, esforçando-se por referi-las devidamente ao contexto brasileiro e ao âmbito literário. / [en] This dissertation is about the fictional work of André Sant`Anna and is divided in three chapters. The first one establishes a parallel between certain narrative procedures used by Sant`Anna and other procedures commonly used in the visual arts of the last century. In this way, the specificity of San Anna s text is revealed, as well as the way through which it points to new technology and visual representation. The second chapter relates some of Sant`Anna`s texts with José Agrippino de Paula`s PanAmérica (1967), taking the latter as a source which Sant`Anna`s texts respond to in different ways, either formally or thematically. The third chapter confronts Sant`Anna`s fiction with Hal Foster`s formulations about the real, the abject, and the cynical reason, trying to refer them to the literary and Brazilian context.

This paper utilizes poststructuralist theory to investigate the polysemic nature of the eponymous character Beloved in Toni Morrison’s 1987 novel Beloved. The ghostly, anachronistic presence of Beloved renders the text open to multiple interpretations and this essay sets out to explore the ways in which meaning is created and communicated. From a poststructuralist perspective, considering that the meaning is in a state of flux, a text weaves its system of meaning around an assumed center in order to provide so-called stability. Peripheral meanings are repressed by the center to secure the meaning system. However, the periphery, which has a constructive function in the organization of the text, also has the deconstructive potential. Hence, the deconstructive dynamics are already inherent in the text. In Beloved, Toni Morrison addresses, among other things, the act of speaking the unspeakable and the process of constructing a new subjectivity out of the ghost of the past. Her text deconstructs the dominant narratives that have marginalized the black motherhood experience, explores the horrors of slavery through horror elements, and eventually exposes the inadequacy of language to depict such horrors. While the textual periphery is enabled to speak louder than the center, the textual subconscious flows freely. The reader is forced to participate actively in meaning-making in order to make sense of the fragmented narrative imbued with deliberate ambiguity. Beloved, as the abject other, defies the phallogocentric symbolic order. A counter-discourse emerges from the maternal, semiotic chora and empowers the otherized heroine Sethe to construct her subjectivity. Delving into the interrelationship between traumatic memory and the act of creating one’s own narrative, the text finds reparative elements in ancestral connection and thereby blends the psychological with the historical and the micro-level with the macro-level of meaning. This paper employs deconstructive key concepts from Jacques Derrida, psychoanalytic key concepts from Julia Kristeva, and seeks to unravel the dynamics in Morrison’s text that enable Beloved to be read polysemically.

This study examines the portrayal of the woman as monstrous in Daphne du Maurier’s short stories “The Apple Tree” and “The Blue Lenses” and investigates the abject emotions that female bodies induce within the main characters. The study also contrasts the habitual, objectifying gaze of the male focalizer with the reluctant gaze forced upon the female focalizer through a pair of lenses, argued here to represent the patriarchal suppression of woman, as the male gaze is key for mediating the abject in du Maurier’s stories. Additionally, the association of the natural world with the female body is discussed, as the subjugation of nature and women are closely connected in a patriarchal society, and these are both regarded as abject in du Maurier’s stories. It is concluded that gender is elemental to whether the main characters embrace or reject the abject feelings originating within themselves.

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本篇論文意在分析綏夫特<<格理弗遊記>>中的主體、客體、卑賤體的再現，嘗試以不同觀點來看遊記主人翁在四次航行中的遭遇。<<格理弗遊記>>為十八世紀著名的旅行文學，而旅行本身即被視作一種譬喻來闡述旅行者與旅行之間的關係。本論文我主要採用克莉斯蒂娃(Julia Kristeva)幾本書中的理論觀點來逐章論述。在<小人國遊記>中，格理弗以旅行者主體去觀察與再現異地事物。其中最顯而易見的是以「方便之計」來救火。此不經意的行為不僅帶入旅行者主體的議題，也進一步檢驗在家與旅行之間的關係。除了旅行者主體之外，格理弗作為一個發言主體背後代表一套語言規則。最顯著的例子是拉普塔與慧駰國的語言系統。此兩國的語言系統以及他們對於某些外在客體的描述提供讀者去了解語言背後的符號意義。除此之外，透過格理弗在慧駰國的所見所聞，尤其是犽猢的無所不在，造成格理弗不僅在身體上也在心理上產生認知的改變。而他的回程也代表著一項重要的意義：格理弗的改變源於他內在卑賤體(abject)的存在，而他的家人更讓他了解到自己是一位在家的陌生人。 / This thesis investigates the representation of the subject/object/abject in Jonathan Swift’s Gulliver’s Travels. In Chapter One, I give a short introduction to describe what and why I want to talk about these representations in this thesis. Following the introductory chapter, Chapter Two explores the representation of the subject and provides a prominent example of Gulliver’s urinating act in Lilliput. This behavior not only constructs Gulliver’s subjectivity, but also helps examine the idea of home. Kristeva’s idea of “the Semiotic and the Symbolic” and Freud’s concept of “fort-da” game are adopted to discuss the dynamics of travel and Gulliver’s traveling subject. Chapter Three examines the way to decode and encode what the strangers speak in alien lands. To address the problem of the linguistic system of the strangers, Kristeva’s idea of “materiality of language” is elucidated. I also offer two examples from the Flappers and the Yahoos to call into question Gulliver’s role as a speaking subject. Foucault’s idea of power and Kristeva’s concept of “genotext” provide a possibility to discuss the relation between the subject and the discourse. In Chapter Four, the representation of the abject is particularly presented by Gulliver’s voyage in the Houyhnhnm-land. The presence of the Yahoos elicits Gulliver’s psychological symptom and problematizes his subject. Moreover, Gulliver’s return to his homeland and his acting-outs suggest that Gulliver is a stranger to himself. Kristeva’s theory of abject offers an effective way to describe Gulliver’s transformation. By focusing on the representation of the subject/object/abject in Gulliver’s Travels, my thesis provides a more newfangled interpretation of this classical text.

This book is a monograph about Anna Świrszczyńska’s poetry. It may be described as one woman’s attempt to read another woman’s literary work by taking into account established canons as well as the tools of feminist literary analysis. Part One begins with a discussion of Świrszczyńska’s biography (Chapter One). It then moves on to an overview of critical (mainly male) reactions to Świrszczyńska’s work (Chapter Two), with special regard to Czesław Miłosz’s contribution to its interpretation and popularization (Chapter Three). In Part Two there are three principal discussions: 1) of Anna Świrszczyńska’s early work Wiersze i proza [Poems and Prose] (1936), in which the poet develops her specific female view of European art and culture as disintegrated into incongruent fragments. Her premonition of the apocalypse, which is soon to be fulfilled in the events of World War II, finds its expression in the poet’s desperate attempts to unite the fragments of a shattered culture into individualized versions of myths (Chapter Four); 2) of the collection Budowałam barykadę [Building the Barricade] (1974), in which what is most crucial to the poet (biographically and poetically) is expressed – the encounter with human suffering in an inhuman world. Following this, her poetic view of the mortal body exposed to suffering under an empty sky becomes a well established motif in her work (Chapter Five); 3) of the collection Jestem baba (1972), in which Świrszczyńska introduces into poetry, by making the non-poetical “baba” her lyric heroine, the “outlawed feminine” and, as a result, revolutionizes the language of poetry and poetic representation, which leads in turn to liberating herself from the hegemony of the totalizing male gaze. In this way her anti-world is created (Chapter Six). The “world” is understood here as a male term – one might say that Świrszczyńska creates a “woman’s anti-world” as a place where the woman herself has to regain the right to name things according to her own terms.

Thesis (doctoral)--Universität Tübingen. / Includes bibliographical references (p. 251-272) and index.

This essay is an investigation of transnational author Joseph Conrad’s engagement with issues of cultural liminality during the years around the turn of the 20th century. Through an examination of Almayer from Almayer’s Folly, Yanko of “Amy Foster”, and Cornelius from Lord Jim, the common experience of cultural displacement is considered. Conrad placed these three culturally liminal characters in various, carefully constructed social environments. Thus far, these characters have been under investigated in the critical literature, particularly the mixed-culture Almayer and Cornelius. By investigating these three characters and their environments, this essay demonstrates how Conrad depicts cultural displacement in the age of nationalism to be increasingly multifaceted but inevitably disastrous. The essay further reveals the need for more careful critical assessments of the cultural nuances of Conrad’s characters.

Thesis Abstract The present thesis offers to read six plays by three contemporary British playwrights - Sarah Kane's Crave (1997) and 4.48 Psychosis (1999), Caryl Churchill's The Skriker (1994) and Far Away (2000), and Tim Crouch's ENGLAND (2007) and The Author (2009) through the lens of Julia Kristeva's essay on abjection, Powers of Horror (1982). Kristeva theorizes abjection as that which retains some resemblance to the subject or object, but is neither - or no longer belongs to the subject. Being confronted with the abject is unpleasant because it is threatening for the subject. It contains all that is habitually removed from life and does not belong in the symbolic order - corpses and excrements. Likewise, the maternal body needs to become abject for the infant to realize its own borders and bodily integrity. Kristeva proposes that the abject finds its way back into the symbolic order through literature, and reads a number of writers as being concerned with the abject. In the theatre, as well as in the visual arts, abjection has been a useful theoretical starting point, despite the fact that it is seen by a number of critics as something which cannot truly be grasped, and as resisting description and verbal imposition. Each playwright and each play includes a different aspect of the abject. Central to...

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