Submitted by MANUELA GRATON MARCELLO null (manu.graton@gmail.com) on 2016-09-12T22:37:34Z No. of bitstreams: 1 Dissertação Manuela Graton Marcello.pdf: 1091648 bytes, checksum: 6ced89dc5ea0ec9cde217bc5c18c559e (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-09-14T20:04:20Z (GMT) No. of bitstreams: 1 marcello_mg_me_sjrp.pdf: 1091648 bytes, checksum: 6ced89dc5ea0ec9cde217bc5c18c559e (MD5) / Made available in DSpace on 2016-09-14T20:04:20Z (GMT). No. of bitstreams: 1 marcello_mg_me_sjrp.pdf: 1091648 bytes, checksum: 6ced89dc5ea0ec9cde217bc5c18c559e (MD5) Previous issue date: 2016-08-23 / Publicada em 1865 e considerada obra nonsense, Alice’s Adventures in Wonderland é o livro mais conhecido de Lewis Carroll (pseudônimo de Charles Lutwidge Dodgson). Escrito e publicado no período vitoriano, Alice apresenta um cenário repleto de fantasia onde a protagonista vive suas aventuras, que são vistas por muitos leitores como algo meramente fantasioso e desprovido de lógica. A partir de leituras relacionadas à sociedade vitoriana e ao discurso histórico, percebe-se que os acontecimentos e experiências experimentados pela garota são permeados por traços irônicos relativos à sociedade em que Alice vivia. A presente dissertação propõe, com base no estudo da narrativa histórica realizado por Hayden White, particularmente a questão do tropo da ironia, o entendimento de como o discurso no Alice é relacionado a implicações da ideologia da época. No âmbito da História da época e das técnicas discursivas utilizadas pelo autor o presente trabalho resgata alguns dos aspectos históricos ironizados por Carroll, utilizando não somente os estudos relacionados à linguagem e aos modos de elaboração de enredo de Hayden White (1994, 1995), mas também a história dos princípios educacionais da Inglaterra vitoriana, de Morais (2004). / Published in 1865 and considered a work nonsense, Alice’s Adventures in Wonderland is the best-known book by Lewis Carroll (pen-name of Charles Lutwidge Dodgson). Written and published in the Victorian period, Alice is set in a fantastic scenario where the protagonist’s adventures take place, and the book is seen by many readers as something merely fanciful and illogical. From readings related to Victorian society and historical discourse, it is clear that the events and experiences lived by the girl are permeated by ironic traces related to the society of Alice’s day. The present dissertation, based on Hayden White’s study of historical narrative, particularly the question of the trope of irony, proposes an understanding of how Carroll’s discourse in Alice is related to implications of the prevailing ideology. In the context of the history of the period and of the discursive techniques used by the author the present study examines some of the historical aspects satirised by Carroll, utilising not only Hayden White’s studies of language and modes of plot development (1994, 1995), but also Morais’s history of the principles of Victorian education, Morais (2004).

This essay claims that the novels Alice's Adventures in Wonderland and Through the Looking-Glass trigger nostalgia in the contemporary reader. Nostalgia is a powerful and complex feeling which, in contemporary times, is triggered by a longing for the lost childhood. This essay connects that longing with the novels about Alice. I argue that the nostalgic experience in the Alice in Wonderland books combines utopia and Bakhtin's concept of carnival and brings it into the lost childhood. The utopian part strives for something better while the carnivalesque part is an upheaval of daily life. This essay illustrates how utopia and carnival are related to a childhood free of adulthood anxieties and that they are a part of Alice in Wonderland, which triggers nostalgia in the adult reader.

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Issued also as Thesis (Ph. D.)--Columbia University. / "350 copies of this first edition have been printed from type, of which 300 are for sale." This copy not numbered.

Issued also as Thesis (Ph. D.) Columbia University. / "350 copies of this first edition have been printed from type, of which 300 are for sale." This copy not numbered.

This study investigates the use of different strategies for translating puns in Alice’s Adventures in Wonderland. The material chosen for this study consist of the two Swedish translations by Nonnen (1870/1984) and Westman (2009). Six puns were selected for the analysis which greatly relies on Delabastita’s (1996) eight strategies for translating puns, and Newmark’s (1988) translation methods. The analysis shows that Westman empathises with the readers of the TT while Nonnen empathises with the ST. This entails that Westman tends to use a more ‘free’ translation and is more inclined to adapt the ST puns to make them more visible for the readership of the TT. The priority for Nonnen, on the other hand, is to remain faithful to the contextual meaning of the ST. Paradoxically, to be faithful to the ST does not necessarily entail that the translator respects the semantic aspects of the ST, but that they adapt the culture of the ST to better fit the cultural and linguistic framework of the TL. Since Westman adapts the ST puns so that they are still recognised by the reader of the TT, her translation appears to be more suitable for the TL readership than Nonnen’s.

An introduction to Alice scholarship, including a brief biography of the author Charles Lutwidge Dodgson, under the pseudonym Lewis Carroll, as well as the subject matter. An examination of Alice's Adventures in Wonderland's genre, as well as an in-depth analysis of the text as a children's story.

Dos Cantos 6 a 13 da Odisseia, Homero narra a estada de Odisseu em Esquéria, a terra dos feácios. Durante a recepção de Alcínoo ao herói, uma tensão sutil se desenvolve: enquanto o anfitrião deseja descobrir a identidade de seu misterioso convidado, o herói luta para manter-se anônimo e garantir sua condução para casa. Essa tensão se desenrola num jogo de palavras sutil e elegante, no qual se digladiam o mestre da astúcia, o polúmetis Odisseu, e aquele de forte mente, alkí-nóos, o perspicaz Alcínoo. A essa disputa dou o nome de jogo do discurso. Conforme aqui defendo, tal jogo toma forma abaixo da superfície das palavras, e seus dois participantes conversam muito mais por meio do não-dito do que pelo que de fato dizem. Para que uma análise desse jogo intelectual seja possível, proponho um resgate da figura de Alcínoo, cujo nome defendo significar alkí-nóos, força-mente, como figura astuta e perspicaz, o que vai de encontro à opinião difundida de que o rei dos feácios é anódino ou pouco inteligente. Conforme argumento, ele permanece atento às manobras retóricas de seu convidado, o qual busca a todo custo tecer discursos agradáveis e proveitosos (meilíkhioi kaì kerdaléoi mûthoi), num processo que culmina com sua cartada final: a narrativa das aventuras. Alcínoo, mesmo percebendo os recursos astuciosos e manipulativos de seu convidado, rende-se a seus talentos e regozija-se com sua performance. / From Book 6 till the beginning of Book 13 in the Odyssey, Homer tells us of Odysseus sojourn in Scheria, the land of the Phaeacians. During Alcinous reception of the hero, a subtle tension develops between the two: while the host wishes to discover the identity of his mysterious guest, the hero strives to remain anonymous and secure his conveyance home. This tension unfolds in a subtle and elegant game of words in which the two oponents meet: the master of of tricks, Odysseus polúmetis, and the one of a strong mind, alkí-nóos, shrewd Alcinous. I call this contest the discourse game. As I wish to defend, such game takes place beneath the surface of words, and the participants maintain a conversation in which what remains unexpressed communicates more than what is actually said. For such an analysis to be possible, I propose to rescue Alcinous, whose name I claim to mean strength-mind, from the widespread opinion that the king is foolish or unintelligent. As I argue, he is very attentive to the rhetorical maneuvers of his guest, who is trying to fabricate pleasing and profitable speeches (meilíkhioi kaì kerdaléoi mûthoi), in a process that culminates with his final play: the narrative of the adventures. Alcinous, although detecting and understanding the crafty and manipulative purposes of his guest, surrenders to his talents as a storyteller and enjoys his performance.

Dos Cantos 6 a 13 da Odisseia, Homero narra a estada de Odisseu em Esquéria, a terra dos feácios. Durante a recepção de Alcínoo ao herói, uma tensão sutil se desenvolve: enquanto o anfitrião deseja descobrir a identidade de seu misterioso convidado, o herói luta para manter-se anônimo e garantir sua condução para casa. Essa tensão se desenrola num jogo de palavras sutil e elegante, no qual se digladiam o mestre da astúcia, o polúmetis Odisseu, e aquele de forte mente, alkí-nóos, o perspicaz Alcínoo. A essa disputa dou o nome de jogo do discurso. Conforme aqui defendo, tal jogo toma forma abaixo da superfície das palavras, e seus dois participantes conversam muito mais por meio do não-dito do que pelo que de fato dizem. Para que uma análise desse jogo intelectual seja possível, proponho um resgate da figura de Alcínoo, cujo nome defendo significar alkí-nóos, força-mente, como figura astuta e perspicaz, o que vai de encontro à opinião difundida de que o rei dos feácios é anódino ou pouco inteligente. Conforme argumento, ele permanece atento às manobras retóricas de seu convidado, o qual busca a todo custo tecer discursos agradáveis e proveitosos (meilíkhioi kaì kerdaléoi mûthoi), num processo que culmina com sua cartada final: a narrativa das aventuras. Alcínoo, mesmo percebendo os recursos astuciosos e manipulativos de seu convidado, rende-se a seus talentos e regozija-se com sua performance. / From Book 6 till the beginning of Book 13 in the Odyssey, Homer tells us of Odysseus sojourn in Scheria, the land of the Phaeacians. During Alcinous reception of the hero, a subtle tension develops between the two: while the host wishes to discover the identity of his mysterious guest, the hero strives to remain anonymous and secure his conveyance home. This tension unfolds in a subtle and elegant game of words in which the two oponents meet: the master of of tricks, Odysseus polúmetis, and the one of a strong mind, alkí-nóos, shrewd Alcinous. I call this contest the discourse game. As I wish to defend, such game takes place beneath the surface of words, and the participants maintain a conversation in which what remains unexpressed communicates more than what is actually said. For such an analysis to be possible, I propose to rescue Alcinous, whose name I claim to mean strength-mind, from the widespread opinion that the king is foolish or unintelligent. As I argue, he is very attentive to the rhetorical maneuvers of his guest, who is trying to fabricate pleasing and profitable speeches (meilíkhioi kaì kerdaléoi mûthoi), in a process that culminates with his final play: the narrative of the adventures. Alcinous, although detecting and understanding the crafty and manipulative purposes of his guest, surrenders to his talents as a storyteller and enjoys his performance.

A consistent feature of Saul Bellow???s fiction is the protagonist???s encounter with one or more teaching figures. Dialogue with such individuals prompts the Bellovian protagonist to reject his current state of selfhood as inadequate and provokes him to re-form as a new person. The teacher figure offers a better self to which the protagonist is attracted; or, more frequently in Bellow, the protagonist is repelled by both his teacher and his own current state to form a new, previously unrepresented self. This thesis argues that Bellow???s self inherits and modifies the perfectionist philosophy of Ralph Waldo Emerson and Henry David Thoreau, in a literary reinterpretation that parallels Stanley Cavell???s philosophical revaluation of the American Transcendentalists. In Emerson and Thoreau, and in Cavell???s reading of perfectionism, the self is attracted onward only by a better representation of selfhood in another, while Bellow???s self may also be, and often is, provoked by a repellent other to inhabit a new form of selfhood. This thesis takes the evolution of selfhood in Bellow to be structured by travel. In The Adventures of Augie March, Augie???s movement between selves is impelled by conversation with teacher figures and paralleled by his unending journeys. In Herzog, Herzog???s self-transformations and travels are provoked by reading and writing, and by the ecstasy of loss revealed to him through apostrophic conversations with the dead and absent in a series of unsent and mental letters. Letter-writing, the provocation for Herzog???s self-perfection, becomes a form of travel in Herzog. This thesis further argues that Bellow???s travelling self is a critical response to two poles of modern subjectivity, structured by European mythologies of travel: Bellow???s fiction is critical, first, of a Hegelian, egoist mode of selfhood structured after the Odyssey; but equally critical of examples of Levinasian openness to the Other, patterned on Abraham???s exile. Bellow does not accept either the Odyssean or the Abrahamic mode of selfhood on its own, recognizing oppressive possibilities in both. Travelling selfhood in Bellow, initiated by conversation with others, both fuses and rereads Odyssean and Abrahamic constructs within a new, but perpetually unfinished American mode of selfperfection.