This study examines Russian-American author Ayn Rand's novel The Fountainhead, as a development of a heroic personae in the twentieth century. The Fountainhead examines the traditional hero defined by Joseph Campbell and the antihero's break from the traditional hero's code. The information gathered comes from books, interviews, and journals discussing the studies of the traditional hero, the antihero, and The Fountainhead. Through the actions of the protaganist, Howard Roark, the antihero is explained and vindicated. Howard Roark's role as the antihero is examined through Ayn Rand's philosophy and by the roles of the other characters in the novel. The development and emergence of the antihero is further explained through the actions of Dominique Francon. This study allows the reader to gain an understanding of the evolving roles of the hero and the emergence of the twentieth century's hero, the antihero.

Orientador: Luiz Gonzaga Marchezan / Banca: Arnaldo Cortina / Banca: Rauer Ribeiro / Banca: Juliana Santini / Resumo: O presente estudo parte da narrativa arquetípica de Cervantes, Dom Quixote de la Mancha e por meio dela estabelece pontos de contato com dois romances brasileiros: O coronel e o lobisomem e Fogo morto. Tem em Dom Quixote o modelo do herói problemático, conforme definido por Lukács em Teoria do romance: um indivíduo em conflito com a sociedade. Dessa maneira, na visada cervantina, o herói deixa de representar o coletivo, como na epopeia, para revelar, no romance, sua solidão em um mundo decadente. Percorrendo algumas invariantes que definem o quixotesco no interior do perfil do herói problemático, estabelece, então, pontos de contato com os heróis da literatura brasileira. O tema do poder, universal, perpassa os dois romances do regionalismo brasileiro, particularizando-os e figurativizando-os nos espaços e nas performances dos protagonistas Ponciano e Vitorino. Os dois, como Dom Quixote, são tocados pela "loucura da vã presunção" - conforme tipologia de Foucault - que corresponde à relação imaginária que cada personagem estabelece consigo mesmo por meio de um delírio de autovalorização, atribuindo-se características irreais ou, pelo menos, que não estão em consonância com a realidade que os cerca. Tomados pela ideia fixa, criam uma espécie de redoma que os impede de traçar os limites da realidade e, a despeito de suas ações infundadas, continuam lutando para a concretização de seus respectivos projetos. Como consequência dessa dissonância entre ser e sociedade, instaura-se um conflito, uma ruptura insuperável. A loucura é a única forma encontrada para esses heróis sobreviverem na sociedade degradada que os cerca e, de alguma forma, cada herói, ao seu modo, afronta à ordem estabelecida. As ações desenvolvidas por eles são dissonantes com a realidade e, por meio de gestos e entoações exageradas, hiperbólicas, culminam em situações tragicômicas... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present study starts with the archetypal Cervantes narrative Dom Quixote de la Mancha and by means of it establishes point of contact with two Brazilian novels O coronel e o lobisomen and Fogo morto. It exists in Dom Quixote the model of the problematic hero as it was defined by Lukács the Novel Theory: an individual in conflict with the society. In this way in the aimed of cervantina the hero stops representing the collective, like in epopee, to develop in the novel, his loneliness in a decadent world. Passing through some invariants that defined the quixotic inside the profile of the problematic hero, establishes, then points of contact with the heroes of the Brazilian literature. The theme of power, universal, goes through the two novels of the Brazilian regionalism, specifying them and making them figurative in the place and in the performing of the protagonists Ponciano and Vitorino. Both as Dom Quixote, are touched by-the "madness of vain conceit" - as Focault typology - that corresponds to the imaginary relationship that each character establishes with himself even, by means of a delusion of grandeur, attributing himself unreal characteristics or, at least, that are not in accordance with the reality that is around them. Taken by the fixed idea, they create a kind of bell-glass that prevents them from drawing the limits of the reality and, despite their unfounded actions, they keep on fighting for the specification of their respective projects. As a consequence of that dissonance between being and the society, it establishes a conflict, an insuperable break. The madness is the only way found by those heroes to survive in a degraded society that surrounds them and someway, each hero in his way, affronts the established order. The developed actions that they created are dissonant with the reality and by means of gestures and exaggerated intonation, hyperbolic, culminating... (Complete abstract click electronic access below) / Doutor

Mass media play an important role in shaping public perceptions about differentthematics, including crime and justice. The consumption of mediatic contents indifferent forms, such as newspapers, television news and crime dramas, can affectthe way people perceive and interpret concepts as deviance and punishments, theattitude towards the criminal system and the level of concern for becoming a victim.In the last years, Streaming Videos On Demand platforms have made easier theaccess and the consumptions of contents as crime dramas; the changes in themodality of fruition have been followed by changes in the representation ofcharacters, with the introduction and the increasing diffusion of morally ambiguousfigures. This opens new possibilities of research, particularly regarding the modesof representation of criminals as antiheroes. The purpose of the article is then toinvestigate how the figure of the offender is constructed as antihero in four OriginalNetflix Productions (You, Narcos, Ozark, La Casa de Papel). A Critical DiscourseAnalysis of two narrative themes is conducted combining Marxist andPostmodernist interpretative approaches.

This paper aims to draft a typology of antiheroes in contemporary fantasy literature. Antiheroes are reflected upon concerning their origins, development, and recognition by the implied reader. Mythical trickster is also considered an antihero. The first half presents a theoretical base for the subsequent analysis.

No description available.

The thesis thematizes the antihero phenomenon in current television series, whereas the phenomenon mentioned is attempted to be explained by a qualitative reception research regarding the television series called Breaking Bad. Therefore, the aim of this research is to understand the motivations of viewers for selecting and watching series featuring a main protagonist that might be described as an antihero. It is thus a type of audience research that is attempting to identify the aspects that are the most attractive for audience of these kinds of narratives. Furthermore this thesis is trying to clarify viewer's attitudes towards antihero as a type of serial character, as it becomes apparent that these characters are becoming more popular than ever before. The results of this research offer an evaluation of viewer's motivations for watching the series featuring antiheroes and identification of aspects that are the most attractive for audience of these kinds of narratives.

La vengeance par définition est l’acte d’une victime qui, suite à un outrage, décide de se faire justice par ses propres moyens. Ce grand topos narratif ne manque pas de représentation dans la littérature. Au contraire, il est le moteur narratif de nombreuses fictions de l’Antiquité, où les dieux vengent l’hybris de l’homme, en passant par le roman noir, où l’archétype du détective tente d’apporter sa propre justice dans un monde sombre, et ce jusqu’à nos récits contemporains. Beaucoup de penseurs, philosophes et théoriciens de tous les temps ont tenté de dresser les piliers qui fondent cette vengeance, afin d’appréhender sa possibilité ou son impossibilité d’être « Juste ». Ce débat se porte jusqu’en littérature où les récits vindicatifs vont dans les deux sens. D’un côté, certains récits idéalisent la vengeance en présentant le parcours d’un protagoniste qui réussit, par sa quête vindicative, à atteindre une Justice transcendante, et cathartique pour le lecteur. D’un autre côté, des récits vindicatifs présentent les limites de la justice personnelle, par un protagoniste inapte à apporter une quelconque rédemption justicière, et qui confronte le lecteur à un récit insoluble et problématique. Dans cette étude littéraire, ces deux familles de récits vindicatifs seront analysées, afin de définir leurs modalités narratives et de comprendre le sens éthique et affectif que chaque récit porte en rapport à la vengeance. Pour ce faire, ce projet de recherche travaillera autour de deux œuvres vindicatives canoniques (Le Compte de Monte-Cristo et J’irai cracher sur vos tombes), autant que certains films contemporains (Death Proof, Inglourious Basterds, Django Unchained, Memento, etc.) qui précisent la contemporanéité de cette réflexion. À travers divers penseurs (y compris Aristote, René Girard, Umberto Eco et Michel Erman), je situerai le débat éthique et je circonscrirai les aspects de la catharsis autour de la vengeance. Enfin, ce projet de recherche porte sur deux aspects enchevêtrés : les questions éthiques qui émergent de l’acte de vengeance et le rôle de la représentation littéraire (ou médiatique) dans la mise en scène de la pensée de la vengeance. Cette réflexion double constitue l’originalité de ce projet. / Vengeance, by definition, is the act undertaken by a victim who, following an offense, decides to get justice by his own means. This narrative topos is not without representation in literature. Quite the opposite, it lays at the heart of numerous fictions from the antiquity, in which the gods avenge man’s hybris, through roman noir, where the archetype of the detective attempts to bring his own justice in a somber world, up to our contemporary fictions. Thinkers, philosophers and theoreticians from all eras have attempted to identify the pillars which support vengeance in order to apprehend its (im)possibility to be “Just”. Such debate similarly reaches the literary world, where narratives go both ways. On the one hand, certain narratives idealize vengeance by representing the journey of a protagonist who succeeds, continuing through the vindictive quest, in achieving a transcendental Justice which proves cathartic for the reader. On the other hand, some narratives highlight the limits of personal justice by staging a protagonist unable to bring about vigilante redemption, thereby confronting the reader with an insoluble and problematic story. This literary study will examine these two categories of the vindictive story to define their respective narrative modalities and to discern the ethical and affective meaning each category attributes to vengeance. In doing so, this research project will consider canonical works (Le Compte de Monte-Cristo et J’irai cracher sur vos tombes) as well as films (Death Proof, Inglourious Basterds, Django Unchained, Memento, etc.), which provide contemporaneity to this reflection. Building on works by Aristotle, René Girard, Umberto Eco and Michel Erman, I will situate the ethical debate and circumscribe the relations between catharsis and vengeance. Ultimately, this research project addresses two intermeshed concerns: the ethical questions which emerge from revenge and the role of literary (or mediatic) representation in displaying vengeance thought. This dual reflection constitutes the originality of this project.

The main objective of this research is to study the affinities between Brazilian writer Graciliano Ramos (1892-1953) and French philosopher and writer Albert Camus (1913-1961). More precisely, we tend to explores the reflections of camusian revolt in three Ramos' prose works: Barren Lives (1938), Anguish (1936) and São Bernardo (1933). The literary and philosophical direction of existentialism is outlined at the beginning of the thesis. Therefore, the first chapter is devoted to an explanation of Camusian existentialism and his philosophical concept of revolt, not only in his philosophical works, but also in his novels. The subsequent chapter focuses on the life and work of Graciliano Ramos. Thereafter the three aforementioned Ramos' novels are analyzed in order to uncover in them motives of existentialism solitude, anguish, revolt against society ─ all of the more or less interlinked by the problem of incommunicability. Powered by TCPDF (www.tcpdf.org)

Made available in DSpace on 2014-06-11T19:32:06Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-30Bitstream added on 2014-06-13T19:02:22Z : No. of bitstreams: 1 souza_ep_dr_arafcl.pdf: 858715 bytes, checksum: 9cf1d9899b5f8b2bde4ff336dbbab08c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente estudo parte da narrativa arquetípica de Cervantes, Dom Quixote de la Mancha e por meio dela estabelece pontos de contato com dois romances brasileiros: O coronel e o lobisomem e Fogo morto. Tem em Dom Quixote o modelo do herói problemático, conforme definido por Lukács em Teoria do romance: um indivíduo em conflito com a sociedade. Dessa maneira, na visada cervantina, o herói deixa de representar o coletivo, como na epopeia, para revelar, no romance, sua solidão em um mundo decadente. Percorrendo algumas invariantes que definem o quixotesco no interior do perfil do herói problemático, estabelece, então, pontos de contato com os heróis da literatura brasileira. O tema do poder, universal, perpassa os dois romances do regionalismo brasileiro, particularizando-os e figurativizando-os nos espaços e nas performances dos protagonistas Ponciano e Vitorino. Os dois, como Dom Quixote, são tocados pela “loucura da vã presunção” - conforme tipologia de Foucault - que corresponde à relação imaginária que cada personagem estabelece consigo mesmo por meio de um delírio de autovalorização, atribuindo-se características irreais ou, pelo menos, que não estão em consonância com a realidade que os cerca. Tomados pela ideia fixa, criam uma espécie de redoma que os impede de traçar os limites da realidade e, a despeito de suas ações infundadas, continuam lutando para a concretização de seus respectivos projetos. Como consequência dessa dissonância entre ser e sociedade, instaura-se um conflito, uma ruptura insuperável. A loucura é a única forma encontrada para esses heróis sobreviverem na sociedade degradada que os cerca e, de alguma forma, cada herói, ao seu modo, afronta à ordem estabelecida. As ações desenvolvidas por eles são dissonantes com a realidade e, por meio de gestos e entoações exageradas, hiperbólicas, culminam em situações tragicômicas... / The present study starts with the archetypal Cervantes narrative Dom Quixote de la Mancha and by means of it establishes point of contact with two Brazilian novels O coronel e o lobisomen and Fogo morto. It exists in Dom Quixote the model of the problematic hero as it was defined by Lukács the Novel Theory: an individual in conflict with the society. In this way in the aimed of cervantina the hero stops representing the collective, like in epopee, to develop in the novel, his loneliness in a decadent world. Passing through some invariants that defined the quixotic inside the profile of the problematic hero, establishes, then points of contact with the heroes of the Brazilian literature. The theme of power, universal, goes through the two novels of the Brazilian regionalism, specifying them and making them figurative in the place and in the performing of the protagonists Ponciano and Vitorino. Both as Dom Quixote, are touched by-the “madness of vain conceit” – as Focault typology – that corresponds to the imaginary relationship that each character establishes with himself even, by means of a delusion of grandeur, attributing himself unreal characteristics or, at least, that are not in accordance with the reality that is around them. Taken by the fixed idea, they create a kind of bell-glass that prevents them from drawing the limits of the reality and, despite their unfounded actions, they keep on fighting for the specification of their respective projects. As a consequence of that dissonance between being and the society, it establishes a conflict, an insuperable break. The madness is the only way found by those heroes to survive in a degraded society that surrounds them and someway, each hero in his way, affronts the established order. The developed actions that they created are dissonant with the reality and by means of gestures and exaggerated intonation, hyperbolic, culminating... (Complete abstract click electronic access below)