This study gives the Zulu's views and ideas about celestial bodies and associated natural phenomena and how they illustrate features in both the oral and written literature. It sketches various focussing mainly on The concentration is conceptions about the whole universe celestial bodies and natural phenomena. on the sun, moon, stars, thunder and lightning in poetry and prose both modern and traditional. Emphasis is on the fact that Zulus do not perceive celestial bodies as mere bodies but assign certain beliefs and philosophies to them. In examining these different conceptions, Western as well as African literary theories have been used in this study. I~ ~r=rli~ional izibongo amakhosi are associated with the sun, the moon as well as the stars. Their warriors' attack is associated with the thunderstorm. These celestial bodies are also used as determinants of time in terms of day and night, seasons and different times for different daily chores. In modern poetry these bodies are mainly associated with God and in some instances they are referred to as God himself. In prose they are used as determinants of time and are also used figuratively to describe certain circumstances. The study gives an idea of how Zulus in general perceive these celestial bodies and natural phenomena. / African Languages / D.Litt. et Phil. (African Languages)

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Made available in DSpace on 2018-07-27T17:13:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-28. Added 1 bitstream(s) on 2018-07-27T17:16:52Z : No. of bitstreams: 1 000901718.pdf: 1096974 bytes, checksum: 8120160a281138e459b3d4326f76f817 (MD5) / Esta tese tem por objetivo o estudo de duas obras literárias que têm como personagens cientistas criadores e suas criaturas artificiais. Trata-se das obras de Villiers de l'Isle-Adam (1838-1889) e de Mary Shelley (1797-1851), representadas pelos romances L'Ève future e Frankenstein, respectivamente. Para tanto, e em primeiro lugar, traçamos um histórico do desejo humano de criar uma criatura artificial perfeita desde a Antiguidade até os dias atuais. Em seguida, passamos à análise das referidas obras, caracterizando e comparando os criadores e suas respectivas criaturas, concluindo, ao final, o que ambas representam em termos metafóricos / This dissertation aims to study two literary works whose characters are creators scientists and their artificial creatures. The following novels are studied: L'Ève future by Villiers de l'Isle-Adam (1838-1889) and Frankenstein by Mary Shelley (1797-1851). Firstly, it was made a survey of the human desire to create a perfect artificial creature from Antiquity to nowadays. Secondly, we started to analyze such literary works, characterizing and comparing the creators and their creatures, and finally, getting the conclusion what both represent metaphorically

Orientador: Adélia Bezerra de Meneses / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T09:55:25Z (GMT). No. of bitstreams: 1 Schlecht_CristianedeV_M.pdf: 831227 bytes, checksum: f046f422b379ac0c65e83c0a3a412b8a (MD5) Previous issue date: 2010 / Resumo: Rachel de Queiroz e Graciliano Ramos são escritores que apresentam muitas semelhanças entre si: ambos são provenientes da região nordeste brasileira e iniciam sua produção ficcional na década de 1930, além de terem sido adeptos de ideologias de esquerda, em particular o comunismo, assim como boa parte da intelectualidade brasileira dessa época. A partir dessas semelhanças, este trabalho propõe um cotejo entre algumas das obras desses escritores: respectivamente O Quinze (1930) e Vidas Secas (1938), de um lado, e João Miguel (1932) e Angústia (1936), de outro. Para tanto, situam-se os dois escritores em face da crítica literária, além de se investigar a importância de cada um deles para o estudo da literatura brasileira até a atualidade. A partir da análise minuciosa de passagens e temas similares nas obras dos dois escritores, pode-se perceber que, apesar das inúmeras semelhanças entre essas obras e seus autores, eles se distanciaram em termos de eficácia estética em seus romances. Essa constatação é feita por meio da análise sobretudo de um elemento ficcional: o foco narrativo. Assim, ao se analisarem os narradores de cada um dos romances, fica explícita a diferença entre Rachel de Queiroz e Graciliano Ramos, chegando-se à conclusão de que este último foi capaz de alcançar, em suas obras, partindo de realidades e temas muito similares ao da escritora, qualidade literária bastante superior / Abstract: Rachel de Queiroz and Graciliano Ramos are writers who have many similarities between them: both are from the Northeast of Brazil and begin their fictional production in the 1930s, and were supporters of leftist ideologies, particularly communism, as well as good part of the intellectual community of that time. From these similarities, this paper proposes a comparison between some of the works of these writers, which are, respectively, O Quinze (1930) and Vidas Secas (1938), on the one hand, and João Miguel (1932) and Angústia (1936), on the other. Therefore, the two writers are situated in the face of literary criticism, and the importance of each to the study of Brazilian literature to the present is focalized. Upon careful examination of passages and similar themes in the works of the two writers, one can see that despite the many similarities between these works and their authors, they drifted apart in terms of effectiveness aesthetics in their novels. This observation is made by analyzing a particular element of fiction: the narrative focus. Thus, when analyzing the narrators of each of the novels, is the explicit difference between Rachel de Queiroz and Graciliano Ramos, and one came to the conclusion that Graciliano was able to achieve in his works, starting from the realities and issues that are very similar to Rachel, higher literary quality / Mestrado / Literatura Brasileira / Mestre em Teoria e História Literária

Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-18T14:56:13Z (GMT). No. of bitstreams: 1 Tinti_TauanFernandes_M.pdf: 690660 bytes, checksum: f383a642a724f05ed1c7d2d14b1d9166 (MD5) Previous issue date: 2011 / Resumo: Este trabalho consiste em uma leitura de Fim de Partida, de Samuel Beckett, construída a partir da hipótese de que esta peça, com o que pode ser definido como uma recusa sistemática a tudo o que lhe venha de fora, é capaz de integrar à sua própria estrutura formal os impasses gerados pelas tentativas de interpretá-la, em um movimento que paradoxalmente fortalece cada vez mais sua lógica interna à medida que a interpretação é negada. Ao longo de três capítulos, busca-se investigar as diferentes ramificações dessa ideia como forma de esboçar a posição-limite na qual a peça se encontra: no primeiro capítulo, a hipótese em questão é desenvolvida a partir da leitura de alguns objetos de Fim de Partida, e a partir disso se argumenta que os personagens se aproximam mais de seus objetos fraturados e ausentes do que de pessoas; no segundo, a condição desses personagens é desenvolvida no sentido de um confronto entre duas formas de temporalidade, a progressão e a circularidade, submetidas ao mesmo princípio de escassez que atravessa outros níveis da peça; no terceiro capítulo, a hipótese central é a de que em Endgame são colocados em questão diversos procedimentos do humor de forma altamente destrutiva, e a significação retroativa que seus destroços passam a ter adquirido nesse processo podem ser extrapolados de modo a produzir um pequeno vislumbre, de dentro da própria peça, tanto de seu estatuto de obra de arte, quanto de sua relação complexa com a tradição / Abstract: This work consists in a reading of Samuel Beckett's Endgame built upon the hypothesis that the play, through what can be defined as a deliberate exclusion of everything external to it, is capable of integrating the resulting deadlocks from the attempts of its interpretation to its own formal structure, in a paradoxical movement that strengthens the play's internal logic through the denial of interpretation. Throughout three chapters, this work aims to explore different ramifications of that idea in order to outline the boundary represented by the play: in the first chapter, the interpretative hypothesis is developed upon a reading of the objects of Endgame, culminating in the idea that its characters are closer to the absent and fractured objects that they demand than to proper persons; in the second chapter, their condition is developed in the sense of a confrontation between two forms of temporality, progression and circularity, which are submitted to the same principle of scarcity that penetrates other levels of the play; in the third chapter, the central hypothesis is that Endgame puts into question some procedures of humor in a highly destructive manner, and that the retroactive meaning acquired by the resulting ruins of this process may be extrapolated into a glimpse, from within the play itself, both of its status as a work of art and of its complex relationship with tradition / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T19:03:23Z (GMT). No. of bitstreams: 1 Silva_GustavoRodriguesda_M.pdf: 1551456 bytes, checksum: e4003a3b502430573237a1f412eed5b8 (MD5) Previous issue date: 2015 / Resumo: Alguns pesquisadores estudaram o estilo tardio, como Gottfried Benn, Havelock Ellis, Edward Said, entre outros. Quem consagra a noção de estilo tardio é Theodor Adorno em seu ensaio El estilo tardío de Beethoven (2008 [1963]). De acordo com Adorno, uma obra tardia é única porque ela causa uma ruptura no cenário literário da época, pois traz novidades impensadas até então. Essa ruptura não é compreendida em um primeiro momento por muitos leitores que, só com um exame detido da obra em questão, como nos propomos nessa dissertação, conseguem captar a grandeza de uma obra tardia. Ela é atemporal, pois se distancia do passado pela inovação, se diferencia do presente pelo estranhamento e prenuncia um futuro, dadas as suas inovações serem consideradas como referências literárias para obras por vir. Logo, cada obra tardia tem um estilo tardio único. Ramón María del Valle-Inclán (1866-1936) tem uma vasta obra literária, com várias peças. Segundo John Lyon, em The theatre of Valle-Inclán (2009), o ápice do teatro de Valle-Inclán são os esperpentos. Quando analisamos o esperpento Los cuernos de Don Friolera (1968 [1921]), observamos que a obra traz algumas inovações literárias para a época, que podem ser enquadradas na noção teórica de estilo tardio. Já o esperpento anterior, Luces de bohemia (2001 [1920]), apresenta a teoria esperpêntica que é posta em prática no esperpento seguinte, justamente Los cuernos de Don Friolera. Em nossa dissertação, vamos mostrar de que forma Valle-Inclán trabalha a teoria estética esperpêntica proposta em Luces de bohemia e em Los cuernos de Don Friolera, e como essa maneira de trabalhar essa teoria se constitui em um estilo tardio. Logo, vamos provar o estilo tardio do esperpento Los cuernos de Don Friolera quando comentarmos as suas inovações quanto à forma e ao conteúdo como a grande variação de possíveis sequências de leitura, a combinação de quatro paródias de movimentos literários espanhóis diferentes dentro do mesmo esperpento, a criação de uma obra que é tanto literária como histórica, entre outros aspectos. Também comentaremos o estilo tardio nos outros dois esperpentos valle-inclanianos: Las galas del difunto (1968 [1926]) e La hija del capitán (1968 [1927]). Defendemos que esse caráter tardio do nosso objeto de estudo reflete o exaurimento das formas literárias existentes e questiona o status de obra ficcional no começo do século XX, além de ditar novos rumos para a literatura espanhola e, quiçá, ocidental / Abstract: Some researchers studied the late style as Gottfried Benn, Havelock Ellis, Edward Said, among others. The one who enshrines the notion of late style is Theodor Adorno in his essay El estilo tardio de Beethoven (2008 [1963]). According to Adorno, a late work is unique because it causes a break in the literary scene of the era, because it brings thoughtless news so far. This break is not understood at first by many readers, that only with a close examination of the work in question, as we propose in this thesis, can capture the greatness of a late work. It is timeless because it moves away from past by the innovation, it differs from the present by the estrangement and predicts a future, given the innovations being considered as references to literary works to come. Thus, each late work has a unique late style. The Spanish writer Ramón María del Valle-Inclán (1866-1936) has a vast literary work, with several plays. According to John Lyons in The theatre of Valle-Inclán (2009), the theater apex of that Spanish author is the esperpentos. When we analyze the esperpento Los cuernos de Don Friolera (1968 [1921]), we realize that the work brings some literary innovations for the time, which can be evidenced in the theoretical notion of late style. Already the previous esperpento, Luces de bohemia (2001 [1920]), presents the esperpêntica theory that is put into practice the next esperpento precisely Los cuernos de Don Friolera. In our thesis, we are going to show in what way Valle-Inclán works the esperpêntica aesthetic theory proposal in Luces de bohemia in Los cuernos de Don Friolera and how this way of working this theory constitutes a late style. Thus, we will prove that the late style of esperpento Los cuernos de Don Friolera when commenting their innovations as the form and the content as the wide range of possible sequences of reading, the combination of four parodies of different Spanish literary movements within the same esperpento, the creation of a work that is both literary and historical, among others. We are also going to comment the late style in the other two valle-Inclanianos esperpentos: Las galas del difunto (1968 [1926]) and La hija del capitán (1968 [1927]). We argue that this late character of our matter subject reflects the depletion of existing literary forms and questions the fictional work status in the early twentieth century, in addition to dictate new directions for Spanish literature and perhaps western / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

The reading of selected literary texts in this thesis traces the changes from a divinely ordered world of stability (Thomas Mann's Bud<lenbrooks) to surroundings characterized by insecurity (William Faulkner's The Sound and the Fury) to an unstable environment giving rise to largely futile attempts at finding answers to seemingly illogical questions (Thomas Pynchon's The Crying of Lot 49). As a product of the accelerated speed of technological progression and the information revolution in the twentieth century, man is more often than not incapable of adjusting to changed circumstances in a seemingly hostile environment. Indeed, instability and unpredictability are external factors determining the sense of insecurity and uncertainty characterising the 'world' depicted in the literary texts under consideration. For this reason judicious use will be made of philosophical and psychoanalytical concepts, based, amongst others, on Nietzschean and Freudian theories, to explain the disintegration of families, the anguish experienced by individuals or, indeed, the shifting identities informing the portrayal of character in selected literary texts. / Afrikaans and Theory of Literature / D.Litt. et Phil. (Theory of Literature)

Critical Theory, as posited by members of The Frankfurt School, was evaluated with the objective of attaching an implied ethical dimension. This was discovered in their privileging of a particular type of aesthetic, as evinced in their analysis of certain works of autonomous High Modernism. This implied ethic, which is one based around the concept of enlightenment as potential for emancipation, was then applied as a norm for the evaluation of art. This ethic, however, does not seek to impose a particular reading on (specifically) literary production: Rather, it seeks to impart the importance of a commitment by the literary critic in the use of an ethically based norm, an ethic, what is more, that is based and supported by a discussion of the concepts 'freedom' and Enlightenment. Finally, with this ethic firmly established, the discussion then attempted to distinguish between modernism and post-modernism, using this implied ethic as a guide to separation. / Afrikaans & Theory of Literature / M.A. (Theory of Literature)

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

In my earlier work, ‘First steps towards a rhetorical hermeneutics of literary interpretation’ (2006), I argued that academic reading takes the form of an argument between readers. Four serious weaknesses in that account are its elision of the distinction between reading and discourse on reading, its inattention to non-academic reading, its exclusive focus on ‘interpretation’ as if this constituted the whole of reading or of discourse on reading, and its failure to theorise the object of literary reading, ie. the work of literature. The current work aims to address all of these problems, together with those created by certain other approaches to literary reading, with the overall objective of clearing the ground for more empirical studies. It exemplifies its points with examples drawn primarily from non-academic public discourse on literature (newspapers, magazines, and the internet), though also from other sources (such as reading groups and undergraduate literature seminars). It takes a particular (though not an exclusive) interest in two specific instances of non-academic reception: the widespread reception of Salman Rushdie’s novel The Satanic Verses as an attack on Islam, and the minority reception of Peter Jackson’s film trilogy The Lord of the Rings as a narrative of homosexual desire. The first chapter of this dissertation critically surveys the fields of reception study and discourse analysis, and in particular the crossover between them. It finds more productive engagement with the textuality of response in media reception study than in literary reception study. It argues that the application of discourse analysis to reception data serves to problematise, rather than to facilitate, reception study, but it also emphasises the problematic nature of discourse analysis itself. Each of the three subsequent chapters considers a different complex of problems. The first is the literary work, and its relation to its producers and its consumers: Chapter 2 takes the form of a discourse upon the notions of ‘speech act’ and ‘authorial intention’ in relation to literature, carries out an analysis of early public responses to The Satanic Verses, and puts in a word for non-readers by way of a conclusion. The second is the private experience of reading, and its paradoxical status as an object of public representation: Chapter 3 analyses representations of private responses to The Lord of The Rings film trilogy, and concludes with the argument that, though these representations cannot be identical with private responses, they are cannot be extricated from them, either. The third is the impossibility of distinguishing rhetoric from cognition in the telling of stories about reading: Chapter 4 argues that, though anecdotal or autobiographical accounts of reading cannot be taken at face value, they can be taken both as attempts to persuade and as attempts to understand; it concludes with an analysis of a magazine article that tells a number of stories about reading The Satanic Verses – amongst other things. Each of these chapters focuses on non-academic reading as represented in written text, but broadens this focus through consideration of examples drawn from spoken discourse on reading (including in the liminal academic space of the undergraduate classroom). The last chapter mulls over the relationship between reading and discourse of reading, and hesitates over whether to wrap or tear this dissertation’s arguments up.