Thesis (M.A.)--University of North Carolina Wilmington, 2009. / Title from PDF title page (January 14, 2010) Includes bibliographical references (p. 41-44)

Submitted by Jos? Henrique Henrique (jose.neves@ufvjm.edu.br) on 2018-11-08T17:17:33Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) luciana_lacerda_carvalho.pdf: 1397794 bytes, checksum: 3046a26548eb944a833dc85051e295a7 (MD5) / Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2018-11-10T12:07:35Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) luciana_lacerda_carvalho.pdf: 1397794 bytes, checksum: 3046a26548eb944a833dc85051e295a7 (MD5) / Made available in DSpace on 2018-11-10T12:07:35Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) luciana_lacerda_carvalho.pdf: 1397794 bytes, checksum: 3046a26548eb944a833dc85051e295a7 (MD5) Previous issue date: 2018 / Este trabalho prop?e um cotejo de teorias da adapta??o, a fim de realizar um exame comparativo entre o conto liter?rio ?Berenice? (1835), do escritor norte-americano Edgar Allan Poe e o primeiro epis?dio (denominado ?Ber??) da micross?rie televisiva Contos do Edgar (2013), dirigida pelo cineasta brasileiro Pedro Morelli. Visando a uma delimita??o te?rica adequada dos procedimentos envolvidos nessas transposi??es da p?gina para a tela, os m?todos empregados para esta investiga??o foram os da pesquisa bibliogr?fica e os da an?lise de elementos da narrativa comuns ?s duas obras. Com o intuito de circunscrever essas reflex?es em torno da produ??o audiovisual, elegeu-se como objeto de estudo um epis?dio da miniss?rie brasileira Contos do Edgar (2013), cujo enredo ? livremente baseado no conto ?Berenice? (1835) de Edgar Allan Poe. Considerou-se a intertextualidade como elemento de liga??o entre as duas obras. O distanciamento espa?o-temporal e cultural entre ambas e a pr?pria leitura que o audiovisual fez do liter?rio foram aspectos de fundamental import?ncia para esta an?lise. Tratase de um trabalho interdisciplinar cujo foco ? o estudo da transposi??o de uma arte liter?ria para uma arte de v?deo, com aten??o ao processo intertextual envolvido na recria??o sob a forma de epis?dio televisivo. As produ??es audiovisuais s?o performances realizadas em coautoria com uma s?rie de profissionais envolvidos e que, portanto, o objeto resultante ? um constructo est?tico executado com base em diversos compartilhamentos interpretativos. Portanto, as semelhan?as e diferen?as apontadas entre os dois suportes s?o considerados elementos intertextuais. O epis?dio audiovisual analisado tamb?m apresenta elementos relacionados ao conceito de carnavaliza??o, como a profana??o, o grotesco e o rebaixamento. / Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Ci?ncias Humanas, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2018. / This thesis aims at contrasting theories of adaptation in order to compare the literary short story "Berenice" (1835) by the American writer Edgar Allan Poe and the first episode (titled "Ber?") of the television series Contos do Edgar (2013), directed by the Brazilian moviemaker Pedro Morelli. In order to find an appropriate theoretical procedure involved in these transpositions from the page to the screen, the methods used for this investigation were the bibliographical research and the analysis of narrative elements shared by both works. With the purpose of zeroing in on the audiovisual production, the object of study chosen was an episode of the Brazilian miniseries Contos do Edgar (2013), whose plot is freely based on the short story "Berenice" (1835) by Edgar Allan Poe. In this case, intertextuality can be regarded as an element of connection between the two works. The space-time, cultural and interpretive differences between the literary and the audiovisual were aspects of fundamental importance for this analysis. It is an interdisciplinary work, focusing on the study of the transposition of literary art into video art, and on the intertextual process involved in the recreation of the story into a television episode. The audiovisual productions are performances carried out in co-authorship with multiple professionals and, therefore, the resulting object is an aesthetic construct executed based on several interpretive exchanges. Consequently, the similarities and differences pointed out between the two media are considered intertextual elements. The audiovisual episode analyzed also presents elements related to the concept of carnivalization, such as profanation, grotesque and degradation.

No description available.

Scholarship on Edgar Allan Poe's Dupin stories consistently focuses on the stories' influence on the genre of detective fiction. One of the foundational genre elements pioneered by Poe in these tales is the sidekick/narrator. Throughout detective fiction, the less-intelligent sidekick has become a standard fixture, a convenient trope in foregrounding the brilliant machinations of the detective's mind. The attention the literature gives to the narrator of the Dupin tales is almost universally in terms of the sidekick/narrator figure as a trope of detective fiction; in this way, it seems that Dupin's companion has come to be read in terms of what he has in common with his successors, the Watsons and Archie Goodwins of mystery stories, rather than more strictly on the terms of what makes him unique. This thesis examines the ways in which the narrator alternately highlights (in subtle ways) and attempts to obfuscate (in equally subtle ways) his role as the fictional author of the tales. The narrator's role as writer complicates the reading of Dupin as the autonomous master of his own narrative, and as the narrator himself as a generic, dim-witted sidekick. In this way, Dupin and the narrator occupy flip sides of the same narrative coin—Dupin serves as the showman, and the narrator, the invisible author. As contrasting, complementary doubles of one another, they perform the function of collaborative authors, each one equally essential to the production of the tales. Similarly, this reevaluation of the narrator/sidekick as an author figure brings out ways in which the narrator's genius parallels and matches the genius of Dupin.

Though the cinematic genre of horror was not designated until the twentieth century, elements of this genre have appeared onstage since the time of the Greeks. Theatre history is rife with examples of theatrical ghosts and horrors, whose ever-changing representation indicates society's evolving relationship to and expectation for horror onstage. In 2019, Virginia Tech presented the installation Poe's Shadows, which combined elements of traditional theatre, original art, and innovative technology to present an immersive experience of Edgar Allan Poe's work. This production was a unique collaborative work that combined the creative labor of both faculty and students, while also invoking past horror theatre techniques and technologies. The properties of the Cube performance space allowed the Poe's Shadows creative team to imitate hand-cranked panoramas, magic lantern shows, and shadow plays, while also using sound effects and narration that combined elements of theatrical tradition and ghost shows. By studying the history of Poe's Shadows, as well as the reception of the installation, one can see how the theatre's evolving relationship with horror is effected by audience demand and expectation, as well as newly available technologies. / Master of Arts / Though the horror genre is most often associated with books and films, elements of the genre have been present onstage for thousands of years. Furthermore, studying these theatrical ghosts and ghouls—and how they were represented onstage— can help contemporary audiences understand historical anxieties and expectations. In 2019, Virginia Tech presented the installation Poe’s Shadows, which combined elements of traditional theatre, original art, and innovative technology to present an immersive experience of Edgar Allan Poe’s work. This production was a unique collaborative work that combined the creative labor of both faculty and students, while also invoking past horror theatre techniques such as hand-cranked panoramas, magic lantern shows, and shadow plays, accompanied by with sound effects and narration that combined elements of theatrical tradition and ghost shows. By studying the history of Poe’s Shadows, as well as the reception of the installation, one can see how the theatre’s evolving relationship with horror is effected by audience expectation and newly available technologies.

O objetivo deste trabalho é apresentar uma leitura do conto The Murders in the rue Morgue, do escritor norte-americano Edgar Allan Poe (1809-1849), do ponto de vista de sua relação com seu contexto histórico de produção. Uma parte essencial desta pesquisa foi o estudo da fortuna crítica do escritor, a qual em grande parte ocupa-se em fazer leituras da obra de Poe como objeto de ideologia, destacado de uma realidade sócio-histórica e do lugar do escritor como trabalhador. A discussão feita aqui sobre esta parte de sua fortuna crítica aponta alguns mecanismos por meio dos quais a crítica desvia a atenção da leitura da obra de Poe para questões de ordem puramente formal ou mesmo biográfica. O estudo do contexto histórico em que viveu Poe, bem como de material crítico que estabelece relações entre tal contexto e sua obra, fornece fundamentação importante para a leitura do conto aqui apresentada, a qual visa a evidenciar a configuração de contradições históricas dentro da forma literária. Posicionando Edgar Allan Poe em seu devido lugar histórico, é possível compreender como a forma do conto de detetive sedimenta tais contradições, revelando os esforços do escritor em lidar com o material sócio-histórico disponível, conforme a leitura de The Murders in the rue Morgue feita aqui busca demonstrar. / The objective of this research is to present an analysis of the North American writer Edgar Allan Poes short story The Murders in the rue Morgue, from the perspective of its relations with its historical context of production. A central part of this research was the study of the critical material produced about the author and his work, whose major interest, in general, is to analyze Poes work as an object of ideology, detached from a social historical reality and from the writers position as a worker. The discussion presented here about this part of the criticism indicates some mechanisms through which criticism distracts the attention from the reading of Poes work to questions of merely formal or biographical order. The study of the historical context in which Poe lived, as well as that of critical material which establishes relations between this context and his work, provides important basis for the analysis of the short story presented here, which aims at demonstrating the representation of historical contradictions inside the literary form. Positioning Edgar Allan Poe in his historical place, it is possible to understand how the form of the detective story is related to these contradictions, revealing the writers efforts to deal with the social historical content available, as the analysis presented here intends to show.

Esta tese apresenta a continuação de um estudo da obra de Edgar Allan Poe iniciado no Mestrado, que focou no primeiro conto de detetive de Poe, The Murders in the Rue Morgue. Na presente etapa, o objetivo foi investigar de que maneira a obra de Poe figura uma experiência sócio-histórica específica, estudando desta vez seus outros dois contos de detetive, The Mystery of Marie Rogêt e The Purloined Letter. Ao ampliar o foco da pesquisa para compreender melhor o lugar desses contos na obra do escritor, o estudo levou à conclusão de que os três contos de detetive de Poe, publicados entre 1841 e 1844, desempenham um papel central na figuração da sua experiência histórica, representando um momento importante de síntese de suas reflexões. Por isso, esta tese organiza-se de modo a dar esta posição de destaque aos seus contos de detetive, mas apresenta, no primeiro e no quarto capítulos, comentários acerca de uma seleção de outras de suas obras, literárias ou não, que representam momentos importantes do percurso de suas reflexões e de sua tomada de posição diante das contradições próprias de seu momento histórico. As principais dessas contradições dizem respeito ao funcionamento do mercado editorial dos Estados Unidos no século XIX, e incluem a produção de literatura popular e de jornalismo sensacionalista, a relação com o público leitor e as relações de produção predominantes no mencionado mercado. Poe desenvolve um posicionamento crítico cada vez mais consequente diante desse contexto, desenhando diagnósticos a respeito da situação do escritor e da literatura diante da mercadorização da atividade artística e definindo posturas propositivas, especialmente por meio de seu reaproveitamento criativo dos materiais disponíveis, assim apontando para possibilidades expressivas mais desafiadoras e relevantes do que as que ele via se multiplicando na época. Além disso, são importantes outras atitudes de Poe que demonstraram sua insatisfação com as relações de produção da época, tais como a escrita de diversos artigos sobre o tema e, da maior relevância, sua tentativa (embora fracassada) de lançar uma revista literária controlada por artistas. Tudo isso faz da obra de Edgar Allan Poe uma grande contribuição para a literatura. / This dissertation presents the continuation of a study of Edgar Allan Poes work started in the Masters research whose object was the first detective story written by Poe, published in 1841, The Murders in the Rue Morgue. In the present study, the objective is to investigate how Poes work represents a social-historical experience, focusing this time on his two other detective stories, The Mystery of Marie Rogêt and The Purloined Letter. When enlarging the scope of the research in order to better understand the role of these stories in the writers work, the study led to the conclusion that his three detective stories, published between 1841 and 1844, in fact play a central role in the figuration of his historical experience, representing an important moment of synthesis in his reflections. For this reason, this dissertation is organized so as to put forth his detective stories, while also presenting, in the first and forth chapters, comments regarding a selection of other works, literary or not, representing important moments of the development of his reflections and his positioning before the contradictions of his historical moment. The most relevant of these contradictions concern the operation of the editorial market of the United States in the 19th century, and include the production of sensational popular literature, the sensational journalism, the relation with the reading public and the relations of production predominating in the market. The writer develops an increasingly consequent critical positioning before such context, designing diagnoses about the writers and literatures situations in a moment of commodification of the artistic activity and defining an active attitude, thus indicating expressive possibilities which were more challenging and relevant than the ones he saw multiplying in his times. Besides, there are other attitudes in which Poe demonstrated his dissatisfaction with the relations of production, suc as his articles about the theme and, very relevant, his attempt (although he failed) of starting a literary magazine controlled by artists. This makes Edgar Allan Poes work a huge contribution for literature.

O objetivo deste trabalho é apresentar uma leitura do conto The Murders in the rue Morgue, do escritor norte-americano Edgar Allan Poe (1809-1849), do ponto de vista de sua relação com seu contexto histórico de produção. Uma parte essencial desta pesquisa foi o estudo da fortuna crítica do escritor, a qual em grande parte ocupa-se em fazer leituras da obra de Poe como objeto de ideologia, destacado de uma realidade sócio-histórica e do lugar do escritor como trabalhador. A discussão feita aqui sobre esta parte de sua fortuna crítica aponta alguns mecanismos por meio dos quais a crítica desvia a atenção da leitura da obra de Poe para questões de ordem puramente formal ou mesmo biográfica. O estudo do contexto histórico em que viveu Poe, bem como de material crítico que estabelece relações entre tal contexto e sua obra, fornece fundamentação importante para a leitura do conto aqui apresentada, a qual visa a evidenciar a configuração de contradições históricas dentro da forma literária. Posicionando Edgar Allan Poe em seu devido lugar histórico, é possível compreender como a forma do conto de detetive sedimenta tais contradições, revelando os esforços do escritor em lidar com o material sócio-histórico disponível, conforme a leitura de The Murders in the rue Morgue feita aqui busca demonstrar. / The objective of this research is to present an analysis of the North American writer Edgar Allan Poes short story The Murders in the rue Morgue, from the perspective of its relations with its historical context of production. A central part of this research was the study of the critical material produced about the author and his work, whose major interest, in general, is to analyze Poes work as an object of ideology, detached from a social historical reality and from the writers position as a worker. The discussion presented here about this part of the criticism indicates some mechanisms through which criticism distracts the attention from the reading of Poes work to questions of merely formal or biographical order. The study of the historical context in which Poe lived, as well as that of critical material which establishes relations between this context and his work, provides important basis for the analysis of the short story presented here, which aims at demonstrating the representation of historical contradictions inside the literary form. Positioning Edgar Allan Poe in his historical place, it is possible to understand how the form of the detective story is related to these contradictions, revealing the writers efforts to deal with the social historical content available, as the analysis presented here intends to show.

Esta tese apresenta a continuação de um estudo da obra de Edgar Allan Poe iniciado no Mestrado, que focou no primeiro conto de detetive de Poe, The Murders in the Rue Morgue. Na presente etapa, o objetivo foi investigar de que maneira a obra de Poe figura uma experiência sócio-histórica específica, estudando desta vez seus outros dois contos de detetive, The Mystery of Marie Rogêt e The Purloined Letter. Ao ampliar o foco da pesquisa para compreender melhor o lugar desses contos na obra do escritor, o estudo levou à conclusão de que os três contos de detetive de Poe, publicados entre 1841 e 1844, desempenham um papel central na figuração da sua experiência histórica, representando um momento importante de síntese de suas reflexões. Por isso, esta tese organiza-se de modo a dar esta posição de destaque aos seus contos de detetive, mas apresenta, no primeiro e no quarto capítulos, comentários acerca de uma seleção de outras de suas obras, literárias ou não, que representam momentos importantes do percurso de suas reflexões e de sua tomada de posição diante das contradições próprias de seu momento histórico. As principais dessas contradições dizem respeito ao funcionamento do mercado editorial dos Estados Unidos no século XIX, e incluem a produção de literatura popular e de jornalismo sensacionalista, a relação com o público leitor e as relações de produção predominantes no mencionado mercado. Poe desenvolve um posicionamento crítico cada vez mais consequente diante desse contexto, desenhando diagnósticos a respeito da situação do escritor e da literatura diante da mercadorização da atividade artística e definindo posturas propositivas, especialmente por meio de seu reaproveitamento criativo dos materiais disponíveis, assim apontando para possibilidades expressivas mais desafiadoras e relevantes do que as que ele via se multiplicando na época. Além disso, são importantes outras atitudes de Poe que demonstraram sua insatisfação com as relações de produção da época, tais como a escrita de diversos artigos sobre o tema e, da maior relevância, sua tentativa (embora fracassada) de lançar uma revista literária controlada por artistas. Tudo isso faz da obra de Edgar Allan Poe uma grande contribuição para a literatura. / This dissertation presents the continuation of a study of Edgar Allan Poes work started in the Masters research whose object was the first detective story written by Poe, published in 1841, The Murders in the Rue Morgue. In the present study, the objective is to investigate how Poes work represents a social-historical experience, focusing this time on his two other detective stories, The Mystery of Marie Rogêt and The Purloined Letter. When enlarging the scope of the research in order to better understand the role of these stories in the writers work, the study led to the conclusion that his three detective stories, published between 1841 and 1844, in fact play a central role in the figuration of his historical experience, representing an important moment of synthesis in his reflections. For this reason, this dissertation is organized so as to put forth his detective stories, while also presenting, in the first and forth chapters, comments regarding a selection of other works, literary or not, representing important moments of the development of his reflections and his positioning before the contradictions of his historical moment. The most relevant of these contradictions concern the operation of the editorial market of the United States in the 19th century, and include the production of sensational popular literature, the sensational journalism, the relation with the reading public and the relations of production predominating in the market. The writer develops an increasingly consequent critical positioning before such context, designing diagnoses about the writers and literatures situations in a moment of commodification of the artistic activity and defining an active attitude, thus indicating expressive possibilities which were more challenging and relevant than the ones he saw multiplying in his times. Besides, there are other attitudes in which Poe demonstrated his dissatisfaction with the relations of production, suc as his articles about the theme and, very relevant, his attempt (although he failed) of starting a literary magazine controlled by artists. This makes Edgar Allan Poes work a huge contribution for literature.

Une théorie unifiée donnant à Poe une cohérence dans sa diversité est possible lorsqu’on base l’analyse de son œuvre sur sa cosmogonie, c’est-à-dire sur sa conception de l’univers. Celle-ci repose sur un dieu devenu universel en se matérialisant, puis en se divisant en la quasi-infinité de matière formant le monde que nous connaissons. La division de l’âme divine est selon lui reflétée dans la nature intrinsèquement divisée de l’âme humaine. En cela, les notions de temps, de mort et de destinée sont interconnectées : l’histoire cosmique est identique à celle de l’homme, toutes deux régies par le temps et circonscrites par la mort. Cette même histoire se répétant tout au long de son œuvre, elle constitue donc le motif archétypal qui l’unifie. / A unified theory of Poe’s works, bringing his diverse writing together into one coherent story can be found in his cosmogony, that is to say, in his understanding of universal mechanics. This latter understanding is based on the idea of a god dividing himself into the almost infinity of matter that makes up the universe, building it in his literal image. The division of the divine soul is, according to Poe, echoed by the intrinsic division of the human soul. As such, Time, Death, and Destiny are fundamentally interconnected: cosmic history and human history are one and the same, ruled by time and circumscribed by death. This story can be found all throughout Poe’s works and is thus the archetypal pattern at the core of this unified theory.