Made available in DSpace on 2016-08-10T11:07:16Z (GMT). No. of bitstreams: 1 ROGERIO CAVALCANTE DE MORAIS.pdf: 2888343 bytes, checksum: 703c15350891bd366f004d12d08a2c12 (MD5) Previous issue date: 2016-02-19 / This thesis aims to establish relationships between different artistic systems involving intertextualities and relations between text and image. We analyze homological procedures between them. Selected texts from different periods, styles and language system. These texts are listed in order to provide readings that can mobilize fruitful way of the senses. The corpus is made up of the stories; "The telltale heart," Edgar Allan Poe, "Love", by Clarice Lispector, and screens; "Luncheon on the Grass" by Édouard Manet, and "Lovers" by René Magritte. We analyze the existing dialogue in the look between the two languages, verbal and plastic-visual. The work is theoretical basis authors dealing with intertextuality as well as analog and homological procedures addressing different systems. We demonstrate how the game looks permeates and immobilizes the form of artistic training. / Esta dissertação se propõe a estabelecer relações entre sistemas artísticos distintos envolvendo intertextualidades e relações entre texto e imagem. Analisaremos procedimentos homológicos entre eles. Para isso, selecionamos textos de diferentes épocas, estilos e sistema de linguagem. Esses textos serão relacionados de modo a propiciar leituras que possam mobilizar de maneira profícua os sentidos. O corpus é constituído pelos contos; O coração denunciador , de Edgar Allan Poe, Amor , de Clarice Lispector, e as telas; Almoço na Relva , de Édouard Manet, e Os amantes , de René Magritte. Analisaremos o diálogo existente no olhar entre as duas linguagens, verbal e plástico-visual. O trabalho tem como embasamento teórico, autores que tratam da intertextualidade bem como dos procedimentos analógicos e homológicos abordando sistemas diferentes. Demonstraremos como o jogo de olhares permeia e imobiliza a forma de capacitação artística.

This essay is an ecocritical analysis on William Wordsworths “I Wandered Lonely as a Cloud” and Edgar Allan Poes “Alone”. It investigates the depiction of nature, the space within nature poetry and the common theme of loneliness in the poems. The ecocritical perspective plays the main part of this essay because of the similarity between the ecocriticism and romantic poetry in the upliftment of nature, and the erasure of the dividing line between human and nature. The main material is Timothy Mortons Ecology without nature, Jane Bennetts Vibrant Matter and Scott Knickerbockers Ecopoetics. The results of the essay show how the depiction of nature contributes to the representation of the poet’s emotion and relation to nature and the past. It shows how the space, the distance between human and nature, maintains because we can’t get closer to nature than through figurations, anthropomorphisms. It also shows how the loneliness further establishes the space and is quite different between Wordsworth and Poe, whereas Wordsworth doesn’t feel as alone as Poe because of his closer relation to nature.

Edgar Allan Poe (1809-49) lived at the perfect time to write about several of the most dramatic technological developments ever recorded in history. Up until the nineteenth century, professional scientists were almost the exclusive agents for writing about science. However, during this period, non-professional writers also emerged as important conveyors of popular science news to the public. Though Poe was a lay writer, his popular writing conveyed several of the most important new discoveries of the Industrial Age. He also projected his views about how nineteenth-century technologies might impact civilizations of the future. Poe’s writing offers a key example of a widespread movement of thinkers who attempted to mediate the tensions and debates that were taking place in his lifetime between those who perceived and described the world from either the “Mechanical” or the “Romantic” approach. This study explores the ways that Poe wrote about science in poetry, non-fiction, and fiction. I argue that a review of his earlier science writing helps to unlock several of the enigmatic writings of his culminationg work, Eureka:A Prose Poem. The final chapter of this thesis concludes with an in-depth discussion of Eureka. In Eureka, Poe proposes that man’s literary works are imperfect. However, he contends that the Creator has written and executed a perfect “Plot of the Universe.” Poe attempts to unravel several of its deepest mysteries in a multi-genre work of poetry, history, science, and metaphysics. I argue that modern scholars of literature and science history can gain a clearer view of the ways that the nineteenth-century public received and understood information about science by exploring Poe’s science writing than has been provided in previous historical or literary scholarship.

Made available in DSpace on 2016-04-28T19:58:58Z (GMT). No. of bitstreams: 1 Oscar Andrade Lourenao Nestarez.pdf: 905202 bytes, checksum: df6626733b6535efd85d4b155527ee20 (MD5) Previous issue date: 2016-03-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation proposes a reflection about the fantastic mode in literature in the light of a fundamental operation of the cognitive process: the phantasms produced by the imagination. The investigation occurs through a comparative reading between two narratives Edgar Allan Poe s Ligeia (1838) and Mário de Sá-Carneiro s The Great Shadow (1915) , having by theorical support the studies from Remo Ceserani (The Fantastic, 1996), Irène Bessière (Le récit fantastique la poétique de l incertain, 1974) and Giorgio Agamben (Stanzas: word and phantasm in western culture, 1977), as well as Poe s critical reflections found in The philosophy of composition (1845), The poetic principle (1850) and Marginalia (1849) about the links between imaginary phantasms and poetical creation. Taking into consideration the significative diferences between the two texts either by the temporal distance or by the fantastic characteristics (more notable in Ligeia ) , this project asks how the root of the fantastic mode in literature can relate with the imaginative phantasms produced in terms of plot and, more specifically, enunciation. The hypothesis is that both Ligeia and The Great Shadow point to the creation of phantasms by the imaginative faculty as the responsable for the effects of the fantastic. This happens though the singularity of a central enunciative process: the spectral apparitions in both plot and in the multiple visions of the narrator in the poetic-phantasmatic discourse, marked by the crisis in representation. The comparative analysis reveals that the phantasm-fantastic relation manifests itself in both texts, although in different terms: in Ligeia , the procedures of the fantastic mode are everywhere spectres, doubles, projections between light and shadow and terror caused by gothic ambience; and, underneath this plan, lies the narrator-author s phantasmatic discourse. In The Great Shadow , on the other hand, excels the sensationist-phantasmatic narration on the form of a diary, leaving the plot and its phantasmagoric ambiance in second plan / A dissertação desenvolve uma reflexão sobre o modo do fantástico na literatura à luz de uma operação basilar do processo cognitivo-imaginativo, advinda do pensamento clássico de Aristóteles: os fantasmas produzidos pela imaginação. A investigação se dá por meio da leitura comparativa entre duas narrativas Ligéia (1838), de Edgar Allan Poe e A Grande Sombra (1915), de Mário de Sá-Carneiro -, tendo por suportes teóricos os estudos de Remo Ceserani (O fantástico, 1996), Irène Bessière, (Le récit fantastique la poétique de l incertain,1974) e Giorgio Agamben (Estâncias: a palavra e o fantasma na cultura ocidental, 1977), além das reflexões críticas de Edgar Allan Poe sobre os vínculos entre os fantasmas imaginários e a criação poética em A filosofia da composição (1845), The poetic principle (1850) e Marginália (1849). Indaga-se como, a partir das diferenças entre ambas as narrativas seja pela distância temporal, seja pelas marcas do fantástico, mais visíveis em uma ( Ligéia ) do que em outra ( A Grande Sombra ) , a raiz do modo literário do fantástico poderia se inscrever nos fantasmas imaginativos produzidos em nível de enredo e, mais especificamente, no de enunciação. A hipótese é a de que tanto Ligéia quanto A Grande Sombra apontam para a criação de fantasmas pela faculdade imaginativa como a responsável pelos efeitos estéticos do fantástico. Isso se dá por meio da singularidade de um processo enunciativo fundamental: aparições espectrais, tanto em nível de enredo quanto no das múltiplas visões do narrador e no do discurso poético-fantasmático, marcado pela crise da representação de referentes em ausência. A análise comparativa revela que a relação fantasma-fantástico se manifesta em ambos os textos, porém com pesos distintos: em Ligéia , dominam os operadores do modo fantástico espectros, duplos, projeções entre luz e sombra, ambientação e terror propiciados pelo gótico e, sob esse plano, subjaz o do discurso fantasmático do narrador-autor na sua corrente subjacente de sentido . Em A Grande Sombra , é o discurso sensacionista-fantasmático do diário de um narrador-autor que sobressai, deixando em segundo plano o enredo e sua ambientação fantasmagórica

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-26T20:27:29Z No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-09-26T21:15:48Z (GMT) No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-26T21:15:48Z (GMT). No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2012-12-14 / The myth of the double is part of a set of the most antique human myths which permeate man`s imaginary since his own existence. It has as its main manifestations the cases of persons resembling one another, identical twins, the fact that someone sees himself in another one, the duality. The term used to designate the double, coined by German writer Jean-Paul Richter, is doppelgänger, and it means the one who walks by the side or close by, the travelling companion or fellow traveler. It has to do with one‘s experience of him/her in alterity or otherness. Some examples of occurrences of the myth of the double in literatures can be, among other: Shakespeare‘s A Comedy of Errors, Plato`s The Banquet, Robert Louis Stevenson‘s Dr. Jekyll and Mr. Hyde, Mary Shelley‘s Frankenstein, Dostoyevsky‘s The Double. This thesis has as the object of its analysis the recurrence (and reoccurrence) of the myth of the double in literature and in order to do that it concentrates on the examination of four works which are similar through the manifestation of the double in portraits. Three of them are short stories and the last one is a novel: Nathaniel Hawthorne‘s ―The Prophetic Pictures,‖ Edgar Allan Poe‘s ―The Oval Portrait,‖ Nikolai Gogol‘s ―The Portrait [Портрет],‖ and Oscar Wilde‘s The Picture of Dorian Gray. The theoretical support for the thesis concentrates on a larger use or presence of the idea of the double, as in the Romanticism, and in the development of some themes dear to the 19th Century, such as the fragmentation of the self, the new notions of myth, the idea of the double and specifically the myth of the double. The main theoreticians or theorists used where, among others, are Sigmund Freud, Otto Rank, Arnold Hauser, Anatol Rosenfeld, J. Guinsburg, and Jean-Pierre Vernant. / O mito do duplo faz parte de um conjunto de mitos dos mais antigos, que permeiam o imaginário do homem desde a sua própria existência. Tem por principais manifestações os casos de sósias, gêmeos idênticos, o ver a si mesmo em outro, a dualidade. O termo consagrado para designar o duplo, cunhado pelo escritor alemão Jean-Paul Richter, é doppelgänger, e significa aquele que caminha ao lado, o companheiro de estrada. Tem a ver com uma experiência de si na alteridade. Alguns exemplos de recorrência ao mito do duplo na literatura, entre outros, podem ser: A comédia dos erros, de Shakespeare, O banquete, de Platão, O médico e o monstro, de Stevenson, Frankenstein, de Mary Shelley, O duplo, de Dostoiévski. Esta dissertação tem o objetivo estudar a recorrência do mito do duplo na literatura e, para isso, foram selecionadas quatro obras, que se assemelham pela manifestação do duplo em retratos. São três contos e um romance: ―Os retratos proféticos‖, de Nathaniel Hawthorne, ―O retrato oval‖, de Edgar Allan Poe, ―O retrato‖, de Nikolai Gogol, e O retrato de Dorian Gray, de Oscar Wilde. O suporte teórico da dissertação se concentra no maior uso ou presença da ideia do duplo, como no Romantismo e no desenvolvimento de temas caros ao século XIX, como a fragmentação do sujeito, as novas noções de mito, de duplo e especificamente do mito do duplo. Os principais teóricos são, entre outros, Sigmund Freud, Otto Rank, Arnold Hauser, Anatol Rosenfeld, J. Guinsburg, Jean-Pierre Vernant.

The topic of the diploma thesis is Concerning Chosen Translations of the Poem The Raven by E. A. Poe - an Attempt at a Comparison. The thesis deals with the comparison of Czech translations which have been written over the period of the last twenty years. The original text would be also dealt with, since there come up distinct shifts of meaning within the process of translation. However, the author will not omit different aesthetical qualities of the original and target language. An observation of schoolbooks for teaching literature at secondary and high schools will be added together with an attempt to determine the most frequently included translation which could therefore be considered as canonic. The output of the thesis should be an analysis evaluating whether including the translation in schoolbooks is appropriate and offering a constructive suggestion on an alternative one.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-12T18:39:59Z No. of bitstreams: 2 Dissertação - Rosana Alves Simão Santos - 2017.pdf: 2142440 bytes, checksum: 8cae138e1250692b02185cc47961b167 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Rejected by Luciana Ferreira (lucgeral@gmail.com), reason: O título em outro idioma possui palavras em maiuscula sem necessitar. Certifique-se de que não há palavras-chave em outro idioma on 2017-09-19T13:54:53Z (GMT) / Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-19T15:13:34Z No. of bitstreams: 2 Dissertação - Rosana Alves Simão Santos - 2017.pdf: 2142440 bytes, checksum: 8cae138e1250692b02185cc47961b167 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Rejected by Luciana Ferreira (lucgeral@gmail.com), reason: Essa dissertação é do CEPAE - Colégio Aplicação. Mude no dropbox e no nome da unidade nome do programa e citação. on 2017-09-20T10:53:30Z (GMT) / Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-20T12:58:29Z No. of bitstreams: 2 Dissertação - Rosana Alves Simão Santos - 2017.pdf: 2142440 bytes, checksum: 8cae138e1250692b02185cc47961b167 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-21T10:40:33Z (GMT) No. of bitstreams: 2 Dissertação - Rosana Alves Simão Santos - 2017.pdf: 2142440 bytes, checksum: 8cae138e1250692b02185cc47961b167 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-09-21T10:40:33Z (GMT). No. of bitstreams: 2 Dissertação - Rosana Alves Simão Santos - 2017.pdf: 2142440 bytes, checksum: 8cae138e1250692b02185cc47961b167 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-07 / Outro / This research is a case study entitled Literary reading and Foreign Language teaching: the Edgar Allan Poe short story in the process of the teaching and learning of the English Language in High School, and it stems from the line of research “Theoretical-methodological Conceptions and Teaching Conceptions”. Its objective is to investigate and to describe the rippling influences of a literary text (authentic material) as a didactic material. The guiding question to this study was: what are the contributions of a literary text (authentic materials) as a didactic resource to the process of teaching and learning of a foreign language as well as to students’ motivation? The corpus of the research was the short story “the Black Cat” by American author, Edgar Allan Poe. The collecting of the data happened during a didactic sequence (DS) with students in the 1st year of High School in a public institution in the city of Trindade- GO, their ages ranging from 14 and 16 years old. For the data analysis, two questionnaires were used, one initial questionnaire and a final questionnaire, and the activities carried out during the DS. This study was based on theories on the Short Story, Literature and didactic materials, using some of the following authors: (1994), Calvino (1990), Candido (1995, 2004), Campagnon (2009), Eco (2003), Duarte (2016), Leffa (1999), Pessoa (2009), Almeida Filho (2013), Almeida Filho e Barbirato (2000), amongst others. The analysis adumbrated that the practice of literary readings and the utilization of authentic materials in the foreign language classroom can motivate and contribute, in a positive way, to the teaching and learning process. Thus, we hope that this work can be a rich source of information to the pedagogic practices of other foreign language (FL) teachers, since there is not only the improvement of pedagogical practices, but also the value of theoretical reflection. / Trata-se de um estudo de caso, com o título Leitura literária e ensino de Língua Estrangeira: o conto de Edgar Allan Poe no processo de ensino e aprendizagem de Língua Inglesa no Ensino Médio, vinculado à linha de pesquisa Concepções Teórico-Metodológicas e Concepções Docentes. Objetiva-se investigar e descrever as influências exercidas quando se utiliza um texto literário (material autêntico) como material didático. A pergunta norteadora foi: que contribuições o uso de um texto literário pode trazer tanto no processo de ensino e aprendizagem quanto na motivação de estudantes de língua inglesa? Elegeu-se como corpus de pesquisa o conto The Black Cat, do autor americano Edgar Allan Poe. Para a coleta de dados, aplicou-se uma sequência didática (SD), com alunos de 1º ano do Curso Técnico Integrado ao Ensino Médio de uma instituição pública da cidade de Trindade-GO, na faixa etária entre 14 e 16 anos. A análise dos dados contemplou a utilização de dois questionários (um inicial e outro final) e as atividades desenvolvidas a partir da SD. Fundamentou-se a pesquisa em teorias de conto, literatura e material didático de autores como: Bosi (1994), Calvino (1990), Candido (1995, 2004), Campagnon (2009), Eco (2003), Duarte (2016), Leffa (1999), Pessoa (2009), Almeida Filho (2013), Almeida Filho e Barbirato (2000), entre outros. A análise apreendida revelou que a prática de leitura literária e a utilização de material autêntico nas aulas de língua estrangeira podem motivar e contribuir de forma positiva para o processo de ensino e aprendizagem. Espera-se, portanto, que esta pesquisa seja uma fonte rica para pesquisadores e estudiosos dos temas aqui discorridos, visto que há não apenas o aprimoramento das práticas pedagógicas, mas também o valor da reflexão teórica.

La présente thèse aborde les enjeux liés à la traduction de poèmes rédigés dans un style classique, tels que ceux rédigés au XIXe siècle par exemple. Le cadre de cette étude porte sur les langues française et anglaise, et l’argumentaire se fonde sur le Raven d’Edgar Allan Poe et cinq de ses traductions, produites par Charles Baudelaire, Stéphane Mallarmé, Maurice Rollinat, Paul Laurendeau et moi-même. D’abord, j’aborde les liens existant entre ces cinq traductions et quatre théories prescriptives de la traduction qui décrivent précisément les principes qui régissent les manières de traduire auxquelles nous (les cinq traducteurs de l’œuvre à l’étude) avons eu recours. Je souligne l’importance d’une traduction le plus près possible du discours (tel que le conçoit Henri Meschonnic) et des effets phonétiques présents dans l’œuvre source. Ensuite, je retrace l’histoire du Raven et analyse 12 segments témoin qui serviront de points de repère pour l’analyse. Enfin, j’analyse les cinq traductions en confrontant les 12 segments témoin aux passages qui leur correspondent dans chacune des traductions. En traduction poétique, il importe de s’attacher au discours, au rythme, aux figures de style, à la sémantique et aux réseaux phonétiques contenus dans l’œuvre source, tout en modifiant sa structure de strophe le moins possible. Ce faisant, la tension interne du poème est conservée, car la très grande majorité des composantes de l’œuvre originale est rendue dans le poème cible. Poème cible constitue un aspect important de la présente thèse, puisqu’il est primordial de créer, dans la langue d’arrivée, un poème qui réponde aux mêmes critères, aux mêmes exigences de qualité que la poésie classique. Cette conception de la tâche d’un traducteur-poète se trouve cristallisée dans la traduction que j’ai faite du Raven. Enfin, dans l’annexe se trouvent le Raven de Poe et les cinq traductions que j’ai mentionnées au premier paragraphe du présent résumé.

This essay explores the sublime aspects in Edgar Allan Poe’s fictional horror, namely "The Tell-Tale Heart" (1843), "The Fall of the House of Usher" (1839) and "The Raven" (1839). The aim is to show that the sublime – an aesthetic experience articulated by Edmund Burke and Immanuel Kant amongst many – can make the reader oscillate between horror and safety. This essay also examines Poe’s works through the lens of Sigmund Freud’s concept of the uncanny to provide a contrasting, more nuanced analysis and understanding. The evidence presented in the analysis shows that Poe’s masterful use of writing techniques, including literary devices such as irony, demonstrates his unparalleled ability to simultaneously terrify and amaze his readers – the core idea of the sublime. Above all, the narrators in Poe’s works play a critical role in conveying the experience of the sublime, as their transgressive actions provide a lens through which the reader can experience both horror, wonder, and incomprehension. Poe’s works involve conflicts between imagination and reason, and rationality and irrationality, as well as the narrow border between the unfamiliar and the familiar – all concepts that tend to evoke both horror and awe. All combined, they have the power to evoke a feeling of the sublime – a concept that could undermine horror and thus make it more pleasurable to read.

This essay is a contribution to literary history that explores Edgar Allan Poe’s criticism of the transcendentalist movement and its key figure Ralph Waldo Emerson through an analysis of the short stories “The Fall of the House of Usher” and “Never Bet the Devil Your Head.” By using genre criticism to define aspects of the Gothic genre, Poe’s criticism through Gothic tropes is studied together with an intertextual reading of the short stories and historical literary objects such as letters, magazines and literary reviews that details his views on transcendentalism. The purpose of this is to see if Poe used his fictional work to criticize his contemporaries. The analysis finds that “Never Bet the Devil Your Head” includes satirical comments on transcendentalist beliefs, as well one instance of specific criticism that targets Ralph Waldo Emerson as a writer - all of which can be connected to Poe’s non-fictional correspondence with fellow literati. In “The Fall of the House of Usher” Poe utilizes aspects of the Gothic genre that function as opposites to common transcendental beliefs.