This thesis examines how the fortunes of poets and the status of poetry were changing at the end of the sixteenth century in Portugal. Centring on the long-neglected verse epistles in Diogo Bernardes's 'O Lima' (1596), I re-evaluate our sense of what it meant to be a poet when writing verse was not a sure-fire way to earn a living and when lyric poetry was regularly lampooned as trifling and immoral. Bernardes's surprisingly forthright cartas, I argue, offer new insights into the protagonists and procedures of literary patronage in Portugal. I use a combination of close readings and sociological methods to illuminate the practical strategies and rhetorical brinkmanship that Bernardes deployed in his quest for favour and highlight the frustrations and moral dilemmas of seeking the support of powerful, but fickle, patrons. Bernardes was a particularly remarkable writer for having printed his verse during his lifetime, and so I also trace how lyric verse was slowly legitimated as a cultural product during the sixteenth century and offer a case study of how an author's reputation was forged in the collaborative enterprise of print, then re-formed by the work of readers, thereby shedding light on the complex mechanisms of early modern canon formation. Paradoxically, I demonstrate that unequivocal praise of a writer's work can harm, rather than help, their chances of remaining in the canon. Although Bernardes's work is an echo chamber for these deep reverberations from the broader history of literature, this thesis also listens closely to Bernardes's distinctive poetic voice and allows it to speak out. Playful, candid, mercurial, it is a poetic voice that here seeks a wider audience.

Situées entre le biographique et le littéraire, les lettres de Camus jettent un éclairage nouveau sur sa personnalité, sur ses relations avec ses correspondants et sur la genèse de son style et de son œuvre. Sa correspondance éclaire son rapport avec la maladie ainsi que son attachement à la famille et à la beauté méditerranéenne de son pays natal. Son admiration pour Jean Grenier le pousse à suivre ses leçons et à les revendiquer dans ses missives, leur attribuant ainsi un aspect didactique. L’exploration de l’interface correspondance / œuvre trace un mouvement d’élargissement, un passage de l’intime au littéraire. Les lettres ouvertes de Camus empruntent à la littérature plusieurs caractéristiques. Certains correspondants de l’écrivain sont de véritables interlocuteurs qui évaluent ses œuvres et qui lui font des remarques, de manière à le conduire à les rectifier et même à les réécrire. Ses lettres constituent une précieuse mine d’informations susceptible de jeter une nouvelle lumière sur la réécriture de son premier recueil d’essais Les Voix du quartier pauvre et de Caligula. En accompagnant la plupart de ses textes depuis qu’il en conçoit le projet jusqu’à leur publication, ses missives élucident ses choix littéraires et infléchissent l’évolution de son œuvre. Elles révèlent les détours d’une production littéraire hétérogène. Sur les conseils de certains correspondants dont Grenier et Malraux, Camus abandonne la grandiloquence d’un style lyrique qui rend compte de sa passion de vivre dans ses premiers écrits. Le style dépouillé de L’Étranger ainsi que l’objectivité de la chronique de La Peste témoignent de l’influence des lettres sur l’évolution de l’œuvre. La persistance de quelques passages grandiloquents dans ces œuvres neutres, où le style dépouillé rejoint des soubassements poétiques, est le signe d’un combat entre le penchant originel de Camus à l’exaltation des sentiments et à l’emphase d’un côté, et les recommandations de son maître qui l’incite à la raideur et à l’écriture neutre. Camus dépasse cette dichotomie qui divise son œuvre en se mettant à la recherche d’un équilibre entre neutralité et emphase dans Les Justes. Il s’agit d’un équilibre entre l’objectivité d’une lucidité cartésienne et les excès d’un débordement sentimental. L’étude de l’ethos de l’épistolier qu’Aristote définit comme « la représentation de son caractère par l’orateur » révèle trois images de soi dans la correspondance de Camus : celle de l’écrivain émerveillé, celle de l’écrivain engagé et celle du journaliste honnête. Mais la question épineuse de la guerre d’Algérie condamne l’auteur de La Peste au silence et crée un décalage entre l’ethos préalable du journaliste et l’ethos discursif qu’il tient à mettre en place dans ses lettres. L’examen de l’ethos d’auteur, en particulier l’image de soi littéraire qui se construit dans L’Hôte, semble important dans la mesure où il est susceptible d’éclairer l’image de soi épistolaire d’un intellectuel indécis tiraillé entre son affection pour son pays natal, où il craint de perdre sa place et celle des siens, et sa foi en les valeurs de la liberté, de l’égalité et de la justice. Dans cette nouvelle, la conduite du héros et les choix de l’écrivain génèrent une image d’auteur placée sous le signe de l’inquiétude et de la perplexité d’un être tiraillé entre l’admiration des combattants et la condamnation de leur violence. / Partly biographical and partly literary, Albert Camus’ letters shed new light on his personality, his relationship with his correspondents, his style’s genesis and that of his writings. His correspondence gives more insight into his illness as well as his commitment to the family and the Mediterranean beauty of his native country. Being fond of Jean Grenier, Camus not only follows his instructions but also asks him for some advice in the letters, giving them a didactic dimension. Examining the interface between Camus’ letters and his writings is a shift from the intimate to the literary, widening the scope of my research. Camus’ open letters borrow many literary features. Some of his correspondents are real interlocutors evaluating his books and providing him with insightful feedback and comments generating modification or even rewriting of some of them. Such letters are a valuable source of information shedding new light on the rewriting of his first collection of essays, Les Voix du quartier pauvre as well as Caligula. His letters, accompanying most of his writings from their conception to publication, elucidate his literary choices and affect the progress of writing, revealing turns of a heterogeneous literary production. On the advice of some of his correspondents including Grenier and Malraux, Camus abandons the bombast of a lyrical style reflecting his passion for life in his early writings. The stripped style of L’étranger along with the objectivity of the chronicle of La Peste are evidence of the letters’ impact on the evolution of Camus’ writing process. The persistence of some emphatic passages in these neutral writings, where the simple style joins the poetic underpinnings, reveals a struggle between Camus’ innate tendency for exalting feelings and emphatic style on the one hand, and the master’s recommendations inciting neutral writing on the other hand. Camus goes beyond this dichotomy dividing his writings by questioning equilibrium between neutrality and emphasis in Les Justes, an equilibrium between an objectivity of a Cartesian lucidity and excesses of a sentimental overflow. The study of the writer’s ethos defined by Aristotle as “the representation of his character by the orator” shows three self images in Camus’ letters : that of the marveled writer, that of the committed writer and that of the honest journalist. But the thorny issue of the war in Algeria silenced the author of La Peste, creating a gap between the journalist’s preexisting ethos and the discursive ethos set up in his letters. Studying the author’s ethos, especially the literary self image built in L’Hôte seems important as it is likely to illuminate the epistolary self image, that of an indecisive intellectual torn between his love for his homeland, where he is afraid of losing his place and that of his family, and his faith in the values ​​of freedom, equality and justice. In this novel, the hero's conduct and the writer’s choices create an image of an anxious and perplexed author torn between admiring the fighters and condemning their violence.

Letter to So-and-So from Wherever is a collection of poems, perhaps even a “poem-cycle,” initially inspired by the epistolary poems of Richard Hugo. This dissertation is essentially the author’s second full-length poetry manuscript, and consists of more of a single “project” than the author’s first collection, which was published in 2007. These poems here are rooted in concrete imagery, metaphor, hyperbole, irony, and voice. The style is influenced in part by Beat Generation writers Allen Ginsberg and Jack Kerouac, and to some extent Charles Bukowski.

Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 101-106).

Thesis (M.A.) University of Missouri-Columbia, 2006. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 21, 2007) Includes bibliographical references.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-12-05Bitstream added on 2014-06-13T18:30:46Z : No. of bitstreams: 1 souza_ac_me_assis.pdf: 1174886 bytes, checksum: 71ccb3bc9aca9694db8e3c26d9bde717 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / No romance epistolar O marido da adúltera, publicado em 1882 pelo escritor e jornalista Lúcio de Mendonça, encontram-se traços marcantes e inequívocos da estética naturalista desenvolvida, sobretudo, por Émile Zola. Neste trabalho, pretende-se verificar de que modo o idealizador da Academia Brasileira de Letras recebeu as ideias do Naturalismo e as inseriu em sua obra, verificando o processo de adaptação executado pelo autor brasileiro, que soube dialogar com a estética naturalista em voga na época, aplicando muitos de seus princípios, discordando de alguns deles. Cabe observar, igualmente, o fato de que Lúcio de Mendonça optou pelo romance epistolar, gênero pouco utilizado no Brasil do século XIX, mas fundamental para a construção desta obra. Esta pesquisa visa, portanto, analisar de que maneira o autor de O marido da adúltera utilizou-se do naturalismo francês para criar um romance epistolar brasileiro, publicado, originalmente, no periódico O Colombo, em forma de folhetim; característica, aliás, que se conserva no momento da publicação do romance em livro, em 1882 / On the epistolary novel The adulterer’s husband, published in 1882 by the writer and journalist Lúcio de Mendonça, it‟s found distinctive features and unequivocal from the naturalist theory developed, especially, by Émile Zola. In the present paper, it‟s intended to verify what way the creator from the Brazilian Academy of Letters received the ideas of Naturalism and put them into his work, checking the adaptation process performed by the Brazilian author, who knew how to dialog with the naturalist aesthetics in common use that time, enforcing lots of his principles, disagreeing with some of them. It must be noted, equally, the fact that Lúcio de Mendonça chose the epistolary novel, a not very used gender in Brazil in XIX century, but something fundamental to this work to be made. Therefore, this research aims to analyze what way The adulterer’s husband’s author used the French naturalism to create the Brazilian epistolary novel, published, at first, by Colombo journal, as a soap opera; characteristics that, by the way, are preserved at the book‟s publishing moment, in 1882

O propósito desta dissertação é analisar as várias funções exercidas pelo discurso epistolar, em especial as cartas de amor, nas novelas camilianas do período de 1860 a 1870, de cujo conjunto destacamos Amor de Perdição (1861), Memórias de Guilherme do Amaral (1863), Agulha em Palheiro (1863) e A Sereia (1865). Nestas obras, as cartas têm presença bastante relevante, ligada à forma e, por conseguinte, à elaboração de conceitos e significados de dimensão social e íntima. Muito em voga à época, as cartas se fazem presentes em outros romances oitocentistas: em Eurico, o Presbítero (de Herculano), Viagens na Minha Terra (de Garrett) e O Primo Basílio (de Eça de Queirós). As cartas trocadas pelos casais enamorados revelam muito mais do que uma história de amor contrariado, que seguiria os moldes da escola romântica. Retratam antes de tudo os anseios pessoais, os conflitos e as tensões sociais do Portugal do século XIX. O discurso epistolar acaba sendo um modo de dar dimensão intimista aos dramas maiores da sociedade. Ao olhar perspicaz, inquieto e, até mesmo, desesperançado de Camilo Castelo Branco, que critica os valores da sociedade na qual está inserido, sem muitas das vezes avistar uma saída possível, as cartas tornam-se um modo de trazer novas vozes ao romance. Assim, Camilo fala pelos narradores, pelos seus personagens em diálogo, mas também por aquilo que naquele mundo não se diz, mas se escreve (nas cartas) / The purpose of this dissertation is to analyze the several functions exercised by the epistolary discourse, specially the love letters, in the camilian novels in the period of 1860 to 1870, from what collection we point out Amor de Perdição (1861), Memórias de Guilherme do Amaral (1863), Agulha em Palheiro (1863) e A Sereia (1865). In these works, the letters have a very strong presence, linked to the shape and, in consequence, the elaboration of concepts and meanings of social and intimate dimension. Very popular in that time, the letters are present at another eighties romances: at Eurico, o Presbítero (de Herculano), Viagens na Minha Terra (de Garrett) and O Primo Basílio (de Eça de Queirós).The letters changed by the couples in love reveals much more than one annoyed love story which would follow the patterns of the romantic school. They portray before all the personal desires, conflicts and social tensions lived in Portugal of 19th century. The epistolary discourse is a manner of giving an intimate dimension for the main dramas of the society. To the perceptive, anxious and, unhopeful look of Camilo Castelo Branco, that criticizes the values of the society in which he is inserted, many times without seeing a possible solution, the letters become a way to bring new voices to the romance. Therefore, Camilo speaks for the narrators, for his characters in dialogue, but also for what in that world is not said, but it is written (in the letters)

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-08T13:16:39Z No. of bitstreams: 1 arquivo total.pdf: 2477689 bytes, checksum: a9d728b9ec29faf923c3ae254210d0a7 (MD5) / Made available in DSpace on 2016-06-08T13:16:39Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 2477689 bytes, checksum: a9d728b9ec29faf923c3ae254210d0a7 (MD5) Previous issue date: 2015-09-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research questions the canonical marginality of New Portuguese Letters (1972) and the inclusion of female authors in the Portuguese literary narrative, from the observation that the emergence of women authorship in Portugal was not the subject of critical readings that allowed grasping the literary procedures proposed by women's agency. The readings of the Portuguese literary canon that are guided by gynocritical methodologies of female works retrieval put New Portuguese letters as a literary milestone for the writers who start writing after 1972, paving the way for canon revisionist projects focused on gender category. Taking as its starting point the seventeenth-century letters of Mariana Alcoforado, the three Marias use a genre of autobiographical domain associated with the feminine expression to promote a dialogue with the society of the time. Sharing the credits for this collaborative work, they deliberately do not sign each text. Through these formal procedures, New Portuguese Letters implode categories of authorship and authority of the texts. / Esta pesquisa questiona a marginalidade canônica de Novas Cartas Portuguesas (1972) e a inserção da autoria feminina na narrativa literária portuguesa, a partir da observação de que a emergência da escrita de mulheres em Portugal não foi objeto de leituras críticas que permitissem apreender os procedimentos literários propostos pelo agenciamento feminino. As releituras do cânone literário português que se orientam por metodologias ginocríticas de resgate de obras de autoria feminina colocam Novas Cartas como um marco literário para as escritoras que começam a escrever depois de 1972, abrindo caminho para projetos revisionistas do cânone centradas na categoria de gênero. Tomando como ponto de partida as cartas seiscentistas de Mariana Alcoforado, as três Marias utilizam um gênero do domínio autobiográfico associado à expressão feminina para promoverem um diálogo com a sociedade da época. Repartindo a autoria da obra, abdicam de assinar individualmente os textos. Através desses procedimentos formais, Novas Cartas Portuguesas implode as categorias de autoria e de autoridade dos textos.

Made available in DSpace on 2015-05-14T12:39:50Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1066120 bytes, checksum: e77fc2f6336fb6d85e4a1145cac9607b (MD5) Previous issue date: 2013-03-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims at presenting the results of our research on point of view and the creation of meanings in the novel Dangerous liaisons, by Choderlos de Laclos, and in two of its film adaptations: Dangerous liaisons 1960 (1959), by Roger Vadim, and Dangerous liaisons (1988), by Stephen Frears. Throughout the work, we try to carry out a comparative analysis between the source text and its two hypertexts, focusing on the question of narrative perspective and the meanings this category produces. We started with a discussion of film adaptation of literary works, so as to confirm that the question of fidelity has long been overcome, having been replaced by a rather more coherent and necessary debate that concerning the sociology of adaptation, that is, the context in which the adaptations are materialized. From this point we try to present a concept and a classification of point of view that enabled us to analyze the selected narratives. The constructed theoretical support was used in the investigation of both the novel by Laclos and the adaptations by Vadim and Frears. Our initial hypothesis is that point of view is the most responsible element, in each work, for the elaboration of different meanings of evil. Taking into account the considerable relevance of narratives in our everyday life, we understand the fundamental role of critical analysis of values conveyed by such stories, from which derives the significance of our research. We hope the research transcends the proposed analysis so as also to contribute with further critical readings of narratives that inhabit our everyday life. / Este trabalho tem como objetivo apresentar os resultados da nossa pesquisa sobre o ponto de vista e a criação de sentidos no romance As ligações perigosas, de Choderlos de Laclos, e em duas de suas adaptações fílmicas: Ligações amorosas 1960 (1959), de Roger Vadim, e Ligações perigosas (1988), de Stephen Frears. Nele, tentamos realizar uma análise comparativa entre o hipotexto e seus dois hipertextos, tendo como foco de atenção a questão da perspectiva narrativa e os significados por ela criados. Nosso ponto de partida foi a discussão sobre a adaptação para o cinema de obras literárias, durante a qual procuramos confirmar que a questão da fidelidade de transposição está há muito superada e já foi substituída pelo debate mais coerente e necessário sobre a sociologia da adaptação ou seja, sobre o contexto em que são realizadas as adaptações. A partir daí, procuramos apresentar um conceito e uma classificação da categoria do ponto de vista que nos permitisse realizar a análise das obras narrativas em questão. A base teórica construída foi utilizada na análise do romance de Laclos e das obras de Vadim e de Frears. Partimos da hipótese de que o ponto de vista é o maior responsável pela elaboração, em cada obra, de sentidos diferentes de mal. Levando-se em consideração a importância considerável das narrativas em nossa vida cotidiana, entendemos como é fundamental a análise crítica dos valores transmitidos por essas histórias, de onde a relevância de nossa pesquisa. Esperamos com ela não apenas realizar as análises propostas, mas ainda oferecer uma contribuição para a leitura cada vez mais crítica das narrativas que fazem parte de nosso dia-a-dia.

Made available in DSpace on 2015-05-14T12:39:55Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1607757 bytes, checksum: b5965eacecf948b43cd86c5011d475ad (MD5) Previous issue date: 2014-03-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work consists of analyzing how discourses conveyed by letters published in the newspapers of the northern provinces, from 1877 to 1879, as well as the serial novel, The retreatants, 1879, as literary objects, which appear as shared illusions of supposed reality, forged the construction of the history of drought in the nineteenth century, departing from the weather phenomenon that hit the old north from 1877 to 1879. For this, we analyze how discourses conveyed by letters, as well as the writings on drought by José do Patrocínio, romance and letters published in serials column, pedestal newspaper sometimes determines or modifies genres and even more ways to read, which are decisive for the construction of meaning and interpretation of the reading at any time, from the rhetorical arguments used by readers - writers of these letters, with the intention of establishing the readership with broad receptivity, sensitivity and representation on that backcountry area. We have reflected, analytically, with authors such as Chartier (1991, 1998, 2002, 2007), M. Barbosa (2004, 2010); S. Barbosa (2007, 2010a, 2010b , 2011; 2011a, 2011b), Barthes (1974, 1985) , Freire (1823), Roquette (1860, 1997), among others, who have helped us understand how the heterogeneity of the images raised by these objects merged and created, finally, the dominant discourse of the drought that would be established for the northern region of Brazil. / Este trabalho consiste analisar como os discursos veiculados pelas cartas publicadas nos jornais das províncias do norte, de 1877 a 1879, bem como o romance-folhetim Os retirantes, de José do Patrocínio, de 1879, enquanto objetos literários, forjaram a construção da história da/sobre a seca, no século XIX, a partir do fenômeno climático que atingiu o antigo norte de 1877-1879. Para isso, buscamos analisar como os discursos veiculados pelas cartas dos jornais, bem como os escritos sobre essa seca de José do Patrocínio, o romance e as cartas publicadas na coluna folhetins, foram decisivos para a construção de sentido e interpretação dessa seca, a partir do uso de argumentos retóricos utilizados pelos leitores-escritores, com a intenção de instaurar no público leitor, com ampla receptividade, uma sensibilidade e uma representação sobre aquele espaço sertanejo. Refletimos, analiticamente, com autores como Chartier (1991; 1998; 2002; 2007); M. Barbosa (2004; 2010); S. Barbosa (2007; 2010a; 2010b; 2011; 2011a; 2011b); Barthes (1974; 1985); Freire (1823); Roquette (1860; 1871; 1997), entre outros, que nos ajudaram a entender como a heterogeneidade das imagens levantadas por esses discursos se fundiram e criaram, por fim, o dominante discurso que se queria estabelecer para a invenção da seca no século XIX.