This dissertation in its introduction deals with theoretical view at poetics of literary character and its evolution in 19th and 20th century. These theories are applied at female characters in novels of contemporary Bulgarian writer Teodora Dimova. Subject of research is central female characters in her novels Mothers and Adriana. The last above mentioned novel continues a novel found in heritage of her father - classical writer of Bulgarian literature Dimtăr Dimov. Teodora Dimova is often attacked in Bulgaria that she only profits from her father's fame and that she uses his writing method. This dissertation points out independence of her literary discourse and argue against above mentioned opinions. Key words Dimovova, poetics of female character, contemporary Bulgarian novel

The problem with which this investigation is concerned is that of revealing certain liberated female traits that are to be found as early as the seventeenth century in certain plays of Moliere. A study of the major events in Moliere's life and of the social climate and salons of his time, together with a close analysis of the plays themselves, is necessary to understand this important aspect of his works. In essence, this study attempts to show how Moliere's women emerge as independent individuals who refuse the role society usually assigns them. Although these female characters are products of the seventeenth century, their actions and attitudes are used in this thesis to indicate a foreshadowing of the twentieth-century, liberated woman.

Submitted by Angela Maria de Oliveira (amolivei@uepg.br) on 2018-11-28T18:33:50Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Regiane Maria Ferreira.pdf: 1382801 bytes, checksum: 6d677e93533da0d290a3fd1ea88e33c3 (MD5) / Made available in DSpace on 2018-11-28T18:33:50Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Regiane Maria Ferreira.pdf: 1382801 bytes, checksum: 6d677e93533da0d290a3fd1ea88e33c3 (MD5) Previous issue date: 2018-10-01 / A presente dissertação aborda questões de gênero discutidas em um estudo da peça Antônio e Cleópatra, produzida por William Shakespeare (1606), com a tradução da estudiosa e crítica de teatro Barbara Heliodora (2001). Esta pesquisa teve como foco central analisar a composição da personagem feminina em Shakespeare: Cleópatra, que se apresentou ora silenciada, ora extremamente sexualizada. Pretendeu-se destacar este silenciamento vivenciado pela rainha, pois se acredita que silenciar não é o mesmo que deixar de falar (Kuhner, 1998), com isso buscou-se compreender qual o espaço destinado a rainha na peça. A escolha deste tema justifica-se por meio de reflexões em que na literatura a personagem feminina foi por muito tempo retratada por autores homens e em uma sociedade patriarcal, o que colaborava para que diversas vezes as personagens femininas fossem subjugadas e colocadas de lado em relação à figura masculina. Para tanto, observa-se que apesar de a maioria das Cenas ocorrerem no Egito, Cleópatra foi apresentada como uma co-protagonista (HELIODORA, 2001) em seu próprio território. Com foco nos estudos voltados para a crítica feminista embasada principalmente na leitura da teoria feminista, buscou-se compreender a Cleópatra shakespeariana, sexualizada e silenciada, refletindo acerca do papel da mulher no Antigo Egito e no Renascimento, como suporte teórico fez-se uso de Heliodora (2001), Branco e Brandão (1989), Culler (1997), Scott (1999), Butler (2016), Bloom (1998), Bradley (2009), entre outros autores. / This dissertation approachcs gender issues that discuss in the play Antony and Cleopatra, produced by William Shakespeare (1606), through the translation of the scholar and drama critic Barbara Heliodora (2001). This study focused on analyze the composition of the female character in Shakespeare: Cleopatra, at time silenced, at others extremely sexualized. It is intended to emphasize this silencing process experienced by the queen, because it is believe that silence does not mean the absense of speaking (Kuhner, 1998), based on this aspect to understand what is the space reserved for the queen. The choice of this theme is justified through the reflections according in which in the literature the female character was for a long time portrayed by male authors and in a patriarchal society, factors that collaborated to the recurrent depiction of female characters as subjugated and put in a secondary role in comparison to the male characters. In this specific play, it is observed that although most of the Scenes take place in Egypt, Cleopatra is presented as a co-protagonist (HELIODORA, 2001) in her own territory. Focused on studies presents in the feminist criticism based mainly on feminist reading, of this dissertation is to understand the Shakespearean Cleopatra, sexualized and silenced, reflecting on the role of women in Ancient Egypt and the Renaissance. Theoretical perspections include made use of Heliodora (2001), Branco and Brandão (1989), Culler (1997), Scott (1999), Butler (2016), Bloom (1998) and Bradley (2009) among other authors.

O presente trabalho, cujo enfoque central é a figura feminina nas novelas Die Marquise von O (1808) e Die heilige Cäcilie und die Gewahlt der Musik (1810) do escritor alemão Heinrich von Kleist, procura identificar de que maneira as personagens femininas configuram-se como elementos subversivos dentro das narrativas, principalmente no que se refere ao aspecto estrutural. Nossa principal hipótese de interpretação é a de que a personagem feminina, em ambas as novelas, configura um elemento de subversão em diferentes camadas da narrativa: elas configuram desde a subversão ao papel atribuído a mulher na época até a própria estrutura narrativa, uma vez que levam as novelas a suas respectivas peripécias. / This dissertation aims to analyse the feminine figures in the novellas Die Marquise von O (1808) and Heilige Cäcilie und die Gewalt der Musik (1810) from German author Heinrich von Kleist and seeks to identify in which ways the feminine characters represent subversive elements in the narratives, mainly to what concerns the structural aspect. Our main hypothesis of interpretation is that the feminine character, in both novellas, configures subversion in different narrative layers: they configure not only subversion to the role assigned to women at the time but also to the narrative structure itself, as they lead the novellas to their respective turning points.

Submitted by Sergio Muknicka (sergiomuknicka@hotmail.com) on 2017-07-21T20:25:27Z No. of bitstreams: 1 Dissertação versão final PDF completo.pdf: 3235168 bytes, checksum: fa0e2d858d0c32122e1b6914cdef861b (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-07-26T13:22:07Z (GMT) No. of bitstreams: 1 muknicka_sg_me_arafcl.pdf: 3235168 bytes, checksum: fa0e2d858d0c32122e1b6914cdef861b (MD5) / Made available in DSpace on 2017-07-26T13:22:07Z (GMT). No. of bitstreams: 1 muknicka_sg_me_arafcl.pdf: 3235168 bytes, checksum: fa0e2d858d0c32122e1b6914cdef861b (MD5) Previous issue date: 2017-05-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este estudo tem por finalidade analisar a personagem feminina em contos dos livros Il paradiso (1970) e Boh (1976) do autor italiano Alberto Moravia (1907-1990), escritor romano que concebeu sua obra tanto em prosa (contos, novelas e romances) como em peças de teatro e em roteiros cinematográficos. Ademais, outro objetivo precípuo da pesquisa foi a tradução na íntegra de treze contos destas coletâneas, porquanto não há traduções para o português brasileiros deste corpus. Como embasamento teórico, utilizaram-se as questões convocadas por Gérard Genette em Discours du récit (2007), por Lilia Crocenzi em La donna nella narrativa de A. Moravia (1964) e por Antonio Candido em A personagem de ficção (1987). É imprescindível ressaltar que, em todos os contos, as personagens femininas são narradoras autodiegéticas (GENETTE, 1972). Estas obras foram escolhidas, pois seus contos trazem à tona questões fulcrais no que diz respeito à poética moraviana. Como exemplo, pode-se citar a lassitude do indivíduo frente à realidade vivida, o corpo como mercadoria e objeto de consumo, o fetichismo de objetos, a hipocrisia social, o sexo, a revolta e a angústia existencial. As personagens protagonistas dos contos escolhidos debatem-se até o último momento para tentar lidar com as situações intrincadas de suas vidas. Entretanto, ao fim e ao cabo, tudo é reduzido a uma visão de mundo apática e desencantada. Por meio da convencionalização (CANDIDO, 1987), Moravia conseguiu expor a psicologia nevrótica de suas protagonistas, retratando-as como figuras cínicas e distantes. A linguagem, simples e desprovida de ornamentos tanto linguísticos quanto estruturais, é reflexo disso. Acredita-se, todavia, que o tom de oralidade, às vezes bastante marcado nos contos, pode ser lido como a confissão elegíaca dessas personagens que desfrutam da posição privilegiada – embora não totalmente confiável – dum narrador autodiegético que, por meio da focalização interna fixa (GENETTE, 1972), pode ficcionalizar à vontade suas histórias por meio do discurso em primeira pessoa. Ressalta-se que o uso desse recurso faz com que toda a narração fique subordinada à visão do próprio narrador. Ao longo das narrativas, observou-se que o autor transferiu seu pensamento intelectual para a personagem feminina (MAURO apud ASOR ROSA, 2001) que, refletindo sobre si mesma, lucubra acerca das mazelas da existência humana. Diferentemente das personagens de obras de fôlego do autor, como Mariagrazia de Gli indifferenti (1929) ou Cecilia de La noia (1960), as personagens destes contos não mais aparecem para dar apoio à figura do intelecual masculino, mas fazem-se ouvir por meio de suas próprias narrações, expondo seus dramas de forma bastante teatralizada. / This study consists of an analysis of the female character in a few short-stories from the books Il paradiso (1970) and Boh (1976) by the Italian writer Alberto Moravia (1907-1990), who conceived his work both in prose (short-stories, novellas and novels) as in plays and film scripts. Furthermore, another primary objective of the research was the complete translation of thirteen short stories from these books, inasmuch as there are no Brazilian Portuguese translations of this corpus. As theoretical bases, it was used Gérard Genette’s Discours du récit (2007), Lilia Crocenzi’s La donna nella narrativa A. Moravia (1964) and Antonio Candido’s A personagem de ficção (1987). It is essential to emphasize that in all the short-stories the female characters are homo-diegetic narrators (Genette, 1972). These books were chosen because their stories shed light on some key themes regarding Moravia’s poetics. For instance, most of stories contain thematic cores as the lassitude of the individual towards reality, the body seen as a product and an object of consumption, fetishism, social hypocrisy, sex, anger and angst. The protagonists strugle until the last moment trying to deal with the intricate situations of their lives. Nonetheless, at the end of the day, everything is reduced to a vision of an apathetic and disenchanted world. Through convencionalização (CANDIDO, 1987), Moravia could expose the neurotic psychology of his protagonists, portraying them as cynical and distant women. The simple structured language, nearly deprived of ornaments, also reflects this distance. It is believed, notwithstanding, that the oral tone, sometimes rather prominant in some of the short-stories can be understood as the elegiac confessions of these characters who enjoy the privileged position of homo-diegetic narrators who, through an internally focalized perspective (Genette, 1972), can fictionalize at will their stories. It is noteworthy that the use of this narrative technique provides the reader only with the narrator’s own point of view. Besides, it was also observed that Moravia transferred his intellectual thought to the female characters (MAURO apud ASOR ROSA, 2001) who, thinking of themselves, ponder about their existences. Unlike other Moravian characters, such as Mariagrazia from Gli indifferenti (1929) or Cecilia from La noia (1960), these paper-women no longer seem to support the male intelectual figure. On the contrary, they make themselves heard through their own stories, exposing their dramas with a great amount of theatricality.

Orientador: Cleide Antonia Rapucci / Banca: Ivan Marcos Ribeiro / Banca: Jorge Augusto da Silva Lopes / Resumo: Esta dissertação pretende analisar a construção das personagens femininas na obra The Silmarillion, de J. R. R. Tolkien. Esse romance possui um tom fantástico, e é parte de uma mitologia criada por seu autor; as personagens possuem características que vão do humano ao divino, e a maioria delas é formada por homens predominantemente heróicos. O presente trabalho é focado nas personagens femininas da obra, e através da análise de suas descrições físicas e psicológicas, ações, características, enfim, de suas construções, objetiva determinar o modo de representação do autor, chegando-se, assim, a uma reflexão acerca da importância destas personagens na mitologia tolkieniana, à qual The Silmarillion serve como ponto inicial. Faz-se necessário, também, desvendar a influência de fatores políticos, sociais e históricos na criação e desenvolvimento destas personagens. A obra estudada relata os fatos que servem como fundo mítico à criação do mundo no qual se passa, a Terra-média. São contados os acontecimentos que deram origem a tudo, seres e ambientes, sentimentos, o Mal e sua eterna luta contra o Bem pelo poder. Pretendemos realizar este intento com o auxílio de teorias diversas, em especial a linha feminista da crítica literária que se ocupa do papel da mulher como leitora de textos de autoria masculina, como é o caso. Esperamos, também, contribuir com o crescente interesse pela obra do autor inglês, deixado à margem do cânone pela crítica especializada, para que assim se possa reconhecer a importância de sua obra em seu tempo, e também a de suas personagens femininas. / Abstract: This dissertation intends to analyse the female characterization in the novel The Silmarillion, written by J. R. R. Tolkien. This novel has a fantastic tone, and it is part of a mythology created by its author; the characters have features that go from human to divine, and most of them are formed by men that act as heroes. The present study focuses on the female characters of the novel, and through the analysis of their physical and psychological descriptions, actions, features, in short, their constructions, it intends to determine the author's way of representation; so, it will be possible to reach a reflection about the importance of these characters in the Tolkienian mythology, to which The Silmarillion figures as the initial point. It is also necessary to unmask the influence of political, social and historical factors on the creation and development of these characters. The novel gives an account on the facts that figure as a mythical background to the world where it is placed, Middle-earth. The events that were the origin to everything, beings and places, feelings, Evil and its eternal fight against Good for power, are told. We intend to achieve this goal with the support of many theories, especially the feminist trend of literary criticism that deals with the role of woman as a reader of texts written by men, as it is the case. We also wish to contribute to the growing interest on the works of the English author, who was left at the edge of the canon by the specialized critics, so that it is possible to recognize the importance of his work at his time, and also the importance of his female characters. / Mestre

O presente trabalho, cujo enfoque central é a figura feminina nas novelas Die Marquise von O (1808) e Die heilige Cäcilie und die Gewahlt der Musik (1810) do escritor alemão Heinrich von Kleist, procura identificar de que maneira as personagens femininas configuram-se como elementos subversivos dentro das narrativas, principalmente no que se refere ao aspecto estrutural. Nossa principal hipótese de interpretação é a de que a personagem feminina, em ambas as novelas, configura um elemento de subversão em diferentes camadas da narrativa: elas configuram desde a subversão ao papel atribuído a mulher na época até a própria estrutura narrativa, uma vez que levam as novelas a suas respectivas peripécias. / This dissertation aims to analyse the feminine figures in the novellas Die Marquise von O (1808) and Heilige Cäcilie und die Gewalt der Musik (1810) from German author Heinrich von Kleist and seeks to identify in which ways the feminine characters represent subversive elements in the narratives, mainly to what concerns the structural aspect. Our main hypothesis of interpretation is that the feminine character, in both novellas, configures subversion in different narrative layers: they configure not only subversion to the role assigned to women at the time but also to the narrative structure itself, as they lead the novellas to their respective turning points.

This master's thesis analyses the influence of female characters on male characters in the work of P. Corneille, partly in relation to the evolution of Doubrovsky's cornelian heroism, whose theory it extends. The research concerns the plays Mélite, Médée and The Cid. The definition of the female influence continues through characterizing female characters in their relationship with male characters. Concerning the male characters, the thesis shows the female effect and the males' reactions to it. Here we can see the first traits of cornelian heroism. The female characters cause the male characters to suffer. The first reason for this is the desire of the male characters. The second reason lies in the overall weakness or, paradoxically, in the strength of their character. The male characters also have something else in common - a desire for revenge. A woman weakens the male hero, making him a slave to her will. So, the hero learns how to repel her strength. In the end, only his heroic ambitions influence him. The woman then only motivates him. The plays Mélite and Médée have not been translated into Czech yet. Therefore, this thesis extends the Czech reader's general knowledge and opens up new possibilities to approaching Corneille's work.

Velmi utěšená a kratochvílná historie o krásné panně Mageloně, dceři krále z Neapolis, a o jednom rytíři jménem Petrovi, znamenitého hraběte z Provincí synu (The Delightful and Entertaining Story of the Beautiful Young Maiden Maguelone, Daughter of the King of Naples, and of a certain Knight called Peter, the Son of the Distinguished Count of Provence) printed anonymously in Olomouc in 1780, is one of those works into which literary science has hitherto scarcely ever inquired. It is nevertheless a text with a very long and complex genesis. We can follow its development from a medieval French tale of love, via a German adaptation to an early modern Czech popular prose romance. In the story of Maguelone, close attention is paid, as the very title suggests, to the main heroine, which is also a theme which in research into older Czech literature has been hitherto rather neglected. In the present thesis, we focus therefore on the analysis of this character. In particular, we try to show how the way she is portrayed is significantly influenced by the medieval conception of courtly literature, despite the fact that courtly epic literature is not otherwise particularly well documented in literature written in Czech and left no particularly rich tradition behind it. Key words: courtly love, courtly literature,...

Made available in DSpace on 2016-03-15T19:46:19Z (GMT). No. of bitstreams: 1 Leni Soares Vieira Fernandes.pdf: 1488367 bytes, checksum: b945938ca7d96def108f07e30ca1b411 (MD5) Previous issue date: 2015-02-20 / Universidade Presbiteriana Mackenzie / This dissertation analyses the female images in the gospel of Matthew using the narrative analysis. It studies the strategies used by the narrator to introduce and develop several female characters and their roles in relation to Jesus, the narrative protagonist. In this Greek-Roman biography, it is important to observe how all the narrative elements - characters, time, space, plot - converge to the hero, Jesus. This dissertation focuses on the identity issue and the search for the definition of characteristics which give identification to the characters. For that, the social theories of Stuart Hall e Zygmunt Bauman were used. The conclusion is that the identity itself is not an issue in the narrative. The main urgency is survival, forcing the characters to override their established identities in order to meet their immediate needs. Although the social problems and pressure, the limited social role given to the female characters, the survival and descendant assurance seem so distant from post-modernism, the conclusion is that the meaning of this narrative, written more than two millennia ago , remains updated since it refers to the dilemma of existence. Terrible social, cultural, political and religious problems, injustice and survival issues are still faced by women nowadays. The conclusion also is that the narrator uses a wide range of strategies to build the characters, inviting the reader to make up conclusions and fill in the blanks. / Esta dissertação analisa a imagem feminina no evangelho de Mateus por meio da análise narrativa. Estuda as estratégias usadas pelo narrador para apresentar e desenvolver várias personagens femininas e sua relação com Jesus, o protagonista da narrativa. Nesta biografia greco-romana, observa-se que todos os elementos da narrativa - personagens, tempo, cenário e enredo - convergem para o herói, Jesus. Foca-se na questão da identidade e a busca da definição de características que fornecem identificação às personagens. Para isso, usa-se as teorias sociais de Stuart Hall e Zygmunt o que força as personagens a passarem por cima de suas identidades estabelecias para atender suas necessidades imediatas. Pode-se ver que a questão da identidade em si, não existe na narrativa. A grande urgência é a sobrevivência, fazendo com que, várias vezes, as personagens passem por cima de suas identidades estabelecidas para poderem resolver suas necessidades imediatas. Apesar de parecerem distantes os problemas e pressões sociais, o papel social tão limitado dado às personagens femininas, a necessidade de sobrevivência e de garantir a descendência , conclui-se que a significação da narrativa, escrita há mais de dois milênios atrás, permanece atual já que aborda dilemas existenciais. Terríveis problemas sociais, culturais, políticos e religiosos, injustiça e questões de sobrevivência ainda são enfrentados pelas mulheres nos dias de hoje. Conclui-se, também que o narrador usa uma ampla gama de estratégias para construir as personagens, convocando a contínua participação do leitor para tirar conclusões e preencher espaços em branco.