Made available in DSpace on 2016-03-15T19:45:51Z (GMT). No. of bitstreams: 1 Andre Carreiro Nogueira.pdf: 5498713 bytes, checksum: b6d5f6df1c322638c97b77da4ba7ddbb (MD5) Previous issue date: 2013-04-09 / The main objective of this research is to identify the formation of the Protestant Brazilian player the second half of the nineteenth century, specifically, the capital of the Republic at the time, the Rio de Janeiro. For this, we intend to redeem elements that explain the use of a fictional narrative by Evangelical Press newspaper, nineteenth century. Basearemo us in the history of reading, particularly in Roger Chartier, to show that the relationship between text and reader produces effects not only for the history of reading, but also for anyone who cares to study this subject. In addition, the paper aims to show how the newspaper used this feature and how to set up your receptivity and acceptance by readers Protestants living in Brazil. Within the context of the Rio player, we will analyze the possibility of this encounter with an evangelistic strategy of Protestant missionaries sent to Brazil, from the use of a literary work by a Protestant newspaper. This makes the Evangelical Press and Lucila objects fundamental to our understanding of the formation of the Protestant Brazilian player, representing the corpus of this research. The Evangelical Press rare gathered information about the formation of Protestantism in Brazil. From the periodic setting of the newspaper, with its textuality and layout, one of the goals of this work is to verify the possibility to establish the image of a Protestant reader of the second half of the nineteenth century. The Evangelical Press was a religious periodical, had ads on their pages, news releases and several, including on international events. Why be administered and directed by Protestant Christians, the Evangelical Press brought Brazilian readers that era articles and topics related to the Protestant religion, its doctrine and practice of faith. Moreover, the work aims to unite scientific arguments that show the use of fiction in the newspaper, if it really was a way to convince the reader that was used to follow the journal by fidelity to religious information reliable. / O objetivo principal desta pesquisa é identificar a formação do leitor protestante brasileiro da segunda metade do século XIX, especificamente, da capital da República naquela época, o Rio de Janeiro. Para isso, pretendemos resgatar elementos que expliquem a utilização de uma narrativa ficcional pelo jornal Imprensa Evangélica, do século XIX. Basearemo-nos na história da leitura, particularmente, em Roger Chartier, para mostrarmos que essa a relação entre texto e leitor produz efeitos não só para a história da leitura, mas também para qualquer estudo que se preocupe com este assunto. Além disso, o trabalho buscará mostrar de que modo o jornal se utilizou deste recurso e como se configurou sua receptividade e aceitação pelos leitores protestantes residentes no Brasil. Dentro do contexto do leitor carioca, analisaremos a possibilidade do encontro deste com uma estratégia evangelística dos missionários protestantes enviados ao Brasil, a partir da utilização de uma obra literária por um jornal protestante. Isso faz do Imprensa Evangélica e de Lucila objetos fundamentais para nossa compreensão sobre a formação do leitor protestante brasileiro, representando o corpus desta pesquisa. O Imprensa Evangélica reuniu informações raras sobre a formação do protestantismo no Brasil. A partir da configuração periódica do jornal, com sua textualidade e diagramação, um dos objetivos do trabalho é verificar a possibilidade de estabelecer a imagem de um leitor protestante da segunda metade do século XIX. O Imprensa Evangélica foi um periódico religioso, em suas páginas havia anúncios, comunicados e notícias diversas, inclusive sobre fatos internacionais. Por ser administrado e dirigido por cristãos protestantes, o Imprensa Evangélica trouxe ao leitor brasileiro daquela época artigos e assuntos ligados à religião protestante, a sua doutrina e prática de fé. Além disso, o trabalho pretende unir argumentos científicos que mostrem a utilização da ficção dentro do jornal, se realmente foi uma maneira de convencer o leitor que estava acostumado a seguir o periódico por fidelidade à informação religiosa confiável.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-10-10T16:57:14Z No. of bitstreams: 1 Telmo De Maia Pimentel.pdf: 328271 bytes, checksum: ccfc3c3b41c19e7ccdc6f8b5528cd6f4 (MD5) / Made available in DSpace on 2017-10-10T16:57:14Z (GMT). No. of bitstreams: 1 Telmo De Maia Pimentel.pdf: 328271 bytes, checksum: ccfc3c3b41c19e7ccdc6f8b5528cd6f4 (MD5) Previous issue date: 2010-08-01 / The following study intends highlight a reading of the book Os Sertões by Euclides da Cunha, in which We will bring to the surface, among other critical concerns, problems of fiction, generally reflected and elaborated in the modern novel, the closed relationship between History and Literature, as well as the passage of history to the narrative-fictional . Added to this, we will discuss dessemantization of the word, emptying the code, the tropes of speech or change of direction that was focused on the facts, so we can verify as that the metaphorical aspect involves the three parts of the book, "Earth, Man and Fight. Our intention is to shed light on the literariness in Os Sertões, as the euclidean narrator driven by rare artistic talent deals with the backcountry imaginary, Antonio Conselheiro and the Republic so that we can detect certain convictions before us unfathomable in the light of the historiographical discourse, but that, using the mythical and fictional discourse, new hypotheses are suggested, as the reasons of non delivery, no surrender, heroism, fundamentalism as present in the analyzed work. Thus, we propose a possible reading in a work whose complexity analysis and discussion is an impassable ocean, inexhaustible, capable of transcending time and history itself. / O estudo a seguir se trata de uma leitura da obra Os Sertões de Euclides da Cunha na qual traremos à tona, dentre outras preocupações da crítica, os problemas da ficção, de modo geral refletidos e elaborados no romance moderno, a estreita relação entre a História e a Literatura, bem como, a passagem do histórico para o narrativo-historial. Somado a isso, iremos discutir a dessemantização da palavra, o esvaziamento do código, os tropos do discurso ou a mudança de direção que houve no enfoque dos fatos, para então podermos verificar todo aspecto metafórico que envolve as três partes da obra, “Terra, Homem e Luta”. Nosso intuito é lançar luzes sobre a literariedade em Os Sertões, de como o narrador euclidiano, movido por raríssimo talento artístico aborda a questão do imaginário do sertanejo, de Antônio Conselheiro e da República a fim de que possamos detectar certas convicções que se nos apresentam insondáveis à luz do discurso historiográfico, mas que, recorrendo ao discurso mítico-romanesco, novas hipóteses são aventadas, como os porquês da não entrega, da não rendição, do heroísmo, do fundamentalismo tão presentes na obra em análise. Destarte, propomos uma possibilidade de leitura em uma obra cuja complexidade de análise e discussão é um oceano intransponível e inesgotável, capaz de transcender o tempo e a própria História.

This thesis examines the way in which the fictional biographies of Virginia Woolf, Orlando and Flush, prefigure central tenets of postmodern fiction. To demonstrate the postmodern elements present in Orlando and Flush, this thesis focuses on how the fictional biographies exhibit three postmodern characteristics: concern for historiography, extensive use of parody, and the denaturalization of cultural assumptions. Born from Woolf’s desire to revolutionize biography by incorporating elements of fiction alongside historical fact, these two novels parallel later works of historiographic metafiction in several key respects. Woolf’s extensive use of parody in Orlando and Flush prefigures how postmodern parody foregrounds the many ways in which all narratives are inherently constructions. Woolf also expresses a postmodern attitude by denaturalizing cultural assumptions about sexual difference and social class. When taken together, these three traits reveal how Orlando and Flush possess an ontological philosophy indicative of postmodern literature.

I argue that one cannot hold a Meinongian ontology of fictional characters and have a causal theory of reference for fictional names. The main argument presented refutes Edward Zalta's claim that storytelling should be considered an extended baptism for fictional characters. This amounts to the claim that storytelling fixes the reference of fictional names in the same way that baptism fixes the reference of ordinary names, and this is just a claim about the illocutionary force of these two types of utterance. To evaluate this argument, therefore, we need both a common understanding of the Meinongian ontology and a common taxonomy of speech acts. I briefly sketch the Meinongian ontology as it is laid out by Zalta in order to meet the former condition. Then I present an interpretation of the taxonomy of illocutionary acts given by John Searle in the late 1970s and mid 1980s, within which we can evaluate Zalta's claims. With an ontology of fictional characters and a taxonomy of speech acts in place, I go on to examine the ways in which the Meinongian might argue that storytelling is an extended baptism. None of these arguments are tenable-there is no way for the act of storytelling to serve as an extended baptism. Therefore, the act of storytelling does not constitute a baptism of fictional characters; that is, storytelling fails to ground a causal chain of reference to fictional characters.

This study examines Okudzhava’s depiction of the process of documentalization of the past as a defining feature of the novel Puteshestvie diletantov, giving reason to consider it a form of metahistory, or an artistic statement on the subject of historical knowledge. The image of the document plays a central role in the novel Puteshestvie diletantov. Through it, Okudzhava depicts the process of knowing and (re)creating the past, as well as the process of its deformation, supplementation and modification. In the form of a document, the past finds existence in time and space, finds its author and addressee, and becomes submerged in a constantly changing context. Okudzhava does not contest the truth of the past, but rather problematizes it, immersing the reader in its real element – the narrative one, permeated by the creative will of the individual. Within this element, two juxtaposed narrative streams stand out clearly: the fictional and the documentary, each shaping the picture of the past in different ways. By thematicizing the issue of documents as evidence, Okudzhava at the same time thematicizes the influence of narrativity on the process of our recreation of past events, as well as on the course of these same events. The act of compiling a document and the act of narration appear in the novel as the driving force of the action and are treated by the author of Puteshestvie diletantov as a fully fledged manifestation of human will in History. In this way, the metafictionality of the novel (its thematicization and problematization of various narrative forms) becomes the key to its metahistoricality (the thematicization and problematization of knowledge of the past, the composition of History), inasmuch as History itself is represented here in the form of a narrative stream.

The subject of this thesis is Leonora written by Elena Poniatowska. The aim of the study is to analyze the literary technique and strategy used in constructing this book which depicts the life of a famous painter, Leonora Carrington. The analysis concentrates on two aspects: the extent of its feminist character and whether it can be classified as a fictional biography or a biographic fiction. In order to arrive at a conclusion on these issues a brief summary of literary and feminist theory is presented as well as a short description of relevant aspects of the surrealist movement. According to the author Leonora does not pretend to be a biography but rather a tribute to a great woman and artist. This esay however sustains that the book is a feminist fictional biography. In fact it builds upon books written by Carrington herself with a highly autobiographical content as well as on biographical texts. Both the author and her protoganist are well-known for their feminist stand and the analysis shows how feminist theory or thinking is reflected both on behalf on the writer as well as in the construction of the hero and certain aspects of her life that build up this biographical fiction.

This dissertation focuses on the analysis of Costa Rican literature from 1885 to 1930 in order to explore the problematic configuration of national heroes in the construction of the modern Costa Rican social imaginary. Costa Rica was unique among Central American nations in that its participation in the regional campaign against William Walker (1856-1857) served as a foundational moment for its national project in the 1880s. Two major figures emerged as potential symbols of national heroism: Juan Rafael Mora Porras and Juan Santamaría. Authors Carlos Gagini, Manuel Argüello Mora and Ricardo Fernández Guardia were the only writers who tried to narrate Mora Porras and Juan Santamaría's lives and legacies between 1885 and 1931. In addition, as intellectuals of the liberal elite, their works had to address the consolidation of a national discourse characterized by a desire to highlight distance from, and superiority to, the other Central American nations. According to that vision, Costa Rica could be singled out as racially white and politically peaceful, both attractive traits for enticing foreign investment. Interestingly the paradox of writing on war heroes in this context has not been explored in academia. In fact, publications and academic writing about Costa Rica's military conflicts and heroes are scarce. Within the field of literary criticism, which may have considered these topics taboo, I propose to begin filling this void by analyzing the liberal elite's literary writings on heroism within the context of constructing modern nationhood. My intention is to demonstrate how the literary representations of heroes fracture Costa Rican national discourse, thus explaining the intellectual's resistance to writing on the topic and giving voice to Santamaría and Mora Porras, regardless of the importance of their roles for the foundational "social drama". If we avoid studying how national discourse suppressed violence from its origins and cut short the narrative representations of heroic figures, we deny the possibility of understanding and embracing the need for reinventing traditions and heroes in the 21st century. / text

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