The discourse surrounding art in the early 21st century seeks to explain our artistic practices in terms of a radically distinct set of conventions, which many have dubbed ‘metamodern.’ Metamodernism abides neither by modernist aspirations of linear progress, nor by the cynical distrust of narratives familiar to postmodernism. Instead it appears to be based on an entirely different set of premises, relating to betweenness, oscillation, and metaxis, generating art with a dual capacity for irony and sincerity. While metamodernism seeks to break the mold of the conventions that preceded it, it also avoids delimitation and prescription, and this traps it in an impossibility. To truly supplant the postmodern, the metamodern state of betweenness must be equally definite and formally circumscribed. In this project, I argue that metamodernism can be defined as an aesthetic of liminality – a state of thresholds and transitions – and that such a definition opens new avenues for understanding its core axioms. The second goal of the project is to reflect on where the metamodern state of transition might lead, and what future forms it promises. The project relies on literary theory, chiefly that of Northrop Frye, on analysis of the discourse surrounding contemporary aesthetics, as well as on occasional forays into philosophy, anthropology and sociology. The project concludes that metamodernism’s core tenets are best understood as existentialist in nature, abiding by the tradition of existentialist writers such as Kierkegaard, Nietzsche, Merleau-Ponty, and others. Identifying an existential underpinning to metamodern art is also to uncover an ethical substrate to what otherwise appears to be a freeform aestheticism. The ties between existentialism and metamodernism provide a case study for a broader look at the relationship between ethics and aesthetics, which might be pursued in future work. / Thesis / Master of Arts (MA) / There is a growing consensus among scholars that early 21st century art can no longer be explained in terms of familiar aesthetic conventions. The term ‘metamodernism’ is catching on as a description of our new era. Metamodernism is understood as an oscillation between two modalities – modernism and postmodernism – generating art that is more idealistic and romantic than what we have seen in previous decades, while retaining its capacity to be ironizing and self-aware. However, the discourse surrounding metamodernism has been tentative, provisional, and difficult to circumscribe. In avoiding any overarching claims or settled positions, metamodernism risks remaining only a radicalisation of previous conventions rather than a genuine evolution. The goal of this project is to come to grips with the core tenets of metamodernism, to present them more clearly and distinctly, and to suggest what the scholarship surrounding metamodernism might need to move beyond its current constraints.

The focuses of this paper are narrative structures and mythological elements in the video game Chrono Trigger. A qualitative method was used to code the game world's seven eras into themes of symbolism, quest-themes, and, characters. These themes were compared with Northrop Frye's archetypal myth theory from Anatomy of Criticism. The results show that each age relates to a season and moves due to the player's influence according to a cyclical pattern. Six out of seven epochs show high correlation to Frye's archetypal model whereas options such as to discard the main hero illustrates the player's control. The seventh era pictures a more female symbolism than the male dominant template proposed by Frye. A hypothesis is presented with the concept of a fluent surface which argues that the player manipulates the basic story to build a personal narrative. Furthermore, the hypothesis emphasizes that the specific game mechanics stimulates the player's sensitivity to the narrative elements when constructing an individual ideal story.

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<p>Using the discussion of Biblical typology from Northrop Frye’s <em>The Great Code</em> as a starting point, this paper proposes a typological lineage of fiction growing from the foundational <em>kerygmatic</em> stories of Western culture. After briefly proposing canonical texts that would fit into this lineage, there is an analysis of the graphic novel <em>All-Star Superman</em> which demonstrates this contemporary text’s place in the typological line and its status as a prime example of the sorts of texts that would fit this lineage. Specific characteristics of the graphic novel and of superhero fiction are discussed that demonstrate <em>All-Star Superman</em>’s place in the typological line, and this placement also argues for the consideration of superhero narratives as worthy parts of the American literary canon. The final chapter discusses some of the ramifications arising from the analysis of both the form and the text, pointing to ways in which critical frameworks for both the typological lineage and the critical elucidation of the graphic novel format can move forward.</p> / Master of Arts (MA)

I denna uppsats analyseras Markus Suzaks Jokern och Jeanette Wintersons Fyrväktaren utifrån Northrop Fryes arketypanalys. Inledningsvis görs separata analyser av de båda verken som sedan får ligga till grund för att jämföra de återkommande dragen som kunnat identifieras i de skilda texterna. Syftet är att utreda metodens användbarhet som analysverktyg med målet att avgöra om den kan användas för att främja textnära tolkningar och elevers litterära kompetens i litteraturundervisningen i gymnasieskolan. Resultatet visar att metoden kan användas för att göra textnära litteraturanalyser. Man kan även observera att karaktärer som i berättandet fyller liknande funktioner återkommer i båda verken trots att de skiljer sig åt både till form och innehåll. Analysen visar dock att denna form av arketypanalys inte kan betraktas som en komplett metod dåden inte berör alla aspekter av texten, vilket tyder på att metoden med fördel kan kompletteras med andra litteraturvetenskapliga metoder.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-01-30T10:58:26Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Tese - Gismair Martins Teixeira - 2014.pdf: 2232922 bytes, checksum: 7bfe49c4d5e64091437f71833f82f883 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-01-30T13:28:20Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Tese - Gismair Martins Teixeira - 2014.pdf: 2232922 bytes, checksum: 7bfe49c4d5e64091437f71833f82f883 (MD5) / Made available in DSpace on 2015-01-30T13:28:20Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Tese - Gismair Martins Teixeira - 2014.pdf: 2232922 bytes, checksum: 7bfe49c4d5e64091437f71833f82f883 (MD5) Previous issue date: 2014-09-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis aims to present, in an epistemological perspective and fictional, the relationship between the Bible and the Literature. Divided into two parts, this study includes first, an approach around the literary criticism, which has been focusing on the relationship between the biblical text and the universe of literary studies. Of the number of experts who have devoted their lives to studying it, we have selected two important names of the literary criticism international in the 20th century, that have stood on this interaction in perspective that we can say of complementary and rhizomatic as the postulates of epistemology proposed by Gilles Deleuz and Félix Guattari. They are the Canadian Northrop Frye and the American Harold Bloom. Of both, the latter is the one that more intensely established the dialog between the Jewish-Christian book and the Literature. From the intriguing conclusions of these theorists, we opened for a second time that establishes the relationship between the thoughts of these experts, with emphasis in Bloom, and the lusophone fiction of three Romanesque clippings: A mulher que escreveu a Bíblia, by Moacyr Scliar; Caim, by José Saramago and Grande sertão: veredas, by João Guimarães Rosa. These works are analyzed in inter-textual dialogs with other literary representations national and international, that include the relationship between the Bible and the Literature in an approach of hypertextuality of conceptualization by Gerard Genette, that in turn converses with considerations of Linda Hutcheon alluding to studies on the parody. As a methodology, we are employing the bibliographic research relating to the object of research relevant to the thesis. As a result of our research, we conclude that there is a plentiful cartography, that this work is an example, which contradict the existence of biblical-literary rhizome, which leads to the proposition that the Bible, one of the most important artistic codes of Western culture, it is a work that can be seen as a literary piece as advocates Harold Bloom, without prejudice of the rhizome that links it to the religiosity, working as one of the most intrigu ing hypo-texts of Western Literature, which can also be researched on a level of high erudition in his hypertextuality. / A presente tese objetiva apresentar, numa perspectiva epist emológica e ficcional, a relação entre a Bíblia e a Literatura. Dividido em duas partes, este estudo contempla primeiramente uma abordagem em torno da crítica literária que tem se debruçado sobr e a relação entre o texto biblista e o universo dos estudos literários. Do conjunto de estudiosos que se dedicaram a estudá-la, pinçamos dois importantes nomes da crítica literária internacional no século XX que se detiveram sobre esta interação em perspectiva que se pode dizer complementar e rizomática, conforme os postulados da epistemologia proposta por Gilles Deleuze e Félix Guattari. São eles o canadense Northrop Frye e o norte-americano Harold Bloom. De ambos, Harold Bloom é o que mais intensamente estabeleceu o diálogo entre o livro judaico -cristão e a Literatura. A partir das instigantes ilações destes teóricos, abrimo s para um segundo momento que estabelece a relação entre o pensamento desses estudiosos, com ênfase em Bloom, e a ficcionalidade lusófona de três recortes romanescos: A mulher que escreveu a Bíblia, de Moacyr Scliar; Caim, de José Saramago e Grande sertão: veredas, de João Guimarães Rosa. Estas obras são analisadas em diálogos intertextuais com outras representações literárias nac ionais e internacionais que contemplam a relação entre a Bíblia e a Literatura numa abordagem de hipertextualidade da conceituação de Gérard Genette, que por sua vez dialoga com as considerações de Linda Hutcheon alusivas aos estudos sobre a paródia. Como metodologia, servimo -nos da pesquisa bibliográfica relativa ao objeto de pesquisa pertinente à tese. Como resultado de nossa pesquisa, chegamos à conclusão de que há uma farta cartografia, de que este trabalho constitui um exemplo, que referenda a existência do rizoma bíblico-literário, o que conduz à proposição de que a Bíblia, um dos mais importantes códigos artísticos da cultura Ocidental, é uma obra que pode ser vista como uma peça literária, como advoga Harold Bloom, sem prejuízo algum do rizoma que a vincula à religiosidade, funcionando como um dos mais instigantes hipotextos da Literatura no Ocidente, passível de ser também pesquisado em um nível de alta erudição em sua hipertextualidade.

Made available in DSpace on 2016-04-25T19:20:29Z (GMT). No. of bitstreams: 1 Ricardo Tiezzi.pdf: 3493296 bytes, checksum: e96f9d3bcff7cd16cbafd3d1134a5682 (MD5) Previous issue date: 2013-10-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work is an analysis of the film Antichrist, by Lars von Trier, from the archetypal criticism proposed by Northrop Frye. The hypothesis is that the film uses narrative patterns whose matrix is biblical to organize his narrative. The first chapter deals with the film and the work of the director. In the second chap-ter, the first step is to define what archetype means in literature, with authors who have worked with the concept. Then our main theory is presented in the work of the Canadian critic Northrop Frye. The third chapter, finally, is an analysis of the film from three different approaches: gender, in which we discuss the tragedy in Anti-christ; mode, in which the narrative of the film is perceived in the tension between the realistic and mythic narratives; and images, in which patterns of imagery stand out from the film in relation to vertical poetic, to the woman and the erotic relation-ship and to the nature and the garden / Este trabalho é uma análise do filme Anticristo, de Lars von Trier, a partir da crítica arquetípica proposta por Northrop Frye. A hipótese é a de que o filme recorre a pa-drões narrativos cuja matriz é bíblica para organizar sua narrativa. O primeiro capítulo aborda o filme e a obra do diretor. No segundo capítulo, a primei-ra etapa consiste em definir o que arquétipo significa em literatura, apresentando os autores que trabalharam com o conceito. Em seguida, é apresentada nossa teoria principal na obra do crítico canadense Northrop Frye. O terceiro capítulo, por fim, é uma leitura do filme a partir de três eixos: gênero, no qual se discute a tragédia no Anticristo; modo, no qual a narrativa do filme é percebida em sua tensão entre as nar-rativas realista e mítica; e imagens, no qual se destacam padrões imagéticos do filme em relação à poética vertical, à mulher e a relação erótica e à natureza e o jardim

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