Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-01-17T16:24:37Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Glauco Corrêa da Cruz Bacic Fratric.pdf: 1758004 bytes, checksum: a40353e34500733c4c6fbb9573eb6c5a (MD5) / Approved for entry into archive by Aline Amarante (1146629@mackenzie.br) on 2017-02-07T18:08:51Z (GMT) No. of bitstreams: 2 Glauco Corrêa da Cruz Bacic Fratric.pdf: 1758004 bytes, checksum: a40353e34500733c4c6fbb9573eb6c5a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-07T18:08:51Z (GMT). No. of bitstreams: 2 Glauco Corrêa da Cruz Bacic Fratric.pdf: 1758004 bytes, checksum: a40353e34500733c4c6fbb9573eb6c5a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-08-26 / This study aims to analyze the second version of Oscar Wilde's The picture of Dorian Gray, published in 1891, from the perspective of its three main characters (Dorian Gray, Basil Hallward, and lord Henry Wotton). Based on the voices within the utterances that make up the characters' dialogs, our aim is to interpret their self-consciousness, their views on art itself, and to what extent they stand in relation to Victorian England, the space and the time of the narrative; Dorian Gray, as a disciple of Lord Henry Wotton in the implementation of the ideas of a socalled new Hedonism, and as a Doppelgänger materialized by his picture; Basil Hallward, as a conservative individual, in favor of moral values, yet as an artist refracting the Realism of his days, by pursuing the perfect aesthetic representation in a combination of Antiquity and Renaissance forms and the Romantic soul, which preceded Realism; and lord Henry Wotton, 'the illusionist of words', who makes his point by refracting the views of his time and space by resorting to the irony and the maxims of epigrams. The latter are also resorted to by Wilde in the whole preface of 1891's version of The picture of Dorian Gray, so as to stand against the myriad of critical reviews which considered his only novel as 'immoral'. We will address Mikhail Bakhtin's self-consciousness theory, as well as Walter Pater's and Karl Beckson's in regard to the Aesthetic movement. Last, but no least, Munira Mutran's and Richard Elmann's writings on Wilde's autobiographical works related to his position as an aesthete and a dandy, yet by no means do we intend to affirm that The picture of Dorian Gray is mainly an autobiography, but an expression "of the self as having multiple possibilities", in Elmann's words. As a conclusion, we will aim to identify the characters' cosmovision, in a never-ending process of reflecting and / or refracting their time and space values. / O presente trabalho propõe-se a analisar a segunda versão da obra O retrato de Dorian Gray, publicada no ano de 1891, do autor irlandês Oscar Wilde, focalizando três personagens principais: Dorian Gray, Basil Hallward e lorde Henry Wotton. Com base nas vozes das enunciações que compõem os diálogos dos quais participam as referidas personagens, nosso objetivo é o de investigar como se dá a construção de suas autoconsciências, de discutir os conceitos de arte que essas personagens defendem e a forma como cada uma delas se posiciona em relação à Inglaterra vitoriana, espaço e tempo da narrativa: Dorian Gray, como discípulo de lorde Henry Wotton na implementação de um novo Hedonismo e como alter ego ou duplo, materializado em seu retrato; Basil Hallward, como indivíduo conservador, consoante com os valores morais da época em que vive, mas como artista que refrata as artes realistas de seu tempo, na busca pela representação estética perfeita que combine as formas clássicas da Antiguidade e do Renascimento com a alma do Romantismo; e lorde Henry Wotton, “o eficiente mestre da palavra” que enuncia sua visão refratária aos valores morais de seu tempo e de seu espaço, por meio da ironia e das máximas, transmitidas pelo recurso dos epigramas. Estes também são utilizados por Wilde para se posicionar em relação à miríade de críticas que recebeu quando da primeira publicação do romance, em 1890, pois diversos periódicos especializados em literatura consideraram o único romance publicado pelo autor como sendo imoral. Examinaremos a integralidade do prefácio à versão de 1891, amparados na teoria bakhtiniana, no que toca à autoconsciência, bem como nas obras de Walter Pater e de Karl Beckson, para a contextualização do Esteticismo e, por fim, nas de Munira Mutran e de Richard Elmann, para analisarmos as possíveis relações das personagens com o universo autobiográfico do autor esteta e dandy, não com o objetivo de concluirmos que a obra em questão se trate de autobiografia, mas sim de uma narrativa composta de personagens que representem o "ser de possibilidades múltiplas", conforme expressão de Elmann. Feito isso, orientar-nos-emos a discutir aspectos nas cosmovisões das personagens que refletem e refratam os valores de seu tempo e de seu espaço.

My dissertation, Writing and Ethics in The Southern Cone: Literature between the Singular and The Specific, reads a series of examples from the last dictatorship and the current post-dictatorship period in the Southern Cone--novels and essays from Argentina, Chile, and Paraguay (including works by Augusto Roa Bastos, Roberto Bolaño and Horacio Verbitsky), and a critical debate between artists and intellectuals in Chile (Nelly Richard and Willy Thayer). My goal is to expose their ways of conceiving how communities and individuals are structured by language that organizes subjects according to logics of belonging and rejection according to political values and practices. I take as my point of departure the work of philosopher Peter Hallward on individuation and the formation of groups and communities, from his book Absolutely Postcolonial: Writing Between the Singular and the Specific (2002). I read my textual examples through the terms developed by Hallward, the Singular, the Specified, and the Specific. The Singular describes a way of imagining community identity as a self-creating and self-reinforcing unity where the only members are those who are innate to the singular concept that self-defines it. The Specified refers to a method by which subjects individuated themselves over and against a particular cause or people and thus define themselves by means of this difference. Lastly, the Specific describes a community that is radically indifferent to difference, arguing instead for a form of membership where any subject belongs. My dissertation shows how these three concepts are present in the historical and cultural ideas used by a contemporary generation of thinkers and artists to define the effects of the cultures of dictatorship and post-dictatorship in the Southern Cone. Understanding these concepts helps to elucidate how the cultural discourses during this period were structured and executed in relation to communitarian formation. In short, by reading my Southern Cone case studies through the optic of logics of individuation, I am able to produce a new way of seeing how the region’s intellectuals read the intersections of history, culture, politics, and community in the wake of Latin American dictatorships. / text