Made available in DSpace on 2015-04-14T13:39:33Z (GMT). No. of bitstreams: 1 383319.pdf: 672827 bytes, checksum: 37385692151ff0a98235e5a6a719ef05 (MD5) Previous issue date: 2006-08-22 / O presente estudo consiste numa an?lise da produ??o liter?ria de maior repercuss?o no cen?rio cultural contempor?neo: as obras da s?rie Harry Potter, de Joanne Kathleen Rowling. Objetivando refletir sobre as possibilidades de influ?ncia do conte?do de suas imagens na constru??o do imagin?rio infantil, com base nos postulados de Jung, acerca do funcionamento das imagens fundamentais no inconsciente humano, e de Vigotski, em rela??o ? recep??o da obra de arte liter?ria, a investiga??o ? constru?da a partir da revis?o dos caracteres pr?prios da crian?a e da literatura infantil, no passado e atualmente, e da contextualiza??o do momento p?s-moderno.

Made available in DSpace on 2016-04-28T19:58:48Z (GMT). No. of bitstreams: 1 Diego Nunes Bezerra.pdf: 716313 bytes, checksum: 8c1f43f81a2010014c09e091f8da98dc (MD5) Previous issue date: 2012-11-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The best-seller Harry Potter s series, written by the British author J. K. Rowling, and stared by the character Harry Potter have been studied by the contemporaneous Criticism while the image spectacular society s concepts. Among these concepts there are the saga, and the Greek hero, as structures of the myth, and both are restructured by media mechanism action in favor of the fabled contamination. In this study, the saga occupies the center of a heroic circular action that remodels the hero concept, and also gives us the updated decadent hero while image integrated to the mass society system. In a ludic point of view, the series Harry Potter (seven books) are about sharing the hero s (Harry Potter) qualities in counterpoint to the anti-hero Voldemort, who brings us the construction of the intrigue, the effects of the dual decadent nature game: bad vs. good, once humanized by the marvelous multimidia contemporaneous element. In this way, the marvelous becomes the support roll in the adventures of this hero in the gaps created by him through the remodeling saga. Under the communicative perspective of the fanfiction, the potternian fiction corroborates to the decadent heroic structure, by using a mixture of mass reading, and mass writing into the classic saga, extended to the author-mass, and to the readermass, creating the parenthood of the modern saga. This communicative link of the reprogrammed saga made by way of magic and witchcraft element shave lead up us to the study of this central theme, in three stages: the fiction and fanfiction intertextuality in Harry Potter s series; the architext in construction: Harry Potter s series; the fiction in intertextuality: the reading of magic enunciations / Os best-sellers da Série Harry Potter, da autora britânica J. K. Rowling, protagonizados pela personagem Harry Potter, têm sido estudados pela crítica contemporânea sob o suporte de conceitos dados pela sociedade da imagem espetacular. Entre estes conceitos figuram: a saga e o herói grego, como estruturas do mito, ambos em reestruturação pela ação dos dispositivos midiáticos em trabalho de contaminação fabular. Neste estudo, a saga ocupa o centro de um círculo de ações heroicas que, ao mesmo tempo em que modelam o conceito de heroicidade, atualizam o arquétipo do herói decadente enquanto imagem, integrado ao sistema da sociedade de massa. Em operação lúdica, a Série Harry Potter (7 Livros) concentra-se na partilha das qualidades do herói Harry Potter em contraponto com o anti-herói Voldemort, assimilando, na composição da intriga, os efeitos do jogo bem vs. mal em sua natureza dual decadente, uma vez humanizada pelo elemento maravilhoso multimidiático contemporâneo. Para tanto, o maravilhoso passa a ser o coadjuvante das aventuras desse herói, nas fissuras por ele geradas pela via da remodelação da saga. Sob a perspectiva comunicacional da fanfiction, a ficção potterniana corrobora com a estruturação do herói decadente, por meio da mixagem leitura e escrita de massa à saga clássica, extensiva ao autor-massa e leitor-massa, compondo a parentela da saga moderna degenerada. Esse nexo comunicacional da saga reprogramada pela magia e feitiçaria nos propiciou o estudo da temática central em três momentos: A intertextualidade fiction e fanfiction na Série Harry Potter de J. K. Rowling; O arquitexto em construção: a Série Harry Potter; O ficcional na rede intertextual: a leitura das enunciações mágicas

Made available in DSpace on 2015-04-14T13:38:24Z (GMT). No. of bitstreams: 1 431100.pdf: 1814373 bytes, checksum: 74584040412304ec635228346c8b38a4 (MD5) Previous issue date: 2011-02-28 / As novas tecnologias de comunica??o e a converg?ncia das m?dias no espa?o da internet v?m transformando as pr?ticas de seus usu?rios cibernautas, consumidores, receptores, leitores de todos os tipos de textos que, munidos de um canal de resposta, agora t?m a possibilidade de responder a eles, criando e interpretando objetos. Essa conflu?ncia no ambiente virtual apaga as fronteiras entre textos e m?dias, arte e entretenimento e informa??o e, ainda, entre as inst?ncias de produ??o e recep??o. O leitor juvenil, h?bil no manejo dessas tecnologias, torna-se o modelo de hiperleitor: aquele que realiza a leitura fragmentada e dispersa do ciberespa?o, a hiperleitura. A escrita de fanfictions ? uma de suas pr?ticas que possibilita entrever as transforma??es do campo da leitura, quando, no computador, ler e escrever se tornam atividades imbricadas. Essa pr?tica, aqui chamada de escrileitura, envolve a utiliza??o de redes de interpreta??o e divulga??o de textos escritos por f?s dos mais variados g?neros e nas mais variadas m?dias, entre eles, a s?rie Harry Potter. A obra de J. K. Rowling tornou-se o hipotexto principal para a escrileitura, pela apresenta??o de um universo altamente lacunar, que convida ? cria??o. Este trabalho une as teorias da Est?tica da Recep??o, da Intermidialidade e da Cr?tica, relacionando as estrat?gias do texto Harry Potter ? converg?ncia de m?dias e ? possibilidade que os meios oferecem ? leitura-escritura como motivos para a transforma??o das pr?ticas desses leitores. Essas mudan?as t?m reconfigurado o sistema liter?rio autores, textos e leitores j? n?o s?o mais os mesmos, quando a hiperm?dia ? a forma de representa??o do mundo.

This thesis examines the use of form and spatial language in confessional fiction by men to elucidate how they conceptualise and negotiate material, corporeal, and psychological boundaries amidst the shifting social and political landscape of the United States since the Second World War. In light of increasingly urgent calls to address gender and racial discrimination in the United States, this study offers timely insight into an identity that, while culturally dominant, often escapes examination: white, heterosexual masculinity. Focusing on the representation of forms and spatial imagery, the chapters explore how five formally experimental novelists-Vladimir Nabokov, Joseph McElroy, Harry Mathews, William H. Gass, and Peter Dimock- employ the confessional genre to illustrate the way men perceive themselves as spatially and temporally circumscribed, and to look at the way they reinforce or transgress the boundaries of masculine identity. The post-war period in the United States witnessed a proliferation of confessional writing that coincided with the popularisation of Freudian psychoanalysis, the cold war rhetoric of suspicion, and the rise of second-wave feminism. As a result, the concept of the self increasingly becomes a repository for fantasies of potential discovery and hidden danger that rely, significantly, on metaphors of surface and depth. It is within, and often against, this cultural preoccupation with the self that these writers address, both directly and indirectly, the status of white masculinity. Drawing on innovative theories of forms and spatiality, this study examines the diverse language and imagery men use to describe their sense of selfhood as well as the bonds they form with others. The works considered in this study demonstrate a common preoccupation with the boundaries that separate interior from exterior and private from public. In response to pressures both intimate and impersonal, the narrators of the texts discussed in this thesis turn to confessional practices of written self-examination to locate themselves within networks of fluctuating relations and obligations. The question that this thesis seeks to resolve is whether the forms and spatial language the narrators employ enable or obstruct their efforts to negotiate the competing demands of ethical responsibilities to others and the desire to preserve a stable sense of self.

Zugl.: Köln, Univ., Diss., 2007

The style of the Swedish writer Harry Martinson is characterised by a large number of conspicuous and creative word-formation units, which have a special function in his writing. One single word might summarise and denominate an experiance or a complex emotion, sometimes using an exact description, sometimes using a metaphor. The content and the novelty of such nonce forms catch the reader´s or listener´s attention, achieving the intended effect: to make the reader understand what Martinson wants to convey. The present study is an analysis of the neologisms used in two of Martinson´s semiautobiographical novels and their German translations. The object of the study is twofold: firstly to show that the great variety of nonce words-formations as well as their semantics provide the special stylistic markers of the texts, and secondly to draw more general conclusions about the effect of target languages regarding the form, content and function of the units in the texts, as well as their effect on the reader, the concept of equivalence is central. Correspondences and deviations are analysed applying a model specifically designed for the purpose and based in relevant theories. The results illustrate both the various problems a translator must seek to solve and the consequences that simplifications, omissions, and paraphrases might have on the meaning and effect of the text.

By way of five microhistories focusing on the lives of Cecelia Davies Sylvester, Hannah Director, Leon Koerner, Harry Adaskin, and Nathan Nemetz, this study examines various modes of integration for Jews within particular periods of British Columbian (BC) history. Each microhistory explores the boundaries that were crossed and fostered by Jews whose careers and social contributions led them outside the confines of the established Jewish community. These Jews represent the vanguard of Jewish integration for each era to which they contributed.

By way of five microhistories focusing on the lives of Cecelia Davies Sylvester, Hannah Director, Leon Koerner, Harry Adaskin, and Nathan Nemetz, this study examines various modes of integration for Jews within particular periods of British Columbian (BC) history. Each microhistory explores the boundaries that were crossed and fostered by Jews whose careers and social contributions led them outside the confines of the established Jewish community. These Jews represent the vanguard of Jewish integration for each era to which they contributed.

À l'aube du XXIe siècle, la littérature merveilleuse connaît un regain de popularité, particulièrement avec la venue de phénomènes éditoriaux tels que la série Harry Potter. Les sept romans de Joanne Kathleen Rowling, publiés entre 1997 et 2007, sont l'objet d'une popularité toujours croissante à chaque nouvelle publication. L'intérêt pour la littérature merveilleuse n'est cependant pas nouveau, particulièrement en Grande-Bretagne; en effet, ce point du globe a été le berceau d'une vague d'engouement pour la littérature merveilleuse tout aussi forte environ 150 ans plus tôt, avec la publication du roman Alice’s Adventures in Wonderland. La liste des auteurs qui ont été inspirés par Carroll, ou du moins qui ont contribué à faire gonfler la vague, est passablement longue. Dans ces sociétés où l'enfant possède une importance capitale, que ce soit la société victorienne ou la nôtre, il n'est pas si étonnant que les ouvrages qui le concernent captent autant l'intérêt du public. Cependant, ce ne sont pas tous les romans qui parlent des enfants qui connaissent le même succès; comment expliquer que le choix des lecteurs s'arrête sur telle œuvre plutôt que sur telle autre? Nous postulons que la popularité de certains ouvrages réside principalement dans le processus de lecture qui prévaut dans chacun d'eux. L'acte de lecture est une activité complexe; certains textes demandent à être lus un peu de la façon dont on participe à un jeu, soit en étant confronté à des indéterminations et en résolvant des énigmes, mais surtout en se laissant prendre au jeu du « let's pretend ». Dans les œuvres qui retiennent notre attention pour cette étude, soit les deux romans de Carroll mettant en scène le personnage d'Alice ainsi que les sept romans de la série Harry Potter, de nombreux effets de lecture nous permettent de démontrer ce postulat. Dans le premier chapitre, nous procédons à un court compte-rendu des connaissances concernant les genres littéraires auxquels se rattachent les œuvres de notre corpus, c'est-à-dire le merveilleux et la fantasy, ainsi que les éléments caractéristiques de ceux-ci. Nous présentons ensuite différents outils provenant des théories de la lecture qui nous permettront de mieux saisir les mécanismes du texte contribuant à provoquer un fort phénomène d'adhésion chez le lectorat, tels que la théorie des mondes possibles (Eco) ou celle des univers fictionnels (Pavel), les concepts d'indétermination (Iser) et de préconstruit (Thérien), les régies de lecture (Gervais) ainsi que des théories présentant la lecture comme un jeu (Calinescu et Picard). Dans le deuxième chapitre, nous montrons comment les œuvres de notre corpus, en s'inscrivant dans le genre merveilleux et en parlant de l'enfant, suggèrent un cadre de lecture ludique. Les nombreuses allusions au jeu qui les parsèment, que ce soit le jeu d'échec, de Quidditch, ou encore celui du « faire-semblant », ainsi que les stratégies textuelles qui s'y trouvent conduisent le lecteur à procéder à une construction mentale des univers qui lui sont présentés de la même façon qu'il résoudrait des énigmes. Les blancs laissés dans le texte contribuent à stimuler son imagination et les effets de surprise, largement présents dans ces textes, augmentent le plaisir ressenti lors de la lecture. Toujours dans le deuxième chapitre, nous démontrons que les auteurs utilisent des procédés semblables en ce qui concerne l'organisation spatiale de leurs univers; ils utilisent des frontières instables et perméables qui font hésiter le lecteur quant aux propriétés du monde dans lequel il pénètre et qui le désorientent. Enfin, dans le troisième chapitre, nous voyons comment l'identité des personnages se construit autour d'un noyau fixe, constitué par le nom du personnage, ainsi que d'une partie mobile et morcelée, soumise aux transformations. La quête identitaire qui fait l'objet des œuvres de notre corpus contribue à renforcer l'identification au personnage, puisque ces œuvres s'organisent autour d'une construction en miroir, qui fait en sorte que le monde de la fiction reflète le monde réel connu du lecteur. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : merveilleux, fantasy, lecture, mondes possibles, univers fictionnels, indéterminations, préconstruits, jeu, enfance, identité, miroir, Lewis Carroll, J.K. Rowling, Alice’s Adventures in Wonderland, Through the Looking-Glass, Harry Potter.

I uppsatsen analyseras de två karaktärerna Harry Haller och Hermine, från Hermann Hesses Der Steppenwolf, med hjälp av Judith Butlers queerteori. Karaktärernas förhållande till varandra, köns- och genusroller samt heteronormativiteten undersöks och sätts i samband med bokens maskerad- och teatermotiv. Förutom att maskerad- och teatermotivet undersöks i relation till karaktärerna, analyseras det också i sig självt med utgångspunkt i Judith Butlers teorier om det konstruerade könet och dragshowens subversiva funktion.