Made available in DSpace on 2016-04-25T19:20:57Z (GMT). No. of bitstreams: 1 Adriana Buarque.pdf: 6014129 bytes, checksum: 708c15c22f1ca5497b92f7d694c55f24 (MD5) Previous issue date: 2005-09-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Compassion as redemption of the human being. The aim of this work is to show how Holden Caulfield, the character of The catcher in the rye, returns from his isolation of the world by means of his altruistic love, considering 'the other' more important than himself. From the hypothesis that Holden's grief in maintaining innocence leads him to depression, as compassion leads him to the answer for such conflict, the methodological procedures were based on the inductive method for elaborating theses: historical procedures, such as contextualizing the novel, bibliographical research, text selection, analysis, interpretation, organization and composition of the theoretical approach. Contextualizing J. D. Salinger and his narrative leads to a more accurate comprehension of Holden Caulfield. The anguish of being lonely makes him want to die, something that changes when he realizes, benevolently, that the answer to his question is to seek 'the other'. Then, compassion, the need to love, silences his inner pain / A compaixão como redenção do ser humano. O objetivo desta pesquisa é mostrar como Holden Caulfield, a personagem de O apanhador no campo de centeio, retorna de seu isolamento do mundo por intermédio de seu amor altruísta, considerando o 'outro' mais importante que si mesmo. Partindo da hipótese de que a angústia de Holden em querer perpetuar a inocência 0 leva à depressão, bem como a compaixão 0 leva até a resposta para tal conflito, foram traçados os procedimentos metodológicos a partir do método indutivo para a elaboração da dissertação: procedimento histórico, como a contextualização do romance, levantamento bibliográfico, seleção de textos, análise, interpretação, organização e composição do quadro teórico. Contextualizar J. D. Salinger e sua narrativa leva a uma compreensão melhor apurada do adolescente Holden Caulfield. A angústia da solidão o faz desejar a morte, quadro que é revertido quando percebe de modo compassivo que a resposta de seu questionamento está em olhar o 'outro'. Assim, a compaixão, a necessidade de amar cala a dor que o jovem traz consigo

No description available.

Cormac McCarthy's representation of the comic theories of the carnivalesque, incongruity, and absurdism by the antagonists of Blood Meridian and No Country for Old Men demonstrates the unique and ostensible power of humor over (or at least, its awareness of and reconciliation to the absurdity of) death; it also emphasizes the supreme power and influence of humor as a means for destroying other institutions and philosophies which claim knowledge or authority but fail to sustain individuals in times of crisis. This makes humor a formidable factor in determining and justifying the outcome of human interactions and in defining the strengths and limitations of McCarthy's antagonists.

Made available in DSpace on 2016-04-25T19:20:12Z (GMT). No. of bitstreams: 1 ADRIANA BUARQUE.pdf: 896845 bytes, checksum: 3cb9d2b2a2226c070409396b59513521 (MD5) Previous issue date: 2005-09-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / .

This thesis explores the role and representation of the natural world in a selection of Canadian dystopian novels: After the Fact (1986) by Hélène Holden, Voices in Time (1986) by Hugh MacLennan, Oryx and Crake (2004) and The Handmaid's Taie (1985) by Margaret Atwood. In order to argue that Canadian dystopian fiction varies from conventional literary dystopias because of its predominant use of nature, this thesis first examines the influence that archetypal images and symbols of nature have on specific dystopian conventions in Holden's and MacLennan's respective novels. Then, this study looks at how Atwood's critique of nature as a victim in Oryx and Crake and The Handmaid's Taie engages with ecocritic and ecofeminist ideas causing a breakdown in the generic conventions of Atwood's dystopian novels. / Cette thèse explore le rôle et la représentation de la nature dans les romans dystopiques canadiens suivants: After the Fact (1986) d'Hélène Holden, Voices in Time (1986) de Hugh MacLennan, Oryx andCrake (2004) et The Handmaid's Taie (1985) de Margaret Atwood. Ayant pour objectif de démontrer que la fiction canadienne dystopique se distingue de la littérature dystopique traditionnelle en fonction de son utilisation dominante de la nature, cette thèse examine l'influence des images, des symboles et des archétypes de la nature sur les conventions dystopiques spécifiques à After the Fact de Holden et Voices in Time de MacLennan. Ensuite, cette étude analyse la représentation de la nature comme victime dans Oryx and Crake et dans The Handmaid's Taie de Atwood qui diffère des conventions traditionnelles du roman dystopique en s'inspirant des idées découlant de l'écoféminisme et de l'écocritique.

The evidence of these diaries, all written in the nineteenth century, reveals the heterogeneous nature of early settler society in the Eastern Cape. Generalizations can only be of the most tenuous kind in such a small sample; but women tend to dwell on the domestic, the men on their public lives, the most reticent about their private lives are the soldiers. There is one diary which can be described as personal; the diarists did not regard their diaries as appropriate repositories of their personal triumphs and failures. The perceptions formed in Britain about the land and people of Africa are not drastically modified upon arrival unless the diarist experiences a prolongued contact with either.