Münster (Westfalen), Universiẗat, Diss., 2003. / Dateien im PDF-Format.

Allegory is not obsolete as Samuel Coleridge and Johann Wolfgang von Goethe have claimed. It is alive and well and has transformed from a restrictive concept to a concept that is flexible and can form to meet the needs of the author or reader. The most efficient way to evidence this is by making a case study of it with a suitable work that will allow us to perceive its plasticity. This essay uses J.R.R. Tolkien’s The Lord of the Rings as a multi-perspective case study of the concept of allegory; the size and complexity of the narrative make it a suitable choice. My aim is to illustrate the plasticity of allegory as a concept and illuminate some of the possibilities and pitfalls of allegory and allegoresis. As to whether The Lord of the Rings can be treated as an allegory, it will be examined from three different perspectives: as a purely writerly process, a middle ground of writer and reader and as a purely readerly process. The Lord of the Rings will then be compared to a series of concepts of allegorical theory such as Plato’s classical “The Ring of Gyges”, William Langland’s classic The Vision of William Concerning Piers the Plowman and contemporary allegories of racism and homoeroticism to demonstrate just how adaptable this concept is. The position of this essay is that the concept of allegory has changed over time since its conception and become more malleable. This poses certain dangers as allegory has become an all-round tool for anyone to do anything that has few limitations and has lost its early rigid form and now favours an almost anything goes approach.

Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 78-80). Also available via the World Wide Web.

Thesis (M.A.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 47-48).

Thesis (M.A.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 47-48). Also available in print.

Thesis (M.A.)--University of North Carolina at Wilmington, 2006. / Includes bibliographical references (leaves: [40]-41)

Este trabajo trata principalmente sobre la cultura. La inquietud no parte de hace poco, la verdad es que fue un largo camino. Al tratar de trazar la condición posmoderna nació la idea de presentar el concepto de posmodernidad en Lyotard, Habermas y Jameson. En el camino surgieron muchas cosas, a nivel personal y académico, que determinaron acotar mi trabajo a un único autor: Jameson, y a un sólo tema: la condición de la cultura en la posmodernidad.

Bibliography.

Este estudo pretende investigar, a partir do confronto da tese elaborada por Fredric Jamseon em Pós-modernismo ou a lógica cultural do capitalismo tardio com uma análise voltada para a materialidade histórica, o alcance da fusão da base e da superestrutura no capitalismo tardio. Nesse sentido, busca esclarecer em que medida o ensaio de Jameson ajuda a compreender a dominância do pós-modernismo, e o quanto é insuficiente, por outro lado, para explicar a situação da produção material nas regiões em que o neoliberalismo e a globalização não estão desenvolvidos, e que, portanto, não respondem integralmente à lógica cultural que anima o capitalismo financeiro. Noutras palavras, reinvindica-se o teste da realidade da ideologia do pós-modernismo para além das fronteiras do mundo anglo-saxão. Sendo assim, é debatida a possibilidade da tese de Jameson sobre a fusão da base e da superestrutura no estágio do capitalismo tardio estar circunscrita aos países onde ambos, a acumulação flexível e a globalização financeira, de fato, vingaram. Sem prejuízo do conteúdo da crítica, esta pesquisa visa igualmente traçar considerações acerca da prosa jamesoniana, a fim de apontar para alguns de seus efeitos e sua relação com o caráter de denúncia apresentado no ensaio e estabelecer suas correspondências com o método da Escola de Frankfurt, mais especificamente, o de Theodor Adorno. / This study intends to investigate, from the confrontation of the thesis prepared by Fredric Jameson in Postmodernism or the Cultural Logic of Late Capitalism, with an analysis on the historical materiality, the extent of the fusion of the base and superestructure in late capitalism. In this sense, it seeks to clarify where Jamesons essay helps to understand the dominance of postmodernism and how it is unsufficient to explain the situation of material production in areas where neoliberalism and globalization are not developed and, therefore, do not respond fully to the cultural logic that animates financial capitalism. In other words, it is necessary a reality test of the ideology of postmodernism beyond the borders of the Anglo-Saxon world. Thus, it is discussed the possibility of Jamesons thesis of base and superestructure stage of late capitalism be restricted to countries where both flexible accumulation and financial globalization indeed ocurred. This research also aims to make considerations about Jamsons prose in order to point some of its effects and its relations with the denouncing contents of this essay and estabilish their correspondences with the method of the Frankfurt School, more specifically, the one of Theodor Adorno.

A partir da análise da peça Vale das facas voadoras, do dramaturgo e diretor alemão René Pollesch, procura-se abordar a obra desse diretor, bem como, refletir sobre as possibilidades que ele apresenta para dar conta de uma crítica da ideologia que sobreviva a um ambiente Pós-Moderno, segundo a definição do teórico americano Fredric Jameson. / Starting from the analysis of the play Valley of flying knives, written by German playwright and director René Pollesch, the dissertation seeks to analyze the work of this director, as well as reflect on the possibilities it has to account for a critique of ideology that survives to a Postmodern environment, as defined by the American theorist Fredric Jameson.