Orientador(a): Luciane de Paula / Banca: Marina Célia Mendonça / Banca: Ekaterina Vólkova Américo / Banca: Grenissa Bonvino Stafuzza / Banca: Valdemir Miotello / Resumo: Diário do hospício e O cemitério dos vivos são textos escritos por Lima Barreto durante sua segunda internação no Hospício Nacional de Alienados, e a partir dela, no Rio de Janeiro, entre 25 de dezembro de 1919 e 2 de fevereiro de 1920. O primeiro é tido como anotações para a elaboração do segundo, um romance inacabado, cujo processo de produção foi interrompido pela morte do autor (1/11/1922). O objetivo geral desta pesquisa é analisar a constituição de vozes sociais sobre a loucura e a psiquiatria - por meio das relações dialógicas, do discurso bivocal (polêmicas aberta e velada) e do autor - no diálogo entre Diário do hospício, O cemitério dos vivos, de Lima Barreto, outros enunciados e outras vozes sociais. Os objetivos específicos são: 1) identificar as vozes sociais com as quais dialoga Lima Barreto no processo de constituição dos enunciados que integram o corpus de pesquisa e descrever como se estabelece o diálogo entre esses enunciados limabarretianos; 2) examinar a bivocalidade polêmica no diálogo entre Diário do hospício e O cemitério dos vivos, no que diz respeito: i) à polêmica aberta estabelecida entre esses enunciados e os discursos da ciência psiquiátrica de sua época; e ii) à polêmica velada entre a fala limabarretiana e outras falas literárias do início do século XX; 3) perscrutar, ao compreendermos o autor como posição de autor, autor-criador/atividade de autor, autor puro e posicionamento de autor, os movimentos desses diálogos no processo de constituição a... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Diário do hospício and O cemitério dos vivos are texts written by Lima Barreto during his second admission in Hospício Nacional de Alienados,, and from there respectively, in Rio de Janeiro, between December 25, 1919 and February 2, 1920. The first is taken as annotations to development of the second, an unfinished novel, whose production was interrupted by the death of the author (1/11/1922). The overall objective of this research is to analyze the constitution of social voices about madness and psychiatry - through dialogical relations, polemical double-voiced discourse and the author-creator - in the dialogue between Diário do hospício and O cemitério dos vivos, works of Lima Barreto. The specific objectives are: 1) identify the social voices with which Lima Barreto dialogues in the process of formation of statements that make up the corpus of this research and describe how the dialogue between these limabarretianos statements is established; 2) examine the polemical double-voiced in the dialogue between Diário do hospício and O cemitério dos vivos, regarding to: i) the open polemic established between these statements and speeches of psychiatric science of his day; and ii) the veiled polemic between limabarretiana speech and other literary discourse of the early twentieth century, through his utterances; 3) search, to understand the author as an author's position, author-creator/ author's activity, pure author and author's positioning, the movements of these dialogues on... (Complete abstract click electronic access below) / Doutor

This thesis examines the representation of ‘otherness’ in postcolonial neo-Victorian fiction. It analyses a selection of novels that not only engage critically with the Victorian past but specifically with the legacy of Victorian Britain’s empire. By looking at the ways in which neo-Victorian novels depict the (de)construction of their characters’ identities, this thesis investigates whether these representations are able to provide insight in present-day constructions of who is seen as being at home in British or Western European society and who is defined as ‘other’. Otherness, these novels show, is not limited to a binary of the Western ‘self’ and the stereotyped, non-Western ‘other’. Rather, many of the novels’ characters are made to discover the other(ness) within themselves. The introductory chapter considers neo-Victorianism’s postmodern background and the way it relates to postcolonial theories of race and sexuality. Chapter One focuses on two novels: Julian Barnes’ Arthur & George (2005) and Belinda Starling’s The Journal of Dora Damage (2007). Both novels are set in Britain and engage with the figure of the other coming (too) close to home. The chapter employs a potentially multidirectional ‘looking relation’ to study how postcolonial neo-Victorian fiction constructs the other against which the British characters define their own identities. Moving away from Britain, Chapter Two looks at the notion of the journey, specifically sea voyages between metropole and colony. Using Gail Jones’ Sixty Lights (2004) and Joseph O’Connor’s Star of the Sea (2002), this chapter studies how the liminal experience of travel can function as an othering device. Chapter Three, finally, examines how Daniel Mason’s The Piano Tuner (2002) and David Rocklin’s The Luminist (2011) describe British society in the colonies. Away from the imperial mother country, making stable distinctions between self and other becomes increasingly difficult for the novels’ characters. Ultimately, this thesis questions whether postcolonial neo-Victorianism maintains a binary between the Western self and a stereotyped figure of the other, or if it can play a role in changing readers’ views of those people seen as ‘other’ in Western society.

Thesis (Ph.D.)--Boston University / After being neglected, Ford Madox Ford has been re-discovered as an important novelist. This dissertation deals with Ford as a literary theorist and as an influence on other writers. Chapter I treats Ford's emergence with the help of Joseph Conrad from his Pre-Raphaelite background and his subsequent renunciation of Pre-Raphaelite aesthetics. Chapters II and III treat his theory of the novel and his acceptance of certain Flaubertian techniques, e.g. impressionism, the progression of effect, and the impersonal author [TRUNCTAED]

This thesis is the first thorough investigation into the phenomenon known as the Burns Supper. This has grown spontaneously over the years from a nine man dinner at Burns Cottage, Alloway in July 1801 which marked the fifth anniversary of the death of Robert Burns, to over 3,500 dinners embracing more than nine million people across the world during the celebration of the two hundred and fiftieth anniversary of his birth in 2009. The original event took the form of a convivial club dinner, typical of that period and using invented ritual paying homage to Freemasonry, key elements were grafted onto the running order which remain core today: notably a toast to Burns (‘the Immortal Memory’), poetically addressing (and eating) a haggis and performing Burns’s songs and poems including Auld Lang Syne. While the other contemporary societies and annual literary dinners have fallen into desuetude, the Burns Supper has exhibited longevity and a growth in scale annually that is exceptional. The success of the format is three-fold. First, the Burns Supper remains a social and convivial party; secondly, there is a greater degree of flexibility in how it can be arranged than is often recognised; and finally, the few mandatory elements are key to understanding Burns’s own imperative to be recognised as ‘Bard’ within a milieu which calls for participation. The original Burns Suppers recognised this and deliberately utilised Burns’s most performative verse to capture the spirit of his oeuvre and by incorporating that bardic quiddity, the Burns Supper two hundred years later still shares that fundamental experience which is essential to its immediacy and integrity as a vehicle for the appreciation of Robert Burns. By detailed study of the original minutes of the early suppers, combined, for the first time, with extensive newspaper reports, club archives and biographical sources, the expansion of participation in the Burns Supper from friends of the poet through to Scots at home or expatriate, to the wider global audience is tracked and analysed. As with all amateur (in both senses) movements, enthusiasm has at times exceeded critical judgement and the fear of change has been self-defeating. The simple paradox is that from the Second World War while the academic study of Burns was in steep decline, the number of people attending Burns Suppers grew consistently. By a mutual recognition that the Burns Supper, like Burns’s poetry, is not in the ownership of one nationality, political party or gender, the Burns Supper remains the largest literary festival in the world.

This PhD thesis consists of two major sections. The critical commentary, Authenticity and alterity: evoking the fourteenth century in fiction, reflects upon issues of authenticity and alterity in historical fiction. The historical novel, The Nature of Things, through its structure, themes, style and language, aims to deliver an authentic and naturalistic portrait of life in the fourteenth century. The commentary and novel are supplemented by a bibliography, and three appendices: a synopsis of the novel, a list of the characters, and a summary of a review of historical novels undertaken alongside the writing, which sought to discover how other novelists addressed the issues of authenticity and alterity. The critical commentary considers what makes good historical fiction, specifically how to bring a sense of authenticity and the role of ‘alterity’. It first addresses the alleged ‘problems’ of historical fiction claimed by nineteenth-century author Henry James and others: the impossibility of authenticity, its innate falsehood, and its failure to portray the past’s strangeness. It then explains the process of writing The Nature of Things: its concept and themes, structure and characters, narrative metaphors, language and style, its quest for authenticity and ‘naturalism’. Then it looks at authenticity in historical fiction and how it can be achieved: through narrative form, recorded history, social context, physical details, and the historical thought-world, including religion and superstition. It goes on to consider the need for, and use of, ‘alterity’ (strangeness) as a means of achieving authenticity, looking at such concepts as magic, spells, the supernatural and monsters. Finally, it looks at the authenticity of language in historical fiction, the relationship between thoughts and words, and the problems of both anachronisms and archaic language. Throughout the commentary, examples are drawn from both The Nature of Things and ther historical novels. Concluding remarks are given at the end. The novel, The Nature of Things, spans the fourteenth century. It is structured in seven parts, each of which is narrated by one of seven different voices. The titles of the parts allude to the four biblical apocalyptic horsemen plus three invented ‘horsemen’ – Poverty, Famine, War, Plague, Death, Dissent, Despair. The titles allude to the disasters that befell the fourteenth century, which form the backdrop for the narrators' stories, but are also metaphors for the narrators’ emotional sensibilities. People's response to disaster is one of the novel’s themes, but so is hope and continuity, expressed in a garden metaphor that is given physical shape in a fictional thirteenth-century gardening book, The Nature of Growing Things.

This thesis suggests that whilst feminist theory has been, and remains, a significant political influence which has contributed to wholesale legislative and social changes, the climate in which this theory circulates is now markedly different from that of the 1960s, when Second Wave Feminism began. Consequently, a new form of feminist theory is developing, which attempts to respond to an increasingly more complex situation, without losing sight of the many important elements of the earlier work. This thesis is situated within this movement and I term the approach it takes Third Wave Feminist Analysis. Third Wave Feminism seeks to challenge sexism and to explore notions of femininity as they are manifested in texts, looking for both the restrictions these seek to impose on women and for the potential these offer for liberatory ways of behaving and being. As this reference to texts might suggest, Third Wave Feminist Analysis is primarily a form of literary criticism. However, it does not only draw on work from that discipline. Instead, it employs ideas and approaches used by feminists working in other fields, in order to formulate a more comprehensive analysis than was generally found in earlier feminist literary criticism. Moreover, the thesis is not limited to an exploration of only literary texts but also explores other cultural forms. This diversity is important because constructions of knowledge and subjectivity are enabled by all types of representations. Thus, interdisciplinarity moves analysis on from a straightforward identification of the Tacts' of literary cultures to an exploration of cultural identities, a step which is assisted by Third Wave Feminist Analysis's insistence on the importance of extra-textual features, including the analyst's own background knowledge of the society in which the texts being explored are produced and interpreted. The object of this emphasis on the cultural and the societal is a more equitable world; in other words, I am claiming that Third Wave Feminist Analysis aids feminist praxis. As part of this attempt, Third Wave Feminist Analysis attempts to interrogate the ways in which femininity is defined in the case studies explored. In this thesis three texts in circulation in the 1990s are examined: Jane Smiley's A Thousand Acres (1992); The Rector's Wife by Joanna Trollope (1991); and the TV Soap Opera archetype, the Soap Queen. As part of this examination, femininity is understood as one of a number of inter-connecting discourses which not only reflect but shape gender. Thus, discourses disseminate social and institutionalised values and also create them, influencing people's behaviours and attitudes, although individuals do have the potential to resist or challenge this influence. A recurrent discursive theme in the three case studies explored here is the association of femininity with the 'private' or domestic realm of home and family. In many ways, this association is rooted in an outdated notion of femininity; the Victorian concept of the feminine domestic ideal. To this extent, this thesis argues that its case studies are implicated in the promulgation of anachronistic discourses. However, all three texts also subvert this ideal in a number of ways and the ways in which this subversion occurs are also explored.

This thesis centers on the question of how the representation of buildings opens up possibilities for investigating Can Xue's fiction as literature with universal concern about humanity. It explores the significance of Can Xue's employment of buildings in her works from three aspects. The first aspect regards buildings as the reflection of the structure of the soul. The second aspect situates buildings in their relationship with residents and explores the connection between the buildings/residents relationship and that of body and soul. The last aspect sees buildings as the microcosmic projection of Can Xue's fictional space. This study places textual constitution at the center of investigation through the approach of close textual analysis. It marks an attempt to reconsider the method of literary investigation in the field of modern Chinese literature which has been dominated by cultural and historical approaches.

This thesis contains an analysis of the ways in which form and content are combined to create significance within a text, as well as an exploration of the ways in which the mechanics of didactic fiction convey this significance to the reader.

The genesis and development of modern African literature in indigenous languages in South Africa cannot be satisfactorily handled without linking them to the historical, social and political developments in South Africa. The first literary works to be published in South Africa in indigenous languclges were the products of western imperialist agents, the missionaries especially. This literature was later exposed to further ideologies when the government took control of education for Af~cans. The intensification of th€ liberation struggle from mid 20th century saw literature becoming another area of resistance politics in South Africa. African writers began to write in English. The birth of the Black Consciousness Muvement in the late sixties gave further impetus to this development with the emergence of black protest literature. This study seeks to investigate thes. developments in both African literature and black protest literature by employing a materialist analysis, specifically focusing on ideology as a material condition. / Afrikaans and Theory of literature / (M.A. (Theory of Literature ))

This dissertation explores the theological and ethical preoccupations of Phillis Wheatley in colonial New England. Chapter 1 frames the conversation around relevant research and states the project thesis to explain Wheatley’s background and eventual role as mother of African-American literature. Wheatley manipulates neoclassical Greek mythological images to subversively critique British-American racial hierarchicalism. Chapter 2 explains the meaning of an Afrosensitive hermeneutic, exploring the epistemological development of Afrocentric thought as a Eurocentric counterfactual. Bebbington’s quadrilateral is the exploratory portal used to discern Wheatley’s commitment to evangelical theology. Chapter 3 assesses Wheatley’s critique of exemplary or open American exceptionalism through the lens of chattel slavery. Critical race theory becomes the analytical lens to understand the intersection of religion, race, class, and gender on Wheatley sociopolitical imagination. Chapter 4 develops a conversation on social justice and neighbor love between Wheatley and St. Augustine (AD 354-430) of Hippo. Although Wheatley never directly quotes, she exemplifies Augustinian spirituality in her response to injustice. They both desire to restore the image of God through a comprehensive view of the gospel—vertical, horizontal, and cosmological. Chapter 5 addresses Wheatley’s staunch commitment to Christian orthodoxy and social activism. She honored Christ as the exclusive way of salvation through literary apologetics in select poems. She also leveraged her privilege amongst societal influencers to advocate for the immediate emancipation of African peoples. Wheatley believed that enslavers lacked a comprehensive understanding of love. Hence, she confronted inconsistent religious and philosophical beliefs through her poetry and prose. Chapter 6 summarizes the dissertation by demonstrating the theological and ethical commitments of a contemporary afrosensitive evangelical spirituality by critiquing key figures within the realm of Afrocentric spirituality, illustrating why afrosensitive evangelical spirituality reverences biblical authority while exercising cultural agency when examining African diasporic narratives.