Orientador: Luiz Roberto Velloso Cairo / Banca: Álvaro Santos Simões Junior / Banca: Marilu Martens Oliveira / Resumo: O presente trabalho tem por objetivo central a leitura da obra do historiador e crítico literário Afrânio Coutinho (1911-2000), bem como a apresentação de seu método crítico, ressaltando o seu pensamento a respeito da literatura como fenômeno estético, fugindo da abordagem positivista, que estudava o fenômeno literário a partir de valores extrínsecos como a biografia do autor, o contexto histórico no qual este estava inserido, dentre outros, sem levar em consideração os fatores intrínsecos do mesmo. Além disso, traça-se um panorama analítico das histórias de literatura brasileira publicadas antes e depois d'A Literatura no Brasil, com considerações a respeito de seus autores. Motivou a realização do trabalho, a necessidade sentida de uma releitura da obra de Afrânio Coutinho, salientando que A Literatura no Brasil, sua principal obra, é um projeto escrito a várias mãos, o que faz dela um vasto painel de múltiplas visões, que leva o leitor à absorção de um número maior de pontos-de-vista a respeito do fato literário. / Abstract: The present dissertation has the work of the literary critic and history scholar Afrânio Coutinho (1911-2000) as its central point, as well as the presentations of his critical method, emphasizing his thoughts about literature as an esthetic phenomenum, leaving behind the positivist approach which studied the literary work from extrinsic values like the author's biography, the historical context in which the work was inserted, among other values, without taking its intrinsic values into account. Besides this, an analytical map of the histories of the Brazilian literature published before and after. A Literatura no Brasil is done, with considerations about its authors. The need to reread the work of Afrânio Coutinho motivated the accomplishment of the dissertation, emphasizing the A Literatura no Brasil, his main work, is a project written by many hands, which makes it a vast panel of multiple visions, that leads the reader to the absorption of a larger number of point-of-view concerning the literary act. / Mestre

Esta pesquisa reivindica a capacidade de aglutinação de escritores das literaturas de língua portuguesa por Timor-Leste, e com isso, a leitura do fazer literário poder ocorrer pela dimensão das relações. Nelas, entende-se a fragilidade de um rizoma (baseado na conceituação de Deleuze e Guattari) passível de ser analisado nas obras entre si, na prática da intertextualidade e nos índices paratextuais reunidos, porque se interlocucionam por Timor. Para isso, evidencia-se o encadeamento da textualidade flagrada entre os escritores de língua portuguesa, que um a um cavam a própria capilaridade no rizoma-Timor, transmutado em Rede Literária de Timor. Pelo menos vinte escritores se interconectaram rizomaticamente a três escritores-nós, Ruy Cinatti, Xanana Gusmão e Luís Cardoso, fazendo dessa dinâmica de produtividade o flagrante da Rede Literária de Timor. Observou-se que o trânsito de literatas foi a ocorrência mais acionada, ao passo que a permanência-pertença foi gratamente evidenciada em Luís Cardoso, Joana Ruas e Teresa Amal. / This research claims the agglutination capacity of writers of Portuguese-language literatures by East Timor, and with this, the reading of literary making can occur through the dimension of relationships. In them, it is understood the fragility of a rhizome (based on the conceptualization of Deleuze and Guattari) passible to be analyzed in the works among themselves, in the practice of intertextuality and in the paratextual indexes gathered, because they promote interlocution by Timor. For this, it shown the evident linkage of textuality caught between Portuguese-speaking writers, who one by one dig the very capillarity in the rhizome-Timor, transmuted into the Timors Literary Network. At least twenty writers interconnected rhizomatically to three writers-knot, Ruy Cinatti, Xanana Gusmão and Luís Cardoso, making this productivity dynamic the flagrant of the Timors Literary Network. It was observed that the traffic of literates was the most frequent occurrence, while the permanence-belonging was gracefully evidenced in Luís Cardoso, Joana Ruas and Teresa Amal.

Este estudo é, no essencial, uma reflexão acerca da produção, do método e da construção da linguagem crítica de Benedito Nunes. Tal crítica é entendida como uma leitura hermenêutica perpassada por um discurso em confrontação filosófica e literária, em que outras vozes, em vários momentos, misturam-se à sua identidade escritural, como as de Nietzsche, de Heidegger, de Ricoeur... O que se pretende, antes de tudo, é acompanhar os passos da sua hermenêutica, realçar a problemática que ele imprime ao seu texto; qual seja, o repensar crítico das questões do Homem, do Mundo, em um ato de interpretação que, como lembra Foucault, enreda o próprio intérprete e o faz interpretar-se a si mesmo. Assim, no primeiro capítulo, denominado \"Uma incursão à obra e ao pensamento de Benedito Nunes\", a intenção foi a de ressaltar seus principais escritos, a recepção crítica à sua obra e a linha interpretativa em que se move. O segundo, intitulado \"A crítica crítico-reflexiva de Benedito Nunes\", foi dividido em quatro momentos representativos das preponderantes características do seu corpus ensaístico: 1. a crítica definida como tensão entre a escrita dos escritores e a leitura dos críticos; 2. o confronto de idéias estéticas e poéticas; 3. as raízes filosóficas como marcas do discurso teórico-crítico; e 4. o traço da historicização e o uso do ensaio. Por fim, em \"A opacidade crítica: a linguagem na divisa entre o conceitual e a criação de imagens\", a preocupação foi a de pôr em relevo a sua prática de leitura hermenêutica, o modo como tece a sua linguagem crítica, em que se sobressai inscrito, por vezes, o metafórico. / This study is essentially a reflection about the critical work of Benedito Nunes, in what regards its language and its method. Its language is regarded as a hermeneutical reading where the voices of other literary and philosophical authors as Nietzsche, Heidegger, Ricoeur etc. are heard and whose speeches intermingle with the author`s speech. In what concerns its method, we tried to accompany the steps of Nunes` hermeneutics in order to stress what he aims at with his texts: the critical interpretations of the questions of Man and World which - as Foucault puts it - results in the author making his own interpretation. In the first chapter , \" An incursion into the work and the thought of Benedito Nunes\" we first tried to consider his main texts in accordance with his critical interpretation and to make an exaustive review of his critical reception. The second chapter \" Benedito Nunes` critical-reflexive criticism\" was divided into what we consider the four main characteristics of his essays:1. criticism as a tension between the writing of the authors and the reading of the critics; 2. the confrontation between aesthetic and poetic ideas; 3. the philosophical roots of his theorethical-critical speech; 4. the way historicism and essaysm are being used in his work; And finally, in our last chapter \" Critical opacity: language between concept and image\" we wanted to evidentiate the kind of Benedito Nunes` hermeneutical reading and the construction of his critical language where metaphore sometimes emerges in its relevant role.

中國古代典籍異文繁多，古人訓釋典籍，理當參詳眾本異文，考定字句意義。在校勘學研究方面，前人所論古人校書方法，亦有謂其廣集異本，進行比對校勘，把注家引用異文當作專為校勘之手段。至於訓詁學及異文研究的討論方面，前賢學者亦以為古人注書標示異文，僅為展示他本差異，校勘異同。即使論及異文，亦只局限於討論同一種書的不同版本，或今古文之別，並認為直至清人注書校書，方通過異文比對，探求古書字詞真義。 / 本論文集中討論由漢代至唐代古書注疏與異文之關係，以鄭玄《禮記注》、韋昭《國語解》、王肅《孔子家語注》、楊倞《荀子注》、成玄英《莊子疏》為中心，輯錄諸書有關異文，囊括古今文字異文、互見文獻、引書異文、出土文獻異文、類書異文等，以之比對該書注文，查考當中有關聯者。在訓詁學研究方面，本文據上述比對材料，考證漢唐注疏諸家運用異文以為訓詁之例，詳析其以異文為訓詁的方法及準則，繼而考察後代注疏對漢代經師注書方法的承傳，以及對後世訓詁方法的影響，從而梳理異文訓詁從漢代開始的發展脈絡。在語言學研究方面，則通過古籍傳注與異文的比對，分析一些古代字詞之通名與別名，以及辭書未有收錄的通假字、近義字，望能補正前說之未備。 / 在個別典籍及注家的研究方面，則根據注家所選用之異文，探討其學術思想之淵源及取向，如從鄭玄《禮記注》與出土文獻郭店簡、上博簡〈緇衣〉的相合詞例，探討三種版本於〈緇衣〉文意理解相輔相成的關係；從韋昭《國語解》的異文選材，查探其注史方法，並與杜預《春秋左傳注》相關釋項比對，考析二書之互見關係；從王肅《家語注》的選材運用，探討《孔子家語》的真偽，並王肅對《家語》學說淵源的看法；從楊倞《荀子注》對諸書之參考程度，分析楊倞對荀子與諸子關係的看法；從成玄英《莊子疏》大量採納互見文獻《淮南子》、《文子》，考析其對三書關係的看法，並側探成玄英的道家思想背景。 / It is generally believed that annotators before the Qing dynasty provided textual variances of ancient texts simply for the purpose of collation. This thesis proposes that textual variances actually serve as a type of commentaries on language and content from the Han through the Tang dynasties, and it examines the various examples of such usage. The texts covered by this study include Zheng Xuan's 鄭玄 (ca. 127-200) Liji zhu 禮記注, Wang Su's 王肅 (ca.195-256) Kongzi jiayu zhu 孔子家語注, Wei Zhao's 韋昭 (ca. 204-273) Guoyu jie 國語解, Cheng Xuanying's 成玄英 (fl. 631-656) Zhuangzi shu 莊子疏, and Yang Liang's 楊倞 (fl. 805-820) Xunzi zhu 荀子注. Through investigating their selecting criteria of textual variances, this research examines their scholarship and their influence on later scholars. The first chapter investigates the relation between the excavated texts and the received edition of "Ziyi" 緇衣. The second chapter evaluates Wei Zhao’s method in commentating Guoyu and comparing it with Du Yu's 杜預 (ca. 222-285) annotation to the Zuo zhuan 左傳. The third chapter delves into the authenticity and the origin of Kongzi jiayu 孔子家語. The fourth chapter analyzes Yang Liang’s perceptions towards the relation between Xunzi 荀子 and the other works of Han and pre-Han philosophers. The last chapter explores Cheng Xuanying's appreciation of the relation between Huainanzi 淮南子, Wenzi 文子, and Zhuang Zi 莊子, as well as his Daoist background. Ultimately, it aims to shed light on the method in citing textual variances as commentary and its development. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 林麗玲 = The relation of textual variances to the commentaries of ancient texts / Lam Lai Ling. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 168-173). / Abstracts also in English. / Lin Liling = The relation of textual variances to the commentaries of ancient texts / Lam Lai Ling.

Ao longo dos anos, a obra de Fernando Pessoa tem sido objeto de diferentes miradas da crítica especializada. Poucas foram, porém, as ocasiões em que os comentadores se ocuparam da figura de Satã e dos diferentes matizes que colorem o episódico diabolismo dos escritos do poeta lisboeta. Todavia, embora errático, o percurso do Tentador nos textos de Pessoa indica a insuspeitada, porém indisputável marca do Demônio no pensamento do autor, mormente em sua juventude literária e em textos ensaísticos de cariz hermético. Por essa ascendência, é possível reconhecer Fernando Pessoa como herdeiro imediato da \"satânica geração\" de escritores lusitanos que, sob o efeito dos vapores mefistofélicos que então pairavam sobre o ambiente literário europeu, redefiniram as letras portuguesas no final dos oitocentos. Assim, partindo do exame das origens e das várias configurações do que se entende por satanismo literário, bem como dos sinais e sintomas de sua manifestação na literatura de Portugal em fins do século XIX, esta pesquisa tenciona investigar a presença do Diabo e a expressão do satânico na obra de Fernando Pessoa. O que se pretende, por meio de leituras analíticocomparativas que tracem as andanças do Tinhoso nos escritos pessoanos orto e heteronímicos, é entender as formas pelas quais o satânico toma posse, em verso e prosa, da escrita de Fernando Pessoa e, com isso, revelar em que sentido é possível reconhecer nele a faceta de um autor inspirado pelo Gênio das Trevas. / Throughout the years, Fernando Pessoa\'s work has been under different gazes by the specialized criticism. However, few were the occasions in which scholars occupied themselves with the figure of Satan and the different shades that color the episodic diabolism in the writing of the Lisbon-born poet. Albeit erratic, the Tempter\'s route in Pessoa\'s texts points at the unsuspected yet indisputable mark of the Devil in the author\'s thought, mainly in his early writings and in essays on hermeticism. Consequently, Pessoa can be seen as the immediate heir of the \"satanic generation\" of Portuguese writers that, under the influence of the mephistophelic vapors then hovering over Europe\'s literary environment, redefined Portugal\'s literature at the end of the eighteen hundreds. Thus, starting with an examination of the origins and sundry configurations of what is known as literary Satanism, as well as the signs and symptoms of its manifestation in Portuguese literature by the end of the nineteenth century, this research aims at investigating the Devil\'s presence and the expression of the satanic in the work of Fernando Pessoa. Using an analytical-comparative approach that traces Old Nick\'s wanderings in Pessoa\'s orto and heteronymic texts, the research intends to understand the ways in which the satanic possesses, in verse and prose, Fernando Pessoa\'s writings, thereby revealing to what extent it is possible to recognize in him the face of an author inspired by the Genius of Darkness.

Esta pesquisa tem como objetivo a reunião de crônicas do historiador e crítico da literatura José Brito Broca (1903-1961), divulgadas entre 1921 e 1931, em periódicos de Guaratinguetá, no Rio de Janeiro e São Paulo. A documentação pertence à Coleção Brito Broca, no Centro de Documentação Cultural Alexandre Eulálio, no Instituto de Estudos da Linguagem da Unicamp. A dissertação ressalta três vertentes temáticas da produção inicial do jornalista: o memorialismo, a ficção e os aforismos. / This research is related to the gathering of chronicles by the historian and literature critic José Brito Broca (1903-1961) publicized between 1921 and 1931 in periodicals of Guaratinguetá, Rio de Janeiro and São Paulo. The documentation belongs to Brito Broca Collection, Cultural Documentation Center Alexandre Eulálio at Institute of Language Studies, Unicamp. The dissertation emphasizes three discussed thematics from the initial production of the jornalist: memorials, fiction and propositions (thoughts).

Não fornecido pelo autor. / Não fornecido pelo autor.

Este trabalho de interpretação de \"O Recado do Morro\" trata da forma mesclada do conto com outras modalidades de narrativa, provindas da tradição oral, em consonância com o processo histórico-social que rege a realidade também misturada do sertão rosiano, múltiplo e labiríntico, fonte e origem do mito e da poesia. O estudo descreve e tenta apreender assim a mistura peculiar que define a singularidade do conto, intrinsecamente relacionada ao mundo misturado que tanto encanta quanto desconcerta. Na reconstrução da mistura como um todo orgânico, em que o conto parece renascer do interior da poesia do mais fundo do sertão brasileiro, se busca tornar inteligível um verdadeiro processo de esclarecimento, que culmina com o reconhecimento de sua própria identidade relacionado à terra natal à qual o herói retorna, de modo triunfal. / This interpretative work on \"O Recado do Morro\" discusses the mixture of this short story with other narratives modes, based on oral tradition, consistent with the socio-historical process orienting the also-mixed reality of Guimarães Rosa\'s backlands, plural and labyrinthine, where myth and poetry come from. This study reports and seeks to comprehend the peculiar mixture that defines the narrative\'s uniqueness which is intrinsically related to the hybrid style that amazes and disconcerts the reader. In reconstructing this mixture as an organic whole, where the short story seems to be reborn from the poetry of the deepest backlands of Brazil, this reading seeks to make intelligible a veritable process of the illumination, whose climax is the recognition of himself: a identity of the hero.

"The American Tradition of the Literary Interview 1840 - 1956: A Cultural History" is the first study to document the development of the literary interview in the United States. A handful of critics have discussed the literary interview and traced it back to various European cultural traditions; however, I argue that, like the interview, which the British journalist William Stead wrote "was a distinctly American invention," the literary interview was a particularly American form. Drawing on archival research and new readings of primary sources, this project examines the literary interview's systemic growth and formal characteristics between 1842 and 1956. I trace connections among the American press, culture, and literary marketplace to offer an as-yet unwritten history of the literary interview. During Charles Dickens's 1842 North American tour, the first literary interviews were published in written-up, or paragraph form and resembled written snapshots or sketches. As a result of the cult of domesticity and the popular scandals of the mid-to-late nineteenth century, the literary interview developed into a slightly longer and more narrative form that focused on an author's surroundings and living quarters. With the rise of yellow journalism and muckraking reporting during the first decades of the twentieth century, the literary interview became a more investigative and intrusive form; yet at the same time, the first in-depth, literary conversations with American authors were published. During the interwar period, the second wave of "girl reporters" and lady interviews transformed the written-up literary interview into a more nuanced form that exhibited rhetorical and literary flourishes. With the development of the New Yorker profile and the Paris Review interview in the mid-twentieth century, the literary interview branched off into two distinct modes: the profile and the author Q & A. This history of the literary interview offers a model of reading mass media communications in terms of both content and form. In doing so, this project chges the critical frameworks that dismiss the literary interview as ancillary to literature and articulate the importance of interviews, communication, and conversation in American culture.

This study examines the literary career of the eighteenth-century American poet Joel Barlow. Because Barlow, unlike his peers, came to fully embrace print-based methods of authorship and advertising, between 1790-1810 he emerged as the most widely read American poet. Employing a book studies methodology, this project focuses on the publication details surrounding each of Barlow's poems including: his relationships with his publishers, the physical shape and appearance of his works, the cost of those works, how those works were advertised, and the extent of their geographic distribution. The arc of Barlow's career was extraordinary. Barlow's development, his transformation from a standard eighteenth-century club poet who relied on manuscript circulation and oral performance in the 1770s to an international man of letters and a periodical fixture by 1800, highlights the possibilities and limitations of American literary publishing during the early national period. Importantly, Barlow's ability to emphasize, rather than elide, his personal identity in the press, forces scholars to reevaluate their notions of late eighteenth-century republican print culture. Barlow's career also impacts our reading of American literary history. In an age of caution and deference in American poetry, Barlow was driven to maximize his audience, publishing his poems across all price points and in every medium offered by the time. Barlow's efforts at self-promotion, coupled with his staunch republican politics, allowed his poems to take on a life of their own in the era's fiercely partisan press. Thanks to his association with the transatlantic republican movement and radical religious thinkers, this study suggests that poems such as the "Conspiracy of Kings," (1792) "The Hasty Pudding," (1796) and the Columbiad (1807) enjoyed audiences as large and as economically diverse as those of popular fiction. Even in an age marked by the rise of the novel and the beginnings of romanticism, An Ink-Stained Neoclassicist contends that Barlow's proto-mass audience reveals the persistent popularity and cultural importance of neoclassical verse in the intellectual life of many Americans at the turn of the nineteenth century.