Orientador: Arlindo Rebechi Junior / Banca: Marcelo Magalhães Bulhões / Banca: Jefferson Agostini Mello / Resumo: Maura Lopes Cançado, uma escritora de carreira breve, publicou, em 1965, sua primeira obra, Hospício é Deus: diário I, um diário autobiográfico sobre seus dias de clausura em instituições psiquiátricas, dando ênfase para as críticas ao sistema manicomial. Por outro lado, João Moreira Salles, em 2007, lançou o documentário Santiago, no qual revisita a própria história por meio das lembranças do mordomo que trabalhou para os Moreira Salles por mais de três décadas. As duas obras em questão, Hospício é Deus: diário I (1965) e Santiago (2007) foram selecionadas para compor o corpus das análises comparativas desta pesquisa, uma vez que se constituem como narrativas singulares com traços autobiográficos a partir da perspectiva de Vapereau (1876) e Leonor Arfuch (2002), autores que ampliam as definições do gênero, chamando de autobiografia todo discurso cujo autor teve a intenção, secreta ou confessa, de contar trechos ou partes inteiras de sua vida. Intenciona-se, portanto, partindo da perspectiva comparativa destes discursos autobiográficos construídos a partir de sistemas sígnicos distintos, promover uma reflexão acerca dos limites normativos deste gênero do discurso, assim como uma ponderação sobre a conceituação tradicionalista proposta por Lejeune (1975) e as implicações da necessidade restritiva de um pacto para posicionar um discurso no espaço biográfico que reúne as narrativas do eu / Abstracts: Maura Lopes Cançado, a short career writer, published in 1965 her first work, Hospício é Deus: diário I, an autobiographical diary about her cloistered days in psychiatric institutions, with emphasis on criticism of the asylum system. On the other hand, João Moreira Salles released, in 2007, the documentary Santiago, in which he revisits his own history through the memories of the butler who worked for the Moreira Salles for more than three decades. The two works in question, Hospício é Deus: diário I (1965) and Santiago (2007) were selected to compose the corpus of comparative analyzes of this research, since they constitute singular narratives with autobiographical traits from the perspective of Vapereau 1876) and Leonor Arfuch (2002), authors who expand the definitions of the genre, calling autobiography every speech whose author had the intention, secret or confessed, to tell parts or whole parts of his life. It is therefore intended, starting from the comparative perspective of these autobiographical discourses constructed from distinct sign systems, to promote a reflection on the normative limits of autobiography as a genre of discourse, as well as a consideration of the traditionalist conceptualization proposed by Lejeune (1975) and the implication of the restrictive need for a pact to position a discourse in the biographical space that brings together the narratives of the self / Mestre

Thesis (Ph. D.)--Center for Religious Studies and Dept. of History. University of Missouri--Kansas City, 2005. / "A dissertation in religious studies and history." Typescript. Advisor: Gary L. Ebersole. Vita. Title from "catalog record" of the print edition Description based on contents viewed March 13, 2007. Includes bibliographical references (leaves 340-360). Online version of the print edition.

Through a close analysis of four plays by Shakespeare, this thesis argues that the question of subjectivity ultimately comes to be negotiated around a structural impasse or certain points of opacity in each of the text's signifying practices. Challenging assumptions about the utatively "theatrical" contexts of Richard III, Richard II, Hamlet and Antony and Cleopatra, I argue that, to varying degrees, the specular economy of each play is in fact traversed by a radical alterity that constitutively gives rise to a notion of subjectivity commonly referred to as "Shakespearean". Elaborating upon the work of both Jacques Lacan and Jacques Derrida, I argue that "subjectivity" in the plays is, rather, the articulated confrontation with a non-dialectizable remainder that haunts each text from within. Crucially in this respect I relate each of the texts to Lacan's account of the "gaze" as a species of what he calls the object a: an alien kernel of jouissance exceeding all subjective mediation yet, paradoxically, also that which confers internal consistency both to subjectivity and to the very process of symbolization as such. I am, moreover, also concerned to read the work of Jacques Derrida as providing an illuminating context for how this incursion of alterity that he terms differance (what Lacan calls the Real) may be read as the unacknowledged support of subjectivity. The thesis concludes with a consideration of how this analysis of the Shakespearean object, rather than succumbing to the heady pleasures of an unfettered textuality, opens, ineluctably, onto a rethinking of the very category of the "political" itself.

This thesis presents a new approach to the alterity of medieval texts in a psycho-literary analysis of the modes of consciousness informing one group of those texts, the Middle English religious lyrics. In a bilateral analysis, Part I establishes criteria for evaluating modes of ego and relates these criteria to what is known about medieval culture and mentality with examples from the lyrics; Part II examines textual evidence from these poems for indications of notions of the self and the way the self is experienced. The thesis argues that a major source of medieval alterity lies in the ready access in the Middle Ages to modes of consciousness comparable to that identified by the archetypal psychologist James Hillman as an imaginal ego. The imaging of various aspects of the self is surveyed: body-consciousness, modes of perception, and major self-awareness-enhancing experiences of life-suffering, woundedness, sickness, old age, and death. Hypnotic aspects of the lyrics are found to be particularly significant in maintaining this consciousness. (For complete abstract open document)

Thesis (M.A.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 1, 2007) Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 204-227). Also available on the Internet.

Thesis (Ph.D.)--Baylor University, 2008. / Includes bibliographical references (p. 196-210).

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 204-227). Also available on the Internet.

Thesis (Ph. D.)--Indiana University, 2004. / Computer printout. Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0021. Chair: Marianne C. Kielian-Gilbert. Includes bibliographical references (leaves 242-254), abstract, and vita.

Thesis (Ph. D.)--University of Western Sydney. / "March 2004." Title taken from title screen (viewed October 8, 2007). Includes bibliographical references.