Made available in DSpace on 2015-09-25T12:19:25Z (GMT). No. of bitstreams: 1 Weber Firmino Alves.pdf: 1569107 bytes, checksum: 9f367caa58c5f2f91eba9fc05f30978f (MD5) Previous issue date: 2011-03-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The text literary evokes inside speeches from various backgrounds who have in the human world, which includes, among other aspects, the cultural expressions, within which is religion. For this reason, theological discourses and symbols of religions are refracted in the literature, the same way as other speeches. Either as subject or as figure (character), the presence of "God" is repeated throughout the literature, various figurations and thematizations engendered in constant dialogue and interdiscursive with the different religious traditions. From this, this research aims to identify and analyze these figures of God in the work of Ariano Suassuna, "Romance of The Stone of the Kingdom," in which a single Catholic religion, with certain peculiarities typical of the Brazilian Northeast, is woven. In such a religion formed in the work of textual space Suassuna, various depictions of God will take place in the narrative, dialogue interdiscursivecarnavalizante and, more specifically, with Christian traditions of Roman Catholicism. It is noticed that the figures presented in the god in this religion of Suassuna refracts literary elements of the official theology of the Roman Catholic Church and popular Catholicism by introducing different and controversial forms of expression, including syncretic, that divine person, shaper of much of Western imagination. The research, basing himself in literary theories and discourses, including contributions from Bakhtin (carnivalization and dialogism), Maingueneau (Interdiscursivity) and Ricoeur (hermeneutics), among others, has resulted in a rich dialogue samples interdiscursive established from figures and themes related to the god of the religion of Catholicism backcountry Stone of the Kingdom, seeking to identify similarities between concepts of theology and religion Suassuna, interpreting possible meanings generated in the world of the literary text. / O texto literário evoca em seu interior discursos de várias procedências que têm como referência o mundo humano, que inclui, dentre outras dimensões, as expressões culturais, no seio das quais se encontra a religião. Por essa razão, os discursos teológicos e os símbolos das religiões são refratados na literatura, do mesmo modo que outros discursos. Seja como tema ou como figura (personagem), a presença de Deus è recorrente na literatura, sendo diversas as figurações e tematizações engendradas em diálogo incessante e interdiscursivo com as diferentes tradições religiosas. A partir disto, a presente pesquisa objetiva identificar e analisar figuras de Deus presentes na obra de Ariano Suassuna, Romance d‟A Pedra do Reino , na qual uma singular religião católica, com certas peculiaridades típicas do Nordeste brasileiro, é tecida. Em tal religião constituída no espaço textual da obra de Suassuna, diversas figurações de deus vão tomando lugar na narrativa, em diálogo interdiscursivo e carnavalizante, mais especificamente, com tradições cristãs do Catolicismo Romano. Percebe-se que as figuras do deus apresentadas em tal religião de Suassuna refrata literariamente elementos da teologia oficial da Igreja Católica Romana e do catolicismo popular, instaurando diferentes e polêmicas formas de expressão, inclusive sincréticas, desse personagem divino, forjador de grande parte do imaginário Ocidental. A pesquisa, fundamentando-se em teorias literárias e discursivas, destacadamente, contribuições de Bakhtin (carnavalização e dialogismo), Maingueneau (Interdiscursividade) e Ricoeur (hermenêutica), dentre outros, apresenta como resultado amostras de um rico diálogo interdiscursivo estabelecido a partir de figuras e temas referentes ao deus da religião do catolicismo sertanejo da Pedra do Reino, buscando apresentar as identidades conceituais da teologia da religião de Suassuna, interpretando possíveis sentidos gerados no mundo do texto da obra literária.

Made available in DSpace on 2015-09-25T12:19:27Z (GMT). No. of bitstreams: 1 Erica Tavares de Araujo.pdf: 810898 bytes, checksum: c135ae754294248f444dc4838fbffcab (MD5) Previous issue date: 2011-07-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims to analysis s corpus the romances Estorvo, Benjamim and Budapeste, of Chico Buarque. Our objective was to approach them from what throughout the research we consider the three main author s themes, namely: the subject s problematic incontemporaneity, the city and the memory. For this, we begin our course departing of basic hypothesis of that the city permeates all the buarqueams narratives, finding mapping the Rio de Janeiro s representations in some key-authors of the modernity in order to observe the construction s specificity of the space by the author, object of the first chapter. After that, we discuss the differences between the construction s mode of the subjectivity in Benjamin, and in Estorvo, in order to demonstrate how the author put in scenes, in each of the romances, various practices of live the subjectivity that cannot be reduced to a single concept of subject in post modernity. Eventually, object of third chapter, we resume to the city s theme in Budapeste, romance that do migrate to the Rio s representation to Hungarian capital, analyzing what this change implies. / Esta Dissertação tem como corpus de análise os romances Estorvo, Benjamim e Budapeste, de Chico Buarque. Nosso objetivo foi abordá-los a partir daquilo que, ao longo da pesquisa, consideramos os três grandes temas do autor, a saber: a problemática do sujeito na contemporaneidade, a cidade e a memória. Para tanto, iniciamos nosso percurso partindo da hipótese básica de que a cidade permeia todas as narrativas buarqueanas, buscando mapear as representações do Rio de Janeiro em alguns autores-chave da modernidade com o intuito de observar a especificidade da construção do espaço pelo autor, objeto do primeiro capítulo. Em seguida, abordamos as diferenças entre o modo de construção da subjetividade em Benjamin e em Estorvo, com o intuito de demonstrar como o autor põe em cena, em cada um dos romances, práticas diversas de viver a subjetividade que não podem ser reduzidas a um conceito único de sujeito na pós-modernidade. Por fim, objeto do terceiro capítulo, retomamos o tema da cidade em Budapeste, romance que faz migrar a representação do Rio à capital húngara, analisando o que tal mudança implica.

Made available in DSpace on 2015-09-25T12:19:52Z (GMT). No. of bitstreams: 1 Kyssia Rafaela Almeida Pinto da Silva.pdf: 1206705 bytes, checksum: c0d28b8bc99675ead0819035258b62c8 (MD5) Previous issue date: 2012-05-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation presents a study on the gay subject on these Brazilian literature books for teens: O amor não escolhe sexo (1997), by Giselda Laporta Nicolelis; Menino ama menino (2000), by Marilene Godinho; Cartas marcadas (2007), by Edson Gabriel and Antonio Gil Neto; and O Diário de Rafinha as duas faces de um amor (2009) by Léo Dragone, in order to problematize the values concerned to the homosexual relationships, by the update of the discussion in a socialcultural view through the narrative fiction. According to the theories of Foucault (1997); Silva (2007 and 2009); Facco (2009); Souza Junior (2002): theories and critical conceptions about culture, identity, prejudice and tolerance were discussed; putting into evidence the cultural stereotypes built along the time. These stereotypes marginalize and diminish people considered "abnormal" in society. This study intends to analyze the new point of view attributed by the contemporaneity to these excluded people. During the analysis of these books, there was a focus on the identification of the positive aspects from these characteristics on children literature. Thus, even the personal and social conflicts experienced by the characters due to the consciousness of their sexual identity; the metaphors from the texts suggest that it is possible to dreams come true and live with the "different" in society harmouniously. / Esta dissertação versa sobre as configurações do sujeito homoafetivo nas obras literárias juvenis brasileiras: O amor não escolhe sexo (1997), de Giselda Laporta Nicolelis; Menino ama menino (2000), de Marilene Godinho; Cartas marcadas (2007), de Edson Gabriel e Antonio Gil Neto; e O Diário de Rafinha as duas faces de um amor (2009), de Léo Dragone. O objetivo foi problematizar valores concernentes à questão da homoafetividade, atualizando a discussão no campo sociocultural pela narrativa de ficção. Embasados nas ideias de Foucault (1997); Silva (2007 e 2009); Facco (2009); Souza Junior (2002), discutiram-se questões teóricas e concepções críticas referentes à cultura, à identidade, ao preconceito e à tolerância, evidenciando os estereótipos culturais construídos ao longo do tempo que marginalizam e excluem grupos humanos considerados ―anormais‖ na sociedade. Discutiu-se mais fortemente a (re)significação de estereótipos excludentes que vem sendo assimilado pelos sujeitos na contemporaneidade. Na análise dessas obras direcionamos o olhar para a identificação dos aspectos positivos da funcionalização dessa configuração na literatura juvenil enfocando especificamente a construção dos personagens nas narrativas. Concluímos, dessa forma, que, apesar dos conflitos pessoais e sociais experimentados pelos personagens, graças aos dilemas enfrentados mediante a conscientização de sua identidade sexual/afetivo, a construção textual das obras sugere que é possível realizar sonhos e conviver harmonicamente com a ―diferença em sociedade.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho versa sobre a personificação e os elementos ambientais presentes nas narrativas orais indígenas. Foram trabalhadas quatro narrativas, além de outras contribuições feitas por membros da Comunidade Indígena Nova Esperança, localizada na Terra Indígena Alto São Marcos, Roraima. Para tanto, foi utilizada a metodologia da história oral para constituir as fontes, buscando para isso os moradores que conhecem as histórias e que, na Comunidade, se constituem como seus narradores legítimos e autorizados. Na abordagem das narrativas, utilizou-se a análise literária, em uma perspectiva estrutural e morfológica. Neste contexto, verificase que a personificação dos elementos ambientais nelas presentes está referenciada na cultura e na memória coletiva, por meio da explicitação de valores, de crenças, de ensinamentos e de preceitos, sendo elas mesmas a história da Comunidade. A abordagem da tradição oral deste grupo oferece uma compreensão mais ampliada das suas práticas culturais, podendo contribuir para a compreensão da cultura indígena e dos processos de afirmação da sua identidade.

Em termos gerais, este trabalho consiste em uma análise do livro de poesia Broquéis. Percorrendo linhas de força da trajetória intelectual do poeta João da Cruz e Sousa (1861- 1898) e abordando aspectos de sua fortuna crítica, o estudo pretende ressaltar, entre outros aspectos, as qualidades desse livro. Ainda, apoiando-se em estudos já realizados acerca da literatura do poeta simbolista, a dissertação reforça uma leitura analítica de três poemas em particular. Trata-se dos poemas Antífona, Acrobata da Dor e Rebelado, a partir dos quais destaco traços da poética do livro. Das hipóteses interpretativas, uma delas é que não existe um estilo de poesia pura, e que traços gerais do que se convencionou chamar de parnasianismo e decadentismo, sobretudo, mesclam-se ao simbolismo então nascente no Brasil. Do mesmo modo, verifica-se a partir das análises a impossibilidade de descrever estados de espíritos precisos do eu lírico, o que configura uma situação de ambiguidade recorrente nos poemas. Mescla e ambiguidade podem ser entendidas assim tanto por serem respostas concretas de um poeta em uma fase de incertezas culturais e estéticas quanto por serem o resultado objetivo dos processos sociais da arte de final de século, no Brasil. Por fim, o estudo termina destacando que as faltas e as impossibilidades que marcam a poética de Broquéis podem ser tomadas idealmente em termos positivos como expressão de um discurso moderno em torno da crise da poesia, aliando assim a poética de Cruz e Sousa à modernidade. / In general terms, this work is an analysis of the book of poetry Broquéis. Traversing through lines of the intellectual trajectory of the poet João da Cruz e Sousa (1861-1898) and addressing aspects of his critical fortune, the study aims to highlight the qualities of this book. Leaning on previous studies about the literature of symbolist poet, the dissertation reinforces analytical reading three poems in particular. These are the poems Antífona, Acrobata da Dor and Rebelado, from which highlight traits poetic from book. Of the interpretative hypotheses, one is that there isn\'t a style of \"pure\" poetry, and general features than was conventionally called parnassianism and decadentism above all mingle symbolism nascent in Brazil. Similarly, it appears from the analysis of the impossibility of describing precise states of spirit the lyrical, which configures a recurring ambiguity in the poems. Merges and ambiguity can be understood so much for being a poet of concrete answers in a period of uncertainty as cultural and aesthetic objective for being the result of social processes of late twentieth century art in Brazil. Finally, the study ends by pointing out that the \"faults\" and the \"impossibilities\" that mark the poetic Broquéis can ideally be taken in positive terms as an expression of a modern discourse around the crisis of poetry, thus combining the poetics of Cruz e Sousa to modernity.

The present work deals with the literary-theoretical work of the Petrograd Formalists - those who participated in the OPOiaZ in the 1910s and early 1920s - with a focus on that oflurii Tynianov. It attempts to unpack the representation of their literary-theoretical work as 'science' [nauka] by exploring how that category was constructed in dialogue with their evolving conception of literature. It is argued in the first chapter that, for the duration of their project, they conceptualized the 'language of nauka' - and their own prose by association - in accordance with the laws of their theory of language. It is argued in the second chapter that, as the Formalists developed a theory of literary history as an endless succession of 'revolutions' in the period 1919- 24, they tried to make their theorization of that process take a correspondingly revolutionary form, one in which the sciences of nature and those of history would become one. It is argued in the third chapter that, as the Formalists came to theorize the connection between literature and life in the period 1924-30, they practised a new 'type' of nauka in the form of the authorial collection of articles, one in which their own work was historicized in a 'literary' manner. It is concluded that, for the OPOiaZ, nauka came into being as a function of its object: as the Formalists transformed their conception of literature, their realization of nauka was correspondingly transformed. The conclusion then problematizes the categorization of Formalism as a purely 'scientific', extra-'literary' movement, since emphasis is placed on their authorship of that categorization, and raises broader questions about the origin of modem 'literary theory'.

Die doel van hierdie studie was om aan te toon hoe 'n linguistiese beskouing van 'n literere teks kan meehelp om tot gefundeerde insigte in 'n teks te kom en om langs hierdie weg die beskuldiging dat literatuurstudie grotendeels 'n 'anything-goes-dissipline' is, te omseil. Om hierdie rede is daar van die standpunt uitgegaan dat kennis oor die presiese aard van die tekslinguistiek kan meehelp in die toepassing daarvan. Dit dien as motivering vir die uitgebreide diachroniese situering van die tekslinguistiek van die eerste hoofstuk. Hier word geredeneer dat die tekslinguistiek iets soos 'n pseudo-literatuurteorie is wat kan meehelp in die lees en interpretasie van en kommentaar oor 'n literere teks. Daar is grotendeels gefokus op die literere benaderings wat die ontwikkeling van die tekslinguistiek voorafgegaan en be'invloed het. Daar was drie hoofstrominge t.o.v. tekstuele benadering, nl. (i) tekssentriese (outonomistiese), (ii) linguistiese (taalsentriese), en (iii) lesersentriese benaderings. Die vemaamste tekssentriese (outonomistiese) benaderings is die Russiese Formalisme, New Criticism en Stilistiek op taalkundige grondslag. In die bespreking van hierdie benaderings is dit tel kens in verband gebring met die bestaande teorie oor die tekslinguistiek ten einde die diachroniese aard van die ontwikkelingsgang daarvan, te karteer. Die vernaan1ste eksponente van die linguistiese (taalsentriese) benaderings is die Strukteralisme, Poststrukturalisme en die Semiotiek. Daar is in hierdie afdeling duidelik aangestip hoe die standaarde van tekstualiteit (De Beaugrande en Dressler, 1981), en spesifiek die standaard kohesie, terug te vind is in hierdie benadering tot teksstudie. Die Resepsie-estetika en Referensiele benadering is bespreek as eksponente van die sg. lesersentriese benadering. Die doel hiervan was om aan te dui hoe intertekstualiteit, kontekstualiteit en informatiwiteit as standaarde van tekstualiteit, in hierdie benadering terug te vind is. Met die diachroniese situering in gedagte, is daar in die tweede deel van Hoofstuk Een oorgegaan tot 'n sinchroniese karakterisering van wat die tekslinguistiek behels. In hierdie hoofstuk is daar voortgegaan met die beredenering dat die term diskoerslinguisliek • n meer akkurate benaming is vir 'n dissipline wat meer as net ' teks' in ag neem. Diskoers kan beskou word as 'n reeks taaluitinge wat 'n taalhandeling vorm. Hoewel diskoerslinguisliek die term tekslinguistiek in hierdie studie vervang, is daar duidelik aangetoon dat dit nie die doel het om aardskuddend veranderend te wees nie. Die werkswyse wat in hierdie studie gevolg is, is steeds die van die tekslinguistiek. Om hierdie rede is hierdie gedeelte van die studie grootliks teoreties, dit bespreek die interdissiplinere aard van tekslinguistiekldiskoerslinguistiek, definieer dit, en identifiseer die studieveld van 'teks'. Hierdie identifisering (sintaktiese eenheid, semantiese eenheid en pragmatiese eenheid) funksioneer breedweg as die hoofuiteensetting van hierdie studie. Tog word daar in hierdie studie aangetoon dat daar verskil word van die De Beaugrande en Dressler-aanname dat daar sewe standaarde van tekstualiteit bestaan, en word dit hier gereduseer tot twee superstandaarde, nl. kohesie en koherensie. Koherensie beskik oor sg. 'voorwilardes', nl. intensionaliteit, aanvaarbaarheid, informatiwiteit, kontekstualiteit en intertekstualiteit. Op hierdie wyse word die meganistiese indeling van die oorspronklike sewe standaarde oorkom. In Hoofstuk Twee word die teorie rondom die superstandaard kohesie toegepas op die Nederlandse teks deur Kristien Hemmerechts, Kerst en andere liefdesverhalen. Hierdie hoofstuk het die implisiete doel om aan te toon hoe 'n suiwer strukturalistiese ondersoek na 'n tekstuele gegewe kan meehelp in die identifisering van bepaalde linguistiese patrone wat, indien gesitueer in 'n pragmatiese milieu, bepaalde betekeniswaarde verkry. Verskeie aspekte rondom die konsep 'kohesie' word hier bespreek, o.a. 'n by trek van sg. storiegrammatika van die liefdesverhaal en sprokie ten einde bepaalde taalpatrone te identifiser wat pragmatiese betekenislading het. Hierbenewens word daar suiwer struktureel met die teks omgegaan met 'n identifisering van bepaalde patrone in die adjektief-aanwending, die gebruik van saakname, verwysing, polisemie, sinonimie, teenoorgesteldheid, antonimie, komplementeerbaarheid, ruimtelike opposisie en hiponimie. 'Hierbenewens word kohesiewe-bindingspatronesoos ellips, semantiese rolle en sg. tematiese kontinuHeit bespreek. Die daaropvolgende hoofstuk is 'n bye en bring van die ge"identi±iseerde talige patrone van Hoofstuk Twee en 'n situering daarvan in 'n pragmatiese raamwerk. Koherensie is die somtotaal van eenheid en betekenis soos wat dit in diskoers ervaar word. Dit het betrekking op dit wat bydra dat 'n teks vir taalgebruikers sin maak en samehang vertoon. Aangesien koherensie grootliks steun op die pragmatiek, is die fokus van hierdie afdeling van die studie grootliks pragmaties en word daar aangedui hoe die bestaan van bepaalde koordinate, 'n beginsel van samewerking en 'n spraakhandelingsteorie kan bydra tot gefundeerde insigte in die onderhawige teks.

En strukturell resa genom Narnia: En komparativ analys av struktur och genre i C.S Lewis två verk Silvertronen och Hästen och hans pojke A structural trip through Narnia: A comparative analysis of structure and genre in C.S Lewis two works The Silver Chair and The Horse and His Boy In this essay I discuss how fiction can be used in Swedish education for younger years in the Swedish subject, to learn about the building blocks of stories and what is unique to the fantasy genre. The core of the essay is an analysis of C.S Lewis two novels The Silver Chair and The Horse and His Boy and how they relate to some of Vladimir Propps 31 functions of structures and some characteristics of the genre fantasy. The purpose of this essay is examine how the two works of C.S Lewis relate to chosen functions, characterises of the genre fantasy and in relation to each other. That and how it can be used in Swedish education to create an interest for fiction and reading. The analysis is built on two parts. Firstly, the two books are introduced and then analysed separately against 10 of Propps functions and described characteristics of the genre fantasy. Secondly, a comparison between the result from the two separate analyses. I find that fiction can be compared to both Propp’s functions and characteristics of the genre fantasy. However, they needed to be interpreted to fit into the definitions of chosen functions. As a result, I found that the fictions by C.S Lewis, Propps functions and elements of the fantasy genre can be used in classrooms to discuss the structure of stories and to teach about genres. I also give some ideas on how to do that.

The study takes an in-depth look at eight novels by white South African authors in which the main characters are black. The novels that were studied fell into two main categories, those that highlight (although not always to the same extent) the differences between white and black people and those in which the author takes care to depict the black main character as ‘a person just like any other’, or in which the emphasis is on the similarities between people regardless of race. The novels in the first category can be divided into purely fictional works on the one hand (Toiings (1934), Cry, the Beloved Country (1948) and Swart Pelgrim (1952)) and novels based on historical facts (Die Swerfjare van Poppie Nongena (1978) and Bidsprinkaan (2005)) on the other. In the fictional novels in this category, which are also the oldest/earliest of the selected novels, the narrator patronises the black main character, who is seen as naïve and in some cases at the mercy of baser urges. The researcher shows, however, that the intent of the authors was to gain the reader’s empathy for and understanding of the plight of the black character and, by implication, of black people in general. This applies regardless of whether the novel had an explicit political theme (e.g. Cry, the Beloved Country) or not (e.g. Toiings). The novels in the second category, i.e. those in which black characters are portrayed as not substantively different from white characters (Kennis van die Aand (1973), Proteus (2002) and Lerato (unpublished, 2011) also include novels in which the main theme is a political one (Kennis van die Aand) and those in which political issues are not central to the plot (Proteus) or in which there is hardly any reference to political issues at all (Lerato). The outcomes of the study show that the intention of the authors of the studied novels in the pre-apartheid era was to promote understanding and reconciliation and not to strengthen divisive stereotypes. While this cannot be measured in empirical terms, anecdotal evidence suggests that literature does contribute to social change, albeit in an indirect manner. Despite the harsh criticism (particularly from black authors and scholars) of the practice by white authors to make use of black main characters, it can be argued that, within the South African context, such novels have played a role in achieving mutual understanding and reconciliation. There is a notable shift in the post-apartheid novels. Rather than pleading the case of the black main character with the white audience, Meyer (2002) and Homann (2011) portray their black main characters as equal players in a diverse society. If literature is seen as a reflection of society, this is an encouraging sign that South Africa has substantively moved on from apartheid. / Dissertation (MA)--University of Pretoria, 2011. / Afrikaans / unrestricted

This essay explores the power dynamics embedded in the construction and perception of spatial environments in the novel The House on Mango Street by Sandra Cisneros. With the help of Henri Lefebvre’s theory of space as a socially constructed phenomenon and practice, this essay argues that the characters’ experience and perception of spaces in the novel including the house and the street are entangled with the dominating forces related to gender, identity and patriarchy in the surrounding society. The essay also argues that the novel apart from revealing these power dynamics, also, through its protagonist Esperanza suggests a new kind of space, an alternative and more just space for the individual and the community. Additionally, this essay also discusses and elaborates on the pedagogical implications of using the novel with a focus on space for upper secondary students. An investigation of how individual and social spaces functions in different ways in the novel provides valuable opportunities for teachers and students to reflect and discuss power relations, social injustices and inequities in their community, and allow them, as the protagonist Esperanza, to imagine alternative and more just spaces.