A dissertação tem como proposta analisar as obras A História em Migalhas e A História do Estruturalismo de François Dosse, identificando as suas principais diferenças como resultado de duas acepções epistemológicas e historiográficas. No entendimento destas obras, são levantadas questões relativas à comensurabilidade, considerada aqui como o elemento responsável por grande parte das elaborações teóricas, descritivas e conclusivas de Dosse, e ao ritmo da análise empregado pelo autor. Associadas a essas categorias, colocam-se também em evidência a variação entre as perspectivas de análise sincrônica e diacrônica. O objetivo final desse trabalho é mostrar que a principal diferença capaz de revelar o amadurecimento intelectual de Dosse durante o período que separa a escrita de ambas é a habilidade particular em lidar com a complexidade das diferentes variáveis que compõem os contextos intelectuais trabalhados pelo autor. / The aim of this study is to analyze the works A História em Migalhas and A História do Estruturalismo of Francois Dosse, identifying their main differences as a result of two epistemologic and historiographical asseptions. In their understanding, questions are raised concerning the commensurability, here considered as the element largely responsible for the theories, descriptions and conclusions of Dosse, and the rhythm of the analysis employed by the author. Associated with these categories, the variation between the perspectives of synchronic and diachronic analysis are also highlighted. The last goal of this work is to show that the main difference between these two works can reveal that the intellectual maturation of Dosse during the period between the writing of both is his particular skill in dealing with the complexity of different variables that composing the intellectual contexts used by the author.

Excerpt: In the latter half of 2012 the communication discipline lost two pioneering scholrs when H.L. "Bud" Goodhall, Jr., and Nick Trujillo died within months of each other.

This thesis explores the limits of fictional language by studying the work of Jewish American writer-critics, novelists who significantly engaged with literary criticism, and critics who experimented with the novel or short fiction. These writer-critics all believed in Literature: they believed that literature could effect social change and educate the masses; or they believed in literature as an art-form, one that exposed the myths underlying American society, or that revealed something fundamental about the human condition. Yet it is because they believed so stridently in the concept of Literature that they turned to non-fiction. Writing fiction exposed problems that Literature could not resolve. They describe being haunted by “preoccupations” that they could not exhaust in fiction alone. They apologetically refer to their critical texts as “by-products” of their creative writing. Writer-critics were forced to decide what the limits of fiction were, and they adopted other types of writing to supplement these unexpected gaps in fiction's power. This dissertation contains four chapters and an introduction. The introduction establishes the methodological difficulties in writing about author-critics, and introduces a set of principles to guide the study. Chapter 1 approaches Abraham Cahan's The Rise of David Levinsky (1917). I argue that many of the novel's difficulties result from Cahan's desire to present the way that ideology shades our understanding of reality while minimizing direct narratorial intrusions. Chapter 2 studies how politics affected the work of Mike Gold, Moishe Nadir, and Isaac Bashevis Singer. In all three writers, literature emerges as a kind of ersatz-politics, a space for the dispossessed to imagine the political. In the end, the political novel only reinforces the fictionality. Chapter 3 is a study of Leslie Fiedler's problematic novel, The Second Stone. While critics have seen the novel as a kind of game, I propose reading the novel as an earnest expression of Fiedler's vision of literature as a conversation. Chapter 4 turns to Cynthia Ozick and Susan Sontag. A cumulative reading of their fiction and criticism shows the deep twinning of their fiction and critical thought. For both writers true knowledge comes only through the imagination. / Near Eastern Languages and Civilizations

El problema a tratar o la reflexión sobre una redefinición o reestructuración de la ciencia literaria (crítica académica literaria, estudios literarios, CL) y estudios culturales (EC) es un fenómeno global obvio cuando, por ejemplo, en la propuesta para este volumen de reflexiones conjuntas, se pregunta "¿cómo reaccionar frente a la disminución de estudiantes subgraduados y graduados de literatura y al incremento de los abocados a los estudios culturales?" Esta pregunta revela un fenómeno que se está dando masivamente en todos aquellos países en cuyas universidades se han introducido los estudios culturales, así en Alemania, así en el Instituto de Romanística y en el Centro de Investigación Iberoamericana de la Universidad de Leipzig.

It can be argued that critical scholarship has not satisfactorily commented on the portrayal of women in South African theatre by male playwrights. This dissertation will examine the presentation of the female voice in the selected plays of two playwrights, namely Athol Fugard and Zakes Mda, coming from different socio-historical and cultural backgrounds. This comparative study will re-interrogate the selected representative texts from a feminist perspective, and will compare Fugard's subversive distrust of the female voice juxtaposed against Mda's refreshing celebration of the female presence in the selected plays. Fugard and Mda's female characters are generally seen by their readers, audiences and critics such as Andrew Hom, Marcia Blumberg and Dennis Walder as fundamentally vital, irrepressible and certainly more admirable than their male counterparts, as it is ultimately their quest for symbiosis and affirmation of the self which precludes any passive spectatorship on the part of the audience. However, paradoxically and ironically, it is Fugard, writing from a relatively privileged white male position, who consistently places his female characters in positions where their distinct inner strength is continually undermined. Despite their cognitive ability to engage with their situation, they are seldom permitted to triumph over the bleakness of their lives, but in fact are rendered emotionally impotent in the face of insurmountable existential isolation. Always situated within an interdependent relationship absent of hope and love, Fugard's women characters are never allowed to forget the role they are expected to assume in a patriarchal society rife with political and racial overtones. This very impasse in which they are placed by Fugard generally resonates strongly with the audience, who can identify or empathise with the women, but who are not afforded an imaginative escape by Fugard. Mda's female characters are created and portrayed within a similar political and universal system which perpetuates their exclusion from power and keeps them in servitude. However, unlike the ultimately silenced women in Fugard' splays, Mda, writing partly from a historically marginalised position himself, empowers his female characters with the freedom to confront and articulate their emotions and perceptions. His female characters are inscribed in a multiplicity of social positions, within which they most often find a solution to their problems and demand an outcome which is not only determined by outsiders, but by their own inner strength. Although they are less fettered by class and ideological constraints, they are however more naively drawn than Fugard's female characters. Whilst Fugard' s female characters in the selected plays are, without exception, left on the periphery of the play as the ultimate victims of their inescapable circumstances, the female characters created by Mda more often than not dominate the stage by virtue of their indomitable resilience, rather than resignation. This dissertation will also examine Fugard and Mda's presentation of their female characters as wholly a male's construct, set in a political context which subtextually interrogates race and gender. The implied assumption concerning the authority of the male writer over women's narratives will also therefore be questioned. Reference to Fugard and Mda's own personal histories as well as their other non-fictional writing will be seen as relevant in this regard. In conclusion, this dissertation will focus on the artificially imposed passivity of Fugard' s confined and limited female characters, and will compare this to Mda's empowerment of his female characters through critical awareness. The provocative issues of voice and violence as agency in both Fugard and Mda's discourse will be viewed, in particular, from within an apartheid system of governance. / Thesis (M.A.)-University of Durban-Westville, 2002.

Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / This thesis examines conflicting claims made about the fiction of British feminist writer Angela Carter." --p. iii. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1280849 / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2007

Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / This thesis examines conflicting claims made about the fiction of British feminist writer Angela Carter." --p. iii. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1280849 / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2007

Thesis (Ph. D.)--University of California, San Diego, 1998. / Vita. Includes bibliographical references (leaf 262).

Thesis (Ph. D.)--University of California, San Diego, 1997. / Vita. Includes bibliographical references (leaves 185-200).

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-07-29Bitstream added on 2014-06-13T20:15:57Z : No. of bitstreams: 1 lima_lfm_me_assis.pdf: 697871 bytes, checksum: 0bbe9220f62fcc4c0238339196d33e3c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Harold Bloom (1930) é, para muitos, o crítico norte-americano de maior destaque nos estudos literários da atualidade. Sua teoria da influência, além de possuir sua própria retórica, resgatou à literatura seus aspectos mais subjetivos. O presente trabalho tem por objetivo empreender uma leitura de dissertações e teses acadêmicas brasileiras que tenham lançado mão da teoria da angústia da influência e seu mapa de desleitura, ou que discutam temas como o cânone literário, tão usualmente associado à figura do professor de Yale, enfático debatedor desse assunto. Para esse propósito foi feito o levantamento do corpus por meio de uma pesquisa nos principais sites e bancos de dados científicos brasileiros, como a Plataforma Lattes e o Banco de Tese da CAPES, e estabelecido os critérios de análise com base nas teses e dissertações que compõem esse corpus. A leitura desses trabalhos acadêmicos buscou identificar em que medida o crítico norte-americano está sendo lido no meio acadêmico brasileiro e compreender qual a amplitude dessas leituras. Por conseguinte, esta dissertação tem o intuito de entender qual a relevância das idéias de Bloom para o intelectual brasileiro da área de Letras. / Nowadays, Harold Bloom (1930) is, to many, the North-american critic of major projection in literary studies. His theory of influence, besides to have its own rhethorics, brought back to literature its more subjective aspects. The present work has as its objectives to engage in a reading of Brazilian academic dissertations and thesis which have made usage of the theory of anxiety of influence and his map of misreading, or which discuss themes as the literary canon, so usually associated to the professor of Yale´s figure, an emphatic debater of this subject. With this purpose in mind it was made the survey of the corpus through a research in the main Brazilian scientific websites and databases, like Plataforma Lattes and CAPES thesis database, and it was established the criteria of analysis based upon the thesis and dissertations which compound this corpus. The reading of these academic works sought to identify in what extent the North-American critic is been read in Brazilian academic environment and comprehend how wide have been these readings. Therefore, this dissertation has as its aim to understand how relevant to the Brazilian scholar of Language and Literature the ideas of Bloom area.