This thesis constructs a history of reading for South Asia (1857-1914) through an examination of the eccentric relationships that marginal colonial agents and subjects - soldiers, peasants, office clerks and women - developed with everyday forms of writing. Drawing on the methodologies of the history of the book, and literary and cultural histories, it creates a counterpoint to the dominant view of imperial self-fashioning as built on reading intensively and at length. Instead, it contends that the formation of identities in colonial South Asia, whether compliant or dissenting, was predicated on superficial forms of textual engagement, leaving the documents of empire most likely misread, unread, or simply read in part. I illustrate this argument through four chapters, each of which brings together extensive archival material and nonliterary texts, as well as both canonical and little-known literary works. The first two discuss the circulation of unread texts in colonial institutions: the army and the government office. I study Garnet Wolseley's pioneering war manual, The Soldier's Pocket-book for Field Service, a book that soldiers refused to read. This is juxtaposed, in the second study, with an examination of the reception of the bureaucratic document in illiterate peasant communities, explored through the colonial archive and ethnographic novels. In the third and fourth chapters, I focus on texts consumed in part. I turn to the Bengali Hindu almanac, a form that made the transition from manuscript to print in this period, and examine how it trained its new-found readership of English-educated office clerks to oscillate smoothly between British-bureaucratic and local forms of time, as well as to read quickly and selectively. I end with a study of The Indian Ladies' Magazine, and suggest that the cosmopolitan form of the periodical and editorial practices of extracting and summarising gave women unprecedented access to a network of global print.

The late Ming artist and poet Xu Wei (1521-1593) is most well known for his self-representation as a cultured "mountain hermit" and "eccentric", pursuing the literary ideals of originality, simple language and direct emotional expression. His wild ink-brush paintings, mental instability, numerous suicide attempts and the murder of his third wife all helped to consolidate Xu's image as China's Van Gogh. However, later hagiographies of Xu as the "patron saint of eccentrics" have led to a one dimensional view of Xu. This thesis presents Xu as someone who explored and wrestled with different and sometimes contradictory self-representations against a thorny political and social backdrop. It moves away from Xu's "eccentric" persona, instead examining his writings within the political context of the 16th century. Against the backdrop of Mongol and pirate invasions, Xu's close friend Shen Lian was executed by the Chief Grand Secretary Yan Song and his clique. Yet only a month after his friend's execution, Xu switched sides and worked as a ghost-writer for Hu Zongxian, a protégé of Yan Song. Yet with the fall of Yan Song in 1562 and the arrest of Hu Zongxian, this became an embarrassment for Xu. Fearing that he would be implicated with the Yan Song clique, Xu distanced himself from his flattering ghost-written poems. Overwhelmed by feelings of guilt, he explored the complexities of loyalty and identity in his poetry. Xu's career is representative of many Ming scholars who were frustrated by examination failure and the inability to find an official post. His literary ideals contradicted with lived reality. Xu is unique among Ming literati in voicing these contradictions.

Esta dissertação tem como objetivo analisar de que maneira a representação dos eventos históricos referentes ao cerco de Lisboa de 1147 empreendida nos textos historiográficos Conquista De Lisboa aos Mouros (1147) de Osberno, Crónica de cinco reis de Portugal atribuído a Fernão Lopes, Crónica de Dom Affonso Henriques, do Frei António Brandão, e História de Portugal: 1.ª época, desde a origem da monarquia até D. Afonso III de Alexandre Herculano, é reconfigurada na narrativa ficcional História do Cerco de Lisboa, do escritor português José Saramago. Especificamente, tencionou-se identificar, por meio do estudo de fontes históricas referentes à conquista de Lisboa de 1147, aspectos característicos da narrativa histórica oficial de tal evento histórico e da apresentação de suas personagens importantes; determinar em que medida textos historiográficos portugueses são intertextualmente apropriados pelo narrador de História do Cerco de Lisboa; averiguar qual é a atitude do narrador em relação ao discurso histórico oficial referente a tal momento histórico; verificar de que maneira as personagens históricas envolvidas no cerco e na tomada de Lisboa são representadas no romance; e determinar em que medida a reescrita do cerco de Lisboa empreendida no romance é dessacralizadora e paródica. A análise do romance foi norteada teoricamente, por um lado, por estudos referentes às muitas instâncias do cruzamento entre discurso literário e discurso histórico – especialmente por obras dos historiadores Hayden White, Paul Ricoeur, Carlo Ginzburg, Saul Friedländer e Dominick LaCapra – e, por outro, pela atribuição do conceito de metaficção historiográfica, de Linda Hutcheon, à narrativa saramaguiana. Depois do estudo do romance à luz das obras históricas, concluiu-se que o narrador de História do cerco de Lisboa reconfigura o intertexto historiográfico de maneiras distintas, que vão da reprodução literal de excertos e da referência nominal a seus autores até a absorção paródica de grandes blocos das obras de origem. Essas citações aparecem em geral emolduradas por comentários irônicos da instância narrativa, conferindo uma apreciação pouco sacralizada e bastante díspar da observada nas fontes históricas consultadas aos eventos e personalidades históricas importantes. Outra forma de retomada intertextual refere-se ao resgate de figuras menores do passado português, o soldado Mogueime e a princesa moura Oureana, e das vozes mouras silenciadas pela conquista. Além de problematizar o passado lusitano por meio da apropriação intertextual de obras que o enfocam, o narrador saramaguiano questiona os métodos de escrita historiográfica ao ficcionalizar o embate de pelo menos duas concepções de história distintas, uma representada pelo Historiador e outra por Raimundo Silva, bem como de sugerir a leitura do passado mediante a técnica do palimpsesto. / This thesis aims to analyze how the representation of historical events related to the 1147 siege of Lisbon undertaken in the historiographical texts Conquista De Lisboa aos Mouros (1147) by Osberno, Crónica de cinco reis de Portugal by Fernão Lopes, Crónica de Dom Affonso Henriques by Frei António Brandão, and História de Portugal: 1.ª época, desde a origem da monarquia até D. Afonso III by Alexandre Herculano is reconfigured in the ficcional narrative History of the Siege of Lisbon, by Portuguese writer José Saramago. Specifically, we meant to identify, through the study of historical sources concerning the conquest of Lisbon, characteristic features of the official historical record of this historic event and how the its important characters are presented; to determine to what extent Portuguese historiographical texts are intertextualy appropriated by the History of the Siege of Lisbon narrator; to find out what is the narrator's attitude towards the official historical record concerning such historical moment; to verify how the historical characters involved in the siege and conquest of Lisbon are represented in the novel; and to determine to what extent the rewriting of the siege of Lisbon undertaken in the novel is unsanctified and parodic. The novel’s analysis was theoretically guided, on the one hand, for studies related to the various instances of crossings between literary discourse and historical discourse – especially works by historians Hayden White, Paul Ricoeur, Carlo Ginzburg, Saul Friedlander and Dominick LaCapra – and, on the other hand, the assignment of the concept of historiographic metafiction, by Linda Hutcheon, to Saramago’s narrative. After the study of the novel in the light of the historical sources, it was concluded that the History of the siege of Lisbon’s narrator reconfigures the historiographical intertext in different ways, ranging from literal reproduction of excerpts and nominal reference to their authors to the parodic absorption of large blocks of works. These quotes are usually framed by ironic comments of the narrative instance, giving an assessment that isn’t sanctified and is quite disparate from that given by the consulted historical sources to the historical events and its important figures. Another form of intertextual resumption refers to rescue of smaller figures of Portuguese past, as the soldier Mogueime and the Moorish princess Oureana, as well as the Moorish voices silenced by the conquest. Besides questioning the Lusitanian past through intertextual appropriation of sources, Saramago’s narrator questions the historiographical writing methods by fictionalizing the clash of at least two different conceptions of history, represented by the historian and by Raimundo Silva, as well as suggest the reading of the past throught the use of palimpsest technique.

xii, 206 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This project examines reader reception of U.S. Latino-authored narratives that engage in varying degrees of textual code switching and bicultural belonging. The analysis builds on the argument that these narratives, as part of a larger body of minor literatures, play a role in revolutionizing traditional Anglo-American discourses of knowledge by marginalizing the monolingual and monocultural reader historically positioned as the prototype of cultural literacy in the United States. This project further proposes that marginalization is achieved by a textual appropriation and structural weakening of the dominant language and culture via the creation of a narrative space that privileges code switching to articulate bicultural identities. U.S. Latino texts that alternate between English and Spanish mirror the misunderstandings and failures of intelligibility in the multicultural situations they depict, thereby requiring the monolingual and monocultural reader to experience this unintelligibility first-hand. In order to tackle broader questions about how these literary texts and their reception reflect what is at stake politically, nationally, and culturally for Latinos in the United States today, this interdisciplinary project draws upon a diversity of perspectives originating from linguistics, literary analysis, sociology, and history to identify how literary texts mirror bicultural identity for Latinos. As a part of this analysis, the project examines the history of Spanish language use in the United States, Latino immigration history, the standard language ideology privileging English monolingualism, the persistence of bilingualism, oral and written code switching, the publishing industry, and analyses of reader responses to bilingual texts based on survey data. In situating these histories within discussions about the bilingual, bicultural nature and reception of the U.S. Latino narrative, this project shows how the linguistic makeup and the subsequent receptivity of these texts minor the bicultural identity and changing social positioning of the Latino population in the United States. / Committee in charge: Robert Davis, Chairperson, Romance Languages; Analisa Taylor, Member, Romance Languages; Monique Balbuena, Member, Honors College; Holly Cashman, Member, Not from U of O; David Vazquez, Outside Member, English

No description available.

George MacDonald (1824-1905) is one of the most complex and significant Scottish writers of the nineteenth century, especially as a writer of children's fiction and literary fairy tales. His works, however, have seldom been studied as Scottish literature. This dissertation is the first full-length analysis of his writings for children in their Scottish context, focusing particularly on his use of Scottish folklore in his literary fairy tales. MacDonald wrote in the Scottish Romantic tradition of Robert Burns, Walter Scott, and James Hogg; by close reading his works alongside similar texts by his compatriots, such as Andrew Lang, MacDonald's own idiosyncratic contribution to that tradition becomes more apparent. His profound knowledge of and appreciation for Christian mysticism is in evidence throughout his work; his use of folklore was directly informed by his exploration of mystical ideas. Hogg is recast as a second Dante, and ‘bogey tales' become catalysts for spiritual awakening. MacDonald's fairy tales deal sensitively and profoundly with the theme of child death, a tragedy that held personal significance for him, and can thus be read as his attempt to come to terms with the reality of bereavement by using Scottish folklore to explain it in mystical terms. Traditional figures such as Thomas Rhymer, visionary poets, and doubles appear in his fairy tales as guides and pilgrims out of the material world toward mystical union with the Divine.

Orientador: Marcos Antonio Siscar / Banca: Antonio Manoel dos Santos Silva / Banca: Mário Luiz Frungillo / Resumo: Este trabalho examina os textos de Antonio Callado publicados na Folha de São Paulo e reunidos no livro Crônicas de fim do milênio (1997), com o intuito de investigar a presença da literatura nessas crônicas, avaliando de que maneira Callado lança mão de textos literários diversos para constituir seu ponto de vista nos comentários que faz sobre os dados do jornalismo e da História. Partimos do pressuposto de que, nas crônicas, os textos literários deixam de ser um mero momento de ilustração do conteúdo, apresentando-se como organizadores da argumentação do Callado. Desse modo, nas crônicas, essas obras se revelaram como um dispositivo de descoberta do mundo, a partir do qual o autor revê a história do país. Como forma de contextualizar essa questão, este trabalho aborda igualmente a trajetória da crônica brasileira e a fortuna crítica sobre a obra literária e jornalística de Antonio Callado. A relação entre o texto literário, os fatos jornalísticos e os dados históricos mostrou-se como o principal ponto comum entre as crônicas do autor, sua obra geral e a trajetória da crônica brasileira, constituindo-se, assim, como um eixo central de nossa análise. Palavras-chave: Antonio Callado; Crônicas de fim do milênio; literatura brasileira; crônicas brasileiras - história e crítica; jornalismo e literatura; história e literatura. / Abstract: Antonio Callado has been known as an author who aimed at reflecting on the recent Brazilian History in his writings. Examining his texts, which were first published in Folha de São Paulo newspaper and afterwards in the book Crônicas de fim do milênio (1997), the purpose of this work is to analyze how Callado included several literary texts in his weekly commentaries about journalistic facts and History. First of all, we assume that these literary texts are not a mere illustration of the content in these cronicas. More than this, as an important part of the whole text, these literary works became a way to enlighten and review Brazilian History. While addressing these questions, this work also approaches the history of the Brazilian cronica and the critical reviews of Antonio Callado's novels. Therefore, the possible links between Literature, History and Journalism connect Callado's cronica, his novels and the Brazilian cronica, becoming a central axis of our analysis. / Mestre

Orientador: Giséle Manganelli Fernandes / Banca: Ofir Bergemann de Aguiar / Banca: Maria Celeste Tommasello Ramos / Resumo: Esta dissertação apresenta um estudo das obras Memórias póstumas de Brás Cubas (1881), de Machado de Assis e A consciência de Zeno (1923), de Ítalo Svevo. Partindo da análise do discurso ficcional (foco narrativo, personagens, espaço e tempo), o trabalho objetiva estabelecer como os dois autores representam pela linguagem os fatos de suas respectivas épocas. A ênfase está nos elementos de crítica social e na abordagem da História presentes nos romances. Os dois autores, embora afastados cronologicamente um do outro, tomam como referência a realidade social de seus países e fazem uso da ironia como base de seus textos. / Abstract: This thesis presents a study of Memórias póstumas de Brás Cubas (1881), by Machado de Assis, and La coscienza di Zeno (1923), by Ítalo Svevo. Having as its starting point an analysis of the fictional discourse (point of view, characters, space, and time), the objective is to establish how both authors represent through language facts of their historical periods. The emphasis is on elements of social criticism and the approach to History present in the novels. Although the authors are chronologically distant from each other, they take into account the social reality of their countries and use irony as the basis for their texts. / Mestre

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-04-30Bitstream added on 2014-06-13T19:39:20Z : No. of bitstreams: 1 kaimoti_apmc_me_sjrp.pdf: 191199 bytes, checksum: 9e800e02258642830eb212eabdfa1f54 (MD5) / Este trabalho examina os textos de Antonio Callado publicados na Folha de São Paulo e reunidos no livro Crônicas de fim do milênio (1997), com o intuito de investigar a presença da literatura nessas crônicas, avaliando de que maneira Callado lança mão de textos literários diversos para constituir seu ponto de vista nos comentários que faz sobre os dados do jornalismo e da História. Partimos do pressuposto de que, nas crônicas, os textos literários deixam de ser um mero momento de ilustração do conteúdo, apresentando-se como organizadores da argumentação do Callado. Desse modo, nas crônicas, essas obras se revelaram como um dispositivo de descoberta do mundo, a partir do qual o autor revê a história do país. Como forma de contextualizar essa questão, este trabalho aborda igualmente a trajetória da crônica brasileira e a fortuna crítica sobre a obra literária e jornalística de Antonio Callado. A relação entre o texto literário, os fatos jornalísticos e os dados históricos mostrou-se como o principal ponto comum entre as crônicas do autor, sua obra geral e a trajetória da crônica brasileira, constituindo-se, assim, como um eixo central de nossa análise. Palavras-chave: Antonio Callado; Crônicas de fim do milênio; literatura brasileira; crônicas brasileiras - história e crítica; jornalismo e literatura; história e literatura. / Antonio Callado has been known as an author who aimed at reflecting on the recent Brazilian History in his writings. Examining his texts, which were first published in Folha de São Paulo newspaper and afterwards in the book Crônicas de fim do milênio (1997), the purpose of this work is to analyze how Callado included several literary texts in his weekly commentaries about journalistic facts and History. First of all, we assume that these literary texts are not a mere illustration of the content in these cronicas. More than this, as an important part of the whole text, these literary works became a way to enlighten and review Brazilian History. While addressing these questions, this work also approaches the history of the Brazilian cronica and the critical reviews of Antonio Callado's novels. Therefore, the possible links between Literature, History and Journalism connect Callado's cronica, his novels and the Brazilian cronica, becoming a central axis of our analysis.

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-02-24Bitstream added on 2014-06-13T19:18:27Z : No. of bitstreams: 1 pinto_ma_me_sjrp.pdf: 746600 bytes, checksum: 0e3b007b8cfb91086d80f31f409204a7 (MD5) / Os conceitos de rememoração e renembrança são apresentados e definidos nos romances Beloved (1987), da autora norte-americana Toni Morrison, e Desmundo (1996), da autora brasileira Ana Miranda, respectivamente, como processos pertencentes ao fenômeno mnemônico, incorporados ao espaço ficcional para revisar perspectivas históricas nacionais oficiais. Ambos os romances foram elaborados a partir de fatos ocorridos em momentos históricos cruciais da grande narrativa de formação nacional dos Estados Unidos e do Brasil. Beloved resgata o crime cometido pela escrava foragida Margaret Garner, poucos anos antes da Guerra Civil (1861-1865), quando matou a própria filha na tentativa de evitar que suas crianças voltassem para a fazenda onde seriam escravizadas. Desmundo retoma a vivência de uma das órfãs enviadas pelo rei de Portugal à colônia Brasil, no século XVI, para servirem como esposas, a pedido dos padres que esperavam extinguir os hábitos dos colonos de se relacionarem com as índias. A confluência entre memória, história e literatura acontece nesses romances por meio da rememoração e da renembrança que se configuram, ao mesmo tempo, como processos mnemônicos realizados pelas personagens e como estruturas narrativas. A rememoração é definida como a imagem que permanece (individualmente e no mundo) quando algo deixa de existir; a renembrança é originada a partir de experiências singulares e possui relações com um mundo fantasioso. Ambas compartilham características ligadas ao enigma da representação que retoma eventos do passado, tais como a construção paradoxal de ausências e distâncias. Porém, a rememoração possibilita a memória coletiva, enquanto a renembrança ocasiona a memória individual. As estratégias narrativas de cada romance acompanham a caracterização de cada um desses processos, distinguindo-se na constituição da memória... / The concepts of rememory and renembrança are presented and defined in Toni Morrison‟s Beloved (1987) and Ana Miranda‟s Desmundo (1996), respectively, as mnemonic processes incorporated into the fictional space in order to revise official national historical perspectives. The American and the Brazilian novels were both based on facts that took place in crucial historical moments of the master narrative concerning the national formation of each country. Beloved revisits the crime committed by Margaret Garner, a fugitive slave, during the pre-Civil War years, when she killed her own daughter in an attempt to save her children from returning to slavery. Desmundo recollects the experiences of one of the Portuguese orphan girls sent to sixteenth-century colonial Brazil to serve as wives, by orders of the king and by the request of the priests who wanted to put an end to the sexual relations among Portuguese colonialists and natives. Rememory and Renembrança set the interrelations between memory, history and literature because they are the mnemonic processes engendered by the characters and, at the same time, they form the structure of the novels. Rememory is defined as the image that lasts (individually and in the world) when something no longer exists; renembrança originates from singular experiences and establishes relations with a fantasy world. The two processes share features related to the enigma of representation that recaptures past events, such as paradoxical constructions of absences and distances. However, rememory triggers collective memory whereas renembrança belongs to individual memory. The narrative strategies of each novel follow the characteristics of each process, distinguishing themselves in the creation of characters‟ memory and experiences. These differences, though, converge to a common objective of preventing the erasure of the past not only through... (Complete abstract click electronic access below)