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Between 1950s and 1990s, Hong Kong had a frenzy for writing and re-writing materials from classical literature and myths. The myth of Madame White Snake is one of the most well known stories that survived a long period of time. The earliest known version of Madame White Snake was a supernatural story in 1550, which later became a prototype of numerous subsequent versions starting in 1624. This prototype was repeatedly re-written throughout history and was also made into different genres including plays, playlets, novels, films and television dramas. One of the latest versions was written by Li Pikwah, a popular novelist in Hong Kong, in 1993, titled, Green Snake. Green Snake is a parody of Madame White Snake written from the perspective of Little Green, the servant of Madame White and an auxiliary figure in the tradition. The novel is also an autobiography of Little Green, who satirically criticizes the story of Madame White Snake in retrospect. Little Green’s autobiography is a nostalgic reflection of the past as well as a critique of the structure of the story that has survived throughout history. These implications made in the story hint at the author’s personal yearning for traditional China as a Chinese resident in Hong Kong. Her nostalgia for traditional China is not idealistic but paradoxical, because her re-writing of the story was an avenue to understand and re-negotiate her identity. Li is also well-known for her other novels, which are parodies of classical literature, traditional myth and legend. Many of these works were also made into films in the 80’s and 90’s. These novels and films were part of a phenomenon in contemporary Hong Kong literary and popular culture that tried to grasp a cultural connection with traditional China in order to embrace the return to mainland China in 1997 after a hundred years of British colonial rule.

Proefschrift Universiteit van Amsterdam. / Met lit. opg. - Met samenvatting in het Nederlands.

Submitted by Priscila Duarte Baldini Vacari null (priscila_duartebaldini@yahoo.com.br) on 2018-04-02T01:42:53Z No. of bitstreams: 1 Dissertação de Priscila Duarte Baldini Vacari - VERSÃO ENTREGUE.pdf: 1013078 bytes, checksum: d4fe1d8e21c1d277486b95393b6a2db5 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-04-02T13:11:23Z (GMT) No. of bitstreams: 1 vacari_pdb_me_sjrp.pdf: 1013078 bytes, checksum: d4fe1d8e21c1d277486b95393b6a2db5 (MD5) / Made available in DSpace on 2018-04-02T13:11:23Z (GMT). No. of bitstreams: 1 vacari_pdb_me_sjrp.pdf: 1013078 bytes, checksum: d4fe1d8e21c1d277486b95393b6a2db5 (MD5) Previous issue date: 2018-02-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho teve por objetivo fazer uma leitura analítica da personagem central da obra Madame Bovary, a senhora Emma Bovary, discorrendo sobre três eixos fundamentais: os desacordos de Emma com o outro, consigo mesma e o conflito com o mundo. Nossa interpretação, tendo por base o ensaio de Vargas Llosa (2015) e a crítica de James Wood (2014), a observou como a personagem da consciência infeliz e do constante tédio e insatisfação pessoal. Dentre alguns aspectos, ela fugiria das figuras de tipo idealizado de conduta feminina que seriam conhecidas por intermédio das mulheres da sociedade burguesa europeia do século XIX, pois seus gestos e comportamentos, durante todo o romance, seriam marcados por uma ideia de “virilidade” (Vargas Llosa), que foge aos padrões românticos e bem comportados de figuração feminina. Tendo em vista tratarmos de um romance considerado uma “narrativa moderna de ficção” (James Wood), abordamos alguns apontamentos acerca da noção de modernidade e modernidade literária. Adentramos, também, em uma breve discussão acerca das teorias sobre o romance, enquanto gênero inacabado e realista, que representou a sociedade burguesa e fez emergir a figura do herói romanesco, um indivíduo problemático. Nesse sentido, a partir dos três desacordos analisados, apuramos a estratégia de Gustave Flaubert em utilizar uma mulher como precursora do que se configurou como herói problemático. Observamos, assim, como um dos grandes romances realistas do século XIX foi construído a partir de uma personagem com toda a complexidade de seus anseios, maneiras de agir e vontades, que acabou por se converter em uma das mais emblemáticas heroínas dos romances modernos. / The purpose of the present work was to do an analytical reading of the central character of Madame Bovary, Mrs. Emma Bovary, on three fundamental lines: Emma's disagreements with others, with herself and the conflict with the world. Our interpretation, based on Vargas Llosa's essay (2015) and James Wood's critique (2012), saw her as the character of unhappy consciousness, constant boredom and personal dissatisfaction. In some aspects, she would run away from idealized feminine-type characters that would be known through the women from the nineteenth-century European bourgeois society, because her gestures and behavior, throughout the novel, would be marked by an idea of "virility" (Vargas Llosa), which escapes the romantic and well-behaved patterns of feminine figuration. Knowing that the novel is considered a "modern narrative of fiction" (James Wood), we have approached some notes about the notion of modernity and literary modernity. We have also searched about a brief discussion of the theories of a romance, as an unfinished and realistic genre, that represented bourgeois society and came up with the image of the romantic hero, a problematic individual. That way, based on the three disagreements analyzed, we found out the great strategy of Gustave Flaubert in using a woman as a precursor of what was set as a problematic hero. Thus we can see how one of the great realist novels of the nineteenth-century was built up from a character with all the complexity of her yearnings, ways of acting and wills, which became one of the most emblematic heroines of modern novels.

Orientador: Luiz Carlos da Silva Dantas / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-22T20:33:24Z (GMT). No. of bitstreams: 1 Missio_Edmir_M.pdf: 5815826 bytes, checksum: 49e9d4345dde152e3a7a1fe5b33278ae (MD5) Previous issue date: 1997 / Resumo: A obra De l'Allemagne, de Mme de Stael, editada em 1810, divulgou pela primeira vez e colocou ao alcance de um amplo público, na França e demais povos latinos do século XIX, a literatura, a filosofia e as idéias que circulavam nos círculos intelectuais mais restritos da Alemanha. Este livro, que provocará uma revolução nos espíritos e influenciará de modo notável as gerações seguintes, expõe os principais temas que deverão despontar no Romantismo. Esta dissertação contém uma apresentação da obra e a tradução de um certo número de capítulos ou excertos de capítulos previamente comentados, cujo objetivo seria o de evocar o p.ercurso intelectual da autora. Na realidade, a tese faz a apresentação das primeiras obras de MIne de Stael, de sua herança suíça e francesa, de sua crítica e distanciamento do espírito das Luzes, de seus grandes romances e ele suas relações como poder político, de modo a melhor compreender as questões envolvidas em De l'Allemagne e seu contexto histórico. A tradução de passagens essenciais de De I 'Allemagne tem por base a seleção dos excertos da edição trances a da Larousse, permitindo aos leitores brasileiros um contato mais "direto" com as idéias de Mme de Stael, e uma reflexão sobre as questões de nosso próprio movimento romântico / Abstract: Not informed. / Mestrado / Teoria e Critica Literaria / Mestre em Teoria Literaria

Between 1950s and 1990s, Hong Kong had a frenzy for writing and re-writing materials from classical literature and myths. The myth of Madame White Snake is one of the most well known stories that survived a long period of time. The earliest known version of Madame White Snake was a supernatural story in 1550, which later became a prototype of numerous subsequent versions starting in 1624. This prototype was repeatedly re-written throughout history and was also made into different genres including plays, playlets, novels, films and television dramas. One of the latest versions was written by Li Pikwah, a popular novelist in Hong Kong, in 1993, titled, Green Snake. Green Snake is a parody of Madame White Snake written from the perspective of Little Green, the servant of Madame White and an auxiliary figure in the tradition. The novel is also an autobiography of Little Green, who satirically criticizes the story of Madame White Snake in retrospect. Little Green’s autobiography is a nostalgic reflection of the past as well as a critique of the structure of the story that has survived throughout history. These implications made in the story hint at the author’s personal yearning for traditional China as a Chinese resident in Hong Kong. Her nostalgia for traditional China is not idealistic but paradoxical, because her re-writing of the story was an avenue to understand and re-negotiate her identity. Li is also well-known for her other novels, which are parodies of classical literature, traditional myth and legend. Many of these works were also made into films in the 80’s and 90’s. These novels and films were part of a phenomenon in contemporary Hong Kong literary and popular culture that tried to grasp a cultural connection with traditional China in order to embrace the return to mainland China in 1997 after a hundred years of British colonial rule. / Arts, Faculty of / Asian Studies, Department of / Graduate

Madame de La Fayette's La Princesse de Clèves was written between 1671 and 1677 at a time in French history when women's rights were beginning to find a voice in the "salons" of a few prominent female members of the leisure class. Although an immediate success with the reading public of seventeenth-century France, Madame de La Fayette's novel attracted a great deal of critical attention of the type that did not convince her to cast off her anonymity and come forth as the rightful author. As a roman d'analyse, La Princesse de Clèves stepped out of the conventions of vraisemblance and bienséance (plausibility and propriety) by the manner in which it followed the rites of passage of a young girl from maidenhood to self-evolved womanhood through the use of the medium of human relationships. In taking the idea of a psychological study one step further, into the realm of mythology, the reader is able to gain greater insight into the motivational forces at work within the principal character's psyche. Madame de Clèves' mythical journey towards a greater sense of self-awareness is activated by a deep-seated need, found in varying degrees in both women and men but in general more predominantly in women, to establish and maintain positive, creative relationships with others. This need goes back to the essential and eternal bonding between mother and daughter and the more tenuous bonding between mother and son. Placed within a mythological framework, the princesse's fictional development can be described through the intermediary motif of the quest. The princesse, unconsciously at first, sets out on a search for Self - a search for the centre of undistorted recognition of one's essence. She is stirred to action by feelings of dissatisfaction, loss and incompleteness arising from deep within her being. The initial phase of the journey entails a pulling away from the intense Mother bonding (without totally separating from it) by means of initiation through the "masculine" (her platonic lover Nemours). She is then able to accept and appreciate the parts of her inner nature she had been taught to avoid as a young girl (passion, moodiness, rage) and begin the difficult task of redeeming the Feminine within, in both her beauty and her destructiveness. During the process of looking at her own life, her own immediate past, the princesse finds herself drawn to the myths of a more distant past as well. She comes in touch with her mythical beginnings, with the unconscious dreams of an ancient people who, unlike their successors, were more at peace with their connection to life's mysterious truths personified by the oldest revered divinity: the ancient Great Goddess, "Union of all things related one to another." The result for Madame de La Fayette's heroine is a self-realized existence far from the culturally dictated role that society had allotted for her. In her moving away from the French court to the world of wholeness and integrity of country home and convent, the princesse is able to taste the fruits of freedom. She is able to become filled with the "goddess energy" of all aspects of her life and join past and future in her personal quest to bring inner healing to herself and to others. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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