本論文是以旅行敘事的角度來解讀魏勒恩 (Ursula K.Le Guin) 的科幻小說《一無所有》(The Dispossessed)，討論在旅行至異地時，自我與他者的相遇，他者的「異質性」(the alterity of the other,簡稱「他異性」)如何影響甚至改變個人的自主性與既有的社會認同。本論文首先以佛洛伊德 (Sigmund Freud) 所提出的「怪異經驗」(the uncanny experience) 理論，以及克莉斯緹娃 (Julia Kristeva) 對此經驗的闡述，說明人對「他異性」所引起的反應，其實是來自於其本身早已具有的異質性。 克莉斯緹娃認為人之所以會將他者視為不可理解的陌生人，是因為人的內心也蘊藏著一個陌生人。本論文接著引用列維納斯 (Emmanuel Levinas) 「絕對他者」(the absolutely other) 的理論，延伸克莉斯緹娃的主張，並且將自我與他者的關係構築成一個倫理關係。列維納斯認為他者的激進他異性無法整合進入自我的知識系統，因為它只能被經驗感知，既不能被概念化，也不能被智性思考。因此，他者的無限內在性無法被掌握，而主體有選擇是否回應他異性的自由。對於列維納斯而言，選擇回應並超越自我中心，或者不回應且拒絕面對他者之無限性，二者並無對錯可言，皆為可接受之選項。 《一無所有》的主要人物薛維克 (Shevek) 的故事敘述他如何成為列維納斯倫理的見證人。他的故事提供了一種另類模式，用來觀照現代殖民旅行小說 (modernist colonial odysseys) 中主要角色的旅行經歷。亞當斯(David Adams) 主張這些小說中的主角旅行至殖民地，是尋求在家鄉已不復見的神聖他者，換言之，即上帝的角色。西方世界因宗教的絕對權威崩潰，導致人類的存在價值無法再由神來保證，而有關存在的問題無法由神學來回答。這些小說的主角在異國土地上找不到答案，無功而返，甚至釀成悲劇。列維納斯認為尋找上帝的路是透過對他者沒有保留的仁慈與慷慨而展開，薛維克的故事正好詮釋了列維納斯的主張。 本論文的主要論證是將《一無所有》這本小說定位成繼承現代殖民旅行小說的脈絡，卻成就另一番文學風貌，不僅因為此書解決了現代殖民旅行小說的神學難題，也因為早在十九世紀末，當地球上已無多餘之地可供殖民時，已有作家在文學的領航下，開始了在異想世界或外太空的殖民。 / This thesis tries to examine Ursula K. Le Guin’s work of science fiction, The Dispossessed, as a travel narrative in terms of the dialectical relation between the self and the other. The term dialectics means the condition of the tension or opposition between two interacting forces or elements. The thesis aims to discuss how encountering others exerts the impact on the self whose autonomy and identity structured in the homeland are re-structured during travel in a foreign land. It will first explicate that the uncanny response to the otherness arises from one’s own otherness by employing Freud’s theory of the uncanny and Kristeva’s re-investigation of Freud’s. Secondly, Emmanuel Levinas’s theories concerning the absolutely other is used to broaden Kristeva’s contention that one is always already a stranger in her/himself, and to turn the relation between the self and the other into an ethics. Levinas maintains that the otherness of the other (“alterity” by Levinas’s term) is radical and cannot be incorporated into the self’s totality; the alterity in the other is as infinite as that in the self. Neither the other nor the self is graspable. The subject is free to choose between responding to the alterity of the other in order to transcend its own solipsism, and incorporating the other and treating it simply as a reflection of the self. To Levinas, there is no right or wrong with either choice. The story of the protagonist, Shevek, delineates how he becomes a Levinasian ethical man. His travel experience provides an alternative model that would otherwise accomplish the quest that the modernist colonial odysseys have failed—according to David Adams, to seek the divine absolute in an age when the theological questions in the Western world are no longer answered as God has been perceived to be absent. Levinas suggests that the way to the divine absolute, that is, God, is through the detour of opening oneself to the other with generosity and hospitality, which Shevek demonstrates in his travel. The theoretical argument of the whole thesis expects to put The Dispossessed in the continuum of the modernist travel narratives because it offers the solution to the theological problems embedded in those travel narratives, and because to colonize or to transform a familiar place into an imagined land has, since the late 19th century, long been manifested in the works of those writers of science fiction.

The dissertation explores how quality-judgments on works of art are created within the contemporary art world. The research starts with the examination of modernist art theories supported by the museum, and continues with the exploration of the impact of the art market on quality-judgments. Although the art market had already distorted the idea of quality, further contradictions and difficulties have risen within judgment-making after the 1960s due to the dematerialisation of the work of art. Art criticism should have been able to deal with this complexity, but it is demonstrated that art criticism is a subjective field and even if there is a universal theory on quality, it often fails when applied to the particular work of art. Throughout the dissertation it is demonstrated that although ‘good art’ is a subjective, power- and discourse-dependent concept, all art professionals seek something that is an inherent quality of the artwork. However, regardless of the existence of such inherent value, judgments on quality are constructed by and subjected to power-struggle. / Art History, Visual Arts and Musicology / M.A. (Art History)

The conceptualist view of property is based on the conceptual system or hierarchy of rights conceived by Grotius and developed by the pandectists. It rests on the assumptions that ownership is neutral and timeless. As such it has a number of abstract, timeless and universal characteristics, namely absoluteness, uniformity and exclusivity. Combined with liberalism, this concept of property becomes the guarantee of liberty and equality. The first part of this study shows that not only are the assumptions historically unfounded, but this conceptualist view of property made liberty and equality for women, in particular, impossible. The liberal, conceptualist property concept is a modernist construct that cannot guarantee either liberty or equality. The question then becomes whether constitutionalism can do what conceptualism cannot- can die constitutional protection of property guarantee liberty and equality. The second part of this study suggests that the answer to this is an "it depends" kind of answer. It depends on the structure of a constitution, underlying philosophical, political and, above all, hermeneutics theories employed by courts. In the South African context courts need to reject the private-law conceptualist view of ownership in favour of a constitutional property concept. This last-mentioned concept should be based on the values and normative context of the 1996 constitution. As such it involves value choices and making a political stand. Courts need to abandon conceptualist frameworks and decide on the proportionality of limitations on property. The conclusion to this study suggests that a feminist understanding of human beings as socially constructed and constrained, so that democracy alone cannot provide an answer to the counter-majaritarian dilemma, is necessary far an understanding of property. The creative tension provided by the feminist conflict between a political agenda and a respect far contexts may provide a framework far adjudicating an property issues. / Private Law / LL.D.

Submitted by Emanuel Varela Cardoso (emanuel.varela@ufcg.edu.br) on 2018-07-20T00:16:02Z No. of bitstreams: 1 CARLOS ANDRÉ MARTINS LOPES – DISSERTAÇÃO (PPGH) 2016.pdf: 700583 bytes, checksum: a9520b8f16ff49e889d5706f5b9acaad (MD5) / Made available in DSpace on 2018-07-20T00:16:02Z (GMT). No. of bitstreams: 1 CARLOS ANDRÉ MARTINS LOPES – DISSERTAÇÃO (PPGH) 2016.pdf: 700583 bytes, checksum: a9520b8f16ff49e889d5706f5b9acaad (MD5) Previous issue date: 2016-06-06 / Apesar de existir um volume considerável de pesquisas em torno do romance “A Bagaceira” de José Américo de Almeida,estudos mais extensos sobre a problemática de gênero na obra ainda são escassos. Assim, nos propusemos nessa dissertação a realizar uma análise das representações de masculinidades no romance assinalado. Apesar de “A Bagaceira” ser nossa fonte privilegiada de pesquisa, afim de nos acercarmos com mais acuidade do tema proposto, utilizamos como fontes complementares outros escritos do autor que não necessariamente coincidem com o ano de produção da referida ficção. Por isso situamos a temporalidade da análise na década de 1920, principalmente. Nessa década foram escritos pelo autor tanto seu famoso ensaio intitulado “A Paraíba e seus problemas” (1923), quanto seu romance que o projetou na cena nacional, “A Bagaceira” (1928). Essa década foi ainda marcada pela chegada em Pernambuco dos ideais modernistas de São Paulo ao mesmo tempo em que se processava um revigoramento do pensamento Regionalista e tradicionalista difundido a partir de Recife (Azevedo, 1984). Isso provocou um caloroso debate entre os que defendiam uma arte/literatura alinhada ao Modernismo e os que preconizavam um pensamento voltado para uma sensibilidade Regional. Argumentamos, com base em seus escritos, que José Américo de Almeida, apesar das ambigüidades, parece ter se alinhado mais às propostas modernistas, conforme evidenciam as escolhas que fez em suas representações de masculinidades que povoam a obra. Podemos então ler em “A Bagaceira” as representações que edificou José Américo sobre quais seriam as masculinidades Modernas, desejadas,autênticas. Em nossa investigação abordamos questões como: Quais valores viris estariam envolvidos de conotação positiva através da lógica narrativa do romance? Quais modelos de masculinidade estariam sendo desencorajados no discurso Almeidiano? Nosso referencial teórico principal está ancorado na obra de Roger Chartier (1990), sobretudo na mobilização que fizemos de seu conceito de representação cultural. Procuramos relacionar as representações construídas em seu romance com sua posição política, econômica e intelectual, ao mesmo tempo em que o inserimos nos debates estético-políticos de seu tempo. Procuramos ainda destacar a forma como o autor procurou construir para si uma representação que ressalta determinados valores viris e como a representação que para si procurou ele e deixou marcas de gênero em seu trabalho. / Despite the existence of a considerable amount of research about the novel "A Bagaceira", by José Américo de Almeida, more extensive studies on the challenges of the genre are still scarce. Therefore, we propose in this dissertation to analyze the representation of masculinity found in this novel. Although "A Bagaceira" is our main source of information about the proposed subject, other complementary sources from the same author that are not from the same year of the our main book will be used. For that reason the analysis temporality is going be situated mainly around the 1920's. In this decade the author wrote his famous essay “A Paraíba e seus problemas” (1923) and his novel nationally famous novel, “A Bagaceira” (1928). This decade is also known for the arrival of the modernist ideals from São Paulo to the state of Pernambuco and, atthe same time, there was an invigoration of the Regionalist and traditionalist way of thinking that was being spread from Recife (Azevedo, 1984). This resulted in a strong debate between who defended a kind of art/literature aligned with the Modernism and the people who followed an ideal more focused in the Regional sentiment. We argue, based on his work, that José Américo de Almeida, despite the ambiguities, seems to have aligned towards the modernist proposal, according to evidences based on his choices when representing aspects of masculinity in his work. We can then read in "A Bagaceira" the representations created by José Américo in relation to the Modern masculinity: what manly values are involved in positive connotation through the logic narrative of the novel? What models of masculinity are being discouraged by the author's discourse? Our central theoretical framework is linked to Roder Chartier's (1990) work, following his ideas on cultural representation. We tried to relate the representations in his novels with his political, economical and intellectual views, at the same time we incorporate his views in the political esthetics debates from his time. We also tried to highlight how the author built from himself a representation that features specific manly values and how this representation characterized the genre in his work.

This study examines the work Catimbó, written by Ascenso Ferreira (1895-1965), seeing it, especially as a poetic expression of the northeast popular culture, observing the affinities that the poetic diction of this pernambucano author remained with the modernists precepts of the 1922 Modern Art Week. The first chapter describes the cultural environment in Recife, noticing some socio-economic aspects that marked the region; examines the way the paulista modernism arrives to Pernambuco and, simultaneously, the intensification of regionalist´s ideas. Still in this first chapter, we begin the reading of poems ("Desespero", "A casa-grande de Megaípe", "Noturno", "O Samba", "História pátria", "Catimbó", "Minha terra", "Dor" and "Sertão") by Ascenso Ferreira, showing how the Pernambucana culture is poetized by the author of Catimbó. In the second chapter we considered Ascenso Ferreira as a regionalist-modernist poet, showing how the pernambucano has joined the stylistic innovation of modernism to the recovery of the traditions of his land, through the poems "Os engenhos da minha terra", "Tradição", "Vamos embora, Maria", "Quadrilha de Caetano Norato", "A pega do boi", "A rua do rio", "Graf Zeppelin", "O meu poema de São Francisco" and "Oropa, França e Bahia". In the third chapter, we point to Catimbó as a book thematically linked especially to popular culture, presenting the reading of poems of this book that deal poetically with the nordestinidade ascensiana through verses which reveal the cultural components of his land and its people, as "A cavalhada", "Carnaval do Recife", "Meu carnaval", "Senhor São João", "Natal", "Mês de Maio", "Reisado", "Bumba-meu-boi" and "Maracatu". / Fundação de Amparo a Pesquisa do Estado de Alagoas / Este estudo examina a obra Catimbó, de Ascenso Ferreira (1895-1965), vendo-a, sobretudo, como uma expressão poética da cultura popular nordestina, observando as afinidades que a dicção poética do autor pernambucano manteve com os preceitos modernistas da Semana de 22. O primeiro capítulo descreve o ambiente cultural Recifense, verificando alguns aspectos socioeconômicos que marcaram a região; examina o modo como o Modernismo paulista chega a Pernambuco e, simultaneamente, a intensificação das ideias regionalistas. Ainda neste primeiro capítulo, iniciamos a leitura de poemas (“Desespero”, “A casa-grande de Megaípe”, “Noturno”, “O samba”, “História pátria”, “Catimbó”, “Minha terra”, “Dor” e “Sertão”) de Ascenso Ferreira, mostrando como a cultura pernambucana é poetizada pelo autor de Catimbó. No segundo capítulo consideramos Ascenso Ferreira como um poeta regionalista-modernista, mostrando como o pernambucano uniu a inovação estilística do modernismo à valorização das tradições de sua terra, através dos poemas “Os engenhos de minha terra”, “Tradição”, “Vamos embora, Maria”, “Quadrilha de Caetano Norato”, “A pega do boi”, “A rua do rio”, “Graf Zeppelin”, “O meu poema de São Francisco” e “Oropa, França e Bahia”. No terceiro capítulo, apontamos para Catimbó como o livro de temática ligada especialmente à cultura popular, apresentando a leitura de poemas deste livro que tratam poeticamente a nordestinidade ascensiana através de versos que revelam os componentes culturais de sua terra e do seu povo, como “A cavalhada”, “Carnaval do Recife”, “Meu carnaval”, “Senhor São João”, “Natal”, “Mês de maio”, “Reisado”, “Bumba-meu-boi” e “Maracatu”.

A dissertação trata de Pau Brasil, de Oswald de Andrade, e Feuilles de Route: I. Le Formose e II. Sao-Paulo, de Blaise Cendrars, e pretende verificar como a cidade de São Paulo - em sua condição particular no contexto da modernidade brasileira - é transformada em matéria poética nessas obras. Em contraponto aos elementos do cosmopolitismo da metrópole, apresenta-se a vida rural no ambiente das fazendas do interior do Estado. Com base na análise das obras, procuro avaliar a poética dos autores em suas relações com a metrópole, considerando ainda temáticas associadas a outras questões da modernidade, como o progresso x a natureza e o tema da viagem. Na recomposição dos projetos poéticos dos autores nas obras estudadas, os desenhos elaborados por Tarsila do Amaral para ambas produções poéticas serão considerados como um ponto-chave. / This dissertation examines Oswald de Andrade´s Pau Brasil, and Blaise Cendrars´ Feuilles de Route: I. Le Formose and II. Sao-Paulo, and intents to verify how São Paulo has been - in its particular condition in the context of Brazilian modernity - transformed in poetic subject in these works. In contrast to the elements of metropolis´ cosmopolitism, presents the rural life in inner state farms. Based on work analysis, I attempt to evaluate the authors´ poetic in their relationship with the metropolis, considering also a subject matter associated to other modernity issues, like progress x nature and the travelling theme. In rearrangement of poetic projects from the authors in the studied works, the drawings created by Tarsila do Amaral for both poetic produtions are considered key-points.

Du Bauhaus à De Stijl, du Constructivisme au Style international ou au Mouvement moderne, le modernisme historique n’aura pas seulement occupé les historiens de l’architecture et du design. Il est en effet devenu, depuis une vingtaine d’années, un objet d’investissement à part entière d'un grand nombre d'artistes de toutes provenances. Au tournant des années 2000, ce phénomène de références, d'évocations, de déplacements, de réappropriations, de mises à distance ou de célébrations, a pris une ampleur telle que de nombreuses expositions en Europe et en Amérique du Nord l'ont interrogé, en le réduisant toutefois le plus souvent à une mouvance ruiniste, empreinte de nostalgie, qui n'est pas confirmée par une étude attentive des œuvres. Loin de toute vaine prétention à l’exhaustivité, notre recherche a opté pour une focale centrée sur les œuvres. Au risque d’un peu de myopie où pourrait sembler se perdre une conscience globale du phénomène historique traité, le parti est ici pris d’analyser individuellement les pratiques. L’étude des divers cas retenus conduit à différentes hypothèses et lectures, qu'on espère inédites. Si tous les travaux analysés ont en commun de se référer au modernisme, de prendre celui-ci pour objet à travers telle ou telle de ses réalisations, on verra qu’il est impossible de conférer un sens unitaire à pareil tropisme. L'indispensable proximité avec les œuvres aura ainsi permis de prendre non pas l’unique mais les mesures plurielles d’un phénomène qui aura indéniablement marqué la création artistique des dernières décennies, et continue de la marquer. / From Bauhaus to De Stijl, from Constructivism to the International Style or the Modern Movement, historical modernism has kept more than architecture and design historians busy. In fact, in the last twenty years, it has become a focus of investment in its own right for a large number of artists from all walks of life. At the turn of the century, this phenomenon of references, evocations, displacements, reappropriations, distancing or celebrations took on such a magnitude that many exhibitions in Europe and North America addressed it. However, it was primarily reduced to a ruinist movement, full of nostalgia, which is not discerned by a careful study of the works. Without pretense of being exhaustive, our research has chosen to focus on the works. At the risk of being slightly myopic, where a global consciousness of the historical phenomenon treated might seem lost, we seek to analyze individual practices. The study of the various cases selected leads to different hypotheses and readings, which we hope are novel. If the common thread of all the analyzed works is to refer to modernism, to take it as object through one or other of its achievements, we will see that it is impossible to confer a unitary meaning on such tropism. The indispensable proximity to the works will thus make it possible to take not the exclusive but the plural measures of a phenomenon that will undoubtedly mark the artistic creation of the last decades, and continues to mark it.

The purpose of this project centered on the influential literary magazine Timothy McSweeney’s Quarterly Concern. Using Bruno Latour’s network theory as well as the methods put forth by Robert Scholes and Clifford Wulfman to study modernist little magazines, I analyzed the influence McSweeney’s has on contemporary little magazines. I traced the connections between McSweeney’s and other paradigmatic examples of little magazines—The Believer and n+1—to show how the McSweeney’s aesthetic and business practice creates a model for more recent publications. My thesis argued that The Believer continues McSweeney’s aesthetic mission. In contrast, n+1 positioned itself against the McSweeney’s aesthetic, which indirectly created a space within the little magazines for writers, philosophers, and artists to debate the prevailing aesthetic theories of the contemporary period. The creation of this space connects these contemporary magazines back to modernist little magazines, thereby validating my decision to use the methods of Scholes and Wulfman.

L’ange n’a jamais été aussi présent qu’à l’heure de la modernité, c’est-à-dire à l’époque où le religieux, en son expression, sa forme et sa substance, ses objets, se trouvait remis en question par l’intense réflexion philosophique et par les découvertes scientifiques et techniques issues des Lumières. C’est ce constat fondé sur l’omniprésence des anges tant dans l’art que dans la littérature du dix-neuvième et du vingtième siècles qui nous a conduit à nous poser une question simple : de quoi l’ange fait-il signe ? Que symbolise-t-il ? Quel sens donner à cette présence ?Nous avons décidé, pour le savoir, de remonter aux sources de l’ange afin de mettre au jour les fondements de ce qui, de toute évidence, s’affirme comme l’un des mythes les plus importants de notre imaginaire contemporain. Nous avons également décidé de montrer comment ce passage d’une figure biblique à un mythe profane avait été rendu possible et quels mécanismes cette métamorphose avait empruntés ;nous avons aussi cherché à savoir quels enjeux ce processus mettait en jeu.Cette étude se propose d’étudier les représentations des anges dans l’art et la littérature de 1850 à 1950 afin de découvrir comment l’on passe d’une figure traditionnelle à un véritable mythe moderne. En quoi les représentations modernes de l’ange témoignent-elles des nouveaux rapports qui se tissent au divin ? Il s’agit ensuite d’étudier ses deux symboliques majeures : celle de l’ange inspirateur et celle de l’ange gardien, en mettant au jour les procédés qui permettent à l’ange de devenir un mythe personnel de l’individu et du créateur en particulier. / The angel was never as present as during the modernist era, that is at a time when thereligious figure, in its expression, its form, and even in its substance, its objects, waschallenged by the intense philosophical reflection and by the scientific and technicaldiscoveries stemming from the Enlightenment era. It is this acknowledgement basedon an omnipresence of angels, in nineteenth and twentieth art and literature alike,which led us to ask a simple question – what is the angel a sign of? What does itsymbolize? What meaning may be given its large presence?We have decided, to understand it, to get back to the sources of the angel in order toshed light onto the foundations of that which, quite obviously, establishes itself asone of the most important myths in the present-day imagination. We have alsodecided to show how the mutation from a biblical figure to a profane myth hadmanaged to happen and what were the mechanisms through which thismetamorphosis had taken place; we have also tried to know what was at stake in thisprocess.This study proposes to examine the representations of angels in art and literaturefrom 1850 to 1950 in order to discover how these traditional figures came to becomemodern myths. How can their contemporary representations testify of a newrelationship with the divine ? We'll try to answer this question by studying two majorsymbolics - the inspiring angel and the guardian angel - and by revealing the processin which the angel becomes a personal myth of the individual and especially of thecreator.

UNIVERZITA KARLOVA FILOZOFICKÁ FAKULTA ÚSTAV ROMÁNSKÝCH STUDIÍ Obor: Filologie - románské literatury Specializace: naratologie a španělsky psané literatury ABSTRAKT EN DISERTAČNÍ PRÁCE PhDr. Jerusalem Gago Praha, 2021 THE CONSTRUCTION OF INTERIORITY: NARRATIVE VOICE AND AESTHETIC RENOVATION IN THE SPANISH SHORT STORY OF THE EARLY TWENTIETH CENTURY Abstract: The objective of this thesis is to explore the construction of interiority through its narrative procedures in that of the modernist narrative that appeared at the beginning of the 20th century. The discovery of the voice as a structuring element of the techniques of interiority constitutes one of the main theoretical and methodological axes of the work. Modernism considered as an aesthetics of interiority, a typology of the modernist narrative in five sub- genres, the establishment of a methodology for the specific study of the voice in its five dimensions, as well as the constructive profile of the narrative procedures typical of the modernist narrative, are the novel keys of this work. Keywords: interiority, narrative construction, interior aesthetics, modernism, modernist narrative, narrative voice, voice methodology, discursive structure.