Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2016-05-20T10:53:10Z No. of bitstreams: 2 Tese - Clóvis Meireles Nóbrega Júnior - 2015.pdf: 3689689 bytes, checksum: d69210a3d5c40b797c404ce2dfb880ba (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-05-20T14:11:20Z (GMT) No. of bitstreams: 2 Tese - Clóvis Meireles Nóbrega Júnior - 2015.pdf: 3689689 bytes, checksum: d69210a3d5c40b797c404ce2dfb880ba (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-05-20T14:11:20Z (GMT). No. of bitstreams: 2 Tese - Clóvis Meireles Nóbrega Júnior - 2015.pdf: 3689689 bytes, checksum: d69210a3d5c40b797c404ce2dfb880ba (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-06-11 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This thesis is a systematic analysis of aspects related to the representation of spatiality, as well as other narrative strategies employed by Bernardo Carvalho in the construction of two of his novels: Mongolia (2003) and The sun sets in São Paulo (2007). What most caught our attention in our corpus was a certain similarity between the novels in relation to what we may call the “work’s architecture,” since the procedures used in the construction of the novels are in many ways alike. In both of them we have characters who, at some point in the plot, undertake trips to unknown places which they try to comprehend as well as represent in their narratives through different forms and in different discursive genres (such as travel diaries, personal letter, oral narration) present in the novels. Another important similarity refers to the fact that the novels, at various times, present first-person narrators who seek to always represent the spaces from their perceptions and points of view. Another significant characteristic – probably a trademark in Bernardo Carvalho’s style –, is the use of the presence of writing characters who, if they are not presently writing a novel, at least plan to or are really writing a novel, if not the novel we are reading. We are aware that the term “space” has different meaning and theoretical importance in various fields of knowledge as Geography, Art Theory, Physics, Urbanism, Semiotics, Theory of Literature and Narratology among others, nevertheless we tried to use it in this dissertation through a transdisciplinary way, favoring approaches concerning the fields of the Theory of Literature and Narratology. / Esta tese é uma análise sistemática dos aspectos relacionados à representação da espacialidade, assim como de algumas outras estratégias narrativas empregadas por Bernardo Carvalho na construção de dois de seus romances: Mongólia (2003) e O sol se põe em São Paulo (2007). O que mais nos chamou a atenção nesse corpus foi certa semelhança entre os dois romances naquilo que poderíamos denominar de a “arquitetura da obra”, uma vez que os procedimentos narrativos empregados em suas construções se aproximam em muitos aspectos. Neles, temos personagens que, em algum momento da trama, empreendem viagens a lugares desconhecidos, que procuram compreender e representar por meio de diferentes gêneros discursivos (diário de viagem, carta pessoal, relato oral) presentes nos romances. Outra semelhança importante dá-se pelo fato de os romances, em vários momentos, apresentarem narradores em primeira pessoa, que representam os espaços pelos quais se deslocam, quase sempre, a partir de suas percepções e pontos de vista. Outra característica, também significativa, certamente uma marca estilística de Bernardo Carvalho, é a presença, em várias de suas obras, de personagens escritores que, se não escrevem, ao menos planejam escrever ou realmente estão escrevendo um romance, quando não, exatamente a obra que estamos lendo. Considerando todos esses aspectos e ainda cientes de que o termo “espaço” possui significado e importância teórica em vários campos do conhecimento, como a Geografia, a Teoria da Arte, a Física, o Urbanismo, a Semiótica, a Teoria da Literatura, a Narratologia, entre outros, procuramos abordá-lo, nesta tese, sempre que possível, de maneira transdisciplinar, privilegiando as abordagens concernentes aos campos da Teoria da Literatura e da Narratologia.

<p>This study is the first one devoted solely to the writings of the South African black novelist Miriam Tlali. It argues that her works constitute literary resistance not only to apartheid, noted by previous scholars, but also to South African patriarchies. Examining Tlali’s novels <i>Muriel at Metropolita</i>n (1975) and <i>Amandla!</i> (1980), and several short stories from <i>Mihloti</i> (1984) and <i>Footprints in the Quag</i> (1989), the study pits these texts against the black literary tradition dominated by men and also reads them within the social context of South African patriarchies, with its social restrictions on women and its taboos concerning sexualities. To distance herself from the patriarchal values inherent in the male literary tradition and to negotiate social and sexual restrictions on women, I argue, Tlali deploys narrative strategies like generic difference, generic dialogism, a double-voiced discourse, “whispering,” and “distancing.”</p><p>Drawing on the theories of Mikhail Bakhtin and Julia Kristeva, this study first explores “novelistic” traits in <i>Muriel</i> which function both to resist male literary conventions, like the epic mode of narrative, and to criticise their patriarchal ideology. Second, relying on Bakhtin, it analyses the generic dialogism and double-voicedness in <i>Amandla!</i>. Finally, making use of Kristeva’s semiotics and her theory of sacrifice, the study traces the development of a sacrificial discourse of gendered violence from <i>Amandla!</i> to some of Tlali’s short stories. Supported by Martha J. Reinecke’s explication of Kristeva, I show that Tlali’s texts insist that gendered violence upholds the sacrificial economies of both patriarchal apartheid and African patriarchy. The strategies of “whispering” and “distancing,” I claim, surface in Tlali’s addressing of the sensitive issues of black women’s victimisation and gendered violence. “Whispering” entails muting the criticism of the perpetrators of gendered violence, whereas “distancing” results in dis/placing gendered violence on the margins of the community. This study also examines the literary/social context of Tlali’s oeuvre: it explores specific traits of the South African black literary tradition, how the issue of rape has been addressed there, and the depiction of African patriarchy in autobiographies by South African black women.</p>

This study is the first one devoted solely to the writings of the South African black novelist Miriam Tlali. It argues that her works constitute literary resistance not only to apartheid, noted by previous scholars, but also to South African patriarchies. Examining Tlali’s novels Muriel at Metropolitan (1975) and Amandla! (1980), and several short stories from Mihloti (1984) and Footprints in the Quag (1989), the study pits these texts against the black literary tradition dominated by men and also reads them within the social context of South African patriarchies, with its social restrictions on women and its taboos concerning sexualities. To distance herself from the patriarchal values inherent in the male literary tradition and to negotiate social and sexual restrictions on women, I argue, Tlali deploys narrative strategies like generic difference, generic dialogism, a double-voiced discourse, “whispering,” and “distancing.” Drawing on the theories of Mikhail Bakhtin and Julia Kristeva, this study first explores “novelistic” traits in Muriel which function both to resist male literary conventions, like the epic mode of narrative, and to criticise their patriarchal ideology. Second, relying on Bakhtin, it analyses the generic dialogism and double-voicedness in Amandla!. Finally, making use of Kristeva’s semiotics and her theory of sacrifice, the study traces the development of a sacrificial discourse of gendered violence from Amandla! to some of Tlali’s short stories. Supported by Martha J. Reinecke’s explication of Kristeva, I show that Tlali’s texts insist that gendered violence upholds the sacrificial economies of both patriarchal apartheid and African patriarchy. The strategies of “whispering” and “distancing,” I claim, surface in Tlali’s addressing of the sensitive issues of black women’s victimisation and gendered violence. “Whispering” entails muting the criticism of the perpetrators of gendered violence, whereas “distancing” results in dis/placing gendered violence on the margins of the community. This study also examines the literary/social context of Tlali’s oeuvre: it explores specific traits of the South African black literary tradition, how the issue of rape has been addressed there, and the depiction of African patriarchy in autobiographies by South African black women.

The diploma thesis is focused on the theme of guilt in the particular texts edited in the 1960s. The theme is followed with regard to the phenomena of holocaust, transfer of Sudeten Germans, collaboration and communist regime. The ties between actual and fictional world are among others considered with a view to refer to the unique character of totalitarian regimes. One of the aims is to find out parallels between the Nazi and the Communist regime and the interface of their ideologies in terms of analysis, comparison and interpretation of the texts. Simultaneously, the narrative discourse is considered within context of the influence it has got upon the interpretation of guilt. The guilt itself is surveyed with regard to the philosophy of existentialism which contributes to the specification of possible ways of defining the particular offences and their evaluation, and at the same time helps to open new ways of discussion about guilt and possibilities of staying innocent as the significant phenomena not only in the realm of the literature of the 1960s.

Le but de ce mémoire est d’analyser deux oeuvres de Marguerite Duras : L’Amant et La Pluie d’été. L’étude est effectuée avec l’aide des éléments d’un genre littéraire précis : le fantastique. Ce mémoire examine les conditions pour qu’une oeuvre puisse appartenir à ce genre littéraire ; il en liste les critères, et étudie comment ces derniers sont en partie applicables à ces deux oeuvres. Le mémoire examine les prérequis pour qu’une oeuvre soit considérée comme fantastique, ainsi que les éléments qui placent une oeuvre à la limite de divers genres, tels que le conte, le merveilleux ou encore le réalisme magique. Une analyse des stratégies narratives employées pour persuader le lecteur à hésiter entre le réel et l’irréel est ici appliquée à L’Amant et La Pluie d’été, ainsi qu’une mise en avant des éléments qui peuvent faire entrer ces oeuvres dans la catégorie du fantastique. Les deux oeuvres sont ensuite étudiées séparément. Des personnages sont analysés, ainsi que les lieux, le temps et les actions. La technique narrative, avec la frontière floue entre rêve, retours en arrière et souvenirs, participe du genre fantastique. Les personnages phares, ainsi que des objets classiques du registre du fantastique, peuvent participer eux aussi de cette classification. Bien que les deux oeuvres ne soient pas explicitement classifiées par l’auteur comme appartenant au genre fantastique, il en émane une certaine atmosphère qui permet de mettre en avant des éléments qui contribuent au genre étudié, mais aussi au mode merveilleux, du réalisme merveilleux ou encore du conte. / The aim of this study is to analyze two works by Marguerite Duras: The lover and Summer rain. The study is carried out using elements of a specific literary genre: the fantastic (le fantastique). This study presents the elements needed for a work to belong to this literary genre; it lists the criteria, and studies how they partially are applicable to these two works. The conditions for a work to be considered fantastic, as well as the elements that place a work at the border of various genres, such as the folk tale, the marvelous (le merveilleux) or even the magic realism. This text presents an analysis of the narrative strategies, showing how the reader is led to doubt what is real and what is not. This study investigates The lover and Summer rain. It also highlights the elements that classify a book in the fantastic category. The two works are then studied separately. The characters are analyzed, as well as the setting, the time and the plot. The narrative technique, with the blurry borders between dreams, flashbacks and memories, belongs to the fantastic genre (le fantastique). The most important fictional characters, as well as classic objects, can also contribute to the classification of the texts in the fantastic genre. Although the two works are not precisely classified by the author as belonging to the fantastic genre, a certain atmosphere created by Duras makes it possible to highlight elements that contribute to the genre studied, but also to the folk tale or the magic realism.

This thesis investigates the usage of antagonistic narrative strategies in Chinese state media narratives about the European Union, thus gaining a greater understanding of the usage of narratives by authoritarian states. Articles published during March 2021 and November 2021 by the English-language Chinese state media organisation Global Times are analysed using a novel framework developed by Wagnsson &amp; Barzanje (2021). This framework identifies three strategies used in antagonistic narration but has thus far only been applied to Russian media. Through the framework, the study found that Chinese state media narratively attacked the political systems of the EU and its member states, undermined their relationship with the United States, while also presenting a deepened EU-China relationship as constructive and necessary for the EU’s pursuit of strategic autonomy. The findings suggest that while the antagonistic narrative strategies used by Chinese and Russian media are the same, Chinese state media use different contexts and juxtapose the EU and its member states with different actors to cast them positively or negatively.

The novel The Bluest Eye highlights different modes of racism that is relevant to engage with in today’s society. From a pedagogical standpoint, novels of this nature can enable rich and fruitful discussions about the implication of racism and how to counter it. However, its pedagogical potential is juxtaposed against the risks of presenting such explicit material to a classroom, and the consequential effects of migrating an African American novel to a Swedish subtext. A solution to this is applying Critical Race Theory (CRT) as a theoretical framework which from a conceptual perspective can preserve the integrity of the novel and enable students to actively engage with the text. However, the Swedish National Agency for Education (SNAE) lacks pedagogical tools for English teachers that want to address and counter racism in their classrooms which leaves a gap for those interested in working with The Bluest Eye. This paper aims to contribute to this gap by presenting how The Bluest Eye can help English 7 students engage with questions surrounding racism by applying CRT as a pedagogical framework. In order to migrate CRT to a pedagogical context rather than an institutional one, my focus is on the tenets of the theory along with counter narrative and storytelling. Subsequently, the findings of this paper highlight two aspects of the novel that are indicative of its pedagogical potential: the narrative strategies and the thematic elements which stress different modes of racism. The results also show that with CRT as apedagogical framework, students can gain a deeper understanding in the multidimensionality of racism through engaging with this novel. This paper indicates the strengths of applying CRT as a framework when working with this text by showcasing the richness in The Bluest Eye and providing pedagogical guidelines in teaching it.

The paper focuses on generational conflicts as depicted in four Swahili novels namely: Vuta N’kuvute, Kufa Kuzikana, Msimu wa Vipepeo and Tumaini. Generational conflicts depicted in the novels are seen as a contest between tradition and modernity when viewed against the cultural changes that have taken place within the East African societies. Authors have dep-loyed narrative voice and focalization narrative techniques to communicate the implied au-thor’s ideological stance on the notions of tradition and modernity in respect to the conflicting issues captured in each novel. Section two highlights some postulations about the concepts of ‘modernity’ and ‘tradition’. The third section discusses the concepts of generation and generational conflicts while the fourth focuses on narrative voice and focalization as the narrative strategies that reveal gene-rational conflicts portrayed in the four novels. The final section is the conclusion relating the ideological stance of the implied author in relation to the concepts of modernity and tradition.

Le but de ce mémoire est d’analyser deux oeuvres de Marguerite Duras : L’Amant et La Pluie d’été. L’étude est effectuée avec l’aide des éléments d’un genre littéraire précis : le fantastique. Ce mémoire examine les conditions pour qu’une oeuvre puisse appartenir à ce genre littéraire ; il en liste les critères, et étudie comment ces derniers sont en partie applicables à ces deux oeuvres. Le mémoire examine les prérequis pour qu’une oeuvre soit considérée comme fantastique, ainsi que les éléments qui placent une oeuvre à la limite de divers genres, tels que le conte, le merveilleux ou encore le réalisme magique. Une analyse des stratégies narratives employées pour persuader le lecteur à hésiter entre le réel et l’irréel est ici appliquée à L’Amant et La Pluie d’été, ainsi qu’une mise en avant des éléments qui peuvent faire entrer ces oeuvres dans la catégorie du fantastique. Les deux oeuvres sont ensuite étudiées séparément. Des personnages sont analysés, ainsi que les lieux, le temps et les actions. La technique narrative, avec la frontière floue entre rêve, retours en arrière et souvenirs, participe du genre fantastique. Les personnages phares, ainsi que des objets classiques du registre du fantastique, peuvent participer eux aussi de cette classification. Bien que les deux oeuvres ne soient pas explicitement classifiées par l’auteur comme appartenant au genre fantastique, il en émane une certaine atmosphère qui permet de mettre en avant des éléments qui contribuent au genre étudié, mais aussi au mode merveilleux, du réalisme merveilleux ou encore du conte. / The aim of this study is to analyze two works by Marguerite Duras: The lover and Summer rain. The study is carried out using elements of a specific literary genre: the fantastic (le fantastique). This study presents the elements needed for a work to belong to this literary genre; it lists the criteria, and studies how they partially are applicable to these two works. The conditions for a work to be considered fantastic, as well as the elements that place a work at the border of various genres, such as the folk tale, the marvelous (le merveilleux) or even the magic realism. This text presents an analysis of the narrative strategies, showing how the reader is led to doubt what is real and what is not. This study investigates The lover and Summer rain. It also highlights the elements that classify a book in the fantastic category. The two works are then studied separately. The characters are analyzed, as well as the setting, the time and the plot. The narrative technique, with the blurry borders between dreams, flashbacks and memories, belongs to the fantastic genre (le fantastique). The most important fictional4characters, as well as classic objects, can also contribute to the classification of the texts in the fantastic genre. Although the two works are not precisely classified by the author as belonging to the fantastic genre, a certain atmosphere created by Duras makes it possible to highlight elements that contribute to the genre studied, but also to the folk tale or the magic realism.

The paper focuses on generational conflicts as depicted in four Swahili novels namely: Vuta N’kuvute, Kufa Kuzikana, Msimu wa Vipepeo and Tumaini. Generational conflicts depicted in the novels are seen as a contest between tradition and modernity when viewed against the cultural changes that have taken place within the East African societies. Authors have dep-loyed narrative voice and focalization narrative techniques to communicate the implied au-thor’s ideological stance on the notions of tradition and modernity in respect to the conflicting issues captured in each novel. Section two highlights some postulations about the concepts of ‘modernity’ and ‘tradition’. The third section discusses the concepts of generation and generational conflicts while the fourth focuses on narrative voice and focalization as the narrative strategies that reveal gene-rational conflicts portrayed in the four novels. The final section is the conclusion relating the ideological stance of the implied author in relation to the concepts of modernity and tradition.