Thesis (Ph.D.) - University of St Andrews, March 2008.

Orientador: Orna Messer Levin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-12T15:30:18Z (GMT). No. of bitstreams: 1 Guilhen_Ellen_M.pdf: 1100602 bytes, checksum: 2de411dc68486b8c574bcb1e7309444b (MD5) Previous issue date: 2008 / Resumo: No final do século XIX, uma cena particular da peça Hamlet (1600), de Shakespeare - o suicídio-acidente da jovem Ofélia, descrito na cena VII do quarto ato - adquire especial destaque nos poemas simbolistas, inclusive nos brasileiros. Sem deixar de trazer para a comparação os poemas "ofélicos" de Jules Laforgue, Georges Rodenbach, Laurent Tailhade, António Nobre, essa pesquisa escolheu analisar os desdobramentos e as releituras da cena nos poemas dos brasileiros Valentim de Magalhães, Cruz e Sousa, Alphonsus de Guimaraens, Guerra Duval, Da Costa e Silva, Eduardo Guimaraens, Alceu Wamosy, entre outros. A explicação encontrada para a recorrência na poesia simbolista da imagem de Ofélia morta nas águas foi a dissolução total da personagem no elemento água (o "nada substancial", para Gaston Bachelard), reproduzindo o desejo do homem finissecular de mergulhar no Nada, no Vazio. Essa associação de Ofélia ao Vazio foi distribuída, tendo como base os poemas encontrados, em três subtópicas: a união dos cadáveres-amantes - herança do Ultra-romantismo - na qual a confusão dos corpos, completamente amalgamados, remete ao estado de androginia; a esterilidade polar - especificidade do Simbolismo - na qual as grandes extensões geladas, denunciando um afastamento do ritmo da vida, produzem uma luz fria, alimentada pelo auto-refletir; e a metapoesia - prenúncio do Modernismo - na qual a própria Arte, representada por símbolos castos e/ou estéreis, é vista como o último reduto da crença do poeta. Em todas essas três divisões, é patente a presença da Lua e de outras figuras circulares, representando, ao mesmo tempo, a plenitude (o bastar a si mesmo) e a esterilidade (o círculo que de nada se alimenta e nada produz), o que indica um afastamento significativo do retrato romântico de Ofélia. / Abstract: At the end of the 19th century, a particular scene from Shakespeare's Hamlet (1600) - young Ophelia's accident-suicide, described in Act IV, Scene VII - gets in the spotlight of symbolist poems, including the Brazilian ones. This research aims at analysing the spin-offs and rereadings of the referred scene in the Brazilian poems of Valentim de Magalhães, Cruz e Souza, Alphonsus de Guimaraens, Guerra Duval, Da Costa e Silva, Eduardo Guimaraens, Alceu Wamosy, among others, in comparison to the "ophelian" poems of Jules Laforgue, Georges Rodenbach, Laurent Tailhade and António Nobre. The explanation for the repetition of the image of dead Ophelia in the water in the symbolist poetry was the total dissolution of the character in the water element (the "substantial nothingness", according to Bachelard), reproducing an end-ofcentury wish to immerse into Nothingness, into Emptiness. Ophelia's association to Emptiness was distributed, based on the found poems, into three subtopics: the union of the lovers' corpses - as a heritage from Ultra-Romanticism - in which the confusion of the bodies, totally amalgamated, reminds us of the state of androginy; the polar sterility - a particularity of Symbolism -, in which great cold extensions, which reveal a separation from the rhythm of life, produce a cold light, fed by self-reflections; and the metapoetry - a herald of Modernism - in which Art itself, represented by chaste or sterile symbols, is seen as the poet's last stand of faith. The Moon, as well as other circular images, is remarkably present in all these three divisions, simultaneously indicating plenitude (self-sufficiency) and sterility (the circle in which nothing is fed and nothing is produced), which shows a significant distance from Ophelia's romantic picture. / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Made available in DSpace on 2016-04-18T21:15:44Z (GMT). No. of bitstreams: 3 Lucia Castanho Barros Rampini_Parte1.pdf: 10300759 bytes, checksum: cd066dc72bf2e698ab0899367824a3cc (MD5) Lucia Castanho Barros Rampini_Parte2.pdf: 10353084 bytes, checksum: 2fd7d1b6f9560afc2c18e151843b7e8b (MD5) Lucia Castanho Barros Rampini_Parte3.pdf: 7158217 bytes, checksum: 1b94d4a6132611377de4e15c6b88e840 (MD5) Previous issue date: 2013-08-22 / Fundo Mackenzie de Pesquisa / The main core of this thesis is the series of photographs that have reference to the fictional character, Ophelia, originally presented and described by Shakespeare in Hamlet (1603), and later painted by John Everett Millais ("Ophelia", 1851-2). It is an interdisciplinary study, which falls within the area of visual arts and culture. The initial research lays on the relationship between women and death, in the nineteenth century, the survival of the image of Ophelia till the twenty-first century and the indulgences that are imposed on women by patriarchal society. The thesis is divided into six core parts that connect to each other, alternating women's history, representation and artistic creation. To make these connections, we worked on texts that elucidate questions related to female suicide, melancholy, and also the image and its survival time. We also refer to Elizabeth Siddal, the young woman who posed for the Millais painting, and the intricacies between fiction and reality. This study allowed us to make a deep reflection on the condition of women and female artists in a society that has Ophelia as a contemporary metaphor for the modern romantic who struggles with conflicting feelings of mutual misunderstanding, unrequited love, and desperate desire, seeking final release in death. The trajectory of the development of this work led to the creation of series of photographs, drawings and paintings, of which a selected part is here presented. / O núcleo principal desta tese de doutorado é a série de fotografias que tem como referência a personagem literária, Ofélia, originalmente apresentada e descrita por Shakespeare, em Hamlet (1603), e posteriormente pintada por John Everett Millais ( Ophelia , 1851-2). Trata-se de um estudo interdisciplinar, que se insere na área das artes visuais e da cultura. A questão inicial é a pesquisa sobre as relações entre a mulher e a morte, no século XIX; a sobrevivência da imagem da Ofélia até o século XXI e as indulgências que são impostas à mulher pela sociedade patriarcal. A tese se divide em seis partes centrais que se conectam entre si, alternando história da mulher, representação e criação artística. Para fazer essas conexões, lançou-se mão de textos que elucidaram questões sobre o suicídio feminino, a melancolia e, também, a imagem e sua sobrevivência no tempo. Temos como objeto, ainda, a figura de Elizabeth Siddal, a jovem que posou para a pintura de Millais, e os meandros entre a ficção e realidade. Este estudo permitiu que se fizesse uma profunda reflexão sobre a própria condição de artista e mulher na sociedade que tem Ofélia como uma metáfora contemporânea para o moderno romântico que luta com sentimentos conflitantes de incompreensão recíproca, o amor não correspondido e desejo desesperado, e que busca liberação final na morte. A trajetória da elaboração deste trabalho propiciou a criação de séries fotográficas, desenhos e pinturas, das quais uma seleta parte é aqui apresentada.

Cette recherche a pour objectif de faire émerger l’essence d’Ophélie, au sein de la poésie et de la vie d’Emily Dickinson. Fondés sur une étude comparative d’Emily Dickinson et des représentations d’Ophélie, ces travaux mettent en exergue l’influence indéniable qu’a eue ce personnage dit ‘mineur’ sur la poésie et l’imaginaire du poète, ainsi que son rôle ‘majeur’ sur elle et sur son art. Jean-Luc Nancy explique qu’il existe un point où l’image non-figurative peut elle aussi exister. Il s’agit du point où image et texte fusionnent, où les frontières se brouillent : On parle alors d’un sens à l’essence. Il s’exprime ici dans la force qu’a Emily Dickinson de faire apparaître Ophélie, mais sans jamais l’actualiser entièrement. Cette capacité est propre au poète, comme le définit Emerson. C’est aussi la multiplicité qu’offre Shakespeare au personnage d’Ophélie, cette même symbolique ophélienne, créée grâce aux multiples superpositions de calques qui se retrouvent à travers ses différentes représentations et les exploitations diverses de son iconographie. En se fondant fidèlement sur la doctrine originaire d’Horace « Ut Pictura Poesis erit », Ophélie prend vie dans la poésie d’Emily Dickinson. Cette doctrine rapporte les arts du langage à ceux de l’image, et souligne qu’une poésie muette (la peinture) est comme une peinture parlante (art poétique). Le poète enrichit ainsi le statut de peintre en élargissant sa palette de définition. L’importance d’Ophélie, dans la structure artistique d’Emily Dickinson, est mise en évidence, telle une armature silencieuse à sa composition poétique. C’est pourquoi on ne peut parler d’imitation mais d’influence, qui se fonde sur le concept de Différenciation, de lignes de fuite, de cartographie et enfin de Devenir-mineur vers la création de l’unique. C’est en effet par la soustraction et non l’addition que se crée l’individualité, telle la définition même du rhizome donnée par Gilles Deleuze. Une sorte de beau et une certaine souveraineté de la vérité peuvent alors s’en dégager comme le définit Keats, ce qui évoque la quête centrale de circonférence du poète. Cette thèse s’appuie sur les points cardinaux qui permettent de suivre Emily Dickinson le long de son parcours circonférentiel de vie et sa quête de son Nord-Ophélien. Selon les définitions de la notion de Concept chez Hume, Hegel et Deleuze, la mise en lumière du Concept Ophélien chez Dickinson sera possible. Pour cela, le poète répond à quatre critères : avoir une base de mimesis avec Ophélie – ce qui correspond à l’Est ; avoir la capacité d’en produire des créations ophéliennes – localisées au Sud ; aboutir à une innovation évolutive de son art – positionnée à l’Ouest ; et enfin, atteindre l’immortalité – située au Nord. Au final, cela permettra de définir chez Emily Dickinson le Devenir-Carte Ophélien et son exploitation du Concept Ophélien. / The Essence of Ophelia within the poetry and life of the poet is unveiled, based on a comparative study of Emily Dickinson and the diverse uses of Ophelia throughout time. This allows to put into evidence the undeniable influence of this so-called ‘minor’ character on Emily Dickinson’s imagination, and her ‘major’ role on the poet and her art. Jean-Luc Nancy explains that there is a point where text and image fuse, where their borders blur and it results in a creation of a non-figurative image – which thus relies solely on individuals’ senses. Ophelia’s symbolism has an abundant amount of layers which allows innumerable interpretations, embellished by The Poet (as defined by Emerson). By leaning faithfully on Horace’s doctrine “Ut Pictura Poesis erit”, Ophelia comes to life in the poetry of Dickinson. Horace’s goals was to place the art of language on the same level as visual arts, thus the idea that a mute poetry (painting) is such as a vocal painting (poetry). This doctrine modifies the status of image and widens the painter’s palette. Consequently, Ophelia will be such as a silent foundation to Emily Dickinson’s poetry, where there is no imitation but solely an artistic influence with the notion of Differentiation, lines of flight, mapping and becoming-Minor which leads to the creation of the unique. According to Keats, it can equivocate to a sovereign truth, central quest of Dickinson’s circumferential journey. This dissertation leans on cardinal points to follow Emily Dickinson along her circumferential journey and her quest of the Ophelian North. Based on the definition of Concept by Hume, Hegel and Deleuze, the Ophelian Concept of Emily Dickinson will be brought forward. In order for that to be possible, the poet will match four criteria: have a mimesis base with Ophelia – which is found in the East, be able to create from that – located in the South, then have it lead to an innovative artistic response – positioned in the West, and finally, that immortality be attained – established in the North. This will allow a definition of Emily Dickinson’s Ophelian Becoming-map and her use of the Ophelian Concept.

The Challenge: Today a daunting quantity of scholarship relating to Hamlet exists. While databases and electronic catalogues aid research, these directories present a virtual wall of minimal bibliographic data. Sorting through lists still takes eons. Meanwhile, new publications are constantly added to the academic stacks that ever threaten to tumble over. The Solution: A web site that groups together scholarly publications using similar approaches and treating similar subjects will translate the overwhelming into the maneuverable. The online medium will provide accessibility to everyone--student, research assistant, instructor, scholar--and will guarantee the opportunity to update this resource on a regular basis. Scope: Listings will span materials published between 1991and 2001. The bibliography will exclude notes, reviews, abstracts, and treatments of theatre and film performances as well as certain forums (e.g., newsletters, bulletins, electronic journals). Scholarship focusing on the Folio/Quartos debate seems relevant but requires specific and technical specialization and will thus be omitted. Pedagogical studies and comparisons of Hamlet to other literary works will also be excluded. Research: IAC Expanded Academic Index, 1982-1995, IAC Expanded Academic Index, 1996-, and MLA Bibliography databases, as well as Dr. Sara Deats?private bibliography on Hamlet, will be combed for applicable scholarship. Organization: The bibliography will categorize publications by theoretical approach (e.g., feminism, new historicism) and subject focus (e.g., characters, themes). It will arrange individual works alphabetically by author within each subsection, using the MLA format.

Using the sixteenth-century theories of sympathies to examine the inter-character relationships in Hamlet, I argue for a period reading that offers insight into Hamlet’s delay and the basis for his problematic relationships with Gertrude and Ophelia. Asserting Hamlet’s character as an observer in the play with the ultimate goal of healing the infected state of Denmark, this examination of Hamlet explores how sympathetic healing would function between the characters of Hamlet, the Ghost, Gertrude, and Ophelia. Such a reading would present these characters as vulnerable bodies capable of directly affecting each other over a physical distance. Hamlet’s ultimate tragedy then would arise from his failures to engage with these sympathetic forces effectively, resulting in his inability to find the proper cure for his state.

Winner of the 2003 Outstanding Thesis prize. / Title from PDF of title page. / Document formatted into pages; / Thesis (M.A.)--University of South Florida, 2002. / Includes bibliographical references. / Text (Electronic thesis) in PDF format. / ABSTRACT: The Challenge: Today a daunting quantity of scholarship relating to Hamlet exists. While databases and electronic catalogues aid research, these directories present a virtual wall of minimal bibliographic data. Sorting through lists still takes eons. Meanwhile, new publications are constantly added to the academic stacks that ever threaten to tumble over. The Solution: A web site that groups together scholarly publications using similar approaches and treating similar subjects will translate the overwhelming into the maneuverable. The online medium will provide accessibility to everyone--student, research assistant, instructor, scholar--and will guarantee the opportunity to update this resource on a regular basis. Scope: Listings will span materials published between 1991and 2001. The bibliography will exclude notes, reviews, abstracts, and treatments of theatre and film performances as well as certain forums (e.g., newsletters, bulletins, electronic journals). / ABSTRACT: Scholarship focusing on the Folio/Quartos debate seems relevant but requires specific and technical specialization and will thus be omitted. Pedagogical studies and comparisons of Hamlet to other literary works will also be excluded. Research: IAC Expanded Academic Index, 1982-1995, IAC Expanded Academic Index, 1996-, and MLA Bibliography databases, as well as Dr. Sara Deats?private bibliography on Hamlet, will be combed for applicable scholarship. Organization: The bibliography will categorize publications by theoretical approach (e.g., feminism, new historicism) and subject focus (e.g., characters, themes). It will arrange individual works alphabetically by author within each subsection, using the MLA format. / System requirements: World Wide Web browser and PDF reader. / Mode of access: World Wide Web.

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Autobiographies and documentaries usually aim to elicit a discussion about social issues by shocking and horrifying readers and viewers, often through graphic imagery. This study's ambition is to examine how literary documentary borrows from the gothic tradition to depict real societal issues. My aim is to show how the gothic style transcends the borders of the genre and that literary documentary about self-harm tends to work through the same thematic and narrative structures as the literary gothic. With a focus on contemporary depictions of self-harm and mental illness in young women and girls in Sweden, this analysis explore how the function of sexuality, gender and self-harm in gothic horror can be applied on these texts. At the same time this study explores how selfharming women tend to use gothic imagery to portray the horrors of their own reality that is saturated with extreme and negative emotions. For comparison, two famous depictions of girls going through puberty from the literary horror genre; Carrie and The Exorcist, are examined to further anchor the connection between femininity, blood and puberty in the gothic theoretical field.

The nineteenth century critics appraised Shakespeare's heroines by standards different from those of the twentieth; consequently the two ages reached different conclusions. The purpose of this paper is to point out just what these differences are. A paper of this scope had to be narrowed in some ways. Otherwise a formidable array of heroines would have been enumerated, but little depth of research could have been shown. In the general conclusion the result would have been the same, as I have discovered through wide reading. To limit the subject only the most famous heroines could be included. The process of assembling a bibliography on the field of criticism of Shakespeare's heroines showed that some heroines bad been fully discussed, while others had been given little in the way of criticism. A great mass of material on a certain heroine, for example, would show that, since she was considered important by many writers of a certain period, she should be given consideration in this discussion. In this way the number of heroines discussed in this paper was limited to seven: Portia (in Merchant of Venice), Rosalind, Juliet, Ophelia, Desdemona, Cleopatra, and Lady Macbeth.