My dissertation "Género, clase, etnia y raza en la (re) presentación de la mujer inmigrante y extranjera en Argentina (1880 -1930)," studies the various ways in which the representation of immigrant and foreign women, who arrived to Argentina between 1880 and 1930, were shaped by the modalities of gender, race, ethnicity, and class in literary and visual texts. I approach this study with an understanding that the before-mentioned politics of difference are social constructions that reflect and perpetuate the prevailing distribution of power and privilege in a society. I look at novels, plays, travel literature and photography, re-envisioning canonical texts from a different critical direction. Thus, my dissertation casts new light on the representation of immigrant and foreign women by expanding the range of readings and exposing a patriarchal attitude towards the changing role of women in an unstable social structure. Drawing from theories such as gender, performance, ethnic studies, and visual culture, I emphasize the link that exists between the way the immigrant and foreign female bodies are seeing, and ways of structuring desire according to the logic of commodity capitalism. / A Dissertation submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester, 2006. / April 28, 2006. / Clase, Raza, Performance, Teatro, Eugenesia, Argentina, Inmigración, Género, Etnia / Includes bibliographical references. / Jean Graham-Jones, Professor Directing Dissertation; Brenda Cappuccio, Professor Directing Dissertation; María Morales, Outside Committee Member; Santa Arias, Committee Member.

Maria Anna Acciaioli Tamagnini was a woman of special circumstances. She enjoyed many opportunities in regards to travel, education, as well as liberty of thought. These factors, in conjunction with her youth and ability to write, placed her in a unique situation in which it was possible to publish a book accessible to a large audience. With these opportunities, she searched for happiness, not only for herself, but for women everywhere. The picture of the Chinese woman that she paints with her poetry in the book Lin-Tchi-Fá: Flor da lotus opens a discourse about the situation of women in Macau, in Portugal, and in China. During the 19th and 20th centuries in China, Portugal and Macau, women increasingly fought for their rights. The political climate in which Tamagnini found herself was turbulent in many ways. Of notable importance in Tamagnini's work is the feminist movement what was gaining strength with sharp voices against traditional norms as well as the deep-rooted traditions that had for centuries oppressed women. Tamagnini, because of society's attitude in regard to these feminists, packaged her feminine message with much subtlety. Thus, readers who only wanted to hear a pretty story of the exotic Orient were satisfied, while to those readers with sensibility, she told the story of the woman's search for happiness. This happiness did not come by pleasing any man, but in the self-actualization of each woman.

Hyper-raising (HR) is a cross-clausal dependency where the DP subject of a finite complement clause surfaces as an apparent argument of the matrix verb (Alboiu and Hill, 2016; Carstens, 2011; Ferreira, 2004; Fong, 2017; Halpert, 2019; Lee and Yip, 2020; Nunes, 2008; Ura, 1994, 1995). HR is puzzling because it involves apparent DP raising from a finite complement, even though the driving mechanism of raising - the non-finiteness of the complement clause - is absent. Nonetheless, the majority of the existing literature argues that HR is, like raising, A-movement. In this thesis, I present novel data on HR from Brazilian Portuguese that contradicts these analyses. Specifically, I show that HR displays signature properties of a control dependency. Thus, I argue that HR is not an instance of A-movement, but an instance of control into a finite complement clause. I demonstrate a technical implementation of the Agree Model of Control (Landau, 2000, 2004, 2006, 2007, 2008, 2010, 2013) in the context of HR in Brazilian Portuguese that accounts for the relevant data while also providing novel predictions and extensions. / Thesis / Doctor of Philosophy (PhD)

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This thesis presents a first critical edition of Lope de Vega’s saint’s play 'San Nicolás de Tolentino' (c. 1614) alongside an introductory study. The text is based on the sole seventeenth-century witness. The four modern re-prints/editions of the play have been consulted to help remedy defects in the 'princeps', which has been edited in accordance with the current practices of 'comedia' editors. Variants are collated in a list following the playtext. Footnotes to the text explain the important complexities and obscurities of 'San Nicolás' and some idiosyncrasies of Golden-Age literature generally. The introductory study has six sections. The first pieces together a history of the veneration of St Nicholas in Spain, detailing the miracles and patronages that might have led Lope to compose this play of his own accord or that might have led to a commission. Internal evidence suggests strongly that any commission must have come specifically from the Discalced Augustinians. The second section examines Lope’s possible sources, concluding tentatively that Critana’s 'Vida' is the most likely source. Sections 3 and 4 present an interpretation of the protagonists – Nicolás and the 'gracioso' Ruperto. My comparison of Lope’s Nicolás with the saint depicted in the hagiographies casts into relief techniques Lope used to prevent this prodigious miracle-worker from alienating the audience. The 'gracioso' character, I argue, is intended to offer a model of Christian piety of a humbler kind: one significant factual departure from the hagiographic tradition places Ruperto at the forefront of the play’s religious purpose. However, a couple of comically lewd scenes in Act 2 (unmentioned by previous critics) make for a complex 'gracioso' struggling to resist temptation. I argue that Ruperto’s inner turmoil might reflect Lope’s own sense of unworthiness as he prepared for priestly ordination. Section 5 treats the supernatural in 'San Nicolás', demonstrating Lope’s familiarity with early modern theories of supernatural phenomenology and concluding that, despite the typically allegorical names of Ira, Carne, and Inobediencia, for example, these figures are intended, not as literary abstractions, but as real spirits, incorporeal demons. The final section presents an analysis of the play’s versification, which is largely in keeping with Lope’s usual habits.

Orientador: Maria Célia de Moraes Leonel / Banca: Márcia Valéria Zamboni Gobbi / Banca: Tania Mara Antonietti Lopes / Resumo: O estudo da produção romanesca de Dulce Maria Cardoso revela um minucioso trabalho da forma por parte da escritora, que vai da linguagem irônica à rememoração por meio do fluxo de consciência. Tal característica chega ao ápice no romance Os meus sentimentos - nosso corpus - composto por apenas um período que se estende por mais de trezentas páginas. O objetivo da dissertação é comprovar a hipótese de que, no romance em pauta, o tema - que é o sentimento de não-pertença - é constituído principalmente pelas seguintes categorias: linguagem, personagem, narração, focalização e tempo. Por meio da voz narrativa da protagonista, da focalização interna fixa e do vaivém temporal acompanhado de fluxo de consciência elabora-se tal sentimento. Os dois últimos recursos - inversões temporais e fluxo de consciência - constroem a consciência da personagem e também o que pode ser considerado como subconsciência. Tendo em vista a disposição estrutural de tais categorias da narrativa escolhida objetiva-se ainda verificar se elas exercem papel assemelhado em outras obras da escritora portuguesa. Outrossim, objetivamos definir a não-pertença, bem como compreender qual a relação que a produção literária de Dulce Maria Cardoso estabelece com a literatura portuguesa contemporânea. A fim de atingir tais objetivos, contamos com embasamento teórico-crítico dividido em quatro linhas principais: definição de não-pertença, contando com George H. Mead em Mente, self e sociedade, Abraham Maslow em Motivatio... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Abstract: The study of the literary production of Dulce Marie Cardoso unveils a detailed work on the form by the author, which ranges from the ironic language to the remembrance through the stream of consciousness. Such characteristic reaches the apex on the novel Os meus sentimentos - our corpus - composed by a period alone, extended over three hundred pages. The objective of the dissertation is to prove the hypothesis that, in the book, the theme - which is the nonbelonging - is constituted especially by the following categories: language, character, narrative, focalization and time. Through the narrative voice of the protagonist, the fixed internal focalization, and the temporal shuttle accompanied by the stream of consciousness such sentiment is elaborated. The last two resources - temporal inversions and stream of consciousness - build the consciousness of the character and also what can be considered as subconsciousness. Furthermore, we intend to define the nonbelonging and understand which relationship the novel production by Dulce Maria Cardoso has with the contemporary Portuguese literature. In view of the structural disposition of such categories of the chosen narrative, it is still intended to verify if they play a similar role in other works of the Portuguese writer. In order to achieve these objectives, we have a theoretical critical basis divided into four main lines: definition of nonbelonging, relying upon George H. Mead in Mente, self e sociedade, Abraham Mas... (Complete abstract click electronic access below) / Mestre

Orientadora: Rosane Gazolla Alves Feitosa / Banca: Rubens Pereira dos Santos / Banca: Sandra Aparecida Ferreira / Banca: Telma Maciel da Silva / Banca: Altamir Botoso / Resumo: José Saramago (1922, Azinhaga/Portugal - 2010, Tías/Lanzarote/Ilhas Canárias/Espanha) publicou O ano da morte de Ricardo Reis (1984), um livro que fascina o leitor, dentre outros motivos, por causa do seu diálogo com a história, particularmente a da Europa entre Guerras, seu intertexto com a tradição literária e sua escrita arrebatadora. Esta tese tem por objetivo analisar a fortuna crítica dessa obra no meio acadêmico brasileiro (por meio do estudo de teses e dissertações, defendidas entre 1984 e 2014) usando a abordagem teórica de "comunidade interpretativa", conceito introduzido por Stanley Fish em seu livro Is there a text in this class? (1980), ainda sem tradução no Brasil. Para Fish (1938, Rhode Island/EUA), teórico literário e professor de inglês em diversas universidades americanas, comunidades interpretativas designam diferentes leitores que aplicam as mesmas estratégias de leitura, tanto construtivas quanto interpretativas, e possuem uma opinião comum sobre o significado de uma obra. A tese que se pretende estudar nesta pesquisa é a possibilidade de o próprio Saramago, através da mídia e de outros romances seus, ter afetado o modo como os críticos, ou pelo menos parte deles, leem e entendem sua obra. A justificativa para esta pesquisa nasceu da percepção de que os críticos cujo objeto de estudo é a obra deste escritor algumas vezes compartilham as mesmas opiniões sobre esse e outros romances do autor e, segundo a hipótese desta tese, isso acontece porque esses... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: José Saramago (1922, Azinhaga/Portugal - 2010, Tías/Lanzarote/Canary Islands/Spain) published The Year of the Death of Ricardo Reis (1984), a book that fascinates the reader, among other things, because of its dialogue with history, mainly Europe's history between the Great Wars, its intertext with the literary tradition, and its enthralling writing. This doctoral thesis has as its aim to analyze the wealth of critical acclaim of the aforementioned work in the Brazilian academia, by means of engaging in the study of dissertations and theses accepted from 1984 to 2014, and applying the idea of interpretive community, concept created by Stanley Fish in his Is There a Text in this Class? (1980). According to Fish (1938, Rhode Island/USA), theorist and English professor of many American Universities, interpretive communities stand for different readers applying the same reading strategies, as much constructive as interpretive, and sharing a common opinion about the meaning of a given work. The thesis to be verified in this research is the possibility that Saramago himself, through media and his other novels, had affected how the critics, or at least some of them, read and understand his work. The justification for this research was born from the perception that critics whose subject of study is the work of the Portuguese writer sometimes share the same opinions about this and other novels by him and, according to the hypothesis of this thesis, it happens so because these critics belong to a same interpretive community, one that has as its main influence the words by Saramago Himself. The methodology of analysis of this thesis is going to take place as follows: firstly, the concept of interpretive community will be explained as construed by Fish; after that, the works of which the corpus is made of are going to be displayed in chronological fashion... (Complete abstract click electronic access below) / Doutor

University of Macau / Faculty of Arts and Humanities. / Department of Portuguese

University of Macau / Faculty of Arts and Humanities. / Department of Portuguese

Orientador: Gladis Massini-Cagliari / Resumo: O objetivo desta dissertação é a análise da atribuição do acento no galego-português, período trovadoresco, tomado a partir de sua realização nas cantigas religiosas remanescentes - as Cantigas de Santa Maria, de Afonso X. Desta forma, esta dissertação consiste no estudo de um aspecto da Fonologia do Português Medieval, na sua dimensão prosódica, a partir de uma comparação das características lingüísticas das cantigas medievais profanas (estudadas anteriormente por Massini-Cagliari, 1995, 1999) com as religiosas. A tese de Massini-Cagliari (1995) inaugura no Brasil a metodologia empregada na presente pesquisa. Tal metodologia centra-se na busca das características prosódicas de línguas mortas ou de períodos passados de línguas vivas na estrutura métrico-poética da poesia sobrevivente. Em parte, a proposta baseia-se em metodologias adotadas em trabalhos anteriores sobre outras línguas (sobretudo inglês) - especialmente Halle e Keyser (1971). Mas, na maior parte, baseia-se na observação da estrutura das cantigas medievais galegoportuguesas e de como a contagem das sílabas poéticas e a concatenação dos acentos (poéticos) deixa entrever as características da língua sobre as quais os versos são construídos. Assim, a partir do diálogo estabelecido com a tese de Massini-Cagliari (1995) - e sobretudo com a versão revista e publicada dessa tese (Massini-Cagliari, 1999) -, o objetivo foi observar se, no discurso religioso, muito mais rico em léxico do que as cantigas de amigo estudadas por Massini-Cagliari, podem ser encontrados padrões não mapeados por essa pesquisadora em sua análise. A análise feita no interior do quadro teórico inaugurado pelas teorias fonológicas nãolineares, especialmente pela Fonologia Métrica Paramétrica de Hayes (1995), mostrou que, nas cantigas religiosas, há padrões prosódicos, quanto ao acento...(Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This dissertation aims to analyse stress attribution in Medieval Portuguese. The corpus is composed by Alfonso X’s Cantigas de Santa Maria. In this way, it studies one aspect of Medieval Portuguese Phonology, on its prosodic dimension, establishing a comparison of the linguistic characteristics in religious and secular medieval cantigas (studied previously by Massini-Cagliari, 1995, 1999). Massini-Cagliari (1995) thesis inaugurates in Brazil the methodology used in the present research. Such methodology is based on the search of prosodic characteristics of dead languages or past periods of alive languages in the metrical poetic structure of the surviving poetry. The proposal is partly based on methodologies adopted in previous works about other languages (mainly English) - especially Halle and Keyser (1971). But for the most part it is based on medieval cantigas structure observation and on the abstraction of Galician- Portuguese linguistic characteristics from scansion of poetic syllables and concatenation of poetic prominences. This dissertation establishes a dialogue with Massini-Cagliari (1995, 1999), objecting to verify whether it is possible to find in the religious discourse of Cantigas de Santa Maria (lexically richer than the secular cantigas de amigo) prosodic patterns that could not be found previously in Massini-Cagliari approach. The data are analysed from Non-Linear Phonology theoretical approach, especially Parametrical Metrical Phonology - Hayes (1995). The results show that there are, in Alfonso X’s Cantigas de Santa Maria, prosodic stress patterns that could not be found in cantigas de amigo, such as non-adverbial oxytones ended by light syllables and paroxytones ended by closed syllables (mainly by nasal consonants). Concerning these exceptional patterns, this dissertation proposes that, in the case of paroxytones ended by closed syllables, the final nasal is extrametrical, because there is in fact variation between the forms. / Mestre