Orientador: Márcio Orlando Seligmann Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T09:32:47Z (GMT). No. of bitstreams: 1 AmsbergdeAlmeida_Aline_D.pdf: 2414928 bytes, checksum: a2de1de008fab71b5cbdfa9fc0ad9efa (MD5) Previous issue date: 2015 / Resumo: O elemento técnico e a carne se unem para formar o corpo. De acordo com os conceitos de ciborgue e de híbrido, pensados aqui como facetas do pós-humano, pretendo mapear as manifestações desse corpo em algumas obras da literatura de ficção científica publicada a partir do início dos anos 90. O recorte temporal se deve à finalização do auge do movimento conhecido como cyberpunk que, por um lado, deixou resquícios na literatura de ficção científica e, por outro, ainda não pode ser dado como terminado. Utilizo para estas reflexões principalmente as ideias de desterritorialização e reterritorialização (Deleuze e Guattari), de antropodescentrismo (Roberto Marchesini), e de hospitalidade (Jacques Derrida), além do conceito de ciborgue (Donna Haraway) e de híbrido (Bernard Andrieu). O método rizomático e alguns princípios da Teoria do Caos permitem a problematização das manifestações corporais nas obras escolhidas para o corpus. Os conceitos de "corpo", "carne" e "elemento técnico" são esboçados com a finalidade de tornar esse híbrido possível no campo conceitual e, assim, na prática de análise / Abstract: The technical element and the meat/flesh join to built the body. According to the concepts of cyborg and hybrid, here conceived as aspects of the posthuman, I intend to map the manifestations of that body in some works of literary Science Fiction (SF) published since the early 90¿s. Such a choice of the date is due to the down of the cyberpunk movement which, on one hand, left marks and residues in SF literature and, on the other, cannot be declared dead. For these thoughts I use mainly the ideas of deterritorialization and reterritorialization (Deleuze e Guattari), anthropo-decentrism (Roberto Marchesini), and hospitality (Jacques Derrida), as well as the concept of cyborg (Donna Haraway) and hybrid (Bernard Andrieu). The rhizome method and somen of the Caos Theory allow to question the bodily manifestations in the chosen corpus. The concepts of "body", "meat/flesh" and "technical element" are sketched aiming to make possible this hybrid on the conceptual field and, therefore, the analytical practice / Doutorado / Teoria e Critica Literaria / Doutora em Teoria e História Literária

Bibliography: leaves 221-234 / This research explores the humour and laughter in Howard Barker's Theatre of Catastrophe in the light of Mikhail Bakhtin's theory of the carnivalesque against the backdrop of the postSecond-World-War British (post-WWII) society and cultural tendencies and problems thereof. In this research, which explores the different stages of Barker's work – namely plays written in the seventies, the eighties and early nineties – I argue that comedy and laughter are pivotal to Howard Barker's theory for theatre which ultimately shaped his Theatre of Catastrophe as a tragic theatre. Howard Barker forged the appearance of a unique theatrical practice, the Theatre of Catastrophe, not only through the revival of pain, death and tragedy but also through the juxtaposition of the carnivalesque and death/tragedy. This research therefore, studies transformation in Barker's art of theatre in a period of twenty years and demonstrates how the playwright deviates from tenets he set for his tragic theatre without necessarily betraying its tragic spirit. It is worth highlighting the observation that, the marriage of catastrophe and the carnivalesque remains the most significant achievement of Barker's art of theatre. Chapter Two of the research explores Bakhtin's theory of the carnival through the elaboration of crucial concepts such as the grotesque imagery, laughter and the marketplace. Bakhtin's thoughts on laughter root in Henri Bergson's theory of laughter. Definitely the realm of laughter somewhere in between art and life, both Bergson and Bakhtin also emphasise on the negative aspect of laughter. The engagement of individuals in the marketplace creates the concrete presence which is crucial to the carnivalesque. Taking into account the tenets of the Bakhtinian carnivalesque, this second chapter also concisely studies the challenges posed to the carnival theory by philosophers such as Umberto Eco and Terry Eagleton. The chapter finally investigates the revival of the concept of the carnival in the post-war British drama by studying David Edgar's advocacy of Augusto Boal's thoughts on the theatre and the necessity of the carnival. Chapters Three and Four offer close analyses of the plays written by Barker in the seventies, eighties and early nineties with the primary aim to show the turns and shifts that he takes in the development of his career as an oppositional playwright in search of a remedy to the cultural malaise of his day. The plays selected for these chapters are the ones which the playwright has categorised as his best plays, namely, Claw (1975), Stripwell (1975), The Love of a Good Man (1978), The Power of the Dog (1984), The Castle (1985), The Europeans (1987), (Uncle) Vanya (1992). Chapter Five sums up the findings on the research and concludes that Barker's comic sense goes beyond the comic sense ascribed to many tragic playwrights. The comedy which permeates his theatre of catastrophe shares affinities with the carnival leading to a carnivalisation of catastrophe in Barker's tragic theatre despite the claims by the Barker and his downplaying of the comedy which exists in his oeuvre. / English Studies / D. Litt. et Phil. (English Studies)

Text in Afrikaans / The concepts of parody and pastiche are oftell employed by leading theoreticians to offer definitions of the elusive term "Postmodernism". One is led to conclude that parody and pastiche are direct1y linked to Postmodernism. This is especially valid in the case of pastiche. Indeed, it appears, therefore, that the continllous assumption of the appellation "pastiche" in the Postmodernist discourse could reveal its link to Postmodernism and Postmodernity in general. While parody and pastiche are not new phenomena, the question is why, ill our time, these concepts should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernis! texts. However, an investigation of the studies done on Postmodernist drama/theatre reveals a distinct lack of reflection about the role of parody and pastiche and a disturbing absence of publication on the the subject. This state of affairs reveals a conspicuous delay in terms of theoretical deliberation when compared to other investigat1ve practices, i.e. literary criticism and philosophy. This study, then, is essentially interested in transposing the present emphasis on parody and pastiche found in contemporary literary theory to Postmodernist drama/theatre. The final objective of this study is to explore the impact of the concepts of parody and pastiche on twentieth century drama/theatre and their possible contribution to a better understanding of the elusive term "Postmodemist drama/theatre". / Afrikaans and Theory of Literature / D. Litt. et Phil. (Literature)

Text in Afrikaans / Spieel, kamer van spieels, mise-en-abyme, representasie, ensovoorts, is almal begrippe wat met die nosie van selfrefleksiwiteit in verband gebring word. Hoewel selfrefleksiwiteit nie 'n nuwe verskynsel is nie, is die vraag waarom dit juis vandag so akuut in die literer-teoretiese diskoers neerslag vind. Dit geld veral teoretiese bydraes oor die Postmodernisme en/of Postmodemistiese tekste. Hieruit kan 'n mens aflei dat daar 'n direkte verband tussen selfrefleksiwiteit en die Postmodernisme bestaan. Hierdie studie is dan primer gemteresseerd in die wyses waarop die Postmodernistiese dramafteater die nosie van selfrefleksiwiteit in die enkoderingsproses in diens neem. Daarbenewens word ondersoek ingestel na die invloed wat die konsep van vervreemding in die twintigste-eeuse dramajteater op die verskillende beskouings van selfrefleksiwiteit gehad het. Die uiteindelike oogmerk is om aan te toon dat selfrefleksiwiteit in die Postmodernistiese dramafteater gevestigde aannames oor kuns as spieelbeeld van die werklikheid omverwerp. / Mirror, hall of mirrors, mise-en-abyme, representation, et cetera are all concepts associated with the notion of self-reflexivity. While self-reflexivity is not a new phenomenon, the question is why, in our time, it should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernist texts. One is lead to conclude that self-reflexivity and Postmodernism are directly linked. This study, then, focuses primarily on how Postmodernist drama/theatre employs the notion of self-reflexivity in the encoding process. It also explores the impact of the concept of alienation in twentieth century drama/theatre on the various views of self-reflexivity. The fmal objective is to show that self-reflexivity in Postmodernist drama/theatre challenges ftxed suppositions about art as a reflection of reality. / Afrikaans, Theory of Literature / M.A. (Theory of Literature)

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x, 197 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This dissertation investigates the cultural importance of the "monstrous Other" in postmodern literature, including novels from Sweden, Finland, and the United States. While the theoretical concept of "the Other" is in wide circulation in the humanities and social sciences, the concept has only recently been modified with the adjective "monstrous" to highlight a special case of the Other that plays an important role in the formation of human subjectivity. In order to better understand the representational legacy of the monstrous Other, I explore some of the principal venues in which it has appeared in western literature, philosophy, folklore, and politics. Using a Foucauldian archaeological approach in my literature survey allows me to trace the tradition of the monstrous Other in such sources as medieval bestiaries, the wild man motif in folklore and popular culture, and the medicalization of intersexual embodiment. In all cases, the monstrous Other is a complex phenomenon with broad implications for the politics of subjectivity and the future of social and political justice. Moreover, the monstrous Other poses significant challenges for the ongoing tenability of normative notions of the human, including such primary human traits as sexuality and a gendered, "natural" embodiment. Given the complexities of the monstrous Other and the ways in which it both upholds and intervenes in normative human identities, no single theoretical approach is adequate to the task of examining its functioning. Instead, the project calls for an approach that blends the methodologies of (post)psychoanalytic and queer theory while retaining a critical awareness of both the representational nature of subjectivity and its material effects. By employing both strains of theory, I am able to "read" the monstrous Other as both a necessary condition of subjectivity and a model of intersubjectivity that could provide an alternative to the positivism and binarism of normative subjectivity. The texts that I examine here reveal the ways in which postmodern reconfigurations of the monstrous Other challenge the (hetero)normativity of human subjectivity and its hierarchical forms of differentiation. My reading of these texts locates the possibilities for a hybridized, cyborgian existence beyond the outermost limits of positivistic, western subjectivity. / Committee in charge: Ellen Rees, Chairperson, German and Scandinavian; Daniel Wojcik, Member, English; Jenifer Presto, Member, Comparative Literature; Aletta Biersack, Outside Member, Anthropology

Text in Afrikaans / The concepts of parody and pastiche are oftell employed by leading theoreticians to offer definitions of the elusive term "Postmodernism". One is led to conclude that parody and pastiche are direct1y linked to Postmodernism. This is especially valid in the case of pastiche. Indeed, it appears, therefore, that the continllous assumption of the appellation "pastiche" in the Postmodernist discourse could reveal its link to Postmodernism and Postmodernity in general. While parody and pastiche are not new phenomena, the question is why, ill our time, these concepts should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernis! texts. However, an investigation of the studies done on Postmodernist drama/theatre reveals a distinct lack of reflection about the role of parody and pastiche and a disturbing absence of publication on the the subject. This state of affairs reveals a conspicuous delay in terms of theoretical deliberation when compared to other investigat1ve practices, i.e. literary criticism and philosophy. This study, then, is essentially interested in transposing the present emphasis on parody and pastiche found in contemporary literary theory to Postmodernist drama/theatre. The final objective of this study is to explore the impact of the concepts of parody and pastiche on twentieth century drama/theatre and their possible contribution to a better understanding of the elusive term "Postmodemist drama/theatre". / Afrikaans and Theory of Literature / D. Litt. et Phil. (Literature)

Text in Afrikaans / Spieel, kamer van spieels, mise-en-abyme, representasie, ensovoorts, is almal begrippe wat met die nosie van selfrefleksiwiteit in verband gebring word. Hoewel selfrefleksiwiteit nie 'n nuwe verskynsel is nie, is die vraag waarom dit juis vandag so akuut in die literer-teoretiese diskoers neerslag vind. Dit geld veral teoretiese bydraes oor die Postmodernisme en/of Postmodemistiese tekste. Hieruit kan 'n mens aflei dat daar 'n direkte verband tussen selfrefleksiwiteit en die Postmodernisme bestaan. Hierdie studie is dan primer gemteresseerd in die wyses waarop die Postmodernistiese dramafteater die nosie van selfrefleksiwiteit in die enkoderingsproses in diens neem. Daarbenewens word ondersoek ingestel na die invloed wat die konsep van vervreemding in die twintigste-eeuse dramajteater op die verskillende beskouings van selfrefleksiwiteit gehad het. Die uiteindelike oogmerk is om aan te toon dat selfrefleksiwiteit in die Postmodernistiese dramafteater gevestigde aannames oor kuns as spieelbeeld van die werklikheid omverwerp. / Mirror, hall of mirrors, mise-en-abyme, representation, et cetera are all concepts associated with the notion of self-reflexivity. While self-reflexivity is not a new phenomenon, the question is why, in our time, it should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernist texts. One is lead to conclude that self-reflexivity and Postmodernism are directly linked. This study, then, focuses primarily on how Postmodernist drama/theatre employs the notion of self-reflexivity in the encoding process. It also explores the impact of the concept of alienation in twentieth century drama/theatre on the various views of self-reflexivity. The fmal objective is to show that self-reflexivity in Postmodernist drama/theatre challenges ftxed suppositions about art as a reflection of reality. / Afrikaans, Theory of Literature / M.A. (Theory of Literature)

In this study, I analyze the significance of Shakespearean intertextuality in the major works of Thomas Wolfe featuring protagonist Eugene Gant: Look Homeward, Angel and Of Time and the River. Specifically, I explore Gant's habits and preferences as a reader by examining the narrative arising from the protagonist's perspectives of Shakespeare's The Merchant of Venice, Hamlet, and King Lear. I examine the significance of parallel reading habits of Wolfe the author and Gant the character. I also scrutinize the plurality of Gant's methods of cognition as a reader who interprets texts, communicates his connections with texts, and wars with texts. Further, I assess the cumulative effect of Wolfe's having blurred the boundaries between fiction and reality, between the novel and drama. I assert, then, that Wolfe, by incorporating a Shakespearean intertext, reveals aspects indicative of postmodernism.

In this thesis, I examine a critical procedure appropriate to Black South African autobiography of the 1950s and early 1960s. In particular, I examine these autobiographies as examples of counterhegemonic writing in which the self counters the hegemonic apartheid notion of identity, based on racial and cultural purity, and I propose that the hybrid selves encoded in these narratives have the capacity to inform a new South African nationhood. Chapter One necessitates an autocritique, in which I locate my own discourse within the intersecting discursive strands of Western and local theory, an effort that is guided by the imperatives that emerge from the autobiographies themselves. In Chapter Two, I suggest that the postcolonial autos displaces Humanist, and appropriates postmodernist, conceptions of the "I". Rewriting the terms of the autobiographical pact, the authority of grapos is re-instated in counternarratives that give privileged status to the bios - to lives that claim "I AM!" and selves that reconstruct identity. A related concern is the relationship between autobiographical criticism in South Africa and hegemony. In the chapters that follow, I examine the various ways in which counterhegemonic selves are constructed in Tell freedom, Down Second Avenue, Drawn in colour: African Contrasts and The Ochre People. Peter Abrahams's autobiography is discussed largely in terms of Frantz Fanon's insights on identity construction and the notion of a "hybrid I". Es'kia Mphahlek's (re)writing of the self - whose main feature is ambivalence - forms the focus of Chapter Four. These notions are developed in the final chapter, which focuses on Noni Jabavu's narratives that encode an "in-between" cultural identity and, as in the autobiographies of Abrahams and Mphahlele, a metonymic "I". / English Studies / D. Litt. et Phil. (English)