Orientador: Adalberto Luis Vicente / Banca: Andressa Cristina de Oliveira / Banca: Alexandre Bonafim Felizardo / Resumo: Este trabalho propõe o estudo do poema em prosa de dois poetas simbolistas: o brasileiro João da Cruz e Sousa (1861-1898) e o nicaraguense Rubén Darío (1867-1916). A presente dissertação busca compreender os aspectos do poema em prosa dos autores citados, relacionando-os com o período simbolista no Brasil e na Hispano-América, a fim de demonstrar a importância das inovações e das rupturas realizadas pelos autores no campo da poesia por meio do poema em prosa. Para isso, partimos da obra Missal (1893) de Cruz e Sousa, composta por 45 poemas em prosa, que tendem mais para o lado impressionista, já foi alvo de muitas críticas ao longo da História Literária, sendo por vezes considerado um livro de menos importância dentro do quadro geral de obras do poeta brasileiro. Em paralelo a essa obra, analisamos também Poemas en prosa (1948) de Rubén Darío, uma compilação argentina que reúne 25 poemas em prosa do autor nicaraguense esparsos em várias obras ao longo de sua vida. A comparação entre essas poéticas nos permite compreender as produções em prosa de ambos os autores, bem como verificar a importância dessas rupturas para a poesia moderna / Abstract: Ese trabajo propone un estudio del poema en prosa de dos poetas modernistas: el brasileño João da Cruz e Sousa (1861-1898) y el nicaragüense Rubén Darío (1867-1916). Nuestra disertación busca comprender los aspectos del poema en prosa de los autores citados, relacionándolos con el período modernista en Brasil y en Hispanoamérica, con el objetivo de demostrar la importancia de las innovaciones y de las rupturas realizadas por los autores en el campo de la poesía a través del poema en prosa. Para eso, utilizamos la obra Missal (1893) de Cruz e Sousa, compuesta por 45 poemas en prosa que se acercan a la tendencia impresionista y que fue objeto de varias críticas a lo largo de la Historia de la Literatura, siendo muchas veces considerado un libro de menor importancia dentro de la relación de las obras del poeta brasileño. Paralelamente a esa obra, analizamos también Poemas en prosa (1948) de Rubén Darío, una compilación argentina que reúne 25 poemas en prosa del autor nicaragüense, que se encuentran aislados en varias obras a lo largo de su vida. La comparación entre esas poéticas nos permite comprender y valorizar las producciones en prosa de ambos autores, así como percibir la contribución que la poesía modernista dejó para la poesía de vanguardia / Mestre

Dissertação (mestrado)-Universidade de Brasília, Instituto de Letras,Departamento de Teoria Literária e Literaturas, 2008. / Submitted by Patrícia Nunes da Silva (patricia@bce.unb.br) on 2011-06-07T13:27:03Z No. of bitstreams: 1 2008_MariaJeusilandeSousaCardoso.pdf: 600497 bytes, checksum: e83822dde41f208e1caa20ededfec9b4 (MD5) / Approved for entry into archive by Patrícia Nunes da Silva(patricia@bce.unb.br) on 2011-06-08T13:16:36Z (GMT) No. of bitstreams: 1 2008_MariaJeusilandeSousaCardoso.pdf: 600497 bytes, checksum: e83822dde41f208e1caa20ededfec9b4 (MD5) / Made available in DSpace on 2011-06-08T13:16:36Z (GMT). No. of bitstreams: 1 2008_MariaJeusilandeSousaCardoso.pdf: 600497 bytes, checksum: e83822dde41f208e1caa20ededfec9b4 (MD5) / Este trabalho tem por objetivo analisar a complexidade estrutural do Livro do desassossego, de Fernando Pessoa, e alguns dos fragmentos que o compõem. Escrito em prosa poética, o livro apresenta-se como projeto inacabado e, justamente por essa natureza inconclusa, desperta muitos questionamentos acerca de sua composição, do gênero e do autor que o escreve. O poeta, por meio de seus hetero-autores, traça uma obra que se apresenta ora como narrativa sem fio condutor, ora como amontoado de trechos em que o devaneio e as divagações passeiam pelos fragmentos. ______________________________________________________________________________ ABSTRACT / This work aims to analyze the structural complexity of Fernando Pessoa’s Livro do desassossego and some of it’s fragments. Written in poetic prose the book shows itself as an unfinished Project and, precisely for that, many questions are raised concerning it’s composition, genre and authorship. The poet, by his hetero-autores (different authors), tries to write something that shows itself ambiguously, now as a narrative without a guiding line, now as a bunch of text pieces in which the digressions and reveries wander about in the fragments.

Made available in DSpace on 2018-08-01T23:44:00Z (GMT). No. of bitstreams: 1 tese_9733_EDUARDO SELGA DA SILVA - DISSERTAÇÃO MARVILLA - versão BC.pdf: 3152289 bytes, checksum: 1f1b9e17d1c752cedc4ad72f05192a15 (MD5) Previous issue date: 2016-03-22 / Trabalho de pesquisa que pretende investigar três características estéticas da prosa de ficção do capixaba Miguel Marvilla, autor que tem lugar de destaque na literatura brasileira produzida no Espírito Santo por sua produção lírica em função de uma qualidade estética que não prescinde da herança clássica, e que por vezes se deixa notar em sua prosa. Apesar desses atributos enquanto criador, sua produção em prosa literária, não obstante alguns ensaios e artigos publicados, ainda não conta com amplo trabalho sistematizado de investigação quanto a alguns elementos marcantes que aparecem em seu único livro de contos, Os mortos estão no living, quais sejam, o discurso do insólito (primordialmente), a prosa poética e o barroquismo. Para atingir semelhante objetivo, foram utilizados como corpus a seguintes narrativas em um universo de trinta e um contos, por parecem encerrar exemplarmente as citadas propriedades: Dies irae, Janela, Nessa noite, o trem atrasou, As ninfas camaleônicas, A queda e Os sobreviventes da história. O esquadrinhamento, por meio de análise crítica dos textos e suporte teórico correspondente aos três elementos, situa a narrativa na pós-modernidade e no ambiente semiótico pós-significante, conforme teorização de Deleuze e Guattari, e a contextualiza, na medida em que inserida em um espaço econômica e politicamente periférico o estado do Espírito Santo , como literatura menor e exatamente por isso busca um diálogo estético com o centro discursivo do Brasil e do mundo ocidental. As conclusões apontam para uma grande riqueza de recursos do autor, que se utiliza de vários níveis de combinação dos três elementos, tornando o texto um sólido construto estético no qual aborda questões fundamentais ao homem pós-moderno, como sua relação com o tempo e com a morte. Simultaneamente, evidencia-se a necessidade de pesquisas mais detalhadas e segmentadas quanto à produção em prosa literária de Miguel Marvilla exatamente em função dessa riqueza e multiplicidade de recursos formais.

AFRIKAANS: Hierdie studie ondersoek die funksionering van die begrip "grens" in die Afrikaanse prosa van 1974 - 1988 teen die agtergrond van die oorlog op die grens tussen Angola en Namibië. In Hoofstuk 1 word enkele hipotetiese uitgangspunte gestel, o.a. dat die woord "grens" in sy wydste betekenis. funksioneer in die kontemporêre Afrikaanse prosa, dat dit verarmend sou wees om 'n "toets" op te stel vir "grensliteratuur" en dat die "grenswerke" veral dit gemeen het dat hulle ‘n strewe verteenwoordig om grense oor te steek of te vernietig. Die doel van die studie is nie om ‘n lys kriteria op te stel vir ‘n klassifikasie van ‘n teks as grensprosa nie, maar eerder om die kompleksiteit aan te toon van die netwerk van betekenisse wat die grens in sy vele verskyningsvorme genereer. In Hoofstuk 2 word gekyk na die begrip "oorlogsliteratuur" en na die invloed van oorlog op die literatuur. Die Britse literatuur van die Tweede Wereldoorlog word as model geneem omdat dit literatuur is wat gebore is uit 'n konvensionele oorlog wat gewen is deur die volk waarvan die skrywers volksgenote is; die oorlogsliteratuur van die Lae Lande word bygereken omdat dit ‘n voorbeeld is van literatuur van mense wat onder die oorlog gely het en die Amerikaanse literatuur oor die Vietnamese oorlog word dan daarmee vergelyk. Laasgenoemde literatuur is gebore uit 'n nie-konvensionele, teen-insurgensieoorlog wat verloor is. Uit die vergelyking word sekere tendense gedistilleer. Daar word ten slotte gekyk na die toestand in Suid-Afrika en raakpunte en verskille met albei oorloë word uitgelig. Hoofstuk 3 ondersoek tekste wat 'n aanloop vorm tot die grensprosa. Dit sluit werke in soos Op pad na die grens, en sekere verhale uit Heupvuur, Roofvis en Skrikbewind van P J Haasbroek, sowel as verhale uit Kortsluitings van Henk Wybenga. Hoofstuk 4 handel oor vyf werke wat aantoonbaar 'n militêre strekking het en sodoende die naaste aan "grensprosa" kom. Hulle is ‘n wêreld sonder grense, ‘n Basis oorkant die grens, Om te awol, Forces favourites en Wie de hel het jou vertel. Hierdie tekste gaan oor personasies wat as dienspligtige soldate, regstreeks met die oorlog te doen het. Inter- en intrapersoonlike konflikte speel hier af teen die gedurig teenwoordige agtergrond van die oorlog. Hoofstuk 5 behandel vier werke, Die laaste Sondag, Die jaar nul, Grensgeval en Jonkmanskas. Waar die grensoorlog in die tekste wat in Hoofstuk 3 bespreek word, altyd na te speur is in die handelinge van die personasies, word die oorlog hier ‘n terloopse gegewe wat aanleiding gegee het tot die meer regstreekse ondersoek van ander grense; dit sluit in interpersoonlike grense en veral die kleurgrens. In Hoofstuk 6 word 'n sintese gemaak deur die inligting wat ingewin is met die teksondersoek in Hoofstukke 3, 4 en 5 te meet aan die tendense wat volgens Hoofstuk 2 by oorlogsliteratuur in die algemeen aangetref word. In die lig hiervan word dan gekyk hoe die begrip "grens" meerduidig funksioneer. Die wye betekenis van die woord “grens” maak dit moontlik om baie tekste as “grensliteratuur” te bestempel, maar die geldigheid van die term word aangetas wanneer dit te wyd gebruik word. Aan die ander kant is dit verarmend om die term "grens" tot die landsgrens te beperk. ENGLISH: The aim of the study was to investigate the functioning of the word "grens" (border) in prose relating to the war on the border of Namibia and Angola. In the first chapter some hypothetical statements are made, among others that, in the Afrikaans literature, the word "border" is used in the widest possible sense. To try and formulate a "test" along which a text could be classified as "border literature" would be futile. What the contemporary prose has in common, is that it tends to extend across literary borders and to break down racial and other barriers. The purpose of this dissertation, therefore, is to show the complex ways in which the word "grens" functions, rather than merely to show common denominators. In Chapter two the literature of the Second World War and the Vietnamese conflict is investigated to serve as a contextual marker. This is because the British literature of the Second World War represents the work of "winners" of a conventional war. The war literature of the Low Countries tells of ordinary civilians who suffer as a result of the war while the American literature of the Vietnam war shows the literary reaction to an unconventional struggle. The South African situation is then compared to this. Afrikaans texts range from exploratory war prose, through combat literature to works which use the war simply as a backdrop for other forms of conflict. Chapter three covers the work of three authors, J C Steyn, P J Haasbroek and Henk Wybenga. These works of prose seem to form a preamble to the war literature. The texts dealt with in chapter four represent Afrikaans “combat literature” dealing primarily with the thoughts and actions of soldiers in the front line. Although the war takes place on a geographical border, other borders or barriers are also referred to. Chapter five is concerned with novels and short stories in which the war plays an incidental part, although it may have been the cause of other barriers which are investigated. Here the emphasis falls mainly on inter-personal barriers, the colour barrier in particular. In Chapter six a synthesis is made by comparing the information gleaned from chapters 3, 4 and 5 to the tendencies described in chapter 2. "Border literature" (grensliteratuur) seems a plausible term, though it may be too wide and should be augmented by "war literature" which, in itself, is not wholly satisfactory either. / Thesis (DLitt)--University of Pretoria, 2011. / Afrikaans / unrestricted

The osmotic relationship between oral and written literature has been neglected for a long time by literary criticism in post-independence Tanzania: the development of new genres and the related debates about literary values have until the end of the Eighties mostly attracted the attention of the scholars, making thus marginal the study of oral literature until the recent awakening of critical studies. Residual were especially those oral forms, like contemporary oral poetry, not wholly ´traditional` - coming from a pre-colonial past or alluding to unchanging features -, nor enough `modern` and `progressive` to be assigned much interest in scholarship. This paper is a tentative to approach the question from a different perspective, presenting the case of one kind of oral poetry - taarab songs - , which has been dealt within creative writing, from the pre-independence era until our days - creative literature, being not bound to categorising and coherence as criticism is, sometimes succeeding better than a too `scientifically- oriented` criticism in containing the subtle relations between opponents, like orality and writing, tradition and modernity, elite and popular arts. In the following pages I will discuss three Swahili prose works, namely Wasifu wa Siti Binti Saad by Shaaban Robert (1958), Utengano by S.A Mohamed (1980) and Siku njema by K. Walibora (1996), in which taarab appears in the narration- both thematically and stylistically -, evidencing the continuities but also stressing the different ways in which symbolism and literary techniques are employed by the authors.

Taking a closer look at Tanzanian prose in the early 90s, it can be said that it has preserved the main structural features which had taken shape within the previous two decades of its development. One of these features is a more or less rich system of genres (short story, novelette, novel). Another is a traditional division into `popular` and `elite` literature. This division had already been noted by many researchers in the 70s and the 80s, although they used different terms for it; e.g , popular and serious literature (Bertoncini 1989), popular and standard literature (Ohly 1990), riwaya-pendwa and riwaya-dhati (Mlacha and Madumulla 1991), and others.

Kenyan Swahili creative writing has been in the shadow of Tanzanian creative works for a long time. Infact some critics even end up claiming that one cannot really talk of Kenyan Swahili prose creative writing. This is notwithstanding a number of commendable works some of which belong to the very first generation of Swahili literature.

Teilw. zugl.: Leipzig, Univ., Habil.-Schr., 2006 / Literaturverz. S. [297] - 327

Zugl.: Gießen, Univ., Diss., 1999.

The osmotic relationship between oral and written literature has been neglected for a long time by literary criticism in post-independence Tanzania: the development of new genres and the related debates about literary values have until the end of the Eighties mostly attracted the attention of the scholars, making thus marginal the study of oral literature until the recent awakening of critical studies. Residual were especially those oral forms, like contemporary oral poetry, not wholly ´traditional` - coming from a pre-colonial past or alluding to unchanging features -, nor enough `modern` and `progressive` to be assigned much interest in scholarship. This paper is a tentative to approach the question from a different perspective, presenting the case of one kind of oral poetry - taarab songs - , which has been dealt within creative writing, from the pre-independence era until our days - creative literature, being not bound to categorising and coherence as criticism is, sometimes succeeding better than a too `scientifically- oriented` criticism in containing the subtle relations between opponents, like orality and writing, tradition and modernity, elite and popular arts. In the following pages I will discuss three Swahili prose works, namely Wasifu wa Siti Binti Saad by Shaaban Robert (1958), Utengano by S.A Mohamed (1980) and Siku njema by K. Walibora (1996), in which taarab appears in the narration- both thematically and stylistically -, evidencing the continuities but also stressing the different ways in which symbolism and literary techniques are employed by the authors.