Este trabalho se propõe a estudar a prosa de ficção de José Agrippino de Paula, sobretudo os romances Lugar público e PanAmérica. Nosso objetivo é demonstrar como essas obras absorveram técnicas de vanguarda, notadamente do chamado Novo Romance Francês, que não eram comuns na prosa de ficção brasileira no período em que foram publicadas, a década de 1960. Além disso, com PanAmérica, o autor propôs uma leitura original da mitologia contemporânea configurada pela cultura de massa. Acreditamos que, ainda hoje, esses livros se constituem como romances de excesso e de exceção, já que, por suas inovações formais, não se enquadraram na tradição do romance brasileiro, o que acabou por relegá-los à margem da nossa história literária. / This work aims to study the fiction written by José Agrippino de Paula, mainly the novels Lugar público e PanAmérica. Our goal is to demonstrate how these works absorbed the Avant-garde literary techniques, especially the so-called Nouveau Roman, that were still not common in the Brazilian fiction prose in the 1960s, the time of their publication. Moreover, with PanAmérica, the author proposes a new way of reading the contemporary mythology molded by mass culture. We believe that even today, the books can be considered both excessive and exceptional. Due to their formal innovations, they escape the traditional Brazilian novels boundaries, which at the same time has relegated them to the margins of our literary history.

Diante dos vários recursos expressivos presentes nas obras de Mário de Andrade, propõe-se, neste trabalho, uma análise das criações neológicas sintagmáticas que se verificam nas seguintes obras: Primeiro andar (1926); Amar, verbo intransitivo (1927); Macunaíma, o herói sem nenhum caráter (1928); Os contos de Belazarte (1934); Os filhos da Candinha (1943) e Contos novos (1947). A pesquisa consiste na identificação dos neologismos sintagmáticos e na análise da expressividade que promovem. Tais criações têm muita importância no processo de elaboração da obra, pois além de apresentarem um tratamento diferenciado do ato de narrar de Mário de Andrade, transmitem uma expressividade única ao texto, uma vez que o autor, por meio das suas criações insólitas, demonstra sua visão de mundo. O trabalho divide-se em três capítulos: no primeiro capítulo, levantam-se as proposições dos principais estilicistas sobre a inovação e a transformação do léxico; no segundo capítulo, apresentam-se as teorias a respeito dos processos de criação lexical e do seu produto, o neologismo; no terceiro capítulo, os neologismos sintagmáticos são classificados e analisados de acordo com o contexto em que se inserem. Dessa forma, este trabalho tem por objetivo mostrar que a criação neológica na obra literária, além de causar uma perturbação no receptor pelo ineditismo, é vital para registrar o estilo do autor e para estimular a fantasia imagética do leitor. / In the face of several expressive resources in Mário de Andrade´s literature, we propose, in this study, a verification of the phenomenon of neological syntagmatic creations. The objectives of the research consist in identifying the neologisms, showing their formation and analyzing their expressiveness over the author´s prose fiction Primeiro andar (1926); Amar, verbo intransitivo (1927); Macunaíma, o herói sem nenhum caráter (1928); Os contos de Belazarte (1934); Os filhos da Candinha (1943); Contos novos (1947). The lexical creations are very important to the construction of the narrative because they provide an unique aesthetics to the context, and by using them the writer reveals his world vision. This dissertation had been divided into three chapters: the chapter one establishes the principles of lexical renovation and the theorists propositions about innovation and transformation; the second chapter focuses on neology and neologisms and new theoretical views about process and product, presenting the neologism as a new essence to the text; the second chapter even expands on the discussion of linguistics rules and deflections; the third chapter presents the syntagmatic neologisms and the. analysis process according to the contexts in which they are produced.

This thesis reaffirms the Celtic influence on Beowulf. The first chapter reevaluates past attempts to demonstrate a Celtic connection with particular emphasis on the work of Martin Puhvel and R. Mark Scowcroft. The second chapter compares Grendel’s Mother to the Lady of the Lake, from the Prose Lancelot, using the Celtic water hag motif. The third chapter analyzes how Grendel exemplifies the Celtic motifs of the violent child and the wild man by comparing him with Cu Chulainn, from the Táin Bó Cúailnge, Lancelot, from the Prose Lancelot, and the Celtic wild man tales surrounding Suibhne, Myrddin, and Lailoken. The final chapter uses Michael D. C. Drout’s Lexomic analysis and a network analysis by Pádraig Mac Carron and Ralph Kenna to problematize the assumed unity of the text. Therefore, this thesis provides both narrative and textual evidence to validate the Celtic influence on Beowulf.

Thesis (M.A. (African languages)) --University of Limpopo, 2004. / In this research an attempt has been made to assess, evaluate and examine the role of chiefs as characters in Matsepe's novels. The need for this study was found to be necessary because no in-depth study of the role of chiefs in Matsepe's novels has as yet been undertaken. This study demonstrates how Matsepe portrays chiefs as characters in his novels, what their duties are and how they help in developing his themes.

The Lemon Tree is a collection of poems that arose from my attempt to capture memories of influential experiences in growing up. The poems are written in prose blocks and move in and out of childlike and adult sensibilities, creating the disillusion of time and memory. The poems themselves are comments on the unreliability and limited scope of memory and compare remembrance to dreams. This suggests that time moves more fluidly than the waking world accepts. Through looking back, through prisms, the speaker remembers experiences that impacted her development as we follow her on a journey to coming-of-age. The Lemon Tree grapples with becoming and expressing her female fertility and growth as a woman. The speaker constantly searches for love in places of religion, marriage, romantic relationships and friendships. At times, the poems decide what love is by what it isn’t. The act of creating itself was the aim of the manuscript more than the finished project. Some remembrances are intentionally left unclear and messy like wild weeds. The poems are confessional and bear resemblances to a memoir in a lyrical fashion. The Lemon Tree focuses on the processes of life: both the barren and the abundance of fruit, light and dark, winter and summer. The speaker tries to resolve the binaries of trauma and of love and in the process, finds her identity as seen through the symbol of The Lemon Tree, which ultimately becomes her personal tree of life.

Thirty thousand feet above the Pacific Ocean—somewhere between Sydney and Los Angeles—the narrator of “the lonely and the road” doesn’t really know where he is going, or why. His is a quest written spontaneously—‘on-the-go.’ It is a journey of uncertain motivation, of uncertain means, towards uncertain ends. From Los Angeles, to Vegas, to the Rocky Mountain states and beyond, the narrator travels with and learns from his friends, his family and even his ex-girlfriend as he searches for that which continues to elude him. But what is that exactly? Does it even exist? While the novel details a journey, the exegesis is a phenomenological account of the intersecting of my road with that taken by Jack Kerouac. It explores my experiences with the life and work of Kerouac—the creator of spontaneous prose—in relation to the development of my writing, up to and including this novel. In doing so, the exegesis is itself a quest that seeks to understand more fully the essence of Kerouac’s and my own representation of the quest motif in content and in form. Both the exegesis and the novel, then, constitute part of the search for my own artistic road, and aim to assist others in search of theirs.

The objective of this exegesis is to show how linguistic and cultural hybridity create a unique prose style, and how my stories sit within that style. I will use Grace Paley and Lucia Berlin to demonstrate the distinctive narrative techniques. These include the use of sensuous details (instead of descriptions) to make place and character palpable; dialogue that convincingly evokes living speech; plots which emanate from the characters, rather than the other way round; and open-ended resolutions, as in real life. I will then show how I use these narrative techniques in my collection Happiness and other stories. The collection of stories is embargoed until 31 March 2012.

Darius Milhaud a nourri son œuvre de poésie. À partir d'une conférence inédite, il a été possible de caractériser la façon dont le compositeur a intégré des univers poétiques variés. En comparant la démarche de Milhaud avec d'autres pratiques artistiques, l'étude porte d'abord sur les rencontres avec le Romantisme où ont été privilégiés Maurice de Guérin et son univers ainsi que des poètes féminins du début du XIX° siècle. Un accent particulier a été porté sur trois figures de "sœurs" d'écrivains du XIX° siècle : Lucile de Chateaubriand, Eugénie de Guérin et Christina Rossetti. Sans abandonner cette source d'inspiration, l'irruption de trois auteurs majeurs a bouleversé l'univers esthétique du musicien : Gide, Jammes et Claudel ont en effet contribué à renouveler ses moyens d'expression et à bouleverser les rapports entre le monde des sons et le monde des mots. Milhaud justifie la diversité des démarches suivies en revendiquant le droit pour sa création de suivre des "voies parallèles". C'est ici l'occasion d'apprécier la portée de la lecture de Rimbaud et de Mallarmé. Les amitiés jumelles de Léo Latil et Armand Lunel révèlent l'intimité d'une sensibilité propre aux jeunes gens formés avant la guerre de 1914. L'enracinement provençal et judéocontadin trouve dans les textes de ces deux condisciples aixois matière à développement. La blessure occasionnée par la mort de Léo Latil au combat lors de la première guerre mondiale laisse une trace profonde parfois simplement suggérée. Par ailleurs l'humanisme du compositeur est l'occasion de la rencontre avec Jean Cassou après la Seconde Guerre Mondiale. Cette collaboration prolonge les engagements de Milhaud pendant la période de l'Entre-Deux Guerres. Enfin l'amitié constante avec Jean Cocteau permet d'apprécier l'inventivité d'une œuvre qui ne s'est jamais contentée des solutions convenues et qui a eu le mérite d'expérimenter sans relâche.

L’objectif de la thèse était de réaliser la première édition critique du manuscrit français 9198 de la BnF attribué à Jehan Miélot et commandité, au XVe siècle, par Philipe le Bon, duc de Bourgogne. Ce manuscrit contient la compilation intitulée : La Vie et miracles de Nostre Dame qui constitue la mise en prose de miracles en vers du XIIIe siècle. D’un point de vue philologique, le but était d’étudier le rapport entre les formes des textes versifiés en ancien français et les formes en moyen français de la compilation. Le travail philologique comprend la transcription du manuscrit, un apparat critique, un glossaire, un index lemmatisé, l’index des noms propres et une analyse grammaticale des traits dialectaux de l’œuvre qui reflètent la phonétique du dialecte picard. La problématique sur laquelle repose cette recherche est double. D’un point de vue philologique, il est question d’éclairer le rapport entre les formes anciennes, qu’offrent les textes versifiés en ancien français du XIIIe siècle, et les formes modernes en moyen français du recueil de Jehan Miélot. En puisant des exemples à la fois dans les récits de miracles versifiés du XIIIe siècle et dans la compilation du XVe siècle, cette étude permet de situer le recueil dans le contexte de la tradition médiévale des récits miraculaires de la Vierge Marie

This dissertation describes my recovery of the life and writing of a relatively unknown late nineteenth-century Canadian woman writer. In the fall of 1888, Lily Lewis, a young journalist from Montreal, embarked upon a journey around the world in the company of another young woman, Sara Jeannette Duncan. Duncan has since been increasingly recognized for both her journalism and her fiction and Lewis has been almost entirely forgotten. I have recovered some of Lewis's work subsequent to the tour with Duncan, identified some earlier work not previously attributed to her, and become acquainted with a surviving relative, and in my dissertation I examine Lily Lewis [Rood]'s life and texts from the theoretical perspective of life writing. I find Marlene Kadar's theory of "life writing as critical practice" as she explains it in her introductory chapter to Essays on Life Writing: From Genre to Critical Practice especially enabling for this project. The process of recovering early writers, Kadar insists, must includean exploration of precisely how they became lost, and must not exclude the contexts of the reader and critic. To explicate fully my own critical contexts, I summarize theories of life writing by several Canadian scholars, including Kadar. I include, as well, outlines of some pertinent work on travel writing, and a brief overview of the new historicist critical 'milieu ' in which my study situates itself. In an attempt to understand the "forgetting" (Kadar 10) that has almost effaced Lily Lewis from Canadian literary history, I examine circumstances today, in Lewis's time, and in the time between that have contributed to her erasure. In an attempt to reclaim for Lily Lewis a place among Canadian women writers of her time, I read and analyse her work contextually and intertextually in conjunction with writing by several of her contemporaries, notably Duncan, and, to a lesser extent, the Canadian journalist, travel writier, and novelist, Alice Jones. I focus upon evidence that supports my contention that a contributor to the Toronto paper The Week, previously known only as "L. L.," was Lily Lewis. I look at Lily Lewis Rood's complex involvement in cultural and literary stereotypes, and I discuss her participation in discourses about the New Woman in both Canadian and international contexts. I hope with this work to contribute to our knowledge of Canada's literary past and also, by encouraging a careful examination of our current critical values and practices, to contribute to Canadian literary scholarship and to the theorizing of life writing.