O presente trabalho apresenta o romance MoskváPetuchki, de Venedíkt Eroféiev, e propõe o seu estudo com base na investigação da sua composição temática. Através da tradução do texto integral e de considerações analíticas, a obra é confrontada ao contexto histórico e literário soviético. Desse modo, e por meio da utilização de recursos interpretativos apresentados por Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi e Aleksei Yurchak, entre outros, o romance é considerado enquanto uma parte fundamental da literatura dissidente soviética do período do Degelo e uma resposta à cultura hegemônica do período. / The present work introduces Venedikt Erofeyev`s novel, Moskva Petushki, and proposes a study by means of an investigation of its thematic composition. Based on its complete translation and analysis, the work is confronted with its soviet context, both historical and literary. Thus, and using concepts presented by Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi, Aleksei Yurchak, and others, the novel is thought of as a fundamental part of soviet dissident literature of the Thaw era, and as an answer to the hegemonic culture of the period.

Este estudo propõe-se a analisar aspectos da obra do escritor mineiro Murilo Rubião (1916 - 1991), composta de 33 contos e de alguns textos esparsos. Após uma revisão bibliográfica da crítica sobre a trajetória de sua produção, pretende-se aprofundar e dar novas perspectivas à investigação da ocorrência da metamorfose, figura presente em quase todas as suas narrativas e essencial para entender a particularidade da \"literatura fantástica\", tal como aparece no trabalho do escritor. Como a metamorfose é recorrente nesse gênero e em suas variantes, este trabalho buscará mostrar suas singularidades na literatura de Murilo Rubião e rastrear as características que a definem. Além disso, também será feito um exercício comparativo entre a obra do escritor brasileiro e de outros escritores. Por fim, ao longo de todo o estudo, será analisada a discrepância que existe entre as duas linhas de força mais marcantes da metamorfose nos contos de Rubião - sua potência simbolizadora e sua tendência ao mero artifício. / The present material aims to analyze some aspects about the work of the writer Murilo Rubião (Minas Gerais, 1916 - 1991), which is comprised by 33 short stories and some scattered pieces. After providing a bibliographic review of the critics on the trajectory of his production, it is intended to deepen and to give new perspectives on investigating the occurrence of metamorphosis, a frequent feature in almost all his narratives and essential to understand the particularity of the \"fantastic literature\", such as it appears in his creations. Since the metamorphosis is recurrent in that genre and its variants, this study seeks to exhibit its singularities in Murilo Rubião\'s writing and to track its defining characteristics. Furthermore, a comparative exercise is to be done between the most remarkable power lines of the metamorphosis in Rubião\'s works - its symbolizing strength and its tendency to be mere artifice.

A obra inicial de Lídia Jorge, O dia dos prodígios, por meio de um riquíssimo conjunto de imagens e metáforas, constrói ficcionalmente o que seria, na visão de sua autora, a realidade socioeconômica e política de uma parcela significativa da população portuguesa a do Portugal agrário, de pensamento medievalizado e medievalizante, absorto em seu próprio cotidiano e, também por isso, distante das transformações vividas pelo restante do país. Para isso, a escritora cria um ambiente tempo e espaço que carrega marcas ideológicas nas imagens que o constituem, o que caracteriza, assim, o procedimento a que Mikhail Bakhtin deu o nome de cronotopo. Dessa forma, o propósito central desse estudo é identificar, no romance, os elementos espaciais que representem ideologicamente Portugal através dos tempos, com ênfase no pensamento português no contexto da Revolução dos Cravos, e quais traços dessa ideologia são alegorizados por esses elementos cronotópicos, na crença de que, ao identificá-los e compreendê-los, será possível perceber a existência de diferentes graus de importância que teriam sido atribuídos à insurreição de abril de 1974, em diferentes contextos. É também objetivo dessa dissertação descrever os procedimentos narrativos empregados por Lídia Jorge a fim de representar cronotopicamente a sociedade rural portuguesa, uma vez que a geração de prosadores de ficção pós-1974 pautou seu trabalho não só pelo resgate da identidade nacional envolta em brumas ideológicas desde o século XVI , mas também pela ruptura com a estética literária herdada do salazarismo , estética essa tributária da tradição cultural portuguesa, cujos valores mantiveram-se quase intactos ao longo dos séculos. / Lidia Jorges first novel, O dia dos prodígios, brings out a rich set of imagery and metaphors which builds in fiction what would be the authors point of view on the socioeconomic and political reality of a very meaningful part of the Portuguese society the one that lives in and from the countryside, whose ideas are quite medieval, and who spends life locked into their own sight of view, far from all the changes faced by their country. In order to do so, the writer builds a setting time and space which carries ideological signals in the imagery that constitutes it, what leads to the concept of chronotope, as defined by Mikhail Bakhtin. Thus, the main purpose of this study is to identify the elements that represent Portugal ideologically throughout time, in the novel, with emphasis on the Portuguese thought in the context of the Revolução dos Cravos (the revolution that ended the dictatorship in which Portugal had been submerged until 1974), and which aspects of this ideology are metaphorically represented through chronotope procedures, once it is believed that it will be possible to notice the existence of different ways of perception of the Revolução, in different contexts, by identifying and comprehending those chronotopic constructions. It is also an aim of this paper to describe the narrative procedures used by Lidia Jorge in order to represent chronotopically the rural Portuguese society, once the post-1974 generation of writers made a point not only in recreating Portugals identity but also in breaking the ties with the literary procedures inherited from the cultural Portuguese tradition, kept alive by Salazars dictatorship.

With its bold combination of epic style and vernacular prose, François Fénelon’s Les Aventures de Télémaque (1699) created a stir that preoccupied the literary, theatrical, musical, and art world throughout the eighteenth century. My dissertation places the novel at the centre of a crucial exchange between the French revisionist movement – with its mandate to redefine neoclassical theatre – and Italian dramma per musica in the second half of the eighteenth century. While littérateurs like Antoine Houdar de la Motte and Voltaire argued publicly over the theoretical viability of prose tragedy on the back of Télémaque, the operatic stage was actively absorbing and experimenting with principles of de la Motte’s new brand of theatre: a less compounded application of the Aristotelian unities, a bolder approach to character portrayal, a painterly approach to scenography, and an integration of tropes from the epic. I rely on two case studies to argue that dramma per musica began to adopt specific principles of de la Motte’s contentious “prose tragedy” genre: Vittorio Amedeo Cigna-Santi’s Mitridate libretto (set by Quirino Gasparini in 1767 and Mozart in 1770), which was based on the same Racine play that incited de la Motte and Voltaire’s animosity; and Giambattista Varesco’s Idomeneo, based on Danchet’s adaptation of Fénelon. Literary scholarship, familiar with the heated paper war incited by Fénelon’s novel thanks to Fabienne Moore and Romira Worville’s research, has so far paid little heed to the eighteenth-century operatic stage as the most prominent and sustained reworking of the neoclassical tragic tradition. In answer to Reinhard Strohm’s appeal to synthesize literary and musicological approaches towards a cross-disciplinary poetics of Enlightenment opera, I show that dramma per musica actively reconfigures a neoclassical tradition in flux alongside the century’s noisiest literary revisionist movement, reimagining theatrical praxis as part of a broader poetics of arts and letters.

This thesis consists of two components: a 70,000-word verse novel and a 50,000-word critical component that has arisen out of the research process for that novel. Creative Component: The Marlowe Papers The Marlowe Papers is a full-length verse novel written entirely in iambic pentameter. As with verse novels such as The Golden Gate by Vikram Seth, or The Emperor's Babe by Bernadine Evaristo, its inspiration, derivation, conventions and scope owe more to the prose novel than to the epic poem. Though there is as yet no widely-accepted definition, a verse novel may be distinguished from an epic poem where it consists, as in this case, of numerous discrete poems, each constituting a ‘chapter' of the novel. This conception allows for considerable variations in form and tone that would not be possible in the more cohesive tradition of the epic poem. The Marlowe Papers is a fictional autobiography of Christopher Marlowe based on the idea that he used the pseudonym ‘William Shakespeare' (employing the Stratford merchant as a ‘front'), having faked his own death and fled abroad to escape capital charges for atheism and heresy. The verse novel, written in dramatic scenes, traces his life from his flight on 30 May 1593, through the back-story (starting in 1586) that led to his prosecution, as we similarly track his progress on the Continent and in England until just after James I accedes to the English throne. The poems are a mixture of longer blank verse narratives and smaller, more lyrical poems (including sonnets). Explanatory notes to the poems, and a Dramatis Personae, are included on the advice of my creative supervisor. Critical Component: Writing Marlowe As Writing Shakespeare This part of the thesis explores the relationship between early modern biographies and fiction, questioning certain ‘facts' of Marlovian and Shakespearean biography in the light of the ‘thought experiment' of the verse novel. Marlowe's reputation for violence is reassessed in the light of scholarly doubt about the veracity of the inquest document, and Shakespeare's sonnets are reinterpreted through the lens of the Marlovian theory of Shakespeare authorship. The argument is that orthodox and non-Stratfordian theories might be considered competing paradigms; simply different frameworks through which interpretation of the same data leads to different conclusions. Interdisciplinary influences include Kuhn's philosophy of scientific discovery, post-modern narrativist history, neuroscience, psychology, and quantum physics (in the form of the ‘observer effect'). Data that is either anomalous or inexplicable under the orthodox paradigm is demonstrated to support a Marlovian reading, and the current state of the Shakespeare authorship question is assessed. Certain primary source documents were examined at the Bodleian Library, at the British Library, and at Lambeth Palace Library. Versions of Chapters 2, 3 and 4, written under supervision during this doctorate, have all been published, either as a book chapter or as a journal article, within the last year (Barber, 2009, 2010a, b).

Our times of ecological disasters and climate crisis inspired the author Mikael Niemi to write the novel Fallvatten (2012). The narrative deals with what happens when a dam in a hydro-electric power plant bursts, and creates a tsunami-like flood. The purpose with my essay was to make a thematic analysis of this novel from an ecocritical, ecofeministic and postcolonial perspective. The genre and its importance for the themes and the shaping of the novel were also noticed in the essay. My questions were: Does the author use an ecocritical, ecofeministic and a postcolonial approach in the novel? If he does, how is that shaped in the narrative? Is the story adversarial to civilization and/or technology? Is Fallvatten an ironic novel? If it is, what is the irony about? What are the characteristics of the genre ecothriller, and why can the novel be placed in this genre? How does the genre influence the themes used and development of the story? By using the method of close-reading I have made a thematic analysis of the novel Fallvatten, with a theoretical frame of ecocriticism, ecofeminism and postcolionial theory. The results of the analysis demonstrated that this novel can be regarded as an ecocritical, ecofeministic and postcolonial “rewriting”. In the narrative nature is personified and depicted as an active agent who takes vengeance on humanity’s greed. The author is deconstructing dichotomies and stereotypes about the view of both gender and nature. He is also depicting the Sami cultural identity as hybrid and heterogeneous.  Fallvatten can be placed in the genre of ecothriller, because the environment is a premise for the story and it also includes an intense and increasing suspense. The genre has enabled the author to create a polyphonic and rhapsodic novel containing several protagonists with a variety of points of view. In the story, the protagonist´s personal problems get exposed, and forces of good and evil within them reveals, trough their encounter with the disaster. Fallvatten might be adversarial to civilization, but not to technology. In the story technology is depicted positively and it often seems to be indispensable. The narrative contains several Bible-references, which seems to be meant as a parody. But I don´t consider Fallvatten to be an ironic novel. Instead, I see it as a seriously meant story written with a sense of humor and with an ironical tone. I believe the author handles weighty subject matters in the novel with humor and irreverence because it works in a subversive way, with an ecocritical, ecofeministic and an anticolonial aim.

Este estudo propõe-se a analisar aspectos da obra do escritor mineiro Murilo Rubião (1916 - 1991), composta de 33 contos e de alguns textos esparsos. Após uma revisão bibliográfica da crítica sobre a trajetória de sua produção, pretende-se aprofundar e dar novas perspectivas à investigação da ocorrência da metamorfose, figura presente em quase todas as suas narrativas e essencial para entender a particularidade da \"literatura fantástica\", tal como aparece no trabalho do escritor. Como a metamorfose é recorrente nesse gênero e em suas variantes, este trabalho buscará mostrar suas singularidades na literatura de Murilo Rubião e rastrear as características que a definem. Além disso, também será feito um exercício comparativo entre a obra do escritor brasileiro e de outros escritores. Por fim, ao longo de todo o estudo, será analisada a discrepância que existe entre as duas linhas de força mais marcantes da metamorfose nos contos de Rubião - sua potência simbolizadora e sua tendência ao mero artifício. / The present material aims to analyze some aspects about the work of the writer Murilo Rubião (Minas Gerais, 1916 - 1991), which is comprised by 33 short stories and some scattered pieces. After providing a bibliographic review of the critics on the trajectory of his production, it is intended to deepen and to give new perspectives on investigating the occurrence of metamorphosis, a frequent feature in almost all his narratives and essential to understand the particularity of the \"fantastic literature\", such as it appears in his creations. Since the metamorphosis is recurrent in that genre and its variants, this study seeks to exhibit its singularities in Murilo Rubião\'s writing and to track its defining characteristics. Furthermore, a comparative exercise is to be done between the most remarkable power lines of the metamorphosis in Rubião\'s works - its symbolizing strength and its tendency to be mere artifice.

Made available in DSpace on 2016-04-28T18:22:25Z (GMT). No. of bitstreams: 1 Rodrigo Priante Uga.pdf: 4890359 bytes, checksum: df5b2f3484d7600f909d870d7b93011e (MD5) Previous issue date: 2011-10-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Having as corpus of study four texts from the baiano poet Pedro Kilkerry (1885-1917) usually taken as examples of poetic prose, the main objective of this research is to analyze these texts in the light of the literary genre developed and broadcasted by Baudelaire: the poem in prose, hybrid genre that enlaces characteristics from poetry and prose. As a dialogic genre, the poem in prose tends to apart from the unitary and traditional language of the lyrical genre, considered as monologic in the theory of Bakhtin. To conduct these reflections, the following proposals were developed: the poems in prose of Kilkerry manifest both the presence of the modernist tradition of Baudelaire, in which unite criticism and irony, as the more hermetic and symbolical of Mallarmé and Rimbaud; the poems in prose of Kilkerry, in comparison with the author s work in verse, represent a literary field favorable for both the development of the ironic-criticism as the inscription of a new poetical language, protagonist's own speech. The bases for the work are the reflections over the prose and poetry elaborated by Mikhail Bakhtin, Gaston Bachelard, Octavio Paz and Edgar Morin, besides the concepts on the prose poem formulated by Suzanne Bernard and María Torremocha. Starting with the correlation between the theoretical fundaments and the analysis of the composition of the four poems in prose of Kilkerry, it is demonstrated how, inside them, the presence of the esthetic modern-symbolist takes place, outlining the articulations between the lyrical and the prosaic, outlining the critical-ironical aspect of the texts / Tendo como corpus de estudo quatro textos do poeta baiano Pedro Kilkerry (1885-1917), que são normalmente tidos como exemplos de prosa poética, o objetivo central desta pesquisa é analisar estes textos no âmbito do gênero literário difundido por Baudelaire: o poema em prosa, gênero híbrido que comporta características tanto da prosa quanto da poesia. Como gênero dialógico, o poema em prosa tende a cindir com a linguagem unitária e tradicional do gênero lírico, considerado como monológico na teoria de Bakhtin. Para conduzir estas reflexões, propomos as seguintes hipóteses: os poemas em prosa de Kilkerry manifestam a presença tanto da tradição modernista baudelairiana, na qual se unem crítica e ironia, quanto a mais hermética e simbolista de Mallarmé e Rimbaud; os poemas em prosa de Kilkerry, em comparação com sua produção em verso, representam um campo literário favorável tanto para o desenvolvimento do viés crítico-irônico quanto para a inscrição de uma nova linguagem poética, protagonista do próprio discurso. Fundamentam este trabalho reflexões sobre prosa e poesia elaboradas por Mikhail Bakhtin, Gaston Bachelard, Octavio Paz e Edgar Morin, além de conceituações sobre o poema em prosa formuladas por Suzanne Bernard e María Torremocha. A partir da correlação entre os fundamentos teóricos e a análise da composição dos quatro poemas em prosa de Kilkerry, demonstramos como se dá, neles, a presença da estética moderno-simbolista, ressaltando quer as articulações entre o lírico e o prosaico, quer o caráter crítico-irônico destes textos

La tesi si occupa della prima prosa di Pasternak, concentrandosi sui racconti Čerta Apellesova, Pis’ma iz Tuly e Detstvo Ljuvers degli anni Dieci e su due testi esemplari della prosa narrativa degli anni Venti: Vozdušnye puti e Povest’. L’analisi dei testi muove da una visione d’insieme della creazione di Pasternak, attestata definitivamente dalla recente pubblicazione delle opere complete. La compresenza di prosa e poesia in tutta la produzione di Pasternak e la loro mescolanza nelle opere in prosa riconduce alla riflessione teorica destata dall’esperienza dell’arte come restituzione di una nuova visione della realtà, di cui questa prosa è insieme riflesso e analisi. Per questo la tesi è costituita da una parte generale sulla natura della prosa di Pasternak ricostruita a partire dalla critica e da un percorso sintetico attraverso le sue riflessioni teoriche e autobiografiche sull’arte, a cui fa seguito la lettura dei racconti. I primi tre esemplificano le caratteristiche della natura dell'arte come la sperimenta e la teorizza Pasternak e gli ultimi due, risalenti agli anni Venti, vedono l’introduzione della verifica di come l’arte come fedeltà alla vita si confronti con i problemi della storia contemporanea. / The present dissertation is dedicated to Pasternak's early prose with a focus on the tales Čerta Apellesova, Pis’ma iz Tuly e Detstvo Ljuvers of the 1910s and on two examples from his narrative prose of the 1920s: Vozdušnye puti e Povest’. The analysis of the texts is made following a global look on Pasternak's creation, as it was recently pointed out by the publication of his complete work. The simultaneous presence of prose and poetry in his whole production and their fusion in the prose texts is linked to his esthetical thought and to his experience of art as reflecting a new vision of reality. His prose is a realisation and at the same time an analysis of that new experience. The dissertation thus consists of a general section dedicated to the description of Pasternak's prose reconstructed from the critique and of a path through the author's theoretical and autobiographical writings on art followed by the tales reading. The first three of them exemplify the nature of art as Pasternak experienced and conceived it and the last two, written in the 1920s, introduce the confrontation of art's main assignment, its connection to life, with the challenges of contemporary history.

The aim of this thesis is to shed light on the handbook as a multimodal resource from a reader perspective, with the material consisting of 32 Swedish handbooks on gardening from 1643 to 2005. The study draws theoretically on social semiotics and multimodal discourse analysis, as well as dialogism. There is an emphasis on the addressivity of the text, which is taken as a starting point for tracing signs of the intended text use in the design of the texts. The analysis is meaning-based, with the focus placed on functional features in the design of the texts. The first part of the study considers the reading goals afforded by the thematizations conveyed in titles, headings and text type patterns. The core function of these texts turns out to be action orientation, although the more recent books often include sections oriented towards other goals, like shaping individual aesthetic taste. The second part illustrates how the multimodal cohesive patterns in the books afford non-linear reading paths and make the texts searchable, which is enhanced by the presence of devices such as indices and tables of contents. Concentrating on six of the books, the third part of the study maps out the role of the reader that is naturalized by the design of the text, drawing on appraisal theory, and shows the strong, authoritative role taken by the authorial voice. The evaluative patterns naturalize a fact-seeking reading. However, the most recent book, from 1996, emphasizes emotions to a greater extent, naturalizing a parallel reading that invokes sensory experience. The conclusion drawn is that the core characteristics of the handbooks are action orientation, searchability and factuality. As different parallel functions in recent books are discerned, a tendency towards diversity and multifunctionality is described. The range of semiotic resources has also expanded, it is noted, and there is growing support for the view of a tendency towards the visualisation of written texts.