A obra literária de F. Scott Fitzgerald pode ser entendida como um enfrentamento do paradoxo da narração apontado por Theodor Adorno, decorrente da desintegração do sentido da experiência e da consequente impossibilidade de sua articulação objetiva por parte de quem a experiencia. A figuração que Fitzgerald faz da sociedade norte-americana da década de 1920 é formalizada em O Grande Gatsby (1925) e Suave É a Noite (1934) por meio da incorporação da tradição literária que antecede sua obra, bem como de técnicas do cinema mudo e sonoro e do modernismo europeu. Com isso, Fitzgerald visa evidenciar, em ambos os romances, a falsidade da ideologia do sonho americano. Uma vez que O Grande Gatsby e Suave É a Noite foram publicados antes e depois da crise econômica de 1929, respectivamente, o autor figura sob dois pontos de vista distintos a década de 1920, a fim de mostrar que tal crise revela que o empreendimento individual não é o meio para alcançar o sonho americano, mas apenas uma engrenagem no funcionamento contraditório do capitalismo. / F. Scott Fitzgeralds novels may be read as a confrontation of the paradox that defines the position of the narrator, as theorized by Theodor Adorno, resulted from the disintegration of the sense of experience and the consequent impossibility of its objective articulation on the part of those who experience it. Fitzgeralds figuration of the American society of the 1920s is formalized in The Great Gatsby (1925) and in Tender Is the Night (1934) via the incorporation of the literary tradition that precedes his work, as well as silent and sound film and modernist techniques. Thereby, Fitzgerald aims to expose in both of these novels the falseness of the ideology of the American dream. Since The Great Gatsby and Tender Is the Night were published before and after the economic crisis of 1929 respectively, Fitzgerald represents the 1920s from two distinct points of view in order to highlight the fact that such crisis reveals that the individual enterprise is not the means to achieve the American dream but only a part in the contradictory operation of the machinery of capitalism

O objetivo desta dissertação é analisar como a contradição presente na narração do romance The Great Gatsby de F. Scott Fitzgerald expõe as tensões sociais e históricas dos Estados Unidos dos anos 1920. Tal contradição, revelada na linguagem e no conteúdo da obra, exige uma leitura atenta do descompasso entre o ponto de vista do narrador memorialista e os valores morais que ele apresenta no início do romance. Exploraremos de que forma o movimento reflexivo da narração de Nick Carraway demonstra a tentativa de construção de entendimento dos fatos por meio da reconstrução das memórias, e como essa reflexão leva o narrador a desvelar a alienação e compreender os meandros da sociedade norte-americana no período pós-Primeira Guerra Mundial. / The aim of this dissertation is the analysis of the contradiction present in the novel The Great Gatsby by F. Scott Fitzgerald and how it exposes the social and historical tensions of the United States of America during the 1920s. Such contradiction, which is revealed in the language and content of the novel, demands a thorough reading of the mismatch between the point of view of the memoirist narrator and the moral values he presents in the beginning of the text. We explore how the reflexive movement of Nick Carraways narration shows his attempt to build understanding of the facts by the reconstruction of his memories, and how this reflection leads the narrator to unveil alienation and understand the intricacies of post-World War I American society.

A obra literária de F. Scott Fitzgerald pode ser entendida como um enfrentamento do paradoxo da narração apontado por Theodor Adorno, decorrente da desintegração do sentido da experiência e da consequente impossibilidade de sua articulação objetiva por parte de quem a experiencia. A figuração que Fitzgerald faz da sociedade norte-americana da década de 1920 é formalizada em O Grande Gatsby (1925) e Suave É a Noite (1934) por meio da incorporação da tradição literária que antecede sua obra, bem como de técnicas do cinema mudo e sonoro e do modernismo europeu. Com isso, Fitzgerald visa evidenciar, em ambos os romances, a falsidade da ideologia do sonho americano. Uma vez que O Grande Gatsby e Suave É a Noite foram publicados antes e depois da crise econômica de 1929, respectivamente, o autor figura sob dois pontos de vista distintos a década de 1920, a fim de mostrar que tal crise revela que o empreendimento individual não é o meio para alcançar o sonho americano, mas apenas uma engrenagem no funcionamento contraditório do capitalismo. / F. Scott Fitzgeralds novels may be read as a confrontation of the paradox that defines the position of the narrator, as theorized by Theodor Adorno, resulted from the disintegration of the sense of experience and the consequent impossibility of its objective articulation on the part of those who experience it. Fitzgeralds figuration of the American society of the 1920s is formalized in The Great Gatsby (1925) and in Tender Is the Night (1934) via the incorporation of the literary tradition that precedes his work, as well as silent and sound film and modernist techniques. Thereby, Fitzgerald aims to expose in both of these novels the falseness of the ideology of the American dream. Since The Great Gatsby and Tender Is the Night were published before and after the economic crisis of 1929 respectively, Fitzgerald represents the 1920s from two distinct points of view in order to highlight the fact that such crisis reveals that the individual enterprise is not the means to achieve the American dream but only a part in the contradictory operation of the machinery of capitalism

The body` of criticism concerning N. Scott Momaday's House Made of Dawn demonstrates a lack of material dealing with the ramifications of the Priest of the Sun's sermon which examines the "Word" of St. John. This thesis explores what is meant by St. John's Word, and how this Word relates to Momaday's novel as a whole. Momaday, through Tosamah, the Priest of the Sun, claims modern society is being overloaded with meaningless words. The Word, in its pure form, is connected to the Native American oral tradition and Momaday's belief that words are powerful when they are used in a traditional manner. The context of language is shown to be an important element in this novel, as the topic of Native American assimilation into white culture is discussed. / Department of English

O objetivo desta dissertação é analisar como a contradição presente na narração do romance The Great Gatsby de F. Scott Fitzgerald expõe as tensões sociais e históricas dos Estados Unidos dos anos 1920. Tal contradição, revelada na linguagem e no conteúdo da obra, exige uma leitura atenta do descompasso entre o ponto de vista do narrador memorialista e os valores morais que ele apresenta no início do romance. Exploraremos de que forma o movimento reflexivo da narração de Nick Carraway demonstra a tentativa de construção de entendimento dos fatos por meio da reconstrução das memórias, e como essa reflexão leva o narrador a desvelar a alienação e compreender os meandros da sociedade norte-americana no período pós-Primeira Guerra Mundial. / The aim of this dissertation is the analysis of the contradiction present in the novel The Great Gatsby by F. Scott Fitzgerald and how it exposes the social and historical tensions of the United States of America during the 1920s. Such contradiction, which is revealed in the language and content of the novel, demands a thorough reading of the mismatch between the point of view of the memoirist narrator and the moral values he presents in the beginning of the text. We explore how the reflexive movement of Nick Carraways narration shows his attempt to build understanding of the facts by the reconstruction of his memories, and how this reflection leads the narrator to unveil alienation and understand the intricacies of post-World War I American society.

The overview of contributions to metaphor theory in Chapters 1 and 2, examined in reference to recent scholarship, suggests that the current theory of metaphor derives from long-standing traditions that regard metaphor as a crucial process of cognition. This overview calls to attention the necessity of a closer inspection of previous theories of metaphor. Chapter 3 takes initial steps in synthesizing views of domains of inquiry into cognitive processes of the human mind. It draws from cognitive models developed in linguistics and anthropology, taking into account hypotheses put forth by psychologists like Jung. It sets the stage for an analysis that intends to further understanding of how the East-West dichotomy guides, influences, and expresses cognitive processes. Although linguist George Lakoff denies the existence of a connection between metaphors, myths, and archetypes, Chapter 3 illustrates the possibility of a relationship among these phenomena. By synthesizing theoretical approaches, Chapter 3 initiates the development of a model suitable for the analysis of the East-West dichotomy as exercised in Chapter 4. As purely emergent from bodily experience, however, neither the concept of the East nor the concept of the West can be understood completely. There exist cultural experiences that may, depending on historical and social context, override bodily experience inclined to favor the East over the West because of the respective connotations of place of birth of the sun and place of death of the sun. This kind of overriding cultural meaning is based on the “typical, frequently recurring and widely shared interpretations of some object, abstract entity, or event evoked in people as a result of similar experiences. To call these meanings ‘cultural meanings' is to imply that a different interpretation is evoked in people with different characteristic experiences. As such, various interpretations of the East-West image-schema exist simultaneously in mutually exclusive or competing forms, as the analysis of Gatsby and the reversal of the values of East and West in the context of colonizing and counter-colonizing attitudes suggests.

Indiana University-Purdue University Indianapolis (IUPUI) / The Kimblerlin Family, first white settlers of Scott County, Indiana is used as a focal point to study the impact of the Copperhead movement on southern Indiana during the Civil War. The author has been granted acces to dozens of family letters, to and from the battlefield, that have never been subjected to academic scrutiny. They provide a fascinating mirror that reflects cultural attitudes toward the War, and ultimately, the courage it took to stand firmly for the Union in Copperhead country. / This is the story of the Kimberlin Family that sent 33 fathers and sons, brothers and cousins to fight for the Union cause during the Civil War. Ten family members were killed, wounded, or died of battlefield disease, a 30 percent casualty rate that is unmatched in recorded Scott County history. Of the 134 known deaths of Scott County soldiers, ten were members of the Kimberlin clan. While we know that the Kimberlins suffered disproportionately, our only clues to their feelings about the war come from 40 letters to and from the battlefield that have survived to this day. Were they fighting to save the Union or to free the slaves? How did they express grief over the loss of a brother? Did they keep up with their business and the women at home? And what did they think about “secesh” neighbors in southern Indiana who tried to undermine the Union cause? The answers to these questions will help determine if the Kimberlins were unusual in their patriotism or simply acting as any Union family would in an area of the nation known as Copperhead Country

In Science Fiction Imagines Intersex: Melissa Scott’s Shadow Man (1995) untersucht Mascha Helene Lange diesen Roman als narrative Verhandlung der Geschlechtskategorie Intersex. Der 1995 erschienene Roman führt fünf verschiedene Geschlechtskategorien mit dazugehörigen Pronomen ein und stellt eine intergeschlechtliche Person als Hauptcharakter in den Mittelpunkt. Der Roman scheint damit innovative Lesarten von Intersexualität abseits einer beschränkenden binären Geschlechtsordnung zu versprechen. Der Beitrag argumentiert jedoch, dass Scotts Roman auf Erzählstrukturen zurückgreift, die Intersexualität auf verschiedene Weise als Abweichung darstellen und, so Mascha Helene Lange in Anlehnung an Rosemarie Garland-Thomson, zu einer Freak-Erscheinung macht. So funktionalisiert Shadow Man insbesondere Diskurse der Kolonisierung, Sexualisierung und Pathologisierung und grenzt Intersexindividuen nicht nur aufgrund körperlicher Sexualmerkmale ab, sondern auch auf Basis ‚rassischer‘ Herkunft und sexueller Orientierung. Der Beitrag argumentiert weiter, dass eine Perspektivierung und Subjektivierung dieser Prozesse durch den zentralen Intersex Charakter im Roman fehlt, so dass der Subjektstatus von Intersexpersonen in Shadow Man durch Othering stark eingeschränkt wird.

El cine siempre me hipnotiza. Desde pequeña tuve una enorme facilidad para entregarme a la convención y dejarme llevar por aquello que veo en la pantalla, sin mayores pretensiones. Tal vez es un hábito heredado de mi abuela, a quien le encantaban las películas del cine de oro mexicano, o heredado de mis padres, que eran asiduos al cine de desastre de los setenta y al cine de terror. En realidad, es difícil saber. Lo único seguro es que lo disfruto mucho. Mi gusto por el terror y la ciencia ficción empezó temprano. Cuando nació mi hermana menor, mi mamá me regaló un televisor de 9 pulgadas, pequeñísimo, en el que podía ver la programación hasta muy tarde. Siempre sintonizaba Última función del canal 2. Obviamente, no tenía permitido ver televisión hasta tarde, pero ¿Quién se iba a dar cuenta?. En teoría, yo estaba “bien dormida”. Mi mamá me acostaba a las 8 de la noche. Aquella Última función empezaba a la medianoche. La matemática en este caso es bastante simple.

L'objectif de la présente étude vise à déterminer si la présence de constipation dyssynergique durant la grossesse est un facteur de risque des déchirures du troisième et du quatrième degré lors d'un premier accouchement vaginal. Un dispositif de recherche cas-témoin rétrospectif a été utilisé. La population était constituée de femmes primipares recrutées à l'aide du registre de la salle des naissances selon leur degré de déchirure périnéale. Les participantes ont ensuite été classées en deux groupes. Le premier groupe, les cas, était constitué de femmes ayant eu une déchirure du troisième ou du quatrième degré. Le deuxième groupe, les témoins, était composé de femmes présentant un périnée intact ou une déchirure du premier ou du deuxième degré. La variable dépendante, soit le degré de déchirure périnéale, a été identifiée à l'aide du dossier obstétrical. La variable indépendante principale, soit la présence de constipation dyssynergique, a été documentée à l'aide du questionnaire Knowles-Eccersley-Scott-Symptom (KESS) envoyé par la poste aux femmes primipares. Les autres facteurs de risque des déchirures périnéales ont été documentés à l'aide du dossier obstétrical et d'un questionnaire maison postal. Un modèle de régression logistique, avec le rapport de cote comme mesure d'association et un intervalle de confiance de 95%, a été utilisé afin de déterminer les facteurs influençant les déchirures du troisième et du quatrième degré. Au total, 549 femmes primipares ont participé à l'étude ; 140 étaient dans le groupe des cas et 409 dans le groupe témoin. Dix-sept pourcent des femmes du groupe des cas et 7,6% des femmes du groupe témoin souffraient de constipation dyssynergique (p=0,001). Une régression logistique multiple a démontré que la présence de constipation dyssynergique est associée à 2,94 fois (95%Cl : 1,47 - 5,88) plus de risque de déchirure du troisième et du quatrième degré. En conclusion, cette étude a démontré que la présence de constipation dyssynergique durant la grossesse augmente le risque de subir une déchirure du troisième et du quatrième degré. Une étude prospective devra cependant être conduite afin d'établir la relation de cause à effet entre la présence de l'incoordination des muscles du plancher pelvien rencontrée dans la constipation dyssynergique et les déchirures du troisième et du quatrième degré."--Résumé abrégé par UMI.