Wie wollen wir diese hochgradig komplexe soziale Welt von heute verstehen, in der bald über 7 Mrd. Menschen auf vielerlei verschlungenen Kanälen miteinander kommunizieren und interagieren, ohne über eine brauchbare ‚General Theory‘ des gegenwärtigen globalen sozialen Weltsystems zu verfügen? Wie wollen wir verstehen, wie das soziale Weltsystem mit seiner ökologischen Umwelt interagiert, wenn wir über keine brauchbare universelle Theorie verfügen, die hinlänglich präzise erklären könnte, wie die ‚globalen Zustände‘ zustande kamen und kommen? Adornos legitime Erbin argumentiert wider die vorherrschende Meinung, das grandiose Scheitern des Marxismus-Leninismus habe große historische Welterklärungsversuche ein für alle Mal diskreditiert. Aufbauend auf einer akribischen Kritik Anthony Giddens‘ zeitdiagnostischem Spätwerk, entwirft die vorliegende Untersuchung den Bauplan einer ‚Forschungsplattform Anthropogenes Weltsystem‘, die vielleicht irgendwann tatsächlich leisten kann, woran Kritische Theorie bislang noch immer scheiterte: schrittweise das Verständnis schaffen, das geschaffen werden muss, damit die Menschheit hoffen darf, die über kurz oder lang drohende doppelte soziale und ökologische Krisis des 21. Jahrhunderts zu meistern.

田納西‧威廉斯的劇本中經常描述家庭隱涵的不安與緊張關係，以及新興文明對美國南方傳統文化的衝擊，憑藉威廉斯的許多劇本和訪談錄可以看出作者對傳統與現代文化態度的改變。本論文旨在探討作者的早期寫作生涯（約在 1960 年以前，評家稱此時期為田納西‧威廉斯的劇本創作黃金時期）中三部重要劇本裡面對家庭和社會的看法，此論文希望能找出作者人生態度改變的原因和方式。《玻璃動物園》、《慾望街車》、《朱門巧婦》這三部劇本本身不但具備不可磨滅的藝術價值，主題也前後鉤連，劇本內在關係環環相扣，前後緊密一致。本論文將分成五個部分，除了導論和結論其中的三章討論三個劇本的情節。各章皆針對風景、對話風格、角色的個性、象徵意涵、社會地位與扮演的角色細緻探索檢視，藉此暴露社會的現象和文化的激盪；除了文本的詮釋剖析，論文將佐以部分的威廉斯生平資料，藉此探討作者在劇本中如何揭露他對社會的看法和藝術創作的蛻變過程。 / Praised as one of the greatest American dramatists, Tennessee Williams is obsessed with delineating conflicts among family members and cultural clashes in the American South. However, the artist's attitude towards modern society seems to change in his separate plays. The purpose of this thesis is to trace Tennessee Williams's three plays, that is, The Glass Menagerie, A Streetcar Named Desire, and Cat on a Hot Tin Roof, to find out why and how his attitide or view of life changes. These plays are the most popular and frequently discussed ones that stress impossible relationships among family members. Enormous in their aesthetic values, these three plays are thematically related. This thesis will be divided into five parts: Introduction, three chapters dealing with these three plays respectively, and Conclusion. Each chapter includes a discussion of major characters, probing into separate symbolic meanings and social status and roles in different circumstances, and linguistic styles; setting of the play, the interactions of the environment and characters; male-female interrelationship; shades of difference of the author's ideological concepts and author's attitude toward the wider contextual values. By searching for autobiographical elements and the social background, I hope this thesis can restore historciacl as well as textual meanings as represented in these three plays, thereby reexamining the playwright's views toward the external world and the evolution of man's mental processes.

ANDRADE, Lia Raquel Vieira. O Clã de Moreira Campos: aspectos sociais dos contos publicados em revista. 2009. 117f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2009. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-07-02T15:23:34Z No. of bitstreams: 1 2009_DIS_LRVANDRADE.pdf: 659092 bytes, checksum: cfada37ce0c4e5085a67dc535e53d2a2 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-24T11:07:50Z (GMT) No. of bitstreams: 1 2009_DIS_LRVANDRADE.pdf: 659092 bytes, checksum: cfada37ce0c4e5085a67dc535e53d2a2 (MD5) / Made available in DSpace on 2012-07-24T11:07:50Z (GMT). No. of bitstreams: 1 2009_DIS_LRVANDRADE.pdf: 659092 bytes, checksum: cfada37ce0c4e5085a67dc535e53d2a2 (MD5) Previous issue date: 2009 / It is well known that the central focus of writers from Ceará, mainly in prose or poetry, has been the cultural and social aspects of the region, they portrait costumes of the people, social problems and quite often the nature. This framework has been of great contribution to spread throughout Brazil the local literature, whose potential has been notably recognised by the literary critics. In particular, in the literature historiography, Ceará is one the most fertile grounds for literary groups such as the “Academia Francesa” (French Academy), the “Padaria Espiritual” (Spiritual bakery) and the “Grupo Clã” (Clan group). The Latest is perhaps one of the most relevant groups, due to the great variety of profiles arisen from it, indeed the Clan group gave birth to very distinctive artists such as fictionists, poets, essayist and literary critics, whom gave great contribution to the arts in Ceará and in Brazil. The group had an issue which was called “Revista Clã” (Clan Journal), which has been issued during forty years, therefore the there is a long source of literary, which deserves attention. One of the most appreciated members in the short-tale style is Moreira Campos, who published also essays and literary criticism in fifteen issues of the Journal. Some critics say Moreira Campos follows the thread of the great Machado de Assis and Graciliano Ramos, due to some common techniques, such as the concision, the irony and the critical representation of the society. In this work the short-tales which Moreira Campos published in the Clan Journal are studied by a textual analysis, in which we focus on the aspects used for social criticism, namely the construction of the characters and their lives. / A literatura do Ceará há muito tempo, vem mostrando excelente potencial produtivo, seja na prosa ou na poesia. Os autores cearenses apresentam ao público retratos de sua terra, sua gente, seus costumes, patrocinando, na divulgação de seus escritos, a universalização da cor local. A historiografia literária relata que o Ceará foi um dos estados que mais manteve agremiações literárias, como a Academia Francesa, a Padaria Espiritual e o Grupo Clã, este último considerado como um dos grupos de maior relevo nas letras cearenses, uma vez que dele surgiram ficcionistas, poetas, ensaístas, cronistas e críticos literários que, sem dúvida alguma, elevaram a literatura e as artes, tanto no Ceará quanto no Brasil. O Grupo Clã, como a maioria das agremiações literárias, possuía, para fins de divulgação própria, uma revista homônima, que circulou durante quarenta anos e, por conta disso, deu oportunidade aos seus membros de divulgarem seus trabalhos. Dentre os nomes que mais colaboraram com a revista está o do contista Moreira Campos, que publicou contos e textos de colaboração em quinze números do periódico. Usando técnicas muito características, como a concisão, a ironia e a representação da sociedade em seus aspectos particulares, é posto na mesma linha de Machado de Assis e Graciliano Ramos. Buscando enfatizar o caráter social nos contos que Moreira Campos publicou na revista Clã, este estudo tem por objetivo apresentar, através de análise textual, elementos do discurso que destaquem uma singular visão crítica da sociedade através da caracterização das personagens e do meio em que estão inseridas.

This research aims to analyze both the writer s role in the social context of Brazil of the twentieth century first half as the criticism to the modern Brazilian society in the novel John Tenderness, by Aníbal Machado, denouncing its problems. Qualitative, this work combines the readings of theoretical foundation, emphasizing the names of Roberto DaMatta, Sérgio Buarque de Holanda, Roberto Schwarz, Edward M. Forster, Tveztan Todorov, Roland Barthes and Sérgio Miceli, with the interpretation of the literary object. Firstly, it examines the writer s new active and questioning positioning towards social reality, after the modernist movement. Among this group, it emphasizes the committed action of Aníbal Machado, especially during the First Brazilian Congress of Writers. Sequentially, it analyzes the structural aspects of the novel, as the plot and the space, focusing for the investigation of some national stereotypes represented in the characters of the work. After this structural survey of the work which allowed greater breadth of its meaning, an analysis is made of some common identity features among Brazilians in general, determining the contradictions occurred in the country due to poor planning for the entry into the modernity and the arrival of modernization exposed in the book. With that, having an exclusive national reality, oppressive and stuck to hierarchies, it is clear that Carnival, narrated in chapter six of the novel, holds the compensation function of this everyday world. That s because all the different classes, races and cultures become equal to celebrate the occasion in which everything is permitted. In the end, John Tenderness realizes that the carnival party is just an appointment for joy, everyone returns to the routine where the social position of each one is clearly defined. / Esta pesquisa visa analisar tanto o papel do escritor no contexto social do Brasil da primeira metade do século XX quanto a crítica feita à sociedade brasileira moderna no romance João Ternura, de Aníbal Machado, denunciando seus problemas. De caráter qualitativo, este trabalho articula as leituras de fundamentação teórica, com ênfase para os nomes de Roberto DaMatta, Sérgio Buarque de Holanda, Roberto Schwarz, Edward M. Forster, Tveztan Todorov, Roland Barthes e Sérgio Miceli, com a interpretação do objeto literário. Primeiramente, examina-se o novo posicionamento atuante e questionador do escritor perante a realidade social, após o movimento modernista. Dentre este grupo, enfatiza-se a atuação engajada de Aníbal Machado, sobretudo durante o Primeiro Congresso Brasileiro de Escritores. Em sequência, se analisa aspectos estruturais do romance, como o enredo e o espaço, com foco para a averiguação de alguns estereótipos nacionais, representados nos personagens da obra. Após este exame estrutural da obra que permitiu maior amplitude do seu sentido, é feita a análise de alguns traços de identidade comuns entre os brasileiros de forma geral, determinando-se as contradições ocorridas no país devido ao mau planejamento para a entrada na modernidade e chegada da modernização expostas no livro. Com isso, havendo uma realidade nacional excludente, opressora e presa às hierarquias, constata-se que o Carnaval, narrado no capítulo seis do romance, exerce a função de compensação deste mundo cotidiano. Isso porque todas as classes, raças e culturas diferentes igualam-se para festejar na ocasião na qual tudo é permitido. No final, João Ternura percebe que a festa carnavalesca é apenas uma hora marcada para a alegria, todos voltam à rotina, onde o lugar social de cada um está bem delimitado. / Mestre em Teoria Literária

Le dernier tiers du XIXème siècle ne constitue pas un moment pamphlétaire parmi d’autres. Non seulement il survient dans une période de démocratisation inédite qui confère au fait pamphlétaire un statut nouveau en lui permettant d’investir l’espace public officiel, mais il est aussi marqué par l’invention de la figure du pamphlétaire et l’émergence de personnalités reconnues comme telles et accédant parfois à une visibilité de premier plan. En dépit de leurs différences de cultures politiques, ces personnalités contribuent à organiser tout un jeu et tout un monde du pamphlet au croisement de la littérature, du journalisme et de la politique. A travers leur violent répertoire discursif, elles contestent l’ordre politique en cours d’édification et le procès de civilisation des mœurs politiques.Partant de l’hypothèse que ces pamphlétaires ont pu être des médiateurs importants du politique, notre recherche a pour objet d’interroger leur contribution aux processus de politisation. Elle entend examiner, dans une perspective socio-historique, dans quelle mesure ils ont pu représenter, dans cette période d’enracinement de la République et de stabilisation de la démocratie, un cheminement de la politique hors des sentiers battus, en favorisant une forme symbolique de participation non conventionnelle au jeu politique et en incarnant une forme transitoire de la rationalisation des passions politiques, entre l’émeute révolutionnaire et la patience démocratique. / The last third of the 19th century was not just any pamphleteering time amongst others. It occurred in a formerly unheard-of period of democratization, which conferred the pamphleteering reality a new status, thus enabling it to carve its way into the official public space. Besides, it was also marked by the invention of the pamphleteer's figure and the emergence of personalities acknowledged as such, some of whom boasting first rate visibility. For all their differing political cultures, these figures helped organize a whole set and world of the pamphlet, at the intersection of literature, journalism and politics. Through their violent discursive repertoire, these pamphleteers question the political order that was then being elaborated, as well as the then on-going process of civilization of political mores.Our research thus aims to examine pamphleteers' contribution to the process of politicization, on the assumption that these could be said to have acted as important mediators of politics. Our work is intended to grasp, within a socio-historical perspective, to what extent – during that period when the Republic was getting increasingly entrenched and democracy more stable – pamphleteers might be said to have represented an evolution of politics off the beaten path, thus favoring a symbolic form of unconventional participation in politics and ultimately embodying a transitional form of rationalization as regards political passions, hovering between revolutionary riots and democratic patience.

(in English): The thesis deals with the topic of social criticism across the genre of detective stories from the 1960s in Sweden. The theoretical part describes how social criticism is constituted in this genre and how it contributes to its specificity. Based on a selected cross-section of five works, it presents not only the various topics which these authors work with, but also the changes in this critique over time. The analyzed works are: The Man on the Balcony (1968) by Sjöwall and Wahlöö, who establish this genre with clear social criticism, the first part of the trilogy Millennium The Girl with the Dragon Tattoo (2008) by Stieg Larsson, who, according to many experts, successfully completes this era, The Stone Cutter (2008) by Camilla Läckberg, The Sandman (2012) by Lars Kepler and Those Who Failed (2015) by the duo Hjorth and Rosenfeldt, that is the works by three contemporary authors of this genre.

Wie wollen wir diese hochgradig komplexe soziale Welt von heute verstehen, in der bald über 7 Mrd. Menschen auf vielerlei verschlungenen Kanälen miteinander kommunizieren und interagieren, ohne über eine brauchbare ‚General Theory‘ des gegenwärtigen globalen sozialen Weltsystems zu verfügen? Wie wollen wir verstehen, wie das soziale Weltsystem mit seiner ökologischen Umwelt interagiert, wenn wir über keine brauchbare universelle Theorie verfügen, die hinlänglich präzise erklären könnte, wie die ‚globalen Zustände‘ zustande kamen und kommen? Adornos legitime Erbin argumentiert wider die vorherrschende Meinung, das grandiose Scheitern des Marxismus-Leninismus habe große historische Welterklärungsversuche ein für alle Mal diskreditiert. Aufbauend auf einer akribischen Kritik Anthony Giddens‘ zeitdiagnostischem Spätwerk, entwirft die vorliegende Untersuchung den Bauplan einer ‚Forschungsplattform Anthropogenes Weltsystem‘, die vielleicht irgendwann tatsächlich leisten kann, woran Kritische Theorie bislang noch immer scheiterte: schrittweise das Verständnis schaffen, das geschaffen werden muss, damit die Menschheit hoffen darf, die über kurz oder lang drohende doppelte soziale und ökologische Krisis des 21. Jahrhunderts zu meistern.:Inhalt Vorwort Einleitung Teil I - Intellektuelle Verproviantierung Kapitel 1: Wackere Neue Weltordnung. Trauriges Ende der Geschichte Kapitel 2: Exhumetur in pace, Manifeste der Gerechten Teil II - Der Aufstieg beginnt Kapitel 3: Akronym GTM Kapitel 4: Forschungsprogrammatik Kapitel 5: Rekapitulationen Kapitel 6: Zeitdiagnose (Teil 1) Kapitel 7: Transformationstheorie Kapitel 8: Zeitdiagnose (Teil 2) Kapitel 9: Intermezzo Kapitel 10: Zeitdiagnose (Teil 3) Teil III - Jenseits der Baumgrenze Kapitel 11: Präludium Kapitel 12: Programmatisch. Historiomatisch. Ganzheitlich Kapitel 13: Strukturierung. Macht. Geschichte Kapitel 14: 4 Dimensionen. 4 Bewegungen. 4 Kontrahenten Kapitel 15: Sozial bewegte Alternativen Kapitel 16: Die dicken Balken der Moderne Kapitel 17: Die langen Streben der Moderne Kapitel 18: Die Nuten und Federn der Moderne Kapitel 19: Die Finale der Moderne Schluss Tabellen- und Abbildungsverzeichnis Literaturverzeichnis

Includes bibliographical references (leaves 119-131) / Text in English with summaries in English and Afrikaans / There are certain influences from the eighteenth and nineteenth century English and German romantic Zeitgeist that can be discerned in Hans Christian Andersen’s fairy tales. The role of the imagination stands out as a particularly dominant notion of the romantic period as opposed to the emphasis on reason during the Enlightenment. It is this romantic influence that Andersen’s tales especially exemplify. For him the imagination is transcendent – one can overcome the mystery and hardship of an earthly existence by recasting situations imaginatively and one can even be elevated to a higher, spiritual realm by its power. The transcendent power of the imagination is best understood by viewing it through the lens of negative capability, a concept put forward by romantic poet, John Keats. The concept implies an “imaginative openness” to what is, which allows one to tolerate life’s uncertainties and the inexplicable suffering that forms part of one’s earthly existence by using the imagination to open up new potential within trying circumstances. In selected fairy tales, Andersen’s child protagonists transcend their circumstances by the power of their imagination. In other tales, nature is instrumental in this imaginative transcendence. The natural world conveys spiritual truths and has a moralising influence on the characters, bringing them closer to the Ultimate Creator. This follows the philosophy of German Naturphilosophie, as well as that of English romantics like Coleridge and Wordsworth, for whom nature functions as a portal to the spiritual world. The concept of the “sublime” underpins this philosophy. If nature is viewed through an imaginative, instead of an empirical lens, it becomes the means by which the temporal world can be transcended. It is a message of hope and as such is in keeping with Andersen’s self professed calling as visionary who uses his art to uplift mankind. In this he is the ultimate romantic hero or outsider who, while standing on the periphery of society, observes its shortcomings and feels called upon to show the way to a better world. / Sekere invloede van agtiende- en negentiende eeuse Engelse en Duitse romantisisme kan in Hans Christian Andersen se feëverhale bespeur word. Veral die rol van die verbeelding staan uit as ‘n dominante invloed van romantisisme, in teenstelling met die laat sewentien- en vroeë agtiende eeuse fokus op rasionaliteit. Dit is hierdie romantiese invloed wat Andersen se verhale veral versinnebeeld. Vir hom is die verbeelding transendentaal – ‘n mens kan die misterie en swaarkry van jou aardse bestaan oorkom deur situasies deur die oog van die verbeelding te bejeën en kan selfs deur die mag van die verbeelding opgehef word na ‘n hoër, meer spirituele vlak. Die transendentale mag van die verbeelding kan beter begryp word wanneer dit deur die lens van “negative capability” gesien word. Hierdie konsep is deur die romantiese digter, John Keats, voorgestel. Die konsep impliseer ‘n verbeeldingryke openheid in die aangesig van aardse onsekerheid en swaarkry, wat die mens uiteindelik in staat stel om nuwe potensiaal in moeilike omstandighede raak te sien. In uitgekose feëverhale, oorkom Andersen se kinderprotagoniste hul moeilike omstandighede deur die mag van die verbeelding. In ander verhale is die natuur deurslaggewend in dié transendentale verbeeldingsreis. Nie net dra die natuur geestelike waarhede oor nie, maar dit het ook ‘n moraliserende invloed op die karakters, wat hulle nader aan ‘n Opperwese bring. Dit herinner aan die Duitse Naturphilosophie, asook die sienswyse van Engelse romantikusse soos Coleridge en Wordsworth, vir wie die natuur ‘n deurgangsroete na die geestelike wêreld is. Die idee van die “sublime” is onderliggend aan hierdie filosofie. As die natuur deur middel van die verbeeldingslens, in plaas van deur ‘n empiriese lens bejeën word, kan dit ‘n manier word om die aardse te oorkom. Dit is dus ‘n boodskap van hoop wat in lyn is met Andersen se selfopgelegde taak as profeet wat sy kuns gebruik om die mensdom op te hef. In hierdie opsig is hy die absolute romantiese held of buitestaander, wat, ofskoon hy aan die buitewyke van die samelewing staan, tóg tekortkominge raaksien en geroepe voel om die weg na ‘n beter wêreld te wys. / English Studies / M.A. (English)