Dissertations / Theses on the topic '1925-2008 Criticism and interpretation'

This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.

This thesis constitutes an investigation into contemporary writing--both fictional and philosophical. More specifically, it is a comparative analysis of the work of British novelist Angela Carter, and French philosophers Gilles Deleuze and Felix Guattari, in the light of the concept of synthetic authenticity. It is divided into three chapters, "Becomings", "Events", and "Machines", and each chapter presents the work of both Carter and Deleuze and Guattari, respectively, in light of one of these topics. Chapter Two, however, focuses closely on Angela Carter's first novel, Shadow Dance, as it relates to the concept 'event'. And Chapter Three focuses on Carter's novel The Infernal Desire Machines of Doctor Hoffman, as it relates to and differs from the schizoanalytic notion of desiring machines.

This thesis attempts a comparative study of Conrad and Dostoevsky. In doing so, it proposes a significant relationship between the ideological, political and literary worlds of both authors. The work is undertaken in eight chapters. Chapter One explores Conrad and Dostoevsky's respective national and cultural identities. It reflects on Conrad's recorded reactions to Dostoevsky and his work, and speculates on the latter's likely response to Conrad. Chapter Two challenges established critical formulae that suggest Dostoevsky is a purely 'Dionysian' writer. The view that Conrad is a consummate 'Apollonian' artist is similarly brought into question. Chapter Three considers Conrad and Dostoevsky as major literary innovators. To support my argument, Bakhtin's critical concepts of 'polyphony' and 'monology' are introduced, and applied in a Dostoevskyan and Conradian context. Especially highlighted is my debate on Conrad's 'polyphonic' narrative technique in Lord Jim (1900). The notable fusion of disparate literary genres in Conrad and Dostoevsky's novels is explored in Chapter Four. Elements of 'adventure', 'thriller', 'romance', and 'detective' fiction are identified in each novelist's world. My argument, however, restricts itself to an extensive analysis of the surprising importance of the 'Gothic' elements in both writers' worlds. Chapters Five and Six, concentrate on Conrad and Dostoevsky's profound insights into the fundamental character of the human personality. Chapter Five considers their parallel interpretations of mankind's quintessentially materialist nature. Chapter Six looks at their strikingly similar visions of man's violent and carnal identity, and his primary urge to dominate other weaker individuals. Chapters Seven and Eight consider two central themes in Conrad and Dostoevsky's fiction, that of anarchist politics and nihilism respectively. Their political and ideological responses to these issues are investigated in some detail, and significant interpretive parallels established. Finally, the conclusion undertakes to once again assure the reader of the surprising and unsuspected bonds that exist between these two seemingly alien writers.

This thesis stages a meeting between the work of French philosopher Gilles Deleuze and the short fiction of Italian writer Italo Calvino. This meeting has as its subject the question of the human and the non-human. What forces make up the human? What assemblages of elements make up language, literature, subjectivity? And what does it mean that these forces come from outside the human at the same time as they create the human? Calvino is often accused of being an unemotional writer, lacking in human warmth. With this I agree completely. Calvino does lack human warmth because he allows non-human forces to penetrate his writing, taking it beyond conventionalized and banal prefabricated emotion into a dimension of new intensities. Deleuze will provide us with a vocabulary of concepts with which to discuss these non-human forces and their potential for moving the human out of itself and into a new assemblage of thoughts, passions and actions.

Les Gommes, Le Voyeur, La Jalousie, les trois premiers romans de Robbe-Grillet, constituent la premiére phase de l'oeuvre de l'écrivain. Dans cette étude il s'agira de voir ce qui sépare la vision du monde et l'écriture de Robbe-Grillet de la tradition littéraire qui l'a précédé, ce qui, de cette tradition, subsiste encore chez lui, et ce en quoi consistent l'originalité et la spécificité de l'univers romanesque robbe-grilletien. D'une part, Robbe-Grillet rompt avec les formes et normes romanesques établies, d'autre part, il crée son propre univers romanesque. Cette rupture est manifeste dans Les Gommes comme l'est l'apparition d'un nouvel espace littéraire dans Le Voyeur, et surtout dans La Jalousie. Pour bien comprendre l'art et la position théorique de Robbe-Grillet, pour bien comprendre son oeuvre, il est absolument indispensable de connaltre la rupture d'avec l' " ancien " et le début d'un processus littéraire propre a Robbe-Griliet. L'une et l'autre se dessinent clairement dans Les Gommes, Le Voyeur, et La Jalousie.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate

This essay focuses on the moral aspect of Alexander Solzhenitsyn's political thought. It constitutes an extensive review and analysis of his work in the field of literature as well as social and political criticism. The first part deals with Solzhenitsyn's critique of Marxism, which remained for many years the main target of his attacks. The second part looks at Solzhenitsyn's historical analysis of the Soviet Communist experience. Subsequently, the essay examines the critique of the West expressed by the Russian writer during his exile in Europe and America. The last part deals with Solzhenitsyn's perception of post-Communism Russia and some of his major propositions for the future.

The aim of this study is to analyse the web of meaning underlying the presence of plots and images from paralitterature in the work of Alain Robbe-Grillet. This presence is explained by a transformation in the bookmarket, cultural environment and literary landscape, and corresponds to the malaise in the social discourse raised by the crisis.
The bookmarket changed rapidly in the years following the war. Its reorganization along industrial lines lead to recurrent periods of crisis. That part of the market consisting of mass produced books came under the influence of American popular fiction. This situation had repurcussions on the literary field. People no longer saw books and authors as special, and the readership of serious literature decreased markedly. The avant garde itself seemed exhausted. Works of paralitterature, on the other hand, entered in a process of legitimation.
The New Novelists, and especially Robbe-Grillet, find in paralitterature expressions of the social discourse more powerful than those available in canonical literature. Popular fictions, rife with violence and agression, capture the worries and pessimism about society and the alienation of the individual. In Robbe-Grillet's work, the world is conceived as containing a cancer, one that threatens the social order. Reality is distorted in his fiction, and the characters are fragmented and lost in their imaginary world. The image of a cancerous society is crystallized in the motif of the ritual sacrifice of a woman. For Robbe-Grillet, though, this motif also suggests the origin of fantasy, and in doing so might rejuvenate the creative impulse. Behind the violence and eroticism of his fiction, then, and behind the anomia contaminating literature, is the desire to retrace the lightening of fantasy in the hope of dealing with both the modern world and the predicament of the novel, and possibly find a catharsis through it.

The following study traces modern Quebecois art from the beginning of the twentieth century with specific reference to the question of the redefinition of identity. The study mainly consists of an analysis of different strategies used by certain progressive artists like Paul-Emile Borduas, Francoise Sullivan and Jean-Paul Riopelle to impose a new reality which was simultaneously contemporary, rooted and distinct in the context of a Quebec that was emerging in modernization. By using popular or marginalized artistic forms and by seizing certain ancient models belonging to the distant past---in the non-western world or precolonial America---and by using different strategies of deconstruction and transgression of normative codes defined by the dominant ideology, these artists were able to avoid current hegemonic models in order to assert new spaces for expression and representation. Taking on modern Quebecois art from an approach belonging to diverse social sciences and humanities, this study aims to renew the analytical parameters of the traditional art history. The main challenge lies in zeroing in on the ways in which the development of modern identity (meaning the affirmation of the right to be different and to self-determination, and the development of subjectivism and expressivism) influenced avant-garde artistic productions, and which strategies artists used to replace the values imposed by traditional institutions and the dominant ideology, which in turn sparked a renewal of identity. Modern identity is based upon a principle that is modeled on two foundations: on the image that the subject will have of himself, and the impression that the Other (a bordering neighbour, cultural cousin, colonial authority or political oppressor) will have of him. In fact, this "stranger" will essentially assume the role of guaranteeing the recognition of the proposed identity. The phenomena of mythical constructions of symbolical imagination and of primitivism, in this study,

A escritora e jornalista Clarice Lispector escreveu durante nove anos, entre as décadas de 1950 e 19560, colunas femininas para três jornais cariocas. Suas colunas eram intituladas: “Entre mulheres”, “Feira de utilidades” e “Correio feminino”. Cada coluna era assinada por um pseudônimo, Tereza Quadros, Helen Palmer e a ghost writer lka Soares, respectivamente. Seus textos abordavam assuntos relacionados ao universo feminino, em que se podem observar a cultura e o comportamento social em que a mulher desse período estava inserida. Esta tese propõe-se a ler esses textos pelo viés da ironia, buscando comprovar que é possível lê-los como contradiscurso ao sistema patriarcal conservador e opressor presente na sociedade de então.
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La escritora y periodista Clarice Lispector iscrivió por nueve años, entre las décadas de 1950 y 1960, colunas femeninas hasta três periódicos cariocas. Sus páginas eran llamadas: “Entre mulheres”, “Feira de utilidades” y “Correio feminino”. Cada página era firmada por un seudónimo, “Tereza Quadros”, “Helen Palmer” y la ghost writer “lka Soares”, respectivamente. Sus textos tratavan de asuntos relacionados al universo femenino, donde era posible mirar la cultura y el comportamiento social donde la mujer de eso tiempo estava viviendo. Esa tese se propone a leer esos textos por la vía de la ironía, buscando comprobar que és posible leer como contradiscurso al sistema patriarcal, conservador y opressor presente en la sociedad de entonces.

Thesis (MA)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: The focus of this study will be on the unique way in which language is used in Marlene van Niekerk‟s collection of short stories, Die sneeuslaper (2010). When reading Die sneeuslaper it is impossible not noticing the number of Dutch words, as well as words and phrases from other foreign languages, as Bargoens, Rotwelsch, German, French, Italian, Hebrew, Greek and Maltese. Some of the characters‟ speech, as well as so called sound poems (or nonsense verses) are characterised by a number of newly invented words. However, the meaning of some of these words or phrases remains unclear. Other themes in the four short stories which will be analysed are the so called political responsibility of the artist, as well as music, rhythm and bird-noises. As a theoretical basis of this study, Deleuze and Guattari‟s Kafka Toward a Minor Literature will be used. In Kafka Toward a Minor Literature Deleuze en Guattari formulate their ideas regarding minor literature. They describe a major language as a language of dominance and power, while a minor language is a language without any power. According to them the three characteristics of minor literature are: the minor deterritorializes the major, minor literature is always political, and minor literature always has a collective function. Deleuze and Guattari‟s, as well as Bogue‟s writing regarding the territorialization and deterritorialization of the refrain, is also explored briefly. Deleuze en Guattari‟s theories regarding minor literature is used in this study to read Die sneeuslaper. In the end it is concluded that the unconventional use of language in this short story collection can be associated with the political nature of some of the stories. The unique usage of language in Die sneeuslaper, the way in which Afrikaans is transformed into a language that stammers, stutters and mumbles, can be seen as a subtle form of political protest. Therefore this collection of short stories can be seen as a form of minor literature.
AFRIKAANSE OPSOMMING: Hierdie studie fokus op die vreemde wyse waarop taal in Marlene van Niekerk se kortverhaalbundel, Die sneeuslaper (2010), aangewend word. Met die lees van Die sneeuslaper is die hoeveelheid Nederlandse woorde, asook enkele woorde en frases uit ander vreemde tale, soos Bargoens, Rotwelsch, Duits, Frans, Italiaans, Hebreeus, Grieks en Maltees, opvallend. Verder is daar in die karakters se spraak, sowel as in klankgedigte (of onsinverse), vele nuutskeppings waarvan die betekenis nie altyd so duidelik blyk nie, teenwoordig. Ander temas wat in die vier verhale figureer en ondersoek sal word is kunstenaarskap, die sogenaamde politieke verantwoordelikheid van die kunstenaar, asook musiek, ritme en voëlgeluide. As teoretiese vertrekpunt vir die studie word Deleuze en Guattari se Kafka Toward a Minor Literature, waarin hul idees oor mineurlettekunde geformuleer word, gebruik. Deleuze en Guattari onderskei tussen ‟n dominante majeurtaal en ‟n mineurtaal wat sonder mag is. Volgens Deleuze en Guattari is daar drie kenmerke van mineurletterkunde, naamlik dat die mineur die majeur deterritorialiseer, dat mineurletterkunde altyd polities is, en laastens dat mineurletterkunde altyd kollektief van aard is. Bykomend word daar ook kortliks gekyk na Deleuze en Guattari, sowel as Bogue, se skrywe oor territorialisering en deterritorialisering in die refrein. Deleuze en Guattari se teorie oor mineurletterkunde word in hierdie studie as ‟n agtergrond gebruik om Die sneeuslaper te lees. Daar word uiteindelik tot die gevolgtrekking gekom dat die onkonvensionele taalgebruik in die kortverhaalbundel wel geassosieer kan word met deterritorialisering en dat dit aansluit by die politieke aard van sommige van die verhale. Die wyse waarop Afrikaans in Die sneeuslaper getransformeer word na ‟n taal wat stamel, stotter en struikel, kan dus as subtiele, politieke protes gesien word en daarom kan dié kortverhaalbundel inderdaad as ‟n vorm van mineurletterkunde beskou word.

Neither an unquestioning support for British imperialism nor a personal pre-Jungian philosophy were the driving forces behind Rider Haggard’s beliefs or his literature. These two concerns were secondary to the author’s fascination with the supernatural, a theme prominent in his era, but less so in our own. A declining faith in European religion provided the dominant focal point in Haggard’s work. Although there are important overtones of imperial concern and indeed points of Jungian significance in the texts, these are generally subservient to an intensive wide-ranging spiritual discourse. The place of Haggard’s work in history and its literary merit are thus misunderstood when his spiritualism is not taken into account. No analysis of the author’s work can be complete without first coming to terms with his spiritual ideas and then with their impact on other topics of significance to both the author and audiences of his day. The spiritual or religious aspect of his writing has been largely ignored because of its subtle nature and its relative unfashionability throughout most of the twentieth century in the critical and intellectual climate of the Western world. However, in the Victorian era, under the materialist impact of Darwin, Marx and industrialization, Europe's Christian God was pushed from centre stage, creating widespread spiritual hunger and anguish. In the resulting religious vacuum Haggard's overtures were of particular significance to his audience. In fact, when considered in terms of his immense contemporary popularity, the pervasive presence of spirituality throughout Haggard's works and in his personal writing gives some indication of the subject's enormous importance not only to the author, but to late Victorian society as a whole. In light of this Victorian significance, the spiritual element rises, by its constant presence and persistent foregrounding, to subvert not only the imperial and the Jungian, but even Haggard's overt adventure text by dealing directly with the underlying metaphysical crisis in Western society.

Mishima Yukio premiered the play Rokumeikan in 1956 and published it in 1957. For more than half a century, this play has been praised as one of the finest Japanese plays in the Post-War period. Rokumeikan is a multi-act tragic melodrama, set in 1886 (Meiji Period) in the Rokumeikan building. The play intertwines complex political cabals, intense loves and hatreds, and multiple deceptions embodying the conflict between political power and love. This essay explores the reasons why Rokumeikan has maintained its popularity over its fifty year long performance history and examines the critical reception of the play. My analysis of the Rokumeikan text is based on conflicting notions of truth and power. According to the French philosopher, Michel Foucault, socio-political power creates truth. This "power reality" is embodied in the play by Prime Minister Kageyama, and its authority is challenged by his wife, Asako, who has an entirely different conception of truth. This interplay of conflicting values has helped to maintain the popularity and stature of the play for half a century.

Thesis (PhD)-- Stellenbosch University, 2013.
ENGLISH ABSTRACT: This dissertation examines the idea of apocalypse through the lens of science fiction (sf) written during the current fin de siècle period. I have dated this epoch, known as the information era, as starting in 1980 with the advent of personal computing and ending in approximately 2020 when the functional limits of silicon-based digital manufacturing and production are expected to be reached. By surveying the field of contemporary sf, I identify certain trends and subgenres that relate to particular aspects of apocalyptic thought, namely, conceptions of the ‘terror of history,’ the sublimity of accelerated techno-scientific advance, the ‘affective turn’ in media-culture and posthuman philosophy. My principal method of inquiry into how the apocalypse is imagined or ‘figured’ in sf is the concept of hyperstition – a neologism (combining the words ‘hyper’ and ‘superstition’) coined by the Cybernetic Culture Research Unit (CCRU). Hyperstition describes an aesthetic response whereby cultural fictions – principally, ideas relating to apocalypse – are imagined as transmuting into material realities. I begin by scrutinizing two posthumanist works of theory-fiction (theory written in the mode of sf) by the CCRU and 0rphan Drift which anticipate immanent human extinction and imagine the inception of a new evolutionary cycle of machine-augmented evolution This sensibility is premised on the sociallydestabilising cycles of exponential growth that characterise information-era technological developments, particularly in the digital industries, as well as the accelerated human impact on the natural environment. Central to my argument is the romantic materialist philosophy of Deleuze and Guattari and their concepts of accelerationism, schizoanalysis and Bodies without Organs (BwO’s). Their ontology is constructed around the idea that exponential rates of development necessitate a new aesthetic paradigm that ventures beyond philosophies of human access. The narrative of apocalypse, approached from this perspective, can be interpreted in catastrophic or anastrophic terms; either as a permanent ending or as the beginning of something radically new. Using hyperstition, I also investigate the sf of Russell Hoban, Michael Swanwick, Brian Stableford, Charles Stross, Dan Simmons, M. John Harrison and Paul McAuley to see not only how these authors interpret the concept of cultural acceleration, but also to identify common threads. Countering the catastrophic ‘death of affect’ postulated by theorists such as Jean Baudrillard and Paul Virilio with the anastrophic rejoinder of cyberdelic information-era countercultures, I conclude by investigating the new ‘affective turn’ in contemporary media theory. The works of theoretical fiction and sf that I investigate are informed, as I demonstrate, by the Situationist techniques of psychogeography, dérive and detournement, as well as by the literary tropes of 18th and 19th century fin de siècle Gothic and dark Romantic fiction.
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die idee van apokalips deur die oogpunt van wetenskap fiksie (wf) soos geskryf gedurende die huidige ‘fin de siècle’ tydperk. Ek dateer hierdie epog, bekend as die inligtings-era, as die tydperk wat in 1980 begin met die koms van persoonlike rekenaars en nagenoeg eindig in 2020, wanneer die funksionele limiete van silikon gebaseerde digitale vervaardiging en produksie na verwagting bereik sal word. Deur die veld van kontemporêre wf in oënskou te neem, identifiseer ek sekere neigings en sub-genres wat vergelyk met sekere kenmerke van apokaliptiese denke, naamlik: begrippe soos die ‘verskrikking van geskiedenis’, die verhewendheid van versnelde tegno-wetenskaplike vooruitgang, die ‘emosionele omkeer’ in media-kultuur en post-humanistiese filosofie. My primêre metode van ondersoek van hoe die apokalips voorgestel of ‘beskryf’ kan word in wf, is die begrip van hiper-bygelowigheid - ‘n neologisme (samevoeging van die woorde ‘hiper’ en ‘bygeloof’) soos geskep deur die Kubernetiese Kultuur Navorsings-Eenheid (KKNE) en Nick Land, medestigter van die KKNE. Hiper-bygelowigheid beskryf die proses waarvolgens kulturele versinsels - hoofsaaklik opvattings met betrekking tot apokalips – in materiële realiteite omgeskakel kan word. Ek ondersoek ek twee post-humanistiese werke van teorie-fiksie (teorie geskryf volgens die wf metode) deur KKNE en 0rphan Drift, wat inherente menslike uitwissing verwag en die ontstaan van ‘n nuwe evolusionêre siklus van masjien-toename voorstel. Hierdie proses is gebaseer op die sosiaal-destabiliserende siklus van eksponensiële groei wat kenmerkend is van die inligtings-era se tegnologiese ontwikkelinge, veral in die digitale industrie, sowel as versnelde menslike impak op die natuurlike omgewing. Die kern van my beredenering is die goties-materialisties-teoriese standpunt soos deur Land ingeneem, sowel as die romanties-materialistiese filosofie van Deleuze en Guattari. Hierdie gevalle van neo-materialistiese (of objek-georiënteerde) filosofië word toegelig deur ‘n apokalipties-teoretiese basis bekend as akseleerasionisme. Hierdie uitgangspunt is ontwikkel rondom die idee dat die eksponensiële tempo van ontwikkeling ‘n klimaks sal bereik in ‘n evolusionêre ‘wipplank punt’ en dat ‘n nuwe estetiese paradigma nodig is wat dit bokant die filosofie van menslike vermoë kan waag sodat daar oor hierdie waarskynlikheid geteoretiseer kan word. Die beskrywing van apokalips, soos vanuit hierdie oogpunt beskou, kan vertolk word in beide katastrofiese of anastrofiese terme of as ‘n permanente einde of as die begin van iets wat radikaal nuut sal wees. Deur gebruik te maak van die hiperbygelowigheidsteorie, wat ‘n onderafdeling is van akseleerasionisme, ondersoek ek WF van Russell Hoban, Michael Swanwick, Brian Stableford, Charles Stross, Dan Simmons, M. John Harrison and Paul McAuley ten einde vas te stel hoe hierdie skrywers die konsep van kulturele akseleerasie interpreteer, maar ook om gemeenskaplike leidrade te identifiseer. Met teenargumentering ten opsigte van die katastrofiese ‘dood van affek’ gepostuleer deur teoretici soos Jean Baudrillard en Paul Virillio met die anastrofiese samevoeging van kuberdeliese inligtings-era-kontra-kulture, ondersoek ek die nuwe ‘gemoedsomkeer’ in kontemporêre mediateorie. Die werke van teoretiese fiksie, sowel as baie van die ander gevalle van wf wat ek ondersoek en soos deur my gedemonstreer, word toegelig deur Situasienistiese tegnieke van psigo-geografie, dérive en detournement, sowel as deur die literêre menigtes van die 19de eeu ‘fin de siècle’ donker Romantiese en Gotiese fiksie.

This study undertakes an examination of the representation of nature in works of literature that it regards as early British ‘mythopoeic fantasy’. By this term the thesis understands that fantasy fiction which is fundamentally concerned with myth or myth-making. It is the contention of the study that the connection of these works with myth or the idea of myth is integral to their presentation of nature. Specifically, this study identifies a connection between the idea of nature presented in these novels and the thought of the late-Victorian era regarding nature, primitivism, myth and the impulse behind mythopoesis. It is argued that this conceptual background is responsible for the notion of nature as a virtuous force of spiritual redemption in opposition to modernity and in particular to the dominant modern ideological model of scientific materialism. The thesis begins by examining late-Victorian sensibilities regarding myth and nature, before exposing correlative ideas in selected case studies of authors whose work it posits to be primarily mythopoeic in intent. The first of these studies considers the work of Henry Rider Haggard, the second examines Scottish writer David Lindsay, and the third looks at the mythopoeic endeavours of J. R. R. Tolkien, the latter standing alone among the authors considered in these central case studies in producing fiction under a fully developed theory of mythopoesis. The perspective is then widened in the final chapter, allowing consideration of authors such as William Morris and H. G. Wells. The study attempts to demonstrate the prevalence of an identifiable conceptual model of nature in the period it considers to constitute the age of early mythopoeic fantasy fiction, which it conceives to date from the late-Victorian era to the apotheosis of Tolkien’s work.

From 1958 to 1959, Mishima Yukio published a series of satirical essays titled Lessons in Immorality, in the magazine Weekly Morningstar. Lessons in Immorality was made into a television series, a stage play, and a film. Famous in the West for writing serious novels, Mishima's work as a humor writer is largely unknown. In these essays Mishima writes in a very comic style, making liberal use of hyperbole, burlesque, and travesty, in order to parody and satirize contemporary Japanese morality. Mishima uses humor to create a world in which Mishima Yukio, iconoclastic author and pop-culture figure, is an arbiter of his own honest and just morality that runs counter to the norms that Japanese at that time considered to be honest and just. Additionally, Mishima used Lessons in Immorality as a forum to discuss some of the serious concerns that are central to his famous novels. Because Mishima was writing for young men and women, he wrote about his complex philosophical and aesthetic ideals in a very humorous and accessible style. Thus, in addition to displaying Mishima's talent as a humor writer, these essays also give the reader fresh perspectives on Mishima's serious literature. In this paper, I will present the writing styles, rhetorical tools, and philosophical discussions from Lessons in Immorality that I believe make the series essential reading for anyone interested in Mishima or postwar Japanese literature.

Esta tese consiste em uma análise dialógica das construções discursivas sobre o universo do trabalho e da tecnologia no romance Usina, de José Lins do Rego, publicado em 1936. Para conduzir a análise proposta, esta pesquisa parte dos pressupostos teóricos de Mikhail Bakhtin e do círculo, estudiosos da linguagem, para quem o romance é um grande enunciado que nasce de um espaço sócio-interativo. Nessa mesma perspectiva dialógica, em relação ao universo do trabalho e da tecnologia, este estudo busca reflexões de importantes pensadores, a saber: Marx, Engels, Lafargue, Lukács, Sennett e Heidegger. A composição do discurso que se apresenta neste estudo se estrutura a partir da seleção desses autores e de outros, presentes, em sua maioria, nas ementas das disciplinas do Programa de Pós- Graduação em Tecnologia (PPGTE), mais especificamente, no Projeto de Pesquisa “A formalização discursiva do universo do trabalho e da tecnologia em textos literários brasileiros”, a que se vincula esta tese. As construções discursivas sobre trabalho e tecnologia são investigadas a partir de um circuito de vozes presente no romance. Esse circuito de vozes fortalece a ideia-chave, síntese crítica do autor, sua reflexão sobre a vida laboral nos engenhos e nas usinas, a de que no tempo de engenho havia relações mais humanizadas entre os homens e destes com a natureza, apontando para um trabalho como fator de maior socialização, portanto. A arquitetônica do romance se constitui por um enunciado que se estabelece pela repetição dessa tese, garantida pelo circuito de vozes. Essa multiplicidade de vozes, representada pelas personagens e pelo narrador, é organizada pelo autor de forma que o tom da narrativa evidencie a antropomorfização da usina. Em resistência a esse discurso de determinismo tecnológico, no campo simbólico, o autor se vale de outros discursos, como o da tradição cristã, na voz das personagens, D. Dondon, esposa do usineiro, agregados e trabalhadores do eito do tempo de engenho, para fazer imperar essa sua tese. Para tanto, o autor organiza os eventos narrativos de modo que no plano enunciativo fique evidente para o leitor dois momentos: o de ascensão e o de decadência da maquinaria moderna na usina Bom Jesus. No primeiro, com a modernização dos maquinários da usina que simboliza a ascensão desse sistema, ou seja, com o trabalho sob os preceitos do capitalismo, a natureza vai se esfacelando e as relações humanas e do homem com a natureza vão se tornando menos humanizadas em um sentido de trabalho estranhado. No segundo, com a falência dos negócios na usina Bom Jesus, o autor sinaliza para um processo de humanização, no qual, sobretudo, a natureza se apresenta de modo personificado, como resposta punitiva à ambição humana.
This thesis consists of a dialogical analysis of the discursive constructions regarding the labor and technology universe in the novel "Sugar Mill" by José Lins do Rego, published in 1936. To conduct the proposed analysis, this research is based on the theoretical assumptions of Mikhail Bakhtin and the circle, language scholars, for whom the novel is a great statement which is born from a social-interactive space. On this same dialogical perspective, in relation to the labor and technology universe, this study seeks reflections of important thinkers, such as: Marx, Engels, Lafargue, Lukács, Sennett and Heidegger. The composition of the discourse presented in this study is structured from the selection of these authors and others, present, mostly in the syllabus of the disciplines of the Postgraduate in Technology Program (PPGTE), more specifically, in the Research Project "The discursive formalization of work and technology universe in Brazilian literary texts" that binds this thesis. The discursive constructions about work and technology are investigated from a circuit of voices present in the novel. This circuit of voices strengthens the key idea, critical synthesis of the author, his reflection on the working life on the plantations and the sugar mills, which in the ingenuity years there were more humane relations between people and between them and nature, pointing to a work as greater socialization factor, thus. The architectural of the novel is constituted by a statement which is established by the repetition of this thesis, guaranteed by the circuit of voices. This multiplicity of voices, represented by the characters and the narrator, is organized by the author so that the tone of the narrative evidences the anthropomorphization of the sugar mill. In resistance to this discourse of technological determinism, in the symbolic field, the author makes use of other discourses, such as the Christian tradition, the voice of the characters, D. Dondon, the sugar mill owner's wife, aggregates and workers from the ingenuity years, to make his thesis prevail. For this reason, the author organizes the narrative events so that the enunciation plan is evident to the reader in two moments: the rise and the decline of modern machinery at the Bom Jesus mill. In the first moment, with the modernization of the machinery of the mill which symbolizes the rise of this system, that is, working under the precepts of capitalism, the nature starts to crumble and human relations and of man with nature become less humanized in a sense of estranged labor. In the second, with business failure at the Bom Jesus sugar mill, the author signals for a humanization process in which, above all, the nature presents in a personified way, as a punitive response to human ambition.

Dans l’Amérique et les Caraïbes des XIXe et XXe siècles, l’œuvre du poète national est au cœur d’un trafic d’images qui nourrit un lien social fragile dans un temps où les collectivités reposent moins sur un lien direct entre leurs membres que sur un lien imaginé. Prenant ses distances vis-à-vis des représentations en circulation à son époque, comme les représentations exotiques de la nature, le poète offre une vision démocratique ambitieuse pour l’avenir de la communauté à travers des images nouvelles du territoire, du peuple, de l’esclavage et de l’histoire. L’ethos auctorial encourage l’appropriation de ce discours par le lecteur en désignant le poète comme figure de référence. Mais c’est surtout à travers son procédé d’écriture qui met à mal les normes littéraires de son temps que celui-ci est à même d’influer sur la société. Plutôt qu’ils ne parviennent à saisir l’esprit de leur peuple, Whitman, Martí et Césaire participent par leur travail sur le fragment, les formes populaires ou le tremblement du sens à la création d’un devenir collectif
In 19th and 20th centuries America and West Indies, the national poet’s works lay at the centre of a traffic of images. This traffic feeds the fragile social ties of young collectivities, at a time when communities are bound by imagination rather than by direct contact between their members. Distancing themselves from the representations of the community circulating at that time, like the exotic images of the New World’s nature, the poet offers an ambitious democratic vision for the future which is channeled through images of the territory, the people, slavery and history. The poet’s ethos encourages the reader to appropriate this discourse by presenting the author as a role model. However, it is mainly thanks to his style, at odds with the literary norms of his time, that the poet is able to act upon society. Whitman, Martí and Césaire do not so much contrive to capture their people’s spirit, as they participate through their work on the fragment, on popular poetical forms or on the destabilizing of meaning, in the creation of a common devenir

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
The current research intends to investigate Vince Gilligan’s creation paths during the development of the character Walter White in the series Breaking Bad. A serial work created for the television is an open work, in constant evolution and development and subject to drastic interventions in its narrative path. The author who draws upon an initial proposition to develop such path must consider possible incoherences throughout the story, which could occur due to external interferences and characteristics of the market. Such aspect is not found in the story and this fact instigates is to investigate the paths which were created by the author in order to establish a natural progression for the character, without losing, however, the identity and the coherence of the narrative. Our focus is on the analysis of episodes of the series, as well as interviews given by the author and specific publications on the backstage of the creation processes, aiming to understand the interactions between script creation procedures and choices regarding the audiovisual resources adopted by the author throughout the seasons. We also discuss the series as a genre in the audiovisual context under the perspective of coherence development throughout time. Our theoretical approach is based on the concepts of author from Machado (2011) and Bakhtin (2010) in relation to criticism of creation process and networks of creation (Salles, 2000; 2006; 2008; 2013; 2017) as well as the semiotic signs developed by Charles Peirce
Esta pesquisa pretende investigar os percursos de criação de Vince Gilligan na construção e desenvolvimento do personagem Walter White, na série Breaking Bad. Uma obra seriada feita para a televisão é uma obra aberta, em constante evolução e construção, e sujeita a intervenções drásticas em seu percurso narrativo. O autor que se vale de uma premissa inicial para a construção deste percurso deve atentar-se para a possibilidade de incoerências no decorrer da história, dado as interferências externas e características deste mercado, fato este que não encontramos no decorrer da narrativa da série e que nos instiga a investigar quais foram os percursos criados pelo autor para estabelecer a evolução natural do personagem, sem perder, porém, a identidade e coerência narrativa. O foco do estudo está na análise dos episódios da série, de entrevistas dadas pelo autor e por publicação especifica sobre os bastidores dos processos de criação da série com a intenção de entender as interações entre os procedimentos de construção de roteiros e as escolhas de recursos audiovisuais adotados pelo autor ao longo das temporadas, adotar a perspectiva de processo para discutir a série ao longo das temporadas e fazer uma reflexão sobre o gênero série no contexto do Audiovisual sob o ponto de vista da construção da coerência narrativa ao longo do tempo. Para tal, a fundamentação teórica apoiar-se-á nos conceitos de autor encontrados nos estudos feitos por Machado (2011) e Bakhtin (2010); em interação com os conceitos da crítica de processos e redes de Criação (SALLES, 2000; 2006; 2008; 2013; 2017); e com os conceitos sobre signos semióticos de Charles Peirce

Orientador: Mónica Graciela Zoppi Fontana
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho de mestrado tem por finalidade mostrar as diferenças encontradas na formação discursiva ¿ por meio da análise de discurso ¿ da produção textual do jornalista e escritor Fausto Wolff durante a sua colaboração no jornal O Pasquim 21. Dividida em dois momentos, a análise terá início com as crônicas produzidas no ano de 2002 e, em seguida, com as de 2003 e 2004 ¿ divididas igualmente em um montante de 13 textos para cada período. As crônicas serão analisadas de acordo com suas condições de produção levando em conta os preceitos da Análise de Discurso Francesa. Por se tratar de um momento histórico, devido a uma sucessão presidencial disputada por dois grandes partidos (PT e PSDB) que se opunham e tentavam demarcar um lugar nas urnas, o que se pretende com os textos analisados, além de definir o lugar da fala do autor e caracterizar a posição de seu discurso, é revelar através das imagens construídas no discurso de FW o político ideal
Abstract: This paper of Master¿s Degree aims to show the differences found at the discursive formation ¿ through the analysis of discourse ¿ of the textual production by the journalist and writer Fausto Wolff during his collaboration on the O Pasquim 21 newspaper. Split in two moments, the analysis will begin with the chronicles produced in 2002 and then with those from 2003 and 2004 ¿ equally split in an amount of 13 texts for each period. The chronicles will be analyzed according to their conditions of production taking into consideration the precepts of the French Analysis of Discourse. As it is a historical moment, due to a presidential succession disputed by two major parties (PT and PSDB) that were antagonists and tried to take their place at the ballot box, the analyzed texts intend, besides defining the place of the author¿s speech and characterizing the position of his discourse, to reveal the ideal politician through the images built in Fausto Wolff¿s discourse
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural

This study explores the depictions of technology and scientists in the literature of five writers during the 1960s. Scientists and technology associated with nuclear, computer, and space science are examined, focusing on their respective treatments by the following writers: John Barth, Kurt Vonnegut, Thomas Pynchon, Isaac Asimov, and Arthur C. Clarke. Despite the close connections between the abovementioned sciences, space science is largely spared from negative critiques during the sixties. Through an analysis of Barth's Giles Goat-boy, Vonnegut's Cat's Cradle, Pynchon's The Crying of Lot 49, Asimov's short stories "Key Item," "The Last Question," "The Machine That Won the War," "My Son, the Physicist," and Clarke's 2001: A Space Odyssey, it is argued that altruistic goals of space science during the 1960s protect it from the satirical treatments that surround the other sciences.

An electronic (HTML) thesis on late University of British Columbia professor Wilson Duff, an anthropologist central to the construction of Northwest Coast art in the 1960s and 1970s. It brings together textual fragments (historic and contemporary, archival, interview transcripts) within a framework which attempts to balance truth (original authorial intent and the context and academic debates of that period) with the impossibility of truth (the notion of partial, situated truths and critical, presentist re-readings of Duffs work some twenty-five years later). The narrative structure is simultaneously linear and pure hypertext, depending on the reader's choices. No two paths will be the same.

This project investigates some segments of Harry Aveling's and John H. McGlynn's English translations of the functional elements of clause-simplex/complex relations, thematic patterns, and coherence related to historical/culture-specific references and culture-specific terms/items employed in Pramoedya Ananta Toer's novel Perburuan. The project aims to establish the translation methods, identify some of the macro factors underlying their choice, and develop a descriptive research framework to carry out these two aims. The project is based on the thesis that concepts and practices of literary translation may be developed and carried out in different ways depending on the underlying macro factors. Source-oriented theories of translation state that literary texts should be translated by preserving the source text, but in actual practice many literary texts have been translated by sacrificing it. Aveling and McGlynn, as shown by a preliminary observation, have translated Perburuan differently, but their translations are both considered acceptable. Most studies of translation between Indonesian and English which claim to be descriptive are actually mainly prescriptive, and in achieving their prescriptive purposes, most of them do not consider the real factors governing the translation. These facts led to the conduct of the project within the framework of descriptive translation studies and the adoption of the thesis and the formulation of the aims as stated above. The project is a descriptive-qualitative case study, based on interpretative epistemology, and applies comparative and causal models of translation. Fifteen segments of translation are analysed with the framework of Systemic Functional Linguistics (SFL) to produce profiles of the functional elements in question employed in the source and target segments. The profiles in Aveling's and McGlynn's target segments are each compared with their original counterparts. The results are analysed with a combination of Nida's and Newmark's classifications to establish the translation methods. To identify some of the macro factors underlying the translators' choice of method, interview and written source data are analysed. The analysis is supported by a combination of the descriptive theories of Polysystem, Descriptive Translation Studies, and Translation as Rewriting, and the prescriptive theory of Skopos. The project establishes that Aveling's and McGlynn's translations have been produced with the methods of formal-semantic translation and dynamic-communicative translation respectively. Aveling's choice of method is influenced by, among other factors, personal aspects, the purpose of the translation, and the type of target readers while McGlynn's choice is influenced by, among other factors, personal aspects, the type of target readers, and the oral quality of Perburuan. These findings support the thesis. The fact that the translation methods and their underlying factors have been successfully established means that the framework developed to establish them has proven to be applicable. The results show that the combination of descriptive and prescriptive theories of translation, the application of the framework of SFL, and the combination of the analyses of interview and written source data are useful for investigating Aveling's and McGlynn's translations. Therefore, the framework developed and applied in the project can serve as a model for other descriptive studies of literary translation.

Text in English
Although initially dismissed as superficial, Harold Pinter’s Betrayal, Tom Stoppard’s The Real Thing, and Patrick Marber’s Closer use the theme of marital betrayal as a trope to investigate metatheatrical and epistemological issues. This study aims to demonstrate how these three plays define and explore the concept of authenticity within the fictional as well as the actual world; how arbitrary the construction and mediation of the characters’ identities are, not only from their own perspective, but also from the audience’s; the significance of the audience’s role in these plays and how issues of authenticity, fictionality and dishonesty impact on a genre that depends on illusion. This study intends to provide a new interpretation of these three texts through an analysis drawn from postmodern and poststructuralist theories, concerning the concept of authenticity within art and language. This study finds that the fictional worlds in these plays are created through mediation, which includes everyday language as well as complex works of art. Authenticity is shown to be an elusive concept. Language is either unsuccessfully used to force authentic responses from characters, or as a shield. In Betrayal, language functions as a protective barrier, preventing the characters from knowing one another. The Real Thing suggests that although inauthenticity may be established, the inverse is not necessarily true. In Closer, the characters try in vain to access authenticity through different registers of language. Furthermore, neither the body nor the mind is shown to be the locus of authenticity in Closer. Within the postmodern context where originality is impossible, mimicry is not seen as something external and inauthentic, but as inextricably part of human existence. The audience is drawn into the fictional world of these plays as its members are able to identify with the disillusionment of the characters and their inability to form a definitive view of each other. Simultaneously, the audience is ousted from the fictional world by being reminded of the author’s presence through metatheatrical devices. These plays take advantage of the fictional status of theatre to explore issues of authenticity, positioning them in direct opposition to postdramatic and verbatim plays.
Afrikaans & Theory of Literature
D. Litt. et Phil. (Theory of Literature)

Text in English
Although initially dismissed as superficial, Harold Pinter’s Betrayal, Tom Stoppard’s The Real Thing, and Patrick Marber’s Closer use the theme of marital betrayal as a trope to investigate metatheatrical and epistemological issues. This study aims to demonstrate how these three plays define and explore the concept of authenticity within the fictional as well as the actual world; how arbitrary the construction and mediation of the characters’ identities are, not only from their own perspective, but also from the audience’s; the significance of the audience’s role in these plays and how issues of authenticity, fictionality and dishonesty impact on a genre that depends on illusion. This study intends to provide a new interpretation of these three texts through an analysis drawn from postmodern and poststructuralist theories, concerning the concept of authenticity within art and language. This study finds that the fictional worlds in these plays are created through mediation, which includes everyday language as well as complex works of art. Authenticity is shown to be an elusive concept. Language is either unsuccessfully used to force authentic responses from characters, or as a shield. In Betrayal, language functions as a protective barrier, preventing the characters from knowing one another. The Real Thing suggests that although inauthenticity may be established, the inverse is not necessarily true. In Closer, the characters try in vain to access authenticity through different registers of language. Furthermore, neither the body nor the mind is shown to be the locus of authenticity in Closer. Within the postmodern context where originality is impossible, mimicry is not seen as something external and inauthentic, but as inextricably part of human existence. The audience is drawn into the fictional world of these plays as its members are able to identify with the disillusionment of the characters and their inability to form a definitive view of each other. Simultaneously, the audience is ousted from the fictional world by being reminded of the author’s presence through metatheatrical devices. These plays take advantage of the fictional status of theatre to explore issues of authenticity, positioning them in direct opposition to postdramatic and verbatim plays.
Afrikaans and Theory of Literature
D. Litt. et Phil. (Theory of Literature)

My study is a theoretical intervention of the South African contemporary visual art of Mary Sibande. It focuses on the figure of Sophie representing the maid in three series; namely, Sophie-Elsie, Sophie-Merica, and Sophie-Velucia. The study applies Frantz Fanon’s thought to the understanding of the figure of Sophie while emphasising the themes of naming, the human subject, and presence-absence. The theoretical framework of this thesis is a decolonial epistemic theory, which is used as a lens to understand Fanon’s political thoughts. I argue that the themes of naming, human subject, and presenceabsence are inherent in Fanon’s thought. These thematic areas give a better understanding of the existential questions of the figure of Sophie in the antiblack Manichean world. It is important to unpack the figure of Sophie as a Manichean figure who represents the crossing of two different worlds – the white world and the black world, Africa and Europe. The study highlights the importance and relevance of reviving Fanon’s thought concerning decolonial contemporary African art and establishing other tools of interpretation necessary to understand decolonial aestheSis. The thrust of this thesis is to deploy decolonial epistemic theory as a theoretical framework to the Fanonian understanding of the figure of the three Sophies that embody the modern/colonial predicament of the figure of the maid and blackness.
Art History, Visual Arts and Musicology
Ph. D (Art)

This was a practice-led study, in which I critically engaged with my own video artwork alongside the video works of three other artists. Selected works of Penny Siopis, Anders Weberg, Maja Zack and mine deal with the notions of memory and trauma. I investigated which visual strategies and techniques derived from film theory are employed in video art to simulate traumatic memories from war conflicts. This research analysed specific theories of Gilles Deleuze and Sergei Eisenstein to identify how certain film strategies are used in video art to simulate grievous historical events. I explored the way that these events shape postmemory, as theorised by Marianne Hirsch and Cathy Caruth. The theories of Susan Sontag and Jean Baudrillard describe how memory relies on imaginative investment and interpretation, creating a simulation of the past, in which affect takes precedence over accurate and factual portrayal of traumatic events.
Art and Music
M.V.A.