Dissertations / Theses on the topic 'Allegoria moderna'

This research project aims to gain an in-depth analysis of Venetian Humanism giving evidence to facts, institutions and individual characters playing a significant role in relation to the development of new iconographies in Venetian painting. Particular attention has been given to Neoplatonic philosophy (the debate on the immortality of the soul); the new philology introduced by Ermolao Barbaro; the fortune of pastoral poetry (Theocritus and Sannazaro); the vernacular language (Bembo’s Asolani). Specific investigation into the art of Bellini, Giorgione and the young Titian has been undertaken, with particular attention to the representation of landscape, portrait and allegory
Il lavoro consiste in un’analisi approfondita del rinnovamento culturale e artistico che interessa Venezia tra la fine del Quattrocento e l’inizio del Cinquecento. Particolare attenzione è stata data ad alcune istanze culturali che si ritiene possano aver svolto un ruolo significativo in relazione alle novità dell’arte di Giorgione: la penetrazione della filosofia neoplatonica dentro e fuori le aule universitarie, l’importanza del dibattito intorno alla questione dell’immortalità dell’anima (la rinascita di Avicenna quale interprete della filosofia aristotelica), l’avvento di una nuova filologia promossa da Ermolao Barbaro, la fortuna della letteratura pastorale (Teocrito e l’Arcadia di Sannazaro) e il successo della lingua volgare (gli Asolani di Bembo). La tesi non intende, pertanto, perseguire uno studio monografico su Giorgione, ma proporre una lettura delle sue opere fondata su un dialogo serrato con il vivace clima intellettuale dell’epoca

Modernism is a plurality, not a singular concept. This project explores examples of Art Nouveau nudes to describe the particular expressions of the modern through varied and complicated allegorical bodies. The female nude as a nexus for ideals of gender, art, and beauty, is informed by and constructs the understanding of these ideals within society. Art Nouveau thus employed the nude to represent complex manifestations of modernity. Three diverse cases provide the subjects of each chapter. All explore modernism through objects and interiors, in public and private environments, and each connects the decorative arts with accounts of European modernism in the late nineteenth and early twentieth century. The modernist movement, in these decades, is still predominantly understood through painting. This project draws its case studies from Paris, Glasgow, and Vienna, each a distinct cultural arena during the 1890s and 1900s: the sculptural furniture of François Rupert Carabin (1862-1932); the metalwork of Margaret Macdonald (1865-1933) and her sister Frances Macdonald (1873-1921); and the graphic motifs of Ver Sacrum, created by the artists of the first Vienna Secession (1897-1905). In conception and expression, these nudes articulated the diverse representational practices of different modernisms. They each embody drastically different histories, aesthetics, and social expressions. Their varied modernisms expose the prominent nationalism of Art Nouveau. Examination of these three very different cases expands and complicates current understandings of the nude, allegory, and the modern.

This thesis argues that the textual stylistics, and embodied forms, of Early Modern folly are complicit in constructing and maintaining networks of knowledge. This function emerges from a Menippean history that positions the Silenus Box – an interface of grotesque form and hidden knowledge – as an allegory for exegesis. In applying this allegory to the aesthetics and bodies of Early Modern folly, this thesis suggests that folly assumes an arbitrative role in epistemic networks. A prominent marker of this function is the discursive communities forming around, and through, foolery, rendering it a nucleus of philological, interpretive, and sociable systems. My four chapters test the possibilities and limits of this hypothesis by situating folly, as an exegetical allegory, in a range of discursive fields. Chapter One traces the strategic use of Menippean forms in three texts that intervene in humanist-scholastic debates: Lorenzo Valla’s Encomium of St. Thomas, Angelo Poliziano’s Lamia, and Erasmus’ The Praise of Folly (translated by Thomas Chaloner). It suggests that irony in these texts is presented as a codified form – one stratifying closed epistemic communities – a construction that persuades audiences to align with humanist principles as a signal of interpretive expertise. Chapter Two transports this principle into the Tudor Court, suggesting that courtier-fool types in Skelton’s Magnyfycence and John Heywood’s The Play of the Wether deliver interpretive provocations as catalysts for princely self-knowledge. In contrast, the final two chapters suggest that the Menippean aestheticisation of subaltern forms enables a renegotiation of knowledge as a category. Chapter Three explores the conceptual proximity of humanist fools with mentally disabled characters in two Shakespearean texts, Twelfth Night and King Lear. It suggests that this proximity might be antagonistic – Feste domineers over the exegetically-weak madman, Malvolio – but also recuperative, with Lear’s Fool coming to arbitrate new epistemic networks formed around shared bodily knowledge. Chapter Four uses Wallerstein’s world-systems theory to interrogate the status of ‘global folly’ in seventeenth-century nonsense verse. This chapter locates a rhythm of chiasmus in these texts, whereby the ‘novelties’ of the global periphery are co-opted for English sociability and amusement, but later come to characterise the epistemological disintegration of Civil War England. This thesis hopes to argue for a recuperative view of Menippean forms – one which acknowledges their complicity in elite humanist culture, but also emphasises how their porous form powerfully destabilises absolutes. My research yields a view of folly as a generative and highly-mobile aesthetic language, spinning discursive networks that reflect, construct, and tease open the structures of early modern epistemology.

The Elizabethan poet Edmund Spenser published his sonnet sequence Visions of the Worlds Vanitie in a collection called Complaints in 1591, and the Amoretti and Epithalamion in 1595. I am analysing these poems and other appropriate early modern texts by using the allegorical vehicle of the Renaissance medical and philosophical notion of lovesickness. However, in the late sixteenth and early seventeenth centuries, lovesickness is either interchangeable with or replaced by love-melancholy, which is a more fashionable illness describing the courtly Lover's suffering for his Lady. I am arguing that lovesickness is a more extreme illness. In Spenser's sonnet sequences Visions of the Worlds Vanitie and the Amoretti, I will analyse how the male Lover describes a bestial and grotesque condition as a destructive force, which invokes the courtly conflict between Lover and Lady. Spenser will also be compared and contrasted with other early modern sonnet sequences to identify different evocations of lovesickness, which employ language that is less hyperbolic than that found in Visions of the Worlds Vanitie and the Amoretti. Lovesickness will also be used to analyse the conflict between internal and external space, with a concept I have termed the lovesick womb. In early modern England, the womb is a powerful signifier because it is the source of extreme carnal desires, which are hidden from the patriarchal gaze. However, the lovesick womb not only conceals itself from patriarchal influence but it can also harm patriarchal law by intensifying its desire. The lovesick womb's inferred promiscuity that leads to unplanned pregnancies increases the desire of patriarchal law - to domineer and control. A political allegory of lovesickness and the lovesick womb will be used to provide an insightful critique of Queen Elizabeth I and her court. It also has implications for Spenser's own sense of identity as a representative New VllEnglish settler living in Ireland from 1580-1598. These implications serve further as a critique of Elizabethan colonial practice in which the queen's physical presence in Ireland is advocated as a solution to its problems.

Orientador: Eduardo Sterzi de Carvalho Júnior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O objetivo do nosso estudo é refletir sobre as três personagens principais da obra Os nossos antepassados como figurações alegóricas do sujeito moderno. O percurso que escolhemos percorrer foi apresentar alguns elementos sobre Calvino e a relação entre real e ficional na sua trajetória a partir do ponto de vista da crítica italiana. Em seguida, como existem várias definições e entendimentos acerca do que se pode definir por modernidade, explicitamos em quais concepões nos apoiamos neste estudo. Quanto à discussão acerca das concepções de alegoria, foi mais frutífero para nosso estudo problematizar esse conceito com base nas elaborações de Walter Benjamin. Por acharmos que a obra calviniana em análise mantém uma relação tensa com o contexto social da época de sua escrita, buscamos situar tal contexto, notadamente a especificidade da modernidade italiana, destacando alguns acontecimentos históricos na época da escrita das três histórias, com destaque para o debate sobre o neorrealismo italiano. Em seguida, apresentamos algumas das análises realizadas sobre a obra em estudo e procedemos à nossa análise. A divisão de Medardo, entendida por nós como mutilação, é relacionada aos conceitos de indivíduo concreto, particular e forma-sujeito burguesa abstrata e universal. Para nós, a dinâmica da vida social moderna é também uma dinâmica da subjetividade, em que a forma social pretende exigir dos indivíduos o constante apagamento de seus rastros de individualidade em proveito de uma forma de subjetividade geral e abstrata. Entretanto, os indivíduos concretos não são máquinas que apagam sua história de vida em proveito do social, ou seja, existem tensões que para nós são advindas dessa mutilação entre as exigências do todo social universal e a vida particular. Cosme, por sua vez, é por nós interpretado tanto como uma alegoria do sujeito moderno da Razão Instrumental com sua tendência a submeter o mundo aos imperativos da Razão quanto como uma desilusão-aporia em relação a essa racionalidade: não se sabe se Cosme está desiludido porque não conseguiu fazer o mundo ser guiado pela Razão ou porque notou na racionalização do mundo também as raízes da irracionalidade. Agilulfo nos parece uma imagem alegórica do que se poderia chamar de armadura de caráter do sujeito moderno, de uma abstração de subjetividade, pois o cavaleiro expressa a negação da individualidade do ser humano, em proveito de uma forma-sujeito apta à vida moderna, um sujeito que tem ações e pensamentos em consonância com o ritmo moderno, com a aceitação da realidade vivida sem realizar atritos com ela
Abstract: The aim of our study is to reflect on the three main characters of the work Os Nossos Antepassados as allegorical figurations of the modern subject. The route we choose to follow was to present a brief overview of Calvino and the relationship between the real and the fictional in his trajectory from the point of view of the Italian criticism. After that, as there are several definitions and understandings of what can be defined as modernity, we made explicit in which conceptions we are supported in this study. For the discussion about allegory conceptions, it was more fruitful to discuss this concept based on Walter Benjamin¿s elaborations. As we think that Calvino¿s work, in analysis here, keeps a tense relation with the social context of his writing period, we seek to situate such context, notably the specificity of Italian modernity, highlighting some historical events at that period when those three stories were written, emphasizing the debate on the Italian neorealism. Then, we present some of the performed analyzes on the work in study and proceeded to our analysis. Medardo¿s division, understood by us as mutilation, it is related to the concepts of concrete individual, particular and abstract bourgeois and universal subject-form. For us, the dynamics of modern social life is also a dynamic of the subjectivity, where the social form intendeds to require the individuals the constant erasing of their traces of individuality in favor of a form of general and abstract subjectivity. However, the concrete individuals are not machines that erase their life story for the benefit of social, i.e., there are tensions that for us come from this mutilation between the demands of the whole universal social and the private life. Cosme, in turn, is interpreted by us both as an allegory of the modern subject of the Instrumental Reason with his tendency to submit the world to the imperatives of the Reason and as a disappointment-aporia for this rationality: it is not known if Cosme is disappointed because he could not make the world be guided by the Reason or because he also noticed in the world's rationalization the roots of irrationality. Agilulfo seems an allegorical picture of what might be called the modern subject character armor, a subjectivity abstraction as the cavalryman expresses the denial of the individuality of the human being, in favor of a subject-form capable to the modern life, a subject that has actions and thoughts in line with the modern rhythm, accepting the experienced reality without making friction with it
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária

Esta dissertação busca compreender de que forma a ideia de alegoria, concebida por Walter Benjamin e desenvolvida posteriormente por Paul de Man, pode lançar luz sobre certos aspectos do poema dramático Fausto do poeta português Fernando Pessoa. Pessoa entendeu seu Fausto como sendo encerrado pelo embate entre Inteligência e Vida, do qual a Inteligência sairia sempre vencida. Portanto, o presente estudo busca entender a derrota da Inteligência em termos dos aspectos alegóricos do poema em questão. Para tal, certas conexões estabelecidas tanto por Walter Benjamin quanto por Paul de Man serão pensadas como nosso ponto de partida. O que se tem em mente, neste ponto, são as conexões feitas por Benjamin entre alegoria e progressão e o entendimento de Paul de Man de que toda narrativa alegórica contaria a história de um fracasso de leitura. Desta forma, a derrota da Inteligência é compreendida tanto no sentido de progressão quanto no de um fracasso de leitura. Ademais, como o Fausto de Fernando Pessoa é composto de poemas que lidam com o embate entre Inteligência e Vida, tal relação será também ponto central desta dissertação
This dissertation aims at understanding how the idea of allegory, conceived by Walter Benjamin and further developed by Paul de Man, can shed some light to certain aspects of the dramatic poem Fausto by the Portuguese poet Fernando Pessoa. Pessoa regarded his Fausto as being comprised by the struggle between Intelligence and Life, in which Intelligence would always be defeated. Therefore, this present study tries to understand the defeat of Intelligence in terms of the allegoric features presented in the afore-mentioned poem. To do so, certain connections established both by Benjamin and by Paul de Man will be taken as our starting point. What we have in mind, in this point, is the connection perceived by Walter Benjamin between allegory and progression and Paul de Mans assertion that all allegoric narratives tell the story of a failure of reading. Therefore, the defeat of Intelligence will be understood both in terms of progression as well as in terms of a failure of reading. Furthermore, as Pessoas Fausto is composed of poems that deal with the struggle between Life and Intelligence, this relationship will also be scrutinized in this dissertation

Nas poesias do francês Charles Baudelaire a imagem marinha é recorrente, seja como duplo que reflete a subjetividade humana, espaço de fuga do árido cotidiano urbano, paralelo da amada ou ainda um espaço de incomparável beleza. Em um de seus manuscritos, o poeta afirma que o espetáculo do mar oferece uma ideia de infinito diminutivo, pois uma porção do líquido em movimento é suficiente para dar a mais elevada ideia de beleza que pode ser oferecida ao homem em sua habitação transitória. Assim, este trabalho pretende fazer uma análise crítica do pequeno poema em prosa O Porto, integrante do volume póstumo O Spleen de Paris, para examinar de que maneira o motivo marinho transfigura-se em um infinito diminutivo e, assim, promove sentimentos do belo e do sublime questões fundamentais para a estética do autor em uma poesia autônoma, que encerra sob sua harmonia e homogeneidade fraturas específicas do sujeito moderno. Por meio da comparação com outros pequenos poemas em prosa e em verso que abordam o elemento marítimo, manuscritos e textos estéticos do poeta, bem como a fortuna crítica acerca da obra baudelaireana e estudos filosóficos que conceituam o belo e o sublime no âmbito da estética, a presente análise procura verificar como este curto O Porto se vale do tópico marítimo e, sob o traje do pequeno poema em prosa e da composição de um sofisticado engenho alegórico, oferece ao leitor vislumbres intensamente líricos da beleza moderna criada por Baudelaire.
In Charles Baudelaires poems, the maritime images are recurrent, either as a double that reflects the human subjectivity, as an escape from the arid urban space, as the beloved portrait, or as a space of incomparable beauty. In one of Baudelaires manuscripts, he affirms that the spectacle of the sea offers the idea of the infinite diminutive: twelve or fourteen leagues of liquid in movement are enough to convey the highest ideal of beauty which is offered to man in his transitory habitation. Therefore, this work aims to critically analyze the prose poem The Port, part of the posthumous edition Paris Spleen, to verify how the maritime motive becomes the infinite diminutive and, thus, promotes the feeling of the beautiful and sublime fundamental questions to the authors aesthetic in an autonomous poetry, that under its harmony shows specific fractures of the modern individual. Comparing The Port with other prose poems and also with some Les Fleurs du Mal poems that mentions the maritime element, manuscripts and aesthetic texts written by the poet as well as Baudelaires critical fortune and philosophical studies that define the beautiful and the sublime, this analyses aims to verify how this short The Port addresses the maritime topic and, under the garment of the prose poem and the sophisticated allegorical procedure, offers to the reader deep lyrical glimpses of the modern beauty created by Charles Baudelaire.

This thesis juxtaposes Plato's allegory of the cave with Jacques Derrida's concept of the always already aspect of meaning, a concept derived from Ferdinand de Saussure's work. This theoretical investigation examines the implications of universal Signified forms of word meanings for postmodern composition theory.

coordenadoria de aperfeiÃoamento de pessoal de ensino superior
CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
Uma das temÃticas predominantes na obra de Josà Saramago à a releitura e a intertextualidade com as escrituras sagradas que compÃem os evangelhos do judaÃsmo-cristÃo. Essa prÃtica se constrÃi a partir de uma desconstruÃÃo das narrativas bÃblicas e de uma leitura subversiva de alguns dos preceitos que fundaram o ideÃrio ocidental. Ateu convicto, nessas inversÃes antirreligiosas, Saramago, ao mesmo tempo em que questiona crenÃas inabalÃveis, apresenta-nos a desmistificaÃÃo da HistÃria oficial, a partir de uma visÃo humanizadora dos episÃdios bÃblicos. Dentro desse diÃlogo, uma das principais subversÃes que o autor realiza à a inversÃo de papÃis entre Deus e o homem: enquanto este, atravÃs da figura de Jesus Cristo, assume as funÃÃes sagradas de Deus, (principalmente a de ser a medida de todas as coisas), aquele corporifica qualidades tipicamente humanas, comprovando, para o autor, sua ineficiÃncia enquanto entidade superior. Nosso estudo propÃe supor que Saramago materializa a perspectiva do Cristianismo moderno em sua obra, atravÃs da adoÃÃo da ideia filosÃfica da morte cultural de Deus, por meio da humanizaÃÃo e do desvendamento do carÃter cruel e sanguinÃrio dessa personagem. A ideia de divindade renascerà em Jesus Cristo, enquanto homem, potencializando assim um pensamento de teor antropolÃgico, em que o homem passa a ser a medida de todas as coisas, ocupando, inclusive, o lugar de Deus no Ãmbito da religiÃo CristÃ. Nosso trabalho pretende, portanto, compreender de que forma esse perfil da religiosidade moderna à incorporado nas narrativas em anÃlise, atravÃs da inversÃo de papÃis entre Deus e Jesus Cristo. Para tanto, faremos uso dos postulados da Literatura Comparada para proceder nossa anÃlise, utilizando tambÃm os conceitos que definem a alegoria, a parÃdia e o dialogismo, alÃm de outras teorias literÃrias de menos ocorrÃncia em nossa anÃlise. Sendo assim, procederemos um apanhado teÃrico que categoriza Saramago enquanto autor pÃs-moderno, tendo em vista a transgressÃo das verdades histÃricas, mÃticas e religiosas que realiza em suas obras. Destacando, nesse sentido, o uso da polifonia do discurso incorporado Ãs obras do autor, permitindo, assim, que emanem, atravÃs da anÃlise das ruÃnas alegÃricas, os outros discursos silenciados pela histÃria tradicional e religiosa, no Ãmbito das intertextualidades que o autor realiza. Nosso cotejamento se dà acerca da estrutura de composiÃÃo dos textos bÃblicos, e da possibilidade de tratamento de tais escritos sob uma perspectiva literÃria. AlÃm disso, difundimos a utilizaÃÃo de dados oriundos dos textos sagrados e profanos que narram a passagem do Judeu da Galileia pela terra, numa atitude desvinculada de qualquer dogmatismo ou intenÃÃo tendenciosa, revelando assim, os discursos suplantados pela leitura teolÃgica de tais textos. Considera-se, entretanto, que mesmo materializando essa perspectiva, os textos de Saramago continuam a povoar o universo literÃrio, nÃo funcionando, assim, como desconstrutores das verdades sagradas do Cristianismo.
One of the predominant themes in Josà Saramagoâs work is the re-reading and the intertextuality with the sacred scriptures which compose the gospels of Christian JudaÃsm. This technique is built from the deconstruction of biblical narratives and from a subversive reading of some of the precepts that founded western ideology. Firm atheist, in these non religious inversions, Saramago, at the same time that questions unwavering beliefs, presents us a desmystification of western official History, from a humanizing view of the biblical episodes. In this dialog, one of the main subversions the author brings is the inversion of roles between God and man: this one, through Jesus Christ figure, assumes the sacred functions of God (mainly the one of being the measure for everything), while that one embodies typical human qualities, proving, to the author, his insufficiency as a superior entity. Our study proposes to assume that Saramago materializes the perspective of modern Christianism in his work, by the adoption of the philosophical idea of cultural death of God, through humanization and unveiling of the cruel and bloodthirsty nature of this character. The idea of divinity will reborn in Jesus Christ, as a man, strengthening, thus, an anthropological thought which sees man as the measure for everything, occupying, because of this, the place of God in the context of Christian religion. Our work intends, therefore, to comprehend the way this face of modern religiosity is incorporated in the analyzed narratives, through the inversion of roles between God and Jesus Christ. For this purpose, we will use some premises of Comparative Literature, as well as some concepts that define allegory, parody and dialogism, besides other literary theories that occur less frequently in our analysis. According to this, we will also proceed to a historical description that categorizes Saramago as a post-modern author, bearing in mind the transgression of historical, mythical and religious truths that he brings in his works. Also, we point out the use of polyphony of the incorporated discourse to the authorâs work, which will let emanate, through the analysis of allegorical ruins, other discourses silenced by traditional and religious History, in the contexts of the intertextualities that the author establishes. Our studies focus on the structures of composition of biblical texts, and on the possibility of treating these writings under a literary perspective. Furthermore, we disseminate the use of data from the sacred scriptures, as well as the profane, which tell about the Jesusâs walk in the Earth, in an attitude disconnected from any dogmatism or tendentious intention, revealing, so, the discourses overcame by their theological reading. We consider, however, that even materializing this perspective, Saramagosâs texts continue inhabiting literary universe, not working, then, as a âdestroyerâ of sacred truths of Christianism.

The thesis attempts at providing a critical evaluation of the city as the mythological site of modernity. For that purpose, highlighting such special nature of the urban context as it finds expression by the cinematic medium, what is aimed at is the analysis of, first, the mythical dimensions of modern urban life as the prime site of enthusiasm and spirit with its fleeting impressions and changing images, secondly, the (re)creation of the city myth through cinema as an elaborate perceptive vehicle for a specific way of picturing and enframing the cityscape and, lastly the representation of the destruction of such myth. In this way, it will also be possible to point out concretely that the city experience of the modern individual simultaneously embodies fascination and horror, hope and despair. In order to explain the situation of the modern individual in the big city, Odysseus&rsquo
s encounter with mythological forces in ancient world are taken as a parable in the footsteps of Adorno and Horkheimer&rsquo
s allegoric interpretation of Homer&rsquo
s Odyssey. Specifically speaking, the cinematic representation of Istanbul-myth and the destruction of this myth in Turkish cinema of the nineties will be examined through three prominent examples in the light of the above theoretical considerations.

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O Senhor dos Anéis, livro de J.R.R. Tolkien, tem como componente central de sua narrativa a tensão existente entre tradição e modernidade no início do século XX. A obra termina com o desaparecimento na Terra-Média de todos os seres de fantasia (por destruição ou por abandono) uma característica que podemos atribuir ao aumento do poder da racionalidade instrumental e da organização social da modernidade vinculada a ela. Ao mesmo tempo, durante o desenvolvimento da narrativa surgem características tradicionais com uma força devastadora: a preeminência da sacralidade, por exemplo, impõe uma hierarquia entre todos os seres existentes no mundo. Nosso intento, portanto, é através de uma interpretação imanente da narrativa, recuperar a sua historicidade e seu diagnóstico do tempo. Ao debruçar-nos sobre a estrutura narrativa perceberemos que O Senhor dos Anéis não possui uma forma épica “pura”, incorporando elementos de épicas tradicionais (epopéia e conto de fadas) e de épicas modernas (romance) constituindo-se numa forma híbrida, expressa numa alegoria. Como base da formatação desta alegoria, a narrativa utilizará o pensamento figural dos padres da Idade Média, ressaltando sua tentativa de retomada da tradição; o pensamento figural será incorporado como técnica de escrita desta narrativa, contudo, primariamente sua incorporação será como instrumento historiográfico – já que a narrativa se apresenta como uma historiografia. Os elementos tradicionais (religiosos, principalmente), portanto, serão associados ao Bem, já os elementos modernos serão associados à representação do Mal. Entretanto, esta apreensão não é estática; podemos dizer que, a modernização (técnica) será sempre associada ao Mal, mas algumas características relacionadas à modernidade não terão...
The Lord of the Rings, JRR Tolkien's book, has as its central component of the narrative tension between tradition and modernity at the beginning of the twentieth century. The book ends with the disappearance in Middle-Earth of all the beings of fantasy (for destruction or abandonment) a characteristic that can be attributed to the increase in the power of instrumental rationality and the social organization of modernity linked to it. At the same time, during the development of the narrative are traditional characteristics with a devastating force: the preeminence of sacredness, for example, imposes a hierarchy among all beings in the world. Our intent, therefore, is through an interpretation of the immanent narrative, recover their history and their diagnosis in time. To deal with the narrative structure realized that The Lord of the Rings does not have a pure epic, incorporating elements of traditional epic (epic and fairy tale) and modern epic (novel) and it is a hybrid form, expressed an allegory. Based on format of this allegory, the narrative uses the figural thinking of priests of Middle Ages, emphasizing his attempt to resume the tradition, the figural thinking will be incorporated as a technique of writing this narrative, however, is primarily its incorporation as a historiographical - already that the narrative is presented as a historiography. The traditional elements (religious, mainly), therefore, be associated with the Well, now the modern elements are associated with the Evil representation. However, this concern is not static, we can say that the modernization (technical) is always associated with evil, but some characteristics related to modernity will not be this interpretation. Only with the modern development (individual and reflective) of subject the evil (modernization) be held. The tradition and the two... (Complete abstract click electronic access below)

The theory, criticism and practice of contemporary art are subject to an increasingly intertextual, interdiscursive environment. Traditional notions of being and representation, history and language, space and time are challenged by structuralist and post-structuralist concepts. Possibilities for the meaningful production of art are developed from these concepts.

SILVA, Francisca Carolina Lima da. Homens, perdoai-lhe, porque ele não sabe o que fez: a ascensão do homem e a queda de Deus em José Saramago, uma alegoria da religiosidade moderna. 2016. 162f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Letras, Fortaleza (CE), 2016.
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One of the predominant themes in José Saramago’s work is the re-reading and the intertextuality with the sacred scriptures which compose the gospels of Christian Judaísm. This technique is built from the deconstruction of biblical narratives and from a subversive reading of some of the precepts that founded western ideology. Firm atheist, in these non religious inversions, Saramago, at the same time that questions unwavering beliefs, presents us a desmystification of western official History, from a humanizing view of the biblical episodes. In this dialog, one of the main subversions the author brings is the inversion of roles between God and man: this one, through Jesus Christ figure, assumes the sacred functions of God (mainly the one of being the measure for everything), while that one embodies typical human qualities, proving, to the author, his insufficiency as a superior entity. Our study proposes to assume that Saramago materializes the perspective of modern Christianism in his work, by the adoption of the philosophical idea of cultural death of God, through humanization and unveiling of the cruel and bloodthirsty nature of this character. The idea of divinity will reborn in Jesus Christ, as a man, strengthening, thus, an anthropological thought which sees man as the measure for everything, occupying, because of this, the place of God in the context of Christian religion. Our work intends, therefore, to comprehend the way this face of modern religiosity is incorporated in the analyzed narratives, through the inversion of roles between God and Jesus Christ. For this purpose, we will use some premises of Comparative Literature, as well as some concepts that define allegory, parody and dialogism, besides other literary theories that occur less frequently in our analysis. According to this, we will also proceed to a historical description that categorizes Saramago as a post-modern author, bearing in mind the transgression of historical, mythical and religious truths that he brings in his works. Also, we point out the use of polyphony of the incorporated discourse to the author’s work, which will let emanate, through the analysis of allegorical ruins, other discourses silenced by traditional and religious History, in the contexts of the intertextualities that the author establishes. Our studies focus on the structures of composition of biblical texts, and on the possibility of treating these writings under a literary perspective. Furthermore, we disseminate the use of data from the sacred scriptures, as well as the profane, which tell about the Jesus’s walk in the Earth, in an attitude disconnected from any dogmatism or tendentious intention, revealing, so, the discourses overcame by their theological reading. We consider, however, that even materializing this perspective, Saramagos’s texts continue inhabiting literary universe, not working, then, as a “destroyer” of sacred truths of Christianism.
Uma das temáticas predominantes na obra de José Saramago é a releitura e a intertextualidade com as escrituras sagradas que compõem os evangelhos do judaísmo-cristão. Essa prática se constrói a partir de uma desconstrução das narrativas bíblicas e de uma leitura subversiva de alguns dos preceitos que fundaram o ideário ocidental. Ateu convicto, nessas inversões antirreligiosas, Saramago, ao mesmo tempo em que questiona crenças inabaláveis, apresenta-nos a desmistificação da História oficial, a partir de uma visão humanizadora dos episódios bíblicos. Dentro desse diálogo, uma das principais subversões que o autor realiza é a inversão de papéis entre Deus e o homem: enquanto este, através da figura de Jesus Cristo, assume as funções sagradas de Deus, (principalmente a de ser a medida de todas as coisas), aquele corporifica qualidades tipicamente humanas, comprovando, para o autor, sua ineficiência enquanto entidade superior. Nosso estudo propõe supor que Saramago materializa a perspectiva do Cristianismo moderno em sua obra, através da adoção da ideia filosófica da morte cultural de Deus, por meio da humanização e do desvendamento do caráter cruel e sanguinário dessa personagem. A ideia de divindade renascerá em Jesus Cristo, enquanto homem, potencializando assim um pensamento de teor antropológico, em que o homem passa a ser a medida de todas as coisas, ocupando, inclusive, o lugar de Deus no âmbito da religião Cristã. Nosso trabalho pretende, portanto, compreender de que forma esse perfil da religiosidade moderna é incorporado nas narrativas em análise, através da inversão de papéis entre Deus e Jesus Cristo. Para tanto, faremos uso dos postulados da Literatura Comparada para proceder nossa análise, utilizando também os conceitos que definem a alegoria, a paródia e o dialogismo, além de outras teorias literárias de menos ocorrência em nossa análise. Sendo assim, procederemos um apanhado teórico que categoriza Saramago enquanto autor pós-moderno, tendo em vista a transgressão das verdades históricas, míticas e religiosas que realiza em suas obras. Destacando, nesse sentido, o uso da polifonia do discurso incorporado às obras do autor, permitindo, assim, que emanem, através da análise das ruínas alegóricas, os outros discursos silenciados pela história tradicional e religiosa, no âmbito das intertextualidades que o autor realiza. Nosso cotejamento se dá acerca da estrutura de composição dos textos bíblicos, e da possibilidade de tratamento de tais escritos sob uma perspectiva literária. Além disso, difundimos a utilização de dados oriundos dos textos sagrados e profanos que narram a passagem do Judeu da Galileia pela terra, numa atitude desvinculada de qualquer dogmatismo ou intenção tendenciosa, revelando assim, os discursos suplantados pela leitura teológica de tais textos. Considera-se, entretanto, que mesmo materializando essa perspectiva, os textos de Saramago continuam a povoar o universo literário, não funcionando, assim, como desconstrutores das verdades sagradas do Cristianismo.

Resumo: O Senhor dos Anéis, livro de J.R.R. Tolkien, tem como componente central de sua narrativa a tensão existente entre tradição e modernidade no início do século XX. A obra termina com o desaparecimento na Terra-Média de todos os seres de fantasia (por destruição ou por abandono) uma característica que podemos atribuir ao aumento do poder da racionalidade instrumental e da organização social da modernidade vinculada a ela. Ao mesmo tempo, durante o desenvolvimento da narrativa surgem características tradicionais com uma força devastadora: a preeminência da sacralidade, por exemplo, impõe uma hierarquia entre todos os seres existentes no mundo. Nosso intento, portanto, é através de uma interpretação imanente da narrativa, recuperar a sua historicidade e seu diagnóstico do tempo. Ao debruçar-nos sobre a estrutura narrativa perceberemos que O Senhor dos Anéis não possui uma forma épica "pura", incorporando elementos de épicas tradicionais (epopéia e conto de fadas) e de épicas modernas (romance) constituindo-se numa forma híbrida, expressa numa alegoria. Como base da formatação desta alegoria, a narrativa utilizará o pensamento figural dos padres da Idade Média, ressaltando sua tentativa de retomada da tradição; o pensamento figural será incorporado como técnica de escrita desta narrativa, contudo, primariamente sua incorporação será como instrumento historiográfico - já que a narrativa se apresenta como uma historiografia. Os elementos tradicionais (religiosos, principalmente), portanto, serão associados ao Bem, já os elementos modernos serão associados à representação do Mal. Entretanto, esta apreensão não é estática; podemos dizer que, a modernização (técnica) será sempre associada ao Mal, mas algumas características relacionadas à modernidade não terão... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The Lord of the Rings, JRR Tolkien's book, has as its central component of the narrative tension between tradition and modernity at the beginning of the twentieth century. The book ends with the disappearance in Middle-Earth of all the beings of fantasy (for destruction or abandonment) a characteristic that can be attributed to the increase in the power of instrumental rationality and the social organization of modernity linked to it. At the same time, during the development of the narrative are traditional characteristics with a devastating force: the preeminence of sacredness, for example, imposes a hierarchy among all beings in the world. Our intent, therefore, is through an interpretation of the immanent narrative, recover their history and their diagnosis in time. To deal with the narrative structure realized that The Lord of the Rings does not have a "pure" epic, incorporating elements of traditional epic (epic and fairy tale) and modern epic (novel) and it is a hybrid form, expressed an allegory. Based on format of this allegory, the narrative uses the figural thinking of priests of Middle Ages, emphasizing his attempt to resume the tradition, the figural thinking will be incorporated as a technique of writing this narrative, however, is primarily its incorporation as a historiographical - already that the narrative is presented as a historiography. The traditional elements (religious, mainly), therefore, be associated with the Well, now the modern elements are associated with the Evil representation. However, this concern is not static, we can say that the modernization (technical) is always associated with evil, but some characteristics related to modernity will not be this interpretation. Only with the modern development (individual and reflective) of subject the evil (modernization) be held. The tradition and the two... (Complete abstract click electronic access below)
Orientador: Célia Aparecida Ferreira Tolentino
Banca: Arlenice Almeida
Banca: Carlos educardo O. Berriel
Mestre

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This work proposes to investigate aspects about the potentialities revealed by the winged figure, especially in the angel s affinity with thematic as allegory, modernity and contemporanity. To analyze its resurging infinite significations and how angel s image survives and lives with time to contemporanity, in contemporary art. In the first chapter, entitled constancy and variation, it is presented the constant winged figures in history, in art history up to the usage of this image as Christian iconography, when allegory s study through decency made decorative construction to happen in a persuasive form, reaching colonial Portuguese-Brazilian art, through Christian Patronage. Religious construction, connected to economical factors, joined by decency, appears repetition and difference, unique in the angel s appearance. In the second chapter, entitled presence and absence, we punctuate the angel s presence in the relation with the spectator and the world in the end of the 19th century and the beginning of the 20th century, from the passage of the divine to the humane. We stand out angel s image as modernity s allegory, Walter Benjamin s adopted and studied figure, as characteristic elapsed from the transitions of the time. The angel, forgotten by human delusion, appears as a reflex of this symptom of modernity, the ephemeral and melancholy feeling. From the lost of divine condition, the angel s fallen, the being endowed of humanity. In the third chapter, as persistence and reelaboration, it is approached the angel s appearance in contemporary art as the field of probabilities and possibilities. Towards tensions of the apparent world, the angel in art appears as the mirror of humanity in contemporanity. This way, it survives by the opposite side, as a formless being and by damages. It consists in the reelaboration of the image as form s survival and thus exists as a weight of its own condition, unbearable and unsustainable lightness. Thereby, this study was done through bibliographical research, on theoretical obliquity and art historic, with a more philosophical and speculative value related to the images, being and operation by collage and connections, with a possibility of new interrogations and interlocutions
Este trabalho propõe investigar questões sobre as potencialidades reveladas pela figura alada, em especial na afinidade do anjo com temas como alegoria, modernidade e contemporaneidade. Propõe analisar as significações infinitas ressurgentes do anjo e como sua imagem sobrevive e vive com o tempo até a contemporaneidade, na arte contemporânea. O primeiro capítulo, intitulado Constância e variação, apresenta as constantes figuras aladas na história, na história da arte até a utilização dessa imagem como iconografia cristã, quando o estudo da alegoria por meio do decoro fez com que a construção decorativa se desse de forma persuasiva, atingindo a arte colonial luso-brasileira, mediante o Padroado. A construção religiosa, ligada aos fatores econômicos, acompanhada pelo decoro, acarreta repetição e diferença singular no aparecimento do anjo. No segundo capítulo, chamado Presença e ausência, pontua-se a presença do anjo na relação com o espectador e o mundo no final do século XIX e início do século XX, da passagem do divino ao humano. Assinala-se a imagem do anjo como alegoria da modernidade, figura adotada e estudada por Walter Benjamin, como característica decorrida das transições na época. O anjo, esquecido pela desilusão humana, aparece como reflexo desse sintoma da modernidade, da efemeridade e do sentimento de melancolia, da perda da condição divina, a queda do anjo, para o ser dotado de humanidade. O terceiro capítulo, Persistência e reelaboração, aborda a aparição do anjo na arte contemporânea como campo de possibilidades e probabilidades. Frente às tensões do mundo aparente, o anjo na arte surge como espelho da humanidade na contemporaneidade. Dessa forma, sobrevive pelo lado oposto, como ser disforme e por avarias. Consiste na reelaboração da imagem como sobrevivência da forma e passa a existir como peso de sua própria condição, insustentável e insuportável leveza. Este estudo concretiza-se por meio da pesquisa bibliográfica, sob o viés teórico e histórico da arte, de valor mais filosófico e especulativo relacionado com as imagens, numa operação por colagens e conexões, com possibilidade de novas interrogações e interlocuções

Lo studio, come dichiarato nel sintagma d'apertura del titolo, nasce dal proposito d’indagare la presenza di un’istanza allegorica nelle strutture in prosa. A tal fine, la ricerca condotta si svincola da una definizione dell’allegoria come mera figura retorica, per rivendicarne, sulla scia della lezione benjaminiana, lo statuto di ‘forma artistica’ attraverso cui trovano espressione le contraddizioni e le aporie dell’età moderna. Adottando una declinazione storicamente e culturalmente determinata di tale forma espressiva, il raggio d’analisi dello studio è circoscritto a una ben precisa area del secondo Novecento italiano, identificabile attraverso la formula di ‘letteratura di ricerca’. Le opere in prosa afferenti a questa koiné letteraria mostrano, infatti, un frequente e sintomatico ricorso a forme di ‘allegorismo narrativo’, capaci di incidere tanto sul piano contenutistico, quanto su quello della diegesi, delle forme e strutture testuali. Sfruttando l'ampia teorizzazione esistente sull'allegoria moderna (ripercorsa e discussa nella 'Parte Prima' del lavoro) e riflettendo, nello specifico, sulla relazione tra allegoria e narrazione (indagata nella 'Parte seconda'), la ricerca approda (nella 'Parte terza') a un percorso di letture critiche, che pongono l'attenzione su una serie di testi particolarmente esemplificativi delle modalità di allegorismo narrativo illustrate e commentate nel corso dello studio. Viene attraversata, secondo tale prospettiva esegetica, la produzione narrativa di Giorgio Manganelli (Centuria, Encomio del tiranno), Guido Morselli (Dissipatio H. G.), Paolo Volponi (Il pianeta irritabile), Luigi Malerba (Il serpente e Salto mortale), Edoardo Sanguineti (Il Giuoco dell’oca) e Roberto Di Marco (Fughe).

This dissertation examines how postmodernist narratives of memory in Graham Swift's Waterland, Salman Rushdie's Midnight's Children, and Amitav Ghosh's The Shadow Lines retrieve the stories of those who have been lost or forgotten in official history and refigure the temporal and spatial imaginary in intertwining personal stories of crisis with public history through acts of remembering. Questioning the modernist ideology of progress based on the idea of linear sequence of time, the novels not only retrace the heterogeneous and discontinuous layers of stories overlooked or repressed in official accounts of modern history, but also re-examine the contradictory and contested process by which subjects are situated or positioned, and its effects on the production of knowledge. These postmodern historical novels examine history as a discourse and explore its limits. The narrators of the novels are engaged with an autobiographical act of rewriting their lives, but their efforts to reconstitute themselves in unity and continuity are undermined by the disjunctive narrative form of the novels. The layered narrative of memory through which the novels reconstruct modern history is allegorical in the double sense that it exposes the act of signification by decentering the symbol of the transcendental signifier while telling an allegorical story of personal and familial history that mirrors national history in a fragmented way. In Waterland, Tom Crick retells his personal and familial stories intertwined with local and national history as alternative history lessons and challenges the Idea of Progress by revisiting sites of traumatic memory. Midnight's Children constructs counter-stories of Post-Independence India as multiple alternatives to one official version of history and addresses the limits of history in terms of "a border zone of temporality." In The Shadow Lines, the narrator retells his family history as a story of borders through his struggle with gaps in official history and creates a national imaginary with mirror images and events. The postmodernist narrative of memory in these novels turns the time of the now into a time for the "past as to come," a time to detect the unrealized and unfulfilled possibilities of the past, through retellings of the past.

碩士
國立臺東大學
兒童文學研究所
100
A Study on Modern Allegory Picture Book from the Perspective of Life Ethnics Wang Lan-Fei Graduate Institute of Children's Literature, National Taitung University Abstract Allegory is a kind of advisory or ironic short story which visually elaborates an inspiring truth and meaning with simple words in an implicit and profound way. Allegory picture book is to add pictures to assist in telling stories together with characters so as to convey more information and make implied meanings thought-provoking. Being an artistic pattern close to children life experience, the issues concerned in allegory picture book render its inner meaning more thinking and social attributes. Moreover, the life wisdoms such as life nature, life meaning and life attitude conveyed enlarge its depth and width. The inspiration of wisdom starts from recognizing oneself. From the perspective of children, allegory picture book guides readers to explore and ponder the spiritual connotation in three aspects, i.e. man and ego, individual and population and man and ideal value. The paper studies from the angle of life ethnics to illustrates the process of life value of allegory picture book. The thesis is divided into six chapters. The first chapter introduces the background, motives, questions, objectives, methods and procedures of the research, as well as the research scope and limitations. The second chapter explores the nature of allegory, , relationship between picture and allegory as well as the allegory exploration, and illustrates the relationship between allegory picture book and life ethnics. The following three chapters analyze the texts and explore the ethnics’ connotation from three aspects of man and ego, individual and population and man and ideal value. The final chapter concludes the modern meaning of allegory picture book. The study explores the texts from the perspective of life ethnics, hoping to obtain profound inspiration and promotion by thinking over the important things in the life so as to have a deep cognition of life. Furthermore, the open feature of allegory picture book provides life ethnics diversified thoughts which is good for children in training the depth and width of thoughts . Key words: allegory, picture, life ethnics, ego, population, ideal value

I draw upon theories of postcoloniality, narratology, and the new historicism to read turn-of-the-century British literary and cultural texts. I situate these texts in their particular moments of historical production in order to comment upon the elaborate fabrication of an "allegorical" narrative of nationhood, imperial identity and empire-building in fin-de-siecle Britain. As the British colonial theater at the turn-of-the-century is a vast one, my study for the most part concerns the allegorical legacies of fin de-siecle British metropolitan and imperial strategies of power and control in India. I argue that while the making of empire was more often than not bloody and violent, involving as it did military conquest and economic exploitation, the Janus-faced narrative of empire-building also required the enactment of idealistic "humanistic" schemes of cultural domination, such as ideas about the upliftment of "barbaric," "savage" people through conversion to Christianity and introduction to civil society. The rhetoric of social missioning served to putatively recode the violent, economistic narrative of colonialism as a redemptive allegory of empire. I explore both the intrinsically complicated nature of the allegorical and the myriad forms of imperial allegory: the national, the military, the sexual, and the domestic/familial. I bring to my understanding of the national allegory of Empire a postcolonial distrust of predetermined, symbolic narratives. Any attempt to understand imperial allegories has to take into account allegory's "other" nature---the persistent irony, endless deferral, permanent parabasis, that marks its utterances when it "speaks otherwise." By viewing the performance of turn-of-the-century British imperialism through an "allegorical" lens, and mining especially allegory's disruptive potential to "speak otherwise," I am able to pose anew questions about the status of the "other" in colonialist and nationalist discourses, the relation between narrative, history and historiography, and finally, and most crucially, the implications of political and geographical territorialization for an ethical, postcolonial aesthetics of (re)reading and (re)writing. This study will prove to be not so much a definitive view of allegory, but rather a highly selective, creative, and varied engagement with both hegemonic and anti-hegemonic, oppositional, and resistant allegories of nationalism, imperialism, militarism, sexuality, and domesticity in the fin-de-siecle.

This thesis explores the most basic purpose of education and how it can be advanced. To begin to analyze this fundamental area of concern, this thesis associates notions of education with notions and experiences of truth and authenticity, which vary historically and culturally. A phenomenological analysis, featuring the philosophy of Heidegger, uncovers the basic conditions of human experience and discourse, which have become bent upon technology and jargon in the West. He draws on Plato's account of the 'essence of education' in the Cave Allegory, which underscores human agency in light of truth as unhiddenness. Heidegger calls for ontological education, which advances authenticity as it preserves individuals as codisclosing, historical beings.

In 'Political Atheism vs. The Divine Right of Kings,' I build on Thompson and Scrivener’s work analysing John Thelwall’s play 'The Fairy of the Lake' as a political allegory, arguing all religious symbolism in 'FL' to advance the traditionally Revolutionary thesis that “the King is not a God.” My first chapter contextualises Thelwall’s revival of 17th century radicalism during the French Revolution and its failure. My second chapter examines how Thelwall’s use of fire as a symbol discrediting the Saxons’ pagan notion of divine monarchy, also emphasises the idolatrous apotheosis of King Arthur. My third chapter deconstructs the Fairy of the Lake’s water and characterisation, and concludes her sole purpose to be to justify a Revolution beyond moral reproach. My fourth chapter traces how beer satirises Communion wine, among both pagans and Christians, in order to undermine any religion that could reinforce either divinity or the Divine Right of Kings.
A close reading of an all-but-forgotten Arthurian play as an allegory against the Divine Right of Kings.