Dissertations / Theses on the topic 'Proletariat literature'

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-31T17:19:03Z No. of bitstreams: 1 deniseadeliavieira.pdf: 297206 bytes, checksum: 1c27181afd2b2375cc2f5fc0c9d09dbd (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-12-15T13:16:56Z (GMT) No. of bitstreams: 1 deniseadeliavieira.pdf: 297206 bytes, checksum: 1c27181afd2b2375cc2f5fc0c9d09dbd (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-12-15T13:18:10Z (GMT) No. of bitstreams: 1 deniseadeliavieira.pdf: 297206 bytes, checksum: 1c27181afd2b2375cc2f5fc0c9d09dbd (MD5)<br>Made available in DSpace on 2016-12-15T13:18:10Z (GMT). No. of bitstreams: 1 deniseadeliavieira.pdf: 297206 bytes, checksum: 1c27181afd2b2375cc2f5fc0c9d09dbd (MD5) Previous issue date: 2004-12-15<br>Esta dissertação procura analisar a temática proletária nas letras brasileiras, propondo o seguinte recorte cronológico e temático: do socialismo e anarquismo da Belle Époque, ao comunismo do entre-guerras. Para tanto, os três capítulos da dissertação exploram desde as primeiras leituras da doutrina marxista no Brasil, passando pela literatura anarquista, até a produção dos romances proletários. O trabalho registra as referências de Machado de Assis e Euclides da Cunha a Marx. Conta também a trajetória anarquista de Lima Barreto e seu apoio à Revolução Russa de 1917, além de discutir a relação dos intelectuais com o comunismo desde o ano de 1922 até a década de 30. Finalmente, destaca o romance proletário através de três obras: O Gororoba (1931), de Lauro Palhano, Cacau (1933), de Jorge Amado, Parque Industrial (1933), de Patrícia Galvão. Objetivou-se, dessa maneira, resgatar, entre nós, a temática proletária, esquecida à margem pelo cânone.<br>This dissertation aims to analyse the proletarian theme in the Brazilian literature, suggesting the following chronological cut: from the socialism and anrchism of the belle époque to the communism of the period between the First and Second Wars. To do so, the three chapters of the dissertation explit since the first readings of Marxist doctrine in Brazil, passing through anarchist literature until the production of proletarian literature. The work registers the references from Machado de Assis and Euclides da Cunha until Marx. It also tells the anarchist trajectory of Lima Barreto and his support to the Russian Revolution of 1917.The work discusses the relationship of the intellectuals with Communism since the year of 1922 until the 30's. Finally, the proletarian novel is emphasised through three works: O Gororoba (1931) by Lauro Palhano, Cacau (1933) by Jorge Amado, Parque Industrial (1933) by Patrícia Galvão. It was the goal rescue the proletarian thematic among us, since it was forgoteen by the canon.

Thesis (Ph. D.)--Georgia State University, 2007.<br>Title from file title page. Pearl McHaney, committee chair; David Bottoms, Paul Schmidt, committee members. Electronic text (220 p.) : digital, PDF file. "Appendix B: Philip Levine interview with Jeff Rumiano, May 4, 2004": p. 194-220. Description based on contents viewed Jan. 31, 2008. Includes bibliographical references (p. 171-193).

A proposta do presente trabalho consiste na tradução para o português do romance Kaniksen (O Navio-Fábrica Caranguejeiro, 1929) de Kobayashi Takij. Para chegar ao objetivo proposto, procedemos uma historização da vida e obra de Kobayashi Takiji, no sentido de compreendermos a trajetória literária do autor, seu envolvimento no movimento proletário e o contexto sócio-político em que o romance foi escrito. Visando introduzir O Navio-Fábrica Caranguejeiro ao leitor deste trabalho, são feitos alguns apontamentos sobre o romance: uma apresentação de seu tema e narrativa, um breve levantamento histórico de seu surgimento, suas repercussões no Japão e no mundo, e um levantamento e comentário crítico da obra.<br>The purpose of this work is the translation of the novel Kaniksen (The Crab Cannery Ship, 1929) by Kobayashi Takij into Portuguese. To reach the proposed objective, we made a historical research about the life and work of Kobayashi Takiji, to understand the literary trajectory of the author, his involvement in the proletarian movement and the socio-political context in which the novel was written. In order to introduce The Crab Cannery Ship the reader of this work, we are made some observations about the novel: a presentation of its theme and narrative, a brief historical research of its appearance, its impact on Japan and around the world, and a survey and critical commentary about the work.

This thesis focuses on the possibilities of precarity as a perspective in the field of literary studies in order to analyse how insecurity is portrayed in literature. Sweden has a great tradition of proletarian literature, but researchers in the neoliberal era find it problematic to understand the emancipating aspects of the new proletarian literature that does not focus on collective movement and articulated emancipation. This thesis explores the possibilities of precarity as a perspective for analysing how literature narrated through an individual and passive perspective can work as a social critique. The analysis focuses on the novels Kärlekens Antarktis [The Antarctica of Love] by Sara Stridsberg and De afghanska sönerna [The Afghan Sons] by Elin Persson and tries to answer questions about how these novels portray precarity and how the perspective of precarity enables an understanding of how the novels work as social criticism. The thesis mostly uses theories by Judith Butler and Isabell Lorey, and the analysis uses a comparative method in combination with a reading that focuses on the thematics of precarity. This is disposed in connection to Lorey’s three dimensions of precarity – precariousness, precarity, and governmental precarization. The analysis results in an understanding of how these kinds of novels can capture the biopolitical perspective, where politics and life emerge. The reading’s focus on the aspect of the body, followed by the hierarchical and societal aspects, shows how the novels’ individual perspectives can have collective tendencies in connection to the reader’s ability to feel solidarity with the characters.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica<br>En este estudio se trabajan los textos El Matadero de Esteban Echeverría y Niño Proletario de Osvaldo Lamborghini, como eslabones de una tradición barbárica en la literatura argentina. Para ello se ahonda en qué consiste esa tradición, que en la Argentina tiene sus inicios con el texto de Echeverría en el siglo XIX y se rastrea hasta el siglo XX gracias a Lamborghini, y cómo se presenta en ella la dicotomía civilización y barbarie. Se comparara la representación de esta oposición en los dos textos, dando cuenta de las diferencias y similitudes presentes entre los dos autores.

Thesis (Ph. D.)--University of Oregon, 2007.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 234-242). Also available for download via the World Wide Web; free to University of Oregon users.

My aim is to recreate from the texts and films the world which is shown, and then examine it in order to demonstrate a number of points. I hope to show that there is such a phenomenon as an English working class, and that this class has its own culture. This culture is different from, and in many ways opposed to, the “high” artistic culture of the elite, but is not a culture of lack, as in “lack of culture”. It is rather a creation of the working class themselves and serves as a positive force in their lives, which are again different from and frequently opposed to the lives of the upper and middle classes. It is also resistant to the mass culture and the ideology which this conveys, or is argued to convey, and these resistant attitudes form part of the working-class culture. Work plays an important part in the lives of Sillitoe´s characters, and this activity has been consistently neglected in English literature, at least as regards the working class. Despite views which represent the post-war working class in England as less cohesive and more individualistic, I argue that the way that Sillitoe´s characters live and think about their lives reflects the previous history of the working class, and the attitudes revealed had been developed over more than a century. Rather than being an isolated picture of two disconnected individuals, the works represent a point in a continuum of literature about the working class, a continuum which has been extended not least by Sillitoe himself. I include the films in this thesis for a number of reasons. The films are closely linked to the books not only through contemporaneity and the fact that Sillitoe wrote the screenplay for both, but also through the Free Cinema movement. This, I argue, can be seen as the cinematic counterpart to the Angry Young men in literature, and these two movements were and are closely interwoven in the cultural event of the late 50s/early 60s in England, and thus are considered from the same point of view as the books. The structure of this work is as follows: in the first part I give a brief outline of the Industrial Revolution in England, and the changes which it produced in society, especially in the political, educational and cultural fields. The key words in the title of this thesis, “work”, “culture”, “class”, are all complex, open to multiple interpretations, and all have their roots in the Industrial Revolution. This leads me to the development of the idea of culture and the development of cultural studies as a discrete field of enquiry. I examine the literature produced by and about the working class, with particular reference to the work itself. In the second part I look at the cultural production in wartime and post-war England, which includes the work of those writers usually grouped together as the Angry Young Men, to give the social and cultural background against which Sillitoe wrote the works to be studied. This takes me on to the books themselves, with particular attention paid to the role of work and culture, in its various meanings, which will include the ideology to which the characters are subjected. In the third part I examine the two films, both as a development of the Free Cinema movement and in the same terms as used for the books, namely in terms of the portrayal of the two main characters in their respective roles in society and their reactions to the ideology of that society, and also in terms of their portrayal of culture. Finally, some conclusions are drawn, in which the main point is that Sillitoe showed in these two works that the working class have their own culture and ideology, and that these are different from and opposed to the culture and ideology which are dominant in the society in which they live.<br>Mi objetivo es recrear desde los textos y películas el mundo allí mostrado, y examinarlo a continuación para llegar a demostrar algunos puntos. Espero demostrar que el fenómeno denominado clase obrera existe como tal, y que esta clase tiene su propia cultura. Esta cultura es diferente de, y en muchos sentidos opuesta a la “alta”cultura artística de la élite, pero no es una cultura de carencia, como en “falta de cultura”. Es más bien una creación de la propia clase obrera y sirve como una fuerza positiva en sus vidas, que son también diferentes de y con frecuencia opuestas a las vidas de las clases medias y altas. También mantiene una resistencia frente a la cultura de masas y la ideología que conlleva, o dice conllevar, y estas actitudes de fuerza forman parte de la cultura de la clase obrera. El trabajo tiene un papel importante en las vidas de los personajes de Sillitoe, y esta actividad ha sido continuamente negada en la literatura inglesa, al menos en lo que se refiere a la clase obrera. A pesar de las opiniones que presentan la clase obrera inglesa de la post guerra como menos cohesionada y mas individualista, sostengo que el modo en que los personajes de Sillitoe viven y piensan sobre sus vidas refleja la historia previa de la clase obrera, y las actitudes mostradas se han desarrollado a lo largo de mas de un siglo. Mas que ser un retrato aislado de dos individuos inconexos, las obras representan un punto en un continuum de literatura sobre la clase obrera, continuum que en buena parte se ha extendido por el propio Sillitoe. Incluyo las películas en esta tesis por una serie de razones. Las películas están estrechamente relacionadas con los libros no solo por la contemporaneidad y el hecho de que Sillitoe escribiese los guiones de ambas, sino también a través del movimiento del Free Cinema. Esto, sostengo, puede considerarse como el equivalente cinematográfico de los Angry Young men en literatura, y estos dos movimientos estaban estrechamente entretejidos en el evento cultural de finales de los 50/comienzos de los 60 en Inglaterra, y por tanto son considerados desde el mismo punto de vista que los libros. La estructura de este trabajo es la siguiente: en la primera parte hago un breve resumen de la Revolución Industrial en Inglaterra, y los cambios que produjo en la sociedad, especialmente en los campos de la política, la educación y la cultura. Las palabras clave en el título de esta tesis (“trabajo”, “cultura” “clase”), son todas complejas, abiertas a múltiples interpretaciones, y todas tienen sus raíces en la Revolución Industrial. Esto me lleva a desarrollar la idea de la cultura y el desarrollo de los estudios culturales como un campo distinto de la investigación. Examino la literatura producida por y sobre la clase obrera, con referencia particular al propio trabajo. En la segunda parte atiendo a la producción cultural en Inglaterra durante y después de la guerra, la cual incluye la obra de aquellos escritores que generalmente están agrupados como “the Angry Young Men”, para mostrar el ambiente contra el que Sillitoe escribió los libros examinados. Esto me lleva a los libros mismos, poniendo especial atención en el papel del trabajo, y la cultura en sus diferentes significados, lo cual incluye la ideología a la que los personajes están sujetos. En la tercera parte, examino las dos películas, como una evolución del movimiento del Free Cinema, y en los mismos términos usados para los libros, a saber, la descripción de los dos protagonistas en sus papeles respectivos en la sociedad y sus reacciones a la ideología de esa sociedad, y también en la descripción de la cultura. Finalmente, se sacan unas conclusiones, en las cuales el punto principal es que en estas dos obras Sillitoe demostró que la clase obrera tiene su propia cultura e ideología, y que éstas son diferentes y opuestas a la cultura e ideología dominantes en la sociedad en que viven.

A produção artística de Patrícia Galvão possui uma matriz política na qual a teoria e a prática comunista se entrelaçam à experiência modernista. Confrontada com a trajetória da autora, a estrita consonância de seu livro de estreia com as palavras de ordem do PCB nos permite reconhecer e avaliar tensões, conflitos e impasses da esquerda brasileira. A figuração do outro, no caso, o proletariado emergente pós-revolução de 1930, e as dificuldades do escritor, ou intelectual, em lidar com esta matéria são chaves importantes de nossa análise. O estudo de Parque industrial (1933), tanto de suas características internas quanto de seu lugar na história do modernismo brasileiro, ocupa a maior parte desta dissertação.<br>Patrícia Galvão\'s artistic work has a political framework in which communist theory and practice are intertwined with the modernist experience. Taking into consideration the author´s trajectory, the strict correspondence between her first book and PCB\'s watchwords allows us to recognize and evaluate tensions, conflicts and dilemmas of the Brazilian left-wing. The figuration of the other, in this case, the emerging proletariat after the 1930 revolution, and the difficulties faced by the writer, or intellectual, in dealing with this matter play a key role in our analysis. The study of Parque industrial (1933), both in its internal characteristics and in its place in the history of Brazilian modernism, occupies most of this work.

Marxist themes of Roddy Doyle’s The Commitments have not often been looked at. Yet, they are decidedly prominent. The band make use of a Marxist image and of collectivist easy-played, easily-understood music in order to gain working class listeners. In fact, the band itself is based on an egalitarian structure, until it, due to an increasing individualist wish for success, falls apart. The aim of this essay is thus to argue, through pointing to the Marxist rhetoric of the band and the hypocrisy around it, and through a comparative reading between The Commitments and Orwell’s Animal Farm, that The Commitments has an allegorical value, much like Animal Farm does, when it comes to depicting the way Marxism has worked and failed as it has been practised in reality.

xii, 251 p.<br>Sedimentations of transformations and experiences empowered the 20th century writers Sata Ineko and Hirabayashi Taiko as writers. Because of their mutual belief in the early principles of the proletarian literary movement--writing the reality of the working class from their perspectives--both produced works centered on daily life. In not only delineating but also examining the daily occurrences, their stories and critiques acutely exposed the issues, the conditions, and the exploitation of the working class under capitalism, particularly the unfair and unreasonable treatment of women and women workers under the patriarchal slogan "Good Wives and Wise Mothers" and the discrimination of women workers and writers even within the proletarian movement. The café proved the best site for both to offer keen analyses. Materializing the actual working experiences of jokyû (café waitresses), they exposed the superficiality of Japanese modernity in the 1920s and 30s, the suppression and oppression of women under patriarchy, commodification and exploitation of working women under capitalism, and the ultimate consequences--social myopia and deterioration of human life. While the café was for jokyû a site of exploration and challenge by overturning the dominant power hierarchy practiced in society, for Sata and Hirabayashi, writing about the café challenged the prejudice and confinement of existing categorizations such as "women," "women workers," " jokyû ," "women writers," and "proletarian writers." Both Sata and Hirabayashi treated the café and jokyû as realistic and multifaceted. To strengthen this realism, both writers relied on their own corporeal experiences and sensations, supporting honest illustrations of power dynamics and the dual-system oppression of women at play within and beyond the café environment. Both acknowledged the body as a site of complication and possibility. Through their acknowledgments beyond the surface inscriptions that restrict and limit who and what lies within, both Sata and Hirabayashi contended that the body was an interactive and potentially productive catalyst for change. For them, the corporeal experience proved more effective for gaining consciousness, obtaining class-consciousness, and eventually achieving ideological resolution than through doctrinal readings and teachings.<br>Committee in charge: Stephen Kohl, Chairperson; Alisa Freedman, Member; Tze-Lan Sang, Member; Jeffrey Hanes, Outside Member

El transitar del imaginario de la prostitución de lacra social a proletariado urbano, recorre varias etapas en la que ésta es tolerada, reprimida y, finalmente aceptada, a contrapelo, por el discurso oficial y sus instituciones. En el tiempo que transcurre entre el primer periodo de reglamentación de la prostitución (1896) y hasta el censo de 1940, circularemos por los caminos que recorrió el imaginario de la prostitución, sus representaciones y prácticas sociales, hasta llegar a ser validado en el discurso formal como trabajo asalariado; poniendo en evidencia, durante todo el trayecto, que existe una lucha simbólica en el campo de las representaciones por el control del ordenamiento social, lucha que se dio en el campo médico-legislativo, donde la visión médica y del derecho con respecto a la prostitución tratarán de imponerse por medio de una dominación simbólica, a las prácticas sociales vinculadas al burdel, tan arraigadas, por lo demás, en la sociedad chilena.

Orientador: Enid Yatsuda Frederico<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-05T10:49:05Z (GMT). No. of bitstreams: 1 Silva_RobertoJoseda_M.pdf: 4051856 bytes, checksum: 61c61eff4f55402d86743ea59ea36881 (MD5) Previous issue date: 2005<br>Resumo: Nesta dissertação, faço um estudo do romance Os Corumbas, de Amando Fontes, publicado em 1933. O foco principal da análise está voltado para o espaço ficcional, a cidade de Aracaju, local onde desenrola as ações. Escrito na estética naturalista o romance é um documento fiel de uma cidade que se industrializava rapidamente.Os Corumbas junto com Parque Industrial, de Patrícia Galvão, são romances que têm o espaço ficcional priorizado pela cidade em industrialização, diferentemente de outros romances que no mesmo momento priorizavam a vida rural. A industrialização, as condições de vida e as lutas da classe operária são o tema principal de Os Corumbas, o que favoreceu uma longa polêmica sobre a existência do romance proletário no Brasil. Por fim, estabeleço as relações entre o espaço e as personagens degradadas, tal como se apresentam no romance com a modernidade, representada pelo avanço do capitalismo<br>Abstract: In this dissertation, I study the novel Os Corumbas written by Amando Fontes, published in 1933.The main study of analysis is the fictional space, the Aracaju city, place where happen alI actions. Written in the naturalistic aesthetic the novel is an excellent document about a city that was industrializing quickly.Os Corumbas and other novels as Parque Industrial, by Patricia Galvão, are novels that have the fictional space prioritized for the city in industrialization, different1y of other novels that in the same moment prioritized the life in the country. The industrialization, the conditions of life and the fights of worker class are the main theme of Os Corumbas, which favored a long polemic about the existence of the proletarian novel in Brazil. This way, I establish the relations between space and the characters, just as they show themselves in the novel with the modernity, represented for the progress of the capitalism<br>Mestrado<br>Teoria e Historia Literaria<br>Mestre em Teoria e Critica Literaria

Thesis (Ph. D.)--Ohio State University, 2004.<br>Title from first page of PDF file. Document formatted into pages; contains viii, 230 p. Advisor: Richard Torrance, Department of East Asian Languages and Literatures. Includes bibliographical references (p. 223-230).

Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>O propósito desta dissertação é apresentar uma análise da pobreza e da mobilidade social na obra de Eça de Queirós no período de 1878 a 1888. Para tanto, examinaremos os personagens pobres, refletindo sobre seu papel na diegese, sua construção no texto e sua influência na concepção artística do autor; sobre a subjacente visão de mundo que nelas se expressa; e, finalmente, confrontamo-las, enquadradas no que tem sido considerado estética realista-naturalista. Esta pesquisa justifica-se pela proposta de criação de um novo foco de análise dentro da crítica queirosiana: aquele voltado às personagens que se dedicam de modo específico ao trabalho, e, ao fazê-lo, revelar a perspectiva do romancista relativamente à sociedade e ao momento histórico. O estudo que fazemos de alguns estratos sociais pouco valorizados (o pessoal doméstico, por exemplo) é uma lacuna nos estudos queirosianos. Algumas das personagens que acompanhamos passam quase despercebidas nos romances. Com exceção de Juliana, de O primo Basílio, têm intervenção mínima na ação. Ainda assim têm uma caracterização bastante elaborada, mesmo que por vezes com poucos traços, e não deixam de compor uma visão mais alargada da sociedade portuguesa do século XIX, desmentindo a ideia ainda hoje corrente de que Eça teria posto nos seus livros apenas os extratos sociais privilegiados de seu tempo. Para além da designação tão vaga de crítico social, Eça testemunhou um processo de transformação de um mundo em ruínas, que já não podia mais ser o que sempre fora<br>The purpose of this dissertation is to present an analysis of poverty and social mobility in the Eça de Queirozs production from 1878 to 1888. To do that, we will examine the poor characters, reflecting on their role in the diegesis, their construction in the text and their influence on the authors artistic conception; on the underlying view of the world expressed in them and, finally, we will compare those characters, based on what has been considered a realistic-naturalistic aesthetics. This research is justified by the proposal of a new focus of analysis within the critical brought up by Eça de Queiroz, which highlight the characters from the working classes. Therefore, we will expose the writers perspective about the society and the historical moment. This study on some less valued classes (the household, for example) is a gap in works about Eça de Queiroz. Some of the characters we examine are almost unnoticed in his novels. Except for Juliana, from O Primo Basilio, they hardly interfere in the action. Nevertheless, they are detailed characterized, even if sometimes with a few features, and they compose a broader view of the Portuguese society of the 19th century, denying the idea that Eça put in his books only the privileged social classes of his time. Beyond the vague designation of "social critic", Eça witnessed a world in a process of transformation, which could no longer be what it used to be

La production culturelle de l’entre-deux-guerres se distingue par un intérêt renouvelé pour la représentation des enjeux sociaux qui troublent la vie quotidienne de la population française : le travail et la misère dans un espace de plus en plus urbanisé deviennent les sujets primordiaux dans la littérature, la photographie et le cinéma, notamment pendant la période entre 1928 et 1939. Face à la crise financière, les grèves ouvrières et l’essor du Front populaire, le champ artistique réagit avec un renouveau des formes de représentation réaliste qui doit aboutir à l’interrogation de la nature du ‘peuple’, des liens sociaux qui le déterminent et de la survie des traditions populaires pendant la modernisation des pratiques quotidiennes. En littérature, un courant éphémère du roman domine les débats à partir de 1929 : le roman populiste, courant fondé dans un manifeste de Léon Lemonnier. Il devient rapidement la toile de fond d’une discussion sur le besoin de renouveler le roman réaliste et naturaliste. Simultanément, le groupe de la littérature prolétarienne autour d’Henry Poulaille se réclame de la même volonté en donnant la voix aux ouvriers. Les deux groupes, ainsi que beaucoup d’autres auteurs qui se rapprochent du populisme littéraire, réclament un renouveau du roman par le biais de la description du ‘peuple’ et de ses conditions de vie. La notion de ‘peuple’ s’oppose, dans ce contexte, à la bourgeoisie et ses écritures ‘psychologique’ et ‘snobiste’. Recourir au ‘peuple’ signifie donc avant tout une certaine esthétique anti-bourgeoise, mais – contrairement aux avant-gardes – également antimoderne, créant l’imaginaire d’une normalité marqué par la pauvreté qui devrait correspondre à l’expérience de la majorité de la population française.La thèse présente cherche à dégager d’abord les éléments d’un tel imaginaire du ‘peuple’ en s’appuyant sur la critique artistique ainsi que sur l’analyse de plusieurs romans de la nébuleuse du roman populiste : Pierre Mac Orlan, Eugène Dabit, André Thérive, Marcel Aymé et Henry Poulaille. Elle montre ensuite la survie des éléments esthétiques du populisme dans le film du réalisme poétique et dans la photographie documentaire qui donne naissance à la photographie humaniste. Ce faisant, ce travail représente une contribution sociocritique à l’histoire des idées de l’entre-deux-guerres français et signale les pièges idéologiques d’une esthétisation de termes comme ‘petites gens’ et du ‘peuple’<br>The cultural production of the interwar period in France is noted for its renewed interest in the representation of social issues which shake the everyday life of the French population : work and urban misery become the main subjects in literature, photography and cinema, especially in the period between 1928 and 1939. In view of the financial crisis, labour strikes and the rise of the Front Populaire, the artistic field reacts with a renovation of realist representation styles, which should lead to a questioning of the nature of ‘people’, of the underlying social connections in the masses and of the place of popular traditions in a modernized way of life. In the ambit of literature, a short-lived movement of novel writers dominates the discussions from 1929 onwards: the populist novel, a movement founded in a manifesto written by Léon Lemonnier. This movement becomes quickly the backround for a further discussion about the needs for a renewed literary realism or naturalism. Simultaneously, the group for proletarian literature, founded by Henry Poulaille, follows the same aesthetics and claims to be the real representants of the working people by giving workers the occasion to publish. Both groups, as well as many other authors close to the literary populism, try to renew the novel by describing the ‘people’ and their living conditions. In this context, the notion ‘people’ is opposed to the bourgeoisie and its ‘psychologic’ or ‘snobby’ writing style. Thus, resorting to the term ‘people’ means first and foremost that the creator subscribes to an anti-bourgeois aesthetics, but also to an anti-modernist mindset – which distinguishes populism from the French avantgardes. It means furthermore that the creator strengthens a conception of everyday life marked by poverty which should correspond to the experiences of a majority of the French population. This thesis tries to bring out the elements of such an imagination of the ‘people’ on the basis of the artistic criticism and of the analysis of several novels written by authors who are more or less associated to the populist novel movement: Pierre Mac Orlan, Eugène Dabit, André Thérive, Marcel Aymé and Henry Poulaille. The thesis goes then on to highlight the survival of aesthetic elements of populism in the cinema of poetic realism and in French documentary photography which marks the beginning of humanist photography. By doing so, the thesis represents a sociocritical contribution to the history of ideas of the French interwar period and indicates the ideological traps of aesteticization of terms like ‘little people’ or ‘people’ in general

碩士<br>輔仁大學<br>日本語文學系<br>90<br><BR> This research paper aims to explore the “proletarian literature in “Japanese proletarian literature” which takes place in the early 20th century. In addition to examining the initial ideals of “justice” and “social equality,” it also attempts by means of sorting and discourse/ statement to plow through this left-wing literature, field, which is still desolate among local researches of Japanese literature yet influential to Taiwanese literature in the period under Japanese occupation.</BR> <BR> From the view of a Japanese literature researcher whose mother tongue is Chinese, it further examines why the results of Japanese proletarian literature and Japanese Communist Party, which teem with left-wing enthusiasm, may differ greatly from those of Taiwanese literature in the period under Japanese occupation, which incorporates the idea of “labor and social rank” into the idea of “confrontation between nationality and colonization,” and from those of the left-wing literature in China, acclaimed as “revolutionary literature” by China Communist Party, which perfectly connects itself with the race-saving feelings and thus succeeds. By surveying the factors among them, this paper aims to clarify what role the Japanese proletarian literature plays in modern and contemporary literature in Japan.</BR> <BR> Starting with the introduction of the origin of the left wing in the West, Chapter 1 leads to explore the political, social and literary circles in Japanese modernization period, and progresses to how the proletarian literature rose and what role it played then. It also sums up so far the researches and opinions on this domain in Japanese literary circle/ in Japanese academies, classifying and analyzing the themes of related papers existent/ available in the National Institute of Japanese literature.</BR> <BR> Chapter 2, focusing on “main part/ subjectivity,” is mainly based on the rising, varying, and the gathering and publications among intellectuals in the whole literary movement so as to present the outline/ framework of the history of proletarian literature movement in Japan.</BR> <BR> Chapter 3, focusing on “Body/ Flesh,” entering and investigating each notable period in this literary movement, attempts to present the internal atmosphere of the proletarian literature by translating, quoting and text-analyzing the important works and writers.</BR> <BR> Chapter 4 focusing on “Limbs,” entering and investigating each notable period in this literary movement, attempts to reveal how the political movement and literary productions are linked, how the literary ideas are presented and how the literary critiques towards the production are conducted inside the proletarian literature by translating, quoting and text-analyzing the important literary critiques and critics</BR> <BR> Chapter 5 examines by translating, quoting and text-analyzing the surviving works, critiques and self-reflections on the past in the so-called “turning era” when the left-wing groups were destructed by the Emperor government.</BR> <BR> Chapter 6 summarizes all the points mentioned in previous chapters and collects various evidence on the Japanese society other than literature; in addition to the opinions of previous studies that the proletarian literature dies out due to both being oppressed mercilessly by the fascistic Emperor government and being ideologically inconsistent among the sects inside the Communist Party, this paper aspires to add that it is its insistence on the genuine left wing course and denial to the prevalent values of exploitation in disguise of feudalism among all ranks in Japanese society that void its echoing with the mass and thus demolish this literary movement which has never appeared since the war.</BR>

碩士<br>東海大學<br>日本語文學系<br>100<br>楊逵は小説「新聞配達夫」を1934年10月文学雑誌『文学評論』に寄稿、第二席に入選し、台湾人作家が初めて日本の文学賞を獲得することとなった。楊逵は植民地出身の台湾人作家の第一人者として、日本文壇の文学者と密接な交流を行い、台湾・日本文芸雑誌にプロレタリア文学理論を活発に発表して、1930年代台湾文壇における重要な文学理論家となった。本研究の目的は、楊逵の文芸大衆化理論と日本文壇における文学理論を比較することによって楊逵が日本文壇における文学理論からの受容・変容を明確したい。本研究では、楊逵が日本文壇における文学理論からの受容は他の台湾文学者より迅速であること、日本文壇に文章を発表することによって植民地文壇の意見を日本文壇に持ち込むこと、日本文壇における文学理論を台湾文学に相応しい理論に変容することが確認された。

碩士<br>中國文化大學<br>日本研究所<br>90<br>The object of the thesis is to study and compare the proletarian literature of China and Japan by using the development of their form as the elements of comparison. The study also examines and analyzes their proletarian backgrounds by using contemporary literature material. The purpose is to understand how literature is used to speak for proletarian views. Furthermore, the study also examines the formation and development of Taiwanese proletarian literature during the Japanese colonized period and compares it with similar literature of China and Japan.

The aim of this thesis is to present the literary activities of Zdenek Kalista in 1919- 1924, a period which saw him becoming one of the most prominent figures of the young post- war generation of writers. The research has been primarily based on materials that had been so far ignored or insufficiently reflected (literary remains of Zdenek Kalista, Antonin Matej Pisa, Cestmir Jerabek, Lev Blatny, Jiri Wolker etc., as well as articles from contemporary magazines and daily newspapers) together with Kalista's memoirs. The thesis is divided into five chronologically sorted parts, each reflecting one year of Kalista's life and work and relating them to the literary situation of that time, while continuously describing them from multiple perspectives. In the first part, Kalista's personal life and the activities of the youngest literary generation are analyzed. After that, the focus shifts to the contemporary art groups (Umelecky klub, Literarni skupina, partly Devetsil) and Kalista's relationship with his contemporaries and various key figures of the literary scene (Jiri Wolker, Antonin Matej Pisa, Frantisek Gotz, Stanislav Kostka Neumann etc.). Then, Kalista's activities in the respective years are analyzed, be it for his work in contemporary magazines (Den, Orfeus, Host), his books (collections of...

Text in French<br>Member of the union of black workers in the port of Marseille, in France, and an eyewitness to the misery of black workers in the European environment, Sembène Ousmane, in 1956, wrote, using his personal experiences, his first book entitled The Black Docker. In this novel, he describes the sufferings of the working class, the struggle between colonisers and colonised. In 1960, he uses as a pretext the strike of the Senegalese railway workers in 1937 to write a book entitled God's Bits of Wood. In this story where two forces clashed, on one hand, the colonised struggling against the colonial system and want, at all costs, to improve their living conditions, and on the other hand, the colonisers that are in support of their colonialist ideals and refuse the changes, the author tells the epic story of strikers in Senegal and their relentless struggles against the colonisers to change their living conditions for better. In 1973, an eyewitness of the daily realities of his native country, Senegal, after gaining national sovereignty, Sembène Ousmane wrote and published a book entitled Xala. In this book, he describes the evils of neo-colonialism and criticises the new African middle class, born after independence. After reading these novels, one notes that Sembène Ousmane, a defender of freedom, denounces the injustices done to the blacks, both in the colonial era as well as in the post colonial period. This is why from a book to another, he continues tirelessly his struggle against colonialism and neo-colonialism, evoking the sufferings and tragedies endured by the Africans. It occurs constantly in his imaginary creations, a theme, or better still a dialectical; commitment and militancy. What does he mean by « commitment » and « militancy » ? How do these two concepts manifest themselves in the works of the Senegalese writer? What strategy does he propose to the oppressed in the struggle against the oppressors? What means has he put at the disposal of the disinherited struggling to break the yoke of oppression and exploitation in order to achieve freedom and equality?<br>Membre du syndicat des travailleurs noirs, au port de Marseille, en France, et témoin oculaire de la misère vécue par les ouvriers noirs dans ce milieu européen, Sembène Ousmane, en 1956, écrit, en se servant de ses expériences personnelles, son premier ouvrage intitulé Le Docker noir. Dans ce roman, il décrit la souffrance de la classe ouvrière, la lutte entre colonisateurs et colonisés. En 1960, il se sert d’un prétexte, la grève des ouvriers sénégalais en 1937, pour écrire un ouvrage intitulé Les Bouts de bois de Dieu. Dans ce récit, où s’affrontent deux forces, d’une part les colonisés qui luttent contre le système colonial et veulent, à tout prix, l’amélioration de leurs conditions de vie, et d’autre part, les colonisateurs qui soutiennent les idéaux colonialistes et refusent le changement, l’auteur relate l’histoire épique des grévistes au Sénégal, et la lutte implacable qu’ils mènent contre les colonisateurs pour le changement de leurs conditions de vie. En 1973, témoin oculaire des réalités quotidiennes de son pays natal, le Sénégal, après son accession à la souveraineté nationale, Sembène Ousmane écrit et publie, un ouvrage intitulé Xala. Dans ce livre, il décrit les méfaits du néocolonialisme et critique la nouvelle classe bourgeoise africaine, née après l’indépendance. Après lecture des trois romans, on constate que Sembène Ousmane, défenseur de la liberté, dénonce les injustices faites aux Noirs, aussi bien à l’époque coloniale qu’à la période postcoloniale. C’est pourquoi, d’un ouvrage à l’autre, il continue, inlassablement, sa lutte contre le colonialisme et le néocolonialisme, en évoquant les souffrances et les drames endurés par les Africains. Il revient, constamment, dans ses créations imaginaires, à une thématique, ou mieux une dialectique, l’engagement et le militantisme. Qu’entend-il par « engagement » et « militantisme »? Comment ces deux lexèmes se manifestent-ils dans les écrits de cet écrivain sénégalais? Quelles stratégies propose-t-il aux opprimés dans la lutte qui les oppose aux oppresseurs? Quels moyens met-il a la disposition des déshérités en lutte pour briser le joug de l’oppression et celui de l’exploitation afin d’obtenir la liberté et l’égalité?<br>Linguistics and Modern Languages<br>D. Litt. et Phil. (French)