Rozprawy doktorskie: „Romance”

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Hansson, Heidi. "Romance revived : postmodern romances and the tradition". Doctoral thesis, Umeå : Umeå university, 1998. http://catalogue.bnf.fr/ark:/12148/cb40245742q.

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Conrado, Iris Selene [UNESP]. "O romance e o romance de José Saramago". Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/103653.

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Esta tese desenvolve um estudo da trajetória do escritor português contemporâneo José Saramago (1922-2010) no seu trabalho com o gênero romanesco. Desse modo, procura-se reconstituir o percurso do autor pelo gênero, por meio da análise interpretativa de três de seus romances, nos quais se pode perceber a influência de diferentes orientações estéticas ao longo dos anos. Para isso, apresenta-se uma breve descrição de cunho histórico do percurso da própria formação do gênero romanesco, no âmbito geral da cultura ocidental, e também, especificamente, no cenário da literatura portuguesa. Essa recuperação histórica é feita com base nos estudos de teóricos da forma romance, como Auerbach, Watt, Lukács, Bakhtin, Rosenfeld, Jozef e Hutcheon, entre outros e, no que diz respeito ao romance português, com base em autores como Simões, Saraiva e Lopes, Reis, Mendonça, Seixo, Flory, entre outros pesquisadores. Com o intuito de perceber as diferentes fases pelas quais o romance de Saramago passa, apresenta-se, ainda, um encadeamento cronológico de enredos de toda a produção romanesca do autor, pautado em parte de sua fortuna crítica, a fim de embasar a análise dos romances selecionados como corpus deste trabalho, a saber: Manual de pintura e caligrafia (1977), Memorial do convento (1982) e As intermitências da morte (2005). Tentando evidenciar uma correspondência no desenvolvimento do gênero romanesco no século XX e o caminho literário percorrido por Saramago em sua produção de romances, observou-se que as três obras escolhidas representam, de fato...
This thesis aims to develop a study of the trajectory of the Portuguese contemporary writer José Saramago (1922-2010) in his novels. Thus, we try to reconstruct the author's journey through the formal structure of the novel, by interpretive analysis of three of his novels, in which we can see the influence of different artistic aesthetic orientations over the years. For this, we present a brief description in a historical point-of-view of the course of formation of the novelistic genre inside the general framework of Western culture, and also specifically in the setting of Portuguese literature. This historical recovery is based on studies of researches of the novel form, as Auerbach, Watt, Lukács, Bakhtin, Rosenfeld, Jozef and Hutcheon, among others, and, regarding the Portuguese novel, we based on authors such as Simões, Saraiva e Lopes, Reis, Mendonça, Seixo, Flory, among other researchers. In order to understand the different phases through which passes Saramago's novel, we also presents a brief timely recovery on all his novelistic production, based on part of his critics, in order to base the analysis of some selected novels which are the corpus of this work: Manual de pintura e caligrafia (1977), Memorial do convento (1982) e As intermitências da morte (2005). Trying to show a correspondence in the development of the novelistic genre in the 20th century and the path passed by Saramago on the literary production of his novels, we observed that the three novels analyzed represent, in fact, three stages of diverse aesthetic attitudes of the author, with characteristic elements of different... (Complete abstract click electronic access below)

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3

Conrado, Iris Selene. "O romance e o romance de José Saramago /". Assis : [s.n.], 2011. http://hdl.handle.net/11449/103653.

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Orientador: Odil José de Oliveira Filho
Banca: Clarice Zamonaro Cortez
Banca: Nelyse Aparecida Melro Salzedas
Banca: Sandra Aparecida Ferreira
Banca: Rubens Pereira dos Santos
Resumo: Esta tese desenvolve um estudo da trajetória do escritor português contemporâneo José Saramago (1922-2010) no seu trabalho com o gênero romanesco. Desse modo, procura-se reconstituir o percurso do autor pelo gênero, por meio da análise interpretativa de três de seus romances, nos quais se pode perceber a influência de diferentes orientações estéticas ao longo dos anos. Para isso, apresenta-se uma breve descrição de cunho histórico do percurso da própria formação do gênero romanesco, no âmbito geral da cultura ocidental, e também, especificamente, no cenário da literatura portuguesa. Essa recuperação histórica é feita com base nos estudos de teóricos da forma romance, como Auerbach, Watt, Lukács, Bakhtin, Rosenfeld, Jozef e Hutcheon, entre outros e, no que diz respeito ao romance português, com base em autores como Simões, Saraiva e Lopes, Reis, Mendonça, Seixo, Flory, entre outros pesquisadores. Com o intuito de perceber as diferentes fases pelas quais o romance de Saramago passa, apresenta-se, ainda, um encadeamento cronológico de enredos de toda a produção romanesca do autor, pautado em parte de sua fortuna crítica, a fim de embasar a análise dos romances selecionados como corpus deste trabalho, a saber: Manual de pintura e caligrafia (1977), Memorial do convento (1982) e As intermitências da morte (2005). Tentando evidenciar uma correspondência no desenvolvimento do gênero romanesco no século XX e o caminho literário percorrido por Saramago em sua produção de romances, observou-se que as três obras escolhidas representam, de fato... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This thesis aims to develop a study of the trajectory of the Portuguese contemporary writer José Saramago (1922-2010) in his novels. Thus, we try to reconstruct the author's journey through the formal structure of the novel, by interpretive analysis of three of his novels, in which we can see the influence of different artistic aesthetic orientations over the years. For this, we present a brief description in a historical point-of-view of the course of formation of the novelistic genre inside the general framework of Western culture, and also specifically in the setting of Portuguese literature. This historical recovery is based on studies of researches of the novel form, as Auerbach, Watt, Lukács, Bakhtin, Rosenfeld, Jozef and Hutcheon, among others, and, regarding the Portuguese novel, we based on authors such as Simões, Saraiva e Lopes, Reis, Mendonça, Seixo, Flory, among other researchers. In order to understand the different phases through which passes Saramago's novel, we also presents a brief timely recovery on all his novelistic production, based on part of his critics, in order to base the analysis of some selected novels which are the corpus of this work: Manual de pintura e caligrafia (1977), Memorial do convento (1982) e As intermitências da morte (2005). Trying to show a correspondence in the development of the novelistic genre in the 20th century and the path passed by Saramago on the literary production of his novels, we observed that the three novels analyzed represent, in fact, three stages of diverse aesthetic attitudes of the author, with characteristic elements of different... (Complete abstract click electronic access below)
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Wellinger, Chad Edward. "Bad Romance". Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/156.

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Pessoa, Rosane Rocha. "O romance de mistério e o mistério do romance". Universidade Federal de Goiás, 1989. http://repositorio.bc.ufg.br/tede/handle/tede/9046.

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This study aims to decipher the formal and thematic "mysteries" of five Brazilian narratives which deal with crime. Be ggining with the structure of trivial narratives ~ characteristic of the classical police stories ~, it is verified how the crimina l intrigue is presented in the five narratives. nesides deviating from the scheme, they question the involving criminal reality. It is, in my view, the "humanization" of a trivial theme because they elaborate on contradiction as its fundamental structure . This dialetic elaboration answers for the amplification of the criminal matter, permitting the approach of philosophycal, social, economic, mystic and moral themes. Under this scope, the five place themselves in opposition narra tives to the rheification and alienation imposed by the cultural industry.
Este estudo objetiva desvendar os "mistérios" formais e temáticos de cinco narrativas brasileiras que tratam de crime. Partindo da estrutura da narrativa trivial~ característica do romance policial clássico~, verificamos como a trama criminal se estabelece nas cinco narrativas. Constatamos que, além de não seguirem as regras próprias do gênero policial, elas se propõem como questionadoras da realidade criminosa que nos envolve . Trata-se, a nosso ver , da "humanização" trivializada , pelo fato de de uma temática elaborarem a contradição como sua estrutura fundamental . Esta elaboração dialética , e que responde pela ampliação da questão ~riminal, permitindo a abordagem de temas filosóficos, sociais, econômicos, místicos e morais, que dela decorrem naturalmente . Sob esta Ótica, as cinco narrativas apresentam- se em oposição à reificação e a' alienação impostas pela indústria cultural.

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Oliveira, Iara de. "Ditadura e romance". Florianópolis, SC, 2004. http://repositorio.ufsc.br/xmlui/handle/123456789/87734.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura
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O trabalho Ditadura e romance: As vozes submersas de uma história sem fim traz uma análise dos romances A voz submersa, de Salim Miguel e El fin de la historia, de Liliana Heker, pautada na História Contemporânea de Brasil e Argentina e nas teorias de Mikhail Bakhtin. Cruzando a História de Brasil e Argentina, principalmente no que tange à última Ditadura Militar pela qual ambos passaram e, ao mesmo tempo, fazendo-a ponto de partida para a leitura dos romances, evidencia-se, nestes dois universos ficcionais, diversas vozes que, dialogando com o seu contexto, unem-se para mostrar um período contraditório, tenebroso e cruel. Nas duas obras percebem-se ideologias conflitantes, que representam uma nação fragmentada, individualizada, caótica, encoberta por uma máscara de ordem e união. Tal máscara é imposta, como se evidencia nos textos ficcionais trabalhados, através da violência e da força, empregadas pelos regimes militares ditatoriais, seguidores das regras da Doutrina de Segurança Nacional. Dessa forma, Salim Miguel e Liliana Heker ao utilizarem a ditadura como cenário e alvo de suas produções literárias, permitem entrever um emaranhado de vozes submersas em uma história que ainda não teve fim.

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Henrique, Lauro Luis Souza de. "Romance policial contemporâneo". reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/167852.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2016
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A presente dissertação pretende discutir sobre diferentes elementos presentes no romance policial, enfatizando a construção do personagem de ficção (detetive) e sua importância dentro da narrativa. Como cada ser na história é fruto de criação ficcional, seu impacto nos leitores, suas adaptações, reflexos sociais, tudo isso é, até certo ponto, interligado com seu processo de caracterização arquitetado no texto pelo autor, sendo um dos objetivos deste trabalho explorar como ele acontece. Com forte influência na diversidade de romances policiais estrangeiros, aqui o escopo foi estudar os brasileiros, enfatizando um autor que ganhou destaque e premiações, mostrando-se uma profícua fonte de estudo: Garcia-Roza e seu delegado Espinosa. Como proposta bibliográfica, buscou-se trabalhar com autores como Albuquerque (1979) e Benjamin (1994), que colaboraram para construir a história e as origens do romance policial, juntamente com Candido (2012), Lukács (2009) e Forster (1998), os quais auxiliaram para levantar os elementos de caracterização do personagem. Exemplo disso é a importância de tais elementos em relação ao enredo, história, trama, a presença do personagem complexo que cria um tipo de vínculo com o leitor, colocando, deste modo, uma crítica pertinente ao estudo para chegar a um resultado: a construção do personagem Espinosa e a importância do gênero policial e seu impacto social.

Abstract : This work aims to discuss about different elements shown in crime fiction, emphasizing the construction of fictional character (detective) and their importance for the narrative. As every being in the story is the result of a fictional creation, its impact on the readers, its adaptations, social reflexes, everything is, up to a point, linked to its characterization process built in the text by the author, being one of the goals of this work to explore how it works. With a strong influence on the diversity of foreign crime fiction novels, our goal was to study the Brazilian ones emphasizing an author who has been prominent and received several prizes, being a great source of studies: Garcia-Roza and his police chief Espinosa. As a bibliographical purpose we based our work on authors such Albuquerque (1979) and Benjamin (1994), who have contributed to build the history and the origins of crime fiction with Candido (2012), Lukács (2009) and Forster (1998), who have helped to carry out the elements of the characterization. One example is the importance of the elements related to the plot, the story, the presence of a complex character that creates a type of link with the reader, questioning the study and resulting: the construction of the character Espinosa and his importance to the crime fiction genre and its social impact.

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Raffy, Clementine. "Letting in Romance". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080070.

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L'objectif de cette thèse est de proposer une nouvelle solution à un vieux problème : qu’est-ce que cela signifie de "laisser quelque chose se produire" ? Cela peut être compris comme l'octroi d'une permission ou comme l'absence d'une intervention. Mais comment savoir à laquelle de ces deux lectures nous avons affaire ? Afin de répondre à cette question, j'utilise comme exemples le verbe français laisser et le verbe espagnol dejar, puisque chacun de ces deux verbes peut donner lieu à deux constructions syntaxiques causatives distinctes, l’une monoclausale et l’autre biclausale. L’idée est donc de comprendre (i) si ces différents degrés de complexité syntaxiques se reflètent à un quelconque niveau dans l’interprétation de ces constructions causatives, et (ii) si elles diffèrent d’une langue à l’autre, puisque les constructions diffèrent également. Afin de comprendre la relation entre morphosyntaxe et représentation(s) conceptuelle(s), je présente les trois expériences que j’ai menées visant à tester la correspondance entre la structure syntaxique et l'interprétation. Ces expériences montrent que la morphosyntaxe n'est pas le facteur principal dans l'interprétation de ces constructions causatives ; au contraire, d'autres facteurs, tels que la notion d'autorité ainsi que le concept causal de prévention, semblent être plus pertinents pour le choix d'une lecture plutôt qu'une autre. Enfin, je montre, grâce aux modèles causaux, que bien que ces relations soient exprimées au travers de constructions causatives, elles sont en réalité la représentation de propriétés non-réalisés plutôt que l’expression d’une quelconque relation causale
The aim of this thesis is to try to propose a new solution to an old problem: what does it mean to 'let something happen'? It can be understood either as the granting of permission or as the absence of intervention. But how do we know which of these two readings we are dealing with? In order to answer this question, I use the French verb laisser and the Spanish verb dejar as examples, since each of these two verbs can give rise to two distinct causative syntactic constructions, one monoclausal and the other biclausal (although the two biclausal constructions differ from one language to the other). The idea is therefore to understand (i) whether these different degrees of syntactic complexity are reflected at any level in the interpretation of these causative constructions, and (ii) whether they differ from one language to another, since the constructions also differ. In order to understand the relationship between morphosyntax and conceptual representation(s), I present the three experiments I conducted in order to test the mapping from syntactic structure and interpretation. These experiments show that morphosyntax is not the primary factor in the interpretation of laisser- and dejar-causative; on the contrary, other factors, such as the notion of authority as well as the causal concept of prevention, seem to be more relevant for the choice of one reading over another. Finally, I show, thanks to causal models, that although these relations are expressed through causative constructions, they are in fact the representation of unrealized properties rather than the expression of any actual causal relation

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Choi, Yoonjoung. "Real romance came out of dreamland into life : H.G. Wells as a romancer". Thesis, Durham University, 2007. http://etheses.dur.ac.uk/2496/.

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The aim of this study is to demonstrate that Wells's early works are the supreme fruits of his ambiguous and complicated reaction against, and interaction with, romance and realism in fiction. Wells's efforts concentrate on combating against and, at the same time, capitalising on the popular narratives that flooded the expanding fin-de-siècle mass market and the powerful influence of the continental and American Realists. In so doing, Wells eventually purports to revive and modify the English novel tradition from Chaucer to Scott and Dickens, and the romantic transformation of everyday life without losing a sense of reality. By reading Wells's fictional and non-fictional works published between the 1890s and the 1900s, this thesis maintains that Wells is a novelist who could exploit romance contingencies in his fiction Wells's early literary criticism demonstrates that his theory of the novel is preoccupied with the potential of the romance rather than with the strict realistic representation of everyday life advocated by Naturalists and Realists. His non-scientific romances reveal Wells's instinctive grasp of the romance potential Wells's major scientific romances confirm his effort in writing within the established romance grammar and deconstruct the forms and themes of fìn-de-siècle popular romances. Mikhail Bakhtin's theory of carnivalism and Foucaulťs theory of power are also applied to Wells's texts. This study contends that Wells's major scientific romances not only differentiate themselves from other popular narratives but also create a new genre: the carnivalesque romance. Wells's early twentieth century Utopian projects continue the carnival theme, and develop the carnivalised narrative space in which the sociologist's logical speculation is mixed with the romancer’s dream. Reading Wells's Edwardian novels, Tono-Bungay and The History of Mr Polly as marking a turning point in his literary career, the thesis advocates that when Wells ceased to be a romancer, his creative energy began to wane.

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Cardús, Juvé Roger. "Romance de amor e loucura seguido de Diário de um romance". Pontifícia Universidade Católica do Rio Grande do Sul, 2010. http://hdl.handle.net/10923/4255.

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Romance de amor e loucura és una novel·la d‟autoficció, escrita en primera persona, que té com a temes principals i entrelligats l‟amor, específicament, l‟amor-passió, la “bogeria” o malaltia mental i la memòria i la seva recuperació. Diário de um romance permet seguir el procés de creació: les lectures fetes per preparar la novel·la, la cerca de solucions per a obstacles literaris i emocionals, les reflexions sobre el treball creatiu en el seu dia a dia. fre
Romance de amor e loucura é um romance de autoficção, escrito em primeira pessoa, que tem como temas principais e entrelaçados o amor, especificamente, o amor-paixão, a “loucura” ou doença mental e a memória e sua recuperação. Diário de um romance permite acompanhar o processo de criação: as leituras realizadas para a preparação do romance, a procura de soluções para obstáculos literários e emocionais, as reflexões sobre o trabalho criativo no seu dia-a-dia.

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Christie, Edwina Louise. "Dissimulating romance : the ethics of deception in seventeenth-century prose romance". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:292cf3cf-7ecf-4b1d-a4ca-d2f5c65ab0a0.

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This thesis argues that seventeenth-century English prose romances are motivated by anxieties over truth-telling and the ethical practice of deception. From the title of MacKenzie's 'Aretina: A Serious Romance' (1660), I take the collocation 'serious romance' to refer to the philosophically and politically engaged prose romances of the seventeenth century. Following Amelia Zurcher's work on the concept of 'interest' in 'serious romance', this thesis examines a separate but related aspect of the genre's moral philosophical engagement: its investigation of the ethics of dissimulation. By dissimulation, I mean the art of lying by concealment. Dissimulating techniques include controversial rhetorical tools such as equivocation and mental reservation, but dissimulation is also implicated in laudable virtues such as prudence and discretion. The thesis traces arguments about the ethical practice of dissimulation and other types of lie through English prose romances from Sidney's 'Arcadia' (1590) to Orrery's 'Parthenissa' (1651-69) to suggest that seventeenth-century romances increasingly espoused theories of 'honest dissimulation' and came to champion the theory of the 'right to lie'. The thesis examines a range of works which have hitherto received scant critical attention, notably Roger Boyle's 'Parthenissa' (1651-69), Percy Herbert's 'The Princess Cloria' (1652-61), the anonymous 'Theophania' (1655) and 'Eliana' (1661) and John Bulteel's 'Birinthea' (1664), alongside better studied romances such as Sidney's 'Arcadia' (1590), Wroth's 'Urania' (1621) and Barclay's 'Argenis' (1621). It situates readings of these original English romances within the context of the French romances of D'Urfé, Scudéry and La Calprenède, as well as within the context of contemporary moral philosophy.

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Zachik-Smith, Susie. "Romance by the book: A morphological analysis of the popular romance". CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/810.

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Bueno, Teresinha Aparecida Peron. "Um romance entre fronteiras: uma leitura do primeiro romance de Cornelio Penna". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-05032010-124616/.

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Este trabalho consiste numa leitura analítico-interpretativa de Fronteira, primeiro romance de Cornelio Penna, publicado em 1935. O estudo orienta-se pelo pensamento de Antonio Candido sobre Literatura e Sociedade, refletindo sobre os vínculos estéticos e sociais da obra. Através dessa e teorias afins, verifica-se como se articulam na narrativa as relações ação/personagem, espaço/personagem, tempo/personagem, diário/romance. Busca-se comprovar a modernidade do romance dentro de um quadro social e literário agressivo, pela oposição ao intimismo de alguns autores, em momento chave de reformulações estéticas na década de 1930. Fundamentalmente, procura-se ver em que medida a História, como expressão de uma época, se universaliza no plano estético; e de que modo se configura em Fronteira uma trama enigmática e moderna feita de um mergulho em um Brasil arcaico. Observa-se assim a relação entre contexto histórico e ficção, nas diversas fronteiras entre realidade e irrealidade, sexualidade e religião, modernidade narrativa e atraso; tendo-se em vista, portanto, a consciência de um narrador moderno e a faixa de mistério que sobrepaira na mais prosaica rotina familiar, o que torna singulares os seres de Cornelio Penna.
This work consists in a analytical interpreted reading from Fronteira, first novel by Cornelio Penna, published in 1935. The studying orients itself from Antonio Candidos thought about literature and society, thinking about the estetic and social entails from the workmanship. Through this and similar theories, it is possible to verify how the rolls : action / caracter, space / caracter / time / caracter, diary / novel articulate themselves in the narrative. The modernized novel is searched to prove in a social and agressive literary picture, by the opposition to the intimidating of cone writes, in they moment of reformulated esthetics in the decade in 1930. Fundamentally, looking for see in the extint the History, as expression of an epoch, universalizes itself in the esthetic plain ; and how to configure itself in Fronteira an enigmatical and modern plot made of an diving in an archaic Brazil. Then its possible to observe the roll between the historical context and ficcition, in the various fronteiras between real and unreal, sexual and religion, modernized narrative and lateness ; having in sight, in so far as, a modern narraters conscience and a stripe of mystery that hangs or hover over in the most prosaical and familiar routine, and that is what return singular Cornelio Pennas creatures.

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Card?s, Juv? Roger. "Romance de amor e loucura seguido de Di?rio de um romance". Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2010. http://tede2.pucrs.br/tede2/handle/tede/1973.

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Romance de amor e loucura ? um romance de autofic??o, escrito em primeira pessoa, que tem como temas principais e entrela?ados o amor, especificamente, o amor-paix?o, a loucura ou doen?a mental e a mem?ria e sua recupera??o. Di?rio de um romance permite acompanhar o processo de cria??o: as leituras realizadas para a prepara??o do romance, a procura de solu??es para obst?culos liter?rios e emocionais, as reflex?es sobre o trabalho criativo no seu dia-a-dia.

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Sandrini, Paulo Henrique da Cruz. "Que romance é este?" reponame:Repositório Institucional da UFPR, 2009. http://hdl.handle.net/1884/20470.

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Wade, James Palmer. "Fairies in medieval romance". Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612469.

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Gil, Fernando Cerisara 1961. "O romance da urbanização". [s.n.], 1997. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270109.

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Orientador: Marisa Philbert Lajolo
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O trabalho que desenvolvo sugere que, no bojo do que a crítica e a história literária brasileiras chamam de romance de 30, irá surgir um tipo específico de narrativa que identifico como romance da urbanização. Este romance problematizaria em diferentes níveis de sua construção formal os impasses e as contradições da transição - sempre inconclusa - do Brasil agrário, rural, para um país em vias de urbanização e industrialização. Tempo, espaço, enredo e personagens vão rearranjar-se no sentido em que a coexistência e/ou a justaposição de duas formações sociais distintas, no plano da representação ficcional, irão solapar, num determinado grau, a estrutura do romance brasileiro real-naturalista. Trata-se, portanto, de um lado, de rediscutir a questão do romance enquanto gênero narrativo no contexto da história da literatura brasileira; de outro, paralelamente e por conseqüência, trata-se de analisar o romance da urbanização no contexto do Modernismo brasileiro e, no mesmo passo, reavaliar este período da nossa literatura à luz de certos pressupostos históricos e estéticos a partir da configuração do conceito de romance da urbanização. A meu ver, o romance da urbanização põe em suspensão uma das premissas básicas do Modernismo brasileiro em suas diferentes perspectivas, em particular, e da literatura brasileira, de um modo geral, desde o Romantismo, que é a formulação de projetos e/ou de sínteses fundadoras de identidades brasileiras, que têm nas noções de progresso e modernidade um dos seus elementos-chave. A "História inacabada" "o inacabado'" e o "inacabável" de nosso desenvolvimento histórico-social, para se usar as expressões de um sociólogo, vislumbrados na estruturação das obras que compõem o romance da urbanização, faz com que a História nacional deixe de ser vista como a "história da espera do progresso" elou como a formulação e concepção desse mesmo progresso e modernidade. Para tanto, detenho-me na análise de três textos: Os ratos (1935), de Dyonélio Machado; Angústia (1936), de Graciliano Ramos; e O amanuense Be/miro (1937), de Cyro dos Anjos. Mostro que a elaboração destes romances estiliza o impasse histórico, acima mencionado, que se formaliza com perspectivas, ainda que diferentes, complementares
Abstract: This work suggests that, within what the Brazilian criticism and literary history call nove I of the 30s', an specific type of narrative will appear, which I identify as the novel of urbanisation. In different levels of its formal construction, this novel would question the impasses and contradictions of the transition - always inconclusive - from agrarian Brazil to a country in process of urbanization and industrialization. Time, space, plot and characters will be arranged in the sense that, on the levei of the fictional representation, the coexistence and/or juxtaposition of those two distinct social formations will undermine, to certain degree, the structure of the real-naturalistic Brazilian novel. The aim then is, on the one hand, to discuss the novel as a narrative genre in the context of the Brazilian literary history and, on the other, to analise the novel of urbanisation-in context of Brazilian Modernism. Besides, this work evaluates this literary period in the light of certain historical and aesthetic presuppositions, generated from the configuration of novel of urbanisation concept. In my point of view, the novel of urbanisation questions one of the basic premises of Brazilian Modernism in its different perspectives, in particular, and of the Brazilian literature, in general, since Romanticism. This premise is the formulation of projects and/or founding syntheses of Brazilian identities, which have in progress and modernity one of its key-elements. The "unfinished History", "the unfinished" and "the unfinishable" of our historic-social development, to use the expressions of a sociologist, perceived in structure of the works of the novel of urbanisation, prevents the national History from being 191 seen as the "history of the expectation of progress" and/or as the formulation and conceptíon of this progress and modernity. In order to demonstrate that, I analise three novels: Os ratos (1935), by Dyonélio Machado: Angústia (1936), by Graciliano Ramos; and O amanuense Belmiro (1937), by Cyro dos Anjos. I show that their construction stylises thehistorical impasse, previously mentioned, which is built with complementary - even though different - perspectives
Doutorado
Doutor em Teoria Literaria

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Fuks, Julián Miguel Barbero. "História abstrata do romance". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-14032017-160249/.

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Este trabalho tem a irresponsável ambição de ser uma revisão da trajetória do romance em seus supostos quatro séculos de existência. Para tratar de dar conta de algo tão vago e tão vasto, define como seu objeto não o romance em si, mas a ideia abstrata de romance, tal como proposta por uma série de romancistas canônicos em ensaios, prefácios, cartas, biografias, testemunhos, entrevistas, e também em suas ficções. Propõe-se a ser ele próprio uma sequência de ensaios: sobre a duvidosa ascensão do gênero em um tempo exato e um espaço restrito; sobre um questionável apogeu de potencialidade infinita; sobre a tão alardeada crise do romance; sobre as marcas já perceptíveis de uma reascensão. Afirma-se então o arco narrativo que se quer negar: o objetivo do trabalho é tentar mover certas noções pré-fabricadas, revolver concepções decantadas, calcificadas em um sólido conjunto de convenções. O resultado não pode ser mais que um novo conjunto de convenções, composto, porém, por elementos bem mais maleáveis, por interrogações, incertezas, relativizações.
This work has the irresponsible ambition to be a review of the novels trajectory in its supposed four centuries of existence. To try to apprehend something so vague and vast, it defines as its object not the novel itself, but the abstract idea of the novel, as proposed by a number of canonical novelists in their essays, prefaces, letters, biographies, testimonies, interviews, and also in their fictions. The work itself intends to be a sequence of essays: on the dubious rise of the genre in an exact time and a restricted space; on a questionable apogee of infinite potentiality; on the much-commented crisis of the novel; on the already perceptible marks of a reascendance. It affirms, then, the narrative arch that it would like to deny: the intention is to move certain prefabricated notions, to revolve decanted conceptions, calcified in a solid set of conventions. The result cannot be more than a new set of conventions, composed, however, by far more malleable elements speculations, interrogations, uncertainties.

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Morais, Fabio dos Santos. "Site specific : um romance". Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/688.

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The goal of this research has been to encircle the term literarture with a number of possible definitions. The idea was less to coin a new term than to apply in writing what I perceived to surface already in various texts cited in this research in order to produce the literartistic piece Site Specific, a Romance. Its production consisted of delving into pieces I believe to be examples of literarture, and from the cross-referential dialogue established between them within the textual tissue of Site Specific, a Romance, I trust to have insinuated a definition to the term. Site Specific, a Romance is a text that fuses art praxis and academic dissertation in one single body. Always suspicious that the act of defining is foreign to any practice in the field of art especially to an artist the will of defining literarture was nevertheless satisfied in producing a text where I could experiment with it: it is my belief that every work of art (re) defines in itself the genre(s) to which it belongs. As such, Site Specific, a Romance is my experimentation and the only possible means I have to express what I think to be, or feel to be, literarture.
O objetivo desta pesquisa de mestrado foi cercar de possíveis definições o termo ¿literartura¿ - um termo que, mais que querer cunhar, percebo na leitura de vários textos citados na pesquisa - e, a partir dele, produzir a obra literartística Site Specific, um Romance. Para isso, foram pesquisadas obras que creio serem exemplos de literartura e, através desses exemplos, penso ter se insinuado uma definição. Estas obras formam um diálogo entrecruzado no próprio tecido textual de Site Specific, um Romance, texto que funde obra prática e dissertação de mestrado num só corpo. Sempre desconfiando de que definir seja estranho a qualquer prática no campo da arte, sobretudo para um artista, esta vontade de definir o termo ¿literartura¿ me foi satisfeita ao produzir um texto onde pude experimentá-la: é minha crença de que cada obra (re) define em si o(s) gênero(s) a que pertence. Assim, Site Specific, um Romance é minha experimentação e meu único modo possível de expressar o que penso, e sinto, ser literartura.

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Harding, Carol Elaine. "Merlin and legendary romance /". New York ; London : Garland, 1988. http://catalogue.bnf.fr/ark:/12148/cb35031565w.

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Poncet, y. de Cárdenas Carolina Barnet Miguel. "El romance en Cuba /". La Habana : Fundación Fernando Ortiz, 1999. http://catalogue.bnf.fr/ark:/12148/cb39028733v.

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Leigh, Megan Breen. "A Wind River Romance". PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/394.

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A first-person narrative adult novel explores the theme of abandonment with its residual and enduring effects, and its antithetical theme of loyalty that is continually tested and measured. The protagonist, editor of the local newspaper in a small, isolated agricultural community in the mid-1960s, provides the narrative nexus of two families. His is a community which is a mix of characters that are quirky by virtue of their natures or the remote circumstances of their existence. Both families in focus have treasure troves of secrets. Only after the appearance of a mysterious young woman and her subsequent murder do the tightly bound secrets of the families and the larger community begin to unravel. The narrator reveals his personal story as it relates to how he reacts and responds to the events at hand. Adding to his personal experience in the community, the narrator offers texture and enhancement to the story through archived newspaper articles and his interpretation of short silent movie reels chronicling the town's history from its earliest days until the end of World War II. Characters from within and without the community assume disguises to maintain their lifestyle or achieve a nefarious purpose while other characters hide behind the falsehoods of their comfortable, everyday lives. The one honest character becomes a victim of his own purity, despite attempts of the narrator to intervene. Not until forty years after the events that changed so many lives is it safe for the truth to bubble to the surface.

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Mellor, David James. "Playground romance : an ethnographic study of friendship and romance in children's relationship cultures". Thesis, Cardiff University, 2006. http://orca.cf.ac.uk/56146/.

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This thesis explores the prominence of romance and romantic love in the relationship cultures of a cohort of children aged between 10 and 12. Drawing on ethnographic fieldwork that took place at three primary schools and one high school over the period of a year, it examines the various ways that the children invested in and understand romance and romantic love during the significant rite-of-passage of the transfer between primary and secondary educational phases. Using qualitative and ethnographic methods - including participant observation, group interviews, story and diary writing - rich forms of spoken, written and pictorial data were gathered. These are discussed and analysed with reference to sociological theories of sexuality, friendship and social solidarity. Although the research was situated in schools, it is important to highlight that this was a cultural, rather than an educational study. It shows that romance was a key part of the children's negotiations of their own and others identities and relationships, and that this was shaped in powerful ways by discourses of gender, sexuality and social class. Key points of discussion include: the development of the concept of Tietero-sociality' as a way of discussing how heterosexual practices shape children's everyday lives the differences between girls' and boys' articulations of and investments in romance how romance shapes friendship practices, particularly *best' friendships how understandings of and investments in romantic love are classed and gendered the importance of gendered sexuality during the transfer between primary and secondary schooling and in children's conceptions of the life-course and, the use of the adult researcher's 'ethnographic self as a tool for investigating the personal relationships, friendship cultures and solidarities of children and young people.

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Nascimento, Ellen Elsie Silva. "Romance necessário: estética e intenção do romance epistolar La Nouvelle Héloïse de Rousseau". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-28052013-103852/.

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Este trabalho reúne esforços para analisar aspectos da teoria literária de Jean-Jacques Rousseau a partir do romance La Nouvelle Héloïse, considerando suas inovações estéticas em face do período de então (século XVIII) e a relevância explicativa da obra no seio do pensamento do autor. Aos propósitos do trabalho, é fundamental entender a escolha do gênero epistolar a fim de facilitar o estreitamento da narrativa com a experiência do leitor, o que se combina com a crítica da representação e com o ideal rousseauniano da transparência, perfazendo o formato do romance que Rousseau, após severas críticas à literatura, transige em considerar necessário por oferecer um exemplo de virtude no amor a uma sociedade degenerada pela corrupção dos costumes.
This work combines forces to analyze aspects of Jean-Jacques Rousseaus Literary Theory at the novel La Nouvelle Héloïse in light of its aesthetic innovations towards that period (the 18th century) and the explicative relevance of the work to the core of the author\'s thoughts. With respect to the purpose of the work, it is important to understand the choice of the epistolary form in order to facilitate the alignment of the narrative with the experience of the reader, which is consonant with the critique of representation and with the Rousseaunian ideal of transparency, constituting the format of the novel that Rousseau, after severe criticisms of literature, came to consider necessary to offer an example of virtue through love to a society degenerated by the corruption of customs.

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Morrissey, Katherine. "Fanning the flames of romance an exploration of fan fiction and the romance novel /". CONNECT TO ELECTRONIC THESIS, 2008. http://hdl.handle.net/1961/6198.

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Cole, Chera A. "'Fairy' in Middle English romance". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6388.

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This thesis, ‘Fairy in Middle English romance', aims to contribute to the recent resurgence of interest in the literary medieval supernatural by studying the concept of ‘fairy' as it is presented in fourteenth- and fifteenth-century Middle English romances. This thesis is particularly interested in how the use of ‘fairy' in Middle English romances serves as an arena in which to play out ‘thought-experiments' that test anxieties about faith, gender, power, and death. The first chapter considers the concept of fairy in its medieval Christian context by using the romance Melusine as a case study to examine fairies alongside medieval theological explorations of the nature of demons. The thesis then examines the power dynamic of fairy/human relationships and the extent to which having one partner be a fairy affects these explorations of medieval attitudes toward gender relations and hierarchy. The third chapter investigates ‘fairy-like' women enchantresses in romance and the extent to which fairy is ‘performed' in romance. The fourth chapter explores the location of Faerie and how it relates as an alternative ‘Otherworld' to the Christian Otherworlds of Paradise, Purgatory, Heaven, and Hell. The final chapter continues to examine geography by considering the application of Avalon and whether Avalon can be read as a ‘land of fairies'. By considering the etymological, spiritual, and gendered definitions of ‘fairy', my research reveals medieval attitudes toward not only the Otherworld, but also the contemporary medieval world. In doing so, this thesis provides new readings of little-studied medieval texts, such as the Middle English Melusine and Eger and Grime, as well as reconsider the presence of religious material and gender dynamics in medieval romance. This thesis demonstrates that by examining how fairy was used in Middle English romance, we can see how medieval authors were describing their present reality.

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Button, Anne Joyce. "John Fletcher : gender and romance". Thesis, University of Surrey, 1996. http://epubs.surrey.ac.uk/842905/.

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The role of the Jacobean romance mode has been undervalued and misunderstood, not least because of what it has been seen to symbolise politically, and perhaps also because it was seen as beginning to be associated with a female audience. I suggest that gender and sexuality were often represented in romance in a radical way which was frequently empowering for women. Among dramatists, Fletcher and his collaborators in particular were freed by their use of romance to experiment with representations of gender in a radical way. The thesis is divided into four sections, all of which address the way that gender and sexuality are represented in the Beaumont and Fletcher canon. The first section has a chapter on Fletcher's debt to Shakespeare in Bonduca, and another on the two romance plays on which Fletcher and Shakespeare collaborated - The Two Noble Kimmen, and the lost Cardenio. The second section discusses Fletcher's The Faithful Shepherdess, first giving the context of English Jacobean pastoral tragicomedy and explaining its special significance for women, and secondly comparing Fletcher's play with Lady Mary Wroth's Love's Victory, a rare example of a Jacobean play by a woman. Section three explores the debt to prose romance of four plays - Philaster, Valentinian, Love's Cure and The Island Princess - focusing on the possibility that Fletcher may have been influenced by French precieux ideas. The final section investigates the part that women played in masques in the second half of the Jacobean period, and the way that Fletcher and his collaborators use masques and masque-like elements in their plays to exploit the dramatic potential of the Jacobean female masquer's unusually public and self-affirming role. By exploring the impact of Jacobean feminocentric romance forms on the plays of Fletcher and his collaborators I offer a fuller understanding of the ways in which they regarded gender and sexuality, and contribute to the wider project of rediscovering a history of women in the Jacobean period.

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Castro, Maraiza Almeida Ruiz de [UNESP]. "O Grande Mentecapto: romance carnavalizado". Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/122243.

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O presente estudo cumpre o objetivo de mostrar como o romance brasileiro O Grande Mentecapto: relato das aventuras e desventuras de Viramundo e de suas inenarráveis peregrinações, de Fernando Sabino, publicado em 1979, é uma obra contemporânea que dialoga, ao mesmo tempo, com a tradição literária carnavalizada. Com base nas considerações de Michael Bakhtin sobre a carnavalização, é possível notar que o narrador de O Grande Mentecapto envolve o leitor em um jogo de máscaras, tornando o seu modo de narrar moderno e o seu texto ambivalente. Além disso, a polifonia e a intertextualidade, bem como os elementos da cultura popular brasileira, estão presentes nos discursos que integram o romance e ajudam a compor sua multiplicidade. O protagonista do romance, Geraldo Viramundo, revela-se também complexo e ambivalente, assumindo várias identidades e máscaras e trazendo o olhar liberto e renovador típico das obras carnavalizadas. Simultaneamente, por ser um personagem que oscila entre herói e anti-herói, louco e lúcido, sublime e grotesco, livre e preso, familiar e desconhecido, marginalizado e amigável, brasileiro e universal, ele representa, em um andamento tragicômico, grandes conflitos sociais e profundas crises humanas. Por fim, a trajetória de Viramundo é fragmentada e contém imprecisões temporal e espacial típicas das obras contemporâneas ao mesmo tempo em que a narrativa converge o tempo todo para o simbolismo da praça pública, caracterizador das obras carnavalizadas. O Grande Mentecapto também pode ser lido como uma alegoria de uma determinada estrutura social brasileira, por meio de relações instauradas entre a ficção e acontecimentos sócio-históricos ocorridos tanto no tempo da narrativa como na época de publicação do romance. Portanto, nota-se que o lugar de O Grande Mentecapto na produção literária brasileira é o de um romance que resgata elementos da tradição carnavalizada combinando-os com ...
This study fulfills the aim of showing how the Brazilian novel O Grande Mentecapto: relato das aventuras e desventuras de Viramundo e de suas inenarráveis peregrinações, by Fernando Sabino, published in 1979, is a contemporary work which converses at the same time,with the carnivalized literary tradition. Based on Michael Bakhtin's considerations about carnivalization, is possible to note that the narrator of O Grande Mentecapto involves the read in a game of masks, changing his way to narrate modern and his text in ambivalent. Furthermore, polyphony and intertextuality, as well as Brazilian popular culture's elements, are present in the speeches that integrate the novel and help composing its multiplicity. The novel’s protagonist, Geraldo Viramundo, proves to be complex and ambivalent, taking on various identities and masks and bringing a typical liberating and renovating view of carnivalized works. Simultaneously, being a character that oscillates between hero and antihero, crazy and lucid, sublime and grotesque, free and trapped, familiar and unknown, marginalized and well liked, Brazilian and universal, he represents the big social conflicts and the human crisis in a deep manner. Finally, the Viramundo's trajectory is fragmented and contains the typical temporal and spatial imprecision of contemporary works while the narrative converges all the time the symbolism of the public square, which characterize the carnivalized works. So, O Grande Mentecapto can also be read as an allegory of a determined Brazilian social structure, thorough relations done between fiction and social historical facts that occurred not only in the narrative time, but in the publication’s epoch of the novel. Therefore, we note that O Grande Mentecapto’s place in Brazilian literary production is a novel that rescues carnivalized tradition's elements combining them with contemporary literature's aspects

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Burrow, Colin. "Epic romance : Homer to Milton /". Oxford : Clarendon Press, 2001. http://www.loc.gov/catdir/enhancements/fy0604/92045882-d.html.

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Swearingen, Andrew. "Romance imperatives : syncretism, irregularity, autonomy". Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543593.

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Lee, Jun-yu Phoebe, i 李俊妤. "Balcony romance: stage distance andclosure". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B36763159.

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Fisher, Marianne. "Nobility in Middle English romance". Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/54052/.

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Medieval nobility was a compound and fluid concept, the complexity of which is clearly reflected in the Middle English romances. This dissertation examines fourteen short verse romances, grouped by story-type into three categories. They are: type 1: romance and lost heirs (Degaré Chevelere Assigne, Sir Perceval of Galles, Lybeaus Desconus, and Octvian); type 2: romances about winning a bride (Floris and Blancheflour, The Erle of Tolous, Sir Eglamour of Artois, Sir Degrevant, and the Amis-Belisaunt plot from Amis and Amiloun); type 3: romances of improversihed knights (Amiloun's story from Amis and Amiloun, Sir Isumbras, Sir Amadace, Sir Cleges, and Sir Launfal). The analysis is based on contextualized close reading, drawing on the theories of Pierre Bourdieu. The results show that Middle English romance has no standard criteria for defining nobillity, but draws on the full range of contemporary opinion; understandings of nobility conflict both between and within texts. Ideological consistence is seldom a priority, and the genre apparently serves neither a single socio-political agenda, nor a single socio-political group. The dominant conception of nobility in each romance is determined by the story-type. Romance type 1 presents nobility as inherent in the blood, type 2 emphasizes prowess and force of will, and type 3 concentrates on virtue. However, no romance text offers just one definition; implicitly or explicitly, there are always alternatives. This internal variety indicates tha the romances imagine nobility scene-by-scene; even a text seemingly committed to one perspective is liable to abandon it temporarily if there is another better suited to the narrative moment. Ideological expression always comes second to effective story-telling. This means the texts are frequently inconsistent and sometimes illogical, but that multiplicity is of their very essence.

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Araújo, Evandro Rosa de. "LINEARIDADE E FRAGMENTAÇÃO NO ROMANCE". Pontifícia Universidade Católica de Goiás, 2011. http://tede2.pucgoias.edu.br:8080/handle/tede/3802.

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This thesis, a study of the evolution of the novel, reflects on the changes that literary narrative underwent over time, until it reached more evolved forms of writing. In traditional narrative the theme, space, time and characters were externally developed and the plot was linear. The models were pre-established, inspired by Walter Scott's narratives and by various historical novels which had been developing in Europe. But the different changes in the behavior of the post-Industrial Revolutionary urban man influenced the manner of writing novels. So, in order to show a little of the process of change in the way narratives were written, this study uses José de Alencar’s O Guarani and James F. Cooper’s The Last of the Mohicans, both historical narratives which provide a little of the early demonstrations of the genre, in an artistic setting with idealized characters and linearity of events, where the narrator is omniscient. James Joyce’s Ulysses was also used to show some aspects of the evolution of novelistic narrative, in which the artist developed a story which completely abandons the moulds pre-defined by the early idealized, romantic phase. Written in the interwar period, Ulysses focuses on the strains and uncertainties of modern life. In the pages of his book, Joyce presents the daily life of the citizens of contemporary Dublin, breaks with linearity and uses innovative techniques to show that time is far more complex than one could imagine. Theorists of the novel, such as Rosenthal (1974), Rosenfeld (1969), Humphrey (1976), D'Onofrio (1982), served as a basis for this study.
Esta dissertação desenvolve um estudo sobre a evolução do romance, refletindo sobre as mudanças que se processaram na narrativa literária ao longo do tempo, até chegar a formas mais evoluídas de escrita. Nas narrativas tradicionais, a temática, o espaço, as personagens e o tempo eram desenvolvidos de forma exterior, e o enredo primava pela linearidade. Os modelos eram pré-estabelecidos, inspirados nas narrativas de Walter Scott e nos muitos romances de tendência histórica que vinham sendo desenvolvidos na Europa. Mas as diversas mudanças ocorridas no comportamento do homem citadino pós-Revolução Industrial influenciaram também a maneira de produzir romances. Desse modo, para mostrar um pouco dessa mudança na maneira de se construir narrativas, processada ao longo do tempo, foram utilizadas nesta dissertação as obras O Guarani, de José de Alencar, e O Último dos Moicanos, de James F. Cooper, que são narrativas históricas que trazem um pouco das primeiras manifestações desse gênero, em um cenário plástico, com personagens idealizadas e uma preocupação com a linearidade dos acontecimentos, e cujo narrador é onisciente. Foi usado também na pesquisa o livro Ulisses, de James Joyce, para mostrar alguns aspectos da evolução da narrativa romanesca, em que o artista conseguiu desenvolver uma história que foge completamente aos moldes pré-definidos pela primeira fase romântico-idealista. Produzida no período entreguerras, o livro Ulisses focaliza, em muitos momentos da narrativa, as mazelas e incertezas da vida moderna. Joyce representa nas páginas do seu livro o cotidiano do cidadão da Dublin contemporânea, rompe com a linearidade e utiliza técnicas inovadoras para mostrar que o tempo é muito mais complexo do que se imagina. Serviram de lastro para este estudo as reflexões dos teóricos do romance Rosenthal (1974), Rosenfeld (1969), Humphrey (1976), D’Onofrio (1982) entre outros.

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Goodison, Natalie Jayne. "Transformations in medieval English romance". Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12054/.

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This thesis examines the role of supernatural transformation in medieval English romance. It explores corporeal changes of humans transformed into animals, monstrous men, loathly ladies, as well as the transformative effects of death. However, transformations could also alter one’s identity and interior states of being. Transformation in these texts is revealed to affect the body as well as the spirit. This symbiotic relationship between outward body and interior spirit is first demonstrated between two separate persons, and progresses to become localized within the one body and the same soul. Illicit practices of magic as well as the supernatural, powers of the faery otherworld as well as divine might, initiate these transformations. While romance transformations occur through various sources, both licit and illicit, the authors and redactors of these romances consistently employ religious imagery or belief at moments of transformation. This engagement with religious precepts proves to be surprising and unorthodox. As such this thesis explores the relationship between religious belief and the politics of disenchantment.

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Castro, Maraiza Almeida Ruiz de. "O Grande Mentecapto : romance carnavalizado /". São José do Rio Preto, 2014. http://hdl.handle.net/11449/122243.

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Orientador: Sérgio Vicente Motta
Banca: Ilca Vieira de Oliveira
Banca: Lúcia Granja
Resumo: O presente estudo cumpre o objetivo de mostrar como o romance brasileiro O Grande Mentecapto: relato das aventuras e desventuras de Viramundo e de suas inenarráveis peregrinações, de Fernando Sabino, publicado em 1979, é uma obra contemporânea que dialoga, ao mesmo tempo, com a tradição literária carnavalizada. Com base nas considerações de Michael Bakhtin sobre a carnavalização, é possível notar que o narrador de O Grande Mentecapto envolve o leitor em um jogo de máscaras, tornando o seu modo de narrar moderno e o seu texto ambivalente. Além disso, a polifonia e a intertextualidade, bem como os elementos da cultura popular brasileira, estão presentes nos discursos que integram o romance e ajudam a compor sua multiplicidade. O protagonista do romance, Geraldo Viramundo, revela-se também complexo e ambivalente, assumindo várias identidades e máscaras e trazendo o olhar liberto e renovador típico das obras carnavalizadas. Simultaneamente, por ser um personagem que oscila entre herói e anti-herói, louco e lúcido, sublime e grotesco, livre e preso, familiar e desconhecido, marginalizado e amigável, brasileiro e universal, ele representa, em um andamento tragicômico, grandes conflitos sociais e profundas crises humanas. Por fim, a trajetória de Viramundo é fragmentada e contém imprecisões temporal e espacial típicas das obras contemporâneas ao mesmo tempo em que a narrativa converge o tempo todo para o simbolismo da praça pública, caracterizador das obras carnavalizadas. O Grande Mentecapto também pode ser lido como uma alegoria de uma determinada estrutura social brasileira, por meio de relações instauradas entre a ficção e acontecimentos sócio-históricos ocorridos tanto no tempo da narrativa como na época de publicação do romance. Portanto, nota-se que o lugar de O Grande Mentecapto na produção literária brasileira é o de um romance que resgata elementos da tradição carnavalizada combinando-os com ...
Abstract: This study fulfills the aim of showing how the Brazilian novel O Grande Mentecapto: relato das aventuras e desventuras de Viramundo e de suas inenarráveis peregrinações, by Fernando Sabino, published in 1979, is a contemporary work which converses at the same time,with the carnivalized literary tradition. Based on Michael Bakhtin's considerations about carnivalization, is possible to note that the narrator of O Grande Mentecapto involves the read in a game of masks, changing his way to narrate modern and his text in ambivalent. Furthermore, polyphony and intertextuality, as well as Brazilian popular culture's elements, are present in the speeches that integrate the novel and help composing its multiplicity. The novel's protagonist, Geraldo Viramundo, proves to be complex and ambivalent, taking on various identities and masks and bringing a typical liberating and renovating view of carnivalized works. Simultaneously, being a character that oscillates between hero and antihero, crazy and lucid, sublime and grotesque, free and trapped, familiar and unknown, marginalized and well liked, Brazilian and universal, he represents the big social conflicts and the human crisis in a deep manner. Finally, the Viramundo's trajectory is fragmented and contains the typical temporal and spatial imprecision of contemporary works while the narrative converges all the time the symbolism of the public square, which characterize the carnivalized works. So, O Grande Mentecapto can also be read as an allegory of a determined Brazilian social structure, thorough relations done between fiction and social historical facts that occurred not only in the narrative time, but in the publication's epoch of the novel. Therefore, we note that O Grande Mentecapto's place in Brazilian literary production is a novel that rescues carnivalized tradition's elements combining them with contemporary literature's aspects
Mestre

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Oliveira, Anabela Dinis Branco de. "Romance português e polifonia(s)". Vila Real : [s.n.], 2003. http://home.utad.pt/~aoliveir/tese.pdf.

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Heinz, Sarah. "Die Einheit in der Differenz : Metapher, Romance und Identität in A. S. Byatts Romanen /". Tübingen : G. Narr, 2007. http://catalogue.bnf.fr/ark:/12148/cb41113038d.

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Burge, Amy. "Desiring the east : a comparative study of Middle English romance and modern popular sheikh romance". Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3121/.

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This thesis comparatively examines a selection of twenty-first century sheikh romances and Middle English romances from the fourteenth and fifteenth centuries that imagine an erotic relationship occurring between east and west. They do so against a background of conflict, articulated in military confrontation and binary religious and ethnic division. The thesis explores the strategies used to facilitate the cross-cultural relationship across such a gulf of difference and considers what a comparison of medieval and modern romance can reveal about attitudes towards otherness in popular romance. In Chapter 1, I analyse the construction of the east in each genre, investigating how the homogenisation of the romance east in sheikh romance distances it from the geopolitical reality of those parts of the Middle East seen, by the west, to be "other". Chapter 2 examines the articulation of gender identity and the ways in which these romances subvert and reassert binary gender difference to uphold normative heterosexual relations. Chapter 3 considers how ethnic and religious difference is nuanced, in particular through the use of fabric, breaking down the disjunction between east and west. Chapter 4 investigates the way ethnicity, religion and gender affect hierarchies of power in the abduction motif, enabling undesirable aspects of the east to be recast. The key finding of this thesis is that both romance genres facilitate the cross-cultural erotic relationship by rewriting apparently binary differences of religion and ethnicity to create sameness. While the east is figured differently in Middle English and modern sheikh romance, the strategies they use to facilitate the cross-cultural erotic relationship are similar. The thesis concludes that the constancy of certain attitudes towards the east in both medieval and modern romance reveals a persistence of conservative values in representations of the east in romance.

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Fontes, Rosa Lucia Miguel. "O romance como epopéia de uma era: um estudo do romance Angústia, de Graciliano Ramos". Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/LETR-89PK4H.

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Esta dissertação procura investigar o romance Angústia, como gênero moderno, dentro de uma perspectiva analítica, reflexiva e histórica, a começar pela constituição do herói problemático, representando seu tempo e seu espaço. A base teórica desta pesquisa é a concepção do romance expressa na Teoria do Romance, de Lukács. Para o teórico, o romance surge da dissolução da narrativa medieval e somente no século XIX ele se confirma como forma típica da consciência burguesa da literatura, expressando seus dilemas e dando nova e moderna configuração ao gênero. O romance Angústia não trata apenas sobre a história de um herói problemático, mas sobre o seu contexto histórico problemático, isto é, o tempo e a sociedade do Brasil da época. Luís da Silva representa a sociedade moderna e seu destino é imposto por determinações sociais, pessoais, familiares e políticas, bem como as concepções de tempo e espaço e, também, a relação do escritor no seu ato criador - ironia - como 'intenção normativa do romance' que traz subjacente à narrativa a perspectiva do autor como traço biográfico.

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Kapic, Ajla. "The Notebook and the Romance Genre : An Investigation of The Notebook As A Romance Novel". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-90699.

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Critics and readers often consider Nicholas Sparks’ novel The Notebook to be a romance novel, while Sparks himself considers it a love story. Sparks claims that there are no similarities between the two genres. Therefore, this paper investigates the differences and similarities between the romance genre and the love story genre, while simultaneously exploring The Notebook’s storyline, the characterization, and the marketing surrounding the book in order to understand the novel’s classification. The purpose is to discover if The Notebook can be identified as a romance even if it never was Sparks’ intention. The only aspect that differs between the genres is how the ending is written, other than that there are no remarkable differences. There are also several elements that validates that The Notebook has romantic features. Both of the protagonists have romance characteristics, the cover of the novel is a characteristic romance cover, and the storyline itself is based on a romance structure and it follows all of the essential romance elements. The conclusion of this paper is that The Notebook has romance elements and therefore can be placed in the romance genre even if that never was Sparks’ intention.

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Fernandes, Herisson Cardoso. "Elementos para uma ontologia do romance : um estudo sobre a arte do romance de Milan Kundera". reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/31277.

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Dissertação (mestrado)—Universidade de Brasília,Instituto de Ciências Humanas, Programa de Pós-Graduação em Metafísica, 2017.
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O Romance, enquanto instância artística e literária, é fundado sobre um determinado e específico número de elementos? Se sim, é possível identificar quais seriam eles? Ou seja, pensando ontologicamente, há algum conjunto de fundamentos que fazem o romance ser o que é? Essas são indagações das quais partimos para analisar os textos ensaísticos do romancista tcheco Milan Kundera. Em seu livro A arte do romance, de 1983, Kundera discute – a partir das reflexões do filósofo Edmund Husserl acerca da modernidade – sobre o fazer romanesco, bem como a posição do romance neste momento da história. Tomando como pressuposto a abordagem proposta pelo grupo de pesquisa Epistemologia do Romance, pretendemos decompor o pensamento teórico de Kundera, no sentido de intentar encontrar aqueles que podem ser considerados os elementos ontológicos de sua própria criação romanesca, bem como discutir uma das proposições fundamentais do pensamento kunderiano: a de que o romance possui uma sabedoria que lhe é própria. A pesquisa será pautada fundamentalmente nas propostas exibidas por Kundera em A arte do romance, dialogando com outros textos ensaísticos do autor como Testamentos traídos (1993), A cortina (2005) e Um encontro (2009).
Is the Romance, as an artistic and literary instance, founded on a precise and specific number of elements? If so, what are they? Ontologically thinking, are there any set of fundamentals that make the romance what it is? These are the questions which we set out to analyze the essay texts of the Czech novelist Milan Kundera. In his book The Art of Novel, 1983, Kundera discusses – since reflections about modernity of the philosopher Edmund Husserl – about the romanesque doing, as well as the position of the novel at this moment in history. Taking as a presupposition the approach proposed by the research group Epistemology of Romance, we intend to decompose the theoretical thought of Kundera, in the sense of trying to find those that can be considered the ontological elements of his own romanesque creation, as well as to discuss one of the fundamental propositions of the kunderian thought: that the novel has its own wisdom. The research will be placed fundamentally on the proposals presented by Kundera in The Art of the Novel, dialoguing with other essayistic Kundera‟s texts as Testaments betrayed (1993), The curtain (2005) and Encounter (2009).

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Berchtold, Elisabeth. "Dictionnaire de l’ancien francoprovençal : conception d’un projet lexicographique et réalisation sectorielle". Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0311.

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L'objectif de cette thèse est de combler des lacunes scientifiques dans la connaissance de l’histoire du francoprovençal et de son lexique. En effet, à l'heure actuelle aucun travail de synthèse ne regroupe les matériaux anciens du francoprovençal et dans le Französisches Etymologisches Wörterbuch (FEW), qui pourrait remplir cette fonction, les états anciens du francoprovençal sont sous-représentés en raison de l'absence d'un tel travail. La conséquence est un grand déséquilibre avec la connaissance que nous avons de l'ancien français et occitan qui sont les langues romanes anciennes les mieux décrites. Les sources en francoprovençal sont relativement peu nombreuses parce que cette langue a été de tout temps confiné à un usage essentiellement oral. La littérature ancienne se borne à quelques textes d'édification et un traité juridique, surtout des traductions. À partir du XVIième siècle se développe une littérature en patois le plus souvent fortement ancrée localement. Les auteurs qui voulaient toucher un publique plus large ont très tôt opté pour le français. Les sources documentaires sont plus nombreuses, mais très inégalement réparties dans l'espace. Les sources issues de la partie française du domaine ont pour la plupart été éditées, mais beaucoup d'entre elles sont difficilement exploitables en l'absence de glossaires. La situation est plus favorable en Suisse romande où le Glossaire des patois de la Suisse romande (Gl.) documente non seulement les dialectes modernes, mais aussi leurs états anciens. Pour cette raison nous nous sommes concentrée sur la partie française du domaine et nous nous sommes basée sur le Gl. pour la partie suisse. En collaboration avec une autre doctorante, Laure Grüner, nous avons rassemblé les sources intéressantes pour l'étude de l'ancien francoprovençal de France et nous avons procédé à des dépouillements étendus. Sur cette base, nous avons élaboré un modèle de description lexicographique adapté à l’ancien francoprovençal et nous avons rédigé la tranche f de ce Dictionnaire de l'ancien francoprovençal, qui représente environ un vingtième du dictionnaire complet, afin de prouver la faisabilité du projet et d'évaluer son apport à la connaissance de l’ancien francoprovençal. Plus de la moitié de nos articles documentent des unités lexicales qui n'étaient pas encore attestées en ancien francoprovençal de France dans le FEW et dans une bonne partie des autres cas nous pouvons compléter les matériaux. Sur la base des 386 articles rédigés, nous évaluons la nomenclature complète du dictionnaires à 7’500 articles et le temps de rédaction à une bonne douzaine d'années de travail d'une personne à temps plein. Nous avons aussi envisagé plusieurs possibilités pour obtenir des résultats tangibles dans des délais plus courts
The aim of this thesis is to fill in the scientific gaps concerning the knowledge of the history of Francoprovençal and its vocabulary. Currently, there is no synthesis of the available documentation of Old Francoprovençal. In the Französisches Etymologisches Wörterbuch (FEW), that could fulfil this function, the older states of Francoprovençal are underrepresented because of the lack of this kind of work. The consequence is a huge imbalance with the knowledge we have for instance of Old French and Occitan which are the best known Romance languages of the past.There are few sources in Francoprovençal because this language has always been mostly oral. The oldest literature consists of a few religious texts and a legal treaty. Most of them are translations. From the 16th century onward, a locally based literature emerges generally with modest ambitions. Authors wanting to reach a larger audience chose French at a very early stage. The documentary sources are more numerous but very unevenly spread. Most sources from the French part are edited, but many of them lack a glossary and are difficult to handle. The situation is better in Switzerland, where the Glossaire des patois de la Suisse romande (Gl.) provides documentation not only regarding the modern dialects but also their older stages. For this reason, we concentrated our work on the French part and relied on the Gl. for the Swiss part. Together with an other PhD student, Laure Grüner, we gathered the sources and extracted the interesting lexical forms.Based on this documentation, we elaborated a lexicographical description template suitable for Old Francoprovençal. We wrote the articles of this Dictionnaire de l'ancien francoprovençal beginning with the letter f which represents about one twentieth of the whole dictionary. Not only did this provide a proof of its feasibility, but it also assessed its contribution to the knowledge on Old Francoprovençal. More than a half of the articles gather evidence for lexical units not yet documented in this language regarding the French part of the linguistic area, whereas for most of the others we could complete the existing documentation. Based on the 386 articles written, we estimate the complete nomenclature at approximately 7’500 articles and the time needed to write them at about twelve years. We also considered various possibilities to get tangible outcomes in a shorter amount of time

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Roberts, Helen A. "Romance idealism and insular realities : Chretien de Troyes, the Middle Welsh 'romances' and the English tradition". Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408879.

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Lee, Jun-yu Phoebe. "Balcony romance stage distance and closure /". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B36763159.

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Moorman, Taylor Leigh. "Blurring boundaries: pleasures of popular romance". Thesis, Montana State University, 2011. http://etd.lib.montana.edu/etd/2011/moorman/MoormanT0511.pdf.

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Immersed in the fantasy worlds of fairy tales and popular romance novels, this project explores the experience of reading for pleasure. Using the fairy tale, "Beauty and the Beast" as well as its retelling in popular romance format in Linda Jones' Debuty and the Beast, my work explores the tension and enjoyment of being a reader of romance while simultaneously internalizing the literary hierarchy that can relegate pleasure to the bottom of the value system. Ultimately, this thesis seeks out the places and times between the concrete, the literary seams amidst the defined limitations of what we think we know, and reexamines the value of pleasure and play for readers of the romance genre.

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Bonaldo, Deivis Jhones Garlet. "O romance dialético em José Saramago". Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/12080.

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Studies about the work of José Saramago, especially in the novel genre, are generally of a focus on political and ideological content represented in the narratives. Topics such as the question of democracy, the hypocrisy of the dominant social sectors, individualism egocentric and a pragmatic utilitarianism, violence, besides the increase of rationality dominated by the logic of capital, finally, dehumanization and the lack of a substantive policy - criticism of the author as a citizen - are transformed into literary material, as reflections and refractions of the ideological environment in which the writer was inserted, especially in relation to the late twentieth century and early twenty-first. Certainly such contents allow different ways of understanding, based on different theories and methods, justifying, of course, multiple hermeneutic results, which contributes to the evidence of the polysemic richness of the works of the Portuguese author. From the analysis of the novels Essay on the blindness, Essay on the lucidity and The flashes of death along the comparison with literary criticism, we propose the thesis that the axiological content refracted in Saramago prose takes place because of a structure, here bounded to the plot and the form and function of the narrator, the character and irony, eminently dialectical - which assumes the condition principle of aesthetic construction. In terms of plots, the progression of actions takes place dialectically, converging to an open textual and narrative explicit in becoming, directing - the strength of the dynamics of the fictional world - the player to return to the incipit and epigraphs, so that being aware of the harmony of appearance and essence of contradictions struggle. Surely, the narrative instance, the character and the irony, part of a structured whole, contribute decisively to the realization of continuous and discontinuous movement of the novelistic universe, as well formatted and functional by the general aesthetic criterion. As a whole structured, the Saramago work has an aesthetic principle dialectical and political postulate and humanistic-democratic ideological, fully converged to produce the axiological sense because of man, rationality, freedom and responsibility, that is, a ethical individual according to his phenomenal eventicidade. Finally, the work of José Saramago erects itself as a carrier-sign object of axiological charge rapidly symbolic counterpoint to the world of globalization and the objectification of abstract novelistic structure of narratives, we entertained the need to consider the aesthetic principle dialectical as essential, either to corroborate or resize aspects of content, is to understand the artistic position and citizen of the portuguese writer.
Os estudos acerca da obra de José Saramago, sobretudo no gênero romance, apresentam, geralmente, um enfoque no conteúdo político-ideológico representado nas narrativas. Temas como a questão da democracia, a hipocrisia dos setores sociais dominantes, o individualismo egocêntrico e de um utilitarismo pragmático, a violência, além do avanço de uma racionalidade dominada pela lógica do capital, enfim, a desumanização e a carência de uma política substantiva – críticas do autor enquanto cidadão – são transformados em matéria literária, na qualidade de reflexos e refrações do meio ideológico no qual o escritor estava inserido, especialmente em relação ao final do século XX e início do XXI. Certamente, tais conteúdos permitem diversos modos de compreensão, com base em diferentes teorias e métodos, justificando, naturalmente, múltiplos resultados hermenêuticos, o que contribui para a comprovação da riqueza polissêmica das obras do autor português. A partir da análise dos romances Ensaio sobre a cegueira, Ensaio sobre a lucidez e As intermitências da morte, juntamente ao cotejo com a crítica literária, propomos a tese de que o conteúdo axiológico refratado na prosa saramaguiana realiza-se em razão de uma estrutura, aqui delimitada ao enredo e à forma-função do narrador, da personagem e da ironia, eminentemente dialética – a qual assume a condição de princípio de construção estética. No plano dos enredos, a progressão das ações se dá dialeticamente, confluindo para um explicit textual e narrativo aberto, em devir, orientando – pela força da dinâmica do mundo ficcional – o leitor para que retorne ao incipit e às epígrafes, de modo a que se aperceba da aparência de harmonia e da essência de luta de contradições. Seguramente, a instância narrativa, a personagem e a ironia, partes de um todo estruturado, contribuem decisivamente para a realização do movimento contínuo e descontínuo do universo romanesco, uma vez que também formatados e funcionais pelo critério estético geral. Como um todo estruturado, a obra saramaguiana possui um princípio estético dialético e um postulado político e ideológico humanista-democrático, plenamente convergentes para a produção do sentido axiológico em causa do homem, da racionalidade, da liberdade e da responsabilidade, isto é, de um indivíduo ético em acordo com a sua eventicidade fenomenal. Enfim, a obra de José Saramago erige-se como um objeto-signo portador de uma carga axiológica em franco contraponto simbólico ao mundo da globalização e, pela objetivação da abstrata estrutura romanesca das narrativas, podemos aventar a necessidade de se considerar o princípio estético dialético como incontornável, seja para corroborar ou redimensionar aspectos de conteúdo, seja para compreender a posição artística e cidadã do escritor lusitano.

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AlKhalil, Muhamed. "Nizar Qabbani: From Romance to Exile". Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1336%5F1%5Fm.pdf&type=application/pdf.

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Scida, Emily. "The inflected infinitive in Romance languages /". New York [u.a.] : Routledge, 2004. http://www.loc.gov/catdir/enhancements/fy0648/2004051431-d.html.

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Uddin-Khan, Evelyn Angelina. "Gender, ethnicity and the romance novel /". Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11848650.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1995.
Includes tables. Typescript; issued also on microfilm. Sponsor: Florence McCarthy. Dissertation Committee: Allayne Sullivan. Includes bibliographical references (leaves 155-164).

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Caldwell, David E. "Production grammars for romance kinship terminology". Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66069.

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