Medusa, Antaeus, and Caesar Libycus

Although it is well known that Lucan’s Libya is a wild and threatening place, its threat is not restricted to indigenous people, places and things, such as Hannibal, Cleopatra, the Syrtes, or the desert with its catalogue of horrifying snakes. He also associates Libya with anti-Republican Romans, above all Julius Caesar, who endangers the Republic with his excessive, animalistic energy and resembles the continent where he is trapped in the final book. Although the gods as characters are removed from the world of the Bellum Civile, Lucan allows supernatural traces to linger in particular locations such as the Gallic grove in Book 3 or Thessaly in Book 6. Libya is by far the greatest of these reservoirs of frightening myth and fantasy, which do violence to the historical credibility of the narrative, just as Libya itself is presented as the origin or conduit of a number of historical characters who assault Italy and Europe. Lucan’s two mythic narratives (Antaeus in Book 4 and Medusa in Book 9) are essential parts of the hostile Libyan landscape, but in very different ways. The male Antaeus, associated with lions, is connected with a region of solid rock where he was destroyed. The female Medusa, associated with snakes, is connected with a region of shifting sands where she left a deadly, everlasting legacy. To complicate matters further, even though Medusa’s snakes represent the annihilation of the Republican self, the logic of the narrative is undermined and there is even a sympathetic subtext. As part of Libya’s historical and mythical legacy, these stories reveal that for Lucan, historical epic is linked with Republicanism, but mythical epic is in the service of dictatorship.

Sob a égide de Afrodite: o espaço feminino em O Despertar, de Kate Chopin

Departing from the theoretical principle of the feminine text as a palimpsest that holds subtextual meanings which, in permanent interaction with the textual surface, disarticulate the oppositional and hierarchical backgrounds of patriarchy, this essay intends to offer a general overview on the narrative instance of space in The Awakening, the most important work by Kate Chopin one of the highlights of Realism in the United States, with the intention to show how the space is itself plenty of and at the same time disseminates into the other narrative elements some inter-dictions to gainsay patriarchy. We intend, in this perspective, to develop an analysis of the space and its subtextual inter-relationships displayed in the symbolic implications of the water, the sea, the circle, and the feminine subjectivity awakening of the work's protagonist.

A desarticulação do universo patriarcal em The awakening, de Kate Chopin

Pós-graduação em Estudos Literários - FCLAR

Índice de sustentabilidade municipal: uma abordagem fuzzy para um sistema de apoio a decisão

Pós-graduação em Ciências Ambientais - Sorocaba

O tempo de O despertar

Departing from the theoretical principle that the feminine text, as a palimpsest, holds subtextual meanings which, in permanent interaction with the textual surface, disarticulate the oppositional and hierarchical backgrounds of patriarchy, this essay intends to offer a general overview on the narrative instance of time in The Awakening, the most important work by Kate Chopin – one of the highlights of Realism in the United States –, with the intention to show how the time instance brings with it and at the same time disseminates into the other narrative elements some inter-dictions to gainsay patriarchy.

Disruptive Threads and Renegade Yarns: Domestic Textile Making in Selected Women's Writing 1811-1925

Images of domestic textiles (items made at home for consumption within the household) and textile making form an important subtext to women’s writing, both during and after industrialization. Through a close reading of five novels from the period 1811-1925, this thesis will assert that a detailed understanding of textile work and its place in women’s daily lives is critical to a deeper understanding of social, sexual and political issues from a woman’s perspective. The first chapter will explore the history of the relationship between women and domestic textile making, and the changes wrought to the latter by the Industrial Revolution. The second chapter will examine the role of embroidery in the construction of “appropriate” feminine gentility in Jane Austen’s Mansfield Park (1814). The third chapter, on Elizabeth Gaskell’s Cranford (1853), will explore how the older female body became a repository for anxieties about class mobility and female power at the beginning of the Victorian era. The fourth chapter will compare Sara Jeannette Duncan’s A Social Departure (1890) and Kate Chopin’s The Awakening (1899) to consider how later Victorian women both internalized and refuted public narratives of domestic textile making in a quest for “self-ownership.” The last chapter, on Martha Ostenso’s Wild Geese (1925), examines the corrosive, yet ultimately redemptive, relationships of a family of women trapped by abuse and degradation. For all five authors, images of textiles and textile making allow them to speak to issues that were usually only discussed within a community of women: sexuality, desire, aging, marriage, and motherhood. In all five works, textile making “talks back” to the power structures that marginalize women, and lends insight into the material and emotional circumstances of women’s lives.

Absences that matter: Performativity and female masculinities

The theoretical and rhetorical apparatus that Halberstam deploys in Female Masculinity reflects an understanding of masculinity and of its relation with gender performativity that seems to be at odds with the most recognizable political objectives of his work. Given the importance of his work and, especially, of the rethinking of gender binarism, I will try to highlight what I see as a problematic subtext of Female Masculinity.

Efectos y ambientes sonoros como herramientas del subtexto en una obra cinematográfica

Esta tesis tiene como objetivo analizar la relación del diseño de sonido cinematográfico con la creación del subtexto en las películas. Se ha procedido a deconstruir el diseño sonoro de una serie de secuencias de películas, para identificar sus diversos elementos –especialmente los efectos y ambientes- y comprender el aporte de estos a la creación del subtexto. Esta tesis realiza una indagación en la construcción sonora de las obras cinematográficas, especialmente de dos elementos: sonidos ambientales o ambientes y efectos de sonido. Estos dos elementos son utilizados comúnmente en la creación de las bandas sonoras, pero aquí se explora su capacidad de crear una relación particular con el espectador, para ayudarle a percibir el subtexto de la obra. La hipótesis que se propone demostrar o negar es que los efectos y ambientes, tienen la capacidad para crear sensaciones en el espectador al ser trabajadas al margen del plano consciente de la percepción sonora. Para hacer esta investigación se partió de una decodificación de varias secuencias de películas que han obtenido reconocimiento internacional por la calidad de su factura; posteriormente se contrastó este análisis con la lectura colectiva de los efectos y ambientes, mediante la realización de un grupo focal.

Disruptive Threads and Renegade Yarns: Domestic Textile Making in Selected Women's Writing 1811-1925

Thesis (Ph.D, English) -- Queen's University, 2016-08-03 13:57:45.102