Wirklichkeit und Fiktion : Alfred Döblins „Tatsachenphantasie“ in seinem historischen Roman „November 1918“

Thèse réalisée en co-tutelle avec l'Université Libre de Berlin, Institut für Deutsche und Niederländische Philologie

A poesia do romance: Memorial de Aires, um caso exemplar

Pós-graduação em Letras - IBILCE

Politics and Poetics of the Novel: Using Domesticity to Create the Nation

This thesis examines how the depiction of the family during war reinforces or challenges societal values in three nineteenth-century novels. The primary focus lies in three novels by Sir Walter Scott, Leo Tolstoy, and Harriet Beecher Stowe that represent the perspectives of England, Russia, and the United States, respectively, and their evolving nationalism as the roots of the Napoleonic Wars and the American Civil War became visible. By investigating the interaction between economic classes, it can be concluded that the preservation of the family is inherently dependent on social status in some nations, while in others, it is integral to daily life regardless of class. The backdrop of impending war only serves to heighten national differences, overturn the organization of the family hierarchy, and redefine the idea of the modern household.

Hyperlinking history and illegitimate imagination : the historiographic metafictional E-novel

‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and engaging that the overtly intertextual, explicitly inventive work of biographical HM can even change the “hegemonic discourse of history” (Nunning 353) for, as Philippa Gregory, the author of HM novel The Other Boleyn Girl (2001), has said regarding this genre of creative writing: “Fiction is about imagined feelings and thoughts. History depends on the outer life. The novel is always about the inner life. Fiction can sometimes do more than history. It can fill the gaps” (University of Sussex). In a way, this article will be filling one of the gaps regarding HM...

Poetics of Subjectivity : Existence and Expressivity in Simone de Beauvoir's Philosophy

In the last thirty years, primarily feminist scholars have drawn attention to and re-evaluated the philosophy of Simone de Beauvoir (1908 1986). Her philosophical practice has been described as non-systematic, and her literary writing has been viewed as part of her non-systematic mode of philosophising. This dissertation radically deepens the question concerning Beauvoir s philosophical motivations for turning to literature as a mode to express subjectivity. It explicates the central concepts of Beauvoir s philosophy of existence, which are subjectivity, ambiguity, paradox and temporality, and their background in the modern traditions of existential philosophy and phenomenology. It also clarifies Beauvoir s main reason to turn to literature in order to express subjectivity as both singular and universal: as a specific mode of communication, literature is able to make the universality of existence manifest in the concrete, singular and temporal texture of life. In addition, the thesis gives examples of how Beauvoir s literary works contribute to an understanding of the complexity of subjectivity. I use the expression poetics of subjectivity to refer to the systematic relation between Beauvoir s existential and phenomenological notion of subjectivity and her literary works, and to her articulations of a creative mode of using language, especially in the novel. The thesis is divided into five chapters, of which the first three investigate Beauvoir s philosophy of existence at the intersection of the modern traditions of thought that began with René Descartes and Søren Kierkegaard s intuitions about subjectivity. Chapter 1 interprets Beauvoir s notion of ambiguity, as compared to paradox, and argues that both determine her notion of existence. Chapters 2 and 3 investigate the phenomenological side of Beauvoir s philosophy through a study of her response to early French interpretations of transcendental subjectivity, especially in the works of Jean-Paul Sartre and Maurice Merleau-Ponty. My analysis shows that Edmund Husserl s distinction between different levels of subjective experience is central to Beauvoir s understanding of subjectivity and to the different ego concepts she uses. Chapter 4 is a study of Beauvoir s reflections on the expression of subjective thought, and, more specifically, her philosophical conceptions of the metaphysical novel and the autobiography as two modes of indirect communication. Chapter 5, finally, compares two modes of investigating concrete subjectivity; Beauvoir s conceptual study of femininity in Le deuxième sexe and her literary expression of subjectivity in the novel L Invitée. My analysis reveals and explicates Beauvoir s original contribution to a comprehensive understanding of the becoming and paradox of human existence: the fundamental insight that these phenomena are sexed, historically as well as imaginatively.

Foretelling pathology: The poetics of prognosis

This paper examines a number of French middle-brow novels, usually called at the time romans de murs, from the period 1880-1910. It shows how, in these stories, doctors are shown to foretell the course of narrative through the diagnosis of certain pathologies, especially psychosexual ones. These pathologies are thus represented as implacable narrative programmes. In effect, most of these novels renounce the standard fictional resources of intrigue and suspense in favour of the relentless working out of their initial prognosis. The authority of medical discourse is therefore not just confirmed and disseminated: it is elaborated as fatality in the very terms of the novel. Copyright © SAGE Publications.

Spaces of Order: An African Poetics of Space

“Spaces of Order” argues that the African novel should be studied as a revolutionary form characterized by aesthetic innovations that are not comprehensible in terms of the novel’s European archive of forms. It does this by mapping an African spatial order that undermines the spatial problematic at the formal and ideological core of the novel—the split between a private, subjective interior, and an abstract, impersonal outside. The project opens with an examination of spatial fragmentation as figured in the “endless forest” of Amos Tutuola’s The Palmwine Drinkard (1952). The second chapter studies Chinua Achebe’s Things Fall Apart (1958) as a fictional world built around a peculiar category of space, the “evil forest,” which constitutes an African principle of order and modality of power. Chapter three returns to Tutuola via Ben Okri’s The Famished Road (1991) and shows how the dispersal of fragmentary spaces of exclusion and terror within the colonial African city helps us conceive of political imaginaries outside the nation and other forms of liberal political communities. The fourth chapter shows Nnedi Okorafor—in her 2014 science-fiction novel Lagoon—rewriting Things Fall Apart as an alien-encounter narrative in which Africa is center-stage of a planetary, multi-species drama. Spaces of Order is a study of the African novel as a new logic of world making altogether.

Towards a digital poetics

This thesis extrapolates electronic literature’s différance, proposing an ontology of the form through critical inspection of its traits and peculiarities. Rather than offering a prescriptive definition of electronic literature, this thesis takes an ontological approach through descriptive exploration. In essence, my approach is anti-essentialist, in that I dismiss the view that electronic literature has a specific set of attributes. As will be explored throughout, there are aesthetic properties which frequently emerge, but the implication of their presence remains transient, to the point where electronic literature cannot be one thing, for to be so, it could not be literary. Computational aesthetics resist stable definition, so if we are to achieve an understanding of what separates electronic literature – if it is indeed, separate – from its non-digital counterparts, then we must do so through an articulation of those differences which may, at first, be less apparent. It is an impossibility to state what electronic literature is, as in doing so, one is oblivious to what it might become. The heightened relationship between form and content encountered in this field means that electronic literature is continuously in flux. Literature, while equally resistant to definition, is at least recognisable to our faculties. As readers, we have long possessed the sensibilities necessary to discern the literary from the communicative. Non-digital literary content is open to evolution and experimentation, but predominantly, with a few exceptions, its paratextual form remains consistent. Electronic literature’s content is open to the same artistic manipulation as the physical, but its form too, symbiotically attached to the exponential rate of technological change, gives rise to phenomenological disruption. As multimodal aesthetics challenge our ability to perceive the literary, we should abandon our attempts at defining the relevant works, and instead, seek understanding through analyses of the means by which they differ, and of how they defer, from the literatures that have both preceded and characterised the digital age. This thesis does not seek to resolve the aporetic, but rather, demonstrates how we must extract our theories of the digital out of observation and analysis, as opposed to speculation. This is not to say that my peers are necessarily wrong; I will be in agreement with many of them on a number of matters. My purpose, rather, is to offer some synthesis to a field comprised of a multiplicity of divergent views. Throughout the process of presenting this notion of a new modernity, and offering synthesis to the theories that have emerged from this epoch, I will offer fresh insights and novel approaches to the literary practices of the digital age. In doing so, my purpose will be to contribute to the progression of a consistent and legitimate digital poetics by showing that it cannot be one thing, but a balance of forces – a poetics of equipoise.

AN ANALYSIS OF THE NOVEL “A GENTLE CREATURE”

This paper has the objective to analyze the novel “A Gentle Creature”, of the Russian novelist Fyodor Dostoevsky, using the theoretical concepts covered in the text “1874 – Three Novellas, or ‘What Happened?’” (1996), which makes up the volume 3 of the work A Thousand Plateaus: Capitalism and Schizophrenia, of the French philosophers Gilles Deleuze and Félix Guattari. These concepts can be triggered to realize the approach of the question about the segmentarity lines, which make it possible to make the observation of the changes of state that have occurred with the characters in a literary work, of the ways how undertake movements of territorialization, deterritorialization and reterritorialization in development of such segmentarity lines, which are termed as hard or molar, molecular or malleable, and trail, having the view that it is through them that these characters go through this transformation process. Starting from this analysis, will pick up, too, to connect the theory of these two French philosophers with polyphonic theory presented by Russian philosopher and theorist of language Mikhail Bakhtin in the book Problems of Dostoevsky's poetics (1997), which investigate the concept of polyphony, from Dostoevsky's work, being, among other texts analyzed the Russian novelist, novel to be studied in this work. And the perspective that arises in the analysis proposed in this article, what is sought is to conduct a parallel investigation of how both theories have the possibility of development work in the observation of the characteristics of a literary work, and these characteristics likely to these concepts are related to the lines of segmentarity deleuzo-guattarianas and Bakhtin's polyphony.

A Novel Range Test

In a range test, one party holds a ciphertext and needs to test whether the message encrypted in the ciphertext is within a certain interval range. In this paper, a range test protocol is proposed, where the party holding the ciphertext asks another party holding the private key of the encryption algorithm to help him. These two parties run the protocol to implement the test. The test returns TRUE if and only if the encrypted message is within the certain interval range. If the two parties do not conspire, no information about the encrypted message is revealed from the test except what can be deduced from the test result. Advantages of the new protocol over the existing related techniques are that it achieves correctness, soundness, °exibility, high e±ciency and privacy simultaneously.