86f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-17T12:49:50Z No. of bitstreams: 1 Dissertacao Ana Bicalho.pdf: 371392 bytes, checksum: e0826192558e6c312e59b2bd26e5452a (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-27T21:33:31Z (GMT) No. of bitstreams: 1 Dissertacao Ana Bicalho.pdf: 371392 bytes, checksum: e0826192558e6c312e59b2bd26e5452a (MD5) / Made available in DSpace on 2013-05-27T21:33:31Z (GMT). No. of bitstreams: 1 Dissertacao Ana Bicalho.pdf: 371392 bytes, checksum: e0826192558e6c312e59b2bd26e5452a (MD5) Previous issue date: 2007 / Este trabalho se insere nos Estudos de Tradução e propõe-se a investigar o processo de (re)criação dos tradutores do romance La Peste de Albert Camus, a saber, Graciliano Ramos e Valérie Rumjanek, a partir de uma perspectiva sistêmica e funcional. A base teórica e metodológica adotada é a Teoria do Polissistemas desenvolvida por Itamar Even-Zohar e os fundamentos dos Estudos Descritivos de Tradução que têm como principais representantes Gideon Toury, André Lefevere, José Lambert e Hendrik van Gorp. Foram discutidas, durante a análise, questões referentes ao cânone literário, à fidelidade e originalidade e à relação entre autor e tradutor destacando que um dos tradutores envolvidos é um autor já consagrado na língua de chegada. Em seguida, foi feita uma análise macro e micro-estrutural das traduções envolvidas e, por fim, o levantamento e análise dos aspectos semânticos e sintáticos das traduções encontradas, estabelecendo uma relação crítica com o texto de partida. A análise demonstrou as diferenças entre as traduções e como o contexto e a cultura influenciam no processo de (re)criação, além de apontar as principais opções tradutórias de Graciliano Ramos e Valerie Rumjanek que caracterizam seu estilo como tradutores. / Salvador

En raison du peu d’écrits sur la musique destinée aux marionnettes du symbolisme à la naissance de la musique concrète, l’objet de notre thèse porte sur une mise en perspective de la musique de sept compositeurs écrite pour marionnettes et jouée à Paris entre le symbolisme et la naissance officielle de la musique concrète. Longtemps considérée comme un divertissement, la marionnette acquiert à l’aube du XXe siècle une image d’égérie des avant-gardes et devient le foyer d’expérimentations. Face à l’émergence d’écritures originales sur les plans théâtral ou plastique, nous étudierons à quels moyens expressifs la musique écrite pour marionnettes a recours, dans un langage renouvelé ou non, et comment elle peut ainsi nous éclairer sur la dimension et la nature de son rôle. Notre étude, située à la croisée de plusieurs langages, s’appuie sur l’analyse de signes communs et distinctifs dans une volonté tout d’abord de restitution diachronique à l’aide de supports d’époque, puis d’analyse synchronique à travers des recréations contemporaines. / There being few texts on music composed for puppet-shows between the time of the symbolists and the beginnings of music concrete, our thesis aims to put into perspective the music of seven composers, written for puppets and performed in Paris between 1886 and 1948. Having been regarded for a long time as mere entertainment puppet-shows are seen at the dawning of the 20th century as the driving force of the avant-garde, and the locus of experimentation. In the face of the emergence of original writing in the fields of theatre and the plastic arts, we shall study the means of expression to which music written for puppet-shows turns, either or not this is in a renewed language, and thus how it might enlighten us on the breadth and nature of its role. Our study, set where several languages meet, is based on the analysis of signs both common and distinctive with the desire first of all to create a diachronic reconstruction with the help of documents of the area, and then a synchronic analysis based on modern recreations.

Submitted by Adriana Martinez (amartinez@unoeste.br) on 2018-03-26T18:14:44Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) THADEU HENRIQUE WITKOWSKI.pdf: 2204613 bytes, checksum: 91474b6feccff723051ce737a7d5988d (MD5) / Made available in DSpace on 2018-03-26T18:14:44Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) THADEU HENRIQUE WITKOWSKI.pdf: 2204613 bytes, checksum: 91474b6feccff723051ce737a7d5988d (MD5) Previous issue date: 2018-03-10 / This research aims to understand the principles of the peasantry environmental management as one of its re-creation strategies. In order to bring major elements for the construction of this work, it was made necessary a bibliographical research, seeking to participate in discussions on the complexity of the agrarian question, arising from the relationship between the capitalism and the peasantry, trying to understand how molded the peasant condition in fact, developing strategies to promote their recreation within the capitalist system, not being part of it and, contradictorily, being part of it. For the development of this research was used the dialectic nature of methodology. The interviews form applied in fields of work, allowing a necessary approach to reality, since the research is done in the "college" and in "countryside", allowing identifying the principles of the peasantry environmental management, seeking them as the peasantry recreating strategies. Thus, the evidences of the principles of the peasantry environmental management are presented by the analysis that meets the following thread. In the first chapter, our analytical effort falls on the capitalism occupation process in the Pontal of Paranapanema seeking to prove how it changed social relations and the landscapes organization of the region. The theoretical and conceptual reflection on the complexity of the agrarian question, in which involves the capitalism advance over agriculture and the peasantry recreation strategies, is presented in the second chapter. It was also sought to understand an introductory environmental management with a systemic approach, highlighting the actions that connect them and give them constitutive coherence that form, maintain, regulate, govern and reveal the complex unit and the design of multiple interactions. In this context we list the principles of environmental management, through methods, procedures and management techniques established in an interrelated way with agricultural activities. Finally, in the fourth chapter, we present the peasantry environmental management evidences unveiled with field work, where we evidenced the peasantry development process as a contradictory expression of the capitalist mode of production. The analyzed data waved to the principles of peasantry environmental management favors the qualification of the methods and molding of the ecosystem developed by the peasantry as green technologies, with which, it beyond the limitations of space, time and knowledge. / Esta pesquisa objetiva compreender os princípios da gestão ambiental do campesinato como uma de suas estratégias de recriação. A fim de trazer maiores elementos para a construção deste trabalho, fora necessário a realização de pesquisa bibliográfica, buscando participar das discussões sobre a complexidade da questão agrária, advinda do relacionamento entre o capital e o campesinato, buscando compreender como moldou-se a condição camponesa na realidade, desenvolvendo estratégias para propiciar sua recriação dentro do sistema capitalista, não sendo parte dele e, contraditoriamente, sendo parte dele. Para o desenvolvimento desta pesquisa fora empregada a método de cunho dialético. As entrevistas foram aplicadas em trabalhos de campos, o que permitiu uma necessária aproximação com realidade, uma vez que a pesquisa faz-se no “campus” e no “campo”, assim possibilitando identificar os princípios de gestão ambiental do campesinato, tendo-os em vista como estratégias de recriação do campesinato. Dessa maneira, as evidências dos princípios de gestão ambiental do campesinato estão apresentadas a partir da análise que obedece ao seguinte encadeamento: no primeiro capítulo, nosso esforço analítico recai sobre o processo de ocupação do capital no Pontal do Paranapanema, buscando evidenciar as alterações estabelecidas pelo capital nas relações sociais e na organização das paisagens da região. A reflexão teórico-conceitual sobre a complexidade da questão agrária, em que se envolve o avanço do capital sobre a agricultura e as estratégias de recriação campesinato, é apresentada no segundo capítulo. Buscou-se também compreender introdutoriamente a gestão ambiental com uma abordagem sistêmica, destacando as ações que as conectam e lhes dão coerência constitutivas, que formam, sustentam, regulam, regem e revelam a unidade complexa e a concepção de múltiplas interações. Neste contexto elencamos os princípios de gestão ambiental, através de procedimentos e técnicas de manejo estabelecidos de forma inter-relacionada ao jeito camponês de fazer agricultura. Por fim, no quarto capítulo, apresentamos os indícios de gestão ambiental do campesinato desvelados com os trabalhos de campo realizados, em que evidenciou-se o processo de desenvolvimento do campesinato como uma expressão contraditória ao modo de produção capitalista. Os dados analisados acenaram que os princípios de gestão ambiental do campesinato favorecem a qualificação dos métodos de aproveitamento e amoldamento ao ecossistema desenvolvidos pelo campesinato como tecnologias ecológicas, com as quais, ultrapassam as limitações de espaço, tempo e conhecimento.

Dans une époque qui manifeste une exacerbation de la représentation de soi (àtravers les réseaux sociaux notamment), notre objet d'étude propose uneréflexion sur la mémoire et la reconstruction d'histoires dans les pratiquesartistiques. Utilisant comme point de départ une production photographiquepersonnelle (Reprises), nous proposons une articulation entre théorie etcréation, dans une dialectique qui part de l'analyse des oeuvres personnelles,pour établir un dialogue avec des théoriciens et des oeuvres contemporainestraitant ces problématiques. Dans ce type de démarches rétrospectives quiréinterprètent le passé, les artistes travaillent à partir des traces matérielles etmnésiques, telles les images d'albums de famille, les archives, les documents oules témoignages. Mêlant des univers esthétiques différents dans une nouvelleunité, ils font coexister leurs propres images avec des sources existantes, des viesdisparues avec leurs propres existences. Leurs oeuvres deviennent alors unerecréation artistique et postulent un espace narratif singulier qui évoque unepoétique de la mémoire. Partielles et fragmentaires, elles donnent à voir unrécit reconfiguré par l'imaginaire et le montage. Elles dépassent le champstrictement photographique et ouvrent leur langage au dialogue avec les autresarts, prenant la forme d'oeuvres hybrides. Quelle relation établir entre mémoire,reconstruction et identité, entre histoire individuelle et histoire collective ? Si lepassé est métamorphosé, comment le reconstruire ? / In a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?

Que se passe-t-il sur scène lors d’un concert de rock ? Quels sont les éléments qui permettent d’apprécier ce moment perçu comme "unique" (improvisation, durée des morceaux, performance, interprétation,…) qui ne semble pas identique au disque ?L’angle d’approche de ce projet se base sur les différences musicologiques entre une version phonographique d’une chanson et sa version concert. L’hypothèse de départ est que ces différences font sens.Dans ce cadre, plusieurs analyses sont nécessaires : l’analyse musicologique, l’analyse scénographique et la prise en compte des éléments sociologiques. En effet, nous pensons que le processus de passage sur scène d’un groupe de musique actuelle, outre un rapport privilégié avec le public qu’il est pertinent de prendre en considération, influe sur le processus créatif du groupe, sur la composition même.Plusieurs concepts sont abordés pour traiter ce questionnement : l’authenticité liée aux musiques rock, la postmodernité, le problème ontologique rencontré par les musiques actuelles, le processus de re-création, la fête et le rituel liés au concert, l’interprétation et la performance. Nous traitons aussi des enjeux du disque (création, industrie) et du concert (définition, création) dans le but de comprendre les contraintes matérielles d’un groupe sur la création.Pour mener à bien ce projet, nous nous appuyons sur l’étude du groupe Noir Désir (productions phonographiques, scéniques, influences, analyses du corpus, etc.) et particulièrement sur des analyses comparatives entre versions phonographiques et versions scéniques afin de découvrir les modalités d’existence d’une re-création musicale lors d’un passage sur scène. / What exactly happens on stage during a rock concert ? What are the elements that enable us to appreciate this moment perceived as "unique" (improvisation, duration of songs, performance, interpretation…) which does not seem to be identical to the record?The angle of approach to this project is based on the musicological differences between a phonographic version of a song and its live version. The hypothesis is that these differences make sense.In this perspective, several points of analysis are necessary: the musicological analysis, the scenographic analysis as well as the sociological aspects.Indeed we think that not only a privileged relationship with the public is relevant, but also the process by which a popular music group does from creating records to going on stage influences the creative process of the group and of the composition itself.To answer these questions, the following concepts will be used: the notion of authenticity that is linked to rock music, postmodernity, the ontological problem which popular music faces, the process of re-creation, the celebration and the rituals inherent to concerts, interpretation and performance. To understand the material constraints of creation for a music group, we dealt with the underlying implications of recording and stage performance. In order to carry out this project successfully, we chose to study Noir Désir (phonographic productions, scenic productions, influences, corpus analysis, etc.) with an emphasis on comparative analysis between phonographic versions and scenic versions to discover the modalities of existence of musical re-creation from record to stage performance.

Prenant appui sur ma pratique plastique, cette thèse s’est développée en marge mon expérience subjective et vécu avec ma mère spirituelle, tout en étant ancrée dans la problématique de la période contemporaine. En ce sens, l’articulation entre mes œuvres plastiques, le patrimoine ancestral africain et l’art contemporain occidental reste un point central de médiation. De même, celles-ci s’articulent avec la magie africaine et la psychothérapie occidentale dans leur dimension thérapeutique. Ainsi donc, cette thèse intitulée « RITE ET POÉTIQUE DU DON DANS L’ART CONTEMPORAIN - Dépense, Dégoût, Destruction » a pour but d’examiner l’expression artistique du déchirement intérieur de mon histoire personnelle, développer des concepts artistiques de la pratique créatrice singulière. La première partie de la thèse situe mon œuvre poïétique dans le processus d’altérité qui mène à la naissance de concepts dans le champ de l’art contemporain, qui ont tendance à façonner la personnalité comme pédagogie d’intégration de l’apprentissage à l’individu. La seconde porte sur l’immatérialité artistique qui se révèle comme un procédé catalyseur du concept de performance. La troisième partie démontre les procédures plastiques d’aujourd’hui auxquelles l’artiste peut faire face en scrutant l’œuvre ritualisée. La quatrième est une mise en œuvre du vohou vohou comme processus de déconstruction d’une nouvelle identité artistique. Le don comme forme de re-création me permet de faire œuvre dans ma pratique picturale. C’est pourquoi, j’ai toujours revendiqué une dimension spirituelle qui apporte à l’œuvre son champ sacré. Plus proche de Michel-Ange ou de Marx Ernest par ma foi en l’art, je crée une œuvre allégorique, qui affirme efficacement la perte re-créatrice comme langage pictural dans l’art contemporain. / On the basis of my practice of plastic arts, this thesis developed alongside my subjective experience lived with my spiritual mother, while staying rooted in the problematics of the contemporary era. In this perspective, the meeting place between my works of art, the African ancestral heritage and the western contemporary art stands as a central point of mediation. These meeting elements also go along with the African magic and the western psychotherapy in their therapeutic dimension. Then, this thesis entitled « RITE AND POETICS OF GIFT IN CONTEMPORARY ART - Exhaustion, Disgust, Destruction » aims at examining the artistic expression of my heartrending personal history, and developing artistic concepts of the singular creative practice. The first part of the thesis identifies my poietic work in the process of otherness which leads to the creation of concepts in the field of contemporary art, which concepts tend to shape the personality as pedagogy for the integration of learning by the individual. The second part is about the artistic immateriality which appears as a catalytic process for the concept of performance. The third part exhibits the nowadays plastic procedures the artist can meet by examining a ritualized work. The fourth one is an implementation of the vohou vohou as a process of deconstruction of a new artistic identity. Gift as a form of re-creation enables me to paint. Therefore, I always claim a spiritual side which endows the work of art with a sacred dimension. Admirer of Michel-angel or Marx Ernest through my faith in art, I create an allegorical work, which effeciently affirms the re-creative loss as a painting style in contemporary art.