Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-01T13:07:29Z No. of bitstreams: 1 pedrodefreitasdamascenodarocha.pdf: 658443 bytes, checksum: bfa6c3662042f0427d937294c9352b8f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T16:00:27Z (GMT) No. of bitstreams: 1 pedrodefreitasdamascenodarocha.pdf: 658443 bytes, checksum: bfa6c3662042f0427d937294c9352b8f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T16:00:46Z (GMT) No. of bitstreams: 1 pedrodefreitasdamascenodarocha.pdf: 658443 bytes, checksum: bfa6c3662042f0427d937294c9352b8f (MD5) / Made available in DSpace on 2016-07-13T16:00:46Z (GMT). No. of bitstreams: 1 pedrodefreitasdamascenodarocha.pdf: 658443 bytes, checksum: bfa6c3662042f0427d937294c9352b8f (MD5) Previous issue date: 2012-12-19 / Este trabalho se debruça sobre as obras de ficção da escritora Tatiana Salem Levy. Nas obras estudadas, é marcante a tendência que a vida tem para a calamidade, constantemente anunciada por tempestades, acentuando seu caráter imperativo e inevitável. Em contraposição, destaca-se igualmente sua capacidade de restauração que brota de ínfimas frestas do caos instalado no cenário em que se desenvolvem as ações. Nesta tensão, as personagens perdem suas referências e precisam reestabelecer-se de alguma forma para sentirem-se novamente integradas, preenchidas de vida. Outro ponto intrigante nas obras da autora é a constante parca possibilidade de identificação destas personagens, uma vez que na maioria dos casos elas não possuem nome e se fazem incógnitas para os leitores. É difícil estabelecer o motivo desta falta de identidade, se esta fora motivada pela perda, ou a perda apenas corrobora o sentimento de vazio e falta de traços identitários marcantes. Para o sujeito repleto de lacunas, a realidade é absorvida em pedaços, fragmentos colecionados e guardados como esboço de um ideal de vaga realidade a qual pertence e representa, acredita pertencer e representar, ou ainda, da qual deseja pertencer e representar. Estes fragmentos são monumentos da significação alegórica que determinam a passagem do tempo e da decomposição de seus elementos em detrimento da confirmação de perenidade da identidade fixa. Ou seja, da modificação do próprio sujeito que, ao ver-se apegado à determinada condição ou a fatos do passado de sua existência, embota o presente e deixa de vislumbrar o futuro. Constitui-se, assim, no fazer literário, no lugar da escrita, o espaço viabilizador da reafirmação da identidade perdida, uma vez que escrever como processo de busca ampara-se em um trabalho consciente do sujeito às disposições de si presente na sociedade que o circunda. O objetivo deste trabalho é estabelecer padrões de comportamento a partir das ações das personagens, partindo da ausência de um eu afirmativo que desempenha uma ação, e estratégias comuns de reconstrução de suas personalidades. Para tanto, destacarei algumas características notadas nos textos, que servirão de pilares estruturantes de minha argumentação, quais sejam: as perdas, os nomes, os espaços e os discursos. / This paper focuses on the works of fiction writer Tatiana Salem Levy. In the works studied, is remarkable the tendency life has to calamity, constantly heralded by natural disasters, pointing out to its inevitability. In contrast, there is also a restoring ability which comes from tiny cracks from the chaos described in the stories. In this tension, the characters lose their references and need to re-establish themselves in some way to feel again integrated, fulfilled with life. Another intriguing issue is the constant possibility of identifying these characters, since in most cases they do not have names and are unknown to the readers. It is difficult to establish the reason for this lack of identity, whether it was motivated by the loss, or loss only confirms the feeling of emptiness and lack of identity features striking. As the subject are full of gaps, the reality is absorbed into pieces, fragments collected and saved as an outline and vague ideal of reality to which they belong or believe to belong. These fragments are monuments of the allegorical significance that determine the passage of time and the decomposition of its elements to the detriment of the confirmation of durability of fixed identity. Writing thus becomes the ideal place to the replace the subjects into society, specially to the ones they believe to have lost. The objective of this work is to establish standards of behaviour from the actions of the characters through which they aim to rebuild their personalities. The structural pillars of my argument, are: losses, names, places and speeches.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-27T18:49:15Z No. of bitstreams: 1 gheysalemesgoncalvesgama.pdf: 4548618 bytes, checksum: 237e8caee2745f73a0be0a21f32bed87 (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2016-09-27T20:48:27Z (GMT) No. of bitstreams: 1 gheysalemesgoncalvesgama.pdf: 4548618 bytes, checksum: 237e8caee2745f73a0be0a21f32bed87 (MD5) / Made available in DSpace on 2016-09-27T20:48:27Z (GMT). No. of bitstreams: 1 gheysalemesgoncalvesgama.pdf: 4548618 bytes, checksum: 237e8caee2745f73a0be0a21f32bed87 (MD5) Previous issue date: 2016-05-31 / A presente tese pretende investigar a mudança na representação da identidade cultural analisando o papel alegórico desempenhado pela estrada nos road movie brasileiros lançados entre 1960 e 2015. A hipótese revela que este grupo de obras fílmicas apresenta, num determinado momento histórico, representações de identidade coletiva (a identidade nacional), modificando-se posteriormente, para representar uma identidade fragmentada. Como resultado desse esforço observa-se a existência daquilo que presentemente estamos chamando de duas fases do road movie brasileiro: a “Viagem Física” (congrega filmes lançados entre a década de 1960 até 1998) e a “Jornada Interior” (com filmes de 1998 até 2015). O que mais diferencia essas duas fases são as alegorias assumidas pela estrada nestes road movies, que se modificam, ao mesmo tempo em que se verifica mudança na própria identidade cultural, esta última confirmada em autores como Anderson (2008); Bauman (2008, 2001, 1998) e Hall (2005). Se na primeira fase a estrada é apresentada como uma alegoria da nação e do povo brasileiro, na segunda fase, começa a representar a transformação individual, odisseia subjetiva, um espaço existencial, de transformação, que se configura como um ritual de passagem. A tese é amparada, para além dos fundamentos teóricos, na análise fílmica de seis películas: Iracema, uma transa amazônica (BODANZKY; SENNA, 1974); Bye bye Brasil (DIEGUES, 1979); Jorge, um brasileiro (THIAGO, 1988); Central do Brasil (SALLES, 1998); Cinemas, aspirinas e urubus (GOMES, 2005) e Dromedário no asfalto (VARGAS, 2014). Assim, se busca demonstrar, observando a representação de algumas características sociais e culturais presentes no cinema nacional, a real confluência entre as mudanças alegóricas nos road movies brasileiros com as transformações na construção da nossa própria identidade cultural. / This thesis aims to investigate the change in the representations of the cultural identity by analyzing the allegorical role played by the road in the Brazilian road movies released between 1960 and 2015. The hypothesis is that this group of films brings about, in a given historical moment, representations of collective identity (national identity), but changing later to represent a fragmented identity. As a result of this effort one might find the existence of what is now being called the two phases of the Brazilian road movie: the "Physical Journey" (congregating films released between 1960 to 1998) and the "Journey Within" (films from 1998 to 2015). What most distinguishes these two phases are the allegories personified by the road in these road movies, which change at the same time that changes in the cultural identity occur, the latter being confirmed by authors such as Anderson (2008); Bauman (2008, 2001, 1998) and Hall (2005). If the first phase, the road is presented as an allegory of the nation and of the Brazilian people, whereas in the second phase it begins to represent the individual transformation, the subjective odyssey, an existential space of transformation, which is configured as a rite of passage. The thesis is supported, in addition to the theoretical foundations, by the cinematic analysis of six films: Iracema, uma transa amazônica (BODANZKY; SENNA, 1974); Bye bye Brasil (DIEGUES, 1979); Jorge, um brasileiro (THIAGO, 1988); Central do Brasil (SALLES, 1998); Cinemas, aspirinas e urubus (GOMES, 2005) e Dromedário no asfalto (VARGAS, 2014). Thus, this work seeks to show, by watching the representation of some social and cultural characteristics present in the national cinema, the real confluence between the allegorical changes in Brazilian road movies with those in the construction of our own cultural identity.

This thesis examines the depiction of warfare in post-9/11 ancient world epics and assesses the extent to which these films engage with contemporary events by means of allegory and analogy. Inspired by scholarship on allegorical and analogous interpretations of 1950s-60s ancient world epics, I explore how the current cycle engages with the American socio-political landscape in the wake of 9/11, with particular emphasis on the War on Terror and ensuing conflicts in Iraq and Afghanistan. I chart the genre’s evolution in relation to the combat film, and examine how the current cycle of ancient world epics integrates the tropes of other genres into its portrayal of warfare, invasion, occupation and imperialism. Within this context, I explore the recurrent motif of the father-son dynamic, and assess how its use in combat films corresponds to that in ancient world epics. I also discuss how this motif was employed in 1980s Vietnam War films, and what its use in these modern epics suggests about the conflicts in Iraq and Afghanistan. Furthermore, I discuss the use of the unreliable narrator to engage with wider debates on the value of historical films compared to written history. The aim of this study is to demonstrate that the ancient world epic is a malleable construct with which filmmakers can engage with the present while depicting the past. I build on existing studies of the ancient world in cinema, contributing new understanding of the current cycle’s relationship to its predecessors, to other genres, and to post-9/11 American society. In so doing this thesis contributes to notions of film as art, as industry, and as history, and how they intersect in cinematic depictions of the ancient world.

M.A. (English) / Yann Martel’s Life of Pi takes as its focal point a deeply traumatic event that befalls its main protagonist, Pi Patel. One effect of Pi’s traumatic experience is that it hinders his ability fully to communicate the scope and detail of his suffering. This dissertation seeks to show how, through a deftly woven, framed narrative, the use of the mode of the fantastic and an ambiguous allegory, the novel works creatively to confront the difficulties inherent in the representation of Pi’s trauma. The central tenets of trauma theory offer illuminating perspectives from which to examine the manifestation of trauma in this novel. The framed narrative, when considered within the context of Jacques Derrida’s description of the performance of the frame in The Truth in Painting, is a performance that suggests possibilities for the figurative representation of Pi’s trauma. The framed narrative engenders a profound sense of ambiguity within the text, which is necessary for the fantastic to function. The fantastic, in this novel, resonates with the experience of trauma and displays significant potential in the saying of the unsaid. Ambiguity also permeates the double narrative presented toward the close of the narrative. The double narrative is an allegory, but not a straightforward one and its unorthodox implementation is best understood in the context of the deconstructive possibilities of allegory as delineated by Paul de Man.

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T21:17:31Z (GMT). No. of bitstreams: 1 Kuramoto_Emy_M.pdf: 5779177 bytes, checksum: 83672f3af392f0bc1a074f2a36eedb3a (MD5) Previous issue date: 2006 / Resumo: Este trabalho procura investigar a obra da fotógrafa norte-americana Diane Arbus (1923-1971). Primeiramente abordando as principais discussões que se aninharam em torno dela, salientando o componente mítico-alegórico que a percorre, e, depois, divisando e discutindo, na forma de ensaios, alguns motivos e aspectos particulares às suas imagens. Estão em debate sua ruptura com o documentarismo clássico; os pontos de inflexão de sua carreira e de seu estilo representativo; o exercício irônico de sua fotografia; a criação de um universo próprio, a filiação com o carnavalesco; a presença renitente de fantasias e máscaras em seu trabalho ¿tanto no sentido estrito (como referentes) como no sentido metafórico¿; sua faceta paródica; os traços relativos à ambiência de suas imagens; e, por fim, seu percurso biográfico e profissional / Abstract: This work attempts to investigate the oeuvre of the photographer Diane Arbus (1923-1971). Firstly focusing on the main discussions that surrounded her, emphasizing the mythic and allegoric component that traverses her work and, subsequently, descrying and discussing, in the form of essays, some peculiar motifs and aspects of her images. We debate the rupture with the classic documentarism; the points of inflexion of her career and of her representative style; the ironic exercise of her photography; the creation of a particular universe, the filiations with the carnivalesque; the renitent presence of fancy dresses and masks in her work -as much in the strict meaning (as referents) as in the metaphoric sense-; her parodistic facet; the traits relating to her images¿s ambience; and, at last, her biographic and professional journey / Mestrado / Multimeios / Mestre em Multimeios

Orientador: Cristina Bruzzo / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-27T13:19:17Z (GMT). No. of bitstreams: 1 Oliveira_EvaAparecidade_D.pdf: 4858628 bytes, checksum: a04d50116faf036bf19530051a1e700c (MD5) Previous issue date: 2015 / Resumo: Este estudo faz uma abordagem estética do filme "O fim e o princípio", do cineasta Eduardo Coutinho. A reflexão se dá em torno da questão do tempo e o tempo do encontro com o outro ao entrecruzar memórias, imagens, palavras e sons do filme. É uma interpretação do filme como criação estética do tempo e da memória, para apreender e entrecruzar temas que emergem dele. A imagem-tempo explora o tempo de forma direta no filme. A Metodologia utilizada é a análise alegórica que apela à imaginação ao construir a ligação entre sentido e imagem, sem a preocupação de estabelecer uma relação lógica. O filme como motivador do pensamento, afirma a potência da arte como forma de pensar o mundo e reinventar outras relações e sensibilidades com o outro. O estudo é entremeado pelos conceitos teóricos de Deleuze, Aumont, Bazin, Martin, Tarkovski, Benjamin e Xavier / Abstract: This study is an aesthetic approach to the film "The end and the beginning," the filmmaker Eduardo Coutinho. The reflection revolves around the issue of time and the meeting time with each other to intersect memories, images, words and sounds of the film. It is an interpretation of the film as an aesthetic creation of time and memory, to seize and interlacing themes that emerges from it. The time-image explores the time directly in the film. The methodology used is the allegorical analysis that appeals to the imagination when building the connection between meaning and image, without the worry of Flores, a logical relationship. The film as a motivator of thought says the power of art as a way of thinking about the world and reinvent other relationships and sensitivities with each other. The study is punctuated by theoretical concepts of Deleuze, Aumont, Bazin, Martin, Tarkovski, Benjamin and Xavier / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutora em Educação

The purpose of this these is to explore Nietzschean values as they appear in three modern allegories: Franz Kafka's The Castle, Albert Camus' The Plague, and Nikos Kazantzakis' Zorba the Greek. The intent is to illustrate Friedrich Nietzsche's three stages of the overman as they apply to Kafka, Camus, and Kazantzakis. (91 pages).

No description available.

This thesis paper supports the Master of Fine Arts exhibition at the Slocumb Galleries, East Tennessee State University, from March 14th through March 18th, 2011. The exhibit is composed of nine oil paintings depicting an invented story about two characters who create a soup for a cooking competition. The show A Matter of Taste chronicles an allegory concerning the evaluation of creative works. Through Gaudie and Baudie's "odd" recipe this work illustrates the ways in artists and art audiences interact and determine artistic value. The work is inspired by techniques in distortion and narrative painting. The following expands on the ideas, influences, techniques, and concepts that helped to create the exhibit.

The paper examines Othello as metapoetry. Throughout the play, key points of comparison between Iago and Shakespeare's methodologies for employing allegory, symbolism, and mimetic plot and character construction shed light upon Shakespeare's self-reflexive use of poetry as an art of imitation. More specifically, the contrast between Shakespeare and Iago's poetry delineates between dynamic and reductive uses of allegory, emphasizes an Aristotelian model of mimesis that makes reason integral to plot and character formation, and underscores an ethical function to poetry generally. In consequence of the division between Iago and Shakespeare as unethical and ethical poets respectively, critical contention concerning the play's representation of race and gender receive commentary. While Iago authors reductive narratives that lead to stereotypes, Shakespeare's narrative critiques and condemns the works of his villain to argue against common opinion and customs which deny justice by replacing individuality with generalizations about groups of people. Moreover, as he demonstrates Iago's conscious, manipulative creation of such reductive narratives for his own purposes, Shakespeare draws attention to the construction of narratives both within and without poetry, and, in so doing, he defends poetry against the Puritan condemnations from his day by showing that these condemnations cannot be restricted to poetry alone. Ultimately, reading the play as metapoetry offers a perspective on Iago's characterization which blurs the typical classifications made by modern critics, challenges the notion of a reason/ imagination dichotomy wherein reason stands outside of or even in opposition to poetic imagination, and exposes the shortcoming of the critical view that Iago represents reason and the play Shakespeare's own concerns about its limitations.