Este trabalho de cunho prático-teórico investiga, por meio de ensaios artísticos projetados nas superfícies da cidade, especialmente nas inexpressivas ou degradadas, possibilidades de integrá-las em uma narrativa visual que, ao se inscrever na complexidade do olhar urbano que explora dimensões para além das superfícies, convide as pessoas a criar territórios poéticos, reinventando suas próprias cidades. O projeto propõe a inscrição de figuras de ratos em um trecho selecionado do elevado paulistano \"Minhocão\" e arredores. Os ratos são posicionados estrategicamente e, ao longo do percurso, transformam-se morfologicamente. Essas metamorfoses sugerem, elas próprias, fabulações e promovem interpretações variadas dos significados tanto das figuras quanto das relações entre as superfícies nas quais se inscrevem. Neste projeto a cidade não é tratada como suporte passivo. O que se pretende é explorar possibilidades resultantes da percepção conjunta da ambiência, das características físicas do espaço construído, das figuras inscritas e de outras relações que concorram para a oferta de estímulos a elaborações sintáticas, semânticas, poéticas, políticas da cidade. / This dissertation of theoretical-practical intent investigates, by means of using artistic essays projected at city surfaces, especially in those negligible and derelict cities, possibilities to integrate them in a visual narrative. Such narrative, in the framework of urban eyes\' complexity, which explores dimensions beyond its surfaces, invites people to create poetical territories reinventing their own cities. The project proposes the inscription of rats\' images in a selected stretch of \"Minhocão\" (an elevated way in São Paulo) and its surrounding areas. The rats are strategically placed and, over the route, they are morphologically transformed. These metamorphoses suggests, themselves, fable makings, and fosters most varied interpretations, from both of the images as the relations between the surfaces in which they are inscribed. In this project the city is not treated as a passive support. What it intend is to explore possibilities issued from the joint perception of the ambience, of the physics of constructed space, of the images inscribed and other relationships that compete to offer boosts into syntactic, semantic, poetic and politic elaborations of the city.

Esta tese tem como objetivo analisar como as ações e as forças representadas pelos interesses do Agronegócio globalizado estruturaram, a partir de um encadeamento de concertações realizados por atores institucionais e corporativos, um conjunto de fábulas que vem conformando a expansão da produção agrícola brasileira. Discorre- se a partir da acepção de fábula proposta por Santos (2000) sobre a difusão do processo de globalização que incorpora uma série de fabulações que seriam necessárias para homogeneizar o planeta sob um processo no qual prevaleceriam as fábulas criadas a partir da máquina ideológica sustentada pelas forças de capital hegemônico. Discute-se como, com base nessa contextualização, um intrincado arranjo de interesses com abrangência nas esferas geopolítica, financeira, científica e midiática que contribui para que suas fabulosas narrativas venham convertendo o campo brasileiro em uma extensão de agricultura mundializada. Resgata-se, a partir de uma perspectiva histórica, como os detentores da terra e do poder oligárquicos no Brasil vem se articulando politicamente para tornar o Estado submisso aos seus interesses. Procura-se demonstrar como a ação concertada do establishment capitalista deu impulso à expansão das corporações transnacionais fomentando o avanço tecnológico no campo e o fenômeno da Revolução Verde e seu papel nas narrativas constituintes das fábulas tóxicas. Descreve-se como o conceito de Precisão Agricultura, enquanto sucessor ideológico da Revolução Verde, foi articulado pelo estabelecimento globalizado do agronegócio para legitimar suas fabulosas narrativas. Discute-se como estas forças políticas conservadoras foram impelindo ao Estado e inserindo este na esfera das fábulas que resultaram em uma forte interferência sobre o aparato legal-racional e técnico-estatal, beneficiando as forças políticas e econômicas conectadas ao Agronegócio mundializado e criando um leniente sistema normativo dos Agrotóxicos. Discutem-se as estratégias de marketing engendradas pelas grandes corporações produtoras de Agrotóxicos e pelos demais atores do establishment do Agronegócio e as fabulações a partir das quais se constroem os esforços de convencimento quanto à prevalência do modelo de produção agrícola lastreada na Agricultura de Precisão. Destaca-se como o Agronegócio concentra suas iniciativas voltadas à prática do greenwashing em grandes eventos cenográficos representados pelas suas feiras setoriais que simbolizam a homogeneização das estratégias de propaganda e marketing. Demonstramos que a sustentabilidade é o principal termo utilizado pelo arranjo geopolítico-financeiro-científico-midiático para promover esta narrativa fabulosa sobre o fenômeno no Brasil e, de forma concertada, também no exterior. Realizaram-se trabalhos de campo em consonância com análise bibliográfica e materiais publicitários dessas empresas do agronegócio para atingir tais objetivos, os quais permitem indicar a tese, ou seja, a construção e consolidação das fábulas tóxicas. Conclui-se que um conjunto de fábulas tóxicas, numa perspectiva mundializada, conformam a expansão da produção agrícola brasileira. / This thesis aims at analyzing how the actions and forces that represent the interests of the globalized Agribusiness have structured, from a chain of arrangements carried out by institutional and corporate actors, a set of fables that has shaped the expansion of the Brazilian agricultural production. It is based on the interpretation of fable as proposed by Santos (2000) concerning the diffusion of the globalization processes that incorporates a series of fabrications that would be necessary to homogenize the planet under a set of fables created from the ideological machine supported by the forces of hegemonic capital. It is discussed how, based on such contextualization, an intricate array of interests has been built with a broader scope in the geopolitical, financial, scientific and media spheres that contributes to making its fabulous narratives regarding the conversion of the Brazilian countryside into an extension of globalized agriculture. It seeks to demonstrate how the concerted action of the capitalist establishment has given an impulse to the expansion of multinational corporations fostering the technological advance in the field and the phenomenon of the Green Revolution and its role in the constituent narratives of the toxic fables. It is described how the concept of Precision Agriculture, as the ideological successor of the Green Revolution, has been articulated by the globalized Agribusiness establishment to legitimize its fabulous narratives. Departing from a historical perspective it demonstrates how the landowners and the oligarchic powers in Brazil have been articulating politically to make the State submissive to their interests. It seeks to reveal how the concerted action of the capitalist establishment gave impulse to the expansion of multinational corporations through the technological advance in the field and the phenomenon of the Green Revolution and its role in the constituent narratives of the toxic fables. It is described how the concept of Precision Agriculture, as the ideological successor of the Green Revolution, has been articulated by the globalized Agribusiness establishment to legitimize its fabulous narratives. It is discussed how these conservative political forces were impelling the State to insert itself in the sphere of the fables that resulted in a strong interference on the legal-rational and technical of the States apparatus, benefiting the political and economic forces connected to the globalized Agribusiness and creating a lenient system of regulation for pesticides. It discusses the marketing strategies engendered by the large agrochemical producers and by the other actors of the Agribusiness establishment and the fabulations from which the efforts of convincing about the prevalence of the agricultural production model backed by Precision Agriculture are constructed. It highlights how the Agribusiness concentrates its initiatives aimed at the practice of greenwashing in major staged events represented by its industry trade fairs that symbolize the homogenization of their advertising and marketing strategies. We demonstrate that sustainability is the main term used by the geopolitical-financial-scientific-mediatic arrangement to promote this fabulous narrative about the phenomenon in Brazil and, in a concerted way, also abroad. Fieldwork was carried out in consonance with the bibliographical analysis as well as to the marketing materials made by these Agribusiness companies, which consents to indicate the thesis, that is, the construction and consolidation of the toxic fables. It is concluded that a set of toxic fables, in a globalized perspective, conform the expansion of Brazilian agricultural production.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-17T11:52:46Z No. of bitstreams: 1 Maria Cecilia Conte Carboni.pdf: 33470590 bytes, checksum: 1ea016e00921cb8e0fb9c8a5d4b4d48c (MD5) / Made available in DSpace on 2018-12-17T11:52:46Z (GMT). No. of bitstreams: 1 Maria Cecilia Conte Carboni.pdf: 33470590 bytes, checksum: 1ea016e00921cb8e0fb9c8a5d4b4d48c (MD5) Previous issue date: 2018-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research investigates how photography can transform historical events into happenings, and has as its object a case study of the photographs about the 1924 Revolt, held in São Paulo. Its intention is to speculate on another possible story that the photographs try to tell about the episode, understanding them as trails capable of proposing another narrative. It seeks to transgress the traditional concept of photography as a proof of reality, understood as objective and secure in the register of its referents. Another focus of extreme relevance to the thesis is the question of the constitution of reality constructed by photography, especially when this real context takes on a dimension of historical value. When you come across the photographs, you can see how much they fail to properly register the Revolt, after all, can the photography not record what it photographs? Faced with this question, others are possible, especially the doubt about the photographic record of the historical event. This is the starting point of the research and the main hypotheses raised by this question are: a) the photographic record is not the only element of the photograph; b) photography involves ambivalences that result in powers, capable of catching unsuspected realities in the photographed context; c) from ambivalence, it is possible to review the role of photography as a record and its influence on the arrangement of realities recorded and preserved as memories of time, resulting in photographic fable. In order to arrive at the idea of photographic fable, it was necessary to interface with the field of history, especially when dealing with the event and happening, as well as the trace, so we used a bibliography to support this approach, besides working empirically with the photographs collected in several collections, making the selection of the images, analyzing their narratives and then comparing the photographs, which should be able to identify the traces of those narratives and the possible history that build the facts, from and despite of them. The research is based on concepts and reflections brought by various authors associated with different research fronts that, mainly and at various moments, are associated with each other, through concepts, areas and themes. We emphasize François Dosse and Gilles Deleuze, Mauricio Lazzarato and Muniz Sodré in the discussions around the event, Carlo Ginzburg in the concept of trace, Walter Benjamin as an author who underlies the historical approach, and so many other historians who bring accounts about the time and the city . Authors such as Joan Fontcuberta and, once again, Benjamin, and especially Vilém Flusser, permeate discussions about photography, as well as references to the event of the 1924 Revolt, present in various books and authors. The thesis presents in the first chapter the political and cultural contextualization of the event, in addition to inserting it in the city of São Paulo and in the fragments of the military thought of the time, trying to propose a wide evental arch, even if initially, of photography. In order for the proposed arc to be erected, it is necessary to deconstruct the event, proposing to recognize it in another way. In the second chapter, the object of study is evidenced, bringing to the debate, besides the general nature of photography, the specificities of the photographs in question and their analyzes, identifying them as traces that contribute to different understandings about the Revolt. In the third chapter we will address the issue of the event and the co-ordinations established between this concept and the photographs under analysis, thus proposing the idea of photographic fable / Esta pesquisa investiga como a fotografia pode acontecimentalizar eventos históricos e tem como objeto um estudo de caso das fotografias sobre a Revolta de 1924, ocorrida em São Paulo. Sua intenção é especular sobre outra possível história que as fotografias contam sobre a Revolta, entendendo-as como rastros capazes de propor diferentes narrativas. Propõe-se a transgressão ao conceito tradicional da fotografia como registro da realidade, entendida como objetiva e segura no registro de seus referentes. Outro foco de extrema relevância para a tese é a questão da constituição da realidade construída pela fotografia, sobretudo, quando esse contexto real assume dimensão de valor histórico. Ao se deparar com as fotografias, nota- se o quanto elas deixam de registrar propriamente a Revolta. Daí a pergunta: pode, afinal, a fotografia não registrar aquilo que fotografa? Diante dessa indagação, outras se impõem, em especial, a dúvida sobre o registro fotográfico do evento histórico. Esse é o ponto de partida da pesquisa e as principais hipóteses levantadas por essa questão são: a) o registro fotográfico não é o único elemento da fotografia; b) a fotografia comporta ambivalências que resultam em potências, capazes de flagrar realidades insuspeitas no contexto fotografado; c) a partir da ambivalência, é possível rever o papel da fotografia como registro e sua influência nas tessituras das realidades registradas e conservadas como lembranças do tempo, resultando em fabulações fotográficas. Para chegar à ideia de fabulação fotográfica foi necessária a interface com o campo da História, em especial para tratar da questão do evento e do acontecimento, assim como do rastro. Por isso utilizamos uma bibliografia que fundamentasse essa abordagem, além de trabalhar empiricamente com as fotografias recolhidas em diversos acervos, fazendo a seleção das imagens, a análise de suas narrativas e, em seguida, a comparação entre as fotografias, que deverá ser capaz de identificar os rastros das narrativas e a possível História que constroem os fatos, a partir e apesar deles. A pesquisa fundamenta-se em conceitos e reflexões trazidos por vários autores vinculados a distintas linhas que, sobretudo, e em vários momentos, associam-se entre si, por meio de conceitos, áreas e temas. Ressaltamos François Dosse e Gilles Deleuze, Mauricio Lazzarato e Muniz Sodré nas discussões sobre o acontecimento; Carlo Ginzburg, sobre o conceito de rastro; Walter Benjamin, sobre a abordagem histórica, entre tantos historiadores que refletem sobre a época e a cidade. Autores como Joan Fontcuberta e especialmente Vilém Flusser, incluindo, mais uma vez, Benjamin, permeiam as discussões sobre fotografia, além das referências sobre a Revolta de 1924, presentes em vários estudos. Organizada em três capítulos, a tese apresenta, no primeiro deles, a contextualização política e cultural da Revolta, inserindo-a na cidade de São Paulo e nos fragmentos do pensamento militar da época, tentando propor um amplo arco acontecimental, sem deixar de tratar, ainda que ligeiramente, da fotografia. Para que o arco proposto pudesse ser erguido, foi necessário desconstruir o evento, buscando reconhecê-lo de outra forma. No segundo capítulo, o objeto de estudo evidencia-se, trazendo ao debate, além da natureza geral da fotografia, as especificidades dos registros e suas análises, identificando-os como rastros contribuintes para diferentes entendimentos sobre a Revolta. No terceiro capítulo, abordamos a questão do acontecimento e as coordenações estabelecidas entre este conceito e as fotografias em análise, propondo a ideia de fabulação fotográfica

A presente pesquisa insere-se na área de Estudos da Tradução e consiste em um estudo descritivo orientado ao produto. Tem como proposta examinar um corpus de diferentes retextualizações interlinguais e intralinguais, em português e em espanhol, das fábulas de Tomás de Iriarte, autor espanhol que publicou seu fabulário no século XVIII, o qual foi traduzido, adaptado e republicado diversas vezes ao longo dos séculos, em versão integral ou em partes selecionadas. Para tanto, descrevemos as diferentes operações realizadas nas retextualizações e procuramos colocá-las em relação com diferentes nomenclaturas utilizadas para designar ofertas informativas secundárias, ou textos que se derivam de outro texto que os antecede cronologicamente e visivelmente lhes serve como texto-fonte. Levando em conta que o propósito e o público-alvo das diversas retextualizações de mesmos textos de partida parecem ser a chave para entendê-los, conjugamos uma perspectiva descritiva e uma funcionalista para investigá-las, observando se parecem ter sido elaboradas com o propósito claro de atrair o público infantil ou não. O instrumental de análise básico é o modelo descritivo de tradução literária proposto por Lambert e Van Gorp (2011[1985]), combinado com o trabalho de Genette (2009[1987]) sobre paratextos editoriais. O trabalho estrutura-se em três partes, nas quais desenvolvemos uma contextualização do estudo, apresentamos o referencial teórico e o corpus, e desenvolvemos as análises das fábulas de Iriarte e das retextualizações selecionadas. Os resultados aos quais chegamos permitem classificar as retextualizações analisadas em traduções interlinguais, adaptações interlinguais, adaptações intralinguais e reedições, além de demonstrar procedimentos de tradução e de adaptação, tanto pontuais quanto globais. A pesquisa demonstra a pertinência da abordagem teórica escolhida para a discussão da nomenclatura dos diferentes tipos de retextualização possíveis, o que se obteve por meio de análises macro e microtextuais. / The present research is inserted in the Translation Studies and consists of a descriptive study oriented to the product. Its purpose is to examine a corpus composed by different interlinguistic and intralinguistic retextualizations, both in Portuguese and Spanish, from the fables of Tomás de Iriarte, a Spanish author who first published his work in the 18th century. Iriartes fables have been translated, adapted and republished several times over the centuries, in full version or in selected parts. In order to proceed the analysis, we describe the different operations performed in the retextualizations and try to relate them to different nomenclatures used to designate secondary offers of information, or texts that are derived from another text that precedes them chronologically and clearly serves as source text. Considering that the purpose and the target audience of the various retextualizations of the same source texts seem to be the key to understand them, we combine a descriptive and functionalist perspective to investigate those texts, observing whether they seem to have been aimed at children or not. The basic analysis instrument is the descriptive model of literary translation proposed by Lambert and Van Gorp (2011 [1985]), combined with Genette\'s work (2009 [1987]) on editorial paratexts. The work is structured in three parts, in which we develop a contextualization of the study; present the theoretical reference and the corpus, and develop the analyzes of the fables of Iriarte and the selected retextualizations. The results not only allow us to classify the analyzed retextualizations as interlingual translations, interlingual adaptations, intralinguistic adaptations and reissues, but also demonstrates translation and adaptation procedures, both punctual and global. The research demonstrates the pertinence of the theoretical approach chosen for the discussion of the nomenclature of the different types of possible retextualization, which was obtained through macro and microtextual analyzes.

Purpose The purpose of the paper is to explain how executives can make effective use of fables provided by external guest speakers to create a situation of collective sense-making and centring, based on the story used in a policy making context of a private, Dutch for-profit organization ( fictitiously called Con-Zelo recruitment agency in this article ).   Design/methodology/approach The approach involved collecting and analyzing the ‘Swimming for gold’ fable as part of seven months phenomenological and symbolic study, to confirm organizational sense, identify categorized themes and analyze the process of creation. In which co-author Volkers, as a former member, had access to the organization and familiarity with the organization its history.   Findings The findings emphasize that both fables and myths can in fact establish organizational sense and centring based on categorized themes. Most important is that fables shared by an external guest speaker should not be considered as a singular event, but as start of a process; a true vehicle for collective sense-making and centring. Organizations can then do so through changes and alignment in all five types of cultural artifacts.   Originality/value This paper provides additional value by bridging the gap between theory and practice. Besides illustrating that fables do in fact contain the power to promote a particular point of view, specific meaning and or values and therewith establish organizational sense and centring. This study includes the documentation and cultural analysis of the fable, and illustrates the fable as a vehicle or process for collective sense-making and centring. Furthermore, the suggested fable-stretching model is a so called ‘soup-to-nuts’ approach that can serve as a blue-print for organizational researchers and change agents interested in using external guest speakers and the personal fables they carry out, to establish collective sense-making and centring within an organizational context.

Thomas Churchyard served his country as a soldier and a poet, and he was the only poet besides Edmund Spenser to earn a pension from Queen Elizabeth I. Churchyard maintained a very active literary career: he began publishing during the reign of King Edward VI and continued to do so through the first year of King James I’s reign. Churchyard uses his poetry as a mirror to reflect his preoccupation with the moral fabric of his society. In order to understand Churchyard’s didactic tendencies, readers must become familiar with his poem A Praise of Poetrie, for this poem explores his theory of poetry and the duty of poets to entertain and to teach their readers. He composes poems of different genres, such as the country house poem (the earliest known example of this genre in English), fable, fabliau, and friendship poems, to entertain his audience while he simultaneously teaches them the virtues of charity and temperance.

Cities are concentrations of diverse populations that undergo continual transformation over time. This thesis deals with the question, how does the individual make place in a constantly changing environment? The entry point for this study was looking at neglected places in urban environments. I looked specifically at the Don River Valley in Toronto, Ontario and how it has developed as an open-ended and complex system. The site research is presented through a series of stories describing specific events or places in the Don Valley that have taken place over the past 200 years. This thesis offers a mongrel approach to design for a site within the Don Valley. “The Mongrel Approach” is an opportunistic way of building that is committed to survival and open as to how this can be achieved. The design proposes a series of intimate yet public infrastructural devices; a toilet, water fountain, shelter and bridge that are presented in a set of hand drawings as well as through an “Explanatory Tale.” A magpie narrates this short story, which is part true, part fiction and part wishful thinking. As the earth’s population becomes more urban than rural and increasingly mobile, contemporary cities are becoming home to a diverse range of individuals with complex and layered identities. The Mongrel Approach offers a way of building that can handle difference and contradiction and accommodate incongruous or inharmonious parts. It positions the designer as a conjurer or first mover. This thesis proposes Mongrel buildings that respond to change by transforming slowly and incrementally over time with the involvement of multiple authors; but at each moment, a register of time and human ritual.

In the tumultuous political environment of late fifteenth- and early sixteenth-century Britain, animal literature saw rapid development and innovation. Beast fable and epic, which already had a long tradition in Latin and French, gained new vigor and popularity in English and Scots renditions. Simultaneously, a new strain of political theory appeared in the vernacular. This dissertation makes a tripartite argument about the relationship between these two discourses. First, writers of literature and political theory alike struggled to reconcile an optimistic view of human society, inherent in the prevailing philosophical tradition of natural law, with the widespread corruption they witnessed in ecclesiastical and royal courts. The fruits of this struggle were darkly humorous works of beast epic and fable in the former case, and pragmatic political theory in the latter. Second, because of its literary character, beast literature actually proved more adventurous than political theory in demonstrating how one might use dissimulation to dominate the predatory world of politics, and in showing the moral and linguistic exhaustion that could result from such manipulation of others. Third, as political writers adapted their theories to reflect politics as it was actually practiced, they explicitly turned to beast literature for images and exempla, so that the animal characters of Aesopian fable and Reynardian epic stealthily crept into works of serious political inquiry.

Cities are concentrations of diverse populations that undergo continual transformation over time. This thesis deals with the question, how does the individual make place in a constantly changing environment? The entry point for this study was looking at neglected places in urban environments. I looked specifically at the Don River Valley in Toronto, Ontario and how it has developed as an open-ended and complex system. The site research is presented through a series of stories describing specific events or places in the Don Valley that have taken place over the past 200 years. This thesis offers a mongrel approach to design for a site within the Don Valley. “The Mongrel Approach” is an opportunistic way of building that is committed to survival and open as to how this can be achieved. The design proposes a series of intimate yet public infrastructural devices; a toilet, water fountain, shelter and bridge that are presented in a set of hand drawings as well as through an “Explanatory Tale.” A magpie narrates this short story, which is part true, part fiction and part wishful thinking. As the earth’s population becomes more urban than rural and increasingly mobile, contemporary cities are becoming home to a diverse range of individuals with complex and layered identities. The Mongrel Approach offers a way of building that can handle difference and contradiction and accommodate incongruous or inharmonious parts. It positions the designer as a conjurer or first mover. This thesis proposes Mongrel buildings that respond to change by transforming slowly and incrementally over time with the involvement of multiple authors; but at each moment, a register of time and human ritual.

This thesis centers on three children’s novel, “Sex gånger Lucas”, “Min Vän målaren”, and “Den gula väskan”, written by the very appreciated and much awarded Brazilian Author Lygia Bojunga. All three of these novels discuss masculinity in young boys and men. In “Sex gånger Lucas”, the centerpiece of this thesis, the essential conflict in the novel is played out in the interchange between Lucas and his authoritarian father. The father, throughout the text, showcases toxic masculinity and its concurrent traits, such as verbal abuse and serial infidelity. This tyrannical parenting attempts to mold Lucas’ personality to what is deemed in the culture as acceptable masculine behavior. Lucas narrative journey finds him firstly internalizing this belief system, but, as the novel progresses, Lucas learns to accept himself, in all his gendered guises, and reject the father's binary opinions. “Min vän målaren” follows the tale of the sensitive young boy, Claudio, who struggles against an environment that doesn’t support him, in his many and varied attempts towards personhood. In “Den gula väskan” the protagonist Rakel confronts an open and oppressive sexism in society, community and the many dismissals of the family. “Den gula väskan” utilizes, at many junctures of the narrative, a fable structure as a means to discuss political oppression as well as the oppressive binary masculine norms. This Fable sub-tale focuses on the character Alfonso, a talking rooster. Alfonso rejects the expectations put on him as a rooster, but his cousin Skräcken is not as fortunate. The cousin, who it is heavily implied is the victim of masculine brainwashing, is unable to stop himself from fighting, even when it ends up killing him. Throughout these three novels lies an illustration of the downfalls of an oppressive and toxic masculinity (that men must be stoic, aggressive and in control) as well as highlighting the freedom for a more fluid gender expression. Lucas, Claudio and Alfonso give subversive, alternative depictions of masculinity, where it is acceptable to feel, be vulnerable, reject violence, and have healthy relationships built on companionship. This thesis explores how Bojunga's novels, through her characters struggles and triumphs, give the young male identified readers alternative ways to be a man. In other words, these novels liberate the male gender from a binary performance. / Denna avhandling bygger på tre barnromaner, "Sex Times Lucas", "Min Vän målaren" och "Den gula väskan", skriven av den uppskattade och prisbelönta brasilianska författaren Lygia Bojunga. Alla tre av dessa romaner diskuterar maskulinitet I relation till unga pojkar och män. I "Sex Times Lucas", den centrala verket i denna avhandling, är konflikten mellan Lucas och hans auktoritära far det centrala handlingen. Faderns beteende genom hela romanen skildrar en obehaglig uppfatning av maskulinitet, med att psykisk misshandla Lucas and vara ständigt otrogen mot modern. Genom hans tyranniska föräldraskap försöker han att forma Lucas’ personlighet till vad han anser acceptabelt maskulint beteende. Lucas först internaliserar dessa normer, men sen genom romanens växling lär Lucas att acceptera sig själv som han är och avvisar faderns översträngda idéer om manlighet. "Min vän målaren" visar en känslig ung pojke, Claudio, som kämpar mot en miljö som inte stöder honom. Trots detta motstånd försöker han inte förändra sig själv. I "Den gula väskan" diskuterar Rakel öppet sexismen som hon möter. Boken använder också fabel som ett medel för att diskutera politisk förtryck samt strängda genus normer genom Alfonso, en talande tupp. Alfonso går emot vad man förväntar av honom som tupp, men hans kusin Skräcken däremot går med på förväntningarna. Kusinen, som det är starkt underförstått, är offer för hjärntvätt, kan inte stoppa sig från att slåss, och tillslut dör på frund av det. I alla dessa tre romaner ligger en gestaltning av en kritik mot manlighetsnormer (att män får inte visa känslor, vara aggressiva och dominanta) samt framhävda friheten för ett mer flytande könsuttryck. Lucas, Claudio och Alfonso ger subversiva, alternativa skildringar av maskulinitet, där det är acceptabelt att känna, vara sårbar, avvisa sig från våld och ha jämställda relationer byggt på vänskap. Denna avhandling forskar i hur romanen, genom att skildra dessa karaktärer och deras kamp och seger, ger de unga pojk-identifieranda läsare alternativa sätt att vara en man. Med andra ord befriar dessa romaner det manliga könet från en binära normer.