Submitted by Thaís Nascimento do Vale null (tnv_unesp@yahoo.com.br) on 2018-01-16T14:16:17Z No. of bitstreams: 1 TESE_VALE.T.N.pdf: 4156716 bytes, checksum: 2a06dda7747d1476dc5357804112c79d (MD5) / Approved for entry into archive by Laura Akie Saito Inafuko (linafuko@assis.unesp.br) on 2018-01-16T16:53:14Z (GMT) No. of bitstreams: 1 vale_tn_dr_assis.pdf: 4156716 bytes, checksum: 2a06dda7747d1476dc5357804112c79d (MD5) / Made available in DSpace on 2018-01-16T16:53:14Z (GMT). No. of bitstreams: 1 vale_tn_dr_assis.pdf: 4156716 bytes, checksum: 2a06dda7747d1476dc5357804112c79d (MD5) Previous issue date: 2017-12-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho propõe o estudo das notas produzidas pelo escritor argentino Roberto Arlt (1900-1942), durante sua estada no Brasil, em 1930. Dessa viagem resultaram quarenta e duas crônicas intituladas Notas de a bordo, Notas de viaje e De Roberto Arlt, originalmente publicadas no jornal argentino El Mundo, entre 2 de abril e 31 de maio de 1930. Posteriormente esses textos foram compilados em livros sob os títulos: Aguafuertes cariocas (Buenos Aires: Adriana Hidalgo, 2013); Águas-fortes cariocas e outros escritos (Rio de Janeiro: Rocco, 2013) e Águas-fortes portenhas seguidas por águas-fortes cariocas (São Paulo: Iluminuras, 2013), sendo os dois últimos traduções para o português. Com a leitura de tais textos, busca-se compreender como são formadas as imagens e as representações sobre o Brasil, mais especificamente sobre o Rio de Janeiro, e como o espaço urbano é representado no que diz respeito à construção da identidade nacional, por meio da análise das estratégias de tradução dessas imagens para o código linguístico. Nota-se que a construção de heteroimagens nos textos arltianos está intrinsecamente ligada à transmissão de autoimagens, sendo necessário questionar em que medida a questão do idioma interfere nesse processo de representação do outro. Mais do que uma dificuldade em compreender o outro através de um idioma estrangeiro, a presença das autoimagens nas águas-fortes cariocas e a constatação de uma suposta superioridade dos argentinos em relação aos brasileiros traduzem o estranhamento da linguagem arltiana, não apenas naquilo que diz, mas na forma como o faz, e que caracterizou toda a sua obra. Partimos, para tanto, dos conceitos de narrativa de extração histórica (TROUCHE, 2006), imagologia literária (SOUSA, 2004), e dos estudos sobre a narrativa de viagem (IANNI, 2003; TODOROV, 2006; CARRIZO RUEDA, 2008) dentre outros que auxiliam na compreensão dos mecanismos narrativos utilizados pelo escritor, sobretudo no que diz respeito às relações entre eu e outro, auto e heteroimagem. / This work proposes the study of the notes produced by the Argentine writer Roberto Arlt (1900-1942), during his stay in Brazil in 1930. This trip resulted in forty-two chronicles entitled Notas de a bordo, Notas de viaje and De Roberto Arlt, originally published in the Argentine newspaper El Mundo, between April 2 and May 31, 1930. Later these texts were compiled in books under the titles: Aguafuertes cariocas (Buenos Aires: Adriana Hidalgo, 2013); Águas-fortes cariocas e outros escritos (Rio de Janeiro: Rocco, 2013) and Águas-fortes portenhas seguidas por águas-fortes cariocas (São Paulo: Iluminuras, 2013), with the last two translations into Portuguese. With the reading of such texts, it seeks to understand how images and representations are made about Brazil, more specifically about Rio de Janeiro, and how the urban space is represented with regard to the construction of the national identity, through of the analysis of the translation strategies of these images into the linguistic code. It is noted that the construction of hetero-images in the arltians texts is intrinsically linked to the transmission of self-images, and it is necessary to question to what extent the question of language interferes in this process of representation of the other. More than a difficulty in understanding the other through a foreign language, the presence of self-images in Aguafuertes cariocas and the finding of a supposed superiority of the Argentineans in relation to the Brazilians translate the strangeness of the arltian language, not only in what it says, but in the way he does it, and that characterized all his work. For this purpose, the concepts of narrative of historical extraction (TROUCHE, 2006), literary imagology (SOUSA, 2004), and studies on travel narrative (IANNI, 2003; TODOROV, 2006; CARRIZO RUEDA, 2008) among others that help in the understanding of the narrative mechanisms used by the writer, especially with regard to the relations between the self and other, self- and hetero-images. / Este trabajo propone el estudio de las notas producidas por el escritor argentino Roberto Arlt (1900-1942), durante su viaje al Brasil, en 1930. De ese viaje resultaron cuarenta y dos crónicas intituladas Notas de a bordo, Notas de viaje e De Roberto Arlt, originalmente publicadas en el diario argentino El Mundo, entre 2 de abril y 31 de mayo de 1930. Posteriormente esos textos fueron compilados en libros bajo los títulos: Aguafuertes cariocas (Buenos Aires: Adriana Hidalgo, 2013); Águas-fortes cariocas e outros escritos (Rio de Janeiro: Rocco, 2013) e Águas-fortes portenhas seguidas por águas-fortes cariocas (São Paulo: Iluminuras, 2013), siendo los dos últimos traducciones para el portugués. Con la lectura de los textos, se busca comprender como son formadas las imágenes y las representaciones sobre el Brasil, más específicamente sobre el Rio de Janeiro, y cómo el espacio urbano es representado en lo que respecta a la construcción de la identidad nacional, por medio del análisis de las estrategias de traducción de esas imágenes para el código lingüístico. Se puede notar que la construcción de heteroimágenes en los textos arltianos está intrínsecamente asociada a la transmisión de autoimágenes, siendo necesario cuestionar en que medida la cuestión del idioma interfiere en ese proceso de representación del otro. Más que una dificultad en comprender el otro a través de un idioma extranjero, la presencia de las autoimágenes en las aguafuertes cariocas y la constatación de una supuesta superioridad de los argentinos en relación a los brasileños traducen el extrañamiento del lenguaje arltiano, no solo en lo que dice, pero en la forma como lo hace, y que ha caracterizado toda su obra. Partimos, para tanto, de los conceptos de narrativa de extracción histórica (TROUCHE, 2006), imagología literaria (SOUSA, 2004), y de los estudios sobre la narrativa de viaje (IANNI, 2003; TODOROV, 2006; CARRIZO RUEDA, 2008) entre otros que auxilian en la comprensión de los mecanismos narrativos utilizados por el escritor, sobretodo en lo que respecta a las relaciones entre el yo y el otro, auto y heteroimagen.

Alors qu’un nombre croissant d’écrivains allochtones d’expression allemande avance de la périphérie au centre du champ littéraire allemand, les auteurs d’origine chinoise restent assez méconnus. En les présentant ici, nous souhaitons combler une lacune, notre propos se concentrant par ailleurs sur les œuvres de trois auteures : Luo Lingyuan (1963-), Xu Pei (1966-) et Lin Jun (1973-). Ces dernières ne publient que de la fiction : des nouvelles, des romans et de la poésie. Afin de clarifier les conditions dans lesquelles elles ont fait leur entrée sur la scène littéraire allemande, nous replaçons la littérature « chinoise » d’expression allemande dans son contexte d’émergence. Le rappel de l’historique des relations germano-chinoises depuis la période coloniale jusqu’à aujourd’hui précède ainsi un retour sur l’histoire de la littérature d’expression allemande depuis les années 1970. Mobilisant le concept d’« existence diasporique », qui explicite le mouvement permanent que les auteures opèrent entre les cultures et les langues chinoise et allemande, l’objectif de cette étude est de proposer une première analyse littéraire interne de leurs textes, dont le caractère transculturel est illustré à travers trois enjeux : temporel, spatial et identitaire. Par le détour de la confrontation directe et croisée avec les œuvres, qui problématisent le caractère transnational, transculturel et plurilingue des sujets en diaspora, nous interrogeons finalement la conception monoculturelle et monolingue de l’identité d’une part et de la littérature dite « allemande » d’autre part, dont nous montrons qu’elle se nourrit d’influences culturelles diverses et dépasse l’horizon national. / While an increasing number of foreign-born writers using German are leaving the fringes of the German literary scene and gaining prominence, authors of Chinese origin are still relatively unknown. We endeavour to fill this gap with a focus on the works of three of them: Luo Lingyuan (1963-), Xu Pei (1966-) and Lin Jun (1973-). Their publications are exclusively fictional: short-stories, novels and poetry. In order to highlight the conditions in which they entered the German literary scene, we place the literature written by Chinese in German in its context of emergence. We first present the history of Sino-German relations from the colonial period until today. Then, we describe the evolution of the literature written in German language since the 1970s. Using the concept of “diasporic existence”, which describes the authors’ constant back and forth movement between the Chinese and German cultures and languages, the aim of this study is to offer an initial internal literary analysis of the texts. Our ambition is to show their transcultural character in the light of three notions: time, space and identity. Through a direct and cross-cutting confrontation with these literary works that problematise the transnational, transcultural and multilingual quality of diasporic subjects, we finally question the monocultural and monolingual conception of identity on the one hand, and of the so-called “German” literature on the other, by pointing to the fact that the latter is impacted by diverse cultural influences and therefore exceeds the limits of the national horizon.

Spanish-Dutch Relations in the New World during the Existence of the West Indische Compagnie Eva Kubátová Abstract This dissertation is dedicated to the Spanish-Dutch relations in the New World during the existence of the first Dutch West India Company (1621-1674). On base of an imagological analysis, this thesis presents elements of mutual relations, reflected in hetero-images, together with self-representation of both analyzed parties (thus self-image) within the ongoing conflict of the Eighty Years' War. The imagological analysis is applied on archival material, chiefly the Dutch pamphlets and Spanish Relaciones de sucesos (which can be translated as "Treatises of Successes"). The result of this thesis is then an analysis of development and changes of mutual images, upon the historical events of the Spanish-Dutch war conflict: thus since the beginnings of the Dutch Revolt, passing through the Twelve Years' Truce, until the signature of the Peace of Westphalia in 1648. A special emphasis is put to the final phase of the Eighty Years' War, in this thesis delimited by the years 1621-1648, which was marked by the official entrance of the West India Company into the Spanish waters of Greater Caribbean. An important watershed in mutual relations is afterwards represented by the Peace of Westphalia, which...

Des récits de voyage aux romans coloniaux européens, l’Afrique a toujours servi à affirmer les valeurs européennes, davantage qu’à montrer les réalités africaines. Quelles valeurs se dégagent alors du discours sur l’Afrique subsaharienne véhiculé par les romans pour la jeunesse parus en France et en Allemagne entre 1991 – fin de l’apartheid – et 2010 – cinquantième anniversaire des indépendances ? Quels regards portent ces romans sur l’Afrique subsaharienne ? Et quelles auto-images des Européens transparaissent à travers ces images de l’Afrique ? De nombreuses études insistent sur la pérennité de l’imaginaire colonialiste dans les productions culturelles européennes. Ce travail prend le parti de montrer dans quelle mesure il existe, dans bon nombre de romans pour la jeunesse, une volonté de prendre ses distances avec l’héritage colonialiste, voire à le dénoncer, ainsi que de favoriser l’entente interculturelle entre Européens et Africains et de sensibiliser aux problèmes socioéconomiques de l’Afrique. Or, ces « bonnes intentions » se heurtent régulièrement à des limites et à des paradoxes. Cela donne lieu à un écart entre les valeurs explicitement défendues par les textes et celles, moins avouables, que les textes véhiculent involontairement. À travers un corpus de plus de 120 romans pour la jeunesse sur l’Afrique subsaharienne parus en France et en Allemagne, ce travail identifie les manifestations narratologiques de cet écart et explore des pistes possibles pour le réduire. / From travel writing to colonial European novels, Africa has always been used to affirm European values more than to show African realities. What values emerge then from the discourse on sub-Saharan Africa conveyed by the novels for young people published in France and Germany between 1991 – end of the Apartheid – and 2010 – 50th anniversary of the African Independences? How do these novels portray sub-Saharan Africa? And what self-images of Europeans appear through these images of Africa? Many studies insist on the persistence of the colonialist imagination in European cultural productions. This work looks at the extent to which many novels for young people try to distance themselves from the colonial heritage, or to criticize it, and to encourage intercultural understanding between Europeans and Africans and raise awareness of African socio-economic problems. These “good intentions” regularly run into limits and paradoxes. This gives rise to a gap between the values explicitly defended by the texts and those, less praiseworthy, that the texts convey involuntarily. Through a corpus of more than 120 novels for young people about sub-Saharan Africa published in France and Germany, this work identifies the narratological manifestations of this gap and explores ways to reduce it. / Angefangen von historischen Reiseberichten bis hin zu den Kolonialromanen steht Afrika in der europäischen Literatur eher als Sinnbild für europäische Werte als für afrikanische Realitäten. Welche Werte wurden zwischen 1991 (dem Ende der Apartheid) und 2010 (dem fünfzigsten Jubiläum der Dekolonisation) im Afrikadiskurs der Kinder- und Jugendromane in Frankreich und Deutschland vermittelt? Welche Afrikabilder überliefern diese Romane? Und vor allem: welches Selbstbildnis der Europäer offenbart sich durch diese Afrikabilder? Viele Studien haben gezeigt, dass der Einfluss des kolonialistischen Erbes in den kulturellen Produktionen Europas immer noch nicht gänzlich verschwunden ist. Diese Arbeit zeigt, dass viele der Kinder- und Jugendromane sich einerseits von genau diesem kolonialistischen Erbe distanzieren wollen oder es sogar anprangern, und versuchen damit interkulturelle Arbeit zu leisten. Diese Absicht entwickelt andererseits jedoch häufig ihre eigenen Paradoxe und stößt somit an ihre Grenzen. Das führt zu einer Abweichung zwischen den Werten die explizit, und jenen, die unwillkürlich von den Texten vermittelt werden. Anhand eines Korpus von mehr als 120 Kinder- und Jugendromanen aus Frankreich und Deutschland analysiert diese Arbeit die erzähltheoretischen Merkmale dieser Abweichung und erforscht Möglichkeiten, diese auf narratologischer Ebene zu beheben.

Dans cette thèse est analysé le deuxième et dernier livre Beribilez (En voiture) de Jean Etchepare (1877-1935). Le but de la recherche est d’établir l'idéologie de l'auteur à l’âge adulte et l’image qu’il donne tout au long de ce récit de voyage, fait en voiture à travers le Pays Basque. On a utilisé deux méthodologies principalement : la sémiotique (Philippe Hamon) et l´imagologie (Daniel-Henri Pageaux). On a relu les critiques portant sur l´œuvre de cet auteur pour les comparer avec nos intuitions. Nous avons sondé la formation intellectuelle de Jean Etchepare, et nous avons vu qu'au Pays Basque du Nord, il était confronté à la pensée traditionnelle, dominante à cette époque. Durant la confrontation entre l'État et l'Église autour de la laïcisation, Etchepare a choisi une voie indépendante inspirée souvent par la philosophie allemande. Dans le domaine de la pensée esthétique, la vision du paysage basque est plutôt économiciste, l'appréciation des terres rurales se combine avec un mysticisme poétique. Au sein des beaux-arts, il critique l'enthousiasme théâtral du luxe religieux baroque qu'il voit dans le Sanctuaire de Loyola; dans l´aspect du savoir-vivre il s'éloigne modérément de l'ascétisme confessionnel traditionnel, donnant dans le texte une place inhabituelle jusqu’alors, aux petits plaisirs des sens (gastronomie, danse…). Dans le domaine de l'éthique, il critique la croissance urbaine de Saint-Sébastien : il proclame la spiritualité laïque contre le matérialisme et la dégénérescence de la haute bourgeoisie. Il prophétisa la Seconde Guerre mondiale qui s´approchait, parce qu'il voyait les êtres humains sans respect mutuel. En tant que positiviste, il critique aussi toute croyance irrationnelle. Enfin, il indique qu'à l'âge adulte il s'est aligné sur la philosophie grecque de la mesure. A propos du Pays Basque, il entend promouvoir la solidarité entre les deux versants basques des Pyrénées, en réinterprétant les avatars de l'Histoire de manière diplomatique. L'attitude envers le Sud-est de filia (Pageaux). En conclusion, on peut dire que l'écrivain dans ce livre a modélisé soigneusement l´expression de sa pensée, car il ne voulait pas que l´ouvrage soit rejeté, comme ce fut le cas avec le premier (Glanes, 1910). / The second book ((original Basque title) Beribilez; (engl.) By car) by Jean Etxepare (1877-1935) is analysed in this doctoral thesis. The aim of this research is to define the author’s ideology/ in his intellectual maturity and his image of the Basque Country, along the journey made by car through the Southern Provinces. Semiotic Methodology (Philippe Hamon) and Imagology (Daniel-Henri Pageaux) have been used as a study method. We have looked at the academic training of Jean Etxepare, and we have seen that in the Northern Basque Country he was confronted with the hegemonic traditional catholic way of thinking. During the years of dissent between the State and the Church, Etxepare chose the free-thinking path, inspired by German philosophy. In the area of aesthetics, his view of the Basque landscape is mostly economicist. His perspective of the appreciation of rural lands combines with a poetic mysticism. He considers the display of Baroque religious luxury that he sees in the Sanctuary of Loyola, spiritually deficient; we can see that, on the one hand, we are dealing with an intellectual author of petit bourgeois standing and sound artistic judgement... On the other hand, even if he proves to be a knowledgeable person, he is very capable of enjoying the small pleasures of life as gastronomy, wines, dances and eroticism in a harmonious and measured way. He moves moderately away from traditional confessional asceticism, giving in his book to the pleasures of the body an unusual and enlightening place unknown to the catholic dominant literature. In the field of ethics, he criticizes the urban growth of San Sebastian: he proclaims secular spirituality against the materialism and degeneration of the high bourgeoisie. He prophesied that there would be the Second World War, because he saw the human beings lacking mutual respect. As a positivist, he criticizes any irrational belief. Finally, he indicates that in adulthood he has been aligned with the Greek philosophy of measure, in spite of his non-conformist youth. About the Basque Country, he intends to promote solidarity between the two sides of the frontier, reinterpreting the history passages in a diplomatic way. His attitude towards the South is of a philia one (Pageaux). As a conclusion, we can say that the writer measured the expression of his dissident way of thinking, because he did not want his second book to be rejected as had been the case with the first one (Buruxkak, 1910).

This diploma thesis reveals the processes of shaping the image of Emil František Burian, the theater director, composer, journalist and playwright in three key headings. The first heading explains the principles of self-presentation and choice of characteristic means to build its external image in the changing personal attitudes and social development in the 30th - 50 years of 20th century. The second heading shows the coordinates of cultural policy communist regime and monitors the construction of public image representative of official socialist culture. Both headings are mainly based on a detailed analysis of Burian's theater activity, broadcasting activities and articles in professional and social printing. The third heading of qualification work pays attention to creating individual memory of a systematic effort to build a "cult of personality" of E. F. Burian. Interpretation biography and memories of actors, directors, journalists and politicians attempts to profile the professional and private life of this artist.

The paper is devoted to the analysis of intercultural interaction of Russia and Japan in the last third of the 20th century and in the beginning of the 20th century. A special attention is paid to formation and transformation of mutual images of Russia and Japan in national minds of the countries stated. The author indicates the function of political factors influenced the formation of images of both countries and its incidence on cultural interaction, shows the transformation of mutual images of Russia and Japan in the dynamics of historical development / Работа посвящена анализу межкультурного взаимодействия России и Японии в последней трети XIX – начале XX вв., особое внимание уделено вопросу формирования и трансформации взаимных образов России и Японии в сознании народов этих стран. Автор раскрывает роль политических факторов повлиявших на формирование имиджа обеих стран и степень их влияния на культурное взаимодействие, показывает трансформацию взаимных образов России и Японии в динамике исторического развития.

<p>Ауторка је у раду систематизовала и представила слике, представе и стереотипе које су канонизовани песници српског романтизма у својим делима&nbsp; конструисали о Србима и Другима, проблематизовала је и истражила везу и утицај канона на креирање слика и представа и њихову међусобну условљеност.</p> / <p>Autorka je u radu sistematizovala i predstavila slike, predstave i stereotipe koje su kanonizovani pesnici srpskog romantizma u svojim delima&nbsp; konstruisali o Srbima i Drugima, problematizovala je i istražila vezu i uticaj kanona na kreiranje slika i predstava i njihovu međusobnu uslovljenost.</p> / <p>In this work, the author systematized and presented the images, notions and stereotypes that the canonized poets of Serbian romanticism have constructed in their works about Serbs and Others, questioning and researching the relationship and the influence of canons on creation of images and notions and their mutual conditionality.</p>