Esta dissertação investiga um grupo de fotógrafos amadores chamado Leica 1. A convivência no grupo faz com que seus encontros sejam motivados não só pela fotografia, mas também pela amizade que os envolve. Diante disso, desenvolve-se uma sociabilidade na qual se compartilha dos mais diversos assuntos cotidianos. A fotografia é, muitas vezes, um suporte e mesmo motivadora da memória. O grupo Leica 1 fotografa, registra, lembra, conta e faz a história, sendo arte ou sendo documento ou sendo uma arte-documento. Por isso, este é um trabalho construído pela convivência, pelas lembranças, pelas fotografias e pelas múltiplas vozes que são testemunhas e agentes da história da cidade de Porto Alegre, da história da fotografia e de muitas outras histórias. / The present essay investigates a group of amateur photographers called Leica 1. The living in the group makes their meetings be motivated not only for photography, but also for friendship which involves them. Therefore, it is developed sociability in which various daily matters are shared among the group. Photography is, for several times, supportive and even motivating for remembrance. Group Leica 1 photographs, records, reminds, tells, and makes history; being either art or a document, being an art-document. For this reason, the present work was built based on living, memoirs, photographs, and by the multiple voices which are witnesses and agents to the history of Porto Alegre, to the history of photography, and many other histories.

Made available in DSpace on 2014-12-17T15:07:12Z (GMT). No. of bitstreams: 1 IzabelCCBO_TESE.pdf: 1489072 bytes, checksum: f3bcaa63012654f966b59c75c99db0c9 (MD5) Previous issue date: 2010-11-23 / Universidade Estadual do Rio Grande do Norte / This research presents a reading of the poetics of silence in the profile and actions of characters in Fogo morto, by Paraiba s novelist Jos? Lins do Rego and Cartilha do sil?ncio, by Sergipe s writer Jos? Francisco Costa Dantas. As a starting point, we intend to demonstrate, through analysis, how the traditional issue of patriarchy, installed in rural areas of Northeast Brazil, live their momentum of rise and decline in different social spaces within narratives. This article shows how man lives tensions caused by the socio-political changes that will gradually be deployed in their environment due to the process of transition from traditional to modern life. From this perspective, this reading encourages a critical reflection on the social space of the mills and farms at the time of their rise and decay, as well as the various gender relationships between the feminine and the masculine world. The analysis indicates that all the changes both in family and social space unfold a world of silent variants and this paper takes as its theoretical basis the concept of silence built from the reflections of Eni Puccinelli Orlandi (2002), Barros Lourival Holland (1990 ), Luiz Costa Lima (1974) and Marisa Simons (1999). / Esta pesquisa apresenta uma leitura sobre a po?tica do sil?ncio no perfil e nas a??es das personagens de Fogo morto, do romancista paraibano Jos? Lins do Rego e Cartilha do sil?ncio, do escritor sergipano Francisco Jos? Costa Dantas. Como ponto de partida, pretende-se demonstrar, por meio de an?lise, como a tradicional quest?o do patriarcalismo instalado no meio rural do Nordeste brasileiro vive o seu momento de ascens?o e decad?ncia em espa?os sociais distintos nas narrativas. Investiga-se como o homem vive as tens?es ocasionadas pelas mudan?as s?cio-pol?ticas que v?o paulatinamente sendo implantadas em seu meio devido ao processo de transi??o da vida tradicional para a vida moderna. Nessa perspectiva, esta leitura promove uma reflex?o cr?tica sobre o espa?o social dos engenhos e fazendas no momento de sua ascens?o e decad?ncia, bem como as v?rias rela??es do universo feminino com o masculino. As an?lises indicam que todas as mudan?as ocorridas tanto no espa?o social quanto familiar descortinam um mundo de variantes silenciosas e o presente estudo toma como fundamenta??o te?rica o conceito de sil?ncio constru?do a partir das reflex?es de Eni Puccinelli Orlandi (2002), Lourival Barros de Holanda (1990), Luiz Costa Lima (1974) e Marisa Simons (1999).

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O presente trabalho relaciona dois tipos de produÃÃes literÃrias. Os romances O primo BasÃlio e MemÃria pÃstumas de BrÃs Cubas sÃo estudados por meio das crÃticas literÃrias sobre o romance portuguÃs publicadas no Brasil em 1878. Dentre os crÃticos, estava Machado de Assis. O texto analisa vÃrios elementos do romance de EÃa de QueirÃs, entre os quais estÃo o Realismo, o narrador e a construÃÃo das personagens. AlÃm disso, trata-se da maneira como a obra eciana foi recebida pela crÃtica literÃria no Brasil em 1878, especialmente por Machado de Assis, cujo texto crÃtico ficou famoso. Nesse ensaio, o autor brasileiro invoca, em desfavor do romance portuguÃs, alguns elementos de natureza estÃtica e moral, descortinando o que se pode denominar Ars PoÃtica machadiana. Por fim, o texto apresenta reflexÃes sobre as mudanÃas impetradas pelo romancista brasileiro na abordagem de questÃes e elementos presentes no texto eciano. Assim, defende-se a ideia de que a leitura de O primo BasÃlio influiu na produÃÃo de MemÃrias pÃstumas de BrÃs Cubas. / This comparative study works with two types of literary works. The novels The cousin BasÃlio and Posthumous Memoirs Of BrÃs Cubas are related through the literary criticism on the Portuguese novel published in Brazil in 1878. Among the critics, there was Machado de Assis. The text examines various elements of the novel by EÃa de QueirÃs, among them there are Realism, narrator and character construction. Besides that, it is analysed how the novel by EÃa de QueirÃs was received by literary criticism in Brazil in 1878, especially by Machado de Assis, whose critical text became famous. In this essay, the Brazilian author invokes elements of moral and aesthetic nature against the Portuguese novel, thus revealing elements of what could be named as Ars poetics of Machado de Assis. The text also evaluates the changes tried by the Brazilian novelist in addressing issues and elements present in the Portuguese text. Thus, it proposes the idea that reading The Cousin BasÃlio influenced the production of Posthumous Memoirs Of BrÃs Cubas

Esta dissertação investiga um grupo de fotógrafos amadores chamado Leica 1. A convivência no grupo faz com que seus encontros sejam motivados não só pela fotografia, mas também pela amizade que os envolve. Diante disso, desenvolve-se uma sociabilidade na qual se compartilha dos mais diversos assuntos cotidianos. A fotografia é, muitas vezes, um suporte e mesmo motivadora da memória. O grupo Leica 1 fotografa, registra, lembra, conta e faz a história, sendo arte ou sendo documento ou sendo uma arte-documento. Por isso, este é um trabalho construído pela convivência, pelas lembranças, pelas fotografias e pelas múltiplas vozes que são testemunhas e agentes da história da cidade de Porto Alegre, da história da fotografia e de muitas outras histórias. / The present essay investigates a group of amateur photographers called Leica 1. The living in the group makes their meetings be motivated not only for photography, but also for friendship which involves them. Therefore, it is developed sociability in which various daily matters are shared among the group. Photography is, for several times, supportive and even motivating for remembrance. Group Leica 1 photographs, records, reminds, tells, and makes history; being either art or a document, being an art-document. For this reason, the present work was built based on living, memoirs, photographs, and by the multiple voices which are witnesses and agents to the history of Porto Alegre, to the history of photography, and many other histories.

A presente dissertação consiste na comparação dos romances Memórias póstumas de Brás Cubas e Confissões do impostor Felix Krull. Procuramos analisar os aspectos que os aproximam, apesar do afastamento temporal e cultural entre eles existente, partindo dos elementos que imitam o texto autobiográfico e suas respectivas implicações. Tanto as vidas representadas nos dois romances afastam-se do que se entende por uma biografia normal, como também a particular tarefa autobiográfica realizada por Felix e Brás foge do padrão de confissões e de memórias. A confiabilidade dos narradores pode ser ainda questionada, haja vista suas singulares condições enquanto narradores: um, impostor, e outro, defunto. Esta dissertação é composta por seis partes, nas quais se discutirão os seguintes aspectos: introdução à análise comparativa, os romances e os narradores, a intertextualidade inserida na forma e na temática, o decurso de vida de Brás e Felix, suas condições como autobiógrafos e o papel do leitor. No que diz respeito a este último aspecto, podemos afirmar que como o romance em geral, Memórias póstumas e Confissões, que simulam o relato autobiográfico, se preocupam com a função do público. Nos dois livros em questão, essa preocupação reflete-se nos papéis do leitor inseridos nas narrativas. Nossa dissertação ocupar-se-á desse aspecto como último e com particular atenção, visando analisar as reflexões metanarrativas realizadas pelos narradores diante de seus respectivos leitores no horizonte da autobiografia ficcional. / The following degree thesis consists in comparing the novels Memórias póstumas de Brás Cubas and Confissões do impostor Felix Krull. We attempted to analyse the aspects, which approach them, despite of the temporal and cultural distance between them, initiating from the elements, which imitate the autobiographical text and its respective implications. The lives represented in both novels diverge from what usually can be understood as a normal biography. In a similar way the autobiographical function assumed by Felix and Brás diverges from the ideal standard of the confession and the autobiographical memory. The reliability of the narrators can be also questioned if we considerate their singular conditions as narrators: one, as impostor, the other, as a dead person. This thesis is composed of six parts, in that we will discuss the following aspects: an introduction to the comparative analysis, the novels and their narrators, the intertextuality introduced in the form and in the subject, Brás and Felix life events, their condition as autobiographers and the readers role. Like the novels in general, Memórias póstumas e Confissões, that simulate the autobiographical narrative, attend to the role of the attendance. In both analised books this concern is reflected on the the readers inserted in the narratives. This dissertation handles this aspect lastly, trying to analyse the Felix and Brás metanarrative considerations according to their respective readers in the horizon of the fictional autobiography.

Publicadas em 1968, as Memórias de um gigolô, romance de Marcos Rey, têm sido lidas pela crítica a partir de categorias genéricas como romance-folhetim e narrativa picaresca. Ainda que descrevam alguns aspectos de composição do livro, as generalizações da crítica deixam em segundo plano a presença de um universo brasileiro também em operação no romance, e diluem, por outro lado, os dados de historicidade contidos dentro dele. De acordo com nossa perspectiva, esses dados históricos podem ser recolhidos através da caracterização do narrador como um cafetão que possui habilidade com o manejo das palavras, e que se considera um intelectual subdesenvolvido. Levando em conta essa imagem em negativo do homem de letras brasileiro como gigolô das palavras, o objetivo deste trabalho é examinar o romance de Marcos Rey a partir de dois contextos significativos: a trajetória profissional construída pelo autor no coração das indústrias do entretenimento desde os anos 1950, e o momento histórico vivido pelo Brasil nas décadas de 1960 e 1970, tempos de ditadura militar e de consolidação da indústria cultural no país. As Memórias de um gigolô também são vistas aqui como ponto de convergência para os futuros rumos da ficção de Marcos Rey, cada vez mais aberta à presença de personagens ligados ao universo das letras. Através da análise de dois de seus contos, Soy loco por ti América! (1977) e O bar dos cento e tantos dias (1977), veremos de que modo essas questões se integram à sua obra posterior. / Published in 1968, Marcos Reys novel Memoirs of a gigolo has been categorized by critics in broad literary genres such as the serial novel and the picaresque narrative. These readings do not draw enough attention, though, to the presence of a typically Brazilian social universe in Reys books, thereby diluting its marks of historicity. This dissertation seeks to assess the historical dimension of Reys work by focusing on the novels narrator, a pimp who is endowed with unusual literacy and considers himself to be an underdeveloped intellectual. Through this negative version of the Brazilian literary men as literary gigolo, it analyzes Reys novel from a double perspective: the writers professional trajectory in the entertainment industry starting in the 1950s, and the historical context of the 1960s and 1970s, times both of a military dictatorship in the country and of the consolidation of its national culture industry. Memórias de um gigolo is also considered, in the present work, as a blueprint to Reys subsequent work, increasingly centered on characters that are related to the literary universe. Through the analysis of two short stories, Soy loco por ti América! (1977) and Bar dos cento e tantos dias (1977), we try to understand in which ways these themes are ingrained in Reys later work.

This is the first full-length study of the writing of the South African Joy Packer (1905-1977), whose 17 works of autobiography and romantic fiction were primarily popular. Packer’s writing, which appeared mainly between 1945 and 1977, blends popular narrative with contemporary social and political discourses. Her first main works, three volumes of memoirspublished between 1945 and 1953, cover her experience of a wide area of the world before,during and after the Second World War: South Africa, Britain, the Mediterranean and theBalkans, and China. In the early 1950s she also toured extensive areas of colonial "DarkestAfrica." When Packer retired to the Cape with her British husband, Admiral Sir Herbert Packer,after an absence of more than 25 years, she adopted fiction as an alternative literary mode. Hersubsequent production, ten popular romantic novels and a further three volumes of memoirs, isnotable for the density of its sociopolitical commentary on contemporary South Africa. This thesis takes as its starting-point the dilemma, formulated by the South African critic Dorothy Driver, of the white woman writing within a colonial environment which compels herto adopt contradictory, ambivalent and oblique discursive stances and strategies. The pragmaticintention of this thesis is, then, to (re)read Packer for her treatment of that problematic in thecontext of South Africa. The approach adopted centres on the reciprocity within Packer’s writing between itsgeneric conventions and its discursive environment, broadly defined here as pre-1950 imperial Britain and, in the main, colonial and apartheid South Africa. Within a critical-biographical frame, attention is paid first to formal aspects of the popular memoir and the popular romanticnovel. Their discursive function vis-à-vis their apartheid environment is then examined withina series of comparative studies. The burden of the analysis rests, in part, on the identity of Packer’s fiction as politicised romans à thèse and, in part, on her personal identification withpolitical liberalism in South Africa, most notably the Cape liberalism of her youth and thevarious manifestations of liberalism under apartheid. By focusing on differing motifs—Packer’sprofessed adherence to political liberalism, her treatment of race within the idealising constructions of popular romance, the metonymy of the fictional family and the patriarchal state,and her portrayal of women held hostage by the racial and masculine other—the study discussesthe extent to which the contradictions predicted by Driver’s analysis exist within the apparentlyseamless fabric of Packer’s narratives. The investigation concludes by recentring its focus on the narrativised identity of the white woman in a colonial environment, at the same time seeking confirmation of the several reasons for Packer’s writing to have gained only contemporary rather than lasting approval. / digitalisering@umu

The aim of this thesis is to analyse the representation of the normalisation era as drawn in contemporary Czech literature after 1989. The thesis is based on reminiscent fiction about childhood and youth in the socialist era, dealing with so-called small history - family memories, depiction of childhood, youth and teenage years. This thesis deals with the typical codes for recalling the socialist era, identifies what is recalled and how, and examines what influences remembering of childhood and youth in the era.

The dissertation describes the historic development of watercourses in Brno territory focusing on the artificial canal Svratka raceway and the present state is described based on the available map data, preserved picture materials and photographic documentation of the present state. The work offers memories of several people from Brno who remember the artificial watercourse, these complete the picture of the Svratka raceway at the time of its extinction. The dissertation documents the present state of areas where the raceway used to run and on which it bordered. What attitude the twin towns of Brno - Leipzig and Graz - take, is outlined in the chapter Examples of Raceway and Natural Stream Reconstruction in Here and Abroad. The presented work should serve as a comprehensive source material for further study of Svratka raceway and further possible studies of arrangement of the areas where the raceway used to run and its - at least - partial reconstruction.

No description available.