Cette recherche a pour but d’interroger la femme et ses multiples voix dans l’oeuvre d’Annie Ernaux, écrivain célèbre pour avoir nourri ses romans de sa propre vie. Grande figue de l’autobiographie, Annie Ernaux n’a de cesse de mettre en mots, dans un style singulier, son histoire, ses racines, le contexte socioculturel dans lequel elle a grandit, et surtout, d’interroger la figure féminine. Ses oeuvres sont à la fois récits littéraires et documents sociologiques d’une vie ancrée dans son siècle et ses repères, comme pour rappeler le rôle essentiel de la femme dans la famille ainsi que dans la Cité. Elle interroge la maternité, la sexualité, la parentalité, le rapport homme I femme d’une écriture simple, claire, filtrée des émotions et dénué de tout effet qui l’écarterait de sa quête, interrogeant ainsi en filigrane la fonction du roman / Searching for identity and collective memory in the works of Annie ُErnaux. This research aims to study Annie´s work on women and their multiple voices, Annie Ernaux is a famous writer who has enriched her novels through her own life experiences. A big figure in autobiography writing, Annie Ernaux has a unique style of writing. She addressed her history, her roots, and the social cultural context in which she grew up. She especially interrogates the feminine figure. Her works are both literary accounts and sociological documents of a life rooted in another centuries values and standards. She recalls the essential role of women in the family and in the city, questioning motherhood, sexuality, parenting, and the relationship between man and woman. She crafts her work in a simple and clear manner with pure emotion devoid of any effect that would divert from her true goal . Thus implicitly questioning the function of the novel

Esta dissertação tem como objetivo refletir sobre o luto do filho biológico, como aspecto importante subjacente às demandas por adoção, quando esta ocorre devido à infertilidade. Utilizaram-se para análise os depoimentos de mulheres registradas no livro Maternidade Interrompida. O livro é composto por 40 depoimentos de mulheres que vivenciaram a perda gestacional.Tem como organizadora Maria Manuela Ponte e foi publicado pela Associação Projecto Artémis. Verificou-se o luto presente na infertilidade e como, muitas vezes, não é vivenciado. Observou-se a importância de se estudar sobre esse momento de dor e perda, para que, se o casal resolver entrar no processo de adoção, seja bem sucedido.O trabalho foi pensado e estruturado com quatro capítulos. No primeiro capítulo, foi apresentado o relato de cada uma das mulheres estudadas. No segundo capítulo, refletimos sobre o desejo de ter um filho e os sentimentos experimentados pelo fato de não conseguir concluir a gestação e suas implicações. No terceiro capítulo, falou-se sobre o momento de luto vivenciado pelas mulheres estudadas e a visão de alguns autores sobre essa temática. O quarto e último apresenta as feridas narcísicas que surgem com a infertilidade e como se dá a restauração narcísica após a não concepção e como esse caminho, muitas vezes, pode levar à adoção. / This work aimed to reflect on the biological son mourning as important underlying aspect to demands for adoption, when this occurs due to infertility. Was used to analyze womens testimonies recorded in the book Motherhood Interrupted. The book consists of 40 statements from women who experienced pregnancy loss, is organizing Maria Manuela Bridge and this book published by the Association Project Artemis. There was mourning present in infertility and how often one is not experienced. Noted the importance of studying this time of grief and loss, so that if the couple settle into the adoption process to be successful. The work was conceived and structured with four chapters. In the first chapter was presented the story of each of the women studied. In the second chapter we reflect on the desire to have a child and the feelings experienced by not being fertile and its implications. In the third chapter was about the time of grief experienced by women studied and the view of some authors on the subject. The fourth and final presented to the narcissistic wounds that come with infertility and as of the narcissistic restoration after conception and not like the way can often lead to adoption.

Made available in DSpace on 2016-12-08T16:59:53Z (GMT). No. of bitstreams: 1 julia.pdf: 4331976 bytes, checksum: 0c37762e174c03affef753a26ba6877c (MD5) Previous issue date: 2013-02-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work, entitled Forever Off-Line: mourning practices in the social network Orkut in Brazil (2004-2011) seeks to analyze how in times of death silenced, Orkut, a social network of communication and relationship became an ambience to express and share pain and suffering of mourners through text messages (notes, interviews and debates in discussion forums) and images. In Orkut pages, after created in 2004, in communities and personal profiles we can note that mourners express virtually their pain and suffering through images and messages, which are shared and visible to users of their network, including friends, Family and even strangers. Thus, a main proposal of this work is to understand new forms of sociability and a variety of relationships and interactions experienced by Internet users in a virtual space, in addition to outlining the use of websites as a source to the History, emphasizing on research implications through the online documents. Another main topic in this research is the transformation of funeral rites in the history process, especially the changes over of death and mourning in the present, highlighting up new ways to treat the dead and death over the twentieth and twenty-first centuries. The study also seeks to recognize through community pages and deceased or mourning personal profiles, both analyzed as research sources, the ways that mourners use to show their suffering and missing. Further than, in Orkut pages, this work intends to understand the relationships and distinctions between these new virtual ways to express the pain caused by death of their loved one and the individualization of the pain of loss, typical contemporary mourning / Este trabalho, intitulado "Eternamente Off-Line": as práticas do luto na rede social do Orkut no Brasil (2004-2011) procura analisar como em tempos de morte silenciada, o Orkut, uma rede social de comunicação e relacionamento, tornou-se um ambiente para expressar e compartilhar a dor e o sofrimento de enlutados, através de mensagens textuais (recados, depoimentos e debates em fóruns de discussões) e imagens. Nas páginas da rede social do Orkut, após sua criação no ano de 2004, tanto nas comunidades como em perfis pessoais, observa-se que os enlutados expressam virtualmente sua dor e sofrimento através de imagens e mensagens, sendo estas visíveis e compartilhadas aos usuários de sua rede, podendo ser amigos, familiares e até mesmo desconhecidos. Assim, uma das principais propostas deste trabalho é a de compreender as novas formas de sociabilidade e as variadas relações e interações vivenciadas pelos internautas no espaço virtual, além de esboçar a utilização das páginas da internet como um documento para o campo da história, enfatizando-se as implicações de se pesquisar através dos documentos on-line. Outro tema fundamental contemplado na pesquisa é a transformação dos rituais funerários no transcorrer da história, em especial as mudanças da morte e do luto na contemporaneidade, realçando-se as novas formas de tratar o morto e a morte no decorrer do século XX e início do XXI. O trabalho também procura identificar por meio das páginas de comunidades e perfis pessoais de falecidos e enlutados, ambas analisadas como documentos de pesquisa, as formas utilizadas pelos enlutados para demonstrar o sofrimento e a saudade do falecido. Ainda, por meio das páginas do Orkut, o trabalho pretende compreender as relações e distinções entre essas novas formas virtuais de expressar a dor causada pela morte do ente querido e a individualização da dor da perda, característico do luto contemporâneo

This paper uses a psychoanalytical framework to analyze women's mourning with regard to procreation and sterility. The psychodynamic factors related to this topic are described and illustrated with the presentation of a clinical case. This case was assessed with interviews and the Rorschach Inkblot Test according to the French system (de Tychey, 1994). The analysis of the data allows the discussion of the theoretical concepts and addresses the importance of the variety of conflicts that interfere with the desire of procreating. The findings are also discussed from an ethical point of view regarding the role that the clinician plays when he has to face these types of severe cases. / Se investiga sobre el trabajo en duelo de la procreación y en la esterilidad femenina dentro de un marco referencial psicoanalítico. Se describen desde el punto de vista teórico los factores psicodinámicos y se ejemplifica través de la presentación de un caso clínico evaluado con entrevistas y el test de Rorschach siguiendo el sistema francés (de Tychey 1994 ). Los resultados permiten discutir los conceptos teóricos y plantear la importancia de la variedad de conflictos que interfieren en el deseo de procrear. Se discuten los hallazgos desde un punto de vista ético en relación con la función del clínico para ayudar al cliente a enfrentar su severa problemática.

On croyait l’élégie disparue après l’apogée qu’avait connue le genre pendant le Romantisme et après les attaques dont il avait été la cible, les poètes « modernes » ayant choisi de s’affirmer contre les « excès » du lyrisme romantique dont l’élégie était devenue la caricature. Le lyrisme et la poésie de la première personne sont eux-mêmes restés au centre des attaques et des moqueries durant tout le XXe siècle. C’est pourtant à une renaissance du genre que l’on assiste, timide et progressive dans la première moitié du XXe siècle, puis à une véritable recrudescence dans la seconde moitié du siècle. Les noms des plus grands poètes s’associent aux titres de recueils d’élégies : outre les très célèbres Élégies de Duino de Rilke (1923), ce sont par exemple les Élégies de Juan Ramón Jiménez (1908), les Élégies et satires de Karyotákis (1927), les Hollywoodelegien (1942) et les Buckower Elegien (1953) de Brecht, les Élégies de Pierre Emmanuel (1940), de Jean Grosjean (1967), les Élégies d’Oxópetra d’Elýtis (1991), ou encore les trois grands recueils posthumes de Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). L’élégie, née au VIIe siècle avant J.-C., est bien vivante au XXe siècle. Face à une telle longévité, trois questions se posent, qui structurent notre travail : sous quelles formes et selon quelle(s) définition(s) l’élégie existe-t-elle au XXe siècle ? Comment joue-t-elle des rapports entre modernités et traditions ? Comment se repositionne-t-elle face aux attaques virulentes des détracteurs du lyrisme et par quoi se caractérisent les nouveaux lyrismes qu’elle met en jeu au XXe siècle ? / Elegy is generally believed to have disappeared from European poetry in the XXth century, after a period of apogee during the Romanticism and after the hard criticism that the “modern” poets, who rejected the “excessive” romantic lyricism, leveled at the elegiac poets. Elegy was considered by the former as the emblem of a romantic out-of-date lyricism. Lyricism and the poetry expressed in the first person remained also the target of the attacks and mockery from a part of the XXth century poets and literary critic. Yet a real revival of the genre happens since the very beginning of the XXth century, hesitant and gradual during the first half of the century, then more abundant and obvious in the second part of the period. The names of major European poets of this century are linked with the genre of elegy, and the titles of their works show it: Juan Ramon Jiménez’s Elegías (1908), Rilke’s Duineser Elegien (1923), Karyotákis’ Elegies and satires (1927), Brecht’s Hollywoodelegien (1942) and Buckower Elegien (1953), Pierre Emmanuel’s and Jean Grosjean’s Élégies (respectively 1940 and 1967), Elýtis’s Oxopetra Elegies (1991), or the three posthumous works of Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). Born in the VIIth century B.C., the genre of elegy is well alive in the XXth. Such a longevity brings us to three questions which organize our research: which are the shapes of the elegy of the XXth century and on which definition(s) of the genre is it based? Which are the connections and balance between traditions and modernity? How does the genre of elegy outlive the attacks against lyricism and what are the characteristics of the new lyricisms which it gives birth to?

Made available in DSpace on 2016-12-23T14:38:00Z (GMT). No. of bitstreams: 1 Dissertacao Thaisatexto.pdf: 579396 bytes, checksum: fe2d73fbb29bf03814c55535a0af3697 (MD5) Previous issue date: 2006-08-22 / Studies privileging the children as spokespersons of its perceptions and experiences have shown that they are enough competent to express and they are not oblivious to the surrounding events, as in the case of the death. In this direction, this research tried to analyze the conceptions of death and coping strategies of 45 children from 6 to 10 years old and from middle social class, being 23 children with experience of recent death of affectively close people and 22 without the related experience. As method, was used the narrative interview subsidized for two scripts of half-structuralized interview and two requested drawings to each child. The data gotten in the interviews was submitted to the content analysis and in the drawings analysis the same criteria of Fávero and Salim (1995) was used. The results exactly indicated that the children at 6 and 7 years old knew how to deal with the subject of the death, crediting more realistic than magical causes to it. The most pointed coping strategy was the solitary emotional expression of weighing followed by distraction. As for the social support, differences decurrent of experience and differences of gender were found. The children with experience of recent death had privileged only the pairs as support agents, while the others, without experience, pointed the pairs and the parents. Most of the boys and girls suggested as support, respectively, physical activities and talks. For the most part of the children drawings with experience of recent death the deceased people presented happy face expression. Differently from the children without experience of recent death, great part of the drawings of the children with experience of recent death was not colored. This research demonstrated coherence between the histories and the drawings, through the elements that repeat and complement themselves. In general way, the results had confirmed the importance of the dialogue about the death with the children, under the perspective of a healthful mourning. / Estudos privilegiando as crianças como porta-vozes das suas percepções e experiências têm mostrado que estas são suficientemente competentes para se expressarem e não estão alheias aos acontecimentos circundantes, a exemplo da morte. Neste sentido, esta pesquisa procurou analisar as concepções de morte e estratégias de enfrentamento de 45 crianças de 6 a 10 anos e de camada social média, sendo 23 crianças com experiência de morte recente de pessoas afetivamente próximas e 22 sem a referida experiência. Como método, foi utilizada a entrevista narrativa subsidiada por dois roteiros de entrevistas semi-estruturadas e dois desenhos solicitados a cada criança. Os dados obtidos nas entrevistas foram submetidos à análise de conteúdo e, na análise dos desenhos, foram utilizados os mesmos critérios de Fávero e Salim (1995). Os resultados indicaram que mesmo as crianças de 6 e 7 anos souberam tratar do tema da morte, creditando-lhe causas mais realistas que mágicas. A estratégia de enfrentamento mais apontada foi a expressão emocional solitária de pesar seguida da distração. Quanto ao suporte social, foram encontradas diferenças decorrentes da experiência e diferenças de gênero. As crianças com experiência de morte recente privilegiaram apenas os pares como agentes de apoio, enquanto as demais, sem experiência, apontaram os pares e os pais. A maioria dos meninos e meninas sugeriu como suporte, respectivamente, atividades físicas e conversas. Na maior parte dos desenhos das crianças com experiência de morte recente, as pessoas mortas apresentavam expressão facial feliz. Diferentemente das crianças sem experiência de morte recente, grande parte dos desenhos das crianças com experiência de morte recente não foi colorida. Esta pesquisa demonstrou coerência entre as histórias e os desenhos, através dos elementos que se repetem e complementam. De modo geral, os resultados confirmaram a importância do diálogo sobre a morte com as crianças, sob a perspectiva de um luto saudável.

Neste trabalho apresentamos a obra O Urso e o Gato montês da autora japonesa Kazumi Yumoto. Esse é o terceiro livro de Yumoto traduzido para o português trata da temática da morte, os outros dois são livros infanto-juvenis. Nesse livro, junto com a ilustradora Komako Sakai, Yumoto constrói uma narrativa ímpar em que o leitor se depara com o luto de forma delicada e percorre o processo de negação até a aceitação em que o personagem caminha. Fazemos uma análise da morte nos baseando na teoria de Kubler-Ross sobre os estágios do luto, juntamente com o vazio gerado por ela pela ausência da pessoa amada tendo em vista os conceitos de Okano sobre o vazio oriental, e por fim o amor, que é o laço condutor de tudo e que nos é apresentado nos personagens constituintes dessa narrativa. Embasados em teorias de análise de imagens, psicologia e pedagogia, nos debruçamos em um estudo da obra pensando na função da literatura como papel de formação e humanização do indivíduo. / In this work we present the book The Bear and the Wild Cat by the Japanese author Kazumi Yumoto. This is the third of her books translated to Portuguese that deals with the theme of death, it is also approached in two other of her children\'s books. In this book, along with illustrator Komako Sakai, Yumoto constructs a unique narrative in which the reader is confronted with mourning and goes through the process of denial until the acceptance in which the character walks to. We make an analysis of death based on Kubler-Ross\'s theory of the stages of mourning, with the emptiness generated by it by the absence of the loved one taking Okanos point of view about the empty orient, and finally, the love that is the connection link of everything, which is presented to us in the characters of this narrative. Based on theories of image analysis, psychology and pedagogy, we focus on a study of the book thinking about literature playing a role of training and humanization of the individual.

Au lendemain de la guerre au Liban [1975-1990], de jeunes cinéastes refusent de faire l’impasse sur le passé et œuvrent par le biais de leurs films à rendre la mémoire salutaire. La présente recherche étudie les nouvelles configurations cinématographiques de ce nouveau cinéma d’après-guerre, caractérisé par une rétrospective mémorielle et comptable au sein d’une époque révolue. En s’appuyant sur un corpus filmique d’une vingtaine de films, analysés comme des traces matérielles et symboliques, les différentes parties de cette recherche explorent les convergences et les problématiques qui posent la dialectique Mémoire-Histoire à travers la représentation. L’étude scrute également les traces de la mémoire en parcourant les processus relatifs au conflit, au travail de deuil et à l’oubli, en s’interrogeant sur les capacités du cinéma libanais, émergeant d’une société au pluralisme identitaire, à calibrer son potentiel d’expression et son aptitude à problématiser les déboires d’une société meurtrie. Les pistes d’analyse se déclinent autour de la figuration de Beyrouth, comme ville anthropomorphique et emblématique. En dernière partie l’étude aborde les manifestations et les profils d’un sujet symptomatique en quête de son identité au sortir de la guerre au Liban. / After the war in Lebanon [1975-1990 ], young film-makers refuse to ignore the past and work by means of their movies to restore a wholesome memory. The present research studies the new films configurations of the post-war Lebanese cinema, characterized by a memorial and countable retrospective within bygone days. By leaning on a cinematic corpus of about twenty movies, analyzed as material and symbolic tracks, the various parts of this research investigate the convergences and the problems which put the dialectic Memory - history through the representation. The study also scrutinizes the tracks of the memory by going through the processes relative to the conflict, to the work of mourning and the oblivion by questioning the capacities of the Lebanese cinema, to calibrate its potential of expression and its capacity to analyze the setbacks of a bruised society. The paths of this research will also examine the representation of Beirut, as anthropomorphic and symbolic city. In last part, the study approaches the profiles of a symptomatic subject in search of its identity at the end of the war in Lebanon.

La question posée dans ce mémoire de recherche-création découle d’une première réflexion sur l’écriture du deuil : Est-il possible de prendre la parole pour dire une histoire, la nôtre, mais surtout celle de l’autre et quels en sont les effets perceptibles sur le souvenir et la mémoire ? Dans la partie essai, nous nous intéressons aux modalités de l’écriture du deuil dans La place d’Annie Ernaux et dans L’orphelin de Bergounioux. Nous nous intéresserons dans un premier temps à la poétique de ces deux auteurs avant d’entrer plus avant dans notre réflexion sur l’écriture de la mémoire qui traverse de manière différente ces deux romans. Dans cette partie, nous nous appuyons sur les théories et notions de Paul Ricoeur, de Tzvetan Todorov et de Pierre Nora dans l’idée d’explorer les liens possibles avec les procédés à l’œuvre dans le récit. Enfin, nous explorons aussi le problème de la quête identitaire et de l’héritage tel qu’il se présente dans le récit de filiation en appuyant notre réflexion sur les écrits de Dominique Viart. La mémoire et sa conservation sont au centre des préoccupations qui précèdent la création. Suspendu(e) est un récit dont la forme tient à la fois de la nouvelle et du roman. Il s’inscrit dans les préoccupations appartenant au genre du récit de filiation tel que présenté par Dominique Viart. À ce titre, il s’interroge sur la trace et sur l’origine. Il se compose de deux parties. La première, plus narrative, raconte les événements de la mort de mon père ; le point de rupture. La seconde partie est plus éclatée. Elle se compose de fragments de vie qui sont à la fois des souvenirs et des traces interprétées (vidéos, photographies). Mots clés : Filiation, deuil, témoignage, mémoire, souvenir, écriture de soi, père, Annie Ernaux, Pierre Bergounioux. / The question in this research-creation comes from a first reflection on the writing of mourning: Is it possible to tell a story, my story, but especially the story of the other and what are the effects on the memory? In the research section, we focus on the modalities of the writing of mourning in La place by Annie Ernaux and L’orphelin by Pierre Bergounioux. Initially, we focus on the poetics of these two authors before to go further and question the writing on memory in the two novels. In this part, we relied on the theories and concepts of Ricoeur, Todorov and Nora in the idea of exploring possible links with the processes at work in the narrative. Finally, we are also exploring the issue of the search for identity and heritage as presented in the narrative filiation, we will support our reflection on the writings of Dominique Viart. Memory and its preservation are the main concern before the creation. Suspendu(e) is a narrative whose form both the new and the novel. It is part of the concerns of the narrative filiation as presented by Dominique Viart. As such, it reflects on the trace and origin. It consists in two parts. The first, more narrative, tells my father's death event; the breaking point. The second part is more fragmented. It consists of fragments of life that are both memories and interpreted traces (videos, pictures). Key words : mourning, testimony, memory, self-writing, father, Annie Ernaux, Pierre Bergounioux.

[pt] Duas décadas após a difusão da Internet por todo o mundo, é nítida a diferença entre a realidade que havia antes e a que existe hoje. Pode-se dizer, sem o risco de incorrer em exageros, que a Internet promoveu mudanças em quase todas as áreas da vida humana. Dentre os incontáveis recursos que a Internet oferece está a possibilidade de fazer e manter amizades online, assim como de brigar, estudar, comprar, paquerar, reclamar de uma empresa ou serviço, discutir, namorar e conversar. Tudo isso pode ser feito através de diferentes ferramentas e ambientes na Rede, tais como os emails, chats, sites em geral, blogs, e, mais recentemente, sites de relacionamento. De todos estes, os sites de relacionamento (como Orkut e Facebook) vêm se tornando cada vez mais populares ao longo da última década, especialmente entre os jovens. Entre os diversos sites de relacionamento disponíveis, o Orkut é o mais frequentado pelo público brasileiro, que o utiliza geralmente para interagir através de mensagens, compartilhar fotos e participar de comunidades. Há, no entanto, pessoas que têm utilizado o Orkut com um fim que surpreendentemente vem se tornando cada vez mais frequente. Tratase do uso do Orkut por pessoas enlutadas para enviar mensagens a outras que estão mortas, e cujo perfil foi mantido ativo. Visando compreender este novo comportamento, esta tese conta tanto com uma revisão bibliográfica como com uma pesquisa de campo. No levantamento bibliográfico, as concepções de morte, os comportamentos e rituais a ela associados são abordados do ponto de vista histórico e sociológico. Do ponto de vista psicológico, são apresentadas as diferentes fases do luto, os fatores que podem vir a influenciar a evolução deste processo e indicadores de que o luto foi elaborado. A pesquisa de campo conta com entrevistas com 15 pessoas que deixam mensagens em perfis de amigos ou familiares falecidos. A análise destas entrevistas revela que, em um momento inicial do luto, o perfil do falecido é percebido como uma parte daquele que se foi, favorecendo a sensação de proximidade com ele. Essa sensação faz com que os enlutados tenham a impressão de que podem se comunicar com o falecido, o que os leva a deixar mensagens em seu perfil. Fazer isso traz um alívio momentâneo para a dor experimentada pelos enlutados, que se sentem confortados. Por este motivo, eles apontam o Orkut como uma fonte de ajuda para o abrandamento da dor pela perda de alguém querido. Conforme o tempo passa, há maior conformidade com a morte, o que leva as visitas ao perfil e as mensagens a se tornarem rarefeitas. O perfil se torna, então, apenas um lugar de boas recordações, a que as pessoas eventualmente recorrem quando querem se lembrar do falecido. / [en] Two decades after the Internet explosion throughout the world, there is a pronounced difference between the reality that existed before and the one we have nowadays. It is possible to say, without risk of exaggeration, that the Internet transformed almost every single part of human life. Among the immeasurable resources available in the Internet are the possibilities of making friends and maintaining friendships, as well as fighting, studying, buying, flirting, complaining of companies or services, arguing, dating and chatting. These things can all be done thanks to resources such as emails, chats, websites in general, blogs and, more recently, social network sites. Social network sites (as Orkut and Facebook) have become very popular during the last decade, especially among youngsters. Among the many social network sites available, Orkut is preferred by the Brazilians, who usually use it to interact with each other sending messages, sharing pictures and joining communities. However, some have been using Orkut for a different purpose, which surprisingly has become increasingly common. These are bereaved people who have been using Orkut to send messages to others who are dead, and whose profiles were kept active. Aiming to comprehend this new behavior, this thesis incorporates a bibliographic review and also a field research. In the bibliographic review, death conceptions, behaviors and rituals related to death are approached historically and sociologically. From the psychological standpoint, the different stages of grief, factors that can endanger the evolution of this process and indicators that grief has ended are presented. The field research is composed by 15 interviews with those who write messages in profiles of deceased family members or friends. The analysis of these interviews demonstrates that, in the first moment of grief, the deceased s profile is perceived as a part of the dead person, causing the sensation of being close to him/her. This perception makes the bereaved have the sensation that they can communicate with the deceased, compelling them to leave messages on his/her profile. Doing so brings momentary relief for the sorrow experienced by the bereaved. Thence, they consider Orkut as an avenue to help relieve the pain of losing a loved one. As time passes, they get more resigned with the loss, which results in fewer profile visits and even rarer posting of messages. The profile becomes, then, just one place of nice memories, where people eventually go when they want to remember the deceased.