A presente dissertação tem como objetivo investigar a sedimentação sócio-histórica do romance de estreia de Charlotte Brontë, Jane Eyre (1847), a partir de seu foco narrativo. Ao atentar à fortuna crítica da obra, em especial às resenhas que seguiram a publicação do romance e às críticas materialista e feminista, distinguem-se duas tendências, dois modos de entender Jane Eyre. Por meio da análise de trechos do romance, visa-se ilustrar como essas duas vias de leitura são possíveis por conta da posição ambígua da narradora-personagem dentro da sociedade vitoriana. Expandindo o conceito de Terry Eagleton do in between, argumenta-se que, por estar sempre em uma posição entre as classes alta e baixa e por desejar inserção, Jane relata e denuncia as violências que permeiam a sociedade vitoriana e, ao mesmo tempo, incorpora o discurso dominante, mesmo quando esse vai contra ela mesma. Entende-se, assim, que o romance retrata a situação contraditória da classe média e o impacto de viver nessa posição na própria consciência do indivíduo, isto é, na sua visão de si e do mundo, como observado na voz da narradora de Jane Eyre. / The aim of this dissertation is to investigate the social and historical sedimentation of Charlotte Brontës 1847 debut novel, Jane Eyre, by exploring its point of view. Drawing from the novels literary criticism, especially from the reviews that followed its publication and from the Feminist and Marxist criticism, two different ways of understanding Jane Eyre are distinguished. The close reading of excerpts from Charlotte Brontës work aims at highlighting that these two readings are possible due to the narrators ambiguous position in the Victorian social structure. By expanding Terry Eagletons concept of the in between, it is discussed that, since Jane is from the very beginning of the novel in a position between the upper and lower classes and she longs for inclusion, she accounts on and denounces the violence that permeated the Victorian society, just as, at the same time, she incorporates the dominant discourse even when it speaks against herself. Thus, it is understood that the novel portrays the contradictory situation of the petty bourgeoisie and the impact of being in such a position on the individuals consciousness, as it is seen in Jane Eyres narrators voice.

O exercício de crítica cultural aqui empreendido busca refletir sobre a contemporaneidade a partir da análise e interpretação do longa-metragem O som ao redor (2012) de Kleber Mendonça Filho. A fim de chegar a uma compreensão do que sua forma diz sobre o momento presente, realizamos uma investigação sobre o filme a partir das contribuições de diferentes disciplinas e também de abordagens analíticas da imprensa e da academia. A começar pelo estudo da forma narrativa, propomos definições para noções como autor, autor implícito, narrador, ponto de vista e foco narrativo. Essas noções se mostram úteis no desenvolvimento da análise com relação ao que entendemos como sendo o foco narrativo, uma relação de significação entre as instâncias da emissão e da recepção de uma narrativa. A focalização, assim compreendida, permitiu a identificação da produção de quatro espacialidades na trama da narrativa fílmica: (a) o espaço doméstico contemporâneo e as práticas de consumo, marcados pelo desejo e pelo medo; (b) o espaço de poder do homem cordial contemporâneo; (c) o espaço da propriedade e da auto-atribuição ambígua de um espaço de representação; e, por fim, (d) o espaço da subalternidade. Esses espaços, por sua vez, são articulados por meio de uma prática temporal contraditória, estabelecida entre passado e futuro, que mantém o presente em estado de suspensão crônica. Observa-se, nos termos de Jameson (2002 [1981]), o inconsciente político dessa narrativa: o reconhecimento do papel da classe média na manutenção de relações de mando arcaicas, lugar que o próprio narrador simula assumir e ao qual, por vezes, corre o risco de assimilar-se. Desse modo, a miragem da classe média quanto ao autocontrole econômico e simbólico e seu horror à expropriação e aos despossuídos continuam a contribuir para manter as desigualdades e injustiças sociais do país. Como forma de conclusão, indica-se, na leitura do filme, a possibilidade de entendimento do passado como uma simples permanência caso se veja o tempo (e a história) apenas como continuidade. Inversamente, se a dimensão temporal for compreendida como sujeita a simultaneidades, aberta, portanto, à equivocidade, possibilidades de futuro podem emergir, configurando-se uma outra leitura. Nesse sentido, práticas do passado no presente, sujeitas à continuidade e à transformação, dão a dimensão da importância das práticas presentes, já que, estas, antecipam, desde já, práticas futuras. / The exercise of cultural criticism undertaken here aims to reflect on contemporary temporality through an analysis and interpretation of the feature film Neighbouring Sounds (2012), directed by Kleber Mendonça Filho. To understand what its form says about the current moment, I investigate the structure of the film considering contributions from different disciplines and also analytical approaches, offered by the press and scholars. Starting with the study of the narrative form, I propose definitions for notions like author, implicit author, narrator and point of view. These notions have proved themselves useful in the development of an analysis of what is understood as the narrative focus. However, the Anglophone criticism does not use that term as often as point of view. Thus understanding point of view as a relationship of signification between the addresser and the addressee of a narrative, I observe the production of four spatialities in the plot of the film: (a) the contemporary domestic space and consumerist practices, marked by desire and fear; (b) the space of the power of the contemporary cordial man; (c) the space of property and of the ambiguous selfattribution of a representational space; and, finally, (d) the space of subalternity. These spaces, then, are articulated by a contradictory time practice, established between the past and the future, which keeps the present in a chronic suspension state. I observe, following Jamesons (2002 [1981]) expression, the political unconscious of that narrative: the recognition of the role of the middle class in the maintenance of the archaic power relations. The narrator, in simulating these power relations, runs the risk of reproducing them. Thus the middle-class mirage of economic and symbolic self-control, compounded by a middle-class horror of expropriation and of the destitute, perpetuate the inequalities and social injustices in Brazil. To conclude, I indicate, in this reading of the film, the possibility of understanding the past as simply permanence if time and history are only regarded as continuity. Conversely, if the temporal dimension is grasped as subject to simultaneities, therefore, open to the equivoque, a different possible future may emerge, creating another reading. In this new sense, practices of the past in the present, subject to continuity and to transformation, give importance to the present practices, since these ones anticipate future practices.

Spinning the Plan Sideways is the story of Clara Gantz, a thirty-eight year old architect who spent her twenties getting her plans—and sections and elevations—just right. She built buildings in lieu of a family and has considered these buildings her children, but lately she’s been finding a void in wood, marble, and steel. Encouraged, with methods bordering on coercion, by Greta, her “sister” from the Gantz Home for Girls, Clara agrees to mentor Julien, a troubled twelve-year-old. Years ago, when Julien was five, his mother split their house apart, lifting it to make three-stories from one, and moved into the top level with her new husband and daughter, leaving Julien and his father, Michel on the levels below. The separation drove Michel to attempt suicide on Julien’s ninth birthday leaving him with violent aversions to homes over one-story tall. As Clara works with Julien, she discovers her life had been focused on developing the wrong types of plans and she invests in creating new plans for herself, Julien, and Michel. The story unfolds through the parallel viewpoints of Clara and Michel, with Julien’s Grim Fairytale tucked in the middle.

[pt] A presente dissertação é um estudo sobre o conceito do ponto de vista interno, elaborado e aplicado ao direito por H. L. A. Hart no livro O Conceito de Direito. Para tanto, é analisado a relação desse conceito com outros tópicos da teoria hartiana, como: a crítica às teorias baseadas em sanções, a existência de regras sociais, a norma de reconhecimento e a ideia de obrigação jurídica. Com isso, o objetivo é analisar o conceito do ponto de vista interno não de forma isolada, mas relacionada com o contexto geral da obra de Hart. / [en] This dissertation is a study on the concept of the internal point of view, which was applied to the law by H. L. A. Hart in his book The Concept of Law. Therefore, it is analyzed the relationship of this concept with other topic in Hart´s theory, such as: a critique of sanction-centered theories of law, the existence of social rules, the rule of recognition and the idea of legal obligation. Thus, the objective is to analyze the concept of the internal point of view not in isolation, but related to the general context of the Hart´s work.

How the artist deals with death, loss and the spiritual has been a major theme of art throughout history. New media tools provide renewed opportunity to explore these themes while testing the tools against a familiar subject. This research attempts to deal with these themes by examining and reinterpreting them through myths while evaluating the tools of creative media. In so doing, this has the potential to uncover any revealing insights that are relevant to the times. The project uses myth to explore the potential of the interaction between 2D digital images and 3D virtual environments. Elements of particular significance in the 3D virtual environment - such as Lighting and Point of View - are examined from the perspective of an artist who has practised only in 2D. Twelve final works have been generated for this project and presented as large-scale digital prints, along with a short video piece. In particular, the research explores 3D lighting techniques of 2D images by applying theatrical protocols within a virtual, computer-generated environment, and using myth as context and driving principle. The idea of theatre 'flats' has been applied as a device within the virtual realm to provide a conceptual housing and rationale for virtual lighting techniques, virtual camera techniques, digital rendering and digital printing.

<p>The aim of this study is to look how the Social Service has handled custody issues. The study has a legal and social aspect with a purpose to investigate how the law affects the social administration as well as the family. During a period of one year a quantitative and qualitative study was performed within the social administration in a nearby community. The study focus is partly on the relationship between the law, family and society. The main questions have been: Which one of the parents, mother or father, did in fact get the custody and why? How has the children’s point of view been reported in the inquiry? A child needs a well organized everyday life in a preferably conflict free environment. The result shows that the mothers are most often presented as the child’s main provider but it´s not related to gender. The main reason is the child´s need to stability, security and structure in everyday life and therefore the authority often chose to not change the child´s existing resident and surroundings. We have also found out that more focus must be put on the child’s wish, they need to be considered. For the best interest of the child!</p>

<p>The aim of this study is to look how the Social Service has handled custody issues. The study has a legal and social aspect with a purpose to investigate how the law affects the social administration as well as the family. During a period of one year a quantitative and qualitative study was performed within the social administration in a nearby community. The study focus is partly on the relationship between the law, family and society. The main questions have been: Which one of the parents, mother or father, did in fact get the custody and why? How has the children’s point of view been reported in the inquiry? A child needs a well organized everyday life in a preferably conflict free environment. The result shows that the mothers are most often presented as the child’s main provider but it´s not related to gender. The main reason is the child´s need to stability, security and structure in everyday life and therefore the authority often chose to not change the child´s existing resident and surroundings. We have also found out that more focus must be put on the child’s wish, they need to be considered. For the best interest of the child!</p>

The aim of this study is to look how the Social Service has handled custody issues. The study has a legal and social aspect with a purpose to investigate how the law affects the social administration as well as the family. During a period of one year a quantitative and qualitative study was performed within the social administration in a nearby community. The study focus is partly on the relationship between the law, family and society. The main questions have been: Which one of the parents, mother or father, did in fact get the custody and why? How has the children’s point of view been reported in the inquiry? A child needs a well organized everyday life in a preferably conflict free environment. The result shows that the mothers are most often presented as the child’s main provider but it´s not related to gender. The main reason is the child´s need to stability, security and structure in everyday life and therefore the authority often chose to not change the child´s existing resident and surroundings. We have also found out that more focus must be put on the child’s wish, they need to be considered. For the best interest of the child!

The aim of this study is to look how the Social Service has handled custody issues. The study has a legal and social aspect with a purpose to investigate how the law affects the social administration as well as the family. During a period of one year a quantitative and qualitative study was performed within the social administration in a nearby community. The study focus is partly on the relationship between the law, family and society. The main questions have been: Which one of the parents, mother or father, did in fact get the custody and why? How has the children’s point of view been reported in the inquiry? A child needs a well organized everyday life in a preferably conflict free environment. The result shows that the mothers are most often presented as the child’s main provider but it´s not related to gender. The main reason is the child´s need to stability, security and structure in everyday life and therefore the authority often chose to not change the child´s existing resident and surroundings. We have also found out that more focus must be put on the child’s wish, they need to be considered. For the best interest of the child!

This thesis addresses the principles of cinematography and their significance for the visual outcome of a film. The purpose is to examine the importance of the principles for modern film and this is done through a study on how the principles are used and not used in the films Children of Men and Clerks II. The two films investigated are both known for being experimental and modern in their use of cinematography, and was therefore found suitable for this thesis. The limitation with this study is that only the four main principles of cinematography are analysed: camera angles, framings, points of view and camera movement, and they are only analysed in one shot from each film examined. In the results, the four main principles were investigated when and when not applied in the specific shot from each film. In the film Children of Men the breaking of the principle of point of view was most central, but the principle of framings and camera movement were in some cases also not applied. The only principle actually followed in this shot was the principle of camera angles. In the other film examined, Clerks II, the breaking of the principle of camera movement and camera angles was most central together with the breaking of the 180 degree rule. The principles that were followed in this clip were framings and points of view. In the conclusion the results were discussed and also the possibility of effects on the viewer, when breaking the principles. Different ideas of possible effects on the viewer were presented, but they all had disorientation in common. The possible outcome of disregarding the principles of cinematography ended up being misleading the viewer away from the narrative.