Discutir a problemática histórica das transgressões nos oferece a possibilidade de investigar mais detidamente uma característica marcante das formações sociais brasileiras coloniais e imperiais. Nas formações sociais da história brasileira transgredia-se muito e continuadamente. Ao mesmo tempo - traço fundamental dos modos de viver dessas sociedades - exercia-se cotidianamente uma visível tolerância social para com as transgressões. O estudo das práticas transgressoras oferece, portanto, a possibilidade de compreender um pouco mais sobre a complexidade desse processo social na história brasileira, moldado sobre parece ser mesmo esta a palavra mais adequada em um equilíbrio tenso, sem dúvida, mas estável, entre o que o era interdito, proibido e o que efetivamente, se permitia na vivência social cotidiana. Este trabalho pretende estudar a problemática das transgressões em um momento fundamental da história brasileira, a segunda metade do século XIX, quando, em meio a conflitos e tensões, iniciou-se o processo através do qual as configurações coloniais que definiram a vida social, política e econômica e cultural durante mais de três séculos foram gradualmente cedendo lugar à novos arranjos políticos e sócio-econômicos que fundamentariam a construção do Brasil contemporâneo. As décadas de 1850-1900 constituem assim um período crucial, marcado por difíceis e traumáticas transições. Na cidade de Taubaté, situada no médio Vale do Paraíba Paulista, região de importante significação econômica para a província de São Paulo e para o império em boa parte desse período, as transformações marcaram inapelavelmente a vivência cotidiana. A Taubaté da segunda metade do século dezenove coloca-se como cenário privilegiado para um estudo sobre a dinâmica da transgressão-transigência. Essa dinâmica, inequivocamente uma das efetivas permanências de caráter colonial na sociedade brasileira do século dezenove, não desapareceu no decorrer das transformações que marcaram as décadas finais do século. O complexo jogo de tensões entre o transgredir e transigir persistiu. Mas as vivências transgressoras nele pautadas tornaram-se progressivamente mais dificultosas, enfrentando resistências, hostilidade e impasses crescentes. / Discussing the historical problem of transgressions offers us the possibility to investigate more carefully a remarkable characteristic of the Brazilian social formations during colonial and imperial times. In social formation of Brazilian history transgressions were frequent and continuous. At the same time fundamental trait of the way of living of such societies people daily performed a visible social toleration for transgressions. Therefore, the study of the transgressions performances offers the possibility to understand a bit more about the complexity of this social process in the Brazilian society in a tense but stable balance, no doubt, between what was forbidden and what was in fact permitted in the everyday social behavior. This work intends to study the problematical of the transgressions on a very fundamental moment of the Brazilian history, the second half of the XIX century, when in between conflicts and tensions, it was started the process through which the colonial configurations that defined the social, political, economical and cultural life during more than three centuries had to gradually give in to new political and social-economical arrangements that would support the construction of the contemporary Brazil. For this reason the years 1850-1900 are a crucial time, marked by difficult and traumatic transition. At Taubaté, a town located in the middle Vale do Paraíba Paulista, region of economical importance for the province of São Paulo and for the empire, the changes marked strongly the everyday living. Taubaté of the second half of the nineteenth century places itself as a privileged scenery for a study over the dynamic of transgression-permission. This dynamic, no mistake one of the effective remains of the colonial nature in the Brazilian society of the nineteenth did not disappear during the changes that marked the final decades of the century. The complex game of tensions between transgress and permit persisted. But the transgressions there lined became progressively more difficult, facing resistance, hostility and impasses.

O objetivo da tese é estudar, em um primeiro momento, as transformações do triângulo amoroso nos romances de Marguerite Duras que retratam uma crise conjugal: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) e Le Ravissement de Lol V. Stein (1964). Esses romances colocam em cena um casal cuja separação é provocada pela chegada de um desconhecido. Essa terceira pessoa forma então um novo par com um dos membros do casal anterior. Em algumas dessas obras, aquele que ficou só se torna a terceira pessoa e passa a olhar o casal recém constituído. A originalidade do triângulo amoroso em Marguerite Duras está no fato de que esta terceira pessoa, contemplando o nascimento de um novo amor, não sofre com a perda do parceiro, nem sente ciúme; ao contrário, sente prazer em ver, ao invés de amar. Assistir a esse encontro lhe proporciona um arrebatamento. Em um segundo momento, veremos que essa estrutura triangular remete aos romances familiares nos quais se encontra o triângulo amoroso original: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990) e LAmant de la Chine du Nord (1991). Nessas obras, o casal é formado por dois irmãos e a terceira pessoa, pelo amante. Como o coito fraterno é ilícito, a terceira pessoa pode ser um substituto possível do irmão. Outro recurso encontrado é o voyeurismo. Unir-se ao irmão não é lícito, porém a possibilidade de ver o irmão ou a irmã juntar-se a uma terceira pessoa permite ao voyeur viver o amor proibido. Assim, esta tese pretende demonstrar como a cena primitiva, que retrata o amor incestuoso nos romances familiares, reaparece disfarçada em triângulos amorosos nos romances que representam a crise conjugal. / The objective of this thesis is to study, firstly, the transformations of the loving triangle in relationship in Marguerite Duras novels that portrays the marital crisis: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) Le Ravissement de Lol V. Stein (1964). These novels show a couple whose separation is caused by the arrival of a stranger. This third person then starts a new couple with one of the members of the first couple. In some of the pieces, the one who is left aside becomes a third person and starts to look the new couple. The originality of the loving triangle, in Marguerite Duras, is in the fact that this third person, by contemplating the birth of a new love, does not suffer with the loss of the partner, or feels jealousy, by the contrary, feels pleasure watching instead of loving. The view of this union makes him feel rapture. In a second moment, we will see that this triangle structure refers to the family novels where the original loving triangle is found: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990), LAmant de la Chine du Nord (1991). In these pieces the couple consists in brother and sister and the third person is the lover. As fraternal coitus is prohibited, the third person may be a possible substitute for the brother. Another resource found is voyeurism. Fraternal union is not licit; however the possibility of watching the brother or sister with a third person allows the voyeur to live the prohibited love. Therefore, this thesis intends to demonstrate how the primitive scene, that portraits the incestuous love in familiar novels, reappears disguised in loving triangles in the novels that represent marital crisis.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-07-04T10:46:28Z No. of bitstreams: 1 denisedefatimagonzagadasilva.pdf: 1300270 bytes, checksum: c820c9ef44ddea6ad419c76b463f8ba4 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-08-08T13:15:38Z (GMT) No. of bitstreams: 1 denisedefatimagonzagadasilva.pdf: 1300270 bytes, checksum: c820c9ef44ddea6ad419c76b463f8ba4 (MD5) / Made available in DSpace on 2017-08-08T13:15:38Z (GMT). No. of bitstreams: 1 denisedefatimagonzagadasilva.pdf: 1300270 bytes, checksum: c820c9ef44ddea6ad419c76b463f8ba4 (MD5) Previous issue date: 2008-08-29 / Essa dissertação desenvolve suas questões a partir da análise do Romanceiro da Inconfidência de Cecília Meireles(1953) e da Conferência proferida pela poetisa em 1955 na cidade de Ouro Preto. A autora recorre aos recursos estilísticos que caracterizam a forma de um Romanceiro rompendo com a construção do herói segundo o paradigma clássico ao aproximar a construção simbólica de Tiradentes da cultura popular, dos personagens marginalizados e da imagem de transgressão. Segundo nossa leitura, o discurso poético de Cecília traria em si o encontro de distintas temporalidades, mediante a confluência do passado colonial brasileiro no século XVIII, a aquisição e transformação do arquivo dos Inconfidentes no século XIX pela República e o momento de escritura da autora no século XX. .Dentro disso, trabalhamos com a busca da construção de identidade e nacionalismo produzidas pela autora modernista, no século XX, além da conseqüente construção da memória e da lírica no enveredar pelos arquivos da história brasileira.Observamos que é possível reconhecer a aproximação de duas formas de conhecimento fundamentais- o saber histórico e literário que alicerçam a composição de um conceito de história em consonância com Walter Benjamin nas suas Teses sobre a história. Para compreender a busca pelos arquivos da história brasileira efetuada pela poetisa utilizamos o arquivo como categoria teórica arquitetada por Derrida em Mal de Arquivo. O trabalho busca refletir sobre a construção do herói formulada pela artista modernista concebendo o mundo do texto como um espaço aberto onde se entremeiam e espelham os tempos e espaços que marcam a constituição de nossa nacionalidade e identidade a partir da ótica do intelectual moderno e do discurso como lugar de poder onde as questões políticas e sociais se ensejam. / This dissertation develops its questions from the analysis of the book Romanceiro da Inconfidência, by Cecília Meireles (1953), and from the lecture delivered by the poet in 1955, in the city of Ouro Preto. The author recurs to stylistics resources which characterize the form of a “romanceiro”, breaking with the classic paradigm of the construction of the hero by approaching the symbolic construction of Tiradentes to the popular culture, the marginalized characters and the image of transgression. In accord with our reading, the poetic discourse of Cecília Meireles would carry in itself the encounter of distinct temporalities through the confluence of the Brazilian XVIIIth century colonial past, the acquisition and transformation of the archive of the “Inconfidentes” by the Republic in the XIXth century, and the author’s writing moment in the XXth century. Among this, we work with the research of construction of identity and nationalism produced by the modernist author in the XXth century, as well as the consequent construction of memory and modern Lyric by following the path of the archives of Brazilian history. We observe that it is possible to recognize the approach of two fundamental forms of knowledge – the historical and the literary knowledge – that lay the foundation of a concept of History consonant with Walter Benjamin’s Theses on History. In order to understand the research that the poet did through the archive of Brazilian history, we made use of the “archive” as a theoretical category conceived by Jacques Derrida in Archive Fever. Thus, this work seeks to reflect on the construction of the hero as formulated by the modern artist, conceiving the world of text as an open space where layers of time and space that mark the constitution of our nationality and identity intermingle and mirror each other, and from the optics of the modern intellectual and of the discourse as a locus of power where the political and social questions are interwoven.

The creation of Emma Bovary, the major character in Madame Bovary written by Gustave Flaubert, must have been one of the most reckless literaray enterprises of its time. There is no doubt that its inventor, Flaubert, aimed to promote a feminist viewpoint. In this masterwork, Flaubert fully depicts the different options, offered to women in the Napoleon era. However, somehow Flaubert’s novel is concerned less with the differences between men and women, as they are pre-given, than with what differentiates men from other men. Therefore, I have in this essay also payed particular attention to the codified social roles and rights for men within the legal framework of the Code Napoléon, leading to a reformulation of ‘masculinity’ and ‘manhood’ in nineteenth-century France. These codified roles and rights reveal a number of negative power-and social relationships with men, as well as with women. Not all men are equal or unaffected by the laws of Patriarchy. In Madame Bovary shifts in gender value, shifts in the codification of what is ‘feminine’ or ‘masculine’ are present throughout the entire novel, thus creating a real gender trangression or a new woman and a new man.

[pt] Esta dissertação consiste em uma aproximação entre a concepção de erotismo em Georges Bataille e a noção de gozo em Jacques Lacan, em um momento específico de seu ensino: o Seminário VII. Bataille e Lacan, herdeiros do pensamento freudiano, concebem o erotismo na visada da morte, em um sentido específico próprio a cada um. A morte, aqui, assinala a incompatibilidade entre o desejo, nossa existência habitual e o gozo em si. Finalmente, destacamos que, para ambos os autores, abordar o erotismo pela via da transgressão exige a formulação de uma ética. / [en] This dissertation is the approximation between the conception of eroticism in Georges Bataille and the notion of jouissance in Jacques Lacan, at a specific moment of this teaching: The seminar book VII. Bataille and Lacan, heirs of Freudian thought, conceive eroticism in sight of death, in a proper way to each one. Death, here, points to the incompatibility between desire, our usual existence and jouissance in itself. Finally, we emphasize that, for both authors, address the eroticism through transgression requires the formulation of an ethic.

Cette étude propose de s’intéresser à un genre littéraire mineur, le Newgate, regroupant des romans parus entre 1830 et 1847. L’objectif est de définir les modalités d’écriture qui sous-tendent les œuvres rassemblées sous cette étiquette non pas par consensus d’auteurs, mais par les critiques. À la croisée entre biographies et romance, les romans livrent des portraits de voleurs, meurtriers ou bandits de grand chemin. Dans la lignée du Newgate Calendar, ils connurent un vif succès auprès d’un public essentiellement populaire, mêlant faits divers, légendes du crime et fantasme d’une écriture poétique. L’objet de notre étude consiste à évaluer comment s’opère, au cœur des romans, la rencontre entre crime et esthétique, deux notions qui trouvent dans le Newgate une pierre d’achoppement. Entre dissidence, sensationnalisme et obscénité, les romans fascinent autant qu’ils rebutent. Œuvres du scandale, ils conduisent dans un premier temps à s’interroger sur les conventions de leur temps qu’ils remettent en cause, depuis les conventions sociales et morales jusqu’au code pénal, en passant par les codes esthétiques. Tiraillés entre allégeance au passé et nécessité d’affirmer leur différence, les romans sont l’œuvre du désir, concept autour duquel se nouent crime et esthétique : à l’image des œuvres, les héros en quête d’origine sont en perpétuelle négociation avec l’avant. Enfin, ces romans populaires oscillent entre mélodrame et empreinte carnavalesque pour s’attirer les faveurs d’un public de masse convié à l’expérience d’une pratique de la lecture proche de l’enfièvrement et de la dévoration. / This study focuses on a minor literary genre, the Newgate Novel, published between 1830 and 1847. Its aim is to define the scriptural modalities that lie at the core of these works of art which do not constitute a school of writing, but were grouped together by the critics of the time. Between biography and romance, the novels depict thieves, murderers or highwaymen. Following the Newgate Calendar, they were extremely popular at the time of their publication, a success which can be linked to the way they mingle crime news, legendary criminal figures and a poetical stance. The purpose of this study consists in assessing how crime and aesthetics meet in these novels to form the core of the literary project. The novels are caught in-between dissidence, sensationalism and obscenity: they fascinate as much as they repulse their audience. These scandalous pieces of writing keep negotiating with the conventions of their time – should they be social or moral conventions, the criminal code or the aesthetic standards. Thus, they can be situated in a paradoxical place, oscillating between their allegiance to the past and their necessity to affirm their difference, their novelty: they are the objects of desire, a key-concept around which gravitate the notions of crime and aesthetics. The heroes of the stories are also objects of desire, constantly longing for their origins. The novels were a success because they managed to affirm their popular identity: hesitating between the melodramatic and the carnivalesque, they aimed at attracting the new mass-reading public who were invited to indulge in a feverish, devouring reading experience.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2016-08-26T21:03:54Z No. of bitstreams: 1 ALINE NERY- DISSERTA??O FINAL.pdf: 993709 bytes, checksum: f2d19508fb619b416a9caed2c204095f (MD5) / Made available in DSpace on 2016-08-26T21:03:54Z (GMT). No. of bitstreams: 1 ALINE NERY- DISSERTA??O FINAL.pdf: 993709 bytes, checksum: f2d19508fb619b416a9caed2c204095f (MD5) Previous issue date: 2015-07-29 / This dissertation has as goal to analyse the transgression, principally the incest in the novel Lavoura arcaica, reflecting about the your contributions to beget of the conflicts and tragedies in the family. The novel, Lavoura arcaica, of Raduan Nassar, is a narrative that to carry brings up the family relationship and dissensions that firstly, resemble simple in any family, but in the to pass way of the history go intensifying to get to the principal point of a tragedy. One of the bigger factors that trigger family disorder is the incest lived by the brothers Andre and Ana. It?s through oh this happening that the family union attached by the father is put to the test. The sovereign word of the father is confronted by Andre who is considerate a stranger in the breast of the family because he isn?t obtain to follow the norms established for your father, he doesn?t adapt the routine of the farm. The mother, silenced by your husband?s austerity, she?s obligated to protect your sons, principally with your love, but your maternal attitudes trigger the big Oedipal process in Andre who accuse her by the under confusion that is pressed in the family. Between love and hatred, the family survive trying to keep the appearances the are finally defeat with the revelations of the transgressions happened in the holy family ambiance. From theoretical analysis the authors who adress related topics the transgression, incest, family and love, reached the conclusion that the family of the deconstruction was a painful but unavoidable due to need of the children (representing the side left the table) to break with the model of hierarchical education and father dictator. For the theoretical analysis are used: Georges Bataille, Claude Levi-Strauss, Sigmund Freud, Jacques Lacan, Michel Foucault, Friedrich Engels, Friedrich Nietzsche, Arthur Schopenhauer, Erich Fromm, Rollo May, Eni P. Orlandi, Plat?o, Antony Giddens, Marshall Berman, Zygmunt Bauman, Joaci G?es, among others. / Esta disserta??o tem por objetivo analisar as transgress?es, principalmente o incesto, no texto de Lavoura arcaica, refletindo sobre a contribui??o delas para a gera??o dos conflitos e trag?dias na fam?lia. O romance Lavoura arcaica, de Raduan Nassar, ? uma narrativa que traz ? tona as rela??es familiares e as desaven?as que, inicialmente, parecem comuns a qualquer fam?lia, mas que, no decorrer da trama, vai se intensificando at? chegar ao limiar de uma trag?dia. Um dos grandes fatores que desencadeiam a desordem familiar ? o incesto vivido pelos irm?os Andr? e Ana. ? atrav?s desse interdito que a uni?o familiar pregada pelo patriarca ? colocada ? prova. A palavra soberana do pai ? enfrentada por Andr?, que se considera um estrangeiro no seio familiar, pois n?o consegue seguir as regras impostas pelo pai e n?o se adapta ? rotina da fazenda. A m?e, silenciada pela austeridade do marido, fica relegada a proteger seus filhos, principalmente com o seu amor, mas suas atitudes desencadeiam o grande processo edipiano em Andr?, que a culpa pelo caos instaurado na fam?lia. Entre amor e ?dio, a fam?lia sobrevive tentando manter as apar?ncias, derrubadas de vez com as revela??es transgressoras acontecidas no sagrado ambiente familiar. A partir de an?lises te?ricas de autores que abordam as tem?ticas ligadas a transgress?o, incesto, fam?lia, amor, o presente trabalho conclui que a desconstru??o da fam?lia representa um processo doloroso, mas inevit?vel, face ? necessidade de os filhos (que representam o lado esquerdo da mesa) romperem com o modelo de educa??o hierarquizante e ditatorial do pai. Para an?lise s?o utilizados os te?ricos: Georges Bataille, Claude Levi-Strauss, Sigmund Freud, Jacques Lacan, Michel Foucault, Friedrich Engels, Friedrich Nietzsche, Arthur Schopenhauer, Erich Fromm, Rollo May, Eni P. Orlandi, Plat?o, Antony Giddens, Marshall Berman, Zigmunt Bauman, Joaci G?es entre outros.

This thesis investigates how two novels by Dennis Cooper, Closer and Frisk, conceive of queer sexuality as transgressing heteronormative notions of moral standards, and how they challenge these by elevating their subject matters to an excessive degree. Drawing on the concepts of the grotesque and the Gothic, this thesis explores the aesthetics of Closer and Frisk, focusing in particular on the way corporeality figures as a central aspect of how these texts explore the ways in which the body becomes a site for Cooper’s discourses of transgression. Furthermore, drawing on Lee Edelman’s notion of the queer subject as inherently opposed to the value of every social form and structure, it is argued that the adverse representations of Cooper’s subjects work to add to this oppositionality. Thus, this thesis investigates how the queer expressions of desire in the texts are inextricable from the aberrant imagery of the body; the body as Gothically grotesque in the novels provides ways to configure alternative ways of conceptualizing the queer body and investigate its ties to transgression.

Magister Legum - LLM / The number of environmental offences taking place continues to increase each year. Despite the special position of responsibility occupied by directors as the ‘directing mind and will’ of the companies responsible for the commission of these offences, directors appear to continue to be shielded unconditionally behind the separate legal personality of the company. This thesis consists of a thorough examination of existing environmental laws, as well as the Companies Act 71 of 2008 and the King IV Report on Corporate Governance, to determine whether the provisions contained therein may be interpreted so as to depart from the principle of separate legal personality (as provided for by corporate law) in order to hold directors personally liable for environmental transgressions.

Greenwashing is a frequent issue within the FMCG industry, such as vague ecological claims and misleading communication. When a brand is accused of greenwashing it is important to understand how to manage this transgression, since both forgiveness and loyalty are concepts that are affected. Therefore, the purpose of this thesis was to investigate how brand forgiveness influences brand loyalty, within the FMCG industry, with the aim of contributing to limited research in this area. Ten interviews were conducted with loyal customers to examine how they felt and experienced two brands after perceived transgressions. The critical incident technique was used during the interviews to remind the customers of the transgressions and obtain a comprehensive view of their narratives. The results indicated that the lack of repair efforts influenced the customers to perceive the brands as dishonest and untrustworthy, which affected their unwillingness to forgive and damaged their trust. Based on the customer's perceptions and feelings regarding the brands and the specific transgressions, brand forgiveness and loyalty were influenced differently. In addition, the customer places high importance on the product quality and their relationship with the brand and would rather stay with the brand instead of switching to another if the quality and/or the relationship is strong.