Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-graduação em Comunicação, 2014. / Submitted by Jaqueline Ferreira de Souza (jaquefs.braz@gmail.com) on 2014-12-04T12:30:53Z No. of bitstreams: 1 2014_KarinaGomesBarbosadaSilva_Parcial.pdf: 2433932 bytes, checksum: 6352d8ff68912e9ba4d80b62593e1bba (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-12-05T10:40:34Z (GMT) No. of bitstreams: 1 2014_KarinaGomesBarbosadaSilva_Parcial.pdf: 2433932 bytes, checksum: 6352d8ff68912e9ba4d80b62593e1bba (MD5) / Made available in DSpace on 2014-12-05T10:40:34Z (GMT). No. of bitstreams: 1 2014_KarinaGomesBarbosadaSilva_Parcial.pdf: 2433932 bytes, checksum: 6352d8ff68912e9ba4d80b62593e1bba (MD5) / Esta pesquisa se dedicou a investigar produtos culturais audiovisuais – filmes e minisséries – adaptados da obra da escritora inglesa Jane Austen ou relacionados a ela no período entre 1995 e 2011. Nesse corpus audiovisual composto por 12 produtos baseados em três romances de Austen ou construídos a partir de interpretações livres da biografia da autora ou de sua persona, buscamos as maneiras pelas quais a narrativa e, sobretudo, a linguagem audiovisuais, com suas especificidades, inseridas em determinados contextos sóciohistóricos e econômicos, configuram representações do amor na obra austeniana veiculada no cinema e na TV. O objetivo central foi mapear tal conjunto de representações, traçando uma cartografia afetiva que nos permitiu identificar trânsitos entre as representações audiovisuais do amor e o sistema mais amplo de representações amorosas da cultura de massas contemporânea e suas insistências e reiterações de determinados modelos amorosos, calcados, entre outros na monogamia heteronormativa, no happy ending e na projetividade. Por meio da análise fílmica e de aportes teóricos dos Estudos Culturais e dos estudos feministas do audiovisual, em suas vertentes psicanalítica e culturalista, construímos uma teia a partir de sensações evocadas pelo afeto amoroso nesse universo audiovisual: a visão, o toque, o ouvir e o tecer, que englobam uma série de pequenos e grandes gestos, ações e contextos que conformam tal amor audiovisual austeniano. O ato de encantar surgiu como primeira evocação de um universo representacional amoroso encantado, no qual o mágico e o irracional emergem no seio do que, superficialmente, se apresenta como racional. Descortinou-se, a partir de janelas, portas e limiares, um universo amoroso feminino, privado mas não íntimo, confinado, ensinado por uma persona commodificada pela cultura de massas: Jane Austen. / This research is devoted to investigating audiovisual cultural products – films and TV miniseries – adapted from the work of English writer Jane Austen or related to her in the period between 1995 and 2011. This audiovisual corpus consists of 12 products based on three novels by Austen or constructed from free interpretations of the the author’s biography or her persona, seeking the ways in which the narrative and especially the audiovisual language, with its specificities, inserted into certain socio-historical and economic contexts, shape and conveys representations of love in austenian work in film and TV. The central objective was to map this set of representations, tracing a affective chart that allowed us to identify transits between audiovisual representations of love and the broader system of loving depictions of contemporary mass culture and its insistence and reiteration of certain amorous designs, based, among others, in the heteronormative monogamy, the happy ending and projectivity. Through film analysis and contributions from cultural and women studies of audiovisual, culturalist psychoanalytic fields, we built a web of sensations evoked by loving affection in this audiovisual universe: sight, touch, hearing and weaving, which include a number of small and large gestures, actions and contexts that manufacture such austenian audiovisual love. The act of enchantment arose as the first evocation of an enchanted love representational universe, in which the magical and irrational emerge within what superficially appears as rational. We ushered, from windows, doors and thresholds, a female, but not private intimate, loving universe, confined, taught by a persona commodified by mass culture: Jane Austen.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura. 2015. / Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2015-04-24T19:29:16Z No. of bitstreams: 1 2015_LemueldaCruzGandara.pdf: 10022138 bytes, checksum: b4c56e1506d5e904fea4f4d70ce4061e (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2015-04-28T14:42:07Z (GMT) No. of bitstreams: 1 2015_LemueldaCruzGandara.pdf: 10022138 bytes, checksum: b4c56e1506d5e904fea4f4d70ce4061e (MD5) / Made available in DSpace on 2015-04-28T14:42:13Z (GMT). No. of bitstreams: 1 2015_LemueldaCruzGandara.pdf: 10022138 bytes, checksum: b4c56e1506d5e904fea4f4d70ce4061e (MD5) / No tempo da palavra romanceada, Jane Austen vive e transcende. No tempo da metragem fílmica, ela se atualiza, é animada, seduz. No grande tempo, romance e filme se assistem e assistem-se. É nessa relatividade temporal própria da arte que reside a fronteira entre a folha de papel e a tela para exibição. De modo a contribuir com a primeira recepção e com as que foram convergindo ao longo dos anos, propomos fazer uma reflexão teórica e crítica dos cinco romances da autora que foram traduzidos para a sétima arte: Razão e sentimento (1811), Orgulho e preconceito (1813), Mansfield Park (1814), Emma (1815) e Persuasão (1817). Os respectivos longas-metragens integram um singular movimento iniciado em 1995 e ainda não concluído. Nosso recorte, porém, cobre uma década e se fecha em 2005. Para compor esta pesquisa interartes, buscamos nos estudos do filósofo russo Mikhail Bakhtin a base para elaborarmos duas novas orientações teóricas: cinema literário e tradução coletiva. A primeira diz respeito aos filmes que se propuseram a responder à literatura. A segunda abrange várias leituras e interpretações de uma mesma obra organizadas em filme, o que genericamente é chamado de adaptação. Além dessas perspectivas, também convidamos Walter Benjamin, Ian Watt, Raymond Williams, Sergei Eisenstein, Pier Paolo Pasolini, Robert Stam, Hans-Georg Gadamer, Paulo Rónai, Vincent LoBrutto e Antonio Costa para este baile dissertativo onde se pretende reiluminar a obra literária de Austen e suas traduções coletivas no cinema. / In novelistic word's time, Jane Austen lives and transcends. In film stock's time, she updates herself, is animated, seductive. In great time, novel and movie assist each other and watch to each other. At this temporal relativity resides in the borderline between paper leaf and projection screen. In a way that it contributes with the first reception and with which it has been converging with throughout the years, we put to ourselves the task of doing theoretic and critic reflexion on five of the author's novels which have been translated to the seventh art: Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), Emma (1815) and Persuasion (1817). The respective movies that came from those novels compose a singular movement that started in 1995 and hasn't stopped until today. Our cut, however, covers a decade ending in 2005. In order to foster this study between arts we lean ourselves in the researches of the Russian philosopher Mikhal Bakhtin. His concept becomes fundamental for us to elaborate two new theoretical guidances: literary cinema and collective translation. The former tell us about the movies that put themselves the task of answering the literature and the later covers the several readings and interpretations of a given literary work, which organized, originate a movie, what is generically called adaptation. Beyond these perspectives we also invite Walter Benjamin, Ian Watt, Raymond Williams, Sergei Eisenstein, Pier Paolo Pasolini, Robert Stam, Hans-Georg Gadamer, Paulo Rónai, Vincent LoBrutto and Antonio Costa to this dissertative dance where we intend to re-illuminate Jane Austen's literary work and its collective translations to the cinema.

O presente trabalho é uma tentativa de elucidar o que eu considero um fenômeno na literatura, os mash-ups. Em 2009 a lista dos livros mais vendidos da New York Times trouxe um novo romance intitulado Orgulho e Preconceito e Zombies. A editora Quirk Books apresentou como autor Seth Grahame-Smith e a romancista inglesa há muito falecida Jane Austen como co-autora. O livro combina o texto clássico de Austen de 1813 com elementos da moderna ficção de zumbis. O objetivo desta pesquisa é estudar a (desconcertante) possibilidade de alguém modificar uma obra-prima. A autora ainda está presente em seu texto, ou aquele que insere, remixa e acrescenta ao trabalho é o real autor? Esta e outras perguntas são investigadas. Com o aporte teórico de Sanders (2006), Shields (2010), Lessig (2004), faz-se a investigação sobre adaptações, colagens, apropriações e direitos autorais. O romance aqui analisado pertence à literatura não mais protegida por direitos autorais e, portanto, é considerado apto para modificações, permitindo, assim, a justaposição que está no centro do gênero literário sob escrutínio. O tremendo sucesso comercial deste mash-up serve para mostrar que não só Jane Austen, mas também os mortos-vivos são transformados em mercadorias, o que conduz às possíveis conclusões de que Austen vende, os zumbis vendem, e ambos dão aos leitores algo que estes anseiam, talvez maneiras mais suaves, romance, costumes e valores de outrora; no caso dos mortos-vivos, eles exploram temas que transgredem e ameaçam nosso senso de asseio e decoro, particularmente no tocante ao corpo, às nossas identidades, e a nossa mortalidade. Através de olhares como o de Žižek (2008), pode-se inferir que o sucesso do livro pode ser visto como um tributo ao poder do marketing viral, ao interesse duradouro e contínuo em Jane Austen, e ao atual zeitgeist zumbi. / The present research brings an attempt to elucidate what I consider a phenomenon in literature, the mash-ups. In 2009 the New York Times Bestseller List featured a new novel entitled Pride and Prejudice and Zombies. Publisher Quirk Books presented as author Seth Grahame-Smith and long dead and beloved English novelist Jane Austen as co-author. The book combines Austen‘s 1813 classic text with elements of modern zombie fiction. The aim of this research is to study the (disconcerting) possibility of someone tweaking with a masterpiece. Is the author still present in her text or the one who inserts, remixes and adds to the work is the actual author? This and other questions are investigated. With the theoretical approach of Sanders (2006), Shields (2010), Lessig (2004), and others, there is an investigation on adaptations, collage, appropriations and authorial rights. The novel analyzed here is literature no longer protected by copyright and therefore considered apt for tweaking, thus allowing for the juxtaposition which is at the core of the literary genre under scrutiny. This mash-up‘s tremendous commercial success goes to show that not only Jane Austen, but also the undead have become commodities, which leads the possible conclusions that Austen sells, and zombies sell, and they all give readers something they crave for, perhaps gentle manners, romance, mores and values long gone; and in the case of the living-dead, they explore themes that transgress and threaten our sense of cleanliness and propriety, particularly referencing the body, our identities, and our mortality. Through the point of view of Žižek (2008), and other thinkers, it is possible to infer that the book's success may be regarded as a tribute to the power of viral marketing, to the long lasting and continuous interest in Jane Austen, and to the current zombie zeitgeist.

À partir de la perspective de l’Analyse du Discours pecheutienne, qui se propose d'examiner les processus discursifs dans des différentes matérialités en prenant le rapport entre langue et histoire à la production des sens, cette thèse présente une étude sur le processus traductoire du littéraire. En envisageant la traduction comme un processus discursif, nous analysons les gestes d’interprétation matérialisés dans des extraits du livre Pride and Prejudice (1813) de Jane Austen et leurs traductions imprimées et cinématographiques. Les faits et les effets discursifs qui émergent du processus traductoire nous permettent d’observer le jeu de forces existant au faire traductoire et nous mènent à considérer le processus traductoire comme un processus discursif spécifique. Méthodologiquement, en prenant le processus traductoire comme objet, nous avons comme geste d’analyse le délinéament d’une formation discursive traductoire qui, en tant que domaine de savoir, règle le faire traductoire, et qui permet en même temps d’aborder discursivement le rapport entre les langues. Nous situons donc le processus traductoire dans son rapport constitutif avec la formation discursive littéraire, en le prenant comme effet-art. Nous parcourrons ainsi les surfaces linguistique et filmique qui signifient, au cours de deux cent ans, le discours littéraire qui soutient le roman et nous proposons la notion de moment discursif comme spécifité des conditions de production d’un effet de traduction. Le proccesus traductoire peut être décrit comme une actualisation dans des (ré)formulations d’une formulation précédente, en considérant dans ce mouvement l’énoncé comme un élément de savoir qui établit rapports de rapprochement ou d’éloignement entre les sens inscrits dans les formations discursives engagées. Ainsi le texte premier, en partant de son appropriation et interprétation à travers la formation discursive traductoire, est actualisé dans le discours du texte de traduction au moyen du travail de la mémoire discursive, qui se troue, se casse, ce qui permet au sens de glisser, en se répétant et se transformant dans la même langue ou dans une autre. Et par le fonctionnement discursif de la création, le texte émerge et est historicisé comme effet d’origine, d’antériorité et de récursivité pour chaque nouveau texte de traduction. Pour son analyse, nous mobilisons la notion de fonction-traducteur comme déploiement de la fonction-auteur dans un processus de traducréation. / A partir da perspectiva da Análise do Discurso pecheuxtiana, que se propõe a investigar os processos discursivos em diferentes materialidades ao tomar a relação entre língua e história na produção dos sentidos, esta tese apresenta um estudo sobre o processo tradutório do literário. Ao encarar a tradução como um processo discursivo, analisamos os gestos de interpretação materializados em recortes da obra Pride and Prejudice (1813) de Jane Austen e suas traduções impressas e cinematográficas. Os feitos e os efeitos discursivos que emergem do processo tradutório nos permitem observar o jogo de forças existente no fazer tradutório e leva-nos a considerar o processo tradutório como um processo discursivo específico. Metodologicamente, ao tomar o processo tradutório como objeto, temos como gesto de análise o delineamento de uma formação discursiva tradutória que, como domínio de saber, regula o fazer tradutório, bem como permite abordar discursivamente a relação entre línguas. Então, situamos o processo tradutório em sua relação constitutiva com a formação discursiva literária, tomando-o como efeito-arte. Percorremos, deste modo, as superfícies linguística e fílmica que significam, ao longo de duzentos anos, o discurso literário que sustenta o romance e propomos a noção de momento discursivo como especificidade das condições de produção de um efeito de tradução. O processo tradutório pode ser descrito como atualização em (re)formulações de uma formulação anterior, considerando neste movimento o enunciado como elemento de saber que estabelece relações de aproximação ou distanciamento entre os sentidos inscritos nas formações discursivas envolvidas. Assim, o texto primeiro, a partir de sua apropriação e interpretação pelo viés da formação discursiva tradutória, é atualizado no discurso do texto de tradução através do trabalho da memória discursiva, que se esburaca, parte-se, permitindo que o sentido deslize, repetindo-se, transformando-se, na mesma ou em outra língua. E pelo funcionamento discursivo da autoria, o texto emerge e é historicizado como efeito de origem, de anterioridade e recursividade para cada novo texto de tradução. Para sua análise, mobilizamos a noção de função-tradutor como desdobramento da função-autor em um processo de tradautoria.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

The particular forms of work in provincial Massachusetts influenced and were reflected in the structure of that society to an extent previously ignored by social historians. While this study presents a description of individual practices and collective patterns of work, it addresses itself to the broader framework of provincial society. As the analysis proceeds, it tests the conclusions of a large number of recent historians who have found significant change in the social structure of Massachusetts in the decades prior to 1765. There were two distinct settings for work in the province: the rural network of self-contained towns where subsistence farming and an informal system of labor and commodity exchange formed a socio-economic base for the great majority of the population; and the commercial economy of coastal Massachusetts, as exemplified by Boston, where contracted specialized crafts work and individual control of production were the most common features of labor. This analysis of work and workers reveals a marked difference in the respective forms of work in each of the settings, but it confirms a similar degree of communal influence upon the nature and objectives of work. Conversely, the chief features and arrangements of work helped to sustain the established forms of family, domicile and local society. / Arts, Faculty of / History, Department of / Graduate

This study describes the history of Charleston, South Carolina before the Civil War.

"The aim of this study is to compare and contrast the teaching of reading in Colonial Massachusetts during the seventeenth century with the teaching of reading in Florida during the mid-twentieth century. The content and method of teaching during any period is interwoven with the character of the social order which includes the government and the nature of the child as conceived of by the adult. Therefore, the character of the government and the nature of the child as conceived by the adult during seventeenth century Massachusetts is presented. The character of the government and the nature of the child as conceived by the adult in twentieth century United States is also given. A summary is made. This constitutes chapter two. In chapter three a comparison and contrast of the teaching of reading in these two periods are given, and a summary is made. In chapter four conclusions are drawn and implications are given"--Introduction. / "May, 1950." / Typescript. / Advisor: M. H. DeGraff, Major Professor. / Includes bibliographical references (leaves 28-31).

Preface: Knowing how people eat-their foods, preparation styles, and dining customs-helps us understand style of food preparation, a cuisine profile of a culture, the physical how they live. Not merely a is the culinary and gastronomic and behavioral expression of a culture's social and aesthetic values. A cuisine has a dynamic relationship with its time, and historical cuisines also relate to our own time: an understanding of food in history better enables us to interpret and even influence current food styles and patterns. Yet the researcher interested in historical cuisines faces a dilemma: how to conduct historical studies of the subject. Although we have methods for studying the chemical, nutritional, economic, and social aspects of food, we lack methods for studying historical cuisines or for defining the aesthetic and stylistic aspects of a cuisine. Most historical research centered on food has employed agricultural economics in relating food production data to a general nutritional status, while most research on food in culture has studied food habits with the objective of improving nutritional status. American food seems to have been especially neglected in the al ready scanty store of historical food studies, and almost all of the American studies have examined folk or ethnic food. Because so few studies of food history or of cookery styles have been conducted, we lack what might be termed a "body of knowledge." Food history has no orderly scholarly arena, no discipline. One reason for the lack of systematic studies of food in history is an aversion among many scholars in food and nutrition to "cuisines," to the stylistic and aesthetic aspects which might seem merely decorative aspects of man's diet. Another reason is a lack of training among those professionals in humanistic disciplines. But an overriding reason for the absence of scholarly histories of cuisines is the temporal, transitory nature of a cuisine. If we compare cuisines with related popular arts such as costume, textiles, and home furnishings, a distinction quickly emerges: costumes, textiles, but food does not. and furnishings may survive as extant artifacts, However humble or grand, a meal is prepared to be consumed. In no way can we study a meal of the past firsthand; in no way can we know with certainty what tastes, textures, and smells met our ancestors at the dinner table. Descriptions and pictures of a meal reveal no more about a dining experience than descriptions and pictures of a musical event bring us the sounds or the experience of listening. Food in seventeenth-century Virginia serves well as a test subject for a historical method. Historians traditionally have neglected daily life and common people in studies of that period, concentrating instead on politics and the elite. More recently, historical archaeologists and scholars in material culture have begun investigating the realm of daily experience in which food figures importantly, but they have discovered little about the stylistic and aesthetic aspects of the cuisine. This study begins to address those two problems: the need for a method for studying historical cuisines, and the unanswered questions about Virginia's early cuisine. Although the method developed and tested in this study proved complex and demanding, it also brought rewards. Working across disciplines and using three categories of research sources-artifacts, documents, and iconographic records-proved especially helpful in uncovering and sifting data. Much was revealed about the physical context of Virginia's seventeenth-century cuisine: the available foods, the cooking and dining equipage. Aesthetic values were explained to some extent, as were dining customs. But the absence of primary recipe books, the dearth of information about seventeenth-century women, and our general ignorance of daily life during that century hindered discovery of the activities relating to food-the techniques and procedures for preparing, cooking, storing, and serving food. Additional studies, new sources, and refined methods may begin to unlock even those mysteries. / Ph. D.

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