Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-16T19:11:03Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO_COMPLETA_FINAL - Marina Dupré Lobato.pdf: 1280194 bytes, checksum: 088df6dc544ba25ee26cabc00d5ce56c (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-19T18:01:21Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO_COMPLETA_FINAL - Marina Dupré Lobato.pdf: 1280194 bytes, checksum: 088df6dc544ba25ee26cabc00d5ce56c (MD5) / Made available in DSpace on 2017-05-19T18:01:21Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO_COMPLETA_FINAL - Marina Dupré Lobato.pdf: 1280194 bytes, checksum: 088df6dc544ba25ee26cabc00d5ce56c (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Neste estudo, levamos em consideração os pressupostos teóricos que orientaram os irmãos Grimm em seu trabalho de compilação e estabelecimento de narrativas orais populares para sugerir uma tradução crítica, em Português Brasileiro, de “Die Kinder zu Hameln” (“As crianças de Hamelin”), lenda número 245 da compilação “Deutsche Sagen” (GRIMM, 2009 [1816 e 1818]). Esta proposta é justificada pela constatação de que ainda não há traduções desta lenda no Brasil. Embora muito popular no país, esta narrativa, assim como a maioria das histórias dos Grimm, é conhecida apenas por meio de adaptações voltadas para o público infantil. Portanto, nossa tradução é dirigida ao público acadêmico e proposta sob três perspectivas: a da sociolinguística, em especial nos estudos sobre línguas em contato, com ênfase em identidade linguística e cultural; a da filologia germânica; e a dos estudos de tradução. Com base na revisão de estudos sobre íngua, cultura e identidade, introduzimos os estudos de gramática e cultura contrastiva (Kulturkontrastive Grammatik), de Salifou Traoré (2009), e da "analítica da tradução", de Antoine Berman (2007). Com o suporte desses dois autores, procuramos relacionar, respectivamente, a distinção dos “níveis linguístico-culturais específicos” (sprachkulturspezifische Ebenen) com as noções de “tendências deformadoras da letra”, em contexto de tradução. O corpus selecionado para este estudo, além das “Deutsche Sagen” (“Lendas alemãs”), é composto pelo “Deutsches Wörterbuch” (Dicionário etimológico de autoria dos Grimm) e prefácios e notas de “Kinder- und Hausmärchen” (“Contos de fada infantis e domésticos”) (GRIMM, 2009 [1857]), por cartas dos irmãos, bem como pela autobiografia de Jacob Grimm (GRIMM, 2013 [1831]). O resultado dessas interpretações serve como base para a análise da tradução apresentada neste estudo / In dieser Studie werden die theoretischen Annahmen in Betracht gezogen, auf die die Brüder Grimm sich in der Arbeit mit der Zusammenstellung und Etablierung der mündlichen Alltagserzählungen stützten, mit dem Zweck eine kritische Übersetzung der Sage Nummer 245 der Zusammenstellung „Deutschen Sagen“ (GRIMM, 2009 [1816 und 1818]), Die Kinder zu Hameln, ins Portugiesisch-Brasilianische vorzuschlagen. Dieser Vorschlag wird durch die Feststellung begründet, dass es bisher in Brasilien keine Übersetzung dieser Sage gibt. Obwohl diese Erzählung sehr populär in Brasilien vorkommt - so wie die Mehrheit der Grimms Erzählungen - ist sie nur durch Anpassungen für das Kinderpublikum bekannt. In Anbetracht dessen wird der hiermit vorgetellte Übersetzungsvorschlag in drei Perspektiven auf das akademische Publikum ausgerichtet: in der der Soziolinguistik, besonders in Rahmen der Sprachkontaktstudien mit dem Schwerpunkt der linguistischen und kulturellen Identitätsforschung; in der der germanischen Philologie; und in der der Übersetzungsstudien. Basierend auf den Bewertungsstudien über Sprache, Kultur und Identität, werden hiermit die Kulturkontrastive Grammatik, von Salifou Traoré (2009), und die „Analytik der Übersetzung“ von Antoine Berman (2007) eingeführt. Mit Unterstützung der erwähnten Autoren wird versucht, beziehungsweise, die Unterscheidung der „sprachkulturspezifischen Ebenen“ mit den Vorstellungen der „Verformten Tendenzen der Anschrift“, auf der Übersetzungsebene, in Zusammenhang zu bringen. Das gewählte Korpus dieser Studie umfasst, außer den „Deutschen Sagen“, das „Deutsche Wörterbuch“ und Inhaltsverzeichnisse und Noten der „Kinder- und Hausmärchen“ (GRIMM, 2009 [1857], Briefe der Brüder, so wie die Autobiographie Jacob Grimms (GRIMM, 2013 [1831]). Das Ergebnis dieser Interpretationen gilt als Basis für die in dieser Studie vorgestellte Übersetzungsanalyse

This dissertation is a study of the architecture of commodity capital: the display window. Taking as a starting point the work of Henri Lefebvre and Goerg Simmel, this dissertation understands the shop window to be a mode of display, what I define as “the logic of the vitrine,” that has shaped the way the world appears. Tracing a genealogy from the Parisian Arcades to the twentieth-century department store, this project explores the relationships between gender, sexuality, race, and architecture. Feminist critiques of commodity desire and display illuminate how the shop window is as important to our understandings of capitalism as is the commodity. Through feminist, queer, postcolonial, and anti-racist readings of material and commodity culture, this dissertation considers the shop window to be a site of subject formation. This dissertation also examines how designers, artists, and architects have explored the display of the shop window through a series of case studies, including Marina Abramovic’s Role Exchange, Gene Moore’s “drag” in Bonwit Teller’s shop windows, the making of a black mannequin, and Lynn Hershman Leeson’s site-specific installation 25 Windows. This dissertation concludes with a consideration of the architectural role reversals of the shop window and the gallery; the work of Silvia Kolbowski and Elmgreen and Dragset’s Prada Marfa ground this analysis. Artists have disrupted the display of the shop window, transforming the architecture of commodity capital into a space for resistance and critique.

This thesis examines the letters, proclamations, and addresses of the four presidents of the Republic of Texas, David G. Burnet, Sam Houston, Mirabeau B. Lamar, and Anson Jones, to determine how these men faced the major crises of Texas and shaped policy regarding land, relations with Native Americans, finances, internal improvements, annexation by the United States, and foreign relations. Research materials include manuscript and published speeches and letters, diaries, and secondary materials.

This dissertation centers around the impact that geology and its ideas had on nineteenth writers just as it was defining itself from other natural sciences. Geological questions about how rocks and dirt were formed, where they came from, and what kinds of forces act on them are at the heart of the texts I engage here: the writings of Orra White Hitchcock in her travel journals, Emily Dickinson, Edmund Ruffin, and Charles W. Chesnutt; along with the stories told about spirits who inhabit bodies of water in South Carolina, and the illustrations and paintings of Orra Hitchcock. The central concept that the dissertation explores is geopoetics: the modelling of literary and artistic form on geologic processes. In its formal strategies, geopoetic writing aims to establish relationships, explicitly or implicitly, between many changing conditions and across many different temporal moments, all at once. As geologists and average people alike struggled to understand the place of the human in developing theories of how the planet was formed and reformed, the writers I engage here used these theories in their own texts as models for thinking about a series of relationships, both between persons and between humans and the nonhuman world. Though informed by geological research and ideas, geopoetics are not the static transposition of geology’s theories onto the texts I engage with here. Instead, these texts are the means by which their writers explore geologic ideas and the longue dureé natural processes that shape them. Geopoetics occur when an author’s writing strategy recalls the connections between natural and human-made networks in its form, by creating an interplay of literary or poetic structure and geologic imagery. What I mean by this is that the majority of these texts don’t simply feature allusions to geologic features, but, as I show, fundamentally engage with understandings of geological processes in their formal composition. If a volcano in a Dickinson poem, for example, is the vehicle of a metaphor, the volcano doesn’t simply take on the meanings which the metaphor aims to convey. It also causes Dickinson to write in ways that are particularly volcanic – through expansive, oozing analogies that ingest the external world. Hitchcock, Ruffin and Chesnutt, along with believers in bisimbi all make use of the ecosystemic layers that are embodied by rock formations in their writings. For Chesnutt, this looks like the gradual accumulation of conjure stories in his imagination which, though heard when he was a child, come back to retell their stories in his writing as though they had possessed him. In his narratives, conjure stays imbedded in locations throughout his landscapes, catching characters off-guard and radically changing them, sometimes with no clear origin point or conjurer to attribute the spells to. As the above paragraph suggests, Chesnutt, Dickinson, Hitchcock, Ruffin, and tellers of simbi stories each have specific geopoetic strategies with which they explore geologic theories. Subsequently, they each create the interplay of geologic allusion and literary form I describe above in their own, particular ways.

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Made available in DSpace on 2016-04-28T20:57:28Z (GMT). No. of bitstreams: 1 Maria Ceres Rodrigues Murad.pdf: 3686392 bytes, checksum: ccf7dcf1129072d6537c57a65867fbbb (MD5) Previous issue date: 2008-06-02 / The present research shows how a project aimed to develop the reading, writing and drawing abilities of students from the lower economic layers of Brazilian population, as well as to improve their musicality, dancing and staging promotes learning and development for all children enrolled in the 1st. grade of basic schooling. For such, it was developed a project called Opera for All (OFAP), involving 31 pupils of a community school, located in the periphery of São Luís, Maranhão, a northeast state of Brazil. The basic assumptions of the research were taken from Vygotskian social historical theory, in special the idea that what is lived through concrete actions is converted in abstract material, in superior mental functions. Since this is an Art project, contradictions typical of this area were generated, provoking choc, destruction and also overcoming of these feelings, promoting, consequently, development. The study offers consistent results, especially in what concerns voluntary attention, self-regulation and self-knowledge. The research points out that: a) the rhyme is an important mediator for autonomous writing, notably when the students are in the processing of acquiring reading and writing abilities; b) observational drawing acts as a facilitator for the elaboration of personal drawings, offering details and references easily appropriated by 6 to 7 years old children; c) both rhymes and observation drawing, when practiced, promote voluntary attention, memory and imagination. The research concludes that the staging and the appreciation of an Opera by children, under the supervision of adults, using well structured activities and meaningful material, involve active and creative actions, which, in turn, propel human development / A presente pesquisa mostra como um projeto de apreciação, leitura, escrita, desenho, musicalização, dança e encenação de uma ópera pode promover a aprendizagem e o desenvolvimento de alunos oriundos das camadas de baixa renda da população brasileira, freqüentando a 1ª. Série do Ensino Fundamental. Para o estudo, foi desenvolvido o Projeto Ópera para Todos (POPT) junto a 31 crianças de uma escola comunitária, situada na periferia de São Luís, Maranhão, nordeste do Brasil. Os estudos foram realizados com base nos pressupostos teóricos vigotskianos, em especial o de que tudo aquilo que é vivenciado por meio da ação concreta se converte em material abstrato, ou seja, em funções mentais superiores. Como a vivência descrita deu-se no campo das artes, as contradições aí implícitas foram responsáveis por choques, destruição, superação e desenvolvimento dos envolvidos. O estudo oferece resultados consistentes sobre o desenvolvimento da atenção voluntária, da auto-regulação da conduta e do autoconhecimento. O trabalho sugere, ainda, que: a) a rima é um mediador importante para a escrita de autoria por parte de alunos que se encontram no início do processo de aprendizagem da leitura e da escrita; b) o desenho de observação atua como facilitador para a elaboração de desenhos de autoria, oferecendo detalhes e referências facilmente apropriadas por crianças na faixa etária de 6 a 7 anos; e c) que tanto a rima como o desenho de observação, ao serem exercitados, promovem a atenção voluntária, a memória e a imaginação. A pesquisa conclui que a apreciação e encenação de uma ópera por parte de crianças e sob a supervisão de adultos, por empregar atividades estruturadas e materiais significativos, envolvendo ações ativas e criativas, impulsionam o desenvolvimento humano

PINHEIRO , Heráclito Aragão. O fantasma no castelo do materialismo: uma história do inconsciente Freudiano. 2009. 91 f. Dissertação (Mestrado em Psicologia) – Universidade Federal do Ceará, Departamento de Psicologia, Programa de Pós-Graduação em Psicologia, Fortaleza-CE, 2009. / Submitted by moises gomes (celtinha_malvado@hotmail.com) on 2012-01-17T12:22:11Z No. of bitstreams: 1 2009_dis_HAPinheiro.PDF: 1002277 bytes, checksum: 98f8aa06827023a320f586b7fffbfdaf (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-03-08T12:15:30Z (GMT) No. of bitstreams: 1 2009_dis_HAPinheiro.PDF: 1002277 bytes, checksum: 98f8aa06827023a320f586b7fffbfdaf (MD5) / Made available in DSpace on 2012-03-08T12:15:30Z (GMT). No. of bitstreams: 1 2009_dis_HAPinheiro.PDF: 1002277 bytes, checksum: 98f8aa06827023a320f586b7fffbfdaf (MD5) Previous issue date: 2009 / This research has the goal of understanding the path of Freud in his elaboration of the notion of unconscious, to realize the ways by which he got to this crucial notion to the foundation of the psychoanalytical knowing. To reach this goal I decided to deal with the models and references of Freud. The principal results were that the models which had more weight in the development of his idea of unconscious were his clinical work with the hysterics, as well as his divergence with the conventional ideas about this affection, his contact with the hypnosis and the interlocution he established with Charcot, Breuer and Fliess. And the principal references were the agnosticism and the physicalism,in relation to what it concerns the form by which he finally distanced himself. / Esta dissertação tem por objetivo compreender o percurso de Freud em sua elaboração da noção de inconsciente, perceber de que maneira ele chega até essa noção crucial para a fundação do saber psicanalítico. Para alcançar esse objetivo decidi abordar os modelos e os referentes de Freud. Os principais achados com relação aos modelos que tiveram maior peso em sua elaboração do inconsciente foram sua clínica com as histéricas, bem como seu confronto com as idéias vigentes sobre essa afecção, seu contato com a hipnose e a interlocução que estabeleceu com Charcot, Breuer e Flies. E os principais referentes foram o agnosticismo e o fisicalismo, no que concerne à forma como ele findou se afastando deste.

The purpose of this thesis was to study the efforts of ten Utah artists who played significant roles in formulating early Utah art history.

This dissertation examines Russian fantastical travel narratives from 1784 to 1855, an era of substantial imperial conquest, in which authors of various backgrounds, both Russian and non-Russian, wrestled with questions of cultural identity and the prospects for Russia’s development on the global scale, while in a profound but often contentious relationship with the countries of Western Europe. My chapters cover three different categories of fantastic travel. The first includes journeys to undiscovered space, including Antarctica and the Moon (in works by Shcherbatov, Lyovshin, Kiukhelbeker, and Senkovsky), which largely criticize Russian expansionism. The second is stories of travel to or in the distant future (Vilgelm Kiukhelbeker, Faddei Bulgarin, and Vladimir Odoevsky), which project a more positive view of Russian imperial destiny. The third category is metafictional travel, through maps and the written page (Veltman), which deconstructs the very notion of imperial reality. I argue that writers employed the genre of fantastic travel literature, as well as specific devices such as dreams and frame narratives, to critically interrogate and reshape the imperial and national ideologies of their time. These works anticipate modern science fiction by using a wide range of spatial and temporal settings to create new worlds that highlight the possibilities or faults of their own societies, for satirical or didactic purposes—and as such they benefit from the application of recent theories of science fiction. Given the diverse range of authors and time periods I investigate, my work also has a taxonomic purpose, delineating the thematic evolution of fantastic travel narratives in different categories and paving the way for more targeted analyses of these understudied works.

Ambivalent Ecologies: Representations of the Nonhuman in African American Literature, 1830-1940, argues that nonhuman animals and ecological phenomena are central to the projects undertaken by African American authors from the antebellum slave narrative through the interwar period. In four chapters that focus on the Anglophone literature of nineteenth century abolition, the late nineteenth-century conjure tales of Charles W. Chesnutt, Jean Toomer’s Cane, and Zora Neale Hurston’s Their Eyes Were Watching God, I contend that there are as many differences in how these authors marshal the nonhuman as there are similarities. Following this insight, I tease out the unevenness and tensions in these representations across the tradition. Tracing the influence of literary genre and historical developments on representations of the nonhuman, I contend that these mark a site or perhaps a vector of profound ambivalence. Pushing beyond paradigms that reflexively position the work of black creative intellectuals as always already critical of Western liberal humanism, I offer a more nuanced set of close-readings that stay with the trouble of what I theorize as the ecological ambivalence that animates African American literature’s relationship toward the colonial categories the Human, or Man. Drawing on the work of Sylvia Wynter, Zakiyyah Jackson, Frantz Fanon, and others, I position this ambivalence as a key feature of the ecology of African American life.