Made available in DSpace on 2014-06-11T19:35:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-03-01Bitstream added on 2014-06-13T19:25:25Z : No. of bitstreams: 1 soares_ma_dr_assis.pdf: 486151 bytes, checksum: dc454bd34db10419d7ad2f67fcd29fce (MD5) / O trabalho pretende analisar o processo criativo do escritor português José Saramago, com vistas a demonstrar como Saramago assimila e transforma as matérias lidas e converte-as em escrituras, caracterizando-as como releituras com alta literariedade. Para dar conta desse objetivo adotamos uma perspectiva téorico-metodológica ampla e flexível, recorrendo às contribuições das teorias bakhtinianas sobre a intertextualidade e da Estética da Recepção, que nortearão este estudo e, como texto produzido pelo escritor, o romance O Ano da Morte de Ricardo Reis. Para atingir este propósito, tornou-se necessário um estudo detalhado da condição desse autodidata atingir, em um alcance máximo, a artisticidade literária pelo viés da linguagem oralizante, permeada de ironia e denúncia social, para tentar perceber os ecos polifônicos das leituras que se aglutinaram para representar, por meio de escritura, a concretização de uma obra inovadora. / This work aims at analyzing the creative process of the Portuguese writer José Saramago in order to show how Saramago assimilates and turns all topics he rereads into great literary works, by making them literature of high quality. In order to reach that goal, the novel O Ano da Morte de Ricardo Reis, a text produced by Saramago, was selected as the main object of this study. First, an expressional route made by Saramago is traced in the search of a textual framework which shows the way to see and feel the world - a real scripture. To reach this objective, it was necessary to accomplish a detailed study to realize how this self-taught person came to be a remarkable writer in literature through the oral language, full of irony and social denouncement to try to perceive the polyphonic echoes of the reading, which agglutinated to present by, means of scripture, the concretion of an innovator work.

Tesis

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This thesis explores Eliot's allusive method, that is his use of Judaeo-Christianity with its analogues (and sometimes sources) in pre-Biblical primitive myths and legends. The first chapters study The Confidential Clerk and the draft material of the play which contains overt allusions-subsequently expurgated - to Sargon and Dionysos'as pre-Biblical archetypes of Moses and Christ respectively. I discuss the growth and development of the two legends of Sargon and Dionysos and their Biblical counterparts through successive drafts of the' play. In adapting the Sargon-Moses legend, Eliot was influenced by Sigmund Freud and Sir James George Frazer who both believed that the legend of Moses's birth and early life closely resembles that of his Babylonian predecessor, Sargon of Accad, which the Hebrews imitated. In adapting, on another level of the play, the Dionysos-Christ legend, Eliot was in debt of Frazer and. John M. Robertson who have persuasively shorn the shaping influence of Dionysos and the Dionysos religion upon the Founder of Christianity and the Christian system. I have used the same approach in studying the other plays of Eliot, The same pattern,ie.,the adaptation of a pre-Biblical legend which has its counterpart in the Bible is to be found in The Family Reunion in which Eliot drew upon the Babylonian epic of Gilgamesh from which he adapted the pre- Biblical legend of the Fall and the deluge story. For the minutiae of these legends in the epic of Gilgamesh and their Old Testament parallels Eliot is indebted to Alfred Loisy, the French Modernist theologian who explains the Genesis in terms of Babylonian mythology. In writing. The Cocktail Party, Eliot went to The Golden Ass of Apuleius, an anti- Christian work, from which he transformed the pre-Biblical legend of Isis, the forerunner of the Virgin Mary, as well as other motifs. Finally The Elder Statesman, Eliot's last play, adapts the pre-Biblical legend of Ahriman, an archetype of the Biblical story of Satan and the concept of evil in the Old Testament. But I have not included this play in my thesis, although I have investigated it, because of limitations of length, and also because the connection of text and sub-text in The Elder Statesman is less significant than that in the other plays.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa

No que diz respeito ao processo criativo respectivamente de Fernando Pessoa e de Woody Allen, um olhar comparatista panorâmico pode conduzir à idéia de que o primeiro fragmenta-se a si próprio em diferentes olhares e vozes, das quais aqui nos interessa, especialmente, o semi-heterônimo Bernardo Soares; o segundo estilhaça seu olhar em vários filmes. Tanto na filmografia de Allen, como no Livro do desassossego, não se configura uma demarcação limitada e limitadora nem de tempo nem de espaço. Há uma escritura-processo que se caracteriza pelo deslocamento, pelo desdobramento e pelo conseqüente estilhaçamento que multiplica. Essa mobilidade é justamente o que possibilita a disseminação – que se concretiza, especialmente, na fragmentação emergente da prosa poética e do texto fílmico, na pulverização da voz e no esfacelamento do sujeito enunciador.

Theoretical part of my thesis is focused on work of the American playwright Eugen O'Neill, specifically his drama Anna Christie. On the basis of the text of the drama I did try to make an insight into the story and analysis of the characters of the main protagonists. I hereby present my own analysis of the work, timeframe atmosphere, study of the archetypes and places, where the story took place. I try to catch up the poetic atmosphere created by the endless of the sea. For better understanding I am amending the study for factual information which describes life stories of the main protagonists even beyond the horizon of the playwright. I am as well presenting selected productions of the Anna Christie's and compare their visual adaptation with my own conception of it. I am describing and explaining my own approach to the scenographic conception of this play.  In explication part I am focusing on practical part of my thesis and other assignments I worked on during my master's study.

Submitted by Maurílio Figueiredo (maurilioafigueiredo@yahoo.com.br) on 2013-02-26T22:07:38Z No. of bitstreams: 1 DISSERTAÇÃO_DramaEspantoPoesia.pdf: 659066 bytes, checksum: 50d1ca01de534fb5cba394513869cd46 (MD5) / Rejected by Neide Nativa (neide@sisbin.ufop.br), reason: Nome do orientador incompleto on 2013-03-04T18:37:44Z (GMT) / Submitted by Maurílio Figueiredo (maurilioafigueiredo@yahoo.com.br) on 2013-03-05T20:57:53Z No. of bitstreams: 1 DISSERTAÇÃO_DramaEspantoPoesia.pdf: 659066 bytes, checksum: 50d1ca01de534fb5cba394513869cd46 (MD5) / Approved for entry into archive by Neide Nativa (neide@sisbin.ufop.br) on 2013-03-13T19:31:14Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_DramaEspantoPoesia.pdf: 659066 bytes, checksum: 50d1ca01de534fb5cba394513869cd46 (MD5) / Made available in DSpace on 2013-03-13T19:31:14Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_DramaEspantoPoesia.pdf: 659066 bytes, checksum: 50d1ca01de534fb5cba394513869cd46 (MD5) Previous issue date: 2011 / Este estudo tem sua origem na afirmação de Fernando Pessoa: “Eu era um poeta animado pela filosofia, não um filósofo com faculdades poéticas”. Desse modo, através de uma análise imanente, mostraremos primeiramente como se constituíram as ideias estéticas desse poeta e dos seus heterônimos, Antônio Mora e Álvaro de Campos. Depois, seguindo uma reflexão a partir da leitura crítica dos poemas tanto do poeta ortônimo, quanto dos três principais heterônimos, Alberto Caeiro, Ricardo Reis e Álvaro de Campos, consideramos as discussões acerca da relação entre poesia e filosofia e o que significa, neste contexto, ser “um poeta animado pela filosofia”. _______________________________________________________________________________________________________________________________________ / ABSTRACT: This study has its origin in the statement of Fernando Pessoa: "I was a poet animated by the philosophy, not a philosopher with poetic faculties". In this way, through an immanent analysis, first it will be investigated the constitution of the aesthetic ideas of the poet and his heteronyms, Antônio Mora and Álvaro de Campos. It will be followed by a reflection constituted from the critical reading of poems of both Pessoahimself and the three main heteronyms, Alberto Caeiro, Ricardo Reis and Álvaro de Campos, considering the discussions on the relationship between poetry and philosophy and what it means, in this context, to be “a poet animated by philosophy”.

LIMA, Deyvison Rodrigues. Pragmatismo contra normativismo: investigações sobre a teoria política de Carl Schmitt. 2011. 200f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2011. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-11-08T14:08:02Z No. of bitstreams: 1 2011-DIS-DRLIMA.pdf: 1899323 bytes, checksum: d182f48dfd32289beb392fcc4e6cf417 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-11-08T14:56:33Z (GMT) No. of bitstreams: 1 2011-DIS-DRLIMA.pdf: 1899323 bytes, checksum: d182f48dfd32289beb392fcc4e6cf417 (MD5) / Made available in DSpace on 2013-11-08T14:56:33Z (GMT). No. of bitstreams: 1 2011-DIS-DRLIMA.pdf: 1899323 bytes, checksum: d182f48dfd32289beb392fcc4e6cf417 (MD5) Previous issue date: 2011 / This dissertation proposes the reconstruction of Schmitt’s thesis about the modern distinction between facticity and validity in the field of political theory. The purpose is to analyse the modern political paradigms – normative and realism – as a consequence of the problematic relationship between immediate and mediate in the political way. The hypothesis is (I) if on the one hand Schmitt’s political theory arises in opposition to the normative model, on the other it cannot be applied to the political realism – be it strong or weak – meaning an alternative theoretical proposal in the face of the rationalist mediation; therefore (II) it’s necessary to scrutinize what are the essential characteristics of the Schmittian project of restructuring of the political theory paradigm developed, generally speaking, in three distinct moments of the discussion: the first articulated by means of the notion of Entscheidung and later developed within the scope of the Theory of Exception; the second called political existentialism; and the third developed from the theory of nomos. The main findings of this research are the demonstration of Schmitt undertakes an attempt of reorganize the modern political paradigms in the face of the problem of the mediation between “being” and “ought to be”, and the possibility that the author developed the thesis of there is possible mediation, but only the immediateness of a legal force does not mediated by laws, in other words, a real and legal institutional fact between the universal and the particular by means of which needs no necessity of a normative theory of justification of law (legitimacy), for the Sein is even now, and first of all, a social reality mediated and constitued legally, hence, the legitimacy should be understood as historical and real demonstrating the cooriginality between “being” and “ought to be”, and, finally, solving the mediate/immediate paradox by means to a political pragmatism. / A presente dissertação tem como proposta a reconstrução das teses de Schmitt acerca da distinção moderna entre facticidade e validade em teoria política. O objetivo deste estudo é analisar os paradigmas políticos modernos – normativismo e realismo – como consequência do problema da relação entre imediatidade e mediatidade da forma política. A hipótese de trabalho desta pesquisa é, afinal, a investigação de que, por um lado, (I) se a teoria política de Schmitt se configura em contraposição ao modelo normativista, por outro, não se adequa ao paradigma do realismo político – seja realismo fraco seja realismo forte –, representando uma proposta teórica alternativa diante do problema da mediação racionalista; assim, (II) torna-se necessário perscrutar quais as características fundamentais do projeto schmittiano de reestruturação do paradigma da teoria política desenvolvido, de forma geral, em três momentos distintos na sua reflexão: o primeiro articulado através da noção de Entscheidung e, posteriormente, trabalhado no âmbito de uma teoria da exceção; o segundo momento denominado de existencialismo político; e o terceiro momento, desenvolvido a partir da teoria do nomos. Os resultados principais desta dissertação são a demonstração de que Schmitt empreendeu uma tentativa de reestruturação dos paradigmas políticos da modernidade diante do problema da mediação entre ser e dever-ser e, enfim, a indicação de que o autor desenvolveu a tese de que não há mediação possível, mas apenas a imediatidade de uma força jurídica não mediada por leis, ou seja, um fato institucional concreto e ordenativo entre o universal e o particular através do qual dispensa a necessidade de uma teoria normativa da justificação da ordem (legitimidade), pois o Sein é, antes de qualquer coisa, realidade social mediada e constituída juridicamente, por isso, a legitimidade deve ser compreendida como histórica e concreta demonstrando a co-originariedade entre ser e dever-ser e, assim, solucionando o paradoxo mediação/imediação através da proprosta do pragmatismo político.