Ce travail part d'une double ambition : permettre d'une part la relecture de l'œuvre de Jarry, souvent interprétée selon des modèles structuralistes ou à la lumière des mouvements littéraires qui lui ont succédé ; proposer d'autre part une réflexion qui permette de construire une histoire dynamique des formes littéraires. Une première partie analyse l'inscription de Jarry dans le champ littéraire de son époque, en définissant la manière dont il s'approprie les outils herméneutiques de la communauté interprétative symboliste à laquelle il s'affilie lors de ses débuts en littérature. Une seconde partie s'intéresse plus particulièrement aux stratégies de programmation de la lecture mises en place dans ses ouvrages. Le " colin-maillard cérébral " est le nom que prend la rhétorique de Jarry, qui établit des dispositifs de diffraction sémantique pour provoquer un effet de suggestivité.

Partindo da noção de interdisciplinaridade, este trabalho se centra na questão de gênero comparando formas diferentes do discurso narrativo, particularmente, em imagens e em textos autobiográficos produzidos por três mulheres artistas de diversas procedências, como a coreana Hye Seok Rha, a brasileira Tarsila do Amaral, e a mexicana Frida Kahlo. O trabalho investiga aspectos em comum e divergentes da linguagem utilizada pelas mulheres artistas, enquanto procura responder questões sobre a auto-representação feminina e as narrativas de cunho pessoal de autoria feminina. Sob esse ângulo, faz-se incursões teóricas em duas direções: uma relacionada com a questão dos gêneros artísticos, e a outra, com o ato de criar das mulheres como possibilidade de saírem da invisibilidade histórica a que foram submetidas durante séculos, tanto no terreno das artes plásticas quanto no da literatura. Desta forma, evidencia-se a existência de relações interdisciplinares que situam o presente trabalho no terreno da literatura comparada.

This thesis challenges the assumption that Chaucer is the father of the living English poetic tradition. Nobody would deny that poetry existed in a form of English before the fourteenth century, but it is commonly assumed that linguistic and cultural changes have made Anglo-Saxon poetry a specialist area of concern, of no use or interest to modern poets. It is demonstrated that during the nineteenth century, advances in linguistic and textual scholarship made Anglo-Saxon poetry more widely available than had been the case, probably since the Anglo-Norman period. Knowledge of Anglo-Saxon literature is subsequently communicated to poets, particularly after the subject is institutionalized in English departments at British and American universities. Chapter One charts this rise in awareness of Anglo-Saxon poetry and considers its effects on several nineteenth-century poets (William Barnes, Henry Longfellow, Alfred Tennyson and William Morris). Major studies then follow of Gerard Hopkins, Ezra Pound and W. H. Auden and the uses that they make of Anglo-Saxon in their own poetry. It is argued that through these writers Anglo-Saxon has had a more important impact on modern poetry than has been thought previously. Moreover, Anglo-Saxon is often included as part of a poetics that might be called 'modernist'. For each of the three poets under study, the nature of their contact with Anglo-Saxon poetry is determined from documentary evidence (whether at university, or via secondary literature), and different stylistic debts are examined by close readings of a number of poems. No previous work has attempted a detailed analysis of the uses to which these three writers put Anglo-Saxon poetry. This thesis offers such an analysis and synthesizes the different approaches to Anglo-Saxon in order to provide an overview of this phenomenon in nineteenth- and twentieth-century poetry.

178 f. / Submitted by Jaqueline Oliveira (jaqueoliveiram@gmail.com) on 2008-11-26T17:04:14Z No. of bitstreams: 1 DISSERTACAO_2008_FranciscoAssisLauandeJunior.pdf: 2098540 bytes, checksum: dcad5661c118fdefc00b6a5edc37d26c (MD5) / Approved for entry into archive by Georgia Fernandes(georgia@bce.unb.br) on 2009-02-09T15:34:07Z (GMT) No. of bitstreams: 1 DISSERTACAO_2008_FranciscoAssisLauandeJunior.pdf: 2098540 bytes, checksum: dcad5661c118fdefc00b6a5edc37d26c (MD5) / Made available in DSpace on 2009-02-09T15:34:07Z (GMT). No. of bitstreams: 1 DISSERTACAO_2008_FranciscoAssisLauandeJunior.pdf: 2098540 bytes, checksum: dcad5661c118fdefc00b6a5edc37d26c (MD5) / O principal objetivo desta dissertação é o de compreender a idéia imaginada por Lucio Costa para a praça dos Três Poderes no projeto do Plano-Piloto de Brasília. Para tal, três momentos foram considerados: o que foi imaginado; a obra construída e inaugurada em 1960; e a obra modificada ao longo dos anos. Buscou-se ainda, através de uma pesquisa sobre as praças ao longo da História, compreender as referências do ponto de vista plástico-espacial utilizadas para a praça dos Três Poderes, tanto na idéia pretendida como no que foi interpretado. Utilizando-se um tratamento qualitativo de medidas, as situações consideradas foram comparadas no que diz respeito, principalmente aos aspectos morfológicos. A praça construída e inaugurada em 1960 respeita de forma considerável as características morfológicas identificadas na idéia imaginada. As modificações realizadas acabaram por desvirtuá-las de forma irremediável. _______________________________________________________________________________ ABSTRACT / The main goal of this dissertation is to understand the idea planned by Lucio Costa for the Square of The Three Powers for the project of Pilot Plan in Brasília. In order to do so, three steps were taken into account: what it was imagined, the construction itself inaugurated in 1960 and its modification carried out throughout the years. By the means of a historical research on squares, this paper tries to understand the point of view of plastic-spacial references used for the Square of the Three Powers, in its intended and interpreted idea. Using a qualitative treatment of measures, the considered situations have been compared mainly in its morphological aspects. The square constructed and inaugurated in 1960 respects, in a considerable way, the morphological aspects identified in the imagined idea. The further modifications resulted in irreparable changes in the original project.

The title of my master's thesis is Karel Pivoňka and Academy of Performing Arts in Prague and bassoon class from the beginning to the present. In the first chapter is the development of czech bassoon school and everything that preceded the bassoon class of Academy of Performing Arts. In the first chapter is subchapter where I mention the personality of Karel Bidlo, which also had an effect on the development of czech bassoon school. In the second chapter I discuss Academy of Performing Arts, the school and individual departments. In the third chapter describes the personality of Karel Pivoňka and in the subchapter are listed all the graduates of the Conservatory and the Academy of Performing Arts, which studied at prof. Karel Pivoňka. In the following chapter are the most significant graduates from the beginning to the present. The last chapter is an overview of most concerts and broadcasts for radio, which played Karel Pivoňka. Annex is scanned photo of Karel Pivoňka.

A dissertação que apresentamos tem por objetivo analisar o tema da questão agrária na obra de Caio Prado Júnior e Alberto Passos Guimarães, relacionado a uma interpretação sobre a gênese e desenvolvimento da sociedade e economia agrária do país, durante os primeiros anos da década de 1960. Desde a metade dos anos de 1950, a questão agrária, diante da ascensão dos movimentos sociais rurais, ganhou espaço no debate político brasileiro. No começo da década de 1960, diante da crise no setor primário, esse espaço se ampliou e passou a envolver inúmeros setores da sociedade, os quais procuravam soluções para os problemas agrários do país. Alberto Passos Guimarães e Caio Prado Júnior estudaram o tema da questão agrária nesse momento, levando em consideração, por um lado, o processo histórico de constituição da economia e sociedade agrária brasileira e, por outro lado, a relação desse processo com a estrutura fundiária de meados do século XX e as possibilidades de solução de seus problemas diante das propostas políticas do seu partido, o PCB. Entendemos que, diante disso, ambos os intelectuais contribuíram para o desenvolvimento do conhecimento histórico da realidade social do campo e, conjuntamente, procuraram encontrar caminhos que pudessem modificar uma estrutura agrária socialmente excludente e depreciativa das condições de vida dos trabalhadores rurais. / The present dissertation aims to examine the subject of land question in work of Caio Prado Júnior and Alberto Passos Guimarães, related interpretation about the genesis and development of society and land economy of country, during the first years of the decade 1960. Since half of years 1950 land question face of advance of rural social movements won space in the Brazilian political debate. At beginning of 1960, face the crisis in the primary sector that space was expanded and started to involve many sectors of society which looked for solutions to the land problems of country. Alberto Passos Guimarães and Caio Prado Júnior studied the subject of the land question at this moment, taking into account the one hand the historic process of economy and Brazilian land society and other hand the relation of this process with land structure of this process with land structure of XX century and possibilities for solutions to their problems face policy proposals of his party, the PCB. Believe that, both intellectuals contributed to the development of historical knowledge of social reality of the field and tried jointly find ways that could change the land structure socially exclusionary and derogatory of the living conditions of rural workers.

A presente investigação teve como objetivo geral investigar a comunicação das nuanças da emoção triste em ponteios de Camargo Guarnieri através das relações entre a estrutura musical e recursos expressivos. O delineamento metodológico foi de natureza qualitativa e quantitativa. Para cada Ponteio, foram escolhidos dois termos que traduzissem nuanças dessa emoção. A amostra foi constituída de estudantes de música em nível de extensão (N = 66), graduação e pós-graduação (N = 63) pertencentes aos cursos da UFRGS. A coleta de dados empregou um questionário por escolha forçada, onde os participantes indicaram a emoção percebida. O estímulo foi a performance integral, ao vivo, de cada Ponteio. A abordagem qualitativa envolveu uma entrevista semiestruturada por estimulação de recordação com sete pianistas universitários, visando a reflexão tanto sobre as terminologias escolhidas para cada Ponteio, como sobre as decisões interpretativas. Os resultados demonstraram que o grau de comunicação emocional com base nos termos escolhidos apresentou dispersão em ambas as populações investigadas. O modelo bidimensional de Russell permitiu analisar o registro da performance com polarizações entre valência (timbre, dinâmica) e atividade (andamento, timing, articulação). Levando em conta os recursos estruturais e expressivos concebidos pela intérprete, a incidência dos termos percebidos pelos estudantes universitários e os níveis relativos de atividade e valência, os Ponteios puderam ser classificados em termos relativos de grau de tristeza. / The present research aimed at investigating the relationships between musical structure and expressive resources manipulated in the planning of the interpretation of four Ponteios from Camargo Guarnieri bearing explicit indications of the emotion Sadness, for the communication of this emotion in the performance. The methodological design was quali- and quantitative. The interpretation of the Ponteios 11, 31, 36 and 41 was constructed aiming at communicating the emotion Sadness, based on musical interpretative analysis and the structural and expressive aspects associated to the communication of this emotion, according to the literature. For each Ponteio, two terms that might translate the nuances of this emotion were chosen. Sample was constituted of music students at university extension level (N = 66), as well as music undergraduate and graduate students from UFRGS. Data sampling employed a questionnaire by forced choice. The stimulus was the whole piece live performance. The qualitative approach involved a semi structured stimulated recall interview with seven universitary students, aiming at thinking both on the chosen terms as well as on the interpretative choices. The results have demonstrated that the degree of emotional communication, based on the chosen terms, presented dispersion in both investigated populations. Russell´s bidimensional model allowed us to analyze the performance records with polarization between valence (timbre, dynamics) and activity (tempo, timing, articulation). Taking into account the structural and expressive resources conceived by the performer, the incidence of the terms perceived by the university level students and the relative levels of activity and valence, the Ponteios could be classified in terms of relative degree of Sadness.

ix, 242 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Modernism's fragmented literary style has been called "an art of cities." My project challenges such conventional understandings by exposing a strain within modernism that expresses an awareness of a broader phenomenological world. In the work of E.M Forster, Virginia Woolf, and W.H. Auden, non-human presences are often registered through a character or speaker's innate sensory perception of their surroundings--what I call embodied modernism. Maurice Merleau-Ponty's ecophenomenology theorizes the intercorporeality of humans and the environment in ways that help elucidate this aspect of their work. Merleau-Ponty uses the phrase "flesh of the world" to explain the body as an open circuit embedded within the stimuli of larger environmental impulses. The uncertainty stirring within modernism's formal disruptions, the sensory impressions revealed by stream of consciousness techniques, as well as the robust fusion of latent emotions and unspoken associations that result in a memorable image or symbol invite ecophenomenological readings. Chapter I, "Passage From Pastoral: E.M. Forster," traces a developing phenomenological awareness that is only fully manifested through the formal innovation of Forster's modernist novel, A Passage to India , where landscape intervenes to direct the action of the plot. My second chapter, "The Phenomenological Whole: Virginia Woolf," analyzes how her use of personification provocatively disrupts anthropocentrism in "Kew Gardens" and Flush. Her conception of a more-than-human world also complicates elegiac readings of To the Lighthouse by positioning nature not as a sympathetic minor for humans, nor an antagonistic foil, but rather as a presence that intertwines with human life and renews embodied creativity. "Brute Being: W.H. Auden" shows how Auden's later poems create a lexicon of common cultural assumptions about human identity in a firmly ordered relation with the world but combat their own hermeneutics by slipping towards the opposite binary in any dialectic the poem presents, whether it be scientific order and organic chaos, nature and culture, or human observer and non-human subject. Analyzing the work of Forster, Woolf, and Auden from the embodied perspective of Merleau-Ponty's ecophenomenology both challenges conventional definitions of modernism and expands ecocritical theory. / Adviser: Louise Westling

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MENEZES, Roberto Bezerra de. A interminabilidade e a incomunicabilidade da escrita: confluências entre Herberto Helder e Maurice Blanchot. 2012. 98f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-19T16:07:50Z No. of bitstreams: 1 2012_dis_rbmenezes.pdf: 822091 bytes, checksum: 58410749014cb549e859dff646308f7c (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-19T17:16:25Z (GMT) No. of bitstreams: 1 2012_dis_rbmenezes.pdf: 822091 bytes, checksum: 58410749014cb549e859dff646308f7c (MD5) / Made available in DSpace on 2014-05-19T17:16:25Z (GMT). No. of bitstreams: 1 2012_dis_rbmenezes.pdf: 822091 bytes, checksum: 58410749014cb549e859dff646308f7c (MD5) Previous issue date: 2012 / O tema da criação literária percorre há muito a literatura, em especial a poesia. A valorização da escritura em detrimento do Humanismo e da História, ambos detentores de um saber teleológico, permite-nos hoje percebê-la por si e numa busca de si. Em nossa contemporaneidade, a noção de unidade não permanece em sua essência primária, o que nos permite pensar na idéia de fragmentação. Tencionamos apresentar uma leitura da poética de Herberto Helder atentando para as figurações da imagem do corpo e mostrar a relação entre criação literária, origem da voz poética e corporificação/fragmentação do discurso. Dedicaremos ainda parte de nossos escritos a elaborar uma reflexão sobre a leitura de poesia e sobre a situação da linguagem poética a partir de críticos pós-estruturalistas, mas sempre pensando o texto literário de Herberto Helder. Concentrar-nos-emos em alguns poemas da edição brasileira de Ou o poema contínuo. Fundamentamo-nos em concepções teórico-filosóficas de Maurice Blanchot, nas obras L’espace littéraire, La part du feu, L’entretien infini et Le livre à venir, por exemplo, e ainda levamos em conta leituras de Roland Barthes, Gilles Deleuze, Giorgio Agamben, Antoine Compagnon, Jacques Rancière e Leyla Perrone-Moisés.