Master of Science

La technique apporte à l'être humain la puissance ; elle est puissance. Cette considération est d'une importance capitale pour ce mémoire qui se veut une mise en dialogue entre l'Église catholique et le théoricien du système technicien, Jacques Ellul, au sujet des techniques de procréation médicalement assistée (TPMA). D'une part, à ce sujet, nous trouvons un Magistère catholique (dont les textes étudiés vont de 1968 à 2008) condamnant certaines TPMA mais encourageant tout de même la recherche dans ce domaine. D'autre part, durant la même période, Ellul affirme qu'il y a corrélation entre les différentes techniques (mécaniques, politiques, économiques, etc.) qui forment, désormais, un système emprisonnant l'humain dans une logique d'efficacité. Cette recherche propose d'abord une analyse de la technique selon Jacques Ellul afin de comparer ce concept à la réalité concrète de la procréation assistée au Québec et d'évaluer la similitude entre ces techniques particulières et la théorie du système technicien. Ensuite, nous proposons une analyse du discours de l'Église catholique afin d'en relever des critères qui distinguent les techniques licites de celles qui sont illicites en se fondant sur une anthropologie théologique. Les mouvements philosophiques et théologiques se rencontrent finalement dans un dialogue composé des différentes thématiques émergeant des analyses : l'autonomie de l'humain et de la technique, la fragilité, l'eugénisme, la liberté, la gratuité, le naturel et l'artificiel. Les points de vue de l'Église catholique et de Jacques Ellul semblaient d'abord diverger au sujet de la technique. Cependant, par ces thématiques, nous trouvons qu'un dialogue est non seulement possible mais qu'il devient fécond pour ce sujet de la procréation assistée, et pour beaucoup plus. En effet, une nouvelle considération émerge, plus profonde, et qui pourrait remettre en question nos choix civilisationnels souvent techniciens. / Technique brings power to the human being; it is power. This issue is of paramount importance for this thesis, which is intended to be a dialogue between the Catholic Church and the theorist of the technological system, Jacques Ellul, on the topic of assisted reproductive technologies. On the one hand, we find a Catholic Magisterium (whose texts studied range from 1968 to 2008) which condemns certain techniques but encourages research in this field. On the other hand, during the same period, Ellul affirmed that there is a correlation between the various techniques (mechanical, political, economic, etc.) which form a system that imprisons the human being in a logic of efficiency. This research starts with an analysis of the concept of technique in the thought of Jacques Ellul and compares it to the concrete reality of medically assisted procreation in Quebec. It then evaluates the similarity between these techniques and the theory of the technical system. Next, we propose an analysis of the Magisterium of the Church to identify the criteria that distinguish licit from illicit techniques on the basis of theological anthropology. These philosophical and theological approaches are brought together in a dialogue about the different themes that emerge from the analyses: the autonomy of the human being and of technology, fragility, eugenics, freedom, gratuitousness, the natural and the artificial. The Catholic Church and Jacques Ellul seem at first to be at odds on the subject of technique. However, we find that a dialogue is not only possible, but proves more than fruitful for the study of assisted reproduction. Indeed, a new issue emerges which could call into question the often-technical choices of our civilisation.

Suite à l'échec du behaviorisme, une nouvelle forme d'explication des états mentaux qui pouvait tenir compte du caractère subjectif de l'expérience phénoménale devenait nécessaire. Les progrès en mathématique et en logique symbolique ont permis, en grande partie grâce aux travaux du britannique Alan Turing vers la fin des années 30, de développer un modèle du cerveau auquel participe ce que l'on nomme l' « intelligence artificielle ». Une pléiade de sciences se sont alors regroupées autour de cette nouvelle discipline pour former la « science cognitive ». De cette union est née la théorie computationnelle de l'esprit ou« cognitivisme ». D'après cette théorie, le cerveau serait un ordinateur digital qui traite de l'information, et l'esprit ne serait qu'un programme informatique. Dans cette perspective, la relation corps-esprit correspond à l'approche « fonctionnaliste » et fait abstraction de la nature du cerveau et de sa neurophysiologie. Tout comme des ordinateurs aux architectures différentes arrivent à produire les mêmes résultats, on suppose que deux systèmes ayant des états fonctionnels isomorphes se trouvent nécessairement dans des états cognitifs identiques. Ainsi, le cerveau et l'ordinateur seraient deux systèmes physiques de calculs sur des représentations symboliques. Cependant, l'ordinateur digital et l'intelligence artificielle ne fournissent qu'un modèle qu'il ne faut pas confondre avec la réalité de notre spécificité. Ni la conscience ni l'intentionnalité ne peuvent être expliquées par une simple métaphore et, en ce sens, le cerveau n'a rien d'un ordinateur digital.

Esta dissertação intenta investigar como a condição de vida da escritora Higuchi Ichiyô vai modificando o seu pensamento literário levando-a à criação do universo da obra Nigorie (Enseada de águas turvas) tentando desvendar seus ideais sociais. A partir de sua visão perspicaz sobre as condições sociais do país, Ichiyô foi a primeira escritora da época a expressar de forma tão direta a tristeza das mulheres abandonadas por uma sociedade desumana. Considerando a importância da vivência pessoal de Ichiyô, um estudo sobre sua vida faz-se necessário para compreender a trajetória percorrida pela autora até a obra em questão. Ichiyô viveu nos arredores dos bairros de prostituição e manteve contato direto com o mundo das meretrizes, e essas experiências serviram-se de subsídios para a sua criação literária. Nigorie descreve a limitada e infeliz vida das mulheres socialmente degradadas que trabalham em um bairro de prostituição clandestina e os homens que o freqüentam. Sente-se em Nigorie um desejo velado de Ichiyô em denunciar ao mundo essa triste realidade e protestar contra a pobreza e o sistema social japonês de sua época. / This dissertation intends to investigate how the condition of life of writer Higuchi Ichiyô starts to modify her literary thought leading her to the creation of the universe of her work Nigorie (Troubled Creek) attempting to reveal her social ideals. From her talented vision on the social conditions of the country, Ichiyô was the first writer of her time to express in such a direct way the sadness of the women abandoned by an inhuman society. Considering the importance of the personal experience of Ichiyô a study upon her life becomes necessary to understand the trajectory the author went through as far as her work inherently. Ichiyô used to live in the outskirts of the prostitution quarters, keeping in touch with the world of prostitutes. These experiences turned into subsidies for her literary creation. Nigorie describes the limited and unhappy life of socially degraded women who work in a quarter of clandestine prostitution as well as the men who frequent it. It is felt in Nigorie a hidden desire of Ichiyô in denouncing this sad reality to the world, and besides, her intention to protest against the poverty and the Japanese social system of her time.

李貴生. / 論文(哲學博士)--香港中文大學, 1999. / 參考文獻 (p. 323-341) / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Li Guisheng. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 1999. / Can kao wen xian (p. 323-341) / Zhong Ying wen zhai yao

「古文」作爲傳統中國士人日常表達和學術著作的主要文體，在思想世界與知識世界中具有重要的地位。然而，除了在文學史研究中討論「知識」對「文章」的重要性，我們似乎很少反過來設問，「文章」對「知識」有何作用？作爲「學問」載體的古文，是否真正介入了這些學術性知識的傳承與變革？基於這一思路，本文希望將對「古文」的研究，置於一更大的社會文化脈絡之中，探討「文章」如何塑造了讀書人的知識視野和學問秩序。 / 文章與知識之間的張力，在古代文學史及思想史上一直存在；然在清代，由於儒家知識主義之興起，此一張力獲得了更爲自覺和充分的展開。本文認爲，從晚明到清初，中國士人的知識視野經歷了一次擴張，而明中期以降博覽求古的「文章」趣味，正是其重要的動力。入清之後，「文」「學」之緊張日益顯現。康熙十七年詔徵博學鴻儒，還是以「詞章」評判「博學」；至乾隆間開經學特科，所重便是「根柢經史」的專門學問；由「博」而「精」，「文」「學」相離。不過，在以「文章」訓練為主的書院教育中，對「古學」的提倡往往還需要借助「古文」之力；同時清人以「著書明道」為理想，考經證史的成績、自身的學術趣味與知識修養，都需要選擇恰當的「著述」體裁以表達之。在編次文集乃至註釋經書之時，不少學者都對其「著作」的方式作出精心的安排，以求體現其學問之系統。「文」與「學」的互動，實又通過另一種形式表現出來。此外，「著書明道」，還可以看作一個以「私言」發明「公道」的實踐，故而「著作」不僅是對公共「知識」的傳遞，更是對個人「性情」的表達。在清中期，「文」與「學」的張力進一步推演出性情與知識關係的重整。「文」「學」離合之間，清代讀書人知識世界的遷變，正有跡可循。 / The concept of ‘wenxue’(文學) in Chinese intellectual tradition philologically consists of two basic elements: belle-lettres (文wen) and learning (學xue). Thus when talking about ‘wenxue’ we are referring to not only a heritage of literature, but also a genealogy of knowledge. This dissertation aims to shed light upon the socio-cultural and epistemic aspects of classical prose(古文 guwen), which is a main genre of classical literature as well as the prevailing form of both practical and scholarly writing in late imperial China. Questions raised in my research include: How were different categories of knowledge ordered and systematized? In what way did the literary taste of intellectuals delimit and displace their epistemological boundaries? And how was the world of knowledge embodied through the compiling of literary anthologies and the writing of scholarly works? / China’s long eighteenth century (1644-1799) witnessed an adequate and self-conscious unfoldment of the perennial tension of literature and knowledge in the shadow of the Confucian intellectualism. The Ming literati’s interests for archaic literature and ancient texts, which lead to a trend of vast learning, herald the expansion of knowledge in late Ming and early Qing. In the 1679 ‘Boxue Hongru’ Examination, literary excellence was still regarded as a crucial criterion for the selection of ‘erudite scholars’. The rise of evidential study, however, intensified the tension between literary talent and scholarly learning. Men of letters were criticized for having no knowledge of the real way of learning, although they had copious knowledge of classical literature. The curiosity for erudition and was regulated, if not replaced by the pursuit of philological study on the Confucian classics. In spite of such idealistic divergence of ‘literati’ and ‘scholar’, literary writing played a significant role in the propagation and expression of scholarship. On one hand, study on Confucian classics and ancient history was advocated in local academies(shuyuan 書院) through the training of prose writing. On the other hand, scholars had to be very concerned about choosing the appropriate genre or the most refined textual form to lucubrate their academic work. Furthermore, debates on the proper form of academic writing made special contribution to the revival of subjectivism in the realm of academic studies. From my perspective, the interaction of ‘wen’ and ‘xue’ played a decisive role in shaping the trajectory of both literary and academic history of late imperial China. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 胡琦. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 540-551). / Abstracts also in Chinese. / Hu Qi.

本論文主要探討十六至十七世紀的仙境繪畫及其所反映的仙境觀念，並以歸入仇英名下的仙境圖為中心，通過分析畫中的內容意涵，藉以展現十六至十七世紀明人對仙境圖處理的多樣性。 / 基於現時傳為出自仇英手筆的仙境圖最多，仇英可以說是當時十六至十七世紀對仙境題材創作情況的一個縮影。加上，仇英作為十六世紀具代表性的職業畫家，其仙境圖很有可能是針對具體的「使用對象」而生產，迎合不同人的不同想法和需要。在這種前提下，本文將仇英以及託名仇英的仙境圖理解為十六至十七世紀藝術市場需求下的產物，並從剖析它們的題材和構圖入手，以揭示受畫人對於仙境畫作的情感寄託。 / 所謂仙境圖，即是描繪神仙所居的圖像。仙境圖可歸入山水畫科，而且與山水畫的界定比較模糊。就畫中不同的圖像表現，可將仇英名下的仙境圖分成五類：第一種是以個別神仙入畫的仙境圖；第二種是畫中出現道士煉丹場景的仙境圖；第三種是畫有等候飛昇的歷史人物的仙境圖；第四種是描繪「桃花源」主題的仙境圖；最後一種是懷有文人情調的仙境圖。 / 本文以其中三類仙境圖為例，指出時人對仙境的運用各有差別：以個別神仙入畫的仙境圖較適用於壽慶場合，畫有道士煉丹場景的仙境圖則似是作為當時追求長生的慰藉，而以文人形象入畫的仙境圖即蘊含隱世思想；從而說明這些仙境圖在明代社會中發揮不同的作用，傳達不同的信息，滿足不同的需求，反映出繪畫與使用場合及使用對象之間的緊密關係。 / This thesis attempts to study the immortal landscape paintings from the sixteenth to seventeenth century as well as the ideas on the realm of immortals embodied in these paintings. Focusing on the immortal landscape paintings attributed to Qiu Ying, this thesis analyses their themes and allusive meanings, and thus presents the diversity in the diverse approaches adopted in the immortal landscape paintings in the late Ming period. / Since a majority of the immortal landscape paintings survived today is attributed to Qiu Ying, his works can be seen as the encapsulation of the artistic creations on the theme of the realm of immortals dated in the sixteenth and seventeenth century. A representative professional painter of the time, Qiu Ying probably produced his works for a certain group of intended audience in accordance with a variety of ideas and needs. With this presupposition this thesis regards Qiu Ying’s works and the imitations of such as the products responding the demands of the art market in the sixteenth and seventeenth century. Through an analysis of the subject matter and composition of the paintings, this thesis reveals the sentimental values held by the immortal landscape paintings for their possessors. / Depicting the dwellings of deities, immortal landscape paintings can be identified as a sub-genre of landscape paintings and are hardly distinct from other landscape paintings. The immortal landscape paintings by Qiu Ying can be classified into five types in terms of visual elements, including: I) particular deities; II) Taoist adepts practicing alchemy; III) historical figures awaiting respectfully for ascending to celestial realms; IV) Peach Blossom Spring, the Chinese equivalent of utopia; and V) scenes imbued with literati spirit. / Of these five types of immortal landscape paintings, examples from three are selected to demonstrate their different functionalities in Ming society; immortal landscape paintings portraying particular deities were created for festive occasions, while those depicting Taoist alchemy and literati figures offered reassurance on the quest for immortality and implied reclusive spirit respectively. Through a detailed investigation this thesis illustrates that immortal landscape paintings were produced to serve a variety of functions, to convey different messages, and to accommodate various needs in Ming society, thus testifying the close association between paintings, objects of utility and the occasions they are created for. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 楊晉宜. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 105-122). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Yang Jinyi. / 內容摘要 --- p.i / 誌謝辭 --- p.v / 前言 --- p.1 / Chapter 一、 --- 研究動機與目的 --- p.1 / Chapter 二、 --- 近人研究概況 --- p.3 / Chapter 三、 --- 研究意義 --- p.5 / Chapter 1. --- 仇英仙境圖作為道教藝術的一個面向 --- p.5 / Chapter 2. --- 仙境圖作為十六世紀藝術市場需求下的產物 --- p.7 / Chapter 第一章 --- 研究對象的釐清與選取 --- p.9 / Chapter 一、 --- 仇英與仙境圖的關係 --- p.9 / Chapter 二、 --- 仙境圖的定義 --- p.16 / Chapter 三、 --- 仇英仙境圖比例分析 --- p.24 / Chapter 1. --- 數字統計 --- p.24 / Chapter 2. --- 歸納分類 --- p.31 / 小結、仙境圖類型與研究路徑 --- p.38 / Chapter 第二章 --- 仙境圖中的神仙與蟠桃 --- p.40 / Chapter 一、 --- 兩件畫作的產生情況 --- p.41 / Chapter 二、 --- 內容意涵的差異 --- p.44 / Chapter 三、 --- 為祝某人之壽辰 --- p.54 / 小結、神仙形象與仙境圖 --- p.59 / Chapter 第三章 --- 仙境圖中的道士燒丹場景 --- p.60 / Chapter 一、 --- 明代有關煉丹的畫作 --- p.61 / Chapter 二、 --- 燒丹與神仙的關係 --- p.64 / Chapter 三、 --- 煉丹對明人的意義 --- p.68 / Chapter 四、 --- 仙真與山水相融的構圖 --- p.71 / 小結、道士燒丹與仙境圖 --- p.74 / Chapter 第四章 --- 仙境圖中的文人雅趣 --- p.76 / Chapter 一、 --- 仙境圖中文人形象的顯隱差異 --- p.77 / Chapter 二、 --- 文人形象在仙境圖的其中一種作用 --- p.84 / Chapter 1. --- 以玉洞桃花造境 --- p.86 / Chapter 2. --- 人迹於仙山 --- p.90 / Chapter 3. --- 畫中人的真實身份 --- p.94 / 小結、文人形象與仙境圖 --- p.99 / 結論 --- p.101 / 參考書目 --- p.105 / Chapter 附表一、 --- 文獻著錄的仙境圖統計 --- p.124 / Chapter 附表二、 --- 仇英仙境圖列表 --- p.126 / Chapter 附表三、 --- 〈蟠桃圖〉各版本場景列表 --- p.128 / 圖版 --- p.131

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-20T08:45:32Z No. of bitstreams: 1 Sueli Terezinha de Oliveira.pdf: 1288075 bytes, checksum: e07c6ba77164a5d7d0bd47248d206517 (MD5) / Made available in DSpace on 2017-12-20T08:45:32Z (GMT). No. of bitstreams: 1 Sueli Terezinha de Oliveira.pdf: 1288075 bytes, checksum: e07c6ba77164a5d7d0bd47248d206517 (MD5) Previous issue date: 2017-12-11 / This thesis understands that the social roles of João/José Maria in the Contestado War need to be revised by the Critical Analysis of Discourse and complemented by Max Weber Domination Theory. Its theme is the conflit that exists between these two characters, in the representation of history teaching texts and the oral tradition of the people. This research has its justifing due the characters João e Maria have been represented with a negative value in the History discourse and in the Teaching discourse, while in the oral tradition, they have been represented with a positive value and considered saints. This research has the general aim to contribute with the studies on the Contestado War. And the specific aims, first: to rescue the historical - political –economical view of the context of Contestado War; second: to characterize the social roles of the updated characters in the texts of Brazil History didatic books; third: to confront the values assigned by the History discourse and by the Popular Religious discourse to the same character; fourth: to analyze how the character social representations of the Contestado War, transformed the monk Giovanni, in João Maria and later in José Maria. This thesis defends that the Teaching Discourse of History is controlled by the power of the Contestado time and that João/José Maria in the people social memory have been represented by “Messianism and Sebastianism”, so that to consider them as the only character that returned to save the people of its church and political abandonment. The research is qualitative and documentary. The obtained results support this defended thesis and placing in evidence that there has been a controversial in the representations of values that have been attributed to João/José Maria, depending on the regent political regime there is a variation of these values; they indicate that according to the Typology of Domination of Weber, there are three types in the action representations practiced by José/João Maria, to know as the patriarch, the charismatic and the messianic charismatic; they also indicate that the monks João Maria e José Maria have been people contributors ,and abandoned by the church. To conclude, there is a necessity to give a continuation of these studies, so that to rescue these characters in other discourses / Esta tese compreende que os papéis sociais de João/José Maria, na Guerra do Contestado, necessitam serem revistos pela Análise Crítica do Discurso (ACD) e complementada pela Teoria da Dominação de Max Weber. Tem-se por tema o conflito existente desses dois personagens, na representação de textos didáticos de história e a tradição oral do povo. Justifica-se a pesquisa, pois, os personagens João/José Maria são representados com valor negativo no discurso da História e no discurso Didático, enquanto, na tradição oral são representados com valor positivo e considerados santos. Tem-se por objetivo geral: contribuir com os estudos relativos à Guerra do Contestado. E específicos: 1º resgatar o panorama histórico – político– econômico do contexto da Guerra do Contestado; 2º caracterizar os papéis sociais dos personagens atualizados em textos de livros didáticos de História do Brasil; 3º confrontar os valores atribuídos pelo discurso da História e pelo discurso Religioso Popular ao mesmo personagem; 4º analisar como as representações sociais dos personagens da Guerra do Contestado transformaram o monge Giovanni, em João Maria e posteriormente em José Maria. Esta tese defende que o discurso Didático da História é controlado pelo poder da época do Contestado e que João/José Maria na memória social do povo são representados pelo Messianismo e Sebastianismo, de forma a considerá-los como um único personagem que retornou para salvar o povo de seu abandono eclesiástico e político. A pesquisa é qualitativa e documental. Os resultados obtidos sustentam a tese defendida e põe em evidência de que há controversa para representações dos valores atribuídos a João/José Maria, dependendo do regime político vigente, há variação desses valores; indicam que, conforme a Tipologia da Dominação de Weber, há três tipos nas representações das ações praticadas por José/João Maria, a saber: o patriarca, o carismático e o carismático messiânico; indicam, também, que os monges João Maria e José Maria são colaboradores do povo, abandonado pelo Estado e pela Igreja. Conclui-se a necessidade de dar continuidade aos estudos de forma a resgatar esses personagens em outros discursos

BRUGGE, Úrsula Lima. Gabriela, Cravo e Canela: Subjetividade feminina e resistência na obra de Jorge Amado. 2015. 181f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-12-08T12:57:42Z No. of bitstreams: 1 2015_tese_ulbrugge.pdf: 1296666 bytes, checksum: 6475de9f3ae02a11a661ec238633cfe3 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-12-08T17:54:47Z (GMT) No. of bitstreams: 1 2015_tese_ulbrugge.pdf: 1296666 bytes, checksum: 6475de9f3ae02a11a661ec238633cfe3 (MD5) / Made available in DSpace on 2015-12-08T17:54:47Z (GMT). No. of bitstreams: 1 2015_tese_ulbrugge.pdf: 1296666 bytes, checksum: 6475de9f3ae02a11a661ec238633cfe3 (MD5) Previous issue date: 2015 / Neste trabalho é feita uma análise da obra Gabriela, Cravo e Canela de Jorge Amado, buscando responder duas questões principais: 1) como se dão os processos de subjetivação/formação das mulheres dentro do romance Gabriela, Cravo e Canela? 2) Até que ponto as personagens femininas desse romance – especialmente a protagonista – representam resistências aos modos de subjetivação das mulheres na sociedade brasileira descrita na narrativa? Nesse sentido, o primeiro objetivo desta pesquisa é o de descrever os modos de subjetivação/educação das mulheres dentro do referido romance, elucidando, dessa forma, os modos socialmente normatizados de produção do feminino. Por outro lado, também é objetivo desta pesquisa a análise das personagens femininas em suas manifestações de resistência a esses mesmo modos de subjetivação das mulheres outrora descritos. O trabalho se desenvolve a partir de uma perspectiva interdisciplinar, pressupondo a relação entre o romance e o contexto sociocultural que este narra, buscando explicitar as articulações existentes entre o plano romanesco e o plano social. Nessa perspectiva, é utilizado, como embasamento teórico-metodológico, certas formulações advindas do campo da História, da Filosofia e da Educação. O trabalho está dividido em Introdução, quatro capítulos e conclusão: na introdução estão a localização e apresentação da problemática de estudo, uma discussão a respeito do que é literatura e um breve resumo da obra em análise. O primeiro capítulo é dedicado a Malvina, uma personagem que se destaca por seu caráter revolucionário e questionador da ordem estabelecida; o segundo, é dedicado a Sinhazinha, a esposa adultera de um coronel que, por conta desse romance extraconjugal, acaba assassinada pelo marido logo nas primeiras páginas do livro; o terceiro é dedicado a Glória, a qual, ao contrário das duas personagens que protagonizam os dois primeiros capítulos, não se trata de uma mulher de família, mas da amante de um coronel – nesse capítulo há uma discussão a respeito de prostituição; por fim, após ter-se demonstrado todas as características que, de alguma forma, comprovam certas resistências das demais personagens em relação ao sistema, mas que não são suficientemente fortes para fazer delas verdadeiras tangencialidades ao que estava posto às mulheres, fossem elas de família ou prostituídas, tem-se o quarto capítulo dedicado a Gabriela, a mulher que não precisava de perfumes e roupas de seda para ser a mais bela, que não precisava de casamento para amar, que não precisava de luxos para ser feliz. Gabriela, o contrário perfeito dos contrários da obra. / En este trabajo es hecho un análisis de la obra Gabriela, Clavo y Canela de Jorge Amado, buscando a responder dos cuestiones principales: 1) ¿Cómo se dan los procesos de subjetivación/formación de las mujeres dentro de la novela Gabriela, Clavo y Canela? 2) ¿Hasta que punto los personajes femeninos de esta novela – especialmente la protagonista – representan resistencia a los modos de subjetivación de las mujeres en la sociedad brasileña descrita en la narrativa? En este sentido, el primer objetivo de esta pesquisa es lo de describir los modos de subjetivación/educación de las mujeres dentro de la referida novela, aclarando, de esta manera, los modos socialmente normalizados de producción del femenino. Por el otro lado, también es objetivo de esta pesquisa el análisis de los personajes femeninos en sus manifestaciones de resistencia a estos mismos modos de subjetivación de las mujeres otrora descritos. El trabajo se desarrolla a partir de una perspectiva interdisciplinar, presuponiendo la relación entre la novela y el contexto sociocultural que este narra, buscando mostrar las articulaciones existentes entre el plano romanesco y el plano social. En esta perspectiva, es utilizado, como aporte teórico-metodológico, algunas formulaciones advenidas del campo de la Historia, de la Filosofía y de la Educación. El trabajo está dividido em Introducción, cuatro capítulos y conclusión: em la introducción están la localización de la problemática del estudio, una discusión a respecto de lo que es literatura y un breve resumen de la obra en análisis. El primer capítulo es dedicado a Malvina, un personaje que se destaca por su carácter revolucionario y cuestionador del ordenen establecido; el segundo, es dedicado a Sinhazinha, la esposa adultera de un coronel que, debido a este romance extraconyugal, es asesinada por su esposo logo en las primeras páginas del libro; el tercero es dedicado a Gloria, a cual, al revés de los dos personajes que protagonizan los dos primeros capítulos, no es una mujer de familia, pero la amante de un coronel – en este capítulo hay una discusión a respecto de prostitución; por fin, después de haberse demostrado todas las características que, de algún modo, comprueban ciertas resistencias de los demás personajes femeninos en relación al sistema, pero que no son suficientemente fuertes para hacer de ellas verdaderas tangencialidades al que estaba puesto a las mujeres, fueran ellas de família o prostituidas, hay el cuarto capítulo dedicado a Gabriela, la mujer que no necesitaba de perfumes y ropas de seda para ser la más bella, que no necesitaba de boda para amar, que no necesitaba de lujos para serse feliz. Gabriela, el contrario perfecto de los contrarios de la obra.

Luiz Gonzaga tornou-se um dos maiores intérpretes e compositores populares de sua época. Sua voz, sua vestimenta, seu modo particular de falar, sua entonação fizeram com que se transformasse em um grande ícone nacional, o representante de uma identidade regional. Considerado um dos maiores divulgadores da cultura, costumes e crenças do Nordeste, suas canções tentam representar o contexto sociocultural e sociopolítico da região Nordeste. Alguns pesquisadores consideram suas canções, até hoje, como uma marca legítima e mantedora das raízes culturais e folclóricas da região. Após leitura parcial da literatura sobre a sua obra percebemos uma carência de estudos críticos lingüísticos vistos numa perspectiva da Semiótica-Social. Este estudo investiga de que maneira as canções de Luiz Gonzaga contribuem na constituição de uma identidade nordestina. A relevância dessa abordagem, consiste em colaborar para a construção do conhecimento acerca dos processos de constituição da identidade nordestina, através de uma leitura crítica das canções, rompendo com as práticas discursivas que favoreçam a criação de estereótipos nordestinos e conseqüentemente a unificação de uma identidade cultural regional. Foram escolhidas, de forma aleatória, vinte canções da obra musical de Luiz Gonzaga, as quais foram analisadas numa perspectiva da Análise Crítica do Discurso (ACD), segundo o modelo tridimensional de Norman Fairclough (2001). As categorias utilizadas na análise foram: Transitividade na perspectiva da Lingüística Sistêmica Funcional (LSF), Ethos/Identidade culturais, Intertextualidade e a Interdiscursividade. Nas canções observam-se articulações dos traços culturais da região com a natureza e seus componentes particularmente regionais, instituindo sentidos à construção de uma realidade social. A seca, nessas canções, transforma-se no único grande problema do Nordeste. Dessa maneira, Luiz Gonzaga reproduz a prática discursiva estabelecida pela sociedade da época, aderindo à ordem do discurso do seu entorno. Assim, contribui para reforçar uma visão estereotipada, reduzindo a identidade nordestina ao flagelado da seca. As canções de Luiz Gonzaga além de reforçar esse estereótipo nordestino, reproduzem a ordem social da época em que viveu Luiz Gonzaga. Suas canções, de certa forma, faziam com que o Governo mandasse cada vez mais subsídios para socorrer a região, o que gerou a indústria da seca. O nordestino é representado como um povo escravizado e dependente economicamente do Governo, incapaz de perceber as lutas hegemônicas da sua região e reagir a elas. / Luiz Gonzaga has become one of the most important composers and interpreters of Brazilian popular music of his time. His voice, his clothing, his particular way of talking and his intonation made him become a great national symbol, a representative of a regional identity. Luiz Gonzaga is considered one of the most active men who spread out culture, costumes and beliefs of the Brazilian Northeast, and his songs try to portrait the socio-cultural and sociopolitical context of the Northeast. This very day, some researchers consider his songs as a genuine mar k that also keeps alive cultural and folkloric roots of the region. After reading part of the literature on his work, we realized that there were few linguistic critical studies based upon Social Semiotics. This study investigates the way Luiz Gonzaga.s songs contribute to establish a Brazilian northeastern people identity. This approach becomes relevant while it helps to improve the knowledge on the processes of construction of that identity, through a critical reading of the songs opposite to those discursive practices which tend to favor the creation of stereotypes related to Brazilian northeastern people, and so to the unification of a cultural identity in the region. We chose at random twenty songs by Luiz Gonzaga, which were analyzed according to Critical Discourse Analysis (CDA), and based upon the threedimensional model proposed by Norman Fairclough (2001). The categories for the analysis were: transitivity - according to Systemic Functional Linguistics (SFL), Ethos/Cultural identities, intertextuality and interdiscourse. In the songs, it.s possible to see a connection between cultural aspects of the region, nature and its regional elements, what confers meanings to the construction of a social reality. The drought, in those songs, appears as the only big problem in the Brazilian Northeast. Thus, Luiz Gonzaga represents the discursive practice of the society of that time and adheres to the discursive order that surrounds him. Then, he reinforces a stereotyped point-of-view which reduces Brazilian northeastern people identity to those of who suffered with the drought. In addition, Luiz Gonzaga.s songs represent the social order of the time he lived. His songs in a certain way incited the Government to send more and more supplies to help people in the region, an attitude that generated the Brazilian drought industry. Brazilian Northeastern people are represented as slaves and economically dependent on the Government, unable to perceive hegemonic struggles of the region and to combat them.