Phénomène protéiforme, l’abstraction picturale a bouleversé le monde des arts à l’aube du XXᵉ siècle. En Europe, de la Belle époque aux Années folles, les peintres d’avant-garde ont croisé le chemin de poètes et de chorégraphes avec lesquels ils partageaient le même désir de changement. Sous l’égide de mécènes ou d’amateurs éclairés, leurs collaborations ont donné naissance à des spectacles d’un genre nouveau où les frontières entre les différentes disciplines se trouvent abolies. Associer la peinture, art de l'espace, à la danse, qui y introduit le temps, soulève quelques questions qui ont fait émerger l’idée d’un « ballet plastique » se substituant au « ballet dramatique » théorisé par Noverre. L’art chorégraphique et l’art pictural ont exercé l’un sur l’autre une influence réciproque dont la recherche commence seulement à mesurer l’importance. Cependant, peut-on parler d’abstraction totale dans un domaine où rien n’est plus concret qu’un corps qui danse ? S’il n’y a pas une évolution linéaire alliant la figuration à l’abstraction entre 1909 à 1933, certains principes mis en œuvre sur les toiles ont été appliqués à la fois sur la scène et dans les coulisses du ballet. Les peintres vont-ils réussir à rompre l’illusion en sortant de la cage de scène ? En agrandissant leurs toiles, vont-ils réussir autre chose qu’un tableau animé ? Que devient le livret dans un ballet où la lettre s’efface devant les couleurs et les formes ? Poser la question de l’abstraction en littérature revient à remettre en cause l’existence même d’un texte comme support du ballet. Or, le livret, loin de disparaître, se métamorphose et occupe aussi une place de choix dans cette composition abstraite. / In the run-up to the 20th century, a multifaceted phenomenon called pictorial abstraction has turned the art community upside down. In Europe, from the “Belle Epoque” to the Roaring Twenties, avant-garde painters have crossed paths with poets and choreographers with whom they shared their desire for change. Their collaborations with donors and enlightened amateurs gave rise to a new kind of shows in which the boundaries between the various artistic disciplines have been abolished. The association of painting to spatial art and dance that also brought in time, raised questions that led to an idea of a “plastic ballet” as a substitute for “dramatic ballet”; an idea put forward by Noverre. The choreographic and pictorial worlds have had a reciprocal influence on one another; however, the research world is only now starting to consider the significance of these interactions. Anyhow, is it possible to talk about a total abstraction within this particular field, knowing that nothing can be more concrete than a dancing body? This trend is not a linear evolution from figuration towards abstraction between 1909 and 1933 but some principles used on canvases were applied in the ballet world, both on stage and backstage. Will painters manage to break the illusion by breaking out of the cage-like stage? By expanding the sizes of their paintings, will they have anything else to show than animated tableaux? What happens to the libretto in a ballet where letters are outweighed by colours and shapes? Questioning abstraction in literature involves questioning the mere existence of texts as the underpinning of ballets. Yet, the libretto is far from disappearing ; it transforms itself and is thus at the forefront of this abstract composition.

A comparison of social elitist concepts in the works of Karl Marx, Vilfredo Pareto, and Karl Mannheim reveals similar patterns in the uses of these concepts. By listing seven criteria that were developed and by the use of a topical analysis method, similarities are presented and explained. Additional comparisons according to schools of thought and specific national setting are also presented. Structural similarities were identified among the theories; however, content patterns are not evident because of the lack of an accepted definition of the elite. The analysis and the comparison of the concepts of the elite in the works of these major thinkers facilitate and deepen the understanding of this concept in sociological work.

Esta tesis busca aproximarse a la figura de Andrés A. Cáceres, entre 1882 y 1883, desde una triple perspectiva de historia política, social y cultural. Sus temas centrales son el pensamiento político y militar de este personaje y la valoración del peso de su participación como protagonista central en la llamada Campaña de la Sierra durante la Guerra del Pacífico. Se intenta demostrar que la figura individual de Cáceres marcó de manera decisiva, dentro de ciertos parámetros sociales, el curso de los acontecimientos militares, e influyó también, notablemente, en el tenso proceso político-diplomático de la época. / Tesis

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-10-27T12:27:44Z No. of bitstreams: 1 Andréia Medolago de Medeiros.pdf: 2615036 bytes, checksum: 150fdac17c0ab8b7f99b55eaafd63372 (MD5) / Made available in DSpace on 2017-10-27T12:27:44Z (GMT). No. of bitstreams: 1 Andréia Medolago de Medeiros.pdf: 2615036 bytes, checksum: 150fdac17c0ab8b7f99b55eaafd63372 (MD5) Previous issue date: 2017-10-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Giuseppe Cilento, professor at University of São Paulo in the 1950´s, considered that excited species in non-emissive tiplet state could exist in biochemical systems, providing the energy needed for some biological reactions. The development of his research lead him to consider that the energy released by these excited molecules could be used so that biochemical system produced photosynthetic reactions, even in the absence of light, creating a new research field: the photobiochemistry in the dark. Cilento also demonstrated the existence of this type of reaction in “in vivo” cells, with possible application in various study fields, such as medicine, biochemistry, pharmaceutics, agronomy and bioenergetics. His work at University of São Paulo, at University of Campinas (Unicamp) and in fostering agencies, along with other researchers who sought for the establishment of the biochemical field in São Paulo, was of fundamental importance to institutionalize this area of study in Brazil / Giuseppe Cilento, professor da Universidade de São Paulo ainda na década de 1950, considerou que espécies excitadas em estado triplete não emissivos pudessem existir em sistemas bioquímicos, fornecendo a energia necessária para algumas reações biológicas. O desenvolvimento de suas pesquisas levou-o a considerar que a energia desprendida por essas moléculas excitadas poderia ser utilizada para que sistemas bioquímicos realizassem reações fotossintéticas, mesmo na ausência de luz, criando uma nova área de pesquisas: A fotobioquímica na ausência de luz. Cilento buscou ainda demonstrar a existência desse tipo de reação em células “in vivo”, com possibilidade de aplicação em campos tão diversos como a medicina, bioquímica, farmacêutica, agronomia e bioenergética. Sua atuação na Universidade de São Paulo, na Universidade de Campinas (Unicamp) e nas agências de fomento, juntamente com outros estudiosos que buscavam o estabelecimento de pesquisadores no campo da bioquímica em São Paulo, foi de fundamental importância para a institucionalização da área no Brasil

My doctoral dissertation examines the relationship between the sacred and literature, explores how the Bible has influenced the literary production of Antonia Pozzi, Cristina Campo, and Margherita Guidacci, and reveals that each author had a distinctive way of dealing with the Sacred Book. In the first chapter I retrace the studies on the topic of Bible and Literature, and I show how literary critics only recently have begun to work intensively on them (in the past the "historical school" founded by De Sanctis and followed by Croce devoted few studies to the subject of the sacred and even so, only to those periods where the influence of the Scriptures was clear and indeed obvious, such as the Middle Ages and the Counter-Reformation). In the same chapter I explain my reason for deciding to study Pozzi, Campo, and Guidacci. These three authors share analogous biographical experiences and episodes that deeply influenced their lives (the presence of an authoritarian father, family losses, and sad love experiences). Moreover, their studies (specifically, European writers and philosophers) were of the same nature. I demonstrate that, although contemporary Italian literature is heterogeneous and varied, these three women astonishingly shared the same background that explains their concentration on the sacred. In the following chapter I consider the writers individually, in order to examine the path that led them to a dialogue with the religious and the sacred. In Pozzi, the sacred is something that lies beyond human understanding and, for all her attempts to reach it, she always fails due to her incapacity to fully free helself from human passions. In Campo and in Guidacci on the other hand, the sacred search is always consistent and, notwithstanding some missteps and second thoughts, they are able to basically fulfill their task. After the study of their ideas, in the last chapter I move to the poetical language used by these writers. It has been very interesting to see what is essentially the same vocabulary appearing again and again in our poets. As it is known, the biblical language is based on symbols that evoke a union between the contingent and the Absolute. Pozzi, Campo, and Guidacci were not only able to interpret the biblical symbology but they also used some of those terms in their poems; specifically I focused my attention on the recurrence of five words-symbols: assenza, deserto, nulla, fiore, luce (absence, desert, emptiness, flower, light). It is really significant that the writers in question use the same biblical symbols as poetical words: it is a vocabulary that ties together literary and religious experience. Their connection is also strengthened by the reference and the predilection for same specific books of the Bible, such as Job and The Lamentations of Jeremiah the Prophet for Pozzi, and the Gospels, Psalms, and The Song of Songs for Campo and Guidacci. In my analysis I show that already in the desert we can see the first signs of Pozzi's weakness: In this solitary place, where the soul must deal with herself to reach the emptying of earthly passions, Pozzi got lost and fell into the error of looking backwards, to the beloved she had left. On the other hand, Campo and Guidacci were able to reach the spiritual light, so their journey through biblical symbolism can be finally considered complete. In other words, Pozzi's path towards the Scripture is fulfilled piecemeal and never ends in it, while in Campo and Guidacci the Scripture becomes an integral part of their lives, so they are constantly enlightened by the Word of God, while Pozzi misses this Light and sinks into the darkness of death. Finally, considering the fact that they have been relatively isolated from the literary world until recently, I do not believe they were rejected by a misogynist society, but rather by the fact that those years were demanding an active social participation. The women treated here never made that choice, instead they dedicated themselves to the search for the sacred, an issue not "present" in the years in which they lived. So I think that it was this combination of poetic themes and lifestyle choices that excluded them. In conclusion my work, which could have considered many other poets, confirms the point of view from which I started: the theme of the sacred in the twentieth century literature does not seem to present itself as a school or current, but is characterized by its inevitable uniqueness so that each poetic experience is described for its extraordinary authenticity and uniqueness. If anything, we can talk about similarities and links between these poets based on common readings that provide the basis on which to develop their own religious experiences.

Submitted by Albirene Sousa (albirene@ufpa.br) on 2011-03-30T16:32:40Z No. of bitstreams: 2 SILVA, Deurilene Sousa PPGLetras.pdf: 448673 bytes, checksum: aea2747a75c8462bbc544ac2697c027d (MD5) license_rdf: 22876 bytes, checksum: 0a4e855daae7a181424315bc63e71991 (MD5) / Made available in DSpace on 2011-03-30T16:32:40Z (GMT). No. of bitstreams: 2 SILVA, Deurilene Sousa PPGLetras.pdf: 448673 bytes, checksum: aea2747a75c8462bbc544ac2697c027d (MD5) license_rdf: 22876 bytes, checksum: 0a4e855daae7a181424315bc63e71991 (MD5) Previous issue date: 2008 / O romance As Meninas suscita relevante discussão sobre a produção ficcional introspectiva de Lygia Fagundes Telles. Suscita também implicações de cunho sociológico, político e literário, indicadores da manifestação artística da autora em sintonia com a perspectiva do homem contemporâneo, que vive as agruras do confronto entre si mesmo e as convenções coletivas, concomitante, o desalento desse mesmo homem na busca de sua identidade enquanto ser humano numa sociedade cujos valores sociais, políticos e humanos são decadentes. Nesse sentido, além de refletirmos sobre a importância canônica de Lygia Fagundes Telles no espaço literário brasileiro contemporâneo, refletimos ainda sobre manifestações de choque entre indivíduo e as convenções coletivas (indivíduo x mundo), e os aspectos sociológicos subjacentes à obra. As Meninas. Assim, baseando-nos nos estudos de Lucien Goldmann e Georg Lukács, mas, principalmente, nos estudos de Antonio Cândido, procuramos analisar as relações literário-político-sociais, as quais interferem e contribuem para a ruptura entre indivíduos e convenções sociais estabelecidas em As Meninas, de Lygia Fagundes Telles.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2018. / Esta dissertação analisa dois livros sobre viagens: Atlas , do autor argentino Jorge Luis Borges, e As cidades invisíveis , do autor italiano Italo Calvino. O objetivo do presente estudo é estabelecer as possíveis relações entre memória e imagem na literatura, através do estudo comparativo dessas obras. Para cumprir tal objetivo, o referencial teórico deste trabalho é composto principalmente por teorias e críticas literárias, como as de Roland Barthes, Maurice Blanchot, Ricardo Piglia, Michael Riffaterre e Tiphaine Samoyault. Fora isso, há estudos sobre a memória, incluindo autoras como Aleida Assmann e Frances Yates, e a teoria da fotografia, com destaque sobretudo para os estudos de Philippe Dubois. Depois de uma leitura aproximada aos textos literários e da apreciação do referencial teórico, constata-se que as relações entre memória e imagem funcionam em três estádios interdependentes: imaginação, representação e recordação. A imaginação está vinculada à formação de imagens mentais pelo escritor, antes que este escreva. Já a representação, é o momento em que a imagem é registrada no papel, através das palavras escolhidas para evocá-las. Finalmente, há a recordação, que ocorre quando o registro da imagem pensada pelo autor pode servir como uma forma de resistir à passagem do tempo ou, pelo menos, garantir sua presença nele. / This paper analyzes two books about travels: Atlas , by the Argentine author Jorge Luis Borges, and Invisible Cities , by the Italian author Italo Calvino. The goal of this study is to establish the possible relations between memory and images in literature through the comparison of these works. To achieve this goal, the theoretical framework of this research is mainly composed of literary theory and criticism, by thinkers such as Roland Barthes, Maurice Blanchot, Ricardo Piglia, Michael Riffaterre and Tiphaine Samoyault. Other than that, there are studies on memory, by Aleida Assmann and Frances Yates, and photography theory, by Philippe Dubois. After a close reading of the literary texts and the appreciation of the theoretical references, it is noticeable that the relations between memory and image work in three stages: imagination, representation and recollection. Imagination has a link with the mental imagery that the writer creates before he writes. Then, representation happens when that image gets registered on paper, through the words chosen to evoke it. Finally, there is recollection, which occurs when the represented image, once thought by the author, serves as a way to resist the passage of time or at least ensure its presence in it.

Cette étude porte sur le corps noir et l'intersubjectivité dans Ceux de July de Nadine Gordimer (1981), Tar Baby de Toni Morrison (1981) et Tu t'appelleras Tanga de Calixthe Beyala (1988). Dans chacun des récits, la représentation du corps noir est le pivot des relations qui unit les personnages noirs et blancs. L'évolution des différentes trames narratives dépend de la réinscription permanente de la figure du Noir dans les rapports intersubjectifs entre les Noirs et Blancs. Le premier objectif de ce mémoire de maîtrise est donc d'exposer la mise en scène littéraire de cette figure, avant tout, discursive, à travers les déplacements poétiques qu'effectue chacune des auteures. Cette analyse se fait principalement à partir de trois approches: organique, narratologique et sémiologique. Elle met aussi à contribution certaines notions relatives à la subjectivité dans l'énonciation. D'une part, cette analyse illustre les moyens par lesquels les personnages parviennent à construire des dichotomies qui, de prime abord, sont présentées comme étant indépassables à travers une série d'espaces où les différences sont démultipliées. D'autre part, ce travail de mémoire cherche à rendre compte de la nature intimement fictionnelle et sociale des corps, tout en démontrant une différence notoire de l'articulation du corps noir constamment chargé d'un « poids » métaphorique péjoratif qui efface le sujet. À travers leur écriture, les trois auteures parviennent à mettre en évidence les lieux communs de la représentation du corps noir, tout en réinscrivant ces derniers dans une polysémie déroutante et éclairante sur les communautés de sens qui enferment ou qui ouvrent les sujets sur eux-mêmes et sur les autres. En ce sens, les trois microcosmes déconstruisent -chacun dans son contexte respectif -la représentation du Noir. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Figure du Noir, Corporéité, Intersubjectivité, Stéréotype, Altérité, Roman, Mythe.

Notre recherche porte sur la corporéité de la voix et sur l'étude des possibilités signifiantes de celle-ci. Son objectif premier est de démontrer que la voix en tant que matière sonore - c'est-à-dire la voix prise en dehors de sa fonction de support à la parole - peut développer sa propre forme de langage, et que ce langage corporel peut être utilisé comme épicentre d'une création scénique. L'essai scénique Une petite longueur d'onde consiste en une application pratique de cette recherche. D'une part, il explore la capacité de la voix à dégager du sens sans les mots, en communiquant à la scène des émotions, des états et des sensations. D'autre part, il utilise la voix tel un matériau, afin d'explorer comment celle-ci peut être modelée, façonnée et organisée et, ainsi, proposer d'autres significations. Complémentaire de notre essai scénique, l'essai critique La voix sans les mots, un langage corporel à la scène trace, dans un premier chapitre, un bref état des lieux du travail de la voix à la scène à travers l'étude de trois démarches : celles d'Antonin Artaud, du Roy Hart Théâtre et de Claude Régy. Le deuxième chapitre tente, quant à lui, de définir les liens entre la voix et le sensible, tant par la manifestation des émotions à travers la voix que par le rapport qu'elle entretient avec les sens de l'ouïe et de la vue. Enfin, le dernier chapitre s'intéresse à la voix et à sa signification, plus précisément aux possibilités d'intervenir sur la voix afin d'en transformer le sens. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : corps, langage, matière sonore, sensible, signification, voix

L'objet de ce mémoire consiste à réfléchir à l'influence philosophique, stylistique et esthétique qu'exercent les mécanismes de la collection sur les pratiques textuelles d'Italo Calvino (1923-1985) : Les villes invisibles, Palomar et Collection de sable. Afin de décrire la collection comme pratique et de la définir comme mode de pensée, notre étude prendra appui sur les travaux des plus importants théoriciens de la collection que sont Jean Baudrillard, Walter Benjamin, Krzysztof Pomian, Roger Cardinal, John Elsner et Dominique Pety. Le premier chapitre permettra de démontrer qu'en valorisant l'unique et le singulier tout en étant nécessairement sériels et pluriels, les recueils de Calvino empruntent leur forme et leur thématique à la collection ; poétique de la sérialité, écriture de la liste, multiplication des dispositifs d'emboîtement et exigence de classement sont autant de signes de cette littérature du recensement qui seront étudiés. Ce premier chapitre sera aussi l'occasion de montrer que la collection, en tant que mode d'appropriation du savoir, constitue pour Italo Calvino une composante du champ épistémologique. À son image, les recueils de l'écrivain italien produisent un réseau d'échos qui multiplient les correspondances entre les textes qu'ils rassemblent ; la dernière partie de ce premier chapitre envisagera ce système comme un cabinet de curiosités hypertextuel. Le deuxième chapitre, quant à lui, abordera la dimension éthique de la collection qui s'ouvre chez Calvino sur les questions conjointes du souvenir, de la mémoire et de la « récollection ». Dans Les villes invisibles, Palomar et Collection de sable, en effet, l'écrivain met en branle une entreprise de mémoire individuelle et collective qui repose sur la collecte de traces mnésiques. Ce chapitre permettra d'éprouver avec l'auteur les limites de son projet et de se poser, avec lui, la question suivante : est-il vraiment possible de collectionner le sable? S'il peut effectivement être recueilli, il reste qu'une interrogation subsiste : le sable totalise-t-il vraiment la mémoire qu'il tente de préserver et, éventuellement, de ranimer? ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Italo Calvino, Collection, Mémoire, Encyclopédie, Cabinet de curiosités, Les villes invisibles, Palomar, Collection de sable