Made available in DSpace on 2014-06-11T19:26:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-03-03Bitstream added on 2014-06-13T20:34:55Z : No. of bitstreams: 1 narzetti_cnp_me_arafcl.pdf: 4941547 bytes, checksum: 60e4a80dcb55b4b41b274783e33ab584 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Fundação de Amparo à Pesquisa do Estado do Amazonas (FAPEAM) / O tema desta Dissertação é a constituição teórica da análise do discurso desenvolvida por Michel Pêcheux. Especificamente, tratamos da constituição da AD (a sua primeira época - o início da teoria com a obra Análise Automática do Discurso, de 1969) e de sua relação com os textos anteriores de Pêcheux, assinados com o pseudônimo Thomas Herbert, “Reflexões sobre a situação teórica das ciências sociais e, especialmente, da psicologia social”, de 1966 e “Observações para uma teoria geral das ideologias”, de 1968, nos quais o fundador de uma das vertentes da análise do discurso francesa ainda não está engajado na elaboração de uma teoria do discurso, mas no projeto althusseriano de elaboração de uma teoria das ideologias. Acreditamos que o aparato teórico-conceitual apresentado, as temáticas desenvolvidas e as críticas feitas por Pêcheux na obra Análise Automática do Discurso possuem uma estreita relação com idéias e concepções de seus textos anteriores, dedicados à reflexão sobre a ideologia e sobre a história das ciências. Sendo assim, tentamos reconstruir o percurso do projeto teórico de Pêcheux, identificando que problemas o conduziram do projeto inicial de elaboração de uma teoria das ideologias à construção da teoria e da análise do discurso; que relações existem entre esses dois projetos; que problemas teóricos e/ou práticos provocaram esse deslocamento; como Pêcheux foi de uma concepção de ideologia em que a linguagem não é tematizada a uma teoria que a pensa a partir do discurso; qual a função que o instrumento análise do discurso desempenhava nesses projetos; e qual o papel particular que exerceram as três ciências que estão na base da AD: Materialismo Histórico, Lingüística e Psicanálise. / Le sujet de notre recherche est la constitution théorique de l’analyse du discours développé par Michel Pêcheux. Nous nous intéressons en particulier à la constitution de l’AD (sa première époque – le début de la théorie du discours) et à son rapport avec les textes “Réflexions sur la situation théorique des sciences sociales et, spécialement, de la psychologie sociale” (1966) et “Remarques pour une théorie générale des idéologies” (1968), qui ont été produits antérieurement par Pêcheux sous le pseudonyme de Thomas Herbert. Dans ces textes, le fondateur de l’un des domaines de l’analyse du discours française ne s’est pas encore engagé dans l’élaboration d’une théorie du discours, mais dans le projet althussérien de construction d’une théorie des idéologies. Nous croyons que le dispositif théorique-conceptuel, les thématiques et les critiques que Pêcheux a présentés et développés dans son oeuvre Analyse Automatique du Discours (1969), ont un rapport étroit avec des idées et des conceptions des textes antérieurs de l’auteur qui sont dédiés à la réflexion sur l’idéologie et sur l’histoire des sciences. Ainsi, nous essayons de reconstruire le parcours du projet théorique de Pêcheux à travers l’identification des problèmes qui l’ont mené du projet initial de l’élaboration d’une théorie des idéologies à la construction de la théorie et de l’analyse du discours. Nous explicitons les rapports qui existent entre ces deux projets et les problèmes théoriques et pratiques qui ont provoqué ce déplacement. Nous expliquons comment Pêcheux va d’une conception de l’idéologie où le langage n’est pas abordé à une théorie qui pense le langage à partir du discours. Nous élucidons la fonction que le dispositif instrumental analyse du discours jouait dans ces projets.

Made available in DSpace on 2015-09-17T15:25:59Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-04-10. Added 1 bitstream(s) on 2015-09-17T15:46:17Z : No. of bitstreams: 1 000846720.pdf: 896085 bytes, checksum: 40fc54ac2015aeeec1cae58f3b98243a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente pesquisa tem como corpus dois romances do escritor contemporâneo Menalton Braff - Que enchente me carrega? (2000) e Bolero de Ravel (2010), e busca descrever, em meio ao fluxo de consciência que representa o pensamento dos protagonistas, um número incessante de memórias que se repete do início ao final das narrativas: 13 memórias são apresentadas em Que enchente me carrega? e 15 memórias em Bolero de Ravel. Entendemos que a própria estrutura da narrativa se estabelece por meio da reiterada circularidade dos processos mnemônicos presentes nas duas obras, fixando o ritmo e a coerência do texto ficcional. Além disso, torna-se possível observar que as repetições instalam o modo de olhar dos narradores para o mundo, firmando o que eles veem, como percebem o que veem e, finalmente, como lidam com o que percebem. A partir disso, a pesquisa considera a possibilidade de que a estruturação dos romances por meio de repetições de situações de memória mostra-se dotada de inegável intencionalidade estética e estabelece a maneira singular do narrador braffiano. Este, ao narrar o seu processo de desagregação social e mental, revela o seu distanciamento do mundo, medida que intitularemos de processo da esfacelamento da personagem. As obras literárias serão analisadas a partir do instrumental teórico do fluxo da consciência, trazendo à luz os conceitos propostos por Robert Humphrey e Belinda Cannone. Esta abordagem contemplará, ao mesmo tempo, os processos históricos que estão na base da crise do romance e advento da ficção do fluxo da consciência / This research has as corpus two novels of the contemporary writer Menalton Braff - Que enchente me carrega? (2000) e Bolero de Ravel (2010) and seeks to describe, amid the stream of consciousness that represents the thinking of the protagonists, an endless number of memories that are repeated from the beginning to the end of the stories: 13 memories are presented in Que enchente me carrega? and 15 memories in Bolero de Ravel. It is understood that the very structure of the narrative is established through repeated circularity of mnemonic processes present in the two works, setting the pace and consistency of the fictional text. Moreover, it is possible to observe that repetitions establish how the narrators look at the world around, determining what they see, how they perceive what they see and finally how they deal with what they perceive. The research considers that the repetitions in the novels is endowed with undeniable aesthetic intentionality and that it constitutes a characteristic of Braff's narrator. The narrator, when narrating his own process of social and mental decay, creates the image of his disengagement in the world. We named this procedure as the process of disintegration of the character. The thesis will be analyzed from the theoretical tools of the stream of consciousness, bringing to light the concepts proposed by Robert Humphrey and Belinda Cannone. This approach will include, at the same time, the historical processes that underlie the crises of the novel and the advent of the stream of consciousness fiction

Tese (doutorado)—Universidade de Brasília, Departamento de Teoria Literária e Literaturas, Pós-Graduação em Literatura, 2013. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-08-01T15:09:19Z No. of bitstreams: 1 2013_LucieJosepheLannoy.pdf: 1900115 bytes, checksum: 41e1830169da386e614a0e0a1a1f5330 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-08-02T12:44:14Z (GMT) No. of bitstreams: 1 2013_LucieJosepheLannoy.pdf: 1900115 bytes, checksum: 41e1830169da386e614a0e0a1a1f5330 (MD5) / Made available in DSpace on 2013-08-02T12:44:14Z (GMT). No. of bitstreams: 1 2013_LucieJosepheLannoy.pdf: 1900115 bytes, checksum: 41e1830169da386e614a0e0a1a1f5330 (MD5) / Esta tese apresenta o poeta peruano César Vallejo (1892-1938) e sua trajetória de vida e escrita. Demonstra, também, como, por meio de sua dor e de sua condição de estrangeiro, ele expõe um senso de solidariedade e um interesse pelo outro que sofre na Guerra Civil Espanhola (1936-1939). Com este objetivo, ele desenvolve sua criatividade na linguagem e uma forma ética de se comunicar. Martin Buber, Emanuel Levinas, Julia Kristeva, Stuart Hall, Edward Said, Roland Barthes, Gaston Bachelard e muitos outros teóricos sustentam a forma de apresentar o mais importante poeta peruano do século XX dentro de um contexto brasileiro. Cesar Vallejo condensa uma energia que alcança as profundezas de suas raízes para inspirar respostas a problemas atuais em uma linguagem inovadora capaz de dar sentido a questões de identidade e outros aspectos dos dias de hoje e de sempre. ______________________________________________________________________________ ABSTRACT / This thesis presents the Peruvian poet César Vallejo (1892-1938) and his life trajectory and writing. It also demonstrates how he shows, through his pain and in his foreigner condition, a sense of solidarity and an interest by the other who suffers in the Spanish Civil War (1936- 1939). With this aim, he increased his creativity in language and an ethic way to communicate. Martin Buber, Emanuel Levinas, Julia Kristeva, Stuart Hall, Edward Said, Roland Barthes, Gaston Bachelard and many others theoretic support the way we present the most important Peruvian poet of the XX Century in a Brazilian context. Cesar Vallejo condenses energy able to give answers for identity questions and other aspects of nowadays and always.

Informe de Seminario para optar al grado de Licenciado en Filosofía / Proyecto Fondecyt iniciación n°11150317

Para poder acceder al concepto de intermedia, primero tenemos que analizar su instalación en el campo de las artes. Instalación complicada, ya que el concepto se refiere tanto a un tipo de obra como a una práctica artística; asimismo, se refiere a una determinada “actitud” frente al quehacer artístico. Cualquiera de estas tres líneas nos dirige a los sitios de disputa en los cuales dichas obras, dichas prácticas y dichas actitudes se han puesto en tela de duda, sitios de la teoría y la crítica de las artes que rechaza las nociones que las neovanguardias desarrollaron como resultado de sus postulaciones y modos de operación. Por otro lado, tenemos que el marco teórico que respalda las nociones del concepto de arte intermedia es, en sí mismo, un espacio intermedial, un discurso donde la práctica y la teoría se confunden, se mezclan, se hallan en constante proceso de reflexión, una suerte de operación abierta para quienes desean contribuir o acceder a éste. Es un marco teórico que, como finalidad última, entiende la noción de lo “intermedial” como una problemática histórica en torno a los campos de percepción y las relaciones entre lo visual, lo textual y lo sonoro, en un primer nivel, y las relaciones entre sus combinatorias y los factores sinestésicos que pueden entrar en juego. Asimismo, es una instancia de producción y de manejo de recursos que, con el paso de los años, se ha convertido en un ejercicio cotidiano de la producción artística, estableciendo parámetros y definiciones que las distinguen pero que son, originalmente, parte de dicha actitud “intermedial”.

This thesis attempts to demonstrate the manner in which Barlach used the phenomenon of the grotesque in his prose and dramatic writing. The concept of the grotesque has been examined in the light of a number of the more significant attempts to define it. Particular attention has been paid to the recent studies of the grotesque by Wolfgang Kayser and Lee Byron Jennings, but extensive reference has also been made to the definitions of George Santayana and John Ruskin, as well as to the 1929 dissertation of Ernst Schweizer and the 1940 discussion of the grotesque by Robert Petsch. The paper attempts to demonstrate that Barlach made use of the grotesque to mystify reality and to point to otherwise hidden mythological aspects of the world, as well as to give expression to what he called a "Panik vor dem So-Sein," i.e., a panic which he felt whenever he compared the temporal existence to the potentiality of some higher realm of being. To demonstrate the universality of the grotesque experience, reference has also been made to the concept of the demonic as described by Goethe, and the grotesque is related to it. Representations of the divine in Barlach's works appear grotesque from a human vantage, because man, in his struggle to maintain his identity and to perpetuate his own trivial world has no eye for higher values or higher modes of existence. Man interprets the intrusion of the divine into his world.as a threat to his existence, not as an act of grace. The influence of Theodor Daeubler and Albert Kollmann is considered with respect to Barlach's concept of the "high lord", and an attempt is made to come thereby to an understanding of Barlach's relationship to deity. The divine is represented by Barlach as not an extension and perfection of the human, but supra-human and hostile to man in his closed little world. To demonstrate the manner in which the elements of the divine intrude into man's world and threaten his orientation, a study has been made of Barlach's use of grotesque metaphors, objects, and situations, with special reference to Barlach's novel Seespeck and his early dramatic works. The phenomenon of the grotesque is seen to be related to that of the absurd as presented by modern playwrights, and Barlach is shown to have anticipated the Absurd in many respects. But it is pointed out that Barlach refused to accept the idea of an absurd universe, despite his admitted incapacity to resolve his doubts. Barlach's later plays and correspondence are considered, to establish that he became resigned in his mature years to a state of "not-knowing" as a way of life in which the panic of the earlier years, and with it the grotesque, diminished. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

This study examines the literary works of the Argentine writer, Leopoldo Lugones (I874-I938), from an integral perspective. Although Lugones attained almost immediate recognition as one of the most outstanding and representative Argentine writers and published numerous books, he is known today primarily and almost exclusively for his contribution to the "modernist" movement in Argentina and Hispanic America. His poetry has not been duly considered within the context of the totality of his writings. The significance of the integral relationship that exists between his thought and his artistic expression has been neglected by his critics or at best only superficially viewed by them. This dissertation seeks to throw new light on the literary works of Leopoldo Lugones by examining the convergence of his thought and his art on a central issue identified in this study as "the quest for national identity in the writings of Leopoldo Lugones." The far-reaching effects produced by the cosmopolitan immigration and the positivist philosophy of progress, also of foreign origin, represented a contradictory view to Lugones's concept of the Argentine realities. His reaction is clearly evidenced by the intense and continuous search for an authentic national image for his country. The problem of national identity thus became one of the foremost preoccupations of his thought and a predominant theme of his writings. In order to counteract the European cultural influence in Argentina and the materialistic philosophy of non-Argentine origin, Lugones attempts to revive the "gaucho" legacy and to promote a departure from the prevailing materialistic interests by adopting a more meaningful system of values based on what he terms the principle of "spiritualization". Furthermore, the concept of "spiritualization" functions as an underlying theme in Lugones 's writings, securing the unity of the totality of his works. This study attempts to determine to what extent Lugones unfolds a systematic program corresponding to his ideal view of national identity, and how the author directs his aesthetic work to achieve his central objective. The first chapter of this thesis establishes the historical background of Argentina from the period of national emancipation (1810) to the generation of Leopoldo Lugones. The second chapter outlines a biographical profile of Lugones in an attempt to trace the personal traits that caracterize his literary creations. Chapters three and four examine respectively Lugones's concept of "spiritualization" and the author's concern with the cultural dimension of his native country. The fifth chapter approaches Lugones's treatment of national identity from the archetypal perspective, examining the author's deductions from the Greek myth of Prometheus, the national forefathers and the exemplary traits of the "gaucho". The sixth chapter investigates how the poetic writings of Lugones reflect the author's primary objective of the search for national identity. The analysis is centred on three principal areas: (1) the continuity of thought between the author's prose writings and his poetry, (2) the social function of aesthetics and (3) the role of poetry in the formation of a national language . The conclusion sums up the findings of this study, confirming that Lugones's literary creations represent a reflection of the objective formulated at the outset of his literary career. It may be restated, therefore, that the literary productions of Lugones confirm the author's intense commitment to the creation of a genuine national identity for Argentina. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Orientador: Nelson de Jesus Parada / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Fisica Gleb Wataghin / Made available in DSpace on 2018-07-17T21:12:45Z (GMT). No. of bitstreams: 1 Hengeltraub_Adolpho_D.pdf: 2583074 bytes, checksum: 682e4110268dfd48803c24f70e86718c (MD5) Previous issue date: 1976 / Resumo: O estudo de propriedades termodinâmicas de um sistema ferromagnético de Heisenberg, com anisotropia unixial de íon individual, foi abordado por diversos autores, com técnicas de Funções de Green, além do emprego, mais simples, da aproximação de campo molecular. Esta ultima dá resultados insatisfatórios pequenissima variação das propriedades termodinâmicas para grandes variações na anisotropia ao passo que diferentes desacoplamentos, para as Funções de Green, conduzem a resultados discordantes. A aproximação de acoplamento constante, originalmente proposta para o caso particular de spin 1/2, produz resultados bastantes bons, especialmente para a temperatura crítica e calor especlfico ( ordem de curto alcance ). Neste trabalho é feita uma generalização da aproximação de acoplamento constante, para spin arbitrário e para tratar o termo adicional, anisotrópico, que e em seguida, empregada no cálculo das propriedades termodinâmicas de um sistema ferromagnetico de spins 1. Há indicações que alguns resultados deste trabalho são melhores que os anteriormente obtidos com outras técnicas, especialmente as temperaturas críticas / Abstract: Not informed. / Doutorado / Física / Doutor em Ciências

Informe de Seminario para optar al grado de Licenciado en Filosofía

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