Master of Science

M.S.

Québec Université Laval, Bibliothèque 2018

Este trabalho tem por objetivo analisar os filmes Pueblerina, Flor Silvestre e Enamorada do diretor Emílio Fernández, consagrado cineasta mexicano. Estes são considerados os mais importantes filmes desse diretor, todos realizados na década de 1940, ele um dos mais expressivos realizadores da história do cinema mexicano. As questões político-sociais, a violência são exploradas indiretamente nesses trabalhos e evidenciar este fato nosso principal ponto de conflito com a critica de cinema tradicional que sempre caracterizou estes filmes como isentos deste tipo de conteúdo nossa intenção é recolocar os filmes no lugar de obras feitas de maneira coletiva e com fim coletivo/ social, portanto, é pertinente que a sua maneira o diretor e sua equipe tenham explorado tais problemas. / This work intends to study three movies by a Mexican director Emilio Fernández who was very famous in the forties in Mexico and Latin America with his melodramas. He is considerate one of the most expressive director in Mexico cinema history for the critics. Eanamorada, Flor Silvestre and Puebelrina are his most important movies; it is why we choose them to study. Through these movies, we will analyze politic and social problems in Mexico that the director and his staff deal with the movies. This is the most important difference between our analysis and the critics analyses.

Informe de Seminario para optar al grado de Licenciado en Historia / El objetivo principal de esta investigaci?n es analizar la asociatividad que generaron integrantes del pueblo mapuche que emigraron a Santiago a mediados del siglo XX. Un periodo marcado por una creciente migraci?n de sectores de campesinos e ind?genas a las principales urbes latinoamericanas. As?, estos inmigrantes comienzan a configurar un nuevo escenario para los sectores populares, es decir, estamos frente a una masividad que irrumpe en el espacio urbano tradicional concebido por los ideales liberales modernos. Rapidamente los grupos marginales comenzar?n a reivindicar su lugar en la ciudad, teniendo como par?metro lo que hab?an conseguido los sectores populares ya establecidos.

La pensée politique se heurte aujourd'hui à l’impossibilité de définir la communauté politique une fois les catégories traditionnelles (Nation, Peuple, Classe) mises en déroute. À l'heure de la critique de toutes les catégories totalisantes, de toutes les essences, la tâche de penser le commun paraît ardue. Pourtant, trois auteurs de philosophie politique, Giorgio Agamben, Jean-Luc Nancy et Jacques Rancière, ont tenté, dans leurs œuvres respectives, de relever le défi. Ce mémoire passe en revue leurs propositions pour une communauté désubstantialisée, ne s'assemblant plus autour d'une particularité exclusive mais ne sombrant pas non plus dans l'universalisme abstrait. Il présente les prémisses principales sur lesquelles s'appuie cette vision de la communauté : une politique sans archè, la fin de toute téléologie et l'appropriation de l'impropriété. La dernière partie du mémoire présente la proposition de recherche qui stipule que c'est en réactivant le thème de l'exigence communiste que ces trois auteurs peuvent énoncer la communauté politique comme un partage extatique, évitant le piège du libéralisme mais aussi du communautarisme. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : communauté, Jacques Rancière, Jean-Luc Nancy, Giorgio Agamben, extatique, anarchie, Bataille, désœuvrement, singularité, impropriété, commun, exigence communiste.

Walter Benjamin's critical and historical method addresses the problem of conceptualizing a discontinuous history. In The Origin of German Tragic Drama he proposes allegory as an appropriate form for the representation of the past because it drains images of life so that they may be re-presented with the meaning endowed by the allegorist. In a similar way, literary criticism and historical materialism are involved in the process of mortification so that, from the distance of time, truth may be glimpsed. Benjamin privileges the fragmentary form of representation in allegory over the false unity of the artistic symbol. Whereas truth may be fleetingly revealed by the symbol, allegory forces the extended contemplation of history. Benjamin's method is always negative, looking back rather than forward, and his two main preoccupations, Messianism and Marxism, reflect this desire to reclaim the past. Over and above these interests, however, is his profound sense of nihilism in his study of the ruins of human history.

Diss. : Geschichte : Düsseldorf : 1980 soutenue sous le titre "Die Kollaboration mit der deutschen Besatzungsmacht in den Niederlanden während des Zweiten Weltkrisegs". - Bibliogr. p. 290-305. Index. -

This thesis emphasises, as paramount, Buchan's little explored life-long and deeply held Christian faith and practice. Much on-going discussion of his life and character ignores or misrepresents this essential motivation, favouring interpretations that stress his desire for fame or fortune. This is not, however, a full-scale presentation of Buchan's doctrinal beliefs, perhaps impossible to achieve with so private a man. Many influences around Buchan, and choices he made throughout life, indicate that he remained faithful to his early experience of commitment to Christ. Neglected parts of books, articles, and sermons, together with archived letters, documents and papers, in Oxford, Glasgow, London, Elsfield, Edinburgh, and Queen's Library, Kingston, Ontario, are used to inform Buchan's Christianity. An examination of writings by Buchan's father and sister revises the extent of a suggested alienation between father and son over expressions of the faith. Subsequent chapters consider how older friends, and youthful contemporaries encouraged Christian faith throughout his life. Most appear as rather shadowy figures in what has been written. Greater attention to little published biographical material clarifies their importance. Using local reminiscences of the inter-war years when the Buchans were very prominent in Elsfield, for the first time the absorbing significance of their involvement in village life receives the attention it deserves. Those arguing that Buchan's more racist or anti-clerical fictional characters voice his own beliefs are challenged by closer examination of some of his historical and fictional writings, and other activities. It has been claimed that one of Buchan's greatest novels, Sick Heart River, reveals his own spiritual pilgrimage, lacking a fully satisfying conversion experience until the close of life. This book is given a new interpretation. All the matters addressed more thoroughly here trenchantly focus Buchan's life-long faith, wonderfully expressed in Greek on his grave, ‘Christ shall overcome'.

Este trabalho tem por objetivo analisar os filmes Pueblerina, Flor Silvestre e Enamorada do diretor Emílio Fernández, consagrado cineasta mexicano. Estes são considerados os mais importantes filmes desse diretor, todos realizados na década de 1940, ele um dos mais expressivos realizadores da história do cinema mexicano. As questões político-sociais, a violência são exploradas indiretamente nesses trabalhos e evidenciar este fato nosso principal ponto de conflito com a critica de cinema tradicional que sempre caracterizou estes filmes como isentos deste tipo de conteúdo nossa intenção é recolocar os filmes no lugar de obras feitas de maneira coletiva e com fim coletivo/ social, portanto, é pertinente que a sua maneira o diretor e sua equipe tenham explorado tais problemas. / This work intends to study three movies by a Mexican director Emilio Fernández who was very famous in the forties in Mexico and Latin America with his melodramas. He is considerate one of the most expressive director in Mexico cinema history for the critics. Eanamorada, Flor Silvestre and Puebelrina are his most important movies; it is why we choose them to study. Through these movies, we will analyze politic and social problems in Mexico that the director and his staff deal with the movies. This is the most important difference between our analysis and the critics analyses.