Made available in DSpace on 2016-08-26T15:18:54Z (GMT). No. of bitstreams: 1 tese_5963_dissertação.pdf: 3607831 bytes, checksum: 4f294213f20a8cf44ad0f1890338281b (MD5) Previous issue date: 2012-10-01 / Esta dissertação de mestrado tem como objeto de investigação a obra de Carlos Vergara, com enfoque em trabalhos realizados na década de 1960: Happening G4, Berço Esplêndido, Brinquedo (Objetos-Módulos), Empilhamentos; além de trabalhos dos anos 1990 e 2000, tais comoCapela do Morumbi, Farmácia Baldia e Feira de Adivinhações. A partir dessas obras, será discutido como o artista direcionou sua produção para além do meio pictórico em diferentes momentos da sua trajetória, sobre o impulso que presidiu suas operações no eixo do vanguardismo brasileiro, passando da experiência visual pura ao experimental e às proposições comportamentais que engendraram uma arte com o intuito de ser vivenciada pelo público, ou mesmo constituída pela participação dele.Fez-se, assim, a reflexão sobre o caráter expandido na obra do artista desde o início da sua trajetória, na década de 1960 à atualidade de seu processo criativo. Pretendeu-se, assim, refletir sobre as transformações que desencadeava a ampliação de limites. Palavras-chave: Carlos Vergara; Arte brasileira pós-moderna; participação.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, 2018. / Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-15T20:23:02Z No. of bitstreams: 1 2018_RodolfoLuizCostadeGodoi.pdf: 2174339 bytes, checksum: f5169d24c501bdca6d28ebc1b4531d8d (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-27T17:59:38Z (GMT) No. of bitstreams: 1 2018_RodolfoLuizCostadeGodoi.pdf: 2174339 bytes, checksum: f5169d24c501bdca6d28ebc1b4531d8d (MD5) / Made available in DSpace on 2018-08-27T17:59:38Z (GMT). No. of bitstreams: 1 2018_RodolfoLuizCostadeGodoi.pdf: 2174339 bytes, checksum: f5169d24c501bdca6d28ebc1b4531d8d (MD5) Previous issue date: 2018-08-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / O trabalho centra-se no artista brasileiro Ney Matogrosso buscando entender as relacoes entre a arte e a sociedade, mais especificamente a arte performatica com as transformacoes sociais. Assim, a liberalizaço sexual do Brasil nas ultimas decadas e relacionada com a produço do artista. Busquei, atraves de entrevistas semi-estruturadas, entender como homens homossexuais e bissexuais apropriam-se da obra do artista para elaborarem e legitimarem suas proprias existencias e praticas. Inclui tambem dialogo com o proprio artista, aprofundando a pesquisa a partir de sua propria voz. Analisei dois elementos recorrentes na obra do cantor, o ironico e o erotico, que se faz atraves da sua performance, e como esses elementos se relacionam com as dinamicas do poder e com os simbolos socioculturais . Por fim, ampliei a analise, descrevendo um panorama historico e atrelando o desenvolvimento da industria cultural no Brasil as praticas culturais de homens homossexuais e bissexuais. Ao final, considero a importancia da atenço para as producoes esteticas e culturais para as pessoas ́GBT, como forma de aglutinaço desses sujeitos e de possibilidade de compartilhamento de experiencias, espacos de socializaço e tambem como instrumento que pode atravessar sensivelmente uma diversidade de pessoas, independente de suas identidades sexuais e de genero, levando-as a diferentes formas de compreenşo e praticas sociais no que tange as liberdades sexuais. / The work focuses on the Brazilian artist Ney Matogrosso seeking to understand the relations between art and society, more specifically performance art with social transformations: Thus, the sexual liberalization of Brazil in the last decades is related to the artist's production: Isought, through semi-structured interviews, to understand how homosexual and bisexual men appropriate the artist's work to forge and legitimize their own existences and practices: It also includes dialogue with the artist himself, deepening the research from his own voice: I analyzed two recurring elements in the singer's work, the ironic and the erotic, that are made through his performance, and how these elements relate to the dynamics of power and to the socio-cultural symbols: Finally, the analysis is expanded, describing a historical panorama linking the development of the cultural industry in Brazil to the cultural practices of homosexual and bisexual men: In the end, I consider the importance of attention to aesthetic and cultural productions for ́GBT people, as a way of agglutination of these subjects and of the possibility of sharing experiences, spaces of socialization, and also as an instrument that can significantly cross a diversity of independent of their sexual and gender identities, leading them to different forms of understanding and social practices regarding sexual liberties.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-11-17T18:41:08Z No. of bitstreams: 1 2017_ErlaDelaneFonsecaAlmeidaCassel.pdf: 1516908 bytes, checksum: 92cc6b23ef02d97f3b46d90cf9a83e9d (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-12-01T21:33:39Z (GMT) No. of bitstreams: 1 2017_ErlaDelaneFonsecaAlmeidaCassel.pdf: 1516908 bytes, checksum: 92cc6b23ef02d97f3b46d90cf9a83e9d (MD5) / Made available in DSpace on 2017-12-01T21:33:39Z (GMT). No. of bitstreams: 1 2017_ErlaDelaneFonsecaAlmeidaCassel.pdf: 1516908 bytes, checksum: 92cc6b23ef02d97f3b46d90cf9a83e9d (MD5) Previous issue date: 2017-12-01 / A leitura como arte da réplica e o leitor, como o representante desse mundo paralelo à realidade, são os pressupostos iniciais de El Último Lector de Ricardo Piglia. A relação de Piglia com o leitor tem uma certa trajetória em sua literatura. Reflexões sobre o papel do leitor no processo literário já ocupavam espaço em obras anteriores. Esse, muitas vezes, é um cúmplice que decifra os enigmas em seu romance, elevando-se assim a um trabalho de reconhecimento de discursos ideológicos e estéticos e que são, muitas vezes, sociais e históricos. A obra pigliana dialoga com a Teoria da Estética da Recepção, principalmente nos trabalhos precursores de Hans Robert Jauss e Wolfgang Iser, pois Piglia possibilita, por meio do encadeamento de sua trama crítico/literária, que o leitor extraia novos significados ou construa significado/solução, a partir do cruzamento dos “horizontes de expectativa” da obra com o do leitor, em seus níveis históricos de experiência, e assim constituindo essa experiência em níveis estéticos, a partir da Teoria do Efeito Estético, em que são inseridos os conceitos do fictício e do imaginário, bem como de “jogo de texto”, tão latentes, particularmente, em O último leitor e Los Diarios de Emilio Renzi, suas obras que são objetos principais desse estudo. Ricardo Piglia alcança a questão do leitor, partindo de um espaço, fragmentado e múltiplo, presente nos primórdios da literatura argentina, desde escritores pioneiros como, José Hernández e Domingo F. Sarmiento, passando por Macedonio Fernández, Julio Cortázar, e fundamentalmente em Jorge Luis Borges, mas também presente na literatura universal, com Miguel de Cervantes, Franz Kafka, Fiódor Dostoiévski, T.S. Eliot, James Joyce, William Shakespeare, Edgar Allan Poe. Localiza nesse espaço, o surgimento de vozes e discursos, ficcionalizados em uma tipologia de leitores, que transitam, se manifestam e se ocultam, mas que ajudam a compor uma imagem do “leitor atual”, que denomina desde o título de sua obra como “o último leitor”. / Reading as an art of replying and, the reader, as the representative of this world, parallel to reality, are the initial premises of The last reader (2006), by Ricardo Piglia. The relation between Piglia and the reader has a trajectory in his literature. Reflections about the reader’s role in the literary process had already been mentioned previously in other literary works. This is, very often, the accomplice that deciphers the riddles in his novels, elevating thus it to a work of recognition of ideological and esthetic speeches, which are many times, social and historical. Piglia’s work dialogues with Esthetic of Reception Theory, particularly in Hans Robert Jauss’s Wolfgang Iser’s pioneer works, since Piglia makes it possible by the sequencing in his critical/literary plot that the reader takes out new meanings or builds meanings/solutions from the crossing of “horizons of expectations” about the work and the reader in his historical levels of background and thus, building this experience in esthetical levels, from the Theory of Aesthetic Effect on, in which, fictitious and imaginary concepts are introduced, as well as “text game”, so hidden, especially in The last reader (2006) and Los diarios de Emilio Renzi(2015). His literary works are the main objects of this study. Ricardo Piglia reaches the matter of the reader starting from a fragmented and multiple space, present in early days of Argentinian literature, since pioneer writers, like José Hernández and Domingo F. Sarmiento, passing by Macedonio Fernández, Julio Cortázar, and fundamentally Jorge Luis Borges, but also present in the universal literature, with Miguel de Cervantes, Franz Kafka, Fiódor Dostoiévski, T. S. Eliot, Willian Shakespeare and Edgar Alan Poe. It comes up from this space, the outbreak of voices and speeches, fictionalized in a typology of readers, who travels, hide and express themselves but who help to compose the image of the current regular reader, who is named from the title of his work as “the last reader”.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2018. / Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-07-18T21:11:08Z No. of bitstreams: 1 2018_MarcoCastilhoFelício.pdf: 1534089 bytes, checksum: 8c30e448959dc1c34c8a63048f87ae3b (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-07-20T21:10:42Z (GMT) No. of bitstreams: 1 2018_MarcoCastilhoFelício.pdf: 1534089 bytes, checksum: 8c30e448959dc1c34c8a63048f87ae3b (MD5) / Made available in DSpace on 2018-07-20T21:10:42Z (GMT). No. of bitstreams: 1 2018_MarcoCastilhoFelício.pdf: 1534089 bytes, checksum: 8c30e448959dc1c34c8a63048f87ae3b (MD5) Previous issue date: 2018-07-18 / Esta dissertação analisa a obra do autor angolano Pepetela, notadamente os romances Mayombe (2013) e Predadores (2005). O escritor tem uma relação orgânica com o processo histórico do país desde a década de 1950, no ativismo político, na luta armada e na literatura. As duas obras são importantes pois ficcionalizam o movimento utópico-distópico, representado, por um lado, pela crença no projeto socialista de Estado defendido pelo Movimento Popular de Libertação de Angola (MPLA), e, por outro lado, pela desventura do processo de modernização do país, marcado pela atuação predatória da elite nacional e pela fragilidade política dos segmentos sociais subalternizados. A pesquisa relaciona o corpus aos pensamentos de Frantz Fanon (1968) e Amílcar Cabral (1975), e às críticas de Edward Said (2011) e Gyorgy Lukács (2011a, 2011b), situando-se no debate pós-colonial, considerando que a narrativa de Pepetela oferece um contraponto às narrativas hegemônicas. Dessa forma, este estudo contribui para fortalecer os vínculos de solidariedade transatlântica, aprofundando o conhecimento de literatura africana de língua portuguesa no Brasil. / This dissertation analyses the work of the Angolan author Pepetela, mainly the novels Mayombe (2013) and Predadores (2005). The writer has had an organic relationship with the country’s history since the 1950’s, both through political activism and literature. These two works are important because they fictionalize the utopic-dystopic movement, represented, on the one hand, by the belief on a socialist project of State, defended by the Popular Movement of Liberation of Angola (known as MPLA) and, on the other hand, by the unfortunes of the country´s modernization process, marked by the predatory action of the national elite and by the political fragility of the subalternized social segments. The research relates the corpus to the thinking of Frantz Fanon (1968) and Amílcar Cabral (1975), and to the Edward Said’s (2011) e Gyorgy Lukács’ (2011a, 2011b) criticism. It situates itself in the postcolonial debate, as Pepetela offers a counterpoint to hegemonic narratives. Therefore, this research contributes to the improvement of the transatlantic bonds of solidarity, deepening the knowledge about Portuguese-speaking African literature in Brazil.

Tesis para optar al grado Magíster en Filosofía mención en Axiología y Filosofía Política / En éste escrito vamos a hablar sobre “los nadies”; no directamente como hace Galeano, sino a través de la matriz decolonial, que ha sido propuesta, desde los años noventa, como el espacio en el que las voces de los “nadies” son audibles. Buenas razones tiene para detenerse y pensar que se trata de un texto que tarde o temprano tendrá aspecto panfletario. Sin embargo, le pedimos que no se deje llevar por esa primera impresión. Aunque hay una propuesta política transversal, éste no es un largo ensayo que intenta reivindicar el populismo que caminó por los Estados del Sur y Centro América en el siglo XX. Más bien tratamos de pensar si estos “nadies” pueden hablar, pueden ser escuchados y cuáles son las condiciones para que esto suceda. En el Dieciocho Brumario, Marx decía, “no pueden representarse a sí mismos, deben ser representados”. ¿Es éste el caso de los “nadies”? ¿Es el trabajo de los intelectuales representarlos? Pero, principalmente, ¿cómo podrían los intelectuales, educados en la literatura que los silencia, en las leyes que los acorralan, en la filosofía que los mistifica, en fin, en las humanidades que los ataviaron con las prendas de la prehistoria, ser la voz de los "nadies”?

Aunque en principio identificamos en el control de la imagen al cine en su ámbito propio, y el mundo real lo distinguimos en la presencia de la gente y el entorno, en nuestra experiencia con las películas, cuando las vemos y cuando las recordamos, ambos ámbitos concurren a la vez, imbricados en la imagen. La percepción de los estados de cosas que respiran en estas vistas, es a la vez percepción del cine y del mundo.  En este sentido, como afirmaba al inicio, la presencia de los individuos en la imagen cinematográfica introduce elementos y signos de los estados de cosas en los que viven, a la expresión y la significación cinematográfica.

La presente tesis se propone indagar sobre aspectos específicos de la filosofía de Henri Bergson. La serie de conceptos que caracterizan este pensamiento, a saber, duración, memoria y élan vital se encuentran en nuestra hipótesis íntimamente ligadas con las nociones de tiempo y experiencia. En este sentido, esta investigación se centrará en analizar las condiciones de emergencia y desarrollo de estos conceptos en la medida en que son expresiones o productos de una configuración temporal de la experiencia, estructura esencial que tiene por nombre, en el contexto de la obra de Bergson, de intuición. De esta forma, esa serie de conceptos tienen por condición de producción la existencia de esta singular experiencia acreditada por el despliegue de la intuición como método, i.e., la presentación en un acto simple de una complejidad subyacente y heterogénea dada en lo real. Este acto, sostenemos, es de naturaleza temporal, lo que permite pensar bajo otras condiciones la diversidad de articulaciones con que se compone cada vez la realidad. De este modo lo que denominamos como complejo duraciónmateria, lugar donde se traman estas articulaciones, se presenta como una clave eficiente de lectura, la cual provee un entendimiento más preciso de las distintas presentaciones del problema planteado por Bergson, proyecto que ha cobrado por nombre habitual vitalismo. Esto implica, finalmente, en nuestra exégesis que una teoría de la experiencia solo es consistente en la medida en que se encuentre fundada en una original definición de tiempo: duración y materia, en este sentido, se tornan en piezas claves para la operación emprendida por el proyecto filosófico bergsoniano, articulando una nueva forma de comprender los concursos dinámicos de lo real.

This thesis explores the importance of the visionary experience in five novels by Virginia Woolf. In her fiction, Woolf portrays the phenomenal world as constantly changing and she uses the cycles of nature and the passing of time as a terrifying backdrop against which the mutability and transience of human life are set. Faced with the inevitability of change and the fact of mortality, the individual seeks moments of permanence. These stand in opposition to flux and lead to the experience of a visionary intensity. Woolf's presentation of time as a qualitative phenomenon and her stress on the importance of memory as a function which allows for the intermingling of past and present make possible the narrative rendering of moments which contradict perpetual change and the rigours of sequential time. Moments of stillness 'occur in the midst of and in spite of process and allow for individual contact with an experience that defies the relentless progression of time. Necessary for this experience is not only memory but also the imagination, a faculty which has the power to perceive patterns of harmony in the midst of the chaos that characterises the phenomenal realm. Fundamental to Woolf's writing, however, is the acknowledgement that visions are fleeting, as are the glimpses of meaning that emerge from them. Therefore, while several of her novels describe the artistic effort to create a structured order as a defense against change, Woolf uses the artist's struggle as a metaphor for the difficulties attached to describing the enigma that is life. None of her artist figures is able to formulate a construction that either sums up life or provides a permanence of vision. This study presents a chronological examination of the novels in order to demonstrate that the changing forms of Woolf's fiction trace the evolution of a style that accurately portrays both the workings of the human mind and the insubstantial and fragmentary nature of life. The chronology also reveals that her novels develop in terms of their presentations of the visionary experience. Woolf's final novel incorporates into its central vision the paradoxical fact of the permanence of time's progression and acknowledges that, beyond the individually mutable life, is a continuum that links pre-history to the future. This notion, which is explored in part in the earlier novels, but developed completely in Between the Acts, suggests that consolation can be found in the greater cycles of existence despite the fact of individual mortality.

La Fille de Christophe Colomb (Paris: Gallirnard, 1969) is a novel written by Rejean Ducharme in rhyming verse resembling an epic poem In this thesis, it will be shown that the form of the novel serves to emphasize the contestation of History evident in the novel's content. While this novel is certainly unusual in Ducharme's work it fits into the ambiant literary discourse of Quebec in the 1960's, where the theories of decolonisation influenced writers and critics alike. In particular, History was seen to be imposed on Quebec from the outside; Quebec must necessarily reject this History and begin to make its own. This underlying assumption for the analysis proposed in this thesis will be demonstrated in Chapter One through reflections by Ducharme's contemporaries, existing criticism of La Fille de' Christophe Colomb, and by current theories of postcolonial writing. In Chapter Two, the epic form of the novel will be studied in detail. On the surface, the author appears to respect the "rules" of the genre, but a close reading of the text will show that this respect is only superficial, and that the rules are subverted to create tension between literary norms and Ducharme's writing. It is the narrative structure of the novel, however, that proves to be the most subversive deviation from the norms of the epic poem: although the majority of the novel is narrated in the third person, a substantial fragmentation of the narrative voice occurs which will be demonstrated in Chapter Three. The net impact of this fragmentation is to produce a conflict between the codes of the epic poem and the novel. At the end of the analysis of the relationship between literary form and contestation of History in La Fille de Christophe Colomb, it will be shown that the form, as an element separate from the content, conveys a problematic relationship between this text and History. The novel contributes to the contestation of History as practised in the literature of Quebec in the 1960's by subverting the literary code, thereby linking literary history to History as colonizing factors that are questioned in this novel. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate