Diss.--Literaturwissenschaft--Zürich. / Bibliogr. des œuvres de M. Pulver p. 87-97. Bibliogr. p. 97-102. Index.

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Tese (doutorado)-Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2011. / Submitted by Débora Amorim Romcy Pereira (deboraromcy@bce.unb.br) on 2011-06-28T13:04:44Z No. of bitstreams: 1 2011_AnaLuizaMontalvaoMaia.pdf: 749426 bytes, checksum: a62401a3b59ebf7c039541d1f7bb84fd (MD5) / Approved for entry into archive by Daniel Ribeiro(daniel@bce.unb.br) on 2011-06-28T18:06:10Z (GMT) No. of bitstreams: 1 2011_AnaLuizaMontalvaoMaia.pdf: 749426 bytes, checksum: a62401a3b59ebf7c039541d1f7bb84fd (MD5) / Made available in DSpace on 2011-06-28T18:06:10Z (GMT). No. of bitstreams: 1 2011_AnaLuizaMontalvaoMaia.pdf: 749426 bytes, checksum: a62401a3b59ebf7c039541d1f7bb84fd (MD5) / Este trabalho consiste no estudo dos romances Relato de um certo Oriente e Dois Irmãos do escritor brasileiro contemporâneo Milton Hatoum, percorrendo os caminhos da paisagem amazônica feitos pelo escritor Euclides da Cunha e a releitura mediada pelo olhar hatouniano da cidade, da memória e pelo olhar dos narradores em relação a um locus permeado por um rio e uma floresta. _________________________________________________________________________________ ABSTRACT / This thesis consists of a study of the novels Relato de um certo Oriente and Dois Irmãos by the contemporary writer Milton Hatoum through the trails of the amazon landscape made by the writer Euclides da Cunha and the hatouniana rereading of city, of memory and the glance of the narrators of the novels regarding a lócus passing over a river and jungle.

Orientador: José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / O exemplar da biblioteca do IA (tombo 52229) acompanha 1 CD-ROM / Made available in DSpace on 2018-08-02T22:24:26Z (GMT). No. of bitstreams: 1 Haddad_LuizNaim_M.pdf: 6182496 bytes, checksum: 954c3af3d9cd43598440493a7d56c521 (MD5) Previous issue date: 2002 / Resumo: Este trabalho busca um entendimento acerca da presença cênica na obra de Antônio Nóbrega, desde o plano material dos elementos de representação presentes na música, na dança, na teatralidade, até a dimensão simbólica que tais elementos refletem. A dissertação inicia-se com a conceituação da presença cênica como representação da realidade, partindo da idéia das ações fisicas como elemento transformador da realidade e criador de espaço simbólico, criando um jogo de representação que revela o universo estético do artista. Em seguida desenvolve-se uma breve biografia de Nóbrega, que passa pelo Movimento Armorial, analisando e procurando revelar o universo estético que está na base da formação do artista. Sob o prisma conceitual da presença cênica e do contexto histórico no qual se enquadra o artista, segue-se uma análise do espetáculo Madeira Que Cupim Não Róe, buscando um esclarecimento das relações entre a música, a dança e a teatralidade presentes no espetáculo e na atuação do artista. Por fim há uma análise do jogo de representação presente na obra, a unidade de discurso, sua relação com a arte popular e o processo criativo / Abstract: This work search an understanding concerning the scenic presence in Antônio Nóbrega's work, from the material plan of the present representation elements in the music, in the dance, or in the theatricality, until the symbolic dimension that such elements contemplate. The dissertation begins with the conception of the scenic presence as representation of the reality, leaving of the idea of the physical actions as element transformer of the realityand creator of symbolic space, producing like this a representation game that reveals the artist's aesthetic universe. Soon afterwards the research present an abbreviation biography of Nóbrega, that goes by the Armorial Movement, analyzing and trying to reveal the aesthetic universe that it is in the base of the artisfs formation. Under the conceptual prism of the scenic presence and of the historical context in which the artist is framed, an analysis of the show "Madeira que Cupim Não Róe", looking for an explanation of the relationships among the music, the dance and the present theatricality in the show and in the artist's performance. Finally an analysis ofthe game ofpresent representation in the work, the unit of speech, the relationship with the popular art and the creative process / Mestrado / Mestre em Artes

Orientador: Hector Hernan Bruit Cabrera / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-25T11:32:52Z (GMT). No. of bitstreams: 1 Moreira_RaimundoNonatoPereira_M.pdf: 3416410 bytes, checksum: c51763ea5414442cf3e2a88a1c9541d5 (MD5) Previous issue date: 1999 / Resumo: Esta dissertação objetiva discutir os principais elementos teóricos e metodológicos presentes no cânone de interpretação historiográfica desenvolvido pelo historiador e filósofo italiano Benedetto Croce (1866-1952), segundo o qual toda verdadeira história é história contemporânea. Busca-se analisar as premissas centrais a partir das quais o autor postulou o caráter essencialmente contemporâneo subjacente ao conhecimento histórico, tese que foi desenvolvida nas obras Teoria e storia de/Ia storiografia (1917) e La storla come pensiero e come azione (1938). Este trabalho apresenta quatro momentos fundamentais. No primeiro, procede-se a contextualizaçào do conjunto da obra croceana no ambiente intelectual e político vigente na Itália, entre a segunda metade do século passado e a primeira metade do atuaL Em seguida, identificam-se as influências marcantes exercidas por Vico, Hegel e Marx sobre a teoria da história de Croce. No terceiro momento, através de um estudo sistemático dos volumes Teoria e storla de/Ia storlografia e La storla come pensiero e come azione, discutem-se os argumentos centrais utilizados pelo autor para sugerir a tese da contemporaneidade da história. Nas Considerações Finais, evidenciam-se alguns elementos relativos à atualidade das idéias de Croce no contexto da historiografia no final do século XX. / Abstract: This dissertation aims at discussing the chief theoretical and methodological elements inc1uded in the canon of historiographic interpretation as developed by the ltalian historian and philosopher Benedetto Croce (1866-1952), according to whom "every true history is contemporary history". It seeks to analyse the central premises upon which the author postulated the essentially contemporary character underlying historica1 knowledge, a theory developed in his works Teoria e storia de/Ia storiografia (1917) and La storia come pensiero e come azione (1938). This dissertation contains four primary parts. In the first one, the whole of Croce's work is contextualised within Italy's political and intellectual atmosphere between last century' s second half and the first half of the current one. Next, Vico, Hegel and Marx's remarkable influence on Croce's theory ofhistory is identified. In the third part, a systematic study of Croce's Teoria e storia della storiografia and La storia come pensiero e come azione is carried out and the main arguments provided by the author to support the theory of history' s contemporaneity are discussed. ln the last part, Final Considerations, some elements relative to Croce's ideas' topicality within the context of the last part of XXth century's historiography are made evident. / Mestrado / Mestre em História

The introduction to the present study of Knut Hamsun's The Game of Life (Livets spil, 1896) sums up the strange failure of this play, a remarkable work by a famous author, to gain any measurable recognition; a number of possible reasons are suggested, among them the membership of Livets spil in the so-called Kareno-trilogy, the other two plays of which are rather weak. Plots of all three plays are provided. - The introductory chapter is followed by a general survey of Hamsun’s dramatic production. Considerable space is given to a comparison between the last of his six plays, In the Grip of Life (Livet ivold, 1910) and Wedekind's Der Marquis von Keith (1900). - The remaining two long chapters - Part Three and Four - are devoted to an exhaustive examination of Livets spil. In Part Three, the method used is that of an interpretative investigation; the main characters and symbols/symbolic forces of the play are analyzed in depth and correlated. Special consideration is given to the character constellation Teresita-Jens Spir, as compared to the constellation Edvarda-Glahn in Hamsun's famous novel Pan (1894). Finally, the consistency of the play with the general story line of the trilogy is demonstrated. - The method followed in Part Four is that of a dramatic-aesthetic close-reading. The focus here is on general dramatic effectiveness, and on the many special elements in the play which go into the creation of a fantastic universe on stage. Part A discusses three aspects of dramatic technique basic to the restless style of Livets spil. Special attention is given to the principle of external intrusion, the subtle disturbance of the dialogue from a source outside of the immediate sphere of action. Part B demonstrates the intrinsically fantastic nature of a large number of the play's primary and secondary elements: The basic premises from which the action derives, character appearances and the nature and function of props, the symbolic suggestiveness of light and sound effects, and the suggestive uses and implications of spatial distance. - Finally, in the conclusion, the two basic methods of analysis followed are confronted with each other, and it is demonstrated how Hamsun realized in Livets spil some of the goals he had set himself five years earlier in his advocacy of a more psychologically oriented modern literature in Norway. / Arts, Faculty of / English, Department of / Graduate

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