Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2008-2009 / Le silence prend une place importante dans la VIe réelle tout comme dans la littérature. Le texte de création intitulé Ce qui viendra montre comment le silence s'épanouit dans une oeuvre de fiction, alors que l'analyse portant sur La terre ferme et Après la nuit rouge de Christiane Frenette procède à l'inventaire des formes qu'il emprunte, des thèmes qui lui sont connexes et des éléments qui constituent sa typologie. L'analyse privilégie surtout la façon dont le silence recoupe la psychologie des personnages pour devenir un signe avant-coureur de la quête identitaire de ceux-ci.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-09-13T11:39:10Z No. of bitstreams: 1 Edgar Rosa Vieira Filho.pdf: 910135 bytes, checksum: ec8c39b9095eab6cdb65661ea97bfcd8 (MD5) / Made available in DSpace on 2017-09-13T11:39:10Z (GMT). No. of bitstreams: 1 Edgar Rosa Vieira Filho.pdf: 910135 bytes, checksum: ec8c39b9095eab6cdb65661ea97bfcd8 (MD5) Previous issue date: 2017-08-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Pontifícia Universidade Católica de São Paulo - PUCSP / The present dissertation aims at discussing the appropriateness of the approximation between the concept of anthropophagy, put forward by Oswald de Andrade (1890-1954) in the Brazilian modernist movement in the 1920’s, and the phenomenon of literary translation, more specifically the translation of poetry. In order to verify the possibility of defining a poetics of translating as anthropophagic, we traced the modernist metaphor/concept back to its creation (1928), going through its first association with the phenomenon of translation, proposed by the Brazilian poet and translator Augusto de Campos in the introduction of his book “Verso, reverso, controverso” (1978), and through the critical-reflexive elaboration carried out by Eneida Maria de Sousa (1985) and Else Ribeiro Vieira (1990), reaching the studies on amerindian perspectivism and shamanism, associated with the translation practice in Helena Martins (2012) and Álvaro Faleiros (2013). We then sought suitability in the traced associations, by analyzing Oswald’s translation of the poem “Hechos pasados” (Canto do passado), by the Chilean poet Arturo Torres-Rioseco (1897-1971), inserted in the collection of translated poems “Arturo Torres-Rioseco: Poesias” (1945). Although Oswald himself never approximated his cannibalistic metaphor to the translation phenomenon, as seen in current reflections in the Translation Studies field, we decided to bring up this discussion, since his attitude and choices as a translator seem to suggest the appropriateness of such association / A presente dissertação tem como objetivo discutir a pertinência da aproximação entre o conceito de antropofagia, desenvolvido pelo movimento modernista da década de 1920, especialmente na figura de Oswald de Andrade (1890-1954), e a prática de tradução literária, em específico a tradução de poesia. A fim de verificarmos a possibilidade de se pensar em uma poética antropofágica do traduzir, propõe-se um rastreamento da metáfora/conceito modernista desde a sua idealização (1928), passando por sua primeira associação ao fenômeno da tradução, realizada pelo poeta e tradutor Augusto de Campos na introdução do livro Verso, reverso, controverso (1978), e pela elaboração crítico-reflexiva realizada pelas pesquisadoras Eneida Maria de Sousa (1985) e Else Ribeiro Pires Vieira (1990), até chegar-se aos estudos sobre perspectivismo e xamanismo ameríndios associados à prática tradutória em Helena Martins (2012) e Álvaro Faleiros (2013). Verificou-se a razoabilidade das aproximações rastreadas, por meio da análise da tradução oswaldiana do poema “Hechos pasados” (Canto do passado) do poeta chileno Arturo Torres-Rioseco (1897-1971), inserida no livro Arturo Torres-Rioseco: Poesias (1945). Embora Oswald não tenha relacionado sua metáfora canibal ao fenômeno da tradução, como vê-se em reflexões atuais no campo dos Estudos da Tradução, adentraremos essa discussão, uma vez que a postura do poeta ao traduzir parece nos sugerir a pertinência de tal aproximação

Ce mémoire porte sur la question du stéréotype féminin dans sa valeur construite et normative. Plus spécifiquement, nous aborderons ce type de catégorisation d'identité de genre mis en relief de manière critique par l'utilisation de stratégies du grotesque dans la série Fashion de Cindy Sherman. En substituant un canon grotesque à la représentation de la féminité à l'intérieur du champ de la photographie de mode haute couture, l'artiste met en évidence les structures qui régissent la création et le maintien d'un tel stéréotype. En premier lieu, nous procéderons à la définition de la notion de stéréotype produit dans le domaine de la représentation médiatique pour démontrer comment celui-ci est naturalisé et partagé culturellement. À l'aide de théories féministes, nous ciblerons la particularité du stéréotype dans sa version « féminine » en tant que sujet passif et soumis à un regard de type masculin. En nous basant sur la pensée foucaldienne, nous verrons qu'un ensemble de règles et de codes identitaires sera intégré à titre de normes dans une discipline du corps féminin. Dans un deuxième temps, nous cernerons de manières conceptuelle et historique la particularité de la mode qui, bien que faite de changements subits et aléatoires, sous-tend une vision statique de la différence des sexes en catégories de genre. Également, nous définirons le vêtement en tant que symbole de mascarade de la féminité qui exige la participation de la femme au jeu de la séduction. Enfin, nous verrons que les stratégies visuelles humoristiques permettent d'appuyer les discours critiques et politiques des pratiques artistiques contemporaines par la déconstruction des structures de la représentation. En dernier lieu, nous observerons les œuvres Fashion de Cindy Sherman, en analysant l'impact qu'elles créent sur les habitudes du corps-regardant par l'insertion de personnages qui défient les conventions de la féminité en mode. En transgressant les limites du présenté et du présentable en photographie de haute couture, l'artiste démontre que la femme est confinée à une logique de domination qui régule sa conduite par diverses instances externes et internes : le regard de l'autre, le rire, l'association de la féminité à la moralité, l'enveloppe vestimentaire, la maîtrise des limites du corps. Au terme de ces recherches, les stratégies du grotesque observées dans l'œuvre de Sherman nous apparaissent comme étant des outils particulièrement efficaces pour permettre une déconstruction de la vision stéréotypée du genre féminin ainsi qu'une mise en évidence des structures qui conditionnent le regard du spectatorat. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : art contemporain, Cindy Sherman, Fashion, stéréotype, genre, féminisme, représentation, mode, humour, grotesque.

Thèse de doctorat : Faculté des Lettres : Lund : 1989.

LIMA, Maria Rosalete Pontes. Festa e conflito: visões do Brasil em Oswald de Andrade. 2009. 164f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2009. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-23T14:06:02Z No. of bitstreams: 1 2009-DIS-MRPLIMA.pdf: 1573096 bytes, checksum: 564467dc1b43afa842dea60f59b9dd7a (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-10-23T14:27:52Z (GMT) No. of bitstreams: 1 2009-DIS-MRPLIMA.pdf: 1573096 bytes, checksum: 564467dc1b43afa842dea60f59b9dd7a (MD5) / Made available in DSpace on 2013-10-23T14:27:52Z (GMT). No. of bitstreams: 1 2009-DIS-MRPLIMA.pdf: 1573096 bytes, checksum: 564467dc1b43afa842dea60f59b9dd7a (MD5) Previous issue date: 2009 / This research intends to develop an interpretation of the images that Oswald de Andrade produced about Brazil and Brazilians in his works Pau Brazil (1925) and Marco Zero I (1943). The study began with a theoretical reflection on the relationship between modernity, nation and identity. Susbsequently, this was followed by a critique of the elements of the tradition of Brazilian thought that influenced the author and his career; in order to establish links between this thought, de Andrade’s personal background and the content of his texts. The choice of the works was guided by the history of the country and biographical details, as each work was written during different times of national significance and the author’s personal life. The first book was written during the República Velha, the zenith both artistically and financially of the author. The second was written in the Vargas era, by a Andrade now militant in the Communist Party, isolated from the elite circles with whom he used to frequent. Each piece presented its own universe of issues relating to these specific socio-historical contexts and ideological preferences of the author. It was observed that both works shared themes between the relationship with foreign countries and immigrants, the nationalist matrix and the attempts to register the idiosyncrasies of the Brazilian language. However, each evoked different versions of Brazil. A Brazil for export - of revelry, exoticisms and creative mixtures; and another Brazil - fragmented, permeated by conflicts of the most diverse origins from civil tensions demonstrated by the clash of interests of state elites, to ethnic and socio-economic struggles. Feast and conflict, celebration and war are the two axes from which the author built the Brazilian nation in his pages, and this work is an invitation for dialogue with his ideas. / Este trabalho tem como objetivo realizar uma interpretação das imagens que Oswald de Andrade elaborou sobre o Brasil e os brasileiros nas obras “Pau Brasil” (1925) e “Marco Zero I” (1943). A pesquisa partiu de uma reflexão teórica sobre a relação entre modernidade, nação e identidade, voltando-se em seguida para elementos da tradição do pensamento brasileiro que influenciaram o autor e para a trajetória dele, visando estabelecer vínculos entre esse pensamento, a biografia e o conteúdo de seus textos. A escolha das obras foi guiada por dados biográficos e da história do país, uma vez que cada obra foi escrita em momentos distintos da vida nacional e do autor. O primeiro livro foi escrito durante a “República Velha”, fase de auge artístico e financeiro de Oswald. O segundo foi escrito na “Era Vargas”, por um Oswald militante do Partido Comunista e isolado dos antigos círculos da elite que costumava frequentar. Cada obra apresenta seu universo próprio de questões, referentes a contextos sociohistóricos específicos e às preferências ideológicas do autor. Percebe-se que ambas as obras compartilham eixos temáticos, como a relação com o estrangeiro, a matriz nacionalista e a tentativa de registrar as idiossincrasias da linguagem brasileira. No entanto, apresentam versões distintas do Brasil. Um Brasil para exportação, da festa, dos exotismos, das fusões e misturas criativas; outro um Brasil fragmentado, permeado por conflitos das mais diversas ordens, desde um conflito civil revelador do choque de interesses das elites estaduais, até conflitos de ordem étnica e socioeconômica. Festa e conflito, celebração e guerra são dois eixos a partir dos quais esse autor constrói a nação brasileira em suas páginas e o presente texto é um convite a dialogar com essa construção.

This work had as objective to accomplish the meeting, identification and description of the photographic collection of School of Agricultural Initiation General Vargas in the period of 1954 to 1985 which originated Instituto Federal Farroupilha (IFFAR) – campus São Vicente do Sul, RS. It is necessary that the memory one day registered by images is rescued and diffused with the aid of archival tools. As a means of describing and diffusing this memory is presented as a product a selective catalog of photography, the result of an initial process of description that enabled the identification, tracking and location of all information of the object to be described "photography", and it will also serve of subsidy for insertion of meta data in computerized systems. These systems also aim at the identification, description and diffusion of analogical objects in digital media through digitalization, they are programs indicated by the International Council of Archives (CIA), they are part of the archival functions that include methodological and theoretical requirements, areas as cultural heritage / documentary and information technology that contribute to the application and promotion of the dissertation. In this sense, the meeting, identification and description of the photographs should contribute to the diffusion of the institutional memory to the public entity, emphasizing more and more the importance of the cultural and documentary heritage of IFFAR. / Este trabalho teve por objetivo realizar a reunião, identificação e descrição do acervo fotográfico da Escola de Iniciação deAgrícola General Vargas período de 1954 a 1985que deu origem ao Instituto Federal Farroupilha (IFFAR) - Campus São Vicente do Sul, RS. Faz-se necessário que a memória um dia registrada por imagens seja resgatada e difundida com auxílio de ferramentas arquivísticas. Como meio de descrição e difusão dessa memória é apresentado como produto um catálogo seletivo de fotografia, resultado de um processo inicial de descrição que possibilitou a identificação, rastreamento e a localização de todas as informações do objeto a ser descrito “fotografia”, e também servirá de subsídio para inserção de meta dados em sistemas informatizados. Estes sistemas visam também à identificação, descrição e difusão de objetos analógicos em meios digitais através da digitalização, são programas indicados pelo Conselho Internacional de Arquivos (CIA), fazem parte das funções arquivísticas que contemplam os requisitos metodológicos e teóricos, as áreas como patrimônio cultural/documental e a tecnologia da informação contribuem para a aplicação e promoção da dissertação. Neste sentido, a reunião, identificação e descrição das fotografias devem contribuir para a difusão da memória institucional junto à entidade publica, salientando cada vez mais a importância do patrimônio cultural e documental do IFFAR.

Orientador: Valeriano Mendes Ferreira Costa / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-11T02:58:47Z (GMT). No. of bitstreams: 1 Rubiatti_BrunodeCastro_M.pdf: 1015209 bytes, checksum: bd556d5ee1627dc755cc5268172d8116 (MD5) Previous issue date: 2008 / Resumo: Após a renúncia de Jânio Quadros em 1961, se instaura uma crise político-militar sobre a sucessão ao cargo de presidente: constitucionalmente deveria tomar posse o vicepresidente, porém os ministros militares tentam impor um veto a essa posse. Para solucionar essa crise, o Congresso aprova uma Emenda Constitucional que mudava o sistema de governo de presidencialista para parlamentarista. É o período de vigência dessa Emenda o objeto desse estudo. Buscamos analisar como se deu o funcionamento dos poderes de Estado sob o novo sistema, ou seja, como o presidente, o gabinete e o Legislativo atuaram no parlamentarismo instaurado. Ao analisar a atuação desses atores políticos buscamos evidenciar a influência do arcabouço institucional anterior, isto é, como que as práticas e relações típicas do presidencialismo instaurado em 1946 sobrevivem sob o parlamentarismo / Abstract: After the resignation of Jânio Quadros in 1961, is established a crisis politician-military on the succession to the president position: constitutionally the vice-president would have to take ownership, however the military ministers try to impose a veto to this ownership. To solve this crisis, the Congress approves an Emendation Constitutional that changed the system of government of presidentialist for parliamentarist. The object of this study is the period of validity of this Emendation. We search to analyze as if it gave the functioning of being able them of State under the new system, that is, as the president, the cabinet and the Legislative one had acted in the restored parliamentarism. When analyzing the performance of these actors politicians we search to evidence the influence of institutional framework preceding, that is, as that practical and the typical relations of the residentialism restored in 1946 survive under the parliamentarism / Mestrado / Estado, Processos Politicos e Organização de Interesses / Mestre em Ciência Política

This thesis, which is written in French, examines the problems of translating modem Scottish literature into French. To illustrate them, a case study on The Crow Road by lain Banks will be undertaken. A short introduction first establishes the content of the thesis, its different parts and the strategy that we have adopted to tackle our main problem. This is identified as the cultural "otherness" of Scottish writing, which has been to a greater or lesser degree occulted in French translations of Scottish Literature. Chapter I looks at theoretical aspects of translation from a thematic point of view ranging from a philosophical approach, through a linguistic one to various cultural approaches, with specific reference to Eugene Nida and Lawrence Venuti. Chapter II examines Scotland as a nation and as a country with important linguistic and cultural differences from its southern neighbour. We will see how important this separation is in literature and how some theorists have dealt in particular with the problem of translating the vernacular. Chapter III is devoted to the analysis of the French translations of four Scottish authors, James Kelman, William McIlvanney, Irvine Welsh and lain Banks. It examines passages from the texts but also emphasises the strategies adopted by the translators. Chapters IV and V focus on respectively on lain Banks and The Crow Road in order to provide thorough social and cultural contextualisation before considering ways of translating the novel. Chapter VI considers a number of potential strategies for translating sections of The Crow Road: a 'domesticated' one, a Nabokov style, the use of a French dialect and finally one using Venuti's concepts. The conclusion suggests that translators are free to choose between competing strategies, or even to mix them, but that what is crucial is to have a thorough knowledge of the source culture, and a conscious and apparent strategy, before approaching works as culturally laden as contemporary Scottish novels. The Translator may have to have the courage to offend against existing French translation norms if translation is to be truly trans cui tural.

In Latin America, the regimes of Fidel Castro and Alfredo Stroessner are indiscriminately posited as representative cases reflecting similarities and differences of totalitarian and authoritarian regimes. This work tests the more general typology by studying the contrasting institutions, processes, and styles of the Castro and Stroessner autocracies, habitually labeled totalitarian and authoritarian, respectively. Totalitarianism emerged as an analytic concept as social scientists attempted to understand characteristics of the Hitler and Stalin regimes distinctive from other forms of dictatorship. While authoritarian regimes are generally based on history and tradition, leaving intact existing arrangements regarding wealth, status, church, family, and traditional social behavior, totalitarian regimes aim to revolutionize and politicize society, culture, and personality. They claim jurisdiction over the whole life of the citizenry and obliterate the boundaries between public and private. Despite the corpus applicable to totalitarianism, authoritarianism, and Latin America, few studies exist melding all three topics in a comparative context. Paraguay has long remained outside the mainstream of serious study by political scientists, yet Stroessner's 34-year dictatorship was one of the world's most durable. This research contributes to a better understanding of a nation and regime begging scholarly attention. Stroessner's downfall leaves Castro's Cuba the Western Hemisphere's oldest non-democracy and provokes analysis revealing organizational resemblances common to both regimes. Divergences relate more fully to sui generis social forces, forms of government, and geopolitics. The work analyzes the differences and similarities between Cuba and Paraguay, linking them to the larger typologies by focusing on four distinguishing variables comprising the totalitarian syndrome: (1) the supreme leader; (2) the nature and ideology of the single, official party; (3) the forms and uses of political force in the state control apparatus; and (4) the scope and degree of societal mobilization and mass legitimacy engendered by the regime. The work concludes by considering the policy relevance and utility of these heuristic paradigms.

This is a study of the feminist content of the dramas of Jacinto Benavente (1866-1954) whose dramatic career spanned the same sixty years during which the most spectacular feminist advances took place in Spain. To this end twenty-nine plays are considered to illustrate topically Benavente's conception of the nature of Spanish women and his attitudes with regard to their position in society. It is concluded that Benavente in his first period of dramatic output drew into focus the problems confronting Spanish women in their culture, but in his second period (after 1920), however, he failed to portray adequately the modern female and her approach to the changing environment. Nevertheless, at its best, Benavente's drama constitutes a great contribution to feminist literature.