[pt] Entre 1971 e 1978 o artista plástico carioca Hélio Oiticica (1937-1980) morou em Manhattan, Nova York. Batizada por Oiticica de Babylon, é durante sua estadia na cidade que ele investe grande parte de seu trabalho em um novo projeto: publicar uma série de textos escritos nesse período, em um livro cujo formato e conteúdo permaneceram em constante transformação ao longo dos anos, sem atingir um resultado final. Batizado com alguns nomes como Newyorkaises e Conglomerado, o projeto de publicação torna- se o epicentro da produção de Oiticica e, ao mesmo tempo, uma promessa não realizada. A Tese visa analisar a relação produtiva entre a obra de Oiticica e a escritura, além da forte presença da literatura em seus trabalhos e reflexões. A análise dessa relação percorrerá alguns espaços criativos desse escritor- leitor, como seu arquivo, seus escritos pessoais, cartas, cadernos e fontes de leitura por ele utilizadas. Ao apresentar e analisar documentos de pouca ou nenhuma divulgação escritos por Hélio Oiticica, a Tese pretende não só ampliar os debates sobre arte e literatura em geral como divulgar novas temáticas e possibilidades de pesquisa em relação à sua obra. / [en] From 1971 to 1978, Hélio Oiticica (1937-1980), a native of Rio de Janeiro, lived in Manhattan. During his sojourn in New York, a city he referred to as Babylon, he put much of his effort into a new project: that of publishing a number of texts written in this period as a book whose format and content would constantly change throughout the years, never reaching a final result. Variously known as Newyorkaises and Conglomerado, the publication project became both the epicenter of Oiticica`s production and a promise that never came to fruition. This dissertation analyzes the relationship between Oiticica`s art and his writings and addresses the marked presence of literature in both his works and his reflections. The analysis of the relation between the two takes into account different manifestations of this writer/reader`s creativity, such as his archive, intimate writings, letters and notebooks, as well as his reading. By presenting and analyzing little-known or previously unpublished texts by Oiticica, this dissertation aims not only to broaden the scope of debates on art and literature in general but also to disseminate new themes and possibilities of research into Oiticica`s work.

University of Macau / Faculty of Arts and Humanities. / Department of English

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-14T12:36:56Z No. of bitstreams: 1 Filipi César Rodrigues Cardoso da Silva.pdf: 761679 bytes, checksum: 69b6274afc89a7facd136c505ebaf65e (MD5) / Made available in DSpace on 2018-06-14T12:36:56Z (GMT). No. of bitstreams: 1 Filipi César Rodrigues Cardoso da Silva.pdf: 761679 bytes, checksum: 69b6274afc89a7facd136c505ebaf65e (MD5) Previous issue date: 2018-02-15 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This research conducts a narratological study of Tim Burton’s films in the light of the narrative theory of Vladimir Propp. It is to analyze in the oeuvre of Burton, analogous procedures to those of the wonderful tale such as described by Propp. It also pays attention to the matters that interconnect the Proppian wonderful world to the fantastic burthonian world. It seeks to understand how a reinterpretation in the cinematographic context of Tim Burton films create a connection with the morphological structure of the wonderful of V. Propp. The conducted literature reviews involve authoritative works on the fantastic cinema, the animation cinema in general and particularly the cinema of Tim Burton. The corpus of the research is composed by the Corpse Bride – 2005 of Tim Burton; The establishment of the corpus was based on the criterion of selection of the animation films that stand out in the oeuvre of Tim Burton. Methodologically, the research is bibliographical and comparative. The main theoretical reference is Propp's own narratological theory, which always seeks the wonderful in his works. This research also takes into consideration the masterful model work of Haroldo de Campos, Morphology of Macunaíma, which presents and reinterprets the proppian model. The relevance of this study lies in the fact that little research has been made on hybrid wonderful tale to the animation cinema. It is also proposing a new unfolding of the proppian semiology, turning it this time to the universe of visual discourse and digital manipulation / Esta pesquisa realiza um estudo narratológico em filmes de Tim Burton à luz da teoria narrativa de Vladimir Propp. Trata-se de analisar na obra de Burton, procedimentos análogos àqueles do conto maravilhoso tais como descritos por Propp.Atenta-se também para as pautas que interconectam o mundo maravilhosoproppiano ao mundo fantástico burthoniano. Busca-se entender como uma reinterpretação no contexto cinematográfico das películas de Tim Burton criam uma conexão com a estrutura morfológica do maravilhoso de V. Propp. A revisão bibliográfica efetuada aquienvolve trabalhos abalizados sobre o cinema fantástico, o cinema de animação em geral e o cinema de Tim Burton em particular. O corpus da pesquisa é composto pela obra cinematográfica A Noiva Cadáver – 2005 do diretor Tim Burton; O estabelecimento do corpus pautou-se pelo critério de seleção do filme de animação que despontam no conjunto da obra de Tim Burton. Metodologicamente, a pesquisa é bibliográfica e comparativa. O principal referencial teórico é a própria teoria narratológica de Propp que sempre busca o maravilhoso em suas obras. Este trabalho também leva em consideração o modelo da obra magistral de Haroldo de Campos, Morfologia do Macunaíma, que apresenta e reinterpreta o modelo proppiano. A relevância do trabalho está no fato de que poucas pesquisas foram realizadas sobre conto maravilhoso hibrido ao cinema de animação. Está também em propor um novo desdobramento da semiologia proppiana, voltando-a desta vez ao universo do discurso visual e da manipulação digital

Este estudo busca examinar o teatro de Chico Buarque enquanto dramaturgia, tratar de sua concretização em espetáculo, expor a recepção crítica de cada texto e das montagens mais significativas, relacionar o conjunto da obra ao contexto histórico dos anos de 1968 a 1978 no Brasil. Acompanhando a trajetória do teatro de Chico Buarque, este trabalho traça um painel das difíceis relações entre os artistas, protagonistas de uma atividade que requer a liberdade como princípio e fim, e os homens da última ditadura militar da história brasileira, impositores da censura e praticantes da repressão oficial ou à margem da lei. A presente dissertação compõe-se por uma introdução ao tema, cinco ensaios relativos a cada uma das obras dramatúrgicas do autor e algumas considerações finais. / This study intends to examine the theater by Chico Buarque as playwriting, broach its realization as dramatic spectacle, expose the critic’s judgements on the author’s texts and their most important putting on a show, relate his plays with the historical context of the 1968 to 1978 decade in Brazil. Observing the trajectory of the theater by Chico Buarque, this work delineates a panel of the conflitive relationships between the artists − who are engaged in an activity that requires liberty as principle and purpose − and the men committed to inflict censure and execute the official or lawless repression during the last military dictatorship in Brazil. This dissertation is composed by an introduction to the theme, five essays concerning to each dramatic work by the author and some final considerations.

Diplomová práce ze zabývá tvorbou Lucy Bigazziho, jednoho z nejdůležitějších současných italských kameramanů. Analýza jeho filmů ukazuje, jakým způsobem svými úvahami o kinematografii a jedinečným vizuálním stylem ovlivnil spolupracovníky, i italský film v posledních 30 letech.

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Made available in DSpace on 2014-06-11T19:31:05Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-22Bitstream added on 2014-06-13T19:01:23Z : No. of bitstreams: 1 delicato_ct_dr_mar.pdf: 4039450 bytes, checksum: 5190fe5be0167d76653409e7e5dfb4d6 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Durante a formação e ocupação de uma cidade surgem fronteiras. Linhas físicas e sociais, visíveis e invisíveis, são construídas, desconstruídas, ultrapassadas, alteradas, diluídas durante o tempo, que também não é único, meramente cronológico, mas socialmente configurado. Tal perspectiva abre um leque de possibilidades de interpretação sobre o “fenômeno urbano”. Neste caso, a partir de relatos de antigos(as) moradores(as), o objetivo é identificar relações de sociabilidade, percepções espaciais e modos de apropriação de lugares da cidade, principalmente vinculados a formas de distinção socioespacial, durante o período em que uma linha férrea dividiu o núcleo urbano de Garça, município da “Alta Paulista”, entre o final da década de 1920 e meados da década de 1970 / During the formation and occupation of a city, boundaries arise. Physical and social lines, visible and invisible, are constructed, deconstructed, overcome, changed, watered down over time, which is not unique, merely chronological, but socially configured. This perspective opens up a range of possible interpretations of the “urban phenomenon”. In this case, from accounts of former residents, the goal is to identify relationships of social, spatial perceptions and ways of appropriation of places in the city, mostly linked to socio-spatial forms of distinction, during the period in which a railroad tracks divided the urban core of Garça, a city of “Alta Paulista”, between the late 1920s and mid-1970s

Orientador: Susanna Busato / Banca: Aguinaldo José Gonçalves / Banca: Betina Bischof / Resumo: Nesta dissertação, a proposta de trabalho centra-se no estudo da poesia brasileira contemporânea, com ênfase para a vanguarda de 1970 (Poesia Marginal) na qual se observa o programa estético de dessacralização do discurso literário, de repúdio às formas de enunciação consagradas pelo sistema, considerando-se, também, que boa parte dessa produção poética ainda não foi devidamente avaliada. Assim, pretende-se estudar a dicção poética de Aristides Klafke, visando à identificação de sua escrita em um cenário políticocultural de ditadura, com ressonância ainda hoje. A hipótese de investigação está no fato de que a escrita marginal desconstruiria o discurso poético hegemônico, seja pela instância da reprodução artesanal, seja pela da configuração estética. Portanto, trata-se de proporcionar a esse polêmico fenômeno literário uma leitura diversa àquela propagada por alguns críticos ao avaliarem sua existência devido à circunstância de silêncio político, enfatizando a atitude simbólica de contestação em detrimento de seu conteúdo poético. Os argumentos dos estudiosos convergem para o nível de qualidade poética, caracterizando o movimento da Poesia Marginal como uma escrita "de" e "da" circunstância. Para tanto, propõe-se rever o rótulo "marginal" a partir do sinônimo maldito confrontando os discursos de teóricos e produtores, em procedimento comparativo e dedutivo, observando afinidades ou divergências no trato desta questão para fundamentar análise e interpretação da poesia de Aristides Klafke. Isso, além de recorrer aos estudos mais representativos da Historiografia e Crítica Literária brasileiras contemporâneas que fundamentam a teoria de poesia. Assim, pretende-se realizar uma leitura da escrita marginal no que tange ao reconhecimento das individualidades poéticas, neste caso, Aristides Klafke. Os poemas... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In this study, the proposal of this work is centered in the contemporary Brazilian poetry study, emphasizing the Vanguard of 1970 (Marginal Poetry) in which is observed a radical rupture with the traditional literary discourse, and marked for a refusal to the enunciation forms instituted by the system, considering that great part of this poetic production was not still well analyzed. So, this work aims at studying the poetic diction of Aristides Klafke, with the objective to identify his writing in politic and cultural scenery of dictatorship, with resonance still today. A hypothesis of investigation is in the fact that the marginal writing would deconstruct the hegemonic poetical discourse either for the instance of the non conventional reproduction, either for the aesthetic configuration. Therefore, this work deals with this polemic literary subject giving to this a different reading from that diffused by some critics when evaluating its existence connected with the circumstance politic silence, emphasizing the symbolic protest attitude in favor of its poetical content. The critics’s arguments converge to the level of poetical quality characterizing the movement of Marginal Poetry as a writing "of" and "the" circumstance. For in such a way, we consider to review the label "marginal" from its synonymous "cursed", collating the speeches of theoreticians and producers, in a comparative and deductive procedure, observing affinities or divergences referring to this question to justify the analysis and interpretation of the poetry of Aristides Klafke. This, besides appealing to the most representative studies of the Historiography and contemporaries Literary Brazilian Critical who base the poetry theory. So, it’s intended realize a reading of marginal writing referring to the recognition of the poetical individualities, in this case, Aristides Klafke. The poems for analysis... (Complete abstract click electronic access below) / Mestre

Au cours des années 1970, l’Italie fut confrontée à une violence politique et sociale d’intensité particulière. Pendant cette période, le monde de la justice fut exposé à plus d’un titre. Non seulement magistrats et avocats furent impliqués dans les procédures judiciaires visant les protagonistes de la violence mais leur action fut également au cœur de controverses, les uns étant accusés d’être au service d’un État autoritaire ou répressif quand les autres étaient mis en cause pour d’éventuelles complicités avec les militants incriminés. Dans le même temps, de nombreux groupes de la gauche révolutionnaire décidèrent d'occuper le soutien de l'anti-répression et du soutien aux prisonniers politiques. Parmi ces organismes politiques, le Soccorso Rosso s'est imposé comme le principal, de par sa longévité, sa présence diffuse sur le territoire italien et l'implication de différents univers et couches sociales en son sein. De l'engagement d'intellectuels et de nombreux "avocats-militants" à la politisation des procès, en passant par les problématiques d'une lutte contre la prison ou d'une solidarité avec les détenus issus de la lutte armée, la trajectoire du Soccorso Rosso nous permet de traverser cette décennie d'une histoire encore en chantier afin de relire la période à travers la question de la répression pour comprendre la nature et la signification de la crise que connut l’Italie au cours de ces années. / During the '70s, Italy was confronted by a particulary intense violent politics. In this period, the justice system was severly exposed. Not only magistrates and lawyers were implicated in the law processes aiming violent protagonists but also their actions were deeply controversial. One part of the magistrates and the lawyers were accused of serving an autoritarian and repressive state, while the others were incriminated for having possible complicities with the militants. At the same time, numerous groups of the revolutionary left decided to occupy the ground of the anti-repression and the support to the political prisoners. Among these political groups, Soccorso Rosso stood out as the main thing, due to its longevity, its presence spreads on the Italian territory and the implication of various universes and sectors of society within it. The commitment of intellectuals and numerous "militant-lawyer" in the politicization of the trials, including the problems of a fight against the prison or a solidarity with the prisoners stemming from the armed struggle, the trajectory of Soccorso Rosso allows us to cross this decade of a still under construction history to reread the period through the question of the repression to understand a nature of the crisis which shook Italy during this years.

The novel Im Westen Nichts Neues first appeared in Germany in January 1929 and became an overnight success. Its author, Erich Maria Remarque, was a shy, quiet man who had not anticipated such success. His novel was written to be a fictitious account of the lives of a few students-turned -soldier and their comrades in the front -line trenches of World War I. This was a unique perspective on the war. The earlier books about the war had been mostly the published, factual memoirs of former officers and as such were written from an elitist and nationalist point of view. Remarque's fictional characters, conversely, were young privates doing their duty and suffering through the dehumanizing effects of their military training and life at the front. They lost touch with their past and came to be able to see nothing in their future except war. These soldiers found themselves lost between a past with which they were no longer able to identify and a future in which, because of the terror and daily life-and-death struggle they currently faced, they could not imagine being able to take anything seriously. Coming out in favor of the novel were the critics aligned with the liberal and left -liberal political arenas. This group of critics proclaimed that the novel portrayed the truth about the war in all of its horror. Having been written from the perspective of the unknown German soldier, it, unlike any other heretofore published work about the war, told the story of the every day, non-elitist soldier and his thoughts. The novel was pacifistic in nature and was therefore in line with the current world opinion, following closely on the heels of the international signing of the Kellogg-Briand Peace Pact. On the other hand, the Communist left and the entire spectrum of the political right denounced Im Westen Nichts Neues as a lie and Remarque as an anti-German author bent on the degradation of the German national honor. The Communists decried the novel as being arbeiterfeindlich because it did not recognize the political- economic causes of the war and because it contained no call for the oppressed to revolt against the upper classes. They therefore deemed Remarque a member of the sterile-minded bourgeoisie. The rightists, in their denunciation of the novel, took exception to the lack of heroes and glorification of the war in the book. Kameradschaft was given the credit for heroism. This idea was repugnant to the nationalists, and in fact worked as a threat to their reason for existence. With Remarque further depicting the soldiers as acting instinctively to protect themselves from annihilation rather than fighting with thoughts of the glorious renewal of the fatherland, it was too much. They proclaimed the novel to be a lie which had been written by, among other descriptions of Remarque, a tender, pacifistic little soul who had never seen a battlefield in his life.