Uppsatsens syfte är att analysera hur genus är konstruerat i fyra relationer i TV-serierna Buffy och vampyrerna och Angel. Målet är att ta reda på om karaktärerna har en traditionell, delad eller omvänd genuskonstruktion. Uppsatsen kommer att undersöka både hur maskulinitet och femininitet är konstruerat textuellt och hur relationerna uppfattas av en grupp fans. Studien kommer att redogöra för skillnader och likheter mellan de fyra paren. Paren som ingår i analysen är Buffy & Angel, Willow & Tara, Buffy & Spike liksom Angel & Cordy. Studien är baserad på feministiska teorier av Liesbet Van Zoonen, Judith Butler och Lena Gemzöe. Men kommer också att inkludera en tillbakablick på hur genus representerades på TV under 1970 och 1980-talet som är presenterat av Barrie Gunter och hur uppfattningen av genus har ändrats sen dess. Några specifika teman som kommer att analyseras i uppsatsen är tv våld, sexualitet och egenskaper som anses mer manliga eller kvinnliga. Göran Erikssons teorier om receptionsstudier spelar också en viktig roll i detta kapitel. Teorikapitlet innehåller dock även några teorier om fankultur av John Fiske, Henry Jenkins, Lawrence Grossberg, John B. Thompson och Joli Jenson. Metoden som används i uppsatsen är att göra en receptionsstudie med två lika stora delar. Den första delen är en semiotisk text analys baserad på teorier om TV koder av John Fiske. De valda koderna är utseende, kamera, handlingar och ljud och dialog. Urvalet för den semiotiska text analysen var totalt 35 scener från elva avsnitt av serierna. Den andra delen utgjordes av en kvalitativ intervjustudie med 16 fans av serierna och är baserad på metoder av Thomas R Lindlof och Larsåke Larsson. Metodkapitlet tar också hänsyn till några metodproblem och etiska frågor som uppstår när man intervjuar människor för en studie. Uppsatsens semiotiska analys visade att TV koderna ger Buffy & Angel och Cordy & Angel en traditionell genus konstruktion där hon är kvinna och han är man. Även fast karaktärerna också har vissa drag som normalt tillskrivs det andra könet. Karaktären Buffy i synnerlighet har en delad genuskonstruktion, då hennes manliga sida kommer ut i hennes relation med Spike. Buffy & Spike och Willow & Tara har en delad genuskonstruktion där Willow och Buffy har flest manliga drag. Koderna av utseende och kamera reproducerar patriarkat mest medan koder som ljud, dialog, händelser och narrativ ger en mer komplex delad genuskonstruktion. Intervjustudien visade att de flesta fansen delade min tolkning av karaktärernas genuskonstruktion, men att de mediala texterna är öppna för motsatta och förhandlade tolkningar med. Det fanns vissa skillnader från mina tolkningar då fansen tillskrev Spike högre nivåer av kvinnlighet och Willow mer maskulinitet än jag gjort. Deras uppfattning av de specifika paren varierar också mycket beroende på deras egna åsikter och värderingar och alla fansen gör en tolkning som de föredrar. Mina resultat ger stöd till tidigare forskning om genus på Buffy av Arwin Spicer, Susan A. Owens och Frances Early. De ger också stöd till tidigare forskning om fankultur och jag tycker att teorierna av John Fiske och Liesbet Van Zoonen i synnerlighet har varit användbara under uppsatsskrivandet. Trots att karaktären Buffy är mer kvinnlig än man först hade kunnat tro och att vissa fördomar lever kvar sedan 1970-talet så har Buffy hjälpt till att utveckla tv-landskapet. Intervjupersonerna i den här uppsatsen accepterar homosexualitet på TV. Serien visar även att det är okej för kvinnor att slås tillbaks och skickar ut ett feministiskt meddelande i det avseendet att intervjupersonerna anser att kvinnlig frigörelse är en bra sak och att Buffy är en förebild. För fortsatta studier vore det intressant att ta reda på hur feministiska nyare TV-serier är och vilken effekt serier som Buffy haft på den generationen som växte upp medan de tittade på den.

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[pt] Esta tese analisa a trajetória de Ángel Rama (1926-1983) ao longo dos anos setenta e oitenta, a partir de seu exílio na Venezuela, nos Estados Unidos e na França. Inicialmente, trata da historicidade de sua crítica e do modo como ele monta uma utopia americana. Depois, segue-se a análise de sua subjetividade no Diario, escrito a partir de 1974. A seguir, se avança para entender como ele estabeleceu o sentido de um passado que parecia perdido. Adiante, se discute como ele construiu a sua integração à Venezuela e ao seu meio intelectual. Até então, a análise se concentra no ano de 1974, nos meses de outubro e dezembro, quando a Biblioteca Ayacucho foi criada. Entre 1974 e 1977, Ángel não escreve no Diario. Devido a isso, aborda-se a sua atuação na impressa venezuelana entre 1976 e 1977. Prossegue-se, então, discutindo-se os motivos que o levaram a viver fora da América Latina. Finalmente, aborda-se a inserção de Ángel na academia estadunidense e o modo como ele construiu a sua visão sobre o país e os estudos latino-americanos feitos fora da América Latina. / [en] This dissertation analyses Ángel Rama (1926-1983) s trajectory in the decades of 1970 and 1980, focusing on the Uruguayan intellectual s exile in Venezuela, the United States and France. Initially, it deals with the historicity of his criticism and with the way he sets up an American utopia. Then, it is analyzed his subjectivity drawn in the Diario, which he had been keeping since 1974. Afterwards, it discusses his integration into Venezuela and into the intellectual environment of that country. So far, this study concentrates in October and in December 1974, when Biblioteca Ayacucho was founded. Nevertheless, the journal has been interrupted by its author between 1974 and 1977. Thus, rather than interpreting the Diario, it is studied his performance in Venezuelan press between 1976 and 1977. Subsequently, it is discussed the reason why Rama had lived outside Latin America. Finally, it approaches Rama s participation into American academia and the way he has built his perspective on Venezuela, as well as on the Latin American studies carried out beyond Latin America.

Em fins do século XIX um jovem empresário estadunidense fundou uma empresa exportadora de bananas na República da Costa Rica: a United Fruit Company. Mesmo que o comércio de bananas e outras frutas tropicais tenha representado apenas uma parte dos produtos exportados pelos países da América Central a exportação de café, por exemplo, sempre foi mais significativa , as companhias bananeiras foram eternizadas por diversos romancistas em alguns dos países centro-americanos em que atuaram. Este trabalho pretende mostrar a trilogia bananeira: Viento fuerte (1949), El Papa verde (1954) e Los ojos de los enterrados (1960) do escritor guatemalteco Miguel Angel Asturias, como uma possibilidade de representação da história da United Fruit Company na Guatemala. Utilizando romances como fonte histórica e realizando a articulação entre o discurso literário e o discurso histórico, a intenção é mostrar a interpretação de Asturias sobre a ação desta multinacional em seu país. Problematizando o encontro entre ambos os discursos e fazendo dialogar a informação histórica sobre o ocorrido e o tratamento literário que Asturias dá a esses mesmos fatos em sua trilogia bananeira. / In the end of the XIX Century a young American enterpreneur founded in the Republic of Costa Rica a company to export banana: the United Fruit Company. Even though the banana commerce and other tropical fruits had represented only a part of the exported products by the Central America countries the coffee export for instance has always been more significant the companies that traded bananas were eternalized by a great variety of novelists in some Central American countries were they acted. This work aims to show, as a possibility to represent the History of the United Fruit Company in Guatemala, the books that composes the Banana Trilogy: Viento fuerte (1949), El Papa Verde (1954) and Los ojos de los enterrados (1960) from the Guatemaltec writer Miguel Angel Asturias. Using novels as a historic source and accomplishing the joint between the literary and historic speech, the intention is to show the interpretation of Asturias concernig the action of this muitinational company in his country, to open debate between both speeches and to articulate the historic information and the treatment that Asturias gives to this information in his Banana Trilogy books.

[pt] A dissertação A moda de Zuzu Angel e o campo do design tem como objetivo a análise de exemplos de modelos criados pela designer de moda Zuzu Angel, confrontando-os com narrativas oriundas de diversas fontes de informação (entrevistas, material biográfico, publicações da imprensa e documentos como fotos, cartas, press releases e convites) situando, assim a sua contribuição para a moda brasileira. Por vários motivos, como a sua trágica morte, ao longo do tempo, estabeleceu-se um consenso em torno de uma narrativa mítica sobre Zuzu Angel que modelou sua imagem como símbolo da mulher corajosa, inovadora e avançada para sua época. Essa narrativa fala também de sua obra, portanto a leitura do objeto fica embaçada não só pela forma como ela modela a imagem de Zuzu Angel, mas também pelos significados que atribui à sua produção. Neste trabalho, os modelos selecionados são analisados principalmente a partir da perspectiva simbólica e para isso é apresentado um levantamento do contexto sócio-cultural, assim como uma reflexão sobre sua biografia. Este procedimento torna compreensível o desenvolvimento de sua trajetória profissional e demonstra que foi preciso a combinação de uma série de fatores tais como a formação familiar e aspectos existenciais e motivacionais para que ela se tornasse um paradigma do campo do design e da moda brasileira. / [en] The dissertation Zuzu Angel s fashion and the field of design intends to analyze the examples of models created by the fashion designer Zuzu Angel, juxtaposing them with narratives of different sources of information (interviews, biographic material, press publications and documents such as photographs, letters, press releases and invitations) in order to contextually place her contribution to Brazilian fashion. For many reasons, such as her tragic death, a consensus has been established over the years around the mythical narrative about Zuzu Angel which has shaped her image as a symbol of the courageous, innovative and avant-garde woman of her time. This narrative also provides information about her work although the interpretation of the object is not clear, not only in the way in which it shapes her image, but also by the meanings it attributes to her work. In this dissertation, the models selected are analyzed mainly from a symbolic perspective and for that reason a survey of the socialcultural context is presented along with a reflection on her biography. This procedure explains the development of her professional trajectory and shows that a combination of many factors such as family background, existential and motivating aspects were necessary to turn Zuzu Angel into a paradigm on the field of design and Brazilian fashion.

En phase d’amorçage, les jeunes entreprises technologiques à la recherche de ressources pour financer leur développement peuvent solliciter les business angels (BAs) et capital-investisseurs (CIs). Notre recherche porte sur le type d’investissement (BAs seuls, BAs et CIs en co-investissement séquentiel ou simultané) mis en œuvre et amène la question de la nature et de la qualité des relations et interactions entre les différentes catégories d’investisseurs et l’entrepreneur, dans le sens où ces investisseurs peuvent influencer la dynamique de croissance et être à leur tour influencés par cette dynamique. Celle-ci suppose que les rythmes et l’intensité des trajectoires de croissance des jeunes pousses de haute technologie n’ont rien de déterministes, mais se développent de façon dynamique dans le champ de l’interaction entre les principaux apporteurs de ressources. Nous mobilisons conjointement la théorie d’agence et les approches cognitive et effectuale pour analyser le co-investissement par BAs et CIs. Nous avons mené une étude de cas multiples à visée comparative auprès de trois jeunes entreprises de la région Rhône-Alpes-Auvergne. Nous avons montré que, quand les schémas cognitifs des BAs et/ou de l’entrepreneur sont proches de celui du CI, les relations et interrelations peuvent se déployer à moindre coût cognitif en phase préinvestissement et que le co-investissement séquentiel ou simultané peut prendre place. Nos résultats révèlent qu’un financement par BAs est associé à une trajectoire de croissance plus lente et qu’un co-investissement séquentiel permet de stabiliser la trajectoire de croissance sans pour autant que l’entreprise rencontre une très forte croissance. Nous mettons aussi en évidence que lorsque les BAs et/ou les CIs perçoivent le fort potentiel de croissance de la jeune entreprise, très tôt dans le processus d’investissement, les CIs ont avantage à intégrer les BAs qui ont une expérience spécifique comme leur passé entrepreneurial et leur connaissance du secteur. L’approche prédictive de ces trois acteurs : entrepreneur, CIs et BAs favorise la mise en œuvre d’un un co-investissement simultané. Dans ce contexte, les investisseurs (BAs et CIs) peuvent être des partenaires actifs au côté de l’entrepreneur et contribuer à ce que la jeune entreprise rencontre une trajectoire de croissance forte voire d’une hyper-croissance. / In their seed, young technological ventures seeking resources to finance their development may seek business angels (BAs) and venture capitalists (VCs). Our research shall include the type of investment (only BAs, BAs and VCs in sequential or simultaneous co-investment) implemented and this leads to the question of the nature and the quality of the relations and interactions among various categories of investors and the entrepreneur, in the sense that these investors may influence the dynamic of growth, and be themselves influenced by that dynamic. It implies that the pace and intensity of the venture growth of the young technological ventures do not have any kind of determinism, but they develop rather in a dynamic manner within the field of the interaction between the main providers of resources. We jointly mobilize agency theory and cognitive and effectual approaches in order to analyse the co-investment of BAs and VCs. We conducted a multiple-case study with a comparative aim concerning three young companies of the Rhône-Alpes Region. We have shown that, when the cognitive schemes of the BAs and / or the entrepreneur are close to that of the VC, the relations and interrelations can occur to a lesser cognitive cost during the pre-investment phase and that the sequential or simultaneous co-investment may take place. Our results indicate that a funding by BAs is associated with a slower venture growth and that a sequential co-investment allows the stabilisation of the venture growth without a very high growth for the company. We are also highlighting that when the BAs and / or the VCs recognize the high growth potential of the young company very early in the investment process the VCs really need to integrate the BAs who have a specific experience, like their entrepreneurial past and their knowledge of the sector. The predictive approach of these three stakeholders: entrepreneur, VCs and BAs promotes the implementation of a simultaneous co-investment. In this context, the investors (BAs and VCs) can serve as active partners alongside the entrepreneur and help ensure that the young company follows a high venture growth, or even a hyper growth.

L’ange n’a jamais été aussi présent qu’à l’heure de la modernité, c’est-à-dire à l’époque où le religieux, en son expression, sa forme et sa substance, ses objets, se trouvait remis en question par l’intense réflexion philosophique et par les découvertes scientifiques et techniques issues des Lumières. C’est ce constat fondé sur l’omniprésence des anges tant dans l’art que dans la littérature du dix-neuvième et du vingtième siècles qui nous a conduit à nous poser une question simple : de quoi l’ange fait-il signe ? Que symbolise-t-il ? Quel sens donner à cette présence ?Nous avons décidé, pour le savoir, de remonter aux sources de l’ange afin de mettre au jour les fondements de ce qui, de toute évidence, s’affirme comme l’un des mythes les plus importants de notre imaginaire contemporain. Nous avons également décidé de montrer comment ce passage d’une figure biblique à un mythe profane avait été rendu possible et quels mécanismes cette métamorphose avait empruntés ;nous avons aussi cherché à savoir quels enjeux ce processus mettait en jeu.Cette étude se propose d’étudier les représentations des anges dans l’art et la littérature de 1850 à 1950 afin de découvrir comment l’on passe d’une figure traditionnelle à un véritable mythe moderne. En quoi les représentations modernes de l’ange témoignent-elles des nouveaux rapports qui se tissent au divin ? Il s’agit ensuite d’étudier ses deux symboliques majeures : celle de l’ange inspirateur et celle de l’ange gardien, en mettant au jour les procédés qui permettent à l’ange de devenir un mythe personnel de l’individu et du créateur en particulier. / The angel was never as present as during the modernist era, that is at a time when thereligious figure, in its expression, its form, and even in its substance, its objects, waschallenged by the intense philosophical reflection and by the scientific and technicaldiscoveries stemming from the Enlightenment era. It is this acknowledgement basedon an omnipresence of angels, in nineteenth and twentieth art and literature alike,which led us to ask a simple question – what is the angel a sign of? What does itsymbolize? What meaning may be given its large presence?We have decided, to understand it, to get back to the sources of the angel in order toshed light onto the foundations of that which, quite obviously, establishes itself asone of the most important myths in the present-day imagination. We have alsodecided to show how the mutation from a biblical figure to a profane myth hadmanaged to happen and what were the mechanisms through which thismetamorphosis had taken place; we have also tried to know what was at stake in thisprocess.This study proposes to examine the representations of angels in art and literaturefrom 1850 to 1950 in order to discover how these traditional figures came to becomemodern myths. How can their contemporary representations testify of a newrelationship with the divine ? We'll try to answer this question by studying two majorsymbolics - the inspiring angel and the guardian angel - and by revealing the processin which the angel becomes a personal myth of the individual and especially of thecreator.

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Despite the award of the Nobel Prize to Miguel Angel Asturias in 1967, he appears to have gone into decline with the rise of the nueva novela latinoamericana. Emir Rodrguez Monegal's influential but negative view in "Los dos Asturias" ignores several important points already raised by G.Yepes-Boscan's "Asturias, un pretexto del mito". Asturias' two major innovations are a functional incorporation of Latin American myth allied to audacious experimentation with language, and these are the acknowledged central features of the "new" novel. El Senor Presidente and Hombres de maz together prefigure all the varied manifestations of the nueva novela, an example of which is Asturias' own Mulata de tal.

A presente dissertação tem por objetivo a realização de uma análise geral dos mensageiros divinos designados pelo termo malakh relatados na Bíblia hebraica. No texto bíblico o termo malakh é empregado por fazer referência a mensageiros humanos e ainda aos enviados sobrenaturais subordinadas a Deus. Todo o primeiro capítulo é reservado à investigação da etimologia do vocábulo em questão. Com o intuito de discernir nitidamente a relação ou até mesmo a oposição entre mensageiros humanos e divinos, o segundo capítulo trata de diversos episódios bíblicos onde homens exercem a função de mensageiros, não somente como portadores de uma mensagens divina, mas também com funções políticas e diplomáticas. Ainda tratando dessa modalidade de mensageiro, é destacada a presença dos profetas e sacerdotes que a despeito de pertencerem à esfera humana, desempenham a função de mensageiros da divindade. A seguir, o terceiro e último capítulo ocupa-se dos mensageiros divinos propriamente ditos, geralmente traduzidos ou compreendidos como anjos. Neste ponto, interpretações relacionadas à identidade, nomenclaturas e funções são destrinchadas pontualmente. Por fim, a atividade do mensageiro bíblico será analisada ainda à luz dos mensageiros correspondentes da literatura do antigo Oriente Médio. / This thesis aims at conducting a general analysis of the divine messengers described by the term malakh reported in the Hebrew Bible. In the biblical text is the term used by malakh refer to human messengers sent to the supernatural and still subordinate to God. The entire first chapter is devoted to the investigation of the etymology of the word in question. In order to clearly discern the relationship or even the opposition between human and divine messengers, the second chapter deals with various biblical episodes where men play the role of messengers, not only as bearers of a divine message, but also with political functions and diplomatic. Still dealing with this type of messenger, it is emphasized the presence of the prophets and priests who despite belonging to the human sphere, play the role of messengers of divinity. Then the third and final chapter deals with the divine messengers themselves, usually translated or understood as \"angels\". At this point, interpretations related to identity, classifications and functions are fleshed out on time. Finally, the activity of biblical Bible will be examined further in light of relevant messengers literature of the ancient Middle East.