Cette thèse est consacrée à la complexité basée sur le paradigme des preuves interactives. Les classes ainsi définies ont toutes en commun qu’un ou plusieurs prouveurs, infiniment puissants, tentent de convaincre un vérificateur, de puissance bornée, de l’appartenance d’un mot à un langage. Nous abordons ici le modèle classique, où les participants sont des machines de Turing, et le modèle quantique, où ceux-ci sont des circuits quantiques. La revue de littérature que comprend cette thèse s’adresse à un lecteur déjà familier avec la complexité et l’informatique quantique. Cette thèse présente comme résultat la caractérisation de la classe NP par une classe de preuves interactives quantiques de taille logarithmique. Les différentes classes sont présentées dans un ordre permettant d’aborder aussi facilement que possible les classes interactives. Le premier chapitre est consacré aux classes de base de la complexité ; celles-ci seront utiles pour situer les classes subséquemment présentées. Les chapitres deux et trois présentent respectivement les classes à un et à plusieurs prouveurs. La présentation du résultat ci-haut mentionné est l’objet du chapitre quatre. / This thesis is devoted to complexity theory based on the interactive proof paradigm. All classes defined in this way involve one or many infinitely powerful provers attempting to convince a verifier of limited power that a string belongs to a certain language. We will consider the classical model, in which the various participants are Turing machines, as well as the quantum model, in which they are quantum circuits. The literature review included in this thesis assume that the reader is familiar with the basics of complexity theory and quantum computing. This thesis presents the original result that the class NP can be characterized by a class of quantum interactive proofs of logarithmic size. The various classes are presented in an order that facilitates the treatment of interactive classes. The first chapter is devoted to the basic complexity classes; these will be useful points of comparison for classes presented subsequently. Chapters two and three respectively present classes with one and many provers. The presentation of the result mentioned above is the object of chapter four.

The death of king Richard The Lion Heart in 1199 caused considerable troubles to the Angevin empire, when there again raised for english medieval history very pressing question - who is legitimate successor to the throne? There were two possible pretendents, both had comparable claim to the crown. First of them was Richard's brother John, the second his nephew, at this time twelve years old duke of Brittany Arthur. Legal customs of this period theoretically admitted the succession of both men, because there were no unified successorial usage and every single part of the Angevin empire looked on this problem differently. While John was generally accepted without problems in Normandy and then he was crowned king of England, the toughest fight blazed out in Anjou, Maine and Touraine, where support was given to Arthur. He had also support of king of France Philip Augustus, who understood well, that Arthur is an ideal tool for his schemes to elimination and mastery over the Angevin empire. Whole long struggle between the nephew and his uncle was finsihed by Arthur's capture in the summer of 1202 and his subsequent death in 1203. However king John was not able to stop the dissolution of Plantagenet empire, which was reduced to the duchy of Aquitaine at the beginning of 13th century.

Considerando o conceito de épico tal como o analisado por teóricos do teatro como Szondi (2001) e Rosenfeld (2006), este trabalho objetiva empreender a análise de elementos épicos presentes na estrutura de The American Clock (O Relógio Americano, 1980), do dramaturgo norte-americano Arthur Miller (1915-2005). O estudo será de como a forma teatral desta peça (com seus traços épicos) representa cenicamente a Grande Depressão econômica que assolou os Estados Unidos após a quebra da bolsa de valores em 1929 e durante toda a década de 1930. The American Clock conta com mais de 40 personagens (muitos deles também narrado-res) que comentam e ao mesmo tempo vivenciam os problemas gerados pela recessão econô-mica dos anos 1930, em que milhões de pessoas chegaram ao nível da miséria. Embora não seja uma das obras teatrais mais estudadas de Arthur Miller (tanto no contexto americano co-mo no brasileiro), a análise de The American Clock é fundamental para um maior entendimen-to da poética deste autor, tão debatida por críticos e dramaturgos brasileiros: diferentemente do que acontece em outros trabalhos teatrais de sua autoria, Miller assume abertamente, em seus ensaios, a importância do elemento épico para a construção de The American Clock, e o resultado deste uso explícito e consciente do épico por parte do dramaturgo é uma utiliza-ção mais abrangente e aprofundada de recursos épicos nesta peça, tanto dos que já eram co-muns em outras obras de Miller (personagens-narradores, por exemplo), quanto novos recur-sos como a dança e a música. Outra consequência desta consciência do épico é a apropria-ção que o autor faz de conceitos como o de mural, vaudeville e narrativa oral para a constru-ção formal da peça. Esta preocupação de Arthur Miller em considerar o épico na criação de The American Clock existe, dentre outras coisas, devido à necessidade de representar cenica-mente a Depressão econômica, uma temática de cunho social, econômico e histórico, cujas transformações sociais, políticas e culturais que ela provocou são cruciais por reverberarem em outras décadas da história dos EUA (e, consequentemente, no processo histórico de outros países como o Brasil). / Considering the concept of epic in theater theories such as Szondis (2001) and Rosenfelds (2006), this research aims at analyzing the epic elements present in the structure of The Amer-ican Clock (1980), a play by the American playwright Arthur Miller (1915-2005). The objec-tive is to study how this plays theatrical form (with its epic traces) puts on stage the Great Depression, which was responsible for devastating The United States economy after the 1929 stock market crash and during the 1930s. The American Clock contains more than 40 charac-ters (many of them are also narrators) who simultaneously discuss and experience the eco-nomic problems generated by this 1930s recession, which led millions of people to face mis-ery in this period. Although The American Clock is not one of Millers most studied theatrical works (both in Brazilian and American context), the analysis of this play is essential to a bet-ter understanding of the authors poetics, largely discussed by Brazilian critics and play-wrights: Miller overtly declares, in his essays, the importance of the epic element in The American Clocks creation, which is something singular in this playwrights career. The result of this explicit and conscious use of the epic by Miller is a deepened and broadened inser-tion of epic resources in this play, both the ones already present in other Millers works (char-acters-narrators, for example), and new ones such as dance and music. Another consequence of this epic consciousness is the authors use of concepts such as mural, vaudeville and oral narrative in order to create the form of the play. Arthur Millers concern in considering the epic in the creation of The American Clock exists, among other things, due to the necessity of putting on stage the Great Depression, a social, economic and historical subject, which brought crucial changes responsible for affecting socially, politically and culturally other dec-ades of American history (and, consequently, this 1930s economic crisis also affected the his-torical process of other countries such as Brazil).

Na peça A Criação do Mundo e Outros Negócios Arthur Miller recorre à comédia, à imagética bíblica e a fragmentos de narrativas do midrash para compor com uma linguagem simples e popular, porém altamente significativa, (re)interpretações da História Primeva dotadas de um profundo senso crítico fortemente influenciado pelo pensamento existencialista. O dramaturgo expõe nesta comédia, igualmente como faz em outros escritos, questões contundentes do mundo contemporâneo, alertando, permanentemente, a partir de uma perspectiva humanista, para a necessidade de consciência e responsabilidade humanas. Desde o início de sua carreira o autor norte-americano emprega metáforas bíblicas que, de forma consciente ou não, refletem sua identidade, intimamente ligada às narrativas absorvidas no meio social. Ao associá-las ao pensamento existencialista que permeia sua obra dramatúrgica, Miller compõe um mosaico de idéias que opera dialogicamente diferentes significações e permite as mais diversas interpretações e leituras. Assim, valendo-se de ironia, humor e sarcasmo, iniciando pelo mito da Criação bíblica, passando pela história de Adão e Eva e da tentação, culminando com o fratricídio cometido por Caim, contra seu irmão Abel, o dramaturgo recria, à sua maneira e incorporando um complexo de preocupações temáticas que permeiam a literatura ocidental, os primeiros eventos da Bíblia descritos no livro de Gênesis. Para fazê-lo, o autor se serve habilmente de um estilo que se assemelha à exegese rabínica justamente por buscar nas narrativas e imagens dessa tradição as bases que dão forma e conteúdo à peça, criando uma alegoria simbólica que exibe mito e história ao mesmo tempo em que revela uma profunda frustração moral proveniente da filosofia existencialista absorvida de textos de Sartre e Camus. A investigação do riso como uma reflexão sobre a linguagem e o pensamento, bem como a percepção de que os conceitos e a crítica presentes na tessitura da comédia são tão contundentes e incisivos quanto os encontrados em outras obras suas, evidencia que o cômico não implica ausência de seriedade e que, a despeito de algumas falhas na concepção, a peça oferece mais do que risos e reflexões. Ela proporciona uma aventura intelectual sobre a investigação do mal moral e exige do público e dos críticos um desdobramento para além do material encenado. Portanto, A Criação do Mundo e Outros Negócios demanda um aprofundamento analítico que perscrute nos textos que com ela se inter-relacionam o subsídio necessário para se fazer um exame crítico mais apurado de toda a carga semântica proveniente do conteúdo bíblico, das narrativas do midrash, dos elementos existencialistas, da linguagem coloquial e do próprio gênero cômico, para assim, ao final, reconhecer seu valor artístico e sua significação no conjunto da obra daquele que foi considerado um dos maiores dramaturgos do século XX. / In the play The Creation of the World and Other Business Arthur Miller uses comic genre, biblical imagery and excerpts from midrash texts to compose, in an everyday, informal style, although deeply meaningful, (re)interpretations of Primeval (Hi)story characterized by a profound critical sense which is greatly influenced by existentialism. The playwright expresses in this comedy, as in his other works, important issues of contemporary world, by permanently taking a humanist standpoint and warning about the necessity for human consciousness and responsibility. From the beginning of his literary career the North-American dramatist applies biblical metaphors that reflect - consciously or not - his intimately connected identity to narratives absorbed in the social milieu. By relating these metaphors with existentialist thinking woven into his dramas, Miller composes a series of ideas that links dialogically different meanings and allows many interpretation and readings. Thus, with irony, humor and sarcasm, starting with the biblical myth of Creation, describing Adam and Eve\'s (hi)stories and the temptation, culminating in Cain\'s fratricide of Abel, the writer recreates in his own way and comprising an intricate web of themes from western literature, the first events of the Bible narrated in the book of Genesis. In order to accomplish his intent, the author makes use of a writing technique that resembles the rabbinical exegesis following the narratives and images of midrash to find the basis for his play, creating symbolic allegory, that presents myth and history at the same time. This exposes intense moral frustration from his readings of Sartre and Camus existential texts. The inquiry of laughter as a reasoning in language and thought as well as the perception that concepts and criticism found in the pattern of this play are as trenchant and incisive as in Miller\'s other works reveals that comedy does not imply the absence of seriousness and regardless of some misconceptions, found in the structure of its plot, the play offers more than laughter and insight. It provides an intellectual adventure through the questioning of evil and it demands - from the audience and critics - a new approach beyond dramatic performance. Therefore, \'The creation of the world and other business\' requires a thoroughgoing analysis based on texts interrelated to it to find the necessary support for a more precise critique considering all the semantic aspects from biblical and Midrash narratives, existentialist features, colloquial language and the comic genre, so that, in the end, the artistic merit and place of this play can be recognized among the works of an author who was considered to be one of the greatest 20th century playwrights.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-11-24T10:40:37Z No. of bitstreams: 1 476413 - Texto Parcial.pdf: 306086 bytes, checksum: 4ad5be74c2ff02543756e52ddf72971d (MD5) / Made available in DSpace on 2015-11-24T10:40:39Z (GMT). No. of bitstreams: 1 476413 - Texto Parcial.pdf: 306086 bytes, checksum: 4ad5be74c2ff02543756e52ddf72971d (MD5) Previous issue date: 2015-08-28 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / L?oeuvre de Arthur Schopenhauer [1788-1860] caract?rise l'existence humaine comme essentiellement douloureuse et est bas? sur l'opposition ? l'optimisme des philosophes Anaxagore [500-428 BC] et Gottfried Wilhelm Leibniz [1646-1716]. L'optimisme s'exprime par deux maximes, la primaut? de l'intellect et l'accidentalit? de la douleur. Les deux constituent une affirmation du caract?re positif du monde en mati?re de droits. La d?couverte de la "volont?" se produit dans le corps. Dans les oeuvres, Rapports du Physique et du moral de l'Homme [1 802], Pierre-Jean-Georges Cabanis [1757 ? 1808], et Recherches sur la Vie et la Mort Physiologiques [1805] de Marie Fran?ois Xavier Bichat [1771-1802], on saisi les ?l?ments physiques qui sous-tendent la r?alit? spirituelle de l'?tre humain et le caract?re d?favorable de l'existence. Le sujet de vouloir pr?serve ? soi-m?me ? la recherche de la satisfaction et la volont? rencontre dans le physique et le spirituel les moyens pour maintenir l'individu. / A obra de Arthur Schopenhauer [1788-1860] caracteriza a exist?ncia humana enquanto essencialmente dolorosa e funda-se na oposi??o ao Otimismo dos fil?sofos Anax?goras [500 - 428 a.C.] e Gottfried Wilhelm Leibniz [1646-1716]. O Otimismo expressa-se por duas m?ximas, a primazia do intelecto e a acidentalidade da dor. Ambas se constituem como afirma??o do car?ter favor?vel do mundo em rela??o ao humano. A descoberta da ?vontade? ocorre no corpo. Nas obras, Rapports du Physique et du Moral de l?Homme [1802], de Pierre-Jean-Georges Cabanis [1757-1808], e, Recherches Physiologiques sur la Vie et la Mort [1805], de Marie Fran?ois Xavier Bichat [1771-1802], encontram-se os elementos f?sicos que fundam a realidade espiritual do humano e o car?ter desfavor?vel da exist?ncia. O sujeito do querer preserva a si mesmo na busca pela satisfa??o e a vontade encontra no f?sico e no espiritual os meios para a manter o indiv?duo.

Esta tese conta uma história de Arthur Bispo do Rosário (1909-1989), procurando problematizar sua trajetória através de uma análise enunciativa, mostrando a maneira como o personagem se delineia de diferentes formas, conforme o olhar de quem o apreende, de quem o toma e o institui como objeto. Loucura e arte se entrelaçam para compor a capacidade artística e a genialidade de um sujeito tido como único, que engendraria, em suas criações, todas as referências da arte contemporânea. Bispo não é o produtor central dos acontecimentos que perpassam estas páginas, mas sim o resultado da batalha discursiva aqui problematizada. Objetivou-se mostrar que não existe um único Bispo anterior às tramas discursivas que buscam representá-lo, um sujeito fundante, um ponto de partida que inauguraria seus gestos e palavras. O que existe são diferentes Bispos, produzidos pelos discursos que o apreenderam. Para isso, estudos acadêmicos, documentos institucionais, entrevistas, poemas, sambas enredo, fotografias, reportagens, inventários, bem como as peças por ele produzidas, hoje tidas como obras de arte, foram tomadas como monumentos que procuram dizer quem foi Arthur Bispo do Rosário. O olhar que norteou o presente estudo foi direcionado pelas noções foucautianas de “práticas discursivas e não discursivas”, “sujeito”, “enunciado” e “invenção de si”, além de outros conceitos como “enquadramento da memória” e “monumentalização”, e seus resultados apresentam-se em cinco partes, as quais tentam dar conta da intriga proposta: o período anterior à internação, sua vivência da Colônia Juliano Moreira (RJ), sua versão de si, sua incursão pelo mundo das artes plásticas e sua monumentalização. / This thesis tells the story of Arthur Bispo do Rosário (1909-1989), looking to investigate and problematize his history through an analysis of enunciation, showing how the character outlines in different ways, depending on the look of someone who understands him, who takes him and who instituting him as an object. Madness and art intertwine to compose the artistic capacity and geniality of a unique man that would engender in his creations, all references in contemporary art. Bispo is not the producer of the central events that run through these pages, but the result of the discursive struggle herein analyzed. This work aimed to show that there isn‟t just one Bispo before the discursive intrigues that looking to represent him, a founding subject, a starting point to inaugurate his gestures and words. What exists are different Bispos, produced by the discourses that had apprehended him. To this end, academic studies, institutional documents, interviews, poems, sambas storyline, photographs, reports, inventories, and documents produced by him, now regarded as works of art were taken as monuments that tell who was looking for Arthur Bispo do Rosário. The look that guided the present study was directed by Foucault‟s notions of "discursive and non-discursive practices," "subject", "utterance" and "self-invention", and other concepts such as "classification of memory" and "monumentalization". Their results are presented in five parts, which try to account for the intriguing proposal: the period prior to his internment, his life experience in Juliano Moreira colony (RJ), his version of himself, his foray into the world of plastic arts and his monumentalization.

Cette thèse est consacrée à la complexité basée sur le paradigme des preuves interactives. Les classes ainsi définies ont toutes en commun qu’un ou plusieurs prouveurs, infiniment puissants, tentent de convaincre un vérificateur, de puissance bornée, de l’appartenance d’un mot à un langage. Nous abordons ici le modèle classique, où les participants sont des machines de Turing, et le modèle quantique, où ceux-ci sont des circuits quantiques. La revue de littérature que comprend cette thèse s’adresse à un lecteur déjà familier avec la complexité et l’informatique quantique. Cette thèse présente comme résultat la caractérisation de la classe NP par une classe de preuves interactives quantiques de taille logarithmique. Les différentes classes sont présentées dans un ordre permettant d’aborder aussi facilement que possible les classes interactives. Le premier chapitre est consacré aux classes de base de la complexité ; celles-ci seront utiles pour situer les classes subséquemment présentées. Les chapitres deux et trois présentent respectivement les classes à un et à plusieurs prouveurs. La présentation du résultat ci-haut mentionné est l’objet du chapitre quatre. / This thesis is devoted to complexity theory based on the interactive proof paradigm. All classes defined in this way involve one or many infinitely powerful provers attempting to convince a verifier of limited power that a string belongs to a certain language. We will consider the classical model, in which the various participants are Turing machines, as well as the quantum model, in which they are quantum circuits. The literature review included in this thesis assume that the reader is familiar with the basics of complexity theory and quantum computing. This thesis presents the original result that the class NP can be characterized by a class of quantum interactive proofs of logarithmic size. The various classes are presented in an order that facilitates the treatment of interactive classes. The first chapter is devoted to the basic complexity classes; these will be useful points of comparison for classes presented subsequently. Chapters two and three respectively present classes with one and many provers. The presentation of the result mentioned above is the object of chapter four.

Arthur Miller's Death of a Salesman, 1949, is traditionally viewed as a modern tragedy. Ample evidence in the text, however, suggests that Miller leans also toward the convention of the Theatre of the Absurd. Miller uses several techniques, including an absurdist handling of set, time and space, thought, action, and language to contribute to the larger absurdist "poetic image" of the death of a salesman. And the thematic interpretation of that image in terms of character and audience suggests the perpetuation of illusion, a common absurdist theme.Because Miller effectively combines the absurdist with the realistic elements of the drama, an absurdist reading of the play does not negate its readings as tragedy and social realism, but rather enhances those readings, providing an important additional perspective from which to view the play. An absurdist reading also establishes a definite tie between this important twentieth century playwright and the influential absurdist convention in theatre. / Department of English

Originally presented as the author's dissertation.

Esta tese conta uma história de Arthur Bispo do Rosário (1909-1989), procurando problematizar sua trajetória através de uma análise enunciativa, mostrando a maneira como o personagem se delineia de diferentes formas, conforme o olhar de quem o apreende, de quem o toma e o institui como objeto. Loucura e arte se entrelaçam para compor a capacidade artística e a genialidade de um sujeito tido como único, que engendraria, em suas criações, todas as referências da arte contemporânea. Bispo não é o produtor central dos acontecimentos que perpassam estas páginas, mas sim o resultado da batalha discursiva aqui problematizada. Objetivou-se mostrar que não existe um único Bispo anterior às tramas discursivas que buscam representá-lo, um sujeito fundante, um ponto de partida que inauguraria seus gestos e palavras. O que existe são diferentes Bispos, produzidos pelos discursos que o apreenderam. Para isso, estudos acadêmicos, documentos institucionais, entrevistas, poemas, sambas enredo, fotografias, reportagens, inventários, bem como as peças por ele produzidas, hoje tidas como obras de arte, foram tomadas como monumentos que procuram dizer quem foi Arthur Bispo do Rosário. O olhar que norteou o presente estudo foi direcionado pelas noções foucautianas de “práticas discursivas e não discursivas”, “sujeito”, “enunciado” e “invenção de si”, além de outros conceitos como “enquadramento da memória” e “monumentalização”, e seus resultados apresentam-se em cinco partes, as quais tentam dar conta da intriga proposta: o período anterior à internação, sua vivência da Colônia Juliano Moreira (RJ), sua versão de si, sua incursão pelo mundo das artes plásticas e sua monumentalização. / This thesis tells the story of Arthur Bispo do Rosário (1909-1989), looking to investigate and problematize his history through an analysis of enunciation, showing how the character outlines in different ways, depending on the look of someone who understands him, who takes him and who instituting him as an object. Madness and art intertwine to compose the artistic capacity and geniality of a unique man that would engender in his creations, all references in contemporary art. Bispo is not the producer of the central events that run through these pages, but the result of the discursive struggle herein analyzed. This work aimed to show that there isn‟t just one Bispo before the discursive intrigues that looking to represent him, a founding subject, a starting point to inaugurate his gestures and words. What exists are different Bispos, produced by the discourses that had apprehended him. To this end, academic studies, institutional documents, interviews, poems, sambas storyline, photographs, reports, inventories, and documents produced by him, now regarded as works of art were taken as monuments that tell who was looking for Arthur Bispo do Rosário. The look that guided the present study was directed by Foucault‟s notions of "discursive and non-discursive practices," "subject", "utterance" and "self-invention", and other concepts such as "classification of memory" and "monumentalization". Their results are presented in five parts, which try to account for the intriguing proposal: the period prior to his internment, his life experience in Juliano Moreira colony (RJ), his version of himself, his foray into the world of plastic arts and his monumentalization.