Este estudo propõe uma análise comparativa entre Le Premier Homme, de Albert Camus, e La disparition de la langue française, de Assia Djebar, tendo como contexto os impasses que cercaram a colonização francesa da Argélia, bem como o período posterior à sua independência, a partir da reflexão sobre as inter-relações língua, exílio e memória. Albert Camus é um escritor de origem francesa, nascido na Argélia. Assia Djebar é uma argelina de origem árabe, que escreve em francês. Nos romances em questão, parte-se da perspectiva da vida privada dos protagonistas para alcançar o espaço da memória coletiva tanto de franceses pobres quanto de árabes. Jacques Cormery e Berkane constituem-se como porta-vozes de seus antepassados, restituindo-lhes o direito a uma memória esfacelada e vista como desimportante pelo poder colonial. A fim de estabelecer essa leitura comparativa, procura-se compreender a relevância da literatura magrebina de língua francesa, com destaque para a produção da Argélia, em paralelo aos princípios ético-culturais da École dAlger, movimento ao qual se associava Albert Camus. A seguir, refletimos sobre as relações entre os conceitos de literatura e história, ficção e autobiografia, fundamentais à análise propriamente dita de ambos os romances. / The aim of this study is to develop a comparative analysis of Albert Camus Le Premier Homme and La disparition de la langue française, by Algerian writer Assia Djebar, having as backdrop the context of French colonization deadlocks in Algeria, as well as in the period after independence. Our starting point is based around reflection on the relations between language, exile and memory. Albert Camus, of French origin, was born in Algeria, while Assia Djebar, of Arab descent, writes in French. The analysis of both novels begins from the perspective of the private lives of the main characters, to establish a space of collective memory of both poor people of French origin and people of Arab descent. Jacques Cormery and Berkane became spokesmen of their ancestors, thus restoring to them the right to a shattered memory, seen as unimportant by the colonial power. To achieve this comparative reading, it is necessary to understand the relevance of Maghrebian literature in French, with emphasis on the production of Algeria, in parallel to the ethical-cultural École dAlger, movement to which Albert Camus was associated. Next, we reflect upon the relationship between the concepts of literature and history, fiction and autobiography, fundamental to the analysis of both novels.

O presente estudo trata das fotografias resultantes da expedição realizada pelo bávaro Christoph Albert Frisch (1840 1918), na extensão brasileira do rio Solimões a pedido da Casa de Leuzinger, ativa cidade do Rio de Janeiro durante o início da segunda metade do século XIX e interessada na comercialização de imagens do exótico e do longínquo para a venda, principalmente a viajantes estrangeiros. O objetivo deste trabalho foi a investigação de indícios, nas fotografias, de elementos do discurso colonial que enfatizam a inferioridade racial do outro por meio de estereótipos que fixam identidades e legitimam, apoiam-se e contribuem para a manutenção dessa dominação. Além disso, o presente trabalho pretende dimensionar as fotografias analisadas com o imaginário de hipérboles e riquezas que, desde os primeiros relatos de europeus sobre a Amazônia, direcionaram as representações sobre a ela. Tais representações reverberaram na Exposição Universal de Paris, em 1867, onde o Brasil apresentou-se como de fornecedor de matérias primas visando à atração de investimentos estrangeiros. Em nossa investigação, valemo-nos das fotografias como fonte principal, bem como o catálogo produzido pela Casa Leuzinger para acompanhar as fotografias de Frisch. / The present study deals with the photographs resulting from the expedition carried out by the Bavarian Christoph Albert Frisch (1840-1918) in the Brazilian extension of the Solimões River at the request of the Leuzinger House of photographies, an active city of Rio de Janeiro during the beginning of the second half of the 19th century. interested in commercializing images of the exotic and distant for sale, mainly to foreign travelers. The objective of this work was to investigate evidence in the photographs of elements of colonial discourse that emphasize the racial inferiority of the \"other\" through stereotypes that establish identities and legitimize, support and contribute to the maintenance of domination. In addition, the present work intends to scale the analyzed photographs with the imagery of hyperboles and riches that, since the first reports of Europeans about the Amazon, directed the representations about it. Such representations reverberated at the Universal Exhibition in Paris in 1867, where Brazil presented itself as a supplier of raw materials to attract foreign investment. In our investigation, we use the photographs as the main source, as well as the catalog produced by Leuzinger House of photographies to accompany the photographs of Frisch

This dissertation examines the dissolution of landscape painting as a major cultural project in the late nineteenth-century United States. As a genre aligned with the goals of nation building, landscape maintained a privileged artistic status for much of the nineteenth century. Yet as frontier development, land speculation, environmental change, and other factors slowly rendered its conventions meaningless, landscape became the site through which American artists most urgently sought to come to terms with the modern world. This argument is anchored by unorthodox artworks, from landscapes resembling banknotes to paintings made out of bird feathers—limit cases that allude to the failure of landscape in sustaining American cultural goals. Chapter One concerns Albert Bierstadt's aesthetic struggles in post-frontier America. During the 1890s, Bierstadt's anxieties about landscape surfaced in the particularities of objects that fold and unfold, from butterflies painted by chance to expanding railway cars—objects that might be considered the subconscious of a genre built upon expansionist ideology. Chapter Two argues that Martin Johnson Heade's tropical and marsh paintings of the 1870s and 1880s used “groundless” conditions to express cultural insecurities about traversable land and its representation. The pictorial blockages and interferences in Heade's paintings challenge both the compositional legibility espoused in the blockbuster canvases of his mentor and rival Frederic Church and the physical accessibility promised by the period's environmental interventions. Chapter Three proposes that Ralph Blakelock's nocturnes and money paintings—produced in the context of rampant land speculation, volatile art markets, and representational doubts surrounding paper currency—attempt but fail to overcome landscape's monetary entanglements. Blakelock's paintings theorize the value of labor and material accumulation in the increasingly abstract economic world of the last decades of the nineteenth century. Chapter Four reconsiders the trope of the "figure in the landscape" using Abbott Thayer's turn-of-the-century representations of animal camouflage. In these mixed-media artworks, Thayer's attempts to visualize invisibility demonstrate the ways in which camouflage proved irreconcilable with landscape's figure-ground principles. Together, these episodes trace pictorial attempts to resolve spatial problems arising with modernity, and in so doing, they signal a shift toward new paradigms of representation. / History of Art and Architecture

Made available in DSpace on 2016-08-03T12:21:07Z (GMT). No. of bitstreams: 1 Kleiton Cerqueira.pdf: 516604 bytes, checksum: fe4899e2265fa8146e0aab6169fe3647 (MD5) Previous issue date: 2010-05-04 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The present research pursuits from two fundamental bases of Albert Camus thought, which are, absurd and the revolt discusses the relation between Camus thought and religion with regard to his refusal to accept the conception or attitude that resorts to a meaning beyond human existence. Camus - who was an Algerian writer and received a Nobel Prize for Literature in 1959. He conceived the absurd as an experience resultant of the awareness of asymmetry current in the human existence. This asymmetry is set in the extreme between the human desire for happiness, unity and fullness and the evidence expressed by pain, fragmentation and limitation. The revolt exists in this scenery as Camus answer for the simultaneously demand for justice and revolt against death. As far as religion is concerned, Camus understands it as an escape founded on hope. This escape neglects and impedes the extreme consideration of human condition. The religious hope, in short, invalidate the revolt as a legitimate answer to the existential condition, as it intends to justify the injustice as an answer to a mystery. As it was provided the description of absurd and the revolt, this research turns to Paul Tillich s thought, a German theologian and philosopher, as a theoretical reference in order to analyse the specific relation between religion and Camus thought. The concept of religion and faith in Paul Tillich is as an important element as it takes into consideration the existence of an ambiguity in the religious experience, performed by Paul Tillich from the dialogue between finite and infinite, or, in other words, between the being and the no being. From Paul Tillich, we ask about the possibility of religion, even amid statement of the impossibility of the eternal. So, there ensue to the consideration that the carrying out of religious experience in Camus as an expression of a profane transcendence, where the refusal of God take communion with an everlasting demanding for perfection and eternity. / A presente pesquisa busca, a partir dos dois pólos fundamentais ao pensamento de Albert Camus, a saber, o absurdo e a revolta, discutir a relação do pensamento camusiano com a religião, no que tange fundamentalmente à sua recusa frente a um pensamento ou atitude que recorra a um sentido além da existência humana. Camus escritor franco-argelino e Prêmio Nobel de Literatura em 1959 concebeu o absurdo como a experiência resultante da consciência de assimetria vigente na existência humana. Esta assimetria se estabelece na polarização entre o anseio humano por felicidade, união e plenitude e a evidência expressa pela existência de dor, fragmentação e limite. A revolta subsiste neste cenário como resposta camusina: esta é concomitantemente reivindicação de justiça e insurreição contra a morte. No que concerne à religião, Camus compreende uma fuga fundamentada na esperança. Esta fuga negligencia e impede a consideração radical da condição humana. A esperança religiosa, em suma, anula a revolta como resposta legitima a condição existencial: pretende justificar o injusto com base em um mistério. Realizada a descrição do absurdo e da revolta, recorre-se ao pensamento do teólogo e filósofo alemão Paul Tillich, como referencial teórico para a análise específica da relação entre religião e pensamento camusiano. O conceito de religião e fé em Paul Tillich apresenta-se como elemento importante para a consideração desta relação ao salientar a vigência da ambigüidade na experiência religiosa, interpretada em Paul Tillich a partir da experiência dialógica entre o finito e o infinito, ou, em outros termos, entre o ser e o não-ser. A partir de Paul Tillich pergunta-se sobre a possibilidade da religião, mesmo em meio à afirmação da impossibilidade do eterno. Caminha-se, assim, para a consideração da efetividade da experiência religiosa em Camus como expressão de uma transcendência profana , onde a recusa a Deus comunga com uma perene reivindicação da perfeição e do eterno.

Made available in DSpace on 2016-08-29T14:11:05Z (GMT). No. of bitstreams: 1 tese_8947_Tese doutorado Angela Binda - versão final.pdf: 1339129 bytes, checksum: 0da5a74d7cda130ee46b750242cdcf15 (MD5) Previous issue date: 2015-06-26 / Esta pesquisa investiga a influência do sol, e da natureza em geral, no comportamento dos protagonistas de Létranger e Noces, de Albert Camus. Estabelece uma relação entre homem e natureza, tomando como ponto de partida o conceito do absurdo da vida humana, sentimento que leva os personagens do escritor franco-argelino a se locomover em um mundo sem sentido cuja única certeza é a morte. Em seguida, propõe um estudo a respeito de alguns aspectos da infância do escritor, como a pobreza e a luz mediterrânea, fatores que se mostraram relevantes para a literatura de Albert Camus. Por fim, analisa o papel ambíguo que a natureza desempenha no contexto ficcional de Létranger e Noces, revelando-se como motivo ora de contentamento, ora de transtorno para os personagens dessas obras. / Cette recherche examine l'influence du soleil, et de la nature en général, sur la conduite des protagonistes de L'étranger et Noces, d‘Albert Camus. Établit un rapport entre l'homme et la nature, en prenant comme point de départ le concept de l'absurdité de la vie humaine, sentiment qui mènent les personnages de l'écrivain français-algérien à se déplacer dans un monde sans sens dont la seule certitude est la mort. Ensuite propose une étude sur certains aspects de l'enfance de l'écrivain, comme la pauvreté et la lumière méditerranée, des facteurs qui y apparaissaient comme pertinents pour la littérature d'Albert Camus. Enfin, analyse le rôle ambigu que joue la nature dans le contexte fictionnel de L'étranger et Noces, en se révélant comme raison tantôt de contentement, tantôt de trouble pour les personnages de ces œuvres.

Esta dissertação discutirá, com uma abordagem predominantemente analítica, aspectos em aberto do Modelo Sznajd e de algumas de suas variantes. Apresentaremos uma equação mestra que descreve a evolução de opiniões para o modelo e estudaremos seus estados estacionários numa aproximação de campo médio. Mostraremos que esta simples abordagem é suficientemente para descrever seu comportamento qualitativo. A introdução de ruído à dinâmica do modelo também é analisada. Observa-se, neste caso, a existência de uma transição de fase entre um estado onde há um candidato majoritário (estado ordenado) e um estado onde todas as opiniões coexistem com aproximadamente o mesmo número de eleitores (estado desordenado), dependendo da intensidade desse ruído. Resultados de simulações de Monte Carlo numa rede de Barabási-Albert apresentam boa concordância quando confrontadas com resultados analíticos. / This work discusses, mainly with an analytical approach, the Sznajd Model and some of its variants. We propose a master equation that describes the evolution of opinions in the model, studying its possible steady states in a mean-field approximation. We show that this approach, although very simple, is enough to describe the qualitative behavior of the model. The introduction of noise in the dynamics is also studied in detail. In this case we show that there is a phase transition between an state in which a single candidate has the majority of the votes (ordered phase) and another one where the votes are well distributed among all the candidates (disordered phase), depending on the level of noise. Monte Carlo simulations in a Barabási-Albert network show good agreement with the analytical results.

O presente estudo trata das fotografias resultantes da expedição realizada pelo bávaro Christoph Albert Frisch (1840 1918), na extensão brasileira do rio Solimões a pedido da Casa de Leuzinger, ativa cidade do Rio de Janeiro durante o início da segunda metade do século XIX e interessada na comercialização de imagens do exótico e do longínquo para a venda, principalmente a viajantes estrangeiros. O objetivo deste trabalho foi a investigação de indícios, nas fotografias, de elementos do discurso colonial que enfatizam a inferioridade racial do outro por meio de estereótipos que fixam identidades e legitimam, apoiam-se e contribuem para a manutenção dessa dominação. Além disso, o presente trabalho pretende dimensionar as fotografias analisadas com o imaginário de hipérboles e riquezas que, desde os primeiros relatos de europeus sobre a Amazônia, direcionaram as representações sobre a ela. Tais representações reverberaram na Exposição Universal de Paris, em 1867, onde o Brasil apresentou-se como de fornecedor de matérias primas visando à atração de investimentos estrangeiros. Em nossa investigação, valemo-nos das fotografias como fonte principal, bem como o catálogo produzido pela Casa Leuzinger para acompanhar as fotografias de Frisch. / The present study deals with the photographs resulting from the expedition carried out by the Bavarian Christoph Albert Frisch (1840-1918) in the Brazilian extension of the Solimões River at the request of the Leuzinger House of photographies, an active city of Rio de Janeiro during the beginning of the second half of the 19th century. interested in commercializing images of the exotic and distant for sale, mainly to foreign travelers. The objective of this work was to investigate evidence in the photographs of elements of colonial discourse that emphasize the racial inferiority of the \"other\" through stereotypes that establish identities and legitimize, support and contribute to the maintenance of domination. In addition, the present work intends to scale the analyzed photographs with the imagery of hyperboles and riches that, since the first reports of Europeans about the Amazon, directed the representations about it. Such representations reverberated at the Universal Exhibition in Paris in 1867, where Brazil presented itself as a supplier of raw materials to attract foreign investment. In our investigation, we use the photographs as the main source, as well as the catalog produced by Leuzinger House of photographies to accompany the photographs of Frisch

Dentre os planos que Albert Camus estabeleceu para a sua obra, prevaleceu nos seus escritos e declarações a tríplice que incluía os ciclos do absurdo, da revolta e do amor. Cada um dos ciclos seria composto de pelo menos uma peça de teatro, um romance e um ensaio, além de também ser acompanhado de um mito central, sendo respectivamente Sísifo, Prometeu e Nêmesis. Com a sua morte súbita em acidente de carro aos 46 anos, o escritor deixou alguns vestígios do que viria a compor o seu terceiro ciclo: o romance inacabado O primeiro homem, anotações sobre a peça Don Fausto e elementos para o ensaio O mito de Nêmesis. A presente pesquisa reúne e contextualiza os rastros deixados por Camus em torno da sua relação com o mito de Nêmesis a fim de oferecer uma chave de leitura para a sua obra e expor um panorama formal, temático e filosófico de um dos seus últimos projetos de ensaio. / Among the plans that Albert Camus has established to his work it has prevailed, in his writings and declarations, the triple that includes cycles of absurd, revolt and love. Each one of the cycles would be composed at least of a theater play, a novel and an essay. Besides, they are also followed by a central myth, being Sisyphus, Prometheus and Nemesis. After Camus sudden death at age 46, he left some traces of what would it be consisted his third cycle: the unfinished novel The first man, notes about the play Don Faust and elements for the essay The myth of Nemesis. The presented research reunites and contextualizes the traces let by Camus around his relationship with the myth of Nemesis in order to offer a reading key to his work and to expose a formal, thematic and philosophical overview of this essay project.

Cette thèse a pour objet de retracer l’histoire de la réception de l’œuvre d’Albert Camus en Chine et de mettre au jour l’influence qu’elle a pu exercer sur les écrivains chinois. Le processus de la réception de l’œuvre de Camus en Chine étant inséparable du processus de l’évolution politique et culturelle chinoise, il est examiné sous l’angle de la sociologie, de l’histoire politique, de la littérature comparée, et de la traductologie. L’étude met ainsi en lumière les circonstances historiques, sociales, culturelles, politiques des différentes périodes au cours desquelles l’œuvre de Camus a été reçue, traduite, publiée, et critiquée en Chine. / This thesis aims at retracing the history of the reception of the work of Albert Camus in China and exposing the influence it has on Chinese writers. The process of the reception of Camus' work in China is inseparable from the process of Chinese political and cultural evolution and is examined from the angle of sociology, political history, comparative literature, and Translatology. The study highlights the historical, social, cultural and political circumstances of the different periods during which Camus's work has been received, translated, published and criticized in China.

Au début des Carnets, exprimant ce qui le pousse à créer, Albert Camus mentionne « la nostalgie d’une pauvreté perdue ». Une nostalgie ambiguë, qui ne signifie pas un simple regret du temps perdu, mais qui se relève du « sentiment bizarre » que le fils porte à sa mère silencieuse. Elle consiste en réalité dans l’aspiration douloureuse à la tendresse, qui est liée intrinsèquement à la misère de l’existence que l’auteur a vécue dans son enfance. Dans le but de raconter son passé, il élabore sa nostalgie comme essence de sa sensibilité. Signe de complexité, une telle captivité comporte de plus le regret et la mauvaise conscience à l’égard du milieu pauvre qu’il a quitté. Quoique paraissant ambiguë, le nom de nostalgie est juste, s’agissant de la quête de l’identité au fond : dans la sensibilité déchirée s’inscrit la recherche inassouvissable d’une véritable origine de l’être. D’où le fait que, dans le contexte existentiel, la notion del’absurde s’établit sur la sensibilité nostalgique : l’homme se trouve déchiré entre sa condition limitée et son aspiration à une vie de plénitude. Il choisit de tenir sa nostalgie déchirante comme le fond de son être, son axe de vie et sa raison de vivre. Pour l’homme absurde, la création littéraire n’est pas une option, mais la volonté de lucidité et de liberté, en vue de « donner aux couleurs le pouvoir d’exprimer le vide ». L’oeuvre figure la dialectique de la présence et de l’absence, ce qu’expriment par moyens divers les romans camusiens. Enfin, le dernier Camus exprime la nostalgie de la patrie en tant que quête consciente de sonorigine, du « soleil enfoui », qui l’attire et le dirige, qu’il connaît depuis toujours. / In the beginning of Carnets, Albert Camus mentions “the nostalgia for a lost poverty” as he expresses what drives him to create. Ambiguous nostalgia, which does not mean a simple regret of lost time, concerns the “strange feeling” that the son carries toward his silent mother. In reality, it consists in the painful aspiration for tenderness, which is intrinsically bound up with the misery that the author has experienced in his childhood. In order to tell his past, he elaborates his nostalgia as the essence of his sensitivity. And as a signof its complexity, such captivity includes a regret and a sense of guilt towards the poor environment which he left behind. Despite its ambiguity, the name of nostalgia is just because it concerns the quest for identity: in the torn sensitivity, there is an insatiable quest for a true source of being. Therefore, in the existential context, the concept of the absurd is established upon the nostalgic sensibility: human beings are torn between their limited condition and their desire for a full life. They choose to hold their torn nostalgia astheir existential foundation, their life axis and their raison d’être. For the absurd man, literary creation is not an option. It embodies the will of lucidity and liberty, in order to “give power of expressing vacuum to colors”. The dialectic of presence and absence is represented in the novels of Camus in various ways. In his later years, Camus expresses nostalgia for the homeland, consciously searching for his origin; the quest after his “buried sun”. He has always known this “buried sun” which had been attracting him as his guidance.