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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
411

Novas matrizes míticas em O turista aprendiz de Mário de Andrade e em Tristes trópicos de Claude Lévi-Strauss

Gonçalves, Sandra Maria Luvizutto 17 March 2010 (has links)
Made available in DSpace on 2016-04-28T19:59:21Z (GMT). No. of bitstreams: 1 Sandra Maria Luvizutto Goncalves.pdf: 2384106 bytes, checksum: 775541195573dedce8167614b7ef287a (MD5) Previous issue date: 2010-03-17 / The objective of this paper is to develop a comparison study between cultural and artistic experiences narrated by the poet Mário Raul de Moraes Andrade in O turista aprendiz (2002) and Tristes trópicos (1996) by the French anthropologist and writer Claude Lévi-Strauss. The impressions captured by them while visiting the Amazon region are our study and demonstration objects, sustained by the concepts of alterity, based on the exotic eye and the encounter with the Other . The central objective is in the reading and analysis of the travel reports, which confirmed the experience lived by the writers, showing that both of them trespassed the physical geography of visited places and, literarily, reconfigured it by means of artistic and poetic subjectivity in order to be able to unveil the new mythical matrixes of the Brazilian Amazon. The themes are distributed as follows: chapter 1 presents the exotic and the complexity in the distinction between reality and fiction in the travel reports, in light of practical alterity. Chapter 2 approaches the differences and contrasts between two foreigners and the Other , facing the reality observed. Chapter 3 reveals the encounter with the Other , the unknown, which resulted in a fictional transgeography . The theoretical parameters of support were based on the work by: Antonio Candido (1976), François Dosse (1993), Txyetan Todorov (1993), Julia Kristeva (1994), Telê Ancona Lopez (1996), Mikhail Bakhtin (2003), Emmanuel Lévinas (2005), among other authors. We prioritized the comparatist method of direct observation of the object on a fictional travel report, thus opening an equity relation in receiving the Other in its anonymity and, consequently, creating a rupture with the absolute thinking of science. / A presente dissertação tem o objetivo geral de desenvolver um estudo comparatista entre as experiências culturais e artísticas narradas nas obras O turista aprendiz (2002), do escritor e poeta Mário Raul de Moraes Andrade, e Tristes trópicos (1996), do antropólogo e escritor francês Claude Lévi-Strauss. As impressões registradas por eles, na visita à região amazônica, são nossos objetos de demonstração e estudo, sustentados pelos conceitos de alteridade, a partir do olhar exótico e do encontro com o Outro. O objetivo central localiza-se na leitura e análise dos relatos de viagem, confirmadores das experiências vividas pelos escritores, para mostrar que ambos transgrediram a geografia física dos lugares visitados e, literariamente, reconfiguraram-na por meio da subjetividade artística e poética, de modo a poder revelar as novas matrizes míticas da Amazônia brasileira. A temática está assim distribuída: o capítulo I apresenta a questão do exótico e da complexidade na distinção entre realidade e ficção nos relatos de viagem, à luz da prática da alteridade. O capítulo II trata das diferenças e contrastes entre o olhar dos dois estrangeiros e o do Outro, diante da realidade observada. O capítulo III revela-nos o encontro com o Outro, com o desconhecido, o que resultou numa transgeografia ficcional . Os parâmetros teóricos de suporte foram: Antonio Candido (1976), François Dosse (1993), Tzvetan Todorov (1993), Julia Kristeva (1994), Telê Ancona Lopez (1996), Mikhail Bakhtin (2003), Emmanuel Lévinas (2005), dentre outros. Priorizamos o método comparatista da observação direta do objeto em relato ficcional de viagem, abrindo, assim, uma relação de equidade ao receber o Outro no seu anonimato e, consequentemente, rompendo com o pensamento absoluto da ciência.
412

A outra história da igreja na América Latina escrita a partir do Outro, pobre e oprimido: a alter-história construída por Enrique Dussel

Rega, Lourenço Stelio 27 August 2007 (has links)
Made available in DSpace on 2016-04-25T19:20:48Z (GMT). No. of bitstreams: 1 Lourenco Stelio Rega.pdf: 10930790 bytes, checksum: 726653474fce7e8d52524be11def05f6 (MD5) Previous issue date: 2007-08-27 / For a long time the History of the Church in Latin America was written following the canons of positivist History, privileging the institution, power, politics, colonization and as a collateral effect, the intentional oppression towards the original people of the hidden land, which through this form of writing History was forgotten, became anonymous, without the right of becoming the source, to also be counted as the builder of the historic facts. Furthermore, the History of the church was built from a eurocentric perception; this included the Latin American church that figured as an appendix in the History compendia. It would be necessary to provoke a revolution in the writing of History, doing it from the bottom , from the basement to the attic , starting from the forgotten people, instead of starting from the institution, from the Church. Thus the present thesis aims to demonstrate that the historical work of Enrique Dussel was constructed upon another History of the Church in Latin America, built upon the Other forgotten one by the Church, the other poor one, but also oppressed, being therefore a History written by the otherness (alterity) of the person and not by the Institution. A History starting from the Other, for the Other and by the Other. An Alter-History (Otherness-History). This Enterprise of Dussel was concretized with the creation of the Commission for the Studies of the History of the Church in Latin America Comisión para Estudios de la Historia de la Iglesia en América Latina (CEHILA), directed continuously by him for 20 years and which was the object of his interchange in effecting the operating foundations of the other History of the Church in Latin America / Por muito tempo a História da Igreja na América Latina foi escrita sob os cânones da História positivista, privilegiando a instituição, o poder, a política, a colonização e, como efeito colateral, a opressão intencionada ao povo originário da terra encoberta , que, nesta forma de escrever a História, foi esquecido, ficou anônimo, sem o direito de ser fonte, de ser contado também como construtor de fatos históricos. Além disso, a História da Igreja era construída desde uma óptica eurocêntrica, isso incluía a Igreja latino-americana, que contava como um apêndice nos compêndios de História. Seria preciso provocar uma revolução na escrita da História, escrevendo-a de baixo , do porão ao sótão , à partir do povo esquecido, em vez de partir da instituição, da Igreja. Sendo assim, a presente tese tem como objetivo demonstrar que a obra histórica de Enrique Dussel se constituiu numa outra História da Igreja na América Latina construída a partir do Outro esquecido pela Igreja, o Outro pobre, mas também oprimido, sendo, portanto, uma História escrita a partir da alteridade, da pessoa e não a partir da instituição. Uma História escrita a partir do Outro, para o Outro e pelo Outro. Uma Alter-História. Este empreendimento de Dussel foi concretizado com a criação da Comisión para Estudios de la Historia de la Iglesia en América Latina (CEHILA), por ele dirigida por 20 anos seguidos e que foi objeto de sua interlocução na efetivação e construção dos fundamentos operativos da outra História da Igreja na América Latina
413

Taking Mormons Seriously: Ethics of Representing Latter-day Saints in American Fiction

Williams, Terrol Roark 10 July 2007 (has links)
My paper examines the ethics of representing Mormons in serious American fiction, viewed through two primary texts, Bayard Taylor's nineteenth-century dramatic poem The Prophet and Maureen Whipple's epic novel The Giant Joshua. I also briefly examine Walter Kirn's short stories “Planetarium” and “Whole Other Bodies.” Using Werner Sollors' and Matthew Frye Jacobson's writings on ethnicity as foundational, I argue in that Mormonism constitutes an ethnicity, which designation accentuates the ethical demands of those who represent the group. I also use W.J.T. Mitchell's theories of representation as the basis of my arguments of the ethics of representing ethnicity. As ethical theorists, Emmanuel Levinas and Edward Said inform the theoretical framework of my project, and I place their theories both in opposition to and harmony with each other in terms of what it means to be truly “Other” and the responsibility of those who view, represent, project, or accept otherness as essential to being. I also borrow from Wayne C. Booth, particularly in his practical application of ethics theory. I employ Terryl Givens, Michael Austin, Bruce Jorgensen, and Gideon Burton to help bring the theory into the field of Mormon studies. In applying all these theorists to Taylor and Whipple I examine Taylor's exoticizing, “Othering” Mormons, creating an “Oriental” version of the rise of Mormonism, parallel to some of his Middle Eastern travel writing. Taylor also makes the remarkable ethical step of being the first non-Mormon to “take Mormons seriously” in literary fiction. I demonstrate how his use of classical literary forms and themes moves the ethical treatment of Mormons forward in an unprecedented way. Maureen Whipple relies on some of the sensational, romantic tropes in common use, but overall she also moves forward ethical representation of Mormons in serious literature, being the best-received of “Mormondom's Lost Generation” of literary writers. In conclusion I argue that these texts, along with the more problematic Kirn stories, help create a positive ethical climate for Mormon representation.
414

La fabrique des imaginaires de l’altérité dans les biennales internationales d’art contemporain depuis 1989 / Otherness as an imagined community in the contemporary international art biennials since 1989

Fetnan, Rime 06 June 2019 (has links)
Cette thèse vise à interroger la façon dont les biennales internationales d’art contemporain, en tant qu’événements culturels et premiers temps d’historicisation des oeuvres et des artistes, contribuent à la fabrique des imaginaires de l’altérité. Le cadrage chronologique de notre recherche s’ancre à partir de 1989, date qui correspond à un « tournant global », un changement de paradigme qui aurait eu pour effet de repenser les rapports de domination et les logiques de centre/périphérie, notamment dans le champ de l’art contemporain. L’internationalisation de l’art contemporain et le renouvellement des cadres de pensées que l’on rattache au « tournant global » ont donné lieu à l’émergence d’un processus de labellisation de la différence, dont témoignent des catégories artistiques et esthétiques telles que « art non-occidental » ou « art global », porteuses d’imaginaires renouvelés que ce travail de recherche entend analyser. Notre démarche, qui s’appuie sur un corpus de six expositions ayant marqué le champ des événements culturels internationaux, est volontairement pluridisciplinaire et vise à considérer l’hétérogénéité du matériel qui compose ces expositions. En premier lieu, la mise en lumière des discours expographique résulte de l’analyse conjointe de trois composantes : les écrits, à partir desquels nous proposons une typologie spécifique qui considère la fois les intentions qui président à leur production et les usages qui en sont faits ; les pratiques artistiques, qui dans le cadre des biennales sont au service du discours expographique ; et les gestes de mise en exposition qui sont propres au dispositif médiatique spécifique des biennales. En deuxième lieu, la réalisation d’entretiens et la collecte d’archives ont permis de circonscrire le contexte d’énonciation et l’intentionnalité des événements. En tant que dispositif médiatique à part entière, le catalogue d’exposition a également donné lieu à une méthodologie adaptée à l’ensemble des éléments (discursifs et non discursifs) qui le caractérise. Plus particulièrement, les écrits de connaissances que l’on y trouve ont fait l’objet d’une analyse sémiolinguistique permettant de mettre en lumière les processus de concrétisation des concepts, et donc de saisir les imaginaires et valeurs qui sont attachés. L’approche privilégiée pour analyser ce corpus permet ainsi d’articuler à la fois les spécificités de chaque exposition (c'est-à-dire leur individuation à travers l’articulation de leur concept et de leur dispositif) et leur inscription dans un réseau (en tant que résultat d’un processus de réécriture), vis-à-vis du thème de l’altérité. / This research aims to examine how contemporary international art biennials, considered as cultural events and as first step in the historicization process of works and artists, contribute to the making of « otherness » as an imagined community. The chronologic frame of our research is anchored in 1989, which correspond to the « global turn », a shift of paradigm that would have led to the rethinking of domination relationship and the logic center/periphery, especially in the field of contemporary art. The internationalization of contemporary art and the renewal of the frameworks of thought that are often connected with the global turn have led to a process of labeling the difference, as evidenced by artistic and aesthetic categories such as « non-western art » or « global art » that carry renewed representations that this research intends to analyze. Our approach, which is based on a corpus of six exhibitions that have marked the field of international cultural events, is deliberately multidisciplinary and aims to consider the heterogeneity of the material that composes these exhibitions. First, we highlight the expographic discourses from the analysis of three components : the writings, from which we propose a specific typology that considers both the intentions that preside over their production and the uses that are made of them ; artistic practices, which in the context of biennials are at the service of the expographic discourse ; and the gestures of exhibitions which are characteristics of the specific media device of the biennials. Secondly, interviews and the collect of archival documents have led us to circumscribe the context of enunciation and the intentionality of the events. As a media device in its own right, the exhibition catalog also gave rise to a metholody adapted to all the elements (discursive and non-discursive) that characterize it. More particularly, the writings of knowledge have been the subject of semiolinguistic analysis to highlight the processes of concretization of concepts, and thus have led us to grasp the artistic values that are attached to the imagined otherness. The preferred approach to analyze this corpus thus makes it possible to articulate the specificities of each exhibition (i.e their individuation through the articulation of their concept and their device), and their inscription in a network (as a result of a process of rewriting) at the same time.
415

Nya rum för socialt medborgarskap : Om vetenskap och politik i "Zigenarundersökningen" - en socialmedicinsk studie av svenska romer 1962-1965

Ohlsson Al Fakir, Ida January 2015 (has links)
This thesis investigates Zigenarundersökningen [the Gypsy study] – a socio-medical study of Swedish Roma conducted in 1962-1965. The Study was financed by the National Labour Market Board, which sought scientific information on every adult Roma citizen in order to plan for targeted authority interventions. The socio-medical team used a number of different medical and social techniques, drawing together different kinds of data – from the molecular to the social level – and adding “objective” records from public institutions, which resulted in the creation of detailed and voluminous individual case files. On the basis of these files, the public health specialist John Takman in charge of the socio-medical examinations formulated a professional opinion on each individual and family. During the execution of the study, new scientific and social questions were articulated, resulting in that the originally limited investigation concerning only a smaller group of Roma citizens evolved into a comprehensive research project covering all people identified as Swedish Roma. In this thesis, this expansion is analysed using methodological tools from Science and Technology Studies that focus on the reflexivity between the goals of scientific actors, and the social conditions and problematisations that surround them. In this way, science and policy mutually influence each other in situated practices, which also involves the drawing of scientific boundaries that serve to establish epistemic authority.   Departing from Engin F. Isin’s theory on social citizenship, and its alterities, as constituted in contingent and contextualised social practices, and from Franca Iacovetta’s study of Canadian gatekeepers’ work in cold-war Canada, the thesis investigates how the, with time, increasing and more comprehensive activities of experts and professionals created new dimensions of citizenship. Against this background, the thesis draws the conclusion that the scientific-political examinations of problematised citizenship and citizens in Sweden in the 1960’s, while defining deviance, also defined normality. This implies, furthermore, that scientific measurements and classifications of alterity contributed to constituting those measuring and classifying – the experts and professionals – as virtuous citizens, in accordance with contemporary norms of professionalism and expertise, while the Roma were continually constructed as problematic citizens. Hence, scientific-political activities concerning Swedish Roma in the 1960’s created new spaces of social citizenship, where the contents of both normality and deviance were nuanced and (re)defined.
416

Alteridade e (re)construção identitária em quatro romances de Moacyr Scliar : O centauro no jardim; Na noite do ventre, o diamante; Os deuses de Raquel e A estranha nação de Rafael Mendes

Cerqueira, Patricia Conceição Borges Franca Fialho January 2014 (has links)
Cette recherche vise à analyser les figurations de l'altérité, en tenant compte du processus de reconstruction de l'identité des personnages et de leur relation avec la mémoire culturelle, à partir de la lecture de quatre romans O centauro no jardim (1980); Na noite do ventre, o diamante (2005); Os Deuses de Raquel (1975) et A estranha nação de Rafael Mendes (1983). Les relations entre la littérature, l'identité et l'altérité sont au coeur du débat contemporain. Pierre Ouellet affirme que l'altérité est sans aucun doute l'un des phénomènes les plus étudiés et l'un des concepts les plus utilisés par les sciences humaines, les lettres et la philosophie au cours des trente dernières années. Mais c'est aussi une idée des plus polémiques et controversées, même dans les usages plus ou moins idéologiques que l´on peut faire aujourd'hui. Elle conduit donc à ré-interroger les bases épistémologiques, le contexte sociohistorique et la portée éthique et esthétique de ce phénomène, ou cette notion à la lumière de ces différentes significations et leurs différents emplois. Dans la littérature brésilienne contemporaine, les auteurs de différentes ethnies travaillent systématiquement avec les questions de l'immigration, de l'altérité et de la mémoire culturelle. Car, bien que la contribution des immigrants à la formation de notre société ait été d'une importance primordiale, tels éléments ont été représentés de manière timide, voire, homogénéisée, à la fois dans la littérature et dans l'histoire du Brésil. Moacyr Scliar est un auteur d'origine juive qui travailla beaucoup les questions liées à l'identité, à la diversité et aux minorités. Pour cette raison, Scliar lui-même affirme qu'il est nécessaire de "donner la parole à ceux qui ne l'ont pas, en faisant de leurs histoires l'Histoire que la version officielle détourne et pasteurise.". Ainsi, l'auteur, par le biais de l'approche thématique de la vie sociale, ouvre un espace pour la réflexion sur l'altérité. Ainsi, l'étude des "figurations de l'altérité", présentes dans les romans examinés dans cette étude, est nécessaire puisque, dans ces oeuvres, les personnages sont toujours vus, comme dirait Linda Hutcheon, "ex-centriques", "marginalisés", "figures périphériques de l´histoire fictive", c'est-à- dire, ils sont toujours "l'autre", le différent. Les textes choisis interrogent les relations et les conflits culturels à travers la figure de l´ immigrant, un personnage qui est dans une situation limite, "entre deux mondes" et qui a souvent du mal à s´intégrer, n´étant ainsi plus "l'autre". / A presente pesquisa visa a analisar as figurações da alteridade, levando em consideração o processo de (re)construção identitária dos personagens e sua relação com a memória cultural, a partir da leitura de quatro romances de Moacyr Scliar: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983) e Na noite do ventre, o diamante (2005). As relações entre literatura, identidade e alteridade estão no centro do debate da contemporaneidade. Pierre Ouellet afirma que a alteridade é, sem nenhuma dúvida, um dos fenômenos mais estudados e um dos conceitos mais utilizados pelas ciências humanas, as letras e a filosofia no curso dos últimos trinta anos. Mas é também uma noção das mais polissêmicas e das mais controversas, até em usos mais ou menos ideológicos que se podem fazer hoje. Ela conduz, pois, a reinterrogar as bases epistemológicas, o contexto sóciohistórico e o alcance ético e estético desse fenômeno, ou dessa noção à luz dessas diversas acepções ou de seus diferentes empregos. Na literatura brasileira contemporânea, autores oriundos de diversas etnias trabalham de maneira sistemática com as questões da imigração, da alteridade e da memória cultural. Pois, embora a contribuição do imigrante para a formação da nossa sociedade tenha sido de suma importância, tais elementos vinham sendo representados de modo tímido, ou até mesmo, homogeneizados, tanto na literatura quanto na história brasileiras. Moacyr Scliar é um autor de origem judaica que trabalha exaustivamente as questões ligadas à identidade, diversidade e às minorias. Scliar, ele mesmo, afirma que é necessário “dar voz àqueles que não a têm, fazendo de suas histórias a História que a versão oficial deturpa ou pasteuriza”. Desta maneira, o autor, através da abordagem da temática social, abre espaço para a reflexão acerca da alteridade. Sendo assim, o estudo das “figurações da alteridade”, presentes nos romances analisados nesta pesquisa, faz-se necessário posto que, em tais obras, as personagens estão sempre em uma posição, como diria Linda Hutcheon, de “ex-cêntricos”, “marginalizados”, “figuras periféricas da história ficcional”, ou seja, são sempre o “outro”, o diferente. Os textos escolhidos interrogam as interrelações e os conflitos culturais através da figura do “imigrante”, personagem que se encontra numa situação limítrofe, “entre dois mundos” e que, frequentemente, luta para integrar-se, deixando, desta forma, de ser “o outro”. / This research aims to analyze the figurations of alterity, taking into account the process of identitarian (re)construction of the characters and their relation to cultural memory, based on the reading of four Moacyr Scliar’s novels: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983); e, Na noite do ventre, o diamante (2005). The relations between literature, identity and alterity are central to the contemporary debate. Pierre Ouellet says that alterity is, without a doubt, one of the most studied phenomena and concepts used by Human Sciences, Letters and Philosophy for the last thirty years; but it is also a sense of the polysemous and most controversial uses that can be made today, even in more or less ideological contexts. It directs because the epistemological basis of (re)questioning the sociohistorical context and the ethical and aesthetic scope of this phenomenon, or that notion in light of these different meanings or their various jobs. In contemporary Brazilian literature, authors from different ethnicities work systematically with the issues of immigration, of alterity and cultural memory. For, although the contribution of immigrants to the formation of our society has been extremely important, these elements were being represented in a shy mode, or even, homogenized, both in Brazilian literature and history. Moacyr Scliar is an author of Jewish origin who works extensively with issues related to identity, diversity and minorities. Scliar, himself, says that it "gives voice to those who do not have it, making their stories to the official version of history that misrepresents them or is pasteurized". This way, the author, through social thematic approach, opens space for reflection on alterity. Thus, the study of “figuration of alterity”, present in the romances analyzed in this research, becomes necessary since in these works the characters are always in a position, as Linda Hutcheon would say, of “ex-centric”, “marginalized”, "peripheral figures of fictional history," this is, they are always “the other”, “the different”. Those chosen texts question the interrelations and cultural conflicts through the figure of the "immigrant" character who is on the borderline "between two worlds" and that often struggles to integrate itself, ceasing, thus, to be "the other. "
417

Alteridade e (re)construção identitária em quatro romances de Moacyr Scliar : O centauro no jardim; Na noite do ventre, o diamante; Os deuses de Raquel e A estranha nação de Rafael Mendes

Cerqueira, Patricia Conceição Borges Franca Fialho January 2014 (has links)
Cette recherche vise à analyser les figurations de l'altérité, en tenant compte du processus de reconstruction de l'identité des personnages et de leur relation avec la mémoire culturelle, à partir de la lecture de quatre romans O centauro no jardim (1980); Na noite do ventre, o diamante (2005); Os Deuses de Raquel (1975) et A estranha nação de Rafael Mendes (1983). Les relations entre la littérature, l'identité et l'altérité sont au coeur du débat contemporain. Pierre Ouellet affirme que l'altérité est sans aucun doute l'un des phénomènes les plus étudiés et l'un des concepts les plus utilisés par les sciences humaines, les lettres et la philosophie au cours des trente dernières années. Mais c'est aussi une idée des plus polémiques et controversées, même dans les usages plus ou moins idéologiques que l´on peut faire aujourd'hui. Elle conduit donc à ré-interroger les bases épistémologiques, le contexte sociohistorique et la portée éthique et esthétique de ce phénomène, ou cette notion à la lumière de ces différentes significations et leurs différents emplois. Dans la littérature brésilienne contemporaine, les auteurs de différentes ethnies travaillent systématiquement avec les questions de l'immigration, de l'altérité et de la mémoire culturelle. Car, bien que la contribution des immigrants à la formation de notre société ait été d'une importance primordiale, tels éléments ont été représentés de manière timide, voire, homogénéisée, à la fois dans la littérature et dans l'histoire du Brésil. Moacyr Scliar est un auteur d'origine juive qui travailla beaucoup les questions liées à l'identité, à la diversité et aux minorités. Pour cette raison, Scliar lui-même affirme qu'il est nécessaire de "donner la parole à ceux qui ne l'ont pas, en faisant de leurs histoires l'Histoire que la version officielle détourne et pasteurise.". Ainsi, l'auteur, par le biais de l'approche thématique de la vie sociale, ouvre un espace pour la réflexion sur l'altérité. Ainsi, l'étude des "figurations de l'altérité", présentes dans les romans examinés dans cette étude, est nécessaire puisque, dans ces oeuvres, les personnages sont toujours vus, comme dirait Linda Hutcheon, "ex-centriques", "marginalisés", "figures périphériques de l´histoire fictive", c'est-à- dire, ils sont toujours "l'autre", le différent. Les textes choisis interrogent les relations et les conflits culturels à travers la figure de l´ immigrant, un personnage qui est dans une situation limite, "entre deux mondes" et qui a souvent du mal à s´intégrer, n´étant ainsi plus "l'autre". / A presente pesquisa visa a analisar as figurações da alteridade, levando em consideração o processo de (re)construção identitária dos personagens e sua relação com a memória cultural, a partir da leitura de quatro romances de Moacyr Scliar: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983) e Na noite do ventre, o diamante (2005). As relações entre literatura, identidade e alteridade estão no centro do debate da contemporaneidade. Pierre Ouellet afirma que a alteridade é, sem nenhuma dúvida, um dos fenômenos mais estudados e um dos conceitos mais utilizados pelas ciências humanas, as letras e a filosofia no curso dos últimos trinta anos. Mas é também uma noção das mais polissêmicas e das mais controversas, até em usos mais ou menos ideológicos que se podem fazer hoje. Ela conduz, pois, a reinterrogar as bases epistemológicas, o contexto sóciohistórico e o alcance ético e estético desse fenômeno, ou dessa noção à luz dessas diversas acepções ou de seus diferentes empregos. Na literatura brasileira contemporânea, autores oriundos de diversas etnias trabalham de maneira sistemática com as questões da imigração, da alteridade e da memória cultural. Pois, embora a contribuição do imigrante para a formação da nossa sociedade tenha sido de suma importância, tais elementos vinham sendo representados de modo tímido, ou até mesmo, homogeneizados, tanto na literatura quanto na história brasileiras. Moacyr Scliar é um autor de origem judaica que trabalha exaustivamente as questões ligadas à identidade, diversidade e às minorias. Scliar, ele mesmo, afirma que é necessário “dar voz àqueles que não a têm, fazendo de suas histórias a História que a versão oficial deturpa ou pasteuriza”. Desta maneira, o autor, através da abordagem da temática social, abre espaço para a reflexão acerca da alteridade. Sendo assim, o estudo das “figurações da alteridade”, presentes nos romances analisados nesta pesquisa, faz-se necessário posto que, em tais obras, as personagens estão sempre em uma posição, como diria Linda Hutcheon, de “ex-cêntricos”, “marginalizados”, “figuras periféricas da história ficcional”, ou seja, são sempre o “outro”, o diferente. Os textos escolhidos interrogam as interrelações e os conflitos culturais através da figura do “imigrante”, personagem que se encontra numa situação limítrofe, “entre dois mundos” e que, frequentemente, luta para integrar-se, deixando, desta forma, de ser “o outro”. / This research aims to analyze the figurations of alterity, taking into account the process of identitarian (re)construction of the characters and their relation to cultural memory, based on the reading of four Moacyr Scliar’s novels: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983); e, Na noite do ventre, o diamante (2005). The relations between literature, identity and alterity are central to the contemporary debate. Pierre Ouellet says that alterity is, without a doubt, one of the most studied phenomena and concepts used by Human Sciences, Letters and Philosophy for the last thirty years; but it is also a sense of the polysemous and most controversial uses that can be made today, even in more or less ideological contexts. It directs because the epistemological basis of (re)questioning the sociohistorical context and the ethical and aesthetic scope of this phenomenon, or that notion in light of these different meanings or their various jobs. In contemporary Brazilian literature, authors from different ethnicities work systematically with the issues of immigration, of alterity and cultural memory. For, although the contribution of immigrants to the formation of our society has been extremely important, these elements were being represented in a shy mode, or even, homogenized, both in Brazilian literature and history. Moacyr Scliar is an author of Jewish origin who works extensively with issues related to identity, diversity and minorities. Scliar, himself, says that it "gives voice to those who do not have it, making their stories to the official version of history that misrepresents them or is pasteurized". This way, the author, through social thematic approach, opens space for reflection on alterity. Thus, the study of “figuration of alterity”, present in the romances analyzed in this research, becomes necessary since in these works the characters are always in a position, as Linda Hutcheon would say, of “ex-centric”, “marginalized”, "peripheral figures of fictional history," this is, they are always “the other”, “the different”. Those chosen texts question the interrelations and cultural conflicts through the figure of the "immigrant" character who is on the borderline "between two worlds" and that often struggles to integrate itself, ceasing, thus, to be "the other. "
418

Alteridade e (re)construção identitária em quatro romances de Moacyr Scliar : O centauro no jardim; Na noite do ventre, o diamante; Os deuses de Raquel e A estranha nação de Rafael Mendes

Cerqueira, Patricia Conceição Borges Franca Fialho January 2014 (has links)
Cette recherche vise à analyser les figurations de l'altérité, en tenant compte du processus de reconstruction de l'identité des personnages et de leur relation avec la mémoire culturelle, à partir de la lecture de quatre romans O centauro no jardim (1980); Na noite do ventre, o diamante (2005); Os Deuses de Raquel (1975) et A estranha nação de Rafael Mendes (1983). Les relations entre la littérature, l'identité et l'altérité sont au coeur du débat contemporain. Pierre Ouellet affirme que l'altérité est sans aucun doute l'un des phénomènes les plus étudiés et l'un des concepts les plus utilisés par les sciences humaines, les lettres et la philosophie au cours des trente dernières années. Mais c'est aussi une idée des plus polémiques et controversées, même dans les usages plus ou moins idéologiques que l´on peut faire aujourd'hui. Elle conduit donc à ré-interroger les bases épistémologiques, le contexte sociohistorique et la portée éthique et esthétique de ce phénomène, ou cette notion à la lumière de ces différentes significations et leurs différents emplois. Dans la littérature brésilienne contemporaine, les auteurs de différentes ethnies travaillent systématiquement avec les questions de l'immigration, de l'altérité et de la mémoire culturelle. Car, bien que la contribution des immigrants à la formation de notre société ait été d'une importance primordiale, tels éléments ont été représentés de manière timide, voire, homogénéisée, à la fois dans la littérature et dans l'histoire du Brésil. Moacyr Scliar est un auteur d'origine juive qui travailla beaucoup les questions liées à l'identité, à la diversité et aux minorités. Pour cette raison, Scliar lui-même affirme qu'il est nécessaire de "donner la parole à ceux qui ne l'ont pas, en faisant de leurs histoires l'Histoire que la version officielle détourne et pasteurise.". Ainsi, l'auteur, par le biais de l'approche thématique de la vie sociale, ouvre un espace pour la réflexion sur l'altérité. Ainsi, l'étude des "figurations de l'altérité", présentes dans les romans examinés dans cette étude, est nécessaire puisque, dans ces oeuvres, les personnages sont toujours vus, comme dirait Linda Hutcheon, "ex-centriques", "marginalisés", "figures périphériques de l´histoire fictive", c'est-à- dire, ils sont toujours "l'autre", le différent. Les textes choisis interrogent les relations et les conflits culturels à travers la figure de l´ immigrant, un personnage qui est dans une situation limite, "entre deux mondes" et qui a souvent du mal à s´intégrer, n´étant ainsi plus "l'autre". / A presente pesquisa visa a analisar as figurações da alteridade, levando em consideração o processo de (re)construção identitária dos personagens e sua relação com a memória cultural, a partir da leitura de quatro romances de Moacyr Scliar: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983) e Na noite do ventre, o diamante (2005). As relações entre literatura, identidade e alteridade estão no centro do debate da contemporaneidade. Pierre Ouellet afirma que a alteridade é, sem nenhuma dúvida, um dos fenômenos mais estudados e um dos conceitos mais utilizados pelas ciências humanas, as letras e a filosofia no curso dos últimos trinta anos. Mas é também uma noção das mais polissêmicas e das mais controversas, até em usos mais ou menos ideológicos que se podem fazer hoje. Ela conduz, pois, a reinterrogar as bases epistemológicas, o contexto sóciohistórico e o alcance ético e estético desse fenômeno, ou dessa noção à luz dessas diversas acepções ou de seus diferentes empregos. Na literatura brasileira contemporânea, autores oriundos de diversas etnias trabalham de maneira sistemática com as questões da imigração, da alteridade e da memória cultural. Pois, embora a contribuição do imigrante para a formação da nossa sociedade tenha sido de suma importância, tais elementos vinham sendo representados de modo tímido, ou até mesmo, homogeneizados, tanto na literatura quanto na história brasileiras. Moacyr Scliar é um autor de origem judaica que trabalha exaustivamente as questões ligadas à identidade, diversidade e às minorias. Scliar, ele mesmo, afirma que é necessário “dar voz àqueles que não a têm, fazendo de suas histórias a História que a versão oficial deturpa ou pasteuriza”. Desta maneira, o autor, através da abordagem da temática social, abre espaço para a reflexão acerca da alteridade. Sendo assim, o estudo das “figurações da alteridade”, presentes nos romances analisados nesta pesquisa, faz-se necessário posto que, em tais obras, as personagens estão sempre em uma posição, como diria Linda Hutcheon, de “ex-cêntricos”, “marginalizados”, “figuras periféricas da história ficcional”, ou seja, são sempre o “outro”, o diferente. Os textos escolhidos interrogam as interrelações e os conflitos culturais através da figura do “imigrante”, personagem que se encontra numa situação limítrofe, “entre dois mundos” e que, frequentemente, luta para integrar-se, deixando, desta forma, de ser “o outro”. / This research aims to analyze the figurations of alterity, taking into account the process of identitarian (re)construction of the characters and their relation to cultural memory, based on the reading of four Moacyr Scliar’s novels: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983); e, Na noite do ventre, o diamante (2005). The relations between literature, identity and alterity are central to the contemporary debate. Pierre Ouellet says that alterity is, without a doubt, one of the most studied phenomena and concepts used by Human Sciences, Letters and Philosophy for the last thirty years; but it is also a sense of the polysemous and most controversial uses that can be made today, even in more or less ideological contexts. It directs because the epistemological basis of (re)questioning the sociohistorical context and the ethical and aesthetic scope of this phenomenon, or that notion in light of these different meanings or their various jobs. In contemporary Brazilian literature, authors from different ethnicities work systematically with the issues of immigration, of alterity and cultural memory. For, although the contribution of immigrants to the formation of our society has been extremely important, these elements were being represented in a shy mode, or even, homogenized, both in Brazilian literature and history. Moacyr Scliar is an author of Jewish origin who works extensively with issues related to identity, diversity and minorities. Scliar, himself, says that it "gives voice to those who do not have it, making their stories to the official version of history that misrepresents them or is pasteurized". This way, the author, through social thematic approach, opens space for reflection on alterity. Thus, the study of “figuration of alterity”, present in the romances analyzed in this research, becomes necessary since in these works the characters are always in a position, as Linda Hutcheon would say, of “ex-centric”, “marginalized”, "peripheral figures of fictional history," this is, they are always “the other”, “the different”. Those chosen texts question the interrelations and cultural conflicts through the figure of the "immigrant" character who is on the borderline "between two worlds" and that often struggles to integrate itself, ceasing, thus, to be "the other. "
419

Escaping the labyrinth of deception: a postcolonial approach to Margaret Atwood's novels

Kerskens, Christel 18 April 2007 (has links)
La thèse propose une lecture postcoloniale des romans de Margaret Atwood s'articulant sur le thème du mensonge. A travers l'étude de six aspets communs aux romans (l'intertextualité, le mensonge, le réalisme magique, le "trickster", l'hybridité et la quête), la thèse démontre l'importance du motif du mensonge dans une lecture postcoloniale de l'auteur.<p><p>The thesis produces a postcolonial reading of Margaret Atwood's novels, based on the concept of deception. Articulated on six major elements of analysis (intertextual parody, deception, magic realism, trickster figures, hybridity, and quest pattern, the thesis shows how Margaret Atwood's novels can be read from a postcolonial point of view, within which the motif of deception plays a central role. / Doctorat en philosophie et lettres, Orientation langue et littérature / info:eu-repo/semantics/nonPublished
420

Martin Bertrand, du Maroc à l’Indochine : microhistoire d’un « tirailleur métropolitain » (1943 -1951)

Dehouck, Jacques 08 1900 (has links)
Cadet sans terre d’une famille paysanne des Hautes-Alpes, Martin Bertrand (1915-2008) échappe au séminaire en s’engageant dans la garde républicaine mobile qui le conduira à Casablanca, au Maroc, où il sera stationné dès 1941. Mobilisé en 1943 à la suite du débarquement des Alliés en Afrique du Nord, il est affecté à l’encadrement d’une unité coloniale marocaine. Avec « ses » tirailleurs, il participe à la campagne d’Italie, au débarquement en Provence, à la libération de l’Alsace et à l’occupation de l’Allemagne. Après avoir regagné le Maroc pour quelques années, son bataillon est déployé de 1949 à 1951 à Tourane, en Indochine, où l’administration coloniale française tente de reprendre le contrôle de la région. Durant chacune de ses longues absences, Martin Bertrand écrira quasi quotidiennement à son épouse, Hélène, originaire d’une famille de colons espagnols installés en Algérie. Par l’analyse de cette correspondance, ce mémoire de maîtrise propose d’intégrer l’expérience de Martin Bertrand, sous-officier d’un régiment colonial, au sein d’une histoire impériale plus large; celle d’une France qui mène ses troupes au front de ses dernières guerres coloniales et qui déstabilise, dans ce processus, l’ordre qui régit la fonction et la position de chaque soldat. Ainsi, en faisant parler les mots intimes de Martin Bertrand au prisme du contenu de sources plus officielles, telles que les rapports militaires sur le moral des hommes, ce mémoire rend compte à la fois de la complexité des hiérarchies sociales et raciales qui établissent les rapports entre les sous-officiers français et la troupe « indigène » tout autant qu’il explore les questionnements identitaires plus personnels d’un petit cadre. / Deprived of his land inheritance like many youngest-born of peasant descent, Martin Bertrand (1915-2008) eventually fled life as a seminarian in the French High-Alps by enlisting in the Mobile Guard and then being stationed in Casablanca, Morocco in 1941. Following the Anglo–American invasion of French North Africa, he was drafted in 1943 to lead a Moroccan colonial recruit unit. With “his” tirailleurs, he took part in the Italian campaign, the Provence landing, the liberation of Alsace, and the occupation of Germany. After the War, he returned to Morocco only to be deployed 3 years later with the same battalion to Tourane, Indochina where the French colonial administration attempted to retake control of the region. During each one of his long absences, Martin Bertrand wrote almost daily to his wife Hélène, descendent of Spanish settlers established in Algeria. By analyzing these letters, this master’s thesis proposes to integrate Martin Bertrand’s experiences, in his functions as a non-commissioned officer in a colonial regiment, into a broader imperial story where France led her armies through her last colonial wars and destabilized the colonial order under which each soldier was governed. Furthermore, this study compares Martin Bertrand’s private letters with more official sources like troop morale reports which allows for an analysis of the complex social and ethnic hierarchies between French non-commissioned officers and “indigenous” troops. At the same time, it explores the deeper questionings of a military intermediary’s self-identity.

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