Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-17T13:20:34Z No. of bitstreams: 1 Fernanda Remes Mattiuz.pdf: 1197521 bytes, checksum: 45019313301b8a4ff11023a030f72ed5 (MD5) / Made available in DSpace on 2018-08-17T13:20:34Z (GMT). No. of bitstreams: 1 Fernanda Remes Mattiuz.pdf: 1197521 bytes, checksum: 45019313301b8a4ff11023a030f72ed5 (MD5) Previous issue date: 2018-06-25 / The present study proposes to discuss the temporal intertwining and its unfoldings in Night in the tavern (1855), of Álvares de Azevedo (1831-1852), with a view to identifying the space-time game and verifying how it articulates the narrative structure. To this end, the following theoretical contributions will be listed: Antonio Candido's article Education at night (1989), which supports the thesis on the continuity of Macário in the Night in the tavern; Forms of time and chronotope in the novel (essays of historical poetics), in which the concept of chronotope is worked by Mikhail Bakhtin (2014); and the binomial aesthetic, described by Azevedo himself in the critical preface to the second part of Lira dos vintes anos (1853). From these works, we expect to understand the artistic procedures used in the construction of time and space as indissoluble categories, as well as to raise discussions about the chronotope as a possible narrative constituent, responsible for linking one work to another, and also to contribute to the critical reading of azevedian prose / O presente trabalho propõe discutir o entrecruzamento temporal e seus desdobramentos em Noite na taverna (1855), de Álvares de Azevedo (1831-1852), com vistas a identificar o jogo espaço-tempo e verificar de que maneira ele articula a estrutura narrativa. Para tanto, serão elencados os seguintes aportes teóricos: o artigo Educação pela noite, de Antonio Candido (1989), que sustenta a tese sobre a continuidade de Macário em Noite na taverna; Formas de tempo e de cronotopo no romance (ensaios de poética histórica), no qual o conceito de cronotopo é trabalhado por Mikhail Bakhtin (2014); e a estética binômica, descrita pelo próprio Azevedo no prefácio crítico à segunda parte de Lira dos vintes anos (1853). A partir dessas obras, espera-se compreender os procedimentos artísticos empregados na construção do tempo e do espaço como categorias indissolúveis, bem como levantar discussões acerca do cronotopo como um possível constituinte narrativo, responsável pela ligação de uma obra à outra, e também contribuir para a leitura crítica da prosa azevediana

A principal aim of this research has been to establish the capacity of British Gangland film to articulate its era of production through the cinematic interpretation of contemporary concerns and anxieties in narratives relating to the criminal underworld. In order to do so, the study has concentrated on the analysis of space, gender and hierarchy within representative generic texts produced between 1945 and the present. The thesis is divided into three sections: the first offers a general overview of British Gangland film from the 65 years under discussion with the aim of identifying recurring generic patterns and motifs. The second and third sections are more specifically focused, their chapters examining the narrative significance and development of the male and the female protagonist respectively. Within the films under discussion, the relationship between these protagonists and their environment represents a fundamental generic component, resulting in an emphasis on space and place. Space within these narratives is inherently territorial, and thus irrevocably bound up with hierarchies of power. The predominantly urban locations in which the narratives are set represent a twilight world, a demi-monde, which is rarely neutral but dominated by the patriarchal order structuring the notion of ‘Gangland’. Such spaces are therefore inextricably linked with gender, hierarchy, and dynamic power relations. Whilst it would have been possible to explore each of these areas in isolation through specifically relevant theoretical perspectives, their interdependence is central to this study. Consequently, a holistic theoretical approach has facilitated analysis of the symbiotic relationship between the three key elements of space, gender and hierarchy and the processes involved in the generation of meaning: this has resulted in a reading of British Gangland film as cultural artefact, reflecting its circumstances of production.

Uppsatsen ämnar utforska hur den postapokalyptiska genren brukar historia. Detta görs genom en läsning av Dimitrij Gluchovskijs Metro 2033 (2009), utifrån Espmarks syn på dialogicitet och Aronssons historiebruksteoretiska tankar, där historiskt meningsskapande med olika syften blir till genom berättelser i former som större narrativ, metaforer, metonymier och symboler.Bakhtins kronotop används också, men med Aronssons fokus på dess spatiala sida. Uppsatsen föreslår att figuren kan användas för att visa hur fiktionen kan skapa ett abstrakt rum istället för ett rent konkret eller fysiskt, och därmed få med de känslor och den världssyn som är intimt sammanlänkade med det fysiska rummet. I uppsatsen friläggs hur Metro 2033 återskapar en abstrakt version av det kalla krigets spelplan för att legitimera kärnvapenkrigsmotivet.Förslag ges också på en begreppsapparat för att tala om olika historiska nivåer i den postapokalyptiska fiktionen där vår samtids accepterade historia, förutom att den modifieras fiktivt, också får sällskap av spekulativ pre- och postapokalyptisk historia. Uppsatsen ger flera exempel på hur texten brukar historia, bland annat hur den spekulativa historien kan användas för att kommentera företeelser ur samtidens accepterade historia. Uppsatsen visar också att ett av textens huvudsakliga budskap, uppmaningen till mänskligheten att sluta konstruera och demonisera den andre, medvetet förstärks genom bruket av historia eftersom den historiska dimensionen ger kontinuitet till den framtida visionen. / The aim of this essay is to explore the using of history in post-apocalyptic fiction. This is accom-plished by reading and analyzing Dimitrii Glukhovskii’s Metro 2033. The theoretical basis for the reading is the dialogicity of Espmark and Aronsson’s theory of using of history. It posits that the production of meaning through history is made from narratives of different lengths and shape, such as metaphors, metonymies and symbols. The chronotope of Bakhtin is also applied, but with Aronssons focus on its spatial component. A suggestion is made to apply it in a way that shows how the fiction can refer to, or create, an ab-stract spatial location, rather than a physical, and thereby evoking the feelings and worldviews intimately associated with the location and its time. In the reading of the text this is shown by ar-guing that Glukhovskii recreates the cold war as an abstract chronotope to legitimize his nuclear apocalypse scenario. The essay presents suggestions for definitions of the historical levels in the genre. These are la-beled accepted history of the present, fictive rewriting of the same, and lastly pre- or post-apoca-lyptic speculative history, depending on whether the temporal interest lies prior to or after the im-agined apocalypse. The essay exemplifies a number of ways in which the text uses history, one of which is to use the speculative history to comment on the accepted history of the present. The essay also shows that the intent of the text, the plea to humanity to stop the process of othering, is enhanced by the use of history since the historical perspective offers a retrospective continuity that strengthens the future vision.

This dissertation presents an investigation into two so-called live art works – Ugly girl at the rugby (1998) and Chandelier (2001-2002) – by the contemporary South African artist Steven Cohen (1962-). These works are explored with reference to the manner in which Cohen (as self-declared queer Jewish freak) uses performance art as a form of activism in order to expose practices of marginalisation and suppression (oppression) of non-normative or so-called deviant subject positions in terms of gender, race and ethnicity. The analysis of artworks is guided by the discourse of the carnavalesque and performative conceptualisations of gender with particular emphasis on Cohen’s use of drag as contemporary form of masquerade in order to propose an alternative subject position. The argument is as follows: that Cohen, by setting up an extreme alternative to normative identity constructs, manages to destabilise existing hierarchies that are structured according to binaries as these exist in spaces (such as a rugby stadium and a squatter camp) in the South African context. This destabilising of binary hierarchies gives rise to the argument that the symbolically encoded nature of spaces known for associations of suppression, exclusion and marginalisation are wrought open so that alternative meanings can come into being by activating these spaces as multifaceted and chronotopic constructs. The conclusion is that Cohen contributes profoundly towards the destabilisation of identities and in this way also helps to propose invigorating and fresh views of gender, race and ethnicity in a contemporary South African situation. / Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013.

This dissertation presents an investigation into two so-called live art works – Ugly girl at the rugby (1998) and Chandelier (2001-2002) – by the contemporary South African artist Steven Cohen (1962-). These works are explored with reference to the manner in which Cohen (as self-declared queer Jewish freak) uses performance art as a form of activism in order to expose practices of marginalisation and suppression (oppression) of non-normative or so-called deviant subject positions in terms of gender, race and ethnicity. The analysis of artworks is guided by the discourse of the carnavalesque and performative conceptualisations of gender with particular emphasis on Cohen’s use of drag as contemporary form of masquerade in order to propose an alternative subject position. The argument is as follows: that Cohen, by setting up an extreme alternative to normative identity constructs, manages to destabilise existing hierarchies that are structured according to binaries as these exist in spaces (such as a rugby stadium and a squatter camp) in the South African context. This destabilising of binary hierarchies gives rise to the argument that the symbolically encoded nature of spaces known for associations of suppression, exclusion and marginalisation are wrought open so that alternative meanings can come into being by activating these spaces as multifaceted and chronotopic constructs. The conclusion is that Cohen contributes profoundly towards the destabilisation of identities and in this way also helps to propose invigorating and fresh views of gender, race and ethnicity in a contemporary South African situation. / Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-07T13:21:09Z No. of bitstreams: 1 arquivo total.pdf: 5117897 bytes, checksum: 0c8137fe331e04b5c7e34913d84a63fb (MD5) / Made available in DSpace on 2016-06-07T13:21:09Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 5117897 bytes, checksum: 0c8137fe331e04b5c7e34913d84a63fb (MD5) Previous issue date: 2015-06-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In this thesis, we studied the collection of Moacyr Scliar’s short stories, investigating the representation of living spaces, in particular, the space of the house and some of its variations, such as bungalow and mansion. For this purpose, we identify conflicts implied in such spaces and existential tensions lived by the characters of the selected stories, aiming at analyzing how such characters connect themselves to the living spaces and to the other characters. The selected corpus gather eight short stories by the gaucho writer, namely: “Os leões”, “Coelhos”, “A vaca”, “Cão”, “Uma casa”, “Lavínia”, “Ruídos no forro” and “Pequena história de um cadáver”. The hypothesis that directs this research is that Scliar’s mimics tensions of social and historical order that threat or destroy the feeling of protection the subject experiences when he is in family household. Such representations focus on the spatial element and intertwined with other structural elements of the story, with the narrator, the time, action and character, generating a profusion of feelings related to the space and to the subject’s connections with the living space, with significant aesthetic/symbolic value. The main theoretical categories of this study are the following – literary chronotope, by Bakhtin (2010); protected intimacy, by Bachelard (1978); and ‘ilhamento’, by Lins (1976). From these concepts, we developed the following subcategories: 1) chronotope of the simple house, chronotope of the luxurious house, chronotope of the global house and chronotope of the house of the death; 2) veiled/ revealed intimacy, threaten intimacy, destroyed intimacy and resistant intimacy; and finally, 3) ‘ilhamento’ by threat, ‘ilhamento’ by destruction and ‘ilhamento’ by resistance. Those subcategories can enable the analytical reading of other stories, not only Scliar’s, but of any narrative text, in such a way as to contribute to the analyses of the spatial aspect, involving the space/time of family household, as well as the relations of perceptive subjects with the environment, with the others, with the world and with themselves. / Nessa tese, estuda-se a contística de Moacyr Scliar, investigando a representação dos espaços habitados, em específico, o espaço da casa e algumas de suas variações, como o bangalô e a mansão. Para tanto, identificase conflitos implicados nestes espaços e tensões existenciais vivenciadas pelos personagens das narrativas selecionadas, visando analisar como estes se conectam aos espaços habitados e aos outros personagens. O corpus selecionado reúne oito contos do escritor gaúcho, a saber: “Os leões”, “Coelhos”, “A vaca”, “Cão”, “Uma casa”, “Lavínia”, “Ruídos no forro” e “Pequena história de um cadáver”. A hipótese que norteia esta pesquisa é a de que Scliar mimetiza tensões de ordem histórico e social que ameaçam ou destroem o sentimento de proteção que o sujeito vivencia, quando está no ambiente doméstico. Estas representações centram-se no elemento espacial e entrelaçam-se com outros elementos estruturais da narrativa, como narrador, tempo, ação e personagem, gerando uma profusão de sentidos relacionados ao espaço e às conexões do sujeito ao espaço habitado, com significativo valor estético/simbólico. As categorias teóricas principais deste estudo são as seguintes – cronotopo literário, de Bakhtin (2010); intimidade protegida, de Bachelard (1978); e ilhamento, de Lins (1976). A partir desses conceitos, foram desenvolvidas as seguintes subcategorias: 1) cronotopo da casa simples, cronotopo da casa luxuosa, cronotopo da casa global e cronotopo da casa da morte; 2) intimidade velada/revelada, intimidade ameaçada, intimidade destruída e intimidade resistente; e por fim, 3) ilhamento por ameaça, ilhamento por destruição e ilhamento por resistência. Essas subcategorias podem viabilizar a leitura analítica de outras narrativas, não só as do autor gaúcho, mas as de qualquer texto narrativo, de modo a contribuir para a análise do aspecto espacial, envolvendo o espaço/tempo da habitação doméstica, bem como as relações dos sujeitos perceptivos com o ambiente, com os outros, com o mundo e consigo mesmo.

Made available in DSpace on 2014-12-17T15:06:54Z (GMT). No. of bitstreams: 1 DanielleBP_DISSERT.pdf: 3446499 bytes, checksum: a18235fb2daa03ffc9fadb694a6ade76 (MD5) Previous issue date: 2011-06-09 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Situ?e dans le domaine de la Linguistique Appliqu?e (CELANI, 1998; MOITA LOPES, 2004, 2006, 2009), cette recherche documentaire fait partie d‟une approche qualitative-interpr?tative qui privil?gie une perspective socio-historique (FREITAS, 2002, 2007; ROJO, 2006). Le but principal de ce travail est d‟analyser comment l‟interlocution a lieu dans les lettres argumentatives produites par 10 sujets-?nonciateurs ayant particip? au processus de s?lection du ?vestibular? d‟UFRN, appel? ici le chronotope du PSV-2008. Pour cela, les objectifs sp?cifiques qui guident cette recherche consistent ? analyser les modes d‟assimilation du discours de l‟autre par le candidat, ? identifier les positions axiologiques r?sultant des formes du processus interlocutif, et ? construire une vision du sujet-?nonciateur sur la base des choix de valeurs de l‟?nonciateur et des relations espace-temps qui constituent l‟?nonciateur et l‟interlocuteur. Quant ? la th?orie, la recherche est fond?e principalement sur la notion de chronotope de Bakhtin une cat?gorie qui d?coule de la th?orie du roman et probl?matis?e par Amorim (2004) en articulation avec les r?flexions th?oriques de Geraldi (1997, 1999, 2006), Britto (2006) et Antunes (2005, 2006) sur le processus d‟?criture les relations dialogiques, la responsivit? et les voix sociales (BAKHTIN, 1990, 2003, 2008; BAKHTIN/VOLOCHINOV, 2006) qui sont travers?es par la conception dialogique du langage. L‟analyse nous a permis d‟identifier, principalement, deux d?bats dialogiques, dont le premier confronte le candidat ? la dissertation et le second, ? des interlocuteurs mentionn?s dans la proposition. Les sujets ont formul? leurs ?nonc?s sur un ton d‟indignation, en critiquant ce que l‟interlocuteur avait exprim?. Les candidats ont fait appel ? la formation d‟un sc?nario d‟espoir, de cr?dulit?, de respect et d‟?thique, conforme ? la dignit? de l‟?tre humain. Ces r?sultats mettent en ?vidence la fa?on dont des sujets multiples et h?t?rog?nes, ins?r?s dans la dimension de la vie, prennent position ? l‟int?rieur des pratiques discursives, face aux coordonn?es d‟espace et de temps / Situada na Lingu?stica Aplicada (CELANI, 1998; MOITA LOPES, 2004, 2006, 2009), esta pesquisa documental se inscreve em uma abordagem qualitativo-interpretativista de perspectiva s?cio-hist?rica (FREITAS, 2002, 2007; ROJO, 2006). O objetivo geral consiste em analisar como ocorre a interlocu??o nas cartas argumentativas produzidas por 10 sujeitos-enunciadores que participaram do Processo Seletivo Vestibular de 2008 da UFRN, aqui denominado cronotopo do PSV-2008. Para isso, os objetivos espec?ficos que orientam esta pesquisa s?o: analisar os modos de assimila??o do discurso alheio ao dizer do vestibulando; identificar posicionamentos axiol?gicos decorrentes das formas do processo interlocutivo observadas; e construir uma vis?o de sujeito-enunciador com base nas escolhas valorativas do enunciador e no tempo-espa?o que constituem as rela??es entre enunciador e interlocutor. Quanto ao aporte te?rico, a investiga??o se fundamenta, principalmente, nas no??es bakhtinianas de cronotopo categoria advinda da teoria do romance e problematizada por Amorim (2004) em articula??o com as reflex?es te?ricas de Geraldi (1997, 1999, 2006), Britto (2006) e Antunes (2005, 2006) sobre o processo de escrita , rela??es dial?gicas, responsividade e vozes sociais (BAKHTIN, 1990, 2003, 2008; BAKHTIN/VOLOCHINOV, 2006) as quais s?o atravessadas pela concep??o dial?gica da linguagem. Pela an?lise, identificamos, principalmente, dois debates dial?gicos, um travado com a prova de reda??o, outro com um dos interlocutores apontados na proposta. Os sujeitos carregaram seus enunciados de um tom de indigna??o, criticando o que expressou o interlocutor. Os vestibulandos recorreram ? forma??o de um cen?rio de esperan?a, credulidade, respeito, ?tica, natureza digna do ser humano. Essas constata??es permitem vislumbrar como sujeitos m?ltiplos e heterog?neos, inseridos no mundo da vida, tomam posi??o nas pr?ticas discursivas face ?s coordenadas temporais e espaciais

Construit sur un réseau de contrastes, le monde romanesque de Fred Vargas arbore le masque de la fiction policière. Les meurtres au présent cachent les meurtrissures de l’amour au passé. Médiateur entre ces pôles diégétiques, la passion du personnage vargassien fait faillir les règles du jeu que lui impose le monde. Car derrière les apparences civilisées perdure l’ordre originel de Nature : la prédation. Face à son échec, le personnage doit relever un défi qui transforme son enquête sur le crime en une quête identitaire. Choisir la transgression ou le sacrifice de soi décide de sa chute ou du resurgissement de sa dignité. Superposant l’intrigue et l’Histoire, le hic et nunc diégétique confère au personnage le rôle de trait d’union entre les Ici et les Ailleurs identitaires adverses. L’enquête approche la psyché du meurtrier et de l’enquêteur, reconstituant l’interaction de l’individu et du monde précisé en tant que son chronotope synchronique et diachronique. La relation entre l’homme et ses Autres révèle la personne derrière le personnage. La confrontation de l’animal humain aux animaux réels et mythifiés, remet en question les frontières entre l’identité et l’altérité. Le réel meurtrier s’avère incarner un des masques de l’imaginaire, tandis que l’imaginaire, érigé en idéal de l’humanité, devient une réalité à conquérir au prix du sacrifice de soi, et dévoile la polyvalence des réalités de l’échec et l’accomplissement. L’analyse du jeu de miroirs entre l’opposition et la complémentarité conclut à l’union des contraires qui fait coexister l’horreur et le sublime, l’amour et la mort dans le couple d’opposés que forment l’homme et le monde. / Built on a network of contrasts, the romantic world of Fred Vargas bears the mask of detective fiction.The murders of the present hide the bruises of love in the past.Mediator between these diegetic poles,the passion of Vargas’s character breaches the rules of the game that is imposed on him by the world.For behind these civilized appearances ,the original order continues:predation. Confronted by his failure,the character must take up a challenge that will transform his investigation in a quest for identity. Selecting either transgression or self-sacrifice will determine whether he collapses or reappears with his dignity.Converging the plot and the Story, the diegetic here and now bestows upon the character the role of linking the Here and Elsewhere, and adverse identities. The enquiry approaches, the psyche of the murderer and the investigator, reconstituting the interaction between the individual and the world, defined as its synchronic and diachronic chronotope. The relationship between humans and their Others reveals the person behind the character.The confrontation between the human animal and real and mythologized animals challenges the borders between identity and otherness.The real murderer turns out to embody one of the masks of the imagination, while the imagination, established as an ideal of humanity, becomes a reality to conquer at the price of self-sacrifice, and reveals how flexible the realities of failure and fulfillment can be. Analysing the mirror effect between opposition and complementarity accentuates the union of opposites that create the coexistence of horror and the sublime, and love and death in the dichotomy that make up mankind and the world.

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This thesis deals with the analysis of rhythms (Lefebvre 2004) at Prague's Rašín Embankment (náplavka Rašínova nábřeží). This thesis would also focus on the observation of the spatiotemporal changes of this place in a long term. I carried out qualitative interviews with actors who co-create the rhythms of this place with their managerial and entrepreneurial activities and added them to long-term continual visits and sensory perception of the place, along with the study of specialized historical publications. The analysis of the rhythms based on long-term participant observation was followed by an interpretation of what they actually tell us about everyday social reality of this place at specific times and how this space is produced by those rhythms. In this thesis I also used related concepts like chronotope (Crang, 2001; Osman, Mulíček, Seidenglanz, 2010, 2015) and chronopolis (Osman, Mulíček, Seidenglanz 2011, 2017). This thesis shows that nowadays the eurhythmia of this place is created by non- disruptive movement of local visitors such as walkers, runners and cyclists along the embankment, by regularly organized farmers' market and other events as well as by the flow of the Vltava river and its rhythms, by all means of transport on the local roads, bridges and the Vltava river. From the...