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Made available in DSpace on 2014-06-11T19:32:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-11-12Bitstream added on 2014-06-13T21:04:16Z : No. of bitstreams: 1 sanches_el_dr_fran.pdf: 2965019 bytes, checksum: c5a8a94f3a531688f5974767207d5a82 (MD5) / Este trabalho procura identificar o pensamento humanitário de Charles Chaplin usando a seqüência que encerra o seu filme “O grande ditador” (The great dictator, 1940 – EUA) como principal fonte de estudo. Propõe-se ainda confrontar o pensamento do ator e cineasta com o “Humanismo Integral” de Jacques Maritain, bem como com a Declaração Universal dos Direitos Humanos, estabelecendo relações entre as partes / This work try to identify the Charles Chaplin’s humanitarian thought using the final sequence of the film “The great dictator” (ditto, 1940 – USA) like principal fountain of study. It propose yet to confront the actor’s thought with the “Integral Humanism” of Jacques Maritian, just as with the Human Rights Universe Declaration, make acquaintance between the parts

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Orientador: Ana Angélica Medeiros Albano / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-20T22:09:34Z (GMT). No. of bitstreams: 1 Lenk_Erika_M.pdf: 1109074 bytes, checksum: c0b843e8e4bfece1b0e1a378606a9bc5 (MD5) Previous issue date: 2012 / Resumo: Esta dissertação percorre a trajetória de vida do célebre ator e cineasta inglês Charles Spencer Chaplin (1889-1977), o imaginativo criador de Carlitos, cuja graça e lirismo marcaram fortemente a arte do século XX. Sua obra ridiculariza os padrões culturais da sociedade estabelecida através das aventuras do Tramp, o errante marginalizado que permanece vivo no cenário cultural atual. Este estudo busca uma relação entre a vida e arte de Chaplin, identificando fatores que contribuíram para seu desenvolvimento artístico e seu conhecimento em arte. / Abstract: This dissertation contains the life story of the famous actor and English filmmaker Charles Spencer Chaplin (1889-1977), the imaginative creator of the Tramp, whose grace and lyricism left his impression on the twentieth (20th) century. His work satirizes the cultural patterns of the established society through the adventures of the Tramp, the marginalized vagabond that remains alive in the recent cultural scenario. This study searches the connection between Chaplin's life and art, identifying factors that contributed to his artistic development and his knowledge in art. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class. / Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature