Depois do êxito de Cervantes, o romance na Espanha permaneceu quase dois séculos à margem de outras formas literárias até ser retomado por um de seus maiores representantes na história da literatura espanhola: Benito Pérez Galdós. Um aspecto que tem importância central no conjunto de sua obra é a construção do personagem. Fortunata y Jacinta, um de seus romances que melhor representa a escritura realista do século XIX, traz em sua estrutura a questão do processo de individualização de um personagem, Fortunata. A protagonista é apresentada na obra como um personagem-tipo representante do povo, ou mesmo de uma classe social em formação na Espanha do século XIX: o proletariado urbano. Durante grande parte de sua trajetória é um personagem espectador de si mesmo, na medida em que suas imagens são compostas por seu entorno constituído de personagens da alta e baixa burguesia, no geral protagonistas dos romances de Galdós que precederam Fortunata y Jacinta. A complexidade desse personagem se concretizará como resultado de sua assimilação das imagens objetivas de si, produzidas por distintos pontos de vista lançados pelas instâncias narrativas do romance. O ponto de apoio externo ao conhecimento objetivo de si do personagem central se constitui das diferentes perspectivas dos personagens que o rodeiam, do juízo e movimentações do narrador que se desdobra em ficcionalizador do relato, das marcas do autor na obra e da interpretação do leitor / After Cervantes\'s achievement, the novel in Spain lagged almost two centuries behind other literary forms, until its eventual retake by one of its foremost representatives in the Spanish literary history: Benito Pérez Galdós. A feature of crucial importance in the whole of his work is character construction. Fortunata y Jacinta, one of the most representative among his novels of nineteenth-century realistic writing, brings along in its structure the question about the individualisation process of a character (Fortunata). The protagonist is portrayed in this work as a type-character representative of the people, or rather of a social class which was emerging in nineteenth-century Spain: the urban working class. During a considerable portion of her course in life she is a beholder of herself, since her images are shaped by her surroundings, which comprise characters from both the high and the low bourgeoisie, generally protagonists of novels Galdós wrote before Fortunata y Jacinta. This character\'s complexity materialises as a result of her assimilating objective images of herself produced by different viewpoints cast by the novel\'s narrative instances. The outward support for the main character\'s objective self-knowledge is made up of the diverse perspectives of the characters around her, of the opinions and movements of the narrator (who ends up becoming a fictionalizer of the account), of marks left by the author in the work and of the reader\'s interpretation

Depois do êxito de Cervantes, o romance na Espanha permaneceu quase dois séculos à margem de outras formas literárias até ser retomado por um de seus maiores representantes na história da literatura espanhola: Benito Pérez Galdós. Um aspecto que tem importância central no conjunto de sua obra é a construção do personagem. Fortunata y Jacinta, um de seus romances que melhor representa a escritura realista do século XIX, traz em sua estrutura a questão do processo de individualização de um personagem, Fortunata. A protagonista é apresentada na obra como um personagem-tipo representante do povo, ou mesmo de uma classe social em formação na Espanha do século XIX: o proletariado urbano. Durante grande parte de sua trajetória é um personagem espectador de si mesmo, na medida em que suas imagens são compostas por seu entorno constituído de personagens da alta e baixa burguesia, no geral protagonistas dos romances de Galdós que precederam Fortunata y Jacinta. A complexidade desse personagem se concretizará como resultado de sua assimilação das imagens objetivas de si, produzidas por distintos pontos de vista lançados pelas instâncias narrativas do romance. O ponto de apoio externo ao conhecimento objetivo de si do personagem central se constitui das diferentes perspectivas dos personagens que o rodeiam, do juízo e movimentações do narrador que se desdobra em ficcionalizador do relato, das marcas do autor na obra e da interpretação do leitor / After Cervantes\'s achievement, the novel in Spain lagged almost two centuries behind other literary forms, until its eventual retake by one of its foremost representatives in the Spanish literary history: Benito Pérez Galdós. A feature of crucial importance in the whole of his work is character construction. Fortunata y Jacinta, one of the most representative among his novels of nineteenth-century realistic writing, brings along in its structure the question about the individualisation process of a character (Fortunata). The protagonist is portrayed in this work as a type-character representative of the people, or rather of a social class which was emerging in nineteenth-century Spain: the urban working class. During a considerable portion of her course in life she is a beholder of herself, since her images are shaped by her surroundings, which comprise characters from both the high and the low bourgeoisie, generally protagonists of novels Galdós wrote before Fortunata y Jacinta. This character\'s complexity materialises as a result of her assimilating objective images of herself produced by different viewpoints cast by the novel\'s narrative instances. The outward support for the main character\'s objective self-knowledge is made up of the diverse perspectives of the characters around her, of the opinions and movements of the narrator (who ends up becoming a fictionalizer of the account), of marks left by the author in the work and of the reader\'s interpretation

El propósito de esta investigación es abordar la representación de la masculinidad en el mundo audiovisual, a partir del género telenovela, y sustentarlo desde el análisis de su evolución hasta su llegada a la actualidad. Para ello, se retoman los debates sobre esta categoría desde enfoques como: roles y estereotipos de género, masculinidad hegemónica, y masculinidad y el tabú de la homosexualidad. Además, se desarrollará la categoría de construcción de personaje desde las siguientes dimensiones: natural, pública y doméstica, mencionadas por Norma Fuller (2001) en sus investigaciones sobre la masculinidad. Ambas categorías y enfoques se elaborarán a manera de estado de la cuestión. Para la profundización teórica, se revisaron estudios de autores como Norma Fuller, Teresa Valdés, José Olavarría, Connell, Elena Galán y Patricio Pérez, desde una perspectiva audiovisual y de género. Finalmente, en coherencia con los objetivos del estudio, se propone un diseño metodológico cualitativo orientado al análisis de contenido, el cual nos permitirá resolver la pregunta sobre ¿cómo es la representación de la masculinidad en telenovelas actuales de Latinoamérica? / The purpose of this research is to address the representation of masculinity in the audiovisual world, from the soap opera genre, and, from the analysis of its evolution to its arrival at the present time. For that, the debates on the category of representation of masculinity are taken up again, starting from approaches such as: gender roles and stereotypes, hegemonic masculinity and, masculinity and the taboo of homosexuality. In addition, it will develop the category of character construction from the following dimensions: natural, public and domestic, mentioned by Norma Fuller (2001) in her investigations about masculinity. Both categories and approaches will be elaborated as a state of the question. For theoretical deepening, studies by authors such as Norma Fuller (2001), Teresa Valdés (1998), José Olavarría (1998), Connell (2005) y Elena Galán (2005), were reviewed from an audiovisual and gender perspective. Finally, in coherence with the objectives of the study, a qualitative methodological design oriented to content realization is proposed, which will allow us to answer the question about how is the current representation of masculinity in Latin American soap operas? / Trabajo de investigación

En el Perú, la industria de la ficción construye personajes femeninos en base a estereotipos promovidos y muchas veces legitimados por la sociedad. A raíz de ello, en las miniseries y series nacionales se puede apreciar que muchas de las protagonistas femeninas tienen características que asignan roles estereotipados a las mujeres. Debido a ello, estos roles de género limitan el desarrollo del personaje femenino dentro de la historia. Se muestra en estas producciones que la mujer debe estar ligada netamente a las tareas del hogar o la maternidad. El objetivo de este estudio es identificar los estereotipos de género en la narrativa de los personajes femeninos dentro de las miniseries peruanas: La reina de las carretillas (2012) y Yo no me llamo Natacha (2011) ambas de la productora peruana Del Barrio. Con la finalidad de revalorar la imagen de la mujer en la televisión superando su presencia clásica de sumisión ante las figuras masculinas. La metodología empleada para este estudio es de carácter interpretativo. Dentro del cual se realizará un estudio de casos de las miniseries. Se toma como universo a los personajes femeninos de las miniseries peruanas. La unidad de análisis son las protagonistas de las series mencionadas. Para ello, se realizará el análisis de contenido y entrevistas semiestructuradas a expertos en narrativa y género. / In Peru, the fiction industry builds female characters based on stereotypes promoted and often legitimized by society. As a result, in the miniseries and national series it can be seen that many of the female protagonists have characteristics that assign stereotypical roles to women. Due to this, these gender roles limit the development of the female character within the story. It is shown in these productions that women must be clearly linked to housework or motherhood. The objective of this study is to identify gender stereotypes in the narrative of female characters within the Peruvian miniseries: La reina de las carretillas (2012) and Yo no me llamo Natacha (2011) both by the Peruvian producer Del Barrio. In order to revalue the image of women on television, overcoming their classic presence of submission to male figures. The methodology used for this study is of an interpretive nature. Within which a case study of the miniseries will be carried out. It is taken as the universe of the female characters of the Peruvian miniseries. The unit of analysis are the protagonists of the series mentioned. For this, content analysis and semi-structured interviews with experts of narrative and gender will be carried out. / Trabajo de investigación

El presente trabajo analiza la construcción de los personajes Lucio Voreno y Francisco Robles, HBO y TV PERÚ respectivamente, con la finalidad de comparar de forma cualitativa las características heroicas con las que han sido dotados ambos personajes. Esta comparación tiene el propósito de encontrar diferencias y similitudes entre la construcción del personaje de Voreno y Robles por motivos académicos que ayudarán a actuales y futuros investigadores con la construcción del viaje del héroe en sus personajes. El objeto de estudio para esta investigación son la serie de HBO “Rome”y la serie de TV PERÚ “El último bastión” y se analizará la construcción del viaje del héroe de los principales protagonistas. El instrumento seleccionado para el estudio es el Análisis de contenido, el cual mediante una tabla cruzada con criterios que permitan detectar las características fundamentales y únicas de cada personaje a lo largo del viaje del héroe. / This work analyzes the construction of the characters Lucio Voreno and Francisco Robles, HBO and TV PERÚ respectively, in order to qualitatively compare the heroic characteristics with which both characters have been endowed. This comparison is intended to find differences and similarities between Voreno and Robles' character construction for academic reasons that will help current and future researchers with the construction of the hero's journey in their characters. The object of study for this research is the HBO series "Roma" and the TV series PERU "The last bastion" and the construction of the hero's journey of the main protagonists will be analyzed. The instrument selected for the study is the Content Analysis, which by means of a cross table with criteria that detects the fundamental and unique characteristics of each character throughout the hero's journey. / Trabajo de investigación

El presente estudio tiene como objetivo explorar la construcción de género en la narrativa cinematográfica a través de las cuatro adaptaciones fílmicas de la obra escrita por Louisa May Alcott, Mujercitas. De esta manera, se ha diseñado un instrumento de investigación que responde a la técnica de análisis de contenido, donde los personajes femeninos de las películas en cuestión son analizados desde la narrativa cinematográfica a través de componentes presentes en el guión y en la construcción de personajes. Para ello, se seleccionan escenas de dichos largometrajes que aborden un mismo fragmento de la obra literaria. A su vez, tomar como objeto de estudio a films realizados en distintas décadas permite identificar la permanencia y/o modificaciones de elementos narrativos en el tratamiento de un mismo texto; así como también, reconocer los postulados de la teoría fílmica feminista en la construcción de género desarrollada en las versiones de Mujercitas. / The current investigation aims at exploring gender construction in the cinematographic narrative through the four film adaptations of the work written by Louisa May Alcott, Little Women. Thus, a research instrument has been designed, which responds to the content analysis technique, where the female characters of the films in question are analyzed from the film narrative through components present in the script and in the characters construction. For this reason, scenes that address the same fragment of the literary work from these feature films are selected. Furthermore, taking films made in different decades as an object of study allows us to identify the permanence and / or modifications of narrative elements in the treatment of the same text; as well as, to recognize the postulates of the feminist film theory in the gender construction developed in the versions of Little Women. / Trabajo de investigación

Este protocolo de investigación trata de analizar los roles de género evidenciados en personajes femeninos en 4 películas peruanas de género comedia: Como en el cine (2015), La peor de mis bodas (2016), Soltera codiciada (2018) y No me digas solterona (2018). El objeto de estudio es la construcción de los personajes femeninos a partir de sus tres dimensiones: física, social y psicológica, con un enfoque de género. El objetivo de la investigación es señalar las continuidades y los cambios que se dan en los roles de género de los personajes protagónicos o co-protagónicos de las películas anteriormente mencionadas y evidenciar la clase de representación que se hace de los personajes femeninos en un género cinematográfico en auge. Asimismo, la metodología empleada consta de un enfoque cualitativo con un paradigma de investigación interpretativo, ya que se analiza un contenido audiovisual. Por lo tanto, se hace un estudio de casos y se tiene una ficha de análisis de contenido como instrumento. / This research protocol tries to analyze the gender roles evidenced in female characters in 4 Peruvian films of the comedy genre: Como en el cine (2015), La peor de mis bodas (2016), Soltera codiciada (2018) and No me digas solterona (2018). The object of study is the construction of female characters from three dimensions: physical, social and psychological, with a gender perspective. The objective of the research is to point out the continuities and changes that occur in the gender roles of the leading or co-leading characters in the aforementioned films and to demonstrate the kind of representation made of female characters in a booming film genre. Likewise, the methodology used consists of a qualitative approach with an interpretative research paradigm, since audiovisual content is analyzed. Therefore, a case study is carried out and there is a content analysis file as an instrument. / Trabajo de investigación

El surgimiento, popularidad y amor por las historias de los videojuegos dio paso a la idea y a la realización de este trabajo. Los videojuegos son un nuevo medio audiovisual, el cual se diferencia del resto, debido a su interactividad y a la inmersión del jugador dentro de su ecosistema virtual. Este ecosistema se desarrolla dentro de una historia y un mundo virtual, el cual alberga, personajes, creaturas y, en ocasiones, otros jugadores. Uno de estos videojuegos es el célebre World of Warcraft, el cual se desarrolla en el mundo virtual de Azeroth y es hogar de estos personajes fantásticos. Uno de ellos es Illidan, por muchos cosiderado uno de los personajes más populares, complejos e interesantes de la franquicia. Este trabajo de investigación se centra en la construcción de los personajes, las dimensiones de ellos y como es que las acciones hacen catalogan como héroes o antihéroes. En este caso en particular nos centraremos en el personaje de Illidan Stormarge y analizaremos los elementos dentro de su construcción de personaje que lo hacen un antihéroe. / The emergence, popularity and love for video game stories gave the way to the idea and realization of this work. Video games are a new audiovisual medium, which differs from the rest due to its interactivity and the immersion of the player within a virtual ecosystem. This ecosystem develops itself within a story and a virtual world, which houses characters, creatures and sometimes other players. One of these video games is the famous World of Warcraft, which takes place in the virtual world of Azeroth, that is home to these fantastic characters. One of them is Illidan Stormrage, which is considered one of the most popular, complex and interesting characters in the franchise. This research project focuses on the development of characters, the dimensions of them and how the actions that they do can classify them as heroes or antiheroes. In this particular case we will focus on the character of Illidan Stormarge and analyze the elements within its character development that make him an antihero. / Trabajo de investigación

Submitted by Programa de Pós-Graduação em Mídia e Cotidiano (ppgmc@vm.uff.br) on 2017-05-29T20:27:30Z No. of bitstreams: 1 Texto Dissertação - Com Ficha-1.pdf: 3970248 bytes, checksum: e30e7c64deb8077b0adc7a7da82e1703 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-06-13T16:04:20Z (GMT) No. of bitstreams: 1 Texto Dissertação - Com Ficha-1.pdf: 3970248 bytes, checksum: e30e7c64deb8077b0adc7a7da82e1703 (MD5) / Made available in DSpace on 2017-06-13T16:04:20Z (GMT). No. of bitstreams: 1 Texto Dissertação - Com Ficha-1.pdf: 3970248 bytes, checksum: e30e7c64deb8077b0adc7a7da82e1703 (MD5) / Capes / Este trabalho apresenta um estudo a respeito da construção da personagem empregada doméstica no documentário Doméstica (Gabriel Mascaro, 2012) e na ficção Que Horas Ela Volta? (Anna Muylaert, 2015). Investigam-se as estratégias adotadas pelos realizadores para a caracterização de uma personagem historicamente marcante no cotidiano brasileiro. A pesquisa se estrutura a partir de dois vieses teóricos: um estudo dos conceitos e técnicas narrativas de construção da personagem, em reflexão que busca incorporar as possíveis contribuições de diretores, roteiristas e atores neste processo; e um breve percurso historiográfico elaborado a partir da identificação do que consideramos as principais tendências de representação da empregada no imaginário social brasileiro e a sua reverberação no audiovisual. Destaca-se que a abordagem pautou-se por um diagnóstico de que a "tipologia da doméstica", presente nos filmes em questão, é, de certo modo, "herdeira" das contribuições imagéticas não apenas do cinema, como também da televisão, rádio, música, imprensa e literatura. Isto é, esta pesquisa tem como um dos seus eixos de investigação o diálogo intenso entre mídias como um dos movimentos basilares na construção do tipo "doméstica". Também incorpora como referência fundamental à pesquisa o próprio contexto-país, no sentido deste atravessar, dialeticamente, os processos de criação artístico-cultural. Sob estes horizontes empreendeu análise fílmica das duas obras, circunscrevendo, especialmente, como as estratégias de construção da personagem e a tradição de representação das domésticas, ainda onipresentes no cotidiano de tantos brasileiros, se conjugam nos dois filmes que são objetos deste trabalho / An investigation, through the documentary Housemaids (Doméstica, Gabriel Mascaro, 2012) and the fictional drama The Second Mother (Que Horas Ela Volta?. Anna Muylaert, 2015), on how the housemaid, as a character, is built: what stratagems are used by the filmmakers to portray a personage historically remarkable in Brazil's everyday life. The research is structured on two theoretical currents: a study of the concepts and narrative techniques for character's construction, reflecting on what possible contributions made by directors, writers and actors take part in this process; and a brief historiographic trajectory elaborated through the identification of what is considered the main trends for representation of housemaids in Brazilian social imaginary and its resonance on audiovisual productions. This features an approach lead by findings supporting that the "housemaid typology", present in the movies above, is in a certain way a legacy from contributions made not only by cinema itself, but also from television, radio, music, press and literature. This means an intense dialogue among different media is a crucial movement for building "housemaid" as type. Also is taken in count, as a fundamental reference, Brazil's background, once the country crosses, dialectically, the arts' and culture's creative process. Thus the two works were under filmic analysis, circumscribing specially how the stratagems for character's construction and the traditional portrayal of housemaids, workers still omnipresent in the daily life of so many Brazilians, are executed on both movies.

El trastorno de identidad disociativo es uno de los trastornos mentales más estudiados y menos comprendidos por la sociedad. A pesar de su incertidumbre, el trastorno ha sido utilizado como recurso narrativo en el cine desde la época del cine mudo. Los síntomas del trastorno representan una oportunidad para los guionistas y cineastas de explotarlos narrativamente, como se evidencia en la película Fight Club (1996) de David Fincher. No obstante, la representación de un trastorno mental en materiales audiovisuales puede presentar una dificultad si los personajes no presentan una base sólida. Por este motivo, en el presente trabajo analizamos cómo se representa el trastorno de identidad disociativo en la construcción del personaje protagónico de la película Fight Club, en específico en la dimensión psicológica del personaje. Asimismo, se busca analizar la representación del trastorno de identidad disociativo a través de los síntomas del personaje, sobre todo, si estos síntomas son precisos con el trastorno. Por lo tanto, el aporte principal de esta investigación consiste en brindar un mayor entendimiento de la representación del trastorno de identidad disociativo en el personaje de El Narrador de Fight Club. / Dissociative identity disorder is one of the most studied and least understood mental disorders by society. Despite its uncertainty, the disorder has been used as a narrative device in films since the silent film era. Symptoms of the disorder represent an opportunity for screenwriters and filmmakers, as depicted in David Fincher's 1996 film Fight Club. However, the representation of a mental disorder in films can be mistaken if the characters are not solid. For this reason, in this paper we analyze how dissociative identity disorder is represented in the construction of the leading character in the film Fight Club, specifically the psychological dimension of the character. Likewise, it seeks to analyze the representation of the dissociative identity disorder through the symptoms of the character, especially, how these symptoms are accurate regarding the mental illness. Therefore, the main contribution of this research consists of providing a greater understanding of the representation of dissociative identity disorder in the character The Narrator from Fight Club. / Trabajo de investigación