Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2015-11-30T11:08:12Z No. of bitstreams: 1 arquivototal.pdf: 4813897 bytes, checksum: 10705f3d5a0db85a3a62e33ab3541e2e (MD5) / Made available in DSpace on 2015-11-30T11:08:12Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4813897 bytes, checksum: 10705f3d5a0db85a3a62e33ab3541e2e (MD5) Previous issue date: 2015-08-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The literary reading becomes increasingly scarce in school, and the work with the classic texts face resistance from students, and even among some teachers, who take a sacralized attitude before the canonical work, spreading the false idea that literature is something reserved only for the brightest minds. This paper discusses the use of literary adaptations in elementary school as a way to stimulate literary literacy practices that arouse interest in the fiction texts. We recognize that reading a rewriting never replace the reading of the work in its integrality, however, we also believe that it is a school’s duty, as the main literacy agency and privileged space for literary approach, make known to his students as many possible narratives, from the early grades. At the end of the discussion, we present a pedagogical proposal with a classic condensed version, seeking attest the relevance of the work with the rewriting for the development of new approaches to literature in the classroom, making possible to discuss it in the different levels of education. The work is intended, therefore, to all who are interested in the issue of literary readers formation in school and in the use of rewriting as reading incentive materials. / A leitura literária torna-se cada vez mais escassa na escola, e o trabalho com os textos considerados clássicos encontra resistência dos estudantes, e, até mesmo, entre alguns professores, que adotam uma postura sacralizadora diante das obras canônicas, difundindo a falsa ideia de que a literatura é algo reservado apenas para as mentes mais brilhantes. O presente trabalho discute a utilização das adaptações literárias no ensino fundamental como uma forma de estimular práticas de letramento literário que despertem o interesse pelo texto de ficção. Reconhecemos que a leitura de uma reescritura jamais substituirá a leitura da obra em sua integralidade, porém, acreditamos também que é dever da escola, enquanto principal agência de letramento e espaço privilegiado para abordagem literária, tornar conhecido de seus alunos o maior número de narrativas possíveis, desde as séries iniciais. Ao final da discussão, apresentamos uma proposta de trabalho com um clássico em versão condensada, buscando atestar, na prática, a relevância do trabalho com as reescrituras para o desenvolvimento de novas abordagens da literatura em sala de aula, tornando possível a sua discussão nos diferentes níveis de ensino. O trabalho destina-se, portanto, a todos que se interessam pela problemática da formação de leitores literários na escola e pela utilização das reescrituras como materiais de incentivo à leitura.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-10-04T18:13:51Z No. of bitstreams: 2 Dissertação - Fabiana Iolanda Sotini - 2017.pdf: 4907080 bytes, checksum: fd559ca76561b77bb81b47774bd4bfa8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-05T11:52:20Z (GMT) No. of bitstreams: 2 Dissertação - Fabiana Iolanda Sotini - 2017.pdf: 4907080 bytes, checksum: fd559ca76561b77bb81b47774bd4bfa8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-10-05T11:52:20Z (GMT). No. of bitstreams: 2 Dissertação - Fabiana Iolanda Sotini - 2017.pdf: 4907080 bytes, checksum: fd559ca76561b77bb81b47774bd4bfa8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-21 / This dissertationpresents an investigation about the contribution of the literary classicreading to the critical formation of high school reading students in a school of Goiania. Its objective is to investigate how the reading happens in the school environment, in the effective contact of the student with the literary text, aswell as to observe how the relation with Machado texts, representative of the classics, through the teacher mediation can contribute to the critical formation of the reader. The corpus of analysis chosen was the fictional production of Machado de Assis, asrepresentative of the classics which, less and less, are read in the school due to the complexity and the temporal distance of the language, in relation to what the young readers consider current, besides narrative innovations and refined expressionfeatures, such as irony. Five short stories and a novel authored by the authorcomposes the analysis corpus. The practical part consists of an intervention carried out as an action research, quantitative and qualitative of reading mediation, initiated by the reading of Machadian tales followed by the reading of the novel Posthumous Memories of BrasCubas (2007), with a class of 2nd grade Teaching In the State College Edmundo Rocha, located in the Northwest region of Goiânia. The rationale presented is based on reflections of Calvino (1993), Candido (1972, 1989 and 2004), Zilberman (1985, 1988, 1999), Bosi (2002,2003), Compagnon (2009) Failla (2012, 2016), Kleiman (2002) Todorov (2009), Schwarz (2008), Bosi (2003), among others, besides the documents Law of Guidelines and Bases of National Education (LDBEN, 1996); National Curricular Parameters (PCNs, 1999); Curricular Guidelines for High School (OCPEM, 2006), among others. The results of this research indicate that the literary reading of the classics contributes, in fact, to the formation of critical readers in the school and emphasizes the importance of the teacher mediation to reach this objective. / O presente trabalho apresentauma investigação sobre acontribuição da leitura de clássicos literáriospara a formação críticadealunos leitores doEnsino Médio em uma escolada redeestadualde Goiânia. Tem, como objetivo,averiguar como aleitura acontece no ambiente escolar, no efetivo contato do aluno com o texto literário, bem como observar comoa relação com textos machadianos, representativo dos clássicos,por meio da mediação docentepode contribuir para a formação crítica do leitor.O corpusde análise escolhido foia produção ficcional de Machado de Assis, como representativa dos clássicosque, cada vez menos, são lidos na escola devido à complexidade e ao distanciamento temporal da linguagem,em relação ao que os jovens leitores consideram atual, além da presença deinovações narrativas erefinadosrecursos de expressão, como a ironia.O corpusé composto por cinco contos e um romance de autoria do autor. A parte prática consiste em uma intervenção realizada como uma pesquisa-ação, quantitativa e qualitativa de mediação de leitura, iniciada pela leitura decontos machadianos seguida da leitura do romance Memórias Póstumas de Brás Cubas(2007), com uma turma de 2ª série do Ensino Médio, no Colégio Estadual Edmundo Rocha, localizado na região Noroeste de Goiânia.A fundamentaçãoapresentada apoia-se em reflexões deCalvino (1993), Candido (1972, 1989 e2004), Zilberman (1985, 1988, 1999), Bosi (2002, 2003),Compagnon (2009) Failla (2012, 2016), Kleiman (2002) Todorov (2009),Schwarz (2008), Bosi (2003), entre outros, além dosdocumentos Lei de Diretrizes e Bases da Educação Nacional(LDBEN, 1996); Parâmetros Curriculares Nacionais (PCNs, 1999); Orientações Curricularespara o Ensino Médio (OCPEM, 2006), entre outros.Os resultados desta pesquisa indicam quea leitura literária dos clássicos contribui, de fato, para a formaçãode leitores críticos na escola e salienta a importância da mediaçãodocente para a atingir esse objetivo.

Esta pesquisa resgata a trajetória de um tipo de publicação muito popular no século XX em todo o mundo, cujo renascimento verifica-se atualmente no mercado editorial brasileiro: os clássicos da literatura universal em quadrinhos. Para isso, buscou-se conhecer o legado da Classics Illustrated (1941-1971), a mais emblemática série de clássicos em quadrinhos do século XX, com presença em 36 países e traduzida para 26 idiomas. Criada por Albert Kanter (1897-1973), imigrante russo radicado nos Estados Unidos, a série espalhou-se por grande parte do Ocidente e influenciou o mercado editorial brasileiro a partir da segunda metade do século XX, quando foi trazida para o País pelo também imigrante russo Adolfo Aizen (1907-1991), com o nome de Edição Maravilhosa (1948-1962). Este trabalho explora a adaptação de obras literárias para quadrinhos com base na autonomia de cada uma das linguagens, identificando sua função nas operações da memória cultural e também os principais editores que compartilharam essa prática cultural no Brasil, a partir de reflexões relacionadas às adaptações como processo e como produto. / This research measures the trajectory of a very popular editorial device in the twentieth century in the world, which revival is now verified in the Brazilian publishing market: the classics of world literature in comic book format. For this, it intended to rescue the legacy of Classics Illustrated (1941-1971), the most emblematic series of classic in comics in the Twentieth century, with presence in 36 countries and 26 languages. Created by Albert Kanter (1897-1973), Russian immigrant living in the United States, the series spread over much of the Western world and influenced the Brazilian publishing market from the second half of the twentieth century when it was brought to the country by also Russian immigrant Adolfo Aizen (1907-1991), with the name of Edição Maravilhosa (1948-1962). This research explores the definitions of classics in comics from the autonomy of each language, identifies their role in the cultural memory operations, the main publishers who shared this cultural practice in Brazil and raises reflections related to adaptation as a process and as a product.

This thesis examines the depiction of warfare in post-9/11 ancient world epics and assesses the extent to which these films engage with contemporary events by means of allegory and analogy. Inspired by scholarship on allegorical and analogous interpretations of 1950s-60s ancient world epics, I explore how the current cycle engages with the American socio-political landscape in the wake of 9/11, with particular emphasis on the War on Terror and ensuing conflicts in Iraq and Afghanistan. I chart the genre’s evolution in relation to the combat film, and examine how the current cycle of ancient world epics integrates the tropes of other genres into its portrayal of warfare, invasion, occupation and imperialism. Within this context, I explore the recurrent motif of the father-son dynamic, and assess how its use in combat films corresponds to that in ancient world epics. I also discuss how this motif was employed in 1980s Vietnam War films, and what its use in these modern epics suggests about the conflicts in Iraq and Afghanistan. Furthermore, I discuss the use of the unreliable narrator to engage with wider debates on the value of historical films compared to written history. The aim of this study is to demonstrate that the ancient world epic is a malleable construct with which filmmakers can engage with the present while depicting the past. I build on existing studies of the ancient world in cinema, contributing new understanding of the current cycle’s relationship to its predecessors, to other genres, and to post-9/11 American society. In so doing this thesis contributes to notions of film as art, as industry, and as history, and how they intersect in cinematic depictions of the ancient world.

La postmodernité est peut-être une époque de crise des humanités : depuis les années 60, l’apprentissage du latin et du grec est en chute libre. Les arts n’en continuent pas moins, toutefois, de recourir à la matière antique. Dans les arts à récit, c’est-à-dire à dominante narrative, l’esthétique postmoderne traite moins l’Antiquité comme une source de genres à imiter et adapter, à la manière des classiques, ou comme un ensemble de récits à parodier et transposer, à la façon moderne, que comme un corpus de textes auquel recourir pour pasticher les genres, déconstruire les récits, et notamment les « méta-récits », les grands récits à message, les idéologies. L’Antiquité gréco-latine y fonctionne soit comme un autre passé, un autre monde, païen, homo-érotique, à opposer au nôtre, soit comme un nôtre passé, impérialiste, sexiste, une origine des « grands récits », à laquelle remonter pour les déconstruire. Cependant, l’esthétique postmoderne n’englobe pas tout l’art de l’époque postmoderne. Les esthétiques classiques et modernes continuent d’exister pendant cette période. Dans une perspective classique, le péplum, c’est-à-dire l’Antiquité envisagée comme un genre, se déplace du cinéma vers d’autres arts (série télévisée, bande dessinée), se servant de l’espace-temps antique comme moyen d’évasion mais aussi comme matière à réflexion sur le pouvoir, le rapport entre dominants et dominés, centre et marges. La transposition moderne des récits antiques n’en finit pas, elle, de jouer son rôle pour mythifier le quotidien et démythifier l’héroïsme. Autant de manières d’aborder aujourd’hui l’Antiquité, non plus seulement comme ce modèle en crise de la République des Lettres. / Postmodernity may be a time of crisis of the humanities: since the sixties, the learning of the classics has been plummeting. Nevertheless, the arts have gone on using the matter of Rome. In narrative arts – in other words, arts where narratives are dominant, the postmodern aesthetic does not use Antiquity through imitation and adaptation of its genres, as did the classics, nor through parodies and transpositions of its narratives, in the manner of the moderns: it resorts to it as a corpus of texts, in order to pastiche genres, to deconstruct narratives, and especially “metanarratives”, great narratives conveying messages, ideologies. Greek and Latin classics function either as another past, another world, a pagan, homo-erotic world, that can be contrasted with ours; or as our past, steeped in imperialism, and sexism, an origin of the “metanarratives”, that we can get back to for their deconstruction. However, the postmodern aesthetic doesn’t rule all art in the postmodern era. Classic and modern aesthetics still exist during this period. On one hand, in a classical way, the epic, that is Antiquity viewed as a genre, spreads from the cinema to other arts (television series, comic books), and uses ancient space-time for escapism, but also as material for reflections on power, relationships between the dominants and the dominated, centre and periphery. On the other hand, the modern transposition of ancient narratives relentlessly plays its part to mythologize everyday life and demythologize heroism. These are all different, contemporary ways of dealing with the classics, beyond the mantra of a “model in crisis” within the Republic of Letters.

P. Herc. 1570 is an unedited papyrus extant in seven pieces that together measure ca. 1.6 m. long; these are contained in five frames in the Officina dei Papiri Ercolanesi “Marcello Gigante” at the Biblioteca Nazionale “Vittorio Emanuele III&rduo; in Naples, Italy. Like many of the Herculaneum papyri, P. Herc. 1570 has remained unedited largely because of the great difficulty with which traces of letters can be discerned on its surface. It was unrolled more than fifty years after its discovery, as one of ca. 1,100 papyri that were unearthed during the excavation of first-century Herculaneum (1752-1754); but it was a mere artifact, at best, for 110 years, before it was first investigated for its literary content; and since that time 90 more years have passed, with little progress in reading its text, until the recent multispectral images of the papyrus-fragments opened a door to substantial new readings. Via these images, the dark letter-strokes can now be seen in dramatic contrast to the dark papyrus-surface, and this formerly ‘illegible’ papyrus can now be edited much more fully. Pcc. 4-6b comprise the most central part of the roll, and thus reveal the concluding columns of writing for the treatise contained on its surface. On these pieces, ten columns can be seen in breadth and height, and five other columns can be either seen in part or inferred entirely. The parts of these columns that give sense reveal an ethical (economic) treatise that seems to discuss poverty and wealth in light of death, physiologia, friendship, oeconomia, frank speech, respect and contempt, and the necessary vs. the frivolous. Reference is made a few times to Epicurus, and mention is also made of a Phaedrus. Based on vocabulary and thematic content, and by ‘time-honoured convention,’ this work may be ascribed to Philodemus as one book from his multi-volume work De divitiis, sometimes called De divitiis et povertate, of which P. Herc. 163 contains Book 1 and P. Herc. 209 may contain another. And if the text truly refers to Phaedrus, head of the Garden from 75 BC until 70 BC, then Philodemus is the most likely author; for he lived thirty years after Phaedrus' death and also wrote a vast majority of the works among the Herculaneum papyri.

The Promethean characteristics of contemporary young iconoclasts as they have expressed disapproval of the society which they have inherited and in which they feel entrapped prompted this study. Our interest here lies with the nature of the dissatisfaction rather than with ways of expressing it. If follows that out concern is primarily with the gift of Prometheus - the fire rather than with the rebellion and defiance associated with the demigod who took action against the tyranny of Zeus.

No description available.

This thesis explores Woolf's concept of androgyny through a comparison of her nonfiction essay A Room of One's Own and her fiction-fantasy novel Orlando. Recent and past critical writings on Woolf and androgyny have been consulted, as well as primary sources including her works, private letters, and diaries. Woolf's concept of androgyny embodies a fundamental dilemma. In A Room of One's Own, Woolf calls for spiritual and mental androgyny while avidly supporting physical, social, and cultural differences between men and women. In Orlando, Woolf creates a character who is unable to reach mental androgyny because of social conditioning of gender and sex roles. The dilemma lies in Woolf's embrace of stereotypical ideas that distinguish men and women, while in the end, such differences inhibit the mental and spiritual androgyny she exalts. The findings shed new light on Woolf and the controversy of her "androgynous vision" by exposing the fundamental dilemma.

The relationship between history and memory is long and complex. While some theorists argue that they are at odds with one another, this thesis explores the necessary relationship between the two. Using Michael Frayn's 1998 play, Copenhagen, and the scrapbook of a Danish police officer and resistance fighter during World War II, the author posits the central role of uncertainty in the negotiation of individual memory and history. The position of the observer or witness to history affects the way the past is remembered and recorded. Individual witnesses, even and perhaps especially where they stray from the accepted historical narrative, testify to something that would otherwise be lost: the nature of the event. The observer therefore plays an important role in interpreting the testimony according to its place in the flow of time.