Esta dissertação busca compreender porque o jovem não gosta de ler literatura clássica e faz uma abordagem sobre a importância da leitura para a libertação do ser humano. Para tal, traz memórias da autora do percurso da sua aprendizagem de leitura e de relatos de experiências de educadora. Todo o texto foi construído norteado por autores que discorrem sobre a temática. Buscou-se delinear peculiaridades de forma divertida sobre algumas obras e de práticas pedagógicas da autora e de colegas, bem como algumas recepções de alunos frente a propostas de leituras. A metodologia de pesquisa foi de registros particulares feitos a partir de observações e de vivências, resgatadas pela memória durante a produção dos textos. Com este estudo, espera-se contribuir para as reflexões que abarcam a leitura do texto literário, em particular a literatura clássica, tendo em vista um avanço do processo de formação do leitor literário na escola. Contudo, com as reflexões, não se espera apresentar algo novo. Mas, de novo chamar atenção para novos olhares sobre o tema. / This dissertation aims to understand why the young do not like reading classical literature and elaborates an approach on the importance of reading for the liberation of human beings. In this way, the author brings back memories of the journey of learning of reading and experience reports as educator. This text was built guided by authors who write about the respective topic. It sought to delineate the peculiarities about some books and teaching practices of the author and colleagues in a funny way, as well as some impressions of students in relation to the proposals of readings. The research methodology was the use of private records collected from observations and experiences, redeemed by memory during the production of this text. With this study, we hope to contribute to the reflections that involve the reading of the literary text, specially the classics, toward the advancing of the process of formation of the literary reader in school. However, it is not intended to present something new with these reflections, but to provoke new perspectives on the issue.

This thesis explores the relationship between the Classical Greek legacy and today’s world by examining the past two hundred years of controversy surrounding Lord Elgin’s removal of the Parthenon Marbles from Athens. Since the Marbles were purchased by the British Museum in 1816, they have become symbols of democratic values and Greek cultural identity. By considering how the Parthenon Marbles are talked about by different people over the years, from art connoisseurs and Romantic poets of the early 19th century to nationalist political activists of the late 20th century, this thesis demonstrates that the fight for the Marbles’ return to Greece is about more than just the sculptures themselves. It is about national heritage and cultural identity.

Made available in DSpace on 2015-05-14T12:39:37Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2332356 bytes, checksum: 50096a8205d04e0644ae7749cb867f45 (MD5) Previous issue date: 2009-10-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The adaptations of literary classics are currently a reading practice widespread in the school universe. The publishers catalogues of great circulation in the book market of our country present a vast panorama of the volume of this "editorial formula . This thesis, entitled Adaptation of literary classics: a history of reading in Brazil, having as theoretical reference authors who historicize the practices of reading and writing at various periods of history, as well as works that demonstrate the process of rewriting, demonstrates the existence of adjustment marks in Brazil, notably since the nineteenth century, when the country was culturally nourished by works from other places. This research not only makes visible the vital role developed by adaptations as a symbolic and historically constituted benefit and that is part of the cultural construction of Brazil, but also brings up the discussion of an object that is closely linked to the history of literature, reading, the reader and the book, in order to highlight the legitimate way of writing and reading. To restore, therefore, the historical background of this genre, is to show how their use and circulation remained today as a collection of reading and knowledge, responsible for presenting the vast legacy of universal poetry. In this perspective, the adaptation is conceived as a rewritten text, from a classic work called literary for a public that has no access to the "original" text. As such, the adapter must propose meaning to a cultural community from which the reader takes part of. / As adaptações de clássicos literários constituem atualmente uma prática de leitura muito disseminada no universo escolar. Os catálogos de editoras de grande circulação no mercado livreiro de nosso país apresentam um vasto panorama do volume dessa fórmula editorial . A presente Tese, cujo título é Adaptação de clássicos literários: uma história de leitura no Brasil, tomando como referência teórica autores que historicizam as práticas de leitura e de escrita em vários períodos da História, bem como obras que manifestam processo de reescrituras, demonstra a existência de marcas de adaptação no Brasil, mais notadamente desde o século XIX, quando o país se alimentava culturalmente de obras originárias de outras terras. Esta pesquisa não apenas torna visível o papel fundamental desempenhado pelas adaptações como um bem simbólico, historicamente constituído e que faz parte da construção cultural do Brasil, como também traz à tona a discussão de um objeto que está estreitamente ligado à história da literatura, da leitura, do leitor e do livro, de forma a pôr em evidência esse modo legítimo de escrever e de ler. Restabelecer, pois, o percurso histórico desse gênero, é mostrar como seus usos e circulação permaneceram na atualidade como um acervo de leitura e de conhecimento, responsável por apresentar o vasto legado da poética universal. Nessa perspectiva, a adaptação é concebida como um texto reescrito, a partir de uma obra clássica denominada literária, para um público que não tem acesso ao texto original . Como tal, o adaptador deve empreender significado para uma comunidade cultural da qual participa o leitor.

Between 1919 and 1934, as members of China's Guomindang (Nationalist Party) struggled to take control of and transform the country, they increasingly appropriated language and symbols associated with the fallen Qing Dynasty. At the same time, these were accompanied in party discourse by radical appeals that included strong critiques of China's past. In this they were far from unique: studies of nationalisms around the world have found them to combine appeals to the new and the old. Yet in China this combination incited particular controversy, as Guomindang members and others, wrestling with the cultural legacy of the empire, put forward powerfully radical critiques not only of the culture of the past but also of traditionalist appeals to it. The result was distinctive textual practices I term 'revolutionary traditionalism', which appropriated cultural elements of the imperial orthodoxy while reconciling these appropriations with radical language. Yet this revolutionary traditionalism could not unproblematically form a unified modern nationalist orthodoxy. Radical and traditionalist positions in regard to culture recurred through power struggles within and beyond the party. Through these struggles, by the end of the 1920s revolutionary traditionalism came to characterise the new Nationalist Government formed by Guomindang members in Nanjing. While like other nationalists Guomindang members reinvented the language and symbols to which they appealed, however, the case of Confucius shows that they could not unilaterally control these reinterpretations. The central place of Confucius in national culture was established through a process of negotiation, as groups identifying themselves as 'Confucian' petitioned the state, appropriating its own traditionalist discourse, for recognition and commemoration. Yet these Confucians, pursuing their own often religious agendas, also cast doubt on the authenticity of the state's commitment. Revolutionary traditionalism thus remained unstable, repeatedly challenged both from radical and traditionalist positions.

This thesis focuses on the development of the first project for FIU’s ICAVE, The Globe Experience, presented as part of the “First Folio! The Book That Gave Us Shakespeare” exhibit during February, 2016. The thesis is divided into two parts. The first part is the project itself: a virtual reality recreation of going to The Globe Theater to see a play by William Shakespeare. The second part examines the digital project and outlines how Walter Benjamin and postcolonial theorists influenced the design of The Globe Experience, resulting in, what I call, a “temporally and spatially disjointed London.” From this examination, the thesis goes on to question the role of canonical literature in the humanities. I go on to make the argument that the design decisions made in recreating The Globe reveals the ways in which canonical literature can reinforce and support hierarchical ideologies which can impede student learning.

This written portion of my thesis will document and codify how I as dramaturg, writer and director adapted and staged the classic Harlem Renaissance novel Infants of the Spring by Wallace Thurman. I walk the reader through how seeing as a director influenced my creative choices through key aspects of production: script development, design, and building the ensemble. The thesis will conclude with a post-production reflection and summary.

Painted in 1937 as part of the centenary celebration of the death of Alexander Pushkin, Nikolai Ulyanov's A. S. Pushkin and his Wife, N. N. Pushkina at the Imperial Ball has been lauded as the quintessential example of Soviet history painting. Modern scholars have followed the lead of Soviet critics, who praised the painting for its insight into the psychology of the brilliant poet repressed by the tyrannical tsarist regime. According to this interpretation, Soviet viewers in the 1930s were to ponder on the tragedy of Pushkin's demise and rejoice that the victory of Socialism had freed them from such repression. However, this thesis suggests that Ulyanov embedded a secondary, subversive message in his masterpiece. Through careful manipulation of Pushkin's complex semiotic significance, Socialist Realist dialectics, and the Aesopian method, Ulyanov crafted an image that could be celebrated for its adherence to Soviet ideology, while simultaneously suggesting to those who detected his clues that artistic repression had not ended with the revolution. In this subversive reading, Ulyanov's masterwork becomes a psychological self-portrait of an artist living under Stalinist oppression during the Great Terror.

This thesis argues that Ella Ferris Pell's 1890 painting, Salome, provides a unique interpretation of the ideals of the New Woman, specifically in terms of reclaiming female power through Salome's confidence in her sexuality. By examining the cultural context in which Pell exhibited her painting, as well as her background as an artist, I hope bring to the light the significant ways in which Pell's Salome participates in the construction of the New Woman in late nineteenth-century culture. Since Pell was an American woman who trained and exhibited in both the United States and France, this paper explores the significance of the New Woman in both countries. Through the examination of these ideas, we can better appreciate the way in which Pell approached her painting and why it was not well received in Paris—despite its popular subject matter, technical execution, and relevance to the popular topic of the women's movement. Drawing upon the rich visual culture of this era, I offer a comparative study of how both images of women and actual women embraced sexuality and femininity as a means of exerting influence over men, and by so doing, carved out a sphere of influence in a male-dominated society.

Charlotte Salomon's Life? or Theater? is a complex compilation of painting, musical notations, autobiography, cinematic layouts, and literary text. Salomon scholars have neglected a crucial element of Life? or Theater?, which is the significant influence of Salomon's friend, Alfred Wolfsohn. This thesis fills this void by examining the correlation between stylistic influences in Salomon's work and by exploring Wolfsohn's theoretical practices. Using a framework informed by Jungian psychology and Wolfsohn's extensive music theory, this thesis argues that Salomon portrayed her own story via Wolfsohn's philosophy of catharsis. As trauma became a reoccurring theme in Salomon's life, painting and creation became her purification and the means by which she recovered her own sanity. To expound the importance of Salomon's emotional expulsion in Life? or Theater?, this thesis considers her biography, traumatic life events, and her formal art training at the Vereinigte Staatsschulen für Freie und Angewandte Kunst. The combination of her chaotic life events, her training as a visual artist, and her inclusion of musical and theatrical elements emphasize her ability to efficiently call upon the most effective and expressive artistic style for her catharsis. In its synthesis, Salomon's Life? or Theater? becomes a Gesamtkunstwerk that is the pinnacle of German Expressionism. Lastly, this thesis will look to the relationship and influence of Wolfsohn. Arguing that Wolfsohn's influence was more than encouraging Salomon to paint, this thesis will draw connections between Wolfsohn's theories and Salomon's approach to Life? or Theater?. In arguing for the importance of Wolfsohn's theories, and by understanding her work as catharsis via Gesamtkunstwerk, this thesis has contributed new ways of understanding Salomon's complex work, Life? or Theater?, as more than an illustrated autobiography.

The theatre in the nineteenth century was a source of entertainment similar in popularity to today's film culture, but critics, of both that age and today, often look down on nineteenth-century theatre as lacking in aesthetic merit. Just as many of the films now being produced in Hollywood are adapted from popular or classic literature, many theatrical productions in the early 1800s were based on popular literary works, and it is in that practice of adaptation that value in nineteenth-century theatre can be discerned. The abundance of theatrical adaptations during the nineteenth century expanded the arena in which the public could experience and interact with the great popular literature produced during the period. Additionally, theatrical adaptations afforded audiences the opportunity of considering how the medium of theatre functions artistically, since a story on stage is communicated differently than a story in print. Studying theatrical work as adaptation – especially when we focus on the manner in which the subject is communicated rather than on alterations in the subject itself – reminds us that the theatrical medium is not constituted of the same formal elements as literature and should not be judged according to the same criteria. The stage of the early nineteenth century, perhaps more than in any other age, was defined by its appeal to the sense of sight rather than by attempts to be literary by using literary devices on the stage. Instead, theatre of this age found ways of communicating the subject material of popular literature in an entirely new "language" system, with varying degrees of success. Considering adaptation as a process of translation from one aesthetic language to another reveals that some creative minds were more attuned to the unique aesthetic capabilities of each medium than others. Two case studies of theatrical adaptations produced in nineteenth-century England apply this model of adaptation while considering the unique stage conventions, expectations, and culture of the day. These analyses reveal differing degrees of sensitivity to the mode of communication in literature and theatre.