Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-14T11:43:07Z No. of bitstreams: 1 michellefabienepiresferreiraguimaraes.pdf: 3690136 bytes, checksum: 9fe2a2723136781a5f223367d8d14cea (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-14T15:50:10Z (GMT) No. of bitstreams: 1 michellefabienepiresferreiraguimaraes.pdf: 3690136 bytes, checksum: 9fe2a2723136781a5f223367d8d14cea (MD5) / Made available in DSpace on 2015-12-14T15:50:10Z (GMT). No. of bitstreams: 1 michellefabienepiresferreiraguimaraes.pdf: 3690136 bytes, checksum: 9fe2a2723136781a5f223367d8d14cea (MD5) Previous issue date: 2015-02-25 / O presente estudo visa investigar quais são as identidades mineiras representadas no jornalismo praticado pelo Bom Dia Minas, telejornal matutino da TV Globo Minas. O noticiário de rede estadual, que pretende dar conta das principais notícias mineiras logo pela manhã, veicula as reportagens produzidas pelas afiliadas do estado e pela emissora da capital. Minas Gerais é o estado brasileiro com o maior número de municípios no país. No total, são 853 cidades e, portanto, a maior área limítrofe criada dentro de uma Unidade Federativa. Partindo-se das premissas de que o estado é multifacetado, plural e constituído de inúmeras identidades culturais, e de que as reportagens enviadas pelas afiliadas são construídas sob a ótica regional, a pesquisa procura, por meio da Análise de Conteúdo (AC), classificar e analisar as identidades mineiras que mais têm destaque no telejornalismo regional da TV Globo Minas, líder de audiência no estado. O trabalho utiliza, ainda, o suporte teórico dos Estudos Culturais, para explicar o telejornalismo como mediador cultural e matriz de produção de sentidos na sociedade midiatizada na qual vivemos contemporaneamente. / The present study‟s aim is to investigate what the identities from the state of Minas Gerais represented in the Bom Dia Minas TV journalism, Globo Minas‟ matutinal TV journalism, are. The state news, that intends to handle all the main news from the state of Minas Gerais early in the morning, transmits the news produced by the state affiliates and by the capital‟s station. Minas Gerais is the Brazilian state that has the biggest number of municipalities. There is a total of 853 cities making the state the biggest territorial area within a federative unit. Taking into account the fact that the state is divided, it is plural and it is constituted of a variety of cultural identities, and that the news sent by the affiliates are built up under a regional point of view, this research intends, through Content Analysis, classify and analyze the State of Minas‟ identities which stand out the most in the Globo Minas regional TV journalism, audience leader in the state. Yet, this work makes use of the Cultural Studies theoretical support to explain the TV journalism as cultural mediator and as sense production matrix in the mediated society in which we live nowadays.

No description available.

[pt] A proposta desta pesquisa, informada pelo paradigma teórico dos Descriptive Translation Studies, foi examinar três traduções para o inglês de romances brasileiros contemporâneos feitas pelo professor e tradutor norte- americano Clifford Landers, tendo em vista os seguintes objetivos: (i) verificar, mediante uma análise contrastiva das estratégias utilizadas por Landers na tradução de itens especificamente culturais, se essas traduções têm como efeito resultante um apagamento ou uma acentuação dos elementos culturais brasileiros a partir do ponto de vista da cultura receptora, e (ii) investigar qual é a imagem do Brasil projetada no pólo receptor norte-americano por meio dessas obras traduzidas, buscando avaliar se tais traduções desmentem, perpetuam ou geram representações culturais estereotipadas do Brasil. Além disso, sempre que pertinente aos objetivos da pesquisa, analisei a prática tradutória de Landers a fim de avaliar, dentre outras questões, em que medida sua prática se coaduna com suas próprias teorizações, divulgadas em livros, artigos e comunicações pessoais. / [en] Having the Descriptive Translation Studies as a theoretical framework, in this research I analysed the English translations of three Brazilian contemporary novels, all made by the American translator Clifford Landers. The purpose of it was to (i) analyse the strategies employed by Landers in translating textual elements known as culture-specific items, so as to infer if such strategies resulted either in the detachment or in the approximation, from the point of view of the target culture, of Brazilian culture as signaled by these kind of textual elements and (ii) to investigate the resulting representation of Brazilian culture by these translations, trying to infer if such texts create, deny or confirm stereotyped representations of Brazilian culture. Besides, whenever pertinent to the objectives of this research, I reviewed Lander`s translational practice, taking into account, amongt other issues, if his practice matches with his own theorization, published in books, papers or personal communications.

With the rising importance of Mandarin Chinese since the 80s, researchers have paid more attention to the Mandarin learners of heritage backgrounds who can understand or speak Mandarin Chinese before entering Chinese as a Foreign Language (CFL) programs. However, the study of Fangyan-speaking learners of Mandarin Chinese has been long neglected and still remains scarce. This interview study was conducted with twelve Fangyan-speaking learners of Mandarin in U.S. universities with an aim of investigating the linguistic knowledge and ethno-cultural identities that Fangyan-speaking students bring to college-level CFL classrooms. Another focus of this study is to investigate the perception Fangyan-speaking students have about their linguistic abilities and what Fangyan-speaking students are perceived to be the expectations of their instructors and peers. This study was conducted in two CFL programs: a long-established dual-track program in a research university and a newly-established mixed track program in a teaching university. Both Fangyan-speaking students and their instructors were recruited for interviews and document data were collected from both students and their instructors. A modification of Krashen’s Input Hypothesis (1981) was employed in categorizing four types of Mandarin input, in which Cantonese pronunciation for reading purposes and media consumption were found to play important roles in Fangyan-speaking students’ Mandarin learning. Analysis of the data also revealed that Fangyan-speaking participants’ ethno-cultural identities may exhibit a nature of “hybridity” (Young, 1995) owing to their family immigration histories. Implications derived from the findings are offered for researchers, practitioners, and administrators of programs that serve tertiary CFL learners. / text

[pt] O presente trabalho tem como propósito rever o papel que tem sido atribuído ao vestuário no cotidiano dos escravos da cidade do Rio de Janeiro nos Oitocentos, introduzindo novos elementos para ampliar a compreensão de como escravos praticavam o vestir na experiência do cativeiro, tendo em vista duas funções do vestuário: alteração visual do corpo e meio de comunicação interpessoal. Essa investigação se desenvolve através de um exame crítico de fontes textuais e imagéticas, representações construídas acerca da aparência dos escravos observados através do olhar do outro, no qual a roupa é um fator significativo na caracterização da população negra e escrava. Na descrição da roupa, formas de vestir, associadas a demarcações sociais e culturas de origem, generalizam e estereotipam a visualidade de mulheres e homens negros, com a criação de tipos de alcance limitado, não condizente com o contexto social, cultural e econômico do Rio de Janeiro no século XIX. A tese percorre textos e imagens de relatos e narrativas de viajantes, fotografias e anúncios de fugas de escravos, dos quais podem ser extraídos elementos para um duplo e simultâneo intento: enxergar o escravo como objeto e como sujeito. Duas possibilidades de investigação que apontam para duas linhas de abordagem, a primeira relacionada a representações que mostram como seus autores observavam, apreendiam e interpretavam a existência cativa, e a segunda relacionada a possibilidades existentes utilizadas pelos escravos em busca de uma identidade própria com a criação de práticas no ato de vestir-se. / [en] This work aims to review the role that has been attributed to the clothing in quotidian of the slaves of Rio de Janeiro in the nineteenth century, introducing new elements to broaden the understanding of how the slaves practiced dressing on the experience of captivity, in view of two clothing functions: visual change of the body and means of interpersonal communication. This research is developed through a critical examination of textual and image sources. Representations built on the appearance of slaves seen through the eyes of the other in which clothing is a significant factor in characterizing the black and the slave population. In the description of clothing, manners of dress, coupled with social distinctions and cultures of origin, generalize and stereotype the visibility of black men and women, with the creation of types of limited scope, inconsistent with the social, cultural and economic context of Rio de Janeiro in the nineteenth century. The thesis goes through texts and images and narrative reports of travelers, photos and advertisements of runaway slaves, of which elements can be extracted for a simultaneous dual purpose: to see the slave as object and as subject. Two possibilities of research pointing two different approaches, the first relates to the representations that show how the authors observed, assimilate and interpret the existence and the second related to captive possibilities used by slaves seeking their own identity by creating practices in the act of dressing up.

Made available in DSpace on 2014-07-29T16:27:54Z (GMT). No. of bitstreams: 1 Dissertacao Luciana de Maya 003pre-textuais.pdf: 90564 bytes, checksum: 0c07a8eee9db09c2b5508cb2ba3e45bb (MD5) Previous issue date: 2008-05-12 / This research project has as reflection field the work developed with a group of inhabitants from Administrative region of Varjão, Distrito Federal, where the artisan weaving, assumed as a mediated language, it propitiated the recognition of some cultural/identities referential, since their origins before arriving Brasilia/Distrito Federal, by ways covered until come to Varjão. The educational practices non-formal had guided actions, dialoguing in a Transdisciplinarity approach with individuals end collective memories of the group. The realities lived in the community, as well as its future pretensions. The referential of identity is little by little disclosed. In this participative research, by conversations that are happening by the sewing press rhythm and through fabrics those are showing themselves little by little, as identities. The time one became present, to tell histories about diverse popular cultures that are the matrix to making and knowing , base of Brazilian education. Creating, as an essential form of the existence, reveals the necessity to express what legitimizes the artesian product and the popular production, which weave powers by means of several hands. / Este projeto de pesquisa tem como campo de reflexão o trabalho desenvolvido com um grupo de moradores da Região Administrativa do Varjão, Distrito Federal, em que a tecelagem artesanal, assumida como linguagemmeio, propiciou o reconhecimento de alguns referenciais identitário-culturais, desde suas origens antes de chegarem a Brasília/Distrito Federal, como nos caminhos percorridos até chegarem ao Varjão. As práticas educativas não-formais balizaram as ações, dialogando transdisciplinarmente com as memórias individuais e coletivas do grupo, as realidades vividas na comunidade e suas pretensões futuras. Os referenciais identitários são aos poucos desvelados, nesta pesquisa participativa, por meio das conversas que se vão tecendo ao ritmo do tear e nos tecidos que vão se mostrando aos poucos, como as identidades. O tempo fez-se presente para contar histórias de diversas culturas populares que são a matriz dos fazeres e dos saberes, base da educação brasileira. O criar, como forma essencial de existir, mostra-se na necessidade de expressão que legitima o produto artesanal e a produção popular, que tece poderes em muitas mãos.

L’étude saisit comment les Catalans réfugiés en France ont pu maintenir, entre 1939 et 1977, une identité politique et culturelle forte, en dépit d’une position minoritaire au sein de l’exil républicain espagnol. Contribution à l’analyse des dynamiques identitaires des exils, la recherche repose sur l’exploitation de sources variées : françaises et catalanes, publiques, privées ou orales. Elle s’organise selon un plan chronologique en trois parties. La première s’attache aux héritages politiques et culturels d’une immigration assez cohérente pour poser les jalons d’une identité républicano-catalaniste auxquels les exilés de 1939 seront redevables. La seconde partie traite de la période 1939-1945, terrible en termes d’expériences et décisive dans la mise à l’épreuve d’une identité républicaine, elle relègue au second plan la singularité strictement catalane et relativise la portée du contentieux catalane-castillan. Le double traumatisme de la défaite et d’u11 accueil hostile marque pour longtemps les exilés et leur représentation de la France. La troisième partie examine comment, avec le retour à la paix et en dépit de la dissipation rapide des espoirs de retour victorieux au pays, l’exil populaire catalan, délesté de sa frange intellectuelle partie en Amérique ou revenue en Espagne, traverse l’épreuve du temps, engagé dans un processus complexe de recomposition identitaire sur fond d’intégration. / The study focuses on how Catalan refugees in France managed to hold a strong political and cultural identity, between the years 1939 and 1977, despite their minority position within the Spanish republican exile. This research is based on the use of varied sources - French and Catalan, public and private, written or oral - aims to contribute to the analysis of the identical dynamics of the exiles. It gets organized according to a chronological plan in three parts. The first one is attached to the political and cultural inheritances of a previous and rather coherent immigration to show the way of a Catalan-republican identity in which the exiles of 1939 will be indebted. The second part deals with period 1939-1945, terrible in terms of experiences and decisive in the testing of a republican identity, it relegates in the background the strictly Catalan peculiarity and puts in perspective the impact of the Catalano-Castillan dispute. The double trauma of the defeat and the hostile reception marks for a long time the exilés and their representation of France. The third part examines how, with return in the peace and in spite of the squandering of the hopes of victorious return in the country, the Catalan popular exile, relieved of its intellectual fringe left for America or returned in Spain, crosses the test of time, launched in a complex process of identity reorganization on an integration background.

Tell Aswad, situé à environ 30km à l’Est / Sud-Est de Damas, est un grand tell d’environ 6 hectares dont la hauteur maximale ne dépasse pas de 4,50 m la grande plaine lacustre qui l’entoure. Le site de Tell Aswad datant entièrement du Néolithique Précéramique B (entre 8200 et 7500 av. J.-C.) est un site de référence du Levant Central. Ces populations, complètement agriculteurs/éleveurs, montrent des liens entre les populations et les cultures du Levant Nord et Sud. Les niveaux attribués à l’horizon PPNB ancien, période mal connue au Levant Sud, lui donne une grande importance historique au niveau régional. Ainsi, ce site offre une documentation rare qui peut être utilisées dans la recherche des origines du PPNB dans la région et les identités culturelles qui lui correspondent. Il nous a offert une riche documentation sur les pratiques funéraires. Répartis sur presque la totalité de son occupation, plus de 119 individus ont été exhumés. Les résultats nous indiquent la présence d’une continuité diachronique des pratiques funéraires tout au long de l’occupation, celles-ci étant originaire d’une tradition ancestrale. Elles révèlent le recours aux funérailles uniques mais se spécifient par des funérailles multiples, à travers le prélèvement des crânes. Chacun de ces deux modèles résulterait d’un choix imposé et sélectif issu du système social (hiérarchisé), indiquant la manière dont le défunt doit être inhumé. Les différents traitements des crânes prélevés, dont le surmodelage, correspondraient à des « rituelles» et pratiques funéraires hautement culturalisées. Elles témoignent de l’ordre social et de l’intégrité du groupe et matérialisent l’un des traits majeurs de l’identité culturels des sociétés Néolithiques du PPNB à Tell Aswad. L’étude de l’organisation spatiale des sépultures au cours de l’occupation PPNB de Tell Aswad, révèle un changement des lieux d’inhumations, depuis l’inhumation dans des maisons, à l’intérieur de la cellule familiale, jusqu’à la conception de lieux spécifiques dédiés aux pratiques funéraires. L’organisation spatiale de ces lieux devient pour nous une source supplémentaire témoignant de l’organisation sociale dans ce site. / Tell Aswad, located 30 km East/South-East of Damascus, is a nearly 6 hectares tell not exceeding 4,5 meters height above the great lacustrian plain surrounding. The whole stratigraphy of the site dates from PPNB (8200-7500 B.C.), it's a reference site for the Central Levant because of the farmer/cattle breeder population showing connections between Southern and Northern Levant. The ancient PPNB levels, poorly understood in South Levant, give to the site an important historical status on a regional level. Thus, Tell Aswad offers us a rare documentation used for a better understanding of the PPNB period origins in the area and the cultural identities corresponding. The data are especially rich for the funeral practices. More than 119 individuals have been excavated spread on the entire occupation. Our results indicate the presence of a diachronic continuity of the funeral practices throughout the occupation due to an ancestral tradition. They reveal the use of simple burials but also specificity in the multiple burials by means of the skull withdrawal. Both models result from a selective choice imposed by the social system (hierarchical), indicating how the deceased had to be buried. The variability inside the skull treatment including the modeled skulls correspond to "ritual" and funerary practices highly culturalized. They reflect a social order and a group integrity materializing one of the major feature of the cultural identity of Neolithic PPNB society in Tell Aswad. Studying the spatial organization of the burials during the PPNB occupation of Tell Aswad reveals changes in burial sites, from burials in the house inside the family unit until the creation of specific area dedicated to funerary practices. The spatial organization of these areas becomes for our research a supplementary testimony of the social organization in the site.

Marta Traba (1923-1983), écrivaine et critique d’art argentino-colombienne, est principalement connue en Amérique latine pour ses écrits critiques, son engagement pour le développement de l’art moderne en Colombie, et plus largement pour sa « théorie de la résistance » qui prône dans les arts plastiques une défense des identités culturelles latino-américaines. Son œuvre littéraire, en revanche, est beaucoup moins connue. Or, elle est non seulement très riche, mais elle forme le pendant narratif à son œuvre critique, un ensemble de récits innervés, de manière plus ou moins profonde, des conceptions et de la culture trabiennes sur l’art. Il s’agit dès lors de reconsidérer ces deux pans de sa production écrite comme un tout cohérent, et de montrer les influences et les interactions entre sa critique d’art et sa littérature, mais également entre les arts plastiques qui forment sa culture artistique et ses écrits fictionnels. Il apparaît alors que Marta Traba conçoit et pratique son écriture critique comme une écriture « littérarisée » et, réciproquement et surtout, sa littérature comme une littérature « artialisée » : la valorisation constante du regard esthétique sur le monde et d’une sensorialité exacerbée dessine un idéal de contemplation tout au long de son œuvre littéraire ; les insertions continues d’une terminologie critique et de références aux œuvres d’art, sur un mode tantôt clairement didactique, tantôt subtilement ludique, invitent le lecteur à lire ses fictions et poèmes au prisme du sous-texte artistique qui enrichit leur sens ; enfin, le récit devient le lieu d’expérimentation des théories trabiennes de la « résistance », entre réaffirmation de la place de l’Amérique latine sur la carte de l’art mondial, mise à distance défensive des influences nord-américaines et réappropriation locale, par « transculturation », des modèles artistiques étrangers. L’étude de l’artialisation de la littérature trabienne est donc loin d’être l’analyse d’un simple procédé formel : elle dégage, nous semble-t-il, un véritable style trabien, miroir de l’écrivaine et de ses convictions. / Marta Traba (1923-1983), an Argentinian-Colombian writer and art critic, is most famous in Latin America for her critiques, her commitment to develop modern art in Colombia, and, more generally, for her “theory of resistance” which advocates the defence of the many cultural Latin-American identities in fine arts. Her literary work, however, is far less well-known. And yet, not only is it very rich, but it also constitutes the narrative counterpart to her critiques – a collection of tales innervated, to different degrees, with Traba’s notions on and knowledge of art. It is consequently about reconsidering these two sides of her written production as a consistent whole, and identifying the influences and interactions between her art critiques and her literary work, as well as between the fine arts which make up her artistic culture and her fictional writings.It then appears that Marta Traba devises and practices her critical writing “literarily” as she does, above all, her literary work “artistically”: the constant enhancement of the aesthetic eye on the world and of an intensified sensory experience shape an ideal of contemplation throughout her literary work; the continuous inserts of a critical terminology and of references to art works, sometimes in a clearly didactic mode, sometimes in a subtly playful manner, invite the reader to read her fiction stories and poems in the light of the artistic subtext which enriches their meaning; finally, the tale becomes the place where Traba’s theories of “resistance” are tested, at the crossroads of the re-affirmation of the place of Latin America on the map of international art, of the defensive distancing from North American influences, and of the local re-appropriation, by “transculturation”, of the foreign artistic models. The study of the artistic mutation of Traba’s literary work is therefore far from boiling down to the analysis of a mere formal process: from our point of view, it reveals an authentic style, Traba’s style, which is the mirror of the writer and her convictions.