Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Homosexuality built in the late nineteenth century as something to be fought, because it is a disease, a perversion of something sinful and dangerous to the current regulations (heteronormativity) still pervades in Brazilian society sexist, patriarchal, nuclear, phallic and homophobic, and which is capable of killing a homosexual approximately every 28 hours in the country. In this way we intend through this research to analyze the violence against homosexuals in the decline of the period of military dictatorship in Brazil, specifically the period of 1978-1981, through the Lampião da Esquina newspaper. Thus, analyze the gay press through this newspaper, which was the first homosexual periodical to circulate throughout the country. Also consider the period and its subjects through its pages, represented by Brazilian society at the time. Analyze how and which provided the emergence of a gay newspaper in the country, which makes it possible to analyze the mainstream press of the period, as well as the alternative press. In other words, a look at the period through the gay press, which makes it possible an analysis of homosexuality, violence and the press of the period. / A homossexualidade construída nos fins do século XIX como algo a ser combatido, por se tratar de uma doença, de uma perversão, de algo pecaminoso e perigoso à norma vigente (heteronormatividade) ainda permeia na sociedade brasileira machista, patriarcal, nuclear, fálica e homofóbica, e, que é capaz de matar aproximadamente um homossexual a cada 28 horas no país. Dessa forma pretendemos na pesquisa analisar a violência contra os homossexuais no período do declínio da ditatura militar no Brasil, especificamente o período de 1978-1981,ano de publicação do jornal Lampião da Esquina. Assim, analisar a imprensa gay utilizando desse jornal, que foi o primeiro periódico homossexual a circular pelo território nacional. Analisar também o período e seus sujeitos nas suas páginas, representadas pela sociedade brasileira da época. Analisar como e o que proporcionou o surgimento de um jornal gay no país, o que torna possível analisar a grande imprensa do período, bem como a imprensa alternativa. Ou seja, um olhar para o período por meio da imprensa gay, o que torna possível uma análise da homossexualidade, da violência e da imprensa da época. / Mestre em História

O presente trabalho é resultado de releituras das representações das paisagens da Ilha de Santa Catarina, entre a última década do século dezenove até os anos quarenta do século vinte. É uma análise baseada em reflexões da história cultural, que concebe a paisagem como uma invenção discursiva situada em contexto social específico. No exercício de análise das representações das paisagens nos discursos de viajantes estrangeiros, nos textos literários regionalistas e nas imagens fotográficas, que dão a ver “lugares” de Florianópolis e de seus arredores, manuseia-se com uma visualidade oficializada da paisagem, que serve, inclusive, à divulgação turística da Ilha na atualidade. / The present work is the result of new interpretations of the representations of landscapes of the Island of Santa Catarina, from the nineteenth century’s last decade until the twentieth century’s forties. It is an analysis based on thoughts from Cultural History, which sees the landscape as a discursive invention placed in a specific social context. By analysing the representations of landscapes in the discourses of foreign travelers, in literary texts and in regionalistic and photographic images, which represent "places" of Florianópolis and its surroundings, one can handle with an official visuality of the landscape, which also serves to the touristic advertisement of the Island nowadays.

The proposal of this study is to investigate the representations of practical of reading of normalistas of the Institute of Education Rui Barbosa IERB, in the decades of 60 and 70 of century XX. The theoretician-metodológicos associates itself to it estimated of History of the Feminine Education and of Cultural History under the perspective of History of the Reading. The used principal sources had been depositions of the formerones of the investigated period, the note passbooks of professors of Literature and Portuguese Language of the decades of 60 and 70 of century XX, beyond fotonovelas and clandestine romances read for the normalistas, in order to know and to understand the appropriations of such practical in the process of formation of these readers, considering itself that the reading experiences in the acquisition of habitus, as well as they give indications of the behavior, of the values and of the acquired experiences. / A proposta deste estudo é investigar as representações das práticas de leitura de normalistas do Instituto de Educação Rui Barbosa IERB, nas décadas de 60 e 70 do século XX. Vincula-se aos pressupostos teórico-metodológicos da História da Educação Feminina e da História Cultural, sob a perspectiva da História da Leitura. As fontes principais utilizadas foram depoimentos das ex-normalistas do período investigado, as cadernetas de notas de professores de Literatura e Língua Portuguesa das décadas de 60 e 70 do século XX, além de fotonovelas e romances clandestinos lidos pelas normalistas, a fim de conhecer e compreender as apropriações de tais práticas no processo de formação dessas leitoras, considerando-se que as experiências de leitura são importantes na aquisição de habitus, bem como dão indícios do comportamento, dos valores e das experiências adquiridas.

This thesis is aimed at researching the configuration of the secretarial profession in the State of Sergipe, from 1975 to 2010, seeking to understand the processes in which education, labor market space and organization of these professionals occurred in their representing entities. An historical research was conducted using the elements of Cultural History. The main categories analyzed were the concepts of “figuration, configuration and interdependency” of Norbert Elias, “field, capital and habitus”, of Pierre Bourdieu, and “ownership and representation” of Roger Chartier. The time period of this research uses Decree no 20.158 of 1931, as an antecedent reference that estalished Comercial Education in Brazil, which included the secretarial technical course. However, the occupation was just legalized in 1978, and thus became a regulated profession, with specialized education for those interested in following this path. In Sergipe, the first training courses for secretaries came to be in 1975. In the following years, the secretarial technical courses were created, Tobias Barreto College, Aracaju, as the first in 1976, Diocesano College, Propriá in 1980 and Serviço Nacional de Aprendizagem Comercial, Aracaju, in 1996. Tiradentes University started the graduation course in the year 1989 and cancelled it the year 2000, and the Federal University of Sergipe started the course in 2006 and continues till date. Thus, the trajectory of education spaces, insertion and action of these professionals in the labor market were analyzed until the year 2010, which was the graduation year of the first class of secretarial studies from the Federal University of Sergipe. The study showed that, though under legal protection and collective representation, the systematization of knowledge for the practice of future secretaries, through specific courses, was not a sufficient movement to give the occupation the status of “profession”. Unable to express its relevance to society, education for the secretaries contributed to its configuration as “passing professionalization”. This thesis is defended under the confirmation that the education provided allows students to complete a given level of education, but not entry into a job field related to the title obtained. The specialized education being the main element of the delimitation of the field, did not receive distinction before social practices, thus remains confronted with historically constituted meanings about secretarial activities. / Esta tese teve como objetivo a investigação sobre a configuração da profissão de secretário no Estado de Sergipe, no período de 1975 a 2010, buscando-se compreender os processos em que ocorreram a formação, construção do espaço de atuação e organização desses profissionais em entidades de representação da categoria. Constituindo-se em uma pesquisa histórica, apoiada nos pressupostos da História Cultural, as principais categorias de análises adotadas foram os conceitos de “figuração, configuração e interdependência”, de Norbert Elias, “campo, capital e habitus”, de Pierre Bourdieu e “apropriação e representação” de Roger Chartier. O recorte temporal da pesquisa tem como referência antecedente a organização do Ensino Comercial no Brasil, por meio do Decreto no. 20.158, em 1931, onde constou o curso técnico de secretário. Porém, a ocupação só recebeu legislação própria em 1978, passando à profissão regulamentada com formação específica aos interessados no exercício dessa atividade. Em Sergipe, os primeiros cursos de qualificação para secretários surgiram em 1975. Nos anos seguintes, foram criados os cursos de Técnico em Secretariado, com o pioneiro no Colégio Tobias Barreto, em Aracaju, em 1976, no Colégio Diocesano, em Propriá, em 1980, e no Serviço Nacional de Aprendizagem Comercial, em Aracaju, em 1996. Em nível superior, a formação ocorreu na Universidade Tiradentes, de 1989 a 2000, e na Universidade Federal, em Sergipe, a partir de 2006. Assim, com a identificação de iniciativas pontuais para a profissão em Sergipe, analisou-se a trajetória da formação, espaços, inserção e atuação desses profissionais no mercado de trabalho até o ano de 2010, data de conclusão da primeira turma do curso em nível superior na Universidade Federal de Sergipe. O estudo apontou que, embora sob amparo jurisdicional e de representação coletiva, a sistematização de conhecimentos para a práxis dos futuros secretários, por meio dos cursos específicos, não constituiu um movimento suficiente para atribuir ao Secretariado o status de “profissão”. Dessa forma, sem conseguir ecoar relevância à sociedade, a educação para o Secretariado contribuiu para a sua configuração como uma “profissionalização de passagem”. Esta tese é defendida sob a constatação de que a formação proporcionou aos alunos a conclusão de um determinado nível de ensino, mas não o ingresso em um nicho de trabalho relacionado ao título obtido. A educação especializada, como principal elemento da delimitação do campo, não se sustentou como distinção perante as práticas sociais, permanecendo confrontada com significados sobre o ofício historicamente constituídos.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The target of this study was to investigate the trajectory of Instituto Profissional Coelho e Campos , ordering to notice what the contribution of this Institution for the professional teaching in Sergipe. The period of the research was in 1922, date of creation of the Institute, until 1944, when this was subordinated to Serviço Nacional de Aprendizagem Industrial . This is a historic research, which is based on the assumptions of New Cultural History. The categories of analysis are the concepts of figuration and configuration and civilization of Norbert Elias; field, power, capital and habitus of Pierre Bourdieu, such as appropriation and representation of Roger Chartier. It was made a bibliographic research on the thematic of professional education, to notice the ways of this teaching throughout History of Education. The sources were located in Arquivo Público Estadual de Sergipe , in Biblioteca da Universidade Federal de Sergipe , in PESQUISE Pesquisas de Sergipe , in Biblioteca Pública Epiphâneo Dórea , in Arquivo do Poder Judiciário , in Instituto Histórico e Geográfico de Sergipe , in Centro de Documentação e Informações da Câmara dos Deputados and in Arquivo do Senado Federal . The propose of this study, is to contribute with the researches in the area of History of Education to make considerations about professional teaching and their practical training. / O objetivo deste estudo foi investigar a trajetória do Instituto Profissional Coelho e Campos, visando perceber qual a contribuição dessa Instituição para a organização do ensino profissionalizante em Sergipe. O marco temporal da pesquisa foi o ano de 1922, data de criação do Instituto, seguindo até 1944, quando esse foi subordinado ao Serviço Nacional de Aprendizagem Industrial. Esta é uma pesquisa histórica, que se apóia nos pressupostos da Nova História Cultural. As categorias de análise foram os conceitos de figuração e configuração e civilização de Norbert Elias; de campo, poder, capital e habitus de Pierre Bourdieu; apropriação e representação de Roger Chartier. Foi realizada uma pesquisa bibliográfica sobre a temática da educação profissional, para perceber os caminhos percorridos por esse tipo de instrução ao longo da História da Educação. As fontes foram localizadas no Arquivo Público Estadual de Sergipe, na Biblioteca da Universidade Federal de Sergipe, no PESQUISE Pesquisas de Sergipe, na Biblioteca Pública Epiphâneo Dórea, no Arquivo do Poder Judiciário, no Instituto Histórico e Geográfico de Sergipe, no Centro de Documentação e Informações da Câmara dos Deputados e no Arquivo do Senado Federal. Com este estudo, pretende-se contribuir com as pesquisas na área da História da Educação, ao propor considerações sobre o ensino profissionalizante e suas práticas de formação.

Este trabalho procura oferecer uma nova narrativa biográfica para o compositor de São Paulo e crítico musical do Correio Paulistano Alexandre Levy (1864-1892). Procurou-se assim atenuar a imagem construída para o compositor pelas obras tradicionais da historiografia musical brasileira, que são marcadas fortemente por uma perspectiva nacionalista. Assumiuse como pressuposto do trabalho uma clara explicitação metodológica e axiológica. Enquanto método, recorreu-se à interdisciplinaridade como recurso importante para a solução dos impasses e ambigüidades que se apresentaram. Essa tarefa foi alcançada através da aproximação concreta com a história cultural através de seus temas e reflexões. Utilizou-se como fontes primárias um conjunto de 17 artigos de Levy, assinados sob pseudônimo de Figarote. Entre as outras fontes, destacam-se ainda obras da historiografia da cultura e musicológicas. Este trabalho apresenta como resultado uma imagem de certo modo nova para Alexandre Levy. Constatou-se a modernidade do compositor, não reconhecível em trabalhos anteriores. Pode-se verificar a proximidade de Levy com os demais intelectuais da belle époque brasileira, período de engajamento intelectual, de preocupações modernizadoras, de interesse pelo instrumental cientificista, e também de perspectiva naturalista. / The purpose of this dissertation is to offer a new biographical narrative for the São Paulo composer and musical critic of Correio Paulistano Alexandre Levy (1864-1892). Therefore, one attempted to attenuate the image created for the composer by the traditional works of the Brazilian musical historiography, which are strongly noticeable by a nationalist perspective. It was assumed as a premise of the paper a clear methodological and axiological explicitness. In terms of method, one resorted to interdisciplinarity as an important resource for the solution of the deadlocks and ambiguities presented. This task was reached through the concrete approximation with cultural history through its subjects and reflections. One used as primary sources an ensemble of 17 articles by Levy, signed under the pseudonym of Figarote. In addition, works of the historiography of culture and musicology were employed as sources. This paper is presented as the result of an image, in a certain way, new to Alexandre Levy. It corroborates the modernity of the composer, not identifiable in previous papers. One may conclude on Levys proximity with the other intellectuals of the Brazilian belle époque, a period of intellectual involvement, modernizing concerns, interest for the scientific instrumental and also naturalist perspective.

This essay brings a fundamentally Americanist question to bear on Leo Marx’s fundamental piece of Americanist scholarship: What cultural work does the machine-in-the-garden trope perform in literary texts, texts that—as Marx highlighted—emphatically invoke the socio-economic upheavals of industrialization? Rather than asking what the trope means, I am interested in what it does in textual environments that, literally or metaphorically, navigate a protean discourse of class.1 I want to pursue this question in a reading of two texts that directly engage with industrialization and its machinery, two pieces of literature written in markedly different circumstances—one by an eminently canonical writer of the American Renaissance, Herman Melville, the other by a woman who worked in the factories of Lowell, the period’s model industrial town. My reading of these texts aims to draw attention to the ways in which representations of the machine in the garden are perspectivized: While engaging with the juxtaposition of nature and technology, these representations always also work on negotiating social subjectivities—on defining, contrasting, authorizing, critiquing subject positions in the rapidly shifting social matrix of an industrializing USA. In other words, I propose to not only attend to the texts’ images of the machine in the garden but also to the imaging that they depict. The texts with which I will be concerned dramatize this imaging as work that is deeply situated and entangled in other practices of selffashioning, practices which resonate with industrialism’s new regimes of social difference. Herman Melville’s short-story "The Tartarus of Maids" (1855) constructs a narrator who renders his encounter with industrialism in a rhetoric greatly informed by the machine-in-the-garden trope. By correlating this figurative practice with the notably limited and biased perspective of its narrator—a perspective whose marking laminates class and gender—the text exposes the work of socio-economic self-fashioning enabled by the trope. The sketch "A Merrimack Reverie" (1840), published in the "factory-girl"2 magazine The Lowell Offering, develops a motif that seems to invert the trope Marx identified—the motif of horticulture in the factory. This motif unfolds much ambiguity in the text which, I will suggest, registers the precarious quality of the magazine’s project to establish the ‘factory girl’ as an affirmative subject position. / "Der vorliegende Beitrag ist die pre-print Version. Bitte nutzen Sie für Zitate die Seitenzahl der Original-Version." (siehe Quellenangabe)

Partant du constat de l’extraordinaire pérennité de Katharine Hepburn en tant que star hollywoodienne de premier plan, ce travail se propose d’élucider les raisons de ce succès durable en examinant la réception dont l’actrice a fait l’objet aux États-Unis tout au long de sa carrière. À la croisée des star studies et des études de réception, cette étude articule analyse de sa persona (rôles interprétés à l’écran et à la scène, jeu d’actrice et image médiatique) et des traces de sa réception auprès du public états-unien (critiques de professionnels, courriers de fans, sondages, données de box-office, etc.). Grâce à une approche diachronique, les évolutions de son image et de sa réception sont réinscrites dans un contexte socio-historique en perpétuelle évolution, auquel la star a tenté de s’adapter avec plus ou moins de succès suivant les périodes. L’examen des matériaux extra-filmiques participant à la construction de son image ou témoignant de sa réception permettent d’éclairer sous un nouveau jour les performances de Hepburn, analysées dans leur dimension socio-culturelle, esthétique et actorale. Une attention particulière est portée aux dimensions de genre, de classe et de génération de sa persona. / Acknowledging the extraordinary longevity of Katharine Hepburn as a high-profile Hollywood star, this study seeks to shed light on the reasons behind this lasting success by examining her reception in the United States throughout her career. Combining both star studies and reception studies, this thesis articulates the analysis of her persona (her theater and film roles, her acting and media image) with evidence of her reception by the United States audience (critics, fan letters, polls, box-office figures, etc.). Using a diachronic approach, the evolutions of her image and its reception are incorporated within the framework of a socio-historical context in constant evolution, to which Hepburn tried to adapt with differing success depending on the period. The examination of the extra-filmic materials that contribute to her image or testify to her reception allow us to shed new light on Hepburn’s performances, analyzed from a socio-cultural, aesthetic and acting perspective. Special attention is given to the gender, class and age-related dimensions of her persona.

Le statut du témoignage au sein du savoir est devenu un objet de questionnements, occasionnant des affrontements entre différentes disciplines à travers l’usage de paradigmes distincts. À partir du constat de l’«émergence» récente de la catégorie de «témoignage» dans le champ littéraire, cette thèse essaie de décrire son expansion et son extension au sein de plusieurs disciplines (droit, histoire, philosophie, critique et théorie littéraires) et d’examiner l’hypothèse selon laquelle son développement dans le champ des sciences humaines et sociales correspondrait en réalité à sa profonde mise en crise. Pour définir la notion de «témoignage» en littérature au XXe siècle, elle entreprend de poser les jalons d’une «histoire culturelle» des gestes testimoniaux et des notions de «témoignage», en vue de définir un objet théorique pertinent pour la théorie et la critique littéraires. Son but est de comprendre la manière dont le «témoignage» est devenu une catégorie à la fois nébuleuse et centrale de la vie culturelle en Occident, et de mettre en évidence la spécificité des formes testimoniales au XXe siècle. En introduisant les notions de «littérature testimoniale», d’«œuvre testimoniale» et de «création testimoniale» elle veut préciser la notion de «témoignage» et lui rendre sa complexité. Il s’agit donc de retrouver l’intelligence historique de la notion, afin d’en faire une catégorie pleinement opératoire pour le discours critique et de construire les fondements d’une «histoire culturelle du testimonial» qui retrace la rencontre entre l’art et le témoignage et explique l’émergence, au sein de la littérature, de cette forme nouvelle appelée «création testimoniale». / The status of testimony in knowledge has become a subject of questions, causing clashes between different disciplines through the use of distinct paradigms. From the observation of the recent "emergence" of the category of "testimony" in the literary field, this thesis attempts to describe its expansion and extension in several disciplines (law, history, philosophy, and critical literary theory), and examines the hypothesis that the progressive flooding of this concept in humanities and social sciences corresponds to a deep "crisis of witnessing". In an attempt to define the concept of "testimony" in literature as it appears during the twentieth century, this work aims at laying the foundations for a "cultural history" of testimonial gestures and notions of "testimony" in order to define an appropriate category for literary theory and criticism. Its goal is to understand how "testimony" became both a nebulous and central category in cultural life in the West, and highlights the specificity of testimonial forms in the twentieth century in the aftermath of the Holocaust, which must ultimately help clarify the concept of "testimony" and re-establish its complexity by introducing the notions of "testimonial literature", "testimonial work of art" and "testimonial creation". This thesis aims therefore primarily to recover the historical understanding of the concept, in order to make a fully operational category out of it for critical discourse, and to build the foundations of a "cultural history of testimonial gestures" which traces the encounter between art and testimony and explains the emergence, in literature, of a new form called "testimonial creation".

L’écrivain Ramón Gómez de la Serna (1888-1963) est l’auteur d’une œuvre qui introduit, en Espagne, une écriture dont la critique souligne très tôt la singularité. En 1912, il crée les Greguerías, forme littéraire brève et ludique, immédiatement commentée pour sa nouveauté mâtinée de subversion. Celle-ci se diffuse en quelques années dans la presse espagnole et reçoit un écho favorable hors des frontières de la Péninsule. Jusqu’en 1962, Ramón Gómez de la Serna publie, dans les journaux ou sous forme de volumes anthologiques, ces courts paragraphes qu’il définit comme l’union de l’humour et de la métaphore, et où il allie la recherche de la dissonance à un travail poétique sur notre perception du monde. C’est pourtant la forme tardive de la greguería qui est la mieux connue et rares sont les études qui ont posé la question de la formation littéraire de Ramón Gómez de la Serna, tant dans les lectures qui ont pu influencer l’auteur que par les choix éditoriaux qui ont présidé à la naissance des greguerías. La présente étude prétend réévaluer la situation littéraire de Ramón Gómez de la Serna dans son contexte de formation, celui des années 1910, où les modèles d’écriture et de professionnalisation, au travers d’une collaboration quotidienne aux journaux et revues de l’époque, sont les fondements esthétiques essentiels de l’œuvre future de l’écrivain. Dans ce cadre, la prose ramonienne offre alors un nouvel éclairage sur la nature plurielle et syncrétique de ce que j’ai appelé le creuset esthétique des années 1910 en Espagne. / Ramón Gómez de la Serna (1888-1963) was the author of a work that introduced in Spain a kind of writing whose singularity was very early underlined by the critics. In 1912, he created the Greguerías, a brief and playful literary form which was immediately commented on for its novelty tinged with subversion. Within a few years, that form spread throughout the Spanish press and was welcomed in a positive way outside the frontiers of the peninsula. Until 1962, Ramón Gómez de la Serna published numbers of these short paragraphs in newspapers or anthologies. He defined them as the alliance of humour and metaphor, and combined there his research into dissonance with a poetical work on our perception of the world. Yet, it is the later form of the greguería that is best known today; very few studies have focused on the literary education of Ramón Gómez de la Serna and raised the issue of the readings which may have influenced the author or o! f the editorial choices which gave birth to the greguerías. The purpose of this study is to reassess the literary position of Ramón Gómez de la Serna within the context of his training, that of the years 1910. The models of writing prevailing then and the vocational dimension the craft took on at the time — shaped by a daily collaboration with newspapers and magazines — were the essential aesthetic foundations of the writer’s future work. In this context, the Ramonian prose sheds a new light on the plural and syncretic nature of what I have called the aesthetic ferment of the years 1910 in Spain.