Este trabalho tem o objetivo de verificar a presença do conceito de discrição em três capítulos da obra Don Quijote de la Mancha, de Miguel de Cervantes. Tais capítulos estão localizados na segunda parte da obra e se referem aos conselhos dados por Dom Quixote ao seu fiel escudeiro, Sancho Pança, antes que este assumisse seu governo na ilha Barataria. O conceito de discrição é bastante amplo e complexo. Fazem parte dele atitudes morais e sociais que visam a uma adequada atuação social do indivíduo no universo em que ele se encontra. O exercício da discrição requer o conhecimento de alguns elementos que funcionam como uma espécie de pré-requisito para a sua prática. Entre eles estão a prudência, o discernimento, a cultura e a erudição. Contribuem para a apreensão do conceito de discrição os tratados sobre comportamento social dos séculos XVI e XVII, sobre os quais teceremos comentários específicos, relacionando-os, sempre que possível, ao Quixote de Cervantes. Em nossas considerações, também verificaremos a maneira específica como Cervantes trabalha o conceito de discrição em sua narrativa. Por vezes, o autor subverte as regras do decoro literário, promovendo a quebra da rigidez do conceito, utilizando-o de uma maneira que demonstra variedade em sua aplicação. / This dissertation aims at examining the presence of the concept of discretion in three chapters of Don Quijote de la Mancha by Miguel de Cervantes. Such chapters belong to the second part of mentioned book and they refer to the pieces of advice given by dom Quixote to Sancho Pança, before his faithful squire assumed the government of Barataria island. The concept of discretion is quite vast and complex. It includes moral and social attitudes wich provide for the individual\'s proper social behavior within the universe where he lives. In order to be put into practice, the exercise of discretion demands the knowledge of some elements that function as a kind of pré-requirements, such as prudence, discernment, education and erudition. Treatises on social behavior in the 16th and 17th centuries contribute to the understanding of the concept of discretion, and we are making specific comments on them in search, as far as posible, of their connections with Cervantes\'s Quixote. Along this study we are also examining the specific way Cervantes deals with the concept of discretion in his narrative. There are instances in which the writer subverts the rules of literary decorum causing a rupture in the rigidity of the concept by using it in such a way that demonstrates variety in its application.

O propósito desta dissertação de mestrado é examinar um procedimento específico utilizado por Miguel de Cervantes na construção de sua obra El ingenioso Hidalgo Don Quixote de La Mancha: o paralelismo entre episódios como meio de proporcionar coesão à narrativa longa. Tal recurso indica uma solução encontrada pelo escritor, voltada à estrutura textual, com intenção de equilibrar a narrativa longa/linear e a episódica/fragmentada, unindo as partes da sua composição e dando totalidade a ela. Para isso, o autor se vale de preceptivas de retórica e poética da antiguidade e de sua época, sendo os autores mais expressivos: Aristóteles, Cícero, Quintiliano, Horácio e Alonso López Pinciano. No que diz respeito especificamente ao uso do paralelismo entre episódios no Quixote, esta dissertação se beneficia dos trabalhos dos críticos Edward Riley e Knud Togeby; contudo, esses autores não analisaram detalhadamente o efeito de tal uso na unidade da obra, o que configura este trabalho como uma extensão da observação feita por eles a respeito dos episódios paralelos. Por fim, a análise demonstra que Cervantes compõe um recurso poético próprio, resultante da combinação de diversas fontes de conhecimento. A demonstração desse procedimento se faz pela leitura comparativa de quatro trios de episódios, cada trio composto por um episódio da primeira parte e dois da segunda parte, discutindo-se a maneira como o paralelismo entre eles interfere na composição geral do Quixote promovendo um tipo de unidade da narrativa diverso do que se vê prescrito nas poéticas antigas e nas do século XVII. / The purpose of this master\'s thesis is to examine a specific procedure used by Miguel de Cervantes in the construction of his work El Ingenioso Hidalgo Don Quixote de La Mancha: the parallelism between episodes as a means of providing cohesion to the long narrative. This feature indicates a solution found by the writer, focused on the textual structure, with the intention of balancing the long / linear narrative and the episodic / fragmented narrative, uniting the parts of its composition and giving totality to it. For this, the author uses precepts of rhetoric and poetics of antiquity and of his time, being the most expressive authors: Aristotle, Cícero, Quintiliano, Horácio and Alonso López Pinciano. With specific regard to the use of parallelism between episodes in the Quixote, this thesis benefits from the contributions of the literary critics: Edward Riley and Knud Togeby. However, these authors did not analyze in detail the effect of such use on the unit of the work, which configures this work as an extension of their observation of parallel episodes. Finally, the analysis shows that Cervantes composes a poetic resource of his own, which results from the combination of several sources of knowledge. The demonstration of this procedure is done by comparing four trios of episodes, each of them composed of one episode of the first part and two of the second part. Then discussing how the parallelism between them interferes in the general composition of Quixote by promoting a different type of narrative unity from the ones prescribed in the ancient Poetics and in the seventeenth century.

Esta tese busca pensar o desfuncional latente em toda escritura, linguagem e vida: suas potências não dominadas, nem domináveis, pelo corte finalista, utilitarista, entre funcional e disfuncional, e o devir-poesia destes interditos quando revertidos em afirmação de possibilidades para além das determinadas pelos códigos fixados e modelos de composição existentes. As obras de Jacques Derrida e Gilles Deleuze (parte com Felix Guattari) são as referências centrais para a constituição deste pensamento, que constantemente se volta ao fazer poético. O trabalho, porém, é conduzido pela extravagante figura que ele livremente se cria do engenhoso fidalgo e cavaleiro Dom Quixote de la Mancha, por seu modo errante de atuar, sua andante poesia. Sua relação com a morte iminente; o papel da leitura em sua fantasia, cuja extensão se mostra incontornável a quem quer que se aproxime; sua irredutibilidade a qualquer juízo que se possa tentar de sua sanidade mental; sua constante construção de uma equívoca e fugidia identidade; e seu permanente e delirante improviso no teatro do mundo configuram uma escritura lúdica, inventiva, aberta, consciente de sua formação, de seu contexto e de seus percursos, o que possibilita a construção da noção de uma poética da existência, sugerida pelas especulações teóricas preliminares. / This thesis seeks to think the latent defunctional in every writing, as language and life: its potencies not dominated by the finalist and utilitarian cut between functional and dysfunctional, and the becoming-poetry of this interdicts when reversed in the affirmation of possibilities beyond those determined by fixed codes and existing composition models. The works of Jacques Derrida and Gilles Deleuze (part with Felix Guattari) are the central references to the constitution of this thought, constantly turned to the poetic making. The work, however, is conducted by the extravagant figure that it freely creates of the ingenious gentleman and knight Don Quixote of la Mancha, by his errant acting mode, his walking poetry. His relationship with imminent death; the role of reading in his fantasy, which extension shows up inescapable to whoever gets close to it; his irreducibility to any judgment that could be tried on his mental sanity; his constant construction of an equivocal and elusive identity; and his permanent and delirious improvisation in the theatre of the world configure a ludic, inventive and open writing, aware of its formation, its context and its routes, which enables the construction of the notion of a poetics of existence, suggested by preliminary theoretical speculations.

Este trabalho tem como ponto de partida as relações entre os protagonistas do Quixote, do escritor espanhol Miguel de Cervantes, e Triste fim de Policarpo Quaresma do romancista carioca Lima Barreto observadas pela fortuna crítica barretiana. De acordo com esses estudos, Policarpo Quaresma seria um Dom Quixote brasileiro, por apresentar uma série de traços quixotescos. A partir dessa consideração, o objetivo desta dissertação é o de realizar um estudo comparativo entre o Cavaleiro da Triste Figura e o Major Quaresma, de modo a buscar, mais do que as semelhanças, as diferenças que delineiam suas singularidades. Para efetuar tal comparação, escolheu-se como parâmetro de análise a temática da loucura. Sendo assim, o exame das duas obras tem como preocupação central o modo como Cervantes e Lima Barreto se apropriam do referido tema na construção de suas respectivas personagens. / This work presents as its starting point the relations between the main characters of Don Quijote de la Mancha (Don Quixote), by the Spanish writer Miguel de Cervantes, and of Triste Fim de Policarpo Quaresma (Tragic Death of Policarpo Quaresma), by the Brazilian writer Lima Barreto, noted by the critics of Barreto´s book. According to them, Policarpo Quaresma is a kind of Brazilian Don Quixote, because the character presents a series of quixotic traits. Taking it into consideration, this dissertation aims to carry out a comparative study between the Knight of the Sad Countenance and Major Quaresma in order to search the differences in this case, more significant than the similitudes which delineate both characters´ singularities. The madness theme has been chosen as the analysis approach to carry out such comparison. Therefore, the examination of the two works has as its central theme the way both writers, Cervantes and Barreto, borrow from the madness theme in the creation of their characters.

Esta tese busca pensar o desfuncional latente em toda escritura, linguagem e vida: suas potências não dominadas, nem domináveis, pelo corte finalista, utilitarista, entre funcional e disfuncional, e o devir-poesia destes interditos quando revertidos em afirmação de possibilidades para além das determinadas pelos códigos fixados e modelos de composição existentes. As obras de Jacques Derrida e Gilles Deleuze (parte com Felix Guattari) são as referências centrais para a constituição deste pensamento, que constantemente se volta ao fazer poético. O trabalho, porém, é conduzido pela extravagante figura que ele livremente se cria do engenhoso fidalgo e cavaleiro Dom Quixote de la Mancha, por seu modo errante de atuar, sua andante poesia. Sua relação com a morte iminente; o papel da leitura em sua fantasia, cuja extensão se mostra incontornável a quem quer que se aproxime; sua irredutibilidade a qualquer juízo que se possa tentar de sua sanidade mental; sua constante construção de uma equívoca e fugidia identidade; e seu permanente e delirante improviso no teatro do mundo configuram uma escritura lúdica, inventiva, aberta, consciente de sua formação, de seu contexto e de seus percursos, o que possibilita a construção da noção de uma poética da existência, sugerida pelas especulações teóricas preliminares. / This thesis seeks to think the latent defunctional in every writing, as language and life: its potencies not dominated by the finalist and utilitarian cut between functional and dysfunctional, and the becoming-poetry of this interdicts when reversed in the affirmation of possibilities beyond those determined by fixed codes and existing composition models. The works of Jacques Derrida and Gilles Deleuze (part with Felix Guattari) are the central references to the constitution of this thought, constantly turned to the poetic making. The work, however, is conducted by the extravagant figure that it freely creates of the ingenious gentleman and knight Don Quixote of la Mancha, by his errant acting mode, his walking poetry. His relationship with imminent death; the role of reading in his fantasy, which extension shows up inescapable to whoever gets close to it; his irreducibility to any judgment that could be tried on his mental sanity; his constant construction of an equivocal and elusive identity; and his permanent and delirious improvisation in the theatre of the world configure a ludic, inventive and open writing, aware of its formation, its context and its routes, which enables the construction of the notion of a poetics of existence, suggested by preliminary theoretical speculations.

This dissertation examines a twentieth-century lineage of writers and poets concerned with signatory inscription. By this, I mean the writing, tracing, branding, embossing, tattooing, or engraving of the name of a person or place onto various kinds of surfaces, as well as other forms of marking that approximate autography. My contention is that James Joyce's novels demonstrate an explicit, underexplored concern with signature and the different imaginary investments (erotic, legal, preservative) that accompany its presence in the world. In Joyce's wake, Samuel Beckett, Seamus Heaney, and Don DeLillo all produce texts that both engage with Joyce's novels and think carefully about the potential of the signature as a material object. My first chapter, 'James Joyce's Signatures', explores how nineteenth-century developments in graphology and forensic identification inherit ideas from the medicinal doctrine of signatures. I argue that this expanded sense of signature offers a unique perspective on Joyce's taxonomic representation, which questions the boundaries between a body of text and (non)human bodies. The presence of legal trials in Ulysses adds a forensic element to Joyce's signatory imagination. This element is taken to its logical extreme in 'Nausicaa', where scents, sounds, and impressions become bodily, as opposed to alphabetical, signatures - produced by humans, waves, and stones. The second chapter, 'Samuel Beckett and the Endurance of Names', continues this line of argument, showing how Beckett inherits Joyce's interest in autographic inscription, but employs it for different ends. While the epitaphic tradition relies upon hard materials such as stone and metal to preserve lettering, Beckett's interest in excrement ('First Love') and mud (How It Is) remaps inscription onto immanence. Rather than seeking immortality through lithic preservation, Beckett's characters yearn to 'return to the mineral state', to have their bodies subsumed and dispersed throughout a greater container. The third chapter, 'Seamus Heaney and the Phonetics of Place', turns from the signature of persons to the signature of places, from prose to poetry. Explicitly glossing poems like 'Anahorish', 'Toome', and 'Broagh' as inspired by Stephen Dedalus, Heaney performs a critical repatriation of Joyce's work. Joyce uses fictional, motivated relations between names and referents to construct a linguistic correlative for Stephen's youthful naivety - a technique that personalises his lexicon, privileging Stephen's own associations over those of nationality, language, or religion. Heaney, on the other hand, politicises this process, utilising phonetic association to forge imaginary correspondences between Irish place-names and the people and places they denote. The final chapter, 'Don DeLillo, Encryption, and Writing Technologies', examines the novels of Don DeLillo and his interest in signatory technologies. Drawing upon archival research conducted on the manuscripts of Americana, Ratner's Star and The Names, I show that Joyce influenced the composition of these texts to a greater extent than previously thought. In particular, DeLillo uses Joyce to think through the technological dimensions of writing, comparing older methods of inscription like boustrophedon to modern communication technologies via Ulysses.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-08-25T11:52:51Z No. of bitstreams: 1 Washington Kuklinski Pereira.pdf: 6415203 bytes, checksum: c705e990793c05735ea0752e66cdba21 (MD5) / Made available in DSpace on 2016-08-25T11:52:51Z (GMT). No. of bitstreams: 1 Washington Kuklinski Pereira.pdf: 6415203 bytes, checksum: c705e990793c05735ea0752e66cdba21 (MD5) Previous issue date: 2016-03-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims to study how the Brazilian Republic was represented in caricatures that circulated in the press of Rio de Janeiro between the years of 1889 and 1902. Therefore, it is proposed to understand the universe around the production of graphic arts in the Press of Rio de Janeiro in the nineteenth century from the 1840s up to 1902. Thus, the relations between the producers of magazine caricatures and your readers are presented. We analyze the formation of the reading public through the press by itself, which was leading to imaginary consolidation over Republicans symbols since 1889. We investigate how the current media Magazine and The Mequetrefe and Revista Illustrada were the instrumental for popular legitimacy of the republican government system through caricatures with a lot of symbolic elements of the Republic. Also, realize as the Republic used the news means for the consolidation of its Heroes. We also study how the magazines Mequetrefe, Don Quixote and Revista Illustrada did the press coverage about the Federal Elections and the political municipality of Rio de Janeiro way of life during the Republic up to the year of 1902 / Este trabalho tem como objetivo estudar de que maneira a República Brasileira foi representada nas caricaturas que circulavam na imprensa, do Rio de Janeiro, entre os anos de 1889 e 1902. Para tanto, propõe-se compreender o universo em torno da produção das artes gráficas na imprensa, do Rio de Janeiro, oitocentista desde a década de 1840 até 1902. Dessa forma, são apresentadas as relações estabelecidas entre os produtores das revistas de caricaturas e seus leitores. Analisamos a formação do público leitor pela própria imprensa, a qual foi preponderante para a consolidação do imaginário sobre os símbolos republicanos a partir de 1889. Investigamos como os meios circulantes Revista Illustrada e O Mequetrefe foram instrumentos para a legitimação popular do sistema de governo republicano, através de caricaturas repletas de elementos simbólicos da República. Além disso, percebemos como a República utilizou o meio noticioso para a consolidação dos seus Heróis. Também estudamos como as revistas o Mequetrefe, Revista Illustrada e Don Quixote difundiram as Eleições Federais e a vida política da municipalidade do Rio de Janeiro durante a República até o ano de 1902

Ma thèse étudie les contributions de Robert W. Clower à la recherche de fondements microéconomiques pour la macroéconomie et la théorie monétaire, sur la période 1949-1975. L’objectif est de clarifier la logique qui sous-tend l’évolution de sa pensée et de reconstruire ses projets théoriques. Pour réaliser cet objectif, j’analyse les publications de Clower et les archives (correspondances, documents de travail…) confiées à l’université Duke, je caractérise le contexte intellectuel dans lequel il évoluait, et j’établis ses sources d’inspiration. Entre 1949 et 1975, Clower fit plusieurs propositions pour construire un modèle d’équilibre général capable de lier de manière satisfaisante les comportements individuels et les agrégats. Dans une certaine mesure, toutes ses propositions avaient vocation à s’accumuler pour constituer un cadre conceptuel alternatif à la théorie Walrassienne de John R. Hicks (1939). Quatre problèmes analytiques furent l’objet d’investigations : la dynamisation du modèle d’équilibre général, l’intégration du chômage involontaire et de la monnaie dans la théorie des prix, et les ajustements de marchés en dehors de l’équilibre. Chaque chapitre de ma thèse est centré sur l’un de ces problèmes et discute des solutions apportées par Clower. Au fil du parcours, je souligne l’existence d’interactions entre la macroéconomie walrassienne de Hicks et Don Patinkin, et les modèles de non-tâtonnement de Kenneth Arrow, Frank Hahn et Takashi Negishi. De telles interactions ont donc joué un rôle dans l’émergence de la recherche de fondements microéconomiques de déséquilibre et, par extension, dans la transformation de la macroéconomie qui a eu lieu dans les années 70. / My dissertation studies Robert W. Clower’s contributions to the microfoundations of macroeconomics and monetary theory, over the period 1949-1975. The aim is to clarify the logic underlying the evolution of his thought and to reconstruct his theoretical projects. For this purpose, I analyze Clower’s articles as well as the archival documents (Clower’s correspondences, unpublished manuscripts…) found at Duke University, I characterize the intellectual context in which he was involved, and I establish the influences from which he benefited. Between 1949 and 1975, Clower made several propositions to elaborate a general-equilibrium model linking individuals’ behaviors with aggregates. To a certain extent, all the propositions intended to be aggregated so as to lay a conceptual framework alternative to the Walrasian theory of John R. Hicks (1939). Four analytical problems were addressed: how to dynamize the general-equilibrium theory, how to integrate involuntary unemployment and money in value theory, and how to account for the adjustment processes occurring in non-clearing markets. Each chapter of my dissertation is centered on one of these problems and discusses Clower’s solutions. Along the way, I stress the existence of interactions between the Walrasian macroeconomics of Hicks and Don Patinkin, and the non-tâtonnement economics of Kenneth Arrow, Frank Hahn, and Takashi Negishi. Consequently, such interactions were central to the emergence of the search for disequilibrium foundations and, in turn, to the transformation of macroeconomics that took place in the 1970s.

« Tout a ou bien un prix ou bien une dignité. On peut remplacer ce qui a un prix par un équivalent. En revanche, ce qui n’a pas de prix et donc pas d’équivalent, c’est ce qui possède une dignité». L’utilisation de la norme juridique comme fondement du principe de gratuité du don de sang ne répond pas à la question de savoir quel est le statut juridique du sang. Notre analyse rétrospective sur les prémices de la rémunération du don de sang permet de constater les carences juridiques relatives aux rapports dialectiques entre les personnes impliquées au don de sang. Notre réflexion consiste à démontrer en quoi le principe de gratuité du don de sang recommandé par le Conseil de l’Europe se légitime eu égard à l’objectif d’autosuffisance. Notre étude franco-allemande appréhende le principe de gratuité soumis aux enjeux antagonistes que soulève le don de sang. L’exigence de cette analyse juridique implique de tenir compte des facteurs pluridimensionnels d’ordre culturel, social, scientifique, économique. Le principe de gratuité révèle l’expression d’un choix « politico-juridique » et d’un juste arbitrage dans la hiérarchisation des valeurs et des priorités, plutôt que l’existence d’un statut juridique propre au produit sanguin.Nietzsche exposait déjà l’indissoluble dilemme car « dans l’éloge de la vertu on n’a jamais été bien désintéressé, on n’a jamais été bien altruiste». Nous démontrons l’intérêt de penser une certaine « médiété » entre les considérations éthiques très prononcées en France et les considérations industrielles et commerciales, capitales en Allemagne. De nouveaux aménagements juridiques ont ainsi été suggérés dans le cadre d’une alliance. / «Everything has either a price or a dignity.We can replace what has a price by an equivalent.On the other hand, the one which has no price, and therefore no equivalent, is the one which has a dignity.»Using the legal standard as the basis of the principle of free blood donation does not answer the question of what is the legal status of blood.However after a retrospective analysis of the beginnings of the remuneration of blood donation, the legal deficiencies on dialectical relationship between the people involved in the therapeutic use of blood donation are highlighted.Thus our discussion is to demonstrate how the principle of free blood donation recommended by the Council of Europe member states is legitimate in view of the goal of self-sufficiency.Our franco-german comparative study captures the principle of gratuity subject to conflicting issues raised by blood donation.To identify the requirements of the legal analysis, the multidimensional economic, cultural, social, scientific factors must consubstantially be taken into account.The principle of gratuity reveals the expression of a «political and legal» choice and arbitration in the hierarchy of values and priorities, rather than the existence of a legal status specific to blood product.Nietzsche had already outlined the indissoluble dilemma as «in the praise of virtue, people have never been very disinterested, they have never been good altruists.»We demonstrate the benefit of thinking a kind of «mediatedness» between the highly pronounced ethical considerations in France, and the industrial and commercial considerations, capital in Germany.New legal arrangements have been suggested within a franco-german alliance.

Este trabalho tem como ponto de partida as relações entre os protagonistas do Quixote, do escritor espanhol Miguel de Cervantes, e Triste fim de Policarpo Quaresma do romancista carioca Lima Barreto observadas pela fortuna crítica barretiana. De acordo com esses estudos, Policarpo Quaresma seria um Dom Quixote brasileiro, por apresentar uma série de traços quixotescos. A partir dessa consideração, o objetivo desta dissertação é o de realizar um estudo comparativo entre o Cavaleiro da Triste Figura e o Major Quaresma, de modo a buscar, mais do que as semelhanças, as diferenças que delineiam suas singularidades. Para efetuar tal comparação, escolheu-se como parâmetro de análise a temática da loucura. Sendo assim, o exame das duas obras tem como preocupação central o modo como Cervantes e Lima Barreto se apropriam do referido tema na construção de suas respectivas personagens. / This work presents as its starting point the relations between the main characters of Don Quijote de la Mancha (Don Quixote), by the Spanish writer Miguel de Cervantes, and of Triste Fim de Policarpo Quaresma (Tragic Death of Policarpo Quaresma), by the Brazilian writer Lima Barreto, noted by the critics of Barreto´s book. According to them, Policarpo Quaresma is a kind of Brazilian Don Quixote, because the character presents a series of quixotic traits. Taking it into consideration, this dissertation aims to carry out a comparative study between the Knight of the Sad Countenance and Major Quaresma in order to search the differences in this case, more significant than the similitudes which delineate both characters´ singularities. The madness theme has been chosen as the analysis approach to carry out such comparison. Therefore, the examination of the two works has as its central theme the way both writers, Cervantes and Barreto, borrow from the madness theme in the creation of their characters.