Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-10T19:18:59Z No. of bitstreams: 1 lucasfazolamiguel.pdf: 7948999 bytes, checksum: d1fa53335cfcae9999e759982d1faf59 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-11T15:07:54Z (GMT) No. of bitstreams: 1 lucasfazolamiguel.pdf: 7948999 bytes, checksum: d1fa53335cfcae9999e759982d1faf59 (MD5) / Made available in DSpace on 2018-04-11T15:07:54Z (GMT). No. of bitstreams: 1 lucasfazolamiguel.pdf: 7948999 bytes, checksum: d1fa53335cfcae9999e759982d1faf59 (MD5) Previous issue date: 2018-02-27 / Essa pesquisa propõe o estudo da história em quadrinhos V de Vingança, de autoria dos britânicos Alan Moore e David Lloyd, a partir da análise estrutural da linguagem do meio, bem como do cenário teórico no qual a obra se insere, para identificarmos o diálogo existente entre os quadrinhos e a literatura. Lançaremos o olhar para uma investigação do meio a partir de sua composição estrutural inerentemente híbrida, tendo como apoio teórico as proposições de Thierry Groensteen (2015) e Scott McCloud (2005), bem como realizaremos um apanhado histórico das histórias em quadrinhos, com o suporte de García (2012) e Campos (2015). Pretendemos observar, a partir de Linda Hutcheon (1991), Lyotard (2009) e Compagnon (1999), os pressupostos que compõem o cenário teórico pós-moderno com o qual V de Vingança dialoga, ressaltando sua narrativa intertextual e fragmentária, de modo a destacar a aproximação entre a obra de Moore e Lloyd com o romance pós-moderno V. (1988), de Thomas Pynchon. Ao realizarmos uma leitura analítica da história em quadrinhos, verificaremos o diálogo da mesma com as distopias modernas, como 1984 (2009) de George Orwell, sob o aporte teórico de Jacoby (2007), Kopp (2011) e Hilario (2013), de modo a evidenciarmos como o contato com a literatura corroborou para o amadurecimento do meio proporcionando novas possibilidades narrativas para os quadrinhos. / This research proposes the study of the comic book V for Vendetta, written by the british Alan Moore and David Lloyd, from the structural analysis of the comic books language, as well as the analysis of the theoretical scenario in which the work is inserted, in order to identify the existence of a dialogue between comics and literature. The focus of this work is on the inherently hybrid structural creation of this language. The theoretical support are the proposals of Thierry Groensteen (2015) and Scott McCloud (2005). Furthermore we will make a historical catch of the comic books, with the support of García (2012) and Campos (2015). We intend to observe, from Linda Hutcheon (1991), Lyotard (2009) and Compagnon (1999), the assumptions that compose the postmodern theoretical scenario with which V for Vendetta dialogues, emphasizing its intertextual and fragmentary narrative, in order to highlight the approximation between the work of Moore and Lloyd with Thomas Pynchon's postmodern novel V. (1988). This analytical reading of comics will enable us to verify the dialogue of the comic books with the modern dystopias, such as 1984 (2009) by George Orwell, with the theoretical contribution of Jacoby (2007), Kopp (2011) and Hilario (2013), in order to show how the contact with a literature corroborated the ripening of the medium, providing new narrative possibilities for comics.

Thesis (B.A.)--Bryn Mawr College. Growth and Structure of Cities Program, 2008. / Includes bibliographical references.

The master thesis focuses on a more detailed analysis of the premises of British politics in relation to the Middle East after the First World War. Attention is focused especially on the territory of Mesopotamia, which is the center of all actions of neighboring states and the interests of the great powers. The thesis also includes the events of the war and the subsequent diplomatic negotiations held mostly at the Paris Peace Conference. Everything is viewed mainly from the perspective of British Empire and it's leaders. The finall goal of the work is to anchor the British mandates in the geographical area of the Middle East to the Ankara Agreement.

No description available.

This essay is an examination of the examples in Kant’s Critique of Judgement. The examples which I have focused on all converge in an idea of wildness. These examples of the beautiful are illuminated by a culture-historical perspective, where the literary and scientific travelogue genre is of great importance. Apart from being exegetic and culture historical, my method is also analytic. The general ambition is to answer the question; what is the parrot doing in the third Critique and what makes it a better example of a free beauty than a jackdaw? Taking as point of departure Jacques Derrida’s notion of parergonality, the example is primarily understood as formative for the thesis, not only as illustrative. By analysing Kant’s use of the wild, exotic and colourful objects as examples the essay intends to show how imagination and understanding operates in the beautiful. The parrot thus corresponds with the role of imagination in its relation to understanding in aesthetic judgement. The examples manifest the strength of the imagination and how it dominates understanding through its wildness. The aim is to present a way to approach the restful contemplation that Kant ascribes to the mind in the experience of the beautiful as bearer of a movement with considerable importance. Rodolphe Gasché’s emphasis on the wild examples as a precognitive minimum for understanding and Hannah Arendt’s view on imagination as an ability of intuition without the presence of the object, have also been essential for my argument.