O projeto tem por objetivo o estudo da composição fílmica a partir da polarização entre realismo e formalismo. Em um primeiro momento, compreende os principais pontos definidos por André Bazin e Hollis Frampton, apresentando algumas de suas observações e críticas do que consideravam as características fundamentais do cinema. Em seguida, é proposta uma ampliação dessa comparação, num diálogo com obras e autores que de alguma maneira orbitaram em torno de Bazin e Frampton. Investigando as maneiras pelas quais as duas tendências se opõem, e quais aspectos relativos à composição são evidenciados por elas, o trabalho busca ainda uma possível complementaridade, uma abordagem que as considere igualmente como partes de um mesmo espectro. / The purpose of this project is the study of film composition by means of the polarity between realism and formalism. At first, it covers the main points defined by André Bazin and Hollis Frampton, presenting some of their insights and criticisms, and what they considered to be the fundamental qualities of cinema. From this follows an attempt to amplify the comparative outlook, in a dialogue between authors and films that were closely related to Bazin and Frampton. As the work investigate the ways by which both tendencies oppose each other, and what aspects of film composition are revealed by this opposition, it looks for an approach which considers them equally as parts of the same spectrum

No presente trabalho, estudamos as relações passíveis de ser estabelecidas entre três obras à primeira vista muito diferentes: as Bucólicasde Virgílio, Paludesde André Gide e Manderre, de Georges Perec. Nosso objetivo é mostrar uma espécie de percurso potencial de um personagem, Títiro, por meiodos textose as transformações por ele sofridas. Por meio de uma análise que leva em consideração o ponto de vista intertextual, tentamos compreender a apropriação feita por cada um dos autores, e as implicações causadas pelos diferentes contextos literários nos quais o personagem se insere. / In this research, we study the relations that can be established between three works at first sight very different: Virgils Eclogues, André Gides Paludesand Georges Perec Manderre. Our aim is to show some sort of potential path followed by acharacter, Tityrus, through the textsand the transformations undergone by him. Through an analysis that considers an intertextual point of view, we try to understand the appropriation made by each author, and the implications caused by different literary contexts in which the character is inserted.

A urbanização de favelas consiste em uma intervenção – prioritariamente governamental – que busca adequar sítios irregulares através de melhoria das condições de moradia e de saúde de seus moradores. Verifica-se, decorrente de diversos motivos, alterações entre o que é projetado e o que é executado, suscitando um questionamento sobre qual o nível de detalhamento dos projetos é suficiente para subsidiar as obras. Por meio de um estudo de caso, esta pesquisa investiga quais são as dificuldades na implementação de projetos em campo; as reais possibilidades do projeto; os motivos que promovem alterações nos projetos no momento da obra; e as possibilidades de contorná-los. Da descrição do caso observou-se a necessidade de adequação dos produtos e de melhoria na socialização das informações. Da análise do cadastro da obra foram verificadas as execuções que contrariaram as orientações dos projetos, tanto decorrentes da necessidade de ajustes locais, quanto de desobediência ou incompreensão das soluções. Das entrevistas constatou-se que, em função de cada intervenção, há necessidade de graus de detalhamento diferenciados para cada item de projeto e para cada etapa de elaboração. Conclui-se pela necessidade de aprimoramento do processo de implementação do empreendimento para obtenção de resultados mais eficazes. / Slums upgrading consists in an intervention – mainly governmental – that aims to adequate irregular sites by improving the dwelling and health conditions of their inhabitants. Due to several reasons, there are changes comparing what is designed and what is executed, which raises questions about how detailed the designs should be to subsidize the construction works. By means of a case study, the present research investigates the difficulties faced in the implementation of designs on the field; the real possibilities of the design; the reasons that promote changes in the designs when the construction work is started; and the possibilities to skirt them. The case description showed the need to adequate the products and to improve the socialization of information. The analysis of the construction work as built revealed the executions that contradicted the designs’ orientations, deriving both from the need of local adjustments and from disobedience or misunderstanding of the solutions. The interviews showed that, to each intervention, different degrees of detail are necessary for each item of the design and for each elaboration stage. In conclusion, it was found that the implementation process of the project must be perfected so that more efficient results are obtained.

L’objet de la thèse est l’illustration des traits distinctifs du travail d’André Antoine au Théâtre Libre. Sa modalité de mettre à la scène est présentée dans son cadre historique à la confluence de nombreux facteurs et elle est lue comme un nœud où plusieurs éléments arrivent à converger. L’analyse des constantes du devenir scénique et des modalités opératives sont mises en rapport avec sa sollicitation continuelle de tous les aspects de l’expérience théâtrale, dictée par l’aversion pour un type de théâtre dépourvu de souffle artistique et ensuite, en dernière analyse, de vérité. On expose la construction de l’espace scénique, inspirée par son attention à l’aspect visuel de la scène, et ses liaisons avec la dramaturgie. Du côté de la dramaturgie on considère le rapport entre Antoine et les auteurs, sa conception dramatique, la constitution du répertoire, l’éclectisme, le caractère de laboratoire et sa contribution à la recherche de la nouvelle formule dramatique. Du côté de la construction de l’espace scénique on considère les décors, les accessoires, l’action des figurants et les effets d’éclairage. On analyse aussi le rôle du Théâtre Libre en rapport avec l’univers théâtral environnant, au moyen d’une réflexion à propos du sens attribuable à son amateurisme, d’une confrontation avec les cercles d’amateurs contemporains et d’un examen de son public. Enfin, on envisage la manière de jouer d’Antoine, sa méthode de construction du personnage et le travail de la troupe / This thesis focuses on the distinctive features of André Antoine’s work at the Théâtre Libre. His staging practice is examined in its historical framework, located at the confluence of various factors, and read as a knot in which several elements come to converge. The constants of his scenic research and of its operative modes are analysed in relation to his ceaseless questioning of the theatrical experience in all its aspects: this approach springs from Antoine’s hostility to a theatre completely devoid of artistic inspiration and, ultimately, of truth. The thesis describes his use of the scenic space, suggested by his attention to the visual aspect of the stage, and its relationships with dramaturgy. As for the dramaturgy, the relations between Antoine and the authors are studied together with his dramatic theory, the making of his repertory, his eclecticism, his experimental attitude and the participation of Théâtre Libre in the search for a new dramatic form. As for the shaping of the scenic space, the thesis examines sceneries, props, the role of walk-ons and light effects. The analysis also takes into account the role of the Théâtre Libre in relation to the contemporary theatrical world, focusing on the meaning of Antoine’s amateurism, on a comparison with the contemporary amateur groups and on the composition of his public. The final part of the thesis is devoted to Antoine’s acting features, to the method through which he built characters and to his company’s work

M.A. (Afrikaans) / It has already become a generally accepted platitude to assert that the political novel under the influence of French philosophers Jean Paul Sartre and Albert Camus has as its aim to explicitly manipulate the concrete reader towards a "desired" attitude. "Desired" then in the sense that the reader will be persuaded by means of literary strategies to accept that particular ideological viewpoint which is communicated by the text. Research done into the aspects of historicity of Houd-den-Bek by Andre P. Brink and as it is utilized by him in the manuscript and other investigations have revealed drastic deviations from the historical facts concerning the slave rebellion during 1825 in the Koue Bokkeveld. The novel employs this chain of events as the narrative. Deviations from the factual can be related to the abstract author's will to evoke from the reader a sympathetic or antipathetic response towards figures or groups. The investigation undertaken by H.P. van Coller (1988) also mainly covered the story aspects of the text. The discursive structure of the whole work (which has not yet been fully researched), especially in relation to the manipulating role of the abstract author as the supreme text internal force, is investigated as a segment of this research project. The nature of the literary communication, namely manipulation as text strategy, which is typical of the engaged text, has been criptically traced. In this investigation the emphasis has fallen on certain manipulation strategies which is typical of the engaged text and then particularly on the compositional level, the word level and the conceptual level. Both intrinsic and extrinsic characteristics have been noted in order to establish in what way the organizing force has manifested itself in this text. It has been established that a pragmatic maneuvering is present in the manipulative proceeds of this particular novel which is directed in a clearly persuasive way. i, Finally it has been established from the reaction of literary scholars, critics and readers that a communication process did take place, that the reader was confronted with a "new" ideology. The reception investigations of critics have been employed in order to establish if the persuasive proceeds, which have been built into the structure of the text, do fulfil their referential function with the intended reader/critic as reproductive reader. Was this then so effective that the reality in Houd-den-Bek could become an emotional guilt ridden stimulus not only to the intended reader, but also to the critic. In other words: has the abstract author managed to manipulate the critic and in so doing, has he managed to influence his objective jUdgement as well. The conclusion that has been arrived at amongst other things, is that the too obvious manipulation present in the novel adversely affects it. Manipulative techniques that have been used excessively become "automatic" as a result of being over-emphasized and they therefore lose their effect. The reality model in the text has only been able to persuade the reader/critic in a limited way to become critically aware

This dissertation provides an explanation of how André Malraux, a man of great influence on twentieth century European culture, developed his political ideology, first as an anticolonial social reformer in the 1920s, then as an antifascist militant in the 1930s. Almost all of the previous studies of Malraux have focused on his literary life, and most of them are rife with errors. This dissertation focuses on the facts of his life, rather than on a fanciful recreation from his fiction. The major sources consulted are government documents, such as police reports and dispatches, the newspapers that Malraux founded with Paul Monin, other Indochinese and Parisian newspapers, and Malraux's speeches and interviews. Other sources include the memoirs of Clara Malraux, as well as other memoirs and reminiscences from people who knew Andre Malraux during the 1920s and the 1930s. The dissertation begins with a survey of Malraux's early years, followed by a detailed account of his experiences in Indochina. Then there is a survey of the period from 1926 to 1933, when Malraux won renown as a novelist and as a man with special insight into Asian affairs. The dissertation then focuses on Malraux's career as a militant antifascist during the 1930s, including an analysis of Malraux's organization of an air squadron for the Spanish Republic, and his trip to North America to raise funds. The dissertation concludes with an analysis of Malraux's evolution from an apolitical, virtually unknown writer into a committed anticolonial social reformer and an antifascist militant. The man and his political ideology were intricately interwoven. His brief career as a political journalist in Saigon was crucial in his transformation from an apolitical Parisian dandy into a political activist. Because he regarded fascism as a dire threat to European civilization, Malraux gave his full support to the Soviet Union and the Spanish Republic during the 1930s.

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