Abstract This study is a comparative analysis of selected poems from Jacques Prévert’s Paroles (1946/1947). It is an application of a mainstreamed theoretical paradigm comprising deconstruction, hermeneutics and relevance. The overall aim is to show how each translator of Jacques Prévert derived latent and relatively obvious semantic possibilities from the ST. This objective is attained through a descriptive analysis of the translation process, and an attempt to interpret the findings thereby revealed, primarily according to the tenets of deconstruction, and according to the tenets of hermeneutics and relevance if possible. The theoretical model that grounds the study is a non-reductionist, non-prescriptivist and non-evaluative. That is the reason why the traditional terminology associated with some of the theoretical aspects mainstreamed in the model have been adapted to fit in with the general aim of the study. Actual reading experiences hardly entail a consecutive reading of more than one text. But this research is like a laboratory experiment; it tests the applicability of integrated [theoretical] formulae to a hypothetical case, the consecutive reading of selected poems from Paroles (1946/1947) and their English translations.

Detta kandidatarbete handlar om hur ämnen som parodi, posthumanism och mytologi kan kombineras för att skapa en spelprototyp där dessa tre agerar som pelare, vare sig dessa manifesteras inom narrativet, estetiken eller mekaniken. Med hjälp av parodi som designperspektiv kan man granska ämnen som mytologi och posthumanism, för att skapa något som länkar samman dem. Denna text går igenom alla projektets utvecklingsfaser, hur själva arbetsprocessen har utvecklats och olika iterationer vi skapade för att ge en klar bild vilka tankebanor det var som ledde till vilka kreativa val och hur slutprototypen kom till. Synopsis: 300 år efter mänsklighetens förfall, världen är bebodd av monster, men en dag släpps de rastlösa själarna av mänskligheten lös, tar över monstren och gör dem mer mänskliga. / This bachelor thesis will cover how the subjects of parody, posthumanism and mythology can be combined to create a game prototype where these three serve as pillars, whether they take the form of design perspective, esthetics or mechanics. By using parody as a design perspective, one can examine subjects such as mythology and posthumanism in order to create something that connects them. This thesis will go through all the stages of development, how the working procedure has evolved and different iterations we created in order to give a clear image of which lines of thought it was that led to which creative choices and how it led to the creation of the final prototype.  Synopsis: 300 years after the fall of mankind, the world is inhabited by monsters, but one day the restless souls of humanity are unleashed, possess the monsters and make them more human.

A presente tese tem por finalidade propor algumas idéias que possam sustentar o que denominamos \"Pedagogia de Desconstrução\", idéias estas desdobradas com base na ontologia fundamental de Martin Heidegger, publicada em 1927 (Ser e tempo) e das publicações realizadas a partir de 1930, que marcaram a virada (die Kehre) do seu pensamento. O sentido da palavra desconstrução (Ab-Bau) ou destruição (Detruktion) em Heidegger está associado à identificação de um modo de pensar característico do ocidente, denominado pensamento metafísico, que se estabeleceu a partir de Platão. Tal modo de pensar consolida-se por meio de uma interpretação objetivada do ser dos entes (Vorhandenheit), cujos desdobramentos fizeram com que a metafísica esquecesse o fenômeno do mundo, permanecendo presa ao modelo do ver teorético. O sentido da desconstrução alinha-se com a tentativa de recuperar a diferença ontológica entre ser e ente, portanto, desconstruir o modo objetivado de alocar o ser dos entes, meditar sobre o sentido do ser e re-visitar (An-denken) o pensamento metafísico, desvelando aquilo que não foi pensado pela educação a partir destas determinações metafísicas. O modo de pensar metafísico chega à plenitude de suas possibilidades em nossa época atual, séculos 20 e 21, exercida por dois fenômenos que são: a ciência e a técnica moderna, que vem impor um modo de ser e pensar sobre cujas conseqüências Heidegger procurou nos alertar quanto às suas conseqüências nas significativas conferências realizadas após 1930. Tal modo de pensar, instrumentado pela eficiência da técnica e da logística dos mercados, nos enreda numa pseudoproximidade com as coisas e com os outros, entre outros sintomas que nos fazem adentrar numa noite escura e densa, obscurecendo-nos o mundo. Podemos testemunhar este mundo obscurecido por meio de alguns sintomas de nossa época atual, como a massificação dos homens, da fuga dos deuses, a devastação da terra, a aniquilação da coisa, bem como pela técnica moderna cuja essência consolida-se como uma contenda, uma provocação do homem em relação à natureza. É diante destes alertas demonstrados por Heidegger e testemunhados por nós que pensamos em propor algumas idéias que possam orientar uma pedagogia, preocupada em exercer alguns contrapontos aos imperativos de nossa época atual. Conscientes dos limites deste projeto em consonância com os entendimentos de Heidegger sobre os limites de nosso empenho em relação à metafísica, estamos propondo algumas pequenas saídas que se consolidam na tentativa de resgatar o vigor de um pensar que se realiza na unidade entre ser e pensar, de \"conduzir\" (ex-ducere) o ser-aí em direção ao conhecimento de si mesmo e de voltar-se para uma relação com o real pautada pela poiésis, ou seja, por uma linguagem e por um fazer que envolve levar à luz o que se apresenta realizado pela essência da verdade, compreendida como sendo a liberdade de deixar ser o ente. É neste âmbito da poiésis que o pensamento e os afazeres dos homens podem desconstruir o modo de desvelar o ser dos entes, dominado por um pensamento cuja armação (Gestell) submete as coisas à tríade: exploração, produção e consumo. O âmbito da poiésis em Heidegger inspira-se no poeta Hölderlin e com ele gesta-se a possibilidade de um outro modo de relação com o real, cujos modelos ônticos exercem um contraponto à armação, modelos estes inscritos no que Heidegger denomina por quadrindade, constituída pelo espelhamento entre os diferentes envios do ser: a terra; e o céu; os divinos e os mortais. / The aim of this thesis is to propose some ideas supporting what we refer to as \"Deconstruction Teaching\", arising from Martin Heidegger\'s 1927 work on basic ontology (Being and Time) and other publications as of 1930, marking the turning point (die Kehre) in his thinking. For Heidegger, the meaning of the term deconstruction (Ab-Bau) or destruction (Detruktion) is associated with a characteristic Western manner of thinking, known as metaphysical thinking, a concept originally identified by Plato. This manner of thinking is reinforced through the objective interpretation of the being of being (Vorhandenheit), an approach whereby metaphysics ignores the world phenomenon, and remaines mired in the theoretical view model. The meaning of deconstruction becomes aligned with the attempt to recover the ontological difference between being and the being and, thus, deconstructs the objective interpretation of allocating the being of the beings, to meditate on the meaning of the being and revisiting (An-denken) metaphysical thought, in order to reveal that which was not considered by education based on these metaphysical conclusions. The manner of metaphysical thinking reached the peak of its capacity in our own times, the twentieth and twenty-first centuries. It was exercised by two phenomena, science and modern techniques, which themselves imposed a way of being and of thinking of whose consequences Heidegger strove to warn us in key talks given after 1930. This way of thinking, led by the efficient techniques and logistics of the markets, binds us into pseudo-proximity with things and with others, among other symptoms that thrust us into a dark and dense night, blinding us to the world. We can witness this obscured world through some of the symptoms of our time. Examples are the reduction of humans to their lowest common denominator, the exodus of the gods, the devastation of the earth, the annihilation of the thing, in addition to modern techniques, whose essence has hardened into dispute, man provoking nature. It is thanks to Heidegger\'s warnings which we ourselves have also witnessed, that we decided to present some ideas that could steer teaching, in its anxiety to place some counterpoints to today\'s imperatives. We are aware of the limits of this project in accordance with Heidegger\'s views on the limits of our performance in relation to metaphysics, and propose some minor solutions that arose in the attempt to redeem the vigor of a thinking process developed in the space between to be and to think, of \"leading forth\" (ex-ducere) being in the direction of self-knowledge and to return to a relationship with what is real, based on poiesis. In other words, through a language and through action involving bringing to light what is realized by the essence of truth, understood as being the freedom to cease being the being. It is in this very environment of poiesis that man\'s thoughts and actions can deconstruct the manner of revealing the being of the beings, dominated by a thought whose configuration (Gestell) submits such things to that trinity of exploration, production, and consumption. The environment of poesis in Heidegger was inspired by the poet Hölderlin and it is with him that the possibility of another relationship with reality is born, one whose ontological models exercise a counterpoint to this configuration. These models are part of what Heidegger defines as the \"quadrinity\", formed by the reflection of three different aspects of the being: earth, heaven, the gods, and mortals.

Ao longo da dissertação, para dar forma e legitimidade à intuição e à experiência emocional e intelectiva que a autora teve com a obra do psicanalista brasileiro Gilberto Safra, foi empreendido o esforço de fabricar uma interpretação que acontecesse como reposta a esta obra. Para tanto, propusemos uma leitura pormenorizada (o que inclui a leitura sistemática e a leitura próxima desconstrutiva) de dois livros de Safra: Momentos Mutativos em Psicanálise, sua tese de doutorado e A Face Estética do Self, sua tese de livre docência. Este recorte da obra se ancorou na hipótese de que haveria algo na construção do pensamento psicanalítico de Safra que se modificou consideravelmente entre estes dois momentos de sua trajetória pessoal, autoral e na sua formação como analista. Em resposta a estas questões, uma leitura entrelaçada das teses que compõem seu pensamento psicanalítico com suas condições de possibilidade nos levou a compreender que a escrita de Safra deixa entrever o tortuoso movimento de busca de um analista por sua morada conceitual, ética e estética. O que está em jogo é sempre o processo de singularização: do analista, do paciente e das possibilidades de se fazer teoria e clínica psicanalíticas nos tempos atuais / This dissertation, in order to shape and legitimize the authors intuition, and emotional and intellectual experience with the works of Brazilian psychoanalyst Gilberto Safra, strived to create an interpretation that could stand as answer to said works. As such, we proposed a detailed reading (which includes a systematic and then deconstructive reading) of two of Safras books: Mutative Moments in Psychoanalysis, his doctoral thesis, and The Aesthetic Face of the Self, his associate professorship thesis. This partial selection of his work is anchored on the hypothesis that there would be something in the construction of Safras psychoanalytical thinking which had been considerably altered between these two points in his personal and authorial trajectory, and his training as an analyst. In response to these questions, an interwoven reading of these theses which make up his psychoanalytical thought, with their conditions of possibility, led us to understand that Safras writing allows us to glimpse an analysts tortuous path in search of his conceptual, ethical and aesthetic references. Whats at stake is always the singularization process: of the analyst, the patient and the possibilities of creating psychoanalytical theory and doing psychoanalytical clinic work in current times

Le concept lyotardien de « postmodernité » désigne la crise actuelle, à savoir une crise des « méta-récits » organisateurs de la modernité, et de l’ordre social, épistémique et discursif qui en découle. Face à la tentative hégémonique actuelle de la biomédecine et du cognitivisme, qui proposent un nouveau mythe scientifique, celui du transhumanisme, et font le jeu d’un « bio-pouvoir » accru, une démarche alternative consisterait à faire converger les lectures « déconstructrices » qui, de la psychanalyse à la philosophie en passant par l'anthropologie, font droit à une approche en termes de « pharmakon », c’est-à-dire d’ambivalence du poison et du remède, entre Eros et Thanatos.La recherche des limites est la condition contemporaine de l'« individu incertain », éternel adolescent. On retrouve là la « nouvelle économie psychique » qui fait signe vers une figure clinique nouvelle, celle de l’ « état-limite » qui connaît de multiples avatars et résiste aux classifications.Nombre d’essais sur le « malaise » entremêlent clinique individuelle et spéculations sur la culture, à partir du concept-clé de « désymbolisation ». La carence de Loi et de Père symbolique semble toutefois une explication insuffisante, tout comme la lecture inverse qui pousse à la fuite en avant libertaire. Notre lecture de Lacan refuse de s’inscrire dans ce dualisme Anciens/Modernes, et met l’accent sur la catégorie d’Idéal du Moi et de « trait unaire » qui suggère un nouage du symbolique avec l’imaginaire, loin de les opposer. La symbolisation est donc un processus plus qu’un état, dans lequel le sujet se trouve confronté, dans l’ambivalence, à la question de ses limites. Il doit convertir le Moi idéal en Idéal du Moi.C’est ce à quoi s’emploient les mythes, qui étayent, tels des totems médiateurs, le travail de subjectivation, en engageant les sujets dans un processus identificatoire et « transfictionnel » qui produit des effets créatifs. A notre époque de désenchantement du monde, les mythes disponibles ne sont que de quasi-mythes « évasifs », sur fond de malaise et de mort de Dieu. Mais la littérature populaire, notamment celle qui s’adresse aux adolescents, comme certains récits de vampires, propose des « romans narcissiques », où l’Œdipe passe désormais au second plan. Elle revisite le personnage d’Hamlet.Paradoxalement, les figures des mystiques, adeptes des expériences-limites et imprégnés d’ambivalence, proches de Lacan par leur théologie « négative » de la kénose et leur parole « apophatique », qui cultive la perte, retrouvent également une actualité, ainsi que la figure de l’apôtre Paul, lue par Agamben. Sa christologie du Dieu faible, abaissé, soumis au manque, résonne comme une déconstruction. Elle ouvre à un « temps de la fin », « temps qui reste », qui suspend les identités, désamorce les pouvoirs et rend possible, peut-être, une « promesse » et une « foi » au sens de Derrida, dans une logique ambivalente du sacré où l’idéal voisine avec l’abject.Dès lors, la cure ne devrait-elle pas, en renonçant à une approche trop nosographique et trop centrée sur la castration symbolique, s’attacher à retrouver la trace féconde et vivifiante du trait unaire, c’est-à-dire laisser une place à l’imaginaire ? Ainsi l’analyse jouerait-elle le rôle d’une sorte de « chambre claire » : en laissant affleurer les « mythes ». C’est peut-être au prix du risque, celui de la chute, du « skandalon », que l’on peut espérer que le sujet se déprenne du Moi idéal et de ses pièges pour opérer un autre nouage, jamais prévisible ni assuré d’avance, et toujours au voisinage du « trou » : une nomination, un sinthome. / The Lyotardian concept of "postmodernity" refers to the current crisis, namely a crisis of the "meta-narratives" organizing modernity, and the resulting social, epistemic and discursive order. Faced with the current hegemonic attempt of biomedicine and cognitivism, which propose a new scientific myth, that of transhumanism, and play the game of an increased "bio-power", an alternative approach would be to converge "deconstructive" readings, who, from psychoanalysis to philosophy through a certain anthropology, are entitled to an approach in terms of "pharmakon", that is to say of ambivalence of the poison and the remedy, between Eros and Thanatos.The search for limits is the contemporary condition of the "uncertain individual", eternal adolescent. Here we find the "new psychic economy", making a sign towards a new clinical figure, that of the "borderline” patient, which knows multiple avatars and resists classifications.A number of essays on "discontent" intermingle individual clinical and cultural speculation, based on the key concept of "desymbolization". The lack of Law and the symbolic Father, however, seems an insufficient explanation, as does the reverse reading that leads to the libertarian headlong pursuit. Our reading of Lacan refuses to be part of this Old / Modern dualism, and focuses on the category of Ego Ideal and "unary trait" which suggests a knot of the symbolic with the imaginary, far from opposing them; it plays a vital role, allowing the symbolic to register. Symbolization is thus a process rather than a state, in which the subject is confronted, in ambivalence, with the question of its limits. He must convert the ideal Ego into the Ego Ideal.This is what myths allow to do, they are used to support, as mediating totems, the work of subjectivation, by engaging subjects in an identificatory and "transfictional" process that produces creative effects. In our era of “disenchantment of the world”, the available myths are only quasi-myths, "evasive" myths, against the background of discontent, and death of God. But popular literature, especially the one which is aimed at adolescents, like some vampire stories, offers "narcissistic romances", where Oedipus is now in the background. It revisits the character of Hamlet.Paradoxically, the figures of the mystics, adepts of limit-experiences and impregnated with ambivalence, close to Lacan by their "negative" theology of kenosis and their "apophatic" word, which cultivates loss, also find a new relevance, as well as the figure of the Apostle Paul, read by Agamben. His christology of the weak, depressed God, subject to lack, resonates like a deconstruction. It opens to a "time of the end", "time that remains", which suspends identities, defuses the powers and makes possible, perhaps, a "promise" and a "faith" in the sense of Derrida, in a ambivalent logic of the sacred where the Ideal is close to the abject.Therefore, should not the cure, by renouncing a too nosographic approach, and too much centered on the symbolic castration, endeavor to find the fruitful and invigorating trace of the unary trait, that is to say, to leave a place to the imaginary? Thus the analysis would play the role of a kind of "Camera Lucida": by letting out the "myths".But it is perhaps at the price of the risk, that of the fall, of the "skandalon", that one can hope that the subject is deprived of the ideal Ego and its traps, to effect another knotting, never foreseeable nor assured in advance, and always in the neighborhood of the "hole": a nomination, a sinthome.

In response to assertions championing the absence of meaning and significance in language originating from Jacques Derrida's linguistic concepts of deconstruction, George Steiner and John Sheriff provide analyses of language that assert the opposite. Through an emphasis on subjectivities and subjective experience in the world, both find meaning to be bonded to subjective volition and the connectivities between subjects and language systems. For Steiner, this emphasis comes in the form of asserting the presence of others and the responsibilities we have to them, while Sheriff depicts how the semiotics of Charles Peirce make meaning-making subjective and communal. I argue, therefore, that in contrast to conceptions of language that challenge the presence of meaning in language, a structure of language as conceived through Charles Peirce's semiotics and George Steiner's vision of language asserts a dependability of language and the presence of meaning based on principles of connection and communion. / by Elliot Shaw. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

A tese apresenta-se na forma de um relato, de uma reflexão, de uma experiência desenvolvida a partir da disciplina de Projeto Arquitetônico II da UFRGS, tendo como hipótese a possibilidade de uma abertura de significado das arquiteturas de conexão em direção ao acolhimento pelo entrecruzamento da experiência dos alunos e das ideias do filósofo Jacques Derrida, tendo como estudo de caso a Estação Niterói-Rio Branco, de Canoas. Os exercícios praticados pelos alunos nos espaços da estação procuraram ser uma forma de “rasura e apagamento” sobre a “escrita” original da obra, transformando as ações em dispositivos desconstrutores e possibilitando que essas obras de conexões tragam em si o gesto de hospitalidade. A força inventiva dos alunos apresentou-se na forma de instalações de equipamentos provisórios e definitivos e festas de integração nas praças da estação, denunciando o abismo existente entre o projeto da estação e a realidade vivenciada. Assim, num processo de ressignificação, as arquiteturas de conexões podem tornar-se o meio, o facilitador, o dispositivo de hospitalidade, contribuindo sensivelmente no papel social? Conclui-se que a aproximação entre filosofia e arquitetura mostra-se como um caminho para o questionamento e crítica das práticas projetuais, na direção de uma abordagem mais sensível e humana. As ações dos alunos vêm para alertar sobre a hostilidade das nossas cidades e o abandono e omissão de seus habitantes. / The thesis presents itself as a reflection from the experience in the discipline of Project II in the Architect Faculty of the Universidade Federal do Rio Grande do Sul – UFRGS. The hypothesis is that it is possible an opening of meaning of the connection architectures towards the host. It is possible through cross-linking the student´s experience and the ideas of the philosopher Jacques Derrida. The thesis had as case study the Niteroi-Rio Branco station, in the municipality of Canoas – RS. The student´s exercises in the spaces of the station sought to be a form of "erasure and erasure" on the original "writing" of the architectural work, transforming the actions into deconstructing devices and enabling these architectural works of urban connections to betray the gesture of hospitality. The inventive strength of the students was presented in the form of provisional and definitive equipment installations and integration parties in the squares of the station, denouncing the abyss existing between the project of the Station and the reality experienced. Thus, in a process of resignification, the architectures of urban connections can become the facilitator, the hospitality device, contributing significantly to the social role? It is concluded that the approximation between philosophy and architecture is shown as a way for the questioning and the critique of the project practices towards a more sensitive and human approach. The actions of the students come to warn about the hostility of our cities and the abandonment and omission of its inhabitants. In this sense, the thesis presents itself as a questioning and a criticism to the fact of thinking architecture by the principle of efficiency, forgetting the responsibility of accepting unconditionally the other.

O tema da identidade promoveu muitas pesquisas sobre a obra de Machado de Assis. Tal tema está ancorado numa questão ontológica. Buscando evitar essa questão, a noção de devir nos permitiu uma mudança de perspectiva. A vontade de saber sobre a personagem Capitu, presente em muitos teóricos, pareceu-nos um sintoma do privilégio da ontologia em relação à reflexão sobre a alteridade. Pensamos que essa vontade de saber é uma forma específica para assimilar o outro. A narrativa de Casmurro pretende dar uma identidade a Capitu, contrapondo, de forma binária, uma verdadeira Capitu a outra dissimulada. Em função disso, constrói uma lógica causal comprometida com a preocupação ontológica. Impotente diante da alteridade do outro, a consciência do narrador se ressente. Acreditamos que ele escreve como meio de lidar com o ressentimento na sua experiência do passado. Essa escrita, que também lhe escapa como a alteridade do outro, pode proporcionar uma ruptura com a moral do ressentimento, projetando no porvir uma expectativa de modificação. Para tal, recorremos à teoria de Jacques Derrida a fim de demonstrar o devir da escrita no romance Dom Casmurro de Machado de Assis e seu poder transformador. / The theme of identity produced much research on the work of Machado de Assis. This theme is based on an ontological question. On the attempt to avoid this issue, the notion of becoming allowed a different perspective. The desire to know about the character Capitu, observed in many theorists, seemed a symptom of the privilege of ontology in relation to reflection on otherness. We think that this desire to know is a specific way to assimilate the other. The narrative of Casmurro aims to give an identity to Capitu, in contrast, in binary form, a real Capitu to an other dissembled. As a result, it builds a causal logic committed to the ontological concern. Powerless against the otherness of the other, the consciousness of the narrator resents. We believe that he writes as a means of dealing with the resentment in his own experience of past. This writing, which also eludes him as the otherness of the other, can provide a disruption with the moral of the resentment, projecting on the time to come an expectation of some change. With this objective, we use the theory of Jacques Derrida to demonstrate the becoming of the writing in the novel Don Casmurro from Machado de Assis - and its transformative power.

Made available in DSpace on 2016-08-10T11:07:01Z (GMT). No. of bitstreams: 1 MARCIA GRACIANO MADUREIRA INACIO.pdf: 1371066 bytes, checksum: 61498a302fc015886104b9f1a0b9c1ca (MD5) Previous issue date: 2014-03-28 / This works aims to study two major novels: Pride and Prejudice by Jane Austen and The Passion According to GH , by Clarice Lispector, highlighting the construction and deconstruction of the female figure in literature . In Pride and Prejudice, it is noted that the figure of the woman is constructed from a romantic vision. The female figure appears as a discourse of the other, due to the idealization of a society based on the control of men over women. The possessive relationships within the family and society are derived from religion and the patriarchal model, legitimizing vehicles that contributed to the formation of female identity in the eighteenth century. The female figure, conscious of its social role, discusses, through narrative, issues related to marriage and functions aimed at women, questioning the social rigidities that denies female subjectivity. In The Passion According to GH, a modern view of language, with traces of postmodernism will observe if - . Finally, we intend to establish a dialogue between the two novels, seeking parallels that prove that the woman, built in Pride and Prejudice, undergoes a process of deconstruction, set in GH character, the work of Clarice Lispector. This is achieved through a discursive deconstruction and (un) process substantiation of female character who, by becoming aware of the social conditioning about their identity, goes to deconstruct. The strong presence of inner monologue provides the narration to unleash the flow of consciousness, in which the character is being deconstructed and loses his human form, in the pursuit of understanding of his own existence. / Esta dissertação pretendeu estudar dois grandes romances: Orgulho e preconceito, de Jane Austen e A paixão segundo G. H., de Clarice Lispector, pondo em relevo a construção e a desconstrução do ser da figura feminina na literatura. Em Orgulho e preconceito, observou-se que a figura da mulher foi construída a partir de uma visão romântica. A figura feminina surgiu como discurso do outro, fruto da idealização de uma sociedade com bases no controle dos homens sobre as mulheres. As relações possessivas dentro da família e da sociedade mostraram-se provenientes da religião e do modelo patriarcal, veículos legitimadores que contribuíram para a formação da identidade feminina no século XVIII. A figura feminina, consciente de seu papel social, discute, por meio da narrativa, os temas relacionados ao matrimônio e às funções destinadas à mulher, questionando o engessamento social que nega a subjetividade feminina. Em A paixão segundo G. H., observou-se uma visão moderna da linguagem, com traços do pós-modernismo. Finalmente, pretendeu-se estabelecer um diálogo entre os dois romances, na busca de paralelos que comprovassem que a mulher, construída em Orgulho e preconceito, passou por um processo de desconstrução, configurado na personagem G. H., na obra de Clarice Lispector. Isso se deu, por meio de uma desconstrução discursiva e do processo de (des)substancialização da personagem feminina que, ao tomar consciência do condicionamento social sobre sua identidade, passou a se desconstruir. A forte presença do monólogo interior fez a narração deslanchar para o fluxo da consciência, em que a personagem foi sendo desconstruída e perdendo sua forma humana, na busca da compreensão de sua própria existência.

Made available in DSpace on 2017-07-21T14:49:45Z (GMT). No. of bitstreams: 1 Luis Alberto G Junior.pdf: 2140220 bytes, checksum: e145b6570ac187db3f86959b066db854 (MD5) Previous issue date: 2016-08-31 / This work arose from the need to think about the ways in which national cinema seeks to deconstruct a particular worldview. From this, the objective of this study was to analyze the deconstruction of the myth of a Transamazônica the progress of a military government, from the intellectual traditions and representations of Jorge Bodanzky and Orlando Senna, in Iracema: uma transa amazônica. We opted for the choice of film for its hybrid cinematic language that mixes the fictional to the documentary, it brings a denunciativo and demystifying tone of government propaganda that was the Transamazônica highway in the Brazilian dictatorial period. When doing this exercise, the filmmakers bring in their influences some elements of the New Cinema (German and Brazilian), the Italian neorealism, the Nouvelle Vague, the environmental film and a leftist militant political discourse. Through this path, appropriating from the work of filmmakers such as Jean Rouch, John Nicholas Cassavetes and Arne Sucksdorff to develop the narrative of a half-breed girl who prostitutes herself on the banks of the Trans-Amazon Highway. Methodologically, this work covers the influences and trajectories of these filmmakers and articulates every scene of the film, trying to understand the times in which the Trans Myth deconstruction appears. In this wide range of filmic readings linked to the social reality of the people who inhabited the region where they built the Trans-Amazon highway, there is the look the filmmakers about the neglect of the population, such as checking neglect appears. / Este trabalho surgiu da necessidade de pensar as formas pelas quais o cinema nacional busca desconstruir uma determinada visão de mundo. A partir disso, o objetivo deste trabalho foi analisar a desconstrução do mito de uma Transamazônica que simboliza o progresso de um governo militar, a partir das tradições intelectuais e representações de Jorge Bodanzky e Orlando Senna, no filme Iracema: uma transa amazônica. Optou-se pela escolha do filme por sua linguagem cinematográfica híbrida, que mescla o ficcional ao documental, traz um tom denunciativo e desmistificador da propaganda governamental que se fazia da rodovia Transamazônica no período ditatorial brasileiro. Ao efetuar esse exercício, os cineastas trazem em suas influências alguns elementos do Novo Cinema (Alemão e Brasileiro), do Neorrealismo Italiano, da Nouvelle Vague, do cinema ambiental e de um discurso político militante de esquerda. Por meio desta trajetória, apropriam-se do trabalho de cineastas, como Jean Rouch, John Nicholas Cassavetes e Arne Sucksdorff para elaborarem a narrativa de uma menina cabocla que se prostitui às margens da rodovia Transamazônica. Metodologicamente, este trabalho percorre as influências e trajetórias destes cineastas e as articula a cada cena do filme, buscando perceber os momentos pelos quais a desconstrução do mito da Transamazônica aparece. Nessa ampla gama de leituras fílmicas, atreladas à realidade social da população que habitava a região onde se construía a rodovia Transamazônica, destaca-se o olhar dos cineastas sobre o descaso com a população, verificando como tal descaso aparece.