Orientador: Carlos Eduardo Ornelas Berriel / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T07:31:43Z (GMT). No. of bitstreams: 1 Rocha_HelioRodriguesda_D.pdf: 7011624 bytes, checksum: e1b3ce37e5505507da0c065d73ba360d (MD5) Previous issue date: 2011 / Resumo: Estudar as representações da Amazônia brasileira e elaborar a tradução de The Sea and Jungle, de Henry Major Tomlinson, são os objetivos centrais desta tese de doutorado. O autor do referido relato de viagem é um jornalista britânico que, no final de dezembro de 1909, dispensado de seus ofícios no Morning Leader, embarcou no navio S. S. England, em Swansea, País de Gales e, depois de cruzar o oceano Atlântico, aportou em Belém do Pará, Brasil; dali seguiu, via rios Pará, Amazonas e Madeira, para Porto Velho, atual capital do Estado de Rondônia, ponto inicial da Estrada de Ferro MadeiraMamoré. O navio levava suprimentos e maquinaria para a referida ferrovia. É justamente ao longo de parte de seu traçado, na extensão entre Porto Velho e a cachoeira denominada Caldeirão do Inferno, que esse peregrino londrino empreende uma excursão tendo como guia o texano Marion Hill, com quem se encontrou ao chegar àquele porto, em plena selva. O Mar e a Selva estabelece fios tessitivos com Odisséia de Homero, e se compõe, portanto, tanto de histórias de marinheiros e de aventuras do herói, quanto de descrições do mundo real e de um mundo mítico e fictício que contribuem na constituição do sujeito. Em se tratando de um discurso de um viajanteperegrino adoto, então, certos paradigmas: a noção de discurso e "artes da existência" cunhadas por Michel Foucault; a primeira em A arqueologia do Saber e A ordem do discurso e, a segunda, em A história da sexualidade: o uso dos prazeres; adoto, também, alguns conceitos advindos dos Estudos PósColonialistas, Utópicos, Crítica Literária, Filosofia e Estética. O Mar e a Selva reflete e refrata uma determinada realidade social de dois mundos, o do viajante e o do viajado, ou seja, do nativo e, a partir dessa "dança de espelhos", investigo em que medida o narrador critica sua sociedade pelos olhares que lança a outras comunidades amazônicas. Verifico também como ele reconstroi a si mesmo a partir da convocação de antigos viajantes (Hakluyt, Humbolt, Wallace, Bates), de correntes filosóficas (Pirronismo e Gymnosofismo), de escritores como Thoreau, Emerson, Drake, Spruce, Pikes, Raleigh, Burney, Defoe; de personagens bíblicos (Moisés, Jonas, Josué), de lendas e mitos gregos e romanos, etc. ao palco de sua composição literária e, conjuntamente, do "si mesmo". O eixo argumentativo desta tese é que este relato se apresenta, em primeiro lugar, como uma crítica políticomoral à Inglaterra e ao Brasil e serve como um exercício de elevação dos pensamentos rumo ao Sublime, "a alma do corpo retórico", diz Weiskel via Longino. Em segundo, as representações da Amazônia a configuram ora como o Campos Elísios, ora como o Tártaro. Assim, alto e baixo, vastidão e infinitude, luzes e trevas, vilania e nobreza, paraíso e inferno, feiúra e beleza, ordem e desordem, vida e morte se entrelaçam no percurso do viajante ideal. Portanto, ele vai além da escrita do que ele vê, e faz com que o leitor também veja / Abstract: To study the representations of Brazilian Amazon and to translate Henry Major Tomlinson's The Sea and the Jungle are the main purposes of this thesis. The book was written by a British journalist who in the month of December 1909, released from his work at Morning Leader and boarded S. S. England in a coal port in Swansea, Wales. After crossing Atlantic ocean, the author arrived in Para, Brazil, and from there, he steamed up the Amazon and Madeira Rivers to Porto Velho the current capital of Rondonia State that was then the initial point of MadeiraMamore Railway. The steamership carried coal and machinery to the railway. It is exactly alongside of its track, between Porto Velho and Hell's Cauldron Falls extension that the londoner peregrin undertakes his journal with Marion Hill, his Texan guide whom he met when he arrived at that port in the Jungle. The Sea and the Jungle stablishes relation of intertextuality to Homer's Odissey and it contains sailor's stories and hero's adventures and descriptions of true and mythical world that contribute to the subject's construction. As the book explores travelers and peregrin's discourses, we follow some paradigms: Michel Foucault's notion of discourse and "arts of existence"; the first is in his books A arqueologia do saber and A ordem do discurso; the second is in História da sexualidade: o uso dos prazeres. We follow too some notions derived from PostColonial and Utopian Studies, Literary Criticism, as well as Phylosophy and Asthetics. The Sea and the Jungle reflects and refracts determined social reality of two worlds, traveler's and travelee's, that is the object of the traveler's writing. Throughout this "dancing of mirrors" we investigate to what dimension the narrator criticizes his society from some glances that he projects on others communities. Moreover, we ask how the narrator builds up himself by using references to old travelers, (Hakluyt, Humbolt, Pikes, Wallace, Bates, etc.), some philosofic streaming (Pyrronism e Gymnosofism), to writers such as H. D. Thoreau, R. W. Emerson, F. Drake, D. Spruce; biblical characters as (Moses, Jons, Josuah), to some legends and Greek and Roman myths which he brings to the stage of his literary composition. The argumentative pivot of this thesis is that this travel writing presents itself first as a political and moral criticism to England and Brazil. Second, as an exercise of high thoughts towards the Sublime, "the soul of rethoric body", according to Weiskel when quoting Longino. The representations of the Amazon are configured now as Elysium sometimes as Hell. So, height and lowness, vastness and infinity, light and darkness, villainy and nobility, heaven and hell, ugliness and beauty, order and disorder, life and death are interlaced in the ideal traveller's enterprise. Therefore the author goes beyond writing about the seen, he also makes the reader see / Doutorado / Historia e Historiografia Literaria / Doutor em Teoria e História Literária

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

China Run is a 92 1/2 minute documentary film which portrays an ultramarathon runner's record-setting 2,125 mile run across China in 53 days, starting at the Great Wall north of Beijing and concluding in Guangjhou (Canton). It is a story of the difficulties, both physical and emotional, suffered by the runner, as well as the story of his encounters with the people of China.

This study examines the value of travellers’ written records of their trips with specific reference to the journals of five French travellers who visited Scotland between 1780 and 1830. The thesis argues that they contain material which demonstrates the merit of journals as historical documents. The themes chosen for scrutiny, life in the rural areas, agriculture, industry, transport and towns, are examined and assessed across the journals and against the social, economic and literary scene in France and Scotland. Through the evidence presented in the journals, the thesis explores aspects of the tourist experience of the Enlightenment and post -Enlightenment periods. The viewpoint of knowledgeable French Anglophiles and their receptiveness to Scottish influences, grants a perspective of the position of France in the economic, social and power structure of Europe and the New World vis-à-vis Scotland. The thesis adopts a narrow, focussed analysis of the journals which is compared and contrasted to a broad brush approach adopted in other studies.

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001. / Includes bibliographical references (p. 361-395). / Starting from the premise that maps are essentially about visualizing space, this dissertation examines what the Ottoman maps of Istanbul reveal about the city's perception, as it evolved in connection to urban development after the conquest. The maps that form the subject of this study appear as illustrations in three manuscript books. The Istanbul maps contained in Mecmu'-i Menazil (1537-8) and HiinernAme (1584) respectively mark the beginning and the accomplishment of the city's architectural elaboration. The other twenty maps, featuring in manuscript copies of Kitab-i Bahriye (1520s), roughly span the period between 1550 and 1700. The variants of a design fixed around 1570 offer an image that fulfills its topographic elaboration in the late-seventeenth century. While the making of this map's design relates to Istanbul's sixteenth century urban development, its topographical elaboration reflects a new perception of the city. These picture-maps, produced in the sixteenth and seventeenth centuries, form a unique group of documents as the only known Ottoman pictorial representations showing the city as a whole. As revealed by the context of the books containing them, their making relates both to Ottoman Empire's territorial expansion and to the appropriation of Constantinople as its new capital. Their cartographic language combines, in different manners, the familiar conventions of Islamic miniature painting with artistic forms encountered and assimilated during territorial expansion, particularly in contact with Venice. / (cont.) Especially the making of the Istanbul maps in Kitfb-i Bahriye copies illustrates the crucial role of the Mediterranean seafaring culture, its navigation manuals, nautical charts and island books. These images of Istanbul can be related to the development of the urban landscape and its symbolic function. Their study as cartographic representations pays attention to both accuracy and emphasis in their topographic contents. Supported by contemporary European visual sources and travel accounts as well as Ottoman topographic and poetic descriptions of Istanbul, the viewing directions, the depictions of buildings, and the overall cartographic composition in these maps are interpreted as features shaping a symbolic landscape that developed from an ideal vision to an actual garden-like urban environment, structured by land, water, and architecture. / by İffet Orbay. / Ph.D.

Text in Afrikaans with abstracts in Afrikaans, English and isiZulu / Hierdie studie van Afrikaanse tekste oor die Kongo (DRK) strek vanaf 1912 - toe DF Malan die eerste wit Afrikaner geword het wat ‘n reisbeskrywing oor sy besoek aan die Kongo gepubliseer het (Naar Congoland, 1913) - tot 2012 . Die navorsingsverslag ondersoek beeldvorming rondom die Kongo/(Midde-)Afrika in die korpus tekste wat opgespoor is, binne die breë teoretiese raamwerk van koloniale/postkoloniale studies, met toespitsing op “Africanism” en “Whiteness studies”. Daar is bevind dat beeldvorming in verband met die Kongo rondom twee hooftrope geskied: die Kongo as Conradiaanse “heart of darkness”, waar barbaarsheid in al sy geledinge hoogty vier; en die Kongo as “Eldorado” – die land wat as 15de-eeuse Afrika-koninkryk beskik het oor ‘n ontwikkelde beskawing en ongekende rykdom - lank voordat dit “ontdek” is deur Portugese seevaarders. Hierdie hooftrope en hul uitlopers funksioneer as ‘n kontinuum eerder as volstrekte teenoorgesteldes in die meeste Afrikaanse tekste oor die Kongo. Tekste van die koloniale era (tot die 1960’s in die Kongo) sluit aan by Eurosentriese diskoerse waarin die imperiale/koloniale tydgees weerspieël word, en tipies manifesteer in binêre opposisies (byvoorbeeld primitiwiteit versus beskawing) en trope soos “imperial eyes” (wit toeëiening van die koloniale ruimte). Malan se ideaal van ‘n Dietse invloedsfeer gebaseer op die taalverwantskap tussen Hollands/Afrikaans in Suid-Afrika, en Vlaams in die destydse Belgiese Kongo, herinner aan die ekspansionistiese ywer waarmee die Kaap-tot-Kaïro-droom van Britse imperialiste nagejaag is, maar blyk nouer verwant te wees aan die Afrikanernasionalistiese klem op die “taal as volk”. In postkoloniale tekste word die siening van die wit Afrikaner as ‘n nasaat van die geïdealiseerde Voortrekkers/Dorslandtrekkers toenemend gerelativeer deur tekste waarin die wit Afrikaner herverbeel word as “wit sangoma” of “Witboy in Afrika”; en wit vrese en vergrype word op skerp satiriese wyse aan die kaak gestel as die wrange erflating van die aartskolonialis, “Pappa in Afrika”. Die koloniale projek word in Equatoria as mislukking uitgebeeld, terwyl Horrelpoot ʼn distopiese verbastering van Afrikanerskap en Afrikaans in (Suid-)Afrika poneer. Witheid mag uiteindelik in Afrika uitgewis en vervang word met egte skakerings van aardsheid, of herdefinieer word in ʼn niehegemoniese verband (The Poisonwood Bible). Slegs die tyd sal leer. / This study of Afrikaans literary texts on the Congo (DRC) covers 100 years: 1912 – 2012. In 1912 DF Malan became the first white Afrikaner to travel to the Congo and publish a travelogue based on his travels (Naar Congoland, 1913). This thesis investigates the representation of the Congo/Central) Africa in the corpus of texts discovered, within the broad theoretical framework of colonial/postcolonial studies, and the paradigms of “Africanism” and “Whiteness Studies”. The Congo has been represented in terms of two main tropes: the Congo as the Conradian “heart of darkness”, the seat of utter savagery; and the Congo as “Eldorado” – the African kingdom that presided over a well-developed civilisation and untold wealth long before it was “discovered” by Portuguese explorers in the fifteenth century. These main tropes and their sub-tropes function in most Afrikaans texts on the Congo as a continuum and not in absolute contrast. Literary texts of the colonial era (up to the 1960’s) are characterised by Eurocentric discourses in which the imperial/colonial Zeitgeist typically manifests in binary oppositions (primitivism versus civilisation), and tropes like “imperial eyes” (white appropriation of colonial space). Malan’s dream of a Dutch sphere of influence - based on the affinity of Dutch/Flemish in the Congo with Dutch/Afrikaans in South Africa – and extending from Cape Town to the erstwhile Belgian Congo, is reminiscent of the expansionist fervour characterising the imperialist Cape-to-Cairo idea, but is based on the close link between language and nationhood in Afrikaner nationalism. In postcolonial texts the view of the white Afrikaner as ‘n descendant of the idealised Voortrekkers/Angolan trekkers is increasingly deconstructed by re-imagining the Afrikaner as a “white sangoma” or “whiteboy in Africa”, while white fright and guilt are revealed - in a sharply satirical fashion – as the bitter legacy of the white arch-colonialist “Pappa in Afrika”. The colonial project is portrayed as a disaster in Equatoria, while Horrelpoot poses a dystopic vision of the degeneration of Afrikanerdom and Afrikaans in (South) Africa. Whiteness may eventually be erased and replaced by authentic, earthy African colours, or be redefined within a non-hegemonic context (The Poisonwood Bible). Time alone will tell. / Lolu cwaningo olumayelana nemibhalo yesiBhunu ezincwadini zaseCongo (eDRC) lubheka isikhathi esingangeminyaka eyi-100: 1912 – 2012. Ngo-1912, uDF Malan waba yiBhunu lokuqala elimhlophe elaya eCongo laqopha umbiko omayelana nohambo lwakhe (Naar Congoland, 1913). Lo mbiko wocwaningo ucubungula indlela okwethulwa ngayo iCongo kanye nezinye izindawo eziMaphakathi Ne-Afrika eqoqweni lwemibhalo etholakale ohlakeni lwemibhalo eyimihlahlandlela emayelana nezifundo zangezikhathi zombuso wamakoloni/ nezikhathi zangemva kombuso wamakoloni, kanye nokuhleleka kwezifundo ngaBomdabu nangaBamhlophe. Izwe laseCongo lethulwa ngokufanekiswa ngezindlela ezimbili: ICongo njengesizinda sobumnyama (“heart of darkness”), nanjengesihlalo sobulwane bokungaphucuzeki (seat of utter savagery) njengoba kufanekisa umbhali uJoseph Conrad, kanti futhi ibuye ifanekiswe njengeCongo eyi-“Eldorado” – ubukhosi base-Afrika obabubusa endaweni ephucuzeke ngokuphelele nenothe ngendlela emangalisayo, ngaphambi kokuba itholwe ngabasingimazwe baMaputukezi ngekhuluminyaka leshumi-nanhlanu. Lokhu kufanekisa kanye nemifanekiso ehambisana nako evela emibhalweni eminingi engesiBhunu maqondana neCongo isetshenziswa ukuveza okubili okubonakala sengathi kuyefana yize kungafani kunoba ikuveze obala njengezinto ezingafani nhlobo. Imibhalo esezincwadini yangesikhathi sombuso wamakoloni (kuze kufinyelele esikhathini sangeminyaka ye-1960) iphawula kakhulu ngezindaba ezincike emasikweni nasemilandweni yamazwe aseYurophu nokuyilapho umoya wobukhosi obubusa ngaphezu kwamanye amakhosi/ nombuso wamakoloni uziveza njengokulindelekile ngezindlela ezimbili eziphikisanayo (ukubambelela endleleni yokwenza yasendulo kuqhathaniswa nempucuko), kanye nemifanekiso enjenge-“imperial eyes” (ukuzithathela kwabamhlophe umhlaba ezweni ababusa kulona okungelabanye abantu). Iphupho likaMalan lokuba kube nendawo eyenza ngokwemfundiso yamaDashi – okwakuncike ekuhlanganyeleni kwamaDashi/namaFlemishi eCongo kanye namaDashi/namaBhunu eNgingizimu Afrika – nokwakuzohamba kusuke eKapa kuze kufinyelele eCongo eyayaziwa ngokuthi yiBelgian Congo, kudala, ikhumbuzana uthando olukhulu lokwandisa indawo noma umnotho olwaluvela kumqondombono walabo abasekela umbuso wobukhosi bamazwe amaningi weCape-to-Cairo, kodwa-ke lokhu kwakuncike ekusondelaneni kolimi kanye nothando lobuzwe ebuzweni bamaBhunu. Emibhalweni yangemva kwesikhathi sombuso wamakoloni, ukuthathwa komuntu oyiBhunu elimhlophe njengoyisizukulwane saBafuduki (amaVoortrekker)/ saBafuduki base-Angola kuyaqhubeka nokuhlakazwa ngokudweba kabusha isithombe seBhunu emqondweni, liyi“sangoma esimhlophe” noma lingu“mfana omhlophe e-Afrika”, kodwa kube kugqama ukwesaba nokushawa ngunembeza – ngendlela ebhuqa kakhulu – njengegalelolifa elinganambitheki lomeseki wombuso wamakoloni oqavile u-“Papa in Afrika”. Umsebenzinhloso wezindaba eziphathelene nombuso wamakoloni uvezwa ngengowonakala wangaphumelela nhlobo ku-Equatoria, kanti uHorrelpoot yena uveza umbono wokuphela kobuBhunu kanye neSibhunu eNingizimu Afrika. Ubumhlophe bungagcina buphelile bese esikhundleni sako kungene imibala yoqobo ezothile esamvelo yomhlaba edabuka e-Afrika, kumbe buchazwe kabusha ngaphansi kwengqikithi engahambisani nokuphatha (The Poisonwood Bible). Sekobonakala phambili. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Afrikaans)

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Né en 1727 à Briançon, Jean-Antoine Morand a 14 ans lorsqu’il se lance, suite à la mort de son père, dans une carrière artistique. C’est à Lyon qu’il s’installe et fonde, en 1748, un atelier de peinture. Il reçoit des commandes officielles et privées, travaille régulièrement pour la Comédie, se spécialise dans la peinture en trompe-l’œil et la scénographie, y compris les machines de théâtre. À la fin des années 1750, encouragé par Soufflot, il se tourne vers l’architecture et l’embellissement, ainsi que l’y disposent différents aspects de sa première carrière.Architecte autodidacte, Morand souffre d’un déficit de légitimité et tente d’y remédier en recherchant la reconnaissance publique. Mais ses succès, en particulier la construction à titre privé d’un pont sur le Rhône, n’y suffisent pas. La carrière de Morand est tiraillée entre fierté entrepreneuriale et appétence institutionnelle. Son image pâtit de l’opposition entre spéculation foncière et promotion du bien public. Cela concerne en particulier son grand œuvre, un projet d’agrandissement de Lyon sur la rive gauche du Rhône, compris dans un plan général donnant à la ville la forme circulaire.Morand a peu construit et il ne subsiste presque rien de son œuvre pictural. On dispose en revanche d’un fonds d’archives privé d’une grande richesse, sur lequel s’appuie cette thèse, afin de mettre au jour les intentions, les relations et la psychologie d’un architecte autrement méconnu. / Born in 1727, Jean-Antoine Morand is 14 years old when he embraces an artistic career, following his father’s death. Having settled down in Lyon, he establishes his own painter’s workshop in 1748. Receiving public and private commissions and working for the theatre on a regular basis, he specializes in trompe l’œil painting and stage-setting, including machinery. In the late 1750s, spurred on by Soufflot, he turns to architecture and city-planning, as various aspects of his previous career could have prompted him to.As an autodidactic architect, Morand suffers from a lack of legitimacy against which he pursues public recognition. But his successes, which include the building of a privately-owned bridge across the Rhône, aren’t enough. Morand’s career is torn between entrepreneurial pride and his longing for tenure. His public image is marred by the alleged opposition between land speculation and the defense of public good. This concerns mostly his great work, a project for the extension of Lyon on the left bank of the Rhône, included in a circular general city plan.Morand hasn’t built much and very little remains of his pictorial work. This thesis is based on an extensive private archive that allows us to explore this otherwise unsung architect’s intentions, relations and psychology.