Esta tesis, titulada El sujeto y su doble: Asedios al héroe fantástico, tiene como objetivo principal analizar e interpretar la figura del doble en tres relatos fantásticos: William Wilson (Poe), El Horla (Maupassant), y El retrato de Dorian Gray (Wilde). A través de ellos se busca esclarecer las dimensiones, variaciones e incidencias que estos Doppelgänger tienen en relación con el héroe, quien es acosado como presencia fantasmal por el Otro creando un vínculo especular que deriva en su aniquilación. La función interna de la imaginación motiva interacciones “aparentes” entre los actores de la obra. Surge así la figura del Otro como alteridad radical.En los tres relatos, el doble cumple funciones distintas y constituye una representación del sujeto ante sí mismo, una proyección que evidencia su despersonalización y un cuestionamiento acerca de su propia constitución como tal, que se vuelve inestable. Lo anterior se lleva a cabo a partir de un análisis que contempla las teorías acerca de lo fantástico, la narratología y el psicoanálisis, principalmente.

Esta pesquisa tem como núcleo o estudo de residências projetadas pelo arquiteto Edgar Albuquerque Graeff em Porto Alegre. Formado em 1947 pela Faculdade Nacional de Arquitetura da Universidade do Brasil no Rio de Janeiro, Graeff revelou grande influência da arquitetura moderna carioca em seu trabalho. Partindo do estudo mais abrangente da produção residencial em Porto Alegre entre 1940 e 1960, em seu contexto e suas peculiaridades, buscase uma compreensão dos caminhos da arquitetura moderna na cidade de Porto Alegre em sua origem e desenvolvimento. Pretende-se sustentar através de registros históricos, depoimentos e dos próprios projetos, o caráter pioneiro e singular do trabalho de Edgar Graeff em Porto Alegre, sua contribuição para o surgimento local de uma arquitetura moderna com fortes referências à obra de Lúcio Costa, Oscar Niemeyer e outros expoentes da escola carioca. O trabalho compreende a revisão e o estudo das diferentes influências e orientações arquitetônicas locais nas primeiras décadas do século XX, registrando a evolução do cenário porto-alegrense até o momento de introdução do modernismo na cidade. Na década de 40 Edgar Graeff contribuiu para a evolução desta arquitetura, sendo arquiteto praticante, teórico e professor do curso de arquitetura da UFRGS. O impacto de residências como a projetada para Edvaldo P. Paiva foi um marco divisor no campo das idéias, dos costumes e da cultura arquitetônica em Porto Alegre, transpondo para o nosso contexto local estratégias e elementos de arquitetura que até então eram usadas principalmente por arquitetos do Rio de Janeiro e São Paulo. Tais propostas arquitetônicas manifestaram localmente o pensamento moderno preconizado por Le Corbusier.

Esta tese consiste em um estudo sobre a concepção do conhecimento da Geometria nos cursos superiores de Arquitetura. Durante três semestres, desenvolvemos uma proposta de abordagem transdisciplinar no ensino da Geometria Descritiva, junto a seis turmas de estudantes da Pontifícia Universidade Católica do Rio Grande do Sul, que se constituiu no ensino dos conceitos geométricos, compreendidos em suas relações e interdependências com seus entornos histórico / culturais/ filosóficos/ epistemológicos. Aliados a esta postura, introduzimos os conceitos genéricos de solidariedade e criatividade, na forma de migrações conceituais pelos campos geométrico/arquitetônicos, como instrumento instigador do resgate na compreensão da humanidade do conhecimento científico. Discutimos, neste estudo, a receptividade dos estudantes em relação a estas abordagens e às dificuldades verificadas no desenvolvimento destas propostas. Para analisar a concepção de conhecimento advinda destas implementações, utilizamos como referencial teórico o Paradigma da Complexidade, na ótica de Edgar Morin. Finalizando este trabalho, aproximamos as nossas interpretações do conceito de utopia, na perspectiva de Ernst Bloch, na qual encontramos a reafirmação do movimento como componente central dos fenômenos estudados, com a evidência de sua inexorabilidade na compreensão do conhecimento, do ser humano e da vida. / This thesis is a study about the conception of knowledge on Geometry in the graduation programs of Architecture. For three semesters we have developed a proposal of a cross disciplinary approach in the teaching of Descriptive Geometry with six groups of architecture students from the Pontifical Catholic University of Rio Grande do Sul. The proposal involved the teaching of geometric concepts and their relationships and interdependencies with historical, cultural, philosophical and epistemological contours. Along with such approach, we have introduced generic concepts of solidarity and creativity in the form of conceptual migrations through geometric and architectural fields, as an instigating instrument to rescue the understanding of the humanitarian aspect of scientific knowledge. We discussed, in this study, the receptive attitude from the students in terms of these approaches and the difficulties faced in order to develop them. To analyze the concept of knowledge resulting from such implementations, we used as theoretical background the Paradigm of Complexity, in the view of Edgar Morin. We finally approximated our interpretations to the concept of utopia, in the perspective by Ernst Bloch, in which we found the reaffirmation of movement as the central component of the investigated phenomena, with the evidence of its inexorability in the understanding of knowledge, human beings and life.

Este trabalho revisita a teoria do escopo formulada por Katharina Reiß e Hans Vermeer em Grundlegung einer allgemeinen Translationstheorie (1984) a fim de investigar como os conceitos de “tradução comunicativa” e “tradução equivalente” podem ser aplicados a uma nova tradução do criptograma presente em “The Gold-Bug” (1843), de Edgar Allan Poe. Embora o conto tenha mais de vinte traduções diferentes para o português brasileiro, a necessidade de uma nova tradução justifica-se pela insuficiência de todas aquelas existentes no que diz respeito ao tratamento literário dos problemas especiais suscitados pelo criptograma e pela decifração deste no interior da narrativa. A importância da criptologia na gênese, na recepção e na posterior influência de “The Gold- Bug” é demonstrada através de exemplos e argumentos, e a seguir uma nova tradução do criptograma é proposta com o objetivo de produzir em português brasileiro um texto dotado das mesmas qualidades literárias e raciocinativas que resultaram na imensa popularidade do conto e na elevação de Poe ao status de gênio ainda no século XIX. / This paper presents a brief summary of the Skopostheorie proposed by Katharina Reiß and Hans Vermeer in Grundlegung einer allgemeinen Translationstheorie (1984) in order to assess the way in which the concepts of “communicative translation” and “equivalent translation” could be applied to a new translation of the cryptogram found in Edgar Allan Poe’s short-story, “The Gold-Bug” (1843). There are over twenty translations of the story into Brazilian Portuguese, but a new effort is nonetheless in order in view of the insufficiency of all existing translations with regard to the literary treatment of the special problems posed by the cipher and Legrand’s decipherment. The important role played by cryptology in the genesis, reception and later influence of “The Gold-Bug” is demonstrated by means of examples and arguments, and finally a new translation of the cryptogram is proposed with the aim of producing, in Brazilian Portuguese, a text with the same literary and ratiocinative qualities which eventually led to the tale’s immense popularity and Poe’s rise to the status of “genius” still in the 19th century.

Esta tese de doutoramento teve como área privilegiada de interesse a Educação Infantil, primeira etapa da Educação Básica de acordo com a atual legislação educacional brasileira. O objetivo da pesquisa foi investigar as políticas públicas para a Educação Infantil no município de Porto Alegre, implementadas no período entre 1989 e 2004, quando aconteceram quatro gestões consecutivas do Partido dos Trabalhadores na cidade. Neste período histórico, há um movimento nacional de reconhecimento do direito da criança de zero a seis anos à Educação, desencadeado por diferentes atores: legisladores, intelectuais, movimentos sociais organizados. O estudo analisou dois campos das políticas educacionais: a oferta de atendimento e a formação de profissionais, abordando a regularização das instituições junto ao Sistema Municipal de Ensino - SME. A metodologia, de enfoque qualitativo, envolveu duas abordagens: entrevistas semi-estruturadas e pesquisa documental. Foram entrevistadas representantes de três segmentos envolvidos com estas políticas desde diferentes lugares, incluindo legisladoras do Conselho Municipal de Educação, coordenadoras da Educação Infantil da Secretaria Municipal de Educação - SMED, funcionárias das Escolas Municipais de Educação Infantil e educadoras das creches conveniadas à Prefeitura. A análise documental envolveu legislação federal, estadual e municipal, publicações da SMED, relatórios de gestão, outras pesquisas sobre a educação municipal e documentos particulares cedidos pelas entrevistadas, entre outros. Uma vez que a pesquisadora, como professora da Rede Municipal de Educação, esteve envolvida, desde diferentes lugares, com a implementação das políticas em estudo, optou-se pela Teoria da Complexidade, de Edgar Morin, como referencial teórico-metodológico para o desenvolvimento da pesquisa e a análise dos dados. Esta perspectiva teórica relativiza a neutralidade da ciência, reconhece o comprometimento do observador em relação ao observado e defende uma postura dialógica na análise dos dados, permitindo a consideração das contradições e erros inerentes ao conhecimento humano. A apresentação das análises sobre o material pesquisado focou os movimentos e complexidades presentes nas políticas públicas no período estudado. Entre as marcas analisadas destaca-se que o município realizou a transição do atendimento às crianças de zero a seis anos de outras esferas para a Educação, tanto na rede própria quanto na conveniada; investiu ininterruptamente em ações de formação continuada para todos os segmentos da comunidade educacional, especialmente professoras, monitoras e educadoras das creches; desencadeou programas de formação inicial em serviço em nível de ensino Médio Modalidade Normal e curso superior de Pedagogia Educação Infantil; e desencadeou os processos de regularização dos estabelecimentos de Educação Infantil junto ao SME, através da criação de setor específico para orientação aos estabelecimentos. Os dados referentes ao credenciamento dos estabelecimentos junto ao SME indicam a necessidade de revisão de fluxos e encaminhamentos, tendo em vista o pequeno número de estabelecimentos autorizados no período de 2001 a 2004, após a criação da Resolução 003/01 do CME. / This thesis of receiving of doctoral degrees had as privileged area of interest the Infantile Education, first stage of the Basic Education in accordance with the current Brazilian educational legislation. The objective of the research was to investigate the public politics for the Infantile Education in the city of Porto Alegre, implemented in the period between 1989 and 2004, when four consecutive managements of the Party of the Workers in the city had happened. In this historical period, it has a national movement of recognition of the right of the child of zero the six years old to the Education, unchained for different actors: organized legislators, intellectuals, social movements. The study analyzed two fields of the educational politics: the offers of attendance, the formation of professionals, including the regularization of the institutions next to the Municipal System of Education - SME. The methodology, of qualitative approach, involved two approaches: half-structuralized interviews and documentary research. Politics since different places had been interviewed representative of three involved segments with these, including legislators of the City Council of Education, coordinators of the Infantile Education of the City Department of Education - SMED, employees of the Municipal Schools of Infantile Education and educators of the day-care centers’ agreement to the City Hall. The documentary analysis involved federal, state and municipal legislation, publications of the SMED, management reports, other research on the municipal education and documents not officially recorded yielded by the interviewed ones, among others. Once the researcher, as teacher of the Municipal System of Education, was involved, since different places, with the implementation of the politics in study, was opted to the Theory of the Complexity, Edgar Morin, as a methodological theoretician referencial for the development of the research and the data analysis. This theoretical perspective relativizes the neutrality of science, recognizes the compromise of the observer in relation to the observed one and defends a dialogical position in the data analysis, allowing the inherent consideration of the contradictions and errors to the human knowledge. The presentation of the analyses on the searched material focused the movements and complexities presents in the public politics in the studied period. Among the analyzed marks as much in the proper net how much in the agreement one is distinguished that the city carried through the transition of the attendance to the zero children the six years old of other spheres for the Education; it uninterruptedly invested in action of formation continued for all the segments of the educational community, especially teachers, monitorial and educators of the day-care centers; it unchained programs of initial formation in service in level of Average education Normal Modality and superior course of Pedagogy Infantile Education; and unchained the processes of regularization of the establishments of Infantile Education next to the SME, through the creation of specific sector for orientation to the establishments. The referring data to the credential of the establishments next to the SME indicate the necessity of revision of flows and directions, in view of the small number of authorized establishments in the period of 2001 to 2004, after the creation of Resolution 003/01 of the CME.

O estudo questiona o que é conhecimento e suas possibilidades de articulação sobre e com o instrumento vocal de alunos-atores na perspectiva da Complexidade, tomada na ótica do filósofo francês Edgar Morin. A compreensão de instrumento vocal tem no vocalista um sujeito e objeto que no seu fazer reúne saberes e instâncias privilegiadas de subjetividades que o constituem complexamente. O trabalho apresenta exercícios utilizados na disciplina de Expressão Vocal para Teatro I, ministrada em 2000, no Departamento de Arte Dramática da UFRGS, pela pesquisadora, nos quais a solicitação da utilização de imagens diversas e da imaginação dos alunos é levantada e discutida como oportunidade complexa da constituição do conhecimento vocal e humano desses sujeitos. A dissertação cria um panorama onde os pensamentos e vivências vocais da mestranda e dos seus alunos dialogam junto a autores como Constantin Stanislawski, Murray Schafer, Marlene Fortuna, Humberto Maturana, João Francisco Duarte Jr, entre outros. / This application discusses what knowledge is and its articulation possibilities about and with the actors-students' vocal instrument from the Complexity perspective, taken from the French Philosopher Edgar Morin´s optics. The vocal instrument comprehension has in the vocalist a subject and an object that, while performing, combines knowledge and priviledge circumstance of subjectivity which constitutes it in a complex way. The paper presents exercises used in the Vocal Expression for Theater I discipline, administered in 2000, at the UFRGS Dramatic Art Department, by the researcher, in which the request for the use of several images and of the students' imagination was brought and discussed as a complex oportunity for the vocal and human knowledge constitution of these subjects. The dissertation creates a panorama where the master´s degree student and her students' thoughts and vocal experiences talk together with authors such as Constantin Stanislawski, Murray Schafer, Marlene Fortuna, Humberto Maturana, João Francisco Duarte Jr, among others.

Le présent mémoire propose de retracer les parcours d’Edgar Degas et d’Auguste Rodin afin de comprendre comment ces deux artistes en sont arrivés à s’intéresser aux corps féminins en mouvement, au point de faire des états de corps plutôt que des états d’âme leur sujet de prédilection. Partant du fait que le premier avait d’abord songé à renouveler la peinture d’histoire et que le second s’inspirait volontiers de sources littéraires pour ses monuments, nous avons concentré notre approche sur la perte progressive de tout substrat narratif dans leur traitement des figures féminines. Nous examinons comment ce déplacement les dispense de l’impératif de créer des personnages vraisemblables pour diriger l’intérêt vers le modèle posant et les conditions de production de l’atelier. Il en résulte un curieux renversement des procédés qui, dans la tradition académique, assignaient le talent de l’artiste à la réalisation de la beauté idéale. Alors que les corps de femmes représentés par les deux artistes se livrent à des contorsions qui les défigurent avant de les faire éclater en fragments, Degas et Rodin multiplient les traces de leur dialogue avec le matériau et signalent leur volonté d’en finir avec certaines conventions de leur médium. Ces choix ne peuvent pas s’expliquer en dehors des bouleversements socioéconomiques importants qui traversent la période, affectant la condition féminine mais aussi celle des artistes, de leurs institutions et de leur marché. / This thesis proposes to follow the development of Edgar Degas’ and Auguste Rodin’s work to understand how those two artists came to take a quasi-exclusive interest in female bodies, to the point that physical rather than emotional states became the main focus of their oeuvre. Considering that the former was tempted by history painting and that the latter did not hesitate, at first, to borrow from literary sources for his monuments, we focus our approach on the progressive elimination of all narrative subtexts in their representations of female figures. We examine how this move displaced the interest from character and role playing to focus on the physical presence of the model and on the working conditions prevailing in the atelier. This results in a complete overthrowing of the academic rules enrolling artistic talent in the service of ideal beauty. While their female bodies become so contorted that they end up disfigured before exploding into fragments, the two artists make themselves more present as the producers of their work, leaving traces of their manipulations and structural inventions in their mediums. These strategies are of course inseparable from the important socioeconomic changes that mark the period and modify not only the condition of women but also the status of artists, the authority of art institutions and the nature of the art market.

“Missing Homes” examines three nineteenth-century authors whose experiences of displacement from home, professions and/or class influenced their literary innovations. Displacement is not a new theme to scholars of nineteenth-century literature, who have established it as a defining experience of an era characterized by financial crises, industrial development, migration and empire. However, scholarship on displacement has often focused on how novels train readers to manage the experience of displacement and has depicted the emotions like nostalgia that arise from it as potentially compensatory or reconciliatory to the dynamics of capitalism. “Missing Homes” departs from these narratives to explore authors who found displacement anything but manageable or liberating and whose works illustrate a more unstable spectrum of emotional responses to displacement and its dire long-term consequences. Attention to these authors, I argue, offers a parallel theory of nostalgia in which the unsettled longing for a place to call home registers political discontent with the relationship between the individual and the collective rather than reconciles the individual to displacement. Departing from critics who have focused primarily on the work performed by metaphors and figures of the domestic, “Missing Homes” engages in biographical readings of the lives, economic circumstances and fiction of Edgar Allan Poe, Charlotte Brontë and Charles Dickens to show how they pursued fantasies of securing homes that could remove them from undesirable personal, economic and political conditions. The failures of these fantasies reveal how conventional narratives describing how individuals might attain security often fail in the face of collective economic conditions in which attaining objects like a home is both economically challenging and often emotionally unfulfilling. Although the variables of their lives were different, I suggest that these authors’ stories of displacement fail to perform therapeutic or intervening work, because the problem of displacement is rooted in material conditions that narrative innovation alone cannot resolve. Instead, readers should derive from these texts and their failures the need for more collective forms of security.

Boston personalism has generally been recognized as a philosophic system based upon a metaphysical idealism. What is less known, however, is that the founder of this school of thought and some of the major contributors to the early development of this tradition were committed members of the Methodist Episcopal Church. The purpose of this study is to examine the contributions made by the early Boston personalists to the cause of theological liberalism in the Methodist Church. It will be shown that personalist philosophers and theologians at Boston University ushered in and consolidated the liberal era in Methodist theology. Further, it will be argued that the religious demands of the philosophy of personalism eventually led some members of the tradition from theological liberalism to modernism and the beginnings of a religious pluralism. In other words, the thesis of this study is that the early Boston personalists were theological innovators in the Methodist Church, leading the denomination from its nineteenth-century evangelical pietism to the modernism and pluralism that was part of mid-twentieth century American Protestantism. The focus of this study will therefore be on the first two generations of personalists at Boston University: the founder of the personalist tradition, Borden Parker Bowne, and two of his most prominent students, Albert Cornelius Knudson and Edgar Sheffield Brightman. One chapter is devoted to each of figure, focused upon the impact of their personalist philosophy and methodology on their theology and philosophy of religion, and their influence on American Methodist theology. The period this study, which commences from the time of Bowne's appointment to the Department of Philosophy at Boston University in 1876 to the death of both Knudson and Brightman in 1953, reveals how Methodism grappled with the theological implications raised by the complexities of modernity and the emerging sciences. Attention will be focused on how the philosophical method of the personalists dictated their movement from pietism toward liberalism and onto modernism and pluralism. As such, this study demonstrates the integral role played by the Boston personalist tradition in theological development during the liberal era of American Methodism.

This paper explores two adaptations by rock musician Lou Reed of the Velvet Underground and Metal Machine Music fame. Reed has always been a complicated and controversial figure, but two of his albums—The Raven (2003), a collaborative theater piece; and Lulu (2011), a collaboration with heavy metal band Metallica—have inspired confusion and vitriol among both fans and critics. However, both adaptations, rich in intertextual references, at once show Reed to be what music historian Simon Reynolds calls a portal figure—offering a map of references to other texts for fans, indicating his own indebtedness to prior art—and to also be an uncompromisingly unique and original artist. This thesis analyzes both The Raven and Lulu and their adaptive connections to their source texts (the collected works of Edgar Allan Poe and the Lulu plays by German modernist Frank Wedekind) through the lens of adaptation theory. Although both albums, especially Lulu, were vilified by fans and critics alike, an exploration of both texts and their sources reveals a more complicated reading of the albums, as well as shedding light on adaptation theory. Reed's adaptations, in particular, offer compelling new insights into notions of fidelity—between an adaptation and its source, as well as between Reed and his career—and also promote alternative forms of listening pleasure, which challenge cultural and music industry boundaries regarding contemporary music. Lou Reed and his adaptive practice occupy a crucial position in the adaptive process, in both rock and heavy metal music.