This essay examines commitment and abandonment structured as two binary opposites informing For Whom the Bell Tolls. The intention behind this structuring is to highlight Hemingway’s message of the novel, set forth by the epigraph by Donne; everyone is part of mankind and every death diminishes everyone equally. The consistent structuring of characters can be seen by the fact that everyone who is committed, loyal and honest is punished while the reverse is true for people who abandon, desert and betray. The one exception to this is Pilar who, because of the role as a liberated woman given to her by Hemingway, is not included in this general categorization.

Submitted by Izabel Franco (izabel-franco@ufscar.br) on 2016-10-06T20:06:35Z No. of bitstreams: 1 DissALNM.pdf: 2924194 bytes, checksum: 6a06a4cc55fa89e37815e3dd6d6459e1 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T13:52:56Z (GMT) No. of bitstreams: 1 DissALNM.pdf: 2924194 bytes, checksum: 6a06a4cc55fa89e37815e3dd6d6459e1 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T13:53:02Z (GMT) No. of bitstreams: 1 DissALNM.pdf: 2924194 bytes, checksum: 6a06a4cc55fa89e37815e3dd6d6459e1 (MD5) / Made available in DSpace on 2016-10-20T13:53:08Z (GMT). No. of bitstreams: 1 DissALNM.pdf: 2924194 bytes, checksum: 6a06a4cc55fa89e37815e3dd6d6459e1 (MD5) Previous issue date: 2016-04-14 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / On the epigraphs that accompany some poems of Crisálidas (1864), by Machado de Assis, there is the parade of authors such as Dante, Camões Heine and Homer. The same happens in the following books of poems, Falenas (1870) and Americanas (1875). The choice of these names reveals authors of Machado's library that accompanied him throughout his career and that influenced his composition so since his debut in the lyrics. Such names dialogue with Machado's poetry and help us to better understand the poetic composition of the author, and not only source of supply for the poems, but also in relationship with them on the issue of understanding of the work, giving them a new meaning. / Nas epígrafes que acompanham alguns dos poemas das Crisálidas (1864), de Machado de Assis, há o desfile de autores como Dante, Camões, Heine e Homero. O mesmo acontece nos livros de poemas seguintes, Falenas (1870) e Americanas (1875). A escolha desses nomes nos revela autores da biblioteca machadiana que o acompanharam durante toda sua carreira e que influenciaram seu modo de composição desde a sua estreia nas letras. Tais nomes dialogam com a poesia machadiana e nos ajudam a melhor compreender a composição poética do autor, sendo não apenas fonte de abastecimento para os poemas, mas relacionandose também com eles na questão do entendimento da obra, conferindo-lhes um novo sentido.

This essay analyses the imagined and possible connections that reason has in the novel “El siglo de las Luces” by Alejo Carpentier. This is investigated both as our capacity to make conclusions, and by the way myth is pictured in the novel. The analysis is made in the framework of the ideas of reason during the Age of Enlightenment, and from thirteen engravings by Francisco de Goya that are included in a larger series named “Los desastres de la Guerra Independencia española”. These thirteen engravings are represented in Carpentier’s novel through the same number of epigraphs that introduce chapters or sections. The purpose of this essay is to explore the images and words in the novel, and their connection to reason. This study also examines how the myth of reason functions in the novel. The results show that images and words are related, and that there is a link to reason. Further findings demonstrate that the myth of reason connects the reality and illusory (rationality and irrationality), which Carpentier uses in his novel to create contrasts.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-09-04T12:20:42Z No. of bitstreams: 1 erickmariodonascimentooliveira.pdf: 3492871 bytes, checksum: 845fa85f6d95efe2e7ad13563f342bc3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-09-04T13:21:49Z (GMT) No. of bitstreams: 1 erickmariodonascimentooliveira.pdf: 3492871 bytes, checksum: 845fa85f6d95efe2e7ad13563f342bc3 (MD5) / Made available in DSpace on 2018-09-04T13:21:49Z (GMT). No. of bitstreams: 1 erickmariodonascimentooliveira.pdf: 3492871 bytes, checksum: 845fa85f6d95efe2e7ad13563f342bc3 (MD5) Previous issue date: 2018-06-26 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Neste trabalho é apresentado o comportamento do algoritmo IED quando aplicado a problemas de programação em dois níveis. Para isso, o problema do seguidor é substituído pelas condições necessárias de primeira ordem de Karush-Kuhn-Tucker e, dessa maneira, o problema de programação em dois níveis é transformado em um problema de otimização com restrições não lineares. Dessa forma, as condições necessárias para utilização do algoritmo IED (Interior Epigraph Directions) são satisfeitas. Esse método tem como característica resolver problemas de otimização não convexa e não diferenciáveis via utilização da técnica de dualidade Lagrangiana, onde as funções de restrições são introduzidas na função objetivo para formar a função Lagrangiana. Além disso, o método considera o problema dual induzido por um esquema generalizado da dualidade Lagrangiana aumentada e obtém a solução primal produzindo uma sequência de pontos no interior do epígrafo da função dual. Dessa forma, o valor da função dual, em algum ponto do espaço dual, é dado pela minimização da Lagrangiana. Por fim, experimentos numéricos são apresentados em relação à utilização do algoritmo IED em problemas de programação em dois níveis encontrados na literatura. / This work presents the behavior of the IED algorithm when applied to bilevel programming problems. For this, the follower problem is replaced by the first-order necessary Karush-Kuhn-Tucker’s conditions and thus, the problem of bilevel programming turns into an optimization problem with non-linear constraints. Thus, the conditions required for use of the IED (Interior Epigraph Directions) algorithm are satisfied. This method has the characteristic of solving non-convex and non-differentiable optimization problems using the Lagrangian duality technique, where the constraint functions are introduced into the objective function for formulation of the Lagrangian. Furthermore, the method considers the dual problem induced by a generalized scheme of augmented Lagrangian duality and obtains the primal solution by producing a sequence of points inside the dual function epigraph. Then the value of the dual function, at some point in the dual space, is given by Lagrangian minimization. Finally, numerical experiments are presented showing the use of the IED algorithm in bilevel programming problems found in the literature.

Dans cette thèse, nous étudions un principe général de convexification permettant de traiter certainsproblèmes variationnels non convexes sur Rd. Grâce à ce principe nous pouvons mettre en oeuvre lespuissantes techniques de dualité et ramener de tels problèmes à des formulations de type primal–dualdans Rd+1, rendant ainsi efficace la recherche numérique de minima globaux. Une théorie de ladualité et des champs de calibration est reformulée dans le cas de fonctionnelles à croissance linéaire.Sous certaines hypothèses, cela nous permet de généraliser un principe d’exclusion découvert parVisintin dans les années 1990 et de réduire le problème initial à la minimisation d’une fonctionnelleconvexe sur Rd. Ce résultat s’applique notamment à une classe de problèmes à frontière libre oumulti-phasique donnant lieu à des tests numériques très convaincants au vu de la qualité des interfacesobtenues. Ensuite nous appliquons la théorie des calibrations à un problème classique de surfacesminimales avec frontière libre et établissons de nouveaux résultats de comparaison avec sa varianteoù la fonctionnelle des surfaces minimales est remplacée par la variation totale. Nous généralisonsla notion de calibrabilité introduite par Caselles-Chambolle et Al. et construisons explicitementune solution duale pour le problème associé à la seconde fonctionnelle en utilisant un potentiellocalement Lipschitzien lié à la distance au cut-locus. La dernière partie de la thèse est consacrée auxalgorithmes d’optimisation de type primal-dual pour la recherche de points selle, en introduisant denouvelles variantes plus efficaces en précision et temps calcul. Nous avons en particulier introduit unevariante semi-implicite de la méthode d’Arrow-Hurwicz qui permet de réduire le nombre d’itérationsnécessaires pour obtenir une qualité satisfaisante des interfaces. Enfin nous avons traité la nondifférentiabilité structurelle des Lagrangiens utilisés à l’aide d’une méthode géométrique de projectionsur l’épigraphe offrant ainsi une alternative aux méthodes classiques de régularisation. / In this thesis, we study a general principle of convexification to treat certain non convex variationalproblems in Rd. Thanks to this principle we are able to enforce the powerful duality techniques andbring back such problems to primal-dual formulations in Rd+1, thus making efficient the numericalsearch of a global minimizer. A theory of duality and calibration fields is reformulated in the caseof linear-growth functionals. Under suitable assumptions, this allows us to revisit and extend anexclusion principle discovered by Visintin in the 1990s and to reduce the original problem to theminimization of a convex functional in Rd. This result is then applied successfully to a class offree boundary or multiphase problems that we treat numerically obtaining very accurate interfaces.On the other hand we apply the theory of calibrations to a classical problem of minimal surfaceswith free boundary and establish new results related to the comparison with its variant where theminimal surfaces functional is replaced by the total variation. We generalize the notion of calibrabilityintroduced by Caselles-Chambolle and Al. and construct explicitly a dual solution for the problemassociated with the second functional by using a locally Lipschitzian potential related to the distanceto the cut-locus. The last part of the thesis is devoted to primal-dual optimization algorithms forthe search of saddle points, introducing new more efficient variants in precision and computationtime. In particular, we experiment a semi-implicit variant of the Arrow-Hurwicz method whichallows to reduce drastically the number of iterations necessary to obtain a sharp accuracy of theinterfaces. Eventually we tackle the structural non-differentiability of the Lagrangian arising fromour method by means of a geometric projection method on the epigraph, thus offering an alternativeto all classical regularization methods.

O presente trabalho apresenta a hipótese de que Primeiras estórias (1962) é o ponto de chegada a uma expressão estética arduamente conquistada por Guimarães Rosa. Parte dessa conquista estaria alicerçada na experiência epigráfica e em personagens que, de um segundo plano, assomam à frente do palco como protagonistas. Aparentes sucedâneos dos poemas narrativos de Magma (1936) os paratextos parecem ensaios paralelos em que o escritor experimenta a narrativa enxuta pelo recorte de textos alheios, ou criados sob a égide do pseudônimo. As epígrafes não encimam todos os textos que antecedem Primeiras estórias, de modo a chamar a atenção para a correspondência entre paratexto, protagonista e tema. Narrativas que trazem protagonistas crianças, personagens paradigmáticos para a compreensão da família, iniciam a série de textos sem epígrafes. Paralelamente, epígrafes e personagens obrigam à constatação da figura do autor implicado, a qual confirma as opções estéticas do escritor, em especial, a do apreço pela forma narrativa curta. / This thesis proposes the hypothesis that Brazilian writer João Guimarães Rosa’s The Third Bank of the River and Other Stories [Primeiras estórias, 1962; English translation published in 1968] is the author’s arrival point after a strenuous path toward aesthetic expression. Such achievement may be partially explained by the support provided by the book’s epigraphic experience, and also by the use of characters who apparently have a secondary role but eventually spring to the narrative foreground as protagonists. The paratextual elements could be described as “narrative poems”, similar to the ones Rosa wrote for Magma [collected poetry, 1936], as well as “parallel essays”, in which Rosa experiments with the genre of the very short narrative, through the excision and framing of texts written by others or the creation of epigraphs signed by pseudonyms. Not all texts have epigraphs, in order to highlight the correspondence between the paratext, the protagonist and the theme. The narratives where the protagonists are children (who are considered as paradigmatic characters in that they allow us to better understand how families are configured) are placed at the beginning of the section without epigraphs. At the same time, both the epigraphs and the characters in the stories lead us to recognize the presence of an implied author, which is a confirmation of Rosa’s aesthetic choices, especially concerning his preference for the genre of the short narrative.

O presente trabalho apresenta a hipótese de que Primeiras estórias (1962) é o ponto de chegada a uma expressão estética arduamente conquistada por Guimarães Rosa. Parte dessa conquista estaria alicerçada na experiência epigráfica e em personagens que, de um segundo plano, assomam à frente do palco como protagonistas. Aparentes sucedâneos dos poemas narrativos de Magma (1936) os paratextos parecem ensaios paralelos em que o escritor experimenta a narrativa enxuta pelo recorte de textos alheios, ou criados sob a égide do pseudônimo. As epígrafes não encimam todos os textos que antecedem Primeiras estórias, de modo a chamar a atenção para a correspondência entre paratexto, protagonista e tema. Narrativas que trazem protagonistas crianças, personagens paradigmáticos para a compreensão da família, iniciam a série de textos sem epígrafes. Paralelamente, epígrafes e personagens obrigam à constatação da figura do autor implicado, a qual confirma as opções estéticas do escritor, em especial, a do apreço pela forma narrativa curta. / This thesis proposes the hypothesis that Brazilian writer João Guimarães Rosa’s The Third Bank of the River and Other Stories [Primeiras estórias, 1962; English translation published in 1968] is the author’s arrival point after a strenuous path toward aesthetic expression. Such achievement may be partially explained by the support provided by the book’s epigraphic experience, and also by the use of characters who apparently have a secondary role but eventually spring to the narrative foreground as protagonists. The paratextual elements could be described as “narrative poems”, similar to the ones Rosa wrote for Magma [collected poetry, 1936], as well as “parallel essays”, in which Rosa experiments with the genre of the very short narrative, through the excision and framing of texts written by others or the creation of epigraphs signed by pseudonyms. Not all texts have epigraphs, in order to highlight the correspondence between the paratext, the protagonist and the theme. The narratives where the protagonists are children (who are considered as paradigmatic characters in that they allow us to better understand how families are configured) are placed at the beginning of the section without epigraphs. At the same time, both the epigraphs and the characters in the stories lead us to recognize the presence of an implied author, which is a confirmation of Rosa’s aesthetic choices, especially concerning his preference for the genre of the short narrative.

O presente trabalho apresenta a hipótese de que Primeiras estórias (1962) é o ponto de chegada a uma expressão estética arduamente conquistada por Guimarães Rosa. Parte dessa conquista estaria alicerçada na experiência epigráfica e em personagens que, de um segundo plano, assomam à frente do palco como protagonistas. Aparentes sucedâneos dos poemas narrativos de Magma (1936) os paratextos parecem ensaios paralelos em que o escritor experimenta a narrativa enxuta pelo recorte de textos alheios, ou criados sob a égide do pseudônimo. As epígrafes não encimam todos os textos que antecedem Primeiras estórias, de modo a chamar a atenção para a correspondência entre paratexto, protagonista e tema. Narrativas que trazem protagonistas crianças, personagens paradigmáticos para a compreensão da família, iniciam a série de textos sem epígrafes. Paralelamente, epígrafes e personagens obrigam à constatação da figura do autor implicado, a qual confirma as opções estéticas do escritor, em especial, a do apreço pela forma narrativa curta. / This thesis proposes the hypothesis that Brazilian writer João Guimarães Rosa’s The Third Bank of the River and Other Stories [Primeiras estórias, 1962; English translation published in 1968] is the author’s arrival point after a strenuous path toward aesthetic expression. Such achievement may be partially explained by the support provided by the book’s epigraphic experience, and also by the use of characters who apparently have a secondary role but eventually spring to the narrative foreground as protagonists. The paratextual elements could be described as “narrative poems”, similar to the ones Rosa wrote for Magma [collected poetry, 1936], as well as “parallel essays”, in which Rosa experiments with the genre of the very short narrative, through the excision and framing of texts written by others or the creation of epigraphs signed by pseudonyms. Not all texts have epigraphs, in order to highlight the correspondence between the paratext, the protagonist and the theme. The narratives where the protagonists are children (who are considered as paradigmatic characters in that they allow us to better understand how families are configured) are placed at the beginning of the section without epigraphs. At the same time, both the epigraphs and the characters in the stories lead us to recognize the presence of an implied author, which is a confirmation of Rosa’s aesthetic choices, especially concerning his preference for the genre of the short narrative.