Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2016-10-17T16:51:41Z No. of bitstreams: 1 2015 - Karenina do Nascimento Rodrigues.pdf: 1238410 bytes, checksum: e8462d133e6da1f161c58ff79d8dbf31 (MD5) / Made available in DSpace on 2016-10-17T16:51:41Z (GMT). No. of bitstreams: 1 2015 - Karenina do Nascimento Rodrigues.pdf: 1238410 bytes, checksum: e8462d133e6da1f161c58ff79d8dbf31 (MD5) Previous issue date: 2015-11-26 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The main aim of this work is to analyze the figuration of valido in the 17th Century Spanish court play C?mo ha de ser el privado. At first, considering the Jauss? approach of Aesthetics of Reception, it was considered the proper intention of the play?s poetical speeches, situating their potential meanings as something mediated by the rhetorical and poetical devices of Early Modern European literary genres. Therefore, it is not a matter of this work speculating about the intentions of 'Quevedo' as an individual or psychological author. We have thought that the romantic-liberal readings on the play have harmed its proper epochal meanings, creating anachronistic perceptions. Then, from the play?s structural tropics, or from its rhetorical-poetical forms and motives, and also considering its contextual functions as dramatic genre proper to solace of Spanish court and its King, we have analyzed the function of valimento as main play?s theme. We have build the comprehension that the play is formed by scenic poetical dialogues that dramatize the valido as an ideal king?s chief counselor conforming to the current expectations shaped in the renaissance genre Mirror for Magistrates, such as Castiglione?s The Book of the Courtier. / O objetivo central deste trabalho ? analisar a figura??o de valido presente na pe?a teatral cortes? C?mo ha de ser el privado. Para tanto, partindo da Est?tica da Recep??o de Jauss, foi considerada a inten??o enquanto efeito do discurso na obra, ponderando o horizonte de expectativas e o modelo de leitor/audi?ncia nela contidos, diferentemente, portanto, de seguir a tend?ncia de vi?s rom?ntico de focalizar a inten??o da obra num suposto indiv?duo ?Quevedo?, ou seja, evitou-se concentrar numa no??o individualizada oitocentista de sujeito-autor os sentidos poss?veis de legibilidade para a pe?a. Acreditamos que a leitura rom?ntico-liberal feita at? ent?o sobre a pe?a compromete a sua legibilidade epocal, recaindo em leituras anacr?nicas. A partir dos elementos da forma gen?tico-tr?pica ou ret?rico-po?tica da pe?a, construiu-se um entendimento acerca do sentido e da fun??o espec?fica do tema do valimento na pe?a, a qual entendemos como formada por poesias c?nicas dialogais que dramatizam os mesmos horizontes de expectativas contidos no g?nero renascentista Espelho de Magistrado, a exemplo do intertexto poss?vel com o modelo de Baldassare Castiglione em O Cortes?o

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-10-02T21:56:47Z No. of bitstreams: 1 JoseMarcelinoFerreiraJunior_DISSERT.pdf: 11780670 bytes, checksum: c75ced76bfd8d0de17413df68125f163 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-10-05T22:48:54Z (GMT) No. of bitstreams: 1 JoseMarcelinoFerreiraJunior_DISSERT.pdf: 11780670 bytes, checksum: c75ced76bfd8d0de17413df68125f163 (MD5) / Made available in DSpace on 2017-10-05T22:48:54Z (GMT). No. of bitstreams: 1 JoseMarcelinoFerreiraJunior_DISSERT.pdf: 11780670 bytes, checksum: c75ced76bfd8d0de17413df68125f163 (MD5) Previous issue date: 2017-06-19 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico (CNPq) / Os princ?pios da est?tica cl?ssica condicionam a obra de arte aos preceitos de harmonia e beleza. Com o intuito de agradar ao seu p?blico, torna-se, portanto, indispens?vel ao artista o respeito ?s regras de composi??o, ? verossimilhan?a, aos fins morais e ? imita??o da Natureza como fatores determinantes para a representa??o do Bem, do Belo e do Verdadeiro. No entanto, in?meros artistas e escritores das mais diversas ?pocas empregaram em suas cria??es procedimentos bastantes diferentes, para n?o dizer opostos, aos moldes cl?ssicos. Em raz?o disso, adotou-se para o presente estudo as an?lises desenvolvidas por Victor Hugo (2002) e Wolfgang Kayser (1986) sobre uma categoria est?tica a que se veio nomear de Grotesco e em especial a no??o de realismo grotesco formulada por Mikhail Bakhtin (1993). De acordo com esses autores, o exagero e a deforma??o do corpo caracter?sticos do grotesco induzem o leitor a perceber uma realidade por vezes oculta. Identificado como um constituinte predominante no romance Famintos (1962), do escritor caboverdiano Luis Romano, o grotesco assume, dessa forma, uma fun??o dupla: apresentar o tema da fome n?o apenas em seus significados sociais, mas tamb?m em seus efeitos sobre o corpo. Nesse sentido, esta pesquisa, que tem como foco principal discutir o ensino de literatura, centra-se em dois eixos, tomando como ponto de partida a an?lise desse romance, baseada na ideia de realismo grotesco, e a inclus?o de um relato de experi?ncia de leitura em sala de aula em conson?ncia ?s considera??es de Jauss (1994), sobre o horizonte de expectativa do leitor na recep??o de uma obra, e em Jouve (2013), a respeito da leitura subjetiva. Por isso, considera-se para a proposta de leitura de Famintos (1962) a centralidade do leitor como produtor de um segundo texto, constru?do no primeiro ato da leitura, que ?, nessa inst?ncia inicial, resultado ?nico de sua capacidade interpretativa subjetiva. Pensando nisso, este trabalho, amparado em uma pesquisa de car?ter bibliogr?fico e emp?rico, busca refletir sobre a pr?tica de leitura do texto liter?rio em sala de aula e analisar os textos de estudantes de licenciatura a partir da leitura do romance em foco. Essa atividade foi determinante para avaliar a percep??o dos leitores sobre os aspectos est?ticos de uma obra e, ao explorar a leitura como um ato de experi?ncia est?tica, inferir que ? poss?vel renunciar a algumas pr?ticas inadequadas que ainda persistem no ensino de literatura, como a instrumentaliza??o do texto liter?rio para o ensino da gram?tica, o ensino de literatura de vi?s historicista e mesmo as interpreta??es pr?-elaboradas dos manuais de literatura. / One of the principles of the classic art confines it to the ideal of harmony and beauty. Wishing to please his public, the artist became attached to these ideals, respecting the rules of composition, likelihood, moral effects and miming them as determinant elements to represent Good, Beauty and Truth. Uncountable artists and writers, however, living at different times and places, differed a lot from these ideals, using opposite elements on their creation. Considering these differences, this study presents the analysis from Victor Hugo (2002) and Wolfgang Kayser (1986) about the esthetic category named grotesque and, specially, about the meaning of grotesque realism formulated by Mikhail Bakhtin (1993). According to these authors, exaggeration and deformation of the corps are part of the grotesque and lead the reader to achieve a reality that is sometimes hidden. Identified as a constitutive element on the novel Famintos (1962), by the Cape Verdean writer Luis Romano, the grotesque has a double function on this novel: to present hunger as the central theme not only on its social aspects, but also on its effects on the bodies. Parting from these ideas, this research focus on the teaching of literature based on two axes: the analysis of a novel based on the grotesque and the results of its application on a classroom of graduates. This experience took as reference the considerations of Jauss (1994) about the horizon of expectation of a work of art, and Jouve (2013) when he talks about subjective reading. For this reason, this work considers, on reading Famintos (1962), the reader as producer of a second text, built on the first act of reading, which is, in this initial moment, the only result of the reader interpretative and subjective capacity. Concerning these ideas, this essay develops a theoretical empirical research that aims to discuss about the practice of literature in the classroom and analyzes the texts produced by students after reading the novel. This activity was determinant to understand and evaluate the perception of the readers about the aesthetic aspects of literature, and to explore reading as an aesthetic experience, concluding that is possible to abandon some old practices that still resist in teaching literature, as the use of literature to teach grammar or teaching literature based on its historic facts, and also to let down the pre-elaborated interpretation of the manuals.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-06-02T23:16:19Z No. of bitstreams: 1 CleidianeBragaLima_DISSERT.pdf: 6732550 bytes, checksum: 4c205714d1a48aeba5a8b8ace6547017 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-06-12T21:00:50Z (GMT) No. of bitstreams: 1 CleidianeBragaLima_DISSERT.pdf: 6732550 bytes, checksum: 4c205714d1a48aeba5a8b8ace6547017 (MD5) / Made available in DSpace on 2017-06-12T21:00:50Z (GMT). No. of bitstreams: 1 CleidianeBragaLima_DISSERT.pdf: 6732550 bytes, checksum: 4c205714d1a48aeba5a8b8ace6547017 (MD5) Previous issue date: 2016-12-16 / Quando pensamos na experi?ncia da leitura, a obra liter?ria seria o artefato que ? oferecido ? consci?ncia de um leitor, o texto liter?rio n?o deve ser uma realidade independente dessa consci?ncia, que sente e percebe os significados de uma forma particular, cont?nua, livre de amarras impostas por delimita??es alheias. A obra liter?ria precisa de seu leitor para percorrer diferentes ?pocas e contextos e existir, de fato. Fazer o autor perder a unidade detentora de sentidos e possibilitar ao texto a liberdade necess?ria para desprender-se dos preceitos estruturalistas e formalistas que - por atribu?rem exclusivamente ? pr?pria textualidade a responsabilidade interpretativa de uma obra, n?o privilegiaram o leitor nessa rela??o - ? o pressuposto levantado pela est?tica da recep??o, corrente contempor?nea da teoria da literatura, escolhida para nortear esta proposta de interven??o. A proposta desta disserta??o ? centrada em utilizar a est?tica da recep??o, aplicada atrav?s de uma sequ?ncia did?tica idealizada por Cosson (2009) junto a uma turma do 9? ano do ensino fundamental em uma escola do munic?pio de Fortaleza, Cear?. Objetivamos valorizar o papel ativo do aluno/ leitor na an?lise e interpreta??o de uma obra fundamental da literatura brasileira que ? O corti?o, de Alu?sio Azevedo. Trata-se de uma pesquisa-a??o, com a abordagem de dados qualitativos propostos por Bogdan e Biklen (1991). A fundamenta??o te?rica recorre ? aplica??o de conceitos de grandes predecessores e estudiosos da teoria receptiva como Barthes (1968), Jauss (1994), Iser (1999), assim como te?ricos que nos auxiliam nas novas formas de compreender o texto liter?rio, como Zilberman (1989), C?ndido (2000), Cosson (2009), Oliveira (2009), Zappone (2009), dentre outros. Ao final de nossa interven??o, observamos que os alunos adquiriram apre?o pela obra lida, tra?aram suas pr?prias impress?es acerca dela e buscaram novas fontes para exercerem uma leitura consciente, al?m de enxergarem sua pr?pria import?ncia na constru??o de significados, livres de julgamentos, n?o apenas em O corti?o, mas tamb?m em leituras vindouras. / When we think of the experience of reading, the literary work would be the artifact that is offered to the consciousness of a reader, the literary text shouldn't be a reality independent of that consciousness, which feels and perceives the meanings in a particular, continuous, imposed by other people's delimitations. The literary work needs its reader to traverse different epochs and contexts and exist, in fact. To make the author lose the sensory unity and allow the text the freedom necessary to detach itself from the structuralist and formalist precepts which - because they attributed exclusively to their own textuality the interpretative responsibility of a work, didn't privilege the reader in this relation - is the presupposition Raised by the aesthetics of the reception, contemporary current of the theory of literature, chosen to guide this proposal of intervention. The proposal of this dissertation is centered in using the reception aesthetics, applied through a didactic sequence idealized by Cosson (2009) next to a class of the 9th year of elementary education in a school in the city of Fortaleza, Cear?. We aim to value the active role of the student / reader in the analysis and interpretation of a fundamental work of Brazilian literature that is O Corti?o, by Alu?sio Azevedo. It is an action research, with the approach of qualitative data proposed by Bogdan and Biklen (1991). The theoretical basis is based on the application of concepts of great predecessors and students of receptive theory such as Barthes (1968), Jauss (1994), Iser (1999), as well as theorists who help us in the new ways of understanding the text Literary, such as Zilberman (1989), Candido (2000), Cosson (2009), Oliveira (2009), Zappone (2009), among others. At the end of our intervention, we observed that the students acquired appreciation for the work they read, drew their own impressions on it, and sought new sources to exercise a conscious reading, as well as seeing their own importance in constructing meanings, free from judgments, not just in O corti?o, but also in readings to come.