Esta dissertação constrói a biografia da brasileira Flávia Schilling (1953- ) desde a sua infância, passando pelo seu exílio no Uruguai em 1964, até o seu retorno ao Brasil em 1980. Seu objetivo principal é reconstruir parte da trajetória de Flávia e, em termos mais amplos e abstratos, problematizar, por meio de sua biografia, as formas de constituição do indivíduo na história, buscando respostas para questões como: como se dá a construção do indivíduo – por si e pelo outro? Como se forma a sua identidade? Quais os elementos, escolhas e condicionamentos precisam ser analisados nesse processo? Pretende-se, assim, repensar e discutir como o indivíduo pode ser percebido pelas diversas óticas que o constituem e como ele interage – ativa e passivamente – com o meio em que vive, e aqui mais especificamente, relacionando-o com o período das ditaduras de segurança nacional na América Latina. O exílio, a militância, a clandestinidade, a prisão e a campanha de libertação da referida personagem, juntamente com as ditaduras iniciadas com os golpes civis-militares do Brasil em 1964 e do Uruguai em 1973, são temas analisados ao longo do trabalho. / This dissertation builds the biography of Brazilian Flavia Schilling (1953-) from her childhood, through her exile in Uruguay in 1964, until her return to Brazil in 1980. Its main objective is to reconstruct part of the trajectory of Flavia and, in terms broader and more abstract problematize through her biography, the forms of the constitution of the individual in history, seeking answers to questions such as: how is the construction of the individual - for themselves and for each other? How is your identity? Which elements, choices and constraints need to be analyzed in this process? It is intended, therefore, to rethink and discuss how the individual may be perceived by many that the optics are and how it interacts - actively and passively - with the environment they live in, and here more specifically, relating it to the period of dictatorships national security in Latin America. Exile, the activists, underground, imprisonment and release of that campaign character along with dictatorships began with the civilian-military coup in Brazil in 1964 and Uruguay in 1973, are themes explored throughout this research.

Orientadores: Angela Maria Carneiro Araújo, Maria Lygia Quartim de Moraes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-16T02:20:11Z (GMT). No. of bitstreams: 1 Abreu_Maira_M.pdf: 5508787 bytes, checksum: 6e56f84f832ca3e93aad46c010c2db3b (MD5) Previous issue date: 2010 / Resumo: Este trabalho procura reconstruir a trajetória de dois grupos feministas, o Círculo de Mulheres Brasileiras em Paris (1976-1979) e o Grupo Latino-Americano deMulheres em Paris (1972-1976), a partir de sua produção escrita e da memória de suas militantes. Procuramos analisar o modo de funcionamento, o perfil político e ideológico de suas militantes, a concepção de feminismo e os principais temas debatidos no seio dos mesmos. Ao mesmo tempo, este trabalho pretende reconstituir a dimensão subjetiva daquele momento histórico, no modo como foi vivenciado por essas mulheres, considerando as percepções de suas militantes sobre o seu cotidiano no exílio, a relação com os homens dentro das organizações-políticas e no cotidiano e envolvimento com os grupos em questão / Abstract: This work aims to reconstruct the trajectory of two feminist groups, the Brazilian Women Circle in Paris (1976-1979) and the Latin-American Women Group in Paris (1972-1976), from their writing production and their militants' memory. We tried to analyze their way of functioning, the politic and ideological profile of their militants, their conception of feminism and the main themes debated within them. At the same time, this work intends to reconstruct the subjective dimension of that historical moment, from the viewpoint of women who lived it, considering their militants' perceptions about their quotidian in exile, their relationship with men inside the politic organizations and in everyday and their involvement with the groups in question / Mestrado / Teoria Sociologica e Pensamento Social / Mestre em Sociologia

Este ensaio se dedica à tarefa sempre insuficiente de descrever e analisar a criação literária a partir de algumas circunstâncias específicas que podem amparar o ato de escrever. De um lado, a circunstância do escritor que conquista uma disciplina e se deixa absorver pelo devaneio da criação. Do outro, a do autor viajante, que se dissipa nas condições de errância e redescobrimento da própria língua, buscando abolir o destino e criar um estado de consciência estimulante para a própria literatura. Na tentativa de compreender o fenômeno nestes dois contextos, recorremos a dois conceitos da psicanálise freudiana: a fantasia dos sonhos diurnos e o inquietante familiar nas condições de exílio e de viagem / This essay focuses on the always-insufficient task of describing and analyzing literary creation from some specific circumstances that support the act of writing. On one hand, the situation of the writer who conquers a discipline and is absorbed by the reverie of creation. On the other, that of the travelling author, who dissipates himself in the conditions of wanderlust and rediscovery of his own language, seeking to abolish destiny and to create a stimulating state of consciousness for literature itself. In an attempt to understand the phenomenon in these two contexts, we use two concepts of Freudian psychoanalysis: the \"fantasy\" of daydreams and the \"uncanny\" in the conditions of exile and travel

Nesta pesquisa analiso as idéias culturais e políticas publicadas na revista Araucaria de Chile , que foi publicada entre 1978 e 1990 por um grupo de intelectuais exilados chilenos militantes ou próximos ao Partido Comunista do Chile. Tratava-se de uma revista cultural que tinha como objetivo servir como um meio de circulação de idéias culturais entre a comunidade chilena exilada. A contingência de surgimento desta publicação: o golpe pinochetista, a perseguição e o exílio de milhares de chilenos fez de Araucaria uma publicação engajada na defesa da democracia no Chile e nos demais países latino-americanos que viviam sob regimes similares durante os doze anos em que foi publicada. / In this research, I analise the cultural and political ideas published in Araucária de Chile Magazine, printed in the period between 1978 and 1990 by a group of intellectual Chileans in exile, or else by people next to the Chilean Communist Party. Araucaria de Chile was a cultural magazine, which purpose was being a way to circulate cultural ideas among Chileans in exile.The containment of the emergence of this publication, the Chilean coup d\'état, the persecution and the exile of thousands of Chileans made Araucaria a magazine involved in defense of democracy in Chile and the other latin-american countries, which were under similar dictatorships during the twelve years it was printed.

A presente dissertação dedica-se ao estudo da obra poética de Luis Cernuda (1902-1963), concentrando-se em seu último livro, Desolación de la quimera, escrito entre os anos de 1956-1962. A investigação se detém na presença do mito enquanto arquitetura textual da referida obra e procura mostrar como essa questão é relevante na construção desses poemas a ponto de transformá-los em etopeyas. / The present study investigates the works of the Spanish poet Luis Cernuda (1902-1963), specifically his last poetry book, Desolación de la quimera, written between 1956 and 1962. The research focuses on the presence of myth as a textual architecture and attempts to demonstrate how this question is central to the construction of these poems as \"etopeyas\".

Esta dissertação propõe uma leitura crítica do romance Libro de navíos y borrascas, do escritor argentino Daniel Moyano, publicado em 1983. Tal leitura se constrói a partir do desenvolvimento de perspectivas de análise que levam em conta, por um lado, o caráter alegórico da narrativa e, por outro, a singularidade da enunciação de seu narrador, sendo a experiência do exílio o eixo articulador de nossa abordagem crítica. A teoria de Walter Benjamin sobre alegoria e narração e as relações entre enunciação e subjetividade, pensadas a partir das reflexões de Benveniste, Ricardo Piglia e Giorgio Agamben, nos fornecem alguns dos embasamentos teóricos mais fundamentais no traçado de uma reflexão acerca de como a relação entre linguagem e experiência configura a narrativa de Libro de navíos y borrascas como uma ficção do exílio. Na tentativa de contribuir para a consolidação de uma fortuna crítica da obra de Daniel Moyano, um autor pouco estudado tanto na Argentina como no Brasil, nosso estudo parte de fatores estéticos e históricos que dizem respeito ao contexto de produção do romance, bem como a determinadas concepções de seu autor acerca da escrita literária e às perspectivas críticas que se dedicaram à ficção argentina dos anos 1980, produzida sob o último regime militar vivido por aquele país. / This dissertation proposes a critical reading of the Argentinean writer Daniel Moyanos novel Libro de navíos y borrascas, published in 1983. Such reading is built on the development of perspectives of analysis that consider, on the one hand, the narratives allegorical characteristics, and on the other hand, its narrator enunciation uniqueness, where the exile experience is the articulating axis of our critical approach. Walter Benjamins theory on allegory and narration, as well as the relations between enunciation and subjectivity, considered from Benvenistes, Ricardo Piglias and Giorgio Agambens reflections, provide us some of the most fundamental theoretical foundation on the outline of a reflection on how language and experience define Libro de navíos y borrascass narrative as an exile fiction. In an attempt to contribute towards consolidating the critical fortune of Daniel Moyanos work, a scarcely studied author both in Argentina and Brazil, our study considers aesthetical and historical factors regarding the novels context of production, as well as certain conceptions of its author about literary writing and critical perspectives that dedicated themselves to the 1980s Argentinean fiction, produced under the latest military regime lived by that country.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-05-31T14:42:11Z No. of bitstreams: 1 adautoluciocaetanovillela.pdf: 1842010 bytes, checksum: bce222560244341691bac59289641b8e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-02T12:43:13Z (GMT) No. of bitstreams: 1 adautoluciocaetanovillela.pdf: 1842010 bytes, checksum: bce222560244341691bac59289641b8e (MD5) / Made available in DSpace on 2016-07-02T12:43:13Z (GMT). No. of bitstreams: 1 adautoluciocaetanovillela.pdf: 1842010 bytes, checksum: bce222560244341691bac59289641b8e (MD5) Previous issue date: 2012-03-30 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente tese investiga a prática crítico-tradutória de Paulo Rónai, tal como concretizada em Mar de histórias: antologia do conto mundial. Para tanto, traça um histórico da trajetória desse intelectual, exilado no Brasil em 1941, desde as origens, na Hungria, até a finalização da antologia em 1987, organizada em parceria com Aurélio Buarque de Holanda Ferreira. Nesse percurso, vale-se de conceitos e reflexões extraídos dos Estudos Literários, Estudos Culturais e Estudos da Tradução, com destaque para as considerações sobre o estrangeiro, o exílio, a hospitalidade, e a Bildung, desenvolvidas respectivamente por Tzvetan Todorov, Paul Tabori, Jacques Derrida e Antoine Berman, entre outros. Busca, igualmente, situar Rónai no atual debate em torno da questão da ética na tradução, revelando pontos convergentes entre seu pensamento tradutório e as principais proposições teóricas de Berman e Lawrence Venuti sobre o tema, bem como apresentando pontos de aproximação e de afastamento da prática tradutória de alguns contos de Mar de histórias e aquela de escritores-tradutores brasileiros estudados previamente no âmbito do projeto Tradução Literária: Jogos de Poder entre Culturas Assimétricas, desenvolvido no PPG-Letras: Estudos Literários da UFJF. Por fim, desenvolve conceitualmente a ideia de fidelidade estilística, defendida por Rónai, demonstrando sua aplicação por meio de análises contrastivas, determinando sua relevância para uma prática tradutória pautada pela ética da diferença. / This dissertation investigates Paulo Rónai’s critical-translational practice in Mar de histórias. Firstly, a historical trajectory of Rónai – who came to Brazil as an exile in 1941 – is outlined, from its origins in Hungary to the completion of this anthology – organized with Aurelio Buarque de Holanda Ferreira – in 1987. Concepts extracted from the domain of Literary Studies, Cultural Studies and Translation Studies are used, with emphasis on considerations about the foreigner, exile, hospitality and Bildung, developed respectively by Tzvetan Todorov, Paul Tabori, Jacques Derrida and Antoine Berman, among others. It locates Rónai in the current debate around the issue of ethics in translation, revealing convergent points between his thinking and the main theoretical propositions by Berman and Lawrence Venuti on the theme. Points of approach and distancing between the translation practice observed in some tales of Mar de histórias and that of Brazilian writers cum translators, previously dealt with by research carried out in the realm of the projetct Literary Translation: Power Play among Assymetric Cultures of the Postgraduation Course in Letters: Literary Studies of the University of Juiz de Fora are equally highlighted. Finally, it conceptually develops the idea of stylistic fidelity, defended by Rónai, showing its implementation by means of contrastive analyses, determining its relevance to a translation practice based on the ethics of difference.

Notre travail de thèse se propose d’interroger la production littéraire des écrivains d’origine judéo-maghrébine en France en tant que littérature d’exil, dans la période de la décolonisation. La démarche, se basant sur une étude prosopographique, porte dans un premier temps sur les contextes favorables et pertinents à l’action d’une série d’individus, autrement dit sur l’état des conditions de la production d’une littérature née d’un déplacement. S’en suit une classification d’écrivains rendue possible par la mise en relation des caractéristiques sociologiques et des dispositions propres à cette génération d’auteurs avec les cadres culturels, historiques et cognitifs qui sont les leurs. En s’appuyant sur des entretiens semi-directifs avec des écrivains sélectionnés selon la typologie dégagée de l’étude précédente ainsi que sur l’étude de leurs œuvres littéraires, la recherche s’attache, dans un second temps, à vérifier si cette écriture « minoritaire » peut nous renseigner, et jusqu’à quel point, sur les relations qu’entretiennent entre elles histoire, mémoire, littérature et identité dans le contexte migratoire. Enfin, dans cette perspective, ses usages sociaux et ses fonctions sont étudiés à travers l’analyse des mécanismes et des thèmes récurrents de cette production littéraire, qui se construit comme le témoignage singulier d’un moment de vécu historique et ce faisant, nourrit notre compréhension des processus d’ajustements littéraires. / My dissertation research is focused on the literary production written by authors of North-African Jewish origin. Meaning a literature in exile, in the post-colonial era. My approach includes a prosopographical study, exploring the conditions and the social context that favorized this literature’s creation. The study proposes a classification of a number of authors, linking the sociological characteristics and particular attributes of this generation of writers with their cultural, historical, and cognitive backgrounds. The method uses semi-directive interviews with these subjects, as well as the study of their works, to see whether this “minority” literature can enlighten, and if so to what extent, about the interaction between history, memory, literature, and identity. In this perspective, the social usages and functions of this literature are examined, driving to the analysis of mechanisms and recurring themes that appear as the singular testimony of a moment of lived history. In doing so, it helps us to understand adjustment through literature.

Reposant sur l’expérience uruguayenne (1985/2015), prenant en compte un contexte de mondialisation, notre thèse vise à problématiser, au prisme d’une philosophie politique critique, une citoyenneté nommée diasporique, déployée aux interstices des États-nation, émergeant au travers de processus migratoires, de l’exil et de l’interconnexion de communautés diasporiques.Sous l’éclairage des philosophies de la citoyenneté nous cartographions cette singulière citoyenneté se déployant en scénarios transnationaux et processus interactifs, dans lesquels interviennent différentes catégories d’acteurs.Ainsi, chacun, individuellement ou au sein de groupes d’appartenance, devient citoyen par des actes, des discours, des représentations, dans l’aspiration de trouver une place à part entière au sein d’une communauté politique, sans en devenir prisonnier. Sans nous contenter d’examiner les situations de déterritorialisation évoquées - exil, migration, diaspora-, notre intention est plutôt d’interroger les conditions que s’y trouvent associées dans l’émergence et le déploiement d’une citoyenneté diasporique.Nous conceptualisons dès lors quatre conditions majeures : subjectivité sensorielle et émotionnelle enracinement rhizomique ; réseautique en constellations versatiles ; subjectivation politique mise à l’épreuve par une impossible émancipation. Les logiques auxquelles l’expérience citoyenne diasporique uruguayenne se rattache nous conduisent à poser enfin que la citoyenneté n’est pas prisonnière des institutions.Elle peut s’inventer au sein d’une communauté politique, qu’elle s’exprime en activisme citoyen ou en citoyenneté ordinaire. / Based on the Uruguayan diasporic experience (1985/2015), and taking into account the context of globalization, our thesis aims at problematizing, at the prism of a critical political philosophy, a citizenship called "diasporic", deployed at interstices of Nation-States, emerging through international migratory processes, political exile, and the interconnections of the diaspora communities. In the light of philosophies of citizenship, we map out a diasporic citizenry deployed in transnational situations and interactive processes, in which different categories of participants have a hand in intervening. Thus, each - individually or within the groups to which they belong - through acts, speeches and representations becomes Citizen; aspiring to find a complete place in a political community without becoming captive to it. Without being content to limit ourselves to examining the aforementioned situations of deterritorialization - exile, migration, diaspora - our intention is rather to identify the conditions associated with them in the emergence and deployment of diasporic citizenship. We conceptualize on these bases four major conditions, which we call: sensorial and emotional subjectivity; rhizomic integration; networking in versatile forms; political subjectivity put to the test by an "impossible" emancipation. The logical reasonings to which the experience of the Uruguayan diasporic citizen are connected to lead us finally to assume that citizenship is not beholden to institutions. It can invent itself within the bosom of a political community; express itself as citizen activism or ordinary citizenship.

Cette thèse de poïétique explore selon une double approche, théorique et pratique, les questions de l'origine et du métissage dans l'art. Elle s'appuie sur les œuvres d'artistes contemporains ainsi que sur des productions personnelles. Nous émettons l'hypothèse selon laquelle une réflexion sur l'origine, sur le métissage inscrit dans son corps propre mais aussi sur le métissage dans l'art, peut mettre en évidence l'altérité qui nous traverse jusque dans notre intériorité la plus intime. Dans un premier chapitre nous analysons le rouge-généalogique transmis par les générations de femmes au sein de ma famille. Puis nous explorons le rouge-blessure qui irrigue le passage du corps d'enfant à celui de femme. Enfin dans un dernier temps, nous abordons le rouge-exilique qui questionne directement le corps d'artiste. Lié à une recherche généalogique et personnelle, notre travail traite du déplacement physique, de la rupture vécue lorsque nous quittons notre pays natal jusqu'à la prise de conscience de notre corps-exilique sur le lieu d'accueil. Cette réflexion ne serait peut-être jamais née sans la question : « quelles sont vos origines ? », qui m'a un jour été posée face à mes œuvres. La question a résonné et fait écho en moi jusqu'à ce que je décide d'entreprendre un voyage à rebours parmi les souvenirs exhumés d'une collection d'objets personnels. Nous en concluons que l'artiste est toujours, de quelque manière que ce soit, un migrant et un exilé. L'artiste est celui qui, de ce flot de vie mais aussi d 'impermanence, de mélanges et de métissages, va chercher la continuité, mettre en évidence les transformations créatrices. Tous les rouges de mon œuvre, rouge-­généalogique, rouge-blessure, rouge-exilique, rouge de vie et de mort sont ainsi à l'image du plasma sanguin qui circule nous, qui nous fait vivre et dont je tire la matière transformatrice, métissée, créatrice de mon œuvre: ces rouges sont le plasma-créateur qui circule en l'artiste et préside à toute création. / This poietic thesis explores the question of origins and metissage in art using a dual approach - theoretical and practical. It is based on works of contemporary artists as well as persona! production. We forward a hypothesis, according to which, a reflection on the origin and also the metissage in art inscribed on the body, which could highlight the alterity that traverse us even in our innermost interiority. In the first chapter, we analyse the red genealogy transmitted by generations of women within my family. Later, we explore the red wound that irrigates the passage of child's body to that of a woman. And finally, in the last step we approach the exilic-red which directly questions the body of the artist. Our work is related to genealogical and persona! research deals with physical displacement, the disruption experienced when we leave our native land until the awareness about exilic body in the host land. This reflection might never arise without the following question "What is your origin?, which was once posed to me about my works. The question echoed within me until I decided to undertake a journey back to the exhumed souvenirs of a collection of persona! items. We conclude that the artist is always, in any way a migrant and an exile. The artist is the one who, in this stream of life and also in ephemeral state, in mixtures and metissage, seeks continuity and creative transformations. All the reds of my work, genealogical, wounded, exilic, red of life and death, are images of the blood plasma which circulates in us, which makes us live and from which I ex tract the transforming material -mixed and creative of my work. The reds are the creator plasma that circulates in the artist's body and presides over all creation.