This study is concerned with the Self/Other dichotomy, originally formulated by scholars of South Asian history in the context of European imperialistic treatments of the peoples whom they colonized for centuries, as applied to Mexican history. I have chosen some visual, cinematic, and literary representations of indigenous and other dispossessed peoples from both colonial and post-colonial Mexico in order to gain some insights into the vision of the powerless, (the 'Other'), held by the powerful (the colonizers, whether internal or external), especially, but not exclusively, in the context of race. Some public and private works of Mexican art from the 18th , 19th. and the 20th centuries are used to understand the perceptions of the Other in Colonial Mexico City, at the time of Independence, in state-sponsored pre and post-Revolutionary spectacles representing indigenous peoples, cinematic representations of the marginalized and the dispossessed from the Golden Age of Mexican cinema, and in the representation of the marginalized in the literary and photographic works of Juan Rulfo. I conclude that an ambivalent mixture co-existed in Mexican culture through the centuries, on the one hand, honoring the blending that is expressed in the word 'mestizaje', and on the other, adhering to a thoroughly Eurocentric world view. This ambivalence persisted from the 18th century through Independence and the Revolution and its aftermath, albeit in transformed ' / M. A. / Mexico presents an interesting contrast to the United States with respect to the history of race since colonization. The 16th century Spanish conquerors, and the colonizers who followed them, acknowledged the offspring of their unions with indigenous women, setting a tradition that resulted, by the 20th century, in mixed race peoples becoming the major component of the Mexican population. Despite this, there remained a sense in the culture that Europe and those of European descent were still the ideal towards which Mexico aspired, while from time to time, there were paradoxical displays, honoring the ethnic diversity that was New Spanish/Mexican reality. In light of this ambivalence, I have examined some literary and artistic examples of the perception of the colonizers, internal or external, of those whom they marginalized.

This thesis examines the Jesuit and Ignatian influence on the works of Juan Eusebio Nieremberg (1595-1658), who was a prolific and widely published author and a member of the Society of Jesus in Spain. He wrote several works across different literary genres both in Spanish and Latin, but was best known for his popular works in Spanish: two miscellanies of natural philosophy, Curiosa filosofía (1630) and Oculta filosofía (1633); a catechism, the Práctica del catecismo romano (1640); his ascetical treatises, especially De la diferencia entre lo temporal y eterno (1640); and his ‘advice-books’ to princes and nobles, most notably Causa y remedio de los males públicos (1642). As a member of the Jesuit Order, Nieremberg wrote these works with the intention to ‘save souls’, this being the main apostolic goal of the Society. While they provide people with knowledge (‘noticia’) – whether doctrinal, natural, spiritual, or political – these works teach readers to view human existence according to its true end: God’s will of salvation. All things of the temporal world are portrayed as a means to that end. In order to accomplish this goal, Nieremberg incorporates elements from Loyola’s Ejercicios espirituales (1548), the spiritual foundation of the Jesuit Order, and develops a rhetorical strategy which encourages readers to discern the will of God in the world they inhabit. He also develops this rhetoric according to some of the principal literary and artistic conventions of the seventeenth century, and provides an important example of how a prominent Jesuit writer came to express the apostolic and spiritual principles of his Order, but in the language and imagery of Spain’s Siglo de Oro.

O presente trabalho objetiva desenvolver um estudo analítico dos versos preliminares de O engenhoso fidalgo Dom Quixote de La Mancha - obra escrita em 1605 por Miguel Cervantes -, bem como uma proposta de tradução de tais versos, anexada ao final da dissertação. Neste estudo, serão ressaltados certos olhares da crítica cervantina, relacionados à valorização do escritor espanhol e de sua obra poética, e alguns dos elementos formais e conceituais que permeiam os dez poemas de abertura da narrativa do cavaleiro manchego. Além disso, serão evidenciados os elementos burlescos dos versos, como modo de apresentar uma constituição poética relevante e de estabelecer parâmetros que possam servir de alicerce para as traduções. A partir do trabalho de pesquisa acerca dos versos preliminares do Quixote, o processo de tradução, no que se refere à versificação e à interpretação poética, poderá se fundamentar. / Not only has this work been devoted to an analytical study of the preliminary verses of El ingenioso hidalgo Don Quijote de La Mancha, written in 1605 by Miguel de Cervantes, but also a proposal of their translation attached in the end of this work. The research has taken into account different considerations about Cervants criticism. Most of them revealed how the author was worth being read as a writer and others highlighted his poems. As a consequence of the literary appreciation that had been brought up before this research, form and content are still permeating the ten introductory poems of the Manchegos narrative knight. Beyond this, burlesque elements in the verses will be referred as a way of showing relevant poetic concepts and, consequently, parameters established to support an innovative Portuguese version. It must be mentioned that the present translation is systematically based on rhyme and poetic interpretation.

Esta pesquisa tem como objetivo abordar a História da História em Quadrinhos como sendo um ramo da História da Arte, analisando a produção estadunidense das décadas de 1930 a 1960, principalmente as correntes artísticas conhecidas como Era de Ouro e Era de Prata, segundo conceitos como o da Kunstwollen e da Escola de Viena de História da Arte. Tal trabalho tem como objetivo compreender tais movimentos artísticos a partir de suas características e convenções artísticas próprias e das relações que estabeleceram entre si, com outras linguagens e tradições artísticas e com o contexto social e político de seu tempo. Ainda, tem como intuito contribuir para a compreensão do desenvolvimento temático e estético dos estilos artísticos do período e o estabelecimento da História em Quadrinhos como uma linguagem artística autônoma que produziu em um conjunto de tradições estéticas e narrativas próprias. / This research intends to approach the History of Comics as an Art History branch, analyzing US production of the 1930s to 1960s, mainly artistic movements known as the Golden Age and Silver Age, according to concepts such as Kunstwollen and from the Vienna School of Art History. This work intends to understand these artistic movements from its specific features and artistic conventions and the relationships they have established between themselves, with other languages and artistic traditions and the social and political context of their time. Also this research intends to contribute to the understanding of the thematic and aesthetic development of the artistic styles of the period and the establishment of the Comics as an autonomous artistic language that established a set of aesthetic traditions and narratives themselves.

Le point de départ de ce travail est une critique du récit historiographique sur le conflit entre développement et préservation du patrimoine et du paysage qui porte sur la catégorie interprétative de la spéculation, vision qui reprend au niveau historiographique le discours militant de l’époque, se basant sur les catégories d’intérêts, de corruption, de « blocco edilizio », expression qui indique un bloc social constitué par les propriétaires de terrains, les sociétés immobilières et la classe politique dominante. Selon ce récit, l’entière période des Trente Glorieuses est vue comme l’échec du public et toute responsabilité en est attribuée à la volonté de la classe politique nationale et locale, sans distinctions entre la période dite du « centrisme », caractérisée par la présence solitaire au pouvoir du parti catholique (la Démocratie Chrétienne) et la période dite du « centre gauche » caractérisée par l’alliance entre parti catholique et parti socialiste autour d’un programme « réformiste », dont l’un des points fondamentaux est la réforme de l’urbanisme. Le cas de Syracuse, analysé dans une perspective d’histoire urbaine mais toujours par rapport au processus nationaux, part de la déconstruction de la narration dominante des « dommages » infligés à la ville en tant qu’elle résulte d’une approche idéologique remontant à la vision élitiste d’une minorité d’intellectuels, reprise et utilisée dans la lecture de ce processus par la gauche radicale pour démolir l’expérience réformiste. Nous visons au contraire à souligner l’importance des savoirs techniques et disciplinaires, de l’articulation des apparats bureaucratiques héritée de l’avant-guerre et des orientations de la jurisprudence nationale. Cette approche nous permet d’établir une distinction entre les deux phases politiques qui représente à notre avis un véritable facteur de discontinuité dans la période concernée. / The starting point of this work is a critique of the dominant historiographical discourse about the conflict between development and conservation of cultural heritage and landscape, based on the interpretative category of speculation and postulating the homogeneity of the process of transformation of the Italian cities during the «Golden Age».Such reading descends – on a historiographical level – from the militant discourse of the time, based on the categories of «interests», «corruption», «blocco edilizio», i. e. a social block represented by landowners, estate agents and the dominating political class. According to this narrative, the whole period is to be interpreted as the failure of the public and the complete responsibility for this is to be attributed to the will of both national and local politicians. Such perspective does not operate any distinction between the so-called period of «centrism», characterised by the solitary position of power of the Catholic party (The Christian Democracy), and the period known as the «Centre-left rule», characterised by the alliance of the Catholic party and the Socialist one converging on a «reformist» project, which postulated the urban planning reform as one of its fundamental points. The historical representation of the case of Syracuse moves from the deconstruction of the dominant discourse traced back to the elitist vision of a minority of intellectuals; a vision recalled and adopted by the radical left in order to provide a representation of this process meant to demolish the reformist experience. Our aim, on the contrary, is to point out the importance of the technical and disciplinary knowledge as well as of the articulation of the bureaucratic apparatus inherited from the inter-war years and of the addresses of national jurisprudence. In this perspective, the experience of the center-left urban government represents a real turning point, creating the premises for a better preservation of the urban cultural heritage.

O presente trabalho objetiva desenvolver um estudo analítico dos versos preliminares de O engenhoso fidalgo Dom Quixote de La Mancha - obra escrita em 1605 por Miguel Cervantes -, bem como uma proposta de tradução de tais versos, anexada ao final da dissertação. Neste estudo, serão ressaltados certos olhares da crítica cervantina, relacionados à valorização do escritor espanhol e de sua obra poética, e alguns dos elementos formais e conceituais que permeiam os dez poemas de abertura da narrativa do cavaleiro manchego. Além disso, serão evidenciados os elementos burlescos dos versos, como modo de apresentar uma constituição poética relevante e de estabelecer parâmetros que possam servir de alicerce para as traduções. A partir do trabalho de pesquisa acerca dos versos preliminares do Quixote, o processo de tradução, no que se refere à versificação e à interpretação poética, poderá se fundamentar. / Not only has this work been devoted to an analytical study of the preliminary verses of El ingenioso hidalgo Don Quijote de La Mancha, written in 1605 by Miguel de Cervantes, but also a proposal of their translation attached in the end of this work. The research has taken into account different considerations about Cervants criticism. Most of them revealed how the author was worth being read as a writer and others highlighted his poems. As a consequence of the literary appreciation that had been brought up before this research, form and content are still permeating the ten introductory poems of the Manchegos narrative knight. Beyond this, burlesque elements in the verses will be referred as a way of showing relevant poetic concepts and, consequently, parameters established to support an innovative Portuguese version. It must be mentioned that the present translation is systematically based on rhyme and poetic interpretation.

O presente trabalho tem como objetivo contextualizar a novela exemplar \"Rinconete y Cortadillo\" no conjunto da obra de Miguel de Cervantes, bem como analisá-la estabelecendo o diálogo com alguns gêneros literários de sua época, como a picaresca e o teatro. Será examinada a trajetória do texto desde sua menção no Dom Quixote de 1605 até a sua publicação entre as Novelas Exemplares em 1613. Serão estudados os diversos discursos presentes na composição da obra, considerada a grande aproximação de Cervantes à literatura picaresca. Ao incorporar elementos do gênero dramático à narrativa, o autor realiza, com comicidade, uma interessante aproximação aos temas cotidianos, assim como a comédia o fazia. Será possível observar como \"Rinconete y Cortadillo\" expõe, de maneira cômica e satírica, algumas máculas e vícios da sociedade sevilhana dos séculos XVI e XVII. / The objective of this work is to contextualize Rinconete y Cortadillo exemplary novel within the works of Miguel de Cervantes and analyze it by establishing a dialogue with some of the literary genres of its time, namely the picaresque novel and drama. This current dissertation examines how the text evolves since it was first mentioned in Don Quixote (1605) until its publication among the Exemplary Novels in 1613. I will analyze the several forms of speech pervading the novel in light of Cervantes propinquity to the picaresque literature .By incorporating into the narrative drama-related elements, the author brings his work to deal more closely with everyday topics, as comedy has been used to. Thereby one can notice how Rinconete y Cortadillo displays, both comically and satirically, certain vices and blemishes present in the 16th- and 17thcentury Sevillan society.

Cette thèse a pour objet d’étudier le personnage de la reine transgressive sur la scèneespagnole du Siècle d’Or à partir d’un corpus de huit comedias publiées entre 1609 et 1653 pardes dramaturges célèbres (Virués, Tirso de Molina, Guillén Rojas Zorrilla, Lope de Vega,Calderón de la Barca). L’introduction permet d’asseoir les bases d’une réflexion qui entendfaire émerger des types de reines particulières, des figures héritées d’une traditionmythologique, biblique ou historique. Un double critère a contribué à sélectionner le corpus età établir un plan : le rapport du personnage féminin au pouvoir et son lien avec une violencequi conduit nécessairement à un ou plusieurs crimes. Les chapitres de la première partie del’étude prennent en compte le cadre historique, social et idéologique de la figure de la reinedans la lignée des gender studies et analysent des exemples de souveraines qui à la foisdérangent, troublent mais fascinent. Notre référence-clé est celle de la reine-roi, un personnageexcessif qui subvertit les normes du genre et de l’autorité jusqu’à devenir un rôle d’exceptionpour les actrices de l’époque. La deuxième partie s’intéresse aux accès au pouvoir de la reineroi,à son exercice et à ses dérives tyranniques. L’analyse porte essentiellement sur les outilspropres à la scénographie, le travestissement mais aussi à la rhétorique. Dans une dernière partie sont abordées les perspectives psychologiques, criminologiques et judiciaires des violencescommises par les reines. Nous postulons des déviances parfois proches de folies ou depathologies irréversibles qui trouvent un dénouement exceptionnel sur la scène, à la hauteur de ces femmes hors normes. / The object of this thesis is to examine the character of the transgressive queen on theSpanish stage of the Golden Age, from a corpus of eight comedias published between 1609 and1653 by well-known dramatists (Virués, Tirso de Molina, Guillén de Castro, Rojas Zorrilla,Lope de Vega, Calderón de la Barca). The introduction helps to lay the foundations of a thoughtprocess which aims to bring out specific types of queens, inherited figures from a mythological,biblical or historical tradition. Two criteria contributed to selecting the corpus and shaping aplan - the female character’s relationship with power and her ties to violence which inevitablylead her to commit one or more crimes. The chapters in the first part of the study take intoaccount the historical, social and ideological representations of the Queen in line with thegender studies, and analyse examples of sovereigns that are both disturbing and unsettling andyet fascinating. Our key reference is the Queen-King – an excessive character subverting thegender and authority standards and whose role will be exceptional for actresses at the time. Thesecond part looks into the Queen-King access to power, her reign and her tyrannical outbursts.The analysis mainly pertains to the tools of scenography, of distortion but also of rhetoric. Thelast part deals with the psychological, criminal and judicial perspectives of violence, committedby the queens. We claim that some of the deviances occasionally border on madness orirreversible pathologies which find an exceptional outcome on stage, worthy of theseoutstanding women.

[pt] Este estudo reflete o imaginário da Copacabana dos anos dourados pela visão de 14 informantes que moraram ou frequentaram o bairro neste período - os anos 1950. A partir de narrativas ouvidas em uma experiência etnográfica, foi possível perceber um bairro em ebulição, marcado por transformações sociais próprias da expansão urbanística e comercial da época. A partir da década de 1940, o bairro de Copacabana passa a ver prédios sendo construídos no local, e a urbanização, que já havia começado desde os últimos anos do século XIX, se intensifica. O espaço passa, então, por um momento de ocupação ideal, com comércio local próximo e opções de lazer variadas, virando o bairro cartão postal da cidade. Neste sentido, também os entrevistados desta pesquisa vivem sua infância e juventude no período, momento expresso e difundido na sociedade e na comunicação de massa como valorosos. Desta maneira, é proposta uma convergência entre estes dois momentos, da história do bairro e também das histórias de vida ouvidas, o que fortalece o imaginário de felicidade e de idealização do período. A recuperação da história oral de Copacabana proposta por esta pesquisa é entendida, então, como história mediada, e possibilita uma crítica sobre as representações coletivas encontradas e difundidas. / [en] This study reflects a imaginated Copacabana in its golden years observed by 14 informants who lived or visited the neighborhood during the 1950s period. From narratives heard in an ethnographic experience, it was possible to perceive the enthusiasm of the neighborhood, marked by social transformations of the urban and commercial expansion during that time. From the 1940s, large buildings start of being constructed in Copacabana, and the urbanization, which has begun since the late nineteenth century, get intensified. The neighborhood then passes for a moment of ideal occupation, with a local commerce nearby and varied leisure options, becoming the city s main district postcard. In this sense, the interviewees of this research also have lived their childhood and youth during the period, a moment expressed and spread in society and mass communication as valuable. Therefore, the convergence between these two moments is proposed here - the history of the neighborhood and the stories of daily life - which strengthens the imaginary of happiness and idealization of the period. The recovery of vocal history proposed by this research concerning Copacabana allows an analysis of the collective representations found in these informants narratives and disseminated by the mass media.

Esta pesquisa tem como objetivo abordar a História da História em Quadrinhos como sendo um ramo da História da Arte, analisando a produção estadunidense das décadas de 1930 a 1960, principalmente as correntes artísticas conhecidas como Era de Ouro e Era de Prata, segundo conceitos como o da Kunstwollen e da Escola de Viena de História da Arte. Tal trabalho tem como objetivo compreender tais movimentos artísticos a partir de suas características e convenções artísticas próprias e das relações que estabeleceram entre si, com outras linguagens e tradições artísticas e com o contexto social e político de seu tempo. Ainda, tem como intuito contribuir para a compreensão do desenvolvimento temático e estético dos estilos artísticos do período e o estabelecimento da História em Quadrinhos como uma linguagem artística autônoma que produziu em um conjunto de tradições estéticas e narrativas próprias. / This research intends to approach the History of Comics as an Art History branch, analyzing US production of the 1930s to 1960s, mainly artistic movements known as the Golden Age and Silver Age, according to concepts such as Kunstwollen and from the Vienna School of Art History. This work intends to understand these artistic movements from its specific features and artistic conventions and the relationships they have established between themselves, with other languages and artistic traditions and the social and political context of their time. Also this research intends to contribute to the understanding of the thematic and aesthetic development of the artistic styles of the period and the establishment of the Comics as an autonomous artistic language that established a set of aesthetic traditions and narratives themselves.