Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-16T19:11:03Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO_COMPLETA_FINAL - Marina Dupré Lobato.pdf: 1280194 bytes, checksum: 088df6dc544ba25ee26cabc00d5ce56c (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-19T18:01:21Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO_COMPLETA_FINAL - Marina Dupré Lobato.pdf: 1280194 bytes, checksum: 088df6dc544ba25ee26cabc00d5ce56c (MD5) / Made available in DSpace on 2017-05-19T18:01:21Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO_COMPLETA_FINAL - Marina Dupré Lobato.pdf: 1280194 bytes, checksum: 088df6dc544ba25ee26cabc00d5ce56c (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Neste estudo, levamos em consideração os pressupostos teóricos que orientaram os irmãos Grimm em seu trabalho de compilação e estabelecimento de narrativas orais populares para sugerir uma tradução crítica, em Português Brasileiro, de “Die Kinder zu Hameln” (“As crianças de Hamelin”), lenda número 245 da compilação “Deutsche Sagen” (GRIMM, 2009 [1816 e 1818]). Esta proposta é justificada pela constatação de que ainda não há traduções desta lenda no Brasil. Embora muito popular no país, esta narrativa, assim como a maioria das histórias dos Grimm, é conhecida apenas por meio de adaptações voltadas para o público infantil. Portanto, nossa tradução é dirigida ao público acadêmico e proposta sob três perspectivas: a da sociolinguística, em especial nos estudos sobre línguas em contato, com ênfase em identidade linguística e cultural; a da filologia germânica; e a dos estudos de tradução. Com base na revisão de estudos sobre íngua, cultura e identidade, introduzimos os estudos de gramática e cultura contrastiva (Kulturkontrastive Grammatik), de Salifou Traoré (2009), e da "analítica da tradução", de Antoine Berman (2007). Com o suporte desses dois autores, procuramos relacionar, respectivamente, a distinção dos “níveis linguístico-culturais específicos” (sprachkulturspezifische Ebenen) com as noções de “tendências deformadoras da letra”, em contexto de tradução. O corpus selecionado para este estudo, além das “Deutsche Sagen” (“Lendas alemãs”), é composto pelo “Deutsches Wörterbuch” (Dicionário etimológico de autoria dos Grimm) e prefácios e notas de “Kinder- und Hausmärchen” (“Contos de fada infantis e domésticos”) (GRIMM, 2009 [1857]), por cartas dos irmãos, bem como pela autobiografia de Jacob Grimm (GRIMM, 2013 [1831]). O resultado dessas interpretações serve como base para a análise da tradução apresentada neste estudo / In dieser Studie werden die theoretischen Annahmen in Betracht gezogen, auf die die Brüder Grimm sich in der Arbeit mit der Zusammenstellung und Etablierung der mündlichen Alltagserzählungen stützten, mit dem Zweck eine kritische Übersetzung der Sage Nummer 245 der Zusammenstellung „Deutschen Sagen“ (GRIMM, 2009 [1816 und 1818]), Die Kinder zu Hameln, ins Portugiesisch-Brasilianische vorzuschlagen. Dieser Vorschlag wird durch die Feststellung begründet, dass es bisher in Brasilien keine Übersetzung dieser Sage gibt. Obwohl diese Erzählung sehr populär in Brasilien vorkommt - so wie die Mehrheit der Grimms Erzählungen - ist sie nur durch Anpassungen für das Kinderpublikum bekannt. In Anbetracht dessen wird der hiermit vorgetellte Übersetzungsvorschlag in drei Perspektiven auf das akademische Publikum ausgerichtet: in der der Soziolinguistik, besonders in Rahmen der Sprachkontaktstudien mit dem Schwerpunkt der linguistischen und kulturellen Identitätsforschung; in der der germanischen Philologie; und in der der Übersetzungsstudien. Basierend auf den Bewertungsstudien über Sprache, Kultur und Identität, werden hiermit die Kulturkontrastive Grammatik, von Salifou Traoré (2009), und die „Analytik der Übersetzung“ von Antoine Berman (2007) eingeführt. Mit Unterstützung der erwähnten Autoren wird versucht, beziehungsweise, die Unterscheidung der „sprachkulturspezifischen Ebenen“ mit den Vorstellungen der „Verformten Tendenzen der Anschrift“, auf der Übersetzungsebene, in Zusammenhang zu bringen. Das gewählte Korpus dieser Studie umfasst, außer den „Deutschen Sagen“, das „Deutsche Wörterbuch“ und Inhaltsverzeichnisse und Noten der „Kinder- und Hausmärchen“ (GRIMM, 2009 [1857], Briefe der Brüder, so wie die Autobiographie Jacob Grimms (GRIMM, 2013 [1831]). Das Ergebnis dieser Interpretationen gilt als Basis für die in dieser Studie vorgestellte Übersetzungsanalyse

In this essay the point of interest will be the portrayal of women in literature. In the belief that gender roles can influence children in their childhood, four fairytales written by the brothers Grimm will be analyzed. These four short stories mentioned are Cinderella, Rapunzel, Snow White and Mother Hulda, which are all well-known and have been adapted into movies. The purpose is to examine possible gender stereotypes in these four short stories and patterns in the portrayal of women. The fairytales have been criticized by feminists for being very stereotypical and the intention with this study is to explore this aspect in a new light. Are there strong female role models that are not evil and why do some bad women not get punished even though they deserve it?

Heinrich Baryphonus (1581-1655) and Heinrich Grimm’s (1592/3-1637) didactic treatise, Pleiades musicae (1615/1630), provides a vivid testimony to the state of music education and music theory pedagogy in Protestant Germany in the early seventeenth century. Published initially by Baryphonus for use at the Gymnasium in Quedlinburg and reissued in an expanded format by Grimm for use at the Gymnasium in Magdeburg, the text examines the fundamentals of pitch, intervals, counterpoint, and, in the second edition, triadic theory and composition. Throughout the remainder of the seventeenth century and into the eighteenth century, music theorists including Johann Andreas Herbst (1588-1666), Otto Gibel (1612-1682), and Andreas Werckmeister (1645-1706), used the document as a source for their own musical writings, solidifying its status as a significant contribution to the field of music theory. Recently, scholars such as Carl Dahlhaus, Benito Rivera, and Joel Lester have found value in Pleiades musicae for its role in the early stages of the development of triadic theory and the emergence of harmonic tonality. However, with the exception of the passages on triadic theory, the treatise continues to be relatively unknown. In order to understand the full extent of Baryphonus and Grimm’s contributions to the history of music theory, and to provide a multifaceted context for situating Pleiades musicae in the culture of its time and place of origin, the present study examines both editions of the text from biographical, cultural, educational, philosophical, music-theoretical, and historical perspectives, and includes modern Latin editions and English translations of the two editions of the treatise.

Syftet med studien är att undersöka likheter och skillnader mellan tre versioner av sagan Törnrosa i deras framställning av berättelsens struktur, karaktärers funktion och teman, samt hur sagan förändras när den filmatiseras. Studiens syfte är även förankrad i läroplanen för att visa vilka möjligheter det primära materialet har utifrån ett didaktiskt perspektiv. Studien bygger på Algirdas Julien Greimas aktant modell (1983), Maria Nikolajevas (2017) karaktärsskildring och Åsa Jernudds (2010) filmpoetiska begrepp. Analysen visar att de karaktärer som är nödvändiga för intrigen i samtliga versioner är ett subjekt, ett objekt, en hjälpare och en motståndare. Det framgår tydligt i samtliga versioner att oavsett vem huvudpersonen är och oavsett vilket problem skurken skapar ska samtliga berättelser nå ett lyckligt slut. Bröderna Grimms Törnrosa (1981) och Disneys Törnrosa (1959) skildrar prinsessans öde. Disneys Maleficent (2014) skildrar istället den onda fens öde.

Denna uppsats undersöker vilka skillnader som gjorts när man adapterat en bok till film. Boken som behandlas är Bröderna Grimms folksaga ”Törnros” (1981, som är översatt från en utgåva år 1913-14) och den modernare filmatiseringen av Walt Disney (1959). Uppsatsen följer en komparativ struktur och båda verkens berättelser beskrivs med en narrativ metod för att klargöra verkens särart och skillnaden mellan dem. Det som behandlas och jämförs är hur karaktärer, miljö och motiv förändrats från boken till filmen. Förutom fastställandet av de stora skillnaderna som finns kommer uppsatsen behandla hur materialet kan användas i den pedagogiska verksamheten för årskurs 1-3.

Abstract  Envy and need: A study of violence in the oldest Grimm tales This essay analyzes the violence and power descriptions in three different fairytales of Kinder- und Hausmärchen by the Grimm brothers. The analyzed fairytales are Hansel and Gretel, Cinderella and Snow White. Questions answered are in which literary contexts violence and power occurs, what the motives of the abusers are, and what mutual similarities or differences the fairytales display.    The violence described can be linked to various reasons such as resentment, envy and power, and descriptions include both physical and psychological violence. Benefits are gained through manipulation or power positions.   The result show that there are similarities between the fairytales, although some differences occur. Envy and resentment only occur in Cinderella and in Snow White, however not in Hansel and Gretel. Violence is used by the antagonists as well as the protagonists. Throughout the stories antagonists use violence before the protagonists whose violence is mirrored as self-defense.

Uppsatsen analyserar Amanda Erikssons traditionella version av Askungen med en uttalad normkritisk version skriven av Alexander Jansson och Sofia Jensfelt. De båda versionerna utgår ifrån folksagans genre och är bilderböcker. Syftet med analysen är att undersöka vilka skillnader och likheter som finns mellan versionerna gällande handling och karaktärer i text och bild. Uppsatsen utgår ifrån folksagans kännetecken och olika typer av normer som finns i barnlitteratur. Analysen visar att versionerna innehåller en del likheter och skillnader. De båda versionerna följer folksagans genre till stor del men båda har valt att utelämna straffet för de onda karaktärerna i böckerna. Dessutom visar det sig att inte bara den normkritiska versionen utan även den traditionella innehåller normbrott. I den normkritiska versionen uttrycks dessa normbrott i bild medan den traditionella versionen uttrycker dem i texten. De båda böckerna normaliserar normbrotten snarare än att problematisera dem. De normer som berörs i böckerna är sexualitets-, familje-, köns-, genus-, kropps-, etnicitets- och socioekonomiska normer. I undervisningen kan dessa böcker användas för att lyfta värdegrundsfrågor och belysa normer och de kan även användas som material i ämnet svenska då de är sagor som alla känner igen, men med en modern touch.

Ce travail de recherche aborde les stratégies épistolaires et communicationnelles de Bettina von Arnim (1785-1859), femme de lettres allemande, pour prendre part aux débats politiques et sociaux pendant la période du Vormärz. Transgressant les frontières sociales, idéologiques, rhétoriques et celles des genres littéraires, Bettina von Arnim a tenté d’influer sur le roi de Prusse, Frédéric Guillaume IV, au moyen de ses correspondances, de ses ouvrages et de son réseau. Bettina von Arnim a élaboré des stratégies de communication et de persuasion pour secouer un système ministériel rigide et réactionnaire, obtenir des réformes politiques et sociales et modeler le souverain selon son idéal du Volkskönig. Cette étude va s’attacher à montrer les mécanismes employés par Bettina von Arnim pour s’immiscer dans un domaine exclusivement masculin, la politique. / This research project explores the activities and works of Bettina von Arnim (1785-1859), a German literary scholar, taking part in the political and social debates of the period ‘Vormarz’. Covering all social boundaries, ideologies, rhetoric and literary styles, Bettina attempted to influence the King of Prussia, Frederick William IV, with her letters, writings and network. Bettina von Arnim fabricated a persuasive communication strategy to disrupt a rigid ministerial system, get political and social reforms, and influence the Sovereign according to her model of the ‘Volkskönig’. This study attempts to show the tactics employed by Bettina von Arnim to infiltrate an exclusively male political structure. / Diese Dissertation beschäftigt sich mit den Brief- und Kommunikationsstrategien von Bettina von Arnim (1785-1859), die vor allem durch ihre Korrespondenz an den politischen und sozialen Debatten im Vormärz teilgenommen hatte. Unter häufiger Missachtung der sozialen, ideologischen und rhetorischen Gewohnheiten sowie der traditionellen Literaturgattungen war Bettina von Arnim bestrebt, dem preußischen König Friedrich Wilhelm IV. Ratschläge zu erteilen. Bettina von Arnim hat Überzeugungsstrategien entworfen, um einen starren und reaktionären Beamtenapparat zu umgehen und wachzurütteln, politische und soziale Reformen zu erzielen sowie das Staatsoberhaupt in Richtung auf ihr Ideal eines Volkskönigs zu beeinflussen. In dieser Arbeit sollen die von Bettina von Arnim verwendeten Mechanismen untersucht werden, wodurch sie sich in die Politik, eine den Männern vorbehaltene Domäne, einzumischen versuchte.

Thesis (MA (Modern Foreign Languages))--Stellenbosch University, 2008. / It has been widely assumed that the portrayal of women in fairytales subscribes to somewhat outdated and stereotypical modes of representation. Upon closer inspection however, it can be seen that this is a fallacious assumption and that the female roles in these stories are much more multidimensional in nature. One of the most popular fairytales from the Grimm Brothers is Cinderella. The portrayal of women in this story is typical of the weak, subjected woman who needs to be rescued by the prince from her unfavourable and subjugated position. The research presented here aims to show that the Grimm’s specific depiction of Cinderella in the 19th century provides an alternative to the modern myth. Here, she reacts strongly and independently to find the most advantageous resolution to her problematic subject position. To this end the Grimms’ version will be compared to text and filmic versions from the 20th and 21st centuries. By comparing aspects of female representation in the Cinderella-themed portrayals, one can evaluate the extent to which societal expectations have altered over time as well as investigating the modern-day implications of this.

Partindo-se do pressuposto de que o foco da presente tese, o livro ilustrado de conto de fadas, consiste em um objeto artístico multissemiótico estruturado a partir de três sistemas de linguagem, a saber, a palavra, a imagem e o design, procura-se, aqui, compreender como esses três sistemas se articulam entre si com vistas à geração de sentidos. Por esse motivo, parte-se da semiótica peirciana como fundamentação teórica para perquirir essa questão, com o auxílio de semióticas específicas voltadas à análise da imagem. Assim, procura-se investigar as propriedades semióticas e fenomenológicas dos principais tipos de signos encontrados no seio dessas obras. Entre os objetivos específicos, encontram-se a investigação dos termos da conjugação livro ilustrado/conto de fadas, a construção verbovisual das personagens e ambientes nas obras principais do corpus (Grimm-Janssen e Grimm-Pacovská) e a comparação entre essas obras e as chamadas ilustrações de tradição, integrantes de livros com ilustrações de contos de fadas. Para realizar a leitura das textualidades presentes no corpus principal e expandido, procura-se verificar como cada semiose funciona, de acordo com o eixo ao qual pertence, e como se integra aos signos dos demais códigos, proporcionando uma direção de sentido geral. Parte-se do princípio de que cada interpretação de signos, principalmente aqueles mais ambíguos e com formas mais obscurecidas, consiste em um interpretante dinâmico que ruma em direção a um interpretante final ideal, porém, na realidade, inatingível. A análise das obras nos leva a concluir que as propostas contemporâneas, ao gerarem potencialmente maior estranhamento e suscitarem questionamentos e dúvidas junto ao leitor-visualizador, representam um desafio perceptivo/sensorial e intelectual maior que aquele representado pela ilustração/arte de tradição, gerando potencialmente maior carga de sensação, pensamento e choque. / Based on the assumption that the focus of the present thesis, the fairy-tale picturebook, consists of a multisemiotic artistic object structured upon three language systems, namely word, image and design, the goal of this work is to understand how these three systems articulate with each other by generating meanings. For this reason, the work is based on Peircean semiotics as a theoretical basis to investigate this question, with the help of specific semiotics aimed at image analysis. Thus, it is sought to investigate the semiotic and phenomenological properties of the main types of signs found within these works. Among the specific objectives are the investigation of the terms of the relationship picturebook / fairy tale, the verbal construction of the characters and environments in the main works of the corpus (Grimm-Janssen and Grimm- Pacovská) and the comparison between these works and the so-called traditional illustrations, parts of illustrated fairy tale books. In order to read and understand the textualities present in the main and expanded corpus, we try to verify how each semiosis works, according to the axis to which it belongs, and how it integrates with the signs of the other codes, providing a general direction of meaning. It is assumed that each interpretation of signs, especially those of more ambiguous and more obscured forms, consists of a dynamic interpretant that heads towards an ideal final interpretant that is, in reality, unattainable. The analysis of the works leads us to conclude that contemporary proposals, by generating potentially greater strangeness and raising questions and doubts for the reader-viewer, represent a perceptual / sensorial and intellectual challenge greater than that represented by traditional illustration / art, potentially generating a greater burden of sensation, thought and shock.