This thesis aims a critical reading of two American series also aired in Brazil: Star Trek and Heroes. The survey proposes to observe dissensus from the multitude present on both TV series. The multitude (HARDT; NEGRI, 2000) is a social force capable of challenging the sovereign power and to establish new forms of social organization, their presence may present dissensus (RANCIÈRE, 2010), new elements to what is conventionally considered and sense, the sensitive system already established. This movement is associated with materialistic conception of history that suggests seeking tensions against the dominant social order (BENJAMIN, 1987). The Star Trek series debuted in 1966 and its last episode was broadcast in 1969. The series was produced by Desilu Productions and broadcast by NBC, and your transmission took place at a time when American foreign policy has to tend less to an imperialist activity than to a policing action to a supranational order service. The hypothesis is that his narrative shows the will of the multitude to prevent the exercise of the former European sovereignty and to overcome the nationalist struggles. The Heroes series was produced in partnership by Tailwind Productions, NBC, Universal Television and Universal Media Studios. Four seasons were exhibited from 2006 to 2009. The series covers the history of characters who, because of genetic mutations, discover powers that make them special. Although they appear in different parts of the world, there is some force that, in many ways, remains interconnection between the characters. The hypothesis is that the special abilities of Heroes characters may be attached to faculties of the multitude able to oppose the order of global capitalism. The overall objective of this research is, as stated initially, to look for dissensus from multitude inside the series. It is possible to see that these cultural objects do not carry a single system of presentation attached to commercial logic, but let see, within their respective contexts of production, transformative capacities against the established order. It can be said that the tensions in the series denote trouble for tradition defended by the dominator, presenting challenging ways to read the story doing justice to the dominated. / Submitted by Carolini da Rocha (carolini.rocha@unisul.br) on 2017-05-09T12:50:52Z No. of bitstreams: 2 jeanrzhoullou.pdf: 2355014 bytes, checksum: 53c7c03bc132c6a3dc6fa6c11cf22807 (MD5) Jean Raphael Zimmermann Houllou.pdf: 770947 bytes, checksum: 818c2879f4b96ee04555885d98022d3e (MD5) / Approved for entry into archive by Carolini da Rocha (carolini.rocha@unisul.br) on 2017-05-09T12:52:32Z (GMT) No. of bitstreams: 2 jeanrzhoullou.pdf: 2355014 bytes, checksum: 53c7c03bc132c6a3dc6fa6c11cf22807 (MD5) Jean Raphael Zimmermann Houllou.pdf: 770947 bytes, checksum: 818c2879f4b96ee04555885d98022d3e (MD5) / Made available in DSpace on 2017-05-09T12:52:32Z (GMT). No. of bitstreams: 2 jeanrzhoullou.pdf: 2355014 bytes, checksum: 53c7c03bc132c6a3dc6fa6c11cf22807 (MD5) Jean Raphael Zimmermann Houllou.pdf: 770947 bytes, checksum: 818c2879f4b96ee04555885d98022d3e (MD5) Previous issue date: 2016 / A presente tese pretende uma leitura crítica de dois seriados norte-americanos, também veiculados no Brasil: Star Trek e Heroes. O exame propõe observar dissensos da multidão presentes em ambos os seriados de TV. A multidão (HARDT; NEGRI, 2000) é como uma força social capaz de desafiar o poder soberano e instituir novas formas de organização social; sua presença pode apresentar dissensos (RANCIÈRE, 2010), ou seja, novos elementos para aquilo que convencionalmente é considerado e sentido, o regime do sensível já estabelecido. Esse movimento se associa a concepção de história materialista que sugere a procura de tensões contra a ordem social dominante (BENJAMIN, 1987). O seriado Star Trek estreou em 1966 e seu último episódio foi transmitido em 1969. A série foi produzida pela Desilu Productions e exibida pela NBC, e sua transmissão se deu num momento em que a política externa americana passou a tender menos para uma atividade imperialista do que para uma ação de policiamento a serviço de uma ordem supranacional. A hipótese é a de que sua narrativa apresenta a vontade da multidão em impedir o exercício da antiga soberania europeia e em superar as lutas nacionalistas. O seriado Heroes foi produzido em parceria pela Tailwind Productions, NBC,Universal Television e Universal Media Studios. Foram exibidas quatro temporadas de 2006 a 2009. A série aborda a história de personagens que, em razão de mutações genéticas, se descobrem portadores de poderes que os tornam especiais. Embora apareçam em diferentes partes do mundo, existe alguma força que, de variadas formas, mantém os personagens interconectados. A hipótese em Heroes é a de que as habilidades especiais dos personagens podem ser associadas às faculdades da multidão capazes de se opor à ordem do capitalismo global. O objetivo geral desta pesquisa consiste, como afirmado inicialmente, em averiguar dissensos da multidão dentro dos seriados. É possível observar que estes objetos da cultura não carregam um regime único de apresentação ligado à lógica mercantil, mas permitem constatar, dentro de seus respectivos contextos de produção, capacidades transformadoras contra a ordem constituída. Pode-se afirmar que as tensões observadas nos seriados denotam problemas para a tradição defendida pelo dominador apresentando formas desafiadoras à leitura da história e fazendo justiça aos dominados.

Por meio da análise das ações de dois heróis de peças do teatro Ático antigo, o presente trabalho elabora uma comparação entre a construção de dois tipos de comportamento marginal, e entre as diferentes consequências advindas dessas condutas que se colocam à margem da sociedade dramática. Nesse sentido, a partir da caracterização da marginalidade do herói personagem-título, da tragédia de Eurípides, Hipólito, demonstrarei de que modo a escolha do rapaz pela virgindade está intrinsecamente ligada às consequências desgraçadas que se abatem sobre a casa de seu pai, Teseu. De fato, considero que porque Hipólito escolhe deliberadamente, ou seja, sem coerção física ou mental, viver à margem dos costumes de sua comunidade dramática, ele é completamente responsável por desencadear a vingança de Afrodite que arruinará a vida de sua família. Do mesmo modo, através da delimitação da atitude marginal do herói Diceópolis, da comédia de Aristófanes, Acarnenses, elaborarei de que modo da escolha que o personagem faz pela paz privada, transgressora em relação à decisão da maioria dos cidadãos pela continuidade da guerra, decorrem as consequências etílicas, sexuais e gastronômicas com as quais ele arca. Assim, o objetivo desse trabalho diz respeito a entrelaçar de que modo Hipólito é desgraçado por causa de suas ações marginais e o porquê Diceópolis é feliz graças à marginalidade de suas ações. E, em última instância, pretendo explicitar por quais vias tanto o personagem da tragédia quanto o personagem da comédia são responsáveis pelos frutos que colhem de seus modos de vida à margem. / Through an analysis of the actions of two heroes present in plays from the Ancient Attic drama, this work draws a comparison between the construction of two types of marginal behavior, as well as between the different consequences resulting from these behaviors. In this sense, following the characterization of the marginality of Hippolytus, the homonymous hero of Euripides tragedy, I shall demonstrate how the young mans choice for virginity is intrinsically related to the disgraceful consequences that befall Theseuss house. In fact, I consider that because Hippolytus deliberately chooses (i.e. without physical or mental coercion) to live outside his dramatic community refusing its customs, he is completely responsible for Aphrodites revenge, which ruins his family. In the same way, by delimiting the marginal attitude of Dikaiopolis, from Aristophanes comedy, Acharnians, I shall elucidate the manner in which the characters choice for private peace, transgressive of the majoritys decisions for the continuity of the war, is followed by ethylic, sexual and gastronomic consequences he is faced with. Hence, the aim of this thesis is the intertwining of the way Hippolytus is disgraceful because of his marginal actions and the reason why Dikaiopolis is happy thanks to this very marginality. And, lastly, I intend to cast light upon the ways by which both the tragedy and comedys characters are responsible for whatever they reap from their marginal ways of life.

Magister Artium - MA / The study through the topic: An investigation of Zimbabwe's contemporary heritage practices of memorializing war: A case study of the Heroes' Acres in Matabeleland South Province focuses on post liberation war memorialisation and management in the post-colonial state of Zimbabwe. It analyses the emergence and management of war memorials and shrines in the form of heroes' acres, in the province of Matabeleland South in Zimbabwe from 1988 to 2010. Zimbabwe attained independence in 1980 after a long protracted war waged by two guerrilla movements against the unilaterally declared independent state of Rhodesia led by Ian Smith. Post-1980, ZANU (PF) became the dominant political party in the new state now renamed Zimbabwe. A national memorialisation structure was established soon after independence; charged with ensuring a befitting memorialisation of the war of liberation. Post-independence political contradictions between the parties notwithstanding, the results of the 1980 election showed an ethnicized landscape, a trajectory that has been at the centre of the national political discourse. Political disturbances in the Matabeleland and Midlands provinces became one of the most important and interesting historical issues that unsettled the nation in respect of memorialisation. Against this background, this research proposes to assess how political actors contributed to the issue of memorializing a war in post-1980 Zimbabwe. Using the central question which arose from a critique of Zimbabwe's memorialisation structure as a graded one, in which the local site subordinates the national, the research aims to examine whether the shifts in the political and management spheres of the heroes acres as represented by the inclusive government currently governing the country and the transferring of management duties of heroes acres to the National Museums and Monuments of Zimbabwe, has managed to challenge the claim made above. By embarking on this work, the research aims to examine whether the local memorial sites actually act as mere subordinates in a deliberate graded structure to the national shrine represented by the National Heroes' Acre in Harare, within the politics of memorialisation.

Joseph Campbell, in The Hero with a Thousand Faces, establishes a pattern for the hero to answer the call to adventure, ask the question of the goddess and receive her boon, and return to his homeland. Campbell does not, however, make any suggestions about a myth whose protagonist is female. Erich Neumann, in The Origins and History of Consciousness, hints that the woman may, indeed, be her own goddess, that she must give herself the boon she already carries. The novels of Anita Brookner illustrate the dual nature of the feminine protagonist: the seeker and the boon giver. The feminine hero (even when Brookner's protagonist is masculine, he exhibits feminine qualities) hears the call to adventure, receives the teachings of the goddess and/or her representative, receives help fromother beings (in myth these would be supernatural beings), realizes that she carries the answer to the cosmic question of selfhood within her, and, following an apotheosis, makes a return to society. Much of the present work is spent delving into both the monomythic and feminist structures of Brookner's novels. Although Brookner characterizes herself as a "reluctant feminist," examination of her novels reveals a subtle adherence to feminist principles which can be ascertained by viewing each novel in terms of the monomyth schema.

Esta investigación tiene como objetivo analizar las herramientas gráficas utilizadas para abordar temas de inclusión y diversidad en cómics de Marvel en los que un personaje reclame el título de un superhéroe ya existente con fines de inclusión. Bajo la hipótesis de que existe un uso recurrente de ciertas imágenes y herramientas gráficas al representar a minorías. Se analizaron cinco cómics bajo una muestra de máxima variabilidad de la diversidad representada: Spider-Man (raza), Captain Marvel (género) y Ms. Marvel (religión/etnia), sumando al personaje más antiguo, Hawkeye, y al más reciente, Captain Britain en Excalibur. Se generaron fichas de análisis centradas en la identificación de los elementos gráficos y narrativos del cómic, determinando las razones de su uso. Además, se realizaron entrevistas a especialistas, un artista actual de Marvel y una profesora universitaria. Se encontró una representación positiva del cuerpo femenino en cuatro de los títulos, aunque siguiendo cánones eurocentristas de belleza. Los cinco cómics de la muestra cuentan con personajes racialmente diversos. Sin embargo, su etnicidad es gráficamente ambigua en dos de ellos. Finalmente, en cuatro de los títulos se discuten de manera profunda las dificultades de las minorías representadas. A pesar de que existen herramientas gráficas y narrativas que son utilizadas de manera consistente, hay problemas en su implementación. Además, se identificó la importancia que tiene el cambio de nombre como herramienta narrativa en el paso de manto. En conclusión, es necesario que la diversidad sea clara gráficamente para que no sea ignorada, fortaleciendo los mensajes de la narrativa. / This research aims to analyze the graphic tools used to address topics related to social issues in Marvel comics in which a character claims the title of an existing superhero for inclusion purposes. Under the hypothesis that there is a recurring use of certain images and graphic tools when representing minorities. Five comics were analyzed under a sample of maximum variability of the represented diversity was used: Spider-Man (race), Captain Marvel (gender) y Ms. Marvel (religion/ethnicity), adding to them the oldest character, Hawkeye, and the most recent, Captain Britain. Using analysis cards, the graphic and narrative elements of the comics were identified and the reasons for its use were determined. In addition, interviews were conducted with specialists, a current Marvel artist and a university professor. A positive representation of the female body was found in four of the titles, although three were following Eurocentric beauty standards. The five comics in the sample feature racially diverse characters. However, their ethnicity is graphically ambiguous in two of them. Finally, in four of the titles the difficulties of the minorities represented are discussed in depth. Even though graphic and narrative tools of consistent use were identified, there are problems in their implementation. In addition, the relevance of the name change as a narrative tool in legacy heroes with shared titles was recognized. In conclusion, diversity needs to be graphically obvious so that it is not ignored, strengthening the messages of the narrative. / Trabajo de investigación

Mark Twain's Adventures of Huckleberry Finn contains three character types which serve as models for the protagonists of certain twentieth century writers. The distinguishing characteristics of Tom, Jim, and Huck reappear in the central figures of later American novels, novels dealing explicitly with the relationship between human perception and consequent behavior. The contrasting perceptions of Mark Twain's characters provide his novel with thematic tensions that, in distinct and enlarged forms, become basic interests of major twentieth century writers. The tragedy of fixed perceptions in a world of constant flux concerned William Faulkner in Absalom, Absalom! and F. Scott Fitzgerald in The Great Gatsby. Saul Bellow's The Adventures of Augie March and Thomas Wolfe's Look Homeward, Angel depict heroes dissatisfied with but undaunted by the limitations of human perceptions. Sherwood Anderson's Winesburg, Ohio and J. D. Salinger's The Catcher in the Rye illustrate the evolution to maturity of George Willard and Holden Caulfield. Mark Twain's conscious presentation of three different and conflicting characters creates an appropriate categorization of types which elucidates thematic patterns in later American novels. The triangular conflict of perceptions in Mark Twain's novel can be traced in any number of modern American novels, and the character types defined by Tom Sawyer, Jim, and Huck Finn can be applied to many more works than are considered here. All of the works treated in this paper are novels of initiation; their protagonists are. young men encountering life and confronting America. The fact that these characters are widespread throughout modern literature indicates the seriousness with which the American writer is committed to arriving at an understanding of the power and limitations of human perceptions.

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