nÃo hà / Neste trabalho, pretendemos examinar um conjunto de cinco inscriÃÃes urbanas feitas em distintos campi do Centro de Humanidades da UFC por inscritores diversos. Nosso escopo à investigar a emergÃncia de uma identidade que atravesse os textos selecionados, de modo que se possa apontar tanto uma arqui-identidade desses enunciadores apoiada nessa prÃtica semiÃtica, que à a prÃtica de produÃÃo das inscriÃÃes urbanas, como uma identidade da prÃpria prÃtica. Para tanto, optou-se por abordar essa investigaÃÃo segundo os preceitos da semiÃtica discursiva, em razÃo de ela trabalhar com a concepÃÃo de que a identidade do sujeito à construÃda no prÃprio ato em que este enuncia, isto Ã, sua imagem à construÃda por seu prÃprio discurso. AlÃm dos autores caros à constituiÃÃo primeira da semiÃtica de orientaÃÃo francesa, fundamentamo-nos tambÃm em Fontanille (2005) e Correa (2016) para conduzir nossa pesquisa. Das ideias do primeiro, depreendemos a tese de que os processos semiÃticos podem ser reconhecidos em nosso mundo natural e/ou cultural como estruturas actanciais, isto Ã, pode-se lanÃar sobre eles um olhar analÃtico conforme o conceito greimasiano de narratividade lato sensu (LEITE, 2017). O segundo abre a possibilidade para que tratemos de diversas manifestaÃÃes de arte urbana, presentes nos campi, pelo nome de inscriÃÃes urbanas, tenham elas a materialidade e o suporte que tiverem. Verificamos, portanto, se hÃ, dentro dessa narratividade, uma coerÃncia semiÃtica que possa ser apontada como comum a todos os enunciadores e à prÃtica das inscriÃÃes urbanas no campus. Concebemos, assim, as inscriÃÃes urbanas como objetos semiÃticos surgidos dentro de uma prÃtica semiÃtica especÃfica, que, por seu turno, à constituinte nÃo apenas de um simulacro, mas de uma forma de vida. No tocante a nosso corpus, essa forma de vida à pautada pela transgressÃo. / This study aims to analyze, according to Greimasian semiotics, the construction of discursive identities on five examples of street art which were made in different campuses of Humanities courses by different producers. Our goal is to investigate the emergence of an identity that is common to all the texts, so that we can say there is an archi-identity of these enunciators based on this semiotic practice, which is the practice of street art production. Moreover, we think this identity can also be understood as an identity of the practice itself. To achieve this goal this work was made according to discoursive semiotics, as already said, because this theory understands that the identity of a subject is built in the enunciation act, which means that the image is a result of the discourse. In addition to the classical authors of this semiotic theory, our work is based on Fontanille (2005) and Correa (2016). The first one gives us the conception that semiotic processes can be recognized in our natural and/or cultural world as actantial structures, so that we can analyze them according to the Greimasian concept of lato sensu narrativity (LEITE, 2017). The second one enables us to name the several street art manifestations at the campuses as urban inscriptions, independent of the materiality and the support they have. We investigate if there is, inside of this narrativity, a semiotic coherence that can be understood as common to all the enunciators and to the practice of urban inscriptions at the campuses. We conceive therefore the urban inscriptions as semiotic objects which emerge inside of a specific semiotic practice. This practice constitutes a simulacrum and a form of life. In relation to our corpus, this form of life is characterized as transgressive.

Buscando investigar a inscrição do sujeito em língua estrangeira (SERRANIINFANTE, 2006), esta pesquisa toma por objeto sequências discursivas orais identificadas como oriundas de processos de reformulação, enunciadas por aprendizes de francês, língua estrangeira, durante a realização individual de uma atividade de performance. Para tanto, primeiro problematizamos o conceito de reformulação, percorrendo criticamente os referenciais da Análise do Discurso (SERRANI, 1993; ORLANDI, 2012; PÊCHEUX, 2009). Em segundo lugar, com relação à aquisição de línguas, contrapomos a perspectiva cognitivista à não cognitivista, desenvolvendo um estudo crítico a respeito da oposição entre as noções de apropriação e inscrição, a fim de demonstrar, à luz de Serrani- Infante (2006, p. 248), que o sujeito, seja ele aprendiz ou não, é capturado pela língua que, por sua vez, tem um real específico e uma ordem própria. Uma terceira perspectiva teórica fundamenta esta dissertação: a noção de performance. Após tê-la discutido tanto pelo ângulo da Linguística quanto por aquele das Artes, destacamos o conceito construído transdisciplinarmente a fim de sustentar nossa metodologia. Do Latim formare (dar forma), a performance é simultaneamente o ato enunciativo marcado por percepções subjetivas originadas a partir de uma partitura textual e o acontecimento efêmero envolvendo várias linguagens. Metodologicamente ancorados nos parâmetros da Pesquisa-Ação (BARBIER, 2002), realizamos uma intervenção didática junto a estudantes de Letras (Habilitação em Francês), sujeitos desta pesquisa, a partir da obra La première gorgée de bière et autres plaisirs minuscules (DELERM, 1997). Os resultados obtidos ao longo da intervenção foram analisados de modo a salientar a necessária intersecção entre a materialidade linguística e elementos não verbais na reformulação oral do já dito. Ao longo de nossa discussão, evidenciamos que a atividade didática ancorada no conceito de performance corresponde à abertura de um espaço ficcional no qual o sujeito pode se inscrever na língua estrangeira. Além do mais, ao reformular trechos da narrativa literária no contexto da performance, os sujeitos-aprendizes podem se inserir em um novo lugar enunciativo. / The aim of this research is to investigate the subjects inscription in a foreign language by focusing on discursive oral sequences generated through processes of reformulation, which are identified in the utterances of learners of French as a foreign language during the individual accomplishment of performance activities. For this purpose, I first of all problematize the concept of reformulation, drawing critically on references to Discourse Analysis (Serrani, 1993; Orlandi, 2012; Pêcheux, 2009). Secondly, in relation to language acquisition, I contrast cognitive and non-cognitive perspectives, developing a critical study with respect to the opposition between the concepts of appropriation and inscription in order to demonstrate, in light of Serrani-Infante (2006: 248), that the subject be he a learner or not is captured by the language which, in turn, has a specific real and its own order. A third fundamental theoretical perspective in this dissertation is the notion of performance. After discussing it both from a linguistic and artistic perspective, I reinforce a transdisciplinary construction of the concept in order to sustain my methodological approach. From the Latin formare (to give form), performance is simultaneously an enunciative act marked by subjective perceptions originating in a textual partiture and an ephemeral event involving several languages. Anchored methodologically by the parametres of Action-Research (Barbier, 2002), a didactic intervention is carried out with Humanities students (BA French), the subjects of this research, using the text La première gorgée de bière et autres plaisirs minuscules (Delerm, 1997). The results obtained over the course of the intervention were analysed in order to accentuate the necessary intersection between linguistic materiality and non-verbal elements in the oral reformulation of the aforementioned text. Throughout my discussions, I show that didactic activities grounded in the concept of performance correspond to the opening up of a fictional space within which the subject can inscribe himself within the foreign language. Moreover, by reformulating excerpts from the literary narrative in a performance context, the subject-learners can inscribe themselves within a new enunciative place.

Une monographie sur la ville antique de Sura s’imposait pour mettre l’accent sur un site-clef, peu étudié, parmi les villes fortifiées du Moyen-Euphrate. L’objectif de ce travail est d’en offrir une description et une analyse poussées et d’élargir le champ des recherches à l’ensemble de la région. À 22 km à l’ouest de Raqqa et à 29 km au nord de Resafa, à l’emplacement du village moderne d’«el-Hammam», Sura (autrefois «Souriya») domine la rive droite de l’Euphrate. Le site est une agglomération fortifiée de forme rectangulaire (76,5 ha) divisée en deux parties, enceinte nord-est et enceinte sud-ouest. Nous présentons Sura de l’époque romaine jusqu’au début de l’époque omeyyade (Ier-VIIIe s.), d’après les résultats de nos recherches qui, entre 2003 et 2011, se sont concentrées sur trois pôles : fortifications, structures domestiques et édifices civils (fouilles intra-muros), nécropole(fouilles extra-muros). Nous étudions ensuite sa culture matérielle à travers le mobilier archéologique et les éléments architecturaux issus des fouilles. Les résultats de ces recherches doivent enrichir le dossier des sites de référence de l’Antiquité tardive pour la région de l’Euphrate et de la Syrie du Nord, en offrant une base de comparaison de premier ordre pour l’architecture civile et funéraire et, surtout, pour le matériel céramique, le verre, les inscriptions. Occupant une position géographique stratégique, Sura fut florissante pendant l’époque romaine et byzantine, jusqu’à la conquête arabe de la région en 639-640, qui scella son déclin – contrairement aux autres villes de l’Euphrate –, puis elle ne fut plus occupée que par des chrétiens locaux, dans des habitats modestes. / A monograph about the ancient city of Sura was necessary in order to bring to light a site little studied so far, in spite of its key importance among the Middle Euphrates fortified towns. The present work aims at offering a thorough description and analysis of it, while broadening the scope of comparison to its larger region. Sura(previously “Suriya”) is situated 22 km west of Raqqa and 29 km north of Resafa, on the location where nowadays stands the village of “el-Hammam”, overlooking the right bank of the river Euphrates. The site, a fortified agglomeration of rectangular shape (76,5 ha), is divided into two parts, the northeast and the southwest enclosures. We present Sura from Roman times until the beginning of the Umayyad period (1st-8th cent.), through the results of our researches, which, from 2003 to 2011, have been focusing, intra-muros, on its fortifications, on its domestic and public structures, and, extra-muros, on its necropolis, then through its material culture, that is, thesmall finds and architectural elements. Such a research should contribute to enhancing the extant knowledge about Late Antiquity in the Euphrates region and North Syria, by bringing forth an additional reference site, especially for civil and funerary architecture and, above all, pottery, glass, and inscriptions. The floruit of Sura, set in a strategic location, lasted from the Roman through Byzantine times, until the Arab conquest of the region, in 639-640, threw it into oblivion – a fate not shared by other cities on the Euphrates. Afterwards, only local Christians maintained some modest settlement there.

A partir du postulat psychanalytique de l'inconscient qui inscrit le manque au coeur sujet, cette thèse doctorale met en avant l'articulation universelle du sujet à la culture, au-delà des déclinaisons particulières qui viennent métaphoriser – à travers les signifiants de chaque culture – l'interdit fondamental structurant cette articulation et les prescriptions culturelles formulées à partir de celui-ci. Pour ce faire nous nous sommes appuyés sur l’expérience du vécu subjectif de l'exil entraînant une mise en suspens des illusions fondatrices de l'appartenance dans le contexte de notre rencontre clinique avec un membre de la communauté migrante rom en Île-de-France. En disant rom, nous parlons d'une appartenance culturelle et sociale qui, d'un point de vue psychanalytique, fonctionne selon des coordonnées symboliques. Ces coordonnées, avant d'être spécifiques à une culture, sont universelles à ce que Freud appelle la Kultur : le sujet soumis à l'interdit fondamental trouve sa place dans l'ordre des générations et dans la différence des sexes. C'est à partir de cette place que ce tisse le désir du sujet qui doit faire avec son manque qui se décline et circule à travers les signifiants de sa culture. Si une particularité est à prendre en compte, elle est à situer au niveau des conditions sociales de la réalisation du mouvement migratoire : la conservation de l'organisation des structures sociales de la communauté en terre étrangère permet le maintien de la place symbolique initiale du sujet au sein de son univers d'appartenance. Ainsi, si l'amarrage symbolique du rom migrant ne s'abîment pas, bien qu'il soit constamment confronté avec un imaginaire qui pullule autour de la figure de l’étranger, c'est parce qu'il a scellé son inscription dans un ailleurs inaliénable et intouchable (dit Athiganos en grec ancien) par les effets immédiats du dépaysement et de la non-reconnaissance d'une place chez l'autre. Ainsi nous avons pu comprendre, dans ce contexte migratoire particulier, que l'exil ne commence pas avec le déplacement mais lors de la séparation d'avec la communauté d'appartenance, avec la confrontation à un manque de sens au coeur de soi qui émerge dans la rencontre à l'étranger provoquant une mise en question radicale de la place symbolique initiale du sujet.Face l'évocation nostalgique de la perte du sujet exilé, l'adresse du clinicien aura consisté à écouter de manière respectueuse les contenus – objets de la perte, que le patient présente comme étant d'ordre culturel – mais d'y aller au-delà, de centrer son attention sur le processus même de la perte et de l'épreuve de l'ébranlement identitaire que traverse le sujet, en se découvrant orphelin des illusions qui fondaient son appartenance et sa place symbolique qui soutenait son désir. Les questionnements qui surgissent dans ce contexte seront celles qui mènent vers la subjectivité du patient, relevant les lignes de faille de sa suture symbolique: interrogations des origines, de l'ordre familial, du rapport aux parents, des droits et privilèges des autres membres de la fratrie, de ses propres choix sexuels, etc.Au cours du notre suivi clinique nous avons pu observer un usage subjectif de place accordé à l'étranger, en tant que territoire d’aliénation symbolique nécessaire au sujet aux prises avec le désir menaçant de l'Autre féminin, dont le sujet se sauve à travers un mouvement d'auto-exil. Entendu et accueilli dans la parole, il a pu se métaphoriser en un exil fécond. C'est suite à une opération d'appropriation de ce déracinement subjectif, qu'une installation a été possible dans un espace symbolique autre que celui des origines, métaphorisé par l'hébergement social, devenu espace d'accueil de cet exil subjectif premier. / This doctoral thesis emphacises the universal relation between subjet and culture from the standpoint of the psychoanalytic postulate of the unconscious as determining the fundamental lack of the subject, all of this beyond particular cultural declensions which “metaphorise” – through the signifiers of each culture – the fundamental prohibition which structures this relation as well as the cultural commandments thereby expressed.For this purpose, we base ourselves on the subjective experience of exile in real life as suspending the fundamental illusions of belonging, more specifically within the context of our clinical encounter with a member of the Roma migrant community within the Ile-de-France region. When using the term “Roma”, we refer to cultural and social backgrounds which, from the point of view of psychoanalysis, function according to symbolic coordinates. Such coordinates, before becoming culturally specific, are universal through what Freud designates as Kultur: the subject, who is subjected to the fundamental prohibition, finds a meaningful place within the order of generations and within gender differences. It is from this place that the subject, who must make do with his lack – lack which declines and circulates within the signifiers of his culture –, weaves his desire.If any particularity is to be taken into account, it must be located within the social conditions determining the migratory movement: the compositional safeguarding of the community's social structures even in foreing land permits the subject's initial symbolic configuration within his place of belonging to be conserved. Hence, if the symbolic mooring of the migrant Roma is not lost, even though he is constantly confronted with an imaginary overrun with figures of foreignness, it is because he has sealed its inscription within an elsewhere which is unalienable and intangible (said Athiganos in ancient Greek) as an immediate consequence of the unfamiliarity and the disallowance of a place among the others.Following this view we may understand, in such a particular migratory context, how exile does not commence with displacement, but rather through separation from a community of belonging, through confrontation with the lack of meaning within oneself – lack of meaning emerging within the encounter with the foreigner, radically questionning the subject's original symbolic place.Facing the exiled subject's nostalgic evocation of his loss, the clinician's task is to respectfully acknowledge these contents – as lost objects, which are presented by the patient as being of cultural order – , and go beyond, to focus upon the psychic process of loss itself, as well as the weakening of identity as a trial endured by the subject, as the latter becomes orphaned from the illusions founding the membership and symbolic place which suppored hitherto his desire. The questions arising from such a context will be those which lead to the patient's subjectivity, bringing out the fault lines of his symbolic composition: doubts of his origins, of the family order, of linkages with parents, of the rights and privileges of his siblings, of his own sexual choices, etc.Throughout our clinical follow-up, we observed a subjective usage of the place given to the foreigner, as a symbolic territory of alienation indispensable to the subjet facing the threatening desire of the feminin Other, from which the subject flees through a movement of auto-exile. If met and acknowledged through speech, he could metaphorise himself in a prolific exile. Following the operation of such subjective uprooting was the possibility that a symbolic space other than that of the origins be invested, metaphorised through social accomodation, to become a space capable of accomodating the initial subjective exile.

La thèse interroge les usages des représentations spatiales (cartes, simulations, représentations 3D…), considérés par la littérature comme étant indispensables à tout processus de Gestion intégrée des Zones côtières (GIZC). L’objectif de ce travail est donc de comprendre comment ces supports participent à la mise en oeuvre et à l’organisation de cette politique publique à l’échelle locale.Pour cela, deux cas d’études ont été retenus (Pays de Brest et Pays de Lorient). Une méthodologie ethnographique a été mise en place afin d’observer les représentations spatiales en situation d’usage. Ainsi, les circonstances, les objectifs et les modalités d’usages des représentations spatiales sont analysés tout comme les interactions qu’elles provoquent chez les acteurs, facilitant (ou non) le passage d’une étape du processus à une autre étape. Prenant appui sur la sociologie de la traduction, le corpus analysé est constitué de 15 observations non participantes, de 24 entretiens semi-directifs réalisés avec chaque catégorie d’acteurs impliqués dans les démarches ainsi que d'un recueil de 300 documents (comptes rendus, diaporamas …), dont 115 représentations spatiales.Les résultats révèlent que les parties prenantes engagées dans les deux processus de GIZC prennent peu appui sur les potentialités offertes par les Technologies de l’Information Géographique (TIG). En outre, il est observé que les usages des représentations spatiales sont principalement destinés à construire et à stabiliser le jeu d’acteurs, plus qu’à organiser le territoire ainsi que la littérature les décrit. Enfin, les statuts des représentations spatiales (inscriptions, objets intermédiaires, actants) sont peu diversifiés, puisque les représentations spatiales ayant le statut d’objets intermédiaires sont prédominantes. / This thesis investigates the usages of spatial representations (maps, simulations, 3D representations…) described in the literature as essential to any process of Integrated Coastal Zone Management (ICZM). The aim is to understand how spatial representations contribute to implementing and organising ICZM processes at a local scale.An ethnographic methodology is implemented in two case studies in France (Brest and Lorient) in order to observe spatial representations in concrete and tangible situations of uses. Circumstances, goals and uses conditions are analysed as well as interactions that they induce with stakeholders, contributing (or not) to move on the process to a next step. We used the actor network’s theory to analysed a corpus made of 15 non-participating observatories, 24 semi-structured interviews with the stakeholders and 300 documents (reports, slides show…) including 115 spatial representations.The results show that the ICZM’s stakeholders use only a few potentialities offered by the Geographic Information Technologies. Furthermore, spatial representation’s uses are mainly intended to construct and stabilise the actor’s network rather than to organise the territory as generally described in the literature.Finally, the spatial representation’s status (inscriptions, intermediary objects, actants) vary slightly. Indeed, spatial representations are mainly used as intermediary objects, helping stakeholders to collaborate.

Ecos en la escritura (Échos dans l’écriture) vise à explorer la représentation de l’expérience dans le roman d’avant-garde latino-américain. D’après les idées de Walter Benjamin, nous définissons « l’expérience » comme une façon de donner du sens, tant à une série de perceptions et affections corporelles, qu’au récit historique d’une culture. Depuis la fin du 19e et le début du 20e siècle, l’expérience est radicalement transformée par l’émergence des nouveaux médias et des nouvelles technologies d’inscription, telles que la photographie, le cinéma, le phonographe, la machine à écrire et la radio. Ainsi, en dialogue avec la théorie des médias de Friedrich Kittler et Katherine Hayles et, dans un contexte latino-américain, avec les œuvres de Rubén Gallo et Flora Süssekind, nous analysons un groupe des romans d’avant-garde pour montrer les effets des technologies d’inscription sur les modalités de représentation. Le corpus comprend les romans suivants : Los siete locos (1929) y Los lanzallamas (1931), de Roberto Arlt; Cubagua (1931) de Enrique Bernardo Núñez; La casa de cartón (1928) de Martín Adán; Un año (1935) y Ayer (1935) de Juan Emar; Débora (1927) de Pablo Palacio; Museo de la novela de la Eterna (1925/1967) de Macedonio Fernández. Nous lisons les nouvelles modalités de représentation comme une manière de contestation des modes de représentation du roman réaliste du 19e siècle. Afin de montrer les différentes façons dont ces romans reflètent les changements dans l’expérience, nous avons organisé les chapitres pour démontrer l’éloignement du réalisme et l’incursion progressive des technologies d’inscription. La technologie des médias apparaît, tout d’abord, représentée sous forme de thème ou de manière subtile dans les descriptions de la perception des personnages. Ensuite, la technologie apparaît de manière plus explicite, affectant les modalités de la représentation et la qualité même de l’écriture, en accentuant le virage méta-narratif par lequel le roman d’avant-garde dissout la diégèse du roman réaliste. Enfin, la préoccupation d’avant-garde pour les médias est dirigée vers le substrat matériel du roman, le livre imprimé, dont la disparition ouvre la possibilité à d’autres formes d’inspiration. Ainsi, par l’étude de l’avant-garde latino-américaine, nous réfléchissons aux effets de la technologie dans la formation de l’expérience, et aussi sur les relations entre l’expérience et les formes de représentation. / Ecos en la escritura (Echoes in Writing) explores how the Latin American avant-garde novels represent a type of modern experience. Drawing from the ideas of Walter Benjamin, we define “experience” as a way of making sense of a series of perceptions and bodily affections, on the one hand, and of a certain historical discourse and historicity, on the other. From the 19th century and first decades of the 20th, experience is radically transformed as a result of the emergence of new media and inscription technologies, such as the photography and the cinema, the phonograph, the typewriter, and the radio. In dialogue with the media theorists Friedrich Kittler and Katherine Hayles, and, in Latin American contexts, with the writings of Rubén Gallo and Flora Süssekind, we analyze a group of Latin American avant-garde novels to show the effects of inscription technology on the modalities of literary representation. The corpus includes the following novels: Los siete locos (1929) y Los lanzallamas (1931) by Roberto Arlt; Cubagua (1931) by Enrique Bernárdo Núñez; La casa de cartón (1928) by Martín Adán; Un año (1935) and Ayer (1935) by Juan Emar; Débora (1927) by Pablo Palacio; Museo de la novela de la Eterna (1925/1967) by Macedonio Fernández. We read the new modalities of representation as a contestation of the modes of representations embodied in the 19th century realist novel, still prevalent in the early 20th century. In our presentation of these novels’ representation of the profound shift in experience, we have organized the chapters to demonstrate the move away from the realism and the progressive incursions of inscription technologies. Media technologies first appear as a theme or in a more subtle descriptions of perceptions for the characters, and are later shown to affect the modalities of representation, the very quality of writing, and to inspire a meta-narrative turn that effectively dissolves the diegesis typical of the popular realist novel. Finally, the avant-garde concern for media turns to the novel’s material substratum, the printed book, whose disappearance allows for others forms of inspirations to appear. Throughout this research on the Latin American avant-garde we think about the effects of technology on the constitution and formation of experience, and about the relations between experience and forms of representation. / Ecos en la escritura tiene como objetivo explorar la representación de la experiencia en la novela de vanguardia latinoamericanas. A partir de las ideas de Walter Benjamin, definimos “experiencia” como una manera de dar sentido tanto a una serie de percepciones y afecciones corporales como al relato histórico de una cultura. Desde finales del siglo 19 y comienzos del 20, la experiencia se transforma radicalmente con el surgimiento de nuevos medios y tecnologías de inscripción, tales como fotografía y el cine, el fonógrafo, la máquina de escribir y la radio. Así, en diálogo con la teoría de los medios de Friedrich Kittler y Katherine Hayles, y, en un contexto latinoamericano, con los trabajos de Rubén Gallo y Flora Süssekind, analizamos un grupo de novelas vanguardistas para mostrar los efectos de las tecnologías de inscripción en las modalidades de representación. El corpus se delimita a las siguientes novelas: Los siete locos (1929) y Los lanzallamas (1931) , de Roberto Arlt; Cubagua (1931) de Enrique Bernardo Núñez; La casa de cartón (1928) de Martín Adán; Un año (1935) y Ayer (1935) de Juan Emar; Débora (1927) de Pablo Palacio; Museo de la novela de la Eterna (1925/1967) de Macedonio Fernández. Leemos las nuevas modalidades de representación como una forma de contestación a los modos de representación de la novela realista del siglo 19, aún en vigencia en el siglo 20. Para mostrar las diferentes maneras en que estas novelas reflejan los cambios en la experiencia, hemos organizado los capítulos en función de demostrar el alejamiento del realismo y la progresiva incursión de las tecnologías de inscripción. La tecnología de medios aparece, en primer lugar, representada como tema o bien de manera sutil en descripciones de la percepción de los personajes. Luego, en segundo lugar, la tecnología aparece de manera más explícita, afectando las modalidades de representación y la cualidad misma de la escritura, acentuando el giro metanarrativo con el cual la novela de vanguardia disuelve la diégesis propia de la novela realista. Finalmente, la preocupación de la vanguardia por los medios se dirige al sustrato material de la novela, el libro impreso, cuya desaparición abre la posibilidad de otras formas de inspiración. Así, a través de un estudio sobre las vanguardias latinoamericanas podemos reflexionar sobre el efecto de la tecnología en la formación de la experiencia y también sobre la relación entre experiencia y formas de representación.

<p>This dissertation explores how the Buddhist texts carved on the cliffs of mountains served their patrons’ religious and cultural goals. During the Northern Qi period (550-577 CE), these carved Buddhist sutra texts and Buddha names were prevalent, and were carved directly onto the surfaces of numerous mountains in southwestern Shandong Province. The special focus of this study is on the Buddhist engravings at Mt. Hongding in Dongping, and at Mt. Tie in Zoucheng. Created in approximately 553-564 CE, the carvings at Mt. Hongding stand as the terminus a quo of the history of Buddhist sutras carved into the rocks of the Shandong mountains. The Buddhist carvings at Mt. Hongding served monastic goals. The monk patrons, Seng’an Daoyi, Fahong, and others created the carvings as an integral part of their Buddhist meditation practices. The carvings at Mt. Tie paint a very different picture. At Mt. Tie, a colossal Buddhist sculpture-style carving was created in 579 CE. Sponsored by several Han Chinese patrons, the carving was designed in the form of a gigantic Chinese traditional stele. This study suggests that several Han Chinese local elites proudly displayed their Han Chinese linage by using the gigantic stele form of Buddhist text carving as a means to proclaim Han Chinese cultural and artistic magnificence. To achieve these non-religious goals, they appropriated rhetorical devices often used by the Han elite, such as the stele form, written statements about the excellence of the calligraphy used, and discourse on calligraphy connoisseurship.</p> / Dissertation

The habit of honouring outstanding individuals with statues was common throughout the Roman Empire. Yet after the end of the Severan reign at the beginning of the third century AD, a decrease in honorific statues is generally assumed to have taken place. This thesis aims to evaluate this hypothesis, focusing specifically on the years AD 222-285. The thesis is assessing the contemporaneous imperial remains for the Roman Empire as a whole and the evidence from four exemplary cities that are particularly conspicuous in their statuary production and display, both before and after the time frame under investigation (Leptis Magna, Athens, Ephesus, Aphrodisias). The purpose is to explore the standards, conventions, and limitations of statuary practice in Roman society in a synthetic and comparative analysis and thereby to evaluate its political and social role during a state of internal and external instability, labelled 'the third century crisis'. By providing concrete figures, the practice of the third century can be juxtaposed with both the antecedent and subsequent centuries and this will facilitate a more coherent insight into the overall development and changes in Roman honorific statuary practice. The results suggest that the assumed decline in the number of statuary installations might have to be re-evaluated. It has become apparent that in order to obtain comparable numbers, the inclusion of imperial family members in any statistical evaluation is indispensable, a factor which has previously been disregarded. A gradual decrease cannot be supported and neither can a decrease in the appreciation of honours.

Esta dissertação tem como objetivo aprofundar o conhecimento sobre o uso da tipografia como elemento arquitetônico na cidade de São Paulo, particularmente em edificações de estilo Art Déco, de 1928 a 1954, demonstrando como a tipografia arquitetônica estabeleceu uma nova relação, não apenas limitada ao edifício em si, mas também com a paisagem urbana e seus habitantes, acompanhando os avanços das relações comerciais, da indústria da informação e do entretenimento durante esse período. A partir da seleção de uma amostra significativa de exemplares de tipografias arquitetônicas nominativas, foi desenvolvida uma série de análises, através de um embasamento teórico, fornecido por uma ampla revisão bibliográfica. Como resultado, foi possível verificar que o estilo Art Déco, de grande penetração na arquitetura da cidade de São Paulo no período estudado, se valeu da tipografia de uma maneira particular, conseguindo com isso promover em várias ocasiões uma relação integral dela com a arquitetura. Também foram encontrados indícios de que a reprodução de um determinado desenho de letra, presente em várias edificações no centro da cidade, pode ter se originado a partir de sua utilização no edifício do antigo Banco de São Paulo. Outros indícios apontam ainda para o possível surgimento desse desenho de letra, a partir da instrumentalização do alfabeto escrito manualmente, utilizado nas pranchas dos projetos desenvolvidos pelo escritório do arquiteto Álvaro Botelho, autor do Edifício Banco de São Paulo. / The aim of this Master Thesis is to increase the knowledge about the use of typography as an architectural element in the city of São Paulo, specially in Art Déco style buildings, built between 1928 and 1954, demonstrating how architectural typography established a new relation, not only restricted to the building itself, but also with the urban landscape and its inhabitants, keeping up with the developments in commercial trade and in the communications and entertainment industry. A series of analysis was developed, on a significative sample of nominative architectural letterings, through a theoretical basis provided by a comprehensive literature review. As a result, it was possible to ascertain that the Art Déco style, which was higly pervasive in São Paulo city architecture during the time considered, made use of lettering in a very particular way, enabling it, in many occasions, to set an integral relationship with architecture. Also, traces were found indicating that the reproduction of a certain lettering style, present in several buildings in downtown São Paulo, may have been inspired by its use in the Banco de São Paulo building. Other indication, also points to a possible origin of this lettering style as derived from the handscript forms, used in the architectural plans drawn in the office headed by Álvaro Botelho, the architect responsible for the design of the Banco de São Paulo building.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2015-05-04T19:06:44Z No. of bitstreams: 1 Cybeli Moraes.pdf: 2408428 bytes, checksum: 989a2e7d9b1bbaebaaba9e7868eb4332 (MD5) / Made available in DSpace on 2015-05-04T19:06:44Z (GMT). No. of bitstreams: 1 Cybeli Moraes.pdf: 2408428 bytes, checksum: 989a2e7d9b1bbaebaaba9e7868eb4332 (MD5) Previous issue date: 2012-04-04 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente tese aborda a invenção do conceito de pausa audiovisual – pausa AV –, partindo das percepções e dos afetos sobre um corpus de 80 materiais que abrangem produções televisivas, videográficas, cinemáticas, fotográficas e internéticas. Utilizando os aportes teórico-metodológicos de Silva e Rossini, Bergson, Deleuze, Guattari, Derrida, Benjamin e Kilpp, entre outros, o corpus foi produzido cartograficamente, tendo em vista as audiovisualidades e sua processualidade rizomática; foi problematizado a partir do método intuitivo; foi de sconstruído e agrupado em constelações; e, por fim, dissecado em moldurações, molduras e emolduramentos para dar a ver os sentidos ofertados. Tal arquitetura possibilitou a seguinte conclusão: a pausa AV é um misto que, como tal, possui uma tendência atualizada em ralentis, inscrições fotográficas e fragmentos longos, e outra, virtual: a espera. Essa constituição a diferencia como ethicidade do mundo audiovisual contemporâneo, que oferta sentidos a partir de suas figuras sonoras, dos intervalos, das diamorfoses e das suspensões e, possivelmente, agencia esperas no observador – comoexpectativa ou antecipação –, respondendo a desejos e a crenças do homem atual acerca de seu mundo e de sua existência. A delimitação do conceito de pausa AV contribui para a compreensão da cena audiovisual contemporânea, plena de outras ethicidades como o tempo e o acontecimento audiovisuais, dadas a ver também pelos agencimentos da pausa AV. / The present thesis presents the invention of the concept of audiovisual pause - AV pause - starting on perceptions and afections about a corpusof 80 materials, including television, videographic, cinematic, phothographic and internetic productions. Using the theoretical and methodological approaches of Silva and Rossini, Bergson, Deleuze, Guattari, Derrida, Benjamin, and Kilpp, among others, the corpuswas cartographically produced in view of the audiovisualities and your rhizomatic processivity; problematized with the intuitive method; deconstructed and grouped into constellations; and dissected on moldurações, molduras e emolduramentos to become visible the offering of meanings.Such architecture allowed the following conclusion: the AV pause is a mixture that, as such as, has a tendency toupdates itself in ralentis, photographic inscriptions and long fragments, and another, virtual, the wait. This caracterization differentiates it like an ethicidade of the audiovisual world, that offers meanings starting onsounding figures, intervals, diamorfoses, suspencions, and possibly makes waits agencies on the observer - as expectation or anticipation - in response to desires and beliefs of modern man about their world and existence. The delimitation of the concept of AV pause, we believe, contributes to the understanding of contemporary audiovisual scene, full of other ethicidadesas audiovisual time and event, too became visible by the agencies of AV pause.