Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-15T10:18:44Z No. of bitstreams: 1 anapaulavitoriodacosta.pdf: 7367912 bytes, checksum: f79d1594bc37af5064e4702097472e58 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-15T11:17:25Z (GMT) No. of bitstreams: 1 anapaulavitoriodacosta.pdf: 7367912 bytes, checksum: f79d1594bc37af5064e4702097472e58 (MD5) / Made available in DSpace on 2015-12-15T11:17:25Z (GMT). No. of bitstreams: 1 anapaulavitoriodacosta.pdf: 7367912 bytes, checksum: f79d1594bc37af5064e4702097472e58 (MD5) Previous issue date: 2015-03-18 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O propósito deste trabalho é investigar os fotolivros como processos intermidiáticos. Mais especificamente, procuramos entender de que maneira as relações entre diferentes mídias ocorrem de modo a particularizar o fotolivro como um fenômeno que associa e relaciona estruturas e processos semióticos diversos. Nossa investigação concentra-se nas obras Silent Book, de Miguel Rio Branco (2012) e Sí por Cuba, de Tatiana Altberb (2005). Descrevemos nos dois fotolivros, o complexo cruzamento de fronteiras midiáticas. Concluímos que em um fotolivro, não se pode observar os processos sígnicos da fotografia sem considerar o livro como o contexto em que ela ocorre, muito menos atestar as relações intermidiáticas alusivas, que envolvem literatura, cinema, música, arquitetura, pintura, grafite etc., sem que a relação fotografia-livro seja considerada. Esta pesquisa foi metodologicamente baseada nos estudos de intermidialidade e na semiótica de C. S. Peirce. / This work aims to investigate the photobooks as intermedial processes. The purpose is specifically to understand how relationships between different media occur and specify the photobook as a phenomenon which associates and relates several semiotic structures. The study focuses on the investigation of the following works: Silent Book, by Miguel Rio Branco (2012) and Sí por Cuba, by Tatiana Altberb (2005). In these two photobooks, the media border crossing is made of complex relations. Our conclusion is that is not possible to observe the sign processes of the photography without to observe the book as its context. Is necessary to consider the relationship between photography and book to understand all the associations that occur in the photobooks, including the intermedial references that involve literature, cinema, music, architecture, paint, graphite etc. The research is supported by studies of intermediality and based on the C. S. Peirce`s semiotic.

<p>Предмет истраживања ове докторске дисертације су интермедијална преплитања у прозном и филмском стваралаштву савременог америчког аутора Пола Остера<br />(1947). Интермедијалност је термин који описује однос и узајамни утицај присуства више медија у једном уметничком делу на формалном и тематском нивоу (књижевности, фотографије, филма, плеса). Истраживање се фокусира на досадашње стваралаштво овог аутора, са посебним акцентом на последњу деценију 20. века која је за то стваралаштво била пресудна; у дисертацији се тумаче, путем дубинских анализа, дијалошки однос различитих медија у Остеровим романима и филмовима које је режирао и/или за које је писао сценарија, разлози за постојање овог дијалошког односа и његове последице по формирање једног посебног уметничког сензибилитета. С обзиром на место Пола Остера као једног од најрелевантнијих стваралаца савремене америчке и светске књижевности, његов опус сагледава се у ширем контексту америчке и европске културе и поготову у контексту израженог утицаја визуелних медија од друге половине 20. века. Теоријски оквир комбинује постулате књижевне и филмске наратологије, као и студија интермедијалности и адаптације, у сврху преиспитивања начина на који се конвенције разнородних уметничких израза мењају и развијају, тиме остварујући простор за нова опажања.</p> / <p>Predmet istraživanja ove doktorske disertacije su intermedijalna preplitanja u proznom i filmskom stvaralaštvu savremenog američkog autora Pola Ostera<br />(1947). Intermedijalnost je termin koji opisuje odnos i uzajamni uticaj prisustva više medija u jednom umetničkom delu na formalnom i tematskom nivou (književnosti, fotografije, filma, plesa). Istraživanje se fokusira na dosadašnje stvaralaštvo ovog autora, sa posebnim akcentom na poslednju deceniju 20. veka koja je za to stvaralaštvo bila presudna; u disertaciji se tumače, putem dubinskih analiza, dijaloški odnos različitih medija u Osterovim romanima i filmovima koje je režirao i/ili za koje je pisao scenarija, razlozi za postojanje ovog dijaloškog odnosa i njegove posledice po formiranje jednog posebnog umetničkog senzibiliteta. S obzirom na mesto Pola Ostera kao jednog od najrelevantnijih stvaralaca savremene američke i svetske književnosti, njegov opus sagledava se u širem kontekstu američke i evropske kulture i pogotovu u kontekstu izraženog uticaja vizuelnih medija od druge polovine 20. veka. Teorijski okvir kombinuje postulate književne i filmske naratologije, kao i studija intermedijalnosti i adaptacije, u svrhu preispitivanja načina na koji se konvencije raznorodnih umetničkih izraza menjaju i razvijaju, time ostvarujući prostor za nova opažanja.</p> / <p>This PhD thesis aims to research the intermedial<br />nature of the literary and cinematic opus of the<br />contemporary American author Paul Auster<br />(1947). Intermediality is a term describing the<br />relationship and mutual influence of multiple<br />media existing within one single work of art, on<br />the formal and thematic level (literature,<br />photography, film, dance). The research focuses<br />on the author&rsquo;s works until the present day,<br />looking especially at the last decade of the 20th<br />century that marked a shift in the author&rsquo;s<br />expression. The thesis employs a close reading<br />of the dialogic relationship between different<br />media present in Auster&rsquo;s novels and the films<br />he wrote and/or directed, of the reasons behind<br />the existence of this dialogic relation, and of its</p><p>consequences in the formation of a specific<br />artistic sensibility. Bearing in mind the position<br />of Paul Auster as one of the most relevant<br />writers of contemporary American and world<br />literature, his opus is analyzed in the wider<br />context of American and European culture and,<br />especially, in the context of the heightened and<br />rising influence of visual media in the second<br />half of the 20th century. The theoretical<br />framework combines the ideas of literary and<br />film narratology, as well as intermediality<br />studies and adaptation studies, all with the aim<br />of re-examining the way in which conventions<br />of diverse artistic expressions get transformed<br />and evolve, opening thus new spaces of<br />interpretation.</p>

The diploma thesis deals with the Czech cultural phenomenon Vecernicek. Three interpretative sections of the thesis show the possibility to place Vecernicek among modern fairytales as well as they prove its continuity to the traditional fairytale output. At the same time, the thesis draws on distictions between traditional and modernized poetics. Choice series are interpreted with respect to intermediality and specific form of Vecernicek as a TV programme designed for pre-school and and primary-school children. .

Various contemporary female authors deploy supernatural motifs portrayed through or alongside diverse forms of intermediality in texts which thematise the patriarchal oppression of women. In order to throw light on this phenomenon, this thesis investigates the intermedial relations and supernatural motifs of Carmen Maria Machado’s novella “Especially Heinous: 272 Views of Law &amp; Order: SVU”, and their relation to the political themes of the text. The analysis is based on the method of intermediality, primarily on Lars Elleström’s and Irina O. Rajewsky’s categorisations of intermedial relations. The supernatural motifs are situated within the hybrid context of the gothic and magical realism, and understood as an expression of strangeness. The analysis of this thesis finds that media transformation in combination with supernatural motifs serve to visualise oppressive and violent structures that are typically obscured. What is more, the similarities and tensions between intermediality and supernatural strangeness emphasise the dread and confusion produced in the encounter with uncanny or eerie societal forces. Finally, the tension and the resistance that arise where supernatural strangeness and intermediality meet illustrate a fundamental dilemma of communication: that it is always mediated, and thus, always incomplete.

The diploma work titled Ex/position is a project, exhibition, intervention of space, which determined itself as the topic and object of its research (analysis and interest). The Ex/position is an exhibition about an exhibition, a project about a project and a reflection about a context. The main output of the thesis is a curatorial project created in the concept of collaborative practice. The result of it is a collective work in the form of an exhibition. The thesis as a temporary gallery installation is created on the basis of the curatorial and as well authorial concept in collaboration with other authors. They were ideologically, formally, creationally involved in the collective work. The Ex/position reflects these topics: collaboration, the essence of the particular media and their contemporary intermediality, the relation between author and author, author and curator (and their blending) and the creation process of an exhibition.

This paper examines the notion of authenticity in social media videos through an intermedial analysis that dissects the varying roles of participating parties. Social media videos are increasingly used as means of highly intermedial communications all around the world and across all cultures. The conducted research investigates authenticity in film and extends it to include social media videos. As perception of authenticity relies on successful understanding of context, the authenticity of social media videos that make clear claims about their context is more easily understood. Through intermedially examining three different media products (a film and 2 social media videos), the proposed theory is demonstrated in practice by means of preforming authenticity tests. Although it is not always easy to produce a confident ruling, the intricacies of the process highlight the role of intermedial elements responsible for determining authenticity. This research project can serve as a basis for further studies in highly intermedial forms of communication in social media. It could also provide insight for future investigative research that aim to understand the effects of prolonged exposure to inauthentic content in our day to day lives.

Данная работа посвящена изучению трансформации литературных текстов разных родов в музыкально-драматическую форму, а также анализу феномена оперного либретто как «квазижанрового» единства. В качестве материала исследования были выбраны тексты литературных произведений различных родов: «Кармен» П. Мериме, «Корсар» Дж. Байрона, «Сон в летнюю ночь» У. Шекспира и «производные» от них тексты оперных либретто Ж. Бизе, Дж. Верди и Б. Бриттена. Выбор литературных текстов и соответствующих им оперных либретто, в данном случае, подчинен нашему стремлению раскрыть различные способы «перевода» текстов из одного вида искусства в другой, а также трансформацию различных прецедентных литературных текстов (новелла, поэма, драма) в «стихотворно-музыкальную драму». Первая глава посвящена проблеме жанровой идентичности либретто в аспекте теории интермедиальности, выдвигается собственная трактовка жанровой принадлежности либретто. Доказано, что с точки зрения жанровой принадлежности либретто может быть представлено как «квазижанровое» единство, поскольку либретто в большинстве случаев – это «вторичный» текст, написанный на основе уже существующего литературного первоисточника, имеющего прикладную функцию и приобретающего эстетическую значимость лишь во взаимодействии с музыкальным оформлением. Вторая глава посвящена проблеме корреляции между оперным либретто и исходным по отношению к нему литературным текстом. Рассматриваются особенности трансформации драматического («Сон в летнюю ночь» У. Шекспира), поэтического («Корсар» Дж. Байрона) и прозаического («Кармен» П. Мериме) текстов в музыкальную форму. Сопоставляются различные стратегии, используемые либреттистами при «переводе» литературных текстов в оперное либретто. Делается вывод об их эффективности. / This work is devoted to the study of generic transformations of literary texts into the musical-dramatic form, as well as to the analysis of the phenomenon of operatic libretto as an instance of “quasi-genre”. As a research material, literary works of various genres were chosen: namely, “Carmen” by P. Merimee, J. Byron's “Corsair”, W. Shakespeare’s “The Midsummer Night's Dream”, and the lyrics of the operatic libretto by J. Bizet, Verdi, and B. Britten. The choice of literary texts and the corresponding opera librettos, in this case, discloses various ways of “translating” texts from one art form to another, as well as the transformation of various precedent literary texts (short story, poem, drama) into “a poetic musical drama”. The first chapter is devoted to the problem of the genre identity of the libretto in the light of intermediality, and a new interpretation of the genre is proposed. It is proved that, in terms of genre affiliation, the libretto can be represented as a “quasi-genre” unity, since in most cases the libretto is a “secondary” text based on an already existing literary source, which thus requires aesthetic significance only when complemented with the music. The second chapter is devoted to the problem of the correlation between the operatic libretto and the original literary text. Features of the transformation of the dramatic ("A Midsummer Night’s Dream" by William Shakespeare), the poetic ("The Corsair" by J. Byron) and the prosaic (the "Carmen" by P. Merimee) texts into a musical form are considered. Different strategies used by librettists when translating literary texts into an opera libretto are studied. A conclusion on their aesthetic integrity is made.

Cette thèse a pour objet l'adaptation théâtrale du roman 'Tirano Banderas' (1926) de l'écrivain espagnol Ramón María del Valle-Inclán. À cette fin, une recherche sur la dramaturgie centrée sur le processus de transduction a été réalisée, concrètement sur l'interprétation et sur la transformation du texte original de Valle-Inclán, qui a donné lieu à un relevé mise en scène, comprenant le script et les principaux éléments de la représentation de la pièce "Tirano Banderas". En annexe sont joints le DC de la musique, les esquisses du décor et du maquillage, les partitions ainsi qu'un document audiovisuel de plusieurs scènes pilotes. / The goal of this thesis is a stage adaptation of the novel 'Tirano Banderas' (1926) by Spanish writer Ramón María del Valle-Inclán. Dramaturgical research into the process of transduction, that is, the interpretation and transformation of the original text by Valle-Inclán, has led to the creation of a director's notebook, a document that unites the objectives of the "Tirano Banderas" performance, focusing on the primary elements of the representation. Sketches of the set, makeup, a CD with music, the musical score, and an audiovisual document of varios pilot scenes have been added to the Appendix. / El objeto de esta tesis es la adaptación escénica de la novela 'Tirano Banderas' (1926) del escritor español Ramón María del Valle-Inclán. Con ese fin se ha llevado a cabo una investigación dramatúrgica focalizada en el proceso de transducción, es decir, de interpretación y de transformación del texto original de Valle, que ha desembocado en un cuaderno de dirección, documento que recoge la propuesta de espectáculo "Tirano Banderas", centrándose en los elementos principales de la representación. En anexo se adjuntan los bocetos del decorado, del maquillaje, un CD-audio con la música, las partituras y un documento audiovisual de varias escenas piloto.

Avec la publication du «Théâtre postdramatique» d’Hans-Thies Lehmann et la montée de la performance dans la représentation théâtrale contemporaine, le drame, et avec lui le texte dramatique, semblent une fois de plus mis à mal. Or, la propension de certains ouvrages critiques à présenter comme cataclysmique l’avènement d’un théâtre postdramatique laisse en plan de nombreuses questions, notamment celle de la dynamique texte/scène qui, plutôt que d’en évacuer la première constituante, semble en métamorphoser les deux parties. Ce mémoire entend creuser la question du texte au sein de cette dynamique afin d’interroger ses mutations et les techniques d’approche qui permettent de l’intégrer dans une praxis théâtrale. / With Hans-Thies Lehmann’s ''Postdramatic Theater'' and the growing presence of performance in the contemporary theater scene, the notion of drama, and the text itself, seems once again to suffer a terrible blow. Unfortunately, some critics’ tendencies to present new ways of making theater as if it were a violent upheaval, overshadow some phenomena, for one the dynamic between text and scene, in which instead of its first constituant disapearing, both of them seem to metamorphose under mutual influence. This thesis will investigate that phenomenom and its consequences on the dramatic text, as well as how we understand it as praxis of contemporary theater.

Ce travail prétend mener une réflexion sur l’exercice possible de l`intermédialité, l’adaptation pour le cinéma de la pièce El Paso de la troupe de théâtre La Candelaria de Bogotá-Colombie. Après avoir fait un bref résumé du mouvement du Nouveau Théâtre Colombien, la pièce est contextualisée historiquement en prenant comme point de départ la fable. La réflexion se fait sur les possibilités expressives des deux langages théâtral et cinématographique, à partir de l`utilisation de l`espace dans les deux médias. La précarieté dans laquelle vivent les personnages de l`histoire influence également l`économie de la mise en scéne. La précarieté est associée à la vulnérabilité de la vie et le hors champ abordé comme un dispositif permettant la médiation de la précarieté, dans les deux médias. A partir de cette caractéristique estétablie une relation par rapport à la réalité physique qu`établit Siegfried Kracauer, puis nous entrons dans l`étude du hors champ théâtral et cinématographique et de sa relation à la musique. Enfin, des spéculations sont faites quant aux possibilités d´une versión cinématographique. / This work aims to reflect on an exercise of intermediality for the adaptation to cinematography of “El Paso”, a play by the theatrical group of La Candelaria of Bogotá. We weave together the theatrical piece taking fable and its historical moment as a starting point, as well as a review of the New Colombian Theatre and of collective creation as a mode of artistic production. The reflexion is made on the expressive possibilities of the theatrical and cinematographical languages, beginning with the utilization of space in both media. Poverty is associated with the vulnerability of life and the “hors champ” employed as a mechanism which aids in the mediation of poverty in both media. The poverty in which the characters of the story move , influences the economy of the “mis en scène”, a quality which relates to the physical reality stated by Siegfried Kracauer. Afterwards we make a reflexion on the “hors champ” both of theatre and cinema and its relation with music. Finally we speculate on argumental possibilities that surge out of putting on scene spaces which had been only barely suggested in the theatre. / Este trabajo pretende desarrollar una reflexión sobre un posible ejercicio de intermedialidad, la adaptación para cine de la puesta en escena El Paso del grupo de teatro La Candelaria de Bogotá, Colombia. Reflexionamos sobre las posibilidades expresivas de los dos lenguajes a partir de uso del espacio en el teatro y en el cine. Contextualizamos la pieza teatral tomando como punto de partida la fabula, luego hacemos una reseña del momento histórico y sus antecedentes, y del movimiento del Nuevo Teatro Colombiano. La precariedad en la que viven los personajes de la historia influye también en la economía de la puesta en escena, a partir de esta característica establecemos una relación con la realidad física que plantea Siegfried Kracauer. Luego entramos a estudiar el fuera de campo teatral y cinematográfico y su relación con la música. Finalmente se especula sobre las posibilidades de la versión para cine.