The thesis deals with the analysis of the literary titles and literary female heroines, that entered into the title of a literary work. The theoretical part first discusses the concept of womanhood for two important philosophers - Gilles Lipovetsky in his work, The third wife[1] and Milan Machovec in the publication Philosophy in the face of the demise of[2] . The Centre of gravity of the theoretical basis regarding the literary theoretical categories - titles and literary characters, Josef Peterka textbooks represent the Theory of literature for teachers[3] , the rigorous work of Josef Lesak Poetics in contemporary Czech prose[4] and an extensive theoretical literary publication of Daniela Hodrová . ... on the edge of chaos[5] . The knowledge from the theoretical part is applied to the analytical part of the thesis, which discusses titles of the nine selected literary works and nine female heroines of Czech prose of the 2nd half of the 20th century and the beginning of the 21st century, who have been highlighted in the titles of these literary works. [1] LIPOVETSKY, Gilles: Third wife, Prague: Prostor, 2000. [2] MACHOVEC, Milan: Philosophy in the face of extinction. Prague: Akropolis, 2006. [3] PETERKA, Josef: Theory of literature for teachers. Prague: Charles University in Prague, Faculty of...

Diploma thesis deals with detection of romantic and realistic components in three selected novels, traditionally placed on the border between romanticism and realism, and more closely examines if their ambiguity in terms of literary movement is from a contemporary point of view up-to-date and relevant, and what constitutes it. This main goal is preceded by the need to define the most complex concepts of literary romanticism and realism, including their specific characteristics, tendencies and distinct feautures. Particular analyses are developed according to a preselected warp whose individual items are universal aspects of a literary work such as subject matter, plot, narration, characters, space-time and language devices which are monitored, on the basis of conclusions rendered in a theoretical part of this thesis, for a particular degree of romantic and realistic heritage. Within each analysis we were able to decide which aspects of the work are fully or rather consistent with the principles of romanticism and which are conversely in accordance with realistic tradition. The subsequent summary analysis helped to answer the question whether the work as a whole is closer to romanticism or realism. Recognition of different forms of realationship between romantic and realistic principle that naturally...

À la lecture de la Loi sur le droit d'auteur, il n'est pas clair que la mise en scène y soit protégée. C'est pourquoi nous nous questionnons sur la qualification juridique la plus adéquate pour la mise en scène. Le metteur en scène est-il un artiste-interprète ou un auteur? Après avoir étudié les caractéristiques artistiques des mises en scène, par types de productions et à la lumière de facteurs faisant varier la latitude du metteur en scène, nous étudions les différentes possibilités de qualification juridique de la mise en scène. Les possibilités sont vastes, car le metteur en scène évolue dans un cadre comprenant plusieurs intervenants. De plus, la mise en scène rencontre deux obstacles caractéristiques à sa qualification juridique en droit d'auteur: la fixation et l'originalité. Nous en venons à la conclusion que le metteur en scène est un auteur, car chacun des aspects de la mise en scène serait protégeable sous différentes qualifications juridiques. / Stage directions are not c1early protected under the current wording of the Copyright Law. This is why we wonder which legal qualification would be most appropriate. Is the stage director a performer or an author? We study the possibilities of legal qualification for stage direction, according to its artistic characteristics by production types, and considering the different factors which influence the Stage Director's liberty as well. The possibilities are vast since the Stage Director works in collaboration with several other intervening parties. Also, the Stage Director meets two typical obstacles: fixation and originality. We conclude that the Stage Director is an author because each and every aspect of the stage directions are copyrightable, under different legal qualifications.

Master's thesis was focused on enjoyment from reading. The aim of the thesis was to analyze and after that characterize, where the enjoyment from reading lies, which factors do affect it, which elements of titel do participate on iit, by different respondents based on qualitative survey. The first part of thesis was dedicated to theoretical treatise about enjoyment generally and enjoyment from art. Focus was placed on conception of reader and author, on reading and literary work from literry theory point of view. In practical part was at first introduced and commented set of questions, that was used as a tool for enjoyment study together with methodology of qualitative research. After that my answers on questions focused on immediate enjoyment and perception were submitted also with expected answers from respondents, following the elaboration of respondents reader's profiles nad their enjoyment from reading. The analyzes of answers related to respondent's enjoyment were part of annexes. Keywords Enjoyment, enjoyment chaining, reader, reading, readership, reader's biography, self- reflection, analysis, author, literary work, literature

Escrito pelo ficcionista e ensaísta italiano Italo Calvino, e publicado pela Einaudi em 1979, Se um viajante numa noite de inverno é uma das mais significativas obras metaficcionais da literatura ocidental, na medida em que seu autor desvela os mecanismos da narração, desencadeando uma reflexão sobre a prática da escritura e da leitura, bem como sobre as relações entre o escritor, o texto e o leitor dentro da própria obra literária. Assim, esta dissertação busca demonstrar como o romance Se um viajante numa noite de inverno opera sobre o horizonte de expectativas do Leitor – o protagonista do romance, tomando como referenciais teóricos a Hermenêutica filosófica, as Estéticas da recepção e do efeito, bem como as concepções provenientes dos estudos de região e regionalidade. São observados, nesse sentido, conceitos e categorias intrinsecamente associados ao horizonte de expectativas do Leitor, tais como experiência hermenêutica, experiência estética, lugares vazios, região e regionalidade. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2014-12-05T12:41:21Z No. of bitstreams: 1 Dissertacao Bruno Brizotto.pdf: 1308074 bytes, checksum: 6071d7adf66dcb4a6da00c3634e378f4 (MD5) / Made available in DSpace on 2014-12-05T12:41:21Z (GMT). No. of bitstreams: 1 Dissertacao Bruno Brizotto.pdf: 1308074 bytes, checksum: 6071d7adf66dcb4a6da00c3634e378f4 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES, Brasil. / Written by the Italian novelist and essayist Italo Calvino, and published by Einaudi in 1979, If on a winter’s night a traveler is one of the most significant metafictional works of Western literature, to the extent that the author reveals the mechanisms of narration, triggering a reflection about the practice of writing and reading, as well as about the relationship between the writer, the text and the reader in the literary work itself. Thus, this dissertation aims to demonstrate how the novel If on a winter’s night a traveler operates on the horizon of expectations of the Reader – the protagonist of the novel, taking as theoretical references the Philosophical hermeneutics, the Aesthetics of reception and effect, as well as the conceptions derived from the studies of region and regionality. It is observed, in this sense, concepts and categories intrinsically associated with the horizon of expectations of the Reader, such as hermeneutic experience, aesthetic experience, empty spaces, region, and regionality.

Esta dissertação trata dos mecanismos de geração do humor no conto “No Kaddish for Weinstein” (ALLEN, 1975). É possível identificar nessa narrativa a forte e frequente presença do humor étnico, mais especificamente do humor judaico-americano. Porém acredita-se que este não seja o único tipo de humor de que o autor faz uso, considerando-se também que o humor possui diversos mecanismos e pode emergir de diversas situações. Por essa razão, há a necessidade de não só identificar o humor característico de Woody Allen, mas também analisar o tipo de narrativa que esse escritor constrói em seus contos. Além disso, é necessário verificar a relevância do conhecimento cultural na construção do humor e nas relações identitárias que constituem as personagens e narradores. Partindo do pressuposto de que o humor de WA é singular, surgem as questões desta pesquisa: (a) Quais são os domínios, estratos e parâmetros que tipificam a narrativa de Allen?, (b) Quais os mecanismos de humor que o autor usa em seus contos?, (c) Que elementos linguísticos, culturais, identitários e cognitivos são peças-chave na construção do humor alleniano? A partir dessas questões, surgem questionamentos derivados: por que o humor e o judaísmo estão conectados? Qual a relação entre eles? O objetivo geral da pesquisa é examinar o humor nos contos de Woody Allen e sua relação com elementos sociocognitivos e identitários da cultura judaica e judaico-americana. Os objetivos específicos são (a) analisar a estrutura narrativa dos contos de WA, (b) identificar as características dos tipos de humor no conto alleniano “No Kaddish for Weinstein”, (c) analisar os elementos linguísticos que fazem emergir o humor no conto em questão, (d) relacionar elementos linguísticos e fatores socioculturais no conto do escritor e (e) relacionar os elementos que constituem o humor alleniano. Entre os vários contos pré-analisados de diferentes coletâneas da produção de Allen, escolheu-se o conto “No Kaddish for Weinstein", por ser uma narrativa que reúne características que estão presentes, em maior ou menor grau, em seus contos como um todo. Embora variem as temáticas narrativas, o conto “No Kaddish for Weinstein" pode ser considerado prototípico. Por prototípico, entende-se a propriedade de reunir, de forma bastante condensada, atributos gerais do estilo narrativo do autor. Os resultados demonstram que o autor utiliza uma ampla variedade de mecanismos geradores de humor, tais como: quebra de expectativa do leitor, punch lines e scripts opostos. Quanto as questões identitárias da cultura judaico-americana, são mais salientes as referências à autodepreciação e a costumes próprios desta cultura. Fica evidente a construção de uma narrativa que demanda a evocação de conhecimentos enciclopédicos (frames) por parte do leitor, sem os quais não é possível reconhecer o humor potencial do conto. Todos esses resultados se encontram relacionados com o tipo de estrutura narratológica do conto, segundo o framework do Sistema Cognitivo da Narrativa de Talmy (2000), principalmente em relação ao perfilamento de um leitor que compartilhe de conhecimentos da cultura judaico-americanca e de referências as mais diversas à história e cultura nova-iorquina. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-03-30T16:36:07Z No. of bitstreams: 1 Dissertacao Cíntia Brunetta Moreira.pdf: 1436905 bytes, checksum: 5f270e4ff2f3d61937e25705566549f3 (MD5) / Made available in DSpace on 2015-03-30T16:36:07Z (GMT). No. of bitstreams: 1 Dissertacao Cíntia Brunetta Moreira.pdf: 1436905 bytes, checksum: 5f270e4ff2f3d61937e25705566549f3 (MD5) / This dissertation is about humor mechanisms generation present in the short story “No Kaddish for Weinstein” (ALLEN, 1975). It is possible to identify in the narrative the frequent presence of ethnic humor, more specifically the Jewish-American humor. However, it is believed that this is not the only type of humor the author uses, considering also that humor can emerge from many different mechanisms and situations. For this reason, there is the necessity of not only identifying the characteristic humor of Woody Allen, but also the necessity of analyzing the narrative type built by the author in his short stories. Besides all that, it is necessary to verify the relevance of cultural background in humor generation, as well as in identity relations within characters and narrators. The research questions derive from the presupposition that the humor created by Allen is singular, they are: (a) what are the domains, strata and parameters that typify Allen’s narrative?, (b) what are the humor mechanisms that the author uses in his short stories?, (c) what linguistic, cultural, identity and cognitive elements are essential in the Allenian humor? Other questions rise from these interrogations: why humor and Judaism are connected? What is the relation between them? The general objective of this research is to examine the humor present in Allen’s short stories and its relation with sociocognitive and identity elements of Jewish culture. The specific objectives are (a) to analyze the narrative structure in Allen’s short stories, (b) to identify the characteristics of the type of humor in Allen’s “No Kaddish for Weinstein”, (c) analyze what linguistic elements make humor rise in Allen’s referred short story, (d) make relations between linguistic and sociocultural elements in Allen’s short story and (e) make relations between the elements that constitute allenian humor. Among the many short stories pre-analyzed from different collection books produced by Woody Allen, “No Kaddish for Weinstein” was chosen for being a narrative that encompasses the characteristics that are present, in higher or lower degree, in all his short stories as a whole. Although the narrative themes vary, the short story “No Kaddish for Weinstein" can be considered prototypical. By prototypical it is understood the property of encompassing, in a condensed manner, the general requisites of the narrative style of the author. The results demonstrate that the author makes use of a great variety of humor mechanisms, among them: rupture of the reader’s expectation, punch lines e opposite scripts. In relation to the identity issues of Jewish-American culture, the references to selfhatred and habits are more relevant. It is evident, the construction of a narrative that demands from the reader the evocation of encyclopedic knowledge (frames). Without the recognition of these frames it is not possible to recognize the potential humor of the short story. All the results are related with the narratologic structure type of the short story, according to the framework of the Cognitive Approach to the Analysis of Narrative by Talmy (2000). This is mainly because it permits designing a reader’s profile that shares the knowledges concerning the Jewish-american and New Yorker culture, moreover references about history.

O trabalho aborda as identidades gaúchas representadas por personagens de O Tempo e o Vento na perspectiva de suas variações, focando a diversidade inerente a constituição do tipo humano sul-brasileiro e a pluralidade da formação social rio-grandense, terra fronteiriça e marcada pela mistura de diferentes culturas. Esse traço é marcante no romance histórico de Erico. Está na proposta estética da narrativa: na constituição, arquitetura e desenvolvimento do clã Terra-Cambará. Através da figura do gaúcho serrano busca-se pensar de que maneira as várias etnias interagiram ao longo do tempo, no processo de ocupação, conquista e delimitação do espaço. Pela contraposição das diferenças, as identidades regionais poderão “resplandecer com maior fulgor”, revelando algumas peculiaridades locais; sinais distintivos, atributos identitários que podem delimitar e cofundir diferentes territórios sulinos. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-09-30T14:06:15Z No. of bitstreams: 1 Dissertacao Andre Fontana.pdf: 1461979 bytes, checksum: f36be6216c4aa3e1ca3d074160c122f5 (MD5) / Made available in DSpace on 2015-09-30T14:06:15Z (GMT). No. of bitstreams: 1 Dissertacao Andre Fontana.pdf: 1461979 bytes, checksum: f36be6216c4aa3e1ca3d074160c122f5 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES / The present paper approaches the “gaúchas” identities represented by characters in O Tempo e o Vento in the perspective of their variations, emphasizing the diversity inherent to the constitution of the South-Brazilian human kind. It also highligths the plurality of the rio-grandense social formation, bordering upon land and characterized by the mixture of different cultures. This trait is remarkable in Erico’s historical novel. It is in the esthetic proposal of the narrative: in the constituition, architecture and development of the Terra-Camabrá clan. Through the figure of the mountain region “gaucho”, it is possible to think of which ways several ethnic groups have interacted along time, in the process of occupation, conquer and delimitation of space. Through the counter position of the differences, the several regional identities will be able to “shine with greater splendor”, revealing some local peculiarities; distinctive signs, identity attributes that may delimit and co fuse different southern territor ies.

Esta dissertação analisa crônicas do livro Histórias sem amanhã, de Lara de Lemos, escritas nos anos de 1950, para o Jornal Correio do Povo, de Porto Alegre, e publicadas em livro em 1963. O propósito da análise é evidenciar o modo como a autora problematiza a condição feminina, expandindo a sua discussão para a condição humana, os problemas sociais e os paradoxos da vida na cidade, buscando verificar a relação entre o particular e o universal, uma vez que os textos, ao abordar questões do cotidiano, atingem uma dimensão estética que os torna universais. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-09-30T16:54:23Z No. of bitstreams: 1 Dissertacao Salete Nair Carletto Cousseau.pdf: 1159734 bytes, checksum: 47d412306cb6bcc32e6a730716e90dd8 (MD5) / Made available in DSpace on 2015-09-30T16:54:23Z (GMT). No. of bitstreams: 1 Dissertacao Salete Nair Carletto Cousseau.pdf: 1159734 bytes, checksum: 47d412306cb6bcc32e6a730716e90dd8 (MD5) / This dissertation analyzes some chronicles from the book Histórias sem Amanhã, from Lara de Lemos, written in the 1950‟s, to be published in Correio do Povo newspaper in Porto Alegre further the chronicles had been published as a novel in 1963. The purpose of this analysis is to evidence the way the author discusses the status of the female condition, expanding her argument to the human condition, social problems and paradoxes from de life in the city, searching to reflect the relationship between particular and universal, once the texts, approaching this daily issues reaching an aesthetic dimension that turns then universal.

A presente dissertação consiste na análise da obra As pedras do caminho, da escritora gaúcha Lydia Mombelli da Fonseca, no tocante à investigação literária da representação do sujeito feminino, com base em aporte teórico de estudos culturais de gênero, crítica feminista, bem como regionalidade, ideologia patriarcal e identidade. Nesse sentido, observa-se o papel referente à mulher na sociedade, principalmente, por volta da década de 1950, ano de publicação do romance, com o objetivo de desvelar estigmas e comportamentos esperados das mulheres na época, além de promover reflexões a respeito de naturalizações sociais estabelecidas e reproduzidas em relação ao sujeito feminino, ainda, em meio à contemporaneidade. Ademais, este estudo busca demonstrar a participação da mulher como sujeito do processo histórico-cultural enquanto produtora de texto literário, trazendo ao conhecimento acadêmico a autora Lydia Mombelli da Fonseca, a fim de contribuir para o alargamento da história cultural e literária da Região de Colonização Italiana do Rio Grande do Sul e do próprio estado. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-11-23T15:36:15Z No. of bitstreams: 1 Dissertacao Jaqueline Modelski.pdf: 1377584 bytes, checksum: 5c06aba292ddfb13df6bd8e3f3feea8c (MD5) / Made available in DSpace on 2016-11-23T15:36:15Z (GMT). No. of bitstreams: 1 Dissertacao Jaqueline Modelski.pdf: 1377584 bytes, checksum: 5c06aba292ddfb13df6bd8e3f3feea8c (MD5) Previous issue date: 2016-11-23 / The present dissertation consists on the analysis of the novel The stones of the road (As pedras do caminho), by the female gaucho writer Lydia Mombelli da Fonseca, with regard to the literary research of the representation of the female subject, based on theoretical framework of cultural studies of gender, feminist criticism and regionality, patriarchal ideology and identity. In this sense, it is possible to observe the role relating to women in society, especially in the decade of 1950, the year of publication of the novel, in order to unveil stigmas and behaviors expected of women at the time, in addition to promoting reflections on established and reproduced social naturalizations in relation to the female subject, even amidst the present. Furthermore, this study seeks to demonstrate the participation of women as the subject of historical and cultural process as a producer of literary text, bringing to academic knowledge the author Lydia Mombelli da Fonseca, in order to contribute to the expansion of the cultural and literary history of the Italian Colonization Region of Rio Grande do Sul and the state itself.

Este trabalho busca analisar como Monteiro Lobato concretiza seu projeto de construção de uma literatura infantil brasileira, em obras constituintes da coleção do Sítio do Picapau Amarelo, especialmente através do livro Peter Pan, de 1930. A personagem homônima original do escocês James Matthew Barrie apareceu pela primeira vez em uma peça de teatro em 1910, em Londres, e tornou-se um clássico contemporâneo, largamente adaptado e traduzido, inclusive pelos estúdios de animação de Walt Disney. Lobato, que era tradutor, escolheu não apenas traduzir a obra de Barrie, mas apropriar-se dela no universo do Sítio; nos livros do brasileiro, a história do menino que não quer crescer é contada pela personagem Dona Benta a seus netos; a partir daí, diversas propriedades ficcionais do original britânico se manifestam em muitos momentos na obra infantil do paulista. Esse recurso é consoante com uma prática defendida pela geração de escritores do modernismo brasileiro de 1922: a antropofagia. Embora Lobato fosse dissidente do grupo, e apesar de sua prosa para adultos ter sido pouco modernista, sua literatura infantil se mostra extremamente similar àquilo que o grupo de Oswald de Andrade e Mário de Andrade defendia. Com base em Lajolo e Ceccantini (2008), Zilberman (1982), Vieira (2008) e White (2011), este trabalho busca mostrar como se dá o entrecruzamento antropofágico da obra de Barrie com a de Lobato, e como o paulista construiu sua literatura nacionalista para crianças. Em Peter Pan de Lobato, há dois universos mágicos e sobrenaturais que se sobrepõem: o Sítio e a Terra do Nunca; o escopo analítico deste trabalho passa, então, por teóricos do modo literário insólito / fantástico, como Todorov (2007), Roas (2014), García et al. (2007), e outros. Além disso, busca-se analisar a visão do Brasil que o escritor paulista conseguia vincular à sua literatura infantil, pensando em identidade regional, nacional e no contexto de globalização, com base em Hall (2005), Said (2011), e em considerações sobre região e nação. A conclusão é que Lobato era um tradutor cultural que conseguia trazer aos leitores do país, pioneiramente, histórias antigas e novas que eram produzidas no exterior, vestindo-as à brasileira, digerindo-as de maneira antropofágica, e que sua influência ficcional é visível até os dias de hoje, no que diz respeito à formação de uma identidade brasileira moderna. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-11-30T15:13:28Z No. of bitstreams: 1 Dissertacao Felipe Teixeira Zobaran.pdf: 2350229 bytes, checksum: e21ade58b573958d1a70ac720aabfacf (MD5) / Made available in DSpace on 2016-11-30T15:13:28Z (GMT). No. of bitstreams: 1 Dissertacao Felipe Teixeira Zobaran.pdf: 2350229 bytes, checksum: e21ade58b573958d1a70ac720aabfacf (MD5) Previous issue date: 2016-11-30 / Conselho Nacional de Desenvolvimento Científico e Tecnológico, CNPq / This thesis aims at examining to what extend Brazilian writer Monteiro Lobato brings out his children's literature project in the books of the Sítio do Picapau Amarelo series, focusing especially on the novel Peter Pan, released in 1930. The original story by Scottish playwright James Matthew Barrie first appeared in a play in London in 1910, and became a contemporary classic, widely adapted and translated, including film versions by Walt Disney studios. Lobato, who was a famous translator, chose not only to translate the work of Barrie, but to absorb it into his own fiction; in the Brazilian books, the story of the boy who does not grow up is told by the character Dona Benta to her grandchildren; from there on, several fictional properties of the original British story manifest in many instances to the children of São Paulo. This feature is in line with Brazilian modernism writers of 1922, who defended Antropofagia (literary cannibalism), that is, a sharp reinforcement of the Brazilian identity in literature, by absorbing foreign aesthetics and transforming them into something original. Although Lobato was a dissident of that group, and even though his prose for adults was not very modernistic, his books for children are similar, in some ways, to what Oswald de Andrade and Mario de Andrade were producing in the early 1920’s. Based on Lajolo and Ceccantini (2008), Zilberman (1982), Vieira (2008) and White (2011), this paper shows the intertwining fiction of Barrie and Lobato, and how the Brazilian books get to defend a sort of nationalism. In Lobato’s Peter Pan, two supernatural worlds converge: Sítio do Picapau Amarelo and Neverland; thus, this paper analyses both fictional worlds based on fantasy literature theories, such as the works of Todorov (2007), Roas (2014) and García et al. (2007). Moreover, this analysis seeks to define Lobato’s view of Brazilian identity, based on Hall (2005), Said (2011) and theories of nationalism. The conclusion is that Lobato was a cultural translator, who could bring to the country's readers old and new stories that were produced abroad, making them very Brazilian, by digesting them in a cannibalistic way. His fictional influence is, actually, visible until today, as it helped in the formation of a modern Brazilian identity.