Made available in DSpace on 2015-09-25T12:20:31Z (GMT). No. of bitstreams: 1 PDF - Josue Pereira dos Santos.pdf: 844707 bytes, checksum: 9f8499cbc1c6d88cb54205d4f75a7381 (MD5) Previous issue date: 2012-06-01 / This study intends to analyze the critical reception to O pagador de promessas who takes this text by the aristotelian paradigm of tragedy. Through a historical-critical review about Brazilian modern theater and drama, this play is located next to national-popular trend, appointed as counter-hegemonic in the pursuit and consolidation of a national theater, between the late 1950s and mid of 1970s. Amid the artistic diversity of this period, this text can be argued between Peter Szondi s theory about crisis of the drama, understood as one in which the themes that emerged from the development of capitalism and its contradictions no longer fit the old Drama the so-called bourgeois drama or absolute drama and precipitates a new form: the modern drama. In this form of drama, from dialogue emerges a narrative elements incorporated into the dramatic structure. It also intends to discusses that even if the Dias Gomes play apparently has the formal features of ancient tragedies (as the tragic closed conflict, unity of action, time and space, remnants of the choir, immoderation and catastrophe), these elements are in confrontation with the epic already quite evident, such as the inability of understanding between two Brazils, rural and urban, materialized in the dialogues that become, in that way, unproductive , opening space for the question that looms large in our argumentation. / Trata-se de um estudo da recepção crítica, além de um esboço de análise-interpretação, de O pagador de promessas que pretende discutir as interpretações que situam este texto no paradigma aristotélico da tragédia. Mediante uma revisão histórico-crítica em torno do teatro/drama brasileiro moderno, situando-se esta peça junto à tendência nacional-popular, tornada contra-hegemônica na busca e consolidação de um teatro nacional, entre fins da década de 1950 e meados da década de 1970. Em meio à pluralidade artística deste período, pode-se discutir este texto a partir do que Peter Szondi chama de crise do drama, entendida como aquela em que os temas surgidos a partir do desenvolvimento do capitalismo e suas contradições não mais se adéquam à forma antiga da Dramática o assim chamado drama burguês ou absoluto e fazem eclodir uma nova forma a que se chama de drama moderno. Nesta forma do drama, do diálogo emergem elementos épico-narrativos incorporados à estrutura. É preciso também discutir que, apesar de a peça de Dias Gomes apresentar, aparentemente, traços formais semelhantes aos das tragédias antigas (como o conflito trágico cerrado, unidade de ação, tempo e lugar, resquícios do coro, descomedimento e catástrofe), estes elementos estão em embate com a irrupção do épico, revelada na incapacidade de entendimento entre dois brasis, o rural e o urbano, materializado nos diálogos que se tornam, assim, improdutivos , abrindo espaço para o questionamento que avulta em nossa argumentação.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O propósito deste trabalho é analisar como se dá a ressignificação da memória nas obras Meu vô Apolinário: um mergulho no rio da (minha) memória e Você lembra, pai?, de Daniel Munduruku, buscando compreender em que medida intervém nas representações das identidades que buscam referendar-se na tradição e na ancestralidade. Munduruku é o escritor indígena de maior renome no cenário literário brasileiro da atualidade, com 45 obras publicadas, é representante de uma escrita indígena que, embora em estágios diferentes, vem conquistando espaço e sendo cada vez mais publicada no Brasil, abrindo um novo leque para culturas pouco representadas nas obras de ficção sob o ponto de vista do próprio indígena. A voz dantes silenciada pelo colonizador constitui-se, em esfera literária, na representação do que é ser indígena. Esse dizer-se se estabelece por meio da navegação no rio da memória, e busca na ancestralidade um norte que aponte aspectos culturais que possam sustentar um ideal identitário indígena, tendo a diferença como marca contrastante e constituinte. Ao olhar o passado para explicar o presente, as âncoras da embarcação literária são lançadas em determinados pontos, descontinuando o movimento nas águas da memória. Essas questões serão abordadas neste estudo de caráter essencialmente qualitativo, cujas bases estão fundamentadas na pesquisa interdisciplinar de referencial teórico sobre identidade-representação-memória, na qual foram envolvidos conhecimentos de Sociologia, Antropologia e Psicologia Social, situando-se na busca pela compreensão das influências do que é rememorado nas obras indígenas, e das representações sociais que predominam como marcas identitárias, ou como a própria identidade. / The purpose of this paper is to analyze how is the redefinition of memory in the Daniel Munduruku‟s works Meu vô Apolinário: um mergulho no rio da (minha) memória e Você lembra, pai?, seeking to understand the extent to which intervenes in the representations of identities that seek to ratify the tradition and ancestry. Munduruku is the most renowned Indian writer in the Brazilian literary scene today, with 45 published works, is representative of an indigenous writing that, although at different stages, is conquering space and increasingly being published in Brazil, opening up a new range for cultures underrepresented in fiction from the point of view of indigenous own. The voice silenced before the colonists constitutes, in the literary sphere, the representation of what is being indigenous. This tell if states by navigating the river of memory, and search in a North ancestry that point cultural aspects that can sustain an indigenous identity ideal, taking the difference as contrasting and constituent brand. When looking at the past to explain the present, the anchors of literary craft are launched at certain points, discontinuing the movement in the waters of memory. These issues will be addressed in this study essentially qualitative, whose foundations are based on the theoretical framework of interdisciplinary research on identity-memory-representation, in which were involved knowledge of Sociology, Anthropology and Social Psychology, standing in the quest for understanding the influences what is recollected in indigenous works, and social representations that dominate as identity marks, or the identity.

O objetivo deste trabalho é sugerir uma análise detalhada do romance Essav (Esaú) pelo autor israelense Meir Shalev. O romance foi publicado em 1991, e é essencialmente uma espécie de saga, que transmite a história de algumas gerações de uma família judia, desde os primeiros dias da colonização sionista na terra de Israel. Meir Shalev começou a escrever no final dos anos oitenta e pertence à geração pós-modernista. Sua escrita mostra influências das características de seu tempo. Mesmo assim, ainda podemos detectar em seu trabalho tendências modernistas que estão sendo manifestadas na busca de encontrar um sentido para a vida e na tentativa de representar sua complexidade. A metodologia da análise detalhada do romance se baseia em várias fontes teóricas: a primeira é Close Reading, um termo cunhado por Richards, um dos líderes da escola nova crítica. O procedimento desta leitura é focar atentamente nas palavras escritas, na tentativa de descobrir e descrever todos os efeitos de suas relações linguísticas. Outra fonte metodológica é o ensaio famoso de Roland Barthes e sua afirmação de que o autor está morto. A morte do autor permite o nascimento do leitor que pode assumir novas autoridades para com o texto na frente dele. O \"dialogismo\" de Bakhtin fornece uma outra base teórica importante. Segundo esta teoria, qualquer expressão verbal provoca relações intertextuais com muitos outros discursos. Desde o romance Essav é rico em alusões e citações da Bíblia e da literatura ocidental, a intertextualidade é igualmente uma ferramenta interpretativa importante. A análise do romance começa com uma tentativa de descobrir os princípios que organizam a sua estrutura, o que pode parecer uma espécie de colagem ou uma colcha, feita de diferentes ítens que estão ligados sem qualquer orientação distinta. O romance apresenta um conceito de que os acontecimentos históricos são, na verdade, ciclos repetitivos. Uma tentativa de compreender a natureza do tempo é outro tema embutido nele. O romance também trata de questões humanas e as relações entre o homem, a terra e a natureza, elementos que recebem teor mitológico no romance. Estes temas estão também ligados à questão da ideologia sionista e seu impacto sobre a estratificação social das primeiras gerações de assentamento pioneiro. 6 Outros temas derivam da análise dos fundamentos bíblicos no romance, especialmente as histórias sobre o relacionamento e o destino dos gêmeos Jacó e Esaú. Temas centrais adicionais, típicos na poética de Meir Shalev, são aqueles de realização e perda e de relação entre a ficção e a realidade. Este ultimo tema é construído pelo uso massivo de citações e alusões à literatura mundial e por um estilo de narrativa de um trovador. Este estilo rompe a ilusão de realidade, salientando o ato de narrar em si só. / The purpose of this work is to suggest a detailed analysis of the novel Esav (Esau) by the Israeli author Meir Shalev. The novel was published in 1991, and is essentially, a type of saga, which conveys the story of four generations of Jewish family starting from the first days of Zionist settlements in the land of Israel. Meir Shalev, who started writing in the late eighties, belongs to the postmodernist generation, and his writing shows influences of the tendencies of his time. Even so, we can still detect in his work, clear modernist trends, which are being manifested in a search for meaning and in portraying the complexity of life. The methodology of the detailed analysis of the novel relies on several theoretical sources: the first is \'close reading, a term coined by Richards, one of the leaders of the new criticism school. The procedure of close reading focuses on the words on the page, in an attempt to discover and describe all the effects of their linguistic relations. Another methodological source is the famous essay of Roland Barthes and his assertion that the author is dead; the death of the author allows the birth of the reader, who can assume new authorities towards the text in front of him. Bakhtins Dialogism provides another important theoretical basis. According to this theory, any verbal utterance provokes intertextual relations with many other utterances. Since the novel Esav is rich with allusions and quotations from the Bible and Western literature, intertextuality is also an important interpretative tool. The analysis of the novel begins with an attempt to uncover the principles that organize its structure, which might appear to be a kind of collage or a quilt, made of different items that are attached together, without any distinct guideline. The novel presents a concept that historical events are actually repeating cycles. An attempt to understand the nature of time is another theme embedded in it. The novel also deals with human relationships and mans attitude to earth and nature, elements that receive a mythological design in the novel. These themes are also connected to the question of Zionist ideology and its impact on the social stratification of the early generations of pioneering settlement. More themes derive from the analysis of the role of the biblical infrastructure of the novel, especially the stories about the relationship and the fate of the twins Jacob and Esau. Other central themes, typical of Meir Shalevs poetics, are those of fulfillment and loss, and the relationship between fiction and reality. The last theme is established by a massive use of quotations and allusions to world-literature and by a narrative style of a troubadour. This style breaks the illusion of reality and thus, emphasizes the act of telling in itself.

in English: Keywords: literary analysis, imagology, Czech migrant writers, Dutch literature, Jana Beranová, Jan Stavinoha The diploma thesis aims to explore the portrayal of Czech characters and the Czechoslovakia in Dutch-language works written by authors of Czech origin, namely in selected novels by Jana Beranová and Jan Stavinoha. The principal research questions are: 1. What motifs typical of migrant literature might be identified in the analysed novels? 2. How are the Czech characters portrayed? 3. How is the Czechoslovakia portrayed? Is the portrayal of the country of origin contrasted with that of the country of arrival, i.e. the Netherlands? The theoretical framework of the diploma thesis focuses on Dutch migrant literature and socio-political environment in Czechoslovakia from 1945 until present. The method used in the thesis is based on imagology and structural analysis. The practical part provides an analysis of the novels Nu delen we een geheim (1992) by Jana Beranová and In goede handen (1984) by Jan Stavinoha. As the analysis illustrates, the two novels include features of migrant literature as described in critical sources, such as the depiction of oppression in one's homeland, the life between two cultures and the difficulty of overcoming the language barrier. Other features of...

When talking about tonal music, we sometimes tend to take for granted the idea that the tonic should always be clearly established either at the beginning or the end. However, there are composers who sometimes deviate from the normal path by creating different types of riddles or tonal enigmas in their works. Some of these riddles can be solved later on as the piece progresses; yet others may need to bexplained with the help of some external references. This thesis examines three such examples, each of which poses its unique enigma. The second movement of Bruckner's Symphony No. 1 presents a dualism between Ab and F (paralleled by their dominants Eb and C); Brahms's Alto Rhapsody involves an enormous auxiliary cadence spanning 2/3 of the piece and a seemingly plagal cadence which turns out to be authentic with the V suppressed; and eventually, Grieg's setting of Dereinst, dereinst, Gedanke mein provides a paradoxical ending which may be understood as incorporating the composer's attitude towards the text.

The aim of this thesis was to analyze how the discourse between the two main characters in Richard Yates’s novel Revolutionary Road implies complex power dynamics concerning identity formation. The analysis has been conducted by the use of positioning theory as well as the critical lens of the Heterosexual Matrix in order to discuss positioning findings in relation to gender formation. The results show that the positionings in discourse between Frank and April reveal great and detrimental power dynamics entrenched in social and cultural practices as well as predetermined ideas of gender identity. This thesis has also addressed how the knowledge of such complexity in discourse can be analyzed in the Swedish EFL classroom. This has been argued for by demonstrating the use of the discursive tool of positionings and the gender critical lens of the Heterosexual Matrix in the classroom to validate the use of Revolutionary Road as a source to raise awareness of gender consciousness and encourage students to become conscious gender actors in their social life.

The purpose of this study was to understand the process of music teacher large-scale conference professional development (PD) implementation (i.e., the integration of conference-derived learnings into classroom practice). The context of this investigation was two national music conferences, the Midwest Clinic and the National Association for Music Education National In-Service Conference, and one state music conference, the Texas Music Educators Association Clinic/Convention. Using purposive maximum variation sampling, active music teachers (n = 32) who each attended one of these conferences were recruited. Data collection occurred in a series of three participant interview phases, staggered according to which conference participants attended and when each conference was held. Twenty-eight participants were interviewed twice, and four participants were interviewed once, yielding a total of 60 interview transcripts, which were then openly, axially, and selectively coded in accordance to grounded theory method. The principal finding, the cycle of music teacher large scale conference professional development implementation (C-MTPDI), revealed an implementation process in three phases. First, the consideration phase (before/during conference) entailed needs assessment, direct engagement, change articulation, and, for some participants, deterrent factors/contingencies. Second, the realization phase (immediate post-conference) included translation, integration, and recalibration. Third, and finally, the decision phase (3-5 weeks post-conference) included evaluation. The core category, or main theme of the research, was seeking convergence: relevance, practicability, and impact. Contextual conditions included PD worldview and PD policy environment. Avenues for future scholarship include clarifying differences in design and effectiveness among and within music-specific PD models, more fully understanding the status of large-scale conference PD in music education and its effect on practice, and theorizing PD implementation in non-conference contexts. Practical implications include developing new theory-aligned PD policies, putting into place more robust infrastructures of implementation support for large-scale conference attendees, addressing PD funding inequities between teachers in music and non-music disciplines, and helping practitioners to newly conceive "one-off" PD events (e.g., large-scale conferences) as sustainable investments in long-range professional growth.

Ce travail tente d’examiner, à la lumière de l'analyse littéraire, les récits narratifs présents dans le Coran et de suivre les transformations que ces récits ont subi en passant de la tradition biblique à la tradition islamique. Il tente aussi de chercher la raison d’être de ces récits dans une expression non pas historique mais bien métaphorique. Dans cette optique, il est difficile d'articuler ensemble révélation divine et expérience humaine voilà pourquoi nous avons d’abord étudié le rapport entre Histoire et expression littéraire dans les récits Coraniques. Nous aborderons tour à tour la question de la Révélation du point de vue de la prophétie, le passage fragmentaire de la Parole à l’écrit et la naissance du texte avant de passer à l’analyse strictement littéraire et le fonctionnement des récits dans l’ensemble scripturaire. Nous nous appuierons sur le récit particulier d’Abraham pour conforter notre idée d’une lecture constellaire des récits dans le Coran. / This work attempts to examine, in the light of literary analysis, the narratives present in the Quran and to follow the transformations that these stories have undergone in passing from the biblical tradition to the Islamic tradition. It also tries to seek the nature of these stories as an expression that is not historical but rather metaphorical. In this perspective, it is difficult to articulate divine Revelation and human experience together, which is why we first studied the relationship between History and literary expression in Quranic stories. We will address in turn the question of Revelation from the point of view of prophecy, the fragmentary passage from God’s Word to human writing and the birth of the text before moving on to a strictly literary analysis and the functioning of stories throughout the scripture as a whole. We will rely on the particular story of Abraham to reinforce our idea of a constellational reading of the stories in the Quran.

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Classics and Modern Europe Language / M.A. Ancient Languages and Culture