Este trabalho busca investigar o jogo de representação no romance As Horas Nuas (1989), de Lygia Fagundes Telles, a partir da construção da protagonista Rosa Ambrósio. Na recuperação do passado pelo exercício da memória, os papéis femininos por ela outrora desempenhados no teatro como atriz misturam-se ao seu próprio repertório e descortinam a encenação de uma história de sujeição da mulher, suas tentativas de emancipação e a difícil arte de harmonizar a convivência nas esferas pública e privada. A divisão da perspectiva narrativa com um gato dotado de pensamento crítico e com uma onisciência seletiva que apresenta a intimidade da analista da atriz corrobora tanto a relação da protagonista envelhecida com os membros de sua intimidade, quanto desvenda a condição plural das mulheres no Brasil da década de 80. Propomos que os mecanismos de mediação escolhidos por Telles, especialmente o uso da intertextualidade com o teatro e a representação do processo de elaboração do pretenso livro de memórias de Rosa revelam sua experiência social como mãe, esposa, amante, filha, patroa, paciente, e também o diálogo da escritora com o próprio fazer literário. Na tessitura narrativa de As Horas Nuas, com seus limites movediços entre invenção e memória, lembrança e esquecimento, configurados na dialética de expor e ocultar, delineiam-se, entre espelhos e máscaras, as transformações sociais ocorridas com a mulher e com a instituição familiar no país durante quase meio século. / This dissertation seeks to investigate the role of representation in the novel As Horas Nuas (1989), by Lygia Fagundes Telles, based on the construction of the protagonist Rosa Ambrósio. By recovering the past through the exercise of her memory, the female roles once performed by her as a theatre actress mingle with her own experience and unveil the enactment of a womans story of submission, her attempts at emancipation and the difficult art of harmonizing her coexistence in the public and private spheres. The shared point of view between Rosa Ambrósio, a critical cat and a selective omniscient narrator, who presents the intimacy of the actresss psychoanalyst, portrays the relationship of the aged protagonist with those around her and also uncovers womens plural condition in Brazil in the 80s. What we propose is that the mechanisms of mediation chosen by Telles, especially the use of intertextuality with theatrical plays and the intended writing process of Rosas memoirs, reveal her social background as a mother, wife, lover, daughter, mistress, patient, but also the dialogue of the writer with literary production itself. In the narrative texture of As Horas Nuas, with its unstable boundaries between invention and memory, remembrance and oblivion, configured in the dialectic of exposing and hiding, the social transformations that women and the family as an institution have been through in the country for nearly half a century are delineated between mirrors and masks.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-02-01T18:31:39Z No. of bitstreams: 1 joycescoralicksilvestre.pdf: 583670 bytes, checksum: 4b1eb2d6b774d02bae8a12a4bd67628e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-02-01T20:15:08Z (GMT) No. of bitstreams: 1 joycescoralicksilvestre.pdf: 583670 bytes, checksum: 4b1eb2d6b774d02bae8a12a4bd67628e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-02-01T20:15:19Z (GMT) No. of bitstreams: 1 joycescoralicksilvestre.pdf: 583670 bytes, checksum: 4b1eb2d6b774d02bae8a12a4bd67628e (MD5) / Made available in DSpace on 2016-02-01T20:15:19Z (GMT). No. of bitstreams: 1 joycescoralicksilvestre.pdf: 583670 bytes, checksum: 4b1eb2d6b774d02bae8a12a4bd67628e (MD5) Previous issue date: 2014-03-20 / Este trabalho tem como objetivo um exame da produção de literatura como uma resposta aos enfrentamentos e aos afetos experimentados pelo escritor. O artista, com seu caráter essencial de encontrar-se muito presente e próximo daquilo que o cerca, será aquele que percebe e recebe as mudanças que ocorrem, em especial na modernidade, e encara o desolamento que elas provocam por sua própria essência e transporta tais desassossegos para sua produção: arte. Na modernidade o homem vê-se lançado em uma globalização sem precedentes que, entre outras coisas, o lança a uma solidão em que é preciso mudar os valores tão rapidamente quanto a época o exige. No caso específico do livro estudado, Fernando Pessoa construiu no Livro do Desassossego aquilo que o heterônimo a quem é atribuída sua autoria (Bernardo Soares) chama de uma espécie de biografia “sem fatos”. É através dessa biografia sem fatos que Soares se coloca como um alguém que necessita escrever para dar conta das melancolias que o assaltam, mostrando, assim, que escrever funciona como clínica de suas dores: tais dores que são bastante próprias dele, e não se confundem com as dos outros heterônimos, nos denotando mais uma característica da modernidade: a fragmentação e a busca incessante por algo que seja possível chamar sempre de “eu”. / This paper aims at presenting an examination of the production of literature as a response to the confrontation and the affections experienced by the writer. The artist, with his essential characteristic to find himself very present and close to what surrounds him, will be the one who understands and receives the changes that occur, particularly in modernity, and face the overwhelming that these changes cause by their very essence and he carries such disquiet to his production: art. In modernity, man sees himself released in an unprecedented globalization, among other things, the launches him into a loneliness in that changings the values are needed as quickly as the moment requires. In the specific case of the studied book, Fernando Pessoa built in Livro do Desassossego what the heteronym to whom its authorship is attributed (Bernardo Soares) calls a kind of biography "without facts". It is through this biography without facts that Soares is placed as someone who needs to write to deal with melancholy that assaults him, showing thus that writing functions as a treatment for his pain: such pains that are quite his, and not to be confused with those of other heteronyms, show one more feature of modernity: fragmentation and the incessant search for something that would be possible to always call "I".

Este trabalho busca investigar o jogo de representação no romance As Horas Nuas (1989), de Lygia Fagundes Telles, a partir da construção da protagonista Rosa Ambrósio. Na recuperação do passado pelo exercício da memória, os papéis femininos por ela outrora desempenhados no teatro como atriz misturam-se ao seu próprio repertório e descortinam a encenação de uma história de sujeição da mulher, suas tentativas de emancipação e a difícil arte de harmonizar a convivência nas esferas pública e privada. A divisão da perspectiva narrativa com um gato dotado de pensamento crítico e com uma onisciência seletiva que apresenta a intimidade da analista da atriz corrobora tanto a relação da protagonista envelhecida com os membros de sua intimidade, quanto desvenda a condição plural das mulheres no Brasil da década de 80. Propomos que os mecanismos de mediação escolhidos por Telles, especialmente o uso da intertextualidade com o teatro e a representação do processo de elaboração do pretenso livro de memórias de Rosa revelam sua experiência social como mãe, esposa, amante, filha, patroa, paciente, e também o diálogo da escritora com o próprio fazer literário. Na tessitura narrativa de As Horas Nuas, com seus limites movediços entre invenção e memória, lembrança e esquecimento, configurados na dialética de expor e ocultar, delineiam-se, entre espelhos e máscaras, as transformações sociais ocorridas com a mulher e com a instituição familiar no país durante quase meio século. / This dissertation seeks to investigate the role of representation in the novel As Horas Nuas (1989), by Lygia Fagundes Telles, based on the construction of the protagonist Rosa Ambrósio. By recovering the past through the exercise of her memory, the female roles once performed by her as a theatre actress mingle with her own experience and unveil the enactment of a womans story of submission, her attempts at emancipation and the difficult art of harmonizing her coexistence in the public and private spheres. The shared point of view between Rosa Ambrósio, a critical cat and a selective omniscient narrator, who presents the intimacy of the actresss psychoanalyst, portrays the relationship of the aged protagonist with those around her and also uncovers womens plural condition in Brazil in the 80s. What we propose is that the mechanisms of mediation chosen by Telles, especially the use of intertextuality with theatrical plays and the intended writing process of Rosas memoirs, reveal her social background as a mother, wife, lover, daughter, mistress, patient, but also the dialogue of the writer with literary production itself. In the narrative texture of As Horas Nuas, with its unstable boundaries between invention and memory, remembrance and oblivion, configured in the dialectic of exposing and hiding, the social transformations that women and the family as an institution have been through in the country for nearly half a century are delineated between mirrors and masks.

Critical studies and creative works in the Sesotho novel have made some of the important contributions in Sesotho literary history in particular, and African literary history in general. However, such contribution has been dictated by a particular history and an ideology. The world-view in literary practice that emerged from that history is the one that tends to divorce literature, literary study and language from society. Consequently, this study identifies this practice as a problem that needs to be addressed. This study argues from this perspective that literature, literary study and language should be re-established as integral parts in a manner that pedagogical practice would translate into positive social practices. To realise this ideal the study approaches the study of the Sesotho novel from the perspective of literary production. The theory of literary production insists that literature is a form of social production. This argument becomes even more pertinent to the study of the novel, which is viewed as having profound elements of realism that mirror society. A consideration of the Sesotho novel as a form of literary production that is linked to other forms of social production immediately leads to the question of the development of the Sesotho novel. The possibilities that are identified include external influence and internal evolution in the development of the Sesotho novel. These possibilities also have a bearing on the study of the Sesotho novel in particular and the study of the African novel in general. In order to pursue the argument to its logical conclusion, the development of the Sesotho novel is divided into three periods: 1900-1930; 1930-1960 and the 1960s- 1990s. Each of these periods demonstrates a particular ideological leaning that is akin to the material conditions of each period. Taking this trend as a pattern in the development of the Sesotho novel, this study advocates an approach that links literature and literary studies to society. / African Languages / D.Litt. et Phil. (African Languages)

This thesis engages in the Marian cult in Bohemia in the second half of the 17th century. The first, general part is the characteristic of the Marian devotion with the secondary literature, followed by a chapter on Czech prints with the Marian theme (1650-1750). The base of the thesis is the analysis of the work of J. I. Dlouhoveský (1638-1701). The analysis focuses on some forms of the Marian cult: pilgrimage, cult of saints (especially of Bohemian patrons), Marian devotion in the Habsburg dynasty and a folk piety. The last chapter deals with the literary self-presentation of Dlouhoveský (example of the Marian devotee). The appendix consists of the inventory of all works of Dlouhoveský, and of the graphs that summarize information about the Marian prints (1650-1750).

Critical studies and creative works in the Sesotho novel have made some of the important contributions in Sesotho literary history in particular, and African literary history in general. However, such contribution has been dictated by a particular history and an ideology. The world-view in literary practice that emerged from that history is the one that tends to divorce literature, literary study and language from society. Consequently, this study identifies this practice as a problem that needs to be addressed. This study argues from this perspective that literature, literary study and language should be re-established as integral parts in a manner that pedagogical practice would translate into positive social practices. To realise this ideal the study approaches the study of the Sesotho novel from the perspective of literary production. The theory of literary production insists that literature is a form of social production. This argument becomes even more pertinent to the study of the novel, which is viewed as having profound elements of realism that mirror society. A consideration of the Sesotho novel as a form of literary production that is linked to other forms of social production immediately leads to the question of the development of the Sesotho novel. The possibilities that are identified include external influence and internal evolution in the development of the Sesotho novel. These possibilities also have a bearing on the study of the Sesotho novel in particular and the study of the African novel in general. In order to pursue the argument to its logical conclusion, the development of the Sesotho novel is divided into three periods: 1900-1930; 1930-1960 and the 1960s- 1990s. Each of these periods demonstrates a particular ideological leaning that is akin to the material conditions of each period. Taking this trend as a pattern in the development of the Sesotho novel, this study advocates an approach that links literature and literary studies to society. / African Languages / D.Litt. et Phil. (African Languages)

This thesis deals with the translations beyond official publishers during the era of Communism in Czechoslovakia from 1948 to 1989. More particularly, the thesis is focused on mapping Czech translations of German literature published in samisdat during the Communist era and on understanding a sociology of translation in the samisdat production. Taking into account the social changes and cultural politics, the author explores when, by whom, in what circumstances and for what reason were the German texts translated. Furthermore, the aim of this thesis is to determine whether the translation work in samisdat was coordinated, and if so, to find out by whom. Another aim is to find out whether there was a publishing strategy during the samisdat translations. A method of oral history is used in order to interview the contemporary witnesses. Findings based on these interviews are later grouped into a force field using Pierre Bourdieu's sociological model. The conclusion consists of findings about the process of translating German literature to Czech during the samisdat era. These data are then evaluated and analysed from several points of view.

A proposta desta pesquisa é oferecer uma análise a respeito da trajetória política e intelectual de Josué Guimarães (São Jerônimo, 07 de janeiro de 1921 – Porto Alegre, 23 de março de 1986), centralizada no período que vai desde a década de 1940 até da década de 1980, momento que corresponde a sua inserção definitiva no universo literário ficcional. A dissertação baseia-se nos conceitos de campo, intelectual, trajetória e representação: o conceito de campo, proposto por Pierre Bourdieu, auxiliou na compreensão da rede de relações de Guimarães; a noção de intelectual, segundo as considerações de Gérard Leclerc, fundamentou a forma de ver as suas ações; o conceito de trajetória, também de Bourdieu, permitiu ver tais ações fora de uma teleologia; o conceito representação, de Roger Chartier, auxiliou na leitura da obra Os tambores silenciosos. Ao entrecruzar o intelectual, a trajetória político-intelectual, seus contatos no campo e o romance, encontrei caminhos para entender e interpretar a postura crítica de Josué Guimarães frente à sociedade. A pesquisa pretende contribuir, a partir da análise da trajetória de um único sujeito, para uma melhor compreensão da dinâmica do campo intelectual gaúcho. / The purpose of this research is to provide an analysis about the political and intellectual trajectory of Josué Guimarães (São Jerônimo, January 7th, 1921 – Porto Alegre, March 23rd, 1986), centered on the period from the 1940s to mid-1980s, a period of time that corresponds to his definitive insertion into the fictional literary universe. The dissertation is based on the concepts of field, intellectual, trajectory, and representation: the concept of field, proposed by Pierre Bourdieu, helped into the comprehension of Guimarães’ web of social relationships; the notion of intellectual, according to the considerations by Gérard Leclerc, determined the way of seeing his actions; the concept of trajectory, also by Pierre Bourdieu, allowed seeing these actions out of a teleology; the concept of representation, by Roger Chartier, helped in the reading of the book Os tambores silenciosos. By interlacing the intellectual, the intellectual and political trajectory, his contacts inside the field and the romance, I have found ways to understand and interpret the critical posture of Josué Guimarães in relation to the society. The research aims to contribute, from the analysis of a single subject’s trajectory, to a better comprehension of the dynamic of the gaucho intellectual field.

A proposta desta pesquisa é oferecer uma análise a respeito da trajetória política e intelectual de Josué Guimarães (São Jerônimo, 07 de janeiro de 1921 – Porto Alegre, 23 de março de 1986), centralizada no período que vai desde a década de 1940 até da década de 1980, momento que corresponde a sua inserção definitiva no universo literário ficcional. A dissertação baseia-se nos conceitos de campo, intelectual, trajetória e representação: o conceito de campo, proposto por Pierre Bourdieu, auxiliou na compreensão da rede de relações de Guimarães; a noção de intelectual, segundo as considerações de Gérard Leclerc, fundamentou a forma de ver as suas ações; o conceito de trajetória, também de Bourdieu, permitiu ver tais ações fora de uma teleologia; o conceito representação, de Roger Chartier, auxiliou na leitura da obra Os tambores silenciosos. Ao entrecruzar o intelectual, a trajetória político-intelectual, seus contatos no campo e o romance, encontrei caminhos para entender e interpretar a postura crítica de Josué Guimarães frente à sociedade. A pesquisa pretende contribuir, a partir da análise da trajetória de um único sujeito, para uma melhor compreensão da dinâmica do campo intelectual gaúcho. / The purpose of this research is to provide an analysis about the political and intellectual trajectory of Josué Guimarães (São Jerônimo, January 7th, 1921 – Porto Alegre, March 23rd, 1986), centered on the period from the 1940s to mid-1980s, a period of time that corresponds to his definitive insertion into the fictional literary universe. The dissertation is based on the concepts of field, intellectual, trajectory, and representation: the concept of field, proposed by Pierre Bourdieu, helped into the comprehension of Guimarães’ web of social relationships; the notion of intellectual, according to the considerations by Gérard Leclerc, determined the way of seeing his actions; the concept of trajectory, also by Pierre Bourdieu, allowed seeing these actions out of a teleology; the concept of representation, by Roger Chartier, helped in the reading of the book Os tambores silenciosos. By interlacing the intellectual, the intellectual and political trajectory, his contacts inside the field and the romance, I have found ways to understand and interpret the critical posture of Josué Guimarães in relation to the society. The research aims to contribute, from the analysis of a single subject’s trajectory, to a better comprehension of the dynamic of the gaucho intellectual field.

A proposta desta pesquisa é oferecer uma análise a respeito da trajetória política e intelectual de Josué Guimarães (São Jerônimo, 07 de janeiro de 1921 – Porto Alegre, 23 de março de 1986), centralizada no período que vai desde a década de 1940 até da década de 1980, momento que corresponde a sua inserção definitiva no universo literário ficcional. A dissertação baseia-se nos conceitos de campo, intelectual, trajetória e representação: o conceito de campo, proposto por Pierre Bourdieu, auxiliou na compreensão da rede de relações de Guimarães; a noção de intelectual, segundo as considerações de Gérard Leclerc, fundamentou a forma de ver as suas ações; o conceito de trajetória, também de Bourdieu, permitiu ver tais ações fora de uma teleologia; o conceito representação, de Roger Chartier, auxiliou na leitura da obra Os tambores silenciosos. Ao entrecruzar o intelectual, a trajetória político-intelectual, seus contatos no campo e o romance, encontrei caminhos para entender e interpretar a postura crítica de Josué Guimarães frente à sociedade. A pesquisa pretende contribuir, a partir da análise da trajetória de um único sujeito, para uma melhor compreensão da dinâmica do campo intelectual gaúcho. / The purpose of this research is to provide an analysis about the political and intellectual trajectory of Josué Guimarães (São Jerônimo, January 7th, 1921 – Porto Alegre, March 23rd, 1986), centered on the period from the 1940s to mid-1980s, a period of time that corresponds to his definitive insertion into the fictional literary universe. The dissertation is based on the concepts of field, intellectual, trajectory, and representation: the concept of field, proposed by Pierre Bourdieu, helped into the comprehension of Guimarães’ web of social relationships; the notion of intellectual, according to the considerations by Gérard Leclerc, determined the way of seeing his actions; the concept of trajectory, also by Pierre Bourdieu, allowed seeing these actions out of a teleology; the concept of representation, by Roger Chartier, helped in the reading of the book Os tambores silenciosos. By interlacing the intellectual, the intellectual and political trajectory, his contacts inside the field and the romance, I have found ways to understand and interpret the critical posture of Josué Guimarães in relation to the society. The research aims to contribute, from the analysis of a single subject’s trajectory, to a better comprehension of the dynamic of the gaucho intellectual field.