CoordenaÃÃo de AperfeiÃoamento de NÃvel Superior / FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / La thÃse Avec la Mort dans les Yeux itinÃraires de tueurs à gages est le rÃsultat de cinq annÃes de recherches rÃalisÃes dans lâEtat du Cearà avec des personnages qui directement ou indirectement ont eu un contact avec le crime commandità Durant cette pÃriode ont Ãtà recueillis des rÃcits oraux sous la forme dâhistoires de vie et dâautobiographie dans un travail qui par consÃquent concernait des mÃmoires et des rÃcits Toutes ces histoires que lâon retrouve dans la thÃse sâassocient entre elles à travers un axe commun que jâappelle vision de mort qui se trouve sous leur regard Que ce soit le pistoleiro qui vit de la mort le commanditaire qui paie pour tuer le parent de la victime dâun crime commandità une victime qui a survÃcu à un attentat pratiquà par un tueur à gage ou encore le policier qui a mis en prison plusieurs tueurs à gage ils ont tous ou ils ont tous eu dans leur vie lâexpÃrience de ce type de mort Parmi les interviewÃs, se distingue le personnage principal Idelfonso Maia da Cunha populairement connu sous le nom de Mainha qui sâest illustrà dans le scÃnario local et national par ses meurtres en rapport avec des crimes commanditÃs Exploitant tout cet univers narratif cette thÃse cherche à contribuer à lâÃtude des valeurs et codes construits dans lâunivers social du crime commandità ainsi quâà lâÃtude du processus de constitution de lâhabitus du pistoleiro / A tese Com a Morte nos Olhos itinerÃrios de matadores de aluguel à o resultado de cinco anos de pesquisa realizada no Estado do Cearà com pessoas que direta ou indiretamente tiveram contato com o crime de pistolagem Durante esse perÃodo foram colhidos relatos orais em forma de histÃrias de vida e autobiografia em um trabalho portanto envolvendo memÃrias e narrativas Todas as histÃrias relacionadas na tese associam-se atravÃs de um eixo comum e que chamo da visÃo da morte que està diante dos olhos Quer seja o pistoleiro que vive da morte o mandante que paga para matar o parente da vÃtima de um crime de pistolagem uma vÃtima que sobreviveu a um atentado praticado por um matador de aluguel ou ainda o policial que prendeu vÃrios pistoleiros todos eles tÃm ou tiveram em suas vidas a experiÃncia com esse tipo de morte Entre os entrevistados se sobressai o principal personagem Idelfonso Maia da Cunha popularmente conhecido por Mainha que se destacou no cenÃrio local e nacional por seus crimes de mortes ligados à pistolagem Servindo-se de todo esse universo narrativo esta tese busca contribuir para o estudo dos valores e cÃdigos construÃdos no universo social da pistolagem bem como do processo de constituiÃÃo do habitus de pistoleiro

Preeclampsia and molar pregnancy are two devastating placental pathologies characterized by an immature proliferative trophoblast phenotype accompanied by excessive cell death. It is therefore of paramount importance to study the regulation of cell fate in the placenta, to gain a further understanding of the mechanisms that contribute to these diseases. In this dissertation we report that during normal placental development and in preeclampsia, Matador (Mtd), a pro-apoptotic member of the Bcl-2 family, has a dual function in regulating trophoblast cell proliferation and death. Importantly, we reveal a novel role of Mtd-L in promoting cyclin E1 expression and cell cycle progression. Of clinical importance, we also identify that both cyclin E1 and the CDK inhibitor p27, are increased in severe early onset preeclampsia. However, the inhibitory function of p27 in this pathology may be hampered due to its increased phosphorylation at Ser10, resulting in its nuclear export. Of equal importance, data presented demonstrate that placentae from severe early onset preeclampsia display a molecular profile distinct from late onset preeclampsia or intrauterine growth restricted pregnancies. In the final data chapter we demonstrate that Mtd is highly expressed in molar tissue, where it localizes to both apoptotic and proliferative cells. Our data suggests that an abundance of Mtd and cyclin E1 in conjunction with the low level of p27 may contribute to the hyperproliferative nature of the disorder. The body of work in this dissertation uncovers novel insights into the regulation of trophoblast cell fate. Importantly, the impact of Mtd on cyclin E1 to promote G1-S transition is a novel mechanism found to regulate trophoblast cell proliferation in normal and pathological placentation. Equally important is our identification of molecular differences between placental pathologies that may help to differentiate early and late onset preeclampsia, IUGR and molar pregnancy.

Preeclampsia and molar pregnancy are two devastating placental pathologies characterized by an immature proliferative trophoblast phenotype accompanied by excessive cell death. It is therefore of paramount importance to study the regulation of cell fate in the placenta, to gain a further understanding of the mechanisms that contribute to these diseases. In this dissertation we report that during normal placental development and in preeclampsia, Matador (Mtd), a pro-apoptotic member of the Bcl-2 family, has a dual function in regulating trophoblast cell proliferation and death. Importantly, we reveal a novel role of Mtd-L in promoting cyclin E1 expression and cell cycle progression. Of clinical importance, we also identify that both cyclin E1 and the CDK inhibitor p27, are increased in severe early onset preeclampsia. However, the inhibitory function of p27 in this pathology may be hampered due to its increased phosphorylation at Ser10, resulting in its nuclear export. Of equal importance, data presented demonstrate that placentae from severe early onset preeclampsia display a molecular profile distinct from late onset preeclampsia or intrauterine growth restricted pregnancies. In the final data chapter we demonstrate that Mtd is highly expressed in molar tissue, where it localizes to both apoptotic and proliferative cells. Our data suggests that an abundance of Mtd and cyclin E1 in conjunction with the low level of p27 may contribute to the hyperproliferative nature of the disorder. The body of work in this dissertation uncovers novel insights into the regulation of trophoblast cell fate. Importantly, the impact of Mtd on cyclin E1 to promote G1-S transition is a novel mechanism found to regulate trophoblast cell proliferation in normal and pathological placentation. Equally important is our identification of molecular differences between placental pathologies that may help to differentiate early and late onset preeclampsia, IUGR and molar pregnancy.

Cette thèse pense la place des figures littéraires (le Cantique des cantiques, Kierkegaard, Hofmannsthal) et cinématographiques (Matador d'Almodóvar) de la séduction dans la relation entre le soi et l'autre. Elle interroge le rapport au sacré et à la transcendance que pose l'écriture de la séduction. Dans le premier chapitre, les frontières établies entre littérature et philosophie (personnage conceptuel, figure esthétique) sont interrogées à travers les figures de la séduction. À ces figures sont associées les figures de matadors, qui permettent de penser la violence extrême de la séduction et l'instant au cours duquel la conscience ne peut plus se dédoubler. Le deuxième chapitre est une réflexion, à partir des figures du maître et de l'esclave, sur le désir et la conscience de soi et de l'autre dans la séduction. Les figures tauromachiques exposent le sacrifice à l'œuvre dans la séduction. Le dialogue est ici pensé au sein de la séduction, pour saisir la place de celle-ci dans la formation de la pensée. Le troisième chapitre développe le rapport entre le soi, l'autre et le monde qu'établit la séduction. Le dandysme permet d'approcher la tension entre la matière et l'esprit que posent la séduction et son écriture. Le dialogue à l'œuvre dans la séduction est présenté comme un espace de formation. La séduction est envisagée comme séduction éthique, quête de la bonne distance, exercice spirituel. La syncope, le duende, l'extase sont décrits comme des états de conscience où la distance entre le soi et le monde, le soi et l'autre, l'esprit et la matière s'abolit. À partir de ces états, l'ouverture vers l'infini et vers la transcendance que peut poser la séduction est exposée. Dans le quatrième chapitre, la séduction est pensée comme le parfum du sacré, à travers une lecture du Cantique des cantiques. Par la séduction, l'importance du corps dans le sacré est soulignée. La place du secret et de la foi dans la séduction, dans le sacré et dans le littéraire est étudiée. La séduction permet une plongée érotique dans le monde et dans le réel, par les figures et par les images qu'elle déploie. Le savoir de la séduction est un parcours, savoir du corps et de l'esprit. / This thesis reflects on the place of literary (Kierkegaard, Hofmannsthal, The Song of Songs) and cinematic (Matador d'Almodóvar) figures of seduction in the relation between the self and the other. It explores the connection to transcendence and the sacred inscribed in writings on seduction. In the first chapter, the figures of seduction help us put into question the boundaries between literature and philosophy (conceptual persona and aesthetic figure). The figures of bullfighters, associated with the figures of seducers, present the extreme violence of seduction and the instant when consciousness can no longer be split in two. The second chapter is a reflexion, through the figures of the master and the slave, on desire, consciousness of the self and the other in the relationship of seduction. The figures of bullfighters manifest the sacrifice in seduction. Dialogue, considered at the heart of seduction itself, reveals the importance of seduction in the process of thinking. The third chapter develops the bond established by seduction between the self, the other and the world. In the writings of seduction, dandyism shows the tension between mind and matter. The dialogue at work in seduction opens a space of education. Seduction is viewed as an ethical process, the search for an appropriate distance, a spiritual exercise. Loss of consciousness, duende and ecstasy are described as states of consciousness that abolish the distance between self and world, self and other, and mind and matter. Through these states, seduction brings about an opening to the infinite and transcendence. Finally, seduction is defined as the perfume of the sacred through a reading of The Song of Songs. Through seduction, the importance of the body in the sacred is underscored. The place of secrecy and faith in seduction, the sacred and literature is examined. Seduction enables an erotic immersion in the world, in the real, through the figures and images of seduction. The knowledge of seduction is a process, a knowledge of body and mind.

This thesis is composed of a collection of twelve short stories, varying in length from 2 to 14 pages. Each story contains its own discrete theme, but fits as well within the overarching theme of the collection as a whole. This overarching theme is what gives the collection its cohesiveness. The main theme of the larger work can be found in the title of the collection, People on the Edges of Dreams. In many of the stories dreams, or dream-states, figure in the lives of the protagonists. In addition to the dream-state theme there is a less obvious theme, which has to do with the extent to which most or all of the main characters in the stories are faced with a kind of inescapable compassion for others. For example, the selfinvolved, self-gratifying protagonist in Matador cannot help but feel compassion first for Pearl, the woman he insults, and second for the "bums" on whom his livelihood depends. The theme of inescapable compassion can, I believe, be found to varying degrees in each of the stories in this collection.

Cette thèse pense la place des figures littéraires (le Cantique des cantiques, Kierkegaard, Hofmannsthal) et cinématographiques (Matador d'Almodóvar) de la séduction dans la relation entre le soi et l'autre. Elle interroge le rapport au sacré et à la transcendance que pose l'écriture de la séduction. Dans le premier chapitre, les frontières établies entre littérature et philosophie (personnage conceptuel, figure esthétique) sont interrogées à travers les figures de la séduction. À ces figures sont associées les figures de matadors, qui permettent de penser la violence extrême de la séduction et l'instant au cours duquel la conscience ne peut plus se dédoubler. Le deuxième chapitre est une réflexion, à partir des figures du maître et de l'esclave, sur le désir et la conscience de soi et de l'autre dans la séduction. Les figures tauromachiques exposent le sacrifice à l'œuvre dans la séduction. Le dialogue est ici pensé au sein de la séduction, pour saisir la place de celle-ci dans la formation de la pensée. Le troisième chapitre développe le rapport entre le soi, l'autre et le monde qu'établit la séduction. Le dandysme permet d'approcher la tension entre la matière et l'esprit que posent la séduction et son écriture. Le dialogue à l'œuvre dans la séduction est présenté comme un espace de formation. La séduction est envisagée comme séduction éthique, quête de la bonne distance, exercice spirituel. La syncope, le duende, l'extase sont décrits comme des états de conscience où la distance entre le soi et le monde, le soi et l'autre, l'esprit et la matière s'abolit. À partir de ces états, l'ouverture vers l'infini et vers la transcendance que peut poser la séduction est exposée. Dans le quatrième chapitre, la séduction est pensée comme le parfum du sacré, à travers une lecture du Cantique des cantiques. Par la séduction, l'importance du corps dans le sacré est soulignée. La place du secret et de la foi dans la séduction, dans le sacré et dans le littéraire est étudiée. La séduction permet une plongée érotique dans le monde et dans le réel, par les figures et par les images qu'elle déploie. Le savoir de la séduction est un parcours, savoir du corps et de l'esprit. / This thesis reflects on the place of literary (Kierkegaard, Hofmannsthal, The Song of Songs) and cinematic (Matador d'Almodóvar) figures of seduction in the relation between the self and the other. It explores the connection to transcendence and the sacred inscribed in writings on seduction. In the first chapter, the figures of seduction help us put into question the boundaries between literature and philosophy (conceptual persona and aesthetic figure). The figures of bullfighters, associated with the figures of seducers, present the extreme violence of seduction and the instant when consciousness can no longer be split in two. The second chapter is a reflexion, through the figures of the master and the slave, on desire, consciousness of the self and the other in the relationship of seduction. The figures of bullfighters manifest the sacrifice in seduction. Dialogue, considered at the heart of seduction itself, reveals the importance of seduction in the process of thinking. The third chapter develops the bond established by seduction between the self, the other and the world. In the writings of seduction, dandyism shows the tension between mind and matter. The dialogue at work in seduction opens a space of education. Seduction is viewed as an ethical process, the search for an appropriate distance, a spiritual exercise. Loss of consciousness, duende and ecstasy are described as states of consciousness that abolish the distance between self and world, self and other, and mind and matter. Through these states, seduction brings about an opening to the infinite and transcendence. Finally, seduction is defined as the perfume of the sacred through a reading of The Song of Songs. Through seduction, the importance of the body in the sacred is underscored. The place of secrecy and faith in seduction, the sacred and literature is examined. Seduction enables an erotic immersion in the world, in the real, through the figures and images of seduction. The knowledge of seduction is a process, a knowledge of body and mind.

Made available in DSpace on 2016-04-28T19:59:04Z (GMT). No. of bitstreams: 1 Dissertacao .pdf: 553918 bytes, checksum: 24d7e3a64d31a63aff789f427a3ba5fe (MD5) Previous issue date: 2005-05-11 / We observe in the contemporary novel an increasing lack of narration naturalness that implies in the multiplication of points of view and as a consequence in the narrator s presence inconstancy. Patrícia Melo s novel, O Matador, also shows the instability of this point of view because although the narration is done in first person by the protagonist it doesn t guarantee the constant narrator s presence in the storytelling. This mix between literary and non-literary procedures directly interferes in the narrator s authority because at the time of oral narration the narrator based his story on experience, but currently bases his authority on presentiveness , according to contemporary demand that privileges simultaneity. In this novel the strategies used to obtain presentification of the storytelling have a double consequence: on the one hand they give legitimacy to the facts since they seem to renounce to the narrator s presence and on the other hand they eliminate the protagonist-narrator s traces since at times he behaves as a spectator. Ultimately, the study of this narrator who often oscillates between leaving and eliminating traces, behaving as an observer of the roles played by himself, questions and at the same time reinvents the representation apparatus using the different presentification strategies like advertisements, TV news, newspapers, lack of marks in the change in voice in the dialogues, etc. This attitude will set a fast pace to the story and the apparent lack of mediation will contribute to strengthening a pact with the reader. Therefore in O Matador we observe the dramatization of the loss in the naturalness of telling a story through discourse / Observamos no romance contemporâneo uma acentuada perda da naturalidade de narrar, que redunda na multiplicação dos pontos de vista e, conseqüentemente, na inconstância da presença do narrador. O romance O Matador, de Patrícia Melo também apresenta essa instabilidade de ponto de vista, pois apesar da narração ser feita em primeira pessoa, pelo protagonista, isso não assegura presença constante do narrador na condução do relato. A mescla de procedimentos literários e não-literários interfere diretamente na autoridade desse narrador, pois se na época das narrativas orais, o narrador respaldava seu relato na experiência, atualmente, ele ancora sua autoridade na presentidade, mais de acordo com a demanda contemporânea, que privilegia a simultaneidade. Neste romance, as estratégias utilizadas visando à presentificação do relato têm dupla conseqüência: de um lado conferem legitimidade aos fatos, uma vez que parecem prescindir do narrador e, de outro, apagam as marcas do narrador-protagonista, já que este se comporta, por vezes, como um espectador. O estudo deste narrador, que oscila entre deixar e apagar marcas, comportando-se como observador dos fatos que protagonizou, acaba questionando e, ao mesmo tempo, reinventando os aparatos de representação por meio de diferentes estratégias de presenticação tais como: propagandas, noticiários de TV e de jornal, ausência de marcação de mudança de voz nos diálogos, etc. Essa atitude imprimirá um ritmo veloz ao relato e a aparente ausência de mediação contribuirá para o fortalecimento do pacto com o leitor. Por isso, em O Matador observamos a dramatização da perda da naturalidade de narrar por meio do discurso

Made available in DSpace on 2016-04-28T19:59:13Z (GMT). No. of bitstreams: 1 Maria de Lourdes Teles.pdf: 991430 bytes, checksum: 61f9ad3e9282aae07e788f944f0fd695 (MD5) Previous issue date: 2008-09-24 / Secretaria da Educação do Estado de São Paulo / This is an analysis of O Matador (The Killer), a novel by Patrícia Melo, and its transposition to the film (2002) O homem do ano (The man of the year) by the film maker José Henrique Fonseca, pointing at the deviations in the narrative focalization and its effects after the book adaptation. The leading thread is the narrator s role in the construction of the fable both in the novel and the film. Even presenting himself as an autodiegetic narrator, Máiquel decentralizes, in the novel, his role as the central subject of the narrative whenever he clearly evinces his absence putting himself, at the same time, in the condition of reader and listener of the story he himself narrates. In the film, on the contrary, Máiquel reports, in off, his trajectory in the world of crime. In his report the events are narrated linearly. To explain this linearity of the filmic text, it was considered the hypothesis of the establishment of a narrator with an angle of vision fixed in the facts, obtained by means of a camera, that is, in the film, image and voice express Máiquel s thoughts, feelings, and perceptions. Thus, this narrator cannot hide his presence nor change his point of view, as the narrator in the novel does. Starting from these perspectives, an attempt was made to analyze both texts by using the theoretical concepts of Friedman (1967), Bourneuf (1976) e Genette (1989), in order to evaluate the role of the subject of enunciation in the narrative plot of the novel and film. The filmic transmutation was analyzed in the light of the theories of Benjamin (1983), Campos (1992), Einsenstein (2002) e Pudovkin (2003), with the purpose of tackling aspects which explain the subjectivity of the film narrative and how it took shape, since the film was here considered as a re-creation of the novel / Esta dissertação tem por objetivo a análise do romance O Matador (1995), de Patrícia Melo, e da transposição fílmica O homem do ano (2002), do cineasta José Henrique Fonseca, visando apontar os desvios de focalização narrativa e seus efeitos após a adaptação do livro, tendo como fio condutor a atuação do narrador na construção das fábulas romanesca e fílmica. Mesmo se apresentando como um narrador autodiegético, Máiquel descentraliza, no romance, seu papel de sujeito central da narrativa, ao deixar evidências claras de sua ausência, colocando-se, ao mesmo tempo, na condição de leitor e ouvinte da história que ele próprio narra. No filme, ao contrário, Máiquel relata, em off, sua trajetória pelo mundo do crime; os acontecimentos são narrados linearmente. Para explicar a linearidade narrativa do texto fílmico, consideramos a hipótese da instauração de um narrador com ângulo de visão fixo nos fatos, obtido por meio da câmera, ou seja, no filme, a imagem e a voz expõem os pensamentos, sentimentos e percepções de Máiquel. Logo, esse narrador não pode ocultar sua presença ou mudar seu ponto de vista, assim como faz o narrador do romance. A partir dessas perspectivas, procuramos analisar os dois textos utilizando os conceitos teóricos de Friedman (1967), Bourneuf (1976) e Genette (1989), para avaliar o papel do sujeito da enunciação na trama narrativa do romance e do filme. A transposição fílmica foi analisada à luz das teorias de Benjamin (1983), Campos (1992), Einsenstein (2002) e Pudovkin (2003), com o objetivo de abordar aspectos que expliquem a subjetividade da narrativa fílmica e como essa nova narrativa foi configurada, visto que consideramos o filme uma re-criação do romance