This dissertation demonstrates how the Weltanschauung found in Álvaro Mutis´s oeuvre is profoundly influenced by a late romantic conscience found in the Latin American posvanguardia generation (1920 – 1940). Melancholy –as late modern affective condition- and fading of the subject –as narrative and aesthetic imaginary- are two central figures in his fictional universe. As a consequence of this, some of the heroes and topics in Mutis’s oeuvre are in dialogue with the main topics of the first literary movement in Hispanic America, Modernism. Some of them are: a religious ambiance in their prose, hedonism, cosmopolitanism, decadentism, Latin American landscape as entropy and a fractured self. There is a narrative logic in the literary corpus analyzed –which one can extend to Mutis’ s oeuvre. The hero, before starting his adventure, begins a psychological phenomenology called “fading of the subject”, which is a symbolic process that affects not only his stability as a hero but also the enterprise to which he is committed; all this thanks to his “melancholic condition”. This emotional process begins by revealing poetic images of internal destruction, amalgamation and death, which the hero transfers to the external world. In some of the texts analyzed this process concludes by producing death and devastation (El Húsar, La muerte del estratega), in others there is an urgent need to a symbolic resignification (Amirbar) that allows the hero to survive and start a new adventure. This “spiritual condition” is something Maqroll - Mutis’ main character- knows well when someone asks him about his precarious physical condition, “The tropical fevers...I have them already!” (Amirbar 491)

This dissertation demonstrates how the Weltanschauung found in Álvaro Mutis´s oeuvre is profoundly influenced by a late romantic conscience found in the Latin American posvanguardia generation (1920 – 1940). Melancholy –as late modern affective condition- and fading of the subject –as narrative and aesthetic imaginary- are two central figures in his fictional universe. As a consequence of this, some of the heroes and topics in Mutis’s oeuvre are in dialogue with the main topics of the first literary movement in Hispanic America, Modernism. Some of them are: a religious ambiance in their prose, hedonism, cosmopolitanism, decadentism, Latin American landscape as entropy and a fractured self. There is a narrative logic in the literary corpus analyzed –which one can extend to Mutis’ s oeuvre. The hero, before starting his adventure, begins a psychological phenomenology called “fading of the subject”, which is a symbolic process that affects not only his stability as a hero but also the enterprise to which he is committed; all this thanks to his “melancholic condition”. This emotional process begins by revealing poetic images of internal destruction, amalgamation and death, which the hero transfers to the external world. In some of the texts analyzed this process concludes by producing death and devastation (El Húsar, La muerte del estratega), in others there is an urgent need to a symbolic resignification (Amirbar) that allows the hero to survive and start a new adventure. This “spiritual condition” is something Maqroll - Mutis’ main character- knows well when someone asks him about his precarious physical condition, “The tropical fevers...I have them already!” (Amirbar 491)

Between 1895 and 1910 Barcelona saw a whole range of social, political and cultural changes due to the increasingly important emergence of the working masses. At the same time, the cinema arrived in Catalonia, becoming very quickly one of the favorite entertainments of the urban laboring population which was about creating a new culture opposed to the modernist and nineteenth-century elite .This is, broadly speaking, the context that serves as a starting point for a study of the role of cinema in shaping a mass audience in Barcelona, an analysis centered on new urban spaces intended for the leisure of the lower classes emerged with the birth of modern Barcelona, especially the “Paral•lel” avenue, whose opening in 1894 made even more apparent the great social tensions and existing inequalities in Barcelona’s society at the end of the century. / Entre 1895 i 1910 Barcelona va viure tota una sèrie de canvis socials, polítics i culturals provocats per la irrupció d’unes masses treballadores cada vegada més importants. Paral•lelament tingué lloc l’arribada del cinema a Catalunya, convertit ràpidament en un dels entreteniments preferits d’aquesta població obrera urbana al voltant de la qual s’estava creant una cultura oposada a la de les elits. Aquest és, a grans trets, el context que serveix de punt de partida a un estudi sobre el paper del cinema en la configuració d’un públic de masses a Barcelona, una anàlisi centrada en els nous espais urbans destinats al lleure de les classes més baixes, sorgits amb el naixement de la Barcelona moderna, especialment l’avinguda del Paral•lel, l’obertura de la qual l’any 1894 va fer encara més evidents les grans tensions socials i les desigualtats existents dins la societat barcelonina del canvi de segle.

This study offers an analysis of the interaction between urban spaces and bohemian literature in Madrid around 1900. I argue that bohemianism and bohemian literature are actually part of a very well structured cultural discourse--a discourse of social resistance--and must be studied as such. At the same time, the obvious urban nature of this phenomenon is a deciding aspect of it. In order to know how the bohemian discourse evolved in Madrid from 1850s to 1920s--from Realism to Modernismo--we have to study the core and reciprocal relationship between bohemianism and the city. This issue has not yet been explored within Hispanism, in spite of the fact that it provides a very useful perspective for considering the period as a synthesis of intellectual and artistic matters.In my dissertation I engage the essential aspects of bohemianism in the turn of the twentieth century Spanish literature. I focus on the characterization and use of space in the bohemian discourse of Peninsular Modernismo. My starting point is the description and characterization of such a discourse as it has been constructed, analyzing how it takes form in a variety of different kind of texts. I study the construction and evolution of its "cartographic imaginary" (David Harvey), an image of the city that bohemian literature uses to resist the bourgeois order imposed on Madrid's urban spaces and the capitalistic process that supports it. I argue that bohemianism was taken by the peninsular version of Hispanic Modernismo as its central aesthetic discourse. Consequently, and because of the subaltern and marginal nature of it, Modernismo could never position itself at the central stage of the 1900s Spanish culture.

This dissertation demonstrates how the Weltanschauung found in Álvaro Mutis´s oeuvre is profoundly influenced by a late romantic conscience found in the Latin American posvanguardia generation (1920 – 1940). Melancholy –as late modern affective condition- and fading of the subject –as narrative and aesthetic imaginary- are two central figures in his fictional universe. As a consequence of this, some of the heroes and topics in Mutis’s oeuvre are in dialogue with the main topics of the first literary movement in Hispanic America, Modernism. Some of them are: a religious ambiance in their prose, hedonism, cosmopolitanism, decadentism, Latin American landscape as entropy and a fractured self. There is a narrative logic in the literary corpus analyzed –which one can extend to Mutis’ s oeuvre. The hero, before starting his adventure, begins a psychological phenomenology called “fading of the subject”, which is a symbolic process that affects not only his stability as a hero but also the enterprise to which he is committed; all this thanks to his “melancholic condition”. This emotional process begins by revealing poetic images of internal destruction, amalgamation and death, which the hero transfers to the external world. In some of the texts analyzed this process concludes by producing death and devastation (El Húsar, La muerte del estratega), in others there is an urgent need to a symbolic resignification (Amirbar) that allows the hero to survive and start a new adventure. This “spiritual condition” is something Maqroll - Mutis’ main character- knows well when someone asks him about his precarious physical condition, “The tropical fevers...I have them already!” (Amirbar 491)

La recerca que presentem a continuació, Pau Audouard, un fotògraf “retratista” de Barcelona. De la reputació a l’oblit (1856-1918), té un objectiu triàdic. Per una banda, estudiar, amb caràcter monogràfic, la trajectòria professional de Pau Audouard, considerat per la historiografia fotogràfica moderna un dels professionals d’aquest àmbit més destacats de Barcelona, en el context cultural del Modernisme. Per l’altra, i entenent el cas d’Audouard com un paradigma d’anàlisi, la recerca pretén analitzar els processos que van intervenir en la construcció identitària del nou professional de la imatge, el retratista fotogràfic, i les múltiples estratègies de singularització seguides per aquest amb la voluntat de legitimar la seva activitat en termes socio-econòmics i artístics. Finalment, resseguint la curva d’ascens i ocàs traçada pel propi Pau Audouard, volem aproximar un marc cronològic rigorós per entendre els diferents estrats generacionals del negoci fotogràfic a Barcelona, des dels seus inicis a la dècada de 1840, amb què delimitar la producció fotogràfica que s’ha vingut a anomenar del segle XIX però que, malgrat el seu origen vuitcentista, s’estén en la primera dècada del 1900 fins a ramificar-se en els nous gèneres fotogràfics moderns del segle XX com la fotografia artística, el fotoperiodisme o la fotografia documental i, en un extrem, el cinema. Des que a la dècada de 1980 es va començar a escriure una història de la fotografia a Catalunya, dins d’un marc historiogràfic més ampli d’àmbit internacional en el context del 150è aniversari de la presentació oficial del daguerreotip a França, Pau Audouard ha estat considerat un dels més grans fotògrafs de Barcelona del darrer quart del segle XIX i primera dècada del XX. La conservació, actualment, de nombrosos àlbums fotogràfics i retrats en els fons d’algunes institucions culturals de referència com la Biblioteca Nacional d’Espanya, la Biblioteca de Catalunya, l’Arxiu Nacional de Catalunya o l’Arxiu Fotogràfic de Barcelona, de la mateixa manera que en col•leccions d’entitats com la Biblioteca Museu Víctor Balaguer, l’Institut Amatller d’Art Hispànic, la Casa-Museu Joan Maragall, el Museu de la Música o l’Institut del Teatre, per citar-ne només unes poques, així com en multitud de col•leccions particulars, han avalat aquesta dimensió patrimonial del fotògraf. No en va, de manera prèvia a l’excepcionalitat trobem la norma i, en aquest sentit, la trajectòria professional d’Audouard és una bona prova del camí de legitimació que van procurar molts altres fotògrafs coetanis a ell, empesos per l’efervescència, tant econòmica com cultural, que va viure Barcelona des de la dècada de 1870 i fins a catalitzar en els anys del Modernisme. Audouard, el Sarony de Barcelona tal i com el va qualificar l’historiador Lee Fontanella en el seu llibre La fotografía en España hasta 1900, no va ser un fotògraf al marge ni tampoc singular per produir una fotografia avançada al seu temps ni molt menys allunyada del mercat. Pau Audouard va ser, pel contrari, un fotògraf que va assolir l’excel•lència des de dins mateix del grup dels retratistes, és a dir aquells primers fotògrafs professionals de Barcelona que van tenir en l’elaboració del retrat i en la galeria fotogràfica la seva activitat econòmica i el seu espai d’acció principals. Com a objecte d’estudi d’Audouard respon a la voluntat de poder retratar el retratista, el seu perfil professional i les múltiples estratègies seguides per tal d’assolir un nou règim social i artístic que, evidentment, no tots els fotògrafs de la ciutat van aconseguir. Pau Audouard, com també va ser el cas d’Emilio Fernández Napoleon, és l’extrem d’una línia d’ascens formada per diferents nivells i en què interactuen múltiples variables. / This research focuses on the professional career and photographic production of Pau Audouard, considered one of the most important photographers in Spain around 1900. In parallel, it analyzes the portrait photographer’s emergence as a new professional of the image and its interactions with the political and cultural spheres in the context of Catalan Modernisme. Among the commercial photographers in Barcelona at the fin-de-siècle, Pau Audouard (1856-1918) was one of the most important portrait artists of the political and cultural elite during the Modernisme period. From his studio on Gran Via Street (1886-1905) and then from the ground floor of Lleó Morera’s House (1905-1910), the leading personalities of the city posed for his camera, which was an important exercise on public exhibition. This visual project was complemented by a vast production of images dedicated to the Catalan national symbol (Montserrat mountain), the idea of progress (the Universal Exhibition of 1888 and public works in Barcelona’s port and railway), and finally, to the imminent disaster in Cuba (photographs about military movements in the city around 1896). Furthermore, Audouard organized the first pictorialist photographic exhibition in Barcelona at 1905 while he was teaching the young artistic photographers Miquel Renom and Rafel Areñas Tona, the future master of the avant-gardist Pere Català Pic. Based on all of these aspects, we propose to focus on the social and cultural role of the photographic production of Pau Audouard and his contribution to Catalan photography that pointed at modernity, always between politics and art.

Made available in DSpace on 2014-06-11T19:23:36Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-09-18Bitstream added on 2014-06-13T19:09:32Z : No. of bitstreams: 1 lima_lvf_me_mar.pdf: 1208584 bytes, checksum: e3b160cd995841cdc725134f21177cce (MD5) / Investigamos três obras cinematográficas da ficção científica produzidas nos Estados Unidos da América: Homem Bicentenário (EUA, 1999), Inteligência Artificial (EUA, 2001) e Eu, Robô (EUA, 2004), todas obras da indústria cultural cujas narrativas num contexto denominado pós-modernista tematizam a relação entre humano e pós-humano. O cinema é o núcleo central do nosso objeto; observaremos os aspectos ideológicos impressos nas diegeses e nos elementos que as compõem (imagens, planos, seqüências, diálogos, montagem), isto é, a sua construção estética e a moral dela resultante. Também observaremos os usos das novas tecnologias e como seu discurso é trabalhado nestas narrativas, com o intuito de apreender as diferenças entre os discursos científicos e aqueles transmitidos ao público espectador da cultura de massa. Tomamos esses filmes devido a sua notoriedade comercial e apelo popular o que lhes conferem maior amplitude na questão dos mecanismos de manipulação, diversão e degradação, reconhecidamente atuantes na cultura de massa e na mídia. Metodologicamente, discutimos os fundamentos sociais do discurso científico nos filmes, captar suas alegorias, a relação do homem com a tecnologia e as saídas para os conflitos no plano diegético e com isso, apontar o que se apresenta como reificação e utopia nessas obras de cultura. / We investigated three cinematograph works of scientific fiction producted in the United States of America: Bicentennial Man (USA,1999), Artificial Intelligence, (USA,2001) and I, Robot (USA, 2004), all the cultural industry works whose narratives that are in a context denominated post- modernist systematize the relationship between human and post-human. The cinema is the central nucleus of our object; we observed the ideological aspects that are present in the fictional universe of the cinema and in the elements that compose this fictional universe. (images, plans, sequences, dialogs, montages), what is its esthetic construction and the moral originated from this construction that is contained in the structure of each movie. We also observed the uses of the new technologies and how the discourse of this technologies is worked out in these narratives, aiming the apprehension of the differences between the scientific discourses and those that are transmitted to the spectator public of the mass culture. We chose these movies on account of its commercial notoriety and the popular appeal that give them more amplitude in the matters of the manipulation mechanisms, entertainment and degradation recognized as actives in the mass culture and in the media. Methodologically, we discussed the socials fundaments of the scientific discourses in the movies and we tried to identify through the cinematographic narrator his allegories, the relation of the man with the technology and the solutions to the conflicts presented in the movies. Therefore, we aimed to contribute to an sociological analyses of the presented works.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-01-11Bitstream added on 2014-06-13T19:14:13Z : No. of bitstreams: 1 garcia_lf_me_assis.pdf: 323721 bytes, checksum: 9bd74bc8753f7150e0821c2175512db5 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Não passa despercebido ao leitor das obras Amar, verbo intransitivo (1927) de Mário de Andrade, e Senhorita Else (Fräulein Else) (1924) de Arthur Schnitzler, que tanto Elza, protagonista da primeira, quanto Else, da segunda, ambas germânicas, representam uma mesma crise de identidade. Seja na sociedade austríaca ou na brasileira, ao final da leitura fica claro ao leitor que liberadas dos papéis e identificações que a sociedade lhes impôs, as protagonistas se revelam como mulheres que procuram alternativas para suas vidas, num processo de reformulação constante. As razões e justificativas que norteiam a elaboração desta pesquisa partem, de um lado, da constatação de semelhanças entre as protagonistas das duas obras, particularmente o fato das duas serem representantes femininos da sociedade de língua e cultura germânica da época, e de outro lado da justificativa para as maneiras distintas de como estas “estórias” são realizadas literariamente. A literatura comparada, ultrapassando os limites impostos pela simples identificação de fontes e influências, ocupa-se na contemporaneidade com a questão da compreensão e elucidação do texto literário através da justaposição de obras de um mesmo autor ou de obras de autores diferentes. Desta forma, o objetivo final deste trabalho não é a procura de “influências”, mas sim o esclarecimento de uma obra como resultado de sua aproximação à outra, neste caso, tanto do monólogo interior de Schnitzler ao idílio de Mário de Andrade quanto vice-versa / It is noticeable to the reader of Arthur Schnitzler’s Fräulein Else (1924) and Mário de Andrade’s Amar, verbo intransitivo (1927) that the principal characters in both works are representative of a similar identity crisis. If it happens in the Austrian or Brazilian society of the time makes no difference to the fact that at the end of the works the reader can clearly grasp that the two women have chosen alternative paths to their lives, liberating themselves from the constraints that their background imposed on them. The reasons and justifications that served as basis for this research are the facts that although the main characters of both works are feminine representatives of the German society and culture of the time and are faced with similar problems, their tales are told, literarily speaking, in completely different ways, for some reason. In keeping with the contemporary understanding of comparative literature, the final intention of the present work is not the search of “influences” as such, but to achieve a better understanding of a literary work by juxtaposing it to another, in this case Schnitzler’s interior monologue to Mário de Andrade’s idyll

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-04-01Bitstream added on 2014-06-13T18:55:25Z : No. of bitstreams: 1 dalio_nc_me_assis.pdf: 439780 bytes, checksum: 5ec347d637bc2bceec888f8c58efa932 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A pós-modernidade, que, segundo a maioria dos críticos, teve início nas décadas de 1950 e 1960, trouxe consigo a necessidade de revisão total do passado, incluindo suas formas artísticas. Imbuídos desse espírito, os autores Noênio Spínola e Mário Prata retomam o clássico italiano de Dante Alighieri, a Divina Comédia, em seus romances Dante visita a comédia paulistana e Purgatório: A verdadeira história de Dante e Beatriz, respectivamente, reinserindo elementos do épico dantesco na capital paulistana, em enredos que se passam nos dias de hoje. Para tal, ambos se utilizam de procedimentos intertextuais destacando-se a paródia irônica, além da adaptação e apropriação literárias. A obra de Spínola apresenta, por um lado, traços de romance policial pela aura de mistério e crime que encerra, enquanto Prata, por outro lado, criou um folhetim permeado de alta comicidade, sendo que ambos, afinal, pelo tratamento dado ao tema e pelo modo de configurar suas obras, se inserem na chamada literatura de massa, aquela que busca dar prazer ao leitor, agradá-lo, oferecer entretenimento. Desse modo, é objetivo de nosso trabalho apresentar as principais linhas teóricas acerca dos assuntos citados, bem como traçar o perfil das obras e analisá-las à luz das teorias apresentadas, e em contraste com a obra de Dante, que lhes serviu de base / The post-modernism, which began, according to most of the critics, in the 1950’s and 1960’s, brought within the necessity of totally reviewing the past, including its artistic forms. Taken by that spirit, the authors Noênio Spínola and Mário Prata retake the Italian classic by Dante Alighieri, the Divina Comédia, on their novels, Dante visita a comédia paulistana e Purgatório: A verdadeira história de Dante e Beatriz, respectively, reinserting elements from Dante’s epic into the present, in São Paulo’s capital. To achieve that, both used intertextual proceedings, in proeminence ironic parody, plus literary adaptation and appropriation. Spinola’s work presents, on one hand, characteristics of police novel by the mystery and crime aura that it holds, while Prata, on the other hand, created a folhetim filled in high comicity, being both, after all, by the treatment given to the theme and by the way of putting the work together, related to the so-called mass literature, that one which seeks giving pleasure to the reader, please him, offer entertaining. That way, it’s our goal on this work to present the main theories about these issues, as well as to draw out the profile of the two novels and to analise them according to the present theories, and in contrast with Dante’s work, which served as a base to them

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-25Bitstream added on 2014-06-13T19:14:15Z : No. of bitstreams: 1 yatsu_rk_me_assis.pdf: 641166 bytes, checksum: 5d7b2ce790cd209f94655f0110c76b1b (MD5) / O presente trabalho apresenta uma análise do romance Noites no circo (1984), da autora inglesa Angela Carter, abordando principalmente a personagem central, Fevvers. No primeiro capítulo tratamos brevemente da vida e obra da autora, e também da fortuna crítica produzida sobre o romance. Ainda neste primeiro capítulo, procuramos analisar algumas das nomenclaturas ligadas à produção carteriana, como realismo mágico, pósmodernismo e feminismo, tendo como referência alguns estudos já realizados. No segundo capítulo, utilizamos teorias acerca da simbologia. O interesse é analisar alguns dos símbolos que aparecem no romance e são relevantes na leitura, pois deixam subentendidos alguns dos sentidos que a autora deseja transmitir. No terceiro capítulo, o interesse é demonstrar que nesta extensa narrativa de Angela Carter, as representações estão presentes e produzem o clima de espetáculo, fazendo do romance um verdadeiro circo / The present work presents an analysis of the novel Nights at the circus (1984), by the English writer Angela Carter, above all approaching the main character, Fevvers. In the first chapter we briefly deal with the writer´s life and work, and also with the critical works produced about the novel. Still in this chapter, we try to analyze some of the terminology related to Carter´s production, such as magic realism, post-modernism and feminism, taking as reference studies already done. In the second chapter, we use theories about symbology. The interest is to analyze some of the symbols which appear in the novel and are important during the reading because they let implicit some of the meanings that the author wants to transmit. In the third chapter the interest is to demonstrate that in this long Carterian narrative the representations are present and produce the spectacle mood, turning the novel into a real circus