Made available in DSpace on 2015-04-11T13:49:10Z (GMT). No. of bitstreams: 1 Maria da Luz S da Silva.pdf: 1644530 bytes, checksum: 99d329a04156afcf06162cb6b44a5cab (MD5) Previous issue date: 2014-03-28 / The theme of this dissertation is based on the interface between literature and history by electing the socio-critical as a reference for assessing the storybook Inferno Verde cenas e cenários do Amazonas (1908), written by Alberto Rangel do Rêgo, in comparison with Os Sertões (1902) and À margem da história (1909), by Euclides da Cunha. The scope of work is a reflection on the Brazilian national identity apparent in fiction that thematizes the space of the Amazon, looks the discussion of the mestizo nationalism. Such a view, present in the Brazilian intelligentsia of the late XIX century approach, in mesures concepts of " identity" and " civilization ", seeking to understand the paradox latent nationalism versus universalism in Inferno Verde, under the concern to consider it genuinely Brazilian literature. In this environment, the trajectory traced by traveller-narrator, a witness of the themed historical context - the Amazon Rubber Cycle - brought us this work wich may reading as brand authenticity. To this, we must research the processes underlying meaning, which materialize the object of study, watching the imagery that influenced the traveller-narrator on lands never before seen since the XVI century, also analyzing the discourses, social types, natural (and cultural) spaces in the literary context in Inferno Verde, the weakness of language in representing the reports of the tale; conceptions about the genesis of the work, which keep contact / dialogue with the look; and, finally, the european convictions about the pure amazon myth, originated by ethnocentric notions of the XIX century, which record antithetical images of hell and amazon paradise. That said, will bring the work had demonstrated in the context of thought and literary production of the time figuring Inferno Verde as a current, innovative and unique as your style and forward looking aspects in that literary representation. / Esta dissertação apoia-se na interface da literatura com a história, elegendo a sociocrítica como referência para a apreciação do livro de contos Inferno Verde cenas e cenários do Amazonas (1908), do escritor Alberto Rangel do Rêgo, em cotejo com Os Sertões (1902) e À margem da história (1909), de Euclides da Cunha. O escopo do trabalho é a reflexão sobre a identidade nacional brasileira aparente na ficção que tematiza o espaço da Amazônia com a discussão sobre o nacionalismo mestiço. Tal visão, presente na abordagem da intelligentsia brasileira de final do século XIX, contrabalançava conceitos de identidade e civilização , buscando entender o paradoxo nacionalismo versus universalismo latente em Inferno Verde, sob a preocupação de se considerá-lo literatura genuinamente brasileira. Nesse ambiente, a trajetória traçada pelo narrador viajante, testemunha do contexto histórico tematizado - a Amazônia do Ciclo da Borracha - deixou como herança uma obra em cuja leitura este trabalho intenta demonstrar o requerido como marca de autenticidade. Para isto, interessam os processos de significação subjacentes, que se materializam no objeto de estudo, acompanhando o imaginário que influenciou a impressão do viajante sobre terras jamais vistas, desde o século XVI, analisando-se também os discursos, os tipos sociais, as representações dos espaços naturais (e culturais) no contexto literário da obra Inferno Verde; os limites da linguagem na representação dos relatos da obra; as concepções sobre a gênese da obra, que guardam contato/dialogam com o olhar; e, por fim, as convicções do europeu sobre a Amazônia intocada, alimentadas por noções etnocêntricas do século XIX, as quais projetam imagens antitéticas do inferno e do paraíso amazônico. Isto posto, intentará o trabalho ter demonstrado no contexto do pensamento e da produção literária da época a figuração de Inferno Verde como uma representação literária atual, inovadora e de aspectos singulares no que se diferencia por seu estilo e visão prospectiva.

Este estudo apresenta a escritora chilena María Luisa Bombal ao cenário da crítica literária brasileira, destacando brevemente suas obras, porém detendo-se em A amortalhada, escrita em 1938. Assim, buscar-se-á mostrar alguns recursos recorrentes nesta obra da autora, sobretudo no que tange à(s) voz(es) apresentada(s) no desenvolver-se da narrativa, ou seja, analisar como se dá o discurso. Em particular, na pesquisa, tratar-se-á de ritmo, rima e sinestesias, recursos que contribuem para que a obra seja de uma simbologia, rara e precisa. / We intend to introduce this study about Chilean writer María Luisa Bombal´s life and work to the scenery of Brazilian literary criticism, trying to analize more closely La amortajada (The shrouded woman) (1938) considered extremely important in Chilean and international literary milien. We will emplacize certain narrative devices like the use of differet voices in the discourse, all along the plot, rhythm, rhyme and synesthesy which contribute to the creation of a typical symbology, rare and need.

Em agosto de 1985, mesmo ano da publicação de Abacaxi, Reinaldo Moraes escreveu uma autocrítica capciosa sobre o seu segundo romance. Disfarçado com um pseudônimo, o autor matreiramente elevava sua obra como legítima representante do legado machadiano. Apesar do tom brincalhão e da ironia motora do texto que são traços estilísticos do escritor , a farsa do artigo pode ser lida no pormenor como um esboço de projeto literário. A questão central de tal esboço parece ser a procura de uma estratégia narrativa capaz de dar conta minimamente do contexto em que está inserida. O objetivo desta dissertação é descrever o caminho do dispositivo literário perseguido pelo autor desde o seu primeiro romance, Tanto faz (1981), e que se desdobra numa espécie de continuidade cindida em Abacaxi (1985), até encontrar o prumo e a régua na confecção de Pornopopeia (2009). No vértice histórico de vinte oito anos, que ata a produção das obras, está a gestação do horizonte de expectativas reduzidas, possível de ser apreendido na dinâmica interna dos romances. Os narradores de Reinaldo Moraes estão em fuga; e figuram sempre o encontro do impasse. / In August 1985, the same year Abacaxi was published, Reinaldo Moraes wrote a very tricky review of his second novel. Disguised under a pseudonym, the author regarded his work as a legitimate representative of Machado de Assis\' legacy. Despite the playful tone and the text\'s purposed irony which are stylistic traits of the author , the falacious article may be read as an outline for a literary project. The central idea behind Moraes\' literary project seems to be the search for a narrative strategy that is able at least in part to give form to the context in which it operates. The aim of this work is to describe how the literary form pursued by the author evolves from his first novel, Tanto Faz (1981) unfolding into Abacaxi (1985), in a kind of icontinuous trajectory just to find its final form in the making of Pornopopeia (2009). As it may be seem in the internal dynamics of the novels, a horizon of reduced expectations is carefully laid out over the twenty eight years periode that lead to the production of Reinaldo Moraes\' works. His narrators are on the run; and always represent the meeting of the impasse.

Em Lucíola, José de Alencar assume uma posição peculiar de autor real, na medida em que contrasta com o Sr. Paulo Silva, autor designado na ficção. Narrador de seus conflitos, o moço espelha um herói confessional, examinando o próprio passado em busca da imagem de uma mulher. Senhora GM é sua interlocutora. Lúcia se circunscreve como modelo, pessoa retratada, namorada e cortesã. Esta análise está mais interessada em como as coisas são ditas e menos no que é dito, de sorte que se dedica à investigação dos mecanismos da enunciação. O estudo não focaliza a personagem feminina, ao contrário está voltado para o amante; e muito embora não seja contra o homem, ambiciona, através do primeiros capítulos, confrontar sua autoimagem e a interpretação que ele oferece para a história. O quinto segmento desta leitura questiona os modos através dos quais palavras e imagens dão forma ao sexo na intimidade do texto. O conjunto seguinte explora a questão da imitação como um tema recorrente no livro e como um fio que costura forma e conteúdo, palavra e ideia. A última seção investiga os nomes das personagens enquanto uma escolha de palavras, um procedimento no domínio do artifício. / In Lucíola, José de Alencar is the real author whereas Mr. Paulo Silva is the fictional one. The narrator is also a confessional hero examining his own past searching for the image of a woman. Mrs. GM is his interlocutor. Lúcia is the sitter, the one that is being portrayed, girlfriend and courtesan. This analysis is more interested in how things are said than in what is said; therefore it contemplates the mechanisms of enunciation. The study is not focused in the female character but dedicated to her lover; even though it is not against the man, it aims, throughout the first chapters, to confront his self-image and the interpretation he offers to the story. The fifth segment interrogates how words and imagery give a form to sex as a matter of speech. The following portion explores imitation as a recurrent theme in the book and as a thread that sews form and meaning, words and ideas. The last section investigates the names of the characters as a choice of words, under the domain of artifice.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-09T15:33:31Z No. of bitstreams: 1 josegeraldobatista.pdf: 1744483 bytes, checksum: d5f81f3a28107555f059bf5c9f1cbad6 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T13:36:27Z (GMT) No. of bitstreams: 1 josegeraldobatista.pdf: 1744483 bytes, checksum: d5f81f3a28107555f059bf5c9f1cbad6 (MD5) / Made available in DSpace on 2016-07-13T13:36:27Z (GMT). No. of bitstreams: 1 josegeraldobatista.pdf: 1744483 bytes, checksum: d5f81f3a28107555f059bf5c9f1cbad6 (MD5) Previous issue date: 2012-09-24 / Quando retornou de sua empreitada como correspondente do Diário Carioca na Segunda Guerra Mundial, junto à Força Expedicionária Brasileira (FEB), Rubem Braga (1913-1990) publicou a coletânea de crônicas Com a FEB na Itália (1945). Evidentemente, na seleção dos textos, o autor considerou o contexto político e ideológico do Brasil de meados dos anos 1940, já que, naquele tempo, o Brasil passava por um momento singular: pretendeu-se uma “redemocratização” do país e houve formação dos partidos políticos. Eleições presidenciais estavam marcadas para 2 de dezembro e Getúlio Vargas fora forçado a se renunciar, seu sucessor começou a reprimir os comunistas e nomeou novos interventores nos estados e foram substituídos alguns prefeitos, como afirmado por Boris Fausto, em História do Brasil (2010). Neste sentido, partindo de tais informações, pretende-se, através do presente estudo, investigar o valor de registro histórico de Com a FEB na Itália, bem como apontar as marcas subjetivas do seu narrador, uma vez que, devido a uma tensão entre os focos narrativos clássico, moderno e pós-moderno em tal obra, por si só, as marcas subjetivas do narrador já vêm à tona. E o tempo particular e definido, atravessado pela experiência e pela memória pessoal do repórter, mescla de linguagem subjetiva e objetiva – respectivamente, literatura e jornalismo – os textos das crônicas. / When he returned from a sojourn as a correspondent for Diario Carioca during World War II, with the Brazilian Expeditionary Force (FEB), Ruben Braga (1913-1990) published a collection of chronicles called Com a FEB na Itália (With FEB in Italy) (1945). While selecting texts, the author surely considered Brazilian mid-1940s political and ideological context, a singular moment in Brazil: a "redemocratization" was intended for the country and political parties were being formed. Presidential elections were scheduled for December 2 and President Getúlio Vargas was forced to resign; his successor began to repress Communists and appointed new intervention-agents in the states and some mayors were replaced, as Boris Fausto stated in História do Brasil (History of Brazil) (2010). Taking such information as a starting point, the present thesis is intended to survey Com a FEB na Itália’s value as a historical record, as well as to point out its narrator’s subjective marks, since – due to a tension between classic, modern and postmodern narrative foci in this work – the narrator's subjective marks become noticeable by themselves. And the particular and set time traversed by the experience and personal memory of the reporter mixes with subjective and objective language – literature and journalism, respectively – the texts of the chronicles.

Nur na escuridão (1999) tells the story of a Lebanese family that decides to leave their homeland and emigrate to the Americas, in order to find better living conditions. The crossing from this family between distinct worlds, as the East and West are, is constituted as indelible mark in the way of being and feeling from the characters and the narrator himself. In this scenario, crossing between worlds, cultures and traditions, it is inscribed the Salim Miguel s narrative, and their own life experience as an Arab immigrant. From these initial considerations, this dissertation sought to verify the role of narrator and his relationship with the memoirist discourse, as well as to examine, in the work, the interrelation of different literary genres such as (auto)biography, memories, biography and fiction itself. / Nur na escuridão (1999) conta a história de uma família de libaneses que decide abandonar sua terra natal e emigrar rumo às Américas, buscando melhores condições de vida. A travessia dessa família entre mundos tão distintos, como são o Oriente e Ocidente, constitui-se como marca indelével no modo de ser e sentir das personagens e do próprio narrador. Nesse cenário, de travessia entre mundos, culturas e tradições, é que se inscreve a narrativa de Salim Miguel, bem como a sua própria experiência de vida enquanto imigrante árabe. A partir dessas considerações iniciais, esta dissertação busca verificar a função do narrador e sua relação com o discurso memorialista, bem como analisar, na obra, a inter-relação de diferentes gêneros literários, como a autobiografia, as memórias, a biografia e a própria ficção.

(in English) The aim of this diploma thesis is to analyse narrative techniques in four novels of Romain Gary: Au delà de cette limite votre ticket n'est plus valable, Éducation européenne, Clair de femme and La vie devant soi in relation to author's ethic. The thesis studies how narrative ends up in a plot via individual narrative techniques and it also studies the way works transmit moral or even didactical appeal to a reader. The main attribute is mostly the category of narrator, the role it plays in a text or the point of view from which the story is told. Character speech (monologues and dialogues) is not omitted, what allows the analysis to take place at several levels of the text. Subsequently, the thesis directs at the author himself, his ethic and thematic aspect of his work as such. In the centre of attention, there is also moralistic tradition in French literature and possible role of Romain Gary in this trend. His position in period French literature is interesting as well. In the end part, the thesis gives answer to a substantial question whether Romain Gary can be considered a modern moralist of the 20th century. It eventually justifies which narrative or thematic methods he uses are evidence of his affiliation with this literary trend and school of thought. Key words French novel,...

The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. In Scene Four, John relates his vision of final redemption. New Jerusalem descends from heaven, with the River of Life and the Tree of Life ready to bring healing to the nations. Sadly, some people are not welcomed into the city, and the drama pauses to give respectful consideration to their fate. Finally, the fifth scene celebrates the eternal victory over sin, death, and the serpent of Eden. As I composed The Light, I had in mind the dramatic profile, the general motivic progression and the fundamental structural progression. However, most of the intricate interrelationships among orchestration, drama, motive, and structure were the result of informed intuition. Throughout the piece, each of these four elements interacts with the others, sometimes influencing and sometimes responding to them. My hope is that these subtle tensions propel the composition forward toward its ultimate resolution.

This paper analyzes two selected passages from six children’s Bibles with respect to their use of the narrator’s voice and focalization. This means that the texts are analyzed with a focus on who is telling the story and from whose perspective it unfolds. The analyzes are also built upon what has been added or taken away from the Bible texts and what functions the illustrated pictures have. In this way, the result can also be analyzed through a theory about use of history; that is the idea that morality and identity formatting shape history telling. In this study the different children’s Bibles tend to lift different aspects of the Bible stories. Even though the aims of the book writers cannot be known for sure, their intentions of moralizing or shaping a certain Christian or Jewish identity, such as the institution of pesach or the communion, can be anticipated. Furthermore, the study shows that the children’s Bible genre is often very didactic, while moralization is generally avoided in newer versions. A general distinction between how the Old Testament and the New Testament stories are told can also be spotted. In the latter one, the reader receives more insight about the characters inner and outer speech, which could make it easier to identify and sympathize with them.

(English) The aim of this diploma thesis is to introduce possibilities of oral history, specifically its elements and principles, into services included in tourism. The theoretical part states the essential terms and definitions used in this thesis concerning oral history and tourism. This part also includes a vision of using oral history and its elements within the field of tourism. The empiric part shows the current use of oral history in tourism giving specific examples and supports them by interviews with narrators who work in Open-Air Museum of Mining and a travel agency and their interpretation. A few pages of the empiric part are dedicated for a research of tourist's demand for services in tourism that include oral history elements and a SWOT analysis of integrating oral history into tourism services including tourist guiding and other supplementary services in tourism. The aim is to introduce the strengths, weaknesses, opportunities and threats of this integration. The diploma thesis also notices the understudying of both tourism and oral history in connection with each other and shows the potential of such connection with the benefits for both subjects, travel agencies' clients and visitors to sights such as museums or open-air museums. Keywords: Oral history, tourism, narrator in tourism,...