Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-05-07T13:11:48Z No. of bitstreams: 1 Vanessa Ramos Furtado da Silva_.pdf: 9773216 bytes, checksum: 81c29054fccdaaf668635fbbc2f034e3 (MD5) / Made available in DSpace on 2018-05-07T13:11:48Z (GMT). No. of bitstreams: 1 Vanessa Ramos Furtado da Silva_.pdf: 9773216 bytes, checksum: 81c29054fccdaaf668635fbbc2f034e3 (MD5) Previous issue date: 2018-03-20 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este estudo tem por objetivo analisar a construção da narrativa seriada Hannibal, que traz a história do personagem já conhecido da literatura e do cinema ainda em ação – antes de ser preso. Partimos de conceitos tanto relacionados à construção de narrativa quanto à construção cinematográfica para entendermos a complexidade processual como um todo. Para tal, fomos passando por aspectos que vão desde o processo criativo com Brett Martin, questões narrativas com Mittell e de gêneros com Carroll, Wood e Todorov. Compreendendo, também, a forma do crime trocado utilizado por Hitchcock a partir de Chabrol e Rhomer e Truffaut, da qual a série se apropria, bem como pela forma sinestésica do cinema com Eisenstein, Deleuze e Aumont, até o estilo utilizado no período do expressionismo alemão, com Lotte Eisner e Kracauer, que deixou alguma herança nesse objeto. Somente após todo esse aporte pudemos dissecar e desmembrar Hannibal, identificando como se compuseram seus arcos e cenários, como funcionaram suas inspirações e propósitos. Para isso, dividimos a análise em três vias de dissecação: dos crimes aleatórios e suas construções estéticas visuais e cinematográficas; da narrativa e a análise dos arcos que culminam em um crime trocado; e a via da análise do Hannibal design, em que analisamos como a série constrói sua metodologia assassina durante os episódios, de forma desconexa e cuidadosa. Desse modo, fazendo uma analogia à própria série e sua temática investigativa, nós seguimos as evidências e pontas soltas da forma com que a obra se apresenta, de modo a descobrir quais foram os seus passos – esse é o nosso método. / This study aims to analyze the construction of the serial narrative Hannibal, which brings the story of the already known character of literature and movie still in action - before being arrested. We start from concepts related to narrative construction and to the cinematographic construction in order to understand procedural complexity as a whole. For that, we have gone through aspects ranging from the creative process with Brett Martin, narrative issues with Mittell and genres with Carroll, Wood and Todorov. Understanding also the form of the exchanged crime used by Hitchcock from Chabrol and Rhomer and Truffaut from which the series appropriates, as well as by the synesthetic form of cinema with Eisenstein, Deleuze and Aumont, to the style used in the period of German expressionism with Lotte Eisner and Kracauer that left some inheritance in this object. Only after all this contribution we were able to dissect and dismember Hannibal, identifying how his arcs and scenarios were composed, how his inspirations and purposes worked. For this, we divided the analysis into three dissecting avenues: random crimes and their aesthetic visual and cinematographic constructions; of the narrative and the analysis of the arcs that culminate in a changed crime; and the life of the analysis of Hannibal design, in which we analyze how the series constructs its killer methodology during the series, in a disconnected and careful way. In this way, by analogy with the series itself and its investigative theme, we follow the evidence and loose ends of the visceral way in which the series presents itself in order to discover its steps - this is our design.

The orthodox narrative of the First World War, which maintains that the conflict was futile, unnecessary and wasteful, continues to dominate historical representations of the war. Attempts by revisionist historians to dispute this interpretation have made little impact on Britain’s collective memory of the conflict. The Christmas truce has come to represent the frustration and anger that soldiers felt towards the meaningless war they had been trapped into fighting. However, the Christmas truce, which at the time it occurred was seen as an event of minimal importance, was not an act of defiance, but one which arose from the unprecedented conditions of static trench warfare and the adaptation of the soldiers to that environment. An examination of contemporaneous accounts of the truce demonstrates that it was viewed by the soldiers involved as merely a brief holiday, and that British army commanders generally ignored or tolerated the truce, eventually releasing orders preventing its continuation or reoccurrence but taking no steps to punish any of the men who took part in it. A review of the letters and diaries of truce participants sheds light on the event itself, while simultaneously challenging the orthodox narrative of the First World War.

abstract: Working with participants in schools for highly gifted students, this study asked adolescents to create a digital story to address the prompt, "How has your life changed since coming to this school?" Participant interviews were conducted in an attempt to determine how gifted students view their educational experiences and how those experiences influence the current development of self-identity. Digital story creation and photo elicitation methods were chosen in an effort to remove researcher bias and allow participant voices to be heard more accurately. Parent and educator interviews were also conducted. Data analysis was completed using narrative construction methods. Findings include several themes among participant self-identity influences including how labels affect participant's view of themselves, perfectionism and competitive drive function in each gifted child, necessity of intellectual challenge, appropriate learning environment helps to create self-confidence and self-identity, and grades are more important than learning for knowledge. / Dissertation/Thesis / Ph.D. Curriculum and Instruction 2014

Vienna, once the biggest Czech city, into which craftsmen, wage workers and servants, most of them coming from the Bohemian and Moravian south, poured by houndreds in search for work in the 19th and at the beginning of the 20th century. Some would progressively return back to Bohemia and Moravia, while others would settle down in Vienna and assimilate completely. This thesis, however, focuses on the descendants of those who, although they stayed in Vienna, maintained their tie to Czech culture and their Czechness. The thesis, based upon nineteen biographical stories collected in May and June 2015 in Vienna, presents the ways in which the interviewees construct their ethnical/national and collective identity and communicative memory. The interviewees are representatives of Vienna's Czech old residents who speak Czech, are active in the community's life and each one of whom has at least one ancestor of Czech origin who came to Vienna before Wold War II or earlier. Depending on their birthdate, they were assigned a place within one of the following generations: interwar, war, middle and youngest. Every generation is given one chapter presenting its speakers, the ways in which they identify themselves, their attitude (active or passive) to the building of their identity as well as the commonly shared...

This thesis explores how traumatic memories of the Tangshan earthquake have been constructed in literature, documentary works, and films. Through analyzing the narrative construction of the Tangshan earthquake in the form of film and literature, this thesis studies the relationship between state power and individual agency in the representation of this natural disaster. It argues that the cultural representation of this natural disaster reflects a subtle shift: one from the dominant nationalistic narrative to the narrative centering on individuals’ psychological trauma. It suggests the high degree of state control and politicization is what is similar between a natural disaster such as the Tangshan earthquake and other political events. To some extent, the Tangshan earthquake has become a political event to promote the Chinese Communist Party’s (CCP) propaganda. Therefore, this thesis engages existing scholarship on political traumas to research the Tangshan earthquake. It is indicating a subtle shift because it is a slow-changing process and there is no mark to signal a radical departure from the earlier nationalism accounts. There also exists more interlaces and interconnections between the state and individual in the range of sources I have examined. And the overlay of the different narratives reflects the complexity of reality and history.

Partindo do enorme legado crítico acerca da obra de Camilo Castelo Branco, construído desde Teófilo Braga até a nossa contemporaneidade, o presente estudo tem como objetivo principal olhar a ficção camiliana para além do que de mais evidente há nela: as histórias de amores contrariados, puros e abnegados. Para tanto analisamos os romances Os brilhantes do brasileiro (1869) e Agulha em Palheiro (1863), buscando mostrar de que maneira o autor é capaz de conjugar, nestes exemplares, a moda literária em voga e o retrato da sociedade prosaica que observava em sua realidade imediata, um mundo longe da configuração romântica e idealizada pretendida por parte significativa desta crítica. Para além de abordar as características específicas de cada romance, tais como a estrutura narrativa, a construção de personagens, as temáticas abordadas, entre outras, procuramos, ao final do trabalho, analisar as semelhanças e diferenças entre as duas narrativas, evidenciando assim o dinamismo, a multiplicidade e, principalmente, a complexidade do escritor de São Miguel de Ceide. / Based on the big critical legacy of Camilo Castelo Brancos work, built since Teófilo Braga until the present, this study aims looking at Camilians fiction beyond its obvious contents: thwarted, pure, and self-sacrificing love stories. In order to do so, we have analyzed the novels Os brilhantes do brasileiro (1869) and Agulha em Palheiro (1863), with the objective of showing how the author is able to combine, in these novels, the literary style in vogue at the time and the portrait of the prosaic society that the author observed in his reality immediately, a world which is far away from the romantic and idealized configuration proposed by significant part of this criticism. In addition to addressing the specific characteristics of each novel, such as narrative structure, the construction of characters, the themes addressed, among others, we intend, at the end of this study, to examine the similarities and differences between the two narratives, emphasizing the dynamism, the multiplicity and, most importantly, the complexity of the writer of São Miguel de Ceide.

Partindo do enorme legado crítico acerca da obra de Camilo Castelo Branco, construído desde Teófilo Braga até a nossa contemporaneidade, o presente estudo tem como objetivo principal olhar a ficção camiliana para além do que de mais evidente há nela: as histórias de amores contrariados, puros e abnegados. Para tanto analisamos os romances Os brilhantes do brasileiro (1869) e Agulha em Palheiro (1863), buscando mostrar de que maneira o autor é capaz de conjugar, nestes exemplares, a moda literária em voga e o retrato da sociedade prosaica que observava em sua realidade imediata, um mundo longe da configuração romântica e idealizada pretendida por parte significativa desta crítica. Para além de abordar as características específicas de cada romance, tais como a estrutura narrativa, a construção de personagens, as temáticas abordadas, entre outras, procuramos, ao final do trabalho, analisar as semelhanças e diferenças entre as duas narrativas, evidenciando assim o dinamismo, a multiplicidade e, principalmente, a complexidade do escritor de São Miguel de Ceide. / Based on the big critical legacy of Camilo Castelo Brancos work, built since Teófilo Braga until the present, this study aims looking at Camilians fiction beyond its obvious contents: thwarted, pure, and self-sacrificing love stories. In order to do so, we have analyzed the novels Os brilhantes do brasileiro (1869) and Agulha em Palheiro (1863), with the objective of showing how the author is able to combine, in these novels, the literary style in vogue at the time and the portrait of the prosaic society that the author observed in his reality immediately, a world which is far away from the romantic and idealized configuration proposed by significant part of this criticism. In addition to addressing the specific characteristics of each novel, such as narrative structure, the construction of characters, the themes addressed, among others, we intend, at the end of this study, to examine the similarities and differences between the two narratives, emphasizing the dynamism, the multiplicity and, most importantly, the complexity of the writer of São Miguel de Ceide.

Le cycle Lancelot-Graal, et le Perlesvaus, écrits dans la première moitié du XIIIe siècle, sont construits autour d’un temps horizontal, organisé autour de la figure du roi Arthur, ce qui rend toute idée de succession problématique. Mais dans le même temps, la société a subi de profonds bouleversements. Qu’il s’agisse de l’institution du mariage, des règles de transmission de l’héritage, ou encore de l’ancrage du lignage dans des lieux géographiques très précis, les relations entre les individus se sont lentement modifiées. Les auteurs doivent donc faire coexister des éléments disparates, voire même contradictoires. La généalogie entre dans le roman arthurien par le biais du cycle de la Vulgate. Ce temps vertical influe sur le roman, et les relations de parenté sont déterminantes dans les constructions narratives des personnages. / The cycle Lancelot-Graal, and the Perlesvaus, written in the first half of the thirteenth century, are built around a horizontal time, organized around the figure of King Arthur, which makes any idea of succession problematic. But at the same time, society has undergone profound changes. Whether it is about the institution of marriage, rules of transmission of the inheritance, or the anchoring of the lineage in very specific geographic locations, relationships between individuals have slowly changed. Authors should therefore ensure the coexistence of disparate elements, even contradictory. Genealogy get in Arthurian romance through the Vulgate Cycle. The vertical time affect the novel, and relationships are crucial in narrative constructions of characters.

Collaboration between the playwright, director, designer and technicians is the backbone of theater. Costume designers, after discussion with the director and the other designers, rely on costume technicians to realize their ideas. The technician’s hands then realize the artistic vision. But what would the technicians try if there were no constraints? I am a technician, a craftsperson who is inspired not just by the play, but also by process, by methods. With every new technique I learn, I imagine the new ways it could be put to use, and the objects I would create if time and resources were not a factor. Imagined objects are seldom created. Once made, these objects exist without a performance, without a purpose. A costume not worn is an unfulfilled destiny. But maybe the pieces I want to make can be given a narrative after the act of construction, or during construction. I’m interested in exploring my ability to be a generative artist. How can my inspiration feed back into the theater community? Can a costume technician’s experimentation have a place in creating new theater? My thesis has two components, exploring my two interests. Those two interests are the creation of objects and the creation of a story. The first component, object creation, was an exploratory study of mask and headdress making techniques. I experimented with new techniques, such as 3-D printing, testing the limitations of new technology. The second component, story creation, was a collaborative process. My collaborator, Brian Oglesby, and I worked concurrently. Brian is a playwright, and as he wrote the play, I made the objects. Our processes mirrored each other. The narrative of the play incorporated the masks and headpieces I made. This project created a theater piece based on the experimentation of a costume technician, and presents a new way for future technicians to think about their work and to have their stories told. / text

Made available in DSpace on 2016-06-02T20:23:16Z (GMT). No. of bitstreams: 1 6284.pdf: 4033248 bytes, checksum: 9d5efb0e9ae354a70477b6f64d8c9377 (MD5) Previous issue date: 2014-08-29 / Financiadora de Estudos e Projetos / The objective of this dissertation is to study the narrative of the trailer of one of the most influential films in cinema history: Alfred Hitchcock´s Psycho (1960). The trailer will, therefore, be analyzed not only as a tool of movie marketing, but mostly as a 'shortmovie' which has a kind of parallel narrative and assist in the feature film, with a beginning, middle and end, trying to understand how that is constituted and how it still speaks to the disclosure´s posters and the opening credits of the film. Both 'core' sequence storyboard´s (trailer and movie) will also be used in this reading that seeks to comprehend the process of signification in the orbit of Psycho. / O objetivo desta dissertação é estudar a narrativa do trailer de um dos mais influentes filmes da história do cinema: Psicose (1960), de Alfred Hitchcock. O trailer será, portanto, analisado não apenas como uma ferramenta de marketing cinematográfico, mas principalmente como um 'curta' que conta com uma espécie de narrativa paralela e auxiliar à do longa-metragem, com início, meio e fim, tentando compreender como aquela se constitui e de que forma dialoga ainda com os cartazes de divulgação e com os créditos iniciais do filme. O storyboard da sequência 'central' de ambos (trailer e filme) também será utilizado nesta leitura que visa compreender o processo de significação na órbita de Psicose.