L’Uruguay est aujourd’hui le seul pays d’Amérique du Sud à ne pas reconnaître d’indiens sur son territoire, et cela bien qu’avant 1830, date de la fondation de l’État, de nombreuses ethnies (guaraníes, charrúas, chanáes, guenoas, yaros, biguaes) fussent présentes sur son territoire. Cependant, depuis1980, des groupes se font entendre qui revendiquent leur ascendance et même leur identité charrúa.Cette ethnie, selon l’Histoire officielle aurait disparu au cours du XIXº siècle. Le massacre de Salsipuedes, qui mit fin à l’existence de ce groupe social, culturel et politique en 1831, fut en effet, la première opération militaire menée par l’Etat-nation uruguayen, une année après son indépendance.Cette thèse se propose d’analyser la relation entre État et Indien, en essayant de comprendre les places respectives de l’oubli et des constructions mémorielles tout à la fois chez les individus (terrain ) etdans l’Histoire officielle (archives). L’image de l’indien s’est construite à la fin du XIX siècle dans l’art, l’histoire et la littérature, à partir de projections européennes et créoles, au service d’un nationalisme qui dénonçait avec force le métissage, et ignorait à la fois les dernières communautés indiennes du territoire national. Une fois l’indien occulté, l’utopie du creuset des races, le melting pot uruguayen, pouvait alors proposer un métissage exclusivement intra-européen, et une nouvelle identité uruguayenne promue par l’État-nation.Avec les années 60, de nouveaux discours identitaires apparurent malgré tout. Passés sous silence pendant la dictature (1973-1985), ils se transformèrent en revendications identitaires ethniques indiennes, profitant alors d’un nouveau contexte politique et mémoriel. A travers l’observation des processus en jeu dans l’irruption des groupes néo-charrúas nous verrons que l’objet de l’occultation historique dépasse les seuls Indiens. / Uruguay is today the only country in South America who doesn’t recognize Indian people on histerritory, and this although before 1830, date of the State foundation, several ethnic groups (guaraníes,charrúas, chanáes, guenoas, yaros, biguaes) were present in the territory. However, since 1980, some groups revendicate their Charrúa identity. This ethnic group, according to the official History haddisappeared in the XIXth century. The massacre of Salsipuedes, ending the existence of that social,cultural and political group in 1831, has been, indeed, the firts military operation of the uruguayan Nation-State, only one year after his independance.This thesis purposes to analyze the relation between State and Indian, trying to understand the respective places of the forgetting and the memories constructions for individual persons (field) and the official History (archives). The picture of Indian has been builded at the end of the XIXth century through art, history and litterature, from european and creoles projections, in the service of anationalism who denounced the hybridation, and ignored the last Indian communities living in thenational territory. The Indian hidden, the melting-pot’s utopia (crisol de razas), could purpose anhybridation exclusively between european people, and a new uruguayan identity promoted by theNation-State. With the 60’s, some new identitaries speechs appeared. Hidden during the dictatorship(1973-1985), they becoma identitaries indians ethnics revendications, taking advantage of a newpolitical and memorial context. Through the observation of process participing in the emergence of the Néo-Charrúas groups we will see that the object of the historical concealment goes far than Indian people.

Loke Carlsson: Spelmusik – Musikens funktioner i tre datorspelsserier Denna uppsats handlar om datorspelsmusik och syftet är att ta reda på vilka funktioner denna musik har i datorspel. Först presenteras ett antal teorier om filmvetenskap. Med hjälp av dessa teorier sammanställer jag sedan en metod för att analysera musiken i några få datorspel. I metodkapitlet hittar man också en redogörelse för de grundläggande skillnader mellan datorspel och filmer när det gäller musik. Tre olika spelserier analyseras i denna uppsats. I analyserna presenteras och beskrivs musiken, varefter den ställs mot de teorier som presenterats i teorikapitlet. Resultatet blir att jag kan sluta mig till att datorspelsmusiken i de analyserade spelen har fyra viktiga funktioner som stämmer bra överens med flera av filmmusikens funktioner.

Notre époque connaît-elle véritablement une surenchère mémorielle ? L'idée d'une perte nous serait en tout cas devenue presque insupportable. En sciences humaines, de nombreux travaux ont été consacrés à la mémoire (Halbwachs, Le Goff, Yates…). Ces vingt dernières années pourtant, l'oubli a préoccupé les artistes (Pascal Convert ou Anne et Patrick Poirier), et les intellectuels (Augé, Todorov, Ricoeur). À la Renaissance déjà, le peintre et biographe Giorgio Vasari prétendait lutter contre cette « seconde mort » que serait l'oubli. En partant de la notion renaissante de renommée, de ses liens avec l'histoire, nous aimerions faire la généalogie de cet oubli « négateur », empêcheur d'une juste mémoire, à partir de plusieurs images, de plusieurs figures de l'oubli. En effet, il convient d'une part d'analyser des « formes de l'oubli », et d'autre part d'examiner la façon dont les artistes ont pu donner une « figure » à l'oubli. C'est donc un travail sur l'image de la mémoire publique que nous proposons (à condition que nous regroupions sous ce même terme images matérielles et images produites par le discours). Comment l'oubli peut-il être perçu tour à tour comme un lieu, un personnage, un processus? Quels sont ses liens avec l'entreprise historiographique? Pour répondre à de telles questions, il est nécessaire d'examiner les intrications entre histoire et mémoire, historiens et œuvres d'art, artistes et discours légitimant la pratique de ces derniers. Selon notre thèse, la mémoire publique, loin de connaître un excès, serait entrée au contraire dans un important, et croissant, déficit. / Does our time truly know a memorial bidding? The idea of a loss would become almost unbearable to us. Many humanities studies have been devoted to memory (Halbwachs, Le Goff, Yates ...). For the last twenty years, however, oblivion has preoccupied artists (Pascal Convert or Anne and Patrick Poirier) and intellectuals (Augé, Todorov, Ricoeur). During the Renaissance already, the artist and biographer Giorgio Vasari claimed to fight against this "second death" that oblivion would represent. Starting from the re-emerging notion of glory,, from its links with history, we intend to draw a genealogy of this "contrarian" oblivion which prevents a just memory, using several images, several figures of oblivion. Indeed, we should firstly analyze "forms of oblivion", and then examine how artists have given a "figure" to oblivion. It is then a study on the image of public memory that we offer (provided that we include in the same term material images and pictures of the speech). How does oblivion can be perceived in turn as a place, a character, a process? What is its connection with the historiographical undertaking? In order to answer such questions, we need to examine the intricacies between history and memory, historians and works of art, artists and speeches that legitimize their practice. According to our work, public memory, far from knowing an excess, has known a large deficit instead.

Avec une oeuvre dense et complexe, Sylvie Germain constitue aujourd'hui l'une des figures marquantes du paysage littéraire français. A partir d'un corpus formé d'une dizaine de romans, représentatifs de son oeuvre, cette étude essaie d'explorer son univers romanesque qui trouverait son fondement dans le Cosmos et ses quatre éléments. L'objet de cette thèse est donc l'étude de la place et de la fonction symboliques de l'imagination matérielle dans l'oeuvre romanesque de Sylvie Germain. Cette dernière met l'accent sur l'importance de l'hérédité, de la racine, de la transmission et des éléments qui marquent une mémoire familiale. En adoptant les approches thématique et psychanalytique, cette étude est menée sous l'angle du couple antithétique : enracinement/déracinement que nous nous proposons d'approcher d'abord dans son acception géographique pour l'étendre ensuite à toute forme d'arrachement, qu'il soit psychologique ou métaphysique. Nous nous proposons également de démontrer que ces deux désirs d'enracinement et de déracinement créent une nouvelle typologie humaine qui remplacerait l'ancienne typologie nomades/sédentaires. La volonté de déracinement se traduit souvent par une volonté de faire table rase du passé et de s'arracher à une filiation, tandis que l'enracinement exige un travail de réconciliation avec le passé et une quête de la filiation. Enfin, pour écrire cette oeuvre de mémoire, Germain développe un jeu intertextuel et intratextuel et inscrit son texte dans la filiation des récits de commencements et dans une tradition littéraire auxquels elle ne cesse de se ressourcer. / With a dense and complex work of fiction, Sylvie Germain has become a prominent figure in modern French literature. Refering to a large corpus of works illustrative of her fiction, this study attempts to explore her fictional universe that is based on the cosmos and its four elements. The subject of this thesis is therefore the study of space and the symbolic function of material imagination in Germain's novels. In fact, she puts emphasis on the importance of inheritance, roots, transmission, and the elements that mark a family memory. Germain resurrects the rootedness and uprootedness problematic that appeared in French literature in the beginning of the 20th century. Following the thematic and psychoanalytical approaches, this study is built on the binary opposition: rootedness and uprootedness, first within a geographical framework, which later extends to every form of extraction, be it psychological or metaphysical. This study also attempts to prove that both desires of rootedness and uprootedness create a new human typology that would replace the old nomadic/sedentary typology. The will for uprootedness is often translated by the will to make a tabula rasa of the past and to split from a filiation, whereas rootedness requires reconciliation with the past and implies a quest for filiation. Finally, in order to depict memory, Germain develops a pattern of intertextuality and intratextuality, inscribing her text in the line of genesis narratives and in a literary tradition, which both ceaselessly inspire her work.

Annotation 1. Introduction to the environment of rural cemeteries. 2. The Watching most visited graves. 3. The establishing most visited gravis. 4. Getting to know the fate of the dead. 5. The working with photos borrowed from survivors. 6. The controversy over the intimacy and generalization of the cemetery as a place of final rest and prepare for oblivion.

La novela realista De amor y de sombra, por la autora Isabel Allende, describe como dos jóvenes luchan contra la “injusticia legalizada” en un lugar ficticio que alude a Chile bajo la dictadura de Augusto Pinochet. Un tema subyacente pero crucial en la obra es el olvido – individual, colectivo e impuesto. Por consiguiente demostraremos en este análisis cómo se presenta el olvido en la novela De amor y de sombra. La hipótesis que dirige nuestro estudio es que el olvido tiene un propósito mayor – destacar la importancia de recordar el pasado. Haciendo un análisis hermenéutico, nos apoyaremos en tres teorías sobre el olvido y el olvido social, resaltando ejemplos de personajes y acontecimientos de la novela. Por ende, en la conclusión se afirma la hipótesis y que la obra de Isabel Allende hace un llamamiento a recordar el pasado. / The realistic novel De amor y de sombra (Of Love and Shadows), by the author Isabel Allende, describes how a young couple fights against the “legalized injustice” in a fictive place that allude to Chile during the dictatorship of Augusto Pinochet. An underlying but crucial theme in the novel is the oblivion – individual, collective and imposed. Therefore we will show by this analysis how the oblivion is presented in the novel De amor y de sombra. The hypothesis that guides our study, is that the oblivion has a greater purpose – to bring out the importance of remember the past. Through a hermeneutic method, we will found our analysis on three theories of oblivion and social oblivion when analyzing characters and occurrences in the novel. Hence, in the conclusion the hypothesis is confirmed, together with the fact that the novel by Isabel Allende makes a statement of the importance of remembering the past.

This thesis draws on Michel Foucault's late work on the practices of the self to ask whether the ascetic practices and patterns of action suggested by contemporary computer games, which afford players the opportunities to pursue their own self-set goals, further what might be called a 'wandering' away from ourselves, a 'transformation' or 'transfiguration' of what we are. If self-formation is now a terrain on which power and resistance plays out, it is critical to be able to identify pernicious practices that may bind us to the individualising techniques of power, as opposed to transformative ones that enable us to refuse who we are in the move towards freedom. Broaching this question leads to considerations of the implicit ethical foundations presupposed by Foucault's anti-normative ethico-aesthetics, and the limitations of its appeal to a coherence or style seemingly without rules. These considerations have implications for the way in which we understand the practices of self-constitution in computer games. I question whether there is an isomorphism between the way in which power - understood through Foucault's concept of 'governmentality' - works in the present, and the way in which computer games set the conditions under which player practices take place. We are prompted by both to develop a non-coercive relation to a 'truth' through an impetus that originates from us. Computer games are about our identification with processes, which are strengthened by the feedback loops in the game and by the mode of being we elect to adopt as a hexis. Such a structure, however, is insufficiently rigid for computer games to produce discrete subjectivities, and analyses of them must be sensitive as to whether there are any systematic concatenation of player responses. To this end, I suggest a framework, based on Foucault's orthogonal understanding of power-subject, for uncovering the 'rationalities' within games, which are the conditions under which players' practices of the self take place, and which give rise to certain practices of self-constitution over others. It depends on our being able to find or infer player typologies, which are then analysed for their similar patterns of action. This framework is applied to a case study: levelling-up in The Elder Scrolls IV: Oblivion. On the basis of six typologies, a prominent structure of calculative anticipation and deferral emerges, as well as the existence of what is called a super-instrumental approach. In order to disambiguate these findings with respect to their transformative potential, I turn to the transcendental signifiers in Foucault's work and consider the practices of the self as seeking a balance between reason and sense - they are revisited through the lens of Schiller's play drive. This concretises the argument that if the practices of the self are thought capable of moving us towards freedom, we must assume the existence of non-cognitive faculties within us that, when engaged, enable us to be able to distinguish between positive and pernicious self-formation. Given that these judgments cannot be cognitively communicated, we ought to refrain from prescriptivism, yet do have recourse to standards. However, our efforts to cognitively understand this aesthetic interplay between reason and sense are certainly not without importance.

In this essay I trace the historical theme in Djuna Barnes’s Nightwood, stressing the importance of the concept of forgetfulness in the text. Read alongside Nietzsche’s On the Use and Abuse of History for Life as well as his later thoughts on genealogy, the novel can be seen to concern itself with that same dilemma of history that he articulates in his philosophy. That is: how not to be overburdened by historical knowledge to the point where it petrifies life and prevents any real and novel action, and how at the same time, to make oneself conscious of ones own historicity, so as not to be governed to much by the past. I argue that Robin inhabits what Nietzsche would call the unhistorical state, whereas the other characters, in contrast, struggle with their relation to the past. Their stories delineate how history is appropriated and the other made self through the use of masks, costumes, memorabilia, nesting, storytelling and bodily inscription.

Made available in DSpace on 2014-12-17T15:06:58Z (GMT). No. of bitstreams: 1 ElizabeteMAS_DISSERT.pdf: 2370555 bytes, checksum: 8d6d7f66565e2c06518f6d69f6a5e4b3 (MD5) Previous issue date: 2012-11-05 / Inf?ncia is undoubtedly memory, high qual ity l iterature, reputable, as the story moves between f ict ion and reality. Personal and social history, wi th such a sense of reality, causing the reader to prof it f rom the honesty and the sinceri ty producing, in this work, remarkable results in a constancy of cl ippings, f rame -by-f rame. Memory and obl ivion are this work guidance. We aim to denounce the relat ionship between the chi ld and violence, and as it is a memorialist ic text , we see the importance of f ict ion for this type of narrat ive to be sustained. I aim thereby show the tone of this report humanizing memories, its deep and decisive meaning, through the memories concepts by Le Gof f , by Seligmann-Silva and by Ecl?a Bosi. I t is also through the theories of Jeanne Marie Ganegbin that I just ify the concept of remembering and forget t ing, and also it is also according the concepts of Eliane Zagury that I give support to the importance of autobiography as a a mean of expressing the reported memor ies. Final ly, in Inf?ncia, there is no room for fantasy. The lyricism that overwhelms, throughout each chapter, commands the author's imaginat ion. The need to invent gives way to the need to test ify, to denounce. And this t ransit ion occurs gradually, slow as Gra c il ia n o s c h i ld li f e , d u e to such humiliat ion and submission / Inf?ncia ?, sem d?vida, mem?ria, l iteratura de grande qualidade, respei t?vel, ? medida que a hist?ria contada transita ent re f ic??o e real idade. Hist?r ia social e pessoal, com tamanho senso de real idade, fazendo com que o leitor lucre com a honest idade e a sinceridade que produziu, nessa obra, resultados marcantes em sua const?ncia de recortes quadro-a-quadro. Lembran?a e esquecimento s?o, portanto, os guiadores deste trabalho, tendo como prop?sito a den?ncia do encontro da crian?a com a viol?ncia e, sendo o texto memor ial ?st ico, v? -se a import?ncia da f ic??o para que esse t ipo de narrat iva se sustente. Busco, com isso, mostrar no tom humanizador deste relato de mem?rias, o seu signif icado profundo e decisivo, atrav?s dos conceitos de mem?ria de Le gof f , de Seligmann-Silva e de Ecl?a Bosi. ?, tamb?m, atrav?s das teorias de Jeanne Marie Ganegbin que just if ico o conceito de lembran?a e esquecimento e que, me ut il izando dos conceitos de El iane Zagury, acrescento e amparo a rela??o da autobiograf ia como meio de express?o do relato de mem?rias. Por ?lt imo, em Inf?ncia, n?o h? espa?o para a fantasia. O lir ismo que se avassala, no decorrer de cada cap?tulo, comanda a imagina??o do autor. A necessidade de inventar cede espa?o ? necessidade de depor, de denunciar . E essa transi??o ocor re de forma lenta e gradual, assim como lenta ? a vida do menino Gracil iano, diante de tanta humilha??o e submiss?o

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-22T17:48:34Z No. of bitstreams: 1 lucasesperancadacosta.pdf: 1122065 bytes, checksum: 79d12c7e82484d09c6521efc267c7b2e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-25T18:56:06Z (GMT) No. of bitstreams: 1 lucasesperancadacosta.pdf: 1122065 bytes, checksum: 79d12c7e82484d09c6521efc267c7b2e (MD5) / Made available in DSpace on 2016-01-25T18:56:06Z (GMT). No. of bitstreams: 1 lucasesperancadacosta.pdf: 1122065 bytes, checksum: 79d12c7e82484d09c6521efc267c7b2e (MD5) Previous issue date: 2014-04-11 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este estudo tem por objetivo investigar o texto literário de dois escritores africanos contemporâneos: o romance O vendedor de passados (2004), de José Eduardo Agualusa e Antes de nascer o mundo (2009), do escritor moçambicano Mia Couto. Ambos os romances desenvolvem narrativas durante o período pós-independência e pretende-se observar o processo de formação da identidade neste contexto. Para isso focaremos como as personagens Félix Ventura d‟O vendedor de passados e Silvestre Vitalício, d‟Antes de nascer o mundo, intentam criar novas identidades através do apagamento/ esquecimento da memória. A estratégia adota pelas personagens refletem o momento atual que estes países enfrentam de total descaso com a memória histórica, optando pelo esquecimento ao invés de enfrentar os traumas do passado, revelando, dessa maneira, a crítica presente nas obras. No entanto, esta tentativa de recomeçar uma vida livre do passado torna-se impossível, visto que as memórias sempre retornam. Além disso, percebe-se que o passado histórico faz parte da construção da identidade, desta forma os autores utilizam a metaficcionalização da história como recurso para recontar a história de seus países, possibilitando que estas não sejam esquecidas. Observa-se, também, como o lugar, o home contribui na formação da identidade e do sentimento de pertencimento ao espaço que as personagens ocupam, não apenas no aspecto físico, mas, sobretudo, emocionalmente. Este trabalho tenta mostrar como a literatura produzida por Angola e Moçambique, nesse contexto pós-colonial, exerce o papel de ferramenta na construção da nação e como os autores se propõem neste processo de construção de uma nação soberana. / The aim of this study is to investigate the literary text of two African contemporary authors: the novel O Vendedor de passados (2004), of the Angolan writer José Eduardo Agualusa and Antes de nascer o mundo (2009), of the Mozambican writer Mia Couto. Both novels develop narratives during the post-independence period and intent to observe the process of identity formation in this context. Therefore, we will concentrate how the characters Félix Ventura, of O Vendedor de passados and Silvestre Vitalício, of Antes de nascer o mundo, attempt to create a new identity through the memory extinguishment/oblivion. The strategy adopts for the characters they reflect the current moment what these countries face of total disregard with the historical memory, opting for the oblivion instead of confronting the traumas of the past, revealing, in this way, the present criticism in the works. However, this attempt of recommencing a life without past makes impossible, seeing that the memories always bring back.Besides, it is realized that the historical past makes part of the construction of the identity, in this way the authors use the history metafictionalization like resource to recount the history of his countries, making possible that these are not forgotten. Also, observe how the place, the home contributes in the formation of the identity and of the feeling of belonging to the space that the characters occupy, not only, in the physical aspect, but, especially, emotionally. This work tries to show how the literature produced by Angola and Mozambique, in this post-colonial context, plays the part of tool in the construction of the nation and since the authors intend in this process of construction of a sovereign nation.