Made available in DSpace on 2016-04-26T18:13:28Z (GMT). No. of bitstreams: 1 Cyntia Gomes Calhado.pdf: 942230 bytes, checksum: 4ee1f69e3ea23a676facdbe05033fd86 (MD5) Previous issue date: 2013-10-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation examines the re-elaboration of the national identity, especially in the form of the dualism city-countryside, performed in the film Central do Brasil (Walter Salles, 1998), from the postmodern theory. Acknowledges the centrality of the concept of national identity and the development of the dualism city-countryside in modern Brazilian culture to the incorporation of the subject at different times of national cinema. The study of the recurrence of this dualism in the texts and films about national identity is realized based on Nísia Lima (1999), Mauricio Gonçalves (2011), Celia Tolentino (2001), Ivana Bentes (2007), Ismail Xavier (2007, 2012) and Lúcia Nagib (2006). To spot the similarities between the film and the postmodern esthetic, reflections of Frederic Jameson (1983, 1996, 1998), David Harvey (2005), Renato Pucci Jr. (2008), Lúcia Santaella (2000, 2003), Robert Stam (2005, 2010) and Ronaldo Brito (2001, 2005) are used. A semiotic analysis of the corpus is based on the definitions of Ismail Xavier (2003), Luiz Zanin Oricchio (2003), Lucia Nagib (2003, 2006) and Ivana Bentes (2007). The following aspects are identified: the postmodern aesthetic procedures that the object articulates, as the profusion of quotes with direction reversal that work as trademarks of distancing anti-illusionist, the overburden resource, metalinguistic aspects, negation of the dichotomy erected by modernism between high culture and mass culture - the Great Divide theorized by Andreas Huyssen (1986) - in addition to its stylistic hybridity, as the film blends social drama, melodrama, documentary aspects and road movie in a plot that follows the codes of a moral parable of biblical inspiration. Among the postmodern thematic aspects of Central do Brasil, this dissertation focuses on the way the film draws the parameters of denial of totalization, the utopias and teleology in script and in character development that occur, for example, in the approach that values the individuality instead of collectivity and not explicitly thematizes the sociopolitical forces that focus on the characters, assuming it only as subtext / Esta dissertação analisa a reelaboração da identidade nacional, especialmente na forma do dualismo cidade e campo, realizada pelo filme Central do Brasil (Walter Salles, 1998), a partir da teoria pós-moderna. Admite-se a centralidade do conceito de identidade nacional e a elaboração do dualismo cidade e campo na cultura moderna brasileira até a incorporação e ressignificação do tema em diversas épocas do cinema nacional. O estudo da recorrência do dualismo cidade e campo nos textos e filmes sobre a identidade nacional é realizado com base em Nísia Lima (1999), Mauricio Gonçalves (2011), Célia Tolentino (2001), Ivana Bentes (2007), Ismail Xavier (2007, 2012) e Lúcia Nagib (2006). Para traçar os pontos de contato entre o filme e a estética pós-moderna são buscadas as reflexões de Frederic Jameson (1983, 1996, 1998), David Harvey (2005), Renato Pucci Jr. (2008), Lúcia Santaella (2000, 2003), Robert Stam (2005, 2010) e Ronaldo Brito (2001, 2005). A análise semiótica do corpus se apoia nas definições de Ismail Xavier (2003), Luiz Zanin Oricchio (2003), Lúcia Nagib (2003, 2006) e Ivana Bentes (2007). São identificados os procedimentos estéticos pós-modernos que o objeto articula, como a profusão de citações com inversão de sentido que funcionam como marcas de distanciamento anti-ilusionistas, o recurso da sobrecarga, os aspectos metalinguísticos, a negação da dicotomia erigida pelo modernismo entre alta cultura e cultura de massa - o Great Divide teorizado por Andreas Huyssen (1986) -, além de seu hibridismo estilístico, já que o filme mescla drama social, melodrama, aspectos documentais, road movie em um enredo que segue os códigos de uma parábola moral de inspiração bíblica. Entre os aspectos temáticos pós-modernos de Central do Brasil, este trabalho detém-se na forma como o longa elabora os parâmetros de negação à totalização, às utopias e à teleologia no roteiro e construção de personagens, que se verificam, por exemplo, na opção por abordagem que valoriza as individualidades em vez da coletividade e não tematiza explicitamente as forças sociopolíticas que incidem sobre os personagens, pressupondo-as apenas como subtexto

Using a feminist poststructuralist approach as a guide, I begin this thesis with the workinghypothesis that gender may be an adult-centred concept in feminist studies. This leads me toask: If the concept of gender in feminist studies is adult-centred, how is this centring formedand maintained? To answer this question, I begin by splitting my analysis into three analyticalsections: age, children, and gender. Although I include age, children, and gender into eachsectional analysis, my main priority in the first two sections is to look at how feminist scholarsdiscuss and use the terms age and child(ren). In the gender section, I use three canonical gendertheory texts as the basis of my analysis, where I see how gender is discussed and conceptualisedand how both children and age figure in these conceptualisations.One of the main concerns of feminist poststructuralist theory is tackling binaries. However,with the category of age having been often taken for granted in feminist studies, and thereforeunder-theorised, the adult/child binary in the category of age remains largely unchallenged.Instead, where age has been investigated in terms of tackling binaries, the young/old binary hasdominated but has remained centred around the adult; leaving children underacknowledgedand under-theorised in feminist studies age discourse. This under-theorisation of childrenmeans that “child” remains a master status with seemingly unshakeable connotations ofinnocence, vulnerability, and incompetence. Children are those who are not adults and not-yetsubjects. They are understood as being in constant need of care from the competent andcomplete adult. In this thesis, I show how these points, among others, contribute to both theformation and maintenance of the concept of gender as adult-centred.

Cette thèse interroge la typographie contemporaine au prisme du postmodernisme des années 1980 jusqu'au début des années 2000 afin de montrer que celle-ci va au-delà du simple outil de communication visuelle et de technique d'impression. Dans ce but, cette recherche revient sur l'histoire de la typographie pour en soulever les problématiques récurrentes (idéal de beauté, lisibilité, pluridisciplinarité) retravaillées et ré-étudiées par le postmodernisme. Outre les effets stylistique, le postmodernisme se pose en opposition et réaction au modernisme qu'il remet en cause en tant que modèle dominant. Les problématiques qui découlent de cette remise en question, interrogent la légitimité du designer ainsi que sa place dans la société, dans le processus de création. La typographie et son statut sont parties prenantes de ce débat qui permet de l'extraire du simple objet imprimé. Cette thèse interroge donc la possibilité de considérer la typographie comme objet esthétique et critique qui pense et se pense, à partir des discussions et travaux de cette période, ainsi qu'en s'appuyant tout particulièrement sur la recherche en design. Cette démarche permet également de mettre en perspective la recherche et les savoirs actuels autour de la typographie afin de faire émerger les paradoxes de cette dernière et d'aboutir à sa redéfinition. / This thesis is about contemporary typography in the light of postmodernism from the eighties to the early years of the new millenium in order to show that it goes beyond the mere tool of visual communication and printing technique. So the research relates the history of typography and raises the recurrent issues (ideal of beauty, lisiblility, multi-disciplinarity) worked out and studied by postmodernism. Beside the stylistic effects, postmodernism stands out by reaction to modernism which it questions as a prevailing pattern. The deriving problems raise the question of whether the designer is legitimate and what his/her position in society is, in the creative process. Typography and its status are part and parcel of this issue which helps take it from the mere printed object. Thus, this thesis raises the question of whether it is possible to consider typography as an aesthetic and critical object which thinks, from the talks and works of that period, by particularly drawing upon research in design. This process also helps put into perspective the analysis and current knowledge around typography in order to develop its paradoxes and lead to re-define its goal.

No description available.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-04-05T17:25:44Z No. of bitstreams: 2 Dissertação - João Fernandes da Silva Neto - 2017.pdf: 21655916 bytes, checksum: c2eaa441e43ed2fb96b81e3dbc28201d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-06T12:14:54Z (GMT) No. of bitstreams: 2 Dissertação - João Fernandes da Silva Neto - 2017.pdf: 21655916 bytes, checksum: c2eaa441e43ed2fb96b81e3dbc28201d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-06T12:14:54Z (GMT). No. of bitstreams: 2 Dissertação - João Fernandes da Silva Neto - 2017.pdf: 21655916 bytes, checksum: c2eaa441e43ed2fb96b81e3dbc28201d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research had as scope to investigate the peculiarities of the elaboration and execution of the baixaria (bass lines) of seven-string guitar in the interpretation of the Choro by Rogério Caetano, aiming to identify how it interacted with the marked diversity that characterizes postmodernity and with the elements of the tradition, here represented by the work of Dino Sete Cordas and Raphael Rabelo, and, in this context, the innovations that he brought to the history of the genre in Brazil. Three works by Rogério Caetano – Amigos, Um chorinho em Cochabamba and Rogerinho no sete – as well as three recordings of the music Noites Cariocas – composed by Jacob do Bandolim – interpreted, respectively, by Rogério Caetano, Dino Sete Cordas, and Raphael Rabello, were selected for analysis, interpretation, and comparison. The methodological trajectory prioritized: bibliographical survey; documentary survey (musical scores); exploration of oral sources (semi- structured interviews), auditory and audio-visual sources; investment in the transcription of baixarias of choro music carried out by the researcher; analysis, interpretation and comparison of the baixarias performed by each of the three mentioned musicians. Finally, it was possible to consider that Rogério Caetano, despite all the mastery of the traditional elements (in the context of the baixaria of Choro), represented here by the work of Dino Sete Cordas and Raphael Rabello, used a lot of melodic material from other musical genres like the jazz, the blues, Latin American music, evidencing that it brought great innovations to the choro genre. We state that this musician achieved this when he established profound dialogues with the diversity characteristic of the postmodern scenario with which he interacted. In what it concerns to the seven-string guitar universe, still having in sight the other two mentioned musicians, he showed that he is able to represent a third school of the seven-string guitar in Brazil. / Essa pesquisa teve como escopo investigar as peculiaridades da elaboração e execução da baixaria do violão de sete cordas na interpretação do Choro de Rogério Caetano, visando identificar a forma como interagiu com a diversidade acentuada que caracteriza a pós- modernidade e com os elementos da tradição, aqui representada pelo trabalho de Dino Sete Cordas e Raphael Rabelo, e, nesse contexto, as inovações que trouxe para a histórica do gênero no país. Foram selecionadas para análise, interpretação e comparação, três obras de Rogério Caetano – Amigos, Um chorinho em Cochabamba e Rogerinho no sete – e três gravações da obra Noites Cariocas de Jacob do Bandolim, interpretadas, respectivamente, por Rogério Caetano, Dino Sete Cordas e Raphael Rabello. A trajetória metodológica priorizou: levantamento bibliográfico; levantamento documental (partituras); exploração de fontes orais (entrevistas semiestruturadas), auditivas e audiovisuais; investimento na transcrição de baixarias do choro realizada pelo pesquisador; análise, interpretação e comparação da interpretação das baixarias dos músicos em questão. Por fim, foi possível considerar que Rogério Caetano, apesar de todo o domínio dos elementos tradicionais (no âmbito da baixaria do Choro), aqui representados pelo trabalho de Dino Sete Cordas e Raphael Rabello, utilizou muito materiais melódicos oriundos de outros gêneros musicais, sobretudo o jazz, o blues, música latino-americana, evidenciando que trouxe grandes inovações para o gênero choro. Isto ao dialogar profundamente com a diversidade característica do cenário pós-moderno com o qual interagiu. Em relação ao universo violonístico de sete cordas, tendo em vista os dois outros músicos mencionados, mostrou que tem condições de representar uma terceira escola do violão de sete cordas no Brasil.

Esta pesquisa busca explorar a relaÃÃo entre narrativa e transformaÃÃo na psicoterapia, atravÃs do significado que clientes da ClÃnica Escola de Psicologia da UFC, que jà vivenciaram experiÃncias traumÃticas, atribuem: ao processo psicoterÃpico, Ãs mudanÃas percebidas, ao terapeuta inserido no processo de transformaÃÃo e à importÃncia de se narrar no setting terapÃutico. AlÃm disso, consideraram-se as implicaÃÃes culturais nas histÃrias pessoais, percebendo, assim, a narrativa nÃo sà como uma produÃÃo individual, mas tambÃm histÃrica e relacional. O referencial teÃrico utilizado foi o da Psicologia Narrativa, que postula que a experiÃncia humana se faz inteligÃvel quando transformada em narrativa. No campo da psicoterapia, essas formulaÃÃes vÃo influenciar as terapias pÃs-modernas, tais como a Terapia Narrativa e a Abordagem Colaborativa. Os principais autores utilizados nesta pesquisa foram: Harlene Anderson, Harold Goolishian, Michael White, David Epston, John McLeod, Jerome Bruner, Kenneth Gergen e Marilene Grandesso. Dentro deste vasto campo de estudo, pressupÃe-se que a construÃÃo de narrativas, por sua capacidade de gerar significados, à terapÃutica em si. Esta pesquisa transcorreu mediante trÃs entrevistas semiestruturadas, que foram transcritas e submetidas a uma anÃlise temÃtica. Observou-se que esses clientes chegaram à clÃnica com ideias preconceituosas a respeito da prÃtica psicoterÃpica, mas, ao longo do tempo, tornaram-se extremamente comprometidos com a terapia, reconhecendo o papel fundamental que esta desempenhou na mudanÃa de suas atitudes e significados atribuÃdos a suas realidades e a si mesmos. O terapeuta à visto, neste processo, como um facilitador que explora conteÃdos antes nÃo percebidos, mediando o diÃlogo do cliente com ele mesmo. A narrativa aparece na clÃnica como uma construÃÃo de sentido propiciadora de liberdade, levando a processos de ressignificaÃÃo, reautoria e reorganizaÃÃo da experiÃncia. / This research aims to explore the connexion between narrative and transformation in psychotherapy, through the meanings that the clients from the ClÃnica Escola de Psicologia da UFC, who have experienced traumatic experiences, ascribe to: the psychotherapeutic process, the perceived changes, the therapist as a part of this process, and the importance of narrating in the therapeutic setting. Furthermore, it is important to analyze the cultural implications into personal stories. This way, it is possible to perceive the narrative not only as an individual production, but also as a historical and relational process. The theoretical framework used was the Narrative Psychology that points out that human experience becomes intelligible when transformed into narrative. In the field of psychotherapy, this theory contributed to the emergence of the postmodern therapies, which have as important icons the Narrative Therapy and Collaborative Approach. Some of the most important authors used in this research were: Harlene Anderson, Harold Goolishian, Michael White, David Epston, John McLeod, Jerome Bruner, Kenneth Gergen and Marilene Grandesso. Within this broad field of studies, it is assumed that the construction of narratives, by its ability to generate meanings, is therapeutic in itself. This study was conducted through semi-structured interviews with three clients. The interviews were transcribed and subjected to thematic analysis. It was then observed that in the beginning, all clients had some prejudice about the practice of psychotherapy, and over time, they become extremely committed to the therapy, which played a key role in changing attitudes and meanings ascribed to themselves and their realities. The therapist is seen in this process as a facilitator who explores some contents that were not perceived before, mediating the dialogue between the client and himself. The narrative emerges in the psychotherapy as a construction of meaning that leads to a sense of freedom, and prompts processes of resignification, agency and reorganization of experience.

Ce travail se propose d’étudier la représentation du masque et l’influence de ce concept dans l’œuvre d’Amélie Nothomb, notamment pour lever le voile sur la monstruosité supposée de son écriture. Après avoir décrit le champ littéraire belge francophone et les différents courants littéraires dans lesquels semble évoluer la romancière, il s’intéresse tout d’abord aux masques utilisés par ses personnages pour tromper leur entourage et se tromper eux-mêmes, ainsi qu’à la vision du monde conjointement proposée au lecteur. Dans un second temps, il présente le masque comme une constance de la voix nothombienne, qu’elle se manifeste au travers de l’écriture thématique et stylistique de la romancière ou des émissaires constitués par ses personnages littéraires ou son personnage public. Enfin, il examine l’esthétique proprement caricaturale et grotesque des masques nothombiens, apte à faire basculer l’intrigue dans un cycle de type carnavalesque. / This thesis proposes to examine the representation of the mask and the influence of this concept in Amélie Nothomb’s work, in particular to throw light on the unproven monstrousness of her writing. Before the description of the Belgian French languaged literature and the different literary currents in which the novelist seems to belong to, it takes an interest in masks used by her characters to deceive their surroundings or deceive themselves, and in the world vision that is proposed to the reader. Secondly it describes mask as a permanent feature of the Amélie Nothomb’s voice, in the novelist’s thematic and stylistic writing or in her public or literary characters. Then, it examines the caricatural and grotesque aesthetic of the Amélie Nothomb’s masks, which can make the story beginning a carnival cycle.

<p>Uppsatsen behandlar ur ett genusperspektiv konsumtionens delaktighet i individens identitetsskapande, där fokus ligger på att påvisa hur begreppet kvinnlighet till stor del konstitueras utifrån en definition given av konsumtionssamhället. Med Norman Faircloughs kritiska diskursanalys som verktyg görs en tematisk analys av diskurser gällande kvinnors kropp, stilskapande och sexualitet i ett material bestående av konsumtionsrelaterade mode- och skönhetsartiklar som hämtas från fyra svenska kvinnotidningar som riktar sig till skilda åldersgrupper; julia, Silikon, amelia och tara. Här tydliggörs hur man, när man talar om kvinnan i materialet, hela tiden är positionerad inom en konsumtionsdiskurs såväl verbalt som visuellt. Studien syftar även till att sätta detta kommersiella kvinnoideal i relation till diskussioner om genus som lyfts fram av den postmoderna feminismen samt ur ett vidare perspektiv peka på konsekvenser som tidningarnas representationer har på kvinnors vardag, då studien påvisar deras medverkan i reproduktionen av en patriarkal och ojämlik samhällsordning. Avslutningsvis diskuteras konsumtionssamhällets objektiva ställning samt konsumismens betydelse för den moderna kvinnorollen historiskt och nutida sett.</p>

<p>What is an economic crime? Who is an economic criminal? How do we speak of the phenomenon and what does they way we speak mean? The immediate result of the study is that there is a stereotype image of the economic criminal that is produced within peoples speech. This image contains characteristics that bring the subject, the economic criminal, far away from the traditional crime subject, and brings it closer to a non-criminal subject. This motion render possible that economic criminals can talk of themselves as “not bad people”, “normal” and “like everyone else”. The analysis has made clear that economic crime and economic criminals are conceptualizations that are under negotiation, there is no determined definition of these ideas. A transformed society has also an impact on economic criminals and economic crime. Perhaps the debate about the definition of the economic criminal and economic crime is symptomatic for the postmodern society we share?</p>

<p>Denna uppsats tittar närmare på fyra verk av Jenny Holzer. Hennes konstnärskap jämförs även med Guerilla Girls. Huvudmetoden utgörs av bildanalyser och jag presenterar också tolkningsmöjligheter utifrån ett genusperspektiv. Utöver detta har jag med en konsthistoriografisk undersökning fått fram hur den generella bilden av Holzer ser ut.</p>