Univ., Diss.--Kassel., 2002.

While González Prada was mainly a prose writer and ideologist, he did write poetry throughout his life, beginning perhaps even before he began to write prose. Although his poetry itself had little influence on other poets, the ideas which lie behind it did. The purpose of this paper is to show that there are two incipient trends of Peruvian poetry in Prada's poems: Modernism and indigenism. Prada’s tendency towards Modernism is found to be mainly theoretical and ideological, as his adoption of modernist style occurs when Modernism has already been established by Rubún Darío, and disappears after the publication of Exóticas in 1911. Chocano serves as a counterpoint to Prada in showing the extent to which the latter had any real influence on the development of a particular modernist poet, and to which the full development of Modernism differed from the innovations which Prada had envisioned. The incipient indigenism in Prada's poetry is represented in Baladas peruanas, although the point in which Prada anticipates twentieth century writers is that of the use of poetry as a vehicle for ideas, and as such is also evident in Libertarias and Presbiterianas. The nature of Prada’s indigenism is compared to that of Chocano in order to show the extent of the modernists' failure to develop the trends which Prada had foreshadowed. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Made available in DSpace on 2016-04-26T18:18:47Z (GMT). No. of bitstreams: 1 Cristina Gomes Freire.pdf: 6705838 bytes, checksum: bf87719ecfd1e41a1ece80d7ae442c44 (MD5) Previous issue date: 2010-06-30 / This research enquiries how fashion takes place constructing people`s identities, starting on an analysis of the film The Devil Wears Prada, from David Frankel. Throughout sociossemiotics and the interaction and sense regimes concept by Landowski, we study the actor`s construction on their social interactions in a the plot focused on the fashion industry scenario in which the identity paths are inserted. We describe and analyze on a sequence of small filmic narratives the way fashion takes place as cognitive modalizer of the human beings nowadays; the way it is a bush of sensitive interactancial relations; the way it works as regulatory of the ways of dressing in the social scenery and also how fashion makes accidents possible. We investigate the ways of articulation between body and clothes emphasizing that those kinds of arrangements create innumerous possibilities of appearances and how they interfere on the subjetal dynamics. We pointed as hypothesis that the style and the way it structures itself by the means of the outfits and the taste for fashion brings up forms of behavior and life actualized on the presence ways. Another hypothesis thrown was that fashion and, in its consequence, its byproducts such as clothes, accessories and the garment arrangements take place into the edification of the making to be of the individuals. Besides, we could see, in conclusion, that the presence ways of the persons are governed by the visibility ways, which create simulacral figures programmed and manipulated by the fashion industry. The ways of presence and the ways of visibility product figures broadcasted on the media, which are figurative marks of the style for the subjective searches of escape from the modulations by the adjustments and accident mechanism. We studied these mechanisms in order to understand how, on its reiteration, the styles are brought together that segment and identify belonging groups of the social constitution. The research bounds to the communication area as we take fashion as a communicational phenomenon that broadcast identities and style due to the persons make their bodies boards for the dressing that communicate messages which meanings are apprehended by the visual aesthetics / A pesquisa examina como a moda participa da construção da identidade dos sujeitos sociais, a partir de uma análise do filme O Diabo Veste Prada, de David Frankel. Por meio da sociossemiótica e dos regimes de interação e de sentido conceituados por Landowski estudamos a construção dos actantes em suas interações sociais em uma trama centrada no cenário da indústria da moda nas quais se inserem os percursos identitários. Descrevemos e analisamos em um recorte de seqüências do filme como a moda participa como modalizadora cognitiva dos sujeitos da atualidade, como esta é propulsora de relações interativas sensíveis, o modo que a mesma funciona como reguladora dos modos de vestir na sociedade e como ela possibilita acidentes. Investigamos os modos de articulação entre corpo e roupa enfatizando que esses tipos de arranjo formam as várias possibilidades de aparência e como interferem na dinâmica subjetal. Tivemos como hipótese que o estilo e modo como ele se estrutura por meio dos looks e do gosto pela moda acarreta formas de comportamento e de vida atualizadas nos modos de presença. Outra hipótese levantada foi a de que a moda e, em conseqüência, seus produtos como as roupas, acessórios e os arranjos vestimentares participam da edificação do fazer ser dos sujeitos. Além disso, constatamos, em conclusão, que os modos de presença dos sujeitos são regidos por modos de visibilidade, os quais criam imagens simulacrais programadas e manipuladas pela indústria da moda. Os modos de presença e os modos de visibilidade produzem imagens difundidas nas mídias, as quais são marcas figurativas identificáveis do estilo pelas buscas subjetivas de escapatórias das modelações por mecanismos de ajustamento e acidente. Estudamos esses mecanismos a fim de entender como, em sua reiteração, formam os estilos que segmentam e identificam grupos de pertencimento e de referência da constituição social. A pesquisa se entrelaça com a área de comunicação quando tomamos a moda como um fenômeno comunicacional que propaga identidade e estilo já que os sujeitos fazem de seus corpos suportes pelo vestir comunicam mensagens cujos significados são apreendidos pela estética visual

A la fin du dix-neuvième siècle et au commencement du vingtième, la poésie péruvienne a eu une particulière relation avec différentes traditions littéraires, et surtout avec la poésie française. Dans la présente thèse on cherche à expliquer les liens entre le Symbolisme français et quelques poètes péruviens de cette période : Nicanor Della Rocca de Vergalo, Manuel González Prada et José María Eguren. On cherche à établir une lecture « intertextuelle » entre les textes des « Maîtres » du Symbolisme (Baudelaire, Verlaine, Rimbaud et Mallarmé) et les poètes péruviens mentionnés. En plus, cette lecture doit considérer les rapports et les différences avec des mouvements et concepts proches du Symbolisme, comme le Parnassianisme et le Décadentisme, ainsi que le Modernisme hispano-américain. Alors, cette recherche est une étude comparative entre deux traditions qui ont établi un « dialogue » particulier: Rocca de Vergalo, dont les livres ont été écrits en français, contribue au processus du vers libéré français ; González Prada a rénové la poésie péruvienne avec des formes européennes (par exemple le rondeau français) et a été aussi le diffuseur du Parnasse et du Symbolisme au Pérou ; et José María Eguren est le créateur d’un symbolisme particulier en langue espagnole. Sa poésie est un mélange de diverses traditions européennes, « acclimatées » dans son original modernisme et même postmodernisme. C’est une vision fantastique du monde à partir de sujets « obscurs » à partir de l’enfance, l’absence et la mort. / From ends of 19th century and beginnings of the XXth, the Peruvian poetry had a particular relation with different traditions, and especially with the French poetry. In the present thesis we try to explain the links between the French Symbolism and some Peruvian poets of this period: Nicanor Della Rocca de Vergalo, Manuel González Prada and Jose María Eguren. We try to establish an "intertextual" reading between the texts of "teachers" of Symbolism (Baudelaire, Verlaine, Rimbaud and Mallarmé) and the Peruvian poets. In addition, these analysis must to consider the relations and differences with movements and concepts next the Symbolism, as the Parnassianism and the Decadentism, and also with the Spanish-American Modernism. Since then, this research is a comparative study between two traditions that established an peculiar "dialog": Rocca de Vergalo, whose books have been written in French, is a part of the process of "liberated verse"; González Prada renewed the Peruvian poetry with European forms (for example the French "rondeau") and was also the diffuser of Parnassianism and Symbolism in Peru; and Jose Maria Eguren is the creator of a particular symbolism in Spanish. His poetry is a mixture of diverse traditions, "acclimated" in his original modernism and postmodernism. It is a fantastic vision of the world from "dark" topics as the infancy, the absence and the death.

Submitted by Livia Mello (liviacmello@yahoo.com.br) on 2016-09-28T20:27:11Z No. of bitstreams: 1 DissMSCM.pdf: 2118726 bytes, checksum: df907fffede98b3e987415b834ead0f4 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T16:16:29Z (GMT) No. of bitstreams: 1 DissMSCM.pdf: 2118726 bytes, checksum: df907fffede98b3e987415b834ead0f4 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T16:16:37Z (GMT) No. of bitstreams: 1 DissMSCM.pdf: 2118726 bytes, checksum: df907fffede98b3e987415b834ead0f4 (MD5) / Made available in DSpace on 2016-10-20T16:16:45Z (GMT). No. of bitstreams: 1 DissMSCM.pdf: 2118726 bytes, checksum: df907fffede98b3e987415b834ead0f4 (MD5) Previous issue date: 2016-02-26 / Não recebi financiamento / This work seeks to deduce the representations and discourses of teachers about Prada School, which is located in the countryside of São Paulo and was founded by private capital in 1947 in order to assist the children of industrial workers. The school was donated to the public authorities in 1954 and municipalized in 2000. The guiding problem consists of investigating how the school is understood by the teachers participating in the research, once, in the collective imaginary, the institution is generally regarded as a differentiated school in relation to various educational units in the town. Its origin (in the industry) was considered to be different from the other schools belonging to its same system; and it was sought to analyze the causes of its foundation and the aspects of constructing its identity in the social imaginary. The central goal, guided by reflections on the relations between work and education, was to identify teachers and managers‘ views about social representations and about training and educational processes related to EMEIEF Prada. The specific goals was to: analyze the concepts attributed by teachers and managers to the educational practices and to their meanings in their professional career; identify the real and symbolic aspects related to the foundation and development of this school by considering the social construction of its identity and its recognition in the public school system. The methodological procedure, which makes use of a qualitative approach, includes documentary, bibliographic and field research, with emphasis on semi-structured interviews with teachers and managers. The analysis of the interviews revealed that the social representations of teachers agree with those belonging to the general population in many cases; it also revealed that the school has over the years kept the imaginary of being a differentiated school. One of the aspects of the researched school was its central localization. This fact contributes to it being seen as a school with a qualified education and with a differentiated public, generally opposed to the characteristics of the public schools of the periphery, despite there being similarities. It is concluded that the representations and discourses about the school combine real and imaginary elements regarding its history and practices, which interconnect and influence each other, in order to reinforce idealized and aimed aspects in its history and daily routine. Thus, discourses that exalt their particularities and supposed experience permeated by feelings of pride or a certain nostalgia are reproduced. / Este trabalho busca depreender as representações e os discursos de docentes sobre a escola Prada. Esta unidade escolar, localizada no interior paulista, foi fundada por capital privado, em 1947, com intuito de atender aos filhos dos trabalhadores de uma indústria. A escola foi doada ao poder público em 1954, e em 2000 foi municipalizada. O problema norteador consiste em investigar como a escola é compreendida pelos docentes participantes da pesquisa, uma vez que, de modo geral, no imaginário da comunidade, a instituição é considerada como uma escola diferenciada em relação às várias unidades de ensino do município. Consideramos a sua origem (na indústria) distinta das demais escolas da rede à qual pertence e buscamos analisar os motivos de sua fundação e aspectos da construção de sua identidade no imaginário social. O objetivo central, pautado por reflexões sobre as relações entre trabalho e educação, foi o de identificar a visão de professores e gestores sobre as representações sociais e processos formativos e educacionais relativos à EMEIEF Prada. Os objetivos específicos foram: analisar os significados atribuídos pelos professores e gestores às práticas educacionais e os sentidos das mesmas em suas trajetórias profissionais; identificar os aspectos reais e simbólicos relativos à fundação e ao desenvolvimento desta unidade escolar, levando em conta a construção social de sua identidade e de seu reconhecimento no sistema público de ensino. O percurso metodológico, de abordagem qualitativa, inclui pesquisa documental, bibliográfica e de campo, com destaque às entrevistas semiestruturadas realizadas com os professores e gestores. A análise das entrevistas revelou que as representações sociais das docentes, em muitos casos, coadunam com as da população em geral e que a escola ao longo dos anos, tem mantido o imaginário de ser uma escola diferenciada. Um dos aspectos da unidade pesquisada é sua localização central. Tal fato contribui para que seja vista como uma escola com ensino de qualidade e público diferenciado, geralmente contraposto às características das escolas públicas da periferia, a despeito de haver similaridades. Conclui-se que as representações e discursos sobre a escola mesclam elementos reais e imaginários sobre seu histórico e suas práticas, que se entrelaçam e se influenciam, mútua e reciprocamente, de modo a reforçar os aspectos idealizados e objetivados em seu cotidiano e história. Deste modo, se reproduzem discursos que, permeados por sentimentos de orgulho e de certa nostalgia, exaltam suas particularidades e suposta excelência.

Syfte: Syftet med denna studie är att söka en djupare förståelse kring konsumenters attitydskapande gentemot ett varumärke när marknadsföring innehåller mångfald. Metod: För att uppfylla syftet med studiens genomfördes en kvalitativ forskningsstrategi där fokus på respondenters beskrivningar och erfarenhet av olika situationer kring det valda ämnet legat som grund för undersökningen. Detta gjordes med hjälp av individuella semistrukturerade intervjuer bestående av 20 personer i åldrarna 20–30 år med varierande kön. Följande teorier inkluderas i studien: self congruity, consumer brand identification, människan påverkas av det visuella, multikulturell marknadsföring och konsumenters relation till varumärken. Slutsats: I och med denna studie och dess resultat går det att konkludera att konsumenters attityd påverkas av visuell marknadsföring som innehåller mångfald. / Purpose: The purpose of this study is to seek a deeper understanding of consumer attitudes towards a brand when marketing contains diversity. Method: In order to fulfill the purpose of the study a qualitative research strategy was used, focusing on the participants experiences on different situations as the basis for the study. 20 participants, between the ages of 20 to 30 years old, were individually interviewed. The following theories are included in the study; self-congruity theory, consumer brand identification, individuals being influenced by visuals, multicultural marketing and consumer relationship with brands. Conclusion: The study shows that the consumers attitude is influenced by visual marketing that contains diversity.

This dissertation adds to the discussion of historical memory in Spain regarding the Spanish Civil War and the Franco dictatorship by examining three texts published between 2000 and 2004: Las esquinas del aire: En busca de Ana María Martínez Sagi (2000) by Juan Manuel de Prada; Soldados de Salamina (2001) by Javier Cercas; and El vano ayer (2004) by Isaac Rosa. I argue that these texts exemplify a unique tendency in the literature of historical memory that articulates the act of remembering through new narrative and ethical postures born of what I term journalistic affect. This dissertation identifies the tendency beginning in the early 2000s for fiction to articulate the act of remembering through the compilation and examination of truth objects. Not only do the truth objects shape the narrative of these novels, endowing the act of remembering with real-world consequences, but also the truths are embodied in objects thereby locating them outside the framework of contestable speech acts. Moreover, the search for and collection of these objects operate within a journalistic epistemological framework in that the authors or protagonists use the truth(s) embodied in one object to locate another, resulting in the act of assembling a constellation of embodied truths and the shaping of a more holistic understanding of the individual that is the aim of the search. The protagonists in these novels have to search for the modernizing discourses that never took root in a Francoist Spain that never entirely faded away, never had an overt counter-revolution, and never proved itself completely criminal on the public stage the way other nationalist dictatorships in Europe and Latin America had. They show us a Spain that has to catch up with discourses about ethnicity, gender (homosexuality), rural/urban spaces in modernization, and an historical iconography for nationhood that had not essentially been renovated since the mid 1960s. As such, the individuals in these works see an inherent lack in the Europeanized Spain that has been culturally colonized by the continent, a situation that engenders a need to reevaluate a national subject position largely frozen since 1939. / text

This dissertation examines the nature of luxury and luxury branded products, and the meanings attached to them. This is the first study of its kind as materials, manufacturing, sales and marketing processes are analyzed in relation to the retail environment to establish tiers of luxury relevant in today’s global market. Existing literature about the definitions and implementation of marketing strategies that impact on luxury brands (e.g. Danziger, 2005; Kapferer et al, 2009; and Okonkwo, 2007) demonstrate a lack of clarity as marketeers concentrate on adding value to mass produced products. In essence, terminology is employed, it is argued, that artificially elevates the product by attribution. The dissertation goes on to examine the complexity of the marketing tools used to add value to mass-produced products and a taxonomy of luxury is established to differentiate categories of products. Luxury is a single category that is demonstrably unstable and it is manifested in the changing landscape of the luxury brand market which is considered as part of the fashion cycle where luxury brands continue to extend their product offer to satisfy a continually growing consumer market. Branding has become increasingly important and as a result the proposed taxonomy of the luxury and luxury brands market contributes to a better understanding of the sector. Distinctions are made through the use of three Case Studies (Louis Vuitton, Prada and Tanner Krolle) to address the differences between the luxury and luxury brand markets through the analysis of products within the leather goods category. Thus this dissertation redefines concepts of luxury that are established through new materials, techniques and production methods. Existing definitions of luxury are unstable due to an ever changing cyclical market and are exacerbated by marketing, branding, advertising and mass production. It is important to remove the façade of marketing and branding, despite, or because, of them being powerful forms of communication, in order to provide a perspective that acknowledges the change and importance of fashion business methodologies to ensure business growth. At the same time it is also important to recognize the fundamental significance of luxury brand heritage and the convenient message this sends to the consumer. This work provides an important new platform for future research in terms of a more nuanced debate on luxury in all its guises. Evidence of the broad research potential of this dissertation exists, for example, in the growing demand for luxury and luxury branded products and services of the emerging economies in the BRICS (Brazil, Russia, India, China and South Africa) countries. In addition as the market changes and demands for luxury increases, luxury and luxury brand companies could use this research to connect more meaningfully to their heritage when defining new luxury goods and services. It is evident that concepts of luxury will continue to be defined as part of a complex structure of understanding and interpretation. In light of this, one must not lose sight of the importance of the knowledge of the craftsmen and women and their ability to communicate the intricacies of their skills in order to provoke and challenge the perpetuating luxury debate.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Vance R. Holloway. Vita. Includes bibliographical references. Also available from UMI.

La enseñanza de las humanidades en las instituciones educativas permite la valoración y la difusión de la literatura. De esta forma los alumnos aprenden el dominio del idioma, interpretan, emiten juicios críticos y desarrollan una apreciación estética del lenguaje literario. La presente investigación corresponde a la naturaleza cualitativa. El plan de recolección se ha realizado utilizando el análisis documental. Para el procesamiento de recolección de datos se aplicaron fichas bibliográficas. El objetivo general es identificar los elementos temáticos y los recursos estilísticos en el libro Baladas peruanas de Manuel González Prada.