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Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-01-18T19:36:07Z No. of bitstreams: 2 Douglas Sáppia Lima.pdf: 79969812 bytes, checksum: 4610213fe6c15dd62e96879e9323fa5d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Amarante (1146629@mackenzie.br) on 2017-02-07T20:23:11Z (GMT) No. of bitstreams: 2 Douglas Sáppia Lima.pdf: 79969812 bytes, checksum: 4610213fe6c15dd62e96879e9323fa5d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-07T20:23:11Z (GMT). No. of bitstreams: 2 Douglas Sáppia Lima.pdf: 79969812 bytes, checksum: 4610213fe6c15dd62e96879e9323fa5d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-08-19 / This dissertation minds the formal aspects of the film Pulp Fiction (1994), by Quentin Tarantino, under a perspective of intermediality. Henceforth, it aims to assess the extent in which the director’s style fall back on signs and meaning settlements inherent to the language of other means of communication, such as the television, the comic books, video games and the past of the cinema itself. In these terms, the research divides itself into three main segments: the examination of the film narrative procedures (that concerns temporal ellipsis, flashbacks and a round structure intricate by three parallel stories); followed up by the discussion regarding the ostensive violence on the screen (which comprehends to the graphic violence stylization grounded on the saturation of visual signs and on the hybridization of different medias) and the analysis of dialogue constitution (which are granted within the Socratic dialogue and the post-modern conception of parody). In synthesis, in order to sustain the assumption that Pulp Fiction (1994) configures itself as a post-modern exponent, this research relies on the critical thoughts from authors who worked both with film and intermediality theories, as with language and post-modernity theories, such as Mauro Baptista Vedia (2010), Linda Hutcheon (1991) e Mikhail Bakhtin (1984). / Essa dissertação ocupa-se em estudar os aspectos formais do filme Pulp Fiction (1994), de Quentin Tarantino, sob uma perspectiva intermidiática. Para tanto, procura-se avaliar em que medida o estilo do diretor recorre a signos e procedimentos geradores de sentido inerentes à linguagem de outros meios de comunicação, como a televisão, as histórias em quadrinhos, os videogames e o próprio passado do cinema. Nesses termos, a pesquisa se divide, essencialmente, em três partes principais: o exame dos procedimentos narrativos do filme (que concernem a elipses temporais, flashbacks e uma estrutura circular intercalada por três histórias paralelas), seguido da discussão a respeito da violência ostensiva na tela (que compreende a estilização da violência gráfica com base na saturação de signos visuais e na hibridização de diversas mídias) e a análise da constituição dos diálogos (que estão pautados no diálogo socrático e na concepção pósmoderna da paródia). Em síntese, a fim de sustentar a pressuposição de que Pulp Fiction (1994) configura-se como um expoente do cinema pós-moderno, esse estudo se apoia no pensamento crítico de autores que trabalham tanto com teorias do cinema e da intermidialidade, quanto com teorias da linguagem e da pós-modernidade, como Mauro Baptista Vedia (2010), Linda Hutcheon (1991) e Mikhail Bakhtin (1984).

Este trabalho trata de analisar a transição do autor Lourenço Mutarelli entre campos, dos quadrinhos para o campo literário, em que O cheiro do ralo (2007) materializa esse processo. Seu primeiro romance possui dificuldades analíticas de forma e temas que trazem ainda resquícios do autor de quadrinhos. Essas dificuldades recaem em frequentes equívocos de avaliação e classificação de Mutarelli, quando não recaem em reações intempestivas sobre sua produção e origem artística. Tomando essa entrada como problemática, é evidente a impossibilidade ainda em compreender a obra e o gesto que ela representa, por conta de métodos que não levam em conta a dinâmica do campo literário brasileiro contemporâneo e seus produtores. Assim, esse trabalho se debruça sobre o problema levando em conta as particuliridades das dinâmicas do meio dos quadrinhos e do meio literário, aliadas à leitura analítica do texto literário. Investigaremos as relações estabelecidas pelo autor com os produtores nessa movimentação, e como seu primeiro romance expressa essa complexidade. Auxiliados pelas descrições e teorizações sobre a dinâmica do campo literário (Bourdieu), veremos como a geração de valor é transferida ao autor e sua obra. E como O cheiro do ralo inaugura novos problemas acerca da forma literária e a produção contemporânea de literatura, inclusive de espaços no campo literário ainda não privilegiados à descrição ou análise acadêmica. / This work analyzes the transition of the author Lourenço Mutarelli between fields, from the comics field to the literary field, in which O cheiro do ralo (2007) realize this process. The first novel has analytical difficulties of form and themes that possibly still bring remnants of comics author. These difficulties produce frequent misunderstandings in value judgement of evaluation and classification of Mutarelli\'s work, when they do not fall into sudden reactions to their experimental production or artistic origin. We recognize that this entry is problematic and it is evident, due to analysis methods that do not take into account the dynamics of the contemporary Brazilian literary field and its producers, that makes it tough to comprehend his first novel, formaly and thematically, and the act that it represents. Thus, this work focuses on the problem taking into account the particularity of the dynamics of the medium of comics and the literary field, combined with the analytical reading of the literary text. We will inves-tigate the relations established by the author with the producers in this movement, and in which level his first novel expresses this complexity. Moreover, we will see how the generation of value is laid down to the author and his work, supported by the descriptions and theorizations about the dynamics of the literary field (Bourdieu). And finally, how O cheiro do ralo set up new problems about the literary form and the contemporary production of litera-ture, including in that spaces in the literary field not yet privileged to the academic description or analysis.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-08-02T16:54:04Z No. of bitstreams: 1 Flóra Simon da Silva_.pdf: 3922908 bytes, checksum: 8c0355bab398eaf3766d305f5f5bb693 (MD5) / Made available in DSpace on 2018-08-02T16:54:04Z (GMT). No. of bitstreams: 1 Flóra Simon da Silva_.pdf: 3922908 bytes, checksum: 8c0355bab398eaf3766d305f5f5bb693 (MD5) Previous issue date: 2018-03-28 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / PROEX - Programa de Excelência Acadêmica / Esta dissertação aborda conceitos da midiatização em relação ao cinema e as apropriações de seus elementos nos meios digitais pelos atores sociais. Para tanto, nos propomos a analisar a circulação do gif Confused Travolta, verificando as transformações que ocorrem no circuito que se forma entre sua produção e seu reconhecimento. Tem como objetivo principal compreender como as apropriações de elementos cinematográficos, a lógica do cinema e o personagem Vincent Vega produzem sentidos, criam circuitos complexos de comunicação, transformam as interações sociais e potencializam novos dispositivos de comunicação. Nesse sentido, a questão que levantamos e que norteia a pesquisa é O que transforma, no circuito da midiatização, quando imagens são construídas a partir de elementos cinematográficos e se deslocam para sistemas de lógicas diferentes do seu original? com base uma base teórica, problematizamos perspectivas da sociedade dos meios para a sociedade em vias de midiatização. Além disso, ao levantar os aspectos essenciais sobre conceitos da circulação e circuitos, desenvolvemos questões a partir das apropriações e usos nos meios digitais. Este levantamento teórico articulou, juntamente com algumas teorias do cinema, a possibilidade de reflexão sobre a estrutura cinematográfica entre a montagem e a justaposição de cenas, lógicas de produção e personagens arquetípicos e como são observadas estas lógicas no gif Confused Travolta. Através da análise, foi possível verificar os atravessamentos da midiatização nas práticas sociais e, em consequência, nas apropriações dos elementos cinematográficos. Consideramos que o gif em questão, atravessado pela lógica da midiatização, em que os atores sociais produzem materiais para pôr em circulação, aproxima-se e distancia-se da sua referência original, transforma interações entre atores sociais, produz o agenciamento de fluxos e conversações nos meios digitais, ressignifica o sentido do personagem Vincent Vega e propõe a formação de um novo dispositivo tentativo de comunicação através do gif Confused Travolta. / This dissertation approaches concepts of mediatization in relation to cinema and the appropriations of its elements in digital media by social actors. For this, we propose to analyze the circulation of the Confused Travolta gif, verifying the transformations that occur in the circuit that is formed between its production and recognition. Aims to understand how the appropriations of cinematographic elements such as the cinema logic and the Vincent Vega character produce meaning, create complex circuits of communication, transform social interactions and potentiate new communication devices. In this sense, the question that is raised and that guides research is what transforms, in the circuit of mediatization, when images are constructed from cinematographic elements and are moved to systems of logics different from their original? From a theoretical base, we problematize perspectives of the society of the means for the society in the process of mediatization. Besides that by raising the essential aspects of concepts of circulation and circuits, we develop questions from appropriations and uses in digital media.This theoretical survey articulated, along with some theories of cinema, the possibility of reflection on the cinematographic structure between the assembly and juxtaposition of scenes, production logics and archetypal characters and how these logics are observed in the Confused Travolta gif. Through the analysis it was possible to verify the crossings of mediatization in social practices and, consequently, in the appropriations of the cinematographic elements.We consider that the gif in question, crossed by the logic of mediatization, where social actors produce materials to put into circulation, approaches and distances itself from its original reference, transforms interactions between social actors, produces the agency of flows and conversations in the digital media, resigns the sense of the character Vincent Vega and proposes the formation of a new tentative device of communication through the Confused Travolta gif.

Simultaneity and conflict are incessant qualities one is confronted with when looking at things. Shifting from familiar to foreign, from present to implied. There seems to be a tendency, if not necessity to embrace this multiplicity. Using the film theory construct of extra-diegetic and relative qualifier 'sort of' to investigate Pulp Fiction, Bose Wave CD player, Sunset Boulevard, American Apparel, and The Uncanny.

<p>The aim of the essay is to investigate the style of the dialogue in the movie Pulp Fiction and also to see if and how it changes depending on the context of the movie. The intention is to do this within a sociopragmatic theoretical framework. The manuscript has been used, along with the DVD with the movie itself.</p>

The aim of the essay is to investigate the style of the dialogue in the movie Pulp Fiction and also to see if and how it changes depending on the context of the movie. The intention is to do this within a sociopragmatic theoretical framework. The manuscript has been used, along with the DVD with the movie itself.

(English): The dissertation analyses the literature of subculture of tramping, its peculiarity and impact on Czech society during the era of the so called first republic. It deals with significant turning points of the genesis of this cultural phenomenon and utilizes them for the text interpretation. It also strives to express different possibilities of reception of its literature which germinated from tramping.

O objetivo desta tese é analisar a construção da imagem de escritor e a recepção dos livros de João de Minas, pseudônimo de Ariosto Palombo (1896-1984), no campo literário brasileiro entre 1927 e 1989. Foi realizada uma pesquisa documental em livros, jornais e revistas para localizar textos de sua autoria e opinativos sobre sua pessoa e suas obras. A análise das atividades do escritor mineiro é focada em três momentos: jornalista governista (1927-1930), que publicou textos sobre os sertões brasileiros e artigos de defesa das oligarquias encabeçadas pelo Partido Republicano Paulista; um escritor popular (1934-1937), atuante nos gêneros aventuras, sentimental-sexual e policial, bastante difundidos à época; e profeta (1935- 1969), criador de uma eclética religião que misturava kardecismo, catolicismo, protestantismo, umbanda e esoterismo. As opiniões sobre João de Minas e seus livros mudaram conforme se intensificou a orientação popular de suas atividades: tornou-se famoso por ser reconhecido como talento literário promissor por escritores membros da Academia Brasileira de Letras em 1929; foi criticado pela agressiva autopromoção e pelo mau gosto da linguagem de seus livros voltados ao grande público; e sua guinada à religião ressaltou entre os intelectuais e escritores uma imagem de oportunista e arrivista sobre João de Minas, que levou seu nome a ser apagado das enciclopédias e histórias literárias nacionais. Orientador: Elias Thomé Saliba / The aim of this thesis is to analyze the construction of writer image and reception of João de Minas books, pseudonym of Ariosto Palombo (1896-1984), in the Brazilian literary field between 1927 and 1989. We conducted documentary research in books, newspapers and magazines to locate texts of his own and opinions about his person and his works. The analysis of the writer activities is focused on three moments: loyalist journalist (1927-1930), who published texts about brazilian wilderness and articles in defense of the oligarchies headed by Paulista Republican Party; a popular writer (1934-1937), active in pulp fiction like adventure novel, women and erotic fiction, and detective stories, quite widespread at that time; and prophet (1935-1969), creator of an eclectic religion that blended kardecism, Catholicism, Protestantism, umbanda and esotericism. Opinions about João de Minas and his books had changed as the popular direction of his activities was intensified: in 1929, he became famous for being recognized as promising literary talent by writers members of the Brazilian Academy of Letters; after 1934 was criticized by aggressive self-promotion and bad taste language of his books focused on general public; and his turn to religion stressed among intellectuals and writers an image of opportunist and upstart about João de Minas, that took his name to be erased from national literary histories and encyclopedias.

Le passage de l'Afrique du Sud d'un système politique répressif à un système démocratique a ouvert un nouvel espace de parole aux exclus, notamment aux femmes noires à travers les Commissions pour la Vérité. La parole féminine noire libérée suite à la transition politique du pays se reflète aussi dans le développement d'une production littéraire féminine, donnant lieu à l'émergence de nouvelles formes d'écriture romanesque, étudiées dans ce travail qui porte sur dix romans publiés par huit auteures entre 1998 et 2011 : S. Magona, K.L. Molope, K. Matlwa, A.N. Sithebe, A. Makholwa, H.J. Gololai, Z. Wanner et C. Jele. Nous étudions dans un premier temps comment les écrivaines s'approprient le genre romanesque durant la période transitionnelle, s'éloignant d'une écriture réaliste politiquement engagée, courante durant l'apartheid, pour se tourner vers une écriture de l'intime qui met en lumière les traumatismes d'un passé national qui hante le présent. Puis, nous étudions dans les trois parties suivantes comment les auteures émergeant durant la période post-transitionnelle explorent des genres jusqu’ici peu utilisés par les femmes noires sud-africaines : le Bildungsroman, le roman policier et la chick lit, mettant en mots les peurs et les angoisses de la nouvelle Afrique du Sud. Revisitant des genres européens, pour certains populaires, à travers une perspective féminine noire nouvelle, ces auteures continuent d'innover tant dans les thématiques abordées que dans une écriture fondée sur le mélange. Le roman devient un moyen subversif pour critiquer une société patriarcale fortement occidentalisée, qui ne doit pas renier son passé afin de faire face aux nouveaux défis à venir. / The South African political transition from a repressive system to a democratic one opened new spaces to a marginalized part of the population among whom the black woman to express themselves, such as the Truth and Reconciliation hearings. This black feminine voice, made free by the political transition is reflected through the development of a literary female production. It gave way to the emergence of new novelistic forms, analysed in our study through ten novels written by eight different female writers between 1998 and 2011: S. Magona, K.L. Molope, K. Matlwa, A.N. Sithebe, A. Makholwa, H.J. Gololai, Z. Wanner and C. Jele. In a first part, we analyse the way these authors rewrite the novel during the transitional period, moving away from a realistic writing, deeply involved in politics and largely used during the apartheid era, towards a more intimate way of writing which reflect the traumas of a national past haunting the present. Then, we examine in three parts how the writers emerging during the post-transitional period explore new genres, rarely used by black South African women until then, namely the Bildungsroman, detective fiction and chick lit, which reflect their fears in the new South Africa. These authors rewrite these European genres, among which popular ones, through a new feminine perspective, thus innovating the themes they deal with and creating a literature made of mixtures. The European novel becomes a subversive tool to criticise a patriarchal and Europeanised society, which, according to these authors, should not deny the past in order to solve the new challenges coming.