Investigação sobre o discurso da autobiografia em quadrinhos desenvolvida nos Estados Unidos e Brasil, concentrada, principalmente, na obra de Robert Crumb e Angeli. Seguindo a primeira fase do método arqueológico e a teoria do discurso definida por Michel Foucault, a tese se empenha em determinar as condições históricas de possibilidade desse discurso e em efetuar uma análise formal desses objetos materiais. Para tanto, alia-se diversas proposições teóricas advindas do campo da autobiografia, arte, cinema, jornalismo e quadrinhos / Research about the discourse of the autobiographical comics created in United States and Brazil, mainly focusing on the works by Robert Crumb and Angeli. Following the first stage of the archaeological description and Michel Foucault\'s discourse theories, the thesis engages in determining the historical conditions that made this discourse possible and perform a formal analysis of their materials objects. For this purpose, theoretical propositions from different academic fields as autobiography, art, cinema, journalism and comic books are put together

O objetivo dessa dissertação é compreender de que maneira se relacionam três elementos presentes na narrativa de Kansas City (1996), do cineasta Robert Altman. Em primeiro lugar o jazz, cuja utilização vai além da concepção tradicional de música como trilha sonora em filmes; em segundo lugar, a imitação de modelos da indústria cultural, que aparece configurada nas personagens Blondie e Johnny O\'Hara; e em terceiro lugar, o cenário político, tanto da narrativa como da produção da obra respectivamente, as décadas de 1930 e 1990 do contexto norte-americano. / This research aims at understanding how three elements of Robert Altman\'s Kansas City (1996) are related to each other. In the first place the jazz, which is not used as mere soundtrack in this film; in the second place the imitation of culture industry models, personified in the characters Blondie and Johnny O\'Hara; and in the third place the political scenario, concerning both the narrative and the production of the film respectively the 1930s and the 1990s in the north-american context.

Trata-se de um estudo comparativista entre as obras O Ateneu (1888) de Raul Pompéia e Die Verwirrungen des Zöglings Törless (As Tribulações do Pupilo Törless) (1906) de Robert Musil. Sugere-se que esses romances filiam-se ao chamado Romance do Artista (Künstlerroman). Abordam-se também as concepções estéticas desenvolvidas pelos protagonistas dessas duas obras, além de ser uma tentativa de mostrar como ambos os romances se fundamentam numa visão estética da vida. / This is a comparative study about Raul Pompeia´s novel O Ateneu (1888) and Robert Musil´s Die Verwirrungen des Zöglings Törless (The Young Törless) (1906). I suggest these novels could be classified as Künstlerroman (Artist\'s Novel). I work with the aesthetical conceptions developed by each of one of the main characters in these two novels and try to show that both works are based on an idea of life as an aesthetical way of living.

É sabido que antes de se consagrar ao cinema Robert Bresson se dedicou à pintura. Mas é talvez ainda mais significativo o fato de continuar a se definir como pintor, mesmo após ter trocado definitivamente o pincel pela câmera. No entanto, contrariando, a partir disso, uma expectativa natural, não é tarefa fácil identificar referências pictóricas em seus filmes. Donde a suspeita de que as relações entre a pintura e o cinematógrafo de Bresson não sejam assim tão evidentes, devendo, portanto, ser procuradas noutra parte. Tal é a hipótese de que partimos. Propõe-se estudar aqui a obra teórica e cinematográfica de Bresson segundo a relação problemática que ela entretém com a pintura. Procuraremos mostrar que essa relação pode ser entendida através de uma lógica da sensação, tal como Deleuze a encontra em ato na pintura de Bacon e de Cézanne, e que acreditamos também vigorar no cinematógrafo de Bresson. Ora, a essa lógica corresponde uma síntese temporal marcada por três momentos: um primeiro tempo pré-pictural, no qual se trava um combate contra os clichês mentais que cobrem a tela antes mesmo de se começar a pintar; um segundo tempo caracterizado pelo diagrama através do qual a representação é submetida a uma catástrofe; por fim, a expressão do fato pictural, ou seja, a sensação. É principalmente pela estética de Henri Maldiney, tal como ele soube extraí-la das análises de Erwin Strauss sobre o sentir, que buscaremos compreender como a sensação se encontra no centro das preocupações do pintor Bresson. / It is well known that before devoting himself to cinema, Robert Bresson was dedicated to painting. The fact he continued to define himself as a painter, even after he had definitively exchanged the brush for the camera is perhaps even more significant. However, contradicting a natural expectation from this fact, it is not an easy task to identify pictorial references in his movies. From there arises the suspicion that relationships between painting and Bressons cinématographe are not that evident, and therefore, should be sought elsewhere. Such is hypothesis that we set out on. We hereby propose that the theoretical and cinematographic work of Bresson be studied herein according to the problematic relationship it maintains with painting. We will try to show that this relationship may be understood by means of a logic of sensation, such as Deleuze finds in action within the paintings of Bacon and Cézanne, and that we believe is also present in Bressons cinématographe. Well, this logic corresponds to a temporal synthesis marked by three moments: a first prepictorial time, in which there is a struggle against mental clichés which cover the canvas even before one starts painting; a second time characterized by the diagram by means of which the representation is submitted to a catastrophe; and at last, the expression of the pictorial fact, that is, the sensation. It is mainly by the aesthetics of Henri Maldiney, just as how he knew to extract it from analyses of Erwin Strauss on feeling, that we will seek to understand how sensation is found as the major concern of the painter Bresson.

Esta pesquisa parte da obra do artista norte-americano Robert Smithson (1938-1973), sobretudo de seus escritos deixados. Desde o início, a vontade era a de andar às voltas de um modo específico de conhecimento do mundo: escrever sobre a intricada relação entre teoria e prática no campo das artes visuais. Estudo cujo conteúdo teve por lastro as referências - literárias, artísticas, teóricas e históricosociais - sintetizadas nos textos do artista eleito. Tal contexto de trabalho conduziu as análises deste ensaio, cada forma determinada por seu próprio repertório. Escavando assuntos com palavras, sempre rente à coleção de escritos de Robert Smithson. Experimento por acabar, resta um conjunto composto por dezessete pequenos fragmentos. A execução desta montagem representa uma adaptação ensaiada repetidas vezes diante de um espelho. O tiro partiu de local pouco conhecido; o cartucho era de festim: ricocheteou até perder força e cair, por fim. / This research departs from the oeuvre of the American artist Robert Smithson (1938-1973), especially from the writings he left. From the beginning, the will was to surround a specific way of knowing the world: to write about the intricate relation between theory and practice in the visual arts field. Study whose content had as its ballast the references - literary, artistic, theoretical, historical and social - synthesized in the texts of the elected artist. Such work context conducted the analysis of this essay, each form determined by its own repertoire. Excavating subjects with words, always close to the collected writings of Robert Smithson. Unfinished experiment, a set made up of seventeen small fragments remains. The execution of this assemblage represents an adaptation rehearsed repeatedly before a mirror. The shot came from little-known site; it was a blank cartridge shot: ricocheted till it lost strength and fell, at last.

Esta pesquisa parte da obra do artista norte-americano Robert Smithson (1938-1973), sobretudo de seus escritos deixados. Desde o início, a vontade era a de andar às voltas de um modo específico de conhecimento do mundo: escrever sobre a intricada relação entre teoria e prática no campo das artes visuais. Estudo cujo conteúdo teve por lastro as referências - literárias, artísticas, teóricas e históricosociais - sintetizadas nos textos do artista eleito. Tal contexto de trabalho conduziu as análises deste ensaio, cada forma determinada por seu próprio repertório. Escavando assuntos com palavras, sempre rente à coleção de escritos de Robert Smithson. Experimento por acabar, resta um conjunto composto por dezessete pequenos fragmentos. A execução desta montagem representa uma adaptação ensaiada repetidas vezes diante de um espelho. O tiro partiu de local pouco conhecido; o cartucho era de festim: ricocheteou até perder força e cair, por fim. / This research departs from the oeuvre of the American artist Robert Smithson (1938-1973), especially from the writings he left. From the beginning, the will was to surround a specific way of knowing the world: to write about the intricate relation between theory and practice in the visual arts field. Study whose content had as its ballast the references - literary, artistic, theoretical, historical and social - synthesized in the texts of the elected artist. Such work context conducted the analysis of this essay, each form determined by its own repertoire. Excavating subjects with words, always close to the collected writings of Robert Smithson. Unfinished experiment, a set made up of seventeen small fragments remains. The execution of this assemblage represents an adaptation rehearsed repeatedly before a mirror. The shot came from little-known site; it was a blank cartridge shot: ricocheted till it lost strength and fell, at last.

Tradução comentada da correspondência entre Henry James (Nova York, 1843 Londres, 1916) e Robert Louis Stevenson (Edimburgo, 1850 Samoa, 1894), inédita em português. A correspondência começou em dezembro de 1884, e se estendeu por uma década. As cartas revelam uma amizade algo improvável entre dois escritores muito diferentes, e um interesse compartilhado pela arte da ficção. O material analisado joga luz sobre uma discussão importante acerca da literatura em um momento decisivo, à véspera das transformações por que passaria no início do século XX. O ensaio introdutório visa reconstituir o curso dessa discussão e apontar algumas de suas implicações. / Annotated translation of the correspondence between Henry James (New York, 1843 London, 1916) and Robert Louis Stevenson (Edinburg, 1850 Samoa, 1894), unpublished in Portuguese. The correspondence began in December 1884 and lasted for a decade. The letters reveal an unlikely friendship between two very different writers and a shared concern for the art of fiction. The material examined sheds light on an important discussion about literature at a decisive moment, on the eve of the transformations that it was to undergo at the beginning of the twentieth century. The introductory essay seeks to recreate the course of this discussion and point some of its implications.

Este trabalho procura compreender como as obras de Flaherty elaboram um olhar sobre as populações nativas representadas em seus filmes. Através de uma análise da composição das imagens e dos recursos narrativos utilizados pelas obras, procuramos desvendar a perspectiva específica do autor sobre a alteridade, e o modo como ela é por ele representada. Com efeito, os filmes de Flaherty organizam uma noção geral de cultura, subjacente e não revelada, que orienta sua descrição. Para desenvolver este trabalho, foram escolhidas as duas primeiras obras de sua filmografia: Nanook of the North (1922); e Moana: A Romance of the Golden Age (1926). Ao trazer alguns conceitos e referências do campo da Antropologia para a análise fílmica, espero contribuir para enriquecer significativamente o debate que há muito já vem sendo realizado sobre as obras deste conhecido diretor. / This work intent to understand how Flahertys films elaborate a sight about the native populations represented in his works. Analyzing his composition style and the narrative resources used in his works, we search to reveal his specific perspective about alterity and the ways by which it is represented. Flahertys films organize a general notion of culture, that remains underlying and undisclosed, but which guides his description. To develop this work, two of his films had been chosen: Nanook of the North (1922); e Moana: A Romance of the Golden Age (1926). Borrowing some concepts and references from the anthropological field to the filmic analysis, will allow me to contribute, as I expect, to enrich the debate that is still being carried on about the works of this well known director.

The main interest of this master's thesis are novels by Robert Graves I, Claudius and Claudius the God and an adaptation of the novels in a TV series I, Claudius produced by BBC in 1976. At the beginning of this master's thesis are described lives of the ancient authors (Suetonius, Tacitus, Velleius Paterculus, Cassius Dio and Josephus Flavius) and their works. At the beginning are also described princeps (emperors) of the Roman Empire, who ruled during the time period of the plot (Augustus, Tiberius, Caligula and of course Claudius). This part is based on the modern researches. The master's thesis compares the novels to ancient historic sources (Suetonius, Tacitus, Cassius Dio, Josephus Flavius et al.), that Robert Graves used during the writing of his novels. That's why there are many similarities between Graves' novels and ancient sources. Robert Graves took point of view of ancient authors. It means that in the novels are their opinions and theories. For example, Tiberius in the novel is a negative person, because Tacitus and Cassius Dio thought bad of him. The second interest of this master's thesis is to describe use of a film in the education. There is a scheme of a lesson in that could be I, Claudius used. Keywords Claudius, Fiction, Film, Robert Graves, Didactics

This thesis contributes to the growing body of scholarship surrounding historical and filmic representations of the past. Moreover, it seeks to further the understanding and practical use of this sub-field in history by examining two films: Amistad (1997); and, The Wind That Shakes the Barley (2006). Building on the insistence of scholars such as Robert Rosenstone and Hayden White, this thesis seeks to evaluate historical films on their own terms as representations of the past that must be judged according to their own conventions. Cinema's attraction to historical subjects is not a recent phenomenon. However, the past two decades, have seen a marked increase in the academic critique of 'historical films' - most notably Hollywood features and television documentaries. Moreover, the appetite of the general public for filmic treatment of historical topics continues unabated. While it is agreed that historical film cannot be judged according to the criteria used in accessing traditional modes of historical representation, there is little agreement about what criteria, precisely, should be used in evaluating historical films' historical attributes and implications. This thesis commences with a general theoretical and methodological survey of the literature in this relatively new sub-field. It then analyses the film Amistad and its reception and criticism amongst historical professionals. This analysis, coupled with the findings of the first chapter, forms the basis for an original and independent review of The Wind That Shakes the Barley, a film that has not yet been widely critiqued by historians. The thesis suggests how historical films may be fruitfully evaluated in ways that are sympathetic both to the peculiar exigencies of the medium and the traditional concerns of historical scholarship.