Zugl.: Leipzig, Univ., Diss., 2009

Konstanz, Univ., Magisterarb., 2004.

Orientador : Maria Carolina Boverio Galzerani / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-08T05:59:31Z (GMT). No. of bitstreams: 1 Cipolini_ThaisOtani_M.pdf: 3286143 bytes, checksum: b982e98164bbb2764873c855e1f2ea41 (MD5) Previous issue date: 2007 / Resumo: Neste trabalho dialogo com obras literárias produzidas por Ruth Rocha, relacionando-as ao contexto histórico em que estão inseridas, isto é, desde 1976 ¿ ano de publicação de seu primeiro livro, ¿Palavras muitas palavras¿, até 2005, ano de lançamento do livro ¿Um cantinho só para mim¿. Não o faço em uma linearidade temporal, mas num ir e vir constante, indo do presente ao passado e do passado ao presente, perpassando momentos diferentes de nossas história nacional recente. Durante a pesquisa percebi alguns fios constantes, mas que se modificavam conforme o contexto histórico brasileiro no qual a autora ( conjuntamente com os editores, ilustradores e tantos outros personagens) produzia(m) os livros. Os livros são, deste modo, enfocados como documentos históricos e, como tais, portadores de re-significações das experiências vividas pela autora no período em questão / Abstract: In this work I estabilish connexions between the literary compositions produced by Ruth Rocha and the historical context they are inserted in: from her first book ¿Palavras, Muitas Palavras¿ in 1976 to 2005, year of publication of ¿Um Cantinho Só Para mim¿. This dialogue was not made in a direct temporal line, but in comings and goings from present to past and from past to present passing through different moments of recent national History. During the research work I noticed some constant thematic lines, wose representations cchanged according to the Brazilian historical context where the author ( in association with editors, illustrators and others) produced her books. These ones are in this way like historical documents, bearers of the re-signified experiences lived by the author in the priod of subject / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

In a prison cell in Johannesburg in 1953 after months of solitary confinement Ruth First, one of South Africa's finest investigative joumalists, attempted to commit suicide. In a sense, information for this thesis has been gathered around the question of why First felt her life had reached a point where she wished it extinguished. The answer involves who she was, what she believed in and her perception at that moment in time of the magnitude of the defeat of all she had worked for. But this question has broader implications - it has been asked because its answer throws light not only on the particular joumalist, but on the radical press and on the political movements which gave it both life and readers. This study is divided into six sections: Origins and influences looks, firstly, at early Jewish migrations and Ruth's life up to the end of her schooling in Johannesburg, then at her university years and the influence on her life of the Communist Party of South Africa. A vigorously provocative life traces debates which led to the formation of the South African Congress of Democrats and the Congress Alliance. It looks, also, at the political influence of the white Left and the radical social fratemity. Trumpeters of freedom locates the origins of the radical press tradition in South Africa, then looks at the development of the two publications to which Ruth devoted most of her time: The Guardian/New Age and Fighting Talk. Writing left focuses on First's writing in connection with three campaigns: the farm labour and the potato boycott, womens' passes and the bus boycotts. These chapters are not a history of these campaigns, but an analysis of the influence on them of First's joumalism. Word wars is about the Treason Trial of 1956. The contention here is that the trial, in which First was one of the 'chief co-conspirators ', not only put the Congress Alliance in the dock, but was about the definition of three words: communism, violence and treason. In many ways it was a trial of the language of the Left, the tools of First's trade. Shifting focus looks at the period after Sharpeville and the 1960 State of Emergency. It considers the shift in First's writing necessitated by greater political oppression, a banning order and her exploration of the writing of books. Chapter 12 considers the massive setback to the Congress Alliance of the Rivonia Trial and the tactical errors which led the Congress leadership to the conclusion that armed struggle would succeed at that point in time. The final chapter is about First's detention, and her perceived personal defeat which resulted in her attempted suicide. The Postscript looks at First's successful attempts to come to terms with both a political and personal defeat. The work effectively ends, however, with her departure from South Africa.

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Este trabalho realiza um diálogo entre as obras dos autores Ruth Rocha, escritora brasileira, e José Cardoso Pires, escritor português. De Ruth Rocha utilizamos: O reizinho mandão, O sapo-vira-rei-vira-sapo, O rei que não sabia de nada, O que os olhos não vêem; e de Cardoso Pires: Dinossauro excelentíssimo. Ao trabalhar com esses livros, pretendemos mostrar a relação da ficção com a realidade dos países envolvidos. Partimos da hipótese de que essas obras, escritas durante o período militar brasileiro e o Salazarismo, colaboraram para o reconhecimento da importância de um regime político democrático para trazer a liberdade às nações brasileira e portuguesa. Nosso objetivo é também demonstrar como os autores denunciaram as situações históricas dos dois países, por meio da paródia, da alegoria e da carnavalização. As obras analisadas são destinadas tanto aos leitores mirins como aos adultos. Nossa pesquisa ampara-se em obras de Literatura Comparada, Literatura Infantil e Juvenil, História Política e Social do Brasil e de Portugal. / This work consists to dialogue the works of writer Ruth Rocha, Brazilian writer, and Jose Cardoso Pires, a Portuguese writer. From Ruth Rocha are used: O reizinho mandão, O sapo-vira-rei-vira-sapo ou o retorno do reizinho mandão, O rei que não sabia de nada, O que os olhos não veem; and from Cardoso Pires is used: Dinossauro excelentíssimo. We intend to show the relationship between fiction and reality in the countries involved working with these books. We started from the hypothesis that these works, written during the Brazilian military and Salazarism, contributed to the recognition of the importance of a democratic political system to bring freedom to the Brazilian and Portuguese nations. Our objective is also to demonstrate how the writers denounced the historical situations of the two countries, through the parody, the allegory and the carnivalization. The works analyzed are appropriate for junior readers as adult readers. Our research supports in works of Comparative Literature, Children and Youth Literature, Social and Political History of Brazil and Portugal.