The Finite Element Method (FEM) is a technique for finding the approximate solution of differential equations. It is commonly used in structural analysis to evaluate the deformation and internal stresses of a structure that is subject to outer loads. This thesis investigates the Finite Element Analysis (FEA) workflow that is used at Andritz Hydro AB, with the objective to find solutions that make the workflow more time effective. The current workflow utilises Siemens NX and Salomé for pre- and post-processing, and Code Aster as the FEM solver. Two different approaches that improve the workflow are presented. The first suggest that the entire FEA workflow is migrated to NX using the built-in FEM package of NX called Advanced Simulation. The second approach utilises the Salomé API (Application Programming Interface) to create a customised toolbox (a script containing several functions) that automate several repetitive and cumbersome steps of the workflow, therefore effectively reducing the time that is required by the analyst to perform FEA. Due to the positive results and ease-of-use, the Salomé toolbox is preferred over the license cost and steep learning curve that is related to NX and Advanced Simulation.

Submitted by LIVIA MARIA ZOCCA null (livia_zocca@yahoo.com.br) on 2017-06-16T00:59:02Z No. of bitstreams: 1 Dissertação Livia. Versão 9.pdf: 2060001 bytes, checksum: 78c55dcf08f0cc7e9a988db3a155396e (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-06-19T14:22:24Z (GMT) No. of bitstreams: 1 zocca_lm_me_arafcl.pdf: 2060001 bytes, checksum: 78c55dcf08f0cc7e9a988db3a155396e (MD5) / Made available in DSpace on 2017-06-19T14:22:24Z (GMT). No. of bitstreams: 1 zocca_lm_me_arafcl.pdf: 2060001 bytes, checksum: 78c55dcf08f0cc7e9a988db3a155396e (MD5) Previous issue date: 2017-05-26 / Os estudos comparativos entre literatura e outras artes distintas têm contribuído desde a Antiguidade para maior compreensão de obras, propiciando - concomitantemente à compreensão do objeto literário - o aumento de pesquisas e discussões. O mito bíblico de Salomé foi fortemente retomado na França do fim século XIX e, adquirindo novas e diferentes roupagens do mito original, percorreu o imaginário dos artistas do período através das famosas pinturas de Gustave Moreau, tornando-se um forte símbolo feminino de uma época marcada pelo simbolismo /decadentismo, onde a arte buscava explorar as paixões e os mistérios, em meio aos grandes avanços científicos. Oscar Wilde foi um dos escritores que deu voz à dançarina, construindo em francês mais uma versão entre as muitas variações do mito ao publicar sua peça em 1893. Sua Salomé percorreu a Europa em meio a polêmicas e obteve mais sucesso que as outras obras de mesmo tema – e melhores avaliadas pela crítica do período - dando à personagem maior destaque e repercussão. Encantado com a peça de Wilde, Aubrey Beardsley, em 1894, ilustra a versão inglesa com seu estilo característico - variando da Art Noveau à influência das pinturas japonesas - em um tom erótico e grotesco peculiar. Suas ilustrações correram o mundo com a peça e trouxeram ainda mais notoriedade e significado à versão wildeana, o que permite pensar que o elemento pictórico poderia ultrapassar suas funções tradicionais de simples acompanhante do texto, acrescentando informações à trama, ao preencher lacunas e sugerir novos olhares, ampliando a leitura. Assim, entendendo que o texto verbal e visual não são linguagens incomunicáveis, e sim complementares, e que se isoladas as obras teriam seus significados e sentidos alterados, o presente trabalho busca analisar as relações texto-imagem entre a peça de Wilde e as ilustrações de Beardsley. / Comparative studies between literature and other distinct arts have contributed since the ancient times to a better understanding of art pieces, providing – simultaneously to the understanding of the literary field – an increase in researches and discussions. The biblical myth of Salomé was highly restored in France late in the 19th century and, by featuring a new and different appearance from the original one, covered the imagination of artists from that period through Gustave Moreau’s famous paintings, becoming a powerful female symbol of a time marked by the Symbolism/ Decadentism, when art aimed to explore passions and mysteries among the great scientific advances. Oscar Wilde was one of the writers who gave voice to the dancer, building another version of the myth among several ones by publishing his play in 1893. His Salomé roamed Europe in the middle of controversies and obtained more success than the other pieces about the same theme - and the ones that received the best evaluations of that time - what gave the character a greater focus and impact. Amazed by Wilde’s play, Aubrey Beardsley, in 1894, illustrates the British version with his typical style – ranging from the Art Nouveau to the influence of Japanese paintings – in a peculiar erotic and grotesque shade. His illustrations roamed the world with the play and brought even more visibility and meaning to Wilde’s version, which enables to assume that the pictorial element could overcome its traditional functions of mere text companion, adding information to the plot, by filling in gaps and suggesting fresh perspectives, enlarging the reading. Thus, understanding that spoken and visual texts are not detached, but complementary languages, and that isolated the pieces would have their meanings changed, this work aims to analyze the relations between Wilde’s play and Beardsley’s illustrations.

Submitted by Thaís de Souza Almeida null (thaisalmeida_unesp@yahoo.com.br) on 2017-07-13T04:17:28Z No. of bitstreams: 1 Dissertação - Thais de Souza Almeida.pdf: 1574627 bytes, checksum: 40886a2966bfc7063f0acaa5646cc8a2 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-07-14T17:51:52Z (GMT) No. of bitstreams: 1 almeida_ts_me_arafcl.pdf: 1574627 bytes, checksum: 40886a2966bfc7063f0acaa5646cc8a2 (MD5) / Made available in DSpace on 2017-07-14T17:51:52Z (GMT). No. of bitstreams: 1 almeida_ts_me_arafcl.pdf: 1574627 bytes, checksum: 40886a2966bfc7063f0acaa5646cc8a2 (MD5) Previous issue date: 2017-05-29 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A retomada do mito bíblico de Salomé, retratado primeiramente nos evangelhos de S. Marcos e S. Mateus, fez escola no movimento simbolista francês. Salomé, que até então havia sido apresentada como mero apêndice de sua mãe, Herodíade, aparece, no final do século XIX, como a grande personificação da anima perversa, assumindo o papel que outrora pertencera a Cleópatra e Helena. O mito trata da história de Salomé, princesa da Judeia, que, sob a influência de sua mãe, realiza a dança dos sete véus para seu padrasto e, como prêmio pelo espetáculo voluptuoso, recebe a cabeça do profeta João Batista. Retratada pelos artistas de diversas vertentes da arte, essa Salomé remodelada vem representar a essência própria do movimento simbolista – a transgressão da linguagem, da temática e da atitude do poeta com relação à produção artística –, bem como a de seus poetas (e artistas) malditos, que se vêem marginalizados por uma sociedade opressora e utilitarista, e que, fazendo justiça à princesa, fazem justiça à própria classe. Assim, com a princesa-odalisca Salomé, o simbolismo afirma sua postura combativa, de luta pela libertação da poesia e da arte. Neste trabalho, pretende-se analisar e comparar as obras Salomé (1891), drama de Oscar Wilde (1854 – 1900), e Hérodiade (1864 – 1898), poema de Stéphane Mallarmé (1842 – 1898), com a finalidade de verificar se existem e quais seriam as confluências – e mesmo influências – entre as duas produções, visto que ambas foram idealizadas na mesma época e cenário – o simbolismo francês, no final do século XIX. A importância das duas obras para a arte moderna é incontestável: com Hérodiade – que, embora carregue em seu título o nome da mãe por questões sonoras, trata, na verdade, de Salomé –, vemos surgir em uma obra que transcende o episódio sanguinário da decapitação do profeta João Batista, para se debruçar sobre a imagem da princesa virginal submersa em ennui, que, em suas próprias palavras, “não quer nada de humano” e que almeja até o último e imaculado fio de seus cabelos a sua “desconcretização” enquanto ser desse mundo, na busca incessante pela Pureza. Já em Salomé, deparamo-nos com aquela que se tornou a versão “eleita” do mito, e que povoou o imaginário de diversos artistas do século XX, desde compositores até diretores cinematográficos. Em Wilde, à dança dos sete véus e à decapitação do profeta, segue-se uma dose fatal de loucura, que conduz a princesa a uma morte sanguinária. O fio condutor de ambas as produções parece culminar naquilo que Balakian (2000, p. 65) classificou como “narcisismo obsessivo, não-recompensador, porque não tem saída” ao tratar da obra mallarmeana: em Hérodiade, a autocontemplação leva a princesa à solidão, ao ennui e ao desejo de evasão do mundo; em Wilde, a autocontemplação conduz ao caminho da loucura e, em seguida, da morte. Em ambas, portanto, e cada uma a seu modo, o leitor se depara com a estéril (auto)contemplação. Seja por meio da Salomé wildeana - sanguinária, apaixonada, delirante - ou mallarmeana – pura, virginal, ennuyée – essas duas representações da princesa-odalisca se debruçaram fatalmente sobre a estéril contemplação – contemplação vã de sua própria beleza ou da beleza do outro – e, de maneira magnânima, unem-se ao sem-número de obras dedicadas à musa absoluta, topus do fin-de-siècle. / The resumption of the biblical myth of Salome, first portrayed in the Gospels of St. Mark and St. Matthew, became a school in the French symbolist movement. Salome, who has been presented as a mere appendage of his mother, Herodias, appears, at the end of the nineteenth century, as a great personification of perverse anima, assuming the role that once belonged to Cleopatra and Helen. The myth deals with the story of Salome, Princess of Judea, who, under the influence of her mother, performs a dance of the seven veils for her stepfather, and, as a reward for the voluptuous spectacle, receives the head of the prophet John the Baptist. Portrayed by artists of all segments of art, this remodeled Salome represents the essence of the symbolist movement itself – with the transgression of the poetic language, theme and attitude of the contemporary artistic productions – as well as his maudits poets (and artists). They are marginalized by an oppressive and utilitarian society, and that, by doing justice to the princess, they do justice to their own class. Thus, with a Princess-Odalisque Salome, symbolism affirms its combative stance, of struggle for the liberation of poetry and art. In this work, we intend to analyze and compare the works Salomé, drama in one act by Oscar Wilde, and Hérodiade, dramatic poem by Stéphane Mallarmé, in order to verify if there are and which would be the confluences – and even influences – between the two productions, whereas they were both idealized at the same period and scenario: the French symbolism, at the end of the nineteenth century. The importance of these two works for the modern art is unquestionable: with Hérodiade – who is actually Salomé, although bears his title from the mother's name on account of the sonority – we see the ontological mallarmean scheme emerging, one of the most important precursors of modern poetry, in a work that transcends the epithet of the bloody beheading of the prophet John the Baptist, to dwell on the image of the virgin princess submerged in ennui, who, in her own words, “doesn't want anything human”, and who longs until the last and unblemished thread of his hair to unconcretize herself while a human being in the pursuit of Purity. Meanwhile in Salomé, we came across the one that became the "elected" version of the myth, and that populated the imaginary of several artists of the twentieth century, from composers to cinematographic directors. In Wilde, to the dance of the seven veils and to the beheading of the prophet, follows a fatal dose of madness, leading a princess to a bloodthirsty death. The leading thread of both productions seems to culminate in that Balakian (2000, p. 65) classified as "obsessive, non-rewarding narcissism, because it has no way out", in relation to the mallarmean work: in Hérodiade, the self-contemplation leads the princess to solitude, to the boredom and the desire to evasion the world ; In Wilde, (self) contemplation leads to the way of madness and death. In both, therefore, and in each in its own way, we are faced with sterile (self) contemplation. Be it trhough Wilde's bloody, passionate, delirious Salomé, or Mallarmé's pure, virginal, ennuyée Hérodiade, these two representations of the princess fatally leaned on a barren contemplation – vain contemplation of their own beauty, or of beauty of other – and, magnanimously, join the countless works dedicated to the absolute muse, topus of the fin-de-siècle.

Étant un personnage secondaire issu de l’épisode évangélique qui raconte le martyre de Jean-Baptiste, Salomé est devenue un des thèmes préférés dans la littérature et les arts de la seconde moitié du XIXe siècle. En faisant partie des « femmes fatales », elle correspond bien aux interprétations fin-de-siècle : la faiblesse de l’homme, le pouvoir de la femme, l’esthétique raffinée mais morbide, la décadence nonchalante mêlée à un effroi irrémédiable. Le célèbre drame d’Oscar Wilde fait d’elle le sujet d’une réflexion philosophique du désir et de la mort. La fin du XIXe siècle ne signifie pas la fin de l’évolution de la figure de Salomé. Au contraire, elle constitue un nouveau point de départ. Au XXe siècle son histoire a connu non seulement un enrichissement au niveau structurel, mais aussi une diversification formelle. Aujourd’hui, les textes qui abordent Salomé forment un système. La formation et la transformation de ce système demande une observation qui porte une attention particulière à la continuité et à la rupture, à l’héritage et au renversement. Lorsque la danseuse est mise à côté du martyr, l’histoire doit faire face au déchirement : l’homme et la femme, le vocable et le visuel, l’ascétisme et le désir…d’où l’incertitude et la diversité de l’interprétation qui permettent à l’histoire de Salomé de résister à l’écoulement du temps. L’existence d’une multitude de textes sur le même mythe crée un espace où l’étude intertextuelle est rendue possible. / As a secondary character from the Gospel story that recounts the martyrdom of John the Baptist, Salome became one of the favorite themes in art and literature of the second half of the nineteenth century. As one of the “ femmes fatales ”, this figure corresponds to the Fin de Siècle imagination : the man’s weakness , the women’s power, the refined aesthetic but morbid, the decadence mixed with an irremediable terror. The famous play of Oscar Wilde made her the subject of a philosophical reflection of the desire and the death. The end of the nineteenth century doesn’t mean the end of the evolution of this mythic figure. On the contrary, it becomes a new starting point. In the twentieth century, Salome’s story has been enriched not only at the structural level, but also by a formal diversification. Today, the writings about Salome form a system. The formation and transformation of this system requires an observation that pays particular attention to the continuity and rupture, to the inheritance and reversal. When the dancer is compared to the martyr, the Salome’s story has to face a series of contrast : man and woman, word and vision, asceticism and desire ... The uncertainty and the diversity of interpretation allow the story of Salome to resist the passage of time. A multitude of texts on the same myth creates a space where the intertextual study is possible.

Le mérite de Nietzsche, qui est représenté dans notre étude, est d'avoir cherché à élucider la « dialectique de l’amitié » de manière philosophique. On retrouve dans son œuvre des traces nettes d'une confrontation philosophique continue avec le thème de l'amitié qui parsèment ses écrits, ses fragments posthumes et ses lettres. Bien que le mot « amitié » revienne très souvent et que le sujet de l'amitié soit très important dans ses écrits, il a jusqu'à ce jour été très peu question d'« amitié » dans la littérature secondaire sur Nietzsche. Nietzsche est peut-être le dernier philosophe pour qui l'amitié représente, de façon presque antique, la forme de vie du philosophe et le véhicule de la pensée. La philosophie est considérée comme un exercice intellectuel, comme un travail sur soi-même dans lequel la théorie s'allie à la pratique. Nietzsche démontre un souci permanent de vivre, d'apprendre et d'enseigner dans l'amitié. Le présent travail se propose d’analyser sa théorie et sa pratique de l’amitié selon des exemples dans son parcours : l'« Idylle de Tribschen » avec Wagner, « l'amitié de table, de maison et de pensée » de Bâle avec Overbeck, le « cloître pour esprits libres » de Sorrente avec Meysenbug et Rée ainsi que la « Trinité » intellectuelle, la « Heilige Dreieinigkeit », avec Rée et Salomé. Ce qui apparaît, c'est la diversité que revêt la notion d'amitié de Nietzsche. L'idée que l'amitié est empreinte de différends, d'instabilité et de changement accompagne l'œuvre de Nietzsche. Il s'avère qu’un aspect important de sa pensée a été ignoré : son inventaire des dangers et de l'impossibilité de l'amitié, ce pourquoi le sens de la notion « ami » doit être redéfini. / Friendship plays an outstanding role in Friedrich Nietzsche’s life and work. His oeuvre is very rich in references to the concept of friendship. Yet, there has been surprisingly little research on this topic so far. Nietzsche clearly recognizes the ambivalence of friendship. The present thesis is an effort to analyse the dialectic of friendship and to conceptualize it with Nietzsche. We examine Nietzsche’s concept of friendship: as a necessity and, at the same time, an unreachable ideal; as a sublation of the established opposition between friend and enemy; in its relation to the concept of “star-friendship”; in its transition to the status of “ghosts of friends”; with respect to breaking up friendships; with respect to his “Hymn to Friendship”. Nietzsche may have been the last great writer for whom friendship represents the existential problem of a philosopher and the vital medium of his thought. According to him, philosophy is a spiritual exercise; his efforts consequentially aim at living in friendship, learning in friendship and teaching in friendship. We examine a series of case studies: the close friendship with Wagner, the confraternity with Overbeck at Basel, the “monastery of free spirits” with Meysenbug and Rée at Sorrento and the so-called “holy trinity” with Rée and Salomé. A culminating point in Nietzsche’s oeuvre is §279 of the “Gay Science”. Due to the vital importance of this aphorism on “star-friendship”, we devote an extensive analysis to it. Finitude and a kind of persistence of friendship even after its break-up are intertwined here. We also reconstruct the genesis of this aphorism, making use of textual pre-stages archived at Weimar. / Freundschaft nimmt in Nietzsches Denken und Leben eine herausragende Stellung ein. In seinem Schaffen finden sich deutliche Spuren einer kontinuierlichen philosophischen Auseinandersetzung mit dem Thema der Freundschaft, die in seinen Schriften, nachgelassenen Fragmenten und Briefen verstreut sind. Obwohl allein das Wort „Freundschaft“ sehr häufig in seinem Werk vorkommt, ist die Freundschaftsthematik in der Nietzsche-Sekundärliteratur bisher wenig behandelt worden. Friedrich Nietzsche hat wie kein anderer Denker die ambivalente Natur der Freundschaft erkannt, dargestellt und durchlebt. Vorliegende Untersuchung will einen Beitrag dazu leisten, diese „Dialektik der Freundschaft“ mit Nietzsche auf den philosophischen Begriff zu bringen. Einzelne Teile der Arbeit untersuchen Nietzsches Bemühen um die Freundschaft: als Unentbehrlichkeit und zugleich Unmöglichkeit; als Aufhebung des klassischen Gegensatzes von Freund und Feind; im Blick auf die Freunde der Zukunft; im Postulat der Sternen-Freundschaft; in ihrer Veränderlichkeit in der Gespenster-Freundschaft; im Brechen von Freundschaften; in der Freundschaftskomposition des „Hymnus an die Freundschaft“; im lebenslangen Streben, Freundschaftsbündnisse zu begründen. Nietzsche ist vielleicht der letzte Philosoph, für den Freundschaft die Lebensform des Philosophen und das Medium des Denkens bildet. Philosophie wird verstanden als geistige Übung, als Arbeit am Selbst, in der sich Theorie und Praxis vereinigen. Beständig richtet sich Nietzsches Bestreben darauf, in Freundschaft zu leben, zu lernen und zu lehren. Der Freundschaftsbund mit Gleichgesinnten ist die Hoffnung und der Traum seines Lebens und wird exemplarisch anhand der Tribschner Gemeinschaft der Unzeitgemäßen mit Wagner, der Basler „Tisch-, Haus- und Gedankenfreundschaft“ mit Overbeck, des Sorrentiner „Klosters für freiere Geister“ mit Meysenbug und Rée sowie der sogenannten „Heiligen Dreieinigkeit“ mit Rée und Salomé dargestellt. Einen Kulminationspunkt in Nietzsches Schaffen bildet der §279 der „Fröhlichen Wissen¬schaft“, der Aphorismus über „Sternen¬-Freundschaft“, dem wir daher eine eingehende Analyse widmen. Endlichkeit und Fortdauer der Freundschaft über das Ende hinaus werden hier zusammengeführt. Aufgrund der Bedeutsamkeit dieses Aphorismus für Nietzsches Konzept der Freundschaft wird seine Genese anhand der textlichen Vorstufen rekonstruiert.

The plays of Oscar Wilde hold more than just sharp wit and likable characters; they also contain examinations of aspects of the playwright's own personality and explorations of possible life choices. Through the use of Performance Studies theory, this thesis seeks to shed light on how Wilde saw himself versus how he presented himself at different points in his life. The texts analyzed within are Wilde's 1891 dramatic religious retelling, Salomé, and his 1894 domestic comedy, The Importance of Being Ernest. Within each are clues to the interior desires of their author: Salomé offers an investigation of a strong female personality in a repressive male society, while The Importance of Being Earnest expands on the feminine taking control over destiny.

Various representations of the figure of Salomé and the Biblical legend have been produced in the European, specifically in the English literature and arts throughout the nineteenth century. Oscar Wilde’s 1891 dramatic version of the legend in many ways epitomizes the full potential of the legend and capitalizes on the period’s fascination with the Orient. The climax of the orientalism of the play, the Dance of the Seven Veils, offers a unique reflection on European fantasies about the harem and invites a comparison to Ottoman representations of this same cultural space. This project seeks to analyze the relation between the Dance of the Seven Veils as presented by Wilde, and the figure of dancing woman in the harem of the Ottoman Empire. It is the slippage between the two which has informed various representations of the Oriental female figure in the West. The gap that emerges between the Western representations and the real practices in the harem, allows for a focused critique of Orientalist practices while recovering, in some ways, the actual experience of Muslim women.The vision of the harem that the Dance of the Seven Veils in Wilde’s Salomé offers is informed not by an actual encounter, but by the image of the harem as understood in nineteenth century English culture. At the same time, it participates in Victorian feminist debates on liberating the oppressed harem woman from her veils, her sexualization, and her objectification. Ultimately the dance functions as a reaffirmation of conventional gender roles as understood in Victorian society. / text

Este trabalho tem por finalidade analisar a representação mítica de Salomé e suas ressonâncias na obra de Simões Lopes Neto e defender a idéia de que o autor, ao reler o mito, ambientando-o nos pampas do Rio Grande, transcende o mero pitoresco e a mera cor local, colocando-os a serviço da releitura desse mito. É objetivo principal deste estudo, portanto, ver nessa releitura um dos elementos responsáveis por tal transcendência. A fim de qualificar o estudo, são feitas uma reflexão sobre mito e literatura e uma investigação sobre a Salomé histórica, bem como as suas releituras. A análise dos contos Cabelos da china, Jogo do osso, No manantial, Contrabandista e O Negro Bonifácio, de Contos Gauchescos, e da obra Cancioneiro Guasca permite constatar nas personagens femininas dos referidos textos elementos que comprovam a releitura do mito de Salomé. / Este trabajo tiene por finalidad analizar la representación mítica de Salomé y sus resonancias en la obra de Simões Lopes Neto y defender la idea de que el autor, al releer el mito, ambientandolo en las pampas de Rio Grande, transciende lo pintoresco y el simple color local, poniendolos a servicio de la relectura del mito. Es objetivo principal de este estúdio, por lo tanto, ver en esta relectura uno de los elementos responsables por tal transcendencia. A fin de calificar el estúdio, son hechas una reflexión sobre mito y literatura y una investigación sobre la Salomé histórica, así como sus relecturas. El análisis de los cuentos Cabelos da china, Jogo do osso, No manantial, Contrabandista y O Negro Bonifácio, de Contos Gauchescos, y de la obra Cancioneiro Guasca permite constatar en los personajes femeninos de los referidos textos elementos que comprueban la relectura del mito de Salomé.

Este trabalho tem por finalidade analisar a representação mítica de Salomé e suas ressonâncias na obra de Simões Lopes Neto e defender a idéia de que o autor, ao reler o mito, ambientando-o nos pampas do Rio Grande, transcende o mero pitoresco e a mera cor local, colocando-os a serviço da releitura desse mito. É objetivo principal deste estudo, portanto, ver nessa releitura um dos elementos responsáveis por tal transcendência. A fim de qualificar o estudo, são feitas uma reflexão sobre mito e literatura e uma investigação sobre a Salomé histórica, bem como as suas releituras. A análise dos contos Cabelos da china, Jogo do osso, No manantial, Contrabandista e O Negro Bonifácio, de Contos Gauchescos, e da obra Cancioneiro Guasca permite constatar nas personagens femininas dos referidos textos elementos que comprovam a releitura do mito de Salomé. / Este trabajo tiene por finalidad analizar la representación mítica de Salomé y sus resonancias en la obra de Simões Lopes Neto y defender la idea de que el autor, al releer el mito, ambientandolo en las pampas de Rio Grande, transciende lo pintoresco y el simple color local, poniendolos a servicio de la relectura del mito. Es objetivo principal de este estúdio, por lo tanto, ver en esta relectura uno de los elementos responsables por tal transcendencia. A fin de calificar el estúdio, son hechas una reflexión sobre mito y literatura y una investigación sobre la Salomé histórica, así como sus relecturas. El análisis de los cuentos Cabelos da china, Jogo do osso, No manantial, Contrabandista y O Negro Bonifácio, de Contos Gauchescos, y de la obra Cancioneiro Guasca permite constatar en los personajes femeninos de los referidos textos elementos que comprueban la relectura del mito de Salomé.

Este trabalho tem por finalidade analisar a representação mítica de Salomé e suas ressonâncias na obra de Simões Lopes Neto e defender a idéia de que o autor, ao reler o mito, ambientando-o nos pampas do Rio Grande, transcende o mero pitoresco e a mera cor local, colocando-os a serviço da releitura desse mito. É objetivo principal deste estudo, portanto, ver nessa releitura um dos elementos responsáveis por tal transcendência. A fim de qualificar o estudo, são feitas uma reflexão sobre mito e literatura e uma investigação sobre a Salomé histórica, bem como as suas releituras. A análise dos contos Cabelos da china, Jogo do osso, No manantial, Contrabandista e O Negro Bonifácio, de Contos Gauchescos, e da obra Cancioneiro Guasca permite constatar nas personagens femininas dos referidos textos elementos que comprovam a releitura do mito de Salomé. / Este trabajo tiene por finalidad analizar la representación mítica de Salomé y sus resonancias en la obra de Simões Lopes Neto y defender la idea de que el autor, al releer el mito, ambientandolo en las pampas de Rio Grande, transciende lo pintoresco y el simple color local, poniendolos a servicio de la relectura del mito. Es objetivo principal de este estúdio, por lo tanto, ver en esta relectura uno de los elementos responsables por tal transcendencia. A fin de calificar el estúdio, son hechas una reflexión sobre mito y literatura y una investigación sobre la Salomé histórica, así como sus relecturas. El análisis de los cuentos Cabelos da china, Jogo do osso, No manantial, Contrabandista y O Negro Bonifácio, de Contos Gauchescos, y de la obra Cancioneiro Guasca permite constatar en los personajes femeninos de los referidos textos elementos que comprueban la relectura del mito de Salomé.