Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-02-20T14:43:07Z No. of bitstreams: 1 sandradaconceicaocardoso.pdf: 741061 bytes, checksum: bc920c85f21b21eb3d0380eb24bcdc3a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-20T18:13:06Z (GMT) No. of bitstreams: 1 sandradaconceicaocardoso.pdf: 741061 bytes, checksum: bc920c85f21b21eb3d0380eb24bcdc3a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-20T18:13:25Z (GMT) No. of bitstreams: 1 sandradaconceicaocardoso.pdf: 741061 bytes, checksum: bc920c85f21b21eb3d0380eb24bcdc3a (MD5) / Made available in DSpace on 2017-02-20T18:13:25Z (GMT). No. of bitstreams: 1 sandradaconceicaocardoso.pdf: 741061 bytes, checksum: bc920c85f21b21eb3d0380eb24bcdc3a (MD5) Previous issue date: 2009-08-14 / A partir dos traços de semelhanças e diferenças e de todo um percurso sistemático de comparação como estratégia de interpretação, analisamos as narrativas literárias do gênero ficção científica brasileira e estadunidense Silicone XXI (1985), A corrida do rinoceronte (2006), Neuromancer (1984) e A estrada (2007), dos autores Alfredo Sirkis, Roberto de Sousa Causo, William Gibson e Cormac McCarthy, respectivamente. Problematizamos as temáticas voltadas para o mundo da ciência, da tecnologia, bem como as transformações relacionadas ao corpo, à identidade e à estrangeiridade, na intenção de expandir as fronteiras do conhecimento entre Brasil e Estados Unidos, instituindo um estudo em torno da literatura de ficção científica no âmbito dos Estudos Culturais. / Guided by traces of similarities and differences and having comparison as the basis of our interpretation strategy, literary narratives of the science fiction genre from the United States and Brazil are analyzed in the works Silicone XXI (1985), A corridor do rinoceronte (2006), Neuromancer (1984) and The road (2007), by Alfredo Sirkis, Roberto de Sousa Causo, William Gibson and Cormac McCarthy, respectively. Themes connected to the world of science, technology and politics are put in relief as well as the transformations related to the body, identity and foreignism. The intention is to broaden up the dialogue between Brazil and The United States, by establishing a study around the science fiction literature in the realm of Cultural Studies.

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Syftet med undersökningen är att analysera Suzanne Collins roman Hungerspelen och finna uttryck som sedan kopplas till gymnasieskolans värdegrund. Detta för att ta reda på vilken didaktisk potential som kan utvinnas ur romanen. Teorin bakom analysen är didaktisk potential i samsyn med Alkestrands (2016) definition av begreppet. Metoden som använts är hermeneutik samt tematisk analys. Resultatet visar att den dystopiska roman som studeras i undersökningen innehåller flera möjligheter att utifrån ett främmande perspektiv belysa vardagliga företeelser som eleverna kan känna igen från samhället i vår värld, det som Alkestrand kallar för främmandegöring och igenkänning. Romanen öppnar upp möjligheten för att öva den narrativa fantasin då det finns flera möjligheter att belysa etiska och moraliska frågor. Det litterära verket ger goda möjligheter till diskussioner om hur vårt samhälle ser ut kontra samhället i romanen, samt vilka problem och lösningar som går att identifiera.

In Science Fiction Imagines Intersex: Melissa Scott’s Shadow Man (1995) untersucht Mascha Helene Lange diesen Roman als narrative Verhandlung der Geschlechtskategorie Intersex. Der 1995 erschienene Roman führt fünf verschiedene Geschlechtskategorien mit dazugehörigen Pronomen ein und stellt eine intergeschlechtliche Person als Hauptcharakter in den Mittelpunkt. Der Roman scheint damit innovative Lesarten von Intersexualität abseits einer beschränkenden binären Geschlechtsordnung zu versprechen. Der Beitrag argumentiert jedoch, dass Scotts Roman auf Erzählstrukturen zurückgreift, die Intersexualität auf verschiedene Weise als Abweichung darstellen und, so Mascha Helene Lange in Anlehnung an Rosemarie Garland-Thomson, zu einer Freak-Erscheinung macht. So funktionalisiert Shadow Man insbesondere Diskurse der Kolonisierung, Sexualisierung und Pathologisierung und grenzt Intersexindividuen nicht nur aufgrund körperlicher Sexualmerkmale ab, sondern auch auf Basis ‚rassischer‘ Herkunft und sexueller Orientierung. Der Beitrag argumentiert weiter, dass eine Perspektivierung und Subjektivierung dieser Prozesse durch den zentralen Intersex Charakter im Roman fehlt, so dass der Subjektstatus von Intersexpersonen in Shadow Man durch Othering stark eingeschränkt wird.

Tystnad kan användas som ett kognitivt verktyg för att påverka en filmupplevelse och för att förhöja vissa audiovisuella aspekter. Denna studie undersöker hur tystnad som berättargrepp inom genren sci-fi kan användas genom två koncept för ljudinspelning: fidelity, som är en trogen ljudinspelning av vad som visas i bild, och intelligibility, som adderar ljud för narrativ information. Koncepten lät oss som ljuddesigners analysera och kontrollera tystnadsögonblicken i varje scenario. Point of audition användes som ett adderat designverktyg för att fokusera tystnadsögonblicken i narrativet. Genom diskussion i fokusgrupper kunde vi utvärdera hur tystnaden upplevdes i varje separat klipp. Studien visade att tystnad som berättargrepp föredrogs vid en kombination av de två koncepten. / Silence can be used as a cognitive tool to influence a film experience and to elevate certain audiovisual aspects. This study examines how silence as a narrative technique in the sci-fi genre can be used through two concepts for sound recording: fidelity, which is a faithful sound recording of what is shown on screen, and intelligibility, which adds sound for narrative information. The concepts allowed us as sound designers to analyze and control the moments of silence in each scenario. Point of audition was used as an added design tool to focus the moments of silence in the narrative. Through discussions in focus groups, we were able to evaluate how the silence was experienced in each separate clip. The study showed that silence as a narrative approach was preferred in a combination of the two concepts.

Cette version du mémoire a été tronqué des éléments de composition originale. Une version plus complète devrait être rendue disponible sous peu pour les membres de la communauté de l’Université de Montréal. / Ce mémoire est une comparaison sonore de 4 adaptations cinématographiques du même roman: L'Invasion des profanateurs (1955) de Jack Finney. J’y parle de la technologie audio que chacun des films a employé. J’essaye de comprendre et de démontrer comment cette évolution technologique a pu contribuer à faire évoluer différents aspects sonores tels que le style musical, le foley, et le design sonore. J’ai d'abord comparé les 4 films de manière plus général en me concentrant sur les thèmes musicaux, l’utilisation du foley pour faire peur, le Jump Scare et le design sonore. Ensuite, je me suis concentré sur 4 scènes communes que j’ai analysé plus en détail. Ce mémoire donne une vision partielle de l’évolution sonore dans les films de sciencefiction. / This Thesis is a sound comparison between four movies inspired by the same novel : The Body Snatchers (1955) by Jack Finney. I talk about the audio technology that each movie used and how it has contributed in the evolution of the musical style, the foley, and the sound design. At first, I compare the 4 movies in a general way : the musical themes, the use of the foley to scare the audience, the Jump Scare, and the sound design. Then, I chose 4 common scenes that I analyze more in details. This thesis gives a partial view of the evolution of sound in science fiction movies.

Магистерская диссертация «Рубрика "Мой друг – фантастика" в журнале "Уральский следопыт" 1960–1970-х годов как инструмент популяризации научной фантастики» посвящена проблеме того, как развивалась советская фантастика, как создавался и развивался журнал «Уральский следопыт», какие авторы публиковались в нем, как журнал взаимодействовал с читателем. Мы проанализировали рубрику «Мой друг – фантастика» за 1960-1970 годы, как она развивалась в 1960 – 1970-х годах; выявили и охарактеризовали жанры, которые представлены в рубрике, познакомились с ключевыми авторами; описали способы популяризации научной фантастики в журнале "Уральский следопыт". / The master's thesis «Rubric "My friend is a science fiction" in the journal "Uralskiy Sledopyt" of the 1960s and 1970s as a tool for popularizing science fiction» devoted to problem how Soviet science fiction developed, how the Uralskiy Sledopyt magazine was created and developed, which authors were published in it and how the magazine interacted with the reader. We analyzed the category "my friend is a fiction" for the years 1960-1970s, as it developed in the 1960s and 1970s. We identifed and characterized the genres that are presented in the category; got acquainted with the key authors. We described ways to popularize science fiction in the journal "Uralskiy Sledopyt".

Ce mémoire en recherche-création combine un roman (Bateau brûlé) et un essai (Poétique de la fuite dans le récit dystopique contemporain et écoféministe), l’un inspirant l’autre. Bateau brûlé : Le monde est toujours noir. Seko est fascinée par la seule source de lumière possible, mais la ville qui la voit grandir s’oppose à sa curiosité. Il n’y a de place que pour les plufors, ces dirigeants cruels qui décident des endroits éclairés. À travers une vie qui lui échappe et des souvenirs qui ne sont pas toujours les siens, Seko tente de déceler si la lumière est réellement sa destinée, même alors qu’elle prend la fuite à bord d’un bateau condamné. Poétique de la fuite dans le récit dystopique contemporain et écoféministe : Ce bref essai analyse plusieurs œuvres, théories et recherches dans le but de les faire converger vers le consensus que la dystopie est féministe et sert à dénoncer. Une tangente récurrente des dystopies écoféministes est le thème de la fuite, si prédominante qu'on pourrait la considérer comme poétique. Afin de mieux comprendre ce concept, je propose une lecture du roman Hivernages (2017) de Maude Deschênes-Pradet centrée sur ce thème. Pourquoi fuir alors que, Hivernages le prouve, il n’y a aucun refuge à atteindre ? Le corpus qui m’intéresse et qui alimente ma propre œuvre explore la manière dont la fuite affecte la réalité physique et la psychologie des personnages ainsi que la forme du récit. La poétique de la fuite constitue un élément narratif et structurel résultant de deux causes distinctes, mais imbriquées : la temporalité fragmentée du récit et l’ambition écoféministe de s’opposer à l’environnement toxique. / This memoir combines a novel (Bateau brûlé [Burnt Boat]) and an essay (Poetics of Escape in Contemporary and Ecofeminist Dystopian Narratives), one inspiring the other. Bateau Brûlé: The world is always dark. Seko is fascinated by the only possible light source, but the city that sees her grow is opposed to her curiosity. There is only room for the “plufors”, cruel rulers who decide where the light goes. Through a life that eludes her and memories that are not always her own, Seko wonders if the light truly is her destiny, even as she flees on a doomed ship. Poetics of Escape in Contemporary and Ecofeminist Dystopian Narratives: This essay analyses several works, theories and pieces of research in an attempt to make them converge towards the consensus that dystopia is a feminist undertaking. A recurring tangent of ecofeminist dystopias is the theme of escape, so predominant one might even consider it poetic. In order to clarify this concept, I suggest a reading of the novel Hivernages (2017) by Maude Deschênes-Pradet focusing on the poetics of escape. Why flee, when Hivernages proves there is no refuge to reach? The corpus that interests me and that feeds my reflection and imagination explores how the flight affects both the characters’ physicality and psychology as well as the form of the narrative itself. In every case, the poetics of escape constitute a fictional and structural element that results from two distinct but intertwined causes: the narrative’s fragmented temporality and the ecofeminist ambition to oppose the toxic environment.

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No description available.