Este trabalho discute a presença do mito do lobisomem na obra Fogo Morto, de José Lins do Rego. São abordados os aspectos do mito, do imaginário social e da identidade presentes no enredo, bem como a forma como esses interagem. O estudo centra-se no personagem José Amaro, seleiro de uma localidade rural da Várzea do Paraíba, que através do imaginário social tem sua identidade vinculada ao arquétipo do licantropo. O estudo divide-se em quatro momentos distintos: apresentação da obra Fogo Morto e sua contextualização na literatura brasileira; a constituição do mito do lobisomem em Fogo Morto; o desenvolvimento de um imaginário social e seus efeitos na comunidade; o problema da identidade de José Amaro. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-28T16:27:35Z No. of bitstreams: 1 Dissertacao Dangelo Muller.pdf: 802900 bytes, checksum: 7c2a68fd8a1df2933e69572e298575fb (MD5) / Made available in DSpace on 2014-05-28T16:27:35Z (GMT). No. of bitstreams: 1 Dissertacao Dangelo Muller.pdf: 802900 bytes, checksum: 7c2a68fd8a1df2933e69572e298575fb (MD5) / This work discusses the presence of the myth of the werewolf in the book Fogo Morto, by José Lins do Rego. They are approached the aspects of myth, social imaginary and identity presents in story, well as the form as those interact. The study focuses the character José Amaro, saddler of a rural locality of the Várzea do Paraíba, that through social imaginary haves your identity linked to archtype of the lycanthrope. The study is divided in four distinct moments: apresentation of the book Fogo Morto and his context in the brazilian literature; the composition of the myth of the werewolf in Fogo Morto; the development of a social imaginary and his effects in the community; the problem of the identity of the José Amaro.

Esta dissertação investiga a representação do espaço urbano nas comédias de Qorpo-Santo através da teoria do imaginário social. O autor, que escreveu sua obra no Rio Grande do Sul do século XIX, desenvolveu uma visão singular da sociedade, com a utilização de símbolos que caracterizam o ambiente citadino. Este estudo pretende demonstrar como a representação simbólica presente em sua obra promove rupturas no imaginário da literatura romântica, predominante no gosto da época, instaurando uma nova forma de representação do grupo social. Trata-se de uma discussão interdisciplinar apoiada na Literatura, na História e na Sociologia, e que se insere no contexto dos estudos sobre cultura regional. / This research investigates the representation of the urban space in Qorpo-Santo s comedies based on the theory of social imaginary. The author, who wrote his works in Rio Grande do Sul, in the nineteenth century, developed a singular vision of society, using symbols that characterize the environment of the city. This study intends to demonstrate how the symbolic representation found in his works promotes some ruptures inside the imaginary of romantic literature, which was preferred by the taste of the period, and builds up a new way of representing the social group. It s a discussion that involves different subjects, like Literature, History and Sociology, and that s inserted in the context of studies about regional culture.

Este trabalho discute a presença do mito do lobisomem na obra Fogo Morto, de José Lins do Rego. São abordados os aspectos do mito, do imaginário social e da identidade presentes no enredo, bem como a forma como esses interagem. O estudo centra-se no personagem José Amaro, seleiro de uma localidade rural da Várzea do Paraíba, que através do imaginário social tem sua identidade vinculada ao arquétipo do licantropo. O estudo divide-se em quatro momentos distintos: apresentação da obra Fogo Morto e sua contextualização na literatura brasileira; a constituição do mito do lobisomem em Fogo Morto; o desenvolvimento de um imaginário social e seus efeitos na comunidade; o problema da identidade de José Amaro. / This work discusses the presence of the myth of the werewolf in the book Fogo Morto, by José Lins do Rego. They are approached the aspects of myth, social imaginary and identity presents in story, well as the form as those interact. The study focuses the character José Amaro, saddler of a rural locality of the Várzea do Paraíba, that through social imaginary haves your identity linked to archtype of the lycanthrope. The study is divided in four distinct moments: apresentation of the book Fogo Morto and his context in the brazilian literature; the composition of the myth of the werewolf in Fogo Morto; the development of a social imaginary and his effects in the community; the problem of the identity of the José Amaro.

L'identité constitue une des notions-clés des littératures africaines. Elle prend une résonance particulière chez Senghor et chez Ken Bugul ainsi que chez beaucoup d’écrivains sénégalais. Elle permet d’établir une passerelle épistémologique avec le corps. Ainsi, les discours sur le corps aident à comprendre les enjeux identitaires qui animent la tension dramatique des structures narratives. Par exemple chez Cheikh Hamidou Kane, le corps devient le motif d'une appréhension métaphysique de l'"esse". Dans les autobiographies de Ken Bugul, l’affirmation identitaire du Moi féminin relève tout simplement d’un caractère existentiel, surtout à un moment où les littératures sont marquées par les conflits de genres. Cependant, l’on convient que le débat sur l’identité et le corps a son importance dans le saisissement de la psychologie du personnage. Il a aussi son importance dans le conditionnement du sens, celui à travers lequel la société révèle ses vices tout comme ses vertus. C’est pourquoi d’ailleurs chez Sembène, Abasse Ndione, Sanou Lô, Marouba Fall, Seydi Sow ou encore El Hadji Momar Sambe, la résonance sociale du discours littéraire aide à rétablir les parcelles de sens auxquelles renvoie toute écriture du corps. Telle est l’ambition de cette thèse qui s’est voulue avant tout un échange comparatiste entre des textes dont la richesse est à rechercher dans leur proximité thématique. / Identity constitutes one of the fundamental themes of African literature. It takes on a resonance in the writing of Senghor and Ken Bugul as well as in the writing of many Senegalese writing. It allows the establishment of an epistemological footbridge with the body. Therefore, the discourses about the body help to understand what is at stake concerning identity which livens up the dramatic tension of the narrative structures. For example, in the work of Cheikh Hamidou Kane, the body becomes the motive for a metaphysical apprehension of the "esse". In Ken Bugul’s autobiographies, the affirmation of identity of the feminine "Me" refers to the existential condition, especially when the literatures show the conflicts of gender. However, we agree that the debate on identity and the body has its importance in the understanding in the psychology of the character. It also has its importance in the construction of meaning, through which society reveals its vices and virtues. Moreover, that is why in the works of Sembene, Abasse Ndione, Sanou Lô, Marouba Fall, Seydi Sow or still El Hadji Momar Sambe, the social implication of literary discourse fragments of meaning to which all writing about the body refers. The ambition of this thesis is to construct a comparative exchange between their richness of meaning.

Ce travail propose une analyse comparée portant sur la construction d’Haïti en tant queproblème public en Jamaïque et en Guadeloupe au cours des années 2000. Un premierfacteur de politisation observé dans ces deux territoires repose sur l’altérisation desHaïtiens par le biais de normes héritées de l’idéologie raciale coloniale et se traduit pard’importantes mobilisations contre les immigrés haïtiens. Un deuxième typed’intervention dans le champ politique relève au contraire de pratiques d’opposition audiscours colonial et tend à présenter la première République noire comme le symboled’une appartenance commune forgée dans la lutte contre l’hégémonie occidentale. Cetteconflictualité identitaire est resituée à l’aune du fond imaginaire racialisé hérité de lasociété de plantation et au croisement des modèles institutionnels mis en oeuvre après ladécolonisation en Jamaïque et en Guadeloupe. En retraçant la trajectoire du « problèmehaïtien », l’enquête engage une réflexion sur la production du politique dans l’espacecaribéen. Elle s’attache à montrer en quoi les antagonismes socio-raciaux exprimés dansles sociétés à fondement esclavagiste informent et travaillent l’action pol itique qui yprend place. La première partie revient sur l’invention de la figure racisée du « barbarehaïtien » dans l’espace Atlantique et son usage par les puissances occidentales en tantqu’outil de légitimation de l’ordre colonial en Jamaïque et en Guadeloupe. La deuxièmepartie s’intéresse à la manière dont ces stéréotypes raciaux sont réactivés dans les deuxterritoires durant les années 2000 à travers la politisation de l’immigration haïtienne etsa mise à l’agenda auprès des pouvoirs publics. En troisième lieu, les interactions quifaçonnent les énoncés officiels du « problème haïtien » sont saisies au prisme desinstruments de l’action publique mis en place afin de réguler, contrôler et mettre àl’écart les corps haïtiens. Cette recherche invite à aborder, par le biais de l’exemplecaribéen, les fondements de l’articulation entre identités raciales, production dupolitique, pratiques du pouvoir et modes de gouvernementalité. Elle met en évidence lalongévité des schèmes de pensée issus de la domination coloniale, tout en soulignant lacapacité des acteurs à en renégocier le contenu à travers le conflit politique. / This research project proposes a comparative analysis regarding the construction ofHaiti as a public problem in Jamaica and in Guadeloupe during the 2000s. A first factorof politicisation observed in both territories is based on the process of othering theHaitians through norms inherited from racist ideology and reflected in significantmobilisations against Haitian migrants. A second type of intervention in the politicalarena is conversely related to oppositional practices towards the colonial discourse andtends to present the first Black Republic as a symbol of common belonging shapedthrough struggles against Western hegemony. This source of identity-based conflicts islocated in the light of a racialised imaginary inherited from plantation society and at theintersection of the institutional models implemented after decolonisation in Jamaica andin Guadeloupe. By recounting the career of the “Haitian problem”, this survey reflectson the production of politics in the Caribbean space as from its margins. It aims atshowing how social and racial antagonisms expressed in societies founded on slaveryshape and fashion local political action. The first part sheds a light on the invention ofthe racialised representation of the “Haitian barbarian” in the Atlantic space and its useas a tool for legitimating the colonial order in Jamaican and in Guadeloupe by Westernpowers. The second part addresses the way in which these racial stereotypes werereactivated in both territories during the 2000s through the politicisation of Haitianimmigration as well as its placement on the policy agenda. Third, the interactions thatshape official narratives related to the “Haitian problem” are grasped through the lens ofpolicy instruments implemented in order to regulate, control and exclude Haitian bodies.Based on the Caribbean example, this research invites to discuss the way racialidentities, politics, power practices and governmentalities relate and are articulatedaltogether. It highlights the longevity of thinking patterns derived from colonialdomination, while emphasising the capacity of actors to renegotiate their contentthrough political conflict.

Le Nouveau Roman est passé à la postérité comme l’un des exemples majeurs d’un moment intransitif de la littérature française. En déstabilisant le traitement de la narration et de l’intrigue, du cadre spatio-temporel, des personnages et des voix, le Nouveau Roman conteste la mimèsis référentielle réaliste pour se tourner vers les aspects formels de la création romanesque. Néanmoins, cela n’est pas un geste gratuit : la déconstruction formaliste, les nouveaux romanciers la revendiquent au nom d’un « nouveau réalisme ». Le Nouveau Roman se veut l’avènement d’une « ère du soupçon » sur les conventions esthétiques et les représentations diffusées par celles-ci. De plus, ce parti pris ne peut se comprendre en dehors d’un contexte historique marqué à la fois par les traumatismes de la Seconde Guerre mondiale et les impératifs de modernisation économique qui de 1946 à 1975 transforment profondément la société française. Loin d’anéantir la référentialité, le Nouveau Roman témoigne d’un conflit avec elle, si bien que sa déconstruction du roman est une reconstruction produisant de nouvelles — parfois pas si nouvelles que cela ? — formes, représentations, manières d’affirmer l’existence de l’homme et de la société. Aussi le Nouveau Roman contribue-t-il à l’imaginaire social de son époque. En proposant une lecture des romans de Michel Butor et d’Alain Robbe-Grillet, cette thèse se penchera sur la tentative néo-romanesque de réinventer et la littérature et le monde. Trois axes d’analyse guident ce travail : le premier porte sur la représentation de l’univers fictionnel parallèlement à une discussion sur le problème de la mimèsis ; le second, sur la poétique des personnages et son rapport à la question de l’identité personnelle ; le troisième, sur le statut de la socialité dans les œuvres, à travers les questions de l’identité collective, de la mémoire et des usages sociaux de la langue. / The nouveau roman passed to posterity as one of the main examples of an intransitive moment of french literature. By destabilizing the narration and the plot, the spatio-temporal framework, the characters and the voices, the Nouveau Roman disputes the realistic referential mimesis and turns itself to formal aspects of novelistic creation. However, this is not a vain gesture: the so-called nouveaux romanciers claim a formalist deconstruction in the name of a “new realism”. The nouveau roman proposes the advent of an “age of suspicion” about the esthetical conventions and the representations disseminated by them. In addition to this, with the purpose of understanding this position, one must take into account its historical context, marked by the traumas of World War II as well as the requirements of the economic modernization, which deeply modifies French society from 1946 to 1975. Far from having annihilated the referentiality, the nouveau roman is in conflict with it, so that its deconstruction of the novel is a reconstruction, creating new–sometimes not so new?–forms, representations, ways to affirm the existence of man and society. Thus, the nouveau roman contributes to the social imaginary of its time. Through a reading of the Michel Butor’s and Alain Robbe-Grillet’s novels, this thesis will focus on this attempt by the nouveau roman to reinvent the literature and the world. Three axes will guide this work: the first concerns the representation of the fictional universe along with a discussion on the mimesis problem; the second, the poetics of characters and its relation to the question of personal identity; the third, the status of sociality in the novels, addressing the questions of the collective identity, the memory and the social uses of language. / O novo romance passou à posteridade como um dos exemplos emblemáticos de um momento intransitivo da literatura francesa. Ao desestabilizar o tratamento da narração e da intriga, do recorte espaço-temporal, das personagens e das vozes, o novo romance contesta a mímesis referencial realista e se volta aos aspectos formais da criação romanesca. Entretanto, não se trata de um gesto gratuito: os novos romancistas reivindicam a desconstrução formalista em nome de um “novo realismo”. O novo romance propõe o advento de uma “era da suspeita” diante das convenções estéticas bem como das representações por elas difundidas. Ademais, tal atitude não pode ser compreendida fora de um contexto histórico marcado ao mesmo tempo pelos traumas da Segunda Guerra Mundial e pelos imperativos de modernização econômica que de 1946 a 1975 transformam profundamente a sociedade francesa. Longe de aniquilar a referencialidade, o novo romance está em conflito com ela, de tal modo que sua desconstrução do romance é uma reconstrução, com a produção de novas — às vezes não tão novas assim? — formas, representações, maneiras de afirmar a existência do homem e da sociedade. Assim, o novo romance contribui com o imaginário social de sua época. Através de uma leitura dos romances de Michel Butor e de Alain Robbe- Grillet, esta tese pretende debruçar-se sobre a tentativa neo-romanesca de reinventar a literatura e o mundo. Três eixos de análise guiam este trabalho: o primeiro trata da representação do universo ficcional paralelamente a uma discussão acerca do problema da mímesis; o segundo, da poética das personagens e de sua relação com a questão da identidade pessoal; o terceiro, do estatuto da socialidade nas obras, abordando as questões da identidade coletiva, da memória e dos usos sociais da língua.

This work focuses on the themes of old age, ageing and dementia. It seeks to explore how people who are caring for a loved one with dementia construct their ideas about the illness and how their experience of caring translates into their ideas about old age and ageing. These themes are discussed against the background of the third age, active ageing and the social imagination of the fourth age as conceived by Gilleard and Higgs. The thesis shows how the respondents form their ideas about their own old age in the context of third age culture, what aspects of old age they consider most important, and conversely what constitutes for them an image of a bad old age. At the same time, this thesis captures the respondents' experience of caring for their parent and how they construct ideas about this illness on the basis of this experience. The specific aspects of the disease of dementia are discussed in the context of key elements of the social imaginary of the fourth age and its most debated concepts, including the concept of personhood. The problematic aspects of the disease are reflected in the experience of caring for a loved one with dementia, and reflected in the fear of the disease in terms of their impact on the relationship with the parent, the nature and need for care.

Le présent mémoire se penche sur la couverture de la grève étudiante québécoise de 2012, souvent appelée le Printemps érable, dans les pages du Journal de Montréal. Dans une approche sociocritique des textes (Claude Duchet, Edmond Cros, Régine Robin) et en mettant à l’épreuve le concept d’imaginaire social tel qu’il a été réélaboré par Pierre Popovic, nous nous demandons en quoi et comment ce média a pu favoriser les antagonismes entre les groupes sociaux en cause. En analysant la couverture journalistique, aussi bien les premières pages, les caricatures, les reportages, les chroniques que les lettres des lecteurs, et en étudiant la façon dont ce corpus interagit avec les dimensions iconique et poétique de l’imaginaire social, nous parvenons à dégager des effets de mise en récit, de poétisation et de fictionnalisation fort singuliers. Si notre hypothèse théorique est celle d’un lien dynamique entre le corpus et les représentations qui circulent dans l’imaginaire collectif, notre hypothèse herméneutique, elle, nous mène à explorer la manière dont ce quotidien montréalais a construit et diffusé des figures de substitution aux intervenants réels par lesquelles chacun pouvait peu ou prou se sentir interpellé : l’Automobiliste, le Contribuable, le Démocrate, le Commerçant, le Ti-Joe connaissant, l’Enfant roi, l’Artiste, le Bébé gâté, le Radical, l’Intimideur, le Gauchiste, le Terroriste. Regroupées en deux factions rivales, la « Rue » et la « Majorité silencieuse », ces figures substitutives ont participé à l’émergence d’un récit particulier des événements, celui d’un assaut hypocrite et pernicieux porté à la démocratie québécoise. Quand un journaliste titre « Party au centre-ville », que suggère-t-il sur les grévistes et comme récit de la manifestation? Que révèle le diptyque caricatural proposé par Marc Beaudet replongeant le lecteur tout droit en pleine crise d’Oka? Que vient faire dans cette histoire le dernier film de Christopher Nolan, Batman, The Dark Knight Rises? Voilà le genre de questions auxquelles ce mémoire apporte très concrètement des réponses. / This Master’s essay examines coverage of the 2012 Quebec student protests, often called the « Maple Spring », by the Journal de Montréal. Through a sociocritical approach (Claude Duchet, Edmond Cros, Régine Robin) and using the concept of social imaginary (Pierre Popovic), we ask why and how this publication could breed antagonism between the social groups in question. By dissecting the journalistic coverage (front pages, caricatures, articles, columns, readers’ opinions) and studying the interactions between this corpus and the iconic and poetic dimensions of the social imaginary, we come to identify singular storytelling effects, as well as poeticization and fictionalization effects. If our theoretical hypothesis is based on a dynamic link between the corpus and some active representations in the collective imaginary, our hermeneutic hypothesis leads us to explore the different ways in which the Montreal daily constructed and provided substitution figures for its actual speakers through which readers could more or less take position : the Driver, the Taxpayer, the Democrat, the Business Owner, the Know-It-All, the Spoiled Brat, the Over-Indulged Child, the Artist, the Radical, the Bully, the Lefty and the Terrorist. Grouped into two rival factions, the "Street" and the "Silent Majority", these substitution figures were all key players in the emergence of a certain reshaping of events suggesting a hypocritical and pernicious assault against Quebec democracy. When a journalist titles his text "Party downtown," what does he implies about strikers and the narrative of the event? What does the caricature diptych proposed by Marc Beaudet, bringing the reader right back in the middle of the Oka crisis, reveal? How is Christopher Nolan’s last film, Batman: The Dark Knight Rises relevant to the « Maple Spring »? These are some of the questions that this essay endeavour to answer in very concrete terms.

Esta dissertação examina elementos formadores da identidade cultural gaúcha na obra No Galpão (1925), de Darcy Azambuja, com base em pressupostos teóricos do Imaginário Social. Para tanto, analisa os contos tendo em vista a representação da paisagem campeira, a distribuição dos papéis sociais, a relação entre patrão e peão, o contraste entre o masculino e o feminino, o confronto entre o rural e o urbano, e a afirmação de crenças e tradições populares. Este trabalho configura-se por meio de um diálogo interdisciplinar com a História, a Sociologia e a Antropologia. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-21T19:20:05Z No. of bitstreams: 1 Dissertacao Dulcima Sangalli.pdf: 645439 bytes, checksum: 852d80fbe6561733b92e20b7fbe0e5f8 (MD5) / Made available in DSpace on 2014-05-21T19:20:05Z (GMT). No. of bitstreams: 1 Dissertacao Dulcima Sangalli.pdf: 645439 bytes, checksum: 852d80fbe6561733b92e20b7fbe0e5f8 (MD5) / This research examines the elements used to form the gaúcha cultural identity in the work by Darcy Azambuja, No Galpão (1925), based on the technical presuppositions of the Social Imaginary. Therefore, it analyses the short stories considering the representation of the rural landscape, the distribution of the social roles, the relationship between master and peon, the contrast between masculine and feminine, the confrontation between rural and urban, and the affirmation of beliefs and popular traditions. This work is presented through an interdisciplinary dialogue with History, Sociology and Antropology.

Esta dissertação examina elementos formadores da identidade cultural gaúcha na obra No Galpão (1925), de Darcy Azambuja, com base em pressupostos teóricos do Imaginário Social. Para tanto, analisa os contos tendo em vista a representação da paisagem campeira, a distribuição dos papéis sociais, a relação entre patrão e peão, o contraste entre o masculino e o feminino, o confronto entre o rural e o urbano, e a afirmação de crenças e tradições populares. Este trabalho configura-se por meio de um diálogo interdisciplinar com a História, a Sociologia e a Antropologia. / This research examines the elements used to form the gaúcha cultural identity in the work by Darcy Azambuja, No Galpão (1925), based on the technical presuppositions of the Social Imaginary. Therefore, it analyses the short stories considering the representation of the rural landscape, the distribution of the social roles, the relationship between master and peon, the contrast between masculine and feminine, the confrontation between rural and urban, and the affirmation of beliefs and popular traditions. This work is presented through an interdisciplinary dialogue with History, Sociology and Antropology.