Esta dissertação investiga a representação do espaço em duas obras do escritor francês Antoine de Saint-Exupéry: O pequeno príncipe e Terra dos homens. O objetivo da pesquisa é observar as descrições do deserto do Saara nas cartas escritas por Exupéry aos familiares e, posteriormente, compará-las às formas de representação desse espaço na narrativa infanto-juvenil e no livro de memórias. Para tanto, analisa-se o deserto com base nos estudos sobre região cultural, a partir dos quais se pode compreender como esse espaço se transforma e adquire diferentes significados. Conclui-se que, nas narrativas analisadas, o espaço do deserto é representado na forma de um ciclo e desperta alguns sentimentos que o piloto utiliza constantemente para descrevê-lo, sendo eles: solidão, plenitude, redenção, ameaça da morte, identificação da beleza e equilíbrio entre liberdade e perigo. Utiliza-se como aporte teórico os estudos de Berumen (2005) sobre região cultural, de Michel de Certeau (1994; 1995) e Luis Alberto Brandão (2007; 2011; 2013), sobre o espaço, e de Rachel de Bouvet (2006; 2013), acerca das interpretações do deserto. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES / Ce mémoire étudie la représentation de l'espace dans deux oeuvres de l'écrivain français Antoine de Saint-Exupéry: Le petit prince et Terre des hommes. L'objectif de la recherche est d'observer les descriptions du désert du Sahara dans les lettres écrites par Exupéry aux proches et, postérieurement, les comparer aux formes de représentation de cet espace dans le récit pour les enfants et les jeunes et dans le livre des mémoires. Pour cela, le désert est analysé à partir des études sur la région culturelle et peut être compris comme un espace qui se transforme et qui acquérit differéntes significations. On conclut que, dans les récits analysés, l'espace du désert est représenté sous la forme d'un cycle et éveille des sentiments que le pilote utilize constamment pour le décrire: solitude, plénitude, rédemption, menace de mort, identification de la beauté et équilibre entre la liberté et le danger. On utilise comme contribution théorique les études de Berumen (2005), sur la région culturelle, de Michel de Certeau (1994, 1995) et de Luis Alberto Brandão (2007, 2011, 2013), sur l'espace, et de Rachel Bouvet (2006; 2013), sur les interprétations du désert.

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Thèse (M.A.)--Université Laval, 2000. / Comprend des réf. bibliogr.

The works of Lewis Carroll show an abiding interest on the part of the author in the relationship between education, language and authority. In particular, the Alices are the story of a young girl who must learn to deal with a variety of characters in dream-worlds where the power of language reigns. It is therefore necessary for Alice to learn how language is used for authoritarian purposes and to discover ways of defending herself against it. It is the purpose of this thesis to investigate, in many cases for the first time, the ways in which Alice is able to find "spaces" in language where authority breaks down, places where the fundamental nature of language is unable to support authoritarian use. In this way, "space" will become both a metaphor and a figurative model for Alice's growing knowledge of and resistance to authority.

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Made available in DSpace on 2015-12-10T14:24:42Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-23. Added 1 bitstream(s) on 2015-12-10T14:30:57Z : No. of bitstreams: 1 000851779_20170622.pdf: 323884 bytes, checksum: 2bdadb09c647bf9416e7ed6d466fa556 (MD5) Bitstreams deleted on 2017-06-23T13:11:18Z: 000851779_20170622.pdf,. Added 1 bitstream(s) on 2017-06-23T13:12:03Z : No. of bitstreams: 1 000851779.pdf: 5225766 bytes, checksum: 0c1a276b6871352c7fd8f66ae0330e51 (MD5) / O presente trabalho tem como objetivo central compreender a configuração do espaço e do tempo nas narrativas audiovisuais de O primo Basílio, que optam por assinalar o registro de fidelidade à obra matriz escrita por Eça de Queirós. A pergunta principal refere-se à: em que medida ocorre a reconfiguração do espaço e do tempo da referida obra em outros suportes? As adaptações concentram-se no campo do audiovisual, sendo a primeira produzida para televisão em formato de minissérie em 1988, e a segunda em formato fílmico concluído e lançado em 2007. Ambas têm como diretor, Daniel Filho. O referencial teórico e a metodologia adotados nesta pesquisa permitiram assinalar para as estratégias lançadas entre diferentes mídias (cinema, televisão, literatura) no tocante às relações entre espaço e tempo ficcionais nas obras de O primo Basílio. As bases conceituais que nortearam esta investigação estão fundamentadas a partir de apontamentos oriundos da teoria literária, da comunicação e do cinema, representadas por Benedito Nunes (1988;1992), Paul Ricouer (1994), Roberto DaMatta (1997), Michel de Certeau (1998), Mikhail Bakthin (1997), Vanoye e Goliot-Leté (2011), Julie Sanders (2006), Linda Hutcheon (2013) e Robert Stam (2006; 2008). Como recorte, analisaremos os ambientes internos e externos da casa burguesa, a rua, o espaço ocupado pelo teatro na narrativa, os pré e pós créditos e abertura das produções audiovisuais, assim como a função cronotópica dos meios de comunicação: jornal, revista e televisão. Esta leitura se fez na tentativa de perceber as relações espaciotemporais no audiovisual como elementos simbólicos e plurissignificativos que permitiram para ambas as adaptações o diálogo com o romance de Eça e suas questões histórico-sociais-culturais do final do século XIX português, ambientado pela produção em minissérie, e sua releitura para o Brasil... / This study aimed at understanding the space and time settings in the audiovisual narratives of O primo Basílio, who choose to mark the loyalty registration with the original work written by Eça de Queiroz. The main question refers to: in what extent is the reconfiguration of space and time of the original work in other media? The adaptations are concentrated in the audiovisual field, being the first produced for miniseries in Brazilian TV in 1988, and the second in film format completed and released in 2007. Both have Daniel Filho as diretor, the theoretical reference and the methodology adopted in this research allowed to point out the strategies launched between different media (film, television, literature) as regards the relationship between space and time in the fictional works of O primo Basílio. The conceptual foundations that guided this research are based from notes coming from literary, communication and cinema theories, represented by Benedito Nunes (1988; 1992), Paul Ricouer (1994), Roberto DaMatta (1997), Michel de Certeau (1998), Mikhail Bakthin (1997), Vanoye e Goliot-Leté (1994), Julie Sanders (2006), Linda Hutcheon (2013) and Robert Stam (2008). As a cut, we'll analyze the internal and external environments of the bourgeois house, the street, the space occupied by the theater in the narrative, the pre and post credits and opening of the audiovisual productions, as well as chronotopic role of the media: newspapers, magazines and television. This reading was done in an attempt to understand the space and time relations in the film and in the tv show as symbolic and many meanings which enabled them to both adaptations dialogue with the novel of Eça and its historical-social-cultural issues of the late portuguese nineteenth century, set for TV production (miniseries), and its reinterpretation in Brazil, São Paulo, in 1958, present in the film...

This dissertation explores Early Modern cosmographical imagining and historical writing in the Andean region of the Americas. Following the European invasion of the Americas in the sixteenth century, prominent Western cosmographical and historical treatises like Sacro Bosco's de Sphera Mundi and the Nuremberg Liber Chronicarum became outdated regional works that lacked any information about American landmasses and indigenous people. The voids shown by these previously authoritative sources create a need for new ideas.In this dissertation, analyzing written and visual sources, I investigate how Indigenous, mestizo, and European scholars in the Early Modern Andes from the 1550s to the 1650s reinvented cosmographical and antiquarian practices to envision the world as an integrated entity in time and space. They combined non-written pre-Columbian structures, ruins, fossils, monoliths, megaliths, mythical landscapes, and indigenous narratives with ancient Biblical and Classical knowledge. By doing so, they established a new archive that became the foundation for further antiquarian and cosmographical knowledge, and revealing the that the so-called New World was full of history. I examine how innovative imaginings of historical time and cosmographical spaces were created in the Early Modern Andes. Authors demonstrated how the world was one since the very beginning of time by tracing connected world landscapes (worldscapes) to explain the geographical unity of the different continents and entangled chronological architectures (chronotectures) that linked the ancient ages of various societies, including places and people previously unthought of as part of the same world history.

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die wyse waarop die ruimtebeelding in Joe Speedboot deur Tommy Wieringa in wisselwerking tree met die identiteitsontwikkeling in die roman. Aan die hand van teoretisering deur onder andere Henri Lefebvre word die uitbeelding van die sosiale ruimte in die roman aan die orde gestel. Die klassifikasie van Joe Speedboot as ‟n ontwikkelingsroman is hierby ‟n noemenswaardige uitgangspunt, omdat Wieringa die sentrale karakters se adolessensie, oftewel vormingsjare, in die roman uitbeeld. Die identiteitskonstruksie wat in die roman voorgestel word, strook met teoretiese beskouings van identiteit as ‟n dinamiese en gekonstrueerde konsep wat deur sosiale en kulturele oorwegings beïnvloed word. ‟n Ondersoek na die gesimuleerde werklikheid waarin Wieringa sy hooffigure situeer, dui aan dat die parogiale ruimte in die roman as stagnerend en voorspelbaar uitgebeeld word. In teenstelling tot die stilstand wat die ruimte kenmerk, word ‟n preokkupasie met beweging en vooruitgang aan die sentrale karakters toegeskryf. Beide die fisiese én eksistensïele dimensies van beweging en beweeglikheid figureer prominent in die roman. Dit word nóú verweef met die liminale posisie wat die karakters as adolessente in die gemeenskap beklee. Daar word geponeer dat die opposisie tussen stilstand en beweging nie net ingespan word by die ruimtebeelding en strukturele samestelling van die roman nie, maar ook ten grondslag lê aan die uitbeelding van die hoofkarakters se ontwikkelende identiteite. Die outeur kies in Joe Speedboot ‟n hoofkarakter met beperkte opsies en demonstreer hoe sy fisieke belemmeringe onafwendbaar op ‟n slot afstuur wat negatief óf positief geïnterpreteer kan word. In die lig van die hoë lof wat hierdie roman toegeswaai is, val dit vreemd op dat so min navorsing tot dusver oor Joe Speedboot onderneem is. / ENGLISH ABSTRACT: This study explores the way in which the construction of space interacts with the development of identity in Joe Speedboot by Tommy Wieringa. On the basis of theoretical perspectives of, inter alia, Henri Lefebvre attention is given to the construction of the social space in the novel. The classification of Joe Speedboot as a Bildungsroman is an important point of departure in this regard, due to the fact that Wieringa depicts the central characters‟ adolescence in the novel. The portrayal of the construction of identity in the text corresponds with theoretical thoughts on identity as a dynamic and constructed concept that is affected by social and cultural considerations. An exploration of the simulated reality in which Wieringa situates his characters, indicates that the parochial space in Joe Speedboot is sketched as being stagnant and predictable. In contrast to the standstill which characterizes the social space, a preoccupation with movement and progress is ascribed to the central characters. Both the physical and existential dimensions of movement and mobility figure prominently in the novel. It is also interwoven with the liminal position the characters occupy in the community due to their adolescence. It is postulated that the opposition between stagnation and movement is not only exerted in the construction of space and the structural composition of the text, but is also presented as playing a determinative role in the development of the characters‟ identities. The author chooses for a main character with limited prospects and demonstrates how his physical handicap necessarily leads to a conclusion that allows for both positive and negative interpretations. Given the critical acclaim that the novel has received, it seems strange indeed that Joe Speedboot has thusfar not been the subject of analytical research.