Made available in DSpace on 2016-04-27T17:27:10Z (GMT). No. of bitstreams: 1 Marcela Costa Lima Kuhn.pdf: 427250 bytes, checksum: de426ae47fa069d54c50570f93512ca5 (MD5) Previous issue date: 2015-03-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This Master's thesis intends to understand Alfred Döblin's novel Berlin Alexanderplatz through Walter Benjamin's critic analysis. In order to do so, it will scrutinize the concepts of novel, experience, montage, choc and epic thought by both authors, and also by their main influences, namely, Lukács and Brecht. The aspects of the montage on the actual novel will be deeply considered, mainly because Benjamin points out in an essay about Döblin's novel, named Krisis des Romans that the montage is one of the most relevant aspects the novel delivers to German literature on the Weimar republic period. It will also be presented the changes the Grosstadt shapes into the 20th century subjects and therefore into the novels they write and read, in particular, Berlin Alexanderplatz. And finally, an investigation regarding the political relations between both authors / Esta dissertação de mestrado pretende compreender o romance de Alfred Döblin, Berlin Alexanderplatz, através da análise crítica de Walter Benjamin. Para tanto, serão escrutinados os conceitos de romance, experiência, montagem, choque e épica elaborados por ambos os autores e também por suas principais influências, nomeadamente, Lukács e Brecht. Os aspectos da montagem no romance Berlin Alexanderplatz serão considerados em pormenores, principalmente por que Benjamin indica, em um ensaio sobre o romance de Döblin chamado Krisis des Romans , que a montagem é um dos aspectos mais relevantes que o romance à literatura alemã no período que compreende a República de Weimar. Também serão apresentadas a mudanças que a Grosstadt traz aos sujeitos do século XX e por consequência às novelas que estes leem e escrevem, em especial, Berlin Alexanderplatz. E finalmente, será feita uma investigação acerca das relações políticas de ambos autores

Submitted by Cristhiane Guerra (cristhiane.guerra@gmail.com) on 2017-01-03T17:02:58Z No. of bitstreams: 1 arquivototal.pdf: 1308787 bytes, checksum: faa482dbc4cc073365db2f7d57523db1 (MD5) / Made available in DSpace on 2017-01-03T17:02:58Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1308787 bytes, checksum: faa482dbc4cc073365db2f7d57523db1 (MD5) Previous issue date: 2016-07-26 / The art of storytelling is a popular art, common in various human societies, in different historical moments. Its main features are the transmission of knowledge, skills, values and funs. This study investigates the role of this art in the construction of pleasant emotional environments, in different spaces. To complete this goal we present a record of the history of the storytelling art, its possible disappearance in modern society, due to the industrialization, to the shitf from rural to urban environment and the hegemony of written culture to the detriment of oral culture . It also presents the phenomenon of the resurgence of this art in the late XXth century, its new characteristics, its different territories, the subjects involved, and the new roles that art had completed in this postmodern society, technologic and computerized. Being a practice that values popular knowledge, the transformation of living environments, teaching and learning, also combating the oppression of the popular classes, the art of storytelling is inserted in the context of popular education, in tune with the new emancipatory paradigms, within the territories of Popular Education, especially in the territories of affectivity, of emocions and other rationales. To measure the effects of storytelling in the process of transformation and construction of pleasant emotional environments, a research was realized, in which the students of the Projeto de Extensão PalhaSUS Project from the UFPB, had been the main subject. Those students act as caregivers clowns in different social and emotionaly vulnerable spaces, such as hospitals, care homes, schools and nursing homes. Concomitant workshops, participants include in their caregivers acting the knowledge and skills acquired in the workshops. The evaluation process used was to make focal group, which fed with datas and allowed to analyse the results of this practice, with its possible developments and challenges. / A arte de contar histórias é uma arte popular, comum nas mais diversas sociedades humanas, em diferentes momentos históricos. Suas características principais são a transmissão de conhecimentos, saberes, valores e diversão. Este estudo tem como o objetivo investigar a função dessa arte na construção de ambientes emocionais agradáveis, em diferentes espaços de convivência. Para atingir esse objetivo, apresentamos um pequeno histórico sobre a trajetória da arte de contar história, o seu possível desaparecimento na sociedade moderna, em função da industrialização, do deslocamento do ambiente rural para o ambiente urbano e da hegemonia da cultura escrita em detrimento da cultura oral. Apresenta, ainda, o fenômeno do ressurgimento dessa arte, no final do século XX, suas novas características, os diferentes territórios de atuação, os perfis dos sujeitos envolvidos e os novos papéis que essa arte vem realizando nesta sociedade pós-moderna, tecnológica e informatizada. Por ser uma prática que valoriza o saber popular, a transformação de ambientes de convivência, de ensino e aprendizagem e de luta pela desopressão das camadas populares, a arte de contar histórias está inserida no contexto da Educação Popular, em perfeita sintonia com os novos paradigmas emancipatórios, dentro dos territórios da Educação Popular, principalmente nos territórios da afetividade, das emocões e das outras racionalidades. Para estudar os efeitos da arte de contar histórias no processo de transformação e na construção de ambientes emocionais agradáveis, foi realizada uma pesquisa participante, tendo como objeto os estudantes do Projeto de Extensão PalhaSUS, da UFPB, que atuam como palhaços cuidadores, em diferentes espaços de vulnerabilidade social e afetiva, tais como hospitais, casas de saúde, escolas e asilos de idosos. Concomitante às oficinas, os participantes incluíam, nas suas práticas de atuação de cuidadores, os saberes e conhecimentos desenvolvidos nas oficinas. O processo de avaliação utilizado foi o da realização de grupo focal, que municiaram dados para análise do resultado da realização da prática, apresentando seus possíveis desdobramentos e desafios.

My thesis discusses the ways in which Julia Alvarez's In the Time of the Butterflies (1994) and In the Name of Salomé (2000) are revolutionary texts contesting traditional, male dominated history and redirecting historical and communal foci to the lives of Dominican women. I employ Walter Benjamin's theories found in his essays "The Storyteller" (1936) and "On the Concept of History" (1940) to assist my exploration of Alvarez's questions concerning the power and effect of storytelling, and the importance of reconstructing various historical voices and images, specifically, the importance of reconstructing female voices in male dominated cultures. I discuss the female-narrated component to Dominican history which Alvarez creates in her reconstruction of the lives of these women. Alvarez confronts the challenge of breaking these women out of their marginalized status by combining fiction with history in her reconstruction of their lives. Alvarez assumes the multifaceted role of mediator, story-teller, and historian as she remembers and re-presents Dominican history through the eyes of women who lived, experienced, and affected change within the Dominican Republic. Without merely act as a reporter of historical "facts," Alvarez reconstructs the lives of these women fictionally, applying her impressions and ideas about the personalities, feelings, and thoughts of these women, and historically, utilizing first and secondhand accounts and information about the women. Ultimately, the women are presented as individuals but are also connected to a collective memory and history. As individuals with human characteristics, the women are no longer inaccessible legends. As members of a collective memory and history, the women are redeemed from the isolating effect of their patriarchal society which would have women remain silent. Due to Alvarez's reconstruction, their stories finally have the potential for further dissemination in the future with the possibility to affect other oppressed peoples. Thus, Alvarez's reconstruction of the resistance of a few women in Dominican history produces the capacity for additional resistance by Alvarez's audience to the same forces that these women were combating which continue to exist today — forces such as patriarchy, dictatorial governments, fascism, and economic disparity.