Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-05-10T21:33:07Z No. of bitstreams: 1 JuliaMonteiroOliveiraSantos_DISSERT.pdf: 9354031 bytes, checksum: 9c276a52703d742750b1b8da63c8c0f6 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-05-13T20:24:10Z (GMT) No. of bitstreams: 1 JuliaMonteiroOliveiraSantos_DISSERT.pdf: 9354031 bytes, checksum: 9c276a52703d742750b1b8da63c8c0f6 (MD5) / Made available in DSpace on 2016-05-13T20:24:10Z (GMT). No. of bitstreams: 1 JuliaMonteiroOliveiraSantos_DISSERT.pdf: 9354031 bytes, checksum: 9c276a52703d742750b1b8da63c8c0f6 (MD5) Previous issue date: 2015-03-19 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Na cidade contempor?nea a pixa??o e o graffiti est?o cada vez mais presentes, expostos nos espa?os p?blico e privado constroem a paisagem urbana em suas dimens?es simb?lica e material. Esses grafismos urbanos s?o ricos em cores, formas e discursos. Eles representam o grito de sujeitos/agentes que muitas vezes s?o marginalizados socialmente, se utilizam destas formas de express?o para se manifestar e exercer uma a??o pol?tica como protagonistas na produ??o simb?lica da cidade. Este trabalho discute a espacialidade da pixa??o e do graffiti na cidade de Natal-RN, analisando suas formas e conte?dos impressos nos muros da cidade. Procura-se entender quais as l?gicas regem a apropria??o destes espa?os, assim como quem deles se apropriam, levando em considera??o os lugares que s?o grafitados. A paisagem ? subvertida desta forma pelas m?os dos grafiteiros e pixadores que se arriscam riscando os muros e paredes da cidade. / In the contemporary city, the graffiti is increasingly present as it is exposed in public and private spaces, building symbolic urban landscapes. These urban graphics are rich in colors, shapes and discourse. They represent the speak of a group of people who are often socially marginalized, and who use these forms of expression to exercise their political action, becoming protagonists in the city?s symbolic production. This work seeks to understand the graffiti?s spatiality on the walls of the city of Natal-RN, analyzing their forms and contents. The purpose here is to understand which are the logics behind the appropriation of those spaces, as well as the motivations behind the actions of who are graffiting those spaces. In some instance, this work considers that the landscape is ?subverted? by the hands of these graffitiers whose work is to keep leaving marks in the city.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-01-12T13:11:30Z No. of bitstreams: 1 BrunoDaCostaFerreira_DISSERT.pdf: 924041 bytes, checksum: a891b2da7b0da72e2ba82f82eb64a666 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-01-13T15:46:50Z (GMT) No. of bitstreams: 1 BrunoDaCostaFerreira_DISSERT.pdf: 924041 bytes, checksum: a891b2da7b0da72e2ba82f82eb64a666 (MD5) / Made available in DSpace on 2017-01-13T15:46:50Z (GMT). No. of bitstreams: 1 BrunoDaCostaFerreira_DISSERT.pdf: 924041 bytes, checksum: a891b2da7b0da72e2ba82f82eb64a666 (MD5) Previous issue date: 2016-07-28 / Esta disserta??o tem como objeto de estudo o romance Levantado do ch?o (1980), de Jos? Saramago (1922-2010), no qual est? demarcado o que ficou conhecido como o estilo saramaguiano. A partir da cr?tica liter?ria marxista, da an?lise do romance enquanto g?nero liter?rio e da rela??o do romance com o mundo ideol?gico que ele habita, demonstra-se que a subvers?o ideol?gica est? presente na narrativa n?o apenas no plano sem?ntico, mas tamb?m como elemento estruturador do discurso romanesco de Jos? Saramago (forma), agu?ando o g?nero como arma e instrumento de humaniza??o. Para introduzir o debate sobre a cr?tica liter?ria marxista e seus pressupostos te?rico-metodol?gicos, s?o explorados os estudos de Leon Trotski, Mikhail Bakhtin, Terry Eagleton, Raymond Williams e Antonio Candido. Delimita-se o conceito de ideologia a ser explorado na fundamenta??o te?rica atrav?s das leituras de Raymond Williams, Marilena Chaui, Alfredo Bosi, Mikhail Bakhtin, Karl Marx e Friedrich Engels. O romance enquanto g?nero liter?rio ? abordado a partir das perspectivas de Mikhail Bakhtin, Georg Luk?cs, Theodor Adorno e Julio Cort?zar. O romance saramaguiano ? localizado no interior do sistema liter?rio portugu?s a partir da an?lise cr?tica de Carlos Reis. / This work has as study object the novel Levantado do ch?o (?Raised from the ground? - English official translation) (1980), by Jos? Saramago (1922-2010), which is demarcated how became known the saramaguiano style. From the Marxist literary criticism, the novel analysis as a literary genre and the novel relationship with the ideological world he inhabits, it is shown that the ideological subversion is present in the narrative not only in the semantic level, but also as a structural element novelistic discourse of Jos? Saramago (form), sharpening the genre as a weapon and humanizing instrument. To introduce the debate on Marxist literary criticism and its theoretical and methodological assumptions are exploited studies of Leon Trotsky, Mikhail Bakhtin, Terry Eagleton, Raymond Williams and Antonio Candido. Delimits the concept of ideology to be explored the theoretical foundation through the readings of Raymond Williams, Marilena Chaui, Alfredo Bosi, Mikhail Bakhtin, Karl Marx and Friedrich Engels. The novel as a literary genre is approached from the perspectives of Mikhail Bakhtin, Georg Lukacs, Theodor Adorno and Julio Cort?zar. The saramaguiano novel is located inside the Portuguese literary system from the critical analysis of Carlos Reis.

Made available in DSpace on 2014-12-17T15:25:09Z (GMT). No. of bitstreams: 1 JoseELL.pdf: 415290 bytes, checksum: cf961e92e2473531e65d0daf28db5e50 (MD5) Previous issue date: 2008-08-22 / The main goal of this work is analyze the way which the Natal City Prefecture was constructed as a place of subversion by those we call defenders of the order, in the period right after the outbreak of military coup in 1964. To reach it, the main resource of search was the Relat?rio Subvers?o no Rio Grande do Norte , document produced from the investigations realized in Natal City Prefecture as a result of the Commission of Inquiry s work, established by the governor Alu?zio Alves to determine the subversion in Rio Grande do Norte s society. Based on the anti-comunist speech. That document introduces other image of the Prefecture, which activities developed by de second Djalma Maranh?o administration (1961-1964), specially those developed in the educational area, as the campaign De P? no Ch?o Tamb?m se Aprende a Ler , were considered subversive , communist , dangerous , threatening , names that served as backing to embed Natal City Prefecture in the general view about subversion existing in Rio Grande do Norte, according to the repression speech in this initial period of military regime. Key-words: 1964 Military Coup Natal City Prefecture / O presente trabalho tem como objetivo analisar a maneira pela qual a Prefeitura Municipal de Natal foi constru?da como espa?o da subvers?o, por aqueles que denominamos de defensores da ordem, no per?odo imediatamente posterior ? deflagra??o do golpe militar de 1964. Para tal utilizamos como principal fonte o Relat?rio Subvers?o no Rio Grande do Norte , documento produzido a partir das investiga??es realizadas na Prefeitura Municipal de Natal como resultado do trabalho da comiss?o de inqu?rito institu?da pelo governador Alu?zio Alves para apurar a subvers?o na sociedade norte-rio-grandense. Embasado no discurso anti-comunista, o referido documento apresenta outra imagem da Prefeitura, na qual as atividades desenvolvidas na segunda administra??o do prefeito Djalma Maranh?o (1961-1964), sobretudo aquelas desenvolvidas na ?rea da educa??o, como a Campanha De P? no Ch?o Tamb?m se Aprende a Ler , foram designadas como subversivas , comunistas , perigosas , atentat?rias ? ordem , designa??es que serviram de respaldo colocar a Prefeitura Municipal no quadro geral da subvers?o existente no Rio Grande do Norte, de acordo com o discurso da repress?o, nesse per?odo inicial de implanta??o do regime militar