Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-09-28T14:56:29Z No. of bitstreams: 1 TESE NÍVIA MARIA SANTOS SILVA - PPGLITCULT-UFBA - VERSÃO DEFINITIVA.pdf: 5236390 bytes, checksum: c51a7df77638a1fa419fb56db0a9b9bc (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-09-28T19:21:04Z (GMT) No. of bitstreams: 1 TESE NÍVIA MARIA SANTOS SILVA - PPGLITCULT-UFBA - VERSÃO DEFINITIVA.pdf: 5236390 bytes, checksum: c51a7df77638a1fa419fb56db0a9b9bc (MD5) / Made available in DSpace on 2018-09-28T19:21:04Z (GMT). No. of bitstreams: 1 TESE NÍVIA MARIA SANTOS SILVA - PPGLITCULT-UFBA - VERSÃO DEFINITIVA.pdf: 5236390 bytes, checksum: c51a7df77638a1fa419fb56db0a9b9bc (MD5) / Este trabalho consiste no estudo da autofiguração em Bruno Tolentino como uma tomada de posição no campo literário brasileiro a partir da conciliação dos estudos sobre autofiguração com a Teoria dos Campos de Bourdieu. Reconhecendo a noção de autofiguração como a produção de imagens de si que abrange tanto a presença do autobiográfico em textos literários e críticos quanto a ficcionalização da biografia pelo próprio autor, bem como sua exposição pública, parte-se do pressuposto de que é possível identificar nas polêmicas, nas entrevistas, no arquivo e nas produções poéticas de Tolentino um investimento autofigurativo. Nesse sentido, o corpus analisado sugere uma atuação de Tolentino sobre sua figura de poeta em busca de uma posição de maior destaque no campo literário brasileiro, possibilitando a construção das figurações de poeta recém-chegado, de poeta polemista e de poeta pensador em prol de seu reconhecimento enquanto “poeta maior”. A mitificação da biografia pelo próprio autor, a instauração de antagonismos com outros agentes do campo e a presença de momentos autobiográficos na produção poética e ensaística constituem em Tolentino um empenho para demarcar sua diferença no campo contra a despersonalização formalista em direção ao retorno do autor como uma instância legitimadora, instituindo novas nuances na configuração do campo literário brasileiro. / This work consists in the study of the self-figuration in Bruno Tolentino as a position taking in the Brazilian literary field starting from the conciliation of the studies on self-figuration with Bourdieu’s Field Theory. Recognizing the notion of self-figuration as the production of self-images that encompasses both the presence of the autobiographical in literary and critical texts and the fictionalization of the biography by the author himself, as well as his public display, one assumes that it is possible to identify in the controversies, in the interviews, in the archive and in the poetic productions of Tolentino a self-figurative investment. In this sense, the corpus analyzed suggests a performance by Tolentino about his poet figure in search of a position of greater prominence in the Brazilian literary field, making possible the construction of the images of newcomer poet, polemicist poet and thinker-poet in favor of his recognition as a “greater poet”. The mythification of the biography by the author himself, the establishment of antagonisms against other agents in the field and the presence of autobiographical moments in his poetic and essayistic production constitute in Tolentino a commitment to delimit his distinction in the field against the formalist depersonalization toward the author's return as a legitimating instance, instituting new nuances in the configuration of the Brazilian literary field.

Orientador: Hermas Gonçalves Arana / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-22T15:35:44Z (GMT). No. of bitstreams: 1 Santos_PatriciaLessa_M.pdf: 8228721 bytes, checksum: 8895eab7202a0e0ead55fa68a2a6a792 (MD5) Previous issue date: 1997 / Mestrado / Filosofia da Educação / Mestre em Educação

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W pracy został przedstawiony innowacyjny sposób patrzenia na Europę Wschodnią, widoczny w twórczości Andrzeja Stasiuka odbiegający od klasycznego, czyli “równoleżnikowego” widzenia tej części kontynentu w odwiecznej konfrontacji i nieustannych porównań z Zachodem. Twórczość tego artysty skupia się na zaniedbanym ,,pasie południowym”. 1. Stan badań Twórczość pisarza cieszy się ogromną popularnością w kraju i za granicą. Krytyka literacka z wielką uwagą śledzi kolejno pojawiające się dzieła, niemniej jednak do tej pory stan badań jest stosunkowo niewielki. Nie powstało żadne kompendium wiedzy o wczesnej twórczości pisarza czy monograficzne opracowanie obejmujące ten sam okres twórczości artysty. Do tej pory uwaga krytyki i badaczy zwrócona została głównie na pierwsze utwory powstałe w latach dziewięćdziesiątych. 2. Cel pracy Głównym celem dysertacji była analiza twórczości Stasiuka w odniesieniu do zagadnień i problemów obecnych w filozofii i estetyce takich jak: kategoria piękna i brzydoty w ujęciu ontologicznym, metafizycznym i epistemologicznym, badanie wybranych utworów w kontekście niekonwencjonalnej autobiografii artystycznej, jak również nawiązanie do mityzacji Europy Wschodniej z odwołaniem się do prozy Brunona Schulza. Utworami łączącymi te zagadnienia ujmując chronologicznie są: „Opowieści galicyjskie”(1995), „Dukla”(1997), „Dziennik okrętowy”(2000), „Jadąc do Babadag”(2004). Teksty te łączy wspólny kontekst estetyczny, autobiograficzny, mityczny. 3. Podział i budowa pracy Niniejsza praca składa się z trzech części: pierwszej - „Estetyka brzydoty“, drugiej - „Homo geographicus Fascynacja geografią w kontekście autobiograficznym” stanowiącą pomost między kontekstem estetycznym i mitycznym oraz trzeciej: „Mityzacja Europy Wschodniej. Inspiracja Schulzem”. 4. Uwagi końcowe W zamykających na koniec wnioskach i uwagach warto podkreślić, że w pracy zostały poddane analizie problemy omijane przez wielu badaczy. Celem dysertacji było przedstawienie twórczości tego pisarza w niepodejmowanych do tej pory obszarach tematycznych. Spojrzenie na przedstawioną rzeczywistość i jej zjawiska tym razem w aspekcie estetycznym i mitycznym pozwoliły w zupełnie inny sposób spojrzeć na wybrane utwory Andrzeja Stasiuka. / The dissertation presents innovative way of perceiving Eastern Europe, noticeable in Andrzej Stasiuk’s works different from the classical one so called “parallel” perception of this part of the continent in everlasting confrontation and constant comparisons to the West. The works of this artist concentrate on neglected “southern zone”. Described corners of Poland, Slovakia, Ukraine, Hungary, Romania, Slovenia, Albania, Moldavia are the space that the writer mythisise in order to save them from oblivion. He gives them new aesthetic quality, changes typically ugly, uninteresting places into more interesting, he often subtilizes them. Andrzej Stasiuk, next to Marcin Świetlicki, Olga Tokarczuk, Magdalena Tulli and others, belongs to “bruLionu” generation born in the 60’s. 1. State of research Works of the writer are very popular both in Poland and abroad. Literary criticism carefully follows successive works, however as of yet the state of research is relatively low. There is no compendium of knowledge on early works of the writer or monographic essay containing the same period of the artist’s output. So far critics and researchers have paid attention mainly to the first works written in the 90’s. 2. The aim of dissertation The main aim of this dissertation was an analysis of Stasiuk’s output in relation to issues and problems present in philosophy and aesthetics, such as: the category of beauty and ugliness in ontological, metaphysical and epistemological depiction, examination of particular works in the context of unconventional artictic autobiography, as well as reference to mythization of Eastern Europe refering to the prose of Bruno Schulz. Works that join these issues are, in chronological order:”Opowieści galicyjskie”(1995), “Dukla”(1997), “Dziennik okrętowy”(2000), “Jadąc do Babadag”(2004). These texts are joined by common aesthetic, autobiographical and mythical context. Sometimes, the subsequent works are continuation of the prior ones. 3. Part and structure of the dissertation The present dissertation consists of three parts: the first – “Aesthetics of ugliness”, the second - “Homo geographicus fascination of geography in the autobiographical context” establishing connection between aesthetic and mythical context, and the third one: “Mythization of Eastern Europe. Inspired by Schulz”. 4. Final remarks In final findings and remarks it must be stressed that the present dissertation includes the analysis of problems omitted by many researchers. The aim of the dissertation was to present the output of this writer in new thematic areas. Preception on presented reality and its phenpmenon, this time in aesthetic and mythical aspect, allowed to look at selected works of Andrzej Stasiuk in a different way.

RNA recognition motifs (RRMs) are a ubiquitous class of proteins which bind RNA in a sequence-specific fashion, often with high affinity. The mechanisms through which this single protein domain recognizes diverse RNA sequences is not fully understood. High-resolution three-dimensional structures are particularly important in understanding the structural features required for RNA recognition and binding. This work presents the structure of an expanded RRM domain from the Drosophila melanogaster Bruno protein. The Bruno protein is involved in establishing proper body patterning during development. This is accomplished through the translational repression of several mRNAs, in particular, the oskar mRNA. Previous work has identified an expanded RRM domain within the Bruno protein. This RRM requires an additional forty amino acids prior to the start of the canonical RRM domain for high affinity RNA binding. The protein was found to contain a canonical RRM domain comprised of four anti-parallel [beta] strands and two [alpha] helices. The RRM is preceded by a ten amino acid loop that interacts with [alpha]₁ and [beta]₂, while the remaining amino acids are flexible in solution. Interestingly, the deletion of these residues does not alter the fold or stability of the RRM domain. Thus, these additional residues must be involved in RNA binding, as they are not required for structure. From these studies, the Bruno RRM represents a new example of protein features required for recognition and high affinity binding of RNA. / text

L’objet de cette thèse est de montrer qu’il existe une contiguïté entre les formes de la littérature et celles de l’univers.L’analyse part de la perspective d’Italo Calvino qui fonde son esthétique sur un rapport entre le langage et les formes du cosmos et annonce de manière explicite qu’il considère la littérature comme une philosophie naturelle et qu’il veut reprendre le fil d’un ancien discours qui débute avec la philosophie matérialiste présocratique. En faisant de Lucrèce son maître, Calvino reprend l’idée du rapport entre les paroles et les atomes. L’oeuvre de Lucrèce De Rerum Natura se fonde sur l’idée régulatrice de l’existence de combinaisons infinies des différents éléments. Cette théorie des combinaisons infinies des éléments minuscules qui composent l’univers et le monde du langage est centrale chez Giordano Bruno, qui est un disciple de Lucrèce. Nous constatons que la structure mobile du Roland furieux suggère à Italo Calvino l’idée d’une littérature « ouverte ». / The objective of this thesis is to show that literature and the universe present a very closeness in their forms. This analysis starts from Italo Calvino’s perspective, which founds this author’s aesthetics on a relationship between language and the forms of the cosmos. He then explicitly announces that he considers literature to be a natural philosophy and that he intends to resume the thread of some ancient discourse initiating with pre-socratic materialistic philosophy.By acknowledging Lucretius as his master, he will develop the link between words and atoms. Lucretius’ work De la Natura is based, as we will view it on one conception: infinite combinations between the different elements. This theory on infinite combinations between the minute elements which constitute the universe and the world as well as with the world of language is a core notion in Giordano Bruno’s work. He also happened to be a disciple of Lucretius. The idea of literature as conceived as a cosmic space in mutation in L’Arioste becomes determining.

Avez-vous déjà senti le monde toucher à sa fin ? Quel serait selon vous votre premier instinct ? Cette thèse propose de regarder de plus près ce qui semble être une des réactions des plus naturelles: l’immersion dans le récit. En partant des travaux de la sociologie des mouvement sociaux conduits par Francesca Polletta, l’hypothèse de ce travail suggère que dans les contextes anxiogènes de catastrophes d’antan et d’aujourd’hui — guerrière, environnementale, ou autre — la narration joue un rôle important lors de la constitution et l’organisation de nouveaux acteurs collectifs, incitant ainsi au changement qui permettra de sortir de la crise. Si toutes formes de récit peuvent nous aider à agir ensemble, cette thèse se focalise sur la charge politique d’un genre en particulier, celui de la science-fiction. S’il faut attendre les travaux pionniers de Darko Suvin pour que le monde académique s’éveille au potentiel de cette forme de para-littérature, les nombreux projets utopiques, contre-utopiques, dystopiques, voire même apocatopiques qui jalonnent l’histoire de l’architecture montrent que les architectes ont deviné depuis longtemps le potentiel subversif du genre.Ces fictions architecturales politisées sont notre terrain de jeu: le corpus est constitué d’histoires nées sur les terres de la catastrophe, à l’aube et au crépuscule du XXe siècle tel que défini par l’historien Eric Hobsbawm — d’un côté lors de l’éclatement en 1914 de la Première Guerre mondiale et de l’autre entre 1992-1995 lors du long siège de Sarajevo. Ces deux points temporels sont reliés par des projets appartenant à la même famille politique, celle de l’anarchisme - dans son incarnation souvent appelée socialisme libertaire pacifiste — tel qu’il est compris et mis en architecture par Bruno Taut (le Glashaus, Architecture alpine, La dissolution de la ville, Le constructeur du monde, Les galoches du bonheur, Mimari Bilgisi) et Lebbeus Woods (Underground Berlin, Zagreb Free-Zone, War and Architecture). Leurs anarchitectures sont accompagnées par le travail d’écrivains engagés — des figures représentatives de la facette dite dissidente et activiste du récit de science-fiction — comme Paul Scheerbart (Rakkóx, le milliardaire, Malvu. Le Timmonier, Lesabéndio. Un roman astéroïde, L’Architecture de verre), J. G. Ballard (I.G.H.), Gheorghe Săsărman (La quadrature du cercle) et China Miéville (The City & The City). Ce périple va nous permettre d’observer, à travers une lentille architecturale, l’histoire et les transformations du genre de la science-fiction au XXe siècle, ainsi que les attitudes des architectes face au conflit.Le sujet n’est pas isolé de son contexte historique. Suivant une analyse en anti-thèse, le positionnement politique des protagonistes va s’affronter aux fictions de groupes rivaux, et notamment à celles du futurisme guerrier de F. T. Marinetti (Mafarka, le futuriste) et de l’architecte officiel de son mouvement Antonio Sant’Elia (La Città Nuova). Ces architectures post-catastrophe opposées sont accompagnées de visions du corps post-catastrophe. Ainsi, nous analyserons la manière dont nos deux camps vont instrumentaliser une des figures clefs des avant-gardes modernes : celle l’Homme nouveau. Ces corps « évolués » vont finalement nous permettre d’inscrire ces rêves sociaux, politiques, architecturaux et radicaux, dans la lignée des débats contemporains sur la place de l’Homme dans le réseau de la vie, polarisés ces jours-ci autours des concepts de l’Anthropocène de Paul Crutzen, du Capitalocène de Jason Moore et du Chthulucène de Donna Haraway. / Have you ever felt that the world was coming to an end? Do you know what one of your first instincts would be? This thesis looks closer at one of our most natural reactions: the immersion in storytelling. Leaving from Francesca Polletta’s research in the field of the sociology of social mouvements, the following pages are based on the observation that in times of catastrophe — may it be due to war, global warming or many other causes — storytelling plays an important part in the constitution and organisation of new collective actors that demand and create change, potentially contributing to an exit from crisis. If all forms of storytelling can help us act together, this thesis focuses on the political charge of a particular genre, that of science-fiction. Even if the academic world is barely starting to acknowledge the potential of this form of para-literature, the vast array of utopian, counter-utopian, dystopian, even apocatopian projets that dot the history of architecture shows that architects have long understood the subversive potential of this genre.Politicised architectural fictions will be our playing field: the corpus is made up of stories born on the realms of disaster at the dawn and dusk of the XXth century, as defined by the historian Eric Hobsbawm — starting in 1914 with the beginning of World War I and ending in 1992-1995 and the long siege of Sarajevo. These two temporal points are connected by stories and projets that belong to the same political family, that of anarchism — namely it’s pacifist branches — as it is understood and translated into architecture by Bruno Taut (The Glass Pavilion, Alpine Architecture, The Dissolution of the City, The Worldbuilder, The Galoches of Fortune, Mimari Bilgisi) and Lebbeus Woods (Underground Berlin, Zagreb Free-Zone, War and Architecture). Their anarchitectures are accompanied by the works of writers — representatives of the dissident and activist facet of science-fiction and fantasy — such as Paul Scheerbart (Rakkóx, the billionaire, Lésabendio. An asteroid novel, Malvu. The Helmsman, Glass Architecture, The Gray Cloth), J. G. Ballard (High-Rise), Gheorghe Săsărman (Squaring the Circle), as well as China Miéville (The City & The City). This overview will allow us to gauge through an architectural lens at the history and the transformations of the genre of science-fiction throughout the XXth century, as well as architecture’s changing attitudes in relation to conflict.Nonetheless, the subject is not isolated from it’s historical context. Shaped as a confrontation between two radically different visions of the future, the political positioning of our protagonists will face the fictions of rival groups, especially the pro-conflit stance of F. T. Marinetti’s futurism (Mafarka, the futurist) as well as that of the official architect of his mouvement, Antonio Sant’Elia (La Città Nuova). These fictions of a post-catastrophe architecture will translate themselves also into post-catastrophe bodies, since — in the good tradition of the modern avant-gardes — we will also reflect on the nature of the New Man they put forth. These “evolved” bodies will allow us to inscribe the radical, social, political and architectural dreams we study, witin larger contemporary debates on the place of Man in the network of life, polarised these days around the concepts of the Anthropocene of Paul Crutzen, the Capitalocene of Jason Moore and the Chthulucene of Donna Haraway.

Cette étude a permis la caractérisation de la qualité et de la fertilité des sols de la ferme expérimentale de Saint-Bruno-de-Montarville. La carte pédologique publiée à l'échelle 1:5000 distingue neuf séries de sols dominantes distribuées selon 14 unités cartographiques. Le taux de minéralisation de l'azote organique de la couche de surface des sols a varié de 1,21 à 2,80 kg N ha-1 jour-1. La couche de surface des sols de la ferme montrait une faible saturation en phosphore due aux faibles teneurs en P et aux fortes teneurs en Al. En sols humifères, le taux de saturation en phosphore a été bien évalué au plan environnemental par l'indice de saturation en phosphore (ISPMIII) des sols minéraux et organiques. Les unités cartographiques ont permis d'expliquer entre 34 et 78 % la variabilité des teneurs en MO, P, K et Mg de la couche de surface des sols. L'interprétation des résultats sera facilitée par les cartes thématiques réalisées et contribueront à orienter la gestion et la planification des activités de la ferme.

[pt] A fé cristã se pauta, desde sua origem, na experiência de Deus Trindade – Pai, Filho e Espírito Santo – que se revela em Jesus Cristo, sobretudo em seu mistério pascal. Diante da atual crise de fé, os cristãos são incitados a promover uma Nova Evangelização, anunciando, com coragem e alegria, o Deus de Jesus Cristo como possibilidade de realização e salvação para o ser humano. Destarte, este trabalho objetiva apresentar, de modo sistemático, a cristologia trinitária de Bruno Forte como caminho para elaboração de um discurso sobre Deus que, partindo da Revelação Trinitária em Jesus Cristo, sobretudo no seu mistério pascal, supere as inúmeras deturpações e manipulações da imagem de Deus presentes no mundo hodierno que favorecem o ateísmo e o indiferentismo à questão de Deus. Procurar-se-á mostrar que uma cristologia trinitária poderá contribuir eficazmente para o caminho de conversão e de Nova Evangelização a ser assumido pela Igreja – esta a relevância do presente trabalho. / [en] The Christian faith is based from its origin in the Trinity experience of God - Father, Son and Holy Spirit - which is revealed in Jesus Christ, especially in his paschal mystery. Before the current faith crisis, Christians are encouraged to promote a New Evangelization announcing, with courage and joy, the God of Jesus Christ as a possibility of fulfillment and salvation. This thesis work aims to present, in a systematic way, Bruno Forte s Trinitarian Christology as a way to prepare a discourse about God which, from the Trinitarian revelation in Jesus Christ perspective, especially within the scope of his paschal mystery, will overcome the numerous misinterpretations and manipulations of God s image which have been promoting atheism and indifference to the question of God. It will show that a Trinitarian Christology can contribute effectively to the path of conversion and new evangelization to be assumed by the Church. / [it] La fede cristiana si fonda nella sua origine nell esperienza di Dio Trinità- Padre, Figlio e Spirito Santo - che si rivela in Gesù Cristo, in particolare nel suo mistero pasquale. Data l attuale crisi della fede, i cristiani sono invitati a promuovere una nuova evangelizzazione, annunciando con coraggio e gioia, il Dio di Gesù Cristo come possibilità di salvezza per l essere umano. Questo lavoro, pertanto, presenta in modo sistematico, la cristologia trinitaria di Bruno Forte come un cammino per elaborare un discorso su Dio, che partendo dalla rivelazione trinitaria in Gesù Cristo, e in modo alquanto unico nel suo mistero pasquale, supera le numerose deturpazioni e manipolazioni dell immagine di Dio presenti nel mondo di oggi, che promuovono l ateismo e l indifferenza alla questione di Dio. Si proverà a dimostrare come una cristologia trinitaria possa contribuire efficacemente al cammino di conversione e nuova evangelizzazione ed essere assunta dalla Chiesa - questa la rilevanza del presente lavoro.

The aim of this thesis is to read Bruno Schulz’s The Cinnamon Shops through the theoretical framework of Deleuze and Guattari, focusing on the relation between territorialization, deterritorialization and reterritorialization. This is investigated through examples from the The Cinnamon Shops, focusing on different aspects of how territorialization is portrayed in Bruno Schulz’s corpus. The goal is to show how the stories of Bruno Schulz are structured around various forms of territorializations, be it the home, the family shop or the town in itself. However, those territories are almost always negated through deterritorializing acts. In this act we get to face something new, something temporary and fragile, which in itself creates the essential crack or leakage in the text. Those acts of deterritorialization can’t be allowed to continue undisturbed but must be shut down through various forms of reterritorialization. This form of reading is only possible when the text is seen as a rhizomatic structure, with no clear center or periphery. It is brought forward how each of those texts are segmented in various manners, either binary or linear, which affects how the territorializing acts can be perceived.