Este trabalho dedica-se à leitura comparada de três obras contemporâneas que versam sobre o tema do exílio: as argentinas La casa y el viento (1984), de Héctor Tizón, e En estado de memoria (1990), de Tununa Mercado; e a brasileira Rabo de foguete. Os anos de exílio (1998), de Ferreira Gullar. Nosso objetivo é delimitar a configuração de uma voz narrativa que conta uma experiência de exílio que, para tanto, move-se entre estratégias de autorepresentação vinculadas à autobiografia e, ainda, à ficção. Para levar a cabo nosso estudo, partimos de um breve panorama histórico das últimas ditaduras da Argentina e do Brasil que nos ajuda na aproximação ao tema do exílio explorado nas três obras, isto é, o exílio como uma experiência ligada aos processos políticos desses países que, na sua dimensão subjetiva, significa perdas, fissuras, identidades em crise. Logo, procuramos demonstrar que, nas três obras, a negatividade dessa experiência compromete a possibilidade de narrar os eventos de modo linear e estável, afetando, por um lado, a construção dos textos como relatos autobiográficos nos moldes canônicos, e, por outro, a construção fictícia dos acontecimentos, uma vez que a experiência está diretamente relacionada com a vida de Héctor Tizón, Tununa Mercado e Ferreira Gullar. Interessa-nos o percurso que realizam os narradores para contar sua história, marcado por uma zona de instabilidade da enunciação que se propaga por todas as categorias dos relatos (tempo, espaço e personagens) e questiona a definição de gênero. / This work dedicates the comparative reading of three contemporary works which turn on the subject of the exile: the Argentine La casa y el viento (1984), of Héctor Tizón, and En estado de memoria (1990), of Tununa Mercado; and the Brazilian Rabo de foguete. Os anos de exílio (1998), of Ferreira Gullar. Our objective is to delimit the configuration of a narrative voice that counts an exile experience which, for in such a way, moves itself between entailed strategies of auto-representation related to the autobiography and, still, to the fiction. To take handle our study, we make initially of a brief historical panorama of the last dictatorships of Argentina and Brazil that help us approaching to the subject of the exile explored in the three workmanships, that is, the exile as an experience to the politicians processes of these countries that, in its subjective dimension, mean losses, fictions, identities in crisis. Soon, we try to demonstrate that, in the three workmanships, the negativities of this experience compromises the possibility to tell the events in linear and stable way, affecting, on the other hand, the construction of the texts as autobiographical stories in the canonic molds, and, for another one, the fictitious construction of the events, a time that the experience is directly related to the life of Héctor Tizón, Tununa Mercado and Ferreira Gullar. It interests us the passage that carries through the narrators to tell its history, marked for a zone of instability of the articulation that propagates for all the categories of the stories (time, space and personages) and questions the sort definition.

A pesquisa tem como tema o estudo de sistemas de espaços livres e a urbanização contemporânea na região de Limeira, integrante da Região Administrativa de Campinas - SP. Buscam-se respostas sejam no âmbito da classificação e da configuração do território, sejam no estabelecimento de projeto de \"parque regional contemporâneo\" ou, como se propôs chamar \"parque agroambiental\", como forma de afirmação de vínculos intermunicipais. O \"parque agroambiental\" não é uma solução simples, mas uma possibilidade de pensar e agir. Pode-se, através dele, ajustar o foco de leitura da realidade local, buscando-se mecanismos mais coerentes para nela atuar. Diferentemente de outras regiões de importantes recursos naturais, como a região metropolitana de São Paulo, o conceito do parque objetiva trabalhar uma área econômica e socialmente semelhante, onde a fauna e a flora são quase inexistentes, visto terem sido substituídas pela urbanização e pelas áreas destinadas à produção agrícola para o mercado global. O desafio aqui proposto é tornar o parque regional contemporâneo objeto de debate para políticas públicas de atendimento às necessidades sociais e ambientais. Podem ser práticas de lazer, esportes e/ou contemplativas, atividades culturais de identidade regional, de produção agrícola ou florestal, de conservação de ecossistemas, por meio das quais se definem diferentes níveis e escalas de intervenção e de acessibilidade aos lugares. Propõe-se o conceito de \"parque agroambiental\" como instrumento de planejamento regional e ambiental. / This research aims the study of open space systems and contemporary urbanization in Limeira and communities that comprise the Administrative County of Campinas, São Paulo. The analysis demands answers both in territory classification and configuration and the project of the contemporary regional park, or so denominated as \"agro environmental park\", with the purpose of strengthening inter municipal bonds. The agro environment park must not be regarded as a simple solution but a thought process and a way of acting worth pursuing. Moreover, it ought to be possible to focus upon the local reality searching for more adjustable and consistent mechanisms to accomplish this enterprise. Because, unlike other important regions provided with natural resources such as the metropolitan region of São Paulo, the agro enviromental park concept aims at interfering in an area that shares economical and social similarities, where fauna and flora are almost inexistent, since they have been replaced by urbanization and agricultural lands serving the global market. The challenge proposed here is to make the contemporary regional park an object of debate for public policies to address social and environmental needs such as: leisure, sports in general, cultural and folkloric activities, farming or forestry, conservation of the ecosystems, through which different levels or scales of intervention and accessibility to places could be defined. The proposal for the agro environmental park is to accomplish an instrument for regional and environmental planning.

Du 19e siècle à nos jours, la musique chinoise a pris une nouvelle direction. La création musicale en Chine s'est développée à travers les diverses cultures et les changements de politique, conférant ainsi un charme particulier à la musique contemporaine chinoise. A partir du début de l'imitation occidentale et juste avant la fondation de la nouvelle Chine, les musiciens chinois sont parvenus à associer les éléments musicaux chinois avec les nouveaux langages musicaux. Au cours de certaines périodes, l'art avait été asservi au pouvoir politique et la création musicale de style traditionnel était l'identité principale. Après de vagues stratégies d’Etat successives, l’évitement des thèmes sensibles, les besoins urgents de la culture racine, la mise en œuvre des techniques expérimentales s’est déployée et diversifiée et les échanges internationaux ont conduit à l'émergence du départ à l'étranger des compositeurs chinois pour chercher leur propre chemin créatif. La musique contemporaine de la Chine s’est élaborée à partir de la technique occidentale et a progressé dans le contexte culturel chinois et ses racines multiples, les pensées fermées et les expériences d'enfance dans l'environnement culturel pur et la collision du nouvel environnement créent des œuvres d'art fascinantes, la rendant remarquablement différente de la musique contemporaine occidentale. Durant ces 30 dernières années de développement économique et d'ouverture politique, la société chinoise s’est de plus en plus internationalisée; les nouvelles technologies et les profils variés des compositeurs ont incité la nouvelle génération à mettre en place d’excellentes innovations musicales spécifiques. / As of the 19th century up to now, Chinese music has been taking a new direction and has developed in the wake of social evolutions. In China, the musical creation was affected by both the various cultures and political changes, thus bestowing a special charm on contemporary Chinese music. From the beginning of Western imitation and just before the founding of the new China, Chinese musicians succeeded in matching the Chinese musical elements with the new musical languages. Throughout specific periods, art had been bound to political power, and traditional style constituted the main identity of musical creation. Following the Cultural Revolution, the return to the root culture, the implementation of diversified experimental techniques have resulted in the departure of Chinese composers abroad in search of their own creative way. Contemporary Chinese music developed from Western technique and progressed in the Chinese cultural context and its multiple roots, closed thoughts and childhood experiences in the pure cultural environment and the collision of the new environment is now creating fascinating works of art, remarkably different from Western contemporary music. During the last 30 years of economic development and political openness, Chinese society has become increasingly internationalized; the new technologies and the varied profiles of composers have prompted the new generation to set up outstanding specific musical innovations.

The aim of this thesis is to show the current Italian authors work specifics who are asserted as journalists as well as writers and their journalistic and prosaic outputs is devoted to organized crime in today's Sicilian society. Roberto Alajmo, Gaetano Savatteri and Salvo Sottile and their literaty outputs È stato il figlio, Tempo Niente. La breve vita felice di Luca Crescente, Gli uomini che non si voltano, I ragazzi di Regalpetra, Maqeda and Più scuro di mezzanotte were chosen for an analysis. The criterion in choosing works was particularly a time span of its formation - for the first time they were published after 2005 and at the same time they are mostly the newest literary outputs of selected authors meeting the requirements. Particular authors are presented after an opening which is describing logical interrelationship between writers and journalists in history of Italian literature ever since the unification of Italy in 1870 and deals with history of Sicilian Mafia and Sicilian literature concerning a phenomenon of Mafia. Part of the following analytic section is devoted to work of particular writers-journalists. Emphasis is put on analysis of prosaic texts considering authors journalistic outputs. Watched is particularly a thematic line of their work and a possible reflection of events...

La présente étude vise à écouter la voix des femmes s’exprimant à travers leurs œuvres, à comprendre leurs motivations, leurs buts et leur place dans le discours littéraire et social ; on cherchera aussi à analyser la réception par les étudiants de la littérature française féminine contemporaine, considérée comme une proposition de lecture digne d’attention en raison de son caractère socialement engagé. Le fait de se demander de quelle façon la littérature française créée par les femmes observe les problèmes auxquels est confrontée la société contemporaine et de quelle manière elle entreprend un dialogue sur ces sujets, montrant par là un intérêt pour l’ordre social et politique, semble élargir avec profit non seulement les perspectives de l’analyse littéraire, mais également l’horizon de la didactique de la littérature. En se penchant sur la création littéraire contemporaine des femmes, on cherche à proposer un tour d’horizon des formes d’engagement et du degré d’intensité avec lequel sont traitées les questions de société dont la problématique influence la situation de l’individu et les communautés qu’il forme, à commencer par la plus petite d’entre elles : la famille. À travers l’œuvre de Claire Castillon, qui puise dans les modèles créés par les femmes écrivains des générations précédentes, nous pouvons observer la façon dont celles-ci entreprennent une réflexion critique sur leur place et leur rôle dans le tissu social, mais aussi sur l’état général de la société dans laquelle elles évoluent. De même, nous voyons quels problèmes de société apparaissent comme les plus sensibles de leur point de vue. Afin de suivre l’évolution de l’écriture féminine et de mieux comprendre sa place actuelle, il est essentiel d’analyser les motifs pour lesquels les femmes ont saisi la plume, notamment depuis la Révolution française, lorsque ces questions de société ont pris une importance particulière dans le discours public, également dans le champ littéraire. / This study aims to listen to the voices of women expressed through their works, to understand their motivations, their goals and their place in the literary and social discourse ; we also seek to analyze the reception by students of contemporary French women's writing considered a reading proposal worthy of attention because of its socially committed character. The fact wonder how French literature created by women observe the issues facing modern society and how she develop a dialogue on these subjects, thereby showing an interest in social and political order which seems to expand profitably not only the prospects of literary analysis, but also the horizon of didactics of literature. By focusing on the contemporary literature of women, it seeks to provide an overview of the forms of commitment and degree of intensity with which are treated the issues of society whose problems affect the situation of the individual and communities that it forms, starting with the smallest one: the family. Through the work of Claire Castillon, which draws from models created by women writers of previous generations, we can observe how women writers undertake critical reflection on the role od women in society, but also the general state of society in which they operate. Similarly, we see which social issus are most essential to their views. To follow the evolution of women's writing and understand its current position, it is important to analyze the reasons why women have seized the pen, especially since the French Revolution, when the social issues have taken a particular importance in the public discourse, also in the literary field.

La thèse interroge les pratiques mises en œuvre aujourd’hui pour collecter des objets contemporains au sein des écomusées et des musées de société en France. Cette question de la « contemporanéité » connaît un regain d’actualité en muséologie et prête le flanc à la critique dans le paysage des politiques culturelles. Aussi, la première partie constitue le questionnement théorique de la recherche. Elle interroge la situation paradoxale des musées ethnographiques français, dans l’objectif d’examiner la nouvelle orientation des collections, axée sur le « contemporain ». La deuxième partie trace l’évolution dans les orientations, les méthodes et les finalités des politiques d’acquisition. Le corpus de la recherche analyse, dans ce sens, des pratiques de collecte aujourd’hui opérationnelles au sein de trois musées, foncièrement différents de par leur taille, leur implantation géographique et leurs missions : le musée des Civilisations de l’Europe et de la Méditerranée (MUCEM) à Marseille, l’écomusée du Val de Bièvre à Fresnes (Val-de-Marne) et le musée de la ville de Saint-Quentin-en-Yvelines (Yvelines). Enfin, la troisième partie de la thèse présente les résultats de l’étude expérimentale de terrain. D’abord, en examinant le sens du contemporain au sein du musée de société, à travers la représentativité des exemples retenus dans le corpus. Ensuite, en présentant les conséquences de la collecte de l’objet contemporain, tant sur les missions du musée que sur le statut de l’objet. Ces deux entités sont analysées dans le cadre d’un « système signifiant » qui permet au musée de construire un savoir et une connaissance sur l’objet d’aujourd’hui, à partir des notions d’« altérité », de « document », de « tri », de « mémoire » et de « patrimoine ». / This thesis questions the current working practices of French eco-museums and museums of society concerning the collection of contemporary objects. The question of « contemporaneity » is undergoing a revival today in museology, attacking the flank of criticism from the field of cultural politics. In addition, the first part of this thesis involves a theoretical questioning of the method of research itself. It questions the paradoxical position of French ethnographic museums, with the aim of examining the new direction that their collections are taking, focusing on the « contemporary ». The second part of this thesis traces the evolution of the tendancies, methods and aims of museum acquisition policies. The body of research analyses the current practices in the collection of pieces by three museums which are fundamentally different in size, geographical presence and assignation/mission : the Musée des Civilisations de l’Europe et de la Méditerranée (MUCEM) in Marseille, the Écomusée du Val de Bièvre in Fresnes (Val de Marne) and the museum of the town of Saint-Quentin-en-Yvelines (Yvelines). Finally the third part of this thesis presents the results of an experimantal study into the museum space. Firstly by studying the direction of contemporaneity in the museum of society by way of the representational value of pieces retained in the collection. Further, in presenting the outcome of collecting contemporary pieces, as much as a result of deliberate seeking out by the museum as about the status of the piece itself. These two subjects are considered in the framework of a « system of significance » which allows a museum to build up knowledge and a familiarity with contemporary pieces, with the concepts of « otherness », « written record », « selection », « recollection » and « heritage » providing a starting point.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-15T14:13:00Z No. of bitstreams: 1 carlosgoncalvestavares.pdf: 2841629 bytes, checksum: f3ed9e1d927ae031a82b7dc0378de6d5 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-15T15:46:30Z (GMT) No. of bitstreams: 1 carlosgoncalvestavares.pdf: 2841629 bytes, checksum: f3ed9e1d927ae031a82b7dc0378de6d5 (MD5) / Made available in DSpace on 2015-12-15T15:46:30Z (GMT). No. of bitstreams: 1 carlosgoncalvestavares.pdf: 2841629 bytes, checksum: f3ed9e1d927ae031a82b7dc0378de6d5 (MD5) Previous issue date: 2015-02-23 / Os diálogos empreendidos pelas diversas formas de expressões artísticas caracterizam toda a história da humanidade. No século XX é evidente a influência dos meios de comunicação e aparatos técnicos nas pesquisas e criações artísticas. De diferentes modos e estilos, a dança, que também passou por mudanças significativas, tanto no âmbito artístico, quanto nos âmbitos pedagógicos e sociais, utiliza de toda a evolução das mídias em suas criações, desde aqueles que já pertenciam à dança, historicamente, como a iluminação e a música, até o uso mais recente de câmeras, projetores de imagens e outros meios tecnológicos. Desta forma esta dissertação buscou analisar as relações intermidiáticas entre a dança, a imagem, o teatro e a música nos espetáculos da Cia Ormeo, companhia de dança que residia em Cataguases (MG) e, que colocava em diálogo a dança contemporânea, o teatro, a música e os meios audiovisuais, por meio da projeção de imagens. A companhia foi dirigida por Daniela Guimarães e esteve em atividade entre 2003 e 2013, sendo um dos poucos grupos artísticos da cidade de Cataguases e região, que obteve uma trajetória artística através de recursos públicos de fomento à cultura. Foram escolhidos os trabalhos Barco (2006), Nha fala (2005) e Uma mulher vestida de sol (2007) para a análise, tendo como base teórica o conceito da intermidialidade, através de vários autores e principalmente de Irina Rajewsky. Os espetáculos da Cia Ormeo possuem características intermidiáticas, uma vez que diversos elementos artísticos se interconectam através da dança. Nota-se que a dança tem uma forte componente comunicativa que incorpora as características das outras artes e as recria cenicamente. Sendo assim, as coreografias e montagens da Cia Ormeo potencializam as características estéticas do teatro, por meio de suas representações; da música, por meio do tratamento diferenciado da voz e dos sons e do audiovisual, por meio do diálogo imagem-corpo. / The dialogues undertaken by the various forms of artistic expression characterize the entire history of humanity. In the twentieth century it is clear the influence of the media and technical devices in research and artistic creations. In different ways and styles, the dance, which has also undergone significant changes, both in the artistic context, and in the educational and social, uses the whole evolution of media in their creations, from those who already belonged to the dance, historically, as lighting and music, to the more recent use of cameras, image projectors and other technological means. Thus this dissertation investigates the intermedial relations between dance, image, theater and music in spectacles Cia Ormeo, dance company residing in Cataguases (MG) and that placed in the contemporary dance dialogue, theater, music and audiovisual media, by means of the image projection. The company was run by Daniela Guimarães and was active between 2003 and 2013, one of the few artistic groups from the city of Cataguases and region, which obtained an artistic trajectory through public resources to promote culture. The works analyzed were Barco (2006), Nha fala (2005) and Uma mulher vestida de sol (2007) for the analysis, the theoretical ground the concept of intermediality, by various authors and especially Irina Rajewsky. The Cia Ormeo’s gigs have intermedial characteristics, since many artistic elements are interconnected through dance. Note that the dance has a strong communicative component incorporating the features of the other arts and recreates scenically. Thus, the choreography and assemblies Cia Ormeo in enhancing the aesthetic characteristics of theater, through its representations; music, through the differential treatment of voice and sounds and audiovisual through the image-body dialogue.

(in English) In this diploma thesis we will focus on the current possibilities of using the region as a motive and an instrument of poetic narration on the Czech - polish example. In recent years, regional literature has represented widely discussed, yet still semantically and conceptually ambiguous field in the area of literary theory. First part of thesis represents the basic concepts for research of regionalism in literature and also works with selected theories of Czech and Polish literary theorists. Second part presents interpretative chapters, which are concentrated on a concrete schemes of region in poems collections by Czech and Polish poets.

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