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O objetivo desta dissertação é estudar as escolhas e as criações lexicais de Mário de Andrade nas suas obras poéticas mais representativas da década de 20: Pauliceia desvairada; Losango cáqui e Clã do jabuti. Sob a ótica da Estilística Léxica e com auxílio da Semântica, recolhemos e analisamos as criações lexicais resultantes da necessidade estilística. Entendemos que elas foram escolhidas por Mário de Andrade para acentuar a expressividade de seu texto e procuramos demonstrar, através da sua inserção em campos-léxico-semânticos, a existência de temas reveladores da visão de mundo do autor e da época. As obras analisadas evidenciam a ampliação do território poético de Mário de Andrade que parte da cidade de São Paulo, em processo de urbanização, para abraçar o país multicultural. Através dos temas e das escolhas lexicais feitas, o poeta-enunciador, ao usar a máscara do arlequim, transfigura-se em poeta-arlequim, poeta-soldado e em poeta-antropólogo sugerindo, assim, a aproximação ou o afastamento de determinado grupo social. / The purpose of this dissertation is to study the choices and the lexical creations by Mário de Andrade in his most representative poetic works in the twenties: Pauliceia desvairada, Losango cáqui and Clã do jabuti. From the Lexical Stylistics point of view and with the Semantic\'s help, we collected and analyzed the lexical creations resulting from stylistic necessities. We understand that those were chosen by Mário to enhance the expressiveness of his text and we try to evidence, by inserting them in lexical-semantic-fields, the existence of themes revealing the poet\'s particular view of his world and time. The present work evidences the enlargement of Andrade\'s poetic territory which starts in a São Paulo city in urbanization process to embrace the whole multicultural country. Based on the themes and lexical choices made, the enunciator-poet, when uses the harlequin\'s mask, transfigures himself in a harlequin-poet, a soldier-poet and in a anthropologist-poet suggesting, in this way, the proximity or distance from specific social groups.

Much has been written recently in mainstream media about sex robots. However, due to the recent developments in this area of robotic and AI technologies, few academics have critically addressed these humanoid sexual technologies through the frameworks provided by Feminist Technoscience Studies. Through utilizing this critical lens, this thesis works with the tools of becoming-with (Haraway 2004a) and intra-action (Barad 2003) to explore the ways in which sexual technologies manufactured by American company Abyss Creations are co-actors in complicated material-semiotic networks. In line with Haraway (2004a) and Barad (2003), this thesis argues that realities are made through ongoing material-discursive practices, practices which are intra-actions of desire, bacteria, companionship, synthetic cognitive algorithms, capitalism, app programing, Wikipedia, and robo-human becoming-with and becoming-without. It is through these webs of becoming-with and –without that these technologies exhibit relational agency. This thesis argues to view Abyss Creation’s sex robots in a framework of relational co-construction is to begin improving our understandings of the complicated ways in which humans, nonhumans, technology, systems, and forces are co-actors in techno-social networks.

O objetivo desta dissertação é estudar as escolhas e as criações lexicais de Mário de Andrade nas suas obras poéticas mais representativas da década de 20: Pauliceia desvairada; Losango cáqui e Clã do jabuti. Sob a ótica da Estilística Léxica e com auxílio da Semântica, recolhemos e analisamos as criações lexicais resultantes da necessidade estilística. Entendemos que elas foram escolhidas por Mário de Andrade para acentuar a expressividade de seu texto e procuramos demonstrar, através da sua inserção em campos-léxico-semânticos, a existência de temas reveladores da visão de mundo do autor e da época. As obras analisadas evidenciam a ampliação do território poético de Mário de Andrade que parte da cidade de São Paulo, em processo de urbanização, para abraçar o país multicultural. Através dos temas e das escolhas lexicais feitas, o poeta-enunciador, ao usar a máscara do arlequim, transfigura-se em poeta-arlequim, poeta-soldado e em poeta-antropólogo sugerindo, assim, a aproximação ou o afastamento de determinado grupo social. / The purpose of this dissertation is to study the choices and the lexical creations by Mário de Andrade in his most representative poetic works in the twenties: Pauliceia desvairada, Losango cáqui and Clã do jabuti. From the Lexical Stylistics point of view and with the Semantic\'s help, we collected and analyzed the lexical creations resulting from stylistic necessities. We understand that those were chosen by Mário to enhance the expressiveness of his text and we try to evidence, by inserting them in lexical-semantic-fields, the existence of themes revealing the poet\'s particular view of his world and time. The present work evidences the enlargement of Andrade\'s poetic territory which starts in a São Paulo city in urbanization process to embrace the whole multicultural country. Based on the themes and lexical choices made, the enunciator-poet, when uses the harlequin\'s mask, transfigures himself in a harlequin-poet, a soldier-poet and in a anthropologist-poet suggesting, in this way, the proximity or distance from specific social groups.

La thèse traite de la problématique du feu comme instrument de la création plastique contemporaine. En effet, depuis les années 1960, on observe une utilisation accrue de l’élément feu dans de nouvelles formes d’expression artistique. L’accent est mis particulièrement sur le feu de la guerre qui, en transformant la vie des artistes, fait également évoluer leur création. Tout au long de la thèse, l’analyse des oeuvres personnelles vient appuyer ce constat et sont explorées sur la base de l’expérience de la guerre vécue par l’auteur. Les parties de la thèse font référence à des figures mythiques en relation avec l’image du feu. Ainsi, se classent-elles « Sous le signe de Prométhée », « Sous le signe du Phénix » et « Sous le signe d’Empédocle ». / This Ph.D. dissertation deals with the problem of fire used as a tool in the contemporary plastic art creations. In fact, since the 1960s, an increased use of fire is noted within new forms of artistic expression.The emphasis is put particularly on the “fire of war” which, by changing the lives ofthe artists, transforms their creations as well .Throughout the dissertation, the analysis of personal pieces of art, observed through the context of the war experienced by the artist, confirms the above finding. The sections of the dissertation refer to some mythical characters with close relationship with the image of fire. Hence, they are referenced “Under the sign of Prometheus”,“Under the sign of the Phoenix” and “Under the sign of Empedocles”.

Denna studie syftar till att öka kunskapen om förskollärares uppfattningar av arbetet med barns digitala skapande, samt att synliggöra på vilka sätt och i vilket syfte digitala verktyg används i estetiskt skapande. Mot bakgrund av detta syftar studien på att besvara följande frågeställning: Hur uppfattar förskollärare arbetet med barns digitala skapande? På vilket sätt används digitala verktyg i det estetiska skapandet på förskolan? I vilket syfte används digitala verktyg i barns estetiska skapande? För att kunna svara till studiens syfte och frågeställning används den fenomenografiska metodansatsen både som metod och som teori, i syfte att synliggöra förskollärares uppfattningar av studiens fenomen. I studien genomfördes sex intervjuer med förskollärare som har erfarenhet av att arbeta med barns digitala skapande. I resultatet framkommer tre stycken olika utfallsrum: Att uttrycka och vidga upplevelserna, digitala verktyg som undervisningsmedel och innehåll samt ett pedagogiskt verktyg bland andra verktyg. I dessa tre utfallsrum förekommer även beskrivningskategorier. Utfallsrummen och beskrivningskategorierna syftar till att synliggöra respondenternas olika uppfattningar om studiens fenomen. Resultatet visar att digitala verktyg ger barn fler estetiska uttrycksmöjligheter och upplevelser. Dessa kan återupplevas och återbesökas med hjälp av dokumentation. Digitala verktyg betraktas både som ett undervisningsmedel och ett innehåll som genom undervisning kan bidra till ökad digital kompetens. Slutligen presenteras det i resultatet att förskollärare uppfattar digitala verktyg som ett pedagogiskt verktyg bland andra verktyg i barns skapande. Detta verktyg uppfattas som ett komplement till analogt skapande och har vissa begränsningar. / This study aims to improve preschool teachers’ understanding of the work with children’s digital creations as well as to increase visibility on what and how digital tools are used in art. With this background, this study aims to answer the following questions: how do preschool teachers perceive children's digital creations? What ways are digital tools used in preschools' aesthetic creations? For what purpose are digital tools used in children's aesthetic creations? To answer the study's questions the phenomenographic method approach was used both as a method and as a theory, to understand preschool teachers' perceptions of the study phenomenon. The study conducted six interviews with preschool teachers experienced with working with children's digital creations. The result shows three different outcomes: to express and broaden the experiences, digital tools are used as teaching aids and supplementary content, and function as a pedagogical tool among other tools. In these three outcome rooms, there are also descriptive categories. The outcome rooms and descriptive categories aim to highlight the respondents' different perceptions of the study's phenomenon. The result shows that digital tools give children more visual possibilities of expression and experiences and can be re-experienced and revisited with the help of documentation. Digital tools are considered to function both as a teaching aid and as supplementary content that can contribute to increased digital competence with the children. In conclusion, the results show that preschool teachers perceive digital tools as a pedagogical tool among other necessary tools in a child’s creative process. The digital tool is perceived as a complement to non-digital creation but this pedagogical tool has certain limitations.

Judith Gautier caresse un vif intérêt pour les temps anciens et le monde inconnu. Parmi toutes les contrées lointaines, c’est en Chine qu’elle conçoit son rêve le plus charmant et son monde intime le plus merveilleux. La Chine dans son ensemble la séduit, répondant à la fois à sa curiosité envers l’Antiquité et à son désir de décrypter des documents indéchiffrables. C’est de là qu’elle a tiré ses meilleures inspirations pour ses créations littéraires. Basée sur les écrits de Judith Gautier sur la Chine, d’une part, et sur leurs sources d’inspiration, d’autre part, notre thèse projette d’examiner les spécificités rêvées de la Chine de l’écrivaine, de mesurer la distance entre son art imaginatif et la situation réelle de ce pays et de repérer les éventuels facteurs ayant contribué à la formation de son style. Les œuvres de Judith Gautier constituent un grand terrain d’exploitation, dont l’intérêt de la recherche est caractérisé par sa fécondité, présentant une quantité considérable de sujets à découvrir, par son érudition, qui englobe une large dimension culturelle de l’Orient à l’Occident, ainsi que par sa préférence de la liberté, qui entraîne des choix arbitraires quant aux traductions et aux adaptations. La découverte de la vie et des œuvres de Judith Gautier est un voyage formidable, où sont manifestés des idées inédites, des images inconnues et des horizons nouveaux et insolites. / Judith Gautier takes a keen interest in the ancient times and the unknown world. Among all the distant lands, it is in China that she conceives her most charming dream and her most wonderful intimate world. China as a whole seduces her, responding to her curiosity towards antiquity and her desire to decipher indecipherable documents. The culture of this country gives Judith Gautier a lot of inspirations for her literary creations. Our thesis plans to research the characteristics of Judith Gautier’s fantasy vision of China and measure the distance between her imaginative art and the actual situation of this country. We plan to find the possible factors that contributed to the formation of her style and the sources which gave her inspirations. The works of Judith Gautier constitute a large field to be explored. They present a considerable number of subjects to be discovered thanks to the fertility of the author and encompass a large cultural dimension from the East to the West. Besides, Judith Gautier’s preference for the freedom leads to her arbitrary choices of translations and adaptations. The discovery of her life and her works is a wonderful journey, where new ideas and unknown images are revealed.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-21T11:43:53Z No. of bitstreams: 1 Maria Alice Lucena De Gouveia.pdf: 19267194 bytes, checksum: 77da87bd51035dc96c07cbec6ef219b1 (MD5) / Made available in DSpace on 2016-11-21T11:43:53Z (GMT). No. of bitstreams: 1 Maria Alice Lucena De Gouveia.pdf: 19267194 bytes, checksum: 77da87bd51035dc96c07cbec6ef219b1 (MD5) Previous issue date: 2016-09-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research derives from my need of understanding the actor’s preparation process in the Pernambuco cinema, by means of its deconstruction. Therefore, my object of study will be the immersion work of actor Irandhir Santos, who played the main character of the following movies: Rat Fever (2011), by Cláudio Assis; Tattoo (2013) by Hilton Lacerda; Neighboring Sounds (2013) by Kléber Mendonça and História da Eternidade (2014), by Camilo Cavalcante. In the same manner, I will study the works of actress Hermila Guedes: Once Upon A Time Veronica, (2014) by Marcelo Gomes and Love for Sale, (2006), by Karim Aïnouz. This corpus focuses on the cinema produced recently in the state of Pernambuco, Brazil, that were conceived through a collaborative process - in which the actor finds itself being in a highlighted position, while formatting the final structure of the movie’s narrative. As a methodological approach, I propose the use of “Crítica de Processos”, elaborated by researcher Cecília de Almeida Sales (2006). It seeks to understand the process of artistic creation through its testimonies, its footprints and the active observation of the elaboration of a movie / Esta pesquisa deriva da minha necessidade de entender o processo de preparação do ator no cinema pernambucano a partir da sua desconstrução. Dessa forma, tomarei como objeto de estudo o trabalho de imersão do ator Irandhir Santos, protagonista dos filmes Febre do Rato (2011), do diretor Cláudio Assis; Tatuagem (2013), do diretor Hilton Lacerda; O Som ao Redor, 2013, de Kléber Mendonça e História da Eternidade (2014), de Camilo Cavalcante. Além desses, existe o trabalho da atriz Hermila Guedes, Era uma vez eu, Verônica, 2014, de Marcelo Gomes e O Céu de Suely, (2006), de Karim Aïnouz. Esse corpus compreende a recente produção cinematográfica de filmes produzidos no estado de Pernambuco que nasceram de um processo colaborativo no qual o ator exerce uma posição de destaque na estruturação do discurso final. Como procedimento metodológico, proponho utilizar a “Crítica de Processos”, elaborada pela pesquisadora Cecília de Almeida Salles (2006), que busca entender o processo de criação artística por meio de seus relatos, rastros e da observação ativa da realização de um filme

Made available in DSpace on 2014-06-11T19:23:36Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-09-30Bitstream added on 2014-06-13T19:29:53Z : No. of bitstreams: 1 salum_gc_me_mar.pdf: 592099 bytes, checksum: ad91e5ec42022c2f12b4ee765557107c (MD5) / A propriedade intelectual é uma modalidade singular de relação de propriedade reconhecida universalmente a partir do advento da modernidade ocidental. Sua gênese e desenvolvimento estão localizados no bojo do longo processo histórico de submissão das múltiplas espécies de propriedade, existentes e coexistentes na antiguidade e na idade média, ao império da propriedade privada capitalista moderna. Tem-se que este contexto histórico-social de afirmação e expansão da propriedade privada se estendeu às criações intelectuais, nascendo desta combinação um elemento estratégico de poder e riqueza denominado propriedade intelectual no mundo contemporâneo. Desta forma, investigou-se as principais exteriorizações da propriedade desde o período précapitalista até a propriedade privada moderna. Pela constatação da hegemonia da propriedade privada, no contexto geral dessa relação social e histórica que é a propriedade, procurou-se verificar os principais discursos que no plano da filosofiapolítica justificaram ou negaram legitimidade ao novo modelo vigente. Passou-se, então, ao estudo dos vários sentidos históricos da relação do homem com o conhecimento produzido, perseguindo-se os motivos determinantes para que as criações do intelecto viessem a tornar-se objeto de propriedade. Finalmente, apresentou-se uma discussão sobre alguns pontos controvertidos que envolvem o significado da propriedade intelectual no mundo contemporâneo. Por último, deve-se salientar que o referencial teórico utilizado na pesquisa em uma abordagem histórica e sociológica do tema, recorrendo-se a um conjunto diversificado de categorias da Sociologia, e em certos momentos de outras áreas do conhecimento, nos esforços empreendidos. / The intellectual property is a singular kind of relation of property recognized universally from the advent of the western modernity. His origin and development are located in the bulge of the long historical process of submission of the multiple sorts of property, existent and coexistent in the antiquity and in the middle age, to the empire of the private capitalist modern property. It has been that this social-historical context of affirmation and expansion of the private property if it spread out to the intellectual creations, when there is born of this combination a strategic element of power and wealth called intellectual property in the contemporary world. In this way, the principal externalizations of the property were investigated from the period capitalist-daily pay up to the private modern property. For the observation of the hegemony of the private property, in the general context of this social and historical relation that is the property, there tried to check the principal speeches that in the plan of the political-philosophy justified or denied legitimacy to a new model in force. One passed, then, to the study of several historical senses of the relation of the man with the produced knowledge, when there are pursued the motives determinative so that the creations of the intellect came to become an object of property. Finally, a discussion showed up on some controverted points that wrap the meaning of the intellectual property in the contemporary world. For last, it is necessary to point out that the theoretical referential system used in the inquiry in a historical and sociological approach of the subject, resorting to a diversified set of categories of the Sociology, and at certain moments of other areas of the knowledge, in the undertaken efforts.