De prime abord, toute l’œuvre de Cristina Comencini semble simple, légère et quasi populaire. Pourtant, elle l’une des rares auteures, dans l’Italie contemporaine à être en même temps écrivaine, scénariste, metteur en scène, dramaturge. Ces multiples facettes de sa production l’ont menée à créer une cinécriture féminine au carrefour du roman et du film, une véritable stratégie qui utilise la texture même de la langue (syntaxe et grammaire) pour rendre le message plus accessible. Cette étude prend en considération la période 1994-2007, pendant laquelle l’auteur elle se fait l’interprète des femmes au nom d'une nouvelle subjectivité et commence sa relecture de l'histoire, en particulier des années ‘70. La maîtrise des structures génériques et des moyens techniques lui permet d’innover au niveau du contenu d’abord pour proposer à partir de 2001 un nouveau « format » féminin et populaire où les sentiments privés sont le prétexte pour exprimer des sentiments politiques. / At first sight, Cristina Comencini’s works may seem simple, light, almost popular. Yet, she one of the rare authors, in contemporary Italy, who is at the same time a writer, a scenarist, a film director and a playright. These multiple aspects of her work led her to create a women’s « cinécriture » which stands at the crossroad between novel and film. It is a real conscious strategy which uses the texture of the language (grammar and syntax) to render the message more accessible to anyone. This thesis takes into consideration the period going from 1994 to 2007, during which the author became the spokeswoman of the feminin cause in the name a new subjectivity and she started to reinterpretate history, in particular the period of the Seventies, so crucial for her generation. Her mastery of the different kinds of genre structures and of technical skills allowed her to renew the literary landscape, first of all in terms of subject treated. From 2001, she has been able to propose a innovatory feminin and popular « format » whereby the private feelings are the pretext to express political analysis.

Thesis (M.A.)--University of North Carolina at Wilmington, 2007. / Includes bibliographical references (leaves: 54-56)

Thesis (M.A.)--Central Connecticut State University, 2000. / Thesis advisor: Lilián Uribe. " ... in partial fulfillment of the requirements for the degree of Master of Arts [in Modern Language]." Includes bibliographical references (leaves 113-114).

fondoeditorial@upc.edu.pe / Estos ejemplos han sido tomados del libro “Iniciarse en la investigación académica”, escrito por Cristina Alayza y otros, y publicado por Editorial UPC.

One of the most prolific and recognized young Mexican writers is Cristina Rivera-Garza. Carlos Fuentes described her novel Nadie me verá llorar, as one of the most notable literary works in this century. Born in Matamoros, Tamps., México, 1964, she completed her B.A. in Sociology at the UNAM in Mexico City (1987), an M.A. (1993) and Ph.D. in Latin-American History at the University of Houston (1995). She worked as an Associate Professor at San Diego State University where she taught Mexican History (1997-2000). She has won several Literary Awards and received the National Endowment for the Humanities Fellowship in 2000. The purpose of this research is to study the genre and gender borders evident in her works. a) In the literary genre aspect, the author’s works show an interrelation between the documented Historical narrative and the stories at the margin of that narrative. b) In the generic-sex aspect, the identities borders between the different sexualities (hetero and homo sexual), are blurred in the characters of this author. We study the author’s handling of concepts like gender, literary and sexual, and the ways she crosses boundaries to give shape to a body: a physical body that inhabits an unstable identity, and shows a performance that adapts itself in certain contexts; a historic body that dialogues with the official History and reclaims those stories that stayed at the margin of it. In the Introduction we will focus on the author’s bio-bibliography and elaborate, using existing theoretical concepts, on the literary genre and the theory of sexual orientation that will help explain her work. Chapter one is a general review of Rivera-Garza’s work and the context in which it takes place. Chapter two studies two of her short stories books, La guerra no importa (1991), and Ningún reloj cuenta esto (2001); Chapter three studies the sexual orientation and its relationship with gender identity in two novels, La cresta de Ilión (2002), and Lo anterior (2004). The final chapter is the conclusion. / text

Suite à l’expérience de l’exil, la culture d’un pays, expression artistique de la mémoire, est ramifiée. L’oeuvre de l’exilé n’est alors qu’une partie du rhizome culturel, reflétant l’identité initiale, dont la souche est la même que celle de ceux qui sont restés, mais en ajoutant l’expérience du présent « ailleurs ». Georges Steiner pousse la réflexion jusqu’à concevoir cette expérience comme étant l’élément déclencheur de la littérature actuelle, que nous considérons comme re-production d’un signifiant qui lui pré-existe. Or, le XXème siècle est celui de l’exil, qui s’est vu imposé avec l’apparition de multiples dictatures ou problèmes économiques (le nazisme persécutant les Juifs, les dictateurs d’Afrique ou d’Amérique Latine, etc.). L’objet de l’étude se focalise sur deux romans argentins : Informe de París de Paula Wajsman (1990) et La sombra del jardín de Cristina Siscar (1999). Les auteures mettent en scène l’exil dans leurs fictions. Nous dédions l’étude à l’analyse de ces deux textes dont les styles diffèrent mais dont les thématiques s’apparentent : rapport à l’espace, perte des repères imaginaires, position face à l’Autre et construction identitaire dans un nouvel environnement. Nous nous demandons ainsi sous quelles formes peut s’exprimer l’exil, synonyme d’une perte généralisée / Following the experience of exile, a country's culture, artistic expression of memory, branches forth. The exile's work is thus only part of the cultural rhizome, reflecting initial identity, whose root is the same as those left behind, while adding the experience of the current “elsewhere”. Georges Steiner pushes the idea to the point of conceiving this experience as being the trigger of current literature, something we consider as the pre-existing signifier. As such, the 20th century is littered with exiles, imposed by the emergence of multiple dictatorships or economic difficulties (Nazi persecution of the Jews, dictators of Africa or Latin America, etc.). The study focuses on two Argentinian novels: Paula Wajsman's Informe de París (1990) and Cristina Siscar's La sombra del jardín (1999). The authors bring to light exile in their fiction. The study is dedicated to the analysis of these two texts whose styles differ but whose themes have much in common : relationship with space, loss of imaginary reference points, situating oneself in regards to the Other and the construction of identity in a new environment. Thus we question in what forms can be expressed the general feeling of loss so synonymous with exile

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-08-20T19:36:00Z No. of bitstreams: 1 Dissertação versão final pdf-1-14.pdf: 289206 bytes, checksum: be658cb1595a87dc0d7dbc195ff37b29 (MD5) / Rejected by Setor de Periódicos (per_macedocosta@ufba.br), reason: Favor enviar o arquivo completo. on 2018-08-21T14:32:11Z (GMT) / Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-08-21T17:27:01Z No. of bitstreams: 1 Dissertação versão final pdf-1-14.pdf: 289206 bytes, checksum: be658cb1595a87dc0d7dbc195ff37b29 (MD5) / Rejected by Setor de Periódicos (per_macedocosta@ufba.br), reason: Favor enviar o arquivo completo on 2018-08-22T17:57:12Z (GMT) / Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-08-24T16:44:31Z No. of bitstreams: 1 Dissertação versão final pdf-1-14.pdf: 289206 bytes, checksum: be658cb1595a87dc0d7dbc195ff37b29 (MD5) / Rejected by Setor de Periódicos (per_macedocosta@ufba.br), reason: Favor enviar o arquivo completo on 2018-08-29T20:06:25Z (GMT) / Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-09-05T18:22:00Z No. of bitstreams: 1 Dissertação versão final pdf.pdf: 870081 bytes, checksum: e34c7b4975542bfaf2a144e12f428279 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-09-06T20:31:36Z (GMT) No. of bitstreams: 1 Dissertação versão final pdf.pdf: 870081 bytes, checksum: e34c7b4975542bfaf2a144e12f428279 (MD5) / Made available in DSpace on 2018-09-06T20:31:36Z (GMT). No. of bitstreams: 1 Dissertação versão final pdf.pdf: 870081 bytes, checksum: e34c7b4975542bfaf2a144e12f428279 (MD5) / O presente estudo analisa algumas interlocuções entre as poéticas de Ana Cristina Cesar (1952-1983), do Brasil, e Luiza Neto Jorge (1939-1989), de Portugal, estudando as representações literárias e culturais em torno dos afetos. As autoras em estudo apresentam similitudes na experiência histórica das ditaduras civis e militares, das vozes femininas e dos discursos feministas das gerações de 60 e 70. Nosso estudo demonstra em que medida o construto poético reflete e/ou legitima novas compreensões sobre o afeto diante das interlocuções entre as produções poéticas das autoras em contextos autoritários. A partir do enfoque na subjetividade, recorremos a Félix Guattari (1986,1992), Gilles Deleuze (1992,1997,2000), Octávio Paz (2014), Georges Didi-Huberman (2014) para analisarmos os processos singulares de subjetivação e realizarmos novas abordagens sobre o afeto a partir da análise das interlocuções entre as autoras. / This study analyses some relations between the work of Ana Cristina Cesar (1952-1983), from Brazil, and that of Luiza Neto Jorge (1939-1989), from Portugal, taking into consideration the affects in literary and cultural representations. The authors show some similarities such as their experiences under civil and military dictatorships, the feminine voice and feminist discourses from the 1960s and 1970s generations. Our study shows how poetic construction mirrors or rather legitimates new understandings on affect after the interconnected relations the authors's works manifest in dictatorial contexts. Departing from a focus on subjectivity, we take theoretical support in Félix Guattari (1986,1992), Gilles Deleuze (1992,1997,2000), Octávio Paz (2014), Georges Didi-Hubman (2014), in order to analyze particular processes of subjectvization and then realize new approaches to affect from analyzing interconnected relations between the authors.

Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, 2013. / Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-10-27T17:55:15Z No. of bitstreams: 1 2013_NubiaReginaMoreira.pdf: 895604 bytes, checksum: 7429aef17d6c6bab0ceb12e37f0437fd (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2014-11-04T18:00:42Z (GMT) No. of bitstreams: 1 2013_NubiaReginaMoreira.pdf: 895604 bytes, checksum: 7429aef17d6c6bab0ceb12e37f0437fd (MD5) / Made available in DSpace on 2014-11-04T18:00:42Z (GMT). No. of bitstreams: 1 2013_NubiaReginaMoreira.pdf: 895604 bytes, checksum: 7429aef17d6c6bab0ceb12e37f0437fd (MD5) / O objetivo da nossa pesquisa foi investigar o processo que conformou a formação de uma geração de sambistas cariocas nos anos de 1990, tomando como objeto o estudo das trajetórias de profissionalização de compositoras no campo do samba, espaço majoritariamente masculino. Analisamos quais as posições que elas têm ocupado e ocupam neste espaço, elucidando quais foram as disposições fundamentais para sua inserção no campo. Nossa pesquisa focou as relações profissionais e pessoais do universo do samba através da trajetória de Teresa Cristina, priorizando destacar os critérios estabelecidos pelas relações inerentes à geração a que ela pertence, e pelo habitus trazido de sua origem, isto é, os recursos e capital político, social, musical que, no interior do samba, serviram como baliza para definir escolhas e áreas de atuação. A noção de campo de orientação bourdieusiana nos ajudou a elucidar que as trajetórias são construídas através de um processo de negociação e manobras onde se manifestam energias, dilemas, tensões e pulsões, devido aos posicionamentos assimétricos de seus membros ao longo do processo de desenvolvimento do samba como campo musical. _______________________________________________________________________________________ ABSTRACT / The aim of our research was to investigate the process which shaped the formation of a generation of samba singers in Rio in the 1990s, by taking up as its object the study of the trajectories of professionalization of composers in the field of samba, a mostly-male space. We analyzed which positions they have occupied and occupy within this space, by elucidating which were the basic dispositions for their inclusion in the field. Our research focused on the professional and personal relationships of the samba universe through the trajectory of Teresa Cristina, by firstly highlighting the criteria established by the relationships inherent in the generation which she belongs to, and the habitus brought from her origins, that is, the resources and the political, social and musical capital which, inside the samba, served as a yardstick to define choices and areas of expertise. The notion of orientation field by Bourdieu helped us to clarify that the trajectories are constructed through a process of negotiation and maneuvers where energies, dilemmas, tensions and pulsions manifest themselves due to asymmetric positioning of their members throughout the process of development of samba as a musical field. _______________________________________________________________________________________ RÉSUMÉ / Le but de notre recherche a été d'étudier le processus qui a façonné la formation d'une génération de sambistes à Rio dans les années 1990, en prenant pour objet l'étude des trajectoires de professionnalisation du domaine des compositeuses de samba, un espace surtout masculin. On a analysé quelles positions elles ont occupé et occupent dans cet espace, en élucidant quelles étaient les dispositions fondamentales pour leur inclusion dans le champ. Notre recherche a mis l'accent sur les relations professionnelles et les personnes de l'univers de la samba à travers la trajectoire de Teresa Cristina, en donnant la priorité à mettre en évidence les critères établis par les relations inhérentes à la génération à laquelle elle appartient, et par l'habitus apporté de ses origines, c’est à dire, les ressources et le capital politique, social, musical qui, au sein de la samba, ont servi comme un critère pour définir les choix et les domaines d'expertise. La notion de domaine d'orientation bourdieusienne nous a permis de préciser que les trajectoires sont construites à travers un processus de négociation et des manœuvres où se manifestent des énergies, des dilemmes, des tensions et des pulsions grâce aux positionnements asymétriques de leurs membres tout au long du processus de développement de la samba en tant que domaine musical.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-02-07T11:25:07Z No. of bitstreams: 1 adrianadefreitasgomes.pdf: 1038509 bytes, checksum: 5677688d08e22c400cc232326a74dfcb (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-07T14:09:46Z (GMT) No. of bitstreams: 1 adrianadefreitasgomes.pdf: 1038509 bytes, checksum: 5677688d08e22c400cc232326a74dfcb (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-07T14:10:42Z (GMT) No. of bitstreams: 1 adrianadefreitasgomes.pdf: 1038509 bytes, checksum: 5677688d08e22c400cc232326a74dfcb (MD5) / Made available in DSpace on 2017-02-07T14:10:42Z (GMT). No. of bitstreams: 1 adrianadefreitasgomes.pdf: 1038509 bytes, checksum: 5677688d08e22c400cc232326a74dfcb (MD5) Previous issue date: 2006-08-18 / Esta dissertação tem como objetivo entrelaçar as vozes de Ana Cristina Cesar e Katherine Mansfield através de “Bliss”, conto escrito por Mansfield em 1918 e traduzido por Ana Cristina para a língua portuguesa entre 1979 e 1981. Ressaltamos ambas as autoras como figuras de transição, por se encontrarem em uma posição liminar em relação aos momentos sócio-histórico-culturais em que viveram. Buscamos apresentar a importância da prática tradutória para a ascensão das mulheres ao mundo das letras e para a formação da identidade autoral feminina de Ana Cristina. Destacamos também a existência de afinidades entre as duas escritoras determinadas por questionamentos em relação aos papéis por elas desempenhados enquanto mulheres. Com o intuito de analisar a prática tradutória de Ana Cristina, utilizamos, entre outros, conceitos extraídos do pensamento de estudiosos(as) da tradução e de intelectuais que se dedicaram à crítica literária em geral. Analisamos como os estudos emergentes no final da década de 70 e início dos anos 80 influenciaram Ana Cristina em sua tradução de “Bliss” e verificamos de que forma ela antecipa posicionamentos caros ao momento atual da disciplina Estudos da Tradução. / This thesis intends to intertwine the voices of Ana Cristina Cesar and Katherine Mansfield through “Bliss”, a short story written by Mansfield in 1918, and translated by Ana Cristina into the Portuguese language between 1979 and 1981. We emphasize both authors as transition figures, since they stand in a liminar position in relation to the social, historical and cultural moments in which they have lived. We try to show the importance of translation practice not only as a means through which women have achieved access to the lettered world but also to the formation of Ana Cristina’s feminine author identity. We also point out the existence of affinities between Ana Cristina and Mansfield due to questions related to the roles they have played as women. In order to discuss Ana Cristina’s translation practice, we use, among others, concepts extracted from the thought of translation scholars and of intellectuals who have dedicated themselves to literary criticism in general. We analyse how studies which emerged at the end of the 1970s and at the beginning of the 1980s influenced Ana Cristina’s translation of “Bliss” and we verify the way through which she has anticipated postures that are dear to the most recent moments of the discipline Translation Studies.

Esta dissertação realiza um percurso interpretativo de A teus pés, único livro de Ana Cristina Cesar publicado por editora, que reúne os três livros lançados por ela de forma independente (Cenas de abril, Correspondência completa e Luvas de pelica), acrescidos de mais um, homônimo. Nesse curso, considerou-se a participação da autora no quadro da poesia marginal dos anos setenta; o aspecto gráfico de seus livros e sua relação com o conteúdo das obras; as reflexões suscitadas por cada livro, e o que possibilitaria sua reunião em um único volume buscando entrever, assim, o projeto poético de Ana Cristina, a sua escrita sob o signo da paixão. / This study traces an interpretative path through A teus pés, the only book that Ana Cristina Cesar released by a publisher, which includes her three self-published books (Cenas de abril, Correspondência completa and Luvas de pelica) plus one, namesake of the group. In this work, were taken into consideration her participation in the Brazilian marginal poetic scene of the seventies; the graphic aspects of her books and its relations to their textual content; the reflections aroused by each book and what could allow their clustering into a single piece of work this way distinguishing Ana Cristinas poetic project, her writing made \"under the sign of passion\".