Made available in DSpace on 2016-12-08T16:52:04Z (GMT). No. of bitstreams: 1 Marisa.pdf: 2416464 bytes, checksum: ab1880a4f878c18a8de6a66b247e32af (MD5) Previous issue date: 2007-09-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este estudo propõe a pesquisa teórica e a experimentação prática de processos compositivos do ator-dançarino na construção de material cênico, estabelecendo relações com elementos constitutivos da obra literária de Ana Cristina Cesar. A pesquisa está alicerçada no conceito de trabalho sobre si mesmo, compreendido como uma idéia fundamental no movimento de refundação da tradição do corpo cênico efetivado no decorrer do século XX. A partir deste entendimento, procura-se discutir a dimensão volitiva e consciente na busca de organicidade e precisão no trabalho de composição da ação física do ator-dançarino. Propõe-se, ainda, uma reflexão acerca do conceito de ator-dançarino, entendendo que se trata de uma noção híbrida instalada num campo investigativo que refuta a dualidade de alguns binômios firmados historicamente e avança em direção a uma terceira via possível, transicional, na qual movimento abstrato e ação figurativa dialogam na perspectiva de criação de uma dramaturgia pautada no movimento. No âmbito da prática, desenvolve-se um projeto laboratorial que consiste na experimentação de procedimentos criativos, através da composição de partituras físicas e vocais, em diálogo com textos e aspectos encontrados na prosa poética de Ana Cristina Cesar, como o caráter híbrido na forma poética, o intimismo, os "múltiplos eus", a abordagem confessional e autobiográfica

The main purpose of this essay is to examine the narrative function of the city in the films of Woody Allen. This was achieved through a narrative and comparative analysis of four of his city films: Manhattan (1979), Vicky Cristina Barcelona (2008), Midnight in Paris (2011) and To Rome with Love (2012). The results of this examination show that the city has a variety of narrative functions throughout the films. The city provides a natural environment that enables character meetings. Living in the city can be so sought after, that the city itself becomes an important goal for the protagonist. Portraying the city is often an essential part of a reflexive narrative. The city is utilized for this and more in the films of Woody Allen.

La presente investigación surge del interés por construir una aproximación más consciente al lugar de la creación y dirección en danza, a partir de cuestionar cómo nos relacionamos con otros artistas detrás de escena. El objetivo principal es generar una reflexión en torno a la construcción del vínculo director-intérprete dentro de los procesos creativos, utilizando como objeto de estudio, la pieza de danza La Superficie de la creadora peruana, Cristina Velarde. A través de entrevistas realizadas a la coreógrafa y los intérpretes en danza, se ha buscado conocer bajo qué dinámicas se establecen las relaciones dentro del proceso creativo, cómo influyen en la estructura vincular las particularidades de los sujetos involucrados y el contexto en el que interactúan. Es así como, a partir de la observación y análisis de la experiencia dentro de este proceso creativo en particular, se ha podido identificar cuáles han sido los componentes que han hecho posible el desarrollo del vínculo creativo y, de esta manera, concluir que, existen dos ejes fundamentales para la construcción de cualquier tipo de vínculo que son la comunicación y la confianza; sin embargo, debido al contexto creativo, aparecen y se adicionan otros componentes, entre los cuales, los más importantes son: el compromiso con el proceso y sus participantes, las capacidades de adhesión y afectación, la experiencia emocional del intérprete y, la empatía entre los participantes.

[pt] Como me tornei Clarice divide-se em três partes. A primeira parte se intitulada Cansaço e se constitui de contos que reconstituem o final da vida de seis autores de literatura brasileira. A saber: Clarice Lispector, Ana Cristina Cesar, Paulo Leminski, Torquato Neto, Caio Fernando Abreu e Hilda Hilst. Misturando elementos ficcionais com biográficos, os contos almejam elaborar um jogo narrativo em que os fatos possam ser tomados pela ficção. A segunda parte se constitui do par de contos Latejos e Enxame. Neles, a voz que narra revela um escritor que passava seus dias se sentindo só em meio ao caos urbano (Latejos) que decide, então, promover fisicamente a imagem do isolamento ao se mudar para um sítio rural a fim de cultivar abelhas (Enxame). A terceira e última parte, que dá título à dissertação, é o ensaio autobiográfico Como me tornei Clarice, que dá sequência às partes ficcionais I e II explicita o processo de composição dos contos de Cansaço bem como busca demonstrar o estado de perturbação necessário para a escrita do homem de trinta anos resistindo à ânsia de seu próprio fim elaborado em Latejos e aprofundado em Enxame. / [en] How I Became Clarice is divided in three sections. The first, Tiredness, is made up of six short stories that re-create the last moments of the lives of six Brazilian authors: Clarice Lispector, Ana Cristina Cesar, Paulo Leminski, Torquato Neto, Caio Fernando Abreu, and Hilda Hilst. These stories combine biographical information and fictional elements in a narrative game where the reader cannot tell fact from fiction. The second section includes two stories, Throb and Swarm, narrated by a writer who spends his lonely days immersed in urban chaos (Throb) and decides to physically promote the image of isolation by leaving the city to live in the country, working as a beekeeper (Swarm). The third and last section, which has the same title as the thesis, How I Became Clarice, is an autobiographical essay; sections I and II deal with the process of creating the short stories of Tiredness and also show the state of mental disorder that allows the thirty-year-old author depicted in Throb and Swarm to write even as he resists his own death drive.

Made available in DSpace on 2016-04-28T19:59:13Z (GMT). No. of bitstreams: 1 Carlos Eduardo Siqueira Ferreira de Souza.pdf: 1642585 bytes, checksum: 913d09f1c598648bdb032fedee52c11e (MD5) Previous issue date: 2008-10-22 / The main objective of this research is to examine, in the writings of Ana Cristina Cesar, the relationships between the texture of her autobiographical discourse and the cinematic editing method, with particular attention to the texts comprised in A teus pés, published in 1982. Such objective was chosen in view of the fact that Ana Cristina Cesar s poetic work reveals composition methods of a singular late 20th century lyrical voice, marked by a fragmentary language, analogous with the cinematic technique of frames juxtaposition and the procedures that account for autobiographical and confessional texts. In order to understand how this woman poet appropriates an autobiographical discourse and transforms it, and whether the cinematic language takes part in the autobiographical construction process of Ana Cristina s poetry through the organization of fragments in the text, we start from the following hypotheses: autobiographism is a lyrical and fictional method in Ana Cristina s fragmentary poetry; cinematic editing provides solutions to the contiguity of analogical images in her poetic writing; fragmentarism is the procedure that brings together the cinematic and the autobiographical discourse. Such hypotheses were tested in the light of: Bakhtin s reflections in Aesthetics of Verbal Creation, which deal with confessional and autobiographical genres; the concept of biographeme as proposed by Roland Barthes; and the cinematic editing studies carried out by theoreticians and scholars such as Sergei Eisenstein, Ismail Xavier, Peter Burger and Modesto Carone Netto. We conclude that Ana Cristina Cesar brings together the depragmatizing, self-reflexive tendency of modern art and the disillusioned, faithless attitude of our contemporary age, by deconstructing in her writings the concepts of identity and authorship, in an attempt to depersonalize the self. In the texts written by this woman poet from Rio de Janeiro, the biographeme is apprehended as a fragmentary and non-linear composition method which, together with the frames juxtaposition procedure that constitutes cinematic editing, results in a unique relationship between reality and fiction, achieved by means of an erotic texture in which a reality that emerges and disappears from the text is displayed. Bringing forth a dramatic interplay in which the poetic persona takes to the stage and displays its multiplicity to the reader, Ana Cristina Cesar s writing reveals that the theatralization of the self on the textual stage is an alternative to the invention of a creative and liberating identity / O principal objetivo desta pesquisa é examinar, na escritura de Ana Cristina Cesar, em especial nos textos que compõem A teus pés, editado em 1982, as relações entre a tessitura do discurso autobiográfico e o método de montagem cinematográfica. Tal objetivo foi traçado, considerando-se que a obra poética de Ana Cristina Cesar revela, como métodos de composição de uma voz lírica singular do final do século XX, a linguagem fragmentária, análoga à técnica cinematográfica de justaposição de planos, e os procedimentos constituintes de textos autobiográficos e confessionais. A fim de compreendermos como a poeta se apropria do discurso autobiográfico, transformando-o, e se a linguagem cinematográfica participa, por meio da organização de fragmentos no texto, do processo de construção do autobiografismo na poesia de Ana C., partimos das seguintes hipóteses: o autobiografismo é um método lírico ficcional na poesia fragmentada de Ana Cristina Cesar; a montagem cinematográfica fornece soluções para a contigüidade das imagens analógicas na escritura poética; o fragmentarismo é um procedimento que alia os discursos cinematográfico e autobiográfico. Tais hipóteses foram testadas à luz: das reflexões elaboradas por Bakhtin, em Estética da criação verbal, sobre os gêneros confessionais e a autobiografia; do conceito de biografema proposto por Roland Barthes; e de estudos sobre a montagem cinematográfica, realizados por teóricos e estudiosos como Sergei Eisenstein, Ismail Xavier, Peter Bürger e Modesto Carone Netto. Concluímos que Ana Cristina Cesar alia a tendência despragmatizante e auto-reflexiva da arte moderna à postura descrente e desiludida da contemporaneidade, desconstruindo, em sua escritura, as noções de identidade e de autoria, numa tentativa de despersonalização do sujeito. Nos textos da poeta carioca, o biografema é apreendido como um método de composição fragmentada e alinear, que, aliado ao procedimento de justaposição de planos que constitui a montagem cinematográfica, constrói uma relação singular entre real e ficção mediante uma tessitura erótica, na qual se estabelece a encenação de uma realidade que aparece e desaparece do texto. Instauradora de um jogo dramático em que o sujeito poético encena sua multiplicidade para o leitor, a escritura de Ana Cristina Cesar revela que a teatralização do eu no palco textual é uma alternativa para a invenção de uma identidade criativa e libertadora

This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse. Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment. Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque. Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing. Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse. Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society. Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women. Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.

This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse. Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment. Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque. Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing. Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse. Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society. Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women. Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.

Made available in DSpace on 2015-09-17T15:24:15Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-02-21. Added 1 bitstream(s) on 2015-09-17T15:48:07Z : No. of bitstreams: 1 000844507_20160317.pdf: 117416 bytes, checksum: 8eacb4ff54b3cc78839a9b3ea8ab4437 (MD5) Bitstreams deleted on 2016-03-18T13:35:51Z: 000844507_20160317.pdf,. Added 1 bitstream(s) on 2016-03-18T13:36:33Z : No. of bitstreams: 1 000844507.pdf: 590351 bytes, checksum: 55c4d585798e9cd6bdf15a734ab26fed (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Na poética de Ana Cristina Cesar (1952-1983), a utilização de paródias de gêneros textuais como a correspondência e o diário íntimo e de discursos femininos estereotipados produz um e efeito irônico que encena, de forma provocativa, a própria relação da mulher, transmutada em discurso, com a tradição literária, que fora, ao longo da História, predominantemente masculina. Além disso, os jogos com a autobiografia e os questionamentos ostensivos de uma fixidez identitária ampliam a problematização do sujeito feminino em direção à problematização da própria subjetividade na poesia. Por essas razões e por manter um diálogo constante e dessacralizado com a tradição moderna, a poeta carioca legou-nos uma dicção poética original, forjada pela bricolagem de vozes dissonantes, algumas provindas da alta tradição literária e outras colhidas com astúcia da banalidade do cotidiano. Como sustentação teórica deste trabalho, foram utilizadas teorias relacionadas à averiguação do poema moderno e de suas origens como HAMBURGUER (2007), BARBOSA (2009) e teóricos relacionados ao Romantismo Alemão, além de estudos na área da performance de gênero, como o de Judith BUTLER (2010), denominado Problemas de gênero: feminismo e subversão da identidade e RAVETTI (2002), AZEVEDO (2004) e KLINGER (2007), na área de narrativas performáticas. Foram lidos ainda os textos fundamentais da fortuna crítica de Ana Cristina Cesar. / On Ana Cristina Cesar's (1952-1983) poetics, feminine stereotyped discourses and parodies use of textual genders such as correspondences and intimate diaries, produce an ironic effect wherein it is played, in a provocative manner, the relation of the woman herself, transmuted in discourse, to the literary tradition, which has been, throughout History, predominantly masculine. Furthermore, her games with autobiography and the ostensive questionings regarding an identitarian fixity extend the problematization of feminine subject to the problematization of poetry's subjectivity itself. For those reasons and for maintaining a constant and desacralized dialogue with modern tradition, this carioca poet bequeathed to us an original poetic diction, forged by bricolage of dissonant voices, some of them stemming from high literary tradition and others cunningly picked of daily life banality. Giving sustentation for this paper, theories related to modern poetry examination and its origins such as those conducted by HAMBURGUER (2007), BARBOSA (2009) and other German Romanticism related theorists have been performed, in addiction to studies on gender performance fields, such as done by Judith BUTLER (2010), named Gender trouble: feminism and identity subversion, and KLINGER (2007), on performative narrative fields. Ana Cristina Cesar's critical fortune fundamental texts have been read as well.

The following thesis is dedicated to the investigation of the comparative gender discourse of two of the current South American female Presidents: Michelle Bachelet, the first woman elected President in Chile for a four year term, in 2006 and Cristina Fernández de Kirchner, the first woman elected President in Argentina also for a four year term, but in 2007. Using secondary sources and critical discourse analysis, the study attempts to characterize their agenda on gender both before and after their election campaigns. Recognizing that a candidate must balance between many actors, as one of the principles of social constructivism runs, the essay presents a short history of the feminist movement in both countries and the current state that the movement finds itself in, either institutionalized or absorbed and fragmented by party politics. The conclusions that the study arrives to are that, of the two subjects, the one who has presented a more concrete and convincing stand on gender thanks to her political views, the space created for feminism by her coalition and the climate of her country, is Michelle Bachelet.

Orientador: Marcio Seligmann-Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-10T13:53:51Z (GMT). No. of bitstreams: 1 Malufe_AnnitaCosta_D.pdf: 1864725 bytes, checksum: 102361a29777328303e6fcf39624d67e (MD5) Previous issue date: 2008 / Resumo: Este trabalho consiste na investigação de procedimentos de escrita em dois poetas brasileiros contemporâneos, Ana Cristina Cesar e Marcos Siscar, tendo como ponto de partida conceitual a filosofia da imanência de Gilles Deleuze e Félix Guattari. Ao invés de um ¿estudo de caso¿, o objetivo é a reflexão acerca da leitura de poesia contemporânea a partir, principalmente, do conceito de sentido enquanto acontecimento, tal como é formulado desde as obras de Deleuze Logique du sens e Différence et répétition. Nesta direção, as poesias de Ana C. e Siscar são tomadas como ressonâncias brasileiras atuais para se pensar o funcionamento de poéticas que sugeririam, ou possibilitariam, uma leitura imanente do plano de composição do poema / Abstract: The present thesis is an investigation of writing¿s procedures in two contemporaries brazilian poets, Ana Cristina Cesar and Marcos Siscar, having as conceptual starting the Gilles Deleuze¿s and Félix Guattari¿s philosophy of imanence. Instead of a ¿study of case¿, the objective is the reflexion concerning the contemporary poetry reading, starting from the concept of the sense as event, as it is formuled by Deleuze since his works Logique du sens and Différence et répétition. In this direction, Ana Cristina¿s and Siscar¿s poetries are taken as current brazilian resonances to think the functioning of poetical that would suggest, or would make possible, an imanent reading of the poem¿s plan of composition / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária