Made available in DSpace on 2014-06-11T19:26:20Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-30Bitstream added on 2014-06-13T18:54:39Z : No. of bitstreams: 1 cordeiro_irx_me_fran.pdf: 527225 bytes, checksum: 1668b35277623df0596f0d206091b235 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / No presente trabalho buscamos investigar os fundamentos da elaboração, desenvolvimento e repercussão da ―teoria da revolução latino-americana‖ produzida pelo intelectual francês Régis Debray, especialmente a partir da análise do seu livro Revolução na Revolução, publicado em 1967. As formulações de Debray, inspiradas na revolução cubana de 1959, marcaram profundamente a cultura política da esquerda latino-americana a partir da década de 1960. Suas teses influenciaram a esquerda radicalizada regional, que adotou a luta armada como única alternativa para realização e consolidação do projeto revolucionário no continente. Régis Debray envolveu-se com a revolução cubana mais do que qualquer outro intelectual da esquerda ocidental, transformando-se em um dos seus principais ideólogos. A partir de sua experiência com os cubanos, Debray criaria a teoria do ―foco‖, e essa cumpriu, especialmente na década de 1960, o papel de uma ―teoria da revolução latino-americana‖, tendo a revolução cubana como paradigma / In the present work, we aim at investigating the foundations of the elaboration, development and repercussion of the ―Latin American revolution theory‖, put forth by the French intellectual Régis Debray, from the analysis of his book Revolução na revolução, published in 1967, in particular. Debray's formulations, having taken inspiration in the 1959 Cuban revolution, deeply influenced the political culture of the Latin American left wing from the 1960's onward. His theses influenced the regional radicalized left wing, who adopted armed struggle as the only alternative to the realization and consolidation of the continent's revolutionary project. Régis Debray got more involved with the Cuban Revolution than any other Western left-winged intellectual, becoming one of its main ideologists. From his experience with the Cubans, Debray would create the ―foco‖ theory, which had, particularly in the 1960's, the vole of a ―Latin American revolution theory‖, having the Cuban revolution as its paradigm

Made available in DSpace on 2014-06-11T19:26:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-04-23Bitstream added on 2014-06-13T20:54:53Z : No. of bitstreams: 1 ferreira_al_me_assis.pdf: 528444 bytes, checksum: 0a4bf4b165aa6996d94d3c5d79a2361c (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O advento da Revolução Cubana em 1959 representou um ponto de inflexão na trajetória dos movimentos sociopolíticos da América Latina no século XX. Inspiradas pela vitória dos rebeldes em Cuba, várias organizações de extrema esquerda do continente aderiram à luta armada e à teoria do foco guerrilheiro nos anos 60 e 70. No Brasil, após o Golpe de Estado de 1964, diferentes grupos promoveriam ações revolucionárias contra a ditadura militar instaurada. As idéias de Che Guevara, Fidel Castro e Régis Debray desencadeariam intermináveis debates político-ideológicos entre as diversas correntes de orientação marxista. No presente trabalho procuramos avaliar como a experiência da Revolução Cubana foi apropriada pelas organizações clandestinas brasileiras e, da mesma forma, como seu exemplo serviu para legitimar determinadas posições de setores do movimento comunista no país. / The Cuban Revolution advent in 1959 represented a point of inflection in the trajectory of sociopolitical movements in Latin America in the century XX. Inspired for the rebel's victory in Cuba, several extreme left wing organizations of the continent adhered to the armed combat and the theory of guerrilla focus in the 60's and 70's. In Brazil after the coup d'etat in 1964, different groups would promote revolutionary actions against the established military dictatorship. Che Guevara's, Fidel Castro's and Régis Debray's ideas would trigger endless political-ideological arguments among several groups of Marxist orientation. In the present work we try to evaluate how the experience of the Cuban Revolution was appropriate to the Brazilian clandestine organizations and, in the same way, how their example served to legitimate certain positions of the communist movement in the country.

Cette thèse se propose de réfléchir aux conditions de possibilités d’un lexique bilingue, non entre langues dites « standard », mais dans des variations régionales, à savoir, entre espagnol cubain et français régional des Antilles. En plus de cette approche théorique, le projet global de cette recherche est d’offrir aussi une proposition concrète de ce lexique bilingue et d’en expliquer les principes et grandes orientations épistémologiques et méthodologiques. L’objectif est de fournir aux traducteurs qui s’engagent dans l’épineuse entreprise de traduction d’œuvres littéraires, habitées par une interlangue (français/créole ou castillan/cubain), un outil perfectible pouvant faciliter leur travail de traduction, perçu dans une large mesure, comme recréation. En effet, la dimension interlinguistique et interculturelle de ces littératures qui font de l’écriture de la langue (ou des langues) en présence, une véritable poétique, invite les traducteurs à inventer des stratégies traductives innovantes qui s’essaient à respecter les poétiques d’écriture des auteurs des textes. C’est pourquoi la traduction de ces œuvres constitue une « route sinueuse » pour le traducteur, route que des lexiques peuvent rendre plus aisées à emprunter, dès lors que le traducteur se donne pour ambition de donner sa pleine mesure à la dimension langagière et interculturelle du texte.En nous fondant sur un corpus de textes cubains sélectionnés pour leur haut potentiel interculturel et interlinguistique, Biografia de un cimarrôn de Miguel Bamet, Cuentos negros de Cuba de Lydia Cabrera, Écue-Yamba-Ô d’Alejo Carpentier, Cecilia Valdés o la Loma del érige! de Cirilo Villaverde, nous avons pris le parti de la mettre en relation avec un roman martiniquais particulièrement significatif de cette forme de poétique, à savoir, Ravines du devant-jour de Raphaël Confiant, qui a obtenu le Prix Littéraire Casa de las Américas en 1993.Pour manifester l’intérêt de notre démarche comparative, il a été utile de mettre en exergue, de manière parallèle, d’une part, les variations lexicales de l’espagnol de Cuba vis-à-vis de l’espagnol standard, et d’autre part, les variations lexicales du français des Antilles en regard du français standard. Cette comparaison a permis de souligner les innovations sémantiques et formelles, les emprunts à diverses langues, et les archaïsmes qui sont au fondement de ces variations. De manière spécifique, s’agissant du français régional des Antilles, les interférences mutuelles entre le français et le créole ont pu aussi être caractérisées comme des facteurs favorisant de telles variations lexicales.Cette analyse contrastive était l’étape indispensable à la mise en évidence de ponts historiques, culturels et linguistiques entre ces deux îles des Antilles : Cuba et la Martinique. Les facteurs liés à l’histoire, la faune, la flore, la présence africaine, mais surtout, la problématique centrale de la nomination des réalités insulaires à partir de langues européennes qui n’avaient pas eu initialement à les nommer, ont suscité une riche réflexion sur les identifications des langues sources et des langues cibles véritablement en présence. De fait, en prenant l’initiative de prolonger la comparaison plus théorique des « réalités insulaires », sur la base des analyses des traductions comparées en français de Biografia de un cimarrôn et en espagnol de Ravines du devant-jour, nous avons pu nous affronter de manière directe aux difficultés inhérentes aux traductions respectives de ces textes, dès lors que le projet premier est d’en préserver le coefficient de« caribéanité », et ainsi formuler des propositions concrètes de correspondant lexical dans la langue cible, en fonction des entrées répertoriées en langue source.Les dimensions épistémologique et méthodologique constituent donc une part importante de cette recherche, dont la finalité pratique ne doit pas être négligée. / This thesis suggests thinking about potential to carry out a bilingual vocabulary, no in standard language but in variations regional language, namely, between Cuban Spanish and regional French of French Antilles. Besides this theoretical approach the overall plan of this thesis is to offer a concrete proposal of this bilingual vocabulary and to explain principles and the main directions epistemological and methodological. The objective is to give to translators, who enter in delicate initiative translation of literary works, in which reside a “interlanguage” (French/Creole or Castillan/Cuban), a perfectible tool which can to make easier their translation's work, considered as a new creation. In face, the “inter linguistics” dimension and the “inter cultural” dimension of those literatures are doing of the writing language a real style. This is why translators have to invent strategies of translation so as to respect this style. The translation of those literary works forms a “sinuous road” for the translator. A vocabulary creation could help the translator who would like preserved the “inter linguistics” dimension and the “inter cultural” dimension of those literatures. Using a corpus of Cuban’s texts which have a potential “inter linguistics” and “inter cultural”, Biografia de un cimarrôn of Miguel Bamet, Cuentos negros de Cuba of Lydia Cabrera, Écue-Yamba-Ô of Alejo Carpentier, Cecilia Valdés o la soma del àngel of Cirilo Villaverde, and a novel from Martinique, Ravines du devant-jour of Raphaël Confiant, which received the literary prize Casa de las Américas in 1993. To provoke the interest of our comparative approach, we underline lexical variations of Cuban Spanish regarding standard Spanish, and lexical variations of regional French of French Antilles regarding standard French. This comparative approach brought out neologisms, archaisms and borrowings are the cause of those variations regional language. Conceming variation of regional French of French Antilles, the mutual influence between Creole and French are also the cause of this variation regional language.This comparative approach evidenced too historical, cultural and linguistic relations between those two islands: Martinique and Cuba. Factors linked with the history, the fauna, the flora, the African presence, but especially the principal problem of the appointment of the island’s realities has kindled a reflection about the translation of words in Cuban Spanish and regional French of French Antilles.Actually, the comparison of Spanish’s translation of Ravines du devant-jour and the comparison of French’s translation of Biografia de un cimarrôn, enabled reveal obstacles specific to the translations of those literary works, as soon as the project was to preserve the coefficient of “caribeanity”. In this way, we could propose lexical similarities between those two variations regional language.Epistemological and methodological dimensions are an essential section of this research, but the practical end is important too.

Orientador: José Luis Bendicho Beired / Banca: Áureo Busetto / Banca: Anna Maria Martinez Correa / Resumo: O advento da Revolução Cubana em 1959 representou um ponto de inflexão na trajetória dos movimentos sociopolíticos da América Latina no século XX. Inspiradas pela vitória dos rebeldes em Cuba, várias organizações de extrema esquerda do continente aderiram à luta armada e à teoria do foco guerrilheiro nos anos 60 e 70. No Brasil, após o Golpe de Estado de 1964, diferentes grupos promoveriam ações revolucionárias contra a ditadura militar instaurada. As idéias de Che Guevara, Fidel Castro e Régis Debray desencadeariam intermináveis debates político-ideológicos entre as diversas correntes de orientação marxista. No presente trabalho procuramos avaliar como a experiência da Revolução Cubana foi apropriada pelas organizações clandestinas brasileiras e, da mesma forma, como seu exemplo serviu para legitimar determinadas posições de setores do movimento comunista no país. / Abstract: The Cuban Revolution advent in 1959 represented a point of inflection in the trajectory of sociopolitical movements in Latin America in the century XX. Inspired for the rebel's victory in Cuba, several extreme left wing organizations of the continent adhered to the armed combat and the theory of guerrilla focus in the 60's and 70's. In Brazil after the "coup d'etat" in 1964, different groups would promote revolutionary actions against the established military dictatorship. Che Guevara's, Fidel Castro's and Régis Debray's ideas would trigger endless political-ideological arguments among several groups of Marxist orientation. In the present work we try to evaluate how the experience of the Cuban Revolution was appropriate to the Brazilian clandestine organizations and, in the same way, how their example served to legitimate certain positions of the communist movement in the country. / Mestre

O teatro infantil, no contexto do teatro contemporâneo compartilha com manifestações estéticas da dança, das artes visuais e o cinema, uma crise de identidade e uma indefinição de seu estatuto epistemológico. Somam-se a isso os fenômenos diferenciais dentro deste campo do teatro, cujas formulações desestruturam qualquer unidade ou homogeneidade do conceito teatro infantil que se tente construir. Não há, portanto, um Teatro Infantil, mas sim diferentes conceitos, identidades, práticas ou disciplinas teatrais que dialogam com as diversas infâncias e suas performances culturais e que contribuem para a sua definição. Nesse sentido, esta dissertação pretende refletir sobre a presença das crianças no teatro cubano, colocando em discussão o fenômeno do teatro infantil e o teatro com crianças à luz do teatro contemporâneo, para entender os principais enfoques pedagógicos do teatro com crianças em Cuba. / The children\'s theater, in the context of contemporary theater shares an identity crisis and a blurring of their status epistemological with other expressions of this art; as well as aesthetic manifestations such as dancing , arts visual and cinema. The identity crisis and a blurring of their status epistemological therefore, added to this the differential phenomena inside the field of theater, increase the impossibility of defining the children\'s theater in simple terms. One cannot say a that there is a Children\'s Theatre, but rather different concepts, identities, practices or theatrical disciplines that establish a dialogue with the various kinds of childhood and their cultural performances. Accordingly, this research intends to reflect about the presence of children in the Cuban theater, discussing the children\'s theater phenomenon and the theater with children in the light of contemporary theater, in order to understand the main pedagogical approaches of the theater with children in Cuba.

Made available in DSpace on 2014-07-29T15:14:27Z (GMT). No. of bitstreams: 1 TESE_RAFAEL SADDI TEIXEIRA.pdf: 1283059 bytes, checksum: cd291bfc824c58e59c8ee08e1c66dbf8 (MD5) Previous issue date: 2009-11-13 / The goal of this thesis is to understand the imagined and subjective meaning of the action of the cuban revolutionary of the 26th July movement during insurrection rebellion (fight ou dispute)(1952 to 1958). Our hypothesis is that this social action was marked by political revolutionary asceticism, that is, by one kind of action in that the agent feels as an instrument of pure and noble values of the revolutionary cause. The ascetic revolutionary is quite different from the pragmatic revolutionary since its action is not faced as a rational way to reach the aim systematically desired. On the contrary, its action is, mainly, a task to be accomplished. We analyzed, from this point, the revolutionary sacrifice as a way of bringing back to the corrupted world the pure and noble values and we noticed how the ideal of the body was presented in the discourses of the Cuban rebellions. / O objetivo de nossa tese é compreender o sentido imaginado e subjetivo da ação do revolucionário cubano do Movimento 26 de Julho durante o período de luta insurrecional (1952 a 1958). Nossa hipótese é que esta ação social esteve marcada pelo ascetismo político revolucionário, isto é, por um tipo de ação em que o agente se sente um instrumento dos valores puros e nobres da causa revolucionária. O revolucionário asceta se distancia do revolucionário pragmático na medida em que sua ação não é encarada como um meio racional para se alcançar o fim sistematicamente almejado. Pelo contrário, sua ação é, sobretudo, um cumprimento do dever. Analisamos, a partir disto, o sacrifício revolucionário como uma forma de trazer os valores puros e nobres de volta ao mundo corrompido e percebemos o modo como o ideal de corpo esteve presente nos discursos dos rebeldes cubanos.

A presente investigação tem por objeto de estudo o romance El hombre que amaba a los perros (2009), de autoria do cubano Leonardo Padura. Em uma análise formal de tal obra, a pesquisa debruça-se sobre a posição de seus narradores, sobre a construção de seus personagens e sobre a estruturação de seu enredo, compreendendo seu funcionamento literário enquanto sintoma cultural da sociedade de consumo contemporânea. Assim, discute-se o pastiche da literatura policial noir engendrado pelo autor, bem como suas maneiras não realistas de figurar a história, situando o livro em meio ao panorama estético e ideológico da pós-modernidade. Com isso, busca-se esclarecer a relação dialética que se estabelece entre a forma narrativa do romance e o atual processo de transição histórica vivenciado por Cuba o qual conduz a ilha à integração ao sistema mundial do capitalismo tardio. / The current research aims to study the novel The man who loved the dogs (2009), by Cuban writer Leonardo Padura. In a formal approach to such work, the research focuses on the position of its narrators, on the construction of its characters and on the structure of its plot, understanding its literary functioning as a cultural symptom of contemporary consume society. Thus, the pastiche of noir crime fiction engendered by the author is put into discussion, as well as its non-realistic ways to figure history, in order to place the book amid the aesthetic and ideological panorama of postmodernity. Therefore, it intends to clarify the dialectical relationship established between the narrative form of the novel and the current historical transition process experienced by Cuba - which leads the island to integrate itself to late capitalism world system.

Cette étude met en lumière la dimension carnavalesque telle que théorisée par Mikhaïl Bakhtine chez Rabelais dans le roman cubain contemporain (El arpa y la sombra d’Alejo Carpentier, Paradiso de José Lezama Lima, De donde son los cantantes de Severo Sarduy, Tres tristes tigres de Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” de Reinaldo Arenas, La piel y la máscara de Jesús Díaz). Il s’agira principalement de montrer comment les caractéristiques de « ce monde à l’envers » qui marque la « vision carnavalesque » proposée par le théoricien russe s’inscrivent dans l’écriture, tant dans l’intégration des codes du carnaval comme motifs littéraires que dans les techniques narratives employées. Dans une lecture dépassant le concept baroque associé jusqu’ici aux romans cubains de notre corpus, nous envisageons la résurgence de traditions populaires anciennes de la fête carnavalesque, le mélange entre hommage et irrévérence, sacralisation et désacralisation, comme le symptôme d’une crise du sujet cubain, l’expression postmoderne du rejet des idoles en même temps que la manifestation d’un désir profond de retrouver une liberté provisoire dans la représentation littéraire carnavalisée et de se plonger dans l’âge d’or célébré par la fête. / This study sets out the Bakhtine “carnival dimension” in the Cuban contemporary novel (El arpa y la sombra by Alejo Carpentier, Paradiso by José Lezama Lima, De donde son los cantantes by Severo Sarduy, Tres tristes tigres by Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” by Reinaldo Arenas, La piel y la máscara by Jesús Díaz). Our main concern is to demonstrate that “upside down world characteristics” that fixe the “carnavalesque vision” proposed by the Russian theorist is part of the writing in the integration of the carnival’s codes both as literary themes as narrative techniques. In a reading exceeding the baroque concept associated up to now with the Cuban novels of our corpus, we envisage the resurgence of the carnival’s former popular traditions, the mixture between tribute and irreverence, sacralization and deconsecration, as the symptom of the Cuban subject’s crisis, the postmodern expression of the rejection of the idols at the same time as the demonstration of a deep desire to recover a temporary freedom in the carnivalized literary representation and to plunge into a golden age celebrated by the carnival.

Le Cajón est un rituel de possession cubain dont la musique est une composante essentielle. Une approche musicologique et une étude d’anthropologie religieuse combinées permettent de mettre en avant les spécificités du Cajón au sein des différents cultes afro-cubains à La Havane. Considérant le Cajón comme un fait social total, cette recherche propose d’analyser la complexité du rituel en prenant en compte les niveaux social, musical autant que religieux. De fait, l’analyse montre que le Cajón s’inscrit de diverses manières dans la pratique religieuse des cultes afro-cubains, en dépassant même parfois le cadre. Le Cajón comprend une suite de rites (Misa, Biagué, Chamalongo, sacrifice et Toque) ancrés dans un espace sacré où chaque participant a un rôle bien identifié. L’analyse d'une séance de rituel et des interactions qui s’y produisent nous permettent de définir le rôle de la musique. Celle-ci s’adapte en permanence au rituel : elle structure le temps rituel, participe à l’induction et à la socialisation de la transe de possession. Les musiciens, comme officiants, exploitent de manière créative des systèmes mélodiques et des motifs rythmiques associés à la musique de rumba, de la makuta et du palo monte. La superposition de répertoires et de systèmes musicaux engendre une complexité sur le plan sonore. Nous parvenons à la conclusion que l’analyse musicale constitue une clef pour la compréhension du rituel. / The Cajón in Cuba is both music and a possession ritual. The combined approach of musicology and religious anthropology highlights the specificities of the Cajón. Therefore, it is possible to position the musical and ritual practice of Cajón among different Afro-Cuban cults in Havana. Considering the Cajón as total social fact, this research aims to analyze the complexity of ritual taking into account social, musical and religious aspects. The analysis shows that the Cajón can be recognized in different way among religious practices of Afro-Cuban cults, even sometimes coming out of its framework. The Cajón covers a sequence of rituals (Misa, Biagué, Chamalongo, sacrifice and Toque) embedded in a sacred space where every participant has a well-identified role. The analysis of one sequence of ritual and of interactions which happen enables the definition of the role of music. The music is permanently adapting to the ritual being one of its components: it structures the ritual time, it participates to the introduction and also to the socialization of the possession trance. The musicians as participants use in creative way melodic systems and rhythmic patterns associated to the music of rumba, makuta and palo monte. Overlapping of repertoires and musical systems generates a complexity concerning sound effects. We conclude that the musical analysis is a key for the understanding of the ritual.

(in English): The Master thesis depicts a concept of interpersonal relationships in a novel Cecilia Valdés by the Cuban writer Cirilo Villaverde. It describes author's life and circumstances which accompanied the origin of the novel. The thesis introduces a plot of the novel, analyses the main characters and their role in the novel. It deals with a theme of the novel as a genre in general and informs about Indian and Costumbrism novel as well. It follows historic events in Cuba at the time when the novel was issued. Knowledge of the historic events is necessary for comprehension of the novel in its broader sense. The thesis examines Cecilia Valdés from the point of a concept of interpersonal relationships, deals with relationships among black people, mulattoes and white people. It analyses a relationship between the main characters which is greatly influenced by different racial origin. The topic of slavery is introduced in connection with a plot of the novel. The Master thesis compares a novel Cecila Valdés with other significant Hispano- American novels which carry similar aspects, namely with Cumandá o un drama entre salvajes by Juan León Mera and Aves sin nido by Clorinda Matto de Turner. The thesis mainly focuses on interpersonal and partner relationships in these novels which are influenced...