[pt] Esta tese tem por objeto o tema dos diálogos intertextuais com o surrealismo presente nas escritas de Flávio de Carvalho, Campos de Carvalho e Jorge de Lima, principalmente em seus respectivos livros: A origem animal de deus (1973), O púcaro búlgaro (1964) e Invenção de Orfeu (1952). Tais escritores possuem uma relação dialógica com a poética surrealista que não é dogmática, nem proveniente de uma única influência vertical, mas sim de correspondências e de combinações multíplices. A tese trata de aprofundar, a partir de abordagem antropológica, a investigação sobre as diferentes concepções teórico-discursivas de uma poética surrealista nas obras e nos discursos destes três escritores brasileiros que tomam o ofício da criação como lugar de tessitura de suas especificas visões de mundo. A hipótese aqui apresentada é a de que, uma vez que o surrealismo não foi incorporado aos preceitos canônicos do modernismo literário brasileiro, sua abrangência foi circunscrita a um papel secundário. O reexame do diálogo intertextual de Flávio de Carvalho, Campos de Carvalho e Jorge de Lima, sugere, contudo, que o surrealismo, na primeira metade do século XX, constituiu um espaço de crítica cultural no Brasil que, por não estar atrelado à uma tradição hegemônica, pôde desenvolver com mais independência suas experimentações no plano da escrita. / [en] The main subject of this thesis is the intertextual dialogues in the writings of Flávio de Carvalho, Campos de Carvalho and Jorge de Lima, more especifically, in their respective books: A origem animal de deus (1973), O púcaro búlgaro (1964) and Invenção de Orfeu (1952). These writers suggest a dialogical relation with the surrealist poetic that is not dogmatic, but derived from correlations and multiples combinations. Departing from an anthropological perspective, this thesis problematizes an investigation regarding the several theoretical concepts of a surrealist poetic contained in the works, in the speeches and in the thinkings of these three writers that assume the craft of the artistic creation as a Weltanschauung capable of weaving their specific world point of views. The hypothesis outlined here is that, as surrealism has not been incorporated to the aesthetic precepts of brazilian literary avant-garde, its scope of work has been regarded as a case of secundary reception. The reexamination of their work suggests that surrealism, in the first half of the twentieth century, has created a unique space of cultural critique in Brazil, free from hegemonical tradition, which allowed bolder experimentations on the writing field.

Notre travail de thèse consiste donc à exposer et analyser la pensée critique de ʿAbd Allāh al-Ġaḏḏāmī sur laquelle il n’existe aucune recherche ou presque en langue française en dépit de son importance évidente dans le monde arabe. Nous nous concentrons tout particulièrement sur la partie la plus récente de son apport critique, et donc sur la critique culturelle. En examinant de plus près les recherches déjà entreprises sur le projet critique de ʿAbd Allāh al-Ġaḏḏāmī dans le monde arabe, nous remarquons deux hypothèses avancées :- La première hypothèse serait que ʿAbd Allāh al-Ġaḏḏāmī aurait deux projets critiques différents, voire même opposés : d’un côté, la critique linguistique (ou littéraire) et de l’autre, la critique culturelle. - La deuxième hypothèse considère notre auteur s’intéresserait à la critique culturelle dès ses premiers travaux consacrés à la critique linguistique.Dans notre thèse, nous proposons une troisième hypothèse selon laquelle ʿAbd Allāh al-Ġaḏḏāmī aurait un seul et un même projet critique cohérent. En outre, ce projet a deux facettes : la critique linguistique littéraire et la critique culturelle. Ce qui distingue la pensée critique de ʿAbd Allāh al-Ġaḏḏāmī est l'évolution perpétuelle. Nous montrerons que le critique saoudien n'est pas passé subitement de la critique littéraire à la critique culturelle mais qu’il a plutôt suivi une évolution progressive. De plus, nous verrons que dans son nouveau projet critique, al-Ġaḏḏāmī ne se contente pas seulement d’étudier le discours littéraire mais analyse plutôt tous les types de discours. À partir de notre hypothèse, nous proposons une relecture, une présentation et une analyse de la pensée critique de ʿAbd Allāh al-Ġaḏḏāmī. Cependant, nous porterons un intérêt particulier à la partie la plus récente de son apport critique, plus précisément la critique culturelle. Dans cette recherche, nous tenterons de répondre à plusieurs questions telles que :- Comment ʿAbd Allāh al-Ġaḏḏāmī définit la critique culturelle ? - Qu’est-ce qu’il entend par systèmes culturels ?- Est-ce qu’il va jusqu’à abandonner la critique littéraire avec toutes ses écoles et ses méthodes pour imposer une nouvelle critique ? - Qu’est-ce qui va alors changer dans l’étude d’un texte littéraire lorsqu’il sera considéré comme évènement culturel et non pas simplement comme texte littéraire esthétique ?Pour mener à bien cette recherche, nous avons opté pour un plan évolutif, en trois parties, qui s’inscrit dans une démarche présentative, thématique et comparative. / In this doctoral thesis, we analyze, and then, expose the critical thinking of ʿAbd Allāh al-Ġaḏḏāmī. To our knowledge, to date, there has been no prior research work done on such a topic within the French context despite its significant importance in the field of critique studies of Arabic literature.We particularly focus on the recent endeavour of his critique project. Upon studying exiting scholars work investigating ʿAbd Allāh al-Ġaḏḏāmī’s critique project, our findings indicate two main hypotheses. The first hypothesis reflects that ʿAbd Allāh al-Ġaḏḏāmī’s critique project is of two components. While the first is focused on linguistic criticism, the second is focused on cultural criticism. The second hypothesis indicate that ʿAbd Allāh al-Ġaḏḏāmī has focused on cultural criticism since the early stages of his scholarly work. These two hypotheses appear to be in contradiction. Our work aims to resolve this contradiction.In this research study, we propose that ʿAbd Allāh al-Ġaḏḏāmī has a critique project with complementary factettes. These are the linguistic criticism and cultural criticism. In addition, what further distinguishes the ʿAbd Allāh al-Ġaḏḏāmī ’s critique project is that it is evolutionary in nature. Said differently, ʿAbd Allāh al-Ġaḏḏāmī did not make shift, or change a position, from one critique type into another. Rather, he integrated both- the linguistic and cultural critique- through an evolutionary process. In his recent project, he expanded his critique view to include not only literary texts but also all other types of discourses.Based on above assumptions, we reassess, analyze, and then, present the critique project of ʿAbd Allāh al-Ġaḏḏāmī. During this process, we aim to answer the following questions. First, how does ʿAbd Allāh al-Ġaḏḏāmī define cultural critique? The second question, what does a cultural system means from his point of view? The third question, will he abandon all linguistic critique school of thoughts and invent his new school on thought on the same? Lastly, upon studying a literal text, what changes will be applied in case the text is analyzed using a cultural event lens rather than an esthetically literal one? To achieve our objective, we adopt a three-premises evolutionally framework while deploying presentative, thematic, and comparative methods.

<p>Martina Haag’s method of self-mockery used in her chronicles is characterized by her wish to live up to various ideals. This essay brings out the subversive power of self-deprecatory hu-mor expressed in her book Hemma hos Martina. The author’s strategies and kinds of humor are being studied, leading up to what this humor accomplishes. General theories on humor, by Mary Ann Rishel, Maria Ohlsson, Henri Bergson, Joannne R. Gilbert and Simon Critchley are being applied to find the essence of her craftsmanship in writing comedy. The analysis also goes more closely into the style and language, to give a deeper understanding of how she creates jokes, and also how she relates to her ideals through language. The main thrust of the analysis, though, builds on theories on self-deprecatory humor. Haag is included into Joanne R. Gilbert’s theory on self-deprecation and The Whiner within the field of stand-up comedy.</p><p>Some American feminist critics have rejected self-deprecatory humor as being anti-feminist, stating that women applying this particular kind of humor merely reinforce stereoty-pes, and put themselves down. This paper objects to those critics, leaning on Haag’s book. I wish to show that Haag is not demeaning towards herself, but towards the cultural norms and expectations in our present society. In this context, I show how Haag manages to demystify and criticize ideal representations of women, by lampooning them and revolting against them. In this way, her book turns into a satirical critique of cultural values. My essay illustrates how Haag objectifies herself, making regular use of stereotypes. This is necessary, since these two elements are essential to most humor. Haag confirms stereotypes to make people laugh. This laughter brings about awareness in the reader, making Haag’s work a social critique of current values and norms concerning women.</p>

Martina Haag’s method of self-mockery used in her chronicles is characterized by her wish to live up to various ideals. This essay brings out the subversive power of self-deprecatory hu-mor expressed in her book Hemma hos Martina. The author’s strategies and kinds of humor are being studied, leading up to what this humor accomplishes. General theories on humor, by Mary Ann Rishel, Maria Ohlsson, Henri Bergson, Joannne R. Gilbert and Simon Critchley are being applied to find the essence of her craftsmanship in writing comedy. The analysis also goes more closely into the style and language, to give a deeper understanding of how she creates jokes, and also how she relates to her ideals through language. The main thrust of the analysis, though, builds on theories on self-deprecatory humor. Haag is included into Joanne R. Gilbert’s theory on self-deprecation and The Whiner within the field of stand-up comedy. Some American feminist critics have rejected self-deprecatory humor as being anti-feminist, stating that women applying this particular kind of humor merely reinforce stereoty-pes, and put themselves down. This paper objects to those critics, leaning on Haag’s book. I wish to show that Haag is not demeaning towards herself, but towards the cultural norms and expectations in our present society. In this context, I show how Haag manages to demystify and criticize ideal representations of women, by lampooning them and revolting against them. In this way, her book turns into a satirical critique of cultural values. My essay illustrates how Haag objectifies herself, making regular use of stereotypes. This is necessary, since these two elements are essential to most humor. Haag confirms stereotypes to make people laugh. This laughter brings about awareness in the reader, making Haag’s work a social critique of current values and norms concerning women.

[pt] O Manguebit, cena Mangue ou, como é mais comumente conhecido, Manguebeat, movimentação cultural que eclodiu em Recife no início dos anos de 1990, foi abordado por duas dimensões dos impactos que os usos dos aparatos tecnológicos tiveram em relação à autoria. Primeiro, refletiu-se sobre os diferentes horizontes de expectativas mais ou menos rascunhados pelas próprias mídias (LP, K7, CD etc.), nos diversos momentos em que os articuladores do Manguebit as utilizaram em experimentos musicais. Dos K7, o amadorismo e descentramento da figura unitária do autor, às práticas da indústria fonográfica quando contrata alguns mangueboys, o profissional e o filtro imposto pelas estratégias de marketing – negociações do choque de distintos modus operandi. Depois, a construção da cena Mangue foi abordada a partir das estratégias coletivas e o uso de equipamentos e espaços precários enquanto condições de existência, as saídas encontradas pelos mangueboys para a formação de uma cena cultural num momento de extrema hostilidade ao contemporâneo e de forte tensionamento socioeconômico – criação de circuitos alternativos a partir de festas, bares, festivais e coletâneas, o investimento em amplas parcerias e autopromoção. / [en] Manguebit, Mangue scene or, as is more commonly known, Manguebeat – a cultural movement which pop up in Recife in early 1990 – was addressed using two different dimensions of the impacts brought by the use of technological devices on the matter of authorship. First, this study reflects on the different horizons of expectations more or less framed by the media themselves (LP, K7, CD etc.), in the distinct moments in which the organizers of Manguebit utilized them in their musical experiments. From K7 – the amateurism and decentration of unitary figure of the author – to the practices of the music industry when hires some mangueboys, and the professional posture and filters imposed by marketing strategies – including negotiations after shock of different modus operandi. Then development of the Mangue scene was discussed from collective strategies and the use of precarious equipment and spaces as existence conditions, the way outs created by mangueboys to the formation of a cultural scene at a time of extreme hostility to the contemporary and strong socioeconomic tension – creation of alternative circuits with parties, bars, festivals and compilations, extensive investment in partnerships and self-promotion.

[pt] Esta dissertação investiga o pensamento de Silviano Santiago a partir da relação entre sua vida e obra, levando em conta a repetição de certos temas com suas respectivas formas escriturais. Nosso percurso inicia-se pela infância de Silviano no interior de Minas Gerais, com destaque para suas leituras, em especial a poesia de Carlos Drummond de Andrade. Em seguida, o foco passa à maturidade do crítico, quando volta ao Brasil para ensinar na Pontifícia Universidade Católica do Rio de Janeiro na década de 1970. Nessa época, Silviano investe na construção ficcional e teórico-crítica enquanto incorpora em sua escrita o resultado da leitura de pensadores como Jacques Derrida e Claude Lévi-Strauss, interessado em destacar e discutir as tensões entre estruturalismo e pós-estruturalismo, tema que penetra seu repertório desde sua temporada de pesquisa e ensino em instituições francesas e norte-americanas. Incorporando a grafia-de-vida de Silviano à investigação de sua obra teórica e ficcional, delineada em sua formação cosmopolita, esta pesquisa deseja oferecer uma outra inteligibilidade ao universo crítico do autor. / [en] This dissertation investigates Silviano Santiago s thought from the relationship between his life and work, taking into account the repetition of certain themes and their respective writing forms. Our work begins with Silviano s childhood in the countryside of Minas Gerais, highlighting his readings, especially the poetry of Carlos Drummond de Andrade. Then, the focus moves to the critic s maturity, when he returns to Brazil to teach at the Pontifical Catholic University of Rio de Janeiro in the 1970s. At that time, Silviano invests in fiction and theoretical-critical writing while incorporating the results of reading thinkers such as Jacques Derrida and Claude Lévi-Strauss into his work. He is interested in highlighting and discussing the tensions between structuralism and post-structuralism, a theme that permeates his repertoire since his research and teaching stints in French and North American institutions. Incorporating Silviano s life-writing into the investigation of his theoretical and fictional work, outlined in his cosmopolitan formation, this research aims to offer another understanding to the author s critical universe.

[pt] No início de 2011, em um expressivo achado arqueológico na zona portuária da cidade do Rio de Janeiro, foram encontradas as pedras do cais por onde desembarcaram centenas de milhares de escravos africanos a serem vendidos no antigo mercado do Valongo, tido como o maior do gênero no Brasil nos séculos XVIII e XIX. Soterrado e apagado do tecido urbano carioca por quase dois séculos, o Valongo se transforma, em 2012, em ponto de um Circuito Histórico e Arqueológico da Celebração da Herança Africana, de cunho pedagógico e turístico, no contexto de uma ampla reforma urbanística da área portuária, o Projeto Porto Maravilha. Esta tese discute as possibilidades de releitura, na atualidade, de uma parte da história da cidade e do País associada ao tráfico negreiro e ao escravismo que, sob muitos aspectos, deixou de ser contada. Investiga, a partir de um lugar geográfico, a inscrição do passado da escravidão no imaginário social da cidade do Rio de Janeiro e do País, visitando diferentes temporalidades históricas. A descoberta contemporânea do antigo cais e mercado de escravos evoca o topos de que a experiência da escravidão no Brasil foi, de diferentes modos, apagada. Nestes termos, a emergência dessas ruínas no século XXI motiva o questionamento sobre como e por quem a história brasileira foi e é configurada. / [en] In early 2011, during an outstanding archeological excavation in the port area of Rio de Janeiro city, stones were found that belonged to the wharf where hundreds of thousands of African slaves disembarked to be sold in the old Valongo market, held to be the largest of its kind in Brazil in the 18th and 19th centuries. Buried and erased from the urban texture of Rio for nearly two centuries, in 2012 Valongo has become a milestone in the Historical and Archeological Circuit of the Celebration of African Legacy, with both educational and tourist characteristics, within the context of a sweeping city-planning reform of the docks area: the Marvellous Port Project. This thesis discusses the possibilities of (re)reading today a part of the history of the city and the country, a history associated with the African slave trade and slavery which in many aspects was not told. Starting from a geographic location, an investigation is made into how the history of slavery has been impressed in the social imaginary of the city of Rio de Janeiro and the country over several historical periods. The contemporary discovery of the old wharf and slave market evokes the topos that the experience of slavery in Brazil was, in many aspects, wiped out. Seen in this light, the emerging of these ruins in the 21st century arouses questions as to how and by whom Brazilian history was and is configured.

This study of Canadian adventure romance for adolescents seeks to demonstrate the cultural significance of the genre through close readings of James Houston's Frozen Fire and The White Archer, Monica Hughes's Hunter in the Dark and Ring-Rise, Ring-Set, as well as Markoosie's Harpoon of the Hunter. By means of a semiotic-structuralist approach I examine the texts as a signifying system conveying discourses that constitute a code of connection to the social context of contemporary young-adult readers.Structured on the formula: separation-initiation-return and informed by the symbolism of death-rebirth, the stories hold out the promise of a life-enhancing return. Roland Barthes's definition of myth as a mode of signification underpins my discussion of how the narrative conventions become vehicles of existential truths by replicating and intensifying adventurous experiences. With the quest for identity and the polarization between two worlds as structural determinants, the selected books juxtapose the values of Western civilization with those expressed through the Canadian North and its indigenous population. As a defining category of Canadian identity, the northern wilderness provides the space and the challenges for the protagonists' initiatory experiences. My application of the dichotomy self-other to the selected books provides a number of polarized positions such as civilization-wilderness, white-native, male-female, and conscious-unconscious, polarities through which the different discursive levels of the texts are generated. Arguably, the formulaic character of the journeys into the unknown allows the stories to signify on various levels, thus inviting both psychological and ideological readings of the texts.It is primarily through a recycling of narrative conventions that Houston and Hughes invest their work with significance. By focusing on the structural and thematic similarities of adventure romance, my examination attempts to elucidate the parallels to mythic adventure and archaic rites of initiation with the aim of validating the role of the genre as symbolic representations of the process of maturation and vicarious rites of passage. The conclusions I draw have a bearing on much of Houston's and Hughes's fiction, on the genre of romance as a whole, and to some extent on the adjacent genres of fantasy and science fiction. / <p>Behandlar James Houston, Monica Hughes och Markoosie.</p> / digitalisering@umu

[pt] Portinari em re-trato: uma escrita de si em letra e imagem investiga a escrita autobiográfica do pintor brasileiro Candido Portinari através de diversos registros – sua correspondência, seu diário, seu poema e seus autorretratos. Sob a perspectiva das representações do eu – e partindo do significado etimológico da palavra retrato, derivada do latim re-traho (re-traçar) –, busquei retratar o homem por trás da máscara do pintor, seguindo as pistas deixadas nessa série de repetições de si mesmo. / [en] Portinari in por-trait: a self-writing in letter and image investigates the autobiographical writing of the brazilian paiter Candido Portinari through its various registers – his letters, his journal, his poems and his selfportraits. Under the perspective of self-writing, my goal is to picture the man behind the mask of the painter, following the clues in his series of self-repetitions. / [fr] Portinari en por-trait : une écriture de soi par la lettre et l image enquête l écriture autobiographique du peintre brésilien Candido Portinari à travers divers documents – sa correspondance, son journal intime, son poème et ses autoportraits. Du point de vue des représentations du moi- et en m appuyant sur le sens etymologique du mot portrait, dérivé du latin pro-trahere, infinitif de pro-traho, de traho (tirer) avec le prefixe pro - (tirer en avant, faire sortir, traîner hors de; sortir au grand jour, révéler, dévoiler), j ai cherché à dépeindre l homme derrière le masque du peintre, en suivant les indices laissés dans cette série répétitions de soi-même.