A dissertação propõe uma leitura crítica do romance Albedrío, do mexicano Daniel Sada (1953-2011). O trabalho se inicia com uma apresentação sobre a literatura do Norte do México, para discutir as especificidades do autor, seu afastamento do realismo tradicional e o tom de fábula que se perfila em suas obras. Uma categoria forte na leitura é a do estilo, a partir de autores como Antoine Compagnon, Susan Sontag e Roger Fowler, a fim de amparar uma análise sobre a construção formal, mas sem se limitar a ela. São avaliados também antecedentes da obra, seja na cultura popular, como os poemas romances e os corridos, seja no diálogo com outros escritores latino-americanos, como Juan Rulfo e Guimarães Rosa. Além de aspectos formais, como a pontuação, a escolha lexical, os pontos de vista e aspectos da instância narrativa, é importante a revisão da questão espacial, o que leva a indagações sobre o nomadismo e a importância de certos motivos específicos recorrentes ao longo da narrativa. / This thesis proposes a critical reading of Daniel Sadas novel Albedrío. It initiates with a presentation of North Mexican literature, in order to discuss some of the authors particularities, his distance from traditional Realism and the fable tone that pulses throughout his work. A strong category is the notion of Style, discussed in the perspective of authors such as Antoine Compagnon, Susan Sontag and Roger Fowler, to support a formal study of its construction, although not limited to it. The background of the novel is also our subject here, both upon popular culture (as in the romance poems and the corridos), and dialogues with other Latin American writers, such as Juan Rulfo and Guimarães Rosa. Besides formal aspects like punctuation, lexical choices, points of view and the narrators characteristics, the spatial component is also examined, leading us to subjects like nomadism and specific structural motives that can be found along the novel.

Daniel Arasse pratique une histoire de l’art qui pose plusieurs problèmes de définition et de théorie. Sa réflexion méthodologique est inséparable de l’interprétation des œuvres et n’a jamais été isolée dans un écrit spécifique. Chaque œuvre est conçue comme un problème qui oriente le choix d’outils interprétatifs adéquats. Comment s’équilibrent alors, dans le regard arassien, la vision des œuvres et les savoirs de l’historien ? Notre thèse se confronte à cette question. Dans une première partie, nous nous intéressons à la formation de l’historien qui, issu des lettres classiques, est introduit à l’histoire de l’art par André Chastel. La deuxième partie se penche sur le dialogue avec les œuvres et les artistes. La réflexion dialogique imprime sa dynamique originale sur la pratique de l’historien ; menée in vivo à l’Institut français de Florence, qu’Arasse dirige de 1982 à 1989, elle est le fil d’Ariane de ses monographies et de l’Annonciation italienne. Deux confrontations importantes participent à l’élaboration de sa démarche : celle avec l’iconologie panofskyenne et celle avec Louis Marin et Hubert Damisch sur la question de l’opacité de la peinture et l’objet théorique. La troisième et dernière partie met en évidence une théorie du regard et de l’art spécifique, à travers l’étude du Détail et du Sujet dans le tableau, ouvrages qui proposent une refonte de la discipline. La thèse se termine sur une proposition d’outils théoriques (plaisir, écart, anachronisme, écriture), de procédés et de principes de méthode (singularité, évidence, subjectivité, connaissance) qui ouvrent sur une application possible du savoir faire voir singulier et original de Daniel Arasse. / Daniel Arasse’s practice of art history raises several theoretical and terminological issues. Arasse’s methodological thinking is not the explicit subject of any of his texts; it is always inseparable from the interpretation of artworks. The latter, understood as problems to solve, dictate the choice of interpretative tools applied to them. My dissertation discusses the balance between seeing and knowing in the Arassian gaze. Its first part traces the art historian’s education, literary at first and then, following the encounter with André Chastel, more specifically art historical. The second part studies Arasse’s monographic and thematic publications from a dialogical viewpoint: indeed, exchange, dispute, discussion and dialogical thought in general are mainstays of Arasse’s work. They are at the centre of his years as director of the French Institute in Florence, from 1982 to 1989, and remain fundamental in his monographs and in L’Annonciation italienne. This section ends with the two principal discussions in which Arasse was involved and that contributed to the elaboration of his singular art historical voice: on the one hand, the confrontation with Panofskian iconology, and on the other, the discussion with Louis Marin and Hubert Damisch concerning painting’s opacity and the theoretical object. The third and last part of the dissertation singles out Arasse’s theory of art and of the act of looking, through a reading of "Le Détail" and "Le Sujet dans le tableau", two books that propose a revision of the discipline of art history and its methods. The dissertation terminates with an inventory of tools (pleasure, gaps, anachronism, ways of writing), of procedures and of methodological principles (singularity, evidence, subjectivity, knowledge) that are instrumental for any possible future implementation of Arasse’s singular savoir faire voir, the knowledge of making things come to vision.

Esta tese analisa o desenvolvimento do trabalho do artista plástico francês Daniel Buren, nascido no ano de 1938 em Boulogne-Billancourt, nos arredores de Paris. Trata-se de um autor ligado aos desdobramentos das pesquisas neovanguardistas na França, conhecido como um dos fundadores da crítica institucional, no contexto da chamada arte conceitual. Suas instalações se caracterizam por estabelecer uma análise sistemática entre a obra de arte e seu local de exposição através daquilo que chamou de trabalho in situ. Atualmente, esta locução é frequentemente utilizada no campo da arte contemporânea para designar trabalhos realizados no próprio local de exposição. Dentre as múltiplas possibilidades de analisar a vasta obra de Daniel Buren, buscamos explorar exatamente o desenvolvimento deste aspecto central de seu trabalho, a noção de trabalho in situ e sua aplicação dentro e fora dos museus e galerias. Esta escolha visa dois objetivos: em primeiro lugar apresentar o funcionamento destes trabalhos ao longo do período analisado. Estes, apesar de surgirem de uma proposta simples, são capazes de movimentar, a cada vez, diversos elementos materiais e simbólicos que compõem o espaço investido. Em segundo lugar, trata-se de avaliar a força crítica do trabalho in situ nestas duas décadas e sua possível ressonância para a arte contemporânea, uma vez que o trabalho in situ tem por característica principal evidenciar o espaço no qual se insere como local de exposição e de produção cultural a ser problematizado. Para o desenvolvimento deste estudo consideramos que o sistema da arte analisado e criticado por Buren, e no interior do qual ele forçosamente desenvolve o seu trabalho, sofreu modificações profundas no período a que se refere esta pesquisa, acompanhado de mudanças igualmente significativas no modo como a cultura se reproduz no capitalismo tardio. Este efeito se consolida em diversas propostas curatoriais e museográficas que abandonam o território seguro da história da arte em direção a propostas autorais ou temáticas. Observa-se também a reformulação e criação de novos espaços expositivos, trabalhados pelos artistas e curadores, que buscam dar conta das questões ligadas à desmaterialização da obra de arte e de sua circulação no campo cultural expandido. Em adição a isso, o próprio espaço urbano se torna um local a ser investido pelas obras in situ, suscitando questões concernentes à relação entre a arte, o artista e o espaço público da cidade. / This thesis examines the development of the work of French artist Daniel Buren, born in 1938 in Boulogne-Billancourt, near Paris. His work is characterized by establishing a systematic analysis between the work of art and its exhibition venue through what he called the work in situ. Currently, this term is often used in the field of contemporary art to define a work done on site. Among the many ways of analyzing the vast work of Daniel Buren, we explore the development of this central aspect of his work, the notion of work in situ and its application in and out of museums and galleries. This choice aims at two objectives: firstly present the functioning of these works over the period analyzed. Even though they arise from a simple proposal, they mobilize various material and symbolic elements that constitute the invested space. Secondly, evaluate the critical strength of the work in situ during these two decades and their possible resonance to contemporary art, since the work in situ is characterized by evidencing the space in which it is installed as a site of exhibition and cultural production open to questioning. To develop this study, we consider that the \"art system\" analyzed and criticized by Buren, who work within that system, was modified significantly in the period referred to in this research, accompanied by equally significant changes in how culture reproduces itself in late capitalism. This effect is consolidated in many curatorial proposals that leave the safe territory of art history toward questions regarding the dematerialization of the art object and its circulation in the expanded cultural field. We also observe the redesigning and the creation of new experimental exhibition spaces. In addition to this, the urban space itself becomes a place to be invested by the works in situ, raising questions concerning the relationship of the art and the artists in the public space of the city.

Esta tese analisa o desenvolvimento do trabalho do artista plástico francês Daniel Buren, nascido no ano de 1938 em Boulogne-Billancourt, nos arredores de Paris. Trata-se de um autor ligado aos desdobramentos das pesquisas neovanguardistas na França, conhecido como um dos fundadores da crítica institucional, no contexto da chamada arte conceitual. Suas instalações se caracterizam por estabelecer uma análise sistemática entre a obra de arte e seu local de exposição através daquilo que chamou de trabalho in situ. Atualmente, esta locução é frequentemente utilizada no campo da arte contemporânea para designar trabalhos realizados no próprio local de exposição. Dentre as múltiplas possibilidades de analisar a vasta obra de Daniel Buren, buscamos explorar exatamente o desenvolvimento deste aspecto central de seu trabalho, a noção de trabalho in situ e sua aplicação dentro e fora dos museus e galerias. Esta escolha visa dois objetivos: em primeiro lugar apresentar o funcionamento destes trabalhos ao longo do período analisado. Estes, apesar de surgirem de uma proposta simples, são capazes de movimentar, a cada vez, diversos elementos materiais e simbólicos que compõem o espaço investido. Em segundo lugar, trata-se de avaliar a força crítica do trabalho in situ nestas duas décadas e sua possível ressonância para a arte contemporânea, uma vez que o trabalho in situ tem por característica principal evidenciar o espaço no qual se insere como local de exposição e de produção cultural a ser problematizado. Para o desenvolvimento deste estudo consideramos que o sistema da arte analisado e criticado por Buren, e no interior do qual ele forçosamente desenvolve o seu trabalho, sofreu modificações profundas no período a que se refere esta pesquisa, acompanhado de mudanças igualmente significativas no modo como a cultura se reproduz no capitalismo tardio. Este efeito se consolida em diversas propostas curatoriais e museográficas que abandonam o território seguro da história da arte em direção a propostas autorais ou temáticas. Observa-se também a reformulação e criação de novos espaços expositivos, trabalhados pelos artistas e curadores, que buscam dar conta das questões ligadas à desmaterialização da obra de arte e de sua circulação no campo cultural expandido. Em adição a isso, o próprio espaço urbano se torna um local a ser investido pelas obras in situ, suscitando questões concernentes à relação entre a arte, o artista e o espaço público da cidade. / This thesis examines the development of the work of French artist Daniel Buren, born in 1938 in Boulogne-Billancourt, near Paris. His work is characterized by establishing a systematic analysis between the work of art and its exhibition venue through what he called the work in situ. Currently, this term is often used in the field of contemporary art to define a work done on site. Among the many ways of analyzing the vast work of Daniel Buren, we explore the development of this central aspect of his work, the notion of work in situ and its application in and out of museums and galleries. This choice aims at two objectives: firstly present the functioning of these works over the period analyzed. Even though they arise from a simple proposal, they mobilize various material and symbolic elements that constitute the invested space. Secondly, evaluate the critical strength of the work in situ during these two decades and their possible resonance to contemporary art, since the work in situ is characterized by evidencing the space in which it is installed as a site of exhibition and cultural production open to questioning. To develop this study, we consider that the \"art system\" analyzed and criticized by Buren, who work within that system, was modified significantly in the period referred to in this research, accompanied by equally significant changes in how culture reproduces itself in late capitalism. This effect is consolidated in many curatorial proposals that leave the safe territory of art history toward questions regarding the dematerialization of the art object and its circulation in the expanded cultural field. We also observe the redesigning and the creation of new experimental exhibition spaces. In addition to this, the urban space itself becomes a place to be invested by the works in situ, raising questions concerning the relationship of the art and the artists in the public space of the city.

Daniel Faria (1971-1999) est l’auteur de trois livres de poésie, Explicação das Árvores e de Outros Animais ; Homens que São Como Lugares Mal Situados et Dos Líquidos, publiés pour la première fois chez un éditeur à la visibilité réduite, Fundação Manuel Leão. L’intérêt littéraire de son œuvre est avéré, mais cette dernière souffre encore d’un manque d’attention. Entre la perspective théologique qui tend à épuiser l’œuvre, à la circonscrire, les lectures passionnelles où il n’est plus question de la poursuite d’un sens, de la quête de la dimension herméneutique, et quelques articles littéraires, la poésie de Daniel Faria accuse, du point de vue du travail universitaire, un réel déficit. Pour lever l’indétermination dans laquelle se trouve la poésie de Daniel Faria et ainsi échapper aux risques d’une extension de lectures qui tendent, avec précipitation, vers l’idée première d’une œuvre incompréhensible, sensible en cela à la seule question de l’expérience du transcendant, notre étude se propose de suivre la démarche herméneutique qui garantit le statut fondamental d’altérité du texte. L’objectif est dès lors relativement clair : soustraire l’œuvre poétique de Daniel Faria de toute expérience affective, resituer sa poésie, la repositionner dans le champ des études littéraires pour enfin arriver à une lecture plus pertinente de son œuvre, au plus près de la vérité textuelle de l’œuvre. Tel est l’enjeu de cette étude : préciser la portée de cette poésie, en soulignant la constance et la cohérence d’une réflexion qui associe expérience poétique et expérience mystique, et élucider leurs rapports sans déposséder l’expérience mystique de son essence propre. / Daniel Faria is the author of three books of poetry, Explicação das Árvores e de Outros Animais ; Homens que São Como Lugares Mal Situados et Dos Líquidos, published for the first time at a editor at the reduced visibility, Fundação Manuel Leão. The literary interest of its work is proved true, but the latter still suffers from an inattention. Between the theological prospect which tends to exhaust the work, to confine it, the passionate readings where it is not any more question of the pursuit of a sense, a quest of the hermeneutic dimension, and some literary articles, Daniel Faria's poetry accuses, from the point of view of the university work, a real deficit. To raise the indecision in which is Daniel Faria's poetry and so to escape the risks of an extension of readings which aim, with haste, towards the first idea of an incomprehensible, sensitive work in it at the only question of the experience of the transcendent, our study suggests following the hermeneutic approach which guarantees the fundamental status of otherness of the text. The objective is relatively clear from then on: shield Daniel Faria's poetic work of any emotional experience, re-place its poetry, reposition it in the field of the literary studies to arrive finally at a more relevant reading of its work, as closely as possible to the textual truth of the work. Such is the stake in this study: specify the reach of this poetry, by underlining the constancy and the coherence of a reflection which associates poetic experience and mystic experience, and to clarify their reports without dispossessing the mystic experience of its appropriate essence.

<p>Bakgrunden till uppsatsen är att jag vill titta närmare på hur man bygger ett framgångsrikt ishockeylag, där man får ut det mesta av varje individ för att på så vis bilda en svårslagen enhet samt hur en coach kan arbeta för att skapa ett klimat som uppmuntrar till utveckling, både på isen och vid sidan om.</p><p>Syftet med uppsatsen är att utforska den vetenskapliga kunskap som finns om hur ett lag och dess individer kan coachas samt ta reda på hur elitseriecoacher arbetar för att coacha laget och individen och hur elitseriespelare vill att coachen ska agera.</p><p>Följande frågeställningar ligger till grund för mitt arbete:</p><ul><li>Hur arbetar elitseriecoacher i ishockey med att coacha individen och laget?</li><li>Hur vill elitseriespelare att en coach ska coacha individen och laget?</li></ul><p>Undersökningen består av kvalitativa intervjuer med ett urval av Elitseriens coacher. För att jag också ska få en bild av hur en elitseriespelare upplever att coacherna agerar samt hur de vill att de ska agera, så kommer också intervjuer med ett urval av elitserielagens lagkaptener att genomföras.</p><p>Undersökningens resultat visar att mycket av den kunskap som finns i den vetenskapliga forskningen om coaching också återfinns i intervjupersonernas svar. Enligt intervjupersonerna ser den moderna ishockeycoachen väldigt annorlunda ut, jämfört med den traditionella. Framförallt betonades detta av spelarna, samtidigt som coacherna genom sina svar också visade prov på att det finns en stor medvetenhet om hur coaching kan bedrivas, både när det gäller laget som helhet och den individuella spelaren. Den vetenskapliga kunskapen tycks praktiseras även ute i verkligheten, även om den ibland kan ta sig olika former eller anpassas till de regler och normer som gäller inom ishockeyns värld. Jag upplever att de coacher som finns med i undersökningen arbetar på ett sätt som stämmer väl överens med hur spelarna i undersökningen vill att coachen ska agera. Det var också tydligt att de uppskattade den nya moderna coachingen mer än den gamla stilen.</p> / <p>The background to this essay is that I want to have a closer look at how a coach can get the most out of every individual in order to form a successful ice hockey team as well as how a coach can work to create a climate that encourages progress, both on and off the ice.</p><p>The purpose of the essay is to explore the scientific knowledge that exists about coaching a team and its individuals as well as finding out how Elite League coaches work with coaching the team and the individual and how Elite League players would like the coach to act.</p><p>The study is based on these questions:</p><ul><li>How do Elite League coaches work with coaching the individual and the team?</li><li>How would Elite League players like their coach to work with coaching the individual and the team?</li></ul><p>The study consists of qualitative interviews with at sample of Elite League coaches. To get an idea of how Elite League players experience their coaches’ behavior and how the players would like the coaches to act, qualitative interviews will also be conducted with a sample of the Elite League teams’ players. These players are the player captains of their respective teams.</p><p>The result of the study shows that a lot of the knowledge prevalent in scientific research are also figuring in the responses I got through my interviews. The respondents made it clear that the modern ice hockey coach is very different from the traditional ice hockey coach. This point was stressed the most by the players, while the coaches showed through their responses that the awareness of how coaching can be practiced is high, both regarding the team as a whole and the individual player. The scientific knowledge is seemingly also practiced in reality, although it may take a variety of different forms or be adapted to the rules and norms in the world of ice hockey. My apprehension was that the coaches of the study to high degree coached in a way that consisted with how the players of the study wanted their coach to act. It was also clear that the players appreciated the new modern style of coaching more than the traditional style.</p><p> </p><p> </p>

Bakgrunden till uppsatsen är att jag vill titta närmare på hur man bygger ett framgångsrikt ishockeylag, där man får ut det mesta av varje individ för att på så vis bilda en svårslagen enhet samt hur en coach kan arbeta för att skapa ett klimat som uppmuntrar till utveckling, både på isen och vid sidan om. Syftet med uppsatsen är att utforska den vetenskapliga kunskap som finns om hur ett lag och dess individer kan coachas samt ta reda på hur elitseriecoacher arbetar för att coacha laget och individen och hur elitseriespelare vill att coachen ska agera. Följande frågeställningar ligger till grund för mitt arbete: Hur arbetar elitseriecoacher i ishockey med att coacha individen och laget? Hur vill elitseriespelare att en coach ska coacha individen och laget? Undersökningen består av kvalitativa intervjuer med ett urval av Elitseriens coacher. För att jag också ska få en bild av hur en elitseriespelare upplever att coacherna agerar samt hur de vill att de ska agera, så kommer också intervjuer med ett urval av elitserielagens lagkaptener att genomföras. Undersökningens resultat visar att mycket av den kunskap som finns i den vetenskapliga forskningen om coaching också återfinns i intervjupersonernas svar. Enligt intervjupersonerna ser den moderna ishockeycoachen väldigt annorlunda ut, jämfört med den traditionella. Framförallt betonades detta av spelarna, samtidigt som coacherna genom sina svar också visade prov på att det finns en stor medvetenhet om hur coaching kan bedrivas, både när det gäller laget som helhet och den individuella spelaren. Den vetenskapliga kunskapen tycks praktiseras även ute i verkligheten, även om den ibland kan ta sig olika former eller anpassas till de regler och normer som gäller inom ishockeyns värld. Jag upplever att de coacher som finns med i undersökningen arbetar på ett sätt som stämmer väl överens med hur spelarna i undersökningen vill att coachen ska agera. Det var också tydligt att de uppskattade den nya moderna coachingen mer än den gamla stilen. / The background to this essay is that I want to have a closer look at how a coach can get the most out of every individual in order to form a successful ice hockey team as well as how a coach can work to create a climate that encourages progress, both on and off the ice. The purpose of the essay is to explore the scientific knowledge that exists about coaching a team and its individuals as well as finding out how Elite League coaches work with coaching the team and the individual and how Elite League players would like the coach to act. The study is based on these questions: How do Elite League coaches work with coaching the individual and the team? How would Elite League players like their coach to work with coaching the individual and the team? The study consists of qualitative interviews with at sample of Elite League coaches. To get an idea of how Elite League players experience their coaches’ behavior and how the players would like the coaches to act, qualitative interviews will also be conducted with a sample of the Elite League teams’ players. These players are the player captains of their respective teams. The result of the study shows that a lot of the knowledge prevalent in scientific research are also figuring in the responses I got through my interviews. The respondents made it clear that the modern ice hockey coach is very different from the traditional ice hockey coach. This point was stressed the most by the players, while the coaches showed through their responses that the awareness of how coaching can be practiced is high, both regarding the team as a whole and the individual player. The scientific knowledge is seemingly also practiced in reality, although it may take a variety of different forms or be adapted to the rules and norms in the world of ice hockey. My apprehension was that the coaches of the study to high degree coached in a way that consisted with how the players of the study wanted their coach to act. It was also clear that the players appreciated the new modern style of coaching more than the traditional style.

Made available in DSpace on 2015-05-14T12:23:12Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2462195 bytes, checksum: 14e59854a97f161b4e5cac9802ede9a8 (MD5) Previous issue date: 2013-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / La presente dissertation vise à analyser les expériences de Herbert Daniel à partir des travaux Passagens para o próximo sonho e Meu corpo daria um romance (1946- 1992), la corrélation avec les différents modes de connaissance, les normativités annonçant façons de subjectivité dans les années 1964-1984. Son entrée dans les organisations gauchistes, l'opposition contre la dictature militaire de 1964, en accord avec les doctrines idéologiques des organisations gauchistes qui ont abouti à un deserotizado du corps, un sujet subjugué. L'exil et l'amitié, il a créé avec Cláudio Mesquita, à la fois très important de comprendre le processus de l'excrétion des relations sociales rigides et les pauvres et nouvelle façon de penser sur la politique et lui-même. / A presente dissertação tem como objetivo analisar as experiências de Herbert Daniel a partir das obras Passagens para o próximo sonho e Meu corpo daria um romance (1946- 1992), a correlação com as diversas formas de saber, as normatividades que anunciavam maneiras de subjetividade durante os anos de 1964 a 1984. Seu ingresso nas organizações de esquerda, a oposição frente ao regime ditatorial militar de 1964, a consonância com as doutrinas ideológicas das organizações de esquerda que culminaram num corpo deserotizado, num sujeito assujeitado. O exílio e a amizade, que estabelecera com Cláudio Mesquita, ambos importantíssimos para compreendermos o processo de desprendimento das rígidas e pobres relações sociais e a nova maneira de pensar a política e si mesmo.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O propósito deste trabalho é analisar como se dá a ressignificação da memória nas obras Meu vô Apolinário: um mergulho no rio da (minha) memória e Você lembra, pai?, de Daniel Munduruku, buscando compreender em que medida intervém nas representações das identidades que buscam referendar-se na tradição e na ancestralidade. Munduruku é o escritor indígena de maior renome no cenário literário brasileiro da atualidade, com 45 obras publicadas, é representante de uma escrita indígena que, embora em estágios diferentes, vem conquistando espaço e sendo cada vez mais publicada no Brasil, abrindo um novo leque para culturas pouco representadas nas obras de ficção sob o ponto de vista do próprio indígena. A voz dantes silenciada pelo colonizador constitui-se, em esfera literária, na representação do que é ser indígena. Esse dizer-se se estabelece por meio da navegação no rio da memória, e busca na ancestralidade um norte que aponte aspectos culturais que possam sustentar um ideal identitário indígena, tendo a diferença como marca contrastante e constituinte. Ao olhar o passado para explicar o presente, as âncoras da embarcação literária são lançadas em determinados pontos, descontinuando o movimento nas águas da memória. Essas questões serão abordadas neste estudo de caráter essencialmente qualitativo, cujas bases estão fundamentadas na pesquisa interdisciplinar de referencial teórico sobre identidade-representação-memória, na qual foram envolvidos conhecimentos de Sociologia, Antropologia e Psicologia Social, situando-se na busca pela compreensão das influências do que é rememorado nas obras indígenas, e das representações sociais que predominam como marcas identitárias, ou como a própria identidade. / The purpose of this paper is to analyze how is the redefinition of memory in the Daniel Munduruku&#8223;s works Meu vô Apolinário: um mergulho no rio da (minha) memória e Você lembra, pai?, seeking to understand the extent to which intervenes in the representations of identities that seek to ratify the tradition and ancestry. Munduruku is the most renowned Indian writer in the Brazilian literary scene today, with 45 published works, is representative of an indigenous writing that, although at different stages, is conquering space and increasingly being published in Brazil, opening up a new range for cultures underrepresented in fiction from the point of view of indigenous own. The voice silenced before the colonists constitutes, in the literary sphere, the representation of what is being indigenous. This tell if states by navigating the river of memory, and search in a North ancestry that point cultural aspects that can sustain an indigenous identity ideal, taking the difference as contrasting and constituent brand. When looking at the past to explain the present, the anchors of literary craft are launched at certain points, discontinuing the movement in the waters of memory. These issues will be addressed in this study essentially qualitative, whose foundations are based on the theoretical framework of interdisciplinary research on identity-memory-representation, in which were involved knowledge of Sociology, Anthropology and Social Psychology, standing in the quest for understanding the influences what is recollected in indigenous works, and social representations that dominate as identity marks, or the identity.

A dissertação propõe uma leitura crítica do romance Albedrío, do mexicano Daniel Sada (1953-2011). O trabalho se inicia com uma apresentação sobre a literatura do Norte do México, para discutir as especificidades do autor, seu afastamento do realismo tradicional e o tom de fábula que se perfila em suas obras. Uma categoria forte na leitura é a do estilo, a partir de autores como Antoine Compagnon, Susan Sontag e Roger Fowler, a fim de amparar uma análise sobre a construção formal, mas sem se limitar a ela. São avaliados também antecedentes da obra, seja na cultura popular, como os poemas romances e os corridos, seja no diálogo com outros escritores latino-americanos, como Juan Rulfo e Guimarães Rosa. Além de aspectos formais, como a pontuação, a escolha lexical, os pontos de vista e aspectos da instância narrativa, é importante a revisão da questão espacial, o que leva a indagações sobre o nomadismo e a importância de certos motivos específicos recorrentes ao longo da narrativa. / This thesis proposes a critical reading of Daniel Sadas novel Albedrío. It initiates with a presentation of North Mexican literature, in order to discuss some of the authors particularities, his distance from traditional Realism and the fable tone that pulses throughout his work. A strong category is the notion of Style, discussed in the perspective of authors such as Antoine Compagnon, Susan Sontag and Roger Fowler, to support a formal study of its construction, although not limited to it. The background of the novel is also our subject here, both upon popular culture (as in the romance poems and the corridos), and dialogues with other Latin American writers, such as Juan Rulfo and Guimarães Rosa. Besides formal aspects like punctuation, lexical choices, points of view and the narrators characteristics, the spatial component is also examined, leading us to subjects like nomadism and specific structural motives that can be found along the novel.