This dissertation compares representations of women in erotic triangles. I contend that despite the stability implied by the triangular shape, the erotic triangle can be made unstable through women’s language. The first chapter examines medieval and contemporary writing on an essential relationship in the triangle: the friendship between the husband and the lover. Amicitia, chaste friendships between men, had its roots in Greek and Latin philosophy, and recently these relationships have been investigated according to mimetic desire (Girard) or homosocial desire (Sedgwick). In both medieval and modern configurations, these relationships are usually predicated upon the exchange of women. Claude Lévi-Strauss, Gayle Rubin and Luce Irigaray provide anthropological and literary explorations of the economic model where men exchange women to strengthen their homosocial bond. In the three texts, women use linguistic techniques to destabilize the erotic triangle. One is irony: frequently, one character does not understand an ironic statement and is excluded from the relationship between the other two participants. A second is pragmatic implicature, which is also used for exclusionary purposes. Other women adopt economic terminology to negotiate with their husbands or lovers for control of their bodies. Through these linguistic devices women speak exclusively to another member of the triangle, thereby undermining male friendships and denying their bodies be used as objects of exchange. Although their strategies are not always successful and some women remain exchangeable objects, we nevertheless see that erotic triangles can be destabilized. Furthermore, counter to the prevailing anthropological theory, certain women are aware of their position as commodities. From this insight, a new perspective on sexuality is exposed. The formerly strong male relationship, built on classical ideals and predicated on equality, breaks down when one man’s virility is pitted against his rival’s. Sometimes even, the supposedly chaste male relationship reveals erotic undertones. Women’s sexuality is also transformed when certain women prove to be desiring subjects, able to manipulate the system of exchange. In the end, institutionalized notions of chaste male friendships and women as objects of exchange are disrupted, sometimes even undermined, by capable women who determine who should have access to their bodies.

This dissertation compares representations of women in erotic triangles. I contend that despite the stability implied by the triangular shape, the erotic triangle can be made unstable through women’s language. The first chapter examines medieval and contemporary writing on an essential relationship in the triangle: the friendship between the husband and the lover. Amicitia, chaste friendships between men, had its roots in Greek and Latin philosophy, and recently these relationships have been investigated according to mimetic desire (Girard) or homosocial desire (Sedgwick). In both medieval and modern configurations, these relationships are usually predicated upon the exchange of women. Claude Lévi-Strauss, Gayle Rubin and Luce Irigaray provide anthropological and literary explorations of the economic model where men exchange women to strengthen their homosocial bond. In the three texts, women use linguistic techniques to destabilize the erotic triangle. One is irony: frequently, one character does not understand an ironic statement and is excluded from the relationship between the other two participants. A second is pragmatic implicature, which is also used for exclusionary purposes. Other women adopt economic terminology to negotiate with their husbands or lovers for control of their bodies. Through these linguistic devices women speak exclusively to another member of the triangle, thereby undermining male friendships and denying their bodies be used as objects of exchange. Although their strategies are not always successful and some women remain exchangeable objects, we nevertheless see that erotic triangles can be destabilized. Furthermore, counter to the prevailing anthropological theory, certain women are aware of their position as commodities. From this insight, a new perspective on sexuality is exposed. The formerly strong male relationship, built on classical ideals and predicated on equality, breaks down when one man’s virility is pitted against his rival’s. Sometimes even, the supposedly chaste male relationship reveals erotic undertones. Women’s sexuality is also transformed when certain women prove to be desiring subjects, able to manipulate the system of exchange. In the end, institutionalized notions of chaste male friendships and women as objects of exchange are disrupted, sometimes even undermined, by capable women who determine who should have access to their bodies.

Submitted by MIRIAN SALVESTRIN null (miriansalvestrin@yahoo.com.br) on 2017-03-09T02:54:46Z No. of bitstreams: 1 Dissertacao_VERSAO_FINAL_Mirian_Salvestrin_Bonetto.pdf: 2321081 bytes, checksum: 14f8f3a4970e18f7ae6fe9beddf9b4db (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-03-14T16:43:39Z (GMT) No. of bitstreams: 1 bonetto_ms_me_sjrp.pdf: 2321081 bytes, checksum: 14f8f3a4970e18f7ae6fe9beddf9b4db (MD5) / Made available in DSpace on 2017-03-14T16:43:39Z (GMT). No. of bitstreams: 1 bonetto_ms_me_sjrp.pdf: 2321081 bytes, checksum: 14f8f3a4970e18f7ae6fe9beddf9b4db (MD5) Previous issue date: 2017-02-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Um dos temas de destaque na obra-prima de Giovanni Boccaccio, o Decameron, escrita por volta de 1353, é o amor sensual, vivenciado por seus personagens de forma realista e naturalista. Dentre esses personagens, encontramos membros do clero católico, celibatários, e é para eles que voltamos o nosso olhar. Pretendemos traçar as características da abordagem de Boccaccio ao tema do amor sensual no celibato clerical em dez novelle da obra e, com isso, levantar quais concepções de amor, indivíduo e natureza humana são encontradas nas entrelinhas dessas histórias. Para analisarmos o corpus, tomaremos como base a fundamentação do celibato na Igreja Católica, exposta por Brown (1990); a doutrina do amor em Boccaccio, que trata o amor sensual com realismo e naturalismo, abordada por Scaglione (1963) e Givens (1968); a retórica de Aristóteles (2006), já que os personagens usam a retórica para obter êxito na conquista amorosa; as considerações de Ó Cuilleanáin (1984) e Smarr (2014) sobre a representação decameroniana do clero; além de estudos sobre o autor e obra, como os de Auerbach (2007; 2013). Com base em Berger (1972) e Nodelman (1988), analisaremos ilustrações que representam o amor sensual praticado por personagens celibatários, feitas por Alex Cerveny. No Decameron, os clérigos são dessacralizados, retratados como homens comuns, nos quais a natureza e o instinto se fazem presentes. A nosso ver, esses homens e mulheres são levados pela instituição católica a abandonarem obrigatoriamente a sexualidade, mas eles não desejam renunciar efetivamente a esse aspecto que é inerente à vida humana. / One of the main themes in the masterpiece of Giovanni Boccaccio, the Decameron, written around 1353, is the sensual love, experienced by its characters in a realistic and naturalistic way. Among those characters, we find members of the Catholic clergy who are celibates, and who are the holders of our attention. We intend to describe the characteristics of Boccaccio’s treatment of the sensual love theme in clerical celibacy in ten novelle from the book and present which conceptions of love, individual and human nature are found in those stories. To analyse the corpus, we will consider the foundation of celibacy in the Catholic Church, exposed by Brown (1990); the doctrine of love in Boccaccio, that treats sensual love with realism and naturalism, approached by Scaglione (1963) and Givens (1968); the Aristotle’s rhetorics (2006), since the characters use rhetorics to succeed in loving conquest; the considerations of Ó Cuilleanáin (1984) and Smarr (2014) on the decameronian representation of the clergy; besides studies about the author and book, such as the ones by Auerbach (2007; 2013). Based on Berger (1972) and Nodelman (1988), we will analyse some illustrations which depict the sensual love experienced by celibate characters, drawn by Alex Cerveny. In the Decameron, clerics are unholy, portrayed as ordinary men, in whom nature and instinct are latent. In our view, these men and women must give up sexuality because of the Catholic Church doctrines, but they do not actually want to abdicate this aspect which is inherent to human life. / CAPES: 3300415-3

Orientador: Carlos Eduardo Ornelas Berriel / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T03:35:45Z (GMT). No. of bitstreams: 1 Basile_ThiagoVillela_M.pdf: 1409965 bytes, checksum: dec97225a696681958381ddc0b2b6fd8 (MD5) Previous issue date: 2015 / Resumo: Pretendemos, neste trabalho, verificar, no plano ético, a alusão presente em o Decameron, de Giovanni Boccaccio, ao epicurismo. Para isso, apresentamos a filosofia epicurista, especialmente o conceito de prazer e de clinâmen, para estabelecermos as bases necessárias de comparação. Observamos também a história da fortuna crítica de o Decameron, para entendermos o porquê de só recentemente haver um estudo aprofundado da moral do livro, feito por Marco Veglia, em seu La vita lieta. Em seguida, fazemos uma leitura da moldura narrativa do Decameron para demonstrarmos a alusão ao epicurismo, e, por fim, tentamos compreender que efeito isso traria para a releitura dessa obra de Boccaccio / Abstract: The purpose of this work is to present the Decameron through a philosophical perspective, by comparing the Epicurean philosophy and the narrative frame of the text. To achieve this, we present the Epicurean philosophy, especially the concept of pleasure and clinamen, to establish the necessary bases of comparison. We also take into consideration the history of literary criticism of the Decameron, to understand the reason why only recently there is an in-depth study of the book¿s moral, made by Marco Veglia, in his "La vita lieta". Then, we intend to do a reading of the Decameron narrative frame to demonstrate the allusion to Epicureanism, and finally, we try to understand what effect this would bring to the reading of this work of Boccaccio / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-11Bitstream added on 2014-06-13T18:39:52Z : No. of bitstreams: 1 andrade_acnb_me_sjrp_parcial.pdf: 95719 bytes, checksum: 3df7d500d44864c24a4be68472305a13 (MD5) Bitstreams deleted on 2015-06-03T11:42:38Z: andrade_acnb_me_sjrp_parcial.pdf,. Added 1 bitstream(s) on 2015-06-03T11:44:05Z : No. of bitstreams: 1 000624271_20150811.pdf: 85704 bytes, checksum: df4eabdb828bcf26916aef6b650ceaea (MD5) Bitstreams deleted on 2015-08-13T15:38:50Z: 000624271_20150811.pdf,. Added 1 bitstream(s) on 2015-08-13T15:39:24Z : No. of bitstreams: 1 000624271.pdf: 913925 bytes, checksum: 67fbd808733c11535daa2794cda1953a (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente trabalho faz uma análise do diálogo intersemiótico estabelecido entre a obra literária Il Decameron (1348-1353), de Giovanni Boccaccio (1313-1375), e o filme homônimo, de Pier Paolo Pasolini (1922-1975), tendo como principal objetivo elucidar a transcriação artística operada por Pasolini, sobretudo no que diz respeito às construções metalingüísticas presentes no texto literário, que são cinematograficamente retomadas pelo cineasta. No texto sincrético, a metalinguagem está intrinsecamente ligada à poeticidade, seguindo os pressupostos teóricos do próprio Pasolini, expostos em Empirismo Eretico (2000). Os conceitos presentes nesse livro, como o famoso cinema de poesia ou a linguagem da realidade, norteiam a nossa escolha de outros teóricos, os quais nos auxiliam na tarefa de comprovar que tanto Boccaccio quanto Pasolini realizam operações metalingüísticas, sendo que as molduras narrativas por eles criadas explicitam a auto-reflexão acerca do fazer artístico, funcionando, desse modo, como marcas autorais. Assim, as duas versões de Decameron não se comunicam apenas pelo tema, mas pelo modo como as narrativas são estruturadas, pois Pasolini constrói a sua obra por meio de soluções cinematográficas que remetem à construção do discurso realizada por Boccaccio / The present work does an analysis of the intersemiotic intercourse established between the literary work Il Decameron (1348-1353), of Giovanni Boccaccio (1313-1375), and the namesake movie, of Pier Paolo Pasolini (1922-1975), regarding as the main objective to find out the artistic transcreation operated by Pasolini, above all, in what touches the metalinguistic constructions present in the literary text that are cinematographically retraced by the film maker. In the syncretic text, the metalanguage is intrinsically bound to the poetical, following Pasolini’s own theoretical conceptions exposed in Empirismo Eretico (2000). The concepts in this book, like the famous cinema of poetry or the language of reality, guide the selection of other theorists, who help in the quest to prove that both Boccaccio as well as Pasolini make metalinguistic operations, as the narrative frames created by him expound the introspection of the artistic labour, working, this way, as authorial marks. Thus, the Decameron’s two versions do not communicate only through the theme, but through the way their narratives are structured because Pasolini’s work is built hereby cinematographic solutions which allude to Boccaccio’s discourse construction

The present thesis is devided into two basic parts. The first part is theoretical. The theoretical part deals with cathegory of tense generally and the situation of past tenses in three mutually connected languages, i.e. in Latin, contemporary Italian and the 14th centrury Italian as found in grammar books. The second part is practical. The practical part is an analysis of Boccaccio`s Decameron, including the complex relation between passato prossimo and passato remoto.

L'attrait exercé par le Décaméron sur quelques grandes figures de l'humanisme (telles qu'Antonio Loschi, Leonardo Bruni, Enea Silvio Piccolomini, Leon Battista Alberti, ou Bartolomeo Facio) et quelques représentants de second plan (par exemple Filippo Beroaldo, Benedetto Colucci, ou encore Francesco Tedaldi) a donné naissance au XVè siècle à un véritable corpus de récits originaux et de traductions latines de nouvelles isolées de Boccace, qui témoigne d'une fertilisation réciproque des cultures vernaculaire et humaniste. Dans le contexte du XVè siècle, marqué en ce qui concerne la littérature en langue vulgaire par l'ancrage de la nouvelle dans sa tradition populaire, le corpus humaniste se distingue par la volonté des auteurs d'élever le genre. Sur le plan stylistique, la prose latine, riche de réminiscences antiques, est appelée à rehausser l'écriture, tandis que sur le plan des contenus et des finalités, l'accentuation de la dimension historique et éducative des nouvelles doit ennoblir le genre. / During the 15th century, the attraction of the Decameron on both some of the most prominent figures of humanism (Antonio Loschi, Leonardo Bruni, Enea Silvio Piccolomini, Leon Battista Alberti, or Bartolomeo Facio) and some lesser authors (such as Filippo Beroaldo, Benedetto Colucci, and Francesco Tedaldi) gave rise to a whole corpus of original stories and Latin translations of isolated short stories by Boccace, which testifies of the cross-fertilization at work between vernacular and humanist cultures. In the context of the 15th century, more particularly of 15h century literature written in the vernacular, which was marked by the propensity of short stories to be rooted in popular tradition, the humanist corpus is characterized by the willingness of its authors to bring the genre to a higher level. As regards the style, Latin prose, which is highly reminiscent of antiquity, is called on to elevate the writing, while from the point of view of the content and the goals to be reached, putting the stress on the historical and educational dimension of short stories is to ennoble the genre.

Le corpus, qui regroupe seize manuscrits italiens et français (avec la traduction de Laurent de Premierfait), permet d’élaborer une étude sur les rapports entre une œuvre littéraire, foisonnante et complexe comme le Décaméron, et les nombreuses illustrations que ces ouvrages contiennent. Pour être efficace et effective, l’image a besoin de se fonder sur le texte de Boccace. Cependant, les illustrateurs doivent aussi contenter leurs commanditaires et se conformer à leurs volontés, quitte à s’éloigner de l’œuvre originelle.La présente recherche se centre ainsi sur le passage du texte à l’image — en s’intéressant particulièrement à la littérarité de l’illustration, souvent fondée sur les potentialités visuelles du texte. Les manuscrits enluminés sont systématiquement replacés dans leur contexte culturel, social et historique, compte tenu du rôle joué par le lecteur/commanditaire, essentiel pour la compréhension de chaque miniature.Cette étude s’efforce ainsi d’analyser les ressources dont disposent les enlumineurs. Elle met en lumière l’incroyable adaptabilité dont font preuve ces artistes à part entière pour illustrer le texte qui constitue leur principale source. / The corpus consisting of 16 manuscripts (with the translation by Laurent de Premierfait) allows us to elaborate a study on the relationship between a piece of literature as abundant and complex as the Decameron, and the numerous illustrations that these works contain. To be efficient and effective, an image needs to be based on Boccaccio’s text. However illustrations must also satisfy their commissioner and comply with their wishes, even away from the original work.This research focuses as well on how to move from text to image — with particular attention on the literariness of illustration, often based on visual potential of the text. The illuminated manuscripts are systematically placed in their cultural, social and historical background, taking into account the essential role played by the reader and commissioner to understand each miniature.This study thus attempts to analyse the illuminators’ ressources. It highlights the incredible adaptability shown by these artists in their own right to illustrate the texte as their main source.

Made available in DSpace on 2015-05-14T12:39:35Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2285264 bytes, checksum: 26b8cc3cb18d33db507e0c2125a84832 (MD5) Previous issue date: 2012-03-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Esta dissertação abrange as áreas de Ficção televisiva, Literatura e Produção de sentido, e tem o intuito de realizar um processo de análise e interpretação discursiva da adaptação audiovisual do livro Decamerão, de Giovanni Boccaccio, veiculada em 2009, pela Rede Globo. A microssérie Decamerão: a comédia do sexo é um projeto do diretor Jorge Furtado e foi inspirada nas temáticas e novelas toscanas presentes na obra do autor italiano. A nossa proposta consiste em identificar como as duas obras dialogam nessa adaptação, destacando os pontos em comum com texto fonte, mas também ressaltando outros pontos sugeridos por Jorge Furtado ao reinterpretar o Decamerão, e também em observar a presença do elemento cômico na teleficção, tendo em mente a construção de um discurso ficcional televisivo e a sua consequente produção de sentido. Para tal intento, desenvolvemos a nossa pesquisa por meio da análise do discurso ficcional, realizando um estudo interdisciplinar, onde aliamos as teorias da Comunicação, especificamente sobre a televisão, e da Narrativa, articuladas a aspectos de outros campos do conhecimento das ciências humanas, como a Literatura, o Cinema e a Sociologia. Desse modo, foi possível comentar aspectos do Decamerão, como o contexto da Peste Negra, a estrutura das novelas toscanas e a manifestação do elemento cômico; e ainda observar a microssérie a partir dos formatos teleficcionais que a compõem e da influência cênica exercida pela commedia dell arte na construção da sua dramaturgia. Assim, na última etapa da nossa dissertação, almejamos destacar em Decamerão: a comédia do sexo os principais elementos de uma adaptação teleficcional e os fatores presentes devido à logística de funcionamento da televisão. Por fim, analisamos o nosso corpus, o piloto Comer, amar e morrer, e realizamos o estudo de correlação com os outros quatro episódios que compõem a microssérie. Diante disso, objetivamos realizar uma pesquisa com interesse estético e comunicacional sobre um importante momento da produção teleficcional brasileira, configurado, em nossa dissertação, no estudo de Decamerão: a comédia do sexo. / Esta dissertação abrange as áreas de Ficção televisiva, Literatura e Produção de sentido, e tem o intuito de realizar um processo de análise e interpretação discursiva da adaptação audiovisual do livro Decamerão, de Giovanni Boccaccio, veiculada em 2009, pela Rede Globo. A microssérie Decamerão: a comédia do sexo é um projeto do diretor Jorge Furtado e foi inspirada nas temáticas e novelas toscanas presentes na obra do autor italiano. A nossa proposta consiste em identificar como as duas obras dialogam nessa adaptação, destacando os pontos em comum com texto fonte, mas também ressaltando outros pontos sugeridos por Jorge Furtado ao reinterpretar o Decamerão, e também em observar a presença do elemento cômico na teleficção, tendo em mente a construção de um discurso ficcional televisivo e a sua consequente produção de sentido. Para tal intento, desenvolvemos a nossa pesquisa por meio da análise do discurso ficcional, realizando um estudo interdisciplinar, onde aliamos as teorias da Comunicação, especificamente sobre a televisão, e da Narrativa, articuladas a aspectos de outros campos do conhecimento das ciências humanas, como a Literatura, o Cinema e a Sociologia. Desse modo, foi possível comentar aspectos do Decamerão, como o contexto da Peste Negra, a estrutura das novelas toscanas e a manifestação do elemento cômico; e ainda observar a microssérie a partir dos formatos teleficcionais que a compõem e da influência cênica exercida pela commedia dell arte na construção da sua dramaturgia. Assim, na última etapa da nossa dissertação, almejamos destacar em Decamerão: a comédia do sexo os principais elementos de uma adaptação teleficcional e os fatores presentes devido à logística de funcionamento da televisão. Por fim, analisamos o nosso corpus, o piloto Comer, amar e morrer, e realizamos o estudo de correlação com os outros quatro episódios que compõem a microssérie. Diante disso, objetivamos realizar uma pesquisa com interesse estético e comunicacional sobre um importante momento da produção teleficcional brasileira, configurado, em nossa dissertação, no estudo de Decamerão: a comédia do sexo.

No description available.