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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

The present work is focused on interpretation of the novel Daimón, written by Argentinian writer Abel Posse. It indicates the context of the "Latin America's new historical novel", comments the historical background of the story, touches the concept of time in the novel. Then the work analyses in detail the composition of the novel which is structured as a Tarot cards reading, explains the importance of the Tarot not only for interpretation of the Daimón novel, but also for understanding the World in general. Key words: Tarot, Lope de Aguirre, Abel Posse, new historical Latin America's new historical novel, dialogism, parody, heteroglossia, spiritual path, Toltec, Toltec shamanism, Carlos Castaneda, concept of cyclical time, contradictions, realization.

Consacrée à l'imaginaire du « dialogue euro-méditerranéen » tel qu'il se manifeste depuis le milieu des années 1990 en particulier (après la Déclaration de Barcelone en 1995 puis la mise en place de la Politique Européenne de Voisinage), cette thèse se penche sur trois cas d'étude qu'elle se propose d'analyser par le biais d'une approche transdisciplinaire. La première partie cherche à comprendre comment se construit et circule un « cinéma méditerranéen » et le savoir sur cette possible cinématographie régionale en analysant quatre festivals qui lui sont consacrés à Alger, Bruxelles, Montpellier et Tétouan. La deuxième partie s'intéresse aux enjeux que soulèvent des programmes sélectionnés par l'Union européenne (Euromed Audiovisuel et Marseille-Provence Capitale européenne de la culture) en procédant notamment à une analyse de discours portés par ces programmes et de films qu'ils ont soutenus. La troisième et dernière partie propose une analyse de Révolution Zendj (Thawra Zanj, Tariq Teguia, Algérie/France/Liban/Qatar, 2013) et, par extension, de la manière dont les questions informant ce film du point de vue de la mise en langue, du sous-titrage et du montage se présentent dans d'autres œuvres cinématographiques. L'étude conjointe des festivals, des programmes institutionnels dédiés au champ des productions culturelles et des films, permet de mettre au jour les implications esthétiques et politiques d'un imaginaire dominant du « dialogue » et du « cinéma méditerranéen ». Elle rend également compte de formes et de pratiques d'articulation des voix, des langues, des points de vue et des récits, qui permettent d'imaginer autrement la Méditerranée et les rapports entre les personnes qui se trouvent vivre dans cet espace et leurs histoires. / This thesis seeks to question the imaginary around the "Euro-Mediterranean dialogue", a topos inspired by - and unfolding since - the 1995 Barcelona Declaration and the ensuing Neighborhood Policies. It focuses on three case studies that it analyses according to an interdisciplinary approach. The first part examines both the construction and circulation of a so-called "Mediterranean cinema", and the knowledge around this supposed regional production in the context of four festivals dedicated to it and taking place in Algiers, Brussels, Montpellier and Tetouan. The second part examines the concerns raised by programs selected for support by the European Union through Euromed Audiovisuel and Marseille-Provence Capitale européenne de la culture (Marseille-Provence, European Capital of Culture). These concerns are addressed through an analysis of the discourse produced by these programs and the films funded by them. The third and last part proposes an analysis of the film Zanj Revolution (Thawra Zanj, Tariq Teguia, Algeria/France/Lebanon/Qatar, 2013) and, by extension, examines the way in which questions related to the mise-en-langue, subtitling and editing that inform this film are present in other films. The intertwined study of festivals, of institutional programs dedicated to cultural productions and of films sheds light on the aesthetic and political implications of a dominant imaginary of "dialogue" and "Mediterranean cinema". The thesis also explores forms and practices that articulate voices, languages, points of view and narratives that are capable of weaving an alternative imaginary of the Mediterranean and of the histories and the relations between the people who happen to live in this space.

Made available in DSpace on 2016-04-28T19:59:03Z (GMT). No. of bitstreams: 1 MARIZETE_BORGES_DE_ABREU.pdf: 451206 bytes, checksum: 97d730c4046114335bb9dbef1eee8564 (MD5) Previous issue date: 2007-05-10 / In this work, we made a study of novels Desmundo of Ana Miranda and Memorial do Convento of José Saramago, specifically the narrative structure and feminine characters Oribela and Blimunda. The comparative method was used to promoving a dialogue between brazilian and portuguese literature. The authors made a History s critical revision, when through fiction, anonymous and stranger people had opportunity to show a new version of facts. In this way, the forgetful people and everyone who were quiet or had kept in silence by oficial history for years earned voice. The fictional procedures and organization of narratives reveal ideological marks of past that contrast with present, we have the time of history in direct confront with time of writing. Feminine characters are agents of social transformation, too. They keep themselves an ideological speech which approach them to the present. They look into their reality, and thought acute sense show us aspects of nature and human relationship had never seen before. The sensibility, capacity to appreciate the world and years of repression make the feminine characters a spokeswomen of excluded people such as poors, women and jewish beyond all persons who had an inadequate behaviour to pattern of period. Therefore, our purpose was reveal the manner as writters articulated literature elements mixing ideological aspects of present and past, history and fiction to build a ficcional universe which destroy the dominant ideology / Neste trabalho fizemos uma análise da estrutura narrativa dos romances Desmundo de Ana Miranda e Memorial do Convento de José Saramago e das respectivas personagens Oribela e Blimunda. Utilizamos o método comparativo como instrumento de análise com o propósito de promover o diálogo entre as literaturas brasileira e portuguesa. Os romances fazem uma revisão crítica da história ao dar voz aos esquecidos, àqueles que foram calados pela História oficial. A organização estética, os procedimentos literários comuns ao corpus evidenciam marcas ideológicas de um tempo histórico que se contrapõem ao tempo da escritura. Por outro lado, a construção de personagens femininas que se destacam pelas atitudes e pela forma diferente de pensar e enfrentar a realidade, tornam-nas agentes de transformação social, portadoras de um discurso ideológico que as aproximam da contemporaneidade. É por meio da agudeza do olhar que essas personagens conseguem apreender o real em todas as suas nuanças e perceber aspectos da natureza e das relações humanas, impossíveis de serem captadas por indivíduos cuja visão é embotada pelo processo de automatização social. A sensibilidade, a capacidade de apreensão do mundo e o fato de ter sido calada durante tanto tempo, faz da personagem feminina uma espécie de porta-voz dos excluídos, seu discurso ganha uma dimensão que extrapola os limites do próprio romance. Sua perspicácia e agudeza, assim como a forma como penetra e revela a natureza e as relações humanas materializam-se esteticamente na narrativa. Nosso objetivo, portanto, foi mostrar como os escritores articularam os elementos literários absorvendo traços ideológicos do presente e do passado e revelar de que maneira as protagonistas femininas se desenvolveram como agentes de transgressão social por meio de um discurso literário que esfacela a ideologia dominante

Made available in DSpace on 2016-04-28T18:22:24Z (GMT). No. of bitstreams: 1 Leticia Reina Goncalves.pdf: 1189558 bytes, checksum: 49f4be0d2c3b4b5fdb386675ff878be1 (MD5) Previous issue date: 2011-10-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to develop a collaborative-critical work with a teacher of Science in order to understand and to transform the work with production of written summaries of expository texts which were read by the students. Specifically, this research aims to understand critically the meanings brought by the participants and how they share new meanings on the summary of expository texts as a tool for teaching-learning in Science classes. The research is organized through two socialhistorical activities (Reflexive Session and Class) that are related, in part, by the object summary production and the participants researcher and teacher , that enable the learning concepts to be understood, questioned and shared, like a creative chain (Liberali, 2011) and that contextualize the critical formation for the research participants. It is supported by Social-Historical-Cultural Activity Theory (TASHC), which conceives the man's work activity as a way for transforming society and the man himself. It s also supported by Bakhtin/Volochinov s discussions about the ways the subject is constituted as a social being, inserted in a particular context of communication and implicated in oral and written productions, in these specific situations. The discussions through TASCH provide an understanding of contexts of teacher formation in which the language enables the construction of ZPDs (Zones of Proximal Development) for the participants understanding and sharing of meanings. The contributions given by Dolz & Schneuwly (2004) will assist in understanding language organization in social practices with the genre summary , as a tool of teaching-learning in reading and writing texts. The Collaborative Critical Research, as discussed by Magalhães (2007; 2009; 2010) e Magalhães & Oliveira (2011) supports the methodological choices in close relationship within the theoretical base and the research contents. The analyzed data were produced during Reflexive Sessions with a teacher of Natural Science and through observing some of her classes. The results show the complexity of the collaborative-critical work and the transformation in some concepts on written production of summaries as an instrument of teaching-learning Science / Esta dissertação tem como objetivo geral desenvolver um trabalho colaborativo-crítico com uma professora de Ciências para compreensão e transformação do trabalho com produção de resumos de textos expositivos lidos pelos alunos. Mais especificamente, é objetivo desta pesquisa compreender criticamente os sentidos das participantes e o compartilhamento de significados sobre resumo de textos expositivos como instrumento de ensino-aprendizagem em aulas de Ciências. A pesquisa está organizada por meio de duas Atividades sócio-histórico-culturais (Sessão Reflexiva e Aula) relacionadas, parcialmente, pelo objeto produção de resumo , e pelos participantes pesquisadora e professora , o que possibilita que os conceitos trabalhados sejam compreendidos, questionados e compartilhados, como uma cadeia criativa (Liberali, 2011) e contextualizem a formação crítica das participantes da pesquisa. Está apoiada na Teoria da Atividade Sócio-Histórico-Cultural, que concebe a atividade de trabalho do homem como transformadora da sociedade e do próprio homem. E ainda, nas discussões de Bakhtin/Volochinov (1929) sobre os modos como o sujeito se constitui como um ser social, inserido em um contexto particular de comunicação e implicado em produções orais e escritas, nessas situações específicas. As discussões da TASCH proporcionam a compreensão de contextos de formação em que a linguagem possibilita a construção de ZDPs para a compreensão dos sentidos das participantes e do compartilhamento de significados. As contribuições de Schneuwly & Dolz (2004) auxiliarão na compreensão das organizações da linguagem nas práticas sociais com o gênero resumo, como instrumento de ensino-aprendizagem na leitura e escrita de textos. A Pesquisa Crítica de Colaboração, como discutida por Magalhães (2007; 2009; 2010) e Magalhães & Oliveira (2011) embasa as escolhas metodológicas em estreita relação com a teoria de base e o conteúdo da pesquisa. Os dados analisados foram produzidos em Sessões Reflexivas com a professora de Ciências Naturais e em observações da sala de aula. Os resultados apontam para a complexidade do trabalho colaborativo-crítico e para a transformação de alguns conceitos sobre a produção escrita de resumos como instrumento de ensino-aprendizagem em Ciências

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This dissertation attempts to investigate the intertextual modus operandi in the oeuvre of H.J. Pieterse, with specific focus on his volumes, Alruin (1989) and Die burg van hertog Bloubaard (2000). The overarching purpose of the investigation is to prove that the author not only uses intertextuality in the sense that one text (literary text) refers to another text (literary and non–literary), or that one text influences another. Pieterse engages in conversation with other texts and re–writes these texts by repositioning them in another context and by adding additional metaphoric meaning to them. The author allows these texts to exchange conversation, to mutually influence one another, and this has as a result that, in his poems, his poetry and his oeuvre, metaphoric lines come into being, which lend a layered meaning to these texts and enrich the possibilities of their interpretation. Thus, a play on multiple meaning develops, which moves between texts: written texts, literary texts, non–literary texts, the author, the reader and the context(s). The conclusion to which this dissertation comes, is that the above mentioned manifestations of meanings, which exist and come into existence within the physically confines of the text, expand this text to a less confined existence in terms of meaning, more unlimited and unbound than what is necessarily allowed by the physically confined nature of the written text. The question thus arises of how the physically limited text take possession of and draws into the texts what lies beyond its physical confines to produce meaning, and how this tension around the limits of the literary text is functionally used. Consequentially, the question that follows is how this happens in the oeuvre of H.J. Pieterse and how the author uses his poetic technique to go beyond the confines of the written text. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

This dissertation attempts to investigate the intertextual modus operandi in the oeuvre of H.J. Pieterse, with specific focus on his volumes, Alruin (1989) and Die burg van hertog Bloubaard (2000). The overarching purpose of the investigation is to prove that the author not only uses intertextuality in the sense that one text (literary text) refers to another text (literary and non–literary), or that one text influences another. Pieterse engages in conversation with other texts and re–writes these texts by repositioning them in another context and by adding additional metaphoric meaning to them. The author allows these texts to exchange conversation, to mutually influence one another, and this has as a result that, in his poems, his poetry and his oeuvre, metaphoric lines come into being, which lend a layered meaning to these texts and enrich the possibilities of their interpretation. Thus, a play on multiple meaning develops, which moves between texts: written texts, literary texts, non–literary texts, the author, the reader and the context(s). The conclusion to which this dissertation comes, is that the above mentioned manifestations of meanings, which exist and come into existence within the physically confines of the text, expand this text to a less confined existence in terms of meaning, more unlimited and unbound than what is necessarily allowed by the physically confined nature of the written text. The question thus arises of how the physically limited text take possession of and draws into the texts what lies beyond its physical confines to produce meaning, and how this tension around the limits of the literary text is functionally used. Consequentially, the question that follows is how this happens in the oeuvre of H.J. Pieterse and how the author uses his poetic technique to go beyond the confines of the written text. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

Esta dissertação analisa as construções discursivas do trabalho livre e escravo na pela Mãe de José de Alencar publicada em 1860. A pesquisa foi predominantemente exploratória quanto ao seu objetivo, utilizou o método bibliográfico buscando nos textos de Marx, Engels, Freyre, Freitas, Fausto, Gorender, Costa, Ianni e outros autores o surgimento do trabalhador assalariado e indícios que levassem à compreensão sobre como se deu a passagem do trabalho escravo para o livre no Brasil do século XIX. A análise tem como corpus a pela Mãe, de José de Alencar, procurando levantar como o autor representa as relações de trabalho na segunda metade do século XIX e as possíveis inferências dessa representação. A partir da Análise Dialógica do Discurso (ADD), de Baktin e o Círculo, buscou-se compreender como são representadas no discurso literário teatral as relações entre senhores e escravos urbanos e entre as classes sociais que se reorganizam e os trabalhadores livres. Como resultado a pesquisa revelou como o autor inova ao trazer como protagonista uma escravizada durante a vigência da escravidão no país, mostrando que esta pode se colocar como uma trabalhadora livre, em suas falas, apesar de sua condição de escrava na pele e expõe no microcosmo da obra, como se constitui o trabalho escravo e livre na época. Mostra ainda o espanto diante da necessidade de mulheres pertencentes a estratos sociais mais favorecidos trabalharem. Alencar buscou construir em suas obras uma identidade para o país que se constituía, e denunciou as mazelas da escravidão em obras como Mãe e O Demônio Familiar (1857). Entretanto, a despeito de ter levado ao palco a escravidão, a invisibilidade dos escravos e seus descendentes permanece, ainda hoje, nos milhões de brasileiros negros e mulatos alijados de seus direitos. A pesquisa aponta a importância da redescoberta de obras como Mãe que mantém viva a memória da escravidão e que passados 129 anos de seu término oficial, seus efeitos ainda se fazem sentir, cabendo a cada brasileiro fazer uso de suas capacidades para escrever uma nova história para o trabalho neste país: trabalho livre e digno para cada habitante desta terra, independente da cor de sua pele ou condição social. / This dissertation analyses the discursive constructions of the free and enslaved work on José de Alencar’s play Mãe, published in 1860. The research was mainly exploratory when it came to its objectives and utilized the bibliographic method, searching on the texts of Marx, Engels, Freyre, Freitas, Fausto, Gorender, Costa, Ianni and other authors for the emergence of the salaried work and indications that led to comprehending how the transition from enslaved work to free work happened in Brazil in the XIX century. The analysis has as a corpus José de Alencar’s play Mãe, and it tries to raise how the author represents the work relations in the second half of the XIX century and the possible inferences of such representation. From Bakhtin and the Circle’s Dialogical Discourse Analysis (DDA), it is attempted to comprehend on the theatrical literary speech how it is represented the relations between master and slave and between the social classes that restructured themselves and the free workers. As a result, the research revealed how the author innovates by bringing as the main character a female slave, during the existence of slavery in the country, showing that she can be a free worker, in her lines, despite her condition of a slave on her skin and exposes on the work’s microcosm how it is constituted the free and enslaved work at the time. It also shows the astonishment before the need of higher-stratum-belonging women to work. Alencar attempted to build on his works an identity for the constituting country, and despite denouncing the badness of slavery on works such as Mãe e Demônio Familiar (1857), the invisibility of the slaves and their descendants remains in millions of black and mulatto Brazilians depleted from their rights. The research pointed out the importance of rediscovering works such as Mãe that do not allow us to forget that slavery happened and that 129 years since its official end, its effects are still felt, making it fitting that every Brazilian, making use of their own capacity, write a new history for work in this country: free and dignified work for every inhabitant in this land, independent of color of skin or social condition.