Neste trabalho, iremos analisar o livro A cidade e as serras, de Eça de Queirós, mediante os discursos referentes às estéticas de fin-de-siècle, que se estabelecem na França entre os anos de 1880 e 1900. Tentaremos observar, como o autor aproveita-se dos discursos para construir a personagem de Jacinto e como os manipula ironicamente a fim de estabelecer sua visão crítica sobre o período. Além disso, pretendemos mostrar como Eça de Queirós observa a mudança de perspectiva que acontece no campo cultural francês, ou ainda, no mundo no fim do século XIX, isto é, de um ponto de vista positivista, passando pelo decadente e pessimist, para o idealista. Acreditamos que através da manipulação irônica desse quadro histórico e do horizonte discursivo e estético que constitui o imaginário do homem do fim do século, Eça de Queirós irá estabelecer uma versão mais refinada do realismo praticada em seus livros da última fase / In this paper, we will examine the book The city and the mountains, Eça de Queirós, through the discourses concerning aesthetic of fin-de-siècle, which are established in France between the years 1880 and 1900. We will try to observe, as the author takes advantage of speeches to build character Jacinto and how ironically manipulates to establish his critical view of the period. Furthermore, we intend to show how Eça de Queirós notice the change in perspective that happens in the French cultural fields, besides in the world in the late nineteenth century, that is, a positivist point of view, through the decadent and pessimist, for idealistic. We believe that by manipulating this ironic historical context and the discursive and aesthetic which is the imaginary of man in the end of the century, Eça de Queirós horizon will establish a more refined version of realism practiced in his books of the last phase

Neste trabalho, iremos analisar o livro A cidade e as serras, de Eça de Queirós, mediante os discursos referentes às estéticas de fin-de-siècle, que se estabelecem na França entre os anos de 1880 e 1900. Tentaremos observar, como o autor aproveita-se dos discursos para construir a personagem de Jacinto e como os manipula ironicamente a fim de estabelecer sua visão crítica sobre o período. Além disso, pretendemos mostrar como Eça de Queirós observa a mudança de perspectiva que acontece no campo cultural francês, ou ainda, no mundo no fim do século XIX, isto é, de um ponto de vista positivista, passando pelo decadente e pessimist, para o idealista. Acreditamos que através da manipulação irônica desse quadro histórico e do horizonte discursivo e estético que constitui o imaginário do homem do fim do século, Eça de Queirós irá estabelecer uma versão mais refinada do realismo praticada em seus livros da última fase / In this paper, we will examine the book The city and the mountains, Eça de Queirós, through the discourses concerning aesthetic of fin-de-siècle, which are established in France between the years 1880 and 1900. We will try to observe, as the author takes advantage of speeches to build character Jacinto and how ironically manipulates to establish his critical view of the period. Furthermore, we intend to show how Eça de Queirós notice the change in perspective that happens in the French cultural fields, besides in the world in the late nineteenth century, that is, a positivist point of view, through the decadent and pessimist, for idealistic. We believe that by manipulating this ironic historical context and the discursive and aesthetic which is the imaginary of man in the end of the century, Eça de Queirós horizon will establish a more refined version of realism practiced in his books of the last phase

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Thesis (M.A.)--Miami University, Dept. of Spanish and Portuguese, 2003. / Title from first page of PDF document. Includes bibliographical references (p. 121-122).

Made available in DSpace on 2016-08-03T12:30:30Z (GMT). No. of bitstreams: 1 Bruna Vieira Guimaraes.pdf: 400467 bytes, checksum: 1ac1890758cfd8088afebf20950ba5cd (MD5) Previous issue date: 2007-04-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Study of politic history of the first president of Brazil, Manoel Deodoro da Fonseca, in the optics of the propaganda politics. The objectives had been to rescue the materials of propaganda used by the republican movement that culminated with the Announcement of the Republic commanded for Deodoro in 15 of November of 1889. And later, to understand the electoral process to which the general were chosen president for the congressmen, by means of the indirect vote, in day 25 of February of 1891. The adopted methodology was the Historical Research emphasizing the bibliographical and documentary study. Also they had been described published charges in the Revista Illustrada in the Provisory Government, the covering that the periodical O País made of the presidential election and the scene of censorship faced for the press. In the conclusion it consists that Deodoro did not make electoral campaign. Nor it needed, therefore in case that not he were elect, the Army to it would proclaim dictator. However, the deodoristas had convinced the members of the Congress and senators to vote in the marshal. Already, the opposition made campaign politics launching extra periodical edition spreading posters for the Federal Capital and approving repudiation motions of the situation candidacy. This election was simply a formality to keep Deodoro in the position most important of the country.(AU) / Estudo sobre a história política do primeiro presidente do Brasil, Manoel Deodoro da Fonseca, na ótica da propaganda política. Os objetivos foram resgatar os materiais de propaganda utilizados pelo movimento republicano que culminou com a Proclamação da República chefiada por Deodoro em 15 de novembro de 1889. Posteriormente, compreender o processo eleitoral ao qual o generalíssimo foi escolhido presidente pelos congressistas, por meio do voto indireto, no dia 25 de fevereiro de 1891. A metodologia adotada foi a Pesquisa Histórica enfatizando o estudo bibliográfico e documental. Também foram descritas as charges publicadas na Revista Illustrada no Governo Provisório, a cobertura do jornal O País na eleição presidencial e o cenário de censura na imprensa da época. Na conclusão consta que Deodoro não fez campanha eleitoral. Nem precisou, pois caso não fosse eleito, o Exército o proclamaria ditador. No entanto, os deodoristas convenceram os deputados e senadores a votarem no marechal. Já, a oposição fez campanha política lançando edição extra de jornal, espalhando cartazes pela Capital Federal e aprovando moções de repúdio à candidatura da situação. Essa eleição foi simplesmente uma formalidade para manter Deodoro no cargo mais importante do país. (AU)

Doctorat mené en cotutelle entre l'Université de Montréal et la Nottingham Trent University, Royaume-Uni. / Les fins du XIXe et du XXe siècles sont deux époques assaillies par des pandémies de maladies transmissibles sexuellement, soit la syphilis au XIXe siècle et le sida au XXe. En plus des ravages sur les corps qu’elles entraînent, ces deux afflictions possèdent une force entropique semant le chaos parmi les discours culturels, sociaux et politiques, stimulant de manière corollaire la résurgence de nombreuses phobies de l’Autre, en l’occurrence la xénophobie, la misogynie et l’homophobie. Au plus fort de ces deux pandémies fin-de-siècle, les savoirs médicaux et leurs pratiques se montrent incapables d’endiguer leur progression, sortant à plus d’un titre des cadres nosographiques, épidémiologiques et thérapeutiques de leurs époques respectives. En littérature, de nombreux auteurs ont écrit des textes de genres très variés sur la syphilis et le sida. Alors qu’à la fin du XIXe siècle, aucun écrivain contaminé n’a publié de texte au « je » racontant son expérience personnelle de la « Grande Vérole », à la fin du XXe siècle, la donne change. Le sida devient un moteur d’écriture de soi, de témoignage de l’expérience vécue de la maladie, ainsi qu’un véhicule de revendication publique et culturelle. Les années 1884 et 1990 marquent des points tournants littéraires dans les « représentations » de la syphilis et du sida, avec la publication d’À Rebours (1884), roman symboliste de Joris-Karl Huysmans mettant en scène le confinement excentrique du duc Jean Floressas des Esseintes, esthète névrosé à la syphilis insinuante mais jamais diagnostiquée, dans un château à Fontenay-aux-Roses, ainsi que la publication d’À l’Ami qui ne m’a pas sauvé la vie (1990), le premier « roman du sida » écrit par Hervé Guibert, écrivain, photographe, journaliste et vidéaste, décédé sidéen en 1991, des suites d’une tentative de suicide à la digitaline. Ces deux textes phares des fins du XIXe et du XXe siècles représenteraient des points tournants littéraires, puisqu’ils ne se seraient pas contentés de représenter objectivement la syphilis et le sida, mais les auraient aussi déformés esthétiquement aux prismes des expériences sensorielles détraquées du personnage de Des Esseintes et du narrateur Guibert, tous deux esthètes en ce que leurs rapports à leur corps, aux autres, aux décors et à l’espace-temps sont inéluctablement médiés par leurs sensations. Au fil des expériences maladives, plutôt que « sur » la maladie, qu’À Rebours et À l’Ami qui ne m’a pas sauvé la vie mettent en scène, de nombreuses et différentes survivances esthétiques émergent à la surface sensible des corps et des décors. Ces survivances esthétiques sont entendues, de manière générale, comme des symptômes perceptibles d’un passé – récent, archaïque, mythique ou fantasmatique – qui émergent de nouveau dans le présent, et que Des Esseintes et Guibert expérimentent à travers leurs sens. À plus d’un titre, ces survivances esthétiques semblent agir sur les protagonistes à travers une performativité queer, soit une puissance de déformation, de déviance et de différenciation des corps et des décors, entraînant les esthètes dans des expériences de désorientation sensorielle et spatiotemporelle, où s’entrechoquent différents anachronismes remettant en question le Progrès érigé en valeur culte au XIXe « Siècle de la Science », et l’avancée linéaire du temps. Cette thèse doctorale, la première à comparer les œuvres de Joris-Karl Huysmans et d’Hervé Guibert, vise une exploration des expériences maladives qui ne cherche pas à fixer des « vérités » sur les pandémies fin-de-siècle de syphilis et de sida, mais de montrer comment leur force entropique a concouru, de nombreuses façons, à l’émergence de survivances à la fois esthétiques et queer dans le présent de leurs expériences. La thèse souhaite réintroduire avec force, rigueur et originalité les dimensions esthétiques déroutantes des expériences de la différence, de la maladie et du mourir, en ne les cristallisant pas dans leur seul contexte historique, mais en déployant la puissance anachronique, voire intemporelle, qui les fait survivre d’une fin de siècle pandémique à l’autre. / The ends of the 19th and 20th centuries were assailed with sexually transmitted disease pandemics, namely syphilis in the 19th century and AIDS in the 20th. In addition to the ravages they had on bodies, those two afflictions possess an entropic force sowing chaos amidst cultural, social and political discourses, and in doing so also stimulating the resurgence of multiple fears of the Other, including xenophobia, misogyny and homophobia. At the height of those two fin-de-siècle pandemics, medical knowledges and their practices appeared unable to contain the progression of the illnesses, which in many respects overflowed the nosographic, epidemiological and therapeutic frameworks of their respective eras. In literature, several authors wrote texts of varied genres on syphilis and AIDS. While at the end of the 19th century, no contaminated author wrote in the first-person “I” to tell their personal experience of the “Great Pox,” at the end of the 20th century, the situation changes. AIDS becomes an engine of self-writing, of testimonies telling the lived experience of illness, as well as a driver for public and cultural advocacy. The years 1884 and 1990 mark literary turning points in the “representations” of syphilis and AIDS, with the publication of À Rebours (1884), Joris-Karl Huysmans’ symbolist novel presenting the eccentric confinement of duke Jean Floressas des Esseintes, a neurotic aesthete whose syphilis is insinuated but never diagnosed, in a castle in Fontenay-aux-Roses, as well as the publication of À l’Ami qui ne m’a pas sauvé la vie (1990), the first “AIDS novel” written by Hervé Guibert, a writer, photographer, journalist and videographer, who died of AIDS in 1991, following an attempted suicide with digitalin. Those two key texts of the ends of the 19th and 20th centuries might represent literary turning points, as they did not only represent syphilis and AIDS objectively, but distorted them aesthetically in light of the deranged sensory experiences of the des Esseintes character and of narrator Guibert, both aesthetes to the extent that their relationship to their body, to others, to their décor and to space-time are inevitably mediated by their sensations. Throughout the sickly experiences, rather than experiences “about” sickness that À Rebours and À l’Ami qui ne m’a pas sauvé la vie put on stage, several aesthetic survivances emerge at the sensory surface of bodies and décors. Those aesthetic survivances are understood, generally, as the perceptible symptoms of a past – recent, archaic, mythical or phantasmatic – that emerges again in the present, and that des Esseintes and Guibert experiment through their senses. In several ways, those aesthetic survivances seem to act on the protagonists through a queer performativity, that is to say a deforming, deviating and differencing power of bodies and décors, which leads the aesthetes towards experiences of sensory and space-time disorientation, where anachronisms clash, questioning the Progress that was erected as cult in the 19th “Century of Science”, as well as the linear movement of time. This doctoral dissertation, the first to compare the works of Joris-Karl Huysmans and Hervé Guibert, aims at exploring sickly experiences, without ever stabilizing “truths” regarding the fin-de-siècle pandemics of syphilis and AIDS, but rather showing how their entropic power has, in many ways, contributed to the emergence of survivances both aesthetic and queer in the present of their experiences. The dissertation seeks to reintroduce, in a strong, rigorous and original manner, the confusing aesthetic dimensions of the experiences of difference, illness and death, without crystalizing them in a single historical context, but deploying the anachronic, or even intemporal, power that allows them to survive from one pandemic fin-de-siècle to the other.

Este trabalho tem como objeto de estudo a investigação da poética de Fiama Hasse Pais Brandão buscando entender o que é fala perfeita para a Autora. Analisamos minuciosamente o poema Teoria da Realidade tratando-a por tu, que é toda uma poética, e o relacionamos com sua obra, demonstrando assim uma coerência em seu projeto poético. O poema analisado faz parte da série Poéticas, do livro Cenas Vivas de 2000. Nesse poema há um desdobramento do sujeito poético que persegue sua voz desde seus balbucios. Podemos dizer que o sujeito da enunciação nos conta como sua voz poética apareceu, desenvolveu, adquiriu a fala perfeita e a ofereceu aos leitores. Desde a publicação de Morfismos, em 1961, que a Autora preocupou-se em resgatar a língua da estreiteza de seu uso comum e em dar autonomia à linguagem, buscando o que chamou de poesia/ substantivo, assim se filiando à tradição da modernidade e especificamente a Mallarmé. Seus poemas são testemunhos de tudo o que foi escrito e lido por ela, desde as grandes epopeias e a Bíblia, à tradição anglo-germânica, aos grandes poetas americanos e à tradição portuguesa. Fizemos um percurso em sua obra perseguindo poemas que são poéticas, ou seja, que o tema é a própria poesia para descobrir como se dá a visão e o conhecimento que Fiama tem do real e do poético. Constatamos que fez uma opção pela realidade. A matéria poética de Fiama pertence à terra, há uma preocupação em desvendar o real. Podemos constatar essas questões, a partir da nossa leitura dos poemas de Obra Breve Poesia Reunida. Selecionamos um percurso poético que desaguou em Teoria da Realidade tratando-a por tu, o que nos mostrou a intimidade que adquiriu com a realidade, além de nos revelar como sua voz poética desabrochou. / This study has its object of research the poetry of Fiama Hasse Pais Brandão, attempting the understanding of what the perfect speech means to the author herself. Detailed examination of the poem Teoria da Realidade tratando-a por tu (The Theory or Reality getting familiar with it), reflects the complete author´s poetic, embracing Fiama´s work as a whole. The poem analyzed makes part of the series Poetics (Poetics) from the Cenas Vivas (Living Scenes) book dated from the year 2000. There is in this poem the unfolded poetic subject that chases her muttering voice. We can say the enunciation subject tells us how the poetic voice had emerged, developed, acquiring the perfect speech thus offering it at last to its readers. Since the publication of Morfismos (Morphisms) in 1961, the Author worries about the language narrowness, rescuing from its ordinary use. Giving autonomy to it as well as searching what she had called the poetry/noun. This way Fiama´s poetry filiation relies on the modern tradition and specifically in Mallarmé. Her poems witness all the things that has been written and read by her. From great epics to the Bible, the Anglo-Germanic tradition to the great American poets also including in this list the Portuguese tradition as well. The path throughout her work has chased poems that are poetic, in other words, that the theme is the poetry itself, revealing the envisioning and the knowledge Fiama has from reality as well as poetry. It has been detected she opted for reality. The poetic material for her, belongs to the Earth where there is a concern to unveil what is real. These matters have been attested based on the reading of the poems of the Obra Breve Poesia Reunida (Brief Works). The poetic path selected ended up in the Teoria da Realidade tratando-a por tu (Theory of Reality- getting familiar with it), this has exposed us the intimacy that she has gained with reality, revealing at same the time how her poetic voice blossomed.

Este trabalho tem como objeto de estudo a investigação da poética de Fiama Hasse Pais Brandão buscando entender o que é fala perfeita para a Autora. Analisamos minuciosamente o poema Teoria da Realidade tratando-a por tu, que é toda uma poética, e o relacionamos com sua obra, demonstrando assim uma coerência em seu projeto poético. O poema analisado faz parte da série Poéticas, do livro Cenas Vivas de 2000. Nesse poema há um desdobramento do sujeito poético que persegue sua voz desde seus balbucios. Podemos dizer que o sujeito da enunciação nos conta como sua voz poética apareceu, desenvolveu, adquiriu a fala perfeita e a ofereceu aos leitores. Desde a publicação de Morfismos, em 1961, que a Autora preocupou-se em resgatar a língua da estreiteza de seu uso comum e em dar autonomia à linguagem, buscando o que chamou de poesia/ substantivo, assim se filiando à tradição da modernidade e especificamente a Mallarmé. Seus poemas são testemunhos de tudo o que foi escrito e lido por ela, desde as grandes epopeias e a Bíblia, à tradição anglo-germânica, aos grandes poetas americanos e à tradição portuguesa. Fizemos um percurso em sua obra perseguindo poemas que são poéticas, ou seja, que o tema é a própria poesia para descobrir como se dá a visão e o conhecimento que Fiama tem do real e do poético. Constatamos que fez uma opção pela realidade. A matéria poética de Fiama pertence à terra, há uma preocupação em desvendar o real. Podemos constatar essas questões, a partir da nossa leitura dos poemas de Obra Breve Poesia Reunida. Selecionamos um percurso poético que desaguou em Teoria da Realidade tratando-a por tu, o que nos mostrou a intimidade que adquiriu com a realidade, além de nos revelar como sua voz poética desabrochou. / This study has its object of research the poetry of Fiama Hasse Pais Brandão, attempting the understanding of what the perfect speech means to the author herself. Detailed examination of the poem Teoria da Realidade tratando-a por tu (The Theory or Reality getting familiar with it), reflects the complete author´s poetic, embracing Fiama´s work as a whole. The poem analyzed makes part of the series Poetics (Poetics) from the Cenas Vivas (Living Scenes) book dated from the year 2000. There is in this poem the unfolded poetic subject that chases her muttering voice. We can say the enunciation subject tells us how the poetic voice had emerged, developed, acquiring the perfect speech thus offering it at last to its readers. Since the publication of Morfismos (Morphisms) in 1961, the Author worries about the language narrowness, rescuing from its ordinary use. Giving autonomy to it as well as searching what she had called the poetry/noun. This way Fiama´s poetry filiation relies on the modern tradition and specifically in Mallarmé. Her poems witness all the things that has been written and read by her. From great epics to the Bible, the Anglo-Germanic tradition to the great American poets also including in this list the Portuguese tradition as well. The path throughout her work has chased poems that are poetic, in other words, that the theme is the poetry itself, revealing the envisioning and the knowledge Fiama has from reality as well as poetry. It has been detected she opted for reality. The poetic material for her, belongs to the Earth where there is a concern to unveil what is real. These matters have been attested based on the reading of the poems of the Obra Breve Poesia Reunida (Brief Works). The poetic path selected ended up in the Teoria da Realidade tratando-a por tu (Theory of Reality- getting familiar with it), this has exposed us the intimacy that she has gained with reality, revealing at same the time how her poetic voice blossomed.