O presente estudo tem como objetivo primeiro o da perversidade contida nas paráfrases verbo-visuais dos contos de fada, por meio da análise de algumas das obras da escritora portuguesa Adília Lopes e da artista plástica de origem lusitana Paula Rego. Utilizando de um estudo comparatista embasado principalmente num arcabouço teórico transdisciplinar com a psicanálise freudiana, junguiana e lacaniana, este trabalho procura conceituar o termo perversidade para, posteriormente, demonstrar processos pelos quais determinados textos podem assumir versões cuja perversidade nas relações das personas / personagens são materializadas, em função de diferentes momentos sócio-político-culturais, além de conservarem subjacentes elementos de ordem subjetiva ao dialogarem com seus leitores. A fim de melhor compreensão da nossa análise, expomos sucintamente, parte da base teórica prática de suporte que respondeu a questão: - Quais mecanismos envolveriam o processo analítico e do sentido narrativo engendrados a partir dos textos para interpretar os signos verbais e não verbais? Partindo de um breve estudo entre as obras e suas relações com a sociedade e a política, também este trabalho precisou lançar mão considerações fundamentais do processo de conhecimento: a cognição. / The present study aims first study of perversity paraphrases contained in verb-visual fairy tales, through the analysis of some of the works of the Portuguese writer and artist Adília Lopes Plastic origin Lusitanian Paula Rego. Using a comparative study based, especially in a basement theoretical transdisciplinary with Freudian, Jungian and Lacanian, this research seeks to conceptualize the term evil to subsequently demonstrate the processes by which certain texts may take versions whose perversity in relations of personas / characters are materialized due to different moments socio-political-cultural, and retain the underlying elements of subjective order to dialogue with your readers. In order to better understanding of our analysis, we explain briefly the theoretical basis of practical support that answered the question: - What mechanisms involve the analytical process and narrative sense engendered from the texts to interpret the verbal and nonverbal signs? Starting from a brief study of the relationships between the works and their relationship to society and politics, also this work also had to resort to fundamental considerations of process knowledge: cognition.

Nesta investigação, refletimos sobre as avaliações impressas em textos de periódicos contemporâneos tiras e crônicas , que retomam narrativas da tradição oral, em circulação entre os séculos XVII e XIX, a fim de compreender aspectos de diferentes visões de mundo e o posicionamento valorativo do sujeito-autor e do sujeito-contemplador previsto, como forma de resposta compromissada com seu tempo. Ao longo das edições dos periódicos, a tematização dessas narrativas aconteceu de forma aleatória, em meio a conteúdos diversos e como parte do repertório cultural dos artistas. Em levantamento realizado, o corpus de análise ficou composto da seguinte forma: (1) cinquenta e quatro tiras do cartunista Fernando Gonsales que, publicadas no jornal Folha de S. Paulo entre os anos de 2004 e 2011, tematizam os contos maravilhosos Chapeuzinho Vermelho, Branca de Neve e A história dos três porquinhos; (2) três crônicas de Millôr Fernandes, que circularam nas revistas semanais Veja e IstoÉ na década de 1980, tematizando os mesmos contos, o que viabiliza um trabalho comparativo. Para orientar nosso olhar, fundamentamos nossa análise na concepção bakhtiniana de arquitetônica, desenvolvida principalmente nos primeiros textos produzidos por Bakhtin e o Círculo, na década de 1920. Essa concepção nos permite compreender como os elementos do texto forma, conteúdo e material são organizados pelos centros de valores estabelecidos na relação autor-criador, herói, autor-contemplador. Associadas a essa noção, tratamos das categorias de espaço e tempo, desenvolvidas pelo pensador Bakhtin (1937-1938, 1973). Essas categorias nos instrumentalizam para a compreensão da interação entre autor-criador e/ou autor-contemplador e objeto artístico, em determinado contexto espaço-temporal. No diálogo com o objeto de pesquisa, partimos da seguinte hipótese: se todo texto é um ato responsivo ao tempo de que emerge, então a visão de mundo contemporânea é refratada em textos de humor da esfera periodística que circularam no final do século XX e início do XXI, quando esses textos retomam narrativas da tradição oral difundidas entre os séculos XVII e XIX. Ao final do trabalho, mostra-se que, no entrecruzamento das tiras de Fernando Gonsales e das crônicas de Millôr Fernandes com os contos maravilhosos, transita a paródia de um mundo idealizado: nas tiras, ela se configura também como deboche do modo de vida contemporâneo; nas crônicas, como crítica social e reflexão sobre a existência humana. / In this thesis, we reflect on the standpoints printed on contemporary journal texts - strips and chronics that retake oral tradition narratives, between the seventeenth and nineteenth centuries, in order to understand aspects of different worldviews and the evaluative positioning of the subject-author and of the expected subject-contemplator as a way to give a committed answer to their time. Along the issues of the journals, the theming of these narratives was done at random, amid diverse contents and as part of the cultural repertoire of the artists. In the survey that was conducted, the corpus was composed as follows: (1) fifty-four strips by the cartoonist Fernando Gonsales, published in the newspaper Folha de S. Paulo between 2004 and 2011, that bring as the theme the fairy tales Little Red Riding Hood, Snow White and The story of the three little pigs; (2) three chronics by Millor Fernandes, that circulated in the weekly magazines Veja and IstoÉ in the 1980s, thematising the same tales, which enables a comparative work. To guide our vision, we base our analysis on Bakhtin\'s architectonic design, developed mainly in the first texts written by Bakhtin and the Circle in the 1920s. This concept allows us to understand how the text elements - form, content and materials - are organized by centers of values established in the relation between author-creator, hero, author-contemplator. Associated with this notion, we deal with the categories of space and time, developed by Bakhtin (1937-1938, 1973). These categories lead us to the understanding of the interaction between author-creator and/or author-contemplator and artistic object, in a particular spatial-temporal context. In dialogue with the research object, we start from the following hypothesis: if all text is a responsive act to the time that it emerges from, then the contemporary world view is refracted in humor texts from the journal sphere that circulated in the late twentieth and early twenty-first centuries, when these texts resume narratives of the oral tradition spread between the seventeenth and nineteenth centuries. At the end of the work, it is shown that, in the crossing of the strips by Fernando Gonsalves and the chronics by Millor Fernandes with the fairy tales, the parody moves from an idealized world: in the strips, it also sets as a mockery of the contemporary way of life; in the chronics, as a social critique and reflection on human existence.

Cette thèse, qui recense plus de mille contes de fées composés entre 1808 et 1920, s’intéresse au renouveau du merveilleux, un registre vieillissant faisant face au désenchantement. Ce travail montre comment le conte, en juxtaposant la modernité et l’imaginaire, bascule dans le comique (parodie des auteurs du Grand Siècle, désacralisation des héros, sapement des valeurs chevaleresques). En même temps, les figures masculines chutent de leur piédestal en engendrant une modification des représentations du féminin.Dans la première moitié du XIXe siècle, les fées et les princesses sont réduites aux stéréotypes de genre : elles sont seulement belles, riches et bienfaisantes. Puis l’esprit fin-de-siècle impose de nouveaux canons, attribuant aux héroïnes les vices de leurs contemporains. Notre thèse dissèque cette vision misogyne afin de montrer comment la crainte de l’extinction de la « race » est née : les pouvoirs magiques des fées et la considération qu’on leur porte diminuent ; les princesses constatent que l’heureux dénouement promis n’est plus. Désormais, ces femmes au cœur de glace deviennent la source des souffrances masculines.Notre travail engage également une réflexion sur les perversions au XIXe siècle et démontre comment les auteurs de contes décadents se servent de motifs propres au merveilleux (manducation, servage des héroïnes) afin d’esthétiser la souffrance et la transformer en plaisir. Enfin, les réécritures de « La Belle au bois dormant » sont emblématiques de la fin-de-siècle. Cette princesse endormie incarne à la fois l’intouchable virginité et la pire des perversités. Sa passivité illustre les violences physiques et psychiques que la société lui impose et justifie ; son éveil revendique les droits des citoyennes et annonce le féminisme. / This thesis, taking an inventory of more than one thousand fairies tales written between 1808 and 1920, examines the marvellous’ renewal, an outmoded register facing disenchantment. This study shows how the fairy tale, placing modernity next to imagination, turns to comic (parody of the authors of the XVIIe century, deconsecration of heroes, destruction of chivalrous values). At the same time, male characters fall from their pedestal, making an alteration of the female’s representations.In the first half of the XIXe century, fairies and princesses are reduced to gender stereotypes : they are only beautiful, wealthy and benevolent. But the fin-de-siècle’s mind imposes new models, assigning to heroines the contemporaries’ vices. Our thesis reviews this misogynous representation to show how the fear the “race’s extinction” was born : the fairies’ magic power and the esteem for them decrease; the princesses notice that the promised happy end is not anymore. Henceforth, these ice-hearted women become the origin of male sufferings.Our work develops a thought about perversions in the XIXe century and shows how the decadent authors of tales use marvellous subjects (erotic devouring, serfdom of the heroines), in order to anesthetize suffering and transform it into pleasure. Finally, rewritings of “Sleeping Beauty” are emblematic to the fin-de-siècle. This sleeping princess personifies the untouchable virginity and the worst of the perversities both. Her passivity illustrates the physical and mental violence that society imposes her and justifies; her awakening claims female citizens’ rights and announces feminism.

Essa dissertação de mestrado interpreta quatro obras da literatura infanto-juvenil, focando sua análise nas personagens femininas. Busca-se aqui entender porque determinadas narrativas tornaram-se atemporais e clássicas, constituindo uma base para a construção de outras narrativas. Assim, além de um levantamento histórico da vida social feminina e discussão da construção narrativa do conto de fadas, o estudo está pautado em uma interpretação psicanalítica das obras participantes do corpus. / This dissertation of master degree makes a interpretation of four young people literature`s work, but the focus is the female persona. We search to understand how some narratives became classics, and now they are the base for the construction to others narratives. Then, there is a history research from the women living and how the fairies tales are made, but the studies and interpretations of the corpus of this dissertation come from the psychology vision.

Made available in DSpace on 2015-03-05T19:37:25Z (GMT). No. of bitstreams: 0 Previous issue date: 5 / Banco Santander / Banespa / Esta dissertação, ‘O dispositivo conto de fadas na clínica com crianças que apresentam déficit de simbolização’ tem como objetivo discutir a utilização dos contos de fadas como possibilidade de intervenção na clínica psicanalítica infantil, especialmente nas situações associadas a falhas no processo de simbolização. Esse déficit está presente em todas aquelas situações onde há a impossibilidade de elaboração dos sentimentos através do pensamento e das palavras, ficando prejudicadas as formas de expressão. Para o entendimento do processo de simbolização, bem como de seu déficit, apoiamo-nos na teoria de desenvolvimento emocional de Winnicott, que considera que a partir da interação mãe-bebê surge a possibilidade de desenvolvimento simbólico. Dessa maneira, na presença de um cuidador atento, interessado e emocionalmente engajado, o bebê pode constituir seu espaço psíquico. Por sua vez, os contos de fadas podem ser considerados como um cenário, onde a criança pode simbolizar seus conflitos e, portanto, nutrir se

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2015-10-07T15:16:20Z No. of bitstreams: 1 MÔNICA ASSUNÇÃO MOURÃO_.pdf: 1706936 bytes, checksum: 1829ae1e79010f85857ea7d0e13ce362 (MD5) / Made available in DSpace on 2015-10-07T15:16:20Z (GMT). No. of bitstreams: 1 MÔNICA ASSUNÇÃO MOURÃO_.pdf: 1706936 bytes, checksum: 1829ae1e79010f85857ea7d0e13ce362 (MD5) Previous issue date: 2015-03-12 / UEMA - Universidade Estadual do Maranhão / O presente estudo procurou identificar como ocorre o letramento literário de alunos dos anos iniciais, do ensino fundamental. Para isso foi realizada uma pesquisa em uma turma de 5º ano de uma escola da rede pública municipal em Imperatriz, Maranhão. Na fundamentação teórica foi indispensável a concepção teórica de autores como Vygotsky (1988), Bakhtin (1995, 1997), Bettelheim (2002), Bronckart (2006), Schneuwly e Dolz (2004), Soares (2004, 2009, 2011), Rojo (2008), Guimarães e Kersch (2012), Marcuschi (2008), Cosson (2012), e Mota-Roth (2011) entre outros, pois trazem ao centro das atuais discussões o papel da Linguística Aplicada em relação ao entendimento que se tem sobre os gêneros textuais e letramento.A base deste estudo encontra-se justamente no processo intitulado, na altura dos anos 80, como letramento, ou seja, um olhar direcionado não apenas para a aquisição do ler e do escrever, mas também para o desenvolvimento do indivíduo enquanto ser social, inserido em uma sociedade letrada que faz uso da linguagem em diversos contextos, com inúmeras finalidades e com objetivos específicos.A pesquisa se configura como qualitativa interpretativa, com aspectos da pesquisa ação e, além da observação, teve-se como instrumentos entrevistas semiestruturadas, diário de campo e produções de alunos. O trabalho girou em torno do gênero contos de fadas. Os dados revelaram que houve um letramento literário apesar de ser pouco presente em sala de aula. Dessa forma, pode-se dizer que o letramento literário pode ocorrer desde os anos iniciais de escolarização, apesar dos obstáculos de acesso aos livros, que, principalmente, as escolas periféricas enfrentam. Percebeu-se também que, se o trabalho com o texto literário for mais dinâmico e sistematizado, os resultados alcançados podem ser bastante significativos para o processo de desenvolvimento da escrita e da leitura. As oficinas de letramento literário aplicadas pela pesquisadora deram margem a tal afirmação, pois o interesse da turma sempre foi algo presente no decorrer das aulas de Língua Portuguesa, Literatura e Produção textual, mas seria necessário um maior número delas para se avançar nessa questão. / This present study aimed to identify how the literary literacy of the students of the early elementary school occurs. For this the research was carried out in a class of 5th year of a public municipal school in Imperatriz, Maranhão. In the theoretical foundation was indispensable the theoretical conception of authors such as Vygotsky (1988), Bakhtin (1995, 1997), Bettelheim (2002), Bronckart (2006), Schneuwly and Dolz (2004), Soares (2004, 2009, 2011), Rojo (2008) , Guimarães and Kersch (2012), Marcuschi (2008), Cosson (2012), and Mota-Roth (2011) among others, as they bring to the center of the current discussions the role of the Applied Linguistics in relation to the understanding we have about genres and literacy. The basis of this study is just up the process entitled, at the time of the 80’s, such as literacy, so, a directed look not only to the reading and writing acquisition, but also to the development of the individual as a social being, inserted in a literacy society which makes use of the language in different contexts, with innumerous purposes and specific objectives. The research is configured with the interpretative qualitative aspects of the action and, beyond the observation, it was taken as the instruments the semi-structured interview and the dairy field. The data revealed that there was the literary literacy even though was not enough in the classroom. Thus, it can be said that the literary literacy can occurs since the early years of schooling, despite of the obstacles that mainly the peripheral schools face. It was also realized that, if the work with the literary text is more dynamic and systematic, the results achieved can be quite significant to the process of development of writing and reading. The literary literacy workshop applied by the researcher gave rise to such claim, because the interest of the class was always something present during the classes of Portuguese, Literature and Textual Production, but it takes a greater number of them to move forward on this issue.

Made available in DSpace on 2016-03-15T19:45:57Z (GMT). No. of bitstreams: 1 Debora Cibele de Benedetto e Silva.pdf: 8893606 bytes, checksum: 82bb213662d4b0910441ad31f3862277 (MD5) Previous issue date: 2014-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Approximately one hundred years after its first publication in Children s and Household Tales, by Jacob and Wilhelm Grimm, the tale Snow White is translated into a movie by the Disney Studio in 1937; Snow White and the Seven Dwarfs is the first full length animated film in the history of the movies. Due to its enormous success, Snow White and the Seven Dwarfs becomes one of the definite versions of the tale registered by the Brothers Grimm. What is more, this version influences countless other productions made after its release. Subsequently, the Disney Company devises other intersemiotic translations to the tale, some of which are attractions in Disney theme parks and various retail products sold by the Disney Store. Such an expansion characterizes Disney as an expansionist company which makes of use of a portfolio of brands and media to differentiate content in order to develop creative, innovative and profitable entertainment experiences and related products. The translations to Snow White made by the Disney Company allow the audience to interact with the characters and universe of the movie in a deeper way and, moreover, they increase the niches of consumers who may appreciate the story. An academic study about such intersemiotic translations may help us comprehend in which ways the audience, in general, interacts with fairy tales nowadays. In order to do so, the following dissertation proposes a dialogue between literature, movies and communication, and presents an analytical thinking process which starts with a literary analysis of the Grimm s tale, reflects upon the concept of intersemiotic translation and then focuses on some of the translations to Snow White devised by Disney. / Aproximadamente cem anos após sua primeira publicação em Contos de Fadas para Crianças e Adultos, de Jacob e Wilhelm Grimm, o conto Branca de Neve ganha, em 1937, uma tradução intersemiótica para o cinema produzida pelos estúdios Disney; trata-se da animação Branca de Neve e os Sete Anões, a primeira animação de longa-metragem da história do cinema. O enorme sucesso do filme confere a ele o caráter de uma das versões definitivas do conto original registrado pelos Irmãos Grimm. Além disso, a versão Disney acaba por influenciar inúmeras produções posteriores a ela. A partir de Branca de Neve e os Sete Anões, a empresa Disney lança novas traduções intersemióticas para a narrativa, como atrações em parques temáticos, jogos interativos, uma linha de produtos diversos e serviços de planejamento de eventos. Tal prática vai de acordo com a mentalidade expansionista dessa empresa que almeja o desenvolvimento de produtos e meios de entretenimento criativos e rentáveis a partir da diferenciação de conteúdos e de marcas em uma variedade de mídias. As traduções intersemióticas de Branca de Neve propostas pelas Disney proporcionam ao público maior poder de interação com as personagens e com o universo da narrativa e, além disso, podem ocasionar um aumento de nichos de consumidores da história. Um estudo acadêmico sobre tais traduções pode nos levar a compreender de que maneira o público, de modo geral, relaciona-se com os contos na atualidade. Para tanto, o presente trabalho propõe um diálogo entre literatura, cinema e comunicação, e apresenta um percurso analítico que parte da análise literária do conto dos Grimm, avança para reflexões acerca do conceito de tradução intersemiótica e, finalmente, debruça-se sobre algumas das traduções de Branca de Neve compostas pela Disney.

Ce travail porte sur les origines et les évolutions du conte merveilleux et de sapoétique, à travers l’étude privilégiée de la métamorphose. Le genre, issu de lalittérature orale, se caractérise en effet par une histoire littéraire tout particulièrement faite de transformations, de récritures et d’appropriations diverses, au gré du changement des mentalités, d’un élargissement des modes de diffusion et d’une ouverture aux littératures étrangères. En outre, les transpositions du conte à d’autres domaines que celui de l’écrit, tels que l’image et la scène, participent de l’évolution d’une poétique merveilleuse qui se définit en premier lieu comme poétique démonstration. Dans cette perspective, un deuxième versant de notre travail s’intéresse à la manière dont le cinéma – en prise de vues réelles et, surtout, d’animation (graphique) – a pu s’emparer du conte dès le tournant du XXe siècle, et met en lumière un certain nombre d’apports figuratifs (relevant principalement de la métamorphose et d’un jeu sur le voir et le non voir) à la poétique d’un genre dont il perpétue par ailleurs la structure narrative forte. / This work retraces origins and developments of fairy tales and its poetic, focusing on the metamorphosis. The history of this literary genre, born trough oral tradition, is especially composed of numerous changes, re-writings and various appropriations,according to mentalities, development of mass dissemination methods and study of foreign literatures. In parallel, fairy tales transpositions to others non-written domains,like theatre and pictures, confirms that the fairy tales poetic is primarily pictureoriented.In this perspective, the second part of our work focuses on how cinema(through live-action images and, especially, graphically animated images) has been inspired from fairy tales since early 20th century, and highlights a couple of figurative contributions (mostly based on metamorphosis and a game between visible and non visible) to the poetic of this genre, while it also perpetuates its strong narrative structure.

La fée, créature de synthèse sortie du fond des âges, héritière des figures de la mythologie gréco-romaine et des divinités païennes du Moyen Âge, se trouve au cœur de la création artistique chez les auteurs du XIXe siècle comme Jules Barbey d’Aurevilly (1808-1889). En effet, ce dernier met en scène d’étranges personnages féminins, dotés de grands pouvoirs et qui semblent, par leurs traits énigmatiques, s’apparenter à la fée médiévale, sœur par excellence de la Parque romaine et de la Moire grecque. Car, aussi bien dans L'Ensorcelée (1854), Un Prêtre marié (1864) que dans Une Vieille Maîtresse (1851), pour ne citer que ces trois exemples, la nature érotique des êtres féeriques paraît se combiner à leur essence prophétique et divinatoire. Ce travail,qui porte sur les aspects les plus significatifs de la fée dans les œuvres romanesques de Barbey à savoir l'érotisme et la divination, s’articule autour de trois parties : la première, intitulée peinture de la fée, dresse une typologie en se fondant sur les figures matricielles de la fée marraine et de la fée amante ; la deuxième, l'univers de la fée, se propose d’analyser l’espace ou l'univers sulfureux dans lequel se meut cet être énigmatique. Cette poétique des lieux vise à rendre perceptible l’illusion du surnaturel et du merveilleux savamment orchestrée par l’auteur, qui brouille le cadre spatio-temporel du récit en usant d’une technique polyphonique où se mêlent plusieurs points de vue ou une multitude d’instances narratives ; la dernière,la symbolique de la fée, met en exergue la finalité romanesque des avatars de la fée aussi bien dans l'imaginaire aurevillien que dans la fiction littéraire au XIXe siècle.Cette étude s’efforce de suivre une perspective qui tient compte à la fois de la richesse des procédés techniques et de la profondeur thématique de l’œuvre de Barbey. / The fairy, a hybrid creature sprung from the depths of time, from greco-roman mythology and the pagan divinities of the Middle Ages, takes center stage in the artistic creation of nineteenth-century authors such as Jules Barbey d’Aurevilly (1808-1889). Indeed, Barbey d’Aurevilly depicts unusual and powerful feminine characters, which seem, because of their enigmatic characteristics, to be related to the medieval fairy, herself a sister of the roman Parcae and greek Moirae. In L'Ensorcelée (1854), as in Un Prêtre marié (1864) and in Une Vieille Maîtresse (1851), among numerous other examples, the erotic nature of fairy-like beings combines with a prophetic and divinatory essence. This study thus addresses these two salient dimensions of the fairy in Barbey’s novels, eroticism and divination. The first section on “Depicting the fairy” establishes a typology based on the matricial figures of the fairy godmother and fairy mistress. Subsequently, the section titled « The universe of the fairy » focuses on space, or the sulfurous universe through which this enigmatic character moves. This analysis of the poetics of space attempts to elucidate Barbey’s orchestrated illusion of the supernatural and the marvelous. The writer blurs the spatio-temporal narrative frame of his novels by means of polyphony, introducing multiple points of view and narrative situations. The last section, « The symbolism of the fairy », points out the novelistic ends to which the avatars of this figure have been put, both in the aurevillian imaginary universe and more generally nineteenth-century literature. Our perspective endeavors to take into account both the wealth of aurevillian narrative technique and thematic depth of his work.

<p>In microscale separations, such as capillary electrophoresis and -liquid chromatography, the liquid flow rates are in the order of nanoliters per second. If such flow rates are to be interfaced with a mass spectrometer (MS) using electrospray (ES) ionization, without loss of separation efficiency, each fraction of the analyte zone must remain undisturbed by the high voltage contact necessary for ES. One design that accomplishes this is the pure sheathless approach, where a thin, vapor deposited metal film covers the outside of the electrospray emitter tip. </p><p>This thesis describes the development of such sheathless emitters. The lifetimes of polymer embedded gold (“fairy dust”) or graphite (“black dust”) emitters were shown to by far exceed those of previously used conductive films. In addition, the production of emitters with these coatings was substantially simplified. The increase in durability was found to be due to enhanced resistance towards the electrochemical processes associated with ES. In analogy, the reasons for the limited durability of previously used methods were correlated with their tendency to oxidize, or be mechanically removed, during electrochemical reactions. </p><p>Electrochemical processes associated with the electrospray potential were also found to seriously disturb analyses in which porous graphitic carbon was used as the separation medium. A proper choice of grounding point locations eliminated these disturbances.</p><p>At last, the differences regarding analytical performance of several sheathless interface configurations, used in capillary liquid chromatography, were examined. The best performance was obtained when a pure sheathless emitter with a conductive layer of polyimide and graphite was coupled to the LC column through a Teflon sleeve.</p>