Made available in DSpace on 2015-06-17T19:33:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-05-27. Added 1 bitstream(s) on 2015-06-18T12:47:48Z : No. of bitstreams: 1 000829460.pdf: 322357 bytes, checksum: d142f4c0eaa0599f1057003e8393edad (MD5) / Este trabalho tem por objetivo estudar Crônica de uma morte anunciada do autor colombiano Gabriel García Márquez. Essa narrativa é construída através de relatos que nos proporcionam o entendimento dos fatos que levam a personagem principal à morte. Analisamos a Crônica sob a perspectiva das narrativas de testemunho bem como da crônica (AIO: 2007), pois percebemos que existem características de ambos os tipos textuais na obra de García Márquez, o que a torna, portanto, a nosso ver, uma narrativa que apresenta a fusão de diferentes características textuais, uma vez que nos apresenta os testemunhos do narrador e das personagens que vivenciaram os acontecimentos fúnebres daquela segunda-feira, através da ficcionalização de um fato cotidiano. Esse hibridismo se acentua quando vemos que há sempre um mistério rondando a narrativa, já que a mesma apresenta características próximas ao romance policial (BOILEAUNARCEJAC: 1991), fornecendo-nos, assim, a tríade típica desse gênero: o criminoso, a vítima e o crime. Analisamos também as memórias individuais e coletivas (HALBWACHS: 2006; BOSI: 2003) apresentadas pelo narrador e pelas personagens. O narrador nos apresenta não somente as visões das personagens, mas também suas impressões pessoais acerca da história, deixando, portanto, suas marcas dentro da narrativa / The object of this research is to study the Chronicle of a Death Foretold written by the Colombian Gabriel García Márquez. This literary work is composed by accounts which provide the understanding of the facts about the death of the main character present in this narrative. It is analyzed from the perspectives of witness narratives and chronicle (AIO: 2007), because it is possible to notice that this both textual types exist in the Chronicle of a Death Foretold, demonstrating that this narrative contains different textual characteristics. The mixture of these textual characteristics is observed in the narrator and in the characters evidences of their mournful experiences through the daily events fictionalization. This hybridism is intensified because there is always a mystery around the narrative as it is also observed in detective novels (BOILEAU-NARCEJAC: 1991), in which there is the triad: victim, criminal and the crime. It is also analyzed the individual and collective memories presented by the narrator and the characters, as studied by (HALBWACHS: 2006; BOSI: 2003). In Chronicle of a Death Foretold, the narrator presents not just the characters views, but also his own impressions about the whole story, leaving his point of view about the narrative

Algebraic geometric codes were first introduced by V.D.Goppa . They were well recognized and developed by Tsfasman, Vladut and Zink because they have parameters better than Gilbert-Varshmov bound and thus giving rise to Tsfasman Vladut-Zink bound. While the codes given by Ihara, Tsfasman, Vladut and Zink have complicated construction, Garcia and Stichtenoth on the other hand gave an explicit construction of codes attaining Tsfasman-Vlasut-Zink bound using the terminology of function fields. In coding theory one of the challenging problem is to find a sequence of cyclic codes that are asymptotically good. While this has not been achieved, Stichtenoth generalized cyclic codes to transitive codes and constructed a sequence of asymptotically good transitive codes on algebraic function fields over quadratic finite fields that attain Tsfasman-Vladut-Zink bound. In the case of cubic finite fields, Bezerra, Garcia and Stichtenoth constructed a tower of function fields over cubic finite fields whose limit attains a lower bound and the codes constructed over this tower turns out to be asymptotically good attaining a positive lower bound. Bassa used this tower and constructed quasi transitive codes which are a generalization of transitive codes and proved that they are also asymptotically good and attain the same positive lower bound. Later Bassa, Garcia and Stichtenoth constructed a new tower of function fields over cubic finite fields whose structure is less complicated compared to that of Bezerra, Garcia and Stichtenoths' and proved that codes constructed over it also attain the same positive lower bound. In this work along the lines of Bassa and Stichtenoth we construct quasi transitive codes over the tower given by Bassa, Garcia and Stichtenoth and prove that these quasi transitive codes are also asymptotically good and also attain the same lower bound.

An examination of the historical treatises of Manuel Garcia II and Giambattista Mancini, scientific studies pertaining to glottal closure, and Vocal Function Exercises used in clinical speech pathology led to an exploratory study that attempted to increase the glottal closure in an untrained university male chorus using only choral voice building exercises. The exploratory study used a single group, pre-test post-test design, and data was recorded using audio recordings of the entire chorus as well as electroglottograph measurements of individual subjects. The data show an increase in glottal closure as measured by closed quotient values, and an increase in energy in the upper partials of the recorded acoustic signal from the chorus.

Feminist scholars have focused on the Gothic as a medium for expressing the horrors of female experience in a patriarchal society. This study examines Gothic awareness in Jane Austen’s Northanger Abbey and Silvia Moreno-Garcia’s Mexican Gothic.The first part of the study focuses on Gothic awareness in relation to female sexuality and the threat of sexual violence from a feminist and psychoanalytic point of view.The second part of the analysis focuses on Gothic awareness in relation to domestic entrapment from a feminist point of view. In the third and final part of the study, Gothic awareness is analysed in relation to class and ethnicity from a Marxist and a postcolonial perspective. It is concluded that in Northanger Abbey, Catherine's lack of Gothic awareness stops her from becoming a victim, but also stops her from recognising the Gothic dangers surrounding her, whereas in Mexican Gothic, Noemí’s growing Gothic awareness enables her to take action against the Gothic dangers she faces. In both works, Gothic genre conventions are appropriated in order to convey the dangers faced by women in the worlds of the novels, but also subverted in order to show that women are more than passive victims.

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Como disse Stephen King em seu livro de 1999 "On Writing", a literatura é a comunicação entre mentes distantes no tempo e no espaço, telepatia. Mesmo aqueles que são menos místicos que o escritor reconhecerão que uma das virtudes das criações humanas é a capacidade de serem compreendidas; dentre elas, a Arquitetura. Aquele que procurar na história da disciplina ou na prática atual um modelo seguro de ação, inevitavelmente acabará frustrado. O modo de trabalhar varia muito entre os arquitetos e ainda um mesmo profissional não aborda todo e qualquer projeto da mesma maneira. Mesmo assim, é possível separar a produção arquitetônica em dois grupos: aquele que possibilita refazer os processos mentais de seu autor – que deixa evidente os critérios e decisões geradores da forma – e aquele que não nos oferece essa cortesia; é daquela Arquitetura que este trabalho se ocupa ao explorar o conceito de sistematicidade. Na primeira parte do trabalho, se traz maior clareza ao seu significado através da sua análise, de suas variações e de seus opostos; na segunda parte, se apresenta três projetos que o exemplificam. Se é verdade que não há método seguro para se produzir Arquitetura e que reinam uma multiplicidade de valores contraditórios, ainda assim é possível identificar qualidades naquilo que já foi produzido e tentar replicá-las em projetos futuros. Nesse sentido, o trabalho se vincula à tradição que busca na própria disciplina sua legitimação e promove uma Arquitetura que seja compreensível para o profissional que a estuda e para quem a vive. / As Stephen King said in his 1999 book “On Writing,” literature is the communication of minds distants in time and space, telepathy. Even those who are less mystical than the writer will recognize that one of the virtues of human creations is their ability to be understood; among them, architecture. One who looks at the history of the discipline or current practice for a safe model of action will inevitably become frustrated. The way architects work vary considerably, and yet the same professional does not approach every project the same way. Even so, it is possible to separate architectural production into two groups: one that makes it possible to remake the mental processes of its author - which makes evident the criteria and decisions that generate form - and one that does not offer this courtesy; it is from that architecture that this work occupies itself when exploring the concept of systematicity. In the first part of the work, clarity is brought to its meaning through its analysis, its variations, and its opposites; in the second part, it presents three projects that exemplify it. If it is true that there is no sure method to produce architecture and that a multiplicity of values reign, it is still possible to identify qualities in what has already been produced and try to replicate them in future projects. In this sense, the work is linked to the tradition that seeks in architecture its own legitimation and promotes an architecture that is understandable for the professional who studies it and for those who lives it.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-03T12:56:51Z No. of bitstreams: 1 Raquel Andrade Machado.pdf: 1088720 bytes, checksum: 5c9a5a05c3beee108a259b651669d1f1 (MD5) / Made available in DSpace on 2017-04-03T12:56:51Z (GMT). No. of bitstreams: 1 Raquel Andrade Machado.pdf: 1088720 bytes, checksum: 5c9a5a05c3beee108a259b651669d1f1 (MD5) Previous issue date: 2017-03-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research aims at analyzing the role of the narrator in Iaiá Garcia (1878), by Machado de Assis, on the threshold between reliability and unreliability, aspiring to ambivalence and irony. Pointed by the critical tradition as an in-between novel from the author’s romantic and realist phases, the question that guides this research is that of investigating whether, and to which extent, it would be possible to detect in the narrative structure, especially in the narrator’s point of view, this transitional place between the two aesthetic-literary paradigms by observing the characters Iaiá Garcia, Estela and Jorge – which form the amorous triangle in the plot. We assumed the hypothesis that the narrator has a preponderant role in the construction of the narrative by positioning itself halfway between omniscience and loss of control over the characters, by conveying a dialogic discourse that highlights irony. Furthermore, this is what we could call a chess-player narrator, one who condones the female characters’ – Estela and Iaiá – moves in the chess game; one who detaches itself from the enunciation to the enunciated – chapter XII –, and one whose focus is on the amorous triangle Estela-Jorge-Iaiá – the chess piece used by the ironist narrator to criticize romantic love, with its excesses and fanciful idealizations, and to project another sort of love, driven by reason and logic. As theoretical underpinning, we used Wayne C. Booth (1964) on the telling-showing distinction and on the types of narration; Mikhail Bakhtin (2011) on polyphony, alterity and dialogism, as well as Linda Hutcheon (2000) and her studies on irony. The analysis of the narrative discourse showed that the narrator’s detachment lies upon strategies of telling and showing, applied to interval tones whether of free indirect discourse or irony. Thus, it is possible to observe the existence of a literary project thought by Machado de Assis, which sets new paradigms regarding the narrator’s position, often distrusted in the omniscient mode; the creation of characters, made more autonomous and responsible for their viewpoints; and finally, the reader, from whom the reading will require more than fondness for Romanesque adventures, typical of feuilleton novels / O objetivo deste trabalho é o de analisar o movimento do narrador de Iaiá Garcia (1878), de Machado de Assis, no limiar entre a confiabilidade e a não confiabilidade, investindo na ambivalência e na ironia. Tido pela tradição crítica como um romance de passagem entre a fase romântica e a realista do escritor, a questão motivadora desta pesquisa foi a de investigar em que medida seria possível detectar na estrutura da narrativa, especialmente no ponto de vista do narrador, esse lugar cambiante entre esses dois paradigmas estético-literários na relação com as personagens Iaiá Garcia, Estela e Jorge, que configuram o triângulo amoroso da trama. Partimos da hipótese de que o narrador assume um papel preponderante na construção da narrativa posicionando-se a meio caminho entre a onisciência e a perda desse controle sobre as personagens por meio de um discurso dialógico no qual a ironia se destaca. Além disso, é este um narrador enxadrista, que compactua com as personagens femininas – Estela e Iaiá – os lances de um jogo de xadrez, que se desloca da enunciação para o enunciado – o capítulo XII –, e cujo foco é o triângulo amoroso Estela-Jorge-Iaiá. Este é um núcleo importante para o narrador ironista posicionar-se criticamente sobre o amor romântico, com seus excessos e idealizações fantasiosas, para projetar um outro tipo de amor, fruto da razão e do cálculo. Como embasamento teórico, utilizamos Wayne C. Booth (1964) sobre o par contar-mostrar e as estratégias do narrador, Mikhail Bakhtin (2011) com os conceitos sobre plurilinguismo, alteridade e dialogia, e também Linda Hutcheon (2000), no seu estudo sobre a ironia. A análise do discurso narrativo demonstrou que o deslocamento do narrador se faz entre estratégias de contar e mostrar, investindo em tons intervalares seja do discurso indireto livre, seja da ironia. A partir daí, é possível perceber a presença de um projeto literário de Machado de Assis, que lança novos parâmetros para o posicionamento do narrador, questionado em seu modelo de onisciência; para a construção das personagens, mais autônomas e responsáveis por sua visão de mundo e para o leitor (a) do qual se exige mais do que identificação com aventuras romanescas, próprias dos romances folhetins

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-05-19T13:30:09Z No. of bitstreams: 1 TES_CATIA_ROSANA_DIAS_GOULART_COMPLETO.pdf: 921112 bytes, checksum: 0dedf45909bb91ca0f5331b3876b0563 (MD5) / Made available in DSpace on 2016-05-19T13:30:09Z (GMT). No. of bitstreams: 1 TES_CATIA_ROSANA_DIAS_GOULART_COMPLETO.pdf: 921112 bytes, checksum: 0dedf45909bb91ca0f5331b3876b0563 (MD5) Previous issue date: 2016-02-29 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / In Imaginaries of the South: critical border thinking and the reverse of modernity in Aldyr Garcia Schlee's fiction, I reflected upon the development of critical thinking in Latin America and its implication in the creation of imaginaries. After analyzing the investigations carried out by researchers who focus on border literature in the south of Brazil, Uruguay and Argentina, I showed how they managed to develop a homogeneous image of the border literature in the region while being connected to the paradigm of transculturation. Taking into account that the imaginary of the local fiction in the region is currently more diversified that critics have shown, I aimed at changing this image. Therefore, I analyzed critical thinking in Latin America from the perspective of readings which have been understood as Border Thinking and interpret Aldyr Garcia Schlee's fictional work. In this way, with intercrossing readings, I showed how the writer invests in the development of an authorial performance and in the use of multiple social memories in his fiction, besides creating a symbolic space which not only provides evidence of the inviability towards restricting regional literature to the gaucha literature but also highlights its interrelation and other regions in the world. / Em Imagin?rios do Sul: pensamento cr?tico de fronteira e os avessos da Modernidade na fic??o de Aldyr Garcia Schlee, reflito sobre a constru??o do pensamento cr?tico na Am?rica Latina e sua implica??o na cria??o de imagin?rios. Percorrendo a trajet?ria investigativa de pesquisadores voltados ? literatura de fronteira entre o sul do Brasil, Uruguai e Argentina, evidencio como, vinculados ao paradigma da transcultura??o, eles atuaram na cria??o de uma imagem homog?nea da literatura de fronteira da regi?o. Considerando que o imagin?rio da fic??o local na contemporaneidade ? mais diversificado do que tem sido tratado pela cr?tica predominante, proponho-me a desarticular essa imagem. Para tanto, retomo o pensamento cr?tico na Am?rica Latina pela perspectiva de leitura que vem sendo concebida como Pensamento de Fronteira e realizo uma interpreta??o da obra ficcional de Aldyr Garcia Schlee. Nesse percurso de leituras entrecruzadas, entendo e exponho como o escritor, investindo na cria??o de uma performance autoral e na inscri??o de m?ltiplas mem?rias sociais em sua obra ficcional, cria um espa?o simb?lico que n?o somente evidencia a inviabilidade de se restringir a literatura da regi?o ? literatura gauchesca, mas tamb?m sinaliza a inter-rela??o desta com outras regi?es do mundo.

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-02-21T12:17:21Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ErotismoMasculinoFotografias.pdf: 2740621 bytes, checksum: 9edc1b434761b1b6f93667817305ec0b (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-02-21T12:18:39Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ErotismoMasculinoFotografias.pdf: 2740621 bytes, checksum: 9edc1b434761b1b6f93667817305ec0b (MD5) / Made available in DSpace on 2017-02-21T12:18:39Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ErotismoMasculinoFotografias.pdf: 2740621 bytes, checksum: 9edc1b434761b1b6f93667817305ec0b (MD5) Previous issue date: 2012 / O tema proposto é o estudo da representação do corpo masculino e as características do erotismo na fotografia contemporânea paraense. Para o estudo, foram escolhidas obras dos artistas Sinval Garcia (série “Automatic Men”) e Orlando Maneschy (série “Homens de Sangue”) produzidas nas décadas de 1990 e 2000. A investigação desta pesquisa contou com levantamento bibliográfico sobre arte contemporânea, fotografia, erotismo e homoerotismo. Para isso, foram usados os ensaios sobre fotografia de Susan Sontag, o estudo de Charlotte Cotton sobre fotografia e arte contemporânea, além do pensamento de Kátia Canton sobre a relação e implicações de imagem e mundo, e como essa relação é evidenciada através do corpo. George Bataille e Afonso Medeiros são referências para o estudo do erotismo. Esse trabalho pretende colaborar para as reflexões sobre a produção fotográfica do Pará e na construção do panorama da arte contemporânea nacional. / The proposed theme is the study of the representation of the male body and the characteristics of eroticism in the contemporary paraense photograph. For the study were chosen works from the artists Sinval Garcia (series "Automátic Men") and Orlando Maneschy (series: "Homens de Sangue") produced in the decades of 1990 and 2000. The investigation in the research relied on bibliographic examination on contemporary art, photography, eroticism, and homoeroticism. For this, we used the tests on photograph of Susan Sontag, the study of Charlotte Cotton on photography and contemporary art, in addition of the thought of Kátia Canton on the relationship and implications of image and world, and how this relationship is demonstrated through the body. George Bataille and Afonso Medeiros are references for the study of eroticism. This work aims to contribute to the reflections on the photographic production of Para and in the construction of the national contemporary art’s panorama.

Este trabalho tem como objetivo principal o estudo do narrador no romance Memorial de Aires, de Machado de Assis. Em uma primeira etapa buscou-se levantar a fortuna crítica do romance, conforme algumas interpretações para se chegar a uma análise do narrador machadiano. No segundo momento foram revisitados desse autor os romances Iaiá Garcia, Esaú e Jacó e o conto Galeria Póstuma, procurando compreender a importância dos personagens Luís Garcia, conselheiro Aires e Joaquim Fidélis, base para a constituição do narrador do Memorial de Aires. Para isso, verificou-se pela comparação que Machado de Assis configurava tipos semelhantes ao conselheiro Aires, dos romances Esaú e Jacó (1904) e Memorial de Aires (1908), através dos personagens Luís Garcia, do romance Iaiá Garcia (1879) e Joaquim Fidélis, do conto Galeria Póstuma (1883-1884). Quem é o conselheiro Aires que figura como personagem e narrador? Ele é um narrador dissimulado? A dissertação mergulha nos quatro textos para responder as questões pelo estudo do narrador do Memorial de Aires. / The main subject of the present work is studying the narrator of Memorial de Aires, written by Machado de Assis. On a first stage it was aimed to bring up the critical wealth of the novel, according to some interpretations, in order to reach after an analysis of this Machado’s narrator. At a second moment the novels of the same author, Iaiá Garcia, Esaú & Jacó and the tale Galeria Póstuma, have been looked up again, trying to understand the magnitude of the named personages Luis Garcia, counselor Aires and Joaquim Fidélis, on whom the constitution of the narrator of Memorial de Aires was based. Therefore, it has been verified that Machado de Assis set similar types to Counselor Aires, of the novels Esaú & Jacó (1904) and Memorial de Aires (1908), since the first phase through de personage Luís Garcia, of the romance Iaiá Garcia (1879) and Joaquim Fidélis, of the tale Galeria Póstuma (1883-1884). Who finally is counselor Aires, appearing as personage and as narrator? Is he an underhanded narrator? This essay dives into the four texts aiming to answer the question by studying the narrator of Memorial de Aires.