Percebendo no lentíssimo voo dos aeromodelos F1D um sublime que a aceleração contemporânea subtrai à vida, a presente pesquisa busca formular hipóteses em torno ao fenômeno desacelerante desse voo; para tal, entendese a \"dúvida\" enquanto potência e o \"desconhecido\" como instância de liberdade. / Observing the F1D\'s slow flight, we can realize a sublime feeling that contemporary acceleration subtracts from life. Our research looks for hypotheses about this deceleration generated by the F1D; besides that, we take the \"doubt\" as potency and the \"unknown\" as a field of freedom.

Percebendo no lentíssimo voo dos aeromodelos F1D um sublime que a aceleração contemporânea subtrai à vida, a presente pesquisa busca formular hipóteses em torno ao fenômeno desacelerante desse voo; para tal, entendese a \"dúvida\" enquanto potência e o \"desconhecido\" como instância de liberdade. / Observing the F1D\'s slow flight, we can realize a sublime feeling that contemporary acceleration subtracts from life. Our research looks for hypotheses about this deceleration generated by the F1D; besides that, we take the \"doubt\" as potency and the \"unknown\" as a field of freedom.

Made available in DSpace on 2016-04-29T13:32:33Z (GMT). No. of bitstreams: 1 Alessandro Ezabella.pdf: 2904663 bytes, checksum: f847609feeca55fbf6778048ecea30d9 (MD5) Previous issue date: 2010-06-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Having as primary sources autobiographical novels, a memoir and works of popular science, this biographical study seeks to understand life and work of Hernani de Irajá, doctor, painter and journalist. Besides his activities as a sexologist, Hernani de Irajá devoted himself to drawing and painting, to journalism as a critic of art and published at least 10 works of popular science in Sexology. And actively participated in social events and promoted art in Rio de Janeiro in the period 1920-1960. We discuss the phenomenon of the proscription of this author, acclaimed by artists and professionals of his time, but with very few references among Brazilian sexologists / Tendo como fontes primárias romances autobiográficos, um livro de memórias e obras de divulgação científica, este estudo biográfico visa compreender vida e obra de Hernani de Irajá, médico, pintor e jornalista. Além de suas atividades como médico sexólogo, Hernani de Irajá dedicou-se ao desenho e à pintura, ao jornalismo como crítico de artes e publicou pelo menos 10 obras de divulgação científica em Sexologia. E participou ativamente dos eventos sociais e artísticos promovidos no Rio de Janeiro no período de 1920 a 1960. É discutido o fenômeno da proscrição deste autor, aclamado por artistas e profissionais de sua época, porém com referências muito escassas entre os sexólogos brasileiros

L’étude du fonctionnement des reprises parodiques d’Hernani en 1830 et l’édition de Harnali, N, I, ni et Oh ! Qu’Nenni, établie à partir des manuscrits, des rapports de la censure et de différentes versions imprimées, permettent de constater que les parodies d’Hernani sont à la fois déterminées par la pièce qui sert de modèle référentiel initial et par des intertextes contemporains avec lesquels elles dialoguent. Les conventions des spectacles du temps, le goût du public, font que la parodie sert paradoxalement d’imitation subversive au service d’une norme. En effet, la déconstruction parodique devient une source de construction des pièces qui, à travers les incohérences et les invraisemblances relevées dans Hernani, se positionnent dans un fonctionnement de spectacle qui leur est propre. Au-delà d’une simple critique, satire ou imitation d’une pièce initiale à travers l’écriture, l’intertextualité et les genres, les reprises parodiques renvoient ainsi une image du contexte du temps et des spectacles joués sur les théâtres secondaires. Ces parodies sont donc également des spectacles, qui s’inscrivent dans la contemporanéité de jeux d’acteurs, d’airs et couplets des théâtres secondaires parisiens de 1830. / The study of procedures used in parodies of Hernani in 1830, together with an edition of manuscripts of Harnali, N, I, ni and Oh! Qu’Nenni, of censors’ reports, and of different printed versions, show that parodies of Hernani are at the same time informed by the play that serves as an initial model and by cultural intertexts with which they establish a dialogue. Performance conventions of the time, as well as public taste, create a paradoxical situation in which parodies act as subversive imitation in the service of a norm. Indeed, parodic deconstruction becomes a source of construction of plays which, pointing out the incoherencies and improbabilities in Hernani, create their place in a type of performance that is unique to them. Beyond simple criticism, satire, or imitation of an earlier play through style, intertextuality, and genre, parodies also reflect an image of the context of the times and of plays performed on secondary theatres. These parodies are thus plays in their own right, a part of contemporary style of acting and of the use of airs and refrains in Parisian secondary theatres in 1830.