Made available in DSpace on 2016-04-18T12:12:38Z (GMT). No. of bitstreams: 6 Eliana Rosa de Queiroz Barbosa1.pdf: 2245863 bytes, checksum: b5c5ac944adb3fe83988d53655c47ebd (MD5) Eliana Rosa de Queiroz Barbosa2.pdf: 2300365 bytes, checksum: 1036a894e4b17dee8d4d9bb469b432d6 (MD5) Eliana Rosa de Queiroz Barbosa3.pdf: 2971275 bytes, checksum: c733b97f61c95a2173970ddf2f43db12 (MD5) Eliana Rosa de Queiroz Barbosa4.pdf: 2737752 bytes, checksum: 2dfe329d37d1e6981ea089dd2156a58b (MD5) Eliana Rosa de Queiroz Barbosa5.pdf: 3575021 bytes, checksum: b51760f779acab77bd63f6522d112456 (MD5) Eliana Rosa de Queiroz Barbosa6.pdf: 2625535 bytes, checksum: 1c7425d444dac80e42f0a81430cc8692 (MD5) Previous issue date: 2009-09-17 / This work analyses the real estate development on São Paulo from 1967 to 1979, specially the production with resources of the BNH for the middle class s housing market. Trough the study of the chosen company HINDI Cia. Brasileira de Habitações the issue of the quality of the object é approached. This study was accomplished with interviews and in loco observation. Economic politics, housing politics and urban politics were analyzed, along with the construction industry logical e it s consequences on the quality of architecture and it s role of city builder. / O presente trabalho analisa a produção da habitação vertical na cidade de São Paulo de 1967 a 1979, especificamente a produção realizada com recursos do BNH para o mercado médio. Através da análise da produção da empresa escolhida como estudo de caso HINDI Cia. Brasileira de Habitações a discussão da qualidade do objeto arquitetônico é colocada em destaque. Foi realizado, para efeito de análise, o levantamento empírico da produção da incorporadora, além de entrevistas com os principais envolvidos clientes, fornecedores e incorporador. Discute-se a relação entre a política econômica, política habitacional, ritmo do mercado de construção civil e suas conseqüências na qualidade do objeto arquitetônico e seu papel como formulador da paisagem urbana.

This thesis presents the mystic poetess Mahadevi Varma, whose poetic work is of the Chhayavad period of Hindi poetry. The thesis introduces the reader to the dynamics of modern Hindi poetry. The main focus is on Varma's life and includes an analysis of her poetic work. The paper addresses Varma's use of traditional Indian literary elements in a modern context, which represents characteristic features of Chhayavad in general. A distinguishing factor of this thesis are translations of Mahadevi Varma's poems from Hindi into Czech. The translations are not direct translations but take poetic license to retain the spirit of the poetry in Czech.

This study examined Hindi film representations of people of Indian origin residing outside India, Hollywood film representations of people of Indian ethnicity in America, as well as self-representation in Indian-American films. The researcher used the quantitative methodology of content analysis to examine representations in Hindi and Hollywood films and the qualitative methodology of textual analysis to examine self-representation in Indian-American films. The sample for the content analysis included Hindi films released between 1995 and 2005 and Hollywood films released between 1984 and 2005. The sample for the textual analysis consisted of 10 Indian-American films that were examined as transmissions of culture within their social and historical contexts as well as through available news sources. This study found that the majority of Hindi film depictions of people of Indian origin residing abroad and the majority Hollywood film depictions of people of Indian ethnicity in America had migrated from India. The results also revealed that Hindi films stereotyped, Othered, and marginalized Indians residing outside India and Hollywood films stereotyped, Othered, and marginalized people of Indian ethnicity in America. It also found that Hindi and Hollywood films rarely depicted second-generation Indian Americans. Indian-American films produced mostly by Indian immigrants primarily focused on Indian immigrants and sometimes adhered to Hindi film stereotypes when depicting second-generation Indian Americans. Indian-American films produced mostly by second-generation Indian Americans primarily focused on second-generation Indian Americans. The majority of characters in Hindi, Hollywood, and both immigrant and second-generation Indian-American films were male. Because of the limited representation of Indian Americans in the four activities of communication: surveillance, correlation, transmission of culture, and entertainment (Lasswell, 1948; Wright, 1959), as well as in communications literature, this study of Indian-American representation is an important contribution not only to journalism literature but to the field of journalism itself. It has brought to the forefront a significant but underrepresented group, highlighted this group’s diversity and cultural nuances, revealed how the portrayals of such nuances led to the subversion of stereotypes, and emphasized how through the act of self-representation, the transmission of culture takes place through the entertainment medium of film. / text

The Ocean of Inquiry is a vernacular compendium of Advaita Vedānta, one of the most influential traditions of South Asian religion and philosophy, especially in modern times. Its author, Niścaldās (ca. 1791 – 1863), was a classically trained pandit and a sādhu of the Dādū Panth. His work was widely read in the nineteenth and early twentieth centuries, both in its Hindi original and in regional translations: Vivekananda once referred to it as the most influential book in India. Surprisingly, however, The Ocean of Inquiry remains virtually unknown to Western scholars; even specialists in Hinduism have rarely heard of it. This dissertation aims to draw attention both to Niścaldās’s work and to the broader genre of vernacular Vedānta; it also calls into question the notion that late Advaita Vedānta represents a period of intellectual decline. Part I provides a historical and textual overview of The Ocean of Inquiry, arguing that Niścaldās’s work should be situated within what might be termed "Greater Advaita Vedānta," or Advaita Vedānta as it was disseminated outside the received canon of Sanskrit philosophical works. This part of the dissertation also offers the first comprehensive biography of Niścaldās in English, and it analyzes the significance of his choice to write in the vernacular. Part II investigates the relationship of philosophy and religious practice in Niścaldās’s work. Taking as its starting point the question "What does it mean for knowledge to liberate?" this part of the dissertation argues that for Niścaldās, the key distinction is not between theoretical knowledge and liberating knowledge but between doubtful and doubt-free awareness. For those who are properly qualified, the central practice on the path to liberation is the practice of inquiry (vicāra), interpreted as a dialectical process of raising and removing doubts. This interpretation is supported with three "case studies" of characters in The Ocean of Inquiry who reach liberation. The conclusion is that for Niścaldās, philosophical inquiry is not a purely theoretical undertaking; under the right conditions, it can become a concrete religious practice.

My dissertation, The New Voyager: Theory and Practice of South Asian Literary Modernisms, investigates how literary modernisms in Bengali, Hindi, and Indian English functioned as much as a turning away and remixing of earlier literary traditions as a journey of engagement between the individual writer and his or her response to and attempts to re-create the modern world. This thesis explores how theories and practices of literary modernism developed in Bengali, Hindi, and Indian English in the early to mid-20th century, and explores the representations and debates surrounding literary modernisms in journals such as Kallol, Kavita, and Krittibas in Bengali, the Nayi Kavita journal and the Tar Saptak group in Hindi, and the Writers Workshop group in English. Theories of modernism and translation as proposed by South Asian literary critics such as Dipti Tripathi, Acharya Nand Dulare Bajpai, Buddhadeva Bose, and Bhola Nath Tiwari are contrasted to the manifestos of modernism found in journals such as Krittibas and against Agyeya's defense of experimentalism (prayogvad) from the Tar Saptak anthology. The dissertation then goes on to discuss how literary modernisms in South Asia occupied a vital space between local and global traditions, formal and canonical concerns, and between social engagement and individual expression. In doing so, this thesis notes how the study of modernist practices and theory in Bengali, Hindi, and English provides insight into the pluralistic, multi-dimensional, and ever-evolving cultural sphere of modern South Asia beyond the suppositions of postcolonial binaries and monolingual paradigms.

The diploma thesis deals with reflection of a picture of women- mothers in chosen hindu tales. Deals about motherhood in India on the base of literal characters of woman- mothers, analyses significant aspects of motherhood in India. Pays attention to influences of surrounding society and how they struggle with it. The thesis sources from original literature in hindi language and from other translations with taking account of original verses.

(in English) The aim of this thesis is to describe the language development of Hindī and Urdū from the same grammatical and lexical basis (the Kharī bolī dialect). The development divergence will be described in terms of both the historical development at different stages, which were conditioned by cultural and political influences, and the internal development (phonological, morphological and syntactical). The current linguistic situation is closely linked to the political development and language policy of India and Pakistan, where the two languages, Hindī and Urdū, are establishing themselves as official languages. The relationship between these two languages will be explored more deeply in sociolinguistic terms. The author will describe the conditions and circumstances of the use of languages on colloquial and literary levels.

Although sexual objectification is commonplace in media culture, music videos provide the most potent examples of it. The current investigation makes an important contribution to the relevant literature regarding the objectification of women in song lyrics while simultaneously broadening the content used to assess objectification. It reflects the ways of objectification of women in India by analyzing Bollywood rap and item songs. Based on objectification theory, one of the primary goals in the present study was to measure differences between visual and behavioral sexual objectification, drawing on theoretically derived indicators of sexual objectification. It also concentrated on measuring the change in the objectification patterns over the years. This was done by conducting a content analysis of 201 songs (n=201). The findings suggested that the visual objectification of women was higher than the behavioral objectification of women and that there is a shift in the common themes and the level of objectification over the decades.

This dissertation explores the interaction of syntax and morphology in the morpholog- ical realization of AGREE-relations. I present two case studies of derivational interactions of AGREE-processes where the morphological realization of the later processes are affected by the earlier ones. The two cases studied differ in the way probes and goals interact. The first part of the dissertation explores restrictions on clitic combinations where two goals vie for the features of one probe. The second part discusses the reverse situation, where two probes are agreeing with the same goal. The first configuration arises in restrictions on clitic combinations where v can AGREE with an indirect object and a direct object one at a time (Anagnostopoulou 2003, 2005b, Béjar and Rezác 2003). These configurations give rise to a form of competition: the sec- ond argument will fail to AGREE in any features that it shares with the first. I show that this form of competition extends from restrictions involving local person arguments, where it has been used so far, to restrictions involving third person and plural, which have so far been treated as morphological. Whereas the restrictions on local person lead to ungrammaticality, those on third person and plural result in impoverished morphological realization. I argue that this difference indicates a different role of AGREE for local person vs. third person and plural. Recent work as shown that local person has special syntactic licensing needs (e.g. Béjar and Rezác 2003, Baker 2008, Preminger 2011b). Third person and plural on the other hand, I argue, are syntactically wellformed on their own, but require AGREE to be visible to lexical insertion at PF. Failure to AGREE will lead to absence of morphological realization or ungrammaticality as a function of the features involved. Once restrictions on third person arguments are treated as syntactic, much of the variation across languages in their morphological realization follows from differences in the PF-inventory. The second situation, two probes AGREEING with the same goal, arises in agreement with objects in Hindi-Urdu. The second part of the dissertation discusses two asymmetries in agreement of T with subjects and objects in conjunction structures. While T-agreement with objects shows sensitivity to linear order (i.a. closest conjunct agreement), T-agreement with subjects does not. I argue that the differences follow from the activity of the goal at the time of agreement. While subjects are syntactically active at the time T probes them, objects are not, because they have already been assigned case by v. As a consequence, the syntactic relation between T and an object cannot value the T's probe in the syntax. Non- syntactic effects like the relevance of linear order affect agreement exactly when valuation cannot be achieved in the syntax. Both case studies lead to the proposal that syntactically wellformed derivations can be ruled out at PF by failure of lexical insertion. This can happen in two ways. The discus- sion of restrictions on clitic combinations will lead to the conclusion that some languages allow the syntax to generate wellformed structures that contain nodes with so few features that PF cannot insert an exponent for them. The discussion of agreement in Hindi-Urdu will lead to the proposal that the grammar can generate feature bundles with inconsistent features that cannot be spelled out in one form. Overall, PF does both less and more than is often assumed. The restrictions on third person and plural discussed in the first part are traditionally considered to be the result of morphological operations that change the feature content of clitics (Bonet 1991, 1993, 1995, Grimshaw 1997, Noyer 1997). The proposal here reduces the role of PF in these restrictions to spelling out syntactic structures that have reduced feature content as the result of syntactic interactions. Similarly, the proposal about Hindi-Urdu tightly delimits the space where non-syntactic effects on agreement arise. At the same time, PF can rule out syntactically wellformed structures, which is not typically assumed to be possible.

Parmi les réalisateurs, producteurs et acteurs de Bombay, Raj Kapoor (1924-1988) est certainement l’un des plus célèbres et des plus originaux, qu’il s’agisse de son œuvre ou de sa personnalité. Sa vaste filmographie qui rassemble quelques-uns des plus beaux mélodrames du cinéma populaire hindi reste méconnue en France. Proches du peuple, ces mélodrames révèlent un phénomène présent dans différentes situations et sous différents aspects : le sentiment d’incompréhension.Ce travail de recherche, inspiré par la lecture de Peter Brooks et Stanley Cavell sur le mélodrame, se donne pour but de montrer que les mélodrames de Kapoor sont porteurs d’un concept particulier qui les unit et les définit comme un genre cinématographique propre que nous appellerons « mélodrame de l’incompréhension ». Le sentiment de ne pas comprendre ou d’être « mal compris » qui hante ces mélodrames se cristallise non seulement à partir des enjeux esthétiques, historiques, politiques et culturels mais aussi des événements personnels.S’appuyant sur l’esthétique du mélodrame, Kapoor multiplie la présence métaphorique du héros aveugle qui pointe la difficulté ou l’impossibilité de communiquer et fait grief à la société de ne pas le comprendre. Inscrivant sa souffrance dans un contexte plus large, le mélodrame kapoorien dépasse les frontières du drame intimiste pour s’élever au niveau du peuple, voire de la nation, selon certains auteurs. Pour amplifier le phénomène d’incompréhension, le mélodrame utilise le malentendu, la méprise, l’ignorance, la confusion, l’illusion, etc. au point que ces difficultés de communication paraissent très clairement représenter des éléments structurels marqués par la réflexion de Kapoor sur l’incompréhension, teintée de mélancolie et de tristesse. / Among Bombay’s directors, producers and actors, Raj Kapoor (1924-1988) is certainly one of the best known and most original both for his work and for his personality. His vast filmography which constitutes a collection of some of the most beautiful melodramas of Hindi popular cinema remains virtually unknown in France. Close to the people, these melodramas reveal a theme which is universally present, illustrated in a variety of situations and different lights. It is the phenomenon of incomprehension.The present work, inspired by a reading of Peter Brooks and Stanley Cavell on the subject of melodrama, aims to show that Kapoor’s melodramas treat this specific theme which unites them and allows them to be defined as a distinct cinematic genre here termed "melodrama of incomprehension." The feeling of inability to understand or of being misunderstood which haunts these melodramas is gleaned not only from aesthetic, historical, political and cultural subjects but also from personal experience.Drawing on the aesthetics of melodrama, Kapoor multiplies the metaphorical presence of the blind hero illustrating the overwhelming difficulty of communication, and blames society for a lack of understanding. Extending the resulting suffering to a wider context, Kapoor’s melodrama transcends the bounds of individual drama, reaching out to the level of the people as a whole, indeed to the entire nation according to some authors. To amplify the phenomenon of incomprehension, his melodrama uses misunderstanding, scorn, ignorance, confusion, illusion, and more. Kapoor does this to a point at which these difficulties of communication clearly represent identifiable structural elements in his portrayal of incomprehension imbued with melancholy and sadness.