SANTOS, Maicon Araújo. Uma voz lírica em tempos de crise: a poesia de Lêdo Ivo nos anos 1940. 2012. 106 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2012. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-07-09T14:55:12Z No. of bitstreams: 1 2012_DIS_MASANTOS.pdf: 562571 bytes, checksum: dccf205859e0e9e2b2384c9ca564d0db (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-17T12:21:40Z (GMT) No. of bitstreams: 1 2012_DIS_MASANTOS.pdf: 562571 bytes, checksum: dccf205859e0e9e2b2384c9ca564d0db (MD5) / Made available in DSpace on 2012-07-17T12:21:40Z (GMT). No. of bitstreams: 1 2012_DIS_MASANTOS.pdf: 562571 bytes, checksum: dccf205859e0e9e2b2384c9ca564d0db (MD5) Previous issue date: 2012 / O presente trabalho propõe-se a analisar a poesia do escritor alagoano Lêdo Ivo (1924) produzida nos anos 1940, particularmente as obras Ode e elegia, de 1945, segundo livro do autor, e Ode ao crepúsculo, de 1946, quarto livro na sequência de suas publicações. Vê-se nessas obras o discurso de sobrevivência do gênero lírico equilibrado com a preocupação formal dos autores de 45 e, ao mesmo tempo, revelador de uma resistência contra a “coisificação do mundo”, de que nos fala o filósofo Theodor Adorno. Ode e elegia será abordada a partir das considerações de Adorno a respeito da relação entre Lírica e Sociedade. Em Ode ao crepúsculo, será destacado o sentido de resgate da autenticidade da vida sugerido pela poesia de Lêdo Ivo, a procura do Ser do homem, com base nas ideias de Martin Heidegger sobre o Ser e o mundo

<p>Иво Андрић се по први пут анализира као писац у чијем опусу је наглашено и присуство кратке форме. Према овој анализи утврђује се и његов истински значај на пољу књижевног израза који тежи језгровитости. Обиљем коментара, исповести, опаски, сентенција, максима, молитви, афоризама, кратких прича, анегдота, легенди и других краћих књижевних облика које проналазимо у опусу Ива Андрића, наш нобеловац се поставља на пијадестал ажурног творца кратке форме који је неговао и ценио језгровитост као и отворено мишљење. Обухватањем читавог опуса, а посебно Свески и Знакова поред пута можемо да утврдимо да је писац био склон априори сасвим краткој форми и да она сачињава и већи део његовог опуса.</p><p>Теоријски део рада састоји се од својеврсног, а овде утврђеног појмовника кратке форме, савремених књижевно-теоријских поставки унутар семиотике али и савременог контекста у ком се налази и сагледава књижевност и сам језик. Свему је додата и аналитичко-теоријска поставка семиотике културе, па и саме теорије о семиосфери.<br />Истраживачким радом обухваћене су две заокружене целине. Први део је посвећен идентификацији и анализи примера кратких форми као самосталних облика (Свеске, Знакови поред пута...). Други истраживачки део рада обухвата романе и приповетке у којима идентификујемо и анализирамо кратке форме као интерполиране у веће наративне целине. Свему смо додали и белешке из Андрићеве докторске дисертације. Због обимнијег присуства различитих врста и облика кратких форми, истраживачком делу рада и дисертације приступамо углавном егземплацијски. Наведени примери анализирани су по семиотичком кључу. Најлепшим плодовима овог истраживања, и целог труда сматрамо откривање примера антибајке али и молитви у прози Ива Андрића.</p> / <p>Ivo Andrić se po prvi put analizira kao pisac u čijem opusu je naglašeno i prisustvo kratke forme. Prema ovoj analizi utvrđuje se i njegov istinski značaj na polju književnog izraza koji teži jezgrovitosti. Obiljem komentara, ispovesti, opaski, sentencija, maksima, molitvi, aforizama, kratkih priča, anegdota, legendi i drugih kraćih književnih oblika koje pronalazimo u opusu Iva Andrića, naš nobelovac se postavlja na pijadestal ažurnog tvorca kratke forme koji je negovao i cenio jezgrovitost kao i otvoreno mišljenje. Obuhvatanjem čitavog opusa, a posebno Sveski i Znakova pored puta možemo da utvrdimo da je pisac bio sklon apriori sasvim kratkoj formi i da ona sačinjava i veći deo njegovog opusa.</p><p>Teorijski deo rada sastoji se od svojevrsnog, a ovde utvrđenog pojmovnika kratke forme, savremenih književno-teorijskih postavki unutar semiotike ali i savremenog konteksta u kom se nalazi i sagledava književnost i sam jezik. Svemu je dodata i analitičko-teorijska postavka semiotike kulture, pa i same teorije o semiosferi.<br />Istraživačkim radom obuhvaćene su dve zaokružene celine. Prvi deo je posvećen identifikaciji i analizi primera kratkih formi kao samostalnih oblika (Sveske, Znakovi pored puta...). Drugi istraživački deo rada obuhvata romane i pripovetke u kojima identifikujemo i analiziramo kratke forme kao interpolirane u veće narativne celine. Svemu smo dodali i beleške iz Andrićeve doktorske disertacije. Zbog obimnijeg prisustva različitih vrsta i oblika kratkih formi, istraživačkom delu rada i disertacije pristupamo uglavnom egzemplacijski. Navedeni primeri analizirani su po semiotičkom ključu. Najlepšim plodovima ovog istraživanja, i celog truda smatramo otkrivanje primera antibajke ali i molitvi u prozi Iva Andrića.</p>

De plus en plus de metteurs en scène ont aujourd’hui recours à la vidéo en direct dans leurs spectacles. De manière générale, le recours à ce type de dispositifs pendant la représentation permet d’offrir au spectateur des possibilités de perception qu’il n’a habituellement pas au théâtre : voir le plus infime détail d’un visage, ou une action au plus près, accéder visuellement à tout espace extérieur à la scène lorsque l’action scénique s’y déroule, percevoir sur le visage d’un acteur sa réaction devant l’action qui se tient sous ses yeux ou encore avoir une multiplicité de points de vue simultanés sur un même objet. Pour autant, peut-on dire que la fonction des images en direct au théâtre se réduise à ces quelques principes utilitaires dans la représentation ? En donnant aux spectateurs la possibilité de voir simultanément les acteurs et leur image filmée et projetée et/ou diffusée en direct sur le plateau, les artistes jouent de plus en plus du potentiel performatif du dispositif vidéo dans la représentation théâtrale. Ils ne s’arrêtent pas à redoubler la scène par l’image mais mettent en avant la déconstruction de l’image et la construction du réel ou, du moins, d’une réalité dans et par l’image. C’est pourquoi le recours aux images en direct au théâtre appelle inévitablement à en interroger les enjeux à la fois esthétique, narratif, dramaturgique et proxémique dans la représentation théâtrale. Sans prétendre à une quelconque exhaustivité, cette thèse vise à proposer, à partir de certains spectacles d’Ivo van Hove et de Guy Cassiers, quelques pistes permettant de mesurer l’étendue possible du potentiel performatif des images en direct dans la représentation. / Today, more and more directors include live video in their performances. The use of such devices offers new possibilities of perception to the spectators, which usually are not available in a theatrical representation such as to look at the smallest details of an action or on the performer’s face; to access visually to peripheral areas of the stage when a dramatic action takes place there; to notice the reaction of an actor who listens to the main protagonist, as well as to have different simultaneous viewpoints on the same object. Nevertheless, can we reduce the function of live images on stage to these few utilitarian principles in the performance? Allowing spectators to see, in the same time, the actors and the images of themselves, many artists exploit more than ever the performative potential of video in theatrical representations. Live video does not only reproduce on the screen what happens on the scene, but it also highlights on one hand the deconstruction of the image and, on the other, the construction of a reality in and by images. That is why the uses of live video on stage unavoidably lead to question issues related to the aesthetic, narrative, dramaturgical and proxemic aspects of theatrical performances. Based on the analysis of different performances staged by Ivo van Hove and Guy Cassiers, this thesis aims to measure the extent of the performative potential of live video on stage.

The present paper analyzes Lêdo Ivo s book &#8215;Nest of snakes (Ninho de cobras), from the perspective of romantic irony, in an inter-relationship with historical research, which the novel openly uses. Thus, we discuss the relationship between memory, history, fiction and metaphorical representation widely used in the text, aspects that serve to the romantic irony and to its unveiled fictional aspect in the romance. In the dissertation, social criticism will also be discussed as long as with the dictatorial authoritarianism and repression shown in the novel of Maceio set in the 1940 s Era Vargas which maintains a convergence of times with the military regime. / O trabalho realiza uma análise da obra Ninho de cobras, de Lêdo Ivo, sob a perspectiva da ironia romântica, numa inter-relação com a pesquisa histórica de que o romance, abertamente, faz uso. Assim, são discutidas a relação entre a memória, a história, a ficção e a representação metafórica amplamente utilizada no texto; aspectos que servem à ironia romântica e seu desvendar do ficcional no romance. Na dissertação, a crítica social será também discutida e com ela o autoritarismo e a repressão ditatorial que figuram no romance ambientado na Maceió da década de 1940 na Era Vargas e que mantém uma convergência de tempos com o período militar.

This study analyses the city representation in the novels As alianças and Ninho de cobras from Lêdo Ivo. It introduces that the relations from several cultural stratus are seen in the composition of the novels. This narratives show that there is also focus on the city image, its meanings and unfolding in the contemporary world. This work uses the bibliographical study and an analyses of qualitative nature, taking influence in the cultural base studies done by Candido (1972; 2000), Bosi (2002); Hall (1997a; 1997b), Rama (1985) and Gomes (1994; 2004a; 2004b) and representation studies done by Lima (2003) and Danto (2005). The analysis shows that both novels agree, in literary form, what these authors discuss in their book. Concerning the city and its discontinuous aspect, descriptive elements were detected in the novels in which choices for negative categories are unchained, changing narrator, characters and spaces into negative tone representations. Such negativity, as a novel representation, instars in the post-naturalism, according to Bosi (2002), a pregnant negativity that it s generated by an empty consciousness from the author. / Este trabalho analisa a representação da cidade nos romances As alianças e Ninho de cobras, de Lêdo Ivo, discutindo como as relações de muitos estratos culturais se apresentam na composição dos romances e permitem que se estabeleça, também, um enfoque para a imagem da cidade, seus significados e desdobramentos no mundo contemporâneo. Utiliza, para tanto, a pesquisa bibliográfica e uma análise de natureza qualitativa, baseando-se, principalmente, nos estudos de base cultural realizados por Candido (1972; 2000), Bosi (2002); Hall (1997a; 1997b), Rama (1985) e Gomes (1994; 2004a; 2004b) e por estudos sobre representação feitos por Lima (2003) e Danto (2005). A análise mostra que os romances configuram, na forma literária, o que esses autores discutem. No que diz respeito à cidade e seu aspecto descontínuo, detectaram-se elementos descritivos nos romances que desencadeiam escolhas por categorias negativas, transformando narrador, personagens e espaços em representações com tom elegíaco. A negatividade, como forma romanesca, instaura no pós-naturalismo, segundo Bosi (2002), uma negatividade grávida , gerada por um vazio consciente da autoria.

The master thesis deals with life and work of Ivo Klimeš (*1932), significant Czech architect from Ostrava. The aim of the thesis is to introduce creative work of Ivo Klimeš in the field of theater architecture since the first projects to its mature formation in the sixties and the seventies of the twentieth century, including unrealized designs, while taking to account the circumstances of his era. Ivo Klimeš was the one of the few architects who escaped the routine work within the Planning Institute and so he was able to design extraordinary buildings. As the most significant project is considered the Municipal Theater in Most, which in architectural expression applies brutalism and structuralism tendencies and is to be belonged to the most important cultural buildings of the second half of the twentieth century in the Czech Republic. Correspondingly, it is also a unique building of Jiří Myron Theatre in Ostrava, which was strongly influenced by Scandinavian architecture of Alvar Aalto. Ivo Klimes through his projects responded to the needs of the contemporary scenographic practice and from the beginning stressed the importance of innovation in creating theater spaces. Key concepts to him became the variability and the work with a stage space.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-29T14:13:40Z No. of bitstreams: 1 DIS_RODOLFO_SOARES_MANFREDINI_COMPLETO.pdf: 1405675 bytes, checksum: 470c2d4652d769a43dc22d8f2be4e254 (MD5) / Made available in DSpace on 2017-06-29T14:13:40Z (GMT). No. of bitstreams: 1 DIS_RODOLFO_SOARES_MANFREDINI_COMPLETO.pdf: 1405675 bytes, checksum: 470c2d4652d769a43dc22d8f2be4e254 (MD5) Previous issue date: 2017-03-13 / The present work presents an analysis of the perceived changes in the political area, due to the advent of new technologies. The electoral campaign of Jos? Ivo Sartori for the government of Rio Grande do Sul in 2014 was chosen for the study, as he successfully exploited the use of the Internet and its technological developments. Thus, a little known candidate of the majority of the population, managed to win the elections becoming governor of the state. Three points will be analyzed, since innovative strategies have been considered: the hashtag: # Sartor?oDaMassa; Sartori's request to voters, made during Free Election Time (FET), to record videos with open arms, simulating a hug the size of Rio Grande; and the testimony of Sartori's mother, also broadcast on FET. / O presente trabalho apresenta uma an?lise das mudan?as percebidas, na ?rea pol?tica, decorrentes do advento das novas tecnologias. A campanha eleitoral de Jos? Ivo Sartori para o governo do Rio Grande do Sul em 2014 foi escolhida para o estudo, pois soube explorar com sucesso o uso da internet e suas evolu??es tecnol?gicas. Assim, um candidato pouco conhecido da maioria da popula??o, conseguiu ganhar as elei??es tornando-se governador do estado. Tr?s pontos ser?o analisados, por terem sido consideradas estrat?gias inovadoras: a hashtag: # Sartor?oDaMassa; o pedido de Sartori aos eleitores, feito durante o Hor?rio Eleitoral Gratuito (HEG), para que gravassem v?deos com bra?os abertos, simulando um abra?o do tamanho do Rio Grande; e o depoimento da m?e de Sartori, tamb?m transmitido no HEG.

Submitted by PPG Letras (letraspg@pucrs.br) on 2018-03-07T13:16:35Z No. of bitstreams: 1 DISSERTA??O_SAMLA.pdf: 842743 bytes, checksum: ed530d173e5afdd37b1fde2d115ea526 (MD5) / Approved for entry into archive by Caroline Xavier (caroline.xavier@pucrs.br) on 2018-03-08T14:42:56Z (GMT) No. of bitstreams: 1 DISSERTA??O_SAMLA.pdf: 842743 bytes, checksum: ed530d173e5afdd37b1fde2d115ea526 (MD5) / Made available in DSpace on 2018-03-08T14:46:50Z (GMT). No. of bitstreams: 1 DISSERTA??O_SAMLA.pdf: 842743 bytes, checksum: ed530d173e5afdd37b1fde2d115ea526 (MD5) Previous issue date: 2018-01-18 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / The present study aims to analyse the use of memory, especially of family memory, in the novel Vermelho (2003), from the portuguese writer Mafalda Ivo Cruz. In it, the narrator protagonist, Tito, seeks to recover the genealogy of his family, resulting in a narrative marked by a form that largely reflects the discourse of memory, a theme dear to the author's work. Thus, the theoretical reference used here mainly consists of memory theorists such as Henri Bergson, Maurice Halbwachs, Paul Ricoeur, Aleida Assmann and J?el Candau. Besides that, we resorted to texts from narratology to support the reading of the novel, especially in what concerns the construction of the narrator. From the analysis performed, one can see that, contrary to what is expected of a memory narrative, that is, an organization of the past in a coherent and temporally linear whole, Tito transmits the family's past into a construction that reflects his disturbed mind. The chaos is also a reflection of the fact that the family history in evidence is full of gaps and silences that are often fictionally filled by its members, especially the manipulation elaborated by M?rio, the stepfather, the main responsible for the oral transmission of events to Tito. Ultimately, the objects of the family archive, in addition to being suspected of falsehood, may have been selected arbitrarily to serve the protagonist's purposes. Therefore, the narrator ends by, rather than reconstituting, founding a memory of the family, but the result is problematic, once Tito is not a reliable narrator. / Este trabalho tem como objetivo analisar o aproveitamento da mem?ria, especialmente da mem?ria familiar, no romance Vermelho (2003), da escritora portuguesa Mafalda Ivo Cruz. Nele, o protagonista narrador, Tito, procura recuperar a genealogia de sua fam?lia, do que resulta uma narrativa marcada por uma forma que reflete, em grande parte, o discurso da mem?ria, tema caro ? obra da autora. Sendo assim, o referencial te?rico utilizado consiste, principalmente, em te?ricos que tratam da mem?ria, tais como Henri Bergson, Maurice Halbwachs, Paul Ricoeur, Aleida Assmann e J?el Candau. Al?m disso, recorremos a textos da narratologia para embasar a leitura do romance, principalmente no que tange ? constru??o do narrador. Da an?lise realizada, pode-se perceber que, ao contr?rio do que se espera de uma narrativa de mem?ria, isto ?, uma organiza??o do passado em um todo coerente e temporalmente linear, Tito transmite o passado da fam?lia em uma constru??o que reflete sua mente perturbada. A caoticidade ? tamb?m reflexo do fato de a hist?ria familiar em jogo ser repleta de lacunas e de sil?ncios que s?o preenchidos n?o raro ficcionalmente pelos seus membros, destacando-se a manipula??o elaborada por M?rio, o padrasto, principal respons?vel pela transmiss?o oral dos eventos a Tito. Por fim, os objetos do arquivo familiar, al?m de serem suspeitos de falsidade, podem ter sido selecionados arbitrariamente para servir aos fins do protagonista. Assim, o narrador acaba por, mais que reconstituir, fundar uma mem?ria da fam?lia, mas o resultado ? problem?tico, uma vez que Tito n?o se mostra um narrador confi?vel.

Diss.--Neuere Fremdsprachen und Literaturen--Marburg / Lahn, 1984-1985. / Bibliogr. p. 181-194.

Works on the Balkans currently face a crisis of representation--from Ivo Andric's fictionalized memory to Joe Sacco's humanitarian witnessing, the occidental reader must examine the Balkans within a historical context of colonialism to avoid misrepresentation. The goal of this study is threefold: to provide a firm historical grounding while observing the instruments of colonialism, to give an overview of Occidental travel writing on the Balkans with a particular focus on the formation and dissolution of Yugoslavia, and to suggest examples of travel texts that strive to read colonized worlds without losing sight of their own Occidental positioning or pretending that it does not exist. When approaching a contested space that involves a multitude of competing discourses, a hefty responsibility is thrust on both the reader and writer of Balkan representations to retain an awareness of counter and hidden discourses while resisting the urge to define, or even pursue, the definitive "true story" of the Balkans. Thus, an occidental reader of East Europe must be able to contextualize various and often contradicting texts without naturalizing recorded experiences. He or she must also maintain a poignant awareness of how Western imperialism has constructed and reconstructed the region by journalism, memoir, artificial borders, ethnography, classification, historical absolutism, and financial exploitation. If this work simplifies or answers "What is Balkan?" then it has failed utterly. We can only hope to further complicate and challenge the dominant discourse of Balkanism to keep the reader's mind alive and questioning rather than dead and assured. / Master of Arts