Cette thèse est née de la supposition que la représentation audiovisuelle de trajectoires personnelles, périodes et événements historiques se constituent dans des lieux de mémoire sociale. Le travail en question a l’intention de comprendre comment la fiction dans les séries télévisuelles de reconstitution historique contribue à la constitution de la mémoire sociale dans le Brésil contemporain. Pour cela, l’investigation met en relation le trio communication, histoire et mémoire et l’utilise comme axe bâtisseur de la pensée. Ayant comme des objectifs spécifiques a) Comprendre et identifier les modes particuliers de la construction du discours mémorial produit par la dramaturgie de séries de télévision; b) Repérer les stratégies estétiques de narration employées pour produire un discours sur l’histoire, pris pour de vrai et pour du réel, qui contribue avec la consolidation de ce discours mémorial dans la société; c) Identifier les types d’images et comment elles sont employées dans le processus de construction du discours dans le but de récupérer le sens déjà solidifié dans la société et ajouter des nouveaux signifiés à la période représentée, et, d) Observer comment la représentation fictionnelle de la trajectoire de l’ex-Président Jucelino Kubtschek construit des sens, rassemble des savoirs et matérialise le passé représenté sur l’écran. La thèse est structurée dans trois parties: L’Intrigue: de la rencontre Communication, Histoire et Mémoire; La trame: JK dans la série de télévision et dans l’histoire; et, le Dénouement: Modes de construction de l’écrit de l’histoire dans la dramaturgie télévisuelle. La métodologie adoptée emploie, à part la recherche bibliografique, l’analyse des trois mondes qui commandent la fiction, de François Jost (2003), et l’analyse fílmique, de Jacques Aumont et Michel Marie (2004; 2011). Le matériel qu’on utilise dans cette investigation, c’est la sérietélévision JK, de Maria Adelaide Amaral et Alcides Nogueira, exhibée entre janvier et mars 2006, dans le Réseau Globo de Télévision. L’analyse se présente à partir de trois catégories, ce qui donne l’occasion de visualiser les modes de la dramaturgie de télévison de reconstituire l’histoire du Brésil et attribuer au discours audiovisuel, l’éffet de réel (AUMONT, 2008) et l’éffet de vérité (CHARAUDEAU, 2007). Comme cela, à partir de la construction du personnage, d’une diégèse construite entre l’histoire et la fiction et de l’emploi de l’image en tant que support de mémoire, on repère et identifie des formes spécifiques d’un discours sur l’histoire de la nation. La narration, en fait, même que fiction mélodramatique, a comme principale stratégie l’emploi des éléments des traditions esthétiques réaliste et naturaliste, pour cela utilise plusieurs mécanismes pour attribuer vraissemblance à l’intrigue, mais aussi de les attribuer un sens d’effet de vérité. On identifie une préoccupation ou un désir de présenter un discours avec une valeur de véracité (CHARAUDEAU, 2007), ce qui justifie utiliser l’historiographie comme base de la construction du discours; à part l’utilisation de tecniques de narration typiques dans le documentaire, ainsi que des images document, narration over ou la voix du savoir (BERNARDET, 2003; NICHOLS, 2005), et manipulation de images dans le but de paraître un document. Tellles sont les stratégies employées dans la narration de la série JK qui nous amènent à la dénominer une “fiction controlée”, vu la grande préoccupation d’autenticité, en ce qui concerne le passe représenté et l’emploi des possibilités tecniques du langage audiovisuel pour produire un discours qui prétend être le passé et pas seulement montrer une idée de passé. À notre avis, tenir à une idée d’histoire positiviste gâche la possibilité de construction d’un discours sur l’histoire de la nation plus symbolique et métaphorique (ROSENSTONE, 2010), moins attachée à des archives et versions, déjà stabilisées dans l’imagination et mémoire sociale sur l’ère de l’or de l’histoire du Brésil. / Esta tese nasce do pressuposto de que a representação audiovisual de trajetórias pessoais, períodos e acontecimentos históricos constituem-se em lugares de memória social. O presente trabalho tem o propósito de compreender como a ficção televisiva de minissérie de reconstituição histórica contribui para a formação da memória social no Brasil contemporâneo. Para isso, a investigação relaciona a tríade comunicação, história e memória e a utiliza como eixo construtor do pensamento. Tendo como objetivos específicos: a) Compreender e identificar os modos particulares da construção do discurso memorial produzido pela teledramaturgia de minissérie; b) Mapear as estratégias estético-narrativas utilizadas para produzir um discurso sobre a história, com efeito de verdade e efeito de real, que contribui com a consolidação desse discurso memorial na sociedade; c) Identificar os tipos de imagens e como elas são acionadas no processo de construção do discurso, reiterando sentidos já consolidados na sociedade e agregando novos significados ao período representado; e, d) Observar como a representação ficcional da trajetória do ex-presidente Juscelino Kubitschek constrói sentidos, agrega saberes e dá materialidade ao passado representado na tela. A tese está estruturada em três partes: A Intriga: do encontro Comunicação, História e Memória; A trama: JK na minissérie e na história; e, Desenlace: Modos de construção da escrita audiovisual da história na teledramaturgia. A metodologia adotada utiliza, além da pesquisa bibliográfica, a análise dos três mundos que regem a ficção, de François Jost (2003), e a análise fílmica, de Jacques Aumont e Michel Marie (2004; 2011). O material empírico com que se trabalha nesta investigação é a minissérie de televisão JK, de Maria Adelaide Amaral e Alcides Nogueira, exibida entre janeiro e março de 2006, na Rede Globo de Televisão. A análise se apresenta a partir de três categorias que possibilita visualizar os modos de a teledramaturgia reconstituir a história do Brasil e atribuir ao discurso audiovisual efeito de real (AUMONT, 2008) e efeito de verdade (CHARAUDEAU, 2007). Assim, a partir da construção da personagem, de uma diégese construída entre a história e a ficção e do uso da imagem como suporte de memória, foram mapeadas e identificadas formas específicas de um discurso sobre a história da nação. O enredo construído pela instância narrativa, embora ficção melodramática, tem como principal estratégia o uso de elementos das tradições estéticas realista e naturalista, por isso utiliza de vários mecanismos para atribuir verossimilhança à trama, mas também de atribuir-lhe um sentido de efeito de verdade. Identificou-se uma preocupação ou um desejo de apresentar um discurso com valor de verdade (CHARAUDEAU, 2007), daí utilizar a historiografia como a base da construção do discurso; além do uso de técnicas narrativas típicas do documentário, como imagens-documento, narração over ou a voz do saber (BERNARDET, 2003; NICHOLS, 2005), e manipulação de imagens com o objetivo de parecer ser documento. Essas e outras estratégicas utilizadas pela instância narrativa da minissérie JK nos levam a denominá-la como uma “ficção controlada”, visto a grande preocupação de autenticidade do passado representado e uso das possibilidades técnicas da linguagem audiovisual para produzir um discurso que pretende ser o passado e não mostrar uma ideia de passado. No nosso entendimento, o apego à uma ideia de história positivista desperdiça a possibilidade de construção de um discurso sobre a história da nação mais simbólica e metafórica (ROSENSTONE, 2010), menos presa a arquivos e versões já estabilizadas na imaginação e memória social sobre a era de ouro da história do Brasil. / This thesis comes from the presupposition that the audiovisual representation of personal trajectory, historical periods and facts are constituted in places of social memories. The present work aims to comprehend how the fictional television miniseries of historical reconstitution contributes to the social memory constitution in the contemporary Brazil. For this reason, the investigation relates the triad communication, history and memory, using it as the building axis of thinking. Having as specific objectives a) comprehend and identify the particular means of constructing the memory discourse produced by mini-series dramaturgy; b) map the estheticnarrative strategies used to produce a discourse about history, with truth effect and real effect, that contributes with the consolidation of this memorial discourse in the society; c) Identify the types of images and how they are triggered in the process of discourse construction, repeating meanings already consolidated in the society and adding new signification to the represented period; and d) observe how the fictional representation of the former president Juscelino Kubitschek’s history produces meanings, adds knowledge, and gives materiality to the past represented on the screen. The dissertation is structured in three parts: The intrigue: of the crossroads communication, history and memory. The plot: JK in the mini-series and in history; and, The outcome: means of building history writing in television dramaturgy. The methodology chosen makes use of bibliographical research and the analysis of the three worlds that rule fiction, by François Jost (2003) and the film analysis, by Jacques Aumont and Michel Marie (2004; 2011). The empiric material used in this investigation is the television mini-series JK, by Maria Adelaide Amaral and Alcides Nogueira, played between January and March 2006, on Rede Globo de Televisão. The analysis is presented by three categories that enable us to visualize the television dramaturgy means of reconstituting Brazilian history and attributing, to the audiovisual discourse, real effect (AUMONT, 2008) and truth effect (CHARAUDEAU, 2007). Thus, from the character construction, a diegesis built between history and fiction and the use of image as memory support, we map and identify specific forms of discourse about the nation’s history. The plot built through the narrative instance, although melodramatic fiction, has as its main strategy the use of elements from the realistic and naturalistic esthetic traditions, therefore it makes use of several mechanisms to give verisimilitude to the plot, but also to give it a sense of truth effect. It is identified a concern or a desire to present a discourse with value of truth (CHARAUDEAU, 2007), using then the historiography as the basis of discourse construction, besides the use of narrative techniques typical from documentaries, such as “document image”, voice-over narration or the “wisdom’s voice” (BERNARDET, 2003; NICHOLS, 2005), and the manipulation of images with the objective to seem document. These strategies and some others used by the narrative instance of JK mini-series lead us to name it as a “controlled fiction”, considering the great concern about authenticity of the represented past and the use of technical possibilities of the audiovisual language to produce a discourse which intends to be the past and not to show the idea of past. For us the attachment to the idea of a positivist history wastes the possibility of constructing a discourse about the nation’s history more symbolic and metaphorical (ROSENSTONE, 2010), less connected to records and versions already stabilized in the social imagination and memory about the golden age of Brazilian history.

Cette thèse est née de la supposition que la représentation audiovisuelle de trajectoires personnelles, périodes et événements historiques se constituent dans des lieux de mémoire sociale. Le travail en question a l’intention de comprendre comment la fiction dans les séries télévisuelles de reconstitution historique contribue à la constitution de la mémoire sociale dans le Brésil contemporain. Pour cela, l’investigation met en relation le trio communication, histoire et mémoire et l’utilise comme axe bâtisseur de la pensée. Ayant comme des objectifs spécifiques a) Comprendre et identifier les modes particuliers de la construction du discours mémorial produit par la dramaturgie de séries de télévision; b) Repérer les stratégies estétiques de narration employées pour produire un discours sur l’histoire, pris pour de vrai et pour du réel, qui contribue avec la consolidation de ce discours mémorial dans la société; c) Identifier les types d’images et comment elles sont employées dans le processus de construction du discours dans le but de récupérer le sens déjà solidifié dans la société et ajouter des nouveaux signifiés à la période représentée, et, d) Observer comment la représentation fictionnelle de la trajectoire de l’ex-Président Jucelino Kubtschek construit des sens, rassemble des savoirs et matérialise le passé représenté sur l’écran. La thèse est structurée dans trois parties: L’Intrigue: de la rencontre Communication, Histoire et Mémoire; La trame: JK dans la série de télévision et dans l’histoire; et, le Dénouement: Modes de construction de l’écrit de l’histoire dans la dramaturgie télévisuelle. La métodologie adoptée emploie, à part la recherche bibliografique, l’analyse des trois mondes qui commandent la fiction, de François Jost (2003), et l’analyse fílmique, de Jacques Aumont et Michel Marie (2004; 2011). Le matériel qu’on utilise dans cette investigation, c’est la sérietélévision JK, de Maria Adelaide Amaral et Alcides Nogueira, exhibée entre janvier et mars 2006, dans le Réseau Globo de Télévision. L’analyse se présente à partir de trois catégories, ce qui donne l’occasion de visualiser les modes de la dramaturgie de télévison de reconstituire l’histoire du Brésil et attribuer au discours audiovisuel, l’éffet de réel (AUMONT, 2008) et l’éffet de vérité (CHARAUDEAU, 2007). Comme cela, à partir de la construction du personnage, d’une diégèse construite entre l’histoire et la fiction et de l’emploi de l’image en tant que support de mémoire, on repère et identifie des formes spécifiques d’un discours sur l’histoire de la nation. La narration, en fait, même que fiction mélodramatique, a comme principale stratégie l’emploi des éléments des traditions esthétiques réaliste et naturaliste, pour cela utilise plusieurs mécanismes pour attribuer vraissemblance à l’intrigue, mais aussi de les attribuer un sens d’effet de vérité. On identifie une préoccupation ou un désir de présenter un discours avec une valeur de véracité (CHARAUDEAU, 2007), ce qui justifie utiliser l’historiographie comme base de la construction du discours; à part l’utilisation de tecniques de narration typiques dans le documentaire, ainsi que des images document, narration over ou la voix du savoir (BERNARDET, 2003; NICHOLS, 2005), et manipulation de images dans le but de paraître un document. Tellles sont les stratégies employées dans la narration de la série JK qui nous amènent à la dénominer une “fiction controlée”, vu la grande préoccupation d’autenticité, en ce qui concerne le passe représenté et l’emploi des possibilités tecniques du langage audiovisuel pour produire un discours qui prétend être le passé et pas seulement montrer une idée de passé. À notre avis, tenir à une idée d’histoire positiviste gâche la possibilité de construction d’un discours sur l’histoire de la nation plus symbolique et métaphorique (ROSENSTONE, 2010), moins attachée à des archives et versions, déjà stabilisées dans l’imagination et mémoire sociale sur l’ère de l’or de l’histoire du Brésil. / Esta tese nasce do pressuposto de que a representação audiovisual de trajetórias pessoais, períodos e acontecimentos históricos constituem-se em lugares de memória social. O presente trabalho tem o propósito de compreender como a ficção televisiva de minissérie de reconstituição histórica contribui para a formação da memória social no Brasil contemporâneo. Para isso, a investigação relaciona a tríade comunicação, história e memória e a utiliza como eixo construtor do pensamento. Tendo como objetivos específicos: a) Compreender e identificar os modos particulares da construção do discurso memorial produzido pela teledramaturgia de minissérie; b) Mapear as estratégias estético-narrativas utilizadas para produzir um discurso sobre a história, com efeito de verdade e efeito de real, que contribui com a consolidação desse discurso memorial na sociedade; c) Identificar os tipos de imagens e como elas são acionadas no processo de construção do discurso, reiterando sentidos já consolidados na sociedade e agregando novos significados ao período representado; e, d) Observar como a representação ficcional da trajetória do ex-presidente Juscelino Kubitschek constrói sentidos, agrega saberes e dá materialidade ao passado representado na tela. A tese está estruturada em três partes: A Intriga: do encontro Comunicação, História e Memória; A trama: JK na minissérie e na história; e, Desenlace: Modos de construção da escrita audiovisual da história na teledramaturgia. A metodologia adotada utiliza, além da pesquisa bibliográfica, a análise dos três mundos que regem a ficção, de François Jost (2003), e a análise fílmica, de Jacques Aumont e Michel Marie (2004; 2011). O material empírico com que se trabalha nesta investigação é a minissérie de televisão JK, de Maria Adelaide Amaral e Alcides Nogueira, exibida entre janeiro e março de 2006, na Rede Globo de Televisão. A análise se apresenta a partir de três categorias que possibilita visualizar os modos de a teledramaturgia reconstituir a história do Brasil e atribuir ao discurso audiovisual efeito de real (AUMONT, 2008) e efeito de verdade (CHARAUDEAU, 2007). Assim, a partir da construção da personagem, de uma diégese construída entre a história e a ficção e do uso da imagem como suporte de memória, foram mapeadas e identificadas formas específicas de um discurso sobre a história da nação. O enredo construído pela instância narrativa, embora ficção melodramática, tem como principal estratégia o uso de elementos das tradições estéticas realista e naturalista, por isso utiliza de vários mecanismos para atribuir verossimilhança à trama, mas também de atribuir-lhe um sentido de efeito de verdade. Identificou-se uma preocupação ou um desejo de apresentar um discurso com valor de verdade (CHARAUDEAU, 2007), daí utilizar a historiografia como a base da construção do discurso; além do uso de técnicas narrativas típicas do documentário, como imagens-documento, narração over ou a voz do saber (BERNARDET, 2003; NICHOLS, 2005), e manipulação de imagens com o objetivo de parecer ser documento. Essas e outras estratégicas utilizadas pela instância narrativa da minissérie JK nos levam a denominá-la como uma “ficção controlada”, visto a grande preocupação de autenticidade do passado representado e uso das possibilidades técnicas da linguagem audiovisual para produzir um discurso que pretende ser o passado e não mostrar uma ideia de passado. No nosso entendimento, o apego à uma ideia de história positivista desperdiça a possibilidade de construção de um discurso sobre a história da nação mais simbólica e metafórica (ROSENSTONE, 2010), menos presa a arquivos e versões já estabilizadas na imaginação e memória social sobre a era de ouro da história do Brasil. / This thesis comes from the presupposition that the audiovisual representation of personal trajectory, historical periods and facts are constituted in places of social memories. The present work aims to comprehend how the fictional television miniseries of historical reconstitution contributes to the social memory constitution in the contemporary Brazil. For this reason, the investigation relates the triad communication, history and memory, using it as the building axis of thinking. Having as specific objectives a) comprehend and identify the particular means of constructing the memory discourse produced by mini-series dramaturgy; b) map the estheticnarrative strategies used to produce a discourse about history, with truth effect and real effect, that contributes with the consolidation of this memorial discourse in the society; c) Identify the types of images and how they are triggered in the process of discourse construction, repeating meanings already consolidated in the society and adding new signification to the represented period; and d) observe how the fictional representation of the former president Juscelino Kubitschek’s history produces meanings, adds knowledge, and gives materiality to the past represented on the screen. The dissertation is structured in three parts: The intrigue: of the crossroads communication, history and memory. The plot: JK in the mini-series and in history; and, The outcome: means of building history writing in television dramaturgy. The methodology chosen makes use of bibliographical research and the analysis of the three worlds that rule fiction, by François Jost (2003) and the film analysis, by Jacques Aumont and Michel Marie (2004; 2011). The empiric material used in this investigation is the television mini-series JK, by Maria Adelaide Amaral and Alcides Nogueira, played between January and March 2006, on Rede Globo de Televisão. The analysis is presented by three categories that enable us to visualize the television dramaturgy means of reconstituting Brazilian history and attributing, to the audiovisual discourse, real effect (AUMONT, 2008) and truth effect (CHARAUDEAU, 2007). Thus, from the character construction, a diegesis built between history and fiction and the use of image as memory support, we map and identify specific forms of discourse about the nation’s history. The plot built through the narrative instance, although melodramatic fiction, has as its main strategy the use of elements from the realistic and naturalistic esthetic traditions, therefore it makes use of several mechanisms to give verisimilitude to the plot, but also to give it a sense of truth effect. It is identified a concern or a desire to present a discourse with value of truth (CHARAUDEAU, 2007), using then the historiography as the basis of discourse construction, besides the use of narrative techniques typical from documentaries, such as “document image”, voice-over narration or the “wisdom’s voice” (BERNARDET, 2003; NICHOLS, 2005), and the manipulation of images with the objective to seem document. These strategies and some others used by the narrative instance of JK mini-series lead us to name it as a “controlled fiction”, considering the great concern about authenticity of the represented past and the use of technical possibilities of the audiovisual language to produce a discourse which intends to be the past and not to show the idea of past. For us the attachment to the idea of a positivist history wastes the possibility of constructing a discourse about the nation’s history more symbolic and metaphorical (ROSENSTONE, 2010), less connected to records and versions already stabilized in the social imagination and memory about the golden age of Brazilian history.

Cette thèse est née de la supposition que la représentation audiovisuelle de trajectoires personnelles, périodes et événements historiques se constituent dans des lieux de mémoire sociale. Le travail en question a l’intention de comprendre comment la fiction dans les séries télévisuelles de reconstitution historique contribue à la constitution de la mémoire sociale dans le Brésil contemporain. Pour cela, l’investigation met en relation le trio communication, histoire et mémoire et l’utilise comme axe bâtisseur de la pensée. Ayant comme des objectifs spécifiques a) Comprendre et identifier les modes particuliers de la construction du discours mémorial produit par la dramaturgie de séries de télévision; b) Repérer les stratégies estétiques de narration employées pour produire un discours sur l’histoire, pris pour de vrai et pour du réel, qui contribue avec la consolidation de ce discours mémorial dans la société; c) Identifier les types d’images et comment elles sont employées dans le processus de construction du discours dans le but de récupérer le sens déjà solidifié dans la société et ajouter des nouveaux signifiés à la période représentée, et, d) Observer comment la représentation fictionnelle de la trajectoire de l’ex-Président Jucelino Kubtschek construit des sens, rassemble des savoirs et matérialise le passé représenté sur l’écran. La thèse est structurée dans trois parties: L’Intrigue: de la rencontre Communication, Histoire et Mémoire; La trame: JK dans la série de télévision et dans l’histoire; et, le Dénouement: Modes de construction de l’écrit de l’histoire dans la dramaturgie télévisuelle. La métodologie adoptée emploie, à part la recherche bibliografique, l’analyse des trois mondes qui commandent la fiction, de François Jost (2003), et l’analyse fílmique, de Jacques Aumont et Michel Marie (2004; 2011). Le matériel qu’on utilise dans cette investigation, c’est la sérietélévision JK, de Maria Adelaide Amaral et Alcides Nogueira, exhibée entre janvier et mars 2006, dans le Réseau Globo de Télévision. L’analyse se présente à partir de trois catégories, ce qui donne l’occasion de visualiser les modes de la dramaturgie de télévison de reconstituire l’histoire du Brésil et attribuer au discours audiovisuel, l’éffet de réel (AUMONT, 2008) et l’éffet de vérité (CHARAUDEAU, 2007). Comme cela, à partir de la construction du personnage, d’une diégèse construite entre l’histoire et la fiction et de l’emploi de l’image en tant que support de mémoire, on repère et identifie des formes spécifiques d’un discours sur l’histoire de la nation. La narration, en fait, même que fiction mélodramatique, a comme principale stratégie l’emploi des éléments des traditions esthétiques réaliste et naturaliste, pour cela utilise plusieurs mécanismes pour attribuer vraissemblance à l’intrigue, mais aussi de les attribuer un sens d’effet de vérité. On identifie une préoccupation ou un désir de présenter un discours avec une valeur de véracité (CHARAUDEAU, 2007), ce qui justifie utiliser l’historiographie comme base de la construction du discours; à part l’utilisation de tecniques de narration typiques dans le documentaire, ainsi que des images document, narration over ou la voix du savoir (BERNARDET, 2003; NICHOLS, 2005), et manipulation de images dans le but de paraître un document. Tellles sont les stratégies employées dans la narration de la série JK qui nous amènent à la dénominer une “fiction controlée”, vu la grande préoccupation d’autenticité, en ce qui concerne le passe représenté et l’emploi des possibilités tecniques du langage audiovisuel pour produire un discours qui prétend être le passé et pas seulement montrer une idée de passé. À notre avis, tenir à une idée d’histoire positiviste gâche la possibilité de construction d’un discours sur l’histoire de la nation plus symbolique et métaphorique (ROSENSTONE, 2010), moins attachée à des archives et versions, déjà stabilisées dans l’imagination et mémoire sociale sur l’ère de l’or de l’histoire du Brésil. / Esta tese nasce do pressuposto de que a representação audiovisual de trajetórias pessoais, períodos e acontecimentos históricos constituem-se em lugares de memória social. O presente trabalho tem o propósito de compreender como a ficção televisiva de minissérie de reconstituição histórica contribui para a formação da memória social no Brasil contemporâneo. Para isso, a investigação relaciona a tríade comunicação, história e memória e a utiliza como eixo construtor do pensamento. Tendo como objetivos específicos: a) Compreender e identificar os modos particulares da construção do discurso memorial produzido pela teledramaturgia de minissérie; b) Mapear as estratégias estético-narrativas utilizadas para produzir um discurso sobre a história, com efeito de verdade e efeito de real, que contribui com a consolidação desse discurso memorial na sociedade; c) Identificar os tipos de imagens e como elas são acionadas no processo de construção do discurso, reiterando sentidos já consolidados na sociedade e agregando novos significados ao período representado; e, d) Observar como a representação ficcional da trajetória do ex-presidente Juscelino Kubitschek constrói sentidos, agrega saberes e dá materialidade ao passado representado na tela. A tese está estruturada em três partes: A Intriga: do encontro Comunicação, História e Memória; A trama: JK na minissérie e na história; e, Desenlace: Modos de construção da escrita audiovisual da história na teledramaturgia. A metodologia adotada utiliza, além da pesquisa bibliográfica, a análise dos três mundos que regem a ficção, de François Jost (2003), e a análise fílmica, de Jacques Aumont e Michel Marie (2004; 2011). O material empírico com que se trabalha nesta investigação é a minissérie de televisão JK, de Maria Adelaide Amaral e Alcides Nogueira, exibida entre janeiro e março de 2006, na Rede Globo de Televisão. A análise se apresenta a partir de três categorias que possibilita visualizar os modos de a teledramaturgia reconstituir a história do Brasil e atribuir ao discurso audiovisual efeito de real (AUMONT, 2008) e efeito de verdade (CHARAUDEAU, 2007). Assim, a partir da construção da personagem, de uma diégese construída entre a história e a ficção e do uso da imagem como suporte de memória, foram mapeadas e identificadas formas específicas de um discurso sobre a história da nação. O enredo construído pela instância narrativa, embora ficção melodramática, tem como principal estratégia o uso de elementos das tradições estéticas realista e naturalista, por isso utiliza de vários mecanismos para atribuir verossimilhança à trama, mas também de atribuir-lhe um sentido de efeito de verdade. Identificou-se uma preocupação ou um desejo de apresentar um discurso com valor de verdade (CHARAUDEAU, 2007), daí utilizar a historiografia como a base da construção do discurso; além do uso de técnicas narrativas típicas do documentário, como imagens-documento, narração over ou a voz do saber (BERNARDET, 2003; NICHOLS, 2005), e manipulação de imagens com o objetivo de parecer ser documento. Essas e outras estratégicas utilizadas pela instância narrativa da minissérie JK nos levam a denominá-la como uma “ficção controlada”, visto a grande preocupação de autenticidade do passado representado e uso das possibilidades técnicas da linguagem audiovisual para produzir um discurso que pretende ser o passado e não mostrar uma ideia de passado. No nosso entendimento, o apego à uma ideia de história positivista desperdiça a possibilidade de construção de um discurso sobre a história da nação mais simbólica e metafórica (ROSENSTONE, 2010), menos presa a arquivos e versões já estabilizadas na imaginação e memória social sobre a era de ouro da história do Brasil. / This thesis comes from the presupposition that the audiovisual representation of personal trajectory, historical periods and facts are constituted in places of social memories. The present work aims to comprehend how the fictional television miniseries of historical reconstitution contributes to the social memory constitution in the contemporary Brazil. For this reason, the investigation relates the triad communication, history and memory, using it as the building axis of thinking. Having as specific objectives a) comprehend and identify the particular means of constructing the memory discourse produced by mini-series dramaturgy; b) map the estheticnarrative strategies used to produce a discourse about history, with truth effect and real effect, that contributes with the consolidation of this memorial discourse in the society; c) Identify the types of images and how they are triggered in the process of discourse construction, repeating meanings already consolidated in the society and adding new signification to the represented period; and d) observe how the fictional representation of the former president Juscelino Kubitschek’s history produces meanings, adds knowledge, and gives materiality to the past represented on the screen. The dissertation is structured in three parts: The intrigue: of the crossroads communication, history and memory. The plot: JK in the mini-series and in history; and, The outcome: means of building history writing in television dramaturgy. The methodology chosen makes use of bibliographical research and the analysis of the three worlds that rule fiction, by François Jost (2003) and the film analysis, by Jacques Aumont and Michel Marie (2004; 2011). The empiric material used in this investigation is the television mini-series JK, by Maria Adelaide Amaral and Alcides Nogueira, played between January and March 2006, on Rede Globo de Televisão. The analysis is presented by three categories that enable us to visualize the television dramaturgy means of reconstituting Brazilian history and attributing, to the audiovisual discourse, real effect (AUMONT, 2008) and truth effect (CHARAUDEAU, 2007). Thus, from the character construction, a diegesis built between history and fiction and the use of image as memory support, we map and identify specific forms of discourse about the nation’s history. The plot built through the narrative instance, although melodramatic fiction, has as its main strategy the use of elements from the realistic and naturalistic esthetic traditions, therefore it makes use of several mechanisms to give verisimilitude to the plot, but also to give it a sense of truth effect. It is identified a concern or a desire to present a discourse with value of truth (CHARAUDEAU, 2007), using then the historiography as the basis of discourse construction, besides the use of narrative techniques typical from documentaries, such as “document image”, voice-over narration or the “wisdom’s voice” (BERNARDET, 2003; NICHOLS, 2005), and the manipulation of images with the objective to seem document. These strategies and some others used by the narrative instance of JK mini-series lead us to name it as a “controlled fiction”, considering the great concern about authenticity of the represented past and the use of technical possibilities of the audiovisual language to produce a discourse which intends to be the past and not to show the idea of past. For us the attachment to the idea of a positivist history wastes the possibility of constructing a discourse about the nation’s history more symbolic and metaphorical (ROSENSTONE, 2010), less connected to records and versions already stabilized in the social imagination and memory about the golden age of Brazilian history.

Nach der Entwicklung des Nicht-Kontakt-Rasterkraftmikroskops (NC-AFM) konnten dessen Leistung, Empfindlichkeit und Anwendungsmöglichkeiten deutlich gesteigert und somit neue grundlegende physikalische Eigenschaften von Festkörperoberflächen mit hoher Auflösung und Präzision untersucht werden. Dabei gibt es jedoch immer wieder neue Errungenschaften, die die Technik noch weiter verbessern können – sei es auf dem Gebiet der Signalverarbeitung, der -detektion oder der prinzipiellen Funktionsweise des Mikroskops. So wird in der vorliegenden Arbeit das theoretische Verständnis der Regelkreise und des Rauschverhaltens des NC-AFMs im Messbetrieb verbessert. Die Regelkreise verhalten sich – anders als im freischwingenden System – in Wechselwirkungsnähe mit der Probe hochgradig dynamisch, sodass die ursprünglich gewählten Parameter der Regelkreise sich nicht eins zu eins auf den echten Messbetrieb übertragen lassen und suboptimale Einstellungen die Bildqualität dadurch beeinträchtigen können. Mithilfe der korrekten Modellierung der Regelkreise in Probennähe kann diese Störquelle nun minimalisiert werden, was durch experimentell bestimmte Spektren bestätigt wird. Bei der Exfoliation von Graphen auf CaF2 an der Raumluft werden Wassermoleküle eingeschlossen, die nicht durch Heizen entfernt werden können, ohne dass das Graphen Blasen schlägt und reißt. Unterschiedliche Mengen an Wasser zwischen den Graphenflocken und dem Substrat haben einen großen Einfluss auf das elektrische Kontaktpotenzial, das mithilfe der Kelvin-Sonden-Kraftmikroskopie vermessen werden kann. Ergebnisse der Kapitel sind die berechnete Adhäsionsenergie von Graphen auf CaF2, inwieweit das Wasser das Graphen dotieren kann und die Erklärung des großen Unterschieds des Kontaktpotenzials.

Apresenta-se um estudo, por meio do método dos elementos finitos, de problemas quase-estáticos de trincas em materiais anisotrópicos. Os fatores de intensidade de tensão em modo misto de carregamento foram determinados utilizando-se as metodologias da integral Jk, da correlação dos deslocamentos e da integral de fechamento de trinca modificada. Para a integral Jk, foi desenvolvida uma formulação baseada nas leis da conservação da elasto-estática e das integrais independentes do percurso. Na expressão, para a integral J2 levou-se em consideração o termo não singular da representação analítica do campo de tensões. Desta forma, foi obtida uma expressão analítica para a descontinuidade na densidade de energia de deformação, presente na integral J2. Com os valores da integral Jk, os fatores de intensidade de tensão puderam ser determinados diretamente. Com a mesma sistemática, desenvolvida para a integral J2, determinou-se a integral J1 para problemas envolvendo carregamento nas faces da trinca. Os resultados obtidos estão de acordo com os resultados presentes na literatura considerando ortotropia de material, ainda que para algumas configurações o mesmo é tratado como um caso de anisotropia geral. Assim como a integral J1 a integral J2 mostrou-se independente do contorno envolvendo a ponta da trinca. / A study is proposed based on crack quasi-static problems in anisotropic materials by the finite element method. The mixed-mode stress intensity factors were determined by the Jk integral, displacement correlation and modified crack closure integral methodologies. The Jk integral was derived from a conservation law of linear elasticity theory. In the formulation to obtain the J2 integral the non-singular term in the stress fields was considered. An analytical expression was obtained to discontinuity of the strain energy density in the crack faces, presented by J2 integral. A similar approach was applied to determine J1 integral in crack surface traction problems. The results confer with the results present in the literature considering orthotropic materials. In some configurations the problem is treated from general anisotropy theory. In the same way that J1 integral the path-independence property was established to J2 integral.

Apresenta-se um estudo, por meio do método dos elementos finitos, de problemas quase-estáticos de trincas em materiais anisotrópicos. Os fatores de intensidade de tensão em modo misto de carregamento foram determinados utilizando-se as metodologias da integral Jk, da correlação dos deslocamentos e da integral de fechamento de trinca modificada. Para a integral Jk, foi desenvolvida uma formulação baseada nas leis da conservação da elasto-estática e das integrais independentes do percurso. Na expressão, para a integral J2 levou-se em consideração o termo não singular da representação analítica do campo de tensões. Desta forma, foi obtida uma expressão analítica para a descontinuidade na densidade de energia de deformação, presente na integral J2. Com os valores da integral Jk, os fatores de intensidade de tensão puderam ser determinados diretamente. Com a mesma sistemática, desenvolvida para a integral J2, determinou-se a integral J1 para problemas envolvendo carregamento nas faces da trinca. Os resultados obtidos estão de acordo com os resultados presentes na literatura considerando ortotropia de material, ainda que para algumas configurações o mesmo é tratado como um caso de anisotropia geral. Assim como a integral J1 a integral J2 mostrou-se independente do contorno envolvendo a ponta da trinca. / A study is proposed based on crack quasi-static problems in anisotropic materials by the finite element method. The mixed-mode stress intensity factors were determined by the Jk integral, displacement correlation and modified crack closure integral methodologies. The Jk integral was derived from a conservation law of linear elasticity theory. In the formulation to obtain the J2 integral the non-singular term in the stress fields was considered. An analytical expression was obtained to discontinuity of the strain energy density in the crack faces, presented by J2 integral. A similar approach was applied to determine J1 integral in crack surface traction problems. The results confer with the results present in the literature considering orthotropic materials. In some configurations the problem is treated from general anisotropy theory. In the same way that J1 integral the path-independence property was established to J2 integral.

In the presented thesis thin praseodymia films on non-passivated and passivated Si(111) substrates were investigated. The first part deals with PDA of praseodymia films with fluorite structure under UHV conditions in the temperature region from RT to 600°C. Here, a sophisticated model of the annealing process of praseodymia films is established. This is done by detailed analysis of XRD measurements using the kinematic diffraction theory in combination with the analysis of GIXRD, XRR and SPA-LEED measurements. It is shown that the untreated films, which are oxidized in 1 atm oxygen to obtain fluorite structure, do not exhibit pure PrO2 stoichiometry as it was assumed before. Instead, they decompose into two laterally coexisting species exhibiting a PrO2 and a Pr6O11. oxide phase, respectively. These species are laterally pinned to the lattice parameter of bulk Pr6O11. Homogeneous oxide films with Pr6O11 phase can be observed after annealing at 100°C and 150°C. Here, lateral strain caused by the pinning of the species is minimized and an increase of the crystallite sizes is determined. If higher annealing temperatures are applied, the film decomposes again into two coexisting species. Finally, after annealing at 300°C, a mixed crystalline film with both Pr2O3 and Pr2O3+Delta oxide phases is formed, where Delta denotes a considerable excess of oxygen within the sesquioxide phase. Again the lateral strain increases due to the tendency of praseodymia phases to increase their lattice parameters during oxygen loss combined with the lateral pinning. This is accompanied by a decrease of crystallite sizes, which are afterwards comparable to those of the untreated films. Further annealing at temperatures above 300°C does not significantly change the structure of the oxide film. However, the increase of the amorphous Pr-silicate interface between Si substrate and oxide at the expense of the crystalline oxide can be observed after annealing at higher temperatures. Furthermore, an increased mosaic spread of the crystallites occurs, which reduces the lateral strain caused by the oxygen loss. Nevertheless, the crystalline structure is stable against further annealing up to temperatures of 600°C. Transportation of the sample under ambient conditions after annealing at 200°C and 300°C leads to the formation of an additional crystalline structure at the surface which cannot be allocated to any praseodymia phase and may be explained by the contamination of the topmost crystalline layers with Pr-hydroxides. The results obtained from praseodymia films annealed in 1 atm nitrogen show that these films are good candidates to form homogeneous oxide films with pure cub-Pr2O3 structure by subsequent annealing in UHV. Here, a single oxide species is already observed after annealing at 300°C by SPA-LEED measurements which is in contrast to praseodymia films with fluorite structure where higher annealing temperatures (600°C) are necessary. In this case, negative effects like interface growth or increased defect density (mosaics, grain boundaries) can be minimized. Investigations on oxygen plasma-treated praseodymia films to obtain pure PrO2 stoichiometry are presented in the second part. Oxygen plasma-treated samples are compared with samples oxidized in 1 atm oxygen regarding the structure of the crystalline film. For this purpose, XRR and XRD measurements are performed to get structural information of the oxide film, which can be used to identify the corresponding oxide phases. Here, significantly smaller lattice constants of the crystalline oxide species can be observed after plasma treatment, which points to the incorporation of additional oxygen atoms. This verifies former studies, where a higher oxidation state of the oxide film was found by XPS measurements and it shows that plasma-treated films exhibit a higher oxidation state than films oxidized in 1 atm oxygen due to the availability of reactive atomic oxygen in the plasma. Furthermore, the Pr-silicate interface between crystalline film and Si substrate is not increased during plasma treatment. In the last part of the presented thesis, first results from the epitaxy of praseodymia films on Cl-passivated Si substrates are shown. The aim is to suppress the Pr-silicate formation during the growth process. Thus, praseodymia films are grown on passivated and non-passivated substrates to compare the crystallinity of both samples using XSW and LEED measurements. The structure of the oxide films on Cl-passivated Si is determined afterwards by XRR. It is shown that crystalline films with cub-Pr2O3 structure and several nanometer thickness can be successfully grown on Cl-passivated substrates. Here, the Pr-silicate interface layer are restricted to a single mono-layer. In contrast, the films grown on non-passivated substrates are completely amorphous containing Pr-silicates and Pr-silicides.

Disertační práce se zabývá simulací elektronických obvodů. Popisuje metodu kapacitorové substituce (CSM) pro převod elektronických obvodů na elektrické obvody, jež mohou být následně řešeny pomocí numerických metod, zejména Moderní metodou Taylorovy řady (MTSM). Tato metoda se odlišuje automatickým výběrem řádu, půlením kroku v případě potřeby a rozsáhlou oblastí stability podle zvoleného řádu. V rámci disertační práce bylo autorem disertace vytvořeno specializované programové vybavení pro řešení obyčejných diferenciálních rovnic pomocí MTSM, s mnoha vylepšeními v algoritmech (v porovnání s TKSL/386). Tyto algoritmy zahrnují zjednodušování obecných výrazů na polynomy, paralelizaci nezávislou na integrační metodě atp. Tento software běží na linuxovém serveru, který komunikuje pomocí protokolu TCP/IP. Toto vybavení bylo úspěšně použito pro simulaci VLSI obvodů, jejichž řešení pomocí CSM bylo značně rychlejší a spotřebovávalo méně paměti než state-of-the-art SPICE.

In this thesis the morphology and the atomic structure of quasi-one-dimensional structures grown on Si were determined by means of diffraction experiments in combination with kinematic diffraction theory calculations. In the first and the second study a formerly unknown superstructure of Dy/Tb on Si(111) was characterized by means of STM, DFT, SPA-LEED experiments and kinematic diffraction calculations. Here, a structure model could be proposed which contains half as many subsurface Si vacancies as compared to the well-known superstructure of Dy/Tb on Si(111) it was derived from. Due to the decreased number of subsurface Si vacancies the reconstruction is subject to an uni-axial strain which is mitigated by the formation of domains separated by anti-phase domain boundaries. It could be shown that two different types of domains alternate across the surface forming quasi-one-dimensional domains. Additionally, the distribution of the domains could be derived by comparison with kinematic diffraction calculations. In the third study a deeper insight into the complex system of bundled rare-earth silicide nanowires on Si(001) was given. Here, the distributions of the NW width, the bundle width and the bundle distance were deduced from the diffraction patterns collected by SPA-LEED and the subsequent comparison to kinematic diffraction theory calculations. Additionally, it was shown that the (2 x 1) reconstruction sometimes observed on top of the NWs by STM cannot exist over larger parts of the sample and instead a (1 x 1) reconstruction needs to be assumed to explain the experimentally observed diffraction data. In the fourth study the atomic structure of the gold induced atomic wires of the Si(111)-(5 x 2)-Au system was analyzed. The Patterson function of the in-plane SXRD data was compared to the Patterson functions derived from the atomic structure models proposed in literature (AN, EBH, KK) ruling out the AN-model. By comparison of the experimental out-of-plane SXRD data to the corresponding (calculated) SXRD data for the EBH- and the KK-model the KK-model could be identified as the most probable model. Additionally, a refined atomic structure model was derived for the KK-model. In conclusion, the results presented in this thesis clearly display the power of diffraction experiments especially in conjunction with the comparison to kinematic diffraction theory calculations and prove that they are applicable even to low dimensional (e.g., quasi-one-dimensional) structures. Furthermore, it was shown that diffraction experiments can deliver complementary information (e.g., information on deeper atomic layers) as compared to local probing methods (e.g. STM or Atomic Force Microscopy) and especially the combination of local probing methods, DFT calculations and diffraction experiments allows for the explanation of even very complicated material systems.

Knowledge of the properties of single molecule diffusion is important for controlling dynamic self-assembly of molecular structures. A powerful experimental technique for determining diffusion coefficients is the recording of diffusion-induced signal fluctuations by a locally fixed point-like probe. Here, the signal becomes modified, whenever a molecule enters a certain detection area on the surface under the probe. The technique is minimal invasive and has a very good time resolution, enabling the investigation of highly mobile molecules. Theories are necessary for the analysis of the fluctuations and the extraction of diffusion properties. In this thesis, three methods are presented, which are based on the autocorrelation function, the distribution of peak widths and the distribution of interpeak intervals. Analytical expressions are derived for the distributions and the autocorrelation function in case of molecules, which can be described by circular or rectangular shapes. For rectangular shaped molecules, rotational diffusion can influence the recorded fluctuations. To allow for a simultaneous determination of rotational and translational diffusion coefficients the analytical treatment is extended. Furthermore, new methods are developed to determine the diffusion tensor for anisotropic stochastic molecular motion, using either one linearly extended probe or two individual probes. Coarse-graining the signal recorded by a point-like probe, which repeatedly moves on a line or a circle, is suggested for experimental implementation. All facets of the evaluation methods are verified against kinetic Monte Carlo simulations. Applications to experimental data, recorded by a locally fixed scanning tunneling microscope tip, are demonstrated for copperphthalocyanine and PTCDA molecules diffusing on Ag(100).