This thesis has two aims. Firstly, in order to answer the question, ‘In what sense do people see Mary as a type of the Church?’, this thesis will set up original typological models of the relationship between Mary and the Church (chapter 1). It will then demonstrate how and why an eschatological element came to be present in these models (chapter 2).It will be a contention of this thesis that looking at the Mario-ecclesial discussions set out in chapters 3 and 4 through these typological models will allow a greater depth of analysis. The models allow one to discern differences between and nuances in various views of the relationship between Mary and the Church that would be impossible to discern if one were using just the language of ‘type’. Secondly the thesis will show how each Mario-ecclesial discussion has been affected by the socio-political context of the time. Specifically, the thesis will analyse the Mario-ecclesial discussions of the patristic, medieval and modern periods in the light of the typological models. In chapter 1, the patristic Mario-ecclesiologies of Irenaeus and Ambrose will be considered. In chapter 2, Bernard of Clairvaux will be used to analyse the eschatological nature of the Mario-ecclesiology in the medieval period. In chapter 3, the contrasting Mario-ecclesiologies of the Second Vatican Council and Hans Urs von Balthasar will be compared. In chapter 4, it will be suggested that John Paul’s model of the Mario-ecclesial relationship was based on his eschatological vision for the Church and the role that Mary plays in that future which is both imminent and already realised. This thesis will demonstrate that by using the typological models in these periods a greater depth of analysis can be achieved. This will be particularly true of the complex and nuanced discussions on Mary in the Roman Catholic Church in the twentieth century. This analysis will culminate in the particular Mariology of John Paul II.

Cette étude porte sur un type de cinéma italien appelé giallo. Ayant connu une forte popularité au tournant des années 1970 auprès d’un public dit vernaculaire, ces thrillers horrifiques sont encore aujourd’hui réputés pour leurs scènes de meurtre sanglantes et spectaculaires mettant à l’honneur un assassin ganté. Ce mémoire se propose de faire le point sur ces séquences de meurtre et surtout d’expliquer la façon particulière avec laquelle elles sont mises en scène. Pour bien y parvenir, nous en fournissons tout au long des exemples et les soumettons à une analyse détaillée. Notre approche analytique se veut essentiellement formaliste. Il s’agit de déconstruire ces scènes violentes afin d’en révéler certains des rouages. Dans un premier temps, nous rappelons quelques notions fondamentales du cinéma gore et nous penchons sur la problématique que pose invariablement la représentation de la mort au grand écran. Ceci nous permet ensuite d’observer plus amplement comment les réalisateurs du giallo traitent ces scènes d’homicide sur un mode excessif et poétique. Enfin, le rapport érotique à la violence entretenu dans ces scènes est considéré. Cela nous donne notamment l’occasion de nous intéresser à la figure du mannequin (vivant et non vivant) et de voir de quelles manières les cinéastes peuvent par son entremise transmettre un sentiment d’inquiétante étrangeté. / This study aims to explore giallo, a specific type of Italian cinema. Very popular with a vernacular audience at the turn of the 1970s, these horrific thrillers remain notorious for their bloody and spectacular murder scenes showcasing a gloved killer. With this thesis, we seek to review these murder sequences with a focus on explaining the particular way in which they are staged, shot and edited. To fully achieve this, we provide examples from these scenes and submit them to a detailed analysis. Our analytical approach is essentially formalist. We wish to deconstruct these violent scenes and reveal some of their inner workings. At first, we recall some basic notions of gore cinema and look at the problems that the depiction of death on the silver screen invariably raises. This allows us to see how giallo filmmakers treat these murder scenes in an excessive and poetic mode. Lastly, the erotic aspect of violence presented in these scenes is considered. This gives us the opportunity to focus on the figure of the model/mannequin (living and non-living) and see how filmmakers can use it to transmit an uncanny feeling.

This diploma thesis deals with with issues occuring in translating trivial literature (formula fiction). Three novels by the Austrian novelist Johannes Mario Simmel are used as empirical material. The first part of the paper focuses on the term trivial literature as well as the person of J. M. Simmel and his work. In the second part, three novels by this author are the subject of translation analysis. The analysis uses criteria of quality assessment defined by the German translation scholar Katharina Reiß in her thesis Möglichkeiten und Grenzen der Übersetzungskritik (published in 1971). The analysis shows various aspects contributing to the result of this translation process. They are partly objective, given by context of time period in which they were created, and partly subjective, given by the person of the translator. Keywords Johannes Mario Simmel, translation criticism, trivial literature, Katharina Reiß, 3 novels (Liebe ist nur ein Wort, Ich gestehe alles, Gott schützt die Liebenden)

(in English): The objective of this diploma thesis is to show the way of Mario Vargas Llosa's literary vision and his interpretation of Lima in the novel The Time of the Hero. My aim is also to express the particularity and distinctiveness of the imagery of Lima in the novel. In the beginning, I mention the most important facts of history of the city, specifically the 50's and the 60's of the 20th century, which are the decades of the novel's formation and publication. This part is based on the book of essays Lima la horrible of Sebastián Salazar Bondy in which the author describes the world of the Lima's population in this period. I also introduce briefly evolution of the image of the city in the Peruvian literature. This part is based, besides others, on the essay "Lima, ciudad sin novella" of Julio Ramón Ribeyro. In the main part of my thesis I mention the storyline of the novel. After that, I focus my attention on the structure of the novel The Time of the Hero, which is characterized by alternation of narrative spaces and tenses. This aspect helps to make the story uncertain. I also describe the formal side of the novel, primarily the arrangement of the main chapters and their smaller parts which are symmetricaly ordered according to the concerned topic, place or time. I present the main two...

Estudo da formação do primeiro acervo público sistemático de arte moderna da cidade, adquirido pela Seção de Arte da então Biblioteca Pública Municipal de São Paulo, atual Biblioteca Mário de Andrade (BMA), entre 1943 e 1959, período em que Sérgio Milliet foi diretor geral da instituição e em que Maria Eugênia Franco foi diretora da Seção de Arte. Insere a instituição no contexto cultural e político de modernização da cidade e apresenta o acervo adquirido, relacionando as atividades museais que levaram à sua constituição e exposição com a atuação mais ampla dos protagonistas da instituição em prol da consolidação da arte moderna e da formação de público e artistas / This study focuses on São Paulo\'s first public collection of modern art, acquired by the Art Division of the then called São Paulo Municipal Public Library, known today as Mario de Andrade Library, between the years of 1943 and 1959. At the time Sérgio Milliet was the director of the institution and Maria Eugênia Franco was responsible for the Art Division. The investigation places this institution in the city\'s modernization cultural and political context, and presents the collection analyzing the museological activities that ensured its constitution and exposure, considering the extensive work performed by the institution\'s protagonists in favour of the consolidation of modern art and the shaping of and art public as well as artists.

Made available in DSpace on 2016-04-28T19:59:14Z (GMT). No. of bitstreams: 1 Rita de Cassia Oliveira Rios.pdf: 601292 bytes, checksum: e5d25b190f3d3a36258d2ea028576052 (MD5) Previous issue date: 2008-10-07 / This dissertation presents two aims accomplished in three moments: 1. study of the form of the short story genre. 2. analysis of the intradiegetico narrator and his manners of telling. 3. synthesis of the three ways of narrating e their processes. The purpose of the investigation is the modernist short story of Mário de Andrade treated by diacronyc, according to researchers, such as Julio Cortázar, Afrânio Coutinho, Anatol Rosenfeld, Walter Benjamin, Ricardo Piglia, André Jolles, and Mário de Andrade himself, that assume the function of writer, poet, critic and intellectual of Brazilian Modernism. The concept applied to the reading practice of the corpus of Contos Novos becomes an answer to the intersection of two stories that are present in the universe of the narration, that forms the innovatory profile of the short story and of the teller of twentieth century. The intention of the reading of the three short stories Vestida de preto, O Peru de Natal e Tempo da camisolinha is to recognize the connections of the elements that differentiate in the short stories, resulting in an oblique and intersectional reading, that, in the last phase, reveals the narrative modernity, indicating a critical message of Mário de Andrade to the modern reader of twenty century. The first chapter, with the title Between the traditional short story and the modern, modernist and Brazilian short story: differences of the act of narrating , presents the correlations between the traditional short story and the components of the modern and Brazilian short story: narrator, plot, character, temporalty, linear aspect, succession, time, and space. The second chapter, Telling stories, causos and biographies , focuses the telling, presenting the portrait of Juca character associated to other circumstances, to other techniques, having the function of narrator-character in the three stories. The chapter three indicates the connections between the processes of the act of narrating that reveal the plays of time and space, processes and connections between them, emphasizing the implicit theses in Contos Novos and the cause of original denomination. In last considerations, the research results show to a synthesis of functional elements and structural of the innovatory short stories of Mário de Andrade. We consider that these characteristics have importance, not only in the initial project of this dissertation, but also in the critical interpretation occurred afterwards / Esta dissertação apresenta dois objetivos operacionalizados em três momentos: 1. estudo da forma do gênero conto; 2. análise do narrador ficcional intradiegético e seus modos de contar; 3. síntese dos três modos de narrar e os processos de narratividade. O objeto de investigação é o conto modernista de Mário de Andrade tratado diacronicamente, segundo teóricos: Julio Cortázar, Afrânio Coutinho, Anatol Rosenfeld, Walter Benjamin, Ricardo Piglia, André Jolles, e o próprio Mário de Andrade, que assume o papel de escritor, poeta, crítico e intelectual do Modernismo Brasileiro. O conceito aplicado à prática das leituras do corpus de Contos Novos passa a responder pelo cruzamento de duas histórias que estão presentes no universo da narratividade e que formam o perfil inovador do conto, do papel do contador do século XX. A intenção dada à leitura dos três contos escolhidos Vestida de preto, O Peru de Natal e Tempo da Camisolinha, é reconhecer as conexões entre os respectivos processos de narratividade e, conseqüentemente, o identificar de algumas marcas diferenciais dos contos, resultando numa linha de leitura enviesada e de cruzamentos que, em última fase, revela a sua modernidade narrativa e indicando-nos um recado crítico de Mário de Andrade ao leitor moderno do século XX. O capítulo I intitulado Entre o conto tradicional e o conto moderno brasileiro/modernista: diferenças da narratividade apresenta as correlações entre o conto tradicional e o conto moderno brasileiro em seus constituintes: narrador, enredo, personagem, temporalidade, linearidade, sucessividade, tempo e espaço. O capítulo II sob o título Contar histórias, causos e biografias enfoca o próprio contar, demonstrando o retratar da personagem Juca associado a outras circunstâncias, com outras técnicas, a cumprir o papel de narrador-personagem em travessia funcional nos três contos. O capítulo III trabalha as Conexões entre os processos de narratividade que revelam os jogos de temporalidade e espacialidade, processos e conexões existentes entre eles, destacando as teses implícitas aos Contos Novos e o porquê de sua denominação original. Nas considerações finais, os resultados alcançados da pesquisa apontam para uma síntese das marcas funcionais e estruturais dos contos inovadores de Mário de Andrade. Consideramos que essas características têm representatividade, não só no projeto inicial desta dissertação, mas também na interpretação crítica ocorrida posteriormente

Made available in DSpace on 2016-04-28T19:59:22Z (GMT). No. of bitstreams: 1 Maria Aparecida da Silva Santos.pdf: 412401 bytes, checksum: df5b9eb60c00bdef11eafb9a44038e45 (MD5) Previous issue date: 2010-05-18 / Secretaria da Educação do Estado de São Paulo / This dissertation is centered at the structural reading of the Mário de Andrade s anthology, CONTOS NOVOS and its discursive, discontinuous and innovated process of the literary tales genre. The chosen corpus is composed by the following stories: Vestida de Preto, O Peru de Natal and O Poço. These stories present specifics aims: To illustrate the geniality of the author about the enlargement of the limits of his esthetic scheme of the literary tales genre; the modern man and his alterity which comes from his identity; the questions about o fazer literário ; the transgression of literary language; the linguistics experiments; the Brazilian language assimilation and stylization; the textual performance of the storyteller, the character, and the reader, who is merged in hypertextual connections suggested by the main subject of the literary tales. Our hypothesis is very well demonstrated and supported by the subsequent authors and their theories: Mikhail Bakhtin, Julio Cortázar, Ricardo Piglia, Manual Bandeira, Edgar Allan Poe, Alfredo Bosi, Afrânio Coutinho, Massaud Moisés, André Jolles, Paul Zumthor, Pierre Lévy, and Wayne Booth, among other ones. It is also supported by Mário de Andrade s interview, as well as by his private letters and articles. This academic study exposes the subthemes as follows: The first chapter exibites an idea about the course, the structural features and the metamorphosis of the literary tales genre, including the oral tradition and even the modern literary writing. This chapter also lists the Brazilian tales writers, mainly Mário de Andrade, in the context of the modernism; his latest guidelines and connections, according to the non-linear logic, antecipating the structure of the modern novel. The second chapter describes the multifaceted narrative process, the storyteller and his many-sided expressions in CONTOS NOVOS: interconnections between first- person tales, which is showed by the storyteller-character relationship: from the oral to the written word. The third chapter demonstrates our focal hypothesis that says about the hypertext structure which is inside the multi-linear system of the CONTOS NOVOS; This chapter shows the importance of the memory and of the imaginary word in the construction of the narrative process and also shows all the experimental procedures of the storyteller-character, relating memory experience: interaction, alterity and identity are in the base of the new hypertextual content in a dramatic unit / O objetivo desta dissertação está centrado na leitura estrutural da antologia de Mário de Andrade, CONTOS NOVOS e seu processo discursivo descontínuo inovador do gênero conto. O corpus escolhido, os contos: Vestida de Preto, O Peru de Natal e O Poço apresenta objetivos específicos: evidenciar a genialidade do autor em relação à proposta estética de ampliação das fronteiras do gênero conto; a temática do homem moderno, e sua identidade a partir da alteridade; a preocupação com o fazer literário ; a transgressão da linguagem literária; os experimentos lingüísticos; a incorporação e a estilização da língua brasileira ; as performances do jogo textual do narrador, da personagem e do leitor imersivo em conexões hipertextuais sugeridas pelas matrizes dos contos. Esta é a nossa hipótese demonstrada e sustentada pela leitura de alguns teóricos e suas teorias: Mikhail Bakhtin, Julio Cortázar, Ricardo Piglia, Mário de Andrade, Manuel Bandeira, Edgar Allan Poe, Alfredo Bosi, Afrânio Coutinho, Massaud Moisés, André Jolles, Paul Zumthor, Pierre Lévy, Paul Ricoeur, Lúcia Santaella, Fernando Segolin, João Luiz Lafetá, Luis Costa Lima, Telê Ancona Lopez, Nádia Gotlib, Massaud Moisés, Anatol Rosenfeld, Wayne Booth, bem como os testemunhos do próprio Mário de Andrade, a partir de entrevistas, correspondências e artigos particulares do autor. O desenvolvimento dissertativo considerou as seguintes subtemáticas: Capítulo I apresenta o percurso, os traços estruturais e as metamorfoses do gênero do conto, desde a tradição oral até a escritura literária moderna, apontando os contistas brasileiros, em especial Mário de Andrade, no alvorecer do Modernismo brasileiro; suas novas diretrizes e conexões do conto sob o tratamento da lógica alinear, profetizando a estrutura do romance moderno. O capítulo II descreve o complexo processo narrativo, o narrador e suas máscaras presente em CONTOS NOVOS: interconexões entre os contos de primeira pessoa evidenciados no movimento do narrador-personagem em saltos discursivos: da oralidade à escrita. O capítulo III evidencia nossa hipótese central referente à presença da estrutura do hipertexto no sistema multilinear dos CONTOS NOVOS; a importância da memória e do imaginário no processo narrativo e os procedimentos experimentais do narradorpersonagem em trabalho de relato de experiência memorialística: interação, alteridade, identidade sob novas matrizes hipertextuais em uma única célula dramática

Made available in DSpace on 2016-04-28T19:59:23Z (GMT). No. of bitstreams: 1 Michele Lima Nery.pdf: 6257100 bytes, checksum: 1234a2e267f5df53e5493805014b1418 (MD5) Previous issue date: 2010-04-30 / Secretaria da Educação do Estado de São Paulo / This research is about the work Asas, from Mário de Sá-Carneiro, present at the collectanea Céu em fogo, 1915. The main purpose of the research is to verify and analyze the route of the poetic language in the work and infer about the possible meanings of these language to the literature style, having as a base the presence of poetry on prose. So we have elaborated a panorama of all the context of the production and uprise of the Orpheu movement, base of the sensationism, poetic movement created by Fernando Pessoa, based mainly on the principle of sensation as a base of everything in the world and its most conscious side, the intersectionism. This way, we have established, in the chapter, the theoretical instrument of the research, that is, the stylistic features of the founders of the sensationism and intersectionism and so, the characteristics of the poetic language which will be analyzed on the text of Sá-Carneiro. After those refections, we have analyzed the work Asas, corpus of the research. The analyses of the text were made from the observation of the poetic language of the text. This way, we have followed how the poetic language was born on the text, since its first and simpler manifestations to the point that, at the end, we have transcripted on the text two poems: Além and Bailado, which represent the embodiment of the poetry on prose / Esta pesquisa trata da obra Asas, de Mário de Sá-Carneiro, inclusa na coletânea Céu em fogo, 1915. O objetivo da pesquisa é verificar e analisar o percurso da linguagem poética na obra e inferir quais são os possíveis significados dessa linguagem para o gênero, tendo como base a presença da poesia na prosa. Em face disto, elaboramos um panorama de todo o contexto de produção e nascimento do movimento do Orpheu, base sobre a qual se assentou o sensacionismo, corrente poética criada por Fernando Pessoa que se baseava, fundamentalmente no princípio da sensação como base de tudo no mundo e sua vertente mais consciente, o interseccionismo. Dessa forma, estabelecemos o instrumental teórico da pesquisa, isto é, os traços estilísticos fundadores do sensacionismo e do interseccionismo e, por conseguinte, as características da linguagem poética que estudamos no texto de Sá-Carneiro. Após tais reflexões, realizamos a análise da obra Asas, corpus da pesquisa. A análise do texto é desenvolvida a partir da observação da linguagem poética presente no texto, acompanhando o surgimento nele do poético, desde suas primeiras e mais simples manifestações, até o ponto em que, ao final, aparecerem transcritos dois poemas: Além e Bailado, que representam a própria corporificação da poesia na prosa

Made available in DSpace on 2016-08-10T11:07:20Z (GMT). No. of bitstreams: 1 JOANEDE APARECIDA XAVIER DE SOUZA FE.pdf: 827799 bytes, checksum: 02cfaa63df3aa48cf2381c6c3109fee0 (MD5) Previous issue date: 2014-10-23 / This study aims to analyze the works and The Sorcerer s Apprentice Magic Mirror to present Mario Quintana as a sorcerer s apprentice magician able to transform images into concepts and everyday life in language. The intention in this work is to reveal the poetic to Mario Quintana, seeking to understand and explain how the poet manipulates the imagery of incitement and as evidenced by his poetic concepts. To this end, the work The Anthropological Structures of the Imaginary (2001), and the imaginary, of Gilbert Durand (1994), will provide the theoretical basis and the poetics of reverie, of Gaston Bachelard (2009). Therefore, consider the style and the plurality of styles in Quintana, making a foray into the poetic to prove that the author is not attached to any literary style, though, has it left contaminated by the surreal beauty as a means to seek the freedom of creation, escaping the limitations imposed by so-called literary schools, because the author walked against material society. Thus, his poems explore dreams, fantasies, visions and hallucinations. This dissertational work will be guided by a simple language, even in the case of the theories explored here, since another goal that will guide is to make it work in a research material for teachers and high school students. Therefore, the didactic character will be a goal to be achieved at the end. Thus, it is expected to instigate the reader of this work to pursue the work of Mario Quintana and her make object pleasant and constant reading. / Este estudo objetiva analisar as obras O Aprendiz de Feiticeiro e Espelho Mágico para apresentar Mario Quintana como um feiticeiro aprendiz de mágico capaz de transformar imagens em conceitos e o cotidiano em linguagem. A pretensão nesse trabalho é desvendar o fazer poético de Mário Quintana, buscando entender e explicitar a forma como o poeta manipula a incitação do imaginário e como evidencia seus conceitos poéticos. Para atingir essa finalidade, as obras As estruturas Antropológicas do Imaginário (2001), e O imaginário, de Gilbert Durand (1994), servirão de aporte teórico, bem como A poética do devaneio, de Gaston Bachelard (2009). Para tanto, consideraremos o estilo e a pluralidade de estilos em Quintana, fazendo uma incursão pelo poético para comprovar que o autor não se prendeu a nenhum estilo literário, muito embora, tenha se deixado contaminar pela beleza surreal como meio de buscar a liberdade da criação, fugindo das limitações impostas pelas chamadas escolas literárias, pois o autor caminhou na contramão da sociedade material. Assim, seus poemas exploram sonhos, fantasias, visões e alucinações. Este trabalho dissertativo será pautado por uma linguagem simples, mesmo em se tratando das teorias aqui exploradas, uma vez que outro objetivo que o norteará é fazer com que resulte num material de pesquisa para professores e estudantes do Ensino Médio. Para tanto, o caráter didático será uma meta a ser conquistada ao final. Dessa forma, espera-se instigar o leitor desta dissertação a buscar a obra de Mario Quintana e dela fazer objeto de leitura prazerosa e constante.

The Latin American centennial celebrations of independence (ca.1909-1925) constituted a key moment in the consolidation of national symbols and tropes, while also producing a renewed focus on transnational affinities that generated a series of discourses on continental unity. At the same time, a boom in archaeological explorations, within a general climate of scientific positivism, provided Latin Americans with new information about their ‘grandiose’ former civilisations, such as the Inca and the Aztec, which some then argued for as an American equivalent to ancient Greek and Egyptian cultures. These discourses moved from the political to the cultural sphere, themselves shaping ideas about Latin American national and continental identity. In the arts, and particularly in music, artists as a result began to move from using European techniques and depicting European themes, to produce an art that could be considered Latin American. This dissertation explores discourses surrounding the Inca in particular as a source for the creation of a ‘national’ and ‘continental’ art music during the first three decades of the twentieth century, with a concentration on ‘nationalist’ composers of Peru, Ecuador and Argentina. Three main topics bind together my analysis: interpretations of the Inca musical system, the postcolonial style called yaraví, and the composition of opera. To this end, I look into early twentieth-century writings on Inca music and its origins, investigate attempts to reconstruct it, describe how certain composers applied ‘Inca’ techniques into their own works, and consider how this music was perceived by local audiences. Ultimately, I argue that faced with the difficulties of constructing national unity at the time, the turn to Inca culture and music in pursuit of such unity could only succeed within particular intellectual circles, and that the idea that the Inca example could produce a ‘music of America’ would ultimately remain a utopia.