Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-05-11T20:09:32Z No. of bitstreams: 1 FRANCISCO SALES DE OLIVEIRA FILHO - DISSERTAÇÃO PPGHT 2014..pdf: 2128220 bytes, checksum: 4dae0413cdc55221f6e47d9d4709d15e (MD5) / Made available in DSpace on 2018-05-11T20:09:32Z (GMT). No. of bitstreams: 1 FRANCISCO SALES DE OLIVEIRA FILHO - DISSERTAÇÃO PPGHT 2014..pdf: 2128220 bytes, checksum: 4dae0413cdc55221f6e47d9d4709d15e (MD5) Previous issue date: 2014-03-26 / Capes / Produzir em quantidade e com qualidade sem agredir o meio ambiente e sem onerar os custos de produção é o principal objetivo das pequenas e médias unidades agrícolas. Para tanto, novas tecnologias são necessárias a fim de diminuir a dependência do mercado de insumos industrializados, priorizando a utilização de recursos renováveis adquiridos na própria propriedade. Assim, objetivou-se avaliar o efeito do uso combinado e isolado de fertilizantes minerais e orgânicos na cultura da melancia. O experimento foi realizado em uma área localizada na Universidade Federal de Campina Grande (UFCG), Campus Pombal – PB (6º 48‟ 16‟‟S e 37º 49‟ 15‟‟W), durante o período de junho a setembro de 2013. O delineamento foi em blocos ao acaso com quatro repetições dispostos em esquema fatorial 3x5 onde, no fator (A) foram alocadas diferentes concentrações de nutrientes N, P e K (50, 100 e 150% da recomendação de NPK para melancieira) e no fator (B) cinco proporções de adubo mineral e orgânico (100/0, 75/25, 50/50, 25/75 e 0/100). A dose de NPK correspondente a 100% foi de 120 kg ha-1 respectivamente para N, P e K. Foram avaliadas: trocas gasosas, massa seca das folhas, do caule, dos frutos, massa seca total, área foliar, acúmulo de nutrientes nas folhas, no caule, nos frutos e total, produção total, acidez titulável, sólidos solúveis totais e razão entre sólidos solúveis e acidez titulável. A concentração de 150% da recomendação de NPK para a cultura da melancieira foi a mais eficiente no incremento das características fisiológicas e no acúmulo de massa seca do caule, folha, fruto e total; a concentração de 100% da recomendação de NPK não supre adequadamente a necessidade nutricional da cultura da melancieira „Olímpia‟ no Sertão Paraibano; a aplicação combinada de fertilizante mineral e orgânico proporciona taxa fotossintética equivalente à aplicação isolada de fertilizante mineral sendo a proporção 50/50 a mais eficiente para essa variável. O uso de esterco, isoladamente, não contribui para o incremento de massa seca na parte vegetativa, quando comparado com uso combinado com fertilizantes minerais, sendo as proporções 75/25 e 50/50 as mais eficientes no acúmulo de massa seca na melancieira; a concentração de 150% da dose recomendada foi a mais efetiva no acúmulo de NPK nas folhas, caule e frutos da melancieira; as proporções de adubo mineral e orgânico 50/50 e 75/25 foram mais efetivas no acúmulo de N e P e 0/100 no de K em folhas da melancieira; o acúmulo de NPK nos frutos e parte vegetativa apresentou a seguinte ordem de magnitude: K>N>P; os frutos foram os drenos xi preferenciais em NPK em relação à parte vegetativa; a concentração de 150% de nutrientes foi mais efetiva no aumento de produtividade nas proporções de adubo mineral e orgânico de 0/100, 75/25 e 25/75; a concentração de 100 e 150% foram mais efetivas no acúmulo de sólidos solúveis totais quando combinadas com proporções de adubo mineral e orgânico de 75/25 e 50/50. / To produce in quantity and quality without harming the environment and without placing a burden the production costs, is the main aim of small and medium farms. Therefore, new technologies are needed to decrease the market dependence on input products industrialized, prioritizing the use of renewable resources acquired on the itself farm. Thus, we aimed to evaluate the effect of combined and isolated use of mineral and organic fertilizers on the watermelon culture. The experiment was taken place in an area located at the Federal University of Campina Grande (UFCG), Campus Pombal - PB (6 º 48 '16'' Sand 37º 49'15''W), during the period from June to September 2013.The design was a randomized block with four repetitions in a factorial 3x5 where the factor (A) were allocated different concentrations of nutrients N, P and K (50, 100 and 150 % of recommended NPK to watermelon) and the factor (B) five proportions of mineral and organic (100/0, 75/25, 50/50, 25/75 and 0/100) fertilizer. The rate of NPK corresponding to 100% was 120 kg ha-1 respectively for N, P e K. Were evaluated: gas exchange, leaf dry weight, stem, fruit, total dry matter, leaf area, nutrient accumulation in leaves, stem, fruit and total, total yield, titratable acidity, total soluble solids and ratio soluble solids and titratable acidity. The concentration of 150% of the recommended NPK to the culture of watermelon was the most effective in the physiological characteristics increasing, and dry matter accumulation in stem, leaf, fruit, and total; concentration of 100% of the recommended NPK does not supply adequately the nutritional needed requirements of the culture of watermelon 'Olympia' in Paraiba interior; the combination of mineral and organic fertilizer application provides equivalent photosynthetic rate isolated application of mineral fertilizer with an 50/50 ratio the most effective for this variable; The manure use alone does not contribute to the increase of dry mass in the vegetative part, when compared to combined use with mineral fertilizers, the proportions being 75/25 and 50/50, the most effective in dry matter accumulation in watermelon; the concentration of 150% of the recommended dose was the most effective in NPK accumulation in leaves, stems and fruits of watermelon; the proportions of mineral and organic fertilizer 50/50 and 75/25 were more effective in the accumulation of N and P and 0/100 in the K in leaves of watermelon; NPK accumulation in fruits and vegetative parts showed the following order of magnitude: K>N>P; fruits were preferred drains NPK vis-à-vis vegetative part; 150% of the nutrients concentration was more effective in increasing yield in the proportions of mineral and organic fertilizer of 0/100, 75/25 and 25/75; the concentration of 100 and 150% were more effective in the accumulation of soluble solids when combined with proportions of mineral and organic fertilizer 75/25 and 50/50.

Made available in DSpace on 2014-12-17T15:06:42Z (GMT). No. of bitstreams: 1 AdrianaAA.pdf: 404717 bytes, checksum: ea7ffc2f7d3147653cd6ab9409965800 (MD5) Previous issue date: 2008-06-30 / Using Harold Bloom s methodology known as dialectical revisionism we undertake the task of misreading of Vin?cius de Moraes (1913- 1980) poems Po?tica (1950), Oper?rio em constru??o (1955), Po?tica II (1960) against Percy Bysshe Shelley (1792-1822) and his poem A Song: Men of England, suggesting that the Brazilian poet trammeled a battle with his poetic triad, in which Oper?rio em Constru??o is Vinicius s main weapon. It is suggested here that each one of Vin?cius?poem represents a step of what Bloom calls anxiety of influence . The misreading proposed confronts the themes and the imagery of the poems, arguing that Shelley and Vin?cius are similar when they approach exploitation and working class consciousness according to the Dialectic Marxism pattern, and that Vin?cius?s poem was not only inspired by Shelley s, but using one of the strategies suggested by Bloom, he corrects the ideological flaws of Shelley s poem. It is also discussed the possibility that both poems are inspired by Plato?s (428-7 a 348-7 a.C.) allegory of the cave, his concept of justice and the moral construction of the polis defended in A Rep?blica. Thus, considering the process of misreading, these five poems constitute what Bloom calls a family romance , which is characterizes the phenomenon of melancholy of creativity / Esse trabalho busca atrav?s de uma perspectiva comparativista e usando a metodologia de Harold Bloom (1930-), oferecer uma desleitura de tr?s poemas de Vin?cius de Moraes (1913-1980), a saber Po?tica (1950), Oper?rio em constru??o (1955), Po?tica II (1960) frente a Percy Bysshe Shelley (1792-1822) e seu poema A Song: Men of England (1818), sugerindo que o poeta brasileiro travou uma verdadeira luta ag?nica com a sua tr?ade po?tica, sendo Oper?rio em Constru??o a principal arma do combate. Defende-se aqui que cada poema de Vin?cius representa uma etapa do que Bloom chama de ang?stia da influ?ncia . A desleitura proposta consiste em confrontar os temas e as imagens dos poemas, argumentando que Shelley e Vin?cius assemelham-se ao abordar a explora??o e conscientiza??o oper?ria nos moldes postulados pelo marxismo dial?tico e que, sugestivamente, Vin?cius n?o s? foi inspirado por Shelley, como corrigiu as fraquezas ideol?gicas do poeta ingl?s. Apresenta-se tamb?m a possibilidade da rela??o dos poemas em quest?o com o mito da caverna de Plat?o (428-7 a 348-7 a.C.), poeta cujo conceito de justi?a e constru??o moral da polis contidos em A Rep?blica tamb?m parecem servir de inspira??o a Shelley e Vin?cius. Desse modo, considerando o processo de desleitura , os cinco poemas formam um romance familiar que ? um dos n?veis de relacionamento de poemas, caracterizando, segundo Harold Bloom, o fen?meno da melancolia da criatividade

Made available in DSpace on 2014-12-17T15:06:43Z (GMT). No. of bitstreams: 1 WagnerMP.pdf: 330782 bytes, checksum: f5d5f4c1bf8c530a43ac4e2b47a0b8f9 (MD5) Previous issue date: 2008-07-01 / This dissertation analyses, within a psychoanalytical e literary perspective, the enigma of blindness in Graciliano Ramos s work. The approach takes into account, mainly, the narratives of Hist?rias de Alexandre (Alexandre s tales) and Inf?ncia (Childhood memories) as both books speak of the same theme: the injured eye. The writer s work is scourged so that a broaden symbolism regarding the hurt eye can be found. The subject is discussed from three significant elements: fragmentation, helplessness and melancholy; all these form the creative aesthetic of Graciliano, merging into a single object. Fragmentation representing the internal shattered world of his characters, which is reflected in the environment; helplessness, directly related to feelings of rejection; and melancholy, characterized by a strong feeling of emptiness. The theme of isolation and loss is discussed based on Mourning and melancholy, by Freud, and other theorizers. There is also a brief dialogue with the Romantic and philosophical theories, which tries to explain the melancholic condition in the individual before moments of distress. Such theories are the support for the understanding of the helplessness of the hero in Graciliano Ramos?s literature and for the assumption that the blindness in the mistreated boy of the book Inf?ncia could be the language of the traumatic aspect that colors the entire text of the writer. As matter of fact, it constitutes in the lost object represented in the anguish of the author s characters / Este trabalho analisa, dentro de uma perspectiva psicanal?tica e liter?ria, o enigma da cegueira na obra do escritor Graciliano Ramos. A abordagem sobre tal aspecto privilegia as narrativas de Hist?rias de Alexandre e Inf?ncia, pois ambos os livros falam de um mesmo tema: o olho ferido. Busca-se, em toda a obra do autor, uma simbologia maior para essa chaga que impregna tanto o texto de fic??o quanto o de mem?ria. O assunto ? abordado a partir de tr?s elementos significativos: a fragmenta??o, o desamparo e a melancolia. Todos estes integram a est?tica criativa de Graciliano, formando um ?nico objeto. A fragmenta??o representando o esfacelamento interno de seus personagens, refletido no mundo exterior; o desamparo, diretamente relacionado ao sentimento de rejei??o familiar e social; e a melancolia, caracterizada pelo forte sentimento de solid?o, pelo saudosismo profundo que envolve toda a obra. O tema do isolamento e da perda ? discutido tendo como base Luto e melancolia, de Freud, e na an?lise de outros te?ricos que discutem o mesmo assunto. Trava-se, ainda, um breve di?logo com as teorias rom?nticas e filos?ficas, as quais tentaram explicar o estado melanc?lico do indiv?duo diante de momentos angustiantes. Tais teorias servem de suporte para a compreens?o do desamparo do her?i em Graciliano Ramos e para conjeturar que a cegueira no menino maltratado de Inf?ncia seria a linguagem do aspecto traum?tico. Esta linguagem perpassa o discurso do escritor, marcando-o com a fragmenta??o e a falta, constituindo-se no objeto perdido que se revela na ang?stia de seus personagens

Esta dissertação tem como objetivo principal analisar três personagens femininas na ficção de Eça de Queirós e Gustave Flaubert: Amélia, Luísa e Emma Bovary, relacionando as suas mortes ao conceito de melancolia na psicanálise. Através de pesquisa bibliográfica, estudamos os conceitos de Realismo e Naturalismo e suas características, bem como, a situação da mulher no século XIX. Utilizamos como suporte teórico a psicanálise de Sigmund Freud e Jacques Lacan, para, finalmente, analisarmos a estrutura melancólica presente nas três mulheres / This dissertation has the main goal to analyse three female personages in Eça de Queiróss and Gustave Flauberts fiction: Amélia, Luísa and Emma Bovary, reporting their deceasing to the concept of Melancholy in Psychoanalysis. Through bibliographic inquiries we studied Realism and Naturalism thoughts and their characteristics, as well as the woman position in the XIX th century. We utiulized as a theoretician support Sigmund Freud and Jacques Lacan Psychoanalysis in order to explain the melancholic frame in those mentioned women

Para abordar nossa pergunta como se dá a sublimação na melancolia, tomaremos a escrita como modelo sublimatório, acreditando que ela demonstraria, com maior nitidez, os mecanismos que buscaremos descrever. Escolhemos como objeto de nossa investigação teórica, a obra de Ana Cristina César artista carioca, ícone da poesia dos anos 70 no Brasil. A particularidade de sua escrita é o entrelaçamento com sua vida, cuja autobiografia ficcional traz o que acreditamos ser um discurso melancólico. Através de uma leitura sistemática do legado literário e biográfico da autora, cuja escrita transitou entre cartas, poemas, diário e tradução, investigaremos os enlaces e desenlaces entre sublimação e melancolia. Faremos um exame apurado da metapsicologia freudiana da melancolia, do conceito de desfusão pulsional e da sublimação, tentando entender a relação entre as dimensões tópica, dinâmica e econômica. A fim de melhor atingir nossos objetivos traçados, buscamos nosso aporte teórico também nas obras de autores pós-freudianos que se dedicaram ao tema, como, por exemplo, Klein, Winnicott, Lambotte e Rosenberg. Foi realizada uma análise, observando a singularidade da pesquisa que inclui o campos da literatura e da psicanálise. Descobrimos que o processo sublimatório, quando faz uso do trabalho de melancolia, e não do trabalho de luto, aumenta o risco de desfusão pulsional. A partir da investigação da dimensão temporal e das instâncias ideais que possuem características próprias na melancolia, observamos que há uma especificidade da sublimação nesta afecção / In order to better approach our central question, how the sublimation occurs in melancholy, we are going to take writing as a sublimatory model, which pointedly demonstrates the mechanisms that we will try to describe. We have chosen as object of analysis for this theoretical investigation, the work of Ana Cristina César, artist from Rio de Janeiro, iconic in Brazils 1970s poetry. The particularity of her writing is the intertwining with her personal life, whose fictional autobiography surfaces what we believe to be a melancholic discourse. Through a systematic reading of the authors literary and biographical legacy, which covers a variety of genres and forms, such as collections of poetry, diaries, as well as translations, we will persecute the connections and outcomes in the processes of sublimation and melancholy. We are going to do an acute examination of the Freudian metapsychology of melancholy, the concept of pulsional defusion as well as sublimation, in an attempt to understand the relationship between the topic, dynamic, and economic dimensions. Such achievements will not be possible without the contributions of post-Freudian scholars, such as Klein, Winnicott, Lambotte, and Rosenberg, whose works will be our theoretical apparatus. Our analysis observed the particularity of the researche that embrace both the fields of psychology and literature. We have reached the conclusion that when the sublimatory process uses the work of melancholy, not grief, the risk of pulsional defusion increases. Through the investigation of the temporal dimensions and the ideal instances that possess proper characteristics in melancholy, we observed that there is a specificity of sublimation in this condition

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-02-28T13:27:57Z No. of bitstreams: 1 patriciasadealmeidatavella.pdf: 549517 bytes, checksum: 9cad260d73562830383098ddfb0ed1d0 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-03-01T15:47:01Z (GMT) No. of bitstreams: 1 patriciasadealmeidatavella.pdf: 549517 bytes, checksum: 9cad260d73562830383098ddfb0ed1d0 (MD5) / Made available in DSpace on 2018-03-01T15:47:01Z (GMT). No. of bitstreams: 1 patriciasadealmeidatavella.pdf: 549517 bytes, checksum: 9cad260d73562830383098ddfb0ed1d0 (MD5) Previous issue date: 2015-09-21 / PROQUALI (UFJF) / A menina morta (1970), romance do escritor Cornélio Penna (1896-1958) foi publicado em 1954, tendo como alicerce a temática da morte. A história se inicia com a morte de uma menina, denominada em toda a narrativa como a menina morta, e o sofrimento das personagens diante dessa perda. Esta pesquisa desenvolve-se, então, a partir da elaboração do seguinte problema: a literatura pode servir para apresentar, de modo estético, imagens que falam por si sós aquilo que a ciência tenta conceituar com muitas palavras? A hipótese levantada é de que, este romance, especificamente, permitiu refletir sobre a destruição psíquica dos moradores da fazenda do Grotão, espaço físico onde se desenvolve a narrativa, pensando como a ambiência mórbida apresentada na referida obra pôde evidenciar aspectos comportamentais e psíquicos do homem diante da morte, seja esta biológica ou psíquica. E, a justificativa para o levantamento desta hipótese é de que este psiquismo em destruição parece consolidar-se a partir da percepção de que a morte vivenciada vai além da morte biológica da menina morta, revelando inclusive, personagens que, em virtude disso, mostram-se aniquiladas em si mesmas. Nesse sentido, o objetivo geral dessa investigação é refletir como a ambiência narrativa do romance, por meio da análise de algumas personagens, permite a interlocução com a perspectiva sócio-histórica, e, em especial com a psicanalítica, a respeito do homem e sua relação com a morte. Considerou-se importante situar a obra em seu contexto histórico-literário, para que não se corresse o risco de limitá-la à classificação, enquanto obra, de teor, predominantemente, introspectivo, devido à sua complexidade. A metodologia aplicada a esta pesquisa é exploratória, bibliográfica e hermenêutica crítica. Algumas fontes teóricas fundamentaram a reflexão sobre a morte em uma perspectiva sócio-histórica: os estudos de Edgar Morin (1997) e de Philippe Ariés (2003) apoiados pela teoria psicológica, elaborada por Sigmund Freud (1996). Estas teorias procuram entender o homem, enquanto sujeito, diante da morte. Para esta representação psíquica foram utilizados os conceitos de pulsão de morte e melancolia, legitimados pela psicanálise freudiana. No que se refere à afecção melancólica, estudos desenvolvidos pelas autoras Julia Kristeva (1989) e Marie-Claude Lambotte (1997) completam a reflexão. / A menina morta(1970), a novel by the writer Cornélio Penna (1896-1958) was published in 1954 with is basic theme that of death. The story begins with the death of a girl, refered to throughout the narrative as the dead girl, and shows the sufferings of the characters caused by this loss. This study is developed starting out from this question: can literature serve to present, in an aesthetic manner, the images that can speak for themselves alone while science attempts to conceptualize with so many words? The hypothesis raised is that in this novel in a special way, it is possible to reflect on the psychic destruction of the inhabitants of the large farm called Grotão, a physical space where the narrative takes place, and that thinking of this morbid space shown in the work can give us evidence of the behavioral and psychic aspects of a human being faced with death whether it be biological or psychic. The justification for the suggestion of this hypothesis is that the psychic experience of destruction seems to consolidate itself going beyond the mere biological death girl, and revealing inclusively the characters that, as a result of this, show themselves as completely annihilated by the experience. In this sense, the general objective of the investigation is to reflect on the narrative atmosphere of the novel by an analysis of some of the characters, allowing a dialogue in a social and historical perspective and in a special way with psychoanalysis in relationship to the human being and to the reaction to death. It is important to situate the work in its historical and literary context, so as not to risk the classification of the work as a merely novel which is predominantly introspective. The methodology applied in the study is at the same time that of a exploratory, a bibliographical and hermeneutic criticism. Some basic theoretical sources give a foundation of the reflection on death in a social and historical perspective: the studies of Edgar Morin (1997) and of Philippe Ariés (2003), which rely on the psychological theory elaborated by Sigmund Freud (1996). These theories try to understand the human being as a subject when faced with death. To illustrate this psychic representation, the concepts of death drive and of melancholy, as legitimated by the psychoanalysis of Freud, are used. As regards to the melancholic affection, the studies developed by the authors Julia Kristeva (1989) and Marie-Claude Lambotte (1997) complete the reflection.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2015-11-03T20:40:54Z No. of bitstreams: 2 Ana Clara e Anelise - a relação entre literatura, sociedade e melancolia.pdf: 1165512 bytes, checksum: 312f973970f2b8351459519215c4fdf9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2015-11-04T20:15:01Z (GMT) No. of bitstreams: 2 Ana Clara e Anelise - a relação entre literatura, sociedade e melancolia.pdf: 1165512 bytes, checksum: 312f973970f2b8351459519215c4fdf9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-11-04T20:16:02Z (GMT). No. of bitstreams: 2 Ana Clara e Anelise - a relação entre literatura, sociedade e melancolia.pdf: 1165512 bytes, checksum: 312f973970f2b8351459519215c4fdf9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-04-16 / Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul - FAPERGS / Este trabalho se estabelece a partir da análise comparada entre as personagens Ana Clara, de As Meninas, de Lygia Fagundes Telles, e Anelise, de As Parceiras, de Lya Luft. Para isso, partimos fundamentalmente das concepções apresentadas por Antonio Candido e Mikhail Bahktin acerca da construção da personagem na ficção. Com o objetivo de refletir como os processos sócio-históricos da modernidade inserem-se nas produções ficcionais, visamos identificar como os discursos ideológicos do sistema capitalista e do patriarcado são representados na literatura produzida por essas autoras. Sustentamos, assim, uma perspectiva apoiada na relação entre literatura e sociedade e, nesse ponto, abordamos como as personagens são compostas a partir de um viés melancólico – considerando a perspectiva de Walter Benjamin – que se manifesta como representação de uma sociedade massificada e reificada, evidenciando a melancolia como um sentimento de perda que perpassa a experiência dos indivíduos. / This work is established from the comparative analysis between the characters Ana Clara in As Meninas of Lygia Fagundes Telles, and As Parceiras of Lya Luft. For that, fundamentally we started from the concepts presented by Antonio Candido and Mikhail Bahktin about the construction of character in fiction. In order to reflect how sociohistorical processes of modernity are part of the fictional productions, we aim to identify how the ideological discourses of capitalism and patriarchy are represented in the literature produced by these authors, Telles and Luft. We sustain, therefore, a view supported by the relationship between literature and society and at that point, we discuss how the characters are composed from a melancholic bias - considering the perspective of Walter Benjamin - which manifests itself as a representation of a massified and reified society, showing melancholy as a sense of loss that permeates the experience of individuals.

During the seventies, it is possible to verify the arising of a set of works characterized by a tendency on recovering aesthetic elements and values from Romanticism in East-Germany Literature. That country lived under the Socialism imposed by force by the USSR, and the State exerted strong oppression, censorship and repression over people, and also imposed a realistically-based program to be followed by the writers, in order to consolidate the ideological principles of the regime the Socialist Realism, created departing from Georg Lukács conceptions on realism. In response to this context, some literary works can be considered as assuming the role of resistance, by the adoption of non-mimetic forms and techniques of writing. In this sense, this thesis aims at doing a comparative analysis between Christa Wolf s novel Kein Ort. Nirgends and Ulrich Plenzdorf s novel Die neuen Leiden des jungen W., focusing on the possible role of themes as subjectivity, melancholy and turn to past to the political and social aspirations proper of the writers vinculated to this literary tendency. The concept of Romanticism must be understood according to the particular historical meanings resulting with regard to the discussion on cultural and literary heritage. Christa Wolf s, Bertolt Brecht s, Theodor Adorno s, Walter Benjamin s and Anatol Rosenfeld s essays constitute the main critical and theoretical approach used to base this research / Durante a década de 70, verifica-se na literatura da República Democrática Alemã (RDA) o surgimento de um conjunto de obras caracterizadas pela retomada de elementos e valores referentes ao período romântico alemão. O país vive sob o Socialismo imposto à força pela URSS, e o Estado exerce sobre o povo forte opressão, censura e repressão, além de impor um programa de base realista a ser seguido pelos escritores, com o fito de consolidar os princípios ideológicos do regime o Realismo socialista, criado a partir das concepções de realismo de Georg Lukács. Em resposta a esse contexto, pode-se considerar que algumas obras literárias funcionam como resistência, ao adotar formas e técnicas não miméticas de escrita. Neste sentido, a presente dissertação visa a realizar uma análise comparativa entre os romances Kein Ort. Nirgends, de Christa Wolf e Die neuen Leiden des jungen W., de Ulrich Plenzdorf, tendo em vista o possível papel de temas como a subjetividade, a melancolia e o voltar-se para o passado para as aspirações político-socias dos escritores vinculados à referida tendência literária. O conceito de Romantismo deve ser entendido de acordo com os significados históricos particulares resultantes em função da discussão em torno da herança cultural e literária. O principal aporte crítico e teórico empregado como base para essa pesquisa advém dos ensaios de Christa Wolf, Bertolt Brecht, Theodor Adorno, Walter Benjamin e Anatol Rosenfeld

Hamlet's tragedy is constructed as a perspective of matter that is destined for decay, and this "objective," or "object-focused," mode of viewing the material world enhances theatrical and theological understandings of the play's props, figurative language, and characters. Hamlet's "objective mode" evokes early modern materialist philosophies of vanitas and memento mori, and it is communicated in theatre through semiotic means, whereby material items stand for moral ideas according to an established sign-signified relation. Extending an objective reading to Hamlet's characters reveals their function as images, or two-dimensional emblems, in moments of slowing narrative time. In the graveyard scene (5.1), characters and theatrical props cooperate to materialize the objective perspective. As a prop, Ophelia's corpse complicates the objective mode through its semantic complexity. Thus, she stands apart from other characters as one that both serves to construct and to deconstruct the objective mode. Hamlet's tragic outlook, which depends upon an understanding of matter as destined for decay, and of material items as ends in themselves rather than vehicles for spiritual transformation, is an early modern notion concurrent with theological debates surrounding the Eucharist. Drawing upon art-historical, linguistic, feminist, theological, and theatrical approaches, this thesis contributes to concurrent discourse on Hamlet's tragic genre.

Ce travail porte sur d’une part l’interrogation sur l’existence de la perversion féminine, rarissime voire inexistante d’après les écrits fondamentaux de la psychanalyse, et de l’autre part sur l’exploration de la dynamique propre au montage pervers au féminin. Si la femme qui se situe du côté de l’amour a amené Lacan a énoncé la maxime célèbre, celle de la femme n’existe pas, puisqu’elle n’est « pas toute » et que la femme ne s’écrit que barrée, la femme perverse se révèlera être l’envers de la femme. De ce fait, la femme perverse prône l’existence de la femme et sa possible écriture. Le montage pervers de la femme perverse bafoue la loi de la différence des sexes en aboutissant à une falsification outrancière des formules de la sexuation. Ainsi, il s’agit d’une perversion féminine comme imposture. En effet, l’imposture perverse de la femme perverse se déploie à travers l’identité factice que la femme perverse se fabrique afin de contrer l’autre femme, celle qui n’existe pas. D’emblée, la prévalence imaginaire chez la femme perverse est le mécanisme qui permet à la perverse d’avoir la foi dans la possession d’un phallus, d’une part largement supérieur à celui de l’homme, puisqu’il n’est pas borné par la détumescence et d’autre part, la relevant au rang de l’exception, puisqu’elle est la seule femme à le détenir. La mise en scène perverse, dont l’ancrage est imaginaire, opère dans les filets signifiant du symbolique. En effet, le symbolique, scène de la loi de la différence des sexes, se trouve bafoué et souillé. Ainsi, c’est ce savoir autre, sorte de « sur-savoir », prôné par la femme perverse qui divise l’autre, -témoin sidéré-, et perdure son illusion, sa foi, dans l’avoir du phallus. Toutefois, derrière cette armure d’invincible se révèle une angoisse à la teinte mélancolique, connectée à l’insignifiance du sexe féminin. Ainsi, c’est ce non-lieu de la femme auquel la femme perverse par imposture et simulacre s’invente un lieu, qui constitue l’angoisse de laquelle la femme perverse se prémunit. / This work concerns on one hand the interrogation on the existence of the even non-existent feminine, extremely rare perversion according to the fundamental papers of the psychoanalysis, and somewhere else on the exploration of the dynamics appropriate(peculiar) to the perverse assembly(editing) in the feminine. If the woman who is situated near(on the side of) love brought Lacan expressed the famous maxim, that of the woman do not exist, because she " is not quite " and because the woman spells only blocked, the perverse woman will turn out to be to the woman(wife). Therefore, the perverse woman advocates the existence of the woman and her possible writing. The perverse assembly(editing) of the perverse woman scoffs at the law of the difference of the sexes by ending in an exaggerated forgery of the formulae of her(it) So, it is about a perversion feminine as imposture. Indeed, the perverse imposture of the perverse woman spreads (displays,deploys) through the artificial identity that the perverse woman makes to counter the other woman, the one who does not exist. Straightaway, imaginary prevalence at the perverse woman is the mechanism which allows the pervert to have the faith in the ownership of a phallus, on one hand widely upper to that of the man, because he (it) is not limited by the détumescence and on the other hand, raising(finding) it to the rank of the exception, because she is the only woman to hold(detain) him(it). The perverse direction (fabrication), the anchoring of which is imaginary, operates in nets meaning of symbolism. Indeed, symbolism, scene (stage) of the law of the difference of the sexes, is scoffed and soiled. So, it is So, it is this other knowledge, kind of " to know ", lauded by the perverse woman who divides the other one, - the bewildered witness(baton), and continues its illusion, its faith, in the credit note of the phallus. However, behind this armor of invincible shows itself an anxiety in the melancholic tint, connected to the insignificance of the female genital organ. So, it is this dismissal of the charges of the woman in which the perverse woman by imposture and enactment invents a place, which establishes (constitutes) the anxiety of which the perverse woman protects himself.