Thesis (Ph. D.)--University of Wisconsin--Madison, 1952. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [226]-254).

Tese (doutorado)—Universidade de Brasília, Centro de Estudos Avançados Multidisciplinares, Pós-Graduação em Desenvolvimento, Sociedade e Cooperação Internacional, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-09-02T20:17:39Z No. of bitstreams: 1 2016_EricdeSales.pdf: 12883313 bytes, checksum: cd46a2cc1245a838d79fda5cd693d2c4 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-10-04T21:56:14Z (GMT) No. of bitstreams: 1 2016_EricdeSales.pdf: 12883313 bytes, checksum: cd46a2cc1245a838d79fda5cd693d2c4 (MD5) / Made available in DSpace on 2016-10-04T21:56:14Z (GMT). No. of bitstreams: 1 2016_EricdeSales.pdf: 12883313 bytes, checksum: cd46a2cc1245a838d79fda5cd693d2c4 (MD5) / A presente tese versa sobre um conceito aplicado a Estados que enfrentaram momentos de autoritarismo ou retrocessos político-sociais, em que diversos direitos (principalmente os Direitos Humanos) foram suprimidos. O Brasil viveu de 1964 até 1985 um período de ditadura civil-militar, um momento em que os Direitos Humanos foram colocados de lado em nome de uma “Segurança Nacional”, um momento de perseguições aos que eram contrários ao regime. O campo que estuda a transição do autoritarismo para democracia no Brasil (assim como de outros Estados) é denominado de Justiça de Transição e tem como pilares a memória, verdade, justiça e reparação e reforma das instituições. Esta tese trabalha com este conceito (e seus pilares), a partir de uma leitura realizada por meios de quatro filmes da diretora Lúcia Murat (Que Bom Te ver Viva, Quase Dois Irmãos, Uma Longa Viagem, A Memória que me Contam), de forma a observar nestas produções fílmicas para constituir o link para o ponto final desta tese, qual seja o de constituir pontes entre a Justiça de Transição e o conceito de direito ao desenvolvimento. _________________________________________________________________________________________________ ABSTRACT / This thesis deals with a concept applied to states that have faced moments of authoritarianism or political and social setbacks, in which various rights (especially human rights) were suppressed. The Brazil lived from 1964 to 1985 a period of civil-military dictatorship, a time when human rights were put aside in the name of a "national security", a time of persecution of which were against the regime. The field that studies this transition (as well as other states) is called for Transitional Justice and is founded on memory, truth, justice and reparation and institutional reform. This thesis works with this concept (and its pillars), from a reading performed by means of four films of director Lucia Murat (QueBomTever Viva, QuaseDoisIrmãos, Uma Longa Viagem, A Memóriaque me Contam) of so watching these filmic productions to be the link to the end of this thesis, namely, that of being bridges between Transitional Justice and the concept of right to development.

Texte remanié de: Dissertation--Histoire--Giessen--Justus Liebig-Universität, 2004. / Bibliogr. p. 375-392. Notes bibliogr. Index.

En se proposant d’étudier les relations des Français avec le Royaume de Naples dans la mise en place d’une politique archéologique parmi les plus modernes d’Europe sous les règnes de Joseph Bonaparte et Joachim Murat, cette thèse s’inscrit dans plusieurs domaines de la recherche en Histoire (politique et culturelle), Histoire de l’Art et Archéologie. Il s’agit ainsi de nous pencher surl’Antiquité à travers le prisme du XIXe siècle, tout en tentant de répondre aux questions actuelles de l’Histoire de l’art sur les provenances archéologiques et le destin des oeuvres découvertes dans ces années. Devant l’ampleur des découvertes archéologiques faites pendant le decennio francese, nous choisissons de limiter la recherche au matériel céramique. Ce corpus homogène permet de revenir sur les découvertes et l’histoire des sites archéologiques de l’Italie méridionale dans les années 1806-1815, en explorant des archives inédites. Leur dépouillement systématique apporte de nouvelles connaissances sur l’histoire des sites fouillés et permet de retrouver la provenance perdue d’objets aujourd’hui conservés dans les musées européens. Par ce croisement inédit de sources, nous espérons donner une vision plus complète de la Naples du decennio francese, tout en élargissant les connaissances sur l’Histoire de l’Archéologie en Italieméridionale. C’est là tout l’enjeu d’un sujet aux confluences des différents courants de l’Histoire,contemplant l’Antiquité dans le miroir des premières années du XIXe siècle. / Dealing with the relationships between the French connoisseurship and the Kingdom of Naples in building of one of the most modern archeological policies in Europe under Joseph Bonaparte and Joachim Murat's reigns, this doctorate takes a part in several fields of research in History (political and cultural), Art History and Archeology. It makes us look at the Antiquity through the prism of the XIX Century, trying at the same time to answer today’s questions of Art History about the archeological proveniences and the faith of the vases discovered in those years. In front of the large number of archeological discoveries made during the French Decade, we choose to focus our research on ancient painted vases. This homogeneous corpus leads us back to the discoveries and the history of archeological sites in the south of Italy during the years 1806-1815 by exploring ancient and unpublished archives. Their systematic sorting gives new information on the History of excavations, allowing us to find out the lost provenance of ancient vases, today conserved in several museums in Europe.With this original sources crossing, we aimed at offering a more complete vision of Naples during the French Decade by broadening the knowledge on the Southern Italian archeological History.Here stands the stake of a study at the confluences of different streams of History, looking at the Antiquity in the mirror of the first years of the XIX Century.

Les nombreux contes de fées qui paraissent à la fin du XVIIe siècle sont modélisés par un système hyperbolique omniprésent. Du niveau le plus micro-structural jusqu'aux macrostructures poétiques, l'hyperbole définit, justifie et confirme le genre merveilleux. Profusion, foisonnement, démultiplications, redoublements, dérivations ou créations débridées sont ainsi les déclinaisons prolifiques de l'hyperbole. Saturant les récits par des procédés récurrents, la distribution lexicale déborde des cadres alors insuffisants pour exposer des inventions originales et fantaisistes, et s'amplifie jusqu'à submerger les contes de néologismes, de listes ou de syntagmes figés dans une expansion logorrhéique. A un niveau supérieur, le discours du narrateur, comme celui des personnages, s'énonce et s'affiche ostensiblement dans une mise en scène générique exponentielle qui (se) joue de multiples formes pour divertir et se développer. Entre ingérence auctoriale fréquente et discordances démonstratives, le conte révèle une énonciation scalaire complexe et inédite dans un genre hérité d'une tradition orale univoque. Redoublant une elocutio composite et enchevêtrée, la dispositio supplétive des contes additionne, intercale et annexe les épisodes diégétiques dans une surcharge narrative qui prolonge les limites d'un genre paradoxalement bref. Les nombreux personnages qui dé/re/doublent le protagoniste participent à la mise en œuvre d'intrigues plurielles qui trouvent leur cohérence dans la figure centrale du conte. Marqué par une emphase systématisée qui se propage autour de lui, le héros rassemble et dirige tous les motifs diégétiques. Inscrit dans un environnement à sa mesure, distingué par des attributs outranciers, entouré de spectateurs enthousiastes, le héros domine le récit par la théâtralisation de son statut hors du commun. Genre hybride, kaléidoscopique et protéiforme, le conte propose une politique paradoxale de la surenchère permanente, du surnombre, de la surqualification, du grossissement, saturant le texte, et ce d'autant plus qu'il est bref, dans un processus jubilatoire. En concentrant dans un espace restreint les multiples éléments du conte, l'esthétique de l'hyperbole, si elle peut exister dans d'autres corpus et dans d'autres déclinaisons, permet spécifiquement d'accéder à la vérité du genre tel qu'il est pratiqué dans l'écriture mondaine des années 1690-1710. / Many fairy tales that appear at the end of the seventeenth century are modelled by a pervasive hyperbolic system. From the most micro-structural level to poetic macrostructures, hyperbole defines, justifies and confirms the wonderful genre. Wealth, abundance, repetitions, derivations or unbridled creations are so prolific versions of hyperbole. Saturating stories by recurring processes, the lexical distribution goes beyond the bounds regarded as inadequate to expose the original and fanciful inventions, and builds up to overwhelm tales with neologisms, lists or phrases stuck in a logorrheic expansion. At a higher level, the discourse of the narrator, and of the characters, reads and is ostensibly displayed in a generic exponential scene playing multiple forms to entertain and grow. Between frequent authorial interference and demonstrative discrepancies, the tale reveals a complex and unique scalar enunciation as if inherited from a univocal oral tradition. Repeating a composite, entangled elocutio the proxy from the stories dispositio adds, inserts and attaches the diegetic events in an overloaded narrative that extends the limits of a short paradoxically short genre. The numerous characters who dub the hero and increase his charisma are involved in the implementation of plural intrigues which find some coherence in the hero. Marked by a systematic focus that spreads around him, the hero collects and directs all diegetic motives. Enrolled in a tailor-made environment for him, distinguished by outrageous attributes, surrounded by enthusiastic spectators, the hero dominates the story by dramatizing his unusual status. As a hybrid genre, a kaleidoscopic and protean, the tale offers a paradoxical policy of continuing escalation of redundancy, over-qualification, magnification, saturating the text, and especially since it is short, in a joyful process. By focusing in a confined space the multiple elements of the tale, the aesthetics of the hyperbole, if it does exist in other corpus and other variations, specifically allows access to the truth of the genre, such as is practiced in the worldly writing years of 1690-1710.

Made available in DSpace on 2015-05-14T12:23:07Z (GMT). No. of bitstreams: 1 ArquivoTotalJonatas.pdf: 1794355 bytes, checksum: 0d08617a92903ee8d7ffbec85c0dc48b (MD5) Previous issue date: 2013-07-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work is appealing for the universe of memories and feelings of women, political prisoners during the military dictatorship in Brazil (1964 - 1985), who survived the traumatic experience of lucid torture. Having as a main source movie Que Bom Te Ver Viva, full length documentar produced by Lúcia Murat from 1988 - 1989. We assume that the art of Lucia Murat in Que Bom Te Ver Viva meets, while self consciousness and memory that is human history, the function of raising individual particularities, writing it self, the generically human. In this perspective, grasp the film as an important means of production, dissemination and reception of individual and collective experiences of the past and presente, and thereby as a material linked to identity and social dimensions that are justified from their membership of a historical culture formed in the time of the events, the circumstances of film production. Indeed, analyzing the images of orality and Que Bom Te Ver Viva, means, Immediately talk to a social representation that contributes to a historical and cultural participation of women in the armed struggle against the dictatorship, the discourser of the Brazilian feminist movement in the 1980s, such as: violence against women, women's sexual freedom, gender relations and power involving sexes. / Este trabalho envereda pelo o universo das lembranças e sentimentos de mulheres, presas políticas durante a ditadura militar no Brasil (1964-1985), que sobreviveram lúcidas a experiência traumática da tortura. Tendo como fonte principal o filme Que Bom Te Ver Viva, documentário de longa-duração produzido por Lúcia Murat entre 1988-1989. Partimos do pressuposto de que a arte de Lúcia Murat em Que Bom Te Ver Viva cumpre, enquanto autoconsciência e memória que é da história humana, a função de elevar particularidades individuais, uma escrita de si, ao genericamente humano. Nessa perspectiva, objetivamos apreender o filme como um importante meio de produção, divulgação e recepção de experiências individuais e coletivas do presente e do passado e, desse modo, como material vinculado a dimensões sociais e identitárias que se justificam a partir de sua filiação a uma cultura histórica constituída no tempo dos eventos, na conjuntura da produção cinematográfica. Com efeito, analisar as imagens e oralidades de Que Bom Te Ver Viva significa, de imediato, dialogar com uma representação social que contribui para uma visão histórica e cultural da participação feminina na luta armada contra a ditadura, bem como, com sua representatividade na esfera de questões fundamentais que permeiam os discursos do movimento feminista brasileiro na década de 1980, tais como: a violência contra mulheres, a liberdade sexual feminina, as relações de gênero e poder que envolvem os sexos

Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808-1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century. Many of these works varied in style and content, but all helped in creating an ideal identity for Caroline. In all of the works she is portrayed as a powerful woman. She is either powerful by her settings (in the drawing room, or with Vesuvius in the background), her vast knowledge in the arts and fashion, her motherhood, her sensuality, or the way in which she is positioned and how she is staring back at the viewer within the works. The creation of this identity was uniquely Caroline's, mimicking Marie de Medici, Marie Antoinette and Josephine and Napoleon Bonaparte, while adding her own tastes and agendas to the creation. Through this identity she proved herself to be as equally French as Italianate through dress and surroundings. She even created a hybrid of fashion, wedding the styles together, by adding black velvet and lace to a simple empire-waisted silhouette. Caroline proved herself as politician, mother, educated and refined woman, pioneer in fashion, and Queen through the art that she purchased and commissioned.

Stenbyggnadstraditionen kom sent till Norrland. När dessa byggnadstekniker slutligen spreds sig norrut så var det kyrkan som förde med sig kunskapen och uppförde kyrkor i sten längs kusten. Murbruksprover har insamlats från fem olika medeltida kyrkor längs norrlandskusten för att bättre förstå och jämföra det använda byggnadsmaterialet. Proverna har analyserats som tunnslip för att kunna tolka innehåll och sammansättning. Kyrkornas likheter jämförs och diskuteras. Dessutom genomförs en genomgång av Norrlands byggnadstradition från förhistorisk tid för att bättre förstå varför det länge byggdes annorlunda här jämfört med resten av landet och hur koloniseringen av landet tedde sig. / The stone building tradition was slow to arrive in Norrland. And when there building techniques finally spread north over it was the church who brought the knowledge of the material and erected churches along the coastline. Mortar samples have been collected from five different medieval churches along the coastline of Norrland. The samples have then been analyzed as barrel slips to uncover components of the mortar. The churches similarities have been compared and discussed. In addition, there is an in-depth part of Norrland’s building traditions from prehistoric time to better understand why the stone building tradition was so late and why people built different up here. This part also discusses the colonization of the land and the population growth.

For many centuries, children have known fairytales. Whether they were read to them by their parents, or whether they have been exposed to them through Disney movies and other adaptations; one cannot ignore that they have become an integral part of one's childhood memories. However, one often tends to forget the didactic nature of those fairytales and the real life fairies that created them, for they were and remain educators. While uncovering the lives of those famous female writers of the late seventeenth-century, one will be able to better grasp the environment in which they lived and thus will understand the context in which their tales were written, the educating lessons that they were trying to convey, and the universal moralities that remain forever engraived in history. These women were educators, and so were their fictional fairies; for they conveyed information. onto others, just like a teacher conveys inform~tion to a student. They wanted to be heard, and their tales, for this reason, will forever remain timeless.

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