Submitted by Maicon Juliano Schmidt (maicons) on 2015-07-07T18:24:03Z No. of bitstreams: 1 André Campos Silva.pdf: 2838135 bytes, checksum: 2872728d2a874e2b7e29377031d7f44d (MD5) / Made available in DSpace on 2015-07-07T18:24:03Z (GMT). No. of bitstreams: 1 André Campos Silva.pdf: 2838135 bytes, checksum: 2872728d2a874e2b7e29377031d7f44d (MD5) Previous issue date: 2014-01-31 / CNPQ – Conselho Nacional de Desenvolvimento Científico e Tecnológico / A pesquisa busca problematizar o uso do clichê no cinema, entendendo-o como um processo comunicacional que ajuda contribuir com a compreensão da forma e do conteúdo dos filmes. O foco do estudo recai sobre os clichês, presentes no subgênero de terror slasher, por meio de conexões com o arquétipo da sombra. Três eixos conceituais basilares organizam o trabalho: filmes terror, forma e conteúdo estéticos, processo de construção e narrativas dos personagem dos filmes de terror. As poucas pesquisas específicas sobre os clichês no cinema nos levaram à utilização de autores de diversas vertentes, entre eles estão os pesquisadores do campo da comunicação e do audiovisual como Eco, Mcluhan, Xavier, Aumont, Bordwell. Também participaram da construção teórica estudiosos de narrativa como Candido, Mckee, Campos, Field. O campo da filosofia em sua ligação com a vertente estética foi igualmente importante com Kant, Szondi e Burke. A pesquisa empírica se deu sobre uma coleção de seis filmes do subgênero slasher produzidos entre 1979 e 1984, a partir dos quais foi realizada uma análise em três etapas que visaram um mapeamento dos clichês de medo encontrados no corpus. A tese afirma que o clichê faz parte da instituição cinema, bem como, constitui a linguagem cinematográfica e se compõe a partir de certo grau de mobilidade. No que se refere às lógicas que constituem o clichê de medo em filmes de terror slasher fica evidenciada a presença do sublime nos 18 clichês encontrados. Eles se organizam na forma-conteúdo de maneira a estabelecer uma forte característica de valorização do espaço-tempo de incerteza dentro da estrutura dramática, colocando em destaque a ideia de ameaça. / The research aim problematize the use of cliché in film , considering it as a communication process that helps contribute to understanding the form and content of the films . The focus of the study is on the clichés present in the slasher subgenre of horror, through connections with the archetype of the shadow. Three basic conceptual axes organize work: horror movies, fashion and aesthetic content, the construction process of the characters and narratives of horror movies. The few specific studies on the clichés in movies led us to the use of authors from various aspects, among them are researchers in the field of communication and audio visual as Eco, McLuhan, Xavier, Aumont, Bordwell. Also participated in the theoretical construction of narrative as Candido, Mckee, Fields, Field. The field of philosophy in its connection with the aesthetic aspect was also important to Kant, Burke and Szondi. The empirical research took place over a collection of six films of the subgenre slasher produced between 1979 and 1984, from which performed was analysis in three steps aimed at mapping the clichés of fear found in the corpus. The thesis argues that the cliché movie is part of the institution as well, is the cinematic language and is composed from a certain degree of mobility. With regard to the logic that constitute the cliché of fear in horror movies slasher is evident the presence of the sublime in the 18 cliches found. They are organized in the form-content in order to establish a strong feature of appreciation of space - time uncertainty within the dramatic structure, highlighting the idea of threat.

<p>This thesis investigates the role of the term plot in mediating relations between architecture and narrativity. Examining organisational strategies in the creation of real and virtual spaces, it identifies literary works by novelists who have resisted, or subverted, plot conventions in fiction (Joris-Karl Huysmans, Edmond de Goncourt, Xavier de Maistre and Neal Stephenson), and introduces architectural spaces such as Thomas Edison’s film-studio Black Maria, and the plotless productions of early cinematography, to juxtapose concepts of plot and spatiality in a study of the production and consumption of pre-digital virtual spaces. Plot here relates therefore both to narrative sequentiality and spatial organisation – from "storyline" to "ground plan". The "plotless" narrative structure of Huysmans, Goncourt and de Maistre focuses on the interaction between man – the "writerin- residence" – and his domestic interior, functioning as an excitant or stimulant for the production of both material and imagined spaces. The media culture of late 19th century society saw the first significant attempts at moving image technology and its related spatialities – the Black Maria, the kinetoscope, the kinetograph, and the films produced by these, which had yet to find a narrative form. The architecture of the plotless novels and the proto-cinematic experiments of the late 19th century modulate between physical reality and fiction. They are ripe in their descriptive narrativity, expanding in the imagination of the consumer. Stephenson’s imaginative transposition of book media into a "Primer" – a new form of narrative media that develops its narrative content directly from the environmental context of its reader – concludes the discussion of the thesis, highlighting interrelations between fictive and real space, influencing both writer and reader. The refusal of narrative plot deprives the reader of causality, but emphasises the fictitious spatial creation in which the reader becomes immersed. These spaces, by virtue of their disengagement from plot, allow us to revisit the possibilities of virtual space without common preconceptions concerning the creation or experience of digital mediating technology.</p>

This thesis deals with the notion of conceptual thought as developed by the Czech philosopher, Ladislav Hejdánek, within the referential framework of Husserl's phenomenology. The aim of the thesis is to thoroughly reconstruct the points of departure and basic motifs of Hejdánek's concept, since the reflection of conceptual thought is one of the milestones of Hejdánek's critical thinking, which has not yet been systematically worked out by Hejdánek or anyone else. Hejdánek is interpreted here mainly in the context of Husserl's noematic theory of meaning, enabling us to view Hejdánek through the predicates of a philosophical mainstream as well as to explore some of the problematic points of Husserl's thought processes that are not usually noticed and which have been approached creatively by Hejdánek from an unexpected perspective. The first two chapters present a preliminary overview of Husserl's philosophy (from his Göttingen period in particular), drawing on in-depth research into Husserl's manuscripts carried out by Petr Urban. This overview is followed by four chapters that interpret Hejdánek's concept and finish with a summary, applying the concept of conceptual thought to the world of knowledge and placing the notion of conceptuality within Hejdánek's thought. The individual chapters discuss...

Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-04-03T17:34:30Z No. of bitstreams: 1 Tese_Joao Alt.pdf: 13032903 bytes, checksum: a88b473b5819e948ca36ca147db3950a (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-04-03T17:35:25Z (GMT) No. of bitstreams: 1 Tese_Joao Alt.pdf: 13032903 bytes, checksum: a88b473b5819e948ca36ca147db3950a (MD5) / Made available in DSpace on 2017-04-03T17:35:25Z (GMT). No. of bitstreams: 1 Tese_Joao Alt.pdf: 13032903 bytes, checksum: a88b473b5819e948ca36ca147db3950a (MD5) / Em meados do Século XIX as histórias em quadrinhos despontaram na cultura ocidental como uma forma de linguagem fundada no sincretismo verbo/imagem, que propiciou uma nova experiência de leitura. Recentemente, surgiram as chamadas histórias em quadrinhos abstratas que trouxeram consigo novas possibilidades de interação com as HQs, promoveram rearranjos no equilíbrio entre os planos da função semiótica e configuraram um novo campo para os estudos da significação. Esta tese, que opera na interface dos estudos de comunicação e semiótica, investiga os mecanismos de produção de sentido nas HQs tradicionais e abstratas, compara procedimentos enunciativos das duas correntes, e analisa, com enfoque na narratividade do conteúdo e na narratividade da expressão, a dinâmica da relação entre os dois planos da linguagem, à medida que o olhar analítico se desloca do domínio dos quadrinhos canônicos para o dos quadrinhos abstratos. Para isso, dá prioridade aos conceitos e ferramentas de análise das vertentes plástica e tensiva da semiótica, mas recorre também a fundamentos da psicologia da percepção e da história da arte, e a exemplos ilustrativos e noções pertinentes aos campos da pintura, da literatura e das artes gráficas. / During the nineteenth century, comics emerged amongst western culture as a form of language grounded on the word/picture syncretism, which provided a new reading experience. Recently, the so-called abstract comics have brought new possibilities of interaction with comics, reorganizing the balance between the plans of semiotic function and setting a new field of the study of meaning. This thesis, which operates amidst the studies of communication and semiotics, looks into the mechanics of meaning construction in traditional and abstract comics, compares discursive procedures of both courses, and analyses, concerning mainly content and expression narrativities, the dynamics between the two plans of language as the analytical eye places itself further from canonical comics towards abstract comics. Thereto, it prioritizes the concepts and tools of analysis of both plastic semiotics and the tensive model, but also calls upon grounds of psychology of art, gestalt theory and art history, and illustrative examples and notions concerning the fields of painting, literature and graphic arts.

L'exécution des pièces jointes au corpus a été rendue possible grâce à la générosité des ensembles qui en font l'interprétation. Les partitions ont été réalisées avec le logiciel FINALE 2011. / Ce mémoire de maîtrise présente le résultat de mes trois années d’étude à la Maîtrise en composition instrumentale et vocale à l’Université de Montréal. Tous les thèmes abordés sont issus d’enjeux tirés des quatre pièces présentées au corpus joint au document. Cet ouvrage traite principalement de l’écriture pour la voix chantée accompagnée. En exposant d’abord les caractéristiques de la voix de contre-ténor, j’aborde la question du traitement vocal et du rapport entre le texte et ma musique. Je présente ensuite les caractéristiques de mon langage musical en présentant les quatre pièces en commentant les points importants d’orchestration, d’harmonie, de la forme et du déploiement vocal. À travers tous ces chapitres, il est aussi question du rôle de la voix, de l’accompagnement et de leur interdépendance que j’aborderai sous l’angle du concept de narrativité musicale. / This masters thesis presents the results of my studies in vocal and instrumental composition at Université de Montréal. Every subject discussed here is related to the four pieces included with this document. The principal topic of this work is writing for accompanied voice. First, I discuss the main characteristics of the counter-tenor voice. Then I analyze various approaches to vocal writing, and to the relationship between text and music. I present the main features of my personal musical language, discussing orchestration, harmony, musical form, as well as the various ways in which the voice is used. I also focus on the musical narrative, particularly as it relates to the interdependence between voice and accompaniment.

Jiří Dynda Byliny of bogatyr Svyatogor: Structural and Comparative Analysis of Narrative (MA Thesis) Abstract This thesis is an analysis and interpretation of the thirty seven textual variants of the byliny of bogatyr Svyatogor. After the general introduction to the Russian folk epics and after the presentation of issues concerning the study of oral epic literature, author's own structural concept of myth and cultural representations is presented. In the central part the thesis attempts to apply these principles to the narrative of the byliny of Svyatogor and by means of a thorough analysis it indicates, which motives and their relations were fundamental for this narrative to make sense in the local context of bylinaic tradition. The thesis claims that these narratives primarily deal with the themes of the initiation of a young hero, the generation conflict and the transmission of a mentor's position to his apprentice (or, metaphorically, a father's position to his son). This hypothesis is subsequently tested via a two phased comparative analysis of the central motives and their clusters: Firstly, the comparison is made in the context of the bylinaic traditions per se and in the context of the ethnographic situation at the Russian North (internal comparison), and secondly, in the wider scope of the Eurasian...

Throughout the procreation sonnets and those numerous sonnets that promise immortality through verse for Shakespeare's beloved young man, the poet personifies time as an agent of relentlessly destructive change. Yet Shakespeare's approach to the personification of time, as well as his reactions to time, changes over the course of the sequence. He transforms his fear of and obsession with time as a destroyer typical of most sonnets to an attitude of mastery over the once ominous force. The act of contemplating time's power by personification provides the speaker with a deeper awareness of time, love, and mutability that allows him to form several new philosophies which resolve his fear. By the end of the sequence, the poet no longer fortifies himself and the beloved against time's devastation because his new outlook fosters an acceptance of time that opposes and thus negates his previous contention with this force.

RésuméEn raison des bouleversements qui ont eu lieu dans la seconde moitié du XXe siècle, le monde a connu une accélération notable de l'histoire. Cette accélération s'est manifestée sur plusieurs fronts – l'historique, le scientifique, le technologique – mais aussi sur le front littéraire, changeant à jamais la façon dont nous représentons notre monde et notre passé. Cette thèse porte sur les nouveaux modes de représentation ou mimesis dans l'œuvre d'art. Comment les événements, qui se déroulent en dehors du roman, ont-ils affecté la forme même, la technique et la langue du roman contemporain ? Comment la violence qui a été infligée au monde extérieur s'est-elle reflétée dans le récit littéraire ? Du fait que la forme narrative est en soi un moyen de « rassembler » les événements dispersés et les incohérences de la réalité, la forme traditionnelle manipule violemment cette réalité dans le but de lui donner un sens, quand elle est souvent inexplicable. En mettant en question les conventions naturelles et données du récit, les romans expérimentaux du XXe siècle ont tenté de mettre en place des formes originales, en mesure de représenter des expériences différentes. Notre thèse traite principalement de ces nouvelles conceptions de la représentation dans le roman contemporain et de la manière dont, en dépit de leur fragmentation, de l'expérimentation et de la rupture violente avec les traditions du passé, ces romans innovants ont néanmoins réussi à produire des «représentations» de la réalité qui captent fidèlement notre histoire contemporaine, caractérisée par l'accélération et la fragmentation. Pour justifier cet argument, nous avons comparé les récits de fiction avec ceux des deux autres domaines à partir desquels nous tirons la connaissance de notre passé, à savoir l'histoire et la mémoire. Où est la place de la fiction aux côtés de ces deux piliers de connaissance souvent totalisants et totalitaires ? Enfin, que peut faire la littérature pour ces sujets de l'histoire, systématiquement exclus de l'écriture de l’histoire dominante ? En prenant la plume pour écrire leur version de l'histoire, ces «autres» du document historique dominant ont inscrit leur histoire particulière sur le palimpseste existant de l'histoire dominante et ont également obligé les canons littéraires, auxquels ils appartiennent, à développer leurs limites esthétiques et éthiques. / SummaryAs a result of the changes that have occurred in the latter half of the twentieth century, the world has witnessed a noticeable acceleration of history. This acceleration has manifested itself on many fronts – the historic, the scientific, the technological – but also on the literary front changing forever the way we represent our world and our place in it. This paper deals with the new modes of representation or mimesis in the work of art. How have the events happening outside the novel affected the very form, technique and the language of the contemporary novel? How has the violence that has been inflicted on the outside world being replicated and perhaps resolved in the literary narrative? Because narrative form is in itself a way of ordering and “bringing together” the fragmented events and incoherencies of reality, the very traditional form often violently manipulates this reality with the aim of giving meaning to an often inexplicable reality. By bringing into question the natural and given conventions of narrative, the experimental novels of the twentieth century have tried to realize original and unique forms that are able to represent different experiences. Our paper deals with primarily with these new conventions of representing reality and how, despite their fragmentation, experimentation, and violent rupture with the traditions of the past, they have nonetheless successfully produced “representations” of reality that faithfully capture our contemporary history characterized by acceleration as well as fragmentation. In order to justify this argument, we have compared narratives of fiction with the other two domains from which we derive the knowledge of our past, namely history and memory. Where is the place of fiction alongside these two often totalizing and totalitarian pillars of knowledge? Finally, what can literature do to those subjects of history who have systematically excluded from the writing of their dominant History? By taking the pen to write their side of the story, these “others” of the dominant historical document have both inscribed their particular stories on the existing palimpsest of dominant history, but have also forced the literary canons in which they belong to expand both their aesthetic and ethical boundaries.

In the last couple of years, the amount of commercial messages in our society has increased steadily which in turn has made us humans very critical against all kinds of advertising. Brand researcher Douglas B. Holt even claims that this directly threatens brand's trustworthiness. As a backlash and result of this situation, a couple of companies has begun to change the way they communicate to the big audience through the TV or computer screen - so-called native advertising or narrativity. A Swedish company that has been specially noticed for its commercials is Telenor with its campaign “Telenorfamiljen” where we get to follow an ordinary family through life where different kinds of technical products are used to ease life.  The purpose of this essay is to take a closer look at how Telenor strategically have chosen to build up their commercial campaign by narrative perspectives with the help of semiotic tools. The material, consisting of three chosen commercials from the campaign, was analyzed with a combined narrative and semiotic method with a primary focus on the narrative.  The result did not only show an appliance of the narrative, but also how Telenor has taken advantage of the tools that the narrative offers. This has been done to credibly give the recipients a story that they can relate to. Furthermore, the narrative elements seem to have been selected with great care since each part is individually significant and influences the story as a whole if it was being replaced. Neither Telenors logotype, products and services were given much visual attention which in turn proves how Telenor wants to be seen as a brand that focuses on the individual and its everyday life rather than its own gain.

Este trabalho aborda analiticamente o Trio em fá sustenido menor (1916) do compositor brasileiro Alberto Nepomuceno, com objetivo de constituir um estudo de caso que permita um melhor posicionamento da obra do compositor no período de transição entre o romantismo e o modernismo brasileiros. Ele levanta dados do contexto ideológico-musical no qual se insere a obra, em especial das noções francesas de progresso e suas consequências musicais no início do século XX. A pesquisa apresenta também os fundamentos teóricos de uma proposta analítica que visa incorporar à análise estrutural os desdobramentos do significado musical. Ela procura unir, por meio do conceito de multivalência, os estudos das tópicas, dos esquemas, da narratividade e da intertextualidade. O trabalho apresenta quatro análises multivalentes, uma para cada movimento da obra. Os resultados apontam para uma obra que se constitui em uma rede de símbolos musicais introversivos e extroversivos, que faz um equilíbrio entre a tradição formal e expressiva e o uso de novos materiais sonoros. / This work analyzes the Piano Trio in F sharp minor by the Brazilian composer Alberto Nepomuceno, aiming to constitute a case study that allows a better positioning of the composer\'s work in the period of transition between Brazilian romanticism and modernism. It raises data from the ideological-musical context in which the work is inserted, especially the French notions of progress and its musical consequences in the early twentieth century. The research also presents the theoretical foundations of an analytical proposal that aims to incorporate into the structural analysis the unfolding of musical meaning. It seeks to unite, through the concept of multivalence, the studies of topics, schemata, narrativity and intertextuality. The work presents four multivalent analysis, one for each movement of the work. The results point to a work that constitutes a network of introversive and extroversive musical symbols, which makes a balance between formal and expressive tradition and the use of new sound materials.