À partir des années 90, parmi les transformations qu’entraine l’effondrement de l’Union soviétique à Cuba et au milieu des redéfinitions de la cubanité, apparaissent des œuvres narratives contre-discursives et actualisées sur la négritude, la race et le racisme. La représentation du Noir dans les romans de cette période prend toute sa signification du fait que se configure alors un champ de discussion dans lequel convergent différentes modalités et perceptions. Notre recherche explore le terrain discursif entourant les définitions de la cubanité et la négritude qui circulent à cette période à Cuba, pour ensuite voir de quelle manière elles se répercutent sur les auteurs et textes littéraires. À travers l’analyse des oeuvres des écrivains Eliseo Altuanga et Marta Rojas, cette thèse reconstruit leurs dialogues avec l’historiographie littéraire cubaine, l’Histoire de l’Ile et les discours plus actualisés quant au débat ethno-racial. Au moyen de visualisations opposées par rapport à l’histoire de Cuba, Altuanga et Rojas élaborent des œuvres et des personnages avec des différences idéoesthétiques marquées. Ainsi, le premier focalisera sur la recherche d’une rupture épistémologique quant à la conception du Noir dans l’imaginaire cubain, soulignant les événements de l’histoire nationale qui considèrent le Noir comme protagoniste, ce qui renforce l’idée d’une continuité dans son état de subalternisation. En ce qui concerne les protagonistes de Rojas, elle fait appel à des mulâtresses pour raconter le processus de transculturation par lequel, à son point de vue, s’est consolidée l’identité culturelle actuelle des Cubains. Suspendue dans un espace d’énonciation intermédiaire entre les premières décennies de la Révolution et la Période spéciale en Temps de Paix, Rojas construit une trilogie romanesque qui s’efforce à signaler la coupure entre les périodes pré- et postrévolutionnaires quant au traitement du Noir. / The collapse and disappearance of the Soviet Union implied many transformations in the Cuban society, which altered the traditional construction of identity within the frame of the nation-state. It is in that context where alternative new discourses on “race”, racism and negritude emerged. The representation of the afro-descendent in the novels of the 1990’s and 2000’s poses enormous interest since the literary text has been one of the spaces where identity markers have been renegotiated. This dissertation explores how social discourses on cubanidad and negritude have an effect on the writers Eliseo Altunaga and Marta Rojas and their literary production. Analyzing the works of Eliseo Altunaga y Marta Rojas, this thesis reconstructs their dialogues with Cuban literary historiography, the history of the island, and the discourses circulating around current ethno-racial debates. Altuanga and Rojas have opposed visualizations of Cuban history, and elaborate works and characters with marked ideo-aesthetic differences. Altuanga focuses on the search for an epistemological rupture in the conception of the Negro in the Cuban imaginary, emphasizing national historic events with black progratonists to reinforce the impression of continuity in their condition of subalternity. Rojas, on the other hand, turns to black and mulata protagonists to narrate the process of transculturation that has contributed, in her view, to the consolidation of contemporary Cuban cultural identity. From an intermediate space of enunciation between the first decades of the Revolution and the Special Period in Times of Peace, Rojas constructs a novelistic trilogy that signals the border separating pre- and post-revolutionary periods with respect to the treatment of the Negro. / A partir de los ’90, entre las transformaciones que se producen en Cuba por el colapso de la Unión Soviética, en medio de redefiniciones de la cubanidad, asoman renovadas y contradiscursivas narrativas sobre la negritud, las razas y el racismo. La representación del negro en las novelas de este período adquiere significancia en la medida en que se configura un campo de discusión en el que convergen diferentes modalidades y percepciones. Nuestra investigación explora el suelo discursivo en torno a las definiciones de cubanidad y negritud que se mueven en este período en Cuba, para luego ver de qué manera refractan en los autores y los textos literarios. A través del análisis de las obras de los escritores Eliseo Altunaga y Marta Rojas, la tesis reconstruye sus diálogos con la historiografía literaria cubana, con la Historia de la Isla y con los discursos más actualizados en cuanto al debate etno-racial. Por medio de opuestas visualizaciones en relación con la historia cubana, Altuanga y Rojas elaboran obras y personajes con marcadas diferencias ideoestéticas. Así, el primero se focalizará en la búsqueda de una ruptura epistemológica en cuanto a la concepción del negro en el imaginario cubano, destacando aquellos acontecimientos de la historia nacional que tuvo al negro como protagonista, con lo cual refuerza la idea de una continuidad en su estado de subalternización. Por su parte, Rojas recurrirá a la figuras protagónicas de mujeres negras y mulatas para narrar el proceso de transculturación por el cual, desde su perspectiva, se fue consolidando la actual identidad cultural cubana. Parada en un espacio de enunciación intermedio entre las primeras décadas de la Revolución y el Período Especial en Tiempos de Paz, Rojas construye una trilogía novelesca que se esfuerza en señalar la frontera que se establece entre los períodos pre y postrevolucionarios con respecto al tratamiento del negro.

The aim of this thesis is the examination and analysis of postmodernist overtones in the medium of comics. It is concerned both with the postmodernist content in comics, and comics' possibilities and attributes as a postmodernist medium. The first part of the thesis elaborates on sequential art in general and the essential elements of postmodernism, such as deconstruction, metafiction, and intertextuality, within its context. The second part of the thesis is concerned with selected postmodernist works of prominent comicbook authors: Alan Moore and Grant Morrison. Key words Comics, comicbook, graphic novel, postmodernism, metafiction, intertextuality, continuum, narration, binary oppositions, deconstruction, superhero, author, creation, Watchmen, Animal Man

The thesis Protection of Crime Victims and the Media: Publishing of Mistreated Children Information before and after Passing the Law of Criminal Procedure Amendment in 2009 deals with the problem of secondary victimization caused by the media. More specifically, it focuses on the mistreated children and publishing that kind of information about them which enable their identification. It is concerned with the nationwide daily press and compares the situation before and after passing the Law of Criminal Procedure Amendment in 2009. This amendment introduced measures towards better privacy protection of crime victims with a special respect to underage victims and victims of some exceptionally serious crimes. The thesis compares the occurrence of information which enable identification of mistreated children in 2008 and 2011 in the three most popular nationwide dailies - Mlada fronta Dnes, Pravo and Blesk. It is interested in the following information: names and surnames of the victims and their family members, residence location, photos of the victims, their family members and their residence location. Apart from that it also examines where journalists get those information and photos from. The main aim is to find out what was the impact of the amendment, it means whether there are less information...

L’objectif de cette thèse est d’explorer un mode particulier de transmission des messages contenus dans les œuvres romanesques, et plus précisément une mise en scène basée sur la représentation et la recréation d’un processus initiatique. Pour cela, après avoir étudié la permanence de l’initiation dans le monde postmoderne et délimité sa présence dans la littérature, il a été proposé une théorie et une méthode d’analyse du roman qui se veulent utiles aussi bien pour les personnages que pour le lecteur. Afin de valider cette proposition théorique et méthodologique, une application pratique en a été réalisée dans l’analyse de l’œuvre d’Antonio Muñoz Molina. En effet, les romans de l’écrivain espagnol présentent la double caractéristique d’un engagement éthique constamment réaffirmé et d’une recherche esthétique marquée tant par l’écriture labyrinthique que par la volonté d’interaction avec le lecteur. Or, l’analyse de l’évolution des personnages et de la représentation du Lecteur Modèle en suivant l’hypothèse d’une transformation initiatique a permis de mettre au jour une réitération de l’emploi du processus dans les différents romans. De plus, ce même angle d’étude des œuvres s’est révélé particulièrement apte à l’analyse des romans d’Antonio Muñoz Molina car le prisme de l’initiation a favorisé la mise en place d’une vision globale des romans prenant en compte tant leur forme que leur fond, la structure narrative que le message éthique, les personnages que le lecteur. / The broad objective of this thesis was to explore a particular way of transmitting messages contained in novels, and more precisely a mise en scene based on the representation and re-creation of an initiatory process. In this view, after studying the permanence of initiation in the post-modern world and defining its presence in literature, a theory and a method of analysing novels were suggested as being useful for the characters as well as for the reader. So as to confirm this theoretical and methodological proposition, a practical implementation was carried out in the analysis of Antonio Muñoz Molina’s work. Indeed the novels of the Spanish writer feature both a constantly reaffirmed ethical commitment and an aesthetics research characterised by labyrinth writing and the will of interacting with the reader. Besides, the analysis of the characters’ development and representation of the Model Reader according to the hypothesis of an initiatory transformation brought to light the reiteration of the use of the process in the various novels. In addition, this very angle of the novels’ study proved to be particularly suitable in the analysis of Antonio Muñoz Molina’s because the initiation prism helped the implementation of a global vision of novels that took into account both their style and content, both the narrative structure and ethical message and both the characters and reader.

Made available in DSpace on 2016-04-29T13:31:53Z (GMT). No. of bitstreams: 1 Lenise Santana Borges.pdf: 839327 bytes, checksum: 6f84f40d1636e151248b04d4a49aacaa (MD5) Previous issue date: 2008-05-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research on which this thesis is based sought to understand the ways of speaking about lesbianity in the soap opera Senhora do Destino (Globo Network, 2004-2005) from the perspective of discursive analysis. Television, and particularly soap operas, are a daily social practice very commom among Brazilians. The soap operas produced in Brazil are a highly popular and widely accessible source of information and entertainment. In addition, they play an important role in the production, maintenance and dissemination of selected perspectives on social questions, especially those considered taboo as in the case of lesbianity. Unlike earlier soap operas, Senhora do Destino approached the subject directly and continuously, enhancing the meanings attributed to lesbianity due to the variability of the repertories and opinions of the characters along the story. The constructionist perspective together with a feminist reading allowed me to understand the notion of lesbianity as a social construction in which the discourses and the language adopted vary according to the social and historical context. Taking this epistemological and methodological approach into account, I question the inevitability of the existence of the category lesbianity, searching for ways to look for its denaturalization, a path shared by both constructionism and feminism. The analysis was centered on discursive practices, understood as language in action and also the understanding that there are always multiple, situated and dialogical versions of conversation. For its singular characteristics, the soap opera functions as a propitious context for the definition, delimitation and resignifying of social problems . The results of this research suggest parallel effects of the introduction of the issue of lesbianity in the soap opera. On one hand, the process of assimilation of the lesbian category provokes a broader familiarity with the issue in society, as well as the presence of codes/models that allow the legitimacy of same sex relations. On the other hand, the legitimizing/acceptance processes occur in ways that do not provoke the destabilization of social norms and hegemonic models. The discursive rhetoric of the soap opera is constructed from the idea of couple , in which the primary reference is the naturalized heterosexual expression of sexuality and/or love relation, which is employed, without questioning, vis-à-vis the lesbian relationship on view / A pesquisa que resultou nesta tese teve por objetivo compreender as formas de se falar sobre a lesbianidade na telenovela Senhora do destino (Rede Globo, 2004-2005) a partir de uma análise discursiva das narrativas intra-novela. A televisão, e especialmente a telenovela, constitui-se como uma prática social bastante presente no cotidiano da população brasileira. As novelas produzidas no Brasil ocupam lugar privilegiado e de fácil acesso como fonte de informação e entretenimento, além de desempenharem um papel importante na produção, manutenção e veiculação de determinadas versões sobre questões sociais, sobretudo em assuntos tabus como é o caso da lesbianidade. Diferentemente de suas antecessoras, a novela Senhora do Destino abordou o tema de forma direta e contínua, ampliando os sentidos atribuídos à lesbianidade, em função da variabilidade dos repertórios e dos posicionamentos apresentados pelas personagens no decorrer da trama. A postura construcionista, aliada a uma leitura feminista, permitiu compreender a noção de lesbianidade como uma construção social na qual os discursos e a linguagem empregados variam segundo o contexto social e histórico específico. Tendo esse enquadre teórico-epistemológico como um olhar que perpassa todo o trabalho, questiono a inevitabilidade da existência da categoria lesbianidade, abrindo caminhos para buscar sua desnaturalização, caminho compartilhado tanto pelo construcionismo quanto pelo feminismo pelo caráter político que lhes é particular. O foco de análise se deu a partir das práticas discursivas, entendidas como linguagem em ação e a compreensão de que as versões são sempre múltiplas, situadas e dialógicas. A novela, por suas características peculiares, funciona como um contexto favorável à definição, delimitação e ressignificação de problemas sociais. Os resultados desta pesquisa apontam para um duplo efeito na introdução da temática lesbianidade na novela. Se, de um lado, o processo de assimilação da categoria lésbica provoca uma maior familiarização do assunto na sociedade, bem como a circulação de códigos/modelos que propiciam a legitimação de relações afetivo-sexuais entre pessoas do mesmo sexo, de outro, o modo como ocorrem os processos de legitimação/aceitação não propicia uma desestabilização de normas sociais e de modelos hegemônicos. A retórica discursiva da novela é construída a partir da idéia de casal , cuja referência é sua forma heterossexual, expressão naturalizada de sexualidade e/ou relação amorosa submetida, sem qualquer problematização, face à relação lésbica apresentada

This thesis is focused on mergers with an emphasis on valuation. It deals mainly with economic, legal, accounting and tax aspects. These aspects are enriched by the amendment of laws that come into legal force from 2012. The thesis is complemented by expert valuation process, without which most of the mergers could not be realized. Final part of this thesis describes concrete national merger of three companies stating the accounting treatment.

As of the 19th C up until our present day, big cities have set the stage for many literary works, and Barcelona is no exception to this occurrence.  This study aims to address the urban imagery of a postwar Barcelona through the walks described in three novels, written by Spanish women writers. Each one will be analyzed both individually and contrastively. The necessary comparisons will be established and we will further prove the suitability of the theories of Certau, Lefebvre and Lynch. Finally, we will establish the appropriate conclusions derived from our investigation. / Las grandes metrópolis han sido escenario de multitud de narraciones desde el s. XIX hasta la actualidad y Barcelona no es ninguna excepción de ello. Este estudio se aborda el imaginario urbano de la Barcelona de postguerra en los paseos descritos en tres novelas de escritoras españolas, analizándolas individual y contrastivamente. Se procede a establecer las comparaciones necesarias y se observa la idoneidad de algunas teorías de Certeau, Lefebvre y de Lynch. Se aportan, por fin, las conclusiones pertinentes

À partir des années 90, parmi les transformations qu’entraine l’effondrement de l’Union soviétique à Cuba et au milieu des redéfinitions de la cubanité, apparaissent des œuvres narratives contre-discursives et actualisées sur la négritude, la race et le racisme. La représentation du Noir dans les romans de cette période prend toute sa signification du fait que se configure alors un champ de discussion dans lequel convergent différentes modalités et perceptions. Notre recherche explore le terrain discursif entourant les définitions de la cubanité et la négritude qui circulent à cette période à Cuba, pour ensuite voir de quelle manière elles se répercutent sur les auteurs et textes littéraires. À travers l’analyse des oeuvres des écrivains Eliseo Altuanga et Marta Rojas, cette thèse reconstruit leurs dialogues avec l’historiographie littéraire cubaine, l’Histoire de l’Ile et les discours plus actualisés quant au débat ethno-racial. Au moyen de visualisations opposées par rapport à l’histoire de Cuba, Altuanga et Rojas élaborent des œuvres et des personnages avec des différences idéoesthétiques marquées. Ainsi, le premier focalisera sur la recherche d’une rupture épistémologique quant à la conception du Noir dans l’imaginaire cubain, soulignant les événements de l’histoire nationale qui considèrent le Noir comme protagoniste, ce qui renforce l’idée d’une continuité dans son état de subalternisation. En ce qui concerne les protagonistes de Rojas, elle fait appel à des mulâtresses pour raconter le processus de transculturation par lequel, à son point de vue, s’est consolidée l’identité culturelle actuelle des Cubains. Suspendue dans un espace d’énonciation intermédiaire entre les premières décennies de la Révolution et la Période spéciale en Temps de Paix, Rojas construit une trilogie romanesque qui s’efforce à signaler la coupure entre les périodes pré- et postrévolutionnaires quant au traitement du Noir. / The collapse and disappearance of the Soviet Union implied many transformations in the Cuban society, which altered the traditional construction of identity within the frame of the nation-state. It is in that context where alternative new discourses on “race”, racism and negritude emerged. The representation of the afro-descendent in the novels of the 1990’s and 2000’s poses enormous interest since the literary text has been one of the spaces where identity markers have been renegotiated. This dissertation explores how social discourses on cubanidad and negritude have an effect on the writers Eliseo Altunaga and Marta Rojas and their literary production. Analyzing the works of Eliseo Altunaga y Marta Rojas, this thesis reconstructs their dialogues with Cuban literary historiography, the history of the island, and the discourses circulating around current ethno-racial debates. Altuanga and Rojas have opposed visualizations of Cuban history, and elaborate works and characters with marked ideo-aesthetic differences. Altuanga focuses on the search for an epistemological rupture in the conception of the Negro in the Cuban imaginary, emphasizing national historic events with black progratonists to reinforce the impression of continuity in their condition of subalternity. Rojas, on the other hand, turns to black and mulata protagonists to narrate the process of transculturation that has contributed, in her view, to the consolidation of contemporary Cuban cultural identity. From an intermediate space of enunciation between the first decades of the Revolution and the Special Period in Times of Peace, Rojas constructs a novelistic trilogy that signals the border separating pre- and post-revolutionary periods with respect to the treatment of the Negro. / A partir de los ’90, entre las transformaciones que se producen en Cuba por el colapso de la Unión Soviética, en medio de redefiniciones de la cubanidad, asoman renovadas y contradiscursivas narrativas sobre la negritud, las razas y el racismo. La representación del negro en las novelas de este período adquiere significancia en la medida en que se configura un campo de discusión en el que convergen diferentes modalidades y percepciones. Nuestra investigación explora el suelo discursivo en torno a las definiciones de cubanidad y negritud que se mueven en este período en Cuba, para luego ver de qué manera refractan en los autores y los textos literarios. A través del análisis de las obras de los escritores Eliseo Altunaga y Marta Rojas, la tesis reconstruye sus diálogos con la historiografía literaria cubana, con la Historia de la Isla y con los discursos más actualizados en cuanto al debate etno-racial. Por medio de opuestas visualizaciones en relación con la historia cubana, Altuanga y Rojas elaboran obras y personajes con marcadas diferencias ideoestéticas. Así, el primero se focalizará en la búsqueda de una ruptura epistemológica en cuanto a la concepción del negro en el imaginario cubano, destacando aquellos acontecimientos de la historia nacional que tuvo al negro como protagonista, con lo cual refuerza la idea de una continuidad en su estado de subalternización. Por su parte, Rojas recurrirá a la figuras protagónicas de mujeres negras y mulatas para narrar el proceso de transculturación por el cual, desde su perspectiva, se fue consolidando la actual identidad cultural cubana. Parada en un espacio de enunciación intermedio entre las primeras décadas de la Revolución y el Período Especial en Tiempos de Paz, Rojas construye una trilogía novelesca que se esfuerza en señalar la frontera que se establece entre los períodos pre y postrevolucionarios con respecto al tratamiento del negro.

The focus of this study is to investigate what images of Sweden are transmitted in the novel The road to Ithaca (1994), by the Uruguayan author Carlos Liscano. The study focuses on the first half part of the novel for this taking place in Stockholm, Sweden, in the early nineties. The aim is to investigate by what literary strategies and literary subgenres the images of Sweden are transmitted.    The theoretical framework applied derives from studies of the literary genre of the picaresque novel and its bufonesco mood, such as the literary strategies irony and laconism. For the analysis Mieke Bal´s concept of focalization and semantic axes are used.      The study shows that in Sweden there are parallel worlds to the official world of the welfare state; in the shadow side of society there are the metecos, unwanted residents: the undocumented and the mentally ill. Through a picaresque and ironic style, the author shows that Sweden is a neat, clean, but culturally hermetic society; almost perfect on the surface, but with a lot of hidden “trash” beneath.    The welfare state of Sweden seams benevolent in its integrative intention, but is, at the same time, blind, or even worse, disinterested in the new reality of the country; that of the welfare state in dissolution and Sweden as a Tower of Babel.

No description available.