Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta tese tem por objeto textos que se voltam para o homem: o cinema trágico- poético de Pier Paolo Pasolini e as tragédias gregas clássicas. Este autor de cinema se debruçou sobre os textos trágicos, pois via neles um fundamento político, ou seja, a superação pela razão de um passado arcaico do homem, que gerava sua incerteza existencial. Primeiramente, tendo traduzido a Oréstia, de Ésquilo, o diretor italiano identificou nesse texto aquilo que ele, como humanista que era, desejava fosse alcançado pelo homem moderno: a superação do medo causado pelo irracional que sempre habitou a mente humana. Esta interpretação da Oréstia, aliada às convicções previamente firmadas pelo diretor e poeta a capacidade dos ingênuos de formar uma nova ideologia e a persistência no homem moderno de certa irracionalidade domada pela razão levou à realização do filme Appunti per unOrestiade africana (1967), um filme otimista quanto ao triunfo da razão. Tendo feito esses apontamentos, Pasolini jamais rodaria seu filme sobre a Oréstia, passando a uma perspectiva pessimista, com a filmagem de Medeia (1969), cuja frase final da personagem- título Nada mais é possível doravante aponta para Salò, o último filme que ele realizou, marcado pela desesperança, pouco antes de morrer assassinado. Édipo Rei (1967) foi o primeiro dos filmes trágicos e o mais mítico deles. Neste último ainda persistem as convicções de Pasolini apontadas acima, o que o identifica com Accattone (1961), conforme declarou o próprio diretor, e indica também a linha da análise crítica realizada nesta tese. Com base na crítica especializada (Canevacci e Fusillo) foi possível demonstrar a peculiar adaptação do trágico ancestral ao cinema de poesia pasoliniano, através de uma filmografia ideologicamente infensa a concessões à indústria cultural / The objects of the present work are texts about Man: the tragic-poetic cinema of Pier Paolo Pasolini and the classical Greek tragedies. That cinema author dedicated much attention to tragic texts, in which he saw a political foundation: the overcoming, by reason, of mans archaic past, which caused his existential uncertainty. After having translated Aeschyluss Oresteia, the Italian director identified in this text what he, as a humanist, hoped that modern man would achieve: the overcoming of the fear caused by the irrational that has always dwelt in the human mind. This interpretation of the Oresteia, coupled with other convictions held by the poet/director that the naïve could form a new ideology, and the persistency, in modern man, of rationally-tamed irrationality led him to film Appunti per unOrestiade africana (1967), an optimistic film as concerns the triumph of reason. After having taken down the notes, Pasolini would never come to make the Oresteia film, but moved on towards a pessimistic perspective my filming Medea (1969), the last sentence of which, said by the protagonist Nothing is possible any longer points towards Salò, his last film, as he was murdered shortly afterwards. Oedipus Rex (1967) was the first of his tragic films, and the most mythical of all. In it, some of Pasolinis early convictions mentioned above can be seen to persist, so that, in a sense, Oedipus Rex is evocative of Accattone (1961), as, in fact, has been confirmed by the director himself. The critical approach taken in the present work has been inspired on this. By resorting to specialized criticism (Canevacci, Fusillo) it was possible to demonstrate the peculiar adaptation of the ancestral tragic that takes place in Pasolinis poetry cinema by means of a filmography that remained ideologically contrary to concessions to the culture industry

Este trabalho apresenta a tradução comentada da língua italiana para o português de uma seleção das crônicas publicadas pelo escritor e cineasta italiano Pier Paolo Pasolini em sua coluna semanal na revista Vie Nuove, órgão oficial do Partido Comunista Italiano, entre os anos de 1960 e 1965. As crônicas foram divididas em três blocos temáticos: Literatura, Cultura e Política e Sociedade. Uma introdução ensaística acompanha a tradução comentada. / This thesis presents a commented translation from Italian to Portuguese language of a selection of chronicles published by the Italian writer and filmmaker Pier Paolo Pasolini on the weekly magazine Vie Nuove, official media of the Italian Communist Party (PCI), between 1960 and 1965. The chronicles are divided into three thematic groups: Literature, Culture and Politic and Society. An essayist introduction opens the commented translation.

O objetivo deste estudo é investigar quais as contribuições da implementação de um projeto na perspectiva pós-método para o ensino-aprendizagem da língua italiana em contexto multisseriado. O projeto concebido e realizado com base na pedagogia pós-método consiste em uma proposta de intervenção que possibilita integrar os estudantes de turma multisseriada que estão oficialmente matriculados em estágios diferentes no que diz respeito ao domínio do idioma italiano, mas que, na prática, fazem parte de um único grupo durante o mesmo período de aula e espaço físico , bem como promover um trabalho colaborativo que dê subsídios à construção da autonomia dos participantes. A fundamentação teórica consiste, essencialmente, no pós-método, seus parâmetros e suas macroestratégias (Kumaravadivelu 1994, 2001, 2003, 2006), nos pressupostos da teoria sócio-histórico-cultural, representados nesta pesquisa por Vygotsky (1984[2007]) e Freire (1996[2015]), e na concepção de linguagem de Bakhtin (1929[2014]). Outras teorias que contribuem para este estudo são as que tratam do trabalho com projetos, cujas referências são Ridarelli (1998) e Moura e Barbosa (2007), e o conceito de tarefa (Ellis, 2003, 2008, 2009). No que se refere à fundamentação metodológica, trata-se de uma pesquisa-ação de cunho qualitativista-interpretativista, realizada no primeiro semestre de 2015 em uma classe multisseriada formada por oito alunas de um Centro de Estudos de Línguas (CEL) da cidade de São Paulo. Para realizar este estudo, procurou-se atender às necessidades das discentes e da professora da turma multisseriada por meio do planejamento e da execução do projeto Italianando a San Paolo. A análise dos dados coletados parece indicar que os parâmetros e as macroestratégias pós-método foram contemplados por meio da realização do projeto, bem como foram identificadas novas macroestratégias, tanto no âmbito das interações entre as participantes quanto em suas reflexões sobre a experiência vivenciada, o que implicou uma nova perspectiva de trabalho didático com o grupo multisseriado e, também, uma intensa transformação social no referido contexto, o que acabou extrapolando os muros da escola e estabelecendo uma ponte entre essa instituição e a universidade. / This study aims to investigate the contributions of a post-method perspective project for Italian teaching-learning in a multilevel context. To conceive and undertake a project based on post-method pedagogy means a proposal of intervention that enables the integration between students of multilevel classrooms who are officially enrolled in different stages regarding their mastery of the Italian language but who, in practice, are part of the same group and occupy the same physical space during classes as well as the promotion of collaborative work that can help build their autonomy. Thus, the thesiss theoretical grounding is essentially post-method, its parameters and macro strategies (Kumaravadivelu 1994, 2001, 2003, 2006), the presuppositions of socio-historical-cultural theory, represented in this research by Vygotsky (1984[2007]) and Freire (1996[2015]), and Bakhtins conception of language. Other theories that contribute to this study are the ones that analyze working with projects, especially Ridarelli (1998), and Moura and Barbosa (2007), and the concept of task (Ellis, 2003, 2008, 2009). As for the methodology, it consists of action-research in a qualitative-interpretive approach, undertaken during the first term of 2015 in a multilevel classroom with eight students of a Centro de Estudos de Línguas (CEL) in the city of São Paulo. We sought to fulfill the needs of the students and the teacher of the multilevel classroom through planning and executing the project Italianando a San Paolo. The analysis of the collected data seems to indicate that the post-method parameters and macro strategies were taken into account as the project went on, in addition to having been identified other macro strategies, and appeared both in the interaction between the participants and during their reflections on the lived experience, which resulted in a new perspective of didactic work with the multilevel group and also in intense social transformation of the given context, which ended up going beyond the walls of the school and creating a bridge between that institution and the university.

Esta pesquisa tem por objetivo investigar alguns aspectos que permitam sistematizar uma teoria da arte na Veneza do século XVI, a partir de dois tratados artísticos: o Dialogo di Pittura, de Paolo Pino (1548) e o Dialogo della Pittura intitolato LAretino, de Lodovico Dolce (1557). Para isto, enfoca cinco problemas: o conceito de mimesis; a estrutura dos tratados em sua relação com a Arte Retórica; Pino e Dolce como representantes da doutrina do ut pictura poesis; o ideal de beleza e a disputa pela primazia da cor sobre o desenho. / This research deals with some aspects that enable to systematize an artistic theory in Venice from sixteenth century, from two artistic treatises: Paolo Pinos Dialogo di Pittura (1548) and Lodovico Dolces Dialogo della Pittura intitolato LAretino (1557). In order to get over this objective we will discuss five problems: mimesis notion; the treatises structure in your relation with Rhetoric; Pino and Dolce as ut pictura poesis doctrine members; the ideal of beauty and the debate for the primacy of colour over design.

Esta pesquisa tem por objetivo investigar alguns aspectos que permitam sistematizar uma teoria da arte na Veneza do século XVI, a partir de dois tratados artísticos: o Dialogo di Pittura, de Paolo Pino (1548) e o Dialogo della Pittura intitolato LAretino, de Lodovico Dolce (1557). Para isto, enfoca cinco problemas: o conceito de mimesis; a estrutura dos tratados em sua relação com a Arte Retórica; Pino e Dolce como representantes da doutrina do ut pictura poesis; o ideal de beleza e a disputa pela primazia da cor sobre o desenho. / This research deals with some aspects that enable to systematize an artistic theory in Venice from sixteenth century, from two artistic treatises: Paolo Pinos Dialogo di Pittura (1548) and Lodovico Dolces Dialogo della Pittura intitolato LAretino (1557). In order to get over this objective we will discuss five problems: mimesis notion; the treatises structure in your relation with Rhetoric; Pino and Dolce as ut pictura poesis doctrine members; the ideal of beauty and the debate for the primacy of colour over design.

Este trabalho apresenta a tradução comentada da língua italiana para o português de uma seleção das crônicas publicadas pelo escritor e cineasta italiano Pier Paolo Pasolini em sua coluna semanal na revista Vie Nuove, órgão oficial do Partido Comunista Italiano, entre os anos de 1960 e 1965. As crônicas foram divididas em três blocos temáticos: Literatura, Cultura e Política e Sociedade. Uma introdução ensaística acompanha a tradução comentada. / This thesis presents a commented translation from Italian to Portuguese language of a selection of chronicles published by the Italian writer and filmmaker Pier Paolo Pasolini on the weekly magazine Vie Nuove, official media of the Italian Communist Party (PCI), between 1960 and 1965. The chronicles are divided into three thematic groups: Literature, Culture and Politic and Society. An essayist introduction opens the commented translation.

O objetivo deste estudo é investigar quais as contribuições da implementação de um projeto na perspectiva pós-método para o ensino-aprendizagem da língua italiana em contexto multisseriado. O projeto concebido e realizado com base na pedagogia pós-método consiste em uma proposta de intervenção que possibilita integrar os estudantes de turma multisseriada que estão oficialmente matriculados em estágios diferentes no que diz respeito ao domínio do idioma italiano, mas que, na prática, fazem parte de um único grupo durante o mesmo período de aula e espaço físico , bem como promover um trabalho colaborativo que dê subsídios à construção da autonomia dos participantes. A fundamentação teórica consiste, essencialmente, no pós-método, seus parâmetros e suas macroestratégias (Kumaravadivelu 1994, 2001, 2003, 2006), nos pressupostos da teoria sócio-histórico-cultural, representados nesta pesquisa por Vygotsky (1984[2007]) e Freire (1996[2015]), e na concepção de linguagem de Bakhtin (1929[2014]). Outras teorias que contribuem para este estudo são as que tratam do trabalho com projetos, cujas referências são Ridarelli (1998) e Moura e Barbosa (2007), e o conceito de tarefa (Ellis, 2003, 2008, 2009). No que se refere à fundamentação metodológica, trata-se de uma pesquisa-ação de cunho qualitativista-interpretativista, realizada no primeiro semestre de 2015 em uma classe multisseriada formada por oito alunas de um Centro de Estudos de Línguas (CEL) da cidade de São Paulo. Para realizar este estudo, procurou-se atender às necessidades das discentes e da professora da turma multisseriada por meio do planejamento e da execução do projeto Italianando a San Paolo. A análise dos dados coletados parece indicar que os parâmetros e as macroestratégias pós-método foram contemplados por meio da realização do projeto, bem como foram identificadas novas macroestratégias, tanto no âmbito das interações entre as participantes quanto em suas reflexões sobre a experiência vivenciada, o que implicou uma nova perspectiva de trabalho didático com o grupo multisseriado e, também, uma intensa transformação social no referido contexto, o que acabou extrapolando os muros da escola e estabelecendo uma ponte entre essa instituição e a universidade. / This study aims to investigate the contributions of a post-method perspective project for Italian teaching-learning in a multilevel context. To conceive and undertake a project based on post-method pedagogy means a proposal of intervention that enables the integration between students of multilevel classrooms who are officially enrolled in different stages regarding their mastery of the Italian language but who, in practice, are part of the same group and occupy the same physical space during classes as well as the promotion of collaborative work that can help build their autonomy. Thus, the thesiss theoretical grounding is essentially post-method, its parameters and macro strategies (Kumaravadivelu 1994, 2001, 2003, 2006), the presuppositions of socio-historical-cultural theory, represented in this research by Vygotsky (1984[2007]) and Freire (1996[2015]), and Bakhtins conception of language. Other theories that contribute to this study are the ones that analyze working with projects, especially Ridarelli (1998), and Moura and Barbosa (2007), and the concept of task (Ellis, 2003, 2008, 2009). As for the methodology, it consists of action-research in a qualitative-interpretive approach, undertaken during the first term of 2015 in a multilevel classroom with eight students of a Centro de Estudos de Línguas (CEL) in the city of São Paulo. We sought to fulfill the needs of the students and the teacher of the multilevel classroom through planning and executing the project Italianando a San Paolo. The analysis of the collected data seems to indicate that the post-method parameters and macro strategies were taken into account as the project went on, in addition to having been identified other macro strategies, and appeared both in the interaction between the participants and during their reflections on the lived experience, which resulted in a new perspective of didactic work with the multilevel group and also in intense social transformation of the given context, which ended up going beyond the walls of the school and creating a bridge between that institution and the university.

Mon travail de thèse porte sur la « Scapigliatura democratica », un mouvement littéraire italien qui se développa à Milan entre les années 60 et 80 du XIXe siècle. Par rapport au plus large mouvement de la « Scapigliatura », la « Scapigliatura democratica » se caractérise par le lien étroit entre littérature et politique qui est à la base de son projet culturel. Mon étude a pour objectif d’analyser ce phénomène de politisation dans la production narrative et journalistique des représentants les plus significatifs du mouvement (Arrighi, Bizzoni, Tronconi, Valera, Cameroni).Après un chapitre introductif sur l’état de l’art concernant ce sujet, la thèse s’articule en deux parties principales. Dans la première, nous avons cherché à donner une description du rapport entre « Scapigliatura » et politique de la fin des années 1850, au moment où le terme « Scapigliatura » paraît pour la première fois dans le fragment signé par Cletto Arrighi La scapigliatura, jusqu’à « La Farfalla » de Angelo Sommaruga, un des derniers journaux liées au mouvement ; en passant aussi par l’expérience cruciale du « Gazzettino Rosa » (1867-1873) de Achille Bizzoni et Felice Cavallotti. Afin d’éviter toute confusion terminologique avec les études critiques précédentes, nous avons privilégié les usages du mot « Scapigliatura » qui venaient de l’intérieur du mouvement, notamment des articles-manifestes à la première personne que l’on retrouve souvent dans les journaux « scapigliati » de l’époque. En ce sens, une des tâches principales de notre travail à été d’évaluer, selon l’auteur ou le journal concerné, l’évolution et le différent degré de politisation du terme.Dans la deuxième partie, en revanche, l’objectif a été d’étudier en parallèle la production littéraire et journalistique du mouvement, en essayant d’en montrer la contiguïté aussi bien au niveau formel qu’au niveau de contenus. L’hypothèse que nous avons voulu vérifier, en particulier, est qu’un même courant « pamphlétaire » (Angenot, La parole pamphlétaire, 1982) traverse l’ensemble de cette production, tous genres littéraires ou pragmatiques confondus. Il en découle que le trait distinctif de la « Scapigliatura democratica » réside moins dans sa configuration artistique ou littéraire que dans sa disposition rhétorique. A cet égard, nous avons montré que même la tendance littéraire du réalisme, majoritaire au sein du mouvement, se caractérise dans son application concrète par la forte influence de catégories éthiques et idéologiques qui sont extralittéraires. Dans le dernier chapitre de cette partie, nous avons mis à l’épreuve cette idée de littérature hybride en analysant quelques-unes parmi les batailles à la fois culturelles et politiques menées par le mouvement tout au long de son activité, comme celles concernant le militarisme, la morale bourgeoise ou la question sociale dans l’univers urbain.En conclusion, nous avons souligné l’importance de la réflexion politique dans la construction de l’identité du mouvement, ainsi que le rôle novateur d’intellectuel-agitateur que les écrivains-journalistes « scapigliati » eurent dans la crise politique et culturelle de l’Italie de premières années après l’Unité. Cela se fit notamment par la proposition d’une littérature de combat qui allait montrer toute sa puissance et sa capacité d’incidence sur la société à partir de la fin du XIXe siècle. / My thesis work focuses on the “Scapigliatura democratica”, an Italian literary movement that developed in Milan between the 60s and 80s of the 19th century. Compared to the broader Scapigliatura movement, the Scapigliatura democratica is characterized by the close link between literature and politics that underlies its cultural project. My research aimed to investigate this phenomenon of politicization in the narrative and journalistic production of the most significant representatives of the movement (Arrighi, Bizzoni, Tronconi, Valera, Cameroni).After an introductory chapter on the state of the art, the thesis is divided into two main parts. In the first, we sought to describe the relationship between “Scapigliatura” and politics, from the late 1850s, when the term “Scapigliatura” first appeared in Cletto Arrighi’s fragment La scapigliatura, to the journal called «La Farfalla» by Angelo Sommaruga, one of the last newspapers linked to the movement; and also passing through the crucial experience of «Gazzettino Rosa» (1867-1873) by Achille Bizzoni and Felice Cavallotti. In order to avoid any terminological confusion with previous critical studies, we favoured the use of the word “Scapigliatura” from within the movement, in particular the articles written in the first person that were often published in the “scapigliati” journals of the time. In this sense, one of the main tasks of our work has been to evaluate, according to the author or journal concerned, the evolution and the different degree of politicization of the term.In the second part, our goal has been to show the contiguity between literary production and the journalistic activity of the movement, both formally and in terms of content. The hypothesis we wanted to verify was, in particular, the presence of some features related to the pamphlet genre (Angenot, La parole pamphlétaire, 1982) in all this production. It follows that the distinctive feature of the “Scapigliatura democratica” lies less in its artistic or literary configuration than in its rhetorical disposition. In this respect, we shown that even the literary trend of realism, which is the majority within the movement, is characterized in its concrete application by the strong influence of extraliterary ethical and ideological categories. In the last chapter of this section, we tested this idea of hybrid literature by analyzing some of the battles, both cultural and political, waged by the movement throughout its activity, such as those concerning militarism, bourgeois morality or the social question.In conclusion, we underlined the importance of political reflection in building the identity of the movement, as well as the innovative role of intellectual-agitator that the “scapigliati” writer-journalists had in Italy’s political and cultural crisis in the first years after Unity. This was done in particular by the proposal of a combat literature, which would show all its power and its capacity to have an impact on society from the end of the 19th century onwards.

A la chute du régime fasciste, l'Italie entre dans une reconstruction matérielle mais également idéologique et culturelle. En architecture, cette entreprise se traduit par des débats sur le lien à la tradition, le dialogue entre histoire et pratique du projet architectural et sur le rapport renouvellé entre l'édifice et la ville. Dans ce contexte, le post-modernisme trouve, à l'occasion de la première Biennale d'architecture de Venise, le territoire propice à son expression. Ce renouvellement intellectuel de la discipline est analysé à travers une trajectoire particulière : celle de Paolo Portoghesi. Cet architecte occupe tout au long de sa carrière des positions prépondérantes au sein de la discipline, dans l'enseignement, la recherche, la presse, l'édition et la pratique.La thèse a pour objectif de mettre en évidence à travers les discours et l'œuvre de cet architecte et les témoignages de ses contemporains, le rôle qu'il a joué dans l'histoire de la seconde moitié du XXe siècle. Après avoir étudier sa production en tant qu'historien de l'architecture, spécialiste du baroque romain (chapitre 1), l'étude démontre comment ces travaux sont utilisés dans la conception architecturale, faisant de lui un représentant de la critique opératoire (chapitre 2). L'étude de son action en tant qu'enseignant, directeur de publication et président de la Biennale de Venise permet de la positionner au sein de l'école romaine d'architecture (chapitre 3) et comme l'un des personnages centraux du post-modernisme en Europe (chapitre 4). Enfin, son parcours permet d'illustrer la transition qui s'opère entre une volonté d'adéquation avec l'esprit du temps pour une théorie de l'esprit du lieu, d'abord à travers la conception de la ville contemporaine (chapitre 5), puis à travers l'énoncé du concept de géoarchitecture. / Following the fall of the Fascist regime, Italy enters a phase of rebuilding and reconstruction, also on an ideological and cultural level. In the field of architecture, this phenomenon triggers debates about the link to the tradition, the dialog between history and practice of the architectural project, and a renewed relationship between the buildings and the city. This environment and the First Venice Biennale are conducive to Post-modernism theories to develop themselves. This intellectual renewal of the discipline is here analyzed via a particular focus: Paolo Portoghesi's one. This architect holds throughout his carrier several major positions in the educational field, research field, press sector, book publishing and also as a practitioner.The thesis aims at highlighting the role Portoghesi played in the history of the second half of the twentieth century, through his texts and works, and the testimonies of his contemporaries. After examining his work as an architectural historian and a Roman Baroque specialist (Chapter One), the study shows how his researches are used in the architectural conception, making him a representative of the operative criticism (Chapter 2). Considering his action as a teacher, Editor in Chief and President of the architectural section of the Venice Biennale, enables to position him in the Roman School of Architecture (Chapter 3) and as one of the major characters of Post-Modernism in Europe (Chapter 4). His life's path illustrates the transition between willing to stick to the spirit of the time and the theory of the genius loci, firstly through contemporary city conception (Chapter 5), then with the concept of “geo-architecture”.

I samband med den befintliga medieutvecklingen har fenomenet cancel culture ökat i aktualitet. Det växte fram på sociala medier men sker idag både inom digitala och traditionella medier. Ett uppmärksammat svenskt fall av cancel culture skedde våren 2020 då Paolo Roberto genomförde köp av sexuella tjänster. Han erkände offentligt på Instagram, vilket skapade en nyhetsstorm som ledde till att han blev cancellerad. Studiens syfte är att undersöka om nyhetsmedier kan bidra till cancel culture. Det genom att studera svenska nyhetsmediers sätt att rapportera om fallet Paolo Roberto. Två artiklar från tre olika svenska nyhetsmedier analyserades: Aftonbladet, Dagens Nyheter, och Expressen. Det med hjälp av kritisk diskursanalys. Sedan applicerades teorierna kritisk teori samt gestaltningsteori på resultatet. Studien fann att rapporteringen bidrar till cancel culture genom inramningarna i nyhetsmedierna. Likheter och skillnader mellan artiklarna kunde urskiljas, exempelvis gällande neutralitet och formuleringar. Vidare påvisades tendenser i de studerade artiklarna som bidrar till cancel culture, bland annat genom citat, rubriceringar och infallsvinklar. Alla nyhetsmedierna uppvisade dessutom ett bakomliggande ekonomiskt intresse och moraliskt ställningstagande. / In relation to the current media development, the phenomenon of cancel culture has increased in relevance. It emerged on social media but takes place in both digital and traditional media today. A well-known Swedish case of cancel culture occurred in the spring of 2020 when Paolo Roberto purchased sexual services. He publicly confessed to it on Instagram, which generated attention from news outlets that led to his cancellation. The purpose of the study is to investigate if news outlets can contribute to cancel culture. This will be done by analyzing Swedish news outlets’ way of reporting about the case of Paolo Roberto. Two articles each from three different Swedish news outlets were analyzed: Aftonbladet, Dagens Nyheter, and Expressen. This was done using critical discourse analysis. We then applied the theories critical theory and the framing theory to the result. The study found that news outlets contribute to cancel culture through framings. We found both similarities and differences between the articles, for example regarding neutrality and wording. Furthermore, we found tendencies in the reporting that could contribute to cancel culture, for example through quotes, headings, and framings. Moreover, all the articles showed an underlying economic interest and moral standpoints.