Submitted by Celso Magalhaes (celsomagalhaes@ufrrj.br) on 2017-05-09T12:34:18Z No. of bitstreams: 1 2016 - M?rcio de Souza Santos.pdf: 1878817 bytes, checksum: a756f4944391d69980b6075abcb196c2 (MD5) / Made available in DSpace on 2017-05-09T12:34:18Z (GMT). No. of bitstreams: 1 2016 - M?rcio de Souza Santos.pdf: 1878817 bytes, checksum: a756f4944391d69980b6075abcb196c2 (MD5) Previous issue date: 2016-06-02 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The Paralympic boccia is a challenging sport for the disabled with motor impairment in all four limbs. A group of these athletes, even with the sports practice, remains hampered by oralization inability and lack of communication by other means. Based on Cultural Psychology of Bruner (1997), our goal is to investigate through the narrative of these subjects, considering the importance of being present in the world through communication and do this for yourself, to take the ideas of the fog of thought and outsource them, forming, by the need to organize them and make intelligible to the other, establishing dialogue. It is proposed adjustments in the narrative and subsequent analysis, considering the characteristics of the subjects: communication by translator or computer with adapted keyboard; expressions, sounds and gestures changed by disability; communication (typed) with emphasis on semantics and phonetics deficit (Transposing this oral characteristic for writing). Choice of pictures; and social network analysis of the subject. This made the role of the researcher was of paramount importance to establish links with the subjects, allowing dialogue (Trying NOT Make use of mediator). Aiming to know the life story of people accustomed to be interpreted and not heard and how it is built. It was noticed that the boccia adapted, different than the researcher believed, is not the salvation of a stagnant life, but it is primarily a bridge for socializing and recreation (in meetings before and after games , at time of eat , in travels) , and , second, the athlete's career , bringing his other identity (competitive, warrior , serious, focused). The narrative research allowed to show behind the scenes of research and allowed joint data collection methods have improved dialogue with the subject, showing a mature athlete, intelligent , not as independent as it is believed to be ideal , but as autonomous as possible. / A bocha paral?mpica ? um esporte desafiador para pessoas com defici?ncia com comprometimento motor nos quatro membros. Um grupo desses atletas, mesmo com a pr?tica esportiva, permanece prejudicado pela incapacidade de oraliza??o e falta de comunica??o por outros meios. Baseado na Psicologia Cultural de Bruner (1997) buscou-se investigar atrav?s da narrativa desses sujeitos, considerando a import?ncia de se fazer presente no mundo atrav?s da comunica??o e se fazer presente para si mesmo, ao retirar as ideias da neblina do pensamento e externaliz?-las, dando forma, pela necessidade de organiz?-las e se fazer intelig?vel ao outro, estabelecendo o di?logo. Prop?s-se alternativas na express?o narrativa e posterior an?lise, considerando as caracter?sticas dos sujeitos: comunica??o por tradutor ou computador com teclado adaptado; express?es, sons e gestos alterados pela defici?ncia; comunica??o (digitada) com ?nfase na sem?ntica e d?ficit na fon?tica (transpondo essa caracter?stica oral para a escrita); escolha de fotos; e an?lise da rede social do sujeito. Isso fez com que o papel do pesquisador fosse da maior import?ncia, ao estabelecer v?nculos com os sujeitos, possibilitando o di?logo (tentando n?o fazer uso de mediador), com objetivo de conhecer a hist?ria de vida de pessoas acostumadas a serem interpretadas e n?o ouvidas e como ela se constr?i. Conjecturou-se que a bocha adaptada, diferente do que o se acreditava, n?o ? a salva??o de uma vida estagnada, mas ela ?, primeiramente, uma ponte para a socializa??o e o lazer (nos encontros antes e depois dos jogos, na hora de se alimentar, nas viagens), e, em segundo lugar, a profiss?o do atleta, trazendo sua outra identidade (de competidor, guerreiro, s?rio, compenetrado). A pesquisa narrativa possibilitou mostrar os bastidores deste trabalho e permitiu articular m?todos de coleta de dados que melhoraram o di?logo entre pesquisador e sujeito pesquisado, mostrando um atleta maduro, inteligente, n?o t?o independente como acredita-se ser ideal, mas t?o aut?nomo quanto ? poss?vel.

Made available in DSpace on 2014-12-17T15:07:05Z (GMT). No. of bitstreams: 1 JoaquimADO_DISSERT.pdf: 965951 bytes, checksum: e69351da4d366a13722fe0777dc7cdd6 (MD5) Previous issue date: 2013-06-07 / This work has the general proposal of studying the composition of the trevisanian fictional universe, the aesthetic expression engineered to formulate this universe, and last, the representations of reality that emanates from this aesthetic-narrative construction. It seemed to us, however, that it would be impossible to cover, even superficially, so vast and voluminous set of texts as the trevisanian. Therefore, so that we could accomplish this task, and still do it in a way that was, at the same time, plausible and thorough, it was necessary an objective cut within that library. Then we selected a book, representative of the whole trevisanian work, which served as the object of study: Cemit?rio de Elefantes, 1964, one of the first books of short stories by this author. Within this one, we focused even more our sight, then moving towards what we call a reality forked in paralytic world and world in violence . Supported by the theories and methodologies of Auerbach (2011), Candido (2002, 2006), Adorno (2003), Gennete (1995), Friedman (2002), and still moved by the spirit of Russian Formalism (1973), we built our criticism. Our approach was based then in three steps: first we are dedicated to comment the general context of the trevisanian work, supported strongly by reading two of the biggest critics of his literature, Miguel Sanches Neto and Berta Waldman, secondly, we turn us to comment on the detailed formal construction of language and narrative elements of the trevisanian prose; finally we raised our criticism to the level of reading representations of reality, and then we started to comment the construction of the trevisanian fictional universe, focusing in splitting this universe in paralytic world and world in violence / O presente trabalho tem como proposta geral estudar a composi??o do universo ficcional trevisaniano, a express?o est?tica engendrada para formular esse universo, e, em ?ltima inst?ncia, as representa??es da realidade que emanam dessa constru??o est?tico-narrativa. Pareceu-nos, no entanto, que seria imposs?vel dar conta, mesmo que superficialmente, de t?o vasto e volumoso conjunto de textos como o ? o trevisaniano. Portanto, para que pud?ssemos realizar tal tarefa, e ainda faz?-lo de um modo que fosse, a um s? tempo, plaus?vel e mais aprofundado, fez-se necess?rio um recorte objetivo dentro dessa biblioteca. Selecionamos ent?o um livro, representativo de toda a obra trevisaniana, que nos serviu como objeto de estudo: Cemit?rio de elefantes, de 1964, um dos primeiros livros de contos desse autor. Dentro desse, ainda focalizamos mais o nosso olhar, voltando-nos ent?o para o que denominamos de uma realidade bifurcada em mundo paral?tico e mundo em viol?ncia . Amparados pelas teorias e metodologias de Auerbach (2011), Candido (2002, 2006), Adorno (2003), Gennete (1995), Friedman (2002), e ainda movidos pelo esp?rito do Formalismo russo (1973), constru?mos nossa cr?tica. Nossa abordagem fundamentou-se, ent?o, em tr?s passos: primeiramente nos dedicamos a comentar o contexto geral da obra trevisaniana, suportados fortemente pela leitura de dois dos maiores cr?ticos da literatura desse autor, Miguel Sanches Neto e Berta Waldman; em segundo lugar, voltamo-nos ao coment?rio minucioso sobre a constru??o formal da linguagem e dos elementos narrativos da prosa trevisaniana; por fim, al?amos nossa cr?tica ao n?vel da leitura das representa??es da realidade, e passamos a comentar a constru??o do universo ficcional trevisaniano, focando na biparti??o desse universo em mundo paral?tico e mundo em viol?ncia