Made available in DSpace on 2016-04-28T20:12:56Z (GMT). No. of bitstreams: 1 2008 - Abigail Ribeiro Gomes.pdf: 2388791 bytes, checksum: 8cdcbeb59b5a5ae454e26120866324db (MD5) Previous issue date: 2008-09-23 / This research intends to establish a comparative study between two characters: Joaquim de Almeida Leite Moraes, author and main character in the narrative Apontamentos de Viagem; and Macuna?ma, title character of M?rio de Andrade s rapsode. The parameter for comparison between the two characters starts from the family relation between both authors, of grandfather and grandson, which enables the possibiity of intertextuality between the texts. From that point on, this work proposes to check the existance of aspects which were beyond references of Leite Moraes text inside Mario de Andrade s text. This way, having as theorical support the Parody, it was established a comparative study, observing: the textual construction, the insertion of the texts in the aesthetic propositions of their contexts and points of convergence and divergence of the aesthetic propositions; the characters view about the environment they went during the narratives, the natural space and the city space, and the points of agreement and disagreement of the characters; the consolidation of morality and amorality and the insertion of characters behaviour in both categories. This way, having such data in hands, it could be verified how the construction of a framework happened in the periods of time the narratives were inserted, such framework which could identify brazilian cultural characteristics and the role of such narratives in the formulation of a brazilian statute. / Esta disserta??o se prop?e a estabelecer um estudo comparado entre duas personagens: Joaquim de Almeida Leite Moraes, autor e personagem principal da narrativa Apontamentos de Viagem; e Macuna?ma, personagem t?tulo da raps?dia escrita por M?rio de Andrade. O par?metro de compara??o entre as personagens inicia-se pela rela??o de parentesco entre os dois autores, de av? e neto, que viabiliza a possibilidade de intertextualidade entre ambos. A partir da?, este trabalho prop?e a verifica??o da exist?ncia de aspectos que fossem al?m de refer?ncias do texto de Leite Moraes no texto marioandradino. Desta feita, tomando como sustenta??o te?rica a par?dia, estabeleceu-se o estudo comparado, observando: a constru??o textual, a inser??o do texto nas propostas est?ticas vigentes quando da produ??o dos textos e os pontos de converg?ncia e diverg?ncia das propostas est?ticas; a vis?o das personagens a respeito dos ambientes pelos quais passaram no decorrer das narrativas, o espa?o natural e o espa?o citadino, e os pontos de acordo e desacordo de ambas as personagens; a consubstancia??o de moralidade e de amoralidade e o enquadramento da atua??o das personagens nas duas categorias. Desta forma, tendo tais dados em m?os, p?de-se verificar como se deu, nos per?odos em que as obras analisadas se inseriram, a constru??o do arcabou?o capaz de caracterizar o car?ter cultural brasileiro e o papel de tais obras na formula??o de um estatuto de brasilidade.

Made available in DSpace on 2016-03-15T19:46:51Z (GMT). No. of bitstreams: 1 Maira Bastos dos Santos.pdf: 492065 bytes, checksum: 32bac3a4e3140e34c7b416da0d987b09 (MD5) Previous issue date: 2009-08-11 / Fundo Mackenzie de Pesquisa / This study focuses on the relationship between History and Literature as it appears in Márcio Souza s Galvez imperador do Acre (1976). This book presents a specific moment in the history of the Brazilian state of Acre, which is neither common nor properly approached in most school books and, therefore, is not part of many Brazilian people s world knowledge. The novel portrays the political and social context of the Amazonian region at the end of the 19th century, focusing on the conquest of Acre and the historical scenery of the time. Galvez imperador do Acre, representing the new historic novel, brings a critical and questioning view of the events of the time, introducing another way of understanding the historic discourse. Built up on the basis of irony, parody and intertextuality, this novel raises questions as to the discursive construction of History in relation to the time of the novel writing. This study analyses the novel structure, taking into account the creation process and the dialogues highlighted in the quotations, headings and elements that lead to Bakhtinian carnivalization. This analysis also tries to find out the importance of the novel structure and also the implicit meanings of a fragmented-built-up Historic discourse. / O trabalho estuda a relação entre a História e a Literatura presente na obra Galvez imperador do Acre (1976), de Márcio Souza. A obra em questão apresenta um momento específico da História do Brasil que não é comum nos livros didáticos e, portanto, não faz parte do conhecimento de mundo de muitos brasileiros. O romance retrata o contexto político e social da região amazônica no final do século XIX enfocando a conquista do Acre e o panorama histórico da época. Galvez imperador do Acre, representante do novo romance histórico, traz uma visão crítica e questionadora dos eventos da época, apresentando ao leitor um outro modo de entender o discurso histórico. Construído a partir da ironia, da paródia e da intertextualidade, o romance levanta questões referentes à construção da História na sua relação com o momento da escritura do romance. O presente trabalho analisa a estrutura do romance, levando em conta o processo de criação e os diálogos perceptíveis nas citações, nos títulos e nos elementos que remetem à idéia de carnavalização. Essa análise busca perceber a importância da estrutura do romance e também os sentidos implícitos a uma História narrada de maneira fragmentada.

O presente trabalho investiga a obra de Pedro Almodóvar Caballero, cineasta espanhol; mostrando que sua principal marca autoral é trabalhar com elementos da Cultura Pop, fundamentalmente a citação, pastiche e a paródia; mesclados com sua experiência pessoal, da infância em La Mancha, e da busca pela liberdade na Madri, de La Movida, do final do franquismo e da transição para a democracia. Usando a teoria da paródia, como fundamentação teórica, demonstram-se como os filmes de Almodóvar dialogam com textos fílmicos os mais variados, incorporando-os à sua narrativa e imprimindo nela uma marca original e internacionalmente reconhecível. Traça-se uma filmografia crítica da recepção de seus filmes, no contexto em que surgiram no cenário da cultura marginal underground dos anos 1970, e seu pleno desenvolvimento e maturidade no circuito comercial, a partir da década de 80. Centrando-se a análise em Todo sobre mi madre, demonstra-se o nível de diálogo estabelecido com a obra de John Cassavetes, Federico Fellini e na retomada de sua própria obra, como fonte de citação, como o diálogo estabelecido entre La flor de mi secreto/Todo sobre mi madre. / This study carries out research into the work of Pedro Almodóvar Caballero. The great spanish director has, like autor mark, working with icons of Pop Culture, essentially quoting and parody; mixing with his own childhood personal experience, in La Mancha, and the freedom conquered within the Madri of La Movida; post-franquism period of transition throw democracy. Based on the parody theory, this work shows like the movies of Almodóvar talk/exchange subjects with others movie images of diferent kind, getting them incorporated on its narrative, providing his movies of an orginal and internacional hallmark. It sets a critical filmografy of how was the reception of his films, within de underground culture they had born, in the ´70, and its total development and maturity on the commercial circuit of the earlier ´80. The central point of the analysis is the movie All about my mother, fixing the level of the dialogue established with John Cassavetes` Opening night and some characters of Federico Fellini, like Cabiria and Gradisca; and so on, the recycle of the own Almodovar`s previous works, like source of quote, like the exchange made between The flower of my secret and All about my mother.

Le seul consensus autour de la poésie féminine contemporaine est celui d’une grande diversité. Sur le plan thématique et formel, autant que du point de vue de l’origine des poètes, il semble difficile de réunir sous un paradigme unique les œuvres écrites par des femmes. C’est également l’un des aspects que soulignent l’ensemble des ouvrages consacrés à l’humour : le terme renvoie à des phénomènes si différents qu’il est presque impossible de le réduire à une définition qui recouvre l’ensemble de ses manifestations. C’est pourtant précisément en raison de cette difficulté définitionnelle que l’humour constitue un prisme de choix pour parcourir la poésie féminine contemporaine. Par nature protéiforme, l’humour est « transgenre » ; il subvertit l’ordre social et les instances de pouvoir réel ou symbolique, mais remet aussi en question les identités génériques et sexuelles. Rien d’étonnant à ce que les femmes poètes y voient une arme pour s’attaquer aux idées reçues, aux stéréotypes et aux métaphores figées, notamment celles qui prétendent définir l’identité féminine. Mettant en adéquation ce qui se passe sur le plan de l’énonciation, de la réception, de la rhétorique et de la prosodie, l’humour est donc envisagé comme une modalité d’écriture, c’est-à-dire un ensemble de formes traduisant un positionnement particulier. Cette posture, qu’elle prenne le nom d’irrévérence, d’incongruité ou de décalage, témoigne à la fois des liens complexes que les femmes entretiennent avec la tradition poétique et des stratégies qu’elles ont développées pour y parvenir, dans lesquelles se dessine une même volonté, en explorant les lieux communs et les espaces de consensus, de redessiner les contours de la poésie contemporaine. / The only consensus around the question of contemporary women poetry is that of its diversity: the themes and forms of the poems written by women are almost as varied as the origins of the poets themselves. Diversity is also one of the aspects underlined by most of the publications on the subject of humour. The term applies to so many phenomena that it is virtually impossible to reduce it to a final definition. Yet it is precisely because humour is so difficult to define that it constitutes a particularly appropriate prism to approach contemporary women poetry. Humour is by essence “transgender”. It subverts social order as well as instances of real or symbolical power, and challenges sexual and generic identities. Unsurprisingly, women poets have seen it as a choice weapon to attack received opinions and stereotypes, especially when those aim at defining femininity. Humour should therefore be considered as a form of writing, or rather a set of forms, expressing a specific positioning and operating on the level of enunciation, reception, rhetoric and prosody. This posture, which can be interpreted as irreverence, incongruity or difference, testifies of the complex ties women have established with the poetic tradition. But to do so, women have also developed strategies which enable them to explore common knowledge and accepted truths, and thus redefine the contours of contemporary poetry.

L’œuvre poétique d’António Feijó (1859-1917) s’inscrit dans un moment historique marqué de différents courants littéraires: Réalisme, Naturalisme, Parnasse, Décadentisme et Symbolisme. La nouvelle ère du progrès en Europe provoque un renouvellement littéraire. Avide des nouvelles émotions qui arrivaient de Paris dominée par le Réalisme, Feijó remet en question le Romantisme. Depuis sa première publication poétique, Transfigurações (1882), datant de ses années de jeunesse, jusqu’à Novas Bailatas (1926), sa poésie présente une vaste perspective thématique lyrique. Les poèmes réunis dans Transfigurações résument les différentes phases de l’évolution de l’esprit de Feijó, sous l’influence du pessimisme de Schopenhauer et de Leopardi aux doctrines d’Auguste Comte et d’Herbert Spencer. Le pessimisme et la mort s’imposent presque tout au long de sa poésie. Ces doctrines chez Feijó dévoilent une métaphysique et un goût pour la spiritualité. Le poète hésite à trouver sa voie, mais il est influencé par la crise de transition du XIXème au XXème siècle, dominée par l’esthétique décadente qui précède l’esthétique symboliste. Avec son départ vers le Brésil puis vers la Suède, le spleen s’empare plus après la mort de son épouse. Feijó justifie alors sa qualité de poète de l’Amour et de la Mort, thèmes constants dans son œuvre où domine la figure de la Femme. Ce travail examine l’ensemble du corpus de l’œuvre poétique d’António Feijó, contemporain d’Eça de Queirós et mal connue en Europe et au Portugal. Elle apparait comme le résultat d’une époque que le poète synthétise et qui ouvre un chemin original dans une phase de transition tardive du post-romantisme portugais. / The poetic work of António Feijó (1859-1917) is part of a historical moment of different literary currents: Realism, Naturalism, Parnassianism, Decadentism and Symbolism. The new era of progress in Europe originates a literary renewal. Avid of the new emotions that arrived from Paris dominated by Realism, Feijó questions Romanticism. Since its first publication, Transfigurações (1882), written in his youth years until Novas Bailatas (1926), his poetry presents a broad perspective thematic. The poems gathered in Transfigurações summarize the different stages of the intellectual evolution of Feijó, under the influence of the pessimism of Schopenhauer and Leopardi to the doctrines of Auguste Comte and Herbert Spencer. Pessimism and death are presents almost in all his poetry. These doctrines in the work of Feijó unveil his metaphysics and his taste for spirituality. Feijó seems reluctant to find its way, but he is influenced by the crisis of transition from the 19th to the 20th century, dominated by the Decadent aesthetics that precedes the Symbolist aesthetic. With his departure to Brazil and then to Sweden, the spleen takes possession more clearly of Feijó, after the death of his wife. Feijó then justifies his quality of the poet dealing with love and death, constant themes in his work, dominated by the figure of the Woman. This work explores the whole corpus of the poetic work of António Feijó, a contemporary of Eça de Queirós and a poet poorly known in Europe as well as in Portugal. He appears as the result of an era that he synthesizes, but which opens an original road in a late transition of the Portuguese post-romanticism.

Jon Stewart, the anchor and purveyor of “fake news,” has catapulted television's The Daily Show into prominence. The show functions as both a source of political humor and a vehicle for political commentary. This thesis explores how the program visually and rhetorically problematizes the hegemonic model of traditional television news, and how it tips the balance between what is considered serious news and what has become cliché about the broadcast industry.

Igor Stravinskys collaborations with contemporaries including Picasso, Nijinsky, and Cocteau are well documented. Less familiar, however, are the anachronistic collaborations suggested in one short movement Stravinsky wrote in 1918, and involving the Germans Luther and Bach, the Swiss Ramuz, the Russian Stravinsky, and the American Kurt Vonnegut Jr.<p> Grand Choral, the penultimate movement of Stravinskys lHistoire du Soldatwritten in 1918provides a key to unlocking the mysteries of construction, ideology, and by extension, performance of the work. Grand Choral parodies J.S. Bachs Cantata 80 (1715) which, in its turn, is based on Martin Luthers 1529 hymn, Ein feste Burg ist unser Gott. C.F. Ramuz, Stravinskys original collaborator on lHistoire du Soldat, based his libretto on a Russian folk tale, but in 1993, Vonnegut wrote a new text to accompany Stravinskys music, a text inspired by the true story of Private Eddie Slovik, the last American soldier executed for desertion. In essence, Vonnegut collaborates with Stravinsky in a posthumous sense, as Stravinsky does with Bach and Bach with Luther. Vonnegut and Stravinsky each write themselves into an existing work, giving it contemporary meaning and a new poignancy.<p> The principal aim of my paper is to document the process by which I studied and conducted lHistoire du Soldat with one libretto by Ramuz and another by Vonnegut. In the paper, I will first examine the historical context in which each of the collaborators contributed to lHistoire du Soldat. I will also present an analysis of Grand Choral with regard to the source material by Luther and Bach. Finally, I will document the process and findings of my study, rehearsal, and performance of each of the two versions of lHistoire du Soldat which I conducted on March 31, 2009 in Quance Theatre, on the campus of the University of Saskatchewan with a full cast of musicians, dancers and actors.

American Jewish rappers have become an increasingly prevalent topic in Jewish popular and scholarly media, where critics and scholars seek to understand how hip-hop performance and consumption serves as a platform for exploring and articulating Jewish identity. This thesis explores the work of what I term “Jewish parody rappers”—rappers who foreground Jewishness while destabilizing normative American Jewish identity using humor or parody—in order to demonstrate how nuanced gender and ethnoracial identity performances can be found in an often overlooked segment of Jewish rap. Using Jamie Moshin’s concept of “New Jewishness,” I argue that Jewish parody rappers recontextualize tropes of Jewish masculinity through black hip-hop codes, evoking a long history of Jewish engagement with African-American performance. Through an examination of Jewish parody rappers and their performances—including the Beastie Boys, 2 Live Jews, Chutzpah, and Athens Boys Choir—I demonstrate how these New Jews destabilize, or queer, Jewish identity through hip-hop performance. The Beastie Boys’ parodic performances highlight Jewishness as a liminal identity as they use the malleable and performative markers of Jewish masculinity to foreground their whiteness in the black-dominated arena of hip-hop. 2 Live Jews and Chutzpah recuperate tropes of effeminate and impotent Jewish masculinity through their extended parodies. Harvey Katz of Athens Boys Choir plays with tropes of Jewish masculinity not only to queer Jewishness, like other Jewish parody rappers, but also to articulate an explicitly queer Jewish identity. Each of these core samples illuminates various ways in which Jewish parody rappers perform New Jewish identity; however, these rappers do not evade the specter of problematic racial appropriation as they articulate Jewishness through and against tropes of black hip-hop hypermasculinity. / text

В магистерской работе прием пародии рассматривается как основной,центральный в "повестях Белкина".Кроме этого,мы формурлируем принципиально иное понятие пародии.Если изначально многие исслелователи выделяли такую породию,которая обладала"опрокидывающеей" и "аннулирующей функцией сент��менталисткие и романтические штампы и клише,то мы,исспользуя данное понятие,отталкиваемся от его понимание в пушкинское время,где пародия не "уничтожает" что-либо,а служит средс��вом создания нового текста. / Magistro darbe parodijos priemone nagrinejama,kaip pagrindine,centrine "Belkino apysakose'.Tuo paciu mes formuojame visai kitą parodijos sąvoka.Jeigu iš pradžių daugelis tyrinėtojų išriškindavo tą parodija,kuri turėjo"apverčiančia" bei "anuliuojančia"sentimentalius ir romantinius štampus ir klišę funkcija,tai mes,naudodami šią sąvoka,atsistumiame nuo jos suvokimo Puškino laikais,kur sį priemone"nenaikina"bei "išjuokia" kažrą,o suteikia nauja prasmę naudojant senas konstrukcijas. / The masters thesis considers the devise of parody as a basic and central in"The Belkins novels".For all this,we an absuliuteli different concept of parody.Whail the parody exposed by many investigators involvd the funksion refusing and termiminating of sentimental and romantic stamps and clishe,so we whail using the previous concept departed from its comprehension in the Pushkins time when te previous device wasnt considered as destraction,derision of something,but as device of creation of new sense at the expense of the old construction.

Целью диссертационного исследования является комплексное многоаспектное исследование и описание разнородных форм современной анонимной сетевой пародии, представленной как сложными поликодовыми, так и монокодовыми (вербальными) текстами. Описание типов современной анонимной вербальной сетевой пародии проводится с учетом их сопоставления со специфическими особенностями пародийных форм в диахронии и в синхронии, а также с учетом соотношения пародийного текста с экстралингвистическим контекстом и современным культурным пространством. Разрабатываются механизмы анализа анонимных сетевых пародий. При этом анализ текстов строится на выделении в тексте пародии совокупности экспонентов прототекста, т.е. элементов, отсылающих к тексту-источнику. В данной работе экспоненты прототекста описываются как культурные знаки, сферы-источники которых принадлежат культурному пространству, общему для создающего пародию и воспринимающего ее. Благодаря такому подходу через анализ КЗ и соответствующих им сфер - источников оказывается возможным составить представление о наборе прецедентных текстов, входящих в т.наз. «культурный багаж» представителя конкретной эпохи и конкретного общества. / Šio darbo tikslas yra kompleksiškai ištirti ir įvairiais aspektais aprašyti šiuolaikines internetines parodijas, kurias reprezentuoja polikodiniai (daugialypiai, derinantys verbalinį ir neverbalinius kodus) tekstai ir verbalinės (žodinės) parodijos. Atliekant šį tyrimą šiuolaikinių anoniminių parodijų kognityviniai diskursiniai požymiai buvo lyginami su istorinių parodijos atmainų ir šiuolaikinių parodijos išraiškos būdų anapus interneto erdvės analogiškais požymiais. Disertacijoje kuriami anoniminių internetinių parodijų analizės mechanizmai. Tekstų analizė grindžiama pirmiausia išskyrimu parodijos tekste prototeksto eksponentų, kurie funkcionuoja kaip metoniminiai ženklai, recipiento sąmonėje iškeliantys mentalinę prototeksto reprezentaciją ir atitinkamus konceptus. Šiame darbe prototeksto eksponentai aprašomi kaip kultūriniai ženklai, kurių šaltiniai priklauso kultūros erdvei, apimančiai ir kuriantįjį parodiją, ir ją suvokiantįjį. Taikant tokią prieigą, analizuojant kultūros ženklus bei šaltinius-sritis, kurioms jie priklauso, galima susidaryti vaizdą apie precedentinių tekstų visumą, sudarančią konkrečios epochos ir konkrečios visuomenės vadinamąjį „kultūros bagažą“. / The aim of the present research is to investigate and describe different aspects of internet parody, which is represented by multifold (combining both verbal and non-verbal codes) and verbal texts. In the course of the study discourse cognitive characteristics of contemporary anonymous parody were being compared to the analogous characteristics of the historic parody variety and means of expressing parody that are ulterior to the internet space. The mechanisms for internet parody analysis are created in the dissertation. The analysis of the text is first of all based on the identification of prototext exponents, which function as metonymical signs causing the mental representation of prototext and corresponding concepts in the recepient‘s consciousness. In the present study prototext exponents are defined as cultural signs, whose sources belong to the cultural space that embraces both the creator of a parody and the one perceiving it. By taking such an approach, by analysing cultural signs and sources-spheres they belong to, one can get the idea of the precedented texts as a whole comprising the so-called „cultural baggage“ of a particular epoch and of a particular society.