Submitted by Maike Costa (maiksebas@gmail.com) on 2017-07-31T12:38:57Z No. of bitstreams: 1 arquivototal.pdf: 1858004 bytes, checksum: 431f761d1fa6ca75da926af990fed682 (MD5) / Made available in DSpace on 2017-07-31T12:38:57Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1858004 bytes, checksum: 431f761d1fa6ca75da926af990fed682 (MD5) Previous issue date: 2017-07-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work deals with cultural meanings present in the popular literature written in Northeast Brazil. The popular cultural expressions represent much more than aesthetic or artistic events. They are the declaration of a cultural practice and a constant renewal of a collective memory, manifested in various literary genres, like the Cordel brochure. With Portuguese origin, the line of genre is the popular literature writing, constituting legitimate documents and extremely valuable in redemption and discovery on human and physical aspects of the northeast of the past. Because of its relevance as Brazilian historical and cultural heritage under the auspices of the theoretical assumptions of semiotics, the theoretical study of the leaflets and their stay in Brazil's Northeast was raised through a sample consisting of twenty-seven leaflets of the Research Program collection in popular literature (PPLP), the Federal University of Paraiba, entered in the bibliographic classification proposed by ALBUQUERQUE (2011) to popular literature. Through qualitative and quantitative research data, it was highlighted subthemes of thematic and figurative nature, with the choice of a representative factsheet for each sub-theme for the analysis of semiotic categories related to the trajectory of textual meaning, comparing the frequency of categorical elements present in the sample, the elements constructed culturally and influences in the building of the northeastern man. / Este trabalho trata das significações culturais presentes na literatura popular escrita do Nordeste brasileiro. As expressões culturais populares representam bem mais do que manifestações estéticas ou artísticas. Elas são declaração de uma prática cultural e uma constante renovação de uma memória coletiva, manifestada em vários gêneros literários, a exemplo do folheto de cordel. Com origem portuguesa, o gênero de cordel é a expressão escrita da literatura popular e constitui documentos legítimos e extremamente valiosos no resgate e na descoberta sobre os aspectos humanos e físicos da região Nordeste de épocas passadas. Devido a sua relevância como patrimônio histórico-cultural brasileiro, sob os auspícios dos pressupostos teóricos da Semiótica, o estudo teórico dos folhetos e de sua permanência no Nordeste do Brasil foi realizado através de uma amostragem com vinte e sete folhetos do acervo do Programa de Pesquisa em Literatura Popular (PPLP), da Universidade Federal da Paraíba (UFPB), inseridos na classificação bibliográfica proposta por Albuquerque (2011) para a literatura popular. Por meio de pesquisa qualitativa e quantitativa de dados, foram destacados subtemas de natureza temático-figurativa, com a escolha de um folheto representante de cada subtema, para a análise de categorias semióticas referentes à trajetória de significação textual, confrontando-se a frequência de elementos categoriais presentes na amostragem, os elementos construídos culturalmente e as influências na construção da identidade do homem nordestino.

Made available in DSpace on 2015-05-14T12:39:40Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2187862 bytes, checksum: 80ee093ba3947a1c5e81d1c4aaa55264 (MD5) Previous issue date: 2012-09-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis studied discourses by and about blind people in the Brazilian and International Popular Literature which previously belonged to the oral tradition and subsequently were collected for writing; as well as texts produced in modern times. To accomplish this, the starting point was the hypothesis that the discourses by and about blind people pertinent to Popular Literature delineate the socially constructed image of the blind subject. The research was guided by the general objective that aimed at analyzing popular texts by and about blind people in the light of theoretical designs of the Greimasian Semiotics at its three levels: fundamental, narrative and discursive, which generate meaning to unravel the systems of values invested by the blind subjects, their beliefs, their world view and their image in society. The analytical assessment was completed by the Cultural Semiotics which verified the anthropogenic areas surrounding human beings. The available corpus consisted of three hundred and eighty-four popular national and international texts produced by blind and not blind poets. This statistical population grouped literary genres of popular expression classified as quatrains, narratives of cordel, arguments or poetries of challenge, songs, poetries, poems, stories and oral novels; among those, seven texts were selected to compose the sample. The analyzed discourses were compiled by the initial letters of the words in the title: Cantador que perdeu a vista (CPV), O cego de Várzea Alegre e o milagre do Cícero (CVAMPC), Os dois cegos e o engraçado (DCE), A luz e a escuridão (LE), Meu caminho é o céu (MCC), Peleja com Zé Pretinho (PCAZP) e A virgem e o cego (VC). The content of the paper is organized into three chapters: the first chapter comprises the Theoretical Study from Signs to Semiotics, the second one outlines the Exhibition of the corpus and the third is the acomplishment of the Semiotic Analysis of discourses by and about blind people. In the end, the results achieved through the appreciation of discourses are presented. / Esta tese estudou discursos de e sobre cegos oriundos da Literatura Popular brasileira e estrangeira que a priori pertenceram à tradição oral e a posteriori foram coligidos para escrita; assim como, textos produzidos na contemporaneidade. Para realizá-la, partiu-se da hipótese de que os discursos de e sobre cegos pertinentes à Literatura Popular delineiam a imagem do sujeito cego construída socialmente. A pesquisa foi norteada pelo objetivo geral que propôs analisar textos populares de e sobre cegos, à luz dos desígnios teóricos da Semiótica greimasiana, nos seus três níveis geradores da significação: fundamental, narrativo e discursivo, para desvendar os sistemas de valores investidos pelos sujeitos cegos, suas crenças, visão de mundo e a imagem deles na sociedade. A apreciação analítica foi completada pela Semiótica das Culturas que verificou as zonas antrópicas do entorno humano. O corpus disponível foi constituído de trezentos e oitenta e quatro textos populares, nacionais e estrangeiros produzidos por poetas cegos ou não. Esta população estatística agrupou gêneros literários de expressão popular classificados como: quadras, narrativas de cordel, pelejas ou poesias de desafio, canções, poesias, poemas, contos e romances orais; dela foram selecionados sete textos para compor a amostra. Os discursos analisados foram compilados pelas letras inicias das palavras do título: Cantador que perdeu a vista (CPV), O cego de Várzea Alegre e o milagre do Cícero (CVAMPC), Os dois cegos e o engraçado (DCE), A luz e a escuridão (LE), Meu caminho é o céu (MCC), Peleja com Zé Pretinho (PCAZP) e A virgem e o cego (VC). O conteúdo do trabalho foi organizado em três capítulos: o primeiro compreende o Estudo Teórico do Signo à Semiótica, o segundo esboça a Exposição do corpus e o terceiro é a realização da Análise semiótica de discursos de e sobre cegos. No final, enunciaram-se os resultados alcançados através da apreciação dos discursos.

O objetivo deste estudo é fornecer uma análise dos dois principais movimentos dentro da ficção científica em língua inglesa vinculados ao pós-modernismo, a New Wave da década de 1960 e o Movimento Cyberpunk da década de 1980, estabelecendo comparações com a produção de ficção científica do mesmo período, dentro das Primeira e Segunda Ondas da Ficção Científica Brasileira. Questões de política literária serão sempre evocadas, como maneira de relativizar o peso teórico das discussões, tentando estabelecer que intenções, procedimentos e programas literários existem inseridos em contextos pessoais, sociais e mesmo nacionais. Essa abordagem é amparada pelo conceito do Campo de Poder, do sociólogo francês Pierre Bourdieu (1930-2002), e de diversos intérpretes de suas idéias. A partir dos trabalhos de críticos e teóricos como Clive Bloom, Scott McCracken, Ken Gelder, Michel de Certeau e Robert Scholes, este trabalho propõe que a ficção científica, como gênero literário de raízes populares, é capaz de exercer o papel de uma literatura que faz a crítica da modernidade, sem recorrer necessariamente aos aspectos formais associados à literatura pós-modernista, incluindo o texto fragmentário, a mistura de gêneros e códigos literários. A pesquisa conduz a uma reflexão a respeito da situação da ficção de gênero vis-à-vis a predileção da ficção pós-modernista pela metaficção e pelo experimentalismo. / The objective of this study is to provide an analysis of the two main literary movements in English-written science fiction associated to postmodernism, the New Wave of the 1960s and the Cyberpunk Movement of the 1980s, establishing comparisons with science fictional production of the same periods in the First and Second Waves of Brazilian science fiction. Issues of literary politics will be constantly considered, as a way to relativize the theoretical charge of the arguments, trying to establish that intentions, proceedings, and literary programs exist inserted in personal, social, and even national contexts. This approach is supported by the French sociologist Pierre Bourdieus concept of Field of Power, and also by a number of readers of his ideas. Taking from the works of critics and theoreticians such as Clive Bloom, Scott McCracken, Ken Gelder, Michel de Certeau, and Robert Scholes, this work claims that science fiction as a literary genre of popular roots can play out the role of a literature that performs a criticism of modernity without relying on those formal aspects associated with postmodernist literature, including fragmentary prose and the mixing of genres and literary codes. The research leads to a reflection concerning the situation of genre fiction vis-à-vis postmodernist fictions propensity for metafiction and experimentalism.

A passagem do século XIX para o século XX acarretou muitas dúvidas e incertezas no pensamento e na cultura ocidentais. A crise do positivismo, que impulsionou os literatos e os intelectuais a se questionarem sobre o conceito de real, gerou um nítido conflito entre tudo aquilo que remetia ao racional e à ciência em contraposição a um renovado tipo de subjetivismo e de relativismo, definindo, assim, uma nova abordagem da literatura e das artes na primeira metade do século XX. Neste trabalho é feita uma análise do papel da imprensa e do intelectual no final do século XIX, para depois retomá-la no período no qual se insere a obra de Pirandello. Estuda-se, ainda, a presença estrangeira nos periódicos italianos e o conceito de literatura popular e cultura de massa que estão intrinsecamente ligados à função do intelectual e sua relação com o povo/nação. Pirandello é um escritor que tem a maior parte de sua produção literária publicada no início do século XX, a qual vai desde obras em dialeto siciliano, nas quais são trabalhados os aspectos mais regionais - como tradições e costumes rurais e folclóricos, crenças populares e místicas e, por isso, de certa forma mais populares, até obras que atingem uma complexidade narrativa comparadas a grandes clássicos literários nacionais e europeus. Nesta pesquisa será apresentada de que forma se dá o comprometimento do intelectual e do artista Pirandello com a sociedade daquele período e de que modo algumas questões subjetivas do autor também influem em sua obra. Como base e modelo que guiará toda a discussão deste trabalho, apresentamos, ainda, uma análise de Il fu Mattia Pascal (1904), uma das obras mais representativas da modernidade europeia e na qual se encontram os elementos principais da poética e da filosofia do autor que, além de resgatar algumas técnicas do romance-folhetim francês, as emprega na publicação seriada desta obra, traduzindo toda a crise da modernidade e resgatando, mesmo que de maneira atenuada, alguns aspectos do romance popular. / The passage between the XIX and the XX centuries brought a lot of doubts and uncertainties in the occidental thought and culture. The positivism crisis, which forced the men of letter and the intellectuals to debate the concept of real, generated a sharp conflict between everything which concerned the logical and the science and a renewed kind of subjectivism and relativism, defining in this manner a new approach to arts and literature at the first half of XX century. This work presents an analysis about the press and the literate man at the end of the XX century, to be introduced again during the period in which Pirandello is set in. Moreover is studied the foreign presence in the italian magazines and the concepts of popular literature and mass culture which are strictly connected to the intellectuals function and his relationship with the population/nation. Pirandello is a writer whose literary productions was published at the beginning of the XX century and it goes from sicilian dialect works, in which more characteristic and regional aspects can be found such as popular and folkloristic customs and traditions, popular and mystic lores and therefore more popular, to works where a complex narrative is involved until reaching a national and european level. The aim of this research is to show the compromise between the artist Pirandello and the society of that period and in what way a few personal issues of the author influence his opus. To enlighten the whole discussion is introduced an analysis of Il fu Mattia Pascal (1904) - one of the most representative works of european modernity - in which can be found characteristic elements of Pirandellos poetry and philosophy. Pirandello revives some tecniques from the french roman-feuilleton and employs them in a serial publication of this play that, beyond traslating the whole crisis of modernity, partially rescues some aspects of the popular novel.

Cette thèse propose d’étudier le rap français à partir de l’analyse littéraire, c'est-à-dire en détachant les textes de leur rôle de témoignage d’un contexte social et en portant un regard attentif à la façon dont ils revendiquent le soin porté à la langue et la mobilisation des références culturelles. Si leurs thèmes sont indiscutablement rattachés au réel sociohistorique, les stratégies déployées pour la représentation de ce réel méritent pour nous une analyse approfondie. Cette étude explore alors la façon dont les textes de rap expriment le désir de qualités et d'effets esthétiques, et leurs liens, conscients ou non, avec des œuvres littéraires de référence. A partir de ce désir d’inscription littéraire dont nous constatons l’existence dans le rap français, cette thèse se penche sur tous les aspects de l’écriture, c'est-à-dire sur la forme des textes, les figures et les tons employés ; ce désir se voit comblé par un travail scriptural rappelant celui des textes de création littéraire. Le rap français apparaît alors comme s’étant développé dans une toile d’intertextualité tissée entre des textes très classiques de la culture française et d'autres écritures des plus contemporaines. Ce recours permanent à la culture lettrée prend à contrepied l’idée de « ghettoïsation » que l’on attribue souvent au rap quant aux références culturelles qu’il véhicule et à son positionnement face à la grande culture française. Car par la mobilisation de ces références, le rap chercherait, et avec lui les rappeurs, une reconnaissance, non pas tant dans le monde de la musique, que dans celui de la culture lettrée. Ainsi, cette étude ne vise pas à rattacher les textes de rap à la littérature, mais à mettre à jour un geste qui apparaît à nos yeux d’ordre littéraire. / This thesis endeavors to study French rap from the point of view of literary analysis, setting aside the texts' intent to bear witness to a social context, in order to focus very carefully on the way they lay claim to an elaborate use of language and an engagement with cultural references. While the subject matter is indisputably embedded in socio-historical reality, the strategies deployed for the representation of this reality call for advanced analysis. The present study therefore explores the way in which rap texts express a desire for aesthetic qualities and effects, and their relations – conscious or otherwise – with literary works of reference. Having acknowledged that a desire for inscription within the literary can be found in French rap, this thesis examines all aspects of the writing of its texts, their form, the stylistic devices and rhetorical figures they deploy; the desire in question is fulfilled through complex work akin to literary creative writing. Thus, French rap appears to have developed within an intertextual web woven between classic texts of French culture and other, more contemporary writings. The constant resort to written and literary culture challenges the frequent perception of rap as “ghettoized”, in its use of cultural references and its stance regarding high French culture. Indeed, through the use of such references, rap and the rappers themselves seem to be seeking recognition, not so much in the music world as in written and even possibly literary culture. All in all, this study does not make the claim that rap texts belong to literature; it aims, however, at highlighting a gesture which appears to be of the literary kind.

KULLMANOVÁ, Katarína Bc.: Transformation of Golem in Popular Culture (diploma thesis) Charles University in Prague. Faculty: Institute of Ethnology. Supervisor: PhDc. Peter Janecek, Ph.D. Praha, 2015-08-16 The aim of the study is to outline the Golem legend, through the work of Alois Jirasek: Old Czech Legends (1894) a film by Martin Fric: The Emperor's Baker and Baker's Emperor (1951), which enables got Golem today's visually similar. Subsequent demonstration on how much above two sources affect people's perceptions on the topic. The aim of this work is also to show the gradual disappearance of the original legends of the 16th century and approach the area where the phenomenon Golem applied later: literature, film, tourism and the transformation of the 19th-21st centuries.

From the 1820s, forçats were widely portrayed in French culture across a variety of fictional and non-fictional genres. This thesis analyses this ‘convict tradition’, and relates it to the emergence of industrial literature in France, with its resolutely reader-centred approach. It argues that convicts acquired a central cultural importance in the nineteenth century because they embodied a form of transgressive individualism which fascinated bourgeois readers. Convicts functioned as screens onto which readers could project their own forbidden desires. The study analyses canonical novels by Sand, Balzac, Hugo and Zola alongside a large corpus of non-fiction, including biographies, penological or philanthropic texts, physiologies and travel literature. The circulation of stereotypes and stylistic tropes between these different genres shows the constant interaction between mainstream and elite writing, and the influence of literary representations on the perception of criminals, which shaped political decisions and penal policy. The first chapter of the study suggests that convicts gave a face to nineteenth-century concerns about the proliferation of the criminal classes, thereby allowing readers to explore these fears. At the same time, descriptions of crime were a source of scopophilic pleasure, allowing readers to indulge repressed transgressive desires, while partaking in a potentially subversive celebration of carnivalesque disorder. Chapter 2 shows how these dynamics inform Balzac’s writing in his ‘Vautrin cycle’, drawing readers into a game of open secrets and deferred recognition, which mirrors contemporary concerns about urban illegibility and illegitimate social promotion. Chapter 3 explores a competing tradition which portrayed convicts as sublime, betraying the ambiguity of nineteenth-century attitudes to imprisonment, which could be a sign of infamy or of martyrdom. Sublime convicts reassured readers about the human ability to overcome trials, and to attain salvation through spiritual means (ataraxia) or physical resistance (escape). These differing traditions show that narratives tended to be centred upon their readers’ concerns, which may explain why criminals themselves were discouraged from writing. Chapter 4 presents the obstacles to convict self-expression as well as various attempts by inmates to ‘write back’, culminating with Genet’s and Charrière’s subversive reappropriation of literary discourse. Chapter 5 examines the ways in which the interplay between political events, commercial imperatives, literary evolutions (the rise of the detective novel) and new cultural practices like the cinema changed twentieth-century representations of convicts. This thesis analyses a large corpus of understudied material and fills a gap in existing scholarship, but more importantly it uses convicts to explore nineteenth-century reading practices, and to probe cultural fault lines in post-revolutionary French society. Convicts exemplify the ambiguity of nineteenth-century attitudes to social marginality, and highlight the conflicted nature of bourgeois identity. Their portrayal also draws attention to the important structural changes undergone by the literary field from the 1830s onwards, which paved the way for the advent of mass culture in the twentieth century.

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The main topic of this document is singer Jaromir Nohavica. I would like to describe the evolution of his poetics. The primary goal is to establish, that the year of revolution - 1989 is the critical impulse to his production. Reader is briefly introduced to Jaromir Nohavica's life, but also acquaint with concepts like popular culture and kitsch. Basically I focuse on Jaromir Nohavica's song poetics interpretation. The specific examples show that Nohavica shift towards the mainstream of popular literature, in thematic level, in level of production and presentation himself in the way of rendering Jaromir Nohavica, compared to songwriters of his time, does not lose the audience, he can beraised according to the new conditions and new age.

Uppsatsen är en litteraturvetenskaplig studie av makt och maskuliniteter i Madeline Millers roman Circe (2018). Syftet med uppsatsen är “att granska maktförhållanden mellan män och kvinnor, men också mellan individer av samma kön” samt “hur Miller skildrar Kirkes relation till olika män för att utreda hur patriarkala hierarkier upprätthålls, men också hur den traditionella strukturen utmanas av nya föreställningar om kön, genus och sexualitet”. Uppsatsen utgår från fem nyckelscener i romanen som på skilda sätt belyser Kirkes möten med, och relation till, olika slags män och maskuliniteter. Den teoretiska utgångspunkten är R.W Connells – och James W. Messerschmidts vidareutveckling av – begreppet “hegemonisk maskulinitet”, men analysen relateras också till tidigare forskning om Kirke-gestalten samt till forskning om den populära kärleksromanen. I uppsatsen framgår att Kirke är underordnad en patriarkal maktstruktur, men att hon – genom att efterlikna den överordnade maskulinitetens brutala metoder – är tillräckligt stark för att utmana det patriarkala systemet. Trots det väljer Kirke den privata lyckan med en man som respekterar henne framför att krossa patriarkatet. I helhet visar dock uppsatsen att kvinnan är tillräckligt stark för att förändra samhället om hon vill.