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In an attempt to explain the discrepancy between the intellectual and imaginative elements in George Eliot's art, her version of the pastoral in Adam Bede, The Mill on the Floss, and Silas Marner is examined. Based on the Warwickshire countryside of her childhood and on the Wordsworthian notion of childhood, her pastoral is the environmental correlative to the spiritual development of a character according to Ludwig Feuerbach's "Religion of Humanity." The pastoral is used to portray man's initial happy state* that is informed by his own egoism and limited viewpoint. The pastoral is also used to portray a kind of second Eden that is inherited by those men who have achieved a wider vision in the "Religion of Humanity." At the same time, the pastoral has certain unconscious associations for George Eliot which produce an imaginative pattern that is different from the one she consciously intends. The appeal of a sense of womb-like enclosedness generated by her pastoral and her apprehension of the world of intellectual and emotional maturity that lies beyond the infantile milieu create an imaginative pattern of psychological regression. The chief character within this pattern (who may also be the chief character within the intentional pattern) finally "dies" in the fatal attempt to remain within the infantile realm. At this low ebb in the imaginative pattern, the new celebrant in the "Religion of Humanity," having achieved an understanding of the not-self, is about to enter his new and shining second Eden. Thus, the enclosed and narrow point of view that corresponds to the initial stage in man's spiritual development is never imaginatively abandoned. Adam Bede is the chief inhabitant of Hayslope which shares his limited and self-centred outlook. The malfeasance of Adam's fiancee, Hetty Sorrel, initiates Adam and Hayslope into new awareness. Finally, Adam returns to an apocalyptic Hayslope with his superior Eve, Dinah Morris. Hetty Sorrel is the focus of the imaginative interest in the novel. Although the child-like Hetty initially seeks to quit the security of the Hall Farm, she later "dies"in the attempt to return. Her "death" and Adam's initiation into the "Religion of Humanity" are almost simultaneous. Through suffering and resignation, Maggie Tulliver learns to imitate Christ according to the precepts of Thomas a Kempis (and Ludwig Feuerbach). Her reward, in death, is a second childhood Eden which is much superior to the first one which was often shaken with egoistic squabbles. Imaginatively, Maggie's resignation takes on the form of a fatal timidity towards life and an inability to quit the infantile relationships within the family circle. She "dies" at the end of a regressive journey into the self at the same point where she receives the cross in recognition of her relationship and duty to others. In Silas Marner, the intellectual and imaginative elements are more closely aligned. Silas "dies" at the conclusion of a regressive journey into the self which also corresponds to his social withdrawl and spiritual death. Similarly, he is reborn and grows into an awareness of a beautiful pastoral world as his vision is widened to include the love and sympathy of fellow human beings. After Silas Marner, George Eliot seldom returned to the pastoral material she developed in the trilogy. Intellectually, her pastoral did not lend itself to a more critical examination of ideas and beliefs while imaginatively, it had become ultimately uncomfortable and unsatisfactory. That she had outgrown her pastoral and that she was unable to replace it with another imaginative system help explain her artistic sterility during the eighteen-sixties. / Arts, Faculty of / English, Department of / Graduate

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OLIVEIRA, Denisia Souza de. Raul Lampião do Crato: as práticas comunicativas de um personagem em performance. 2016. 115f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Instituto de Cultura e Arte, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2016. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-05-27T12:38:08Z No. of bitstreams: 1 2016_dis_dsoliveira.pdf: 3764540 bytes, checksum: 7727af5ad4361cd77fd15501b8ce22e9 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-05-27T13:09:14Z (GMT) No. of bitstreams: 1 2016_dis_dsoliveira.pdf: 3764540 bytes, checksum: 7727af5ad4361cd77fd15501b8ce22e9 (MD5) / Made available in DSpace on 2016-05-27T13:09:14Z (GMT). No. of bitstreams: 1 2016_dis_dsoliveira.pdf: 3764540 bytes, checksum: 7727af5ad4361cd77fd15501b8ce22e9 (MD5) Previous issue date: 2016 / The purpose of this study is to investigate the implementation of communicative practices undertaken by Raul Lampião Crato. A figure willing to attribute Raul Seixas - hair, beard, physique - adorned with hat, cartridge belts and leather sandals, inspired by the bandit Lampião. The character performs advertising service advertising wheel in the commercial center of Crato, a town in the interior of Ceará. It is on public display that Raul Lampião presents its communicative practices, coordinating negotiations in which stand elements and features of an economic nature sometimes, elements and features of a social nature in another hand (Bakhtin, 1987; Bitti Zani, 1997; Thompson, 1998). In this context, we use the critical analysis of the narrative (Motta, 2013) as a methodology to understand the character, his speeches and his artistic expressions (Martin-Barbero, 2003; Carreira, 2005). At the end of this work, it is concluded that due to the complexity of performing actions (Hymes, 1975; Glusberg, 1987; Zumthor, 1993, 1997, 2003) undertaken by Raul Lampião the critical relationship established with reality is guided by its commercial activity, and vice versa, as a two-way flow that sustains and feeds on the varied and dissonant circumstances of everyday life. / A proposta desse trabalho é investigar a operacionalização das práticas comunicativas empreendidas por Raul Lampião do Crato. Uma figura disposta com atributos de Raul Seixas – cabelo, barba, porte físico - adornado com chapéu, cartucheiras e sandálias de couro, inspirado no cangaceiro Lampião. O personagem realiza serviço publicitário de propaganda volante no centro comercial do Crato, cidade localizada no interior do Estado do Ceará. É na exposição pública que Raul Lampião apresenta suas práticas comunicativas, articulando negociações nas quais sobressaem ora elementos e características de natureza econômica, ora elementos e características de natureza social (Bakhtin, 1987; Bitti Zani, 1997; Thompson, 1998). Diante desse contexto, utiliza-se a análise crítica da narrativa (Motta, 2013) como metodologia para compreender o personagem, seus discursos e suas expressões artísticas (Martín-Barbero, 2003; Carreira, 2005). Ao final desse trabalho, conclui-se que devido à complexidade das ações performáticas (Hymes, 1975; Glusberg, 1987; Zumthor, 1993, 1997, 2003) empreendidas por Raul Lampião a relação crítica estabelecida com a realidade é orientada pela sua atividade comercial, e vice-versa, como um fluxo de mão-dupla que se sustenta e se nutre diante das variadas e dissonantes circunstâncias da vida cotidiana.

Cette étude montre en quoi la prose mythologique de madame Flore est singulière en étudiant l'antérotisme de La Pugnition de l'Amour contempné (1540). Elle constitue la première recherche qui porte spécifiquement sur cet état de l'oeuvre plutôt que sur les Comptes amoureux (s. d.) et postule que, des deux états de l'oeuvre de madame Flore, les Comptes amoureux représentent le second état à l'encontre de ce qu'une certaine critique affirme. Ce mémoire apporte un argument de poids en faveur de la préseance de la publication de La Pugnition de l'Amour contempné (1540) sur les Comptes amoureux [1542] en raison de la cohérence de l'idéologie amoureuse antérotique qui traverse La Pugnition et qui fait justement défaut aux contes plus disparates des Comptes amoureux, ouvrage davantage préoccupé par la dénonciation de l'« impareil » mariage entre vieux barbons et jeunes tendrons. Ce mémoire, qui cherche aussi à mettre au jour les lignes directrices de la pensée mythologique de celle qui dit les désirs des femmes émanant d'une société chrétienne qui voudrait les voir chastes et pudiques, se subdivise en quatre chapitres. Le premier étudie le langage mythologique qui voit le jour à la Renaissance, sous le règne de François 1er. Le deuxième retrace les origines gréco-romaines du concept d'Anteros ainsi que des traditions qui en découlent. Le troisième analyse trois traditions antérotiques à la Renaissance avec leurs antécédents médiévaux. Ces trois traditions sont: l'antérotisme vengeur des amours méprisées, l'antérotisme contre l'amour humain et l'antérotisme de l'amour réciproque (ou Contramour). Le quatrième chapitre, quant à lui, étudie l'antérotisme des quatre contes et des parties lacunaires de La Pugnition pour montrer que, d'un côté, ce premier état de l'oeuvre présente la tradition antérotique en faisant du dieu Amour un dieu vengeur des amours méprisées, associant ainsi sa divinité à Anteros, et que de l'autre, il présente la tradition contre l'amour humain non pas sous la forme du dieu Amour, mais sous la forme d'un personnage, Cebille, qui se refuse obstinément à l'amour. L'étude que nous présentons ici redonnera, c'est notre souhait, envie à la critique contemporaine de réétudier pour elle-même et dans une autre perspective l'édition souvent méprisée (parce que considérée incomplète) de La Pugnition et, par extension, motivera quelques férus de littérature renaissante à s'intéresser à ce courant quelque peu trop méconnu par la critique contemporaine qu'est l'antérotisme alors qu'Anteros vivait sous diverses formes sous la plume des poètes et prosateurs de la Renaissance. À la lumière de cette étude, il sera, pour d'autres aimants du sujet floréen, à nouveau opportun de chercher à savoir qui, de tous les renaissants érudits et amateurs d'Anteros, pourrait se cacher derrière le pseudonyme probable de madame Flore. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Madame Jane ou Jeanne Flore, La Pugnition de l'Amour contempné, Comptes amoureux, Langage, Mythologie, Antérotisme, Anteros, Eros, Contramour, Amour, Marguerite de Navarre, Renaissance, XVIe siècle.

A presente pesquisa analisou diferentes gravações da peça Nosso Choro de Garoto, com o objetivo de levantar aspectos interpretativos semelhantes entre os intérpretes. A metodologia empregada contempla a escolha das gravações, dos tópicos de análise e as ferramentas para realizar a mesma. As gravações utilizadas foram realizadas por violonistas da tradição do choro, que na maioria dos casos conheceram e conviveram com o autor da peça. Os tópicos analisados nas gravações são: localização e utilização do rubato, articulação e acentuação da figura rítmica semicolcheia – colcheia – semicolcheia, articulação dos baixos, e a utilização de arpejos. Foi realizada uma análise formal da peça, com o intuito de organizar melhor a coleta de dados. A análise de ditas gravações foi feita por meio de softwares especializados para tais fins. As análises revelam aspectos interpretativos semelhantes entre os intérpretes, os quais consideramos como pertencentes ao estilo interpretativo de um gênero musical. / The present research analyzed different recordings of Nosso Choro by Garoto, with the aim of bringing up common interpretive aspects between performers. The methodology includes the choice of the recordings, of the topics of analysis and of the tools to accomplish the same. The recordings were performed by guitarists who belong to the tradition of Choro, who in most cases met the composer. The topics analyzed in the recordings are: location and use of rubato, articulation and accentuation of the rhythmic sixteenth note – eight note – sixteenth note, articulation of the bass line, and the use of arpeggios. A formal analyses of the piece was made with the aim of better organizing the data collected. The analysis of this recording was made through use of specialized software for such purposes. The analyzes reveal similar interpretive aspects between performers, which we consider as belonging to an interpretative style of a musical genre.

A presente pesquisa analisou diferentes gravações da peça Nosso Choro de Garoto, com o objetivo de levantar aspectos interpretativos semelhantes entre os intérpretes. A metodologia empregada contempla a escolha das gravações, dos tópicos de análise e as ferramentas para realizar a mesma. As gravações utilizadas foram realizadas por violonistas da tradição do choro, que na maioria dos casos conheceram e conviveram com o autor da peça. Os tópicos analisados nas gravações são: localização e utilização do rubato, articulação e acentuação da figura rítmica semicolcheia – colcheia – semicolcheia, articulação dos baixos, e a utilização de arpejos. Foi realizada uma análise formal da peça, com o intuito de organizar melhor a coleta de dados. A análise de ditas gravações foi feita por meio de softwares especializados para tais fins. As análises revelam aspectos interpretativos semelhantes entre os intérpretes, os quais consideramos como pertencentes ao estilo interpretativo de um gênero musical. / The present research analyzed different recordings of Nosso Choro by Garoto, with the aim of bringing up common interpretive aspects between performers. The methodology includes the choice of the recordings, of the topics of analysis and of the tools to accomplish the same. The recordings were performed by guitarists who belong to the tradition of Choro, who in most cases met the composer. The topics analyzed in the recordings are: location and use of rubato, articulation and accentuation of the rhythmic sixteenth note – eight note – sixteenth note, articulation of the bass line, and the use of arpeggios. A formal analyses of the piece was made with the aim of better organizing the data collected. The analysis of this recording was made through use of specialized software for such purposes. The analyzes reveal similar interpretive aspects between performers, which we consider as belonging to an interpretative style of a musical genre.

A presente pesquisa analisou diferentes gravações da peça Nosso Choro de Garoto, com o objetivo de levantar aspectos interpretativos semelhantes entre os intérpretes. A metodologia empregada contempla a escolha das gravações, dos tópicos de análise e as ferramentas para realizar a mesma. As gravações utilizadas foram realizadas por violonistas da tradição do choro, que na maioria dos casos conheceram e conviveram com o autor da peça. Os tópicos analisados nas gravações são: localização e utilização do rubato, articulação e acentuação da figura rítmica semicolcheia – colcheia – semicolcheia, articulação dos baixos, e a utilização de arpejos. Foi realizada uma análise formal da peça, com o intuito de organizar melhor a coleta de dados. A análise de ditas gravações foi feita por meio de softwares especializados para tais fins. As análises revelam aspectos interpretativos semelhantes entre os intérpretes, os quais consideramos como pertencentes ao estilo interpretativo de um gênero musical. / The present research analyzed different recordings of Nosso Choro by Garoto, with the aim of bringing up common interpretive aspects between performers. The methodology includes the choice of the recordings, of the topics of analysis and of the tools to accomplish the same. The recordings were performed by guitarists who belong to the tradition of Choro, who in most cases met the composer. The topics analyzed in the recordings are: location and use of rubato, articulation and accentuation of the rhythmic sixteenth note – eight note – sixteenth note, articulation of the bass line, and the use of arpeggios. A formal analyses of the piece was made with the aim of better organizing the data collected. The analysis of this recording was made through use of specialized software for such purposes. The analyzes reveal similar interpretive aspects between performers, which we consider as belonging to an interpretative style of a musical genre.

NUNES, Simone Lopes Almeida. Seguindo Pinocchio: a ambientação, o feminino e a fuga na obra fílmica de Roberto Benigni como elementos de ressignificação da obra literária de Carlo Collodi. 2016. 165f. - Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Estudos da Tradução, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-01-23T17:34:05Z No. of bitstreams: 1 2016_dis_slanunes.pdf: 4935862 bytes, checksum: 161fb1681ef24546ff6153a89936ccd8 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-01-26T12:35:00Z (GMT) No. of bitstreams: 1 2016_dis_slanunes.pdf: 4935862 bytes, checksum: 161fb1681ef24546ff6153a89936ccd8 (MD5) / Made available in DSpace on 2017-01-26T12:35:00Z (GMT). No. of bitstreams: 1 2016_dis_slanunes.pdf: 4935862 bytes, checksum: 161fb1681ef24546ff6153a89936ccd8 (MD5) Previous issue date: 2016 / Le avventure di Pinocchio is a work that closely interacts with the translation because since its launch, in 1883, has been translated to several languages and adapted to different artistic forms. The work is considered a fiction and children`s narrative of great representation of Italian literature of the late nineteenth century, however, few speak about the relevant realistic aspects, that keep a close relation with the fictional elements (CAMBI, 1985; GUERINI, 2009), significant of a historical, economical and social period of many difficulties that marked the Italian post-unification, what makes Pinocchio a symbol of national identity (ASOR ROSA, 1985). Our research aims to verify how those realistic aspects, and significant of a specific Italian historical moment, were resignified into the Italian filmic adaptation Pinocchio, from Roberto Benigni, launched in 2002. The concept of resignification goes back to the resemantization concept, theorized by Lotman (1970), who defends that the artistic text, as language, has the function to produce new meanings. In fact, theorists from filmic adaptation, like Bazin (1977) and Cattrysse (2014; 1992) recognize the importance of movies as a text that brings their own interpretations and views of the literary work and, therefore, deserves to be understood in its own copyright and marketing particularities. In this perspective, we support our study in the Polysystem Theory of filmic adaptations, from Cattrysse (2014) to comprehend the movie as a product itself. Thus, the elements that are meaningful in the literary work as: the embience, the female figure and the escape; when translated into the filmic narrative will be resignified according to the copyright, marketing and acceptance requirements: the ambience, that in Collodi portrays the social denounce of poverty and hunger, in Benigni, portrays a historical moment, but without highlighting the social denounce; the female figure is restricted to the presence of Fata, in the literary work, Benigni, however, uses the room in the filmic narrative to insert the woman in the most diverse everyday activities, through figuration; the escape element, that permeates all the literary work, will be analyzed in what we define as the great escape, when Pinocchio receives the coins from Mangiafoco until its hanging; Colodi portrays it in a tough and violent way, characteristics of children`s tales of once, yet Benigni resignifies it, using realistic elements, but not so violent, whereas the contemporary children`s narrative tries to soften it. / Le avventure di Pinocchio é uma obra que dialoga intimamente com a tradução, pois desde o seu lançamento, em 1883, vem sendo traduzida para as mais diversas línguas, e adaptada para diferentes formas artísticas. A obra é considerada uma narrativa infantil e fantástica de grande representatividade da literatura italiana do final do século XIX, porém, poucos falam dos relevantes aspectos realísticos, que mantêm uma estreita relação com os elementos fantásticos (CAMBI, 1985; GUERINI, 2009), significativos de um período histórico, econômico e social de muitas dificuldades que marcaram a pós-unificação italiana, o que faz de Pinocchio um símbolo de identidade nacional (ASOR ROSA, 1985). A nossa pesquisa pretende verificar como esses aspectos realísticos, e significativos de um específico momento histórico italiano, foram ressignificados na adaptação fílmica italiana Pinocchio, de Roberto Benigni, lançado em 2002. O conceito de ressignificação remonta ao de ressemantização de Lotman (1982), o qual defende que o texto artístico, enquanto linguagem, tem a função de produzir novos significados. De fato, teóricos da adaptação fílmica como Bazin (1977) e Cattrysse (2014; 1992) reconhecem a importância do filme como um texto que traz suas próprias leituras e visões da obra literária, e, portanto, merece ser compreendido nas suas respectivas particularidades autorais e mercadológicas. Nessa perspectiva, apoiamo-nos na teoria dos polissistemas cinematográfico, de Cattrysse (2014), para compreender o filme como um produto em si. Sendo assim, elementos que são significativos na obra literária como: a ambientação, a figura feminina e a fuga; ao serem traduzidos para a narrativa fílmica serão ressignificados de acordo com as exigências autorais, mercadológicas e de recepção: a ambientação que em Collodi retrata uma denúncia social de pobreza e fome, em Benigni, ambienta um momento histórico, mas sem relevar a denúncia social; a figura feminina é restrita à presença da Fata, na obra literária, Benigni, porém, usa os espaços da narrativa fílmica para inserir a mulher nas mais diversas atividades cotidianas, através da figuração; e o elemento fuga, que permeia toda a obra, será analisado no que definimos a grande fuga, quando Pinocchio recebe as moedas do Mangiafoco até o enforcamento do boneco. Collodi retrata-a de forma dura e violenta, características dos contos infantis de outrora, já Benigni ressignifica-a, utilizando elementos realísticos, mas não tão violentos, já que a narrativa infantil contemporânea procura suavizá-la.