TIMBÓ, Margarida Pontes. De borregos enjeitados a bichos miúdos: ilustrações da infância do romance brasileiro de 30. 2016. 267f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza, 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-11-03T17:11:06Z No. of bitstreams: 1 2016_tese_mptimbo.pdf: 4838240 bytes, checksum: 7dc4dc7bf0496224ae5e68dbecfd7ca0 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-11-07T11:17:50Z (GMT) No. of bitstreams: 1 2016_tese_mptimbo.pdf: 4838240 bytes, checksum: 7dc4dc7bf0496224ae5e68dbecfd7ca0 (MD5) / Made available in DSpace on 2016-11-07T11:17:50Z (GMT). No. of bitstreams: 1 2016_tese_mptimbo.pdf: 4838240 bytes, checksum: 7dc4dc7bf0496224ae5e68dbecfd7ca0 (MD5) Previous issue date: 2016 / In this work I intend to mark the presence of childhood and family notions in four novels from the 30’s Romance in the Northeast. They are: A Bagaceira (1928), by José Américo de Almeida; O Quinze (1930), by Rachel de Queiroz; Menino de Engenho (1932), José Lins do Rego; Vidas Secas (1938), by Graciliano Ramos. The work is projected through a reading of childish images, focusing on the character’s relationship (or the narrator’s when he reports his childhood) with his family. It itends to be another way of inflexion, adding a new way of reading in respect to the interpretation of the referred novels, which are looked most of time through the view of the telluric literature, and that of social function, including the par textual apparatus, They are represented by the illustrations in the covers of the books, which embodies different periods and editorial publications. The 30’s was really fructifull to the Brazilian Art and Literature, and the first artistic illustrations printed in the covers of the novel’s editions appear in this period. The inner illustrations appear in post editions, specifically from the 6th one on. As the covers and illustrations are iconic ‘manifestations’ that work as par text (GENETTE, 2009), they also use the inner illustrations created by the artists Candido Portinari, Aldemir Martins e Poty Lazarotto as corpus. The theoretical and bibliographical research is based on the reading of the critical fortune of the novels, according to Bueno (2006), Castello (1961a), (1961b), Montello (1983), among others. She is also in accordance with Genette (2009), Lima (1985), Linden (2011), Nikolajeva e Scott (2011). These workers who study the illustration and its relation with the literary text, and, finally, is based on Ariès (2006), Badinter (1985), Coutinho (2012a), (2012b), Corazza (2004) and others who study relative themes to the childhood, and to the family. I intend to verify that, starting from sociological readings, it is possible to investigate the child character’s through the idea of abandonment. This abandonment, however, should not be undersrtood as a consequence of the nature’s hardness in the descripted spaces in the romance experiences, nor the consequence of the coldness that starts to spread in the nuclear family. I examine in two novels the presence of a orphanage, in other, the abandonment is the same. I examine in two novels the presence of the orphanage, and in another, the maternal abandonment, that’s it, diferente factors that define the quality of the protagonists’ existence, to the ones is aplicable very appropriately the sintagma: “borrego enjeitado”, which also can be read the works’ inner illustration. To the prottagonists it is applicable the sintagma: ‘bichos miúdos’, which regards to the way the child characters live singular experiences with the neighboor, especially with his mother. So, illustrations question these experiences among family. I hope that as soon as this study can, it assumes the importance of the child in the written text, showing the way the illustrations can rewrite the ficcion, and the figurine of the characters. / Neste trabalho de tese busca-se marcar a presença das noções de infância e de família em quatro narrativas do chamado Romance de 30 nordestino, a saber: A Bagaceira (1928), de José Américo de Almeida; O Quinze (1930), de Rachel de Queiroz; Menino de Engenho (1932), de José Lins do Rego e Vidas Secas (1938), de Graciliano Ramos. O trabalho projeta-se através de uma leitura de imagens da criança, enfocando a relação da personagem (ou do narrador quando se reporta à infância) com a família. Essa pretende ser uma outra forma de inflexão acrescentando uma nova leitura quanto à interpretação das referidas obras, vislumbradas, o mais das vezes, pelos ângulos da literatura telúrica e da de cunho social, inclusive no que tange ao aparato paratextual também representado pelas ilustrações das capas dos romances, que abrangem diferentes períodos e publicações editoriais. A década de 30 foi bastante frutífera para as artes e letras brasileiras, e as primeiras ilustrações artísticas impressas nas capas de edições dos romances surgem neste período. As ilustrações internas apareceram em edições posteriores, mais especificamente da 6ª edição em diante. Como as capas e ilustrações são “manifestações” icônicas que funcionam como “paratexto” (GENETTE, 2009), também se utilizam como corpus as ilustrações internas criadas pelos artistas Candido Portinari, Aldemir Martins e Poty Lazzarotto, que potencializam a leitura do texto literário. A pesquisa teórico-bibliográfica baseou-se na releitura da fortuna crítica dos romances, com base em Bueno (2006), Castello (1961a), (1961b), Montello (1983), dentre outros; fundamentou-se também no pensamento de Genette (2009), Lima (1985), Linden (2011), Nikolajeva e Scott (2011), autores que estudam a ilustração e sua relação com o texto literário, pautando-se, por fim, nas ideias de Ariès (2006), Badinter (1985), Coutinho (2012a), (2012b), Corazza (2004) e outros que versam sobre as temáticas relativas à infância e à família. Pretende-se verificar que, a partir das leituras de viés sociológico, é possível abrir uma outra trilha de investigação que contemple a figura das personagens crianças por meio da ideia de abandono, abandono esse entendido não apenas como uma decorrência da aridez da natureza nos espaços descritos nas experiências romanescas, bem como da consequente sequidão que passa a circular no âmbito das relações familiares. Examina-se em dois romances a presença da orfandade, em outro, o abandono materno, isto é, diferentes fatores que definem a qualidade do percurso existencial dos protagonistas, aos quais se aplica com pertinência o sintagma “borrego enjeitado”, que também pode ser lido nas ilustrações internas das obras. Aos protagonistas aplica-se ainda o sintagma “bichos miúdos”, que diz respeito ao modo como as personagens crianças vivenciam experiências singulares com o outro, especialmente com a mãe. Portanto, texto e ilustrações problematizam estas vivências entre criança e família. Espera-se assim que este estudo afirme a importância da infância no texto escrito, mostrando ainda como as ilustrações reescrevem a ficção e a figuração das personagens.

I identify and analyse an emergent sub-genre of contemporary literature by women that I am calling ‘New Femininities’ fiction. This fiction is about the distinctly feminine experience of contemporary domestic life written by women about the lives of heterosexual female characters that are married or in committed partnerships, often with children. These texts are concerned with the nature of the self, with a self that is plural and ‘in process’, and make use of particular narrative devices – ironic voice, unreliable narration, free indirect discourse, and interrogative endings that exceed their roles as simply telling stories. ‘New Femininities’ fictions allow their language the necessary freedom to multiply meanings and enact the narrative conflicts they raise and by so doing, undermine the binary oppositions which structure a gendered world. In this dissertation, I argue the models of existing criticism would do a disservice to these texts because much of the criticism either overvalues the theoretical and ignores the literariness of the text or seeks to identify a ‘feminine’ language the definition of which serves to reinforce and revalue patriarchal notions of femininity. The readings that this fiction requires necessitate a negotiation with established models of feminist literary criticism. I attempt to identify the characteristics of their style that allows them to straddle binary oppositions and to look at the language these authors use without having to label it ‘feminine’ and by so doing establish, build, or reinforce a boundary with some undefined ‘masculine’ language which stands in for all occurrences that are not ‘feminine’. Additionally, I attempt to forge a transformed, adapted concept vocabulary for dealing with this group of writers. To this end, I make use of various discourses to show how the different authors either negotiate with that discourse or prove its inadequacy to describe or explain these new femininities.

Orientador: Adélia Bezerra de Meneses / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T09:55:25Z (GMT). No. of bitstreams: 1 Schlecht_CristianedeV_M.pdf: 831227 bytes, checksum: f046f422b379ac0c65e83c0a3a412b8a (MD5) Previous issue date: 2010 / Resumo: Rachel de Queiroz e Graciliano Ramos são escritores que apresentam muitas semelhanças entre si: ambos são provenientes da região nordeste brasileira e iniciam sua produção ficcional na década de 1930, além de terem sido adeptos de ideologias de esquerda, em particular o comunismo, assim como boa parte da intelectualidade brasileira dessa época. A partir dessas semelhanças, este trabalho propõe um cotejo entre algumas das obras desses escritores: respectivamente O Quinze (1930) e Vidas Secas (1938), de um lado, e João Miguel (1932) e Angústia (1936), de outro. Para tanto, situam-se os dois escritores em face da crítica literária, além de se investigar a importância de cada um deles para o estudo da literatura brasileira até a atualidade. A partir da análise minuciosa de passagens e temas similares nas obras dos dois escritores, pode-se perceber que, apesar das inúmeras semelhanças entre essas obras e seus autores, eles se distanciaram em termos de eficácia estética em seus romances. Essa constatação é feita por meio da análise sobretudo de um elemento ficcional: o foco narrativo. Assim, ao se analisarem os narradores de cada um dos romances, fica explícita a diferença entre Rachel de Queiroz e Graciliano Ramos, chegando-se à conclusão de que este último foi capaz de alcançar, em suas obras, partindo de realidades e temas muito similares ao da escritora, qualidade literária bastante superior / Abstract: Rachel de Queiroz and Graciliano Ramos are writers who have many similarities between them: both are from the Northeast of Brazil and begin their fictional production in the 1930s, and were supporters of leftist ideologies, particularly communism, as well as good part of the intellectual community of that time. From these similarities, this paper proposes a comparison between some of the works of these writers, which are, respectively, O Quinze (1930) and Vidas Secas (1938), on the one hand, and João Miguel (1932) and Angústia (1936), on the other. Therefore, the two writers are situated in the face of literary criticism, and the importance of each to the study of Brazilian literature to the present is focalized. Upon careful examination of passages and similar themes in the works of the two writers, one can see that despite the many similarities between these works and their authors, they drifted apart in terms of effectiveness aesthetics in their novels. This observation is made by analyzing a particular element of fiction: the narrative focus. Thus, when analyzing the narrators of each of the novels, is the explicit difference between Rachel de Queiroz and Graciliano Ramos, and one came to the conclusion that Graciliano was able to achieve in his works, starting from the realities and issues that are very similar to Rachel, higher literary quality / Mestrado / Literatura Brasileira / Mestre em Teoria e História Literária

Heber J. Grant: A Study of Gospel-Oriented Family RelationshipsRobert Richard Pommerening IIIDepartment of Religious Education, BYUMaster of ArtsUnder the direction of President Gordon B. Hinckley, the fifteenth president of TheChurch of Jesus Christ of Latter-day Saints, the Church released the document, The Family: AProclamation to the World. The Proclamation outlines core values of family life, which ifconsistently practiced can lead to successful family relationships. Through a study of hispersonal journals, letters, and recorded anecdotes from his life, these values can be identified inHeber J. Grants life. As one studies the Proclamation alongside President Grant (particularly theinteractions he had with his mother, wives and children), a portrayal of the man came into focusthat has not been previously scrutinized through scholarly work, Heber J. Grant as a family man.Chapter one begins with the special relationship Heber shared with his mother Rachel. Itoutlines some of the trials and successes they faced together. As Heber grew into manhood,chapter two focuses on his plural marriage relationships during era of the Edmunds-Tucker act. Itexplains some of the challenges the Grant family faced as they lived in a plural marriage during atime when plural marriages were deemed illegal. Chapter three highlights Heber as a care takerfor his aging mother, wives Lucy Stringham, Emily Wells, and numerous sick children. Thepractices of President Grant in the home, including holding Family Home Evening are exploredin chapter four. Chapter five emphasizes President Grants example of personal righteousnesswithin his familial relationships. The leisurely activities of the Grant family are emphasized inchapter six as Heber shared family vacations, cultural events, golf games, and even honeymoonswith his immediate and extended family. Chapter seven details the generosity of President Grantand his desire to share of his material wealth with family members, friends, and strangers. Theteachings of President Grant on the doctrine of the family as taught to the Church of Jesus Christof Latter-day Saints are presented in chapter eight. The final chapter concludes with the agingPresident nearing death and how his legacy of love and family devotion continued through hisliving relatives. This thesis provides research into how President Grant implemented principles of theFamily Proclamation in his own home. This research can serve as a model for members of TheChurch of Jesus Christ of Latter-day Saints desiring to strengthen their relationships and unitywithin the family.

As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon. / Art History, Visual Arts & Musicology / M.A. (Visual Arts)

This dissertation studies a local manifestation of ecclesiastical reform in the medieval county of Savoy: the twelfth-century transformation of secular canons into Augustinian regular canons at the church of Sts. Peter and Ursus in the alpine town of Aosta (now Italy). I argue that textual sources, material culture, and the practice of place together express how the newly reformed canons established their identity, shaped their material environment, and managed their relationship with the unreformed secular canons at the cathedral. The pattern of regularization in Aosta—instigated by a new bishop influenced by ideas of canonical reform—is only one among several models for implementing reform in medieval Savoy. This study asserts the importance of this medieval county as a center for reforming efforts among a regional network of churchmen, laymen, and noblemen, including the count of Savoy, Amadeus III (d. 1148). After a prologue and introduction, chapter 1 draws on traditional textual evidence to recount the history of reform in medieval Savoy. Chapters 2 through 4 focus on the twelfth-century sculpted capitals in the cloister built to accommodate the common life of the new regular canons. Several of the historiated capitals portray the biblical siblings, Martha and Mary, and Leah and Rachel, as material metaphors that reflect and reinforce the active and contemplative lives of the Augustinian canons. Other capitals represent the regular canons’ assertion of their precedence over the cathedral canons and suggest tensions between the two communities. The final chapter examines thirteenth-century conflicts over bell-ringing and ecclesiastical processions in the urban topography of Aosta to illustrate how the regular and secular canons continued to negotiate their relationship. Appendices include an English translation of a vita of St. Ursus (BHL 8453). The dissertation as a whole reconstructs the places and material culture of medieval Aosta to convey the complexities of religious and institutional life during a time of reform and beyond. / text

As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-01-16T20:46:51Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Lídia Carla Holanda Alcantara.pdf: 3913507 bytes, checksum: 213a628f54d8b65bcfac99ac77a338c7 (MD5) / Approved for entry into archive by Aline Amarante (1146629@mackenzie.br) on 2017-02-07T21:26:27Z (GMT) No. of bitstreams: 2 Lídia Carla Holanda Alcantara.pdf: 3913507 bytes, checksum: 213a628f54d8b65bcfac99ac77a338c7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-07T21:26:27Z (GMT). No. of bitstreams: 2 Lídia Carla Holanda Alcantara.pdf: 3913507 bytes, checksum: 213a628f54d8b65bcfac99ac77a338c7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-03-23 / The present paper studies Rachel de Queiroz’s narrative entitled Memorial de Maria Moura, published in 1992, and the minisseries inspired in it, which carries the same name, aired in Globo network in 1994. This work studies the transposition from the book to the television and the resources used in this transposition, which bring the written narrative to the television narrative.We also study the paratexts present in both plots, which contribute to the composition of Queiroz’s and Globo’s work as a whole, but not being actually part of the story. For that, this paper was divided in three sections: the first theoretical one, which brings studies abaout literature, television and transposition; the second one which studies paratexts; and the third one, which studies the tansposition from the written story to the television. For that, we used as theoretical resorces Linda Hutcheon, Ana Balogh and Gerard Genette. / O presente trabalho busca estudar a narrativa de Rachel Queiroz, intitulada Memorial de Maria Moura, publicada em 1992, e sua adaptação homônima para a televisão em forma minissérie, exibida pela Rede Globo em 1994. Esta tese estuda a transposição do livro para a televisão e os recursos utilizados nessa transposição, os quais aproximam a narrativa escrita da televisiva. Estudamos, ainda, os paratextos presentes em ambas as tramas, a escrita e a adaptada, os quais contribuem para a composição da obra como um todo, mas não fazem parte da narrativa em si. Para tanto, o trabalho foi dividido em três capítulos: o primeiro teórico, que traz estudos sobre literatura, televisão e adaptações; o segundo, o qual estuda os paratextos; e o terceiro, o qual estuda a transposição do romance escrito para a televisão. Para tanto, utilizamos como aparato teórico estudiosos como Linda Hutcheon, Ana Balogh e Gerard Genette.

This dissertation examines Nadine Gordimer’s Burger’s Daughter, Rachel Zadok’s Gem Squash Tokoloshe, and Doris Lessing’s The Grass is Singing. It focuses on the development of each of the protagonists’ identities in three realms: the individual, the familial and the societal. Additionally, it is concerned with the specific socio-political contexts in which the novels are set. It employs psychoanalytic and historical materialist frameworks in order to engage with the disparate areas of identity with which it is concerned. The introduction establishes the analytical perspective of the dissertation and explores the network of theoretical frames on which the dissertation relies. Additionally, it contextualises each of the novels, within their historical contexts, as well as in relation to the theory. The first chapter examines Nadine Gordimer’s Burger’s Daughter. It focuses on the protagonist’s assertion of an identity independent of her father’s role as a political activist, and her eventual acceptance of the universal difficulty in negotiating a life which is both private and political. The second chapter, on Rachel Zadok’s Gem Squash Tokoloshe, examines the relationship between the protagonist’s traumatic experiences as a child and her inability to assert an identity as an adult. The similarities between the protagonist’s attempts to address her traumas and thereby create herself anew and South Africa’s employment of the Truth and Reconciliation Commission as a means to acknowledge and engage with its traumatic history is of import. The third chapter which deals with Doris Lessing’s The Grass is Singing traces the life of its protagonist, whose identifications remain childish as a result of having witnessed her parents’ difficult relationship. Her understanding of the world is informed by a rigid, binary understanding, which is ultimately disrupted by her relationship with a black employee. She is incapable of readjusting her frame of reference, however, and ultimately goes mad. I conclude that, while my focus has been on personal, familial and social identifications, the standard terms in which identity is examined, namely, race, class, and gender, are present in each of the three tiers of identity with which I have been concerned.

Uppsatsen utforskar relationen mellan Karin Boyes Astarte och T.S. Eliots The Waste Land, särskilt med avseende på modernistisk tematik och med avstamp i tidigare forskning som kommenterat relationen mellan verken, främst Gunilla Domellöfs och Caroline Hauxs. Analysen omfattar den senares upptäckt att ”Det öde landskap som skrivs fram hos Eliot existerar dolt och outsagt i Astarte.” Verken jämförs med avseende på: Skildringen av den moderna staden; Krig, trauma, våld och utvecklingsskepticism; Den ofruktbara masskulturen; (Naturens, Guds och Kärlekens död); Verkens mytkomplex; Psykoanalytiska perspektiv på gemenskap, behov och begär. Uppsatsen innehåller även en sammanställning av likheter mellan episoderna som utspelar sig mellan Viola och Hill i Astarte och mellan maskinskriverskan och kontoristen i The Waste Land. Undersökningen bekräftar betydande beröringspunkter mellan verken vad gäller såväl tematik som de positioner författarna intar – det gäller utvecklingsskepticismen, masskulturen (där Astarte i högre utsträckning intresserar sig för handel och konsumtion), samt fruktbarhetsförlusten med avseende på Naturen, Gud och Kärleken. Myter har en betydelsefull roll i båda verken. I Astarte är Gudinnan/belätet Astarte i och för sig närvarande, men hon fyller inte sina ursprungliga funktioner. Undersökningen identifierar nya tolkningsmöjligheter gällande Astartes potentiella roll, kopplade till våld och skydd. På ett övergripande plan finns en korsställning mellan verken, där det som utgör The Waste Lands förgrund tenderar att blottas genom sprickor i ”Astartesamhällets” fasad, genom Boyes didaktiska exposéer, samt vid kritisk läsning. Den sammanlagda effekten av dessa aspekter är att Eliots ödeland – den levande döden – är mer av en tydlig referenspunkt än något dolt och outsagt i Astarte.