La presente investigación aborda la novela de fin de siglo XX en Colombia entre 1990 y 2005 desde una orientación panorámica. El estudio se plantea desde el punto de vista de la escritura y se elabora a través del análisis de algunas novelas del periodo a partir de los conceptos mundo, autor, fragmento. Para ello se centra en las novelas Rosario Tijeras de Jorge Franco, Entre fantasmas de Fernando Vallejo, y Pavana del ángel de Roberto Burgos Cantor. Así las cosas el estudio presenta tres capítulos centrales. En la introducción se explica el propósito de la investigación. El primer capítulo trabaja el concepto de mundaneidad en la obra de Rosario Tijeras de Jorge Franco, dialogando con la novela Después de todo de Piedad Bonnett y El anarquista jubilado de Roberto Rubiano. El segundo capítulo intenta delimitar el concepto de autor y la forma como se configura en Entre fantasmas de Fernando Vallejo, para ello se pone en diálogo con Asuntos de un hidalgo disoluto de Héctor Abad Faciolince, Amirbar de Álvaro Mutis, Érase una vez el amor pero tuve que matarlo de Efraim Medina Reyes y Vida feliz de un joven llamado Esteban de Santiago Gamboa. El tercer capítulo analiza el modo como se presenta el fragmento en la novela Pavana del ángel de Roberto Burgos Cantor, novela que se inscribe en la tradición literaria de Colombia y, en particular, del Caribe colombiano. Dicha novela se pone en relación con la novela Opio en las nubes de Rafael Chaparro Madiedo y se relaciona también con la novela Los cuadernos de N. de Nicolás Suescún. Finalmente, en las conclusiones se busca fijar las líneas generales del camino que se ha seguido en esta investigación. / This research studies the romance on the end of the twentieth century in Colombia between 1990 and 2005 in a panoramic orientation. The analysis is approached from the point of view of writing and is made through the analysis of some novels of the period from the concepts of world, author and fragment. This research, also, is focused on the novels Rosario Tijeras by Jorge Franco, Entre fantamas by Fernando Vallejo and Pavana del angel by Roberto Burgos Cantor. On this way, the study presents three chapters; the introduction presents the purpose of the research and its explanation. The first chapter works with the concept of worldliness in the romance Rosario Tijeras by Jorge Franco, in a direct dialogue with the novel Después de todo by Piedad Bonnett and El anarquista jubilado by Roberto Rubiano. The second chapter attempts to define the concept of author and how it is configured in Entre fantasmas by Fernando Vallejo, for that purpose, it is brought into dialogue with Memorias de un hidalgo disoluto by Héctor Abad Faciolince, Amirbar by Alvaro Mutis, Érase una vez el amor pero tuve que matarlo by Efraim Medina Reyes and Vida feliz de un joven llamado Esteban by Santiago Gamboa. The third chapter discusses how the fragment is presented in Pavana del ángel by Roberto Burgos Cantor, a novel that is part of the literary tradition of Colombia and in particular, the Colombian Caribbean. This novel is set in relation to the novel Opio en las nubes by Rafael Chaparro Madiedo and also relates to the romance Los cuadernos de N., by Nicolás Suescún. The conclusion tries to define the way this research was developed.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-11-06T12:49:59Z No. of bitstreams: 1 alicecardosoferreira.pdf: 2016029 bytes, checksum: 88c121651ac0ff56af823bdbc2d0b048 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-11-09T14:21:52Z (GMT) No. of bitstreams: 1 alicecardosoferreira.pdf: 2016029 bytes, checksum: 88c121651ac0ff56af823bdbc2d0b048 (MD5) / Made available in DSpace on 2017-11-09T14:21:52Z (GMT). No. of bitstreams: 1 alicecardosoferreira.pdf: 2016029 bytes, checksum: 88c121651ac0ff56af823bdbc2d0b048 (MD5) Previous issue date: 2017-09-22 / A partir de dois movimentos imigratórios para o Brasil no século XX, dos pogroms na Rússia e da Shoah, a produção literária judaico-brasileira e/ou brasileiro-judaica criada pela segunda geração advinda dessas diásporas carrega consigo conceitos como a memória, o trauma e a continuidade. Como expressão da primeira onda e a produção da segunda geração advinda dela, os livros do autor gaúcho Moacyr Scliar com temática bíblica, A mulher que escreveu a bíblia, Os vendilhões do Templo e Manual da paixão solitária, são analisados de acordo com a modulação feita por Cynthia Ozick sobre a metáfora na sua construção histórica; sob o ponto de vista desenvolvido por Amós Oz e Fania Oz-Salzberger sobre a continuidade das culturas judaicas terem como fundamento a palavra escrita; e também como midrashim agádigos, na definição de Leopoldo de Oliveira, na estrutura interpretativa, narrativa e exegética judaica. Da segunda onda imigratória, e igualmente na produção literária de sua segunda geração, há em comum dois sobreviventes de Auschwitz e seus diários escritos depois da libertação. O primeiro, por d. Lili Jaffe, está contido em O que os cegos estão sonhando?, de Noemi Jaffe, e o diário fictício do avô do narrador de Diário da queda, de Michel Laub, analisados sob o ponto de vista da literatura de testemunho e da pós-memória, nas definições de Marianne Hirsch, que traz para a discussão sobre o trauma a especificação da possibilidade de sua transmissão para as três ou quatro gerações seguintes dos sobreviventes. Os livros têm em comum o fato de terem sido publicados entre o final do século XX e as primeiras décadas do século XXI, por possuírem como conteúdos temas como a transmissão, em termos de continuidade cultural, da palavra escrita e sua interpretação e do trauma. A análise se efetiva através da ruína como latência, norteadora do trabalho, por seus conteúdos terem a possibilidade de se manifestar, e assim, também indicarem um caráter messiânico nos fenômenos históricos. A primeira a compor essa estruturação é o sentido construído por Jacques Derrida sobre o arquivo e a sua intenção de sondagem da origem eventual. A segunda, por Giorgio Agamben, associa a ruína ao resto, um sinônimo dele com as testemunhas dos lager, as lacunas históricas com possibilidade de preenchimento, interpretação textual e também de revisão. A terceira foi feita por Benjamin: ao estruturar o drama trágico (trauerspiel) como gênero textual, ele trabalha a ruína como no contexto do Barroco, associando-a à decadência, ao fim, se pautando na concepção alegórica. A história, conforme consta em suas Teses (1940), contada a contrapelo, tem o seu ponto de vista assumido pelos vencidos; as minorias são as personagens centrais dos quatro romances e do diário de d. Lili e relato de Jaffe, em análise. Portanto, ao ser trazida a ruína em suas especificações para a análise dos livros, saltam deles e entre eles a continuidade, a metáfora, a metonímia, a alegoria, a palavra escrita e uma linhagem que não prescinde do sangue, somente. / From two immigration movements to Brazil in the twentieth century, the pogroms in Russia and the Shoah, the Jewish-Brazilian or Brazilian-Jewish literary production was created by the second generation from these diasporas and it carries concepts such as memory, trauma, and continuity. The books written by Moacyr Scliar which contain biblical themes, A mulher que escreveu a bíblia, Os vendilhões do Templo and Manual da paixão solitária, are analysed according to Cynthia Ozick‘s definition of metaphor on its historical construction; Amos Oz and Fania Oz-Salzberger‘s point of view explains the continuity of Jewish cultures maintained by the written word at the centre of its transmission and they also may be read as Midrash Aggadah, according to Leopoldo de Oliveira, because they bring a millenarian Jewish tradition concerned with interpretation, narrative, and exegesis. From the second wave of immigration, and also in the literary production made by its second generation, there are two Auschwitz‘s survivors in common and their diaries, which were written after their release. The first was written by Lili Jaffe and it is part of O que os cegos estão sonhando? (What are the blind men dreaming?), a book by her daughter Noemi Jaffe. The second one is a fictional diary written by the narrator‘s grandfather in Diário da Queda (Diary of the Fall), by Michel Laub. They are analysed according to testimonial literature and post-memory, on Marianne Hirsch‘s definitions, which brings the discussion about trauma by opening up the possibility of its transmission to the next three or four generations of the survivors. The books have in common the fact that they were published between the end of the twentieth century and the two first decades of the twenty-first century, having contents such as transmission, in terms of cultural continuity, of written words and their interpretation, as well as trauma. The analysis is performed through ruin as latency, which guides this thesis, because their contents have the possibility of being manifested, and thus also indicate a messianic character in historical phenomena. The first to compose this structure is the meaning of ruin about the archive and its intention of probing the eventual origin by Jacques Derrida. The second one, by Giorgio Agamben, associates ruins with the rest as a synonym to the lager‟s witnesses, in which there are historical gaps to be filled, textual interpretation and also revision. The third conception of ruin was created by Walter Benjamin regarding his thesis on trauerspiel (tragic drama) as a literary genre, as he works on the term ruins which is interpreted on Baroque context, associating it with decadence, with the end, towards the allegoric concept. On his Thesis on History (1940), History is told by the defeated, against the grain. These minorities are central characters in these four novels, Lili‘s diary and Jaffe‘s story, this last one is under analysis. Therefore, when ruin and its specifications are used in the books‘ analysis, the continuity, the metaphor, the metonymy, the allegory, the written word and a non-blood lineage startle from and in between them.

L’ampleur globale des destructions sur le Chemin des Dames (Aisne) est incontestablement sans précédent au lendemain de la Première Guerre mondiale et justifie une étude à part entière sur sa reconstruction. La gestion et la digestion de « l’événement ruine » et par là même la Reconstruction de ce pays rural apparaissent fortement contrastées. L’immense machine administrative d’après guerre digère plutôt bien tous les cas particuliers grâce à ses formulaires et répond aux besoins les plus pressants confirmant une tendance à un changement de nature de l’Etat sur le Chemin des Dames. Les inégalités demeurent néanmoins bien présentes confirmant ce que certains appellent dès 1921 « Le scandale des régions libérées ». De cette interaction des cultures, des droits, des techniques ; de ce subtil mélange de tradition et modernisme, permanence et mutation ; de cette confrontation à un milieu, va naître une société des ruines dont cette thèse tente de dresser le portrait. / The global scale of the destructions on the “Chemin des Dames” (Aisne) is unmistakably unprecedented after the First World war and justifies a full study on its reconstruction. The management and the digestion of "the event ruins" and there even the rural Reconstruction of this country seem strongly contrasted. The bureaucratic machine according to war digests rather well all the particular cases thanks to its forms and meets the needs the most pressing confirming a trend to a natural change of the State on the “Chemin des Dames”. Nevertheless, the disparities remain very present confirming what some people call from 1921 "The scandal of the released regions". This interaction of the cultures, the rights, the techniques; this subtle mixture of tradition and modernism, durability and transformation; this confrontation in a middle, is going to be born a society of the ruins this thesis of which tries to paint a portrait.

Dans les oeuvres de la tétralogie de la Gândara de Carlos de Oliveira, tout se passe comme si l’auteur,l’autorité narrative ou quelque intelligence démiurgique eût ouvert, dès Casa na Duna, une abominable Boîtede Pandore d’où s’échapperaient des incantations maléfiques aussitôt dissoutes dans une écriture brouillée. Lesdifférentes catégories narratives du récit se présentent ainsi comme autant d’édifices voués à la dégradationpar l’effet pernicieux de la temporalité. Parleuse de sortilèges, l’écriture de la tétralogie appelle la médiation del’interprète, seule capable d’exorciser ses funestes desseins. Voici toute la poignante ironie dont est constelléel’écriture de Carlos de Oliveira, portée par des artefacts ludiques : jeux de temps, d’actants, jeux d’espace, devie et de mort, dans lesquels la promesse d’une décadence universelle miroite ses augures. Ce travail tente dedéchiffrer sur un mode à la fois sémiotique, symbolique et psychocritique, le mécanisme des schèmes du déclinen se recommandant des thèses de Phillip Hamon sur le statut sémiologique du personnage, des théoriescratyléennes sur l’onomastique, des hypothèses de Durand et de Malebranche relatives à la phobie dumouvement indiscipliné ou encore des réflexions de Ricoeur sur les stratégies de l’utopie. / In the works of the tetralogy of gândara of Carlos de Oliveira, everything happens as if the author – thenarrative authority, or some other demiurgic intelligence – had opened since Casa na Duna, a terriblePandora’s Box from which escape evil incantations immediately dissolved in a blurred writing. The narrativecategories are buildings dedicated to degradation by the pernicious effects of temporality. Spells, writing of thetetralogy of gândara speaker calls the divinatrice mediation of the interpreter, only able to exorcise his evildesigns. Here is the poignant irony which is capable writing of Carlos de Oliveira, proclaimed forcefully andworn by playful artefacts: time, actants games, space games, life and death, in which the promise of a universaldecadence shines his omens. This work analyzes in a mode both semiotics, symbolic and allegorical, themechanism of the schemes of the decline. We resort Phillip Hamon these on the semiotic status of thecharacter, cratyl’s theories on onomastic, the phobia of the indiscipline movement of Durand and Malebrancheassumptions, and also Ricoeur reflections on the strategies of utopia.

Apresenta-se uma metodologia de projeto de fundações por estacas incluindo probabilidade de ruína. Considera-se que a complexidade do comportamento geológico-geotécnico do maciço de solo e do elemento estrutural de fundação, submetidos às ações aleatórias ambientais e funcionais, pode ser avaliada por meio das variáveis aleatórias resistência e solicitação. Estatisticamente, a metodologia proposta supõe que a população da fundação é finita, e que os estimadores extraídos das sondagens de simples reconhecimento e das provas de carga podem ser representativos da população (Aoki, 2002), também podem ser avaliados pelas estatísticas de ordem. Aplica-se esta metodologia na fundação do Píer 3 do Porto de Vila do Conde localizado no Estado do Pará, tendo como compartimentação geológica a formação Barreiras. Conclui-se, de modo geral, que esta metodologia pode ser aplicada nas obras de fundações por estacas, especialmente, para auxiliar nas tomadas de decisões. / A methodology of pile foundation projects is presented incorporating ruin probability. It is considered that the complexity of the geological and geotechnical behaviors of the soil mass and the structural element of foundation, subjected to environmental and functional random actions, can be evaluated by strength and solicitation variables. Statistically, the proposed methodology assumes that the population of the foundation is finite, and that the extracted estimators of the standard penetration tests (SPT) and the load tests could be representative of the population (Aoki, 2002). The extracted estimators of the said tests can also be evaluated by the order statistics. This methodology is applied in the Pier 3 foundation of Porto de Vila do Conde, Pará State, which is underlain by the Barreiras formation. It is concluded that in most cases, this methodology could be applied to pile foundations, especially, in taking decisions.

The purpose of this thesis is to analyse the church ruin of the abandoned settlement of Övraby in Halmstad, Sweden. This is done from a modern church archaeological point of view based on Jes Wienbergs discussion on how to analyse a church as a part of a society rather than as an entity of its own. As an effect of this the thesis also discuss the settlement history of Övraby. The delimitation of the thesis is Övraby and its closest surroundings. Three issues are raised 1. Is there is a continuity of cult or place of cult from the pre-Christian era. 2. Of what type of character was the settlement? 3. How did the church architecture reflect societal change? The results in this thesis states that there are no concrete findings of cult places from the pre-Christian era which could be said to be connected to Övraby, though there are some aspects of the interior of the church building that might be considered as having been connected to a pre-Christian aristocratic cult. The thesis also states that Övraby was an aristocratic village which with time developed into a city, this aristocratic character of the early settlement is reflected both in profane buildings and on the architecture of the church. The development from village to town the thesis states, can be seen on the church architecture since the church lost many of its aristocratic features of architecture as the settlement developed.

This study assessed ways compositional analysis, facilitated by portable X-ray fluorescence technology (PXRF), can be applied in the museum setting to resolve provenance issues and other collections management questions. A major segment of the study evaluated PXRF as a non-invasive geochemical analysis technique to address concerns about whether the resolution of results is sufficient to draw meaningful conclusions. Compositional analysis, mainly facilitated by PXRF, was successfully applied to three clay artifact collections from the southwestern United States. Pottery sherds from Fourmile Ruin were analyzed using PXRF and compared to analyses from invasive wavelength-dispersive XRF and X-ray diffraction techniques. Expanding the data associated with the artifacts increases the collection's research value. The results of hierarchical clustering suggest further compositional analysis of Fourmile Ruin ceramics to verify this study's conclusions and evaluate current assumptions regarding where certain wares are produced. The iconic Pilling figurine collection was analyzed using scanning electron microscopy and PXRF to evaluate the authenticity of a figurine that had been returned after being lost for forty years. The geochemical tests confirmed the results from the basketry-imprint analysis that the returned figurine was the missing figurine, allowing the museum to restore the artifact's provenance. A pot being offered as a potential donation was analyzed using PXRF to evaluate if there was evidence of forgery or previous repair and help the museum decide whether or not to accept the donation. The study concluded the vessel has not been constructed or partially reconstructed using plaster of Paris. If the vessel has been constructed or partially reconstructed using pieced-together pottery sherds, they all came from a similar clay source. Based on these results, the museum decided to accept the pot as a donation. This study demonstrates the viability of PXRF as a useful geochemical research technique, particularly in cases where higher resolution invasive and destructive analysis techniques are not permitted. It establishes that PXRF can be used to authenticate and restore provenance both within a collection of objects and within a single object. Compositional analysis facilitated by PXRF can be a valuable tool in museum collections management and research.

How can contemporary architecture approach an extremely specific and historical context?Grounded in the site and its history, this question is investigated through theprocess of adding a literary theatre and housing in the city centre of Visby, Gotland.

The site of this diploma project is the small hilltop village of Poggio Aquilone. The village, situated in the region of Umbria in central Italy, lies roughly halfway between Rome and Florence. The Region of Umbria is one of the least populated in Italy, characterized by its hills, river valleys and historical towns such as Assisi, Terni, Todi, Orvieto and the regional capital of Perugia with its 160.000 inhabitants. It is the only landlocked region in central Italy, bordered by Lazio to the south, Marche to the east and Tuscany to the west and north. Primary industries include agriculture, textile, and steel. Tourism has, historically, been relatively modest in Umbria compared to its neighboring regions. Poggio Aquilone, traces its ancestry centuries back, but similar to countless small villages and settlements across Italy and other rural parts of Europe, Poggio Aquilone’s population is dwindling. The youth, in particular, are migrating to larger urban conurbations such as Perugia or Rome. Within the next few decades, two-thirds of the world’s population will live in urban areas, and with urbanization comes large challenges for rural communities. In the specific case of Italy, many of the affected places are of great cultural- and historical value. Old buildings are oftentimes left abandoned and in a state of disrepair, while the rate of new developments and resource waste continue to soar. However, there is a lot of untapped potential in many countryside towns and villages – both social, economic, and cultural – that larger cities lack. The proximity to nature, an affordable cost of living and a peaceful and quiet environment to name a few. An increasing number of city dwellers are missing these valuable factors.  The project strives to explore how architectural strategies can be utilized to strengthen the independence of Poggio Aquilone through means of rural tourism – safeguarding its character and history while improving conditions for long term survival. The project consists of two distinct phases; the first includes an extensive survey and site analysis, the second a proposal for the repurposing of select derelict buildings into dwellings. The survey phase and following processing of the findings are integral parts of this project in their own right, as they have allowed for the exploration of current technology for efficiently and accurately measuring a site, as well as approaching an existing, sensitive environment.

Terrorism, conflict, and natural disasters. How can architecture respond to a world at odds with itself?On a daily basis we see tragic news about cities around the world that are undergoing trauma. We are exposed to horrific images of shattered buildings destroyed by terrorism, we see coastal areas damaged in floods and mudslides, we see the aftermath of cyclones outbreaks. Through modern technology we are all witnessing the immediate impact and destruction of these types of violent manmade and climatic events.The post-traumatic condition is no longer an exception; it is now the norm. While repair and reconstruction are automatic reflexes of trauma, the disciplines’ knowledge and practices must be imbued with a greater understanding of the impact of trauma on cities and their contingent realities.To be able to heal cities with architecture we must first understand the trauma in context, thus rethinking the role of architecture and urbanism in the modern world.Post-traumatic urbanism necessitates the mobilization of architects’ skills, criticality, and creativity in unfamiliar contexts, but above all, sensitivity.In my thesis I will study post-traumatic architecture and urbanism by using an example of the post-traumatic urban condition of the Halabja massacre, in Kurdistan, northern Iraq in the year 1998. I have chosen this specific trauma because of how it has personally affected me, my family and the city I grew up in. I want to impose my personal experiences with post-traumatic cities in this project while also taking into account other research and studies on the topic, allowing a nuanced perspective on the subject of Post-Traumatic Urbanism.