H. Rider Haggard's imperial gothic novel, She, A History of Adventure (1887), is a narrative of ruins that speak of a vanished past and presage ends: of empire, of history, of culture. Haggard's novel follows two British adventurers as they travel to Africa in search of a mysterious woman that a potsherd--a ruin in miniature--tasks them with killing. There, they encounter ruin after ruin: pots, roads, caves, canals, sculptures, and more. These ruins serve as sentinels, as walkways, and as homes; they signal, warn, resist, witness, remind, and--not least--exist in a landscape that is anything but empty. Though seemingly inert, the ruins are actants possessing agency and able to influence the people and objects around them. But in Haggard's novel of colonization and conquest, these ruins do not act alone. Instead, they form an assemblage, a group of vibrant materials that collaborate and collude to resist twin onslaughts from ancient Egypt and Victorian Britain. Two accounts thus emerge from the encounter of human and ruin. In one, the ruins establish a symbiotic relationship with their would-be possessor. In the other, the ruins reject the men who seek to make the artifacts part of the narrative of imperialism. In this way, the ruins in She become counteragents of empire, as heroic as Haggard's human characters and worthy of recognition for the pivotal role they play in the novel.

How can I portray history so that it becomes bodily experienced? This work aims to, with contemporary addition to a site with significant historical value, investigate haptic understanding and the bodily experience of a material. In my memory the brick is hard, cold, sharp and heavy. How will it meet the body? This work is based on a perceived materiality. With the bricks as a starting point, both the theory of the body's meeting with materials and embodied working methods are presented. The work contains studies on the brick that are learned through the perceived meeting with the material, these studies are moreover applied to the final design proposal. By working towards the public space, a playground, this project reflects over the importance of experiencing material in order to trigger imagination.

This study explores formal and thematic representations of ruins in twentieth century literary texts, including James Joyce’s Ulysses, T. S. Eliot’s The Waste Land, Salman Rushdie’s Midnight’s Children, and Adrienne Rich’s “Diving into the Wreck.” Analyzing these texts and concepts of ruins in the theoretical work of Jacques Derrida, Walter Benjamin, and Julia Kristeva, I argue that ruins underscore the arbitrariness—and, thus, the fragility—of symbolic systems of signification. Ruins, by virtue of their fragmentation, invite nostalgic projections of totality only to betray totality as an illusion. Thus, the imagination of wholeness that the ruin incites allows—only to disallow—meaning. Modernity and language also initiate an allegorical process by which representation is made possible and impossible. Proclaiming an alliance (based on a contrast) between the past and the present, signifiers and signifieds, modernity and language likewise betray that representation, by invoking a radical alterity, is ruined from inception.

Ce mémoire examine le rapport du visible à l’invisible dans l’œuvre du cinéaste hongrois Béla Tarr afin de montrer comment cette œuvre fait sa plus grande place, quoique le plus souvent sous la forme d’une absence-présence, à la question du néant et de la mort. À travers une étude tripartite, tour à tour concernant le traitement cinématographique et thématique du monde, du temps et du personnage et de leurs fonctions, l’objectif de cette recherche est celui de montrer comment cette œuvre soustractive interroge le rapport de l’existant à un monde qui fait défaut. C’est la promesse, en partie telle que théorisée par Peter Sloterdijk, qui permettra ultimement d’éclairer la démarche tragique des personnages tarriens : lutte contre la mort au moyen d’un constant effort de soi et ce, jusqu’à l’épuisement radical. La notion de personnage-figurant développée dans ce mémoire se propose d’articuler ensemble les valeurs figuratives et thématiques communes aux différents personnages qui traversent l’œuvre afin d’en mieux comprendre, malgré les ruptures stylistiques et narratives, la continuité. Enfin, le dialogue engagé ici entre l’œuvre du cinéaste et certains concepts-clé de la tradition philosophique (le monde, le soi, le temps) entend montrer comment la première ouvre des pistes pertinentes pour une réflexion sur le sujet contemporain et son époque. / This master’s thesis examines the relation between the visible and the invisible in Hungarian filmmaker Bela Tarr’s work in order to shed light on the exploration of nothingness and death—mostly appearing as an absence-presence—in Tarr’s cinema. Through a tripartite study focusing on the visual and thematic treatment, as well as the function of the world, of time and of the cinematic character, I will demonstrate how Tarr’s “subtractive” films interrogate the relation of the self to a missing world. The notion of the “promise”, as conceptualized by Peter Sloterdijk, will provide insight into the Tarrian character’s tragic fate: a tremendous effort to escape death that can only end in an extreme fatigue. The notion of “personnage-figurant” proposed here aims to bind together the figurative and thematic values shared by the various characters in order to better understand the continuity of the work beyond its stylistic and narrative ruptures. Finally, the dialogue initiated here between Tarr’s work and various philosophical key concepts (world, self, time) intends to demonstrate how the Hungarian director’s work opens up interesting avenues for a discussion of subjectivity in our own times.

Este trabalho de pesquisa tem como objetivo principal a elaboração, sob a perspectiva econômica, de uma proposta educativa em plataforma audiovisual cuja temática abarque as especificidades do Monumento Nacional Ruínas Engenho São Jorge dos Erasmos e da cidade de Santos, SP. Procuro identificar, a partir dos vestígios do antigo Engenho dos Schetz, as modificações do território e da sociedade da cidade de Santos do período colonial até os dias de hoje e de que forma isso deve ser passado ao público em um polo cultural atualmente de modo a inseri-lo na perspectiva da economia da cultura. Assim, partindo de uma análise do desenvolvimento histórico do próprio conceito de patrimônio e da grande importância dos monumentos culturais enquanto centros educativos, bem como de uma reflexão acerca das transformações pelas quais nossa sociedade vem passando desde o advento das inovações tecnológicas do século XX e da lógica de interesse sobretudo econômico que influencia a cultura atualmente, busco também identificar os métodos midiáticos e as formas de aplicação mais apropriados para a esfera educacional dos museus e monumentos históricos a fim de aplicá-los neste projeto. / This research has as main objective the development, from the economic perspective, of an educational proposal for audiovisual platform whose theme encompasses the specifics of Monumento Nacional Ruínas Engenho São Jorge dos Erasmos and the city of Santos, SP. I seek to to identify, from the remains of the old Engenho dos Schetz, the changes of the territory and the society of the city of Santos from the colonial period to the present days, and how it should be passed to the public in a cultural center today in the perspective of the cultural economy. Thus, starting from an analysis of the historical development of the heritage concept itself and the great importance of cultural monuments as educational centers, as well as a reflection about the transformations that our society has undergone since the advent of the technological innovations of the twentieth century and logic above all economic interests that influences the culture today, I seek also to identify media methods and the most appropriate ways of applying to the educational sphere of museums and historical monuments in order to apply them in this project.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper proposes an analysis on the novel Pedro Páramo, by Juan Rulfo, in which elements such as the conception of future and past defended by Modernity, the allegorical construction and the work of mourning arise as central axis. Throughout four chapters we sought to answer the following question: How, in Pedro Páramo, the Mexican revolutionary process and future prospects arising from Modernity are expressed? In the first, based on authors like Carlos Fuentes, Alejo Carpentier, Jorge Alberto Vital and Ruffinelli, we linked the author, the work and the context of production in an attempt to apprehend the formation of the Mexican historical-social-economic reality. Also at this stage, we make some considerations about the processes of cultural encounters experienced by Mexico (since the arrival of the Spanish to the mexican revolution) in order to relate issues of modernity and the constitutive process of the novel studied. In the second chapter, we detailed the process of the narrative construction, associating the external to the internal elements in a process of entry and exit of the novel, adding the literary text to the Mexican political-historical-social context. Also, we used the concept of literary transculturation proposed by the Uruguayan critic Ángel Rama, who helped us understand the narrative structure of Rulfo s novel, especially in relation to the historical moment in which it was produced. In the third chapter, we approached the cultural elaboration of death in Mexico, in its condition as national totem. Furthermore, based on the studies developed by Walter Benjamin, Jürgen Habermas, Octavio Paz and Darcy Ribeiro, we related, to the narrative analyzed, Benjamin s concept of allegory and the temporal conception adopted in Modernity. In the fourth and final chapter, the writings of Theodor Adorno and Idelber Avelar helped us with concepts such as mourning, loss, defeat, tension - associated to negative dialectics - taking Pedro Páramo as an open system in which the tension leads to a conception of future that subverts the conception presented by Modernity: a future in ruins. The projection of a future in ruins turns active the past, the present and the future. In this light, the different narrative voices in Pedro Páramo are taken as different possibilities, singular and incomplete, which propose the revision of the constitution of the Great National Report of Mexico related to the Revolution, starting from the recognition of the past as heterogeneous and fragmented, breaking with the homogenizing and totalizing visions of history and taking diversity and opposition as positive aspects. / Este trabalho apresenta uma proposta de análise do romance Pedro Páramo, de Juan Rulfo, na qual a concepção de futuro e de passado defendida pela Modernidade, a construção alegórica e o trabalho de luto erigem-se como eixos centrais. Ao longo de quatro capítulos, buscamos responder a seguinte pergunta: Como, em Pedro Páramo, o processo revolucionário mexicano e a perspectiva de futuro decorrente da Modernidade estão expressos? No primeiro, os escritos de Carlos Fuentes, Alejo Carpentier, Alberto Vital e Jorge Ruffinelli nos ajudaram a relacionar o autor, a obra e o contexto de produção, na tentativa de apreender a formação da realidade histórico-social-econômica mexicana. Ainda nesta etapa, tecemos algumas considerações sobre os processos de encontros culturais vivenciados pelo México (desde a chegada dos espanhóis até a revolução mexicana) com o intuito de abarcarmos questões relativas à Modernidade e à constituição do romance estudado. No segundo capítulo, analisamos a construção da narrativa, associando os elementos externos aos internos em um processo de entrada e saída do romance, somando o texto literário ao contexto político-histórico-social mexicano. Também, empregamos o conceito de transculturação literária proposto pelo crítico uruguaio Ángel Rama, o qual nos ajudou a compreender a estrutura narrativa de Pedro Páramo, principalmente, face ao momento histórico em que foi produzida. No terceiro capítulo, a partir de autores como Claudio Lomnitz, Carlos Monsiváis e Octavio Paz, abordamos a elaboração cultural da morte no México, em sua condição de totem nacional. E, partindo dos estudos desenvolvidos por Walter Benjamin, Jürgen Habermas, Octavio Paz e Darcy Ribeiro, relacionamos ao romance analisado o conceito benjaminiano de alegoria e a concepção temporal moderna. No quarto e último capítulo, os escritos de Theodor Adorno e de Idelber Avelar auxiliaram-nos com conceitos como luto, perda, derrota, tensão - associados à dialética negativa , a partir dos quais tomamos Pedro Páramo como um sistema aberto no qual a tensão conduz para uma concepção de futuro que subverte a apresentada pela Modernidade: um futuro em ruínas. A projeção de um futuro de ruínas torna atuante tanto o passado quanto o presente e o futuro. Sob esse prisma, as distintas vozes narrativas de Pedro Páramo são possibilidades diversas, singulares e incompletas que propõem a revisão da constituição do grande relato nacional mexicano relacionado à revolução, partindo do reconhecimento do passado como heterogêneo e fragmentado, rompendo com as visões homogeneizantes e totalizantes da história e tomando a diversidade e a oposição como aspectos positivos.

O aumento da atividade turística e os benefícios que a mesma pode trazer para as pessoas envolvidas nas localidades que possuem atrativos turísticos têm suscitado uma nova reflexão sobre o processo de desenvolvimento local e regional que o turismo produz, pela sua capacidade de gerar renda e divisas para as regiões. Baseada no pressuposto de que o turismo cultural é um agente de desenvolvimento, esta pesquisa foi realizada no município de São Miguel das Missões, no estado do Rio Grande do Sul, município onde reside uma comunidade de índios Guarani Mbya e que possui como atrativo turístico às Ruínas Jesuíticas de São Miguel das Missões, visando conhecer a trajetória de 1988 a 2003 desta comunidade e os benefícios que a mesma possa ter tido em decorrência da atividade turística local. Após a pesquisa percebi que os Guarani consideram a posse das terras e a permanência na reserva do Inhacapetum como uma forma de desenvolvimento e concluí que o turismo agiu no local como um efeito indireto para a posse das terras. Embora o discurso dos planos de turismo do estado enfatizem os resultados sociais, na prática isso não se confirmou, pois foram pessoas do município as principais responsáveis pelos benefícios alcançados pela comunidade Guarani. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-05T19:16:18Z No. of bitstreams: 1 Dissertacao Elza M G Marcosn.pdf: 10643207 bytes, checksum: d60a730c58d962d38c385e99df01ff5d (MD5) / Made available in DSpace on 2014-05-05T19:16:18Z (GMT). No. of bitstreams: 1 Dissertacao Elza M G Marcosn.pdf: 10643207 bytes, checksum: d60a730c58d962d38c385e99df01ff5d (MD5) / The increasing of touristic activity and the benefits which it can bring to people who live in places with touristic attractions have stimulated a new relfection about the process of local and regional development that tourism produces according to its capacity of causing profit to these regions. Based on the belief that cultural tourism is an agent of development this research took place in the city of São Miguel das Missões, in the state of Rio Grande do Sul, city where a community of Guarani Mbya Indians live and which has as touristics attraction the Jesuitic Ruins of São Miguel das Missões, having in view the period from 1988 to 2003 and the benefits that were reached due to the local touristc activity. After the research it was clear to me that the Guarani consider the possession of the earth and the permanence in the Inhacapetum reserve as a way of effectivation of this possession. No matter the speech related to plans of tourism in the State, emphasizing the social results, I can asseru this wasn t confirmed because the people who live in this region were the main responsible for the benefits reached by the whole Guarani community.

Le néoréalisme – et notamment le cinéma de Roberto Rossellini – a montré à quel point l’Italie sortait ruinée de la Seconde Guerre mondiale. À la théâtralité fasciste et à la rhétorique grandiloquente de la romanità succède une attention nouvelle portée à l’humilis et, corollaires de cet « amour pour la réalité » (expression de Pasolini, à propos de Rossellini et de Fellini), de nouvelles pratiques cinématographiques. Cette recherche a pour ambition de mettre en regard deux cinéastes généralement considérés comme antithétiques, avec pour fil directeur « l’invention de l’antique », afin de mettre en évidence l’existence d’un horizon commun, qui trouve son origine dans deux réalités historiques : d’un côté le rejet de l’Antiquité fasciste, de l’autre la résistance à la fuite en avant contemporaine. L’« antique », entendu conceptuellement comme matrice de résistance (donc non limité aux bornes historiques assignées à l’Antiquité), est ici pris dans un jeu dialectique et dynamique avec l’idée de modernité, puisqu’il s’agit de déterminer comment une modernité esthétique a pu s’inventer et s’expérimenter contre, ou tout contre, une autre modernité – sociale, économique, politique. Fellini plonge dans l’univers chaotique et placentaire de la création en studio. Pasolini, à l’inverse, se déplace toujours plus loin du centre, à la rencontre de nouveaux corps, et de nouvelles terres à arpenter. Dans les deux cas pourtant, il s’agit d’en passer, de manière poétique, par deux disciplines que l’après-guerre n’accepte pas plus que le fascisme – la psychanalyse et l’ethno-anthropologie – pour mettre au jour des survivances, pour porter à la lumière ce que la modernité refoule, et « fictionner » à partir de ces fragments. L’invention sera donc d’abord entendue au sens archéologique du terme (impliquant repérages, découverte, mise au jour). Elle sera aussi entendue au sens poétique de l’« œuvrement » à partir des fragments, mettant en évidence des affinités électives entre l’Antiquité et le cinéma. / Neorealism in general, and Roberto Rossellini’s works in particular, portray post-WW2 Italy as a country in ruins, both literally and metaphorically. Fascist theatricality and the pompous rhetoric of the romanità are abandoned, and a new focus is given to humilis – “loving reality” in the words of Pasolini commenting on Rosselini’s and Fellini’s works – and the new film practices that stem from it. In this dissertation, I compare two film makers who are usually put in systematic opposition to each other, and show how their works actually have common characteristics when analysed from the perspective of what I call “the invention of Antiquity”. From two distinct points in history, they not only reject the fascist interpretation of Antiquity, but also resist modern Italy’s race to progress. Here the concept of “Antiquity” is defined as a form of resistance, which as such transcends its traditional historical boundaries. It is involved in a dynamic dialogue with the idea of modernity, so as to show how a form of aesthetic modernity gets invented and put into practice as a reaction against a different form of social, economic and political modernity. Fellini delves into the chaotic and womb-like world of film studios, while Pasolini moves further and further away from the centre, in search of new bodies to discover and new lands to walk. Yet they must both find a poetic way of dealing with disciplines that post-WW2 Italy rejects as much as fascism – psychoanalysis and ethno-anthropology. For both of them, the aim is to uncover relics of the past, to shed light on those elements repressed by modernity, and create fictions” out of these fragments. The term invention is thus first intended in its archaeological meaning (i.e. locating, discovering, uncovering). It is then used in a more poetic sense, as an act of “crafting” out of fragments, which highlights specific connexions between the world of antiquity and the world of films.

Ce travail de thèse porte sur les destructions matérielles de la Grande Guerre et plus particulièrement sur la manière dont la société française s’est emparée des représentations de ruines pour en faire un symbole de douleur. Première conséquence directe et visible d’un conflit, les ruines témoignent de la guerre, de sa conduite, mais aussi des souffrances vécues par les militaires et les populations civiles. De l’artiste officiel rattaché aux armées au simple citoyen non mobilisé, en passant par le soldat anonyme, tous ont évoqué pendant la Première Guerre mondiale les destructions matérielles, les paysages désolés, la terre bouleversée par l’artillerie. Photographiées, dessinées, filmées, exposées à Paris, Londres ou Genève, les représentations de ruines se sont ainsi affichées dans les journaux, ont circulé sous forme de cartes postales et ont été reproduites dans divers ouvrages. Ces représentations iconographiques ont été instrumentalisées dès le commencement du conflit pour appuyer des discours contribuant à mobiliser les populations et à convaincre les pays neutres du bien-fondé de la guerre. Elles sont ensuite devenues une manière de rendre visible le conflit, mais surtout de témoigner de la violence nouvelle de cette guerre d’artillerie. Les descriptions littéraires en firent des corps vivants, blessés, transpositions anthropomorphes des soldats dont on montrait peu les corps. Cibles de la violence des armes, corps symboliques, fragiles, elles incarnèrent donc successivement le corps du combattant, puis le corps sacré de la Nation. La paix revenue, les ruines furent mobilisées une dernière fois pour appuyer les demandes de réparations de guerre. Elles furent aussi honorées par des remises de décorations et valorisées dans les circuits touristiques. Le débat autour des ruines se réduisit alors à un questionnement sur la conservation des vestiges de guerre. / This PhD work focuses on the material destruction caused by the Great War and more specifically on the way French society used the representations of ruins as a symbol of pain. As a first direct and visible consequence of conflict, ruins bear testimony to it, to its course, but also to the suffering of soldiers and civilian populations. Everybody, from the official military artist, the anonymous soldier to the ordinary citizen, evoked the material destruction, the desolate landscapes and the earth upheaved by artillery shells during the First World War. Photographed, drawn, filmed, exhibited in Paris, London or Geneva, the representations of ruins were shown in newspapers, they have been distributed as postcards and have also been reproduced in various works. These iconographic representations were used from the very beginning of the conflict to support the arguments used to mobilize populations and convince neutral countries of the validity of the war. They then became a way of making the conflict visible, but especially to testify the new violence caused by artillery. The Literary descriptions presented them as living, wounded bodies, as anthropomorphic transpositions of the soldiers whose bodies were rarely displayed. Targets of armed violence, symbolic bodies and fragile, ruins have embodied first of all the body of the warrior and subsequently the sacred body of the Nation. Once peace had been restored, the ruins were mobilized one last time to reinforce the demands for war reparations. They were also honoured through decorative ceremonies and valued through organized tourist tours. Since then the debate around ruins has been minimized to a question of their conservation as remnants of war.

Reflection of archaeologized landscape elements in ethnographic resources Mgr. Jan Pohunek Abstract: This thesis discusses contemporary folklore interpretations of meanings of abandoned and decaying buildings and other types of artificial immovable monuments. Mutual relations between these interpretations and modes of place usage are also being observed. The research is based on ethnographic survey focused on Czech republic and including primarily interviews with various respondents and crtitical analysis of written, electronic and audiovisual resources. Aside from general part of the research, several sites were chosen as a more in-depth example of formation of meanings belonging to an archaeologizing place, a complex proces influenced by the history of the site, its physical appearance and other attributes. An attached catalogue includes collected contemporary legends related to abandoned places and a system of categorization of their motifs is offered. This collection is further discussed, especially with regard to ways how character of a location and activities that take place here influence appearance of various motifs. In general, it can be said that different abandoned places are also perceived differently and there are groups of motifs that are more characteristic for certain categories of places....