Inaug.-diss.--Leipzig. / Lebenslauf. "Literaturverzeichnis": 2d-3d prelim. leaf.

Thesis (Ph. D.)--University of Sydney, 2007. / Title from title screen (viewed 28 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of History, Faculty of Arts. Includes bibliographical references. Also available in print form.

Submitted by ELISÂNGELA MARIA OZÓRIO null (profelisma@gmail.com) on 2018-02-26T21:53:59Z No. of bitstreams: 1 Tese A canção de Renato Russo uma poética da utopia e da distopia.pdf: 1212556 bytes, checksum: 870cdc1aef8fc439da97df0b8705bc19 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-02-28T13:27:28Z (GMT) No. of bitstreams: 1 ozorio_em_dr_sjrp.pdf: 1089939 bytes, checksum: 9d64a0f24c386fe1d900a050a9ecc583 (MD5) / Made available in DSpace on 2018-02-28T13:27:28Z (GMT). No. of bitstreams: 1 ozorio_em_dr_sjrp.pdf: 1089939 bytes, checksum: 9d64a0f24c386fe1d900a050a9ecc583 (MD5) Previous issue date: 2018-02-15 / Programa Bolsa Doutorado para Professores da Secretaria de Educação do Estado de São Paulo / As letras das canções escritas por Renato Russo deflagram um olhar crítico e reflexivo para com a existência humana e a vida em sociedade. A voz poética capta os conflitos e mostra, em primeiro plano, a face imperfeita da sociedade e do ser humano: a desigualdade, a ganância, o egoísmo e a falta de liberdade. Como resultado, há o desajuste e a sensação de não pertencimento, gerando no sujeito desconforto. A face imperfeita representada na canção de Renato Russo constrói um tipo de real que se contrapõe à volição do eu poético, que confessa o desejo de edificar uma nova sociedade, na qual haja a reintegração da igualdade, da solidariedade, da compaixão e da liberdade. O desejo despertaria o amor, a partilha e o senso de coletividade e formaria o sonho de perfeição, onde o homem seria plenamente feliz, o que representaria o real perfeito. A partir dessas constatações sobre as canções de Renato Russo, podemos afirmar que as representações de um real imperfeito e de um sonho perfeito corresponderiam à imagem da distopia e à imagem da utopia, respectivamente. Para embasar nosso raciocínio, elegemos como fonte de pesquisa teórica sobre a imagem da utopia Thomas More (2015) e Beatriz Berrini (1997); e sobre a imagem da distopia Russel Jacoby (2007) e Martim Vasques da Cunha (2012). As leituras foram ampliadas com outros autores, como Nelson Levy (2012), Teixeira Coelho (1985), Miguel Abensour (1990) e Fredric Jameson (2005) que também ajudaram a perceber que tais conceitos – de utopia e de distopia – não podem ser compreendidos de modo antagônico e estanque. Neste estudo analítico-reflexivo das canções de Renato Russo, escolhemos o álbum Dois (1986) para verificarmos a coexistência de ambos os conceitos. Além disso, o embasamento crítico-literário e musical esteve atrelado aos ensinamentos, respectivamente, de Paul Zumthor (1997; 2005; 2007) e Octavio Paz (1982), e de Paul Friedlander (2008) e Arthur Dapieve (2004; 2006). / The lyrics written by Renato Russo deflagrate a critical and reflexive look to the human existence and life in society. The poetic voice captures conflicts and shows, in the first place, the imperfect face of society and human being: inequality, greed, egoism and lack of freedom. As a result, there is the misfitting and the feeling of not belonging, generating one’s discomfort. The imperfect face represented on Renato Russo’s songs build a type of real thing that counterposes against the volition of the poetic self, who confesses the desire of building a new society, where there is the reintegration of equality, solidarity, compassion and freedom. The desire would wake loving, sharing and collectivity sense and would form the dream of perfection, in which the man would be fully happy, what would represent the perfect real. From these findings about Renato Russo’s songs, we can affirm that the representations of an imperfect real and of the perfect dream would correspond to the image of the dystopia and to image of the utopia, respectively. To support our reasoning, we chose as a source of theoretical research about the image of utopia Thomas More (2015) and Beatriz Berrini (1997); and about the image of dystopia Russel Jacoby (2007) and Martim Vasques da Cunha (2012). The readings have been enlarged with another writers, like Nelson Levy (2012), Teixeira Coelho (1985), Miguel Abensour (1990) and Fredric Jameson (2005) who also helped realizing that such concepts – utopia and dystopia – can not be understood in an antagonistic and tigh mannner. In this analytical-reflexive studying of Renato Russo’s songs, we have chosen the record Dois (1986) to check the coexistence of both concepts. Besides that, the critical-literary and musical basis was linked to teachings, respectively, from Paul Zumthor (1997; 2005; 2007) and Octavio Paz (1982), and of Paul Friedlander (2008) and Arthur Dapieve (2004; 2006).

Submitted by Jaqueline Silva (jtas29@gmail.com) on 2014-10-23T17:22:26Z No. of bitstreams: 2 Tese - Cristiano Vinicius de Oliveira Gomes - 2013.pdf: 1240001 bytes, checksum: c99971ce8a33046227691820ea44180f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-10-23T17:22:55Z (GMT) No. of bitstreams: 2 Tese - Cristiano Vinicius de Oliveira Gomes - 2013.pdf: 1240001 bytes, checksum: c99971ce8a33046227691820ea44180f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-23T17:22:55Z (GMT). No. of bitstreams: 2 Tese - Cristiano Vinicius de Oliveira Gomes - 2013.pdf: 1240001 bytes, checksum: c99971ce8a33046227691820ea44180f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-08-08 / The 1980s in Brazil was made of scenery that depicted a wide opening of a reality that was not limited only to the political issue, but created many realities able to rebuild the historiography productions. Thus, a new field of possibilities grew, rebuilding the historiography production by creating many objects, with new uses, until then neglected by the academic research. Working with music words, as a form to create ways to build the cultural identity, means to emphasizes the emergency of this methodological redefinition and realize the compound objects in creating new perspectives about the research to which it is designed. Taking this into account, the study about identity gains the dimension of realizing in Renato Russo’s songs evidences of an identity construction which was not seen yet, giving the subjects many meanings by their own fragmentation. / A década de 1980, no Brasil, constituiu-se num cenário que envolveu uma abertura açambarcadora de uma realidade que não se limitou tão somente ao âmbito político, mas trouxe um conjunto de realidades capazes de redinamizar, inclusive, a produção historiográfica. Nesse sentido, um novo campo de possibilidades emergiu, redimensionando a produção historiográfica ao trazer à tona uma gama de objetos, com novas abordagens, até então negligenciados pela pesquisa acadêmica. Trabalhar com letras de música, como uma abertura para elucidar os caminhos para a construção da identidade cultural, é reforçar a emergência dessa redefinição metodológica e perceber objetos competentes em ressaltar novas perspectivas perante a pesquisa a qual se destina. Partindo dessa premissa, o estudo acerca do conceito identidade ganha a dimensão de perceber nas composições de Renato Russo indícios de uma constituição identitária ainda não experimentada, multilateralizando sujeitos pela fragmentação dos mesmos.

This study is about mapping out the Swedish General Staff's focus areas for information gathering through the military and naval attaches in Japan between the end of the Russo-Japanese War and the beginning of the First World War. More specifically the years 1908-1911. The study deals with experience management as well as how knowledge was obtained from abroad and what this says about the organisational culture of the Swedish armed forces. The study’s purpose is answered through three different questions, one mainquestion and two operationalizing questions. The method used in the study is qualitative text analysis with a hermeneutic approach. The approach aims to find out what the Swedish military attachés intended to study and what they considered important to report home from Japan and what this can tell us about the organisational culture of the Swedish armed forces. This method is thus about interpreting, deciphering, and understanding the received writings, reports, and messages. The theoretical starting point for this study is based on parts of the book The Culture of Military Organizations. Two categories of analysis from this theory have been selected: performance orientation, which is a measure of the extent to which a military organisation encourages and rewards members to challenge goals, promote innovation, and improve performance, and future orientation, which is a measure of the extent to which the military organisation engages in future-oriented behaviours such as delaying in order to enjoy the moment, planning and investing in the future. The concept of orientalism is also used in order to understand why certain lessons were accepted or rejected. The investigation is based on material taken from the General Staff's Foreign Affairs Department, specifically a volume of correspondence, reports, and messages from the military and naval attachés in Tokyo and Peking 1908-1911. The conclusions drawn in the study are that orientalism was an occuring element, but the Swedish attachés despite that enthusiastically took part in war experiencesand reported home their learned lessons, observations and assessments. Based on the lessons learned and the two categories of analysis stated above, Sweden's military organisational culture could at the time be considered to contain a relatively high future orientation and performance orientation.

No / Recognising the failure of both internal and external parties to achieve a peaceful resolution of the Russo - Chechen war, this article seeks to establish what scope remains for international involvement to end the violence in Chechnya. By applying theories from the disciplines of conflict resolution and counterinsurgency to the confrontation, distinctions are drawn between opportunities of peacekeeping, peacemaking and peacebuilding, as well as between legitimate 'need' and exploitative 'greed' at a time of 'violent' politics. Key findings include the scope for international assistance in addressing the root contradictions of the conflict and for curtailing the influence of the 'entrepreneurs of violence'.

Esta pesquisa, que é também uma ode em suas múltiplas expressões, se ergue no rastro dos afetos, do caos e do lirismo desmedido encontrados nos discursos poéticos de Caio Fernando Abreu e Renato Russo (o primeiro nos domínios da ficção literária e o segundo nos da canção de rock); constrói-se, também, com vistas às inquietações atravessadas pela busca do lugar da poesia no cenário da prosa e da letra de música, aqui recortadas, atendo-se ao modo como essas vozes se mantêm ressonantes e esteticamente significativas no contexto atual. Na procura por legitimar o protagonismo de Eros e seus pares dentro do universo contemporâneo e impetuoso de um mundo híbrido e desconexo, a ordo amoris, como linguagem coletiva e universal na erótica social, foi um modo de operacionalizar as questões centrais e organizar esses inventários (forjados a partir das metáforas do livro de contos Inventário do ir-remediável e do disco As quatro estações), transferindo, refletindo e redesenhando os espaços de criação, recepção e estética em literatura, que nessa dissertação borra fronteiras. A cultura de afetos, a filosofia existencialista e as contribuições sobre sujeito, coletividade, erotismo e subjetividade(s) reinventam e sustentam os debates que se edificam em espaços plurais de atuação, no desenho cartográfico que se vai formando a partir da poética de Caio e Renato e seus discursos à flor da pele. As quatro estações potencializam e iluminam os passos das divindades míticas e dos sujeitos líricos que se cruzam nessa pesquisa, são as vias férteis que acenam para a presentificação do agora, quando há trocas necessárias de papéis em que o eu se dissolve e se derrama no outro, na busca por essa alma coletiva da humanidade (quase) perdida e da celebração. São, principalmente, os pressupostos teóricos de Michel Maffesoli (2014a) e Giorgio Agamben (2013) que fundamentam e iluminam esse barco solto na correnteza. / This study arises in the trail of the affections, chaos and excessive lyricism found in the poetic discourses of Caio Fernando Abreu e Renato Russo (the first in the fields of literary fiction and the second in the fields of rock songs), and is also an ode in its multiple expressions; it is also constructed with a view to the concerns that are crossed by the search for the place of poetry in the scenario of prose and the music lyrics, brought here paying attention to the way these voices remain resonant and aesthetically significant in the current context. In order to legitimize the protagonism of Eros and his peers within the contemporary and impetuous universe of a hybrid and disconnected world, the ordo amoris, as collective and universal language in social erotica, was a way to operationalize the central issues and organize these inventories (made up from the metaphors of the short story book Inventário do ir-remediável [Inventory of the Irremediable] and the album As quatro estações [The Four Seasons]), transferring, reflecting and redesigning the spaces of creation, reception and aesthetics in literature, which in this dissertation blurs borders. The culture of affections, the existentialist philosophy and the contributions on subject, collectivity, eroticism and subjectivity (ies) reinvent and sustain the debates that are built in plural spaces of action, in the cartographic drawing that is formed from the poetics of Caio and Renato and their impassioned discourses. The four seasons potentiate and enlighten the steps of the mythical divinities and the lyrical subjects crossing each other in this study, they are the fertile paths that beckon to the presentification of the now, when there are necessary exchanges of roles in which the self dissolves and flows itself in the other, in the search for this collective soul of the (almost) lost humanity and the celebration. These are mainly the theoretical assumptions of Michel Maffesoli (2014a) and Giorgio Agamben (2013), which ground and illuminate this boat adrift on the tide.

A pesquisa tem como objetivo analisar e relacionar as escritas de si do poeta e escritor russo Daniil Kharms (1905-1942): seus apontamentos em cadernetas, sua prosa quasebiográfica, como a novela A velha (1939), suas cartas e seus autorretratos, sobretudo na década de 1930, momento em que essas artes de si mesmo passam a interagir de forma mais pronunciada, quando o criador e sua obra se misturam de maneira muito peculiar. Como o estudo das cadernetas do escritor define ponto medular da pesquisa e este material ainda não foi publicado no Brasil, também será apresentada a tradução de parte de seus cadernos de anotações e do pequeno diário, que abarcam os anos de 1924 a 1940. Além disso, pelo próprio recorte do trabalho, foi delineada uma biografia cuidadosa do autor, um dos fundadores da Oberiu, o último grande grupo do vanguardismo russo, assim como foram definidos alguns diálogos (Krutchónykh, Khlébnikov, Bergson, Malévitch e tchinari) que marcaram o desenvolvimento artístico e filosófico de Daniil Kharms, um dos mais peculiares e talentosos artistas russos de vanguarda, hoje assemelhado a escritores como Franz Kafka, Eugène Ionesco e Samuel Beckett. / The objetive of this thesis is to analyse the self-writing of the Russian poet and writer Daniil Kharms (1905-1942): his notes in notepads, his almost-biographical prose, such as the novel Old Woman (1939), his letters and self-portraits, especially in the 1930s, a time when these arts about oneself start to interact in a more emphatic way, when the writer and his work mix up in a very particular way. As the study on his notepads defines the central element of this research and this material has not been previously published in Brazil, it will be also presented a translation of a part of his notepads and little diary, from 1924 to 1940. Furthermore, by the perspective taken in this study, a detailed biography of the author was conducted. Kharms was one of the founders of Oberiu, the last avant-garde Russian group. Hence, the study also debates the importance of the art and philosophy of Krutchónykh, Khlébnikov, Bergson, Malévitch e tchinari to the work of Kharms, who became one of the most singular and talented contemporary Russian authors, compared to Franz Kafka, Eugène Ionesco e Samuel Beckett.

Thesis (M.A.)--Miami University, Dept. of History, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 36-47).

A pesquisa tem como objetivo analisar e relacionar as escritas de si do poeta e escritor russo Daniil Kharms (1905-1942): seus apontamentos em cadernetas, sua prosa quasebiográfica, como a novela A velha (1939), suas cartas e seus autorretratos, sobretudo na década de 1930, momento em que essas artes de si mesmo passam a interagir de forma mais pronunciada, quando o criador e sua obra se misturam de maneira muito peculiar. Como o estudo das cadernetas do escritor define ponto medular da pesquisa e este material ainda não foi publicado no Brasil, também será apresentada a tradução de parte de seus cadernos de anotações e do pequeno diário, que abarcam os anos de 1924 a 1940. Além disso, pelo próprio recorte do trabalho, foi delineada uma biografia cuidadosa do autor, um dos fundadores da Oberiu, o último grande grupo do vanguardismo russo, assim como foram definidos alguns diálogos (Krutchónykh, Khlébnikov, Bergson, Malévitch e tchinari) que marcaram o desenvolvimento artístico e filosófico de Daniil Kharms, um dos mais peculiares e talentosos artistas russos de vanguarda, hoje assemelhado a escritores como Franz Kafka, Eugène Ionesco e Samuel Beckett. / The objetive of this thesis is to analyse the self-writing of the Russian poet and writer Daniil Kharms (1905-1942): his notes in notepads, his almost-biographical prose, such as the novel Old Woman (1939), his letters and self-portraits, especially in the 1930s, a time when these arts about oneself start to interact in a more emphatic way, when the writer and his work mix up in a very particular way. As the study on his notepads defines the central element of this research and this material has not been previously published in Brazil, it will be also presented a translation of a part of his notepads and little diary, from 1924 to 1940. Furthermore, by the perspective taken in this study, a detailed biography of the author was conducted. Kharms was one of the founders of Oberiu, the last avant-garde Russian group. Hence, the study also debates the importance of the art and philosophy of Krutchónykh, Khlébnikov, Bergson, Malévitch e tchinari to the work of Kharms, who became one of the most singular and talented contemporary Russian authors, compared to Franz Kafka, Eugène Ionesco e Samuel Beckett.