My work is my critique of a generation that is dependent upon the conveniences of consumerism. Consumerism in our culture is almost inescapable. I do not condemn or celebrate this way of life because it is the only one I know. There are many things about consumerism that I hate such as the waste it creates or class system it creates. At the same time I enjoy the ease and the comforts that it allows us. This is one of the problems with our generation; we do not take a stand either way because we are so dependent on consumerism. No matter how self reliant we may think we are our culture still desires consumerism.

While William Thackeray’s Vanity Fair is a satire, a humoristic account of the vanities of the different characters in the fictitious society of Vanity Fair, it is also a social criticism of early nineteenth century British society. The essay examines Thackeray’s social critique, which is sometimes explicitly expressed and sometimes more implicit. His criticism is aimed both at the new commodity culture where everything is reducible to money—even people and human relations—and at the class system of the up-and-coming middle classes and the established gentry and aristocracy. When Thackeray sends Becky Sharpe off in a vain pursuit of wealth and social status, he also uses her to expose the vanities of the other characters in Vanity Fair. Their vanities derive from the prevailing commodity culture and are mainly connected to wealth and social status. The essay discusses Becky’s progress from a sociological perspective through the theories of Pierre Bourdieu. His concepts of field, habitus, capital and distinction deal with the power structure in society and what distinguishes different social classes.  Here his theories are used to demonstrate how the different characters in Vanity Fair engage in competition for social status, by using their different forms of capital, and the essay emphasizes the convertibility of these kinds of capital. Bourdieu’s theories contribute to the understanding of how Becky who comes from nowhere, manages to climb to very top rung of the social ladder, but they also demonstrate that her chameleon-like ability to fit in everywhere is an exception to Bourdieu’s general model.

Dans les dernières années, nous avons assisté à l’arrivée imposante des théories de l’intersectionnalité au Québec et plus particulièrement, à une popularité marquée dans les milieux féministes universitaires. Les théories de l’intersectionnalité sont venues transformer les perceptions et la compréhension des enjeux sociaux actuels et, par conséquent, ce nouvel angle proposé par l’intersectionnalité a contribué au processus d’actualisation de certaines pratiques. Cette recherche est née de l’idée de contribuer à faciliter l’appropriation des théories de l’intersectionnalité dans les milieux de la pratique. Plutôt que de parler de l’intégration des théories intersectionnelles dans les pratiques des organisations féministes, je soumets l’idée de partir plutôt des pratiques et des savoirs d’expérience issus des organisations qui travaillent auprès d’autres groupes qui se trouvent au carrefour d’intersections de plusieurs systèmes d’oppression. La recherche prend la forme d’une étude de cas auprès de l’Association multiethnique pour l’intégration des personnes handicapées, l’AMEIPH. Celle-ci consiste notamment en une étude qualitative, dans une perspective de travail social anti-oppressif et féministe, portant sur les pratiques développées dans l’organisme et sur les formes que peuvent prendre certaines dimensions de l’intersectionnalité. L’étude de cas va chercher les points de vue des différent·e·s acteur·trice·s, soit les membres, les intervenant·e·s et les représentant·e·s de la sphère administrative. Les répondant·e·s de la recherche ont partagé leurs expériences à divers niveaux, notamment en ce qui concerne les obstacles rencontrés par les personnes issues de l’immigration en situation de handicap, la reconnaissance, leur participation dans l’organisme et les possibilités de transformations sociales. Leurs propos soulèvent de nombreuses réflexions et pistes quant à la mise en place de pratiques intersectionnelles et aux potentiels de transformation des différents rapports de pouvoir qui traversent les interactions et les structures sociales. Finalement, cette recherche documente l’apport des pratiques intersectionnelles en les inscrivant dans une pratique de travail social anti-oppressif et féministe, dans le but d'outiller différent·e·s intervenant·e·s et de contribuer à l'actualisation des pratiques dans les organisations sociales auprès des personnes marginalisées.

Made available in DSpace on 2016-04-25T20:21:28Z (GMT). No. of bitstreams: 1 Claudia de Souza.pdf: 1915797 bytes, checksum: 6d28acdc25bebf50421ff02cc08a38ec (MD5) Previous issue date: 2015-05-25 / The present dissertation has as its main focus, the relation between cinema and social reality and as its object of study the documentary production and its relation to the Brazilian society; since the perception of such genre is related to other relevant questions and social problems. The documentary Dia de festa (2006), directed by Toni Venturi, was chosen to be the empiric constraint of the main study proposal in order to raise the hypothesis that considers documentary production to be responsible for the critique discourse development and social problems. Under those cited considerations, it has been attempted through the narrative and politic structure observed in this documentary, the elements that compound its cinematographic discourse and its technical options as well as its aesthetic revealed. The methodology of this research was based on the bibliographic reference, the interview with the film director Toni Venturi, the reference from other documentaries that approach the social problems in an attempt to narrow the relation between the researched theoretical production and the structure of the film. Under this methodology and the objective of confirming the given hypothesis, it was necessary a brief exposure of the origin and the history of documentaries until the beginning of the Direct Cinema and Cinema Truth (Labaki, Catelli, Weller e Nichols), which reverberated in the Brazilian documentary production, specially between 1960 and 1990 (Lins e Mesquita, Labaki, Lins, Xavier, Bernardet e Eduardo); it was also necessary to point out the peculiarities in the genre from the 1990s by contextualizing the mediatic society, in which some productions and triggers stand out (Lins, Bentes, Lins e Mesquita) and look into part of the elements that constitute its structure, language and discourse (Nichols e Puccini), placing it into the context of the contemporary audiovisual production and its methodological importance through social sciences (Ibiapina) and on the relation between art and society / A presente dissertação tem como tema a relação entre cinema e realidade social e como objeto de estudo a produção documental e sua relação com a sociedade brasileira, identificando-se uma grande sensibilidade desse gênero cinematográfico em relação às questões e problemas sociais. O documentário Dia de festa (2006), de Toni Venturi, foi escolhido como recorte para a verificação da hipótese que considera a produção documental responsável pela elaboração de um discurso crítico sobre a sociedade. Tentou-se identificar, por meio da estrutura narrativa deste documentário, os elementos que constituem seu discurso fílmico e as escolhas técnicas e estéticas por ele reveladas. A metodologia de pesquisa baseou-se no levantamento bibliográfico, na realização de entrevistas com o diretor Toni Venturi, na referência a outros documentários dedicados à abordagem de problemas sociais e na tentativa de estreitar a relação entre a produção teórica pesquisada e a estrutura do filme analisado. Sob essa orientação metodológica e com a finalidade de verificar a hipótese formulada, foi necessária uma breve exposição sobre a origem e a história do documentário até o surgimento do Cinema Direto e Verdade (Labaki, Catelli, Weller e Nichols), cujos desdobramentos repercutiram sobre a produção documental brasileira, sobretudo entre as décadas de 1960 e 1990 (Lins e Mesquita, Labaki, Lins, Xavier, Bernardet e Eduardo); foi preciso apontar as especificidades do gênero a partir dos anos 1990 no contexto da sociedade midiática, em que se destacaram alguns dispositivos e produções (Lins, Bentes, Lins e Mesquita) e investigar parte dos elementos que constituem sua estrutura, linguagem e discurso (Nichols e Puccini), situando-o no contexto da produção audiovisual contemporânea (Teixeira), e refletindo sobre sua valorização metodológica pelas ciências sociais, sobre sua relação com o conhecimento (Ibiapina e Menezes) e a relação entre arte e sociedade (Bergson, Head, Rosenfeld e Bastide)

Made available in DSpace on 2016-04-26T14:55:28Z (GMT). No. of bitstreams: 1 Claudia de Souza.pdf: 1915797 bytes, checksum: 6d28acdc25bebf50421ff02cc08a38ec (MD5) Previous issue date: 2015-05-25 / The present dissertation has as its main focus, the relation between cinema and social reality and as its object of study the documentary production and its relation to the Brazilian society; since the perception of such genre is related to other relevant questions and social problems. The documentary Dia de festa (2006), directed by Toni Venturi, was chosen to be the empiric constraint of the main study proposal in order to raise the hypothesis that considers documentary production to be responsible for the critique discourse development and social problems. Under those cited considerations, it has been attempted through the narrative and politic structure observed in this documentary, the elements that compound its cinematographic discourse and its technical options as well as its aesthetic revealed. The methodology of this research was based on the bibliographic reference, the interview with the film director Toni Venturi, the reference from other documentaries that approach the social problems in an attempt to narrow the relation between the researched theoretical production and the structure of the film. Under this methodology and the objective of confirming the given hypothesis, it was necessary a brief exposure of the origin and the history of documentaries until the beginning of the Direct Cinema and Cinema Truth (Labaki, Catelli, Weller e Nichols), which reverberated in the Brazilian documentary production, specially between 1960 and 1990 (Lins e Mesquita, Labaki, Lins, Xavier, Bernardet e Eduardo); it was also necessary to point out the peculiarities in the genre from the 1990s by contextualizing the mediatic society, in which some productions and triggers stand out (Lins, Bentes, Lins e Mesquita) and look into part of the elements that constitute its structure, language and discourse (Nichols e Puccini), placing it into the context of the contemporary audiovisual production and its methodological importance through social sciences (Ibiapina) and on the relation between art and society / A presente dissertação tem como tema a relação entre cinema e realidade social e como objeto de estudo a produção documental e sua relação com a sociedade brasileira, identificando-se uma grande sensibilidade desse gênero cinematográfico em relação às questões e problemas sociais. O documentário Dia de festa (2006), de Toni Venturi, foi escolhido como recorte para a verificação da hipótese que considera a produção documental responsável pela elaboração de um discurso crítico sobre a sociedade. Tentou-se identificar, por meio da estrutura narrativa deste documentário, os elementos que constituem seu discurso fílmico e as escolhas técnicas e estéticas por ele reveladas. A metodologia de pesquisa baseou-se no levantamento bibliográfico, na realização de entrevistas com o diretor Toni Venturi, na referência a outros documentários dedicados à abordagem de problemas sociais e na tentativa de estreitar a relação entre a produção teórica pesquisada e a estrutura do filme analisado. Sob essa orientação metodológica e com a finalidade de verificar a hipótese formulada, foi necessária uma breve exposição sobre a origem e a história do documentário até o surgimento do Cinema Direto e Verdade (Labaki, Catelli, Weller e Nichols), cujos desdobramentos repercutiram sobre a produção documental brasileira, sobretudo entre as décadas de 1960 e 1990 (Lins e Mesquita, Labaki, Lins, Xavier, Bernardet e Eduardo); foi preciso apontar as especificidades do gênero a partir dos anos 1990 no contexto da sociedade midiática, em que se destacaram alguns dispositivos e produções (Lins, Bentes, Lins e Mesquita) e investigar parte dos elementos que constituem sua estrutura, linguagem e discurso (Nichols e Puccini), situando-o no contexto da produção audiovisual contemporânea (Teixeira), e refletindo sobre sua valorização metodológica pelas ciências sociais, sobre sua relação com o conhecimento (Ibiapina e Menezes) e a relação entre arte e sociedade (Bergson, Head, Rosenfeld e Bastide)

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-17T12:45:42Z No. of bitstreams: 1 Dissertacao_Andrea Hack.pdf: 865036 bytes, checksum: 06fc83840cde2557a88856b238c282dc (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-27T21:32:27Z (GMT) No. of bitstreams: 1 Dissertacao_Andrea Hack.pdf: 865036 bytes, checksum: 06fc83840cde2557a88856b238c282dc (MD5) / Made available in DSpace on 2013-05-27T21:32:27Z (GMT). No. of bitstreams: 1 Dissertacao_Andrea Hack.pdf: 865036 bytes, checksum: 06fc83840cde2557a88856b238c282dc (MD5) Previous issue date: 2006 / A presente dissertação tem como tema central de investigação e análise a religiosidade na literatura, o qual é desenvolvido a partir da análise dos romances O Fruto do Vosso Ventre (1976) e Os Pareceres do Tempo (1984), de Herberto Sales. Na primeira obra, localizam-se diversos elementos pertinentes à religião cristã, retirados de seu texto sagrado, a Bíblia, e inseridos no enredo ficcional. A partir dessa prática, observa-se de que maneira o autor os utiliza e relê em sua ficção, e quais as implicações desse uso em termos de significação e crítica; na segunda, analisa-se a denúncia irônica que o autor faz da atuação legitimadora da Igreja Católica Romana, durante o período da colonização do Brasil, à escravidão negra e à desapropriação territorial e cultural do indígena. A presente pesquisa foi desenvolvida sob a perspectiva da pós-modernidade, período no qual as questões relativas à fé e ao transcendente voltam a manifestar relevância, segundo atesta a própria literatura bem representada por essas duas obras de Herberto Sales. Inicialmente, objetivou-se também discutir e problematizar a função do intelectual na sociedade contemporânea, a partir da dupla atuação do escritor baiano Herberto Sales, a qual se deu tanto no âmbito da literatura, mediante a publicação de diversas obras de ficção marcadas por um caráter de denúncia e crítica social, quanto no exercício de um cargo administrativo durante a ditadura militar brasileira, período esse pautado pela repressão e violência, o que constituiu um paradoxo face ao seu papel de intelectual, por fazer recair sobre ele uma incômoda suspeita de cooptação, o que pode ter comprometido a credibilidade de seu discurso. / Salvador

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / Este trabalho procura explorar o romance Sua Majestade, o Juiz (1956), de JÃder de Carvalho, cujo enredo se situa no contexto histÃrico da primeira metade do sÃculo XX no CearÃ. No livro, estudamos o espaÃo relacionado à intenÃÃo de crÃtica e denÃncia social do autor como agente organizador e estruturador da narrativa. No estudo, destacamos os espaÃos geogrÃficos (capital e cidades do interior do CearÃ), onde o protagonista busca ascensÃo social movimentando-se de um lugar para outro e relacionando-se com personagens representantes dos setores de maior poder no Cearà tais como polÃticos e juÃzes envolvidos em prÃticas conservadoras, de base clientelista, como o favor e o uso das instituiÃÃes pÃblicas para fins privados. Cada novo lugar à palco das aÃÃes de personagens produzindo um efeito reincidente e generalizado que reforÃa a intenÃÃo crÃtica do romance. Isso acontece tanto na primeira parte da obra, de foco narrativo em terceira pessoa, quanto na segunda parte, narrada em primeira pessoa, com algumas variaÃÃes que apontaremos ao longo do trabalho. Para a anÃlise do livro a partir do espaÃo geogrÃfico, baseamo-nos nos pressupostos teÃricos de Osman Lins sobre o espaÃo romanesco (1976), que norteiam a percepÃÃo e a caracterizaÃÃo dos lugares na obra estudada e nos estudos histÃrico-crÃtico de Candido (2007b) sobre o valor do espaÃo geogrÃfico no romance brasileiro. Recorremos ainda ao pensamento crÃtico de SÃrgio Buarque de Holanda (1995) e de Roberto Schwarz (2000), que trataram do favor, da cordialidade e do familismo na sociedade brasileira. Percebemos com a anÃlise, que as indagaÃÃes levantadas pelo texto romanesco possuem uma funÃÃo reveladora e crÃtica, que à a maior forÃa do livro, dirigida à conduta oportunista dos representantes dos sistemas institucionais governistas da Ãpoca, promotores de desigualdade social. / This work explores the romance Sua Majestade, o Juiz (1956) by Jader de Carvalho, whose plot is situated in the historical context of the first half of the 20th century in CearÃ. In the book, we studied the space related to the intention of social criticism and denunciation of the author as the structuring agent and organizer of the narrative. In the study, we highlight geographical locations (the capital and cities in the rural parts of CearÃ), where the protagonist seeking social mobility moves from one place to another and relates to character representatives of the great power sectors in Cearà such as politicians and judges involved in conservative practices where the clientele base prefers to use public institutions for private purposes. Each new place brings actions and characters to be reported, with an effect of repetition and generalization that reinforces the critical intention of the novel. This happens in the first part of the work, where the focus of the novel is in third person, then in the second part, narrated in first person, with some variations marked throughout the work. To analyze the book from a geographical place, we base our reflections on the theoretical work of Osman Lins about literature (1976), which guide the perception and characterization of areas studied in the work and on the historical-critical studies of Candido (2007b) about the value of geographic space in the Brazilian novel. We use critical thinking of SÃrgio Buarque de Holanda (1995) and Roberto Schwarz (2000), which addressed the preference of politicians who maintained public funds for private familial use in Brazilian society. We realized, through the analysis, that the novel raises questions which have a revealing and critical function which is the greatest strength of the book as it is addressed to the opportunistic behavior of the representatives of the governing institutions at that time, who were the greatest promoters of social inequality.

The purpose of the present thesis is to examine the modes of enunciation (“mode d’énonciation”) and the use of text genres in relation to thematic and semantic aspects of Claude Cahun’s book, Aveux non avenus (Disavowals: or, Cancelled Confessions)(1930), which consists of text fragments. Claude Cahun, who is mostly known for her photographic self-portraits, was active on the margins of surrealism in Paris in the 1920s. The text fragments of Aveux non avenus can be compared to a collage technique that she also uses in the photomontages which open each chapter of the book. As an author, Claude Cahun clearly resisted traditional confessional literature (as the title of the book also suggests), and this study focuses on how she creates images of herself through characters borrowed from mythology, the Bible, and popular and literary texts, but also through reflections on specific themes in dialogues, essays and aphorisms. The thesis examines how Aveux non avenus differs from an actual autobiography, how the fragmented self-portrait is constructed, and how the book expresses a critique of contemporary society. The method of the thesis is based on textual analysis, with the support of the concepts of modes of enunciation (”mode d’énonciation”), text genres, and détournement (”détournement”). It also rests on the contextualisation of Claude Cahun’s practice of writing in relation to the history of literary genres, surrealist avant-garde movement, and in relation to sources within cultural history and the history of women. The thesis analyses how Claude Cahun, through the use of different genres and shifting modes of enunciation, creates a fragmented, diverse, and contradictory portrait of herself, in a way that also conveys a critical image of contemporary society. The text functions, simultaneously, as a collage of different text genres. The conclusion thereby underlines the idea that the text is not arbitrarily fragmentary, but constructed on the principles that the analysis of the work has demonstrated. In previous research on Claude Cahun, the indefinite genre of the book has been emphasised. Instead, this thesis wants to show that the diversity of text genres is deliberately explored to develop varying modes of enunciation that give Claude Cahun the opporturity to reflect and give nuance to representations of the self and to convey a radical critique of society.

No description available.

A tese focaliza na construção de personagens do autor angolano Ondjaki no seuromance Os transparentes (2012). Um tema literário importante no romance é a injustiça socialque prevalece na vida das personagens na Luanda fictícia e é fortemente criticado por Ondjaki.O objetivo da tese é discutir como a construção das personagens contribui a realçar a críticasocial no romance. Portanto a construção das personagens ricas e pobres são comparadas, bemcomo a sua contribuição em enfatizar o tema.A tese utiliza teoria da narrativa para investigar a construção das personagens literárias esobretudo um método desenvolvido por James Phelan e Peter J. Rabinowitz, que argumentaque todas as personagens literárias são compostas de três aspetos: mimético, temático esintético. Os três aspetos orientam a análise e formam o quadro metodológico para poderdiscutir a construção de personagens de Ondjaki. Os resultados mostram que a construção depersonagens ajuda a Ondjaki enfatizar a sua crítica social através de manifestar as diferenças  entre as classes sociais, realçar os problemas experimentados pela classe baixa e apresentar asconsequências possíveis da injustiça social e as possibilidades para melhorar a situação atual. / The thesis focuses on the character construction of Angolan author Ondjaki in hisnovel Os transparentes (2012; Transparent City). An important literary theme in the novel isthe social injustice, which prevails the life of the characters in the fictitious city of Luanda andis heavily criticized by Ondjaki. The objective of the thesis is to discuss how the constructionof the literary characters contributes to highlighting the social critique in the novel. To do sothe construction of the rich and the poor characters are compared, as well as their contributionin asserting the theme.The thesis deploys narrative theory to investigate the construction of the literary characters andespecially a method developed by James Phelan and Peter J. Rabinowitz, which argues that allliterary characters are composed of three aspects: mimetic, thematic and synthetic aspects.These aspects guide the analysis of the characters and are used as a methodological frameworkfor discussing Ondjaki’s character construction. The results show that the construction of thecharacters help Ondjaki to emphasize his social critique by showing class differences,highlighting the problems experienced by the lower classes and presenting potentialconsequences of social injustice as well as the possibilities for improving the current situation.