Proefschrift--Groningen. / "Stellingen": iv p. laid in. "Bibliografie": p. [145]-182.

Proefschrift--Groningen. / "Stellingen": iv p. laid in. "Bibliografie": p. [145]-182.

Στην παρούσα εργασία προσεγγίζεται η έννοια του ξένου μέσα από τα Κείμενα Νεοελληνικής Λογοτεχνίας Α΄, Β΄ και Γ΄ Γυμνασίου. Έχοντας ως έρεισμα τις πολιτισμικές σπουδές και με βασικό εργαλείο την imagologie/ πολιτισμική εικονολογία, η εργασία αυτή αντιμετωπίζει τη λογοτεχνία ως τομέα διαμόρφωσης της εικόνας «μας» και της εικόνας των «άλλων», αλλά και ως πιθανό πεδίο (ανα)παραγωγής στερεοτύπων. Η κατανόηση του ξένου επιχειρείται καταρχάς ως υποκατηγορία του άλλου και επομένως συνδέεται με ζητήματα ορισμού, συγκρότησης και αναπαραγωγής της ταυτότητας και της ετερότητας. Παράλληλα θίγονται ζητήματα σχετικά με τη δημιουργία και το ρόλο των κοινωνικών στερεοτύπων για την κατασκευή της ταυτότητας. Σε θεωρητικό επίπεδο η προσέγγιση του ξένου γίνεται μέσα από τις επιστήμες της κοινωνιολογίας, της ανθρωπολογίας, της ψυχανάλυσης και άλλων επιστημών του ανθρώπου, χωρίς να οδηγείται τελικά σε έναν απόλυτο και άκαμπτο ορισμό. Βασική παράμετρος πάντως για τον ορισμό του ξένου θεωρείται η σχέση του με τον χώρο/ τη χώρα του άλλου. Σκόπιμα δεν τίθενται εξαρχής ερευνητικά ερωτήματα ώστε να μην επηρεαστεί η οπτική της ερευνήτριας από κάτι που συνειδητά ψάχνει, αλλά να οδηγηθεί σε συμπεράσματα μέσα από το ίδιο το υλικό. Η ανάλυση των κειμένων δομείται σε δύο επίπεδα. Στο πρώτο επίπεδο γίνεται μια κατηγοριοποίηση της έννοιας του ξένου όπως προκύπτει από το υλικό, χωρίς να ακολουθούνται προσχηματισμένες κατηγορίες, έτσι δηλαδή όπως προτείνεται από την grounded theory. Βασικό εργαλείο ανάλυσης των κειμένων στο επίπεδο αυτό είναι η πολιτισμική εικονολογία. Στη συνέχεια η ανάλυση οδηγείται σε ένα δεύτερο επίπεδο στο οποίο απομακρύνεται από το βασικό μεθοδολογικό εργαλείο και επιχειρείται μια διαφορετική προσέγγιση της έννοιας του ξένου με βάση κάποιους θεωρητικούς που παρουσιάζονται στο πρώτο μέρος της εργασίας. / In the dissertation presented, “strange” is approached through Modern Greek Literature texts of High School Classes A, B and C. Having cultural studies as a base and imagologie as a basic tool, this study sees literature as a field that moulds “our” image as well as the image of “the others” and as a potential field where stereotypes are (re)produced. It is firstly attempted to understand strange as a subcategory of the other. Thus, understanding it is connected with the definition, composition and reproduction of identity and diversity. In parallel, issues concerning the creation and the role of social stereotypes to build the identity are touched. Theoretically speaking, strange is approached through sociology, anthropology, psychoanalysis and other human sciences, without eventually being brought to an absolute and firm definition. Its relation with the other’s space and country is considered, though, as a fundamental parameter for its definition. Research questions are deliberately not set in the beginning so that the researcher’s view is not affected by something consciously sought, but will be led to conclusions through the material itself. The analysis of texts is structured on two levels. On the first level, strange is categorized as results by the material, not following preconceived categories, just as it is proposed by grounded theory. On this level imagologie is a significant tool towards the analysis of the text. Analysis is then led to a second level on which it is no longer close to the basic methodology tool. There, a different approach of strange is attempted based on academics presented at the first part of the dissertation.

Submitted by Tatiana Lima (tatianasl@ufba.br) on 2015-05-08T19:40:59Z No. of bitstreams: 1 Almeida, Lareyne Luedy Oliveira Lima Cordeiro de..pdf: 12510746 bytes, checksum: 3795fd9e83120c4efbb6a4220c4188b5 (MD5) / Approved for entry into archive by Tatiana Lima (tatianasl@ufba.br) on 2015-05-11T19:03:05Z (GMT) No. of bitstreams: 1 Almeida, Lareyne Luedy Oliveira Lima Cordeiro de..pdf: 12510746 bytes, checksum: 3795fd9e83120c4efbb6a4220c4188b5 (MD5) / Made available in DSpace on 2015-05-11T19:03:05Z (GMT). No. of bitstreams: 1 Almeida, Lareyne Luedy Oliveira Lima Cordeiro de..pdf: 12510746 bytes, checksum: 3795fd9e83120c4efbb6a4220c4188b5 (MD5) / Este trabalho buscou três objetivos. O primeiro de verificar vínculos que se assemelham a manifestações da dádiva no Projeto Apoio a Distância (PAD). O segundo objetivo pretendeu discutir a dádiva no conceito de Jacques Godbout e sua manifestação no Projeto Apoio a Distância. E o terceiro de demonstrar a importância da dádiva na estruturação, manutenção e sustentabilidade do projeto. O trabalho demonstra como o projeto colabora para a geração de vínculos, principal propósito da dádiva, o que pode contribuir para o aperfeiçoamento e a perpetuidade do próprio projeto. Mesmo baseando-se em uma única iniciativa, inúmeras organizações do Terceiro Setor trabalham com iniciativas semelhantes, estendendo as descoberta do trabalho a estas também. Realizado por meio de estudo de caso do projeto em Salvador (BA), volta-se para o apoiador ou padrinho, com a perspectiva de demonstrar que a ação da dádiva não é circunscrita ao apoiado, mas envolve os dois pólos da relação. O posicionamento do Brasil não mais como um país recebedor de projetos de cooperação internacional, mas como um país doador ou player, contribui para o surgimento da necessidade dos gestores de criação de estratégias de sensibilização de famílias brasileiras para a continuidade do projeto, as quais devem considerar a presença do dom. / The first will highlight that resemble the manifestations of the gift in the Distant Support Project (PAD). The second aim is discuss the gift between strangers on the concept of Jacques Godbout and its manifestation in Distance Support Project (PAD). And the third is demonstrate the importance of gift for the structuring, maintenance and stainability of PAD. The dissertation will show how the project helps to generate links which is the main proposal of the gift, possibility also contributing to improve and maintain the project itself. Even being based in an unique initiative, many third sector organizations work with similar proposals expanding the findings of the work to these as well. Based on a case-study of the project in the municipality Salvador (Bahia) it is addressed to the sponsor showing that the gift is not only forwarded to the sponsor. It is a two way relationship. The Brazilian position of a no further supported country from international cooperation projects but as a donor country or player push managements to create strategies in order to mobilize Brazilian families to continue the project that should consider the gift. The work shows invisible relationships (gifted ones) that deserve to be observed.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação tem como objetivo principal o estudo da narrativa A Confissão de Lúcio, de Mário de Sá-Carneiro, através do estranho e seu duplo, na perspectiva freudiana. Além disso, os conceitos de eu e outro, na visão de Jacques Lacan. É realizado o estudo de alguns poemas e correspondências, bem como de fragmentos de outros textos em prosa do escritor português. Temas como: o desejo de morte, a angústia, o delírio, o amor e o gozo também são abordados. Destaca-se a importância da cidade de Paris que comparece na obra de Sá-Carneiro, como símbolo da modernidade / This dissertation has as main objective the study of narrative A Confissão de Lucio from Mário de Sá-Carneiro, through the strange and his double on freudian perspective. Moreover, the concepts of self and other, in the view of Jacques Lacan. It carried out a study of some poems and letters, as well fragments of other texts in prose from the portuguese writer. Topics such as: the desire for death, anguish, delirium, love and pleasure are also discussed. The study highlights the importance of Paris which appears in Sá-Carneiros fiction as a symbol of modernity

Submitted by ALESSANDRA IÓRIO null (lekaiorio@gmail.com) on 2017-08-17T01:34:25Z No. of bitstreams: 1 dissertação versão final pdf.pdf: 1868621 bytes, checksum: 03649c2893ca219f98773defcfab527b (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-08-23T16:25:41Z (GMT) No. of bitstreams: 1 iorio_a_me_ia.pdf: 1868621 bytes, checksum: 03649c2893ca219f98773defcfab527b (MD5) / Made available in DSpace on 2017-08-23T16:25:41Z (GMT). No. of bitstreams: 1 iorio_a_me_ia.pdf: 1868621 bytes, checksum: 03649c2893ca219f98773defcfab527b (MD5) Previous issue date: 2017-06-29 / Esta Dissertação propõe-se a discutir questões relacionadas à identidade feminina, elaboradas durante um processo de produção pictórica. Aborda especificamente a aparência dos corpos à margem das padronizações instituídas e validadas socialmente. Para tal fim, foram investigadas sob a perspectiva feminista, as práticas e estruturas sociais que constroem, regulam e naturalizam o gênero, o sexo e a sexualidade como categorias identitárias baseadas na configuração corporal. Analisou-se ainda o conceito de estranho segundo a psicanálise freudiana e no contexto da crítica de arte contemporânea como assunto de pesquisa. Os desdobramentos do recorte proposto orientaram estudos complementares ao campo das artes visuais, da teoria feminista e psicanalítica, pertencentes as áreas da filosofia, linguística e literatura. O caráter interdisciplinar do projeto tem por objetivo compreender possibilidades de reconhecer e subverter os discursos opressivos que encerram o feminino em cenários de invisibilidade e violência. / This dissertation proposes to discuss questions related to the feminine identity, elaborated during a process of pictorial production. It specifically addresses the appearance of bodies outside socially validated and instituted standardizations. To this end, the social practices and structures that construct, regulate and naturalize gender, sex and sexuality as identity categories based on body configuration were investigated from a feminist perspective. The concept of stranger according to Freudian psychoanalysis and in the context of contemporary art criticism as a subject of research was also analyzed. The unfolding of the proposed cut led to complementary studies in the field of visual arts, feminist and psychoanalytic theory, belonging to the areas of philosophy, linguistics and literature. The interdisciplinary character of the project aims to understand possibilities of recognizing and subverting the oppressive discourses that enclose the feminine in scenarios of invisibility and violence.

L’esthétique du vide en photographie est aussi ancienne que le médium lui-même. Son origine remonte aux premiers balbutiements de la technique qui, visant à obtenir une représentation exacte de la nature, s’est retrouvé confrontée aux forces résistives du réel. À l’insu de tous, cette esthétique émergea d’une tension entre le geste de l’inventeur, du créateur, qui souhaite accomplir son projet – forcer la “nature” à son dessein – et le réel qui résiste et entrave les tentatives. Toute la photographie “primitive” est marquée plastiquement par ce tiraillement entre des forces antagonistes. L’illusion, tant souhaitée, d’une représentation fidèle se déroba, laissant à la postérité la beauté de ces images sans pareille, ouvrant l’espace aux possibles. Les zones obscures, troubles et vides ont participé activement à doter ces photographies d’une aura, plongeant les spectateurs dans des contemplations et des rêveries sans fin. La phénoménalité du monde a marqué de son sceau l’esthétique photographique, transformant paradoxalement les projets technicistes, épris de précision, en aventures plastiques singulières et étranges. Ce grand écart entre désir d’appréhension et résistance du réel a produit des effets, des traces tangibles de l’étrangeté même du monde. La maturité du médium et de ses acteurs aidant, il n’y a eu, ensuite, qu’un pas à franchir pour que coïncident ces traces et les questionnements philosophiques qui en résultent. Le vide, élément majeur de cette esthétique, fut repris à bon escient comme stratégie au service du sentiment du sublime. Pour mettre en scène ces problématiques, nous convoquons l’histoire du médium photographique et, avec elle, ses plus illustres acteurs. Cela nous servira de fil d’Ariane pour parcourir les deux siècles qui nous séparent de l’invention de la photographie et voir comment, au cours de l’histoire de ce médium, des photographes ont réactivé cette esthétique. Cette thèse se propose, à travers de riches analyses historiques, techniques et théoriques, d’évaluer les résonances de l’esthétique du vide en photographie, qui consiste à vider l’espace représentatif plutôt qu’à le remplir. Par des études de cas, pratique raisonnée de prises de vue à l’appui, nous tenterons aussi de démontrer comment la photographie est devenue, au fil du temps, un médium privilégié de contemplation, d’observation, d’examen critique des espaces laissés vacants au sein du tissu urbain et comment la dialectique entre lieux réels et représentations photographiques permet, en retour, une réflexion sur les enjeux paysagers de nos espaces urbains. / The aesthetic of emptiness in photography is as old as the medium itself. Its origin goes back to the early days of the technique, which, aimed at obtaining an exact representation of nature, was confronted with the resistive forces of reality. Unbeknownst to all, this aesthetic emerged from a tension between the act of the inventor, the creator, who wishes to accomplish his project - to force "nature" to his design - and the real that resists and hinders attempts. All "primitive" photography is plastically marked by this tension between antagonistic forces. The illusion, so much desired, of a faithful representation fainted, leaving to posterity the beauty of these unique images, opening space to possibilities. The dark, troubled and empty areas actively participated in endowing these photographs with an aura, plunging viewers into contemplations and endless reveries. The phenomenality of the world has marked with his seal the photographic aesthetics, paradoxically transforming technicist projects, loving precision, in singular and strange plastic adventures. This great gap between the desire for apprehension and the resistance of reality has produced effects, tangible traces of strangeness of the world. The maturity of the medium and its actors helping, there was, then, only a step to cross to coincide these traces and philosophical questions that result. The emptiness, a major element of this aesthetic, was appropriately used as a strategy in the service of the feeling of the sublime.To stage these issues, we convene together the history of the photographic medium and most famous actors. This will serve as a clue to glance to the two centuries that separate us from the invention of photography and see how, in the history of the medium, photographers have reactivated this aesthetic. This thesis proposes, through rich historical, technical and theoretical analyzes, to evaluate the resonances of the vacuum aesthetic in photography, which consists in emptying the representative space rather than filling it. Through case studies, reasoned practice of shooting in support, we will also try to demonstrate how photography has become, over time, a privileged medium of contemplation, observation, critical examination of spaces left vacant within the urban fabric and how the dialectic between real places and photographic representations allows, in return, a reflection on the landscape issues of our urban spaces.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação tem como objetivo principal o estudo da narrativa A Confissão de Lúcio, de Mário de Sá-Carneiro, através do estranho e seu duplo, na perspectiva freudiana. Além disso, os conceitos de eu e outro, na visão de Jacques Lacan. É realizado o estudo de alguns poemas e correspondências, bem como de fragmentos de outros textos em prosa do escritor português. Temas como: o desejo de morte, a angústia, o delírio, o amor e o gozo também são abordados. Destaca-se a importância da cidade de Paris que comparece na obra de Sá-Carneiro, como símbolo da modernidade / This dissertation has as main objective the study of narrative A Confissão de Lucio from Mário de Sá-Carneiro, through the strange and his double on freudian perspective. Moreover, the concepts of self and other, in the view of Jacques Lacan. It carried out a study of some poems and letters, as well fragments of other texts in prose from the portuguese writer. Topics such as: the desire for death, anguish, delirium, love and pleasure are also discussed. The study highlights the importance of Paris which appears in Sá-Carneiros fiction as a symbol of modernity

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Various contemporary female authors deploy supernatural motifs portrayed through or alongside diverse forms of intermediality in texts which thematise the patriarchal oppression of women. In order to throw light on this phenomenon, this thesis investigates the intermedial relations and supernatural motifs of Carmen Maria Machado’s novella “Especially Heinous: 272 Views of Law & Order: SVU”, and their relation to the political themes of the text. The analysis is based on the method of intermediality, primarily on Lars Elleström’s and Irina O. Rajewsky’s categorisations of intermedial relations. The supernatural motifs are situated within the hybrid context of the gothic and magical realism, and understood as an expression of strangeness. The analysis of this thesis finds that media transformation in combination with supernatural motifs serve to visualise oppressive and violent structures that are typically obscured. What is more, the similarities and tensions between intermediality and supernatural strangeness emphasise the dread and confusion produced in the encounter with uncanny or eerie societal forces. Finally, the tension and the resistance that arise where supernatural strangeness and intermediality meet illustrate a fundamental dilemma of communication: that it is always mediated, and thus, always incomplete.