Orientador : Profª. Drª. Célia Arns de Miranda / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 31/10/2016 / Inclui referências : f. 165-168 / Resumo: A montagem teatral realizada por Robert Wilson a partir do texto-fonte A dama do mar (1888), de Henrik Ibsen, e de sua reescritura por Susan Sontag (1997) coloca em foco elementos como a voz, a luz, o cenário, a movimentação, a sonoplastia, ou seja, dá ênfase à visualidade e sonoridade. Este estudo analisa os mecanismos utilizados na transposição da obra original para a obra final, passando pela adaptação textual por Sontag, no contexto dos estudos da adaptação. É analisado o processo como a peça é transformada a partir das escolhas de Sontag, como os monólogos de frente para a plateia e a inclusão de textos folclóricos, e da estética de Wilson, que potencializa o substrato simbólico da peça com seu cenário e iluminação repletos de poesia, atuações que simulam o movimento de marionetes, gestual preciso e diálogos e movimentos propositadamente artificiais. Dentre os recursos utilizados para a análise, destaca-se a gravação em DVD do espetáculo apresentado em São Paulo em 2013 e a memória do espetáculo assistido ao vivo pela autora no mesmo ano; a peça de Susan Sontag publicada no Brasil pela editora n-1; entrevistas com atores da montagem, com o tradutor do texto de Sontag e o biógrafo da escritora, entre outras, e críticas sobre o espetáculo publicadas na mídia geral e especializada. A fundamentação teórica é proporcionado pelos estudos de Patrice Pavis, Linda Hutcheon, Robert Stam, Hans-Thies Lehmann, entre outros. Palavras-chave: A dama do mar. Adaptação. Robert Wilson. Henrik Ibsen. Susan Sontag. Teatro contemporâneo. / Abstract: The staging by Robert Wilson using the source text The Lady from the Sea, by Henrik Ibsen (1888), and its rewrite by Susan Sontag (1997) highligths elements such as voice, scenery, sound, lights and movement, which means it emphasizes visuality and sonorical aspects. This study analyzes the mechanisms used in the transposition of the original play to the final work, by means of the textual adaptation by Sontag, in the context of the studies of adaptation. The play is transformed because of Sontag's choices, such as the monologues facing the public and the insertion of folk texts. It is furthermore transformed by Wilson's aesthetics, which empowers the simbolic substrate of the original play with his scenery and lights full of poetry, acting that reminds the movement of puppets, precise gesture and artificial dialogue. Among the resources used for this analysis are the recording of the play presented in São Paulo in 2013 as well as the memory of the live show to wich the author attended in the same year; Susan Sontag's Lady from the Sea, published in Brazil by n-1 editions; interviews with actors from the play, its translator to Portuguese and Sontag's biographer, among others, and critic texts about the staging published in the general and specialized media. The theoretic writings of Patrice Pavis, Linda Hutcheon, Robert Stam and Hans-Thies Lehmann were used, among others. Key-words: Lady from the Sea. Adaptation. Robert Wilson. Henrik Ibsen. Susan Sontag. Contemporary theater.

This dissertation has the objective to verify the contribution of different tips for line detection, to the classification of multispectral images, with the possible use in the discrimination and mapping of class of covering of the land. In this context, the comparison between different techniques of detection of characteristics for extraction of power lines in agricultural areas is affected, namely, distinction techniques using variation of contrast and morphologic filtering, and detection of edges using filter Canny and detector SUSAN. In this case were used techniques of extraction of lines with Hough Transform and Radon Transform too, using different algorithms in aerial images of remote sensing. These results had evaluated and compared producing tables of efficiency for each procedure. These tables direct the different solutions that change of boarding depending of the final objective of the detection of the Power Lines. / Essa dissertação tem o objetivo de verificar a contribuição de diferentes abordagens para extração de linhas, à classificação de imagens multiespectrais, com o possível uso na discriminação e mapeamento de classes de cobertura da terra. Nesse contexto, é efetuada a comparação entre diferentes técnicas de extração de características para extração de linhas de transmissão em áreas rurais, a saber, técnicas de realce utilizando variação de contraste e filtragem morfológica, bem como detecção de bordas utilizando filtro Canny e detector SUSAN, citando como técnica de extração de linhas a Transformada de Hough e Transformada de Radon, utilizando diferentes algoritmos, em imagens aéreas e de sensoriamento remoto. O processo de análise de imagens, com diferentes abordagens leva a resultados variados em diferentes tipos de coberturas do solo. Tais resultados foram avaliados e comparados produzindo tabelas de eficiência para cada procedimento. Estas tabelas direcionam a diferentes encaminhamentos, que vão variar de abordagem dependendo do objetivo final da extração das Linhas de Transmissão.

Öyvind Fahlström in translation aims to examine how Moderna Museet interpreted Öyvind Fahlström in Manipulate the World – Connecting Öyvind Fahlström; an exhibition that showcased pieces by the postwar artist Öyvind Fahlström together with works by contemporary artists. I understand the exhibition as a ’game of translation’, in which the artworks and the texts connected to Manipulate the World are put in play with previous interpretations of the artist. ’Game of translation’ is a concept that draws on Fahlström’s concept of game, as well as Mieke Bal’s and Susan Sontag’s different understandings on the power dynamics of interpretation. As in the works by Fahlström, Bal and Sontag, the viewer and her interpretations are placed in center of my analysis.  Manipulate the world aimed to ’activate’ Fahlström. Even though the exhibition presented Fahlström as an artist who tried to actively disrupt established narratives, I concluded that the translation of Fahlström presented in and as the exhibition relied heavily on the established history of that same artist. Within the framework of that history, Manipulate the world presented two relatively new readings of Fahlström’s art: they highlighted the presence of colonial and postcolonial criticism in Fahlström’s production and launched an understanding of the artist’s variable paintings as political models.

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In this essay I examine how childhood is represented in the novels Populärmusik från Vittula (2000) by Mikael Niemi and Häng City (2022) by Mikael Yvesand. Both of these works are intended for an adult audience, or at least not written with children and young adults in mind. Yet, they both focus almost exclusively on childhood and feature children as protagonists. In Niemi’s novel this is done by an adult narrator who narrates autobiographicaly about his childhood, while Yvesand’s novel is told in present tense by an autonarrating I. Although both books differ in major ways, they both offer an ambition to represent childhood as authentically as possible through different means. Childhood may be elusive, and perhaps even impossible, to represent in literature, but through fantasy, distance, closeness and other means these books offer different ways to depict childhood respectfully.

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<p>Much of the critical discourse on J.M. Coetzee’s <em>Foe</em> does not fully investigate its relationship with Daniel Defoe’s texts, despite <em>Foe</em>’s intimate relation with them. This thesis offers a postcolonial reading of Coetzee’s Susan Barton, Cruso and Friday against Daniel Defoe’s original characters Roxana, Robinson Crusoe and Friday. Chapter one discusses Roxana-as-feminist, female colonizer, representative of her sex and Amazon and compares her to Barton. It reveals the tendency of critical discourse to attempt to ‘know’ Barton as they ‘know’ Roxana, by categorizing her, and reveals how Coetzee’s character frustrates attempts to define her. The second chapter addresses eighteenth-century knowledge of race and how it differs from present day, which offers an alternate reading of <em>Robinson Crusoe</em> and complicates its use as a colonial handbook. I also discuss masculinity in Defoe’s <em>Robinson Crusoe</em> as an individual characteristic Coetzee alters into something that can be appropriated. His characters are not masculine but can wield phallic symbols such as the pen and the knife to reveal power as systemic rather than individualistic. The final chapter offers an in depth postcolonial reading of Friday and interrogates critical discourse’s tendency to read him as representative of ‘the colonized,’ or as a colonial trope.</p> / Master of Arts (MA)

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A presente dissertação se propõe a traçar o desenvolvimento do Expressionismo desde sua origem na Alemanha da década de 1910 até o teatro estadunidense da década de 1920, assim como a influência desse movimento de vanguarda na obra do dramaturgo americano do pósguerra, Tennessee Williams. Para esse fim, a relação entre artes visuais, teatro, literatura e cinema é apresentada, definindo essa dissertação no campo dos Estudos Interdisciplinares. A análise será principalmente enfocada nas peças expressionistas americanas da década de 1920 dos dramaturgos Eugene O'Neill, Susan Glaspell, Elmer Rice e Sophie Treadwell, e em quatro peças de Tennessee Williams e suas respectivas versões fílmicas: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Primeiramente, serão apresentadas as origens do Expressionismo na Alemanha na década de 1910 para definir as características do movimento. Posteriormente, serão identificadas características expressionistas no teatro, literatura e cinema estadunidense da década de 1920. Por fim, será verificada a influência do movimento expressionista na obra de Tennessee Williams, tanto em suas peças quanto nas versões fílmicas. O objetivo dessa dissertação é provar a ligação entre a obra de Tennessee Williams e as peças de dramaturgos expressionistas estadunidenses anteriores, assim como discutir a inter-relação e o aspecto colaborativo entre artes visuais, teatro, literatura e cinema. / The aim of this thesis is to track the development of Expressionism from its roots in Germany in the 1910s to its outcome in the American theatre in the 1920s, as well as the influence of the avant-garde movement in the work of the postwar American playwright Tennessee Williams. For the purpose of the present thesis, a relation including the visual arts, theatre, literature and cinema will be traced, thus setting this work in the field of Interdisciplinary Studies. The analysis will mainly focus on 1920s American expressionist plays by Eugene O'Neill, Susan Glaspell, Elmer Rice and Sophie Treadwell, and four plays by Tennessee Williams and their respective film adaptations: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Firstly, the origins of Expressionism in Germany in the 1920s are presented to define the characteristics of the movement. Later, expressionistic aspects are identified in 1920s American theatre, literature and cinema. And finally, the influence of the expressionist movement is verified in the work of Tennessee Williams, both in his plays and film versions. The objective of this thesis is to prove the connection of Tennessee Willliams's work with that of earlier American expressionist playwrights, as well as to discuss the interrelation and collaborative aspect of the visual arts, theatre, literature and cinema.