Made available in DSpace on 2016-03-15T19:43:39Z (GMT). No. of bitstreams: 1 Tiago Xavier dos Santos.pdf: 714643 bytes, checksum: ad887d0faff33b409a9f9b35697288d2 (MD5) Previous issue date: 2010-02-05 / The objective of this work is the analyses of the concept of malandragem on Ópera do Malandro of Chico Buarque on it s historical and literature components. In first place, it´s was made a survey of the malandro s path on the Brazilian society, from the origins till it´s transformation on the Vargas Era, using the Anthropology, Sociology and literature studies. After than, it´s was made an analyses of the Ópera structure, connecting to the historical context in which was produced and the critics that make to that context. At last, it was selected some songs that wasn t from the opera itself, but it´s part of the Chico Buarque s songbook, functioning as a documental support for the understanding of the malandragem concept present in his work. To make this analyses, it was start from the exam of the verbal text of the songs searching for meaning that may be unspoken. We conclude that the analyses of this linked structure elements allowed to explicit aspects of the historical context and of the fictional creations which wasn t elucidated by the storyline. / Este trabalho tem como objetivo a análise do conceito de malandragem na Ópera do Malandro de Chico Buarque de Holanda em seus componentes histórico e literário. Em primeiro lugar, foi executado um levantamento do percurso da figura do malandro na sociedade brasileira, desde seu surgimento até a sua transformação na Era Vargas, utilizando-se estudos da Antropologia, Sociologia e Literatura. Passou-se, então, a um estudo da estrutura da obra, relacionando-a ao contexto histórico em que foi produzida e às críticas que dirige a esse contexto. Por fim, foram selecionadas algumas canções que não fazem parte da Ópera do Malandro, mas são do cancioneiro do autor Chico Buarque, servindo como apoio documental para entender o conceito de malandragem presente em sua obra. Para efetuar esta análise, partiu-se do exame do texto verbal das canções em busca de significados que possam estar implícitos. Conclui-se que a análise desses elementos estruturais integrados permitiu elucidar aspectos do contexto histórico e da criação ficcional que não são explicitados pelo enredo da obra.

Denna uppsats syftar till att undersöka Sverigedemokraternas kriskommunikativa försvar efter kritiken som uppkom mot partiet i samband med högerextremisten Anders Behring Breiviks massmord på Utöya 2011. I detta har jag ur ett narrativt perspektiv undersökt partiledaren Jimmie Åkessons förklaring till krisen och hur denna samspelar med partiets interna berättelse. Den första delen av resultaten visar att Åkesson strukturerar ett narrativ där uppkomsten av krisen för Sverigedemokraterna förklaras genom att det bedrivs en häxjakt på partiet. Den andra delen av resultaten visar att Åkesson genom dikotomisering använder den uppkomna krisen för att förstärka Sverigedemokraternas roll som antietablissemangsparti. I hans krisberättelse tillskrivs kritikerna och Breivik liknande egenskaper, vilket betyder att de står som en gemensam bov i narrativet. Detta i motsats till Sverigedemokraterna som i istället får rollen som en hjälte - demokratins beskyddare i Sverige. / This paper examines the communicative crisis defense of the Sweden democrats after the criticism that appeared after the mass murder by the right-wing extremist Anders Behring Breivik at Utöya in 2011. In this analysis a narrative examination is made of the party leader Åkessons explanation to why the crisis emerged and how his apology interacts with the party’s internal story. The first part of the results shows that Åkesson structures a narrative where the society’s witch hunt on the party stands as an explanation to why the crisis has emerged. The second part of the analysis shows that Åkesson uses the crisis to strengthen the role of the Sweden democrats as an anti-establishment party by using dichotomies. In his crisis narrative he attributes similar characteristics to his critics and Breivik. The consequence of this is that the two actors stand as a collective villain in the narrative. To the contrary, the Sweden democrats became a hero in the narrative - the protector of democracy in Sweden.

This thesis explores the limits of fictional language by studying the work of Jewish American writer-critics, novelists who significantly engaged with literary criticism, and critics who experimented with the novel or short fiction. These writer-critics all believed in Literature: they believed that literature could effect social change and educate the masses; or they believed in literature as an art-form, one that exposed the myths underlying American society, or that revealed something fundamental about the human condition. Yet it is because they believed so stridently in the concept of Literature that they turned to non-fiction. Writing fiction exposed problems that Literature could not resolve. They describe being haunted by “preoccupations” that they could not exhaust in fiction alone. They apologetically refer to their critical texts as “by-products” of their creative writing. Writer-critics were forced to decide what the limits of fiction were, and they adopted other types of writing to supplement these unexpected gaps in fiction's power. This dissertation contains four chapters and an introduction. The introduction establishes the methodological difficulties in writing about author-critics, and introduces a set of principles to guide the study. Chapter 1 approaches Abraham Cahan's The Rise of David Levinsky (1917). I argue that many of the novel's difficulties result from Cahan's desire to present the way that ideology shades our understanding of reality while minimizing direct narratorial intrusions. Chapter 2 studies how politics affected the work of Mike Gold, Moishe Nadir, and Isaac Bashevis Singer. In all three writers, literature emerges as a kind of ersatz-politics, a space for the dispossessed to imagine the political. In the end, the political novel only reinforces the fictionality. Chapter 3 is a study of Leslie Fiedler's problematic novel, The Second Stone. While critics have seen the novel as a kind of game, I propose reading the novel as an earnest expression of Fiedler's vision of literature as a conversation. Chapter 4 turns to Cynthia Ozick and Susan Sontag. A cumulative reading of their fiction and criticism shows the deep twinning of their fiction and critical thought. For both writers true knowledge comes only through the imagination. / Near Eastern Languages and Civilizations

Thesis (Ph.D.)--Princeton University, 2005. / Includes bibliographical references (leaves 234-255).

91f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-23T13:36:16Z No. of bitstreams: 1 Dissertacao Ana Emilia.pdf: 3842407 bytes, checksum: 06b8d72eed292f7ebdf42b0a223ed0f6 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-05-08T11:44:00Z (GMT) No. of bitstreams: 1 Dissertacao Ana Emilia.pdf: 3842407 bytes, checksum: 06b8d72eed292f7ebdf42b0a223ed0f6 (MD5) / Made available in DSpace on 2013-05-08T11:44:00Z (GMT). No. of bitstreams: 1 Dissertacao Ana Emilia.pdf: 3842407 bytes, checksum: 06b8d72eed292f7ebdf42b0a223ed0f6 (MD5) Previous issue date: 2010 / A bioengenharia tecidual tem possibilitado o desenvolvimento de biomateriais e técnicas inovadoras capazes de restituir a qualidade de vida aos pacientes com perdas ósseas, após a remoção de grandes tumores ósseos, traumas e em algumas doenças metabólicas. Dentre os biomateriais empregados nas terapias regenerativas destacam-se as biocerâmicas sintéticas, na forma de microesferas. Estas microesferas constituem um arcabouço que possibilita, no interstício formado entre as esferas, a difusão de fatores de crescimento e angiogênicos, a migração de cálulas osteogênicas essenciais à regeneração deste tecido. Ainda apresentam características físico-químicas semelhantes ao componente inorgânico do tecido ósseo e biocompatibilidade. O objetivo deste trabalho foi avaliar a regeneração de defeitos ósseos críticos, em calvária de rato. Para tanto, utilizou-se uma amostra composta de 60 animais, dividida em quatro grupos: Gl - defeito sem biomaterial, preenchido por coágulo; Gll - microesferas de hidroxiapatita e alginato (HA - Alg); Glll - microeferas de hidroxiapatita dopadas com estrôncio (HASr); GlV - microesferas de hidroxiapatita dopadas com estrôncio e alginato (HASr -Alg), avaliados aos 15, 45 e 120 dias de pós operatório. As análises histológicas, por microscopia de luz, demonstraram neoformação óssea mais evidente no grupo Gll em todos os pontos biológicos quando comparado aos demais grupos. As microesferas implantadas nos grupos lll e lV apresentaram maior fragmentação quando comparadas com as do grupo ll, provavelmente devido à adição de estrôncio à estrutura da HA. A neoformação óssea caracterizada pela osteocondução foi observada de permeio a esses fragmentos do biomaterial. No grupo lll, a ausência do alginato tornou as microesferas mais porosas, com formação de septos de tecido conjuntivo e células fusiformes no interior das microesferas. Em conclusão, os biomateriais apresentaram potencial osteogênico e osteocondutor formando um arcabouço tridimensional que favoreceu a neoformação óssea. A HA associada ao alginato apresentou características histológicas mais evidentes quanto a biocompatibilidade e a osteogênese, quando comparada a HA dopada com estrôncio. / Salvador

Le mouvement d’occupation de la ZAD de Notre-Dame-des-Landes milite depuis 2009 aux côtés des associations citoyennes et des paysan-ne-s en lutte pour la préservation du bocage menacé par la construction d’un aéroport international. L’organisation sociale de la « Zone d’Autonomie Définitive » repose sur le refus de la séparation du domaine légitime de la délibération, une critique radicale de la représentation qui se prolonge dans une perspective d’émancipation. Cette thèse de sociologie politique explore les effets de la perspective de l’autonomie sur la formation de l’« être-en-commun » des occupant-e-s qui se manifeste dans les formes qu’ils.elles donnent à leurs processus de socialisation, à leurs échanges économiques et cognitifs, à leurs procédures de décision, aux rapports de pouvoir qui les distinguent et à leurs pratiques de justice. Elle s’appuie sur une enquête ethnographique d’un an (2013-2014) qui m’a permis de confronter les représentations et les pratiques des occupant-e-s à une analyse théorique des modalités de matérialisation d’autres possibles. En réintroduisant une activité de sens dans la théorie des formes sociales que la sociologie des réseaux sociaux emprunte à Georg Simmel, cette thèse souhaite contribuer aux efforts opérés par la science sociale anarchiste pour déconstruire le « préjugé gouvernemental », la croyance en la nécessité d’un ordre et d’une direction. A travers l’étude des controverses qui animent la vie quotidienne des occupant-e-s, j’insiste ainsi sur l’irréductibilité d’un ensemble de tensions qui façonnent une vie sociale fondée non pas contre la différenciation individuelle, mais contre la logique d’intégration qui l’empêche. / The “occupation movement” of the ZAD of Notre-Dame-des-Landes fights since 2009 with the “citizen associations” and the “peasants in struggle” to preserve a humid hedgerow situated in the region of Britanny (France) against the building of an international airport. The social organization of the “Zone of Definitive Autonomy” is based on a radical critic of political representation which fosters a perspective of emancipation, a perspective of autonomy. This thesis in political sociology explores its effects on the formation of an alternative “être-en-commun” (“being-in-common”) through practices of socialization and justice, economical and cognitive exchanges, decision making processes and power relationships. This theoretical analysis of the materialization of “another possible” is based on an ethnographic fieldwork conducted between 2013 and 2014. Combining a pragmatic approach to the theory of forms mobilized by social network theories, this thesis adds a fragment to the deconstruction of the “governmental prejudice” the anarchist social science researches have undertaken. Through the study of a series of controversies which have been raised by the occupants during my fieldwork, I insist on the irreducibility of a set of tensions which shape a social life based on an important process of individual differentiation.

The theme of the diploma thesis is the image of Czech film and its criticism in the post- revolutionary period. The view of Czech cinematography in the 1990s is showed by professional reflection in the magazine Film a doba, traditional periodical published since 1955. The analysis reflects the form of critical pieces and the state of Czech film under the influence of new possibilities and production conditions in 1990-1999. The development of Czech cinematography is illustrated in the theoretical part with the help of literature, essays and critics. The paper also finds an answer to the question of how domestic cinematography and its criticism used an opportunity for development and whether it was successful. The research also includes external influences such as the gradual development of multiplexis, the privatization of film studios and the interest in films by Czech viewers under the influence of foreign titles.

Orientador: Claudiney Rodrigues Carrasco / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T04:47:36Z (GMT). No. of bitstreams: 1 Eikmeier_Martin_D.pdf: 2098616 bytes, checksum: 57c02e59701b149f0f9ceb73cdd8b1e2 (MD5) Previous issue date: 2010 / Resumo: Remo Usai foi o compositor que mais produziu na história do cinema brasileiro; e o único profissional especializado de sua época. Este trabalho investiga sua trajetória ao longo de 4 décadas, concentrando-se nas suas atividades durante os anos 60, período em que compôs para filmes ligados ao projeto do cinema novo e de uma produção politicamente engajada. O foco do texto se deu na aderência de seu projeto musical a filmes cujo enredo exigia formas de diálogo entre música e narrativa distintas de sua formação, que se deu nomeadamente na tradição do cinema americano e na lógica do melodrama. Deste modo, investigou-se, em primeiro lugar, quais os caminhos que levaram um profissional, identificado com um projeto de cinema - a chanchada - combatido elos artistas com os quais se associou na década de 60, a compor para estes filmes. Em segundo, as diferenças entre a maneira de lidar com o material musical em cada um destes projetos de cinema, procurando encarar tanto suas disposições estéticas, quanto o seu modo de produção e a maneira pela qual um e outro afetaram o trabalho de composição de Remo Usai / Abstract: Remo Usai was the most productive composer of our cinema history, and the only professional specialized in the art of film music of its time. This work investigates his career over four decades by focusing on his activities during the 60, period in which he composed for films related to the cinema novo project and politically engaged productions. The focus of the text is the adherence of his musical project to movies in which the plot demanded forms of dialog between music and narrative other than its formation could provide, which occurred particularly in the tradition of American cinema and the logic of melodrama. Thus, the text investigates, at the outset, what where the paths that lead a professional identified with a film project - the chanchada - opposed by the artists with whom he joined in the 60s, to compose for these films. Secondly, the differences between the way of dealing with the musical material in each of this film projects, trying to face both its aesthetic provisions, as its mode of production, and the way that either affect the composition of Remo Usai / Doutorado / Doutor em Multimeios

A proposta principal desta dissertação é analisar a recepção que o crítico teatral Sábato Magaldi ofereceu no Jornal da Tarde às primeiras montagens das peças de Antonio Bivar, Leilah Assunção, José Vicente de Paula, Consuelo de Castro e Isabel Câmara e quais as questões em evidencia na cena teatral paulista e carioca, durante a segunda metade da década de 60, que levaram Sábato Magaldi a considerá-los representantes da Nova Dramaturgia Brasileira. O trabalho possui três capítulos. No primeiro, procuramos apontar aspectos históricos da constituição da imprensa como esfera pública e da crítica teatral nos jornais diários do Rio de Janeiro e São Paulo entre os séculos XIX e XX. O segundo, por sua vez, aborda o legado de Sábato Magaldi para a crítica nacional, além de recuperar os principais debates teóricos envolvendo os críticos e a classe teatral paulista durante a década de 60. Por fim, o último capítulo, construído a partir de uma acervo documental amplo, trata da recepção que o crítico do Jornal da Tarde deu às montagens dos chamados novos dramaturgos / The main goal of this essay is to analyze the reception given by the theater critic Sábato Magaldi at the Jornal da Tarde newspaper to the first stagings of the plays by Antonio Bivar, Leilah Assunção, José Vicente de Paula, Consuelo de Castro e Isabel Câmara. Also, which are the relevant issues on both Rio de Janeiro and São Paulo theater scenes, during the second half of the 1960\'s, that lead Sábato Magaldi to single the above mentioned authors as representants of Brazilian new dramaturgy. The essay has three chapters. The first tries to identify historic aspects of the constitution of the press as public sphere and of the theater critic on Rio de Janeiro and Sao Paulo daily newspapers between the centuries 19 and 20. The second approaches Sábato Magaldy\'s legacy to the national critics, and recovers the main theoretical debates involving critics and theater workers during the 1960\'s. At last, the third chapter, built upon a wide collection of documents, addresses the reception provided by the critic of the Jornal da Tarde to the stagings of the so-called new dramaturgists

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-08-17T14:30:48Z No. of bitstreams: 1 mariacristinagomesbarbosadelima.pdf: 2278865 bytes, checksum: 3f4d819fb9bfa08c4402ef6fdc2ab737 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-08-24T11:40:59Z (GMT) No. of bitstreams: 1 mariacristinagomesbarbosadelima.pdf: 2278865 bytes, checksum: 3f4d819fb9bfa08c4402ef6fdc2ab737 (MD5) / Made available in DSpace on 2017-08-24T11:40:59Z (GMT). No. of bitstreams: 1 mariacristinagomesbarbosadelima.pdf: 2278865 bytes, checksum: 3f4d819fb9bfa08c4402ef6fdc2ab737 (MD5) Previous issue date: 2017-07-03 / As obras de Machado de Assis revelam os interesses que estão ocultos nas relações interpessoais e analisa o perfil psicológico dos personagens ocasionando, simultaneamente, o sentimento de contentamento e de repulsa através do sua estratégia verbal. O objetivo principal desse estudo consiste na análise de significado das características mais relevantes dos personagens que compõem o jogo amoroso apresentado no romance, escopo desse estudo, através de uma abordagem inovadora, representada por uma simbologia proveniente de sua semelhança à Rosa dos Ventos. Nesse sentido, os personagens que permitiram ao narrador conduzir o enredo com serenidade e comicidade, casal Palha (formado por Cristiano Palha e Sofia), Carlos Maria e Rubião, foram explorados e adaptados a uma nova interpretação através das “Rosas de Quincas Borba”. Esse estudo correlacionou as peculiaridades dos personagens da obra com as particularidades dos principais pontos cardeais, resultando numa análise contemporânea e interdisciplinar sobre esse apreciável romance acerca da sociedade brasileira do século XIX. / Machado de Assis works reveal the interests which are hidden in interpersonal relationships and analyse the psychological profile of the characters that cause simultaneously the feeling of pleasing and repulsing through the using of their verbal strategy. The main aim of this study consists in analyzing the significance of the most relevant characteristics of the characters that consists the whole love life presented in the novel, which is the scope of this study, through an innovative approach that is represented by a symbolism similar to the book “Rosa dos Ventos”. In this sense, the characters who allow the narrator to lead the plot by serenity and comically ways is the couple (Cristiano Palha and Sofia) and Carlos Maria and Rubião, who are emphasized and adapted to a new interpretation through “Rosas de Quinca Borba”. This study correlated the characters peculiarities with the peculiarities of the main cardinal points, resulting in contemporary and interdisciplinary analyses about this remarkable novel of the nineteenth century Brazilian society.