Esta Tese tem por objetivo problematizar sobre as implicações teóricas da relação Cinema-História, destacando como os filmes interpretam a História e quais as consequências desse processo para a História como ciência e para o meio social. Trata-se de pensar como o aporte de novas tecnologias constitui uma forma narrativa para a História apresentada, e se a divulgação da História por imagens filmográficas permite perceber a composição de um novo paradigma centrado na Razão Poética, que possibilite a reavaliação do próprio paradigma científico da História. O contexto escolhido para ancorar nossa análise é o da Revolução Mexicana, primeira Revolução a descortinar o breve, porém intenso, século XX. Este processo é sem dúvida um dos mais significativos na História contemporânea e mundial. Sua abrangência, seus efeitos e experiências proporcionadas ainda trazem impacto no presente vivido. O grande número de filmes realizados no México e no exterior permitiu a criação de um corpus fílmico invejável: mais de quinhentas películas produzidas desde o início do processo revolucionário, em 1910. O volume de ficções também é considerável, e sua realização incidiu em todas as décadas, seja no âmbito nacional, seja no internacional. Diante da magnitude da Revolução, as manifestações artísticas não ficaram imunes. O Estado e a sociedade trataram de abordá-la com diferentes prismas e interesses. Entre narrativas de convergência, imagens de consenso, desconstruções e solidificações de heróis, criou-se um corpus de produtos artísticos que compreendia a arte muralista, a literatura e o cinema. A Revolução tomada como um continuum permite elaborar um quadro inteligível da sociedade mexicana. Fora do México o interesse historiográfico e cinematográfico foi significativo. Para além do seu vizinho do Norte, Europa e URSS detiveram seu olhar sobre a Revolução. A escolha dos quatro filmes analisados nesta Tese recai sobre obras realizadas em dois eixos, batizados de Quadros ideológicos-temporais. O olhar estrangeiro destes cineastas de certa forma também coincide com o olhar do autor desta Tese sobre o processo mexicano. Os filmes são: Que Viva México!, México em Chamas, Companheiros e Uma bala para o General. Dessa forma, se buscará a partir das análises fílmicas, delinear alguns elementos teóricos do paradigma Cinema-História centrado no conceito de Razão Poética. / This thesis aims to discuss about the theoretical implications of Cinema History relationship, highlighting how the film interpret the history and what the consequences of this process for the History as a science and the social environment. It is thought as the contribution of new technologies is a narrative form to the history presented, and the dissemination of history by filmográficas images allows us to see the composition of a new paradigm focused on Poetic Reason, which allows the revaluation of own scientific paradigm History. The context chosen to anchor our analysis is the Mexican Revolution, the first revolution to uncover the brief but intense twentieth century. This process is undoubtedly one of the most significant in contemporary world history. Its comprehensiveness, its effects and proportionate experiences still carry impact on the lived present. The large number of films made in Mexico and abroad allowed the creation of an enviable filmic corpus: more than five hundred films produced since the beginning of the revolutionary process in 1910. The volume of fictions is also considerable, and its realization focused on all decades, whether at the national, whether at international level. Considering the magnitude of the Revolution, artistic events were not immune. The state and society have tried to approach it with different perspectives and interests. Convergence between narratives, consensus pictures, deconstructions and solidification of heroes created a corpus of artistic products comprising the mural art, literature and cinema. The Revolution taken as a continuum allows develop a meaningful framework of Mexican society. Outside of Mexico and the historiographical cinematic interest was significant. Apart from its northern neighbor, Europe and the USSR arrested his gaze on the Revolution. The choice of the four films analyzed in this work lies with works carried out in two axes, dubbed ideological-temporal frameworks. Foreign look of these filmmakers somehow also coincides with the look of the author of this thesis on the Mexican process. The films are: Que Viva Mexico!, Mexico in Flames, Companeros and A Bullet for the General. Thus, it seeks from the filmic analysis, outline some theoretical elements of Cinema History paradigm centered on the concept of Poetic Reason.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-12-12T10:48:57Z No. of bitstreams: 2 Tese - Rogério Chaves da Silva - 2015.pdf: 4963437 bytes, checksum: 53f5db7d3e6be0c1fbe33b8a5aeee94e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-12-12T10:49:57Z (GMT) No. of bitstreams: 2 Tese - Rogério Chaves da Silva - 2015.pdf: 4963437 bytes, checksum: 53f5db7d3e6be0c1fbe33b8a5aeee94e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-12-12T10:49:57Z (GMT). No. of bitstreams: 2 Tese - Rogério Chaves da Silva - 2015.pdf: 4963437 bytes, checksum: 53f5db7d3e6be0c1fbe33b8a5aeee94e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-09-18 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This research consists in a History of Historiography work, aimed at the analysis of the regional production of historiography developed in (about) Goiás from 1920 to 1990. Thus, we investigated texts of regional historiography which were dedicated to the study of issues related to the history of Goiás, therefore, we analyzed the production contexts, the influences, and the theoretical trends, the research methods, besides some narrative and normative aspects involving the historical knowledge produced about the region’s past. It was found that the history of this regional historiography of the nineteenth century can be considered from two distinct periods, each with its distinctive historiographical model: the first, originating from the writing “self-taught historians” whose historical researches have shaped the regional historiography from the early decades of the twentieth century until the 1960s; and the second, consisting of historical researches produced by researchers linked to the university, trainers of a post-1970 academic historiography. Therefore, we tried to confront these different modes of apprehension of past phenomena, and, at the same time, mark the normative, theoretical, methodological, empirical and narrative specificities contained in these two historiographical archetypes. / Esta pesquisa consiste em um trabalho de História da Historiografia, cujo objetivo é a análise da produção historiográfica regional desenvolvida em (sobre) Goiás entre as décadas de 1920 e 1990. Assim, foram investigados textos da historiografia regional que se dedicaram ao estudo de temas relativos à história de Goiás, para tanto, foram analisados os contextos de produção, as influências e as tendências teóricas, os métodos de pesquisa, além de alguns aspectos narrativos e normativos que envolveram o conhecimento histórico produzido acerca do passado da região. Constatou-se que a história dessa historiografia regional novecentista pode ser pensada a partir de dois períodos distintos, cada qual com seu modelo historiográfico característico: o primeiro, emanado da escrita de “historiadores autodidatas”, cujas pesquisas históricas marcaram a historiografia regional desde as décadas iniciais do século XX até os anos 1960; e o segundo, constituído por investigações históricas produzidas por pesquisadores ligados à universidade, formadores de uma historiografia acadêmica pós-1970. Portanto, procurou-se confrontar esses diferentes modos de apreensão dos fenômenos do passado e, ao mesmo tempo, demarcar as especificidades normativas, teóricas, metodológicas, empíricas e narrativas contidas nesses dois arquétipos historiográficos.

A presente dissertação é parte da pesquisa que se propõe investigar o discurso da materialidade cênica do grupo italiano Socìetas Raffaello Sanzio. O foco central neste primeiro momento é sua trajetória e as experiências daí decorrentes. Através da analise de seu percurso, procura-se estabelecer nesta pesquisa uma reflexão sobre as práticas contemporâneas do espetáculo que marcam uma ruptura com o modelo dramático tradicional ao propor novos paradigmas na construção da escritura cênica. / This dissertation is part of the research that aims to investigate the discourse of materiality scenic of the Italian group Socìetas Raffaello Sanzio. The central focus in this first time is its history and experiences resulting. Through analysis of its trajectory, it aims to establish this research a study of the contemporary practice of the show that marks a dramatic break with the traditional model to propose new paradigms in the construction of the writing stage.

Esta pesquisa é um estudo comparativo entre os bagaudas gauleses e os circunceliões africanos, dois grupos revoltosos rurais da Antiguidade Tardia. Seu objetivo primário é descrever o caráter social de ambos os grupos, levando em conta os múltiplos relatos nas fontes antigas e as interpretações modernas divergentes a respeito deles, que vão desde multidões rurais sob domínio patronal, monges cristãos fanáticos, até rebeliões camponesas. A comparação histórica é composta por três perspectivas analíticas. A primeiraestabelece uma compreensão comparada das tradições de composição e recepção dos textos por meio dos quais a memória social sobre bagaudas e circunceliões se objetivou em vestígios textuais. A segundaexplora a hipótese de uma crise de hegemonia nasregiões rurais do Império Romano tardio, tendo como base as possíveis relações das revoltas com as práticas de produção e de reprodução das condições de existência, as relações de trabalho e as experiências de classe. A terceiraobserva as iniciativas e respostas das estruturas imperiais na Gália e na África às ações desses movimentos de insurgência. Tal perspectiva lida com a questão fundamental da ação do Estado imperial contra essas revoltas e o papel desse Estado na manutenção da Ordem social nas zonas rurais do Império Romano, tendocomo contraparte os horizontes de organização comunitária que podem ser encontrados nessas revoltas. Uma questão central está relacionada ao problema teórico do estudo e escrita de uma história das classes subalternas na História Antiga. Esta pesquisa buscou trabalhar com esses problemas não apenas no plano teórico, mas também a partir da investigação histórica prática. / This research is a comparative study between the Gaul bacaudae and the African circumcellions, two groups of rural rebels of late antiquity. Its first aim is to describe the social character of both groups, in view of the multiple accounts from the ancient sources and the divergent modern interpretations on them, which range from patronized rural mobs, fanatical Christian monks, to peasant rebellions. The historical comparison is composed by three analytical perspectives. Firstly, this research establishes a comparative comprehension of the traditionsof composition and reception of the literary texts in which the social memory of the bacaudae and circumcellions were incorporated. Secondly, it explores the hypothesis of a hegemony crisis in the late Roman countryside,basing on the practices of production and reproduction of the conditions of existence, working relationships and class experiences. Thirdly, it observes the initiatives and responses of the imperial structures in both Gaul and Africa to the actions of the insurgents. Such comparative dimension addresses the fundamental issue of imperial state action against these revolts and the role of thatstate in keeping the social order in the Roman countryside. It has as its counterpart the communal organization horizons that can be found on those revolts. Akey issue is related to the theoretical problems concerning the study and writing of the history of subaltern classes in ancient history. This research strived to work these problems not only on the theoretical level, but also from the practical historical investigation.

Nossa pesquisa estuda a edição de textos históricos e/ou historiográficos por João Capistrano de Abreu (1853-1927), prática inserida em um momento de intensa divulgação deste tipo de texto, por vários estudiosos de história e publicações (especializadas ou não), na Europa e nas Américas, movimento já em curso nas primeiras décadas do século XIX. Ocorrendo de várias formas, esta disponibilização ampla de documentos e obras historiográficas de outras épocas concorreu (como era, na maioria das vezes, seu propósito explícito) para estender o acesso a inúmeras peças antes restritas a arquivos e bibliotecas de difícil consulta, ou a colecionadores dotados do cabedal necessário para adquiri-las. Deste modo, popularizou, até certo ponto (dependendo da extensão do círculo letrado em cada contexto), a possibilidade de estudo e escrita da história. Tal divulgação, porém, como dissemos, poderia se dar de várias maneiras, incidindo sobre o divulgador determinadas marcas que, de certa forma, hierarquizavam-nos (do compilador de textos ao historiador propriamente dito), definindo seus graus de prestígio no meio intelectual. Por outro lado, a forma como estas edições de documentos ocorriam também marcava a escrita da história a partir deles; uma edição crítica, por exemplo, buscava facilitar a compreensão histórica do texto, e apresentava ao leitor sinais de uma dada historiografia, como o respeito à procedência dos documentos, por meio de citações rigorosas, e a importância da leitura das fontes no original. No caso particular de Capistrano de Abreu, a pesquisa desenvolve-se sob dupla perspectiva: seu posicionamento em relação a outras formas de divulgação de textos históricos e/ou historiográficos (e, conseqüentemente, em relação a outras formas de escrita da história), e o estudo das suas edições dos mesmos. / This study concerns the edition and publication of historical and/or historiographical texts by João Capistrano de Abreu (1853-1927), a practice that occurred during a moment of intense divulgation of that kind of text, in Europe and the Americas, by several historians and publications (specialized or not), in a movement that goes back at least to the first decades of the nineteenth century. Happening in many ways, this vast vulgarization of documents and historiographical works of different times concurred (as it was, most of the cases, its explicit purpose) to extend the access to many pieces previously restricted to archives and libraries of difficult consult, or to private collectors who could afford them. In this way, this process popularized, to the extent of the intellectual circle in each country, the possibility of study and writing of history. Such publications, however, could happen in different forms, giving its editor different degrees of prestige, and different attributions (from the mere compiler of texts to the historian). On the other hand, the way these documents were presented also contributed to mark the writing of history based on them. A critical edition, for instance, tried to provide a historical comprehension of the text, and introduced to the reader the constitutive signs of a certain historiography, such as the respect to the origin of a cited document, and the importance of the reading of original sources. In the case of Capistrano de Abreu, our research has been developed upon two perspectives: his position concerning different forms of text editions and publications (and, by that, to other forms of history-writing), and an analysis of his own editions.

A dissertação tem como proposta analisar as obras A História em Migalhas e A História do Estruturalismo de François Dosse, identificando as suas principais diferenças como resultado de duas acepções epistemológicas e historiográficas. No entendimento destas obras, são levantadas questões relativas à comensurabilidade, considerada aqui como o elemento responsável por grande parte das elaborações teóricas, descritivas e conclusivas de Dosse, e ao ritmo da análise empregado pelo autor. Associadas a essas categorias, colocam-se também em evidência a variação entre as perspectivas de análise sincrônica e diacrônica. O objetivo final desse trabalho é mostrar que a principal diferença capaz de revelar o amadurecimento intelectual de Dosse durante o período que separa a escrita de ambas é a habilidade particular em lidar com a complexidade das diferentes variáveis que compõem os contextos intelectuais trabalhados pelo autor. / The aim of this study is to analyze the works A História em Migalhas and A História do Estruturalismo of Francois Dosse, identifying their main differences as a result of two epistemologic and historiographical asseptions. In their understanding, questions are raised concerning the commensurability, here considered as the element largely responsible for the theories, descriptions and conclusions of Dosse, and the rhythm of the analysis employed by the author. Associated with these categories, the variation between the perspectives of synchronic and diachronic analysis are also highlighted. The last goal of this work is to show that the main difference between these two works can reveal that the intellectual maturation of Dosse during the period between the writing of both is his particular skill in dealing with the complexity of different variables that composing the intellectual contexts used by the author.

No description available.

This thesis investigates the literary fantastic in Italy from the late nineteenth century to the second half of the twentieth century. The purpose is to analyse the way in which the fantastic functions in a story—its ʻmechanicsʼ—and to see how the fantastic evolved structurally over the first century of its existence in Italy. This investigation is carried out by the development of a new theoretical methodology together with the close reading of a selection of texts from four key Italian authors of fantastic literature. The thesis is divided into six chapters. The first chapter is a historical overview of the emergence of the fantastic in Italy in the late nineteenth century up to the second half of the twentieth century; it examines the obstacles the fantastic has faced and some of the thematic and structural characteristics of texts which emerge. The second chapter is a literature review of the theoretical models used to analyse and understand the fantastic, followed by an outline of a new model, entitled Different Mimetics, which looks at the internal logic of the fantastic. In the following four chapters Different Mimetics is applied to the study of a selection of fantastic texts by four authors. Chapter three focuses on Ugo Tarchetti, and shows that his stories are defined by coexistence and coincidence in both historical and thematic terms. Chapter four demonstrates how Giovanni Papini reverses the mechanics one might expect, and how his stories are structured as internal narratives. Chapter five looks at how Dino Buzzatiʼs stories are characterised by instability and stretched narrative paradigms; and finally, chapter six looks at how Italo Calvinoʼs narratives focus on world creation and paradox and how they question the stability of narrative paradigms.

This thesis analyses the responses of Irish writers and painters to a phase of national self-assertion that had arguably lost its liberating potential. It shows how the exhaustion of revolutionary pressures in Ireland after independence complicates the ties between creative activity and political activism. Drawing on a wide range of scholarship within political theory, literary criticism and art history, I chart an emerging network of literary and artistic techniques that confronts the representational aesthetics of the nation with strategies of paradox, reversal and renewal. My readings of the work of Denis Devlin, Samuel Beckett, James Joyce, Mainie Jellett, Jack Butler Yeats and, in particular, Thomas McGreevy, provide a means by which to distinguish other cultural possibilities that were imagined and pursued from 1922 to 1941, including McGreevy’s own aspiration to remould 'A Cultural Irish Republic'. The thesis argues that Ireland's political and artistic avant-garde were forcibly divided during this period: two factions that had been split apart by the effects of civil war and censorship. As such it will be preoccupied with a central question: how to sustain cultural strategies of revolutionary significance when the frontier between creative activity and political activism can no longer be straightforwardly crossed.

Text in English / The current investigation explores the possibility of surpassing or subordinating epistemology to ontology by focusing on the hermeneutics of Heidegger. Based on his works, which consider the understanding as a way of being and therefore offering the foundation for all knowledge, this study will underline the decisive shift concerning the question of being (l’être) in the works of modern hermeneutics fathers. A critical move made by Heidegger's philosophical perspective underlines the epistemology of understanding. The question of the ontology of understanding is investigated differently from his predecessors Schleiermacher and Dilthey, and culminates in a revolution in hermeneutics. The understanding is not knowledge, but a behavioural Dasein. His main contribution to hermeneutics consists of subordinating the methodological and epistemological questions to the ontological ones. The problem of understanding is no longer linked to “other” but is extended to the world. There is therefore a mundanisation of understanding, which overlaps its depsychologisation. Understanding is a mode of being of Dasein that extends in interpretation, which leads to language. The interpretation is only a development of understanding, which is articulated in language. The phenomenological method and critical analysis are used for this investigation. / Philosophy, Practical and Systematic Theology / M.A. (Philosophy)