Made available in DSpace on 2016-04-26T14:53:41Z (GMT). No. of bitstreams: 1 Marcelo Burgos Pimentel dos Santos.pdf: 5715181 bytes, checksum: 1e986c2e6f8fc5a663ba8355d8b546b6 (MD5) Previous issue date: 2012-05-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis examines the relationship between literature and social sciences in two crucial aspects: culture and politics. We analyzed the importance of two ethnographic travels named O Turista Aprendiz, in the work and political career of Mario de Andrade. These journeys, occurred in 1927 and 1928-9, were important for rousing the contact with inside Brazil that the modernist writer have always looked for. One of the main issues of the aesthetic project of Mario de Andrade was "to look inside of Brazil" searching for its true origins. In our view, this look was responsible for developing two other strands on Andrade's work since reverberated in a project Na Pancada do Ganzá that can be explained, at first, as its contribution to the Brazilian social thought in seeking an interpretation of Brazilianness from the cultural field. Also echoed in political actions, in a institutional way, when he took over and led the Department of Culture of the Municipality of São Paulo. For this, we observe the actions of Mario de Andrade, from three basic axes: the literary man, the researcher man and politician man. All these strands establish links among themselves to help the measurement of the contribution that Andrade gave to the Social Sciences and to understand Brazil. In addition to the links between these strands, we noted how collaboration and networking are important tools in Mário de Andrade's work in both its aesthetic and ideological conceptions / Esta tese analisa a relação entre literatura e ciências sociais sob dois aspectos cruciais: cultura e política. Para isto, analisamos a importância que duas viagens etnográficas O Turista Aprendiz tiveram em parte da obra e trajetória política de Mário de Andrade. Essas viagens ocorridas nos anos de 1927 e 1928-9 foram importantes por aguçar no escritor modernista o contato que sempre almejou com o Brasil de dentro . Uma das bandeiras do projeto estético de Mário de Andrade consistia em olhar pra dentro do Brasil na busca por suas verdadeiras origens. Em nossa hipótese, esse olhar foi responsável por desenvolver duas outras vertentes mariodeandradianas pois reverberaram em um projeto Na Pancada do Ganzá que podem ser explicado, num primeiro momento, como sua contribuição para o pensamento social brasileiro ao buscar uma interpretação da brasilidade a partir do campo cultural. Também ecoou em ações políticas, via institucional, quando assumiu e coordenou o Departamento de Cultura do Município de São Paulo. Para isso, observamos as ações de Mário de Andrade, a partir de três eixos básicos: o homem literato, o homem pesquisador e homem político. Todas essas vertentes estabelecem vínculos entre si que ajudam a dimensionar a contribuição que Mário de Andrade de para a Ciências Sociais e para a própria compreensão do Brasil. Além dos elos entre essas vertentes, anotamos como a colaboração e as redes de relacionamento foram ferramentas importantes nos projetos de Mário de Andrade seja, na suas concepções estéticas e ideológicas

Although the wilderness preservation movement has emerged as a political force relatively recently, man's desire for retreat and renewal in untamed wilderness environments has a rich history in North America. Using contemporary guidetooks, diaries and journals, this study examines the early nineteenth century "Fashionable Tour" from New York City to Niagara Falls and combines description of the most important "natural wonders" en route with an analysis of their cultural meaning and value. There are two major themes. (1) Although pompous religiousness of language suggests conventional religiosity, pilgrims were overwhelmed with feelings of reverence, awe and wonder when face to face with natural wonders. (2) The extravagance of the New World's natural wonders influenced American and European images of the American experiment. Romanticism and Scottish Common Sense Realism are the intellectual and aesthetic background for this study. After some preliminary observations and definitions, I review the widespread importance of these two movements in early America and their points of contact with American sensibilities. Significant iconological moments in the lives of three leading Americans -- John Bartram, Samuel Mitchill and Timothy Dwight -- who donned their tourist habits to visit the Catskill Mountains, illustrate both the diversity of these influences and the beginnings of the Fashionable Tour. Analysis of the tour itself begins with chapter three. From their steamboat, tourists divided the Hudson River Valley into five "reaches" symbolizing grandeur (the Palisades), repose (Tappan Sea), sublimity (the Highlands), picturesqueness (the Hillsides) and beauty (the Catskills). In the first four reaches (chapter 3), the sublime Highlands dominate the landscape. But the "view from the top'' and Kaaterskill Falls at Pine Orchard in the Catskills were the most significant natural wonders in the Hudson Valley. Chapter five introduces Part II: West to Niagara Falls. The overwhelming effect of ongoing European settlement on the wilderness -- on flora, fauna and native Americans -- differentiates the unpredictable trip west from the predictable trip north. At Albany, tourists left their luxurious steamboats and transferred to stagecoaches and/or canalboats. Cohoes Falls, Little Falls and especially Trenton Falls, N. P. Willis' "Rural Resort," highlight the journey from Albany to Utica and suggest greater wonders to come. Images of the wilderness west of Utica comprise chapter seven. "Soft" pastoral landscapes, as in the Finger Lakes Region, did not arouse the intense response that major wonders such as the "view from the top" and Trenton Falls did. Niagara Falls was the climax and conclusion of the pilgrimage. The "greatest natural wonder" known and accessible to early nineteenth century tourists, Niagara elicited a torrent of enthusiasm and verbiage. After a detailed examination of tourist expectations and anticipations, descriptions and dreams, I focus specifically on the religious sentimentality which laced images of Niagara Falls. Pilgrims, responding with awe and protestations of "indescribableness," found evidence to support their popular religiosity. The trip from New York to Niagara was not just a relaxed holiday, but a highly focussed pilgrimage for persons seeking mystery and majesty in the sublime and the beautiful. Niagara, and to a lesser extent the other natural wonders; along the Hudson and across New York State, became religious shrines in early nineteenth century America.

Jan Havlasa was the first Ambassador of Czechoslovakia to Brazil, a distinguished writer and explorer. The purpose of this thesis is to present the explorer's life. Havlasa visited Slovakia after finishing secondary school, and soon after he travelled also to Italy; Saint Louis, Missouri; or the island of Tahiti. After the Paris Peace Conference in 1919, Havlasa served as the Ambassador of Czechoslovakia to Brazil (1920-1924); in 1943, Czechoslovak president Edvard Beneš called him back into diplomatic service, this time as the Ambassador to Chile. Among his most important formative experiences we can find his membership in the Opium Commission of the League of Nations. Despite the fact that Havlasa spent most of his life abroad, he never relinquished his homeland: he took interest in the situation of Czechoslovakia and fought for its independence on the Austro-Hungarian monarchy. His extensive lecturing activities, as well as his treatise Colonial Policy in Relation to the Great War earned him one year of gaol in Vienna. The thesis also takes into account Havlasa's extensive literary work and his lectures, which took place all over Czechoslovakia and during which he presented his books, photographs and travel experience to his readers and listeners.

Entre autobiographie et fiction, le terme " autofiction ", inventé par Serge Doubrovsky, est un " genre " qui s'est surtout épanoui à la fin du XIXe siècle avec " la transposition en fiction des fragments d'une expérience " (Hubier), devenue de plus en plus populaire au fil du temps. La recherche entreprise dans cette thèse porte sur la forme contemporaine de ce mélange entre autobiographie et fiction que l'on trouve chez Paul Auster. Le corpus principal est composé de ses romans dits de la " maturité ", publiés entre 1991 et 2008 : Leviathan, The Book of Illusions, Oracle Night, The Brooklyn Follies, Travels in the Scriptorium et Man in the Dark. C'est ainsi la question de l'évolution de l'autofiction mais également de la métafiction chez cet auteur qui est examinée dans cette thèse. Divisé en trois parties, ce travail porte dans un premier temps sur les repères spatiotemporels dans les romans de Paul Auster avant de se concentrer sur les éléments métafictionnels présents dans les romans du corpus. Dans la première partie, une distinction est faite entre deux espaces : l'espace intérieur et l'espace extérieur et la façon dont ces deux espaces cohabitent. Dans une deuxième partie, la thèse s'intéresse aux repères temporels, qu'ils soient d'ordre mémoriel ou en rapport direct avec la structure du récit. La thèse examine le rôle que jouent certains repères empruntés à l'Histoire contemporaine dans l'histoire personnelle des personnages, en observant qu'ils occupent une place toujours plus importante au fur et à mesure que l'oeuvre austérienne progresse, en particulier à partir des attentats du onze septembre. Enfin, c'est la mise en scène de l'écriture chez Paul Auster et la façon dont elle alimente l'autofiction en mettant l'accent sur l'identité d'écrivain de notre auteur qui est traitée : l'emploi du langage, l'évolution des supports d'écriture chez les personnages, la description de la méthodologie du travail de l'écrivain mais également l'intratextualité qui met en avant le lien entre tous ses romans.

This dissertation investigates the balance of power theory of international relations in the works of Jonathan Swift and his mentor Sir William Temple. Both Temple and Swift are known to have championed balance-of-power foreign policy, yet no sustained study of the subject exists. To begin, I argue that Temple used balance as a metaphor for division or separation. His policy of preserving the “Balance of Christendom” translates to sowing division among European states, and for the same reason he rejects balance of power at home. Proceeding to Swift, while commentators have long known that he advocated the classical theory of constitutional balance, they have neglected his engagement with international balance. Swift assimilates Temple’s positions into a universal theory based on classical authors; he sees balance of power as an element in the broader quarrel of ancients and moderns. The ancient view posits an independent agent who operates within the constraints of a system; the modern, by contrast, either exaggerates agency to the point of divine-right absolutism or minimizes it to the extent that only an impersonal, clockwork-like system remains. In both cases, the moderns pursue material power at each other’s expense, neglecting the intangible benefits of due separation. This theory has important ramifications for Swift’s international writings. For years scholars have emphasized Swift’s conspiracy theorizing in the Conduct of the Allies, but I argue that he discredits the Whig war cry of “Balance of Europe,” which sought military power (the balance of forces) as an end in itself, and reasserts balance as a policy of slicing Europe into as many separate kingdoms as possible. Ultimately, however, Swift’s most lasting contribution appears in Gulliver’s Travels. Here he depicts maritime power as the quintessential means by which moderns pursue absolute power, and intimates a political “Balance of Earth” as a satirical correction. This study, the first to focus on the international dimension of Swift’s political theory, offers a corrective to literary studies that favor domestic politics and yields insights into the evolution of balance-of-power theory and the intersection of culture and foreign policy at the dawn of the British empire. / text

Univ., Diss.--Warwick. / Quellen- und Literaturverz. S. [203] - 222.

A presente pesquisa tem como tema o Roteiro Turístico, buscando avançar na sua análise em termos teórico e conceitual, questionando se as categorias Sujeito e (Geo)Tecnologias, agregadas ao conceito de Roteiro Turístico, contribuiriam para redimensioná-lo e equacioná-lo com uma construção epistemológica do Turismo que transcendesse os limites mercadológicos e economicistas e, particularmente, incorporasse a lógica dos fluxos. A literatura especializada ainda dedica pouco espaço e aprofundamento à questão do roteiro e à roteirização, conforme o demonstrou a pesquisa exploratória inicial desta investigação, da qual também emergiram as categorias Tempo, Espaço e Tematização. Estas categorias demarcam o que, no corpo do trabalho, passou a ser tratado com Roteiro Turístico Tradicional. O avanço da análise mostrou que, na atualidade, o Roteiro Turístico deve contemplar, na sua abordagem, Sujeito e (Geo)Tecnologias, como novas categorias constituintes para a compreensão do Roteiro Turístico. A Dialética, tomada como opção metodológica inicial para dar suporte ao diálogo necessário entre o estado da arte atual, portanto a TESE, e os questionamentos e proposições de novas categorias (Sujeito e Tecnologia), para a composição da ANTÍTESE, mostraram-se insuficientes para encaminhar a SÍNTESE; o impasse exigiu o questionamento do caminho percorrido, inclusive em termos metodológicos, para o avanço da investigação. Como conseqüência, buscou-se na COMPLEXIDADE, conforme proposta por Edgar Morin, o suporte epistemo-filosófico, para o prosseguimento da investigação. Disso, resultou a idéia de Fluxo como categoria para organizar a compreensão que se buscava. Com esses subsídios, a construção da Síntese levou à superação do entendimento do Todo como a soma das partes, ou seja, não apenas uniram-se as categorias para propor um conceito de Roteiro Turístico mas, a partir de sua equalização, pode-se perceber o Roteiro Turístico em três esferas: (1) a priori; (2) empirização; e (3) a posteriori. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-06-04T19:27:09Z No. of bitstreams: 1 Dissertacao Rebecca de Nazareth Costa Cisne.pdf: 3212807 bytes, checksum: b6baf3ebf8257a06bddc651e23475c8a (MD5) / Made available in DSpace on 2014-06-04T19:27:09Z (GMT). No. of bitstreams: 1 Dissertacao Rebecca de Nazareth Costa Cisne.pdf: 3212807 bytes, checksum: b6baf3ebf8257a06bddc651e23475c8a (MD5)

L'art actuel est fait, pour partie, de mobilités et de formes si diverses, que d'après certains critiques et commissaires, tels que Jean-Hubert Martin ou Bao Dong, la sensation d'exotisme existe encore. On peut d'ailleurs s'étonner, qu'à l'heure de la globalisation, elle soit toujours aussi vivace. Elle l'est effectivement ; mais elle est aussi distincte de ce sentiment particulier qui offrait aux voyageurs occidentaux du XVIII et XIX èmes siècles, l'assurance de leur supériorité. Victor Segalen a, en effet, donné à l'exotisme une autre définition, chargée, celle-là, de valeurs esthétiques et éthiques. Par exotisme, il ne s'agissait donc plus de qualifier une chose, une région ou encore un être, mais d'envisager une expérience profonde de la différence perçue comme étant irréductible. Quant au monde de l'art, il s'est laissé pénétrer d'exotismes et a produit une multitude d'oeuvres, provoquant, à leur manière, des débordements de différentes natures. Il s'agira dans cette recherche d'en analyser les caractéristiques et les enjeux, en prenant pour prétexte l'étude des constituants plastiques d'un tableau peint. Le jeu des analogies entre les espaces – réels ou représentés – permettra ainsi de dégager, dans le détail, certains aspects d'une géo-esthétique, et de manière plus générale, de rendre manifeste le fait qu'il n'y a pas un, mais des mondes de l'art. / Art today is partly made of mobilities and forms so diverse that according to art critics and curators such as J. H Martin or Bao Dang, the feeling of exoticism still exists. Besides one may be surprised that in the age of globalization that feeling is so vivid . Indeed it is,but it is also different from that particular feeling that gave the European travellers of the eighteenth and nineteenth centuries the certainty that they were superior to the other people. Indeed V. Segalen gave exoticism another definition laden with aesthetic and ethical values.Through exoticism it was no longer a question of describing a thing, a region or even a human being but of considering a profound experience of the difference viewed as being resolutely different.As for the world of Art, it let itself be filled by exoticism and it has produced a vast number of masterpieces, creating in their own way diversions of all kinds. The purpose of my research will then be to analyze the characteristics and what is at stakes in exoticism, under the pretence of studying the plastic constituents of a painting.The game of analogies between the spaces- either realistic or as they are represented- will allow to single out in detail some aspects of a geo- aesthetics and more generally to make it obvious that there is not ONE world of Art but several.

Este trabalho realiza um estudo comparado entre o romance Relato de um certo Oriente, do escritor brasileiro Milton Hatoum e Um rio chamado Tempo, uma casa chamada Terra, do escritor moçambicano Mia Couto, com a finalidade de verificar as estratégias de construção da memória. Com base na hipótese de que a memória, nestes textos, é imaginação de possibilidades do devir que não se esgota em quadros fixos, a tese focaliza as dominantes técnicas e temáticas de construção da narrativa através do uso feito pelos autores do motivo da viagem, da fotografia e da epistolografia na composição dos quadros de memória. Para refletir sobre os narradores que se movimentam no espaço impreciso das misturas, envolvidos em complexas práticas culturais em interação, vale-se do apoio teórico e crítico de conceitos como hibridismo, mestiçagem, transculturação, crioulização e ambivalência. Este exercício crítico faz-se no horizonte do comparatismo da solidariedade, proposto por Benjamin Abdala Junior para os estudos das literaturas ibero-afro-americanas. / This paper carries out a comparative study between the novel Relato de um certo Oriente, by brazilian writer Milton Hatoum and Um rio chamado tempo, uma casa chamada Terra, by mozambican writer Mia Couto, with the purpose of verifying the construction strategies of memory. Based on the hypothesis that the memory, in these texts, is imagination of possibilities of the future that does not end up itself in fixed pictures, the thesis highlights the dominant techniques and issues of construction of the narrative through the use made by the authors of the travel motive, of the photograph, and of the epistolography in the composition of memory pictures. In order to reflect on the narrators that movie themselves on the imprecise space of mixtures, involved in complex cultural practices in interaction, it is looked for theoretical support and critical concepts as hybridism, miscegenation, transculturation, creolization and ambivalency. This critical exercise was done in the comparatism horizon of solidarity, proposed by Benjamin Abdala Junior to the studies of Iberian-Afro-American literatures.

A presente pesquisa tem como tema o Roteiro Turístico, buscando avançar na sua análise em termos teórico e conceitual, questionando se as categorias Sujeito e (Geo)Tecnologias, agregadas ao conceito de Roteiro Turístico, contribuiriam para redimensioná-lo e equacioná-lo com uma construção epistemológica do Turismo que transcendesse os limites mercadológicos e economicistas e, particularmente, incorporasse a lógica dos fluxos. A literatura especializada ainda dedica pouco espaço e aprofundamento à questão do roteiro e à roteirização, conforme o demonstrou a pesquisa exploratória inicial desta investigação, da qual também emergiram as categorias Tempo, Espaço e Tematização. Estas categorias demarcam o que, no corpo do trabalho, passou a ser tratado com Roteiro Turístico Tradicional. O avanço da análise mostrou que, na atualidade, o Roteiro Turístico deve contemplar, na sua abordagem, Sujeito e (Geo)Tecnologias, como novas categorias constituintes para a compreensão do Roteiro Turístico. A Dialética, tomada como opção metodológica inicial para dar suporte ao diálogo necessário entre o estado da arte atual, portanto a TESE, e os questionamentos e proposições de novas categorias (Sujeito e Tecnologia), para a composição da ANTÍTESE, mostraram-se insuficientes para encaminhar a SÍNTESE; o impasse exigiu o questionamento do caminho percorrido, inclusive em termos metodológicos, para o avanço da investigação. Como conseqüência, buscou-se na COMPLEXIDADE, conforme proposta por Edgar Morin, o suporte epistemo-filosófico, para o prosseguimento da investigação. Disso, resultou a idéia de Fluxo como categoria para organizar a compreensão que se buscava. Com esses subsídios, a construção da Síntese levou à superação do entendimento do Todo como a soma das partes, ou seja, não apenas uniram-se as categorias para propor um conceito de Roteiro Turístico mas, a partir de sua equalização, pode-se perceber o Roteiro Turístico em três esferas: (1) a priori; (2) empirização; e (3) a posteriori.