Esta pesquisa analisa algumas das características temáticas e formais que compõem a obra do autor uruguaio Felisberto Hernández (1902-1964). Pelo fato de resistir a diferentes classificações genéricas, esta obra apresenta muitas divergências entre consagradas vozes críticas como: Echavarren (1981), Ángel Rama (1968, 1985), Jorge Bernardo Rivera (1996), José Pedro Díaz (1991, 2000), Davi Arrigucci Jr. (2006). A partir disso, este estudo pretende discutir os pontos que evidenciam sua excentricidade em seu contexto de produção (no que diz respeito à literatura uruguaia da primeira metade do século XX) e também analisar certos procedimentos narrativos que, em um permanente fluir de memórias, revelam um estilo bastante peculiar (raro) como se verifica na animização dos objetos, nos múltiplos processos de fragmentação (da consciência e do corpo) e na atmosfera onírica. / This research examines some of the thematic and formal aspects that constitute the work of Uruguayan writer Felisberto Hernández (1902-1964). For its resistance to any formal classification, this narrative world has challenged divergent and renowned critical voices such as Roberto Echavarren´s (1981), Ángel Rama´s (1968, 1985), Jorge Bernardo Rivera´s (1996), José Pedro Díaz´s (1991, 2000) and Davi Arrigucci Jr.´s (2006). From this point on, the present study aims to discuss some of the points that demonstrate its eccentricity inside its production context (that of the first half of 20th century Uruguayan Literature) and to analyze some of the narrative procedures which, in a permanent flow of memories, reveal a quirky (rare) style verified in the use of animated objects, multiple fragmentation processes (of consciousness and body) and its oneiric atmosphere.

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No. of bitstreams: 1 Gustavo_Matiuzzi_Souza_Tes.pdf: 3120395 bytes, checksum: b80be0be8d42548e4414a1989eea8a10 (MD5) Previous issue date: 2018-04-27 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / A presente tese identifica as percep??es dos atores locais sobre a operacionaliza??o da Nova Agenda para Coopera??o e Desenvolvimento Fronteiri?o (Nova Agenda) na regi?o transfronteiri?a brasileira-uruguaia (Rtbu), enfatizando a rela??o entre atores e processos formais (estatais) e informais (n?o-estatais). Ap?s quinze anos, o envolvimento dos atores locais nos projetos da Nova Agenda e o cumprimento de seus acordos e frameworks foram extremamente baixos. Se a Nova Agenda deve ser considerada uma resposta ?s demandas locais, por que houve baixos envolvimento e conformidade dos atores locais com seus projetos e acordos? Para responder a essa pergunta, esta tese extrai das teorias das Rela??es Internacionais uma abordagem plural, reflexiva e construtivista que permite o emprego de ?percep??o? como vari?vel anal?tica relevante. O uso de entrevistas e a aplica??o de pesquisa eletr?nica s?o as principais fontes prim?rias. Pesquisas bibliogr?ficas e estat?sticas oficiais s?o aplicadas na elabora??o de dados contextuais. A an?lise hist?rica ? empregada para compreender a rela??o entre atores estatais e n?o estatais na constru??o social da Rtbu. Esta tese conclui que os problemas de cumprimento e engajamento t?m pouco a ver com uma cultura fronteiri?a de informalidade e ilegalidade. Est?o mais relacionados com a defici?ncia da Nova Agenda e a perpetua??o da ignor?ncia em rela??o ? realidade social da Rtbu e ?s demandas dos atores locais. As quest?es de engajamento e conformidade dos atores locais com a Nova Agenda est?o intimamente ligadas ? insatisfat?ria oferta estatal de institucionalidade capaz de transformar a Rtbu em um espa?o legal e normativo em que a regi?o pudesse implementar, de forma aut?noma, estrat?gias de desenvolvimento local para as suas popula??es transfronteiri?as. Essa institucionalidade poderia mudar a maneira como os atores formais e informais se relacionam. Al?m disso, o modus agendi trans-local, profundamente enraizado na regi?o, ? suscept?vel tanto de ser causa para a resist?ncia a qualquer projeto que tente controla-lo ou alter?-lo, quanto de servir como base para novos regimes de coopera??o. / This thesis identifies local actors? perceptions on the operationalization of the New Agenda for Cooperation and Border Development (New Agenda) in the Brazilian- Uruguayan cross-border region (Bucbr), emphasizing the relationship between formal (state) and informal (non-state) actors and processes. After fifteen years, local actors? engagement in New Agenda?s projects, and compliance with its agreements and frameworks were extremely low. If the New Agenda should be considered a response to local demands, why was/is there such low engagement and compliance of local actors with its projects and agreements? To answer this question, this thesis draws from International Relations theories a plural, reflectivist and constructivist approach that enables the employment of ?perception? as a relevant analytical variable. The use of interviews and the application of an electronic survey are the main primary sources. Bibliographical research and official statistics are applied for contextual data. Historical analysis is employed for comprehending the relationship between state and non-state actors in the social construction of the Bucbr. This thesis finds that compliance and engagement have little to do with a border culture of informality and illegality. They are related more to a New Agenda?s deficient institutionality and the perpetuation of ignorance toward the social reality of the Bucbr and the demands of local actors. The issues of engagement and compliance of local actors with the New Agenda is intimately linked with the unsatisfactory state offer of institutionality capable to turn the Bucbr into a legal and normative space in which the region could implement, autonomously, local development strategies for its cross-border populations. Such an institutionality would potentially change the way formal and informal actors relate. Moreover, the deeply rooted trans-local modus agendi of the region is likely to be either cause for resistance of any project that attempts to control or change it or the basis of novel cooperative regimes. / Cette th?se identifie les perceptions des acteurs locaux sur la mise en ?uvre du Nouveau programme de coop?ration et de d?veloppement frontalier (NPCDF) dans la r?gion frontali?re du Br?sil-Uruguay (Rfbu), soulignant la relation entre les acteurs et les processus formels (?tat) et informel (non ?tatique). Apr?s quinze ans, l?engagement des acteurs locaux envers des projets du NPCDF et la conformit? aux accords et cadres ont ?t? extr?mement faibles. Si le NPCDF doit ?tre consid?r? comme une r?ponse aux demandes locales, pourquoi y a-t-il eu peu de participation et de conformit? des acteurs locaux ? ses projets et accords ? Pour r?pondre ? cette question, cette th?se extrait dans les th?ories des relations internationales une approche pluriel, r?flexive et constructiviste qui permet l'utilisation de la ? perception ? comme une variable d'analyse pertinente. L'utilisation d'interviews et l'application d'un questionnaire ?lectronique sont les principales sources primaires. La recherche bibliographique et les statistiques officielles sont appliqu?es ? la pr?paration des donn?es contextuelles. L'analyse historique est utilis?e pour comprendre la relation entre les acteurs ?tatiques et non ?tatiques dans la construction sociale de la Rfbu. Cette th?se conclut que les probl?mes de conformit? et d'engagement ont peu ? voir avec une culture frontali?re d'informalit? et d'ill?galit?. Ils sont davantage li?s ? la d?ficience du NPCDF et ? la perp?tuation de l'ignorance par rapport ? la r?alit? sociale de la Rfbu et aux exigences des acteurs locaux. L'engagement et la conformit? des acteurs locaux au NPCDF sont ?troitement li?s ? l?insatisfaisante fourniture des institutions capables de transformer la Rfbu dans un espace juridique et normatif dans lequel la r?gion pourrait mettre en ?uvre, de mani?re autonome, les strat?gies de d?veloppement local pour leurs populations transfrontali?res. Cette institutionnalit? pourrait changer la fa?on dont les acteurs formels et informels interagissent. En outre, le modus agendi trans-local, qui est profond?ment enracin? dans la r?gion, est susceptible d'?tre une cause de r?sistance ? tout projet qui tente de le contr?ler ou de le modifier, ou de servir de base ? de nouveaux programmes de coop?ration.

Quel est le processus de création d’un monde de fiction ? Telle est la question qui motive ce travail. Cette thèse s’interroge plus particulièrement sur quels sont les processus mis en place par l’écrivain uruguayen Juan Carlos Onetti (1909–1994) pour créer Santa María, sa ville de fiction. Souvent décrite comme un locus horrendus, Santa María est une ville qui ressemble à plusieurs villes référentielles du Río de la Plata. Elle a été créée à partir des souvenirs et idéalisations d’un auteur qui a connu l’exil et a recréé un univers fictionnel dans lequel il reflète de nombreux éléments constitutifs de cette région d’Amérique du Sud, tout en la dotant de traits fictionnels représentatifs de la poétique onettienne. Cet espace de fiction est devenu le théâtre de la plus grande partie des œuvres d’Onetti, et le lieu de résidence de presque tous ses personnages, qui tentent d’échapper sans succès de ce monde centripète. Pour explorer les arcanes de la création onettienne, ce travail s’attache à étudier la configuration de l’univers diégétique des dix-sept romans et nouvelles ayant pour cadre Santa María, ainsi que les trois récits dans lesquels apparaissent quelques personnages récurrents de la « saga ». Cette analyse permet de déchiffrer des pistes textuelles, parfois cachées, souvent trompeuses, dans le but de déceler les rouages de la création littéraire de Santa María. Cette thèse s’attarde également sur l’importance de l’intertextualité, une constante dans ce corpus, qui participe à la cohésion et à la cohérence de l’univers fictionnel de Santa María. Ainsi, Santa María se déploie comme un monde possible, si non désirable, pour les personnages acteurs de la « comédie humaine » de Juan Carlos Onetti / What is the process of creating a fictional world? This question motivates this work, in particular, what are the processes put in place by the Uruguayan writer Juan Carlos Onetti (1909-1994) to create Santa María, his own city of fiction. Often described as a locus horrendus, Santa María is a city that resembles several referential cities of the Rio de la Plata. It was created from the memories and idealisations of an author who experienced exile and recreated a fictional universe in which he reflects the many constituent elements of this region of South America, while endowing it with fictional traits which are representative of Onettian poetic. This space of fiction has become the theatre of most of Onetti's works, and the home of almost all his characters, who try to escape without success from this centripetal world. To explore the mysteries of Onettian creation, this work focuses on the configuration of the diegetic universe of the seventeen novels and short stories of Santa María, as well as the three narratives in which some recurring characters appear. This analysis makes it possible to decipher textual tracks, sometimes hidden, often misleading, in order to detect the inner workings of the literary creation of Santa María. This thesis also focuses on the importance of intertextuality, a constant in this corpus which participates in the cohesion and coherence of the fictional universe of Santa María. Thus, Santa Maria deploys as a possible world, if not desirable, for the characters actors of the "human comedy" of Juan Carlos Onetti.

Esta pesquisa analisa algumas das características temáticas e formais que compõem a obra do autor uruguaio Felisberto Hernández (1902-1964). Pelo fato de resistir a diferentes classificações genéricas, esta obra apresenta muitas divergências entre consagradas vozes críticas como: Echavarren (1981), Ángel Rama (1968, 1985), Jorge Bernardo Rivera (1996), José Pedro Díaz (1991, 2000), Davi Arrigucci Jr. (2006). A partir disso, este estudo pretende discutir os pontos que evidenciam sua excentricidade em seu contexto de produção (no que diz respeito à literatura uruguaia da primeira metade do século XX) e também analisar certos procedimentos narrativos que, em um permanente fluir de memórias, revelam um estilo bastante peculiar (raro) como se verifica na animização dos objetos, nos múltiplos processos de fragmentação (da consciência e do corpo) e na atmosfera onírica. / This research examines some of the thematic and formal aspects that constitute the work of Uruguayan writer Felisberto Hernández (1902-1964). For its resistance to any formal classification, this narrative world has challenged divergent and renowned critical voices such as Roberto Echavarren´s (1981), Ángel Rama´s (1968, 1985), Jorge Bernardo Rivera´s (1996), José Pedro Díaz´s (1991, 2000) and Davi Arrigucci Jr.´s (2006). From this point on, the present study aims to discuss some of the points that demonstrate its eccentricity inside its production context (that of the first half of 20th century Uruguayan Literature) and to analyze some of the narrative procedures which, in a permanent flow of memories, reveal a quirky (rare) style verified in the use of animated objects, multiple fragmentation processes (of consciousness and body) and its oneiric atmosphere.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2016-08-08T15:59:41Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Paula Penteado de David.pdf: 1660108 bytes, checksum: 9e31ea77aed66458dddff26f630b597e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-08-08T17:18:54Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Paula Penteado de David.pdf: 1660108 bytes, checksum: 9e31ea77aed66458dddff26f630b597e (MD5) / Made available in DSpace on 2016-08-08T17:19:05Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Paula Penteado de David.pdf: 1660108 bytes, checksum: 9e31ea77aed66458dddff26f630b597e (MD5) Previous issue date: 2015-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Esta dissertação analisa os processos de sândi externo presentes em um corpus de falantes nativos e residentes do Uruguai, em um contexto de entrevistas. O método utilizado para a coleta de dados baseia-se em Labov (1972), que afirma ser válido obter dados de programas de rádio e de televisão, principalmente no caso de entrevistas, palestras ou debates. Este estudo tem por finalidade apresentar os processos de sândi externo ? ditongação, degeminação e elisão ?, bem como sua recorrência nos dados do espanhol uruguaio. Atém-se à descrição e análise dos mencionados processos, a partir do corpus de espanhol (LM), com base em Nespor & Vogel (1986) e estudos relacionados ao sândi externo na língua espanhola (Contreras, 1966; Hualde, 1991). A partir da análise realizada, constatou-se que o processo de sândi externo mais recorrente foi o de degeminação, seguido do processo de elisão e, por último, com um número pouco expressivo de ocorrências, a ditongação. / This essay analyzes the external sandhi processes present in a corpus of reporters natives and residing in Uruguay, in a context of interviews. The method utilized for data collection is based in Labov (1972), which states that is valid to obtain data from radio and television shows, mainly in the case of interviews, lectures or debates. This paper has the objective of presenting the external sandhi processes ?diphthongization, degemination and elision ?, as well as its recurrence in Uruguayan Spanish data. This paper sticks to the description and analisys of the mentioned processes, on the Spanish corpus (LM), based on the prosodic theory of Nespor & Vogel (1986) and studies related to external sandhi in Spanish language (Contreras,1966; Hualde, 1991). From the analysis realized, one has concluded that the external sandhi process with the greatest number of occurrences in the sample was the degemination, followed by the elision process and, at last, with an unexpressive number of occurrences, the diphtongization.

O Rio da Prata foi uma região estratégica aos interesses políticos e econômicos de todos os países ao sul do continente americano. As disputas por seu controle e navegabilidade estiveram em pauta nos embates entre projetos de nação nos Estados em formação naquele momento e, em muitas oportunidades, transpuseram o limite das ideias e negociações e chegaram ao campo de batalha, onde tais países puseram-se frente a frente na defesa de interesses distintos, tanto pela consolidação de suas relações externas quanto pela estabilidade política interna. Nesse sentido, a presente dissertação pretende analisar de que maneira o Brasil criou condições para levar a cabo seus projetos políticos e econômicos no Rio da Prata, entre 1842 e 1852. Tomando por base a atuação política e militar de Luis Alves de Lima e Silva barão, conde, marquês e futuro duque de Caxias nesse período, busca-se compreendê-lo como uma figura central e um importante representante e artífice dos interesses políticos brasileiros no contexto platino, desde a sua missão de pacificação da conhecida Revolução Farroupilha, passando por seus primeiros anos como senador do Império (pelo Rio Grande do Sul), até regressar ao campo de batalha, nas campanhas que derrubaram do poder Manuel Oribe, na República Oriental do Uruguai, e Juan Manuel de Rosas, na província argentina de Buenos Aires, durante a intervenção brasileira na Guerra Grande. / The River Plate was a strategic region to the political and economic interests of all the southern countries of the American continent. The disputes for its control and seaworthiness were in focus on the conflicts between nation projects in the states in formation at that moment, and in many occasions, they transposed the limit of the ideas and negotiations and reached the battlefield, where such countries settled face to face to defend different interests, for consolidation of its external relationship and internal political stability. Therefore, this dissertation intends to analyze the method Brazil used to create conditions to execute its political and economic projects on the River Plate between 1842 and 1852. Based on the political and military performance of Luis Alves de Lima e Silva - Baron, Count, Marquis and future Duke of Caxias at that period, it\'s intended to see him as a main character and an important representative and creator of the Brazilian political interests in the River Plate region context, since his pacification mission of the well-known Ragamuffin War, through his first years as the Empire senator (representing Rio Grande do Sul), until his return to the battlefield, in the campaigns that took Manuel Oribe off the power, in the Eastern Republic of Uruguay, and Juan Manuel de Rosas, in the argentine province of Buenos Aires, during the Brazilian intervention in the Uruguayan Civil War.

O Rio da Prata foi uma região estratégica aos interesses políticos e econômicos de todos os países ao sul do continente americano. As disputas por seu controle e navegabilidade estiveram em pauta nos embates entre projetos de nação nos Estados em formação naquele momento e, em muitas oportunidades, transpuseram o limite das ideias e negociações e chegaram ao campo de batalha, onde tais países puseram-se frente a frente na defesa de interesses distintos, tanto pela consolidação de suas relações externas quanto pela estabilidade política interna. Nesse sentido, a presente dissertação pretende analisar de que maneira o Brasil criou condições para levar a cabo seus projetos políticos e econômicos no Rio da Prata, entre 1842 e 1852. Tomando por base a atuação política e militar de Luis Alves de Lima e Silva barão, conde, marquês e futuro duque de Caxias nesse período, busca-se compreendê-lo como uma figura central e um importante representante e artífice dos interesses políticos brasileiros no contexto platino, desde a sua missão de pacificação da conhecida Revolução Farroupilha, passando por seus primeiros anos como senador do Império (pelo Rio Grande do Sul), até regressar ao campo de batalha, nas campanhas que derrubaram do poder Manuel Oribe, na República Oriental do Uruguai, e Juan Manuel de Rosas, na província argentina de Buenos Aires, durante a intervenção brasileira na Guerra Grande. / The River Plate was a strategic region to the political and economic interests of all the southern countries of the American continent. The disputes for its control and seaworthiness were in focus on the conflicts between nation projects in the states in formation at that moment, and in many occasions, they transposed the limit of the ideas and negotiations and reached the battlefield, where such countries settled face to face to defend different interests, for consolidation of its external relationship and internal political stability. Therefore, this dissertation intends to analyze the method Brazil used to create conditions to execute its political and economic projects on the River Plate between 1842 and 1852. Based on the political and military performance of Luis Alves de Lima e Silva - Baron, Count, Marquis and future Duke of Caxias at that period, it\'s intended to see him as a main character and an important representative and creator of the Brazilian political interests in the River Plate region context, since his pacification mission of the well-known Ragamuffin War, through his first years as the Empire senator (representing Rio Grande do Sul), until his return to the battlefield, in the campaigns that took Manuel Oribe off the power, in the Eastern Republic of Uruguay, and Juan Manuel de Rosas, in the argentine province of Buenos Aires, during the Brazilian intervention in the Uruguayan Civil War.

No description available.

This thesis explores the symbolic place occupied by a racialized neighbourhood within the Uruguayan national imaginary. I study the conventillos (tenement buildings) of two traditionally Afro-Uruguayan neighbourhoods in Montevideo, Barrio Sur and Palermo. These neighbourhoods are considered the cradle of Afro-Uruguayan culture and identity. The conventillos have been immortalized in paintings, souvenirs, songs, and books. Over the years most of the residents were evicted due to demolitions, which peaked during Uruguay’s military dictatorship (1973-1984). I address the paradox of how a community can be materially marginalized, yet symbolically celebrated, a process that is evident in other American nations (Brazil, Colombia, etc.). I show how race, class, and gender are entangled in folkloric depictions of the conventillo to constitute a limited notion of blackness that naturalizes the relationship between Afro-Uruguayans, music, sexuality, and domestic work. The folklorization of the space and it residents is shown to be a “fetishization” which enhances the whiteness of the national identity, while confining the parameters of black citizenship and belonging. Utilizing a methodology that draws on cultural geography, critical race, postcolonial, and feminist theory, my dissertation analyzes the various ways that the Barrio Sur/Palermo conventillo has been imagined, represented, and experienced. Specifically, I examine 1) autobiographical, literary and popular (media, songs) narratives about these neighbourhoods; 2) the depiction of the conventillo by a prominent artist (Carlos Páez Vilaró); 3) spatial practices; 4) the performance of a dancer who emerged from the conventillo to become a national icon (the Carnival vedette Rosa Luna); and 5) interviews with nine key informants. My analysis focuses on how bodies, subjects, and national belonging are constituted through relations to particular spaces. By foregrounding the “geographies of identity” (Radcliffe and Westwood, 1996, p. 27), I show that the symbolic celebration of black space goes hand in hand with material disavowal. This study thus connects the imagining of a local, racialized space to how national belonging is constituted and experienced.

This thesis explores the symbolic place occupied by a racialized neighbourhood within the Uruguayan national imaginary. I study the conventillos (tenement buildings) of two traditionally Afro-Uruguayan neighbourhoods in Montevideo, Barrio Sur and Palermo. These neighbourhoods are considered the cradle of Afro-Uruguayan culture and identity. The conventillos have been immortalized in paintings, souvenirs, songs, and books. Over the years most of the residents were evicted due to demolitions, which peaked during Uruguay’s military dictatorship (1973-1984). I address the paradox of how a community can be materially marginalized, yet symbolically celebrated, a process that is evident in other American nations (Brazil, Colombia, etc.). I show how race, class, and gender are entangled in folkloric depictions of the conventillo to constitute a limited notion of blackness that naturalizes the relationship between Afro-Uruguayans, music, sexuality, and domestic work. The folklorization of the space and it residents is shown to be a “fetishization” which enhances the whiteness of the national identity, while confining the parameters of black citizenship and belonging. Utilizing a methodology that draws on cultural geography, critical race, postcolonial, and feminist theory, my dissertation analyzes the various ways that the Barrio Sur/Palermo conventillo has been imagined, represented, and experienced. Specifically, I examine 1) autobiographical, literary and popular (media, songs) narratives about these neighbourhoods; 2) the depiction of the conventillo by a prominent artist (Carlos Páez Vilaró); 3) spatial practices; 4) the performance of a dancer who emerged from the conventillo to become a national icon (the Carnival vedette Rosa Luna); and 5) interviews with nine key informants. My analysis focuses on how bodies, subjects, and national belonging are constituted through relations to particular spaces. By foregrounding the “geographies of identity” (Radcliffe and Westwood, 1996, p. 27), I show that the symbolic celebration of black space goes hand in hand with material disavowal. This study thus connects the imagining of a local, racialized space to how national belonging is constituted and experienced.