Дисертації з теми "Costume in literature"
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1
Cieskowski, Babette. "Costume Party With Blood." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu152335917211272.
2
Crocker-Aulenback, Heather Lee. "Dressing cultures costume designs for Pericles /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/369/.
3
Weiss, Katherine. "‘… gentle light unfading …’: Set and Costume Designs for Samuel Beckett’s Neither." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/2261.
4
Priebe, Rebekah Elisabeth. "Costume Design for a Production of The Coast of Illyria." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461249481.
5
Bierschenk, Elisa Dianne. "Costume Design and Production for O Pioneers!, by Darrah Cloud." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274731821.
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Lublin, Robert I. "Costuming the Shakespearean stage visual codes of representation in early modern theatre and culture /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060614385.
Анотація:
Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains x, 256 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2005 Aug. 11.
7
Ferrara, Flora. "Translating History of Fashion on Screen : A study of Piero Tosi’s costumes in Senso and their power of divulgation as historiophoty." Thesis, Stockholms universitet, Modevetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183256.
Анотація:
The aim of this thesis is to demonstrate that historical costumes can be a valid tool to crystallize and disseminate visual knowledge about fashion and dress history. In the specific, this thesis argues that the screen representation of dress and fashion of the 1860s in the adaptation Senso (1954) provides an evocative contextualization of their past use and meaning for modern viewers. It also discusses the historical accuracy attained by one of the film’s costume designers, Piero Tosi, and his mediation between on-page story and reality. To do this, it visually and textually compares the film costumes, diverse historical documentation and the original novel the film is based on. This analysis is supported by an interdisciplinary theoretical framework: by postmodern history with the concept of historiophoty; by literature and adaptation studies with Genette’s palimpsests and Eco’s reflections on intersemiotic translation; and by costume studies and practitioners with the idea of historical accuracy as a progressive scale and costume as supporting the narrative and balancing the frame.
8
Kim, Jeena. "Tea Parties, Fairy Dust, and Cultural Memory: The Maintenance and Development of Alice in Wonderland and Peter Pan Over Time." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1404780148.
9
Tsoumpra, Natalia. "Comic leadership and power dynamics in Aristophanes." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:1b3d4779-609e-4638-81f2-2e7f0d410477.
Анотація:
This thesis investigates the concept of leadership in four comedies of Aristophanes. In the first chapter (Lysistrata) I focus on the relationship of the female leadership with religious rituals and medical pathology, and I show that the power of women lies in their important biological role and their ability to conceive and (re)produce life in the context of marriage. In chapter two (Knights) I examine the operation of leadership through the alimentary and sacrificial codes of the play. I argue that the Sausage-seller gradually manifests himself as the sacrificial cook Agorakritos who sacrifices Demos. In this way he puts an end to the politics of savage, raw consumption as they were employed by Paphlagon (and, occasionally, by Demos himself), and saves the day by inaugurating a new era of political practice. In chapter three (Birds) I focus on the political competition between the former leader of the Birds, Tereus, and the newcomer Peisetairos. I argue that Peisetairos captivates his audience through the abuse of rhetoric and sophistry, and gradually adopts more brutal ways, by perverting the ritual of hospitality, committing cannibalism, and becoming sexually aggressive. In this respect, Peisetairos is assimilated to the tragic Tereus of the Sophoclean tragedy, but finally emerges as a more successful version of both the comic and the tragic Tereus. In the fourth and last chapter (Ecclesiazusae) I discuss the women’s disruption and overturn of the normal social order by focusing on the practice of cross-dressing and on love-magic rituals: the exchange of costume between the two sexes, as well as the control of magic practices by the women over men, empower women and, by contrast, disempower and ridicule men, who are finally reduced to a state of impotence, infertility and almost death.
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Albrizio, Eileen M. "Wearing costumes and crossing borders : search for self in Chicano/a literature /." Abstract, 2008. http://eprints.ccsu.edu/archive/00000551/01/1995Abstract.htm.
Анотація:
Thesis (M.A.) -- Central Connecticut State University, 2008.Thesis advisor: Katherine Sugg. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 114-116). Abstract available via the World Wide Web.
11
Bucher, Danijela. "Le voyage et l’image : l’appropriation visuelle et matérielle de la Suisse et des Alpes par les voyageurs anglais (du XVIIIe au XXe siècle)." Electronic Thesis or Diss., Angers, 2018. http://www.theses.fr/2018ANGE0072.
Анотація:
Cette thèse met en relation les voyageurs et les alpinistes anglais et le lien qu’ils ont entretenu avec l’image de la Suisse sur environ 250 ans. Tout au long de cette période, les raisons et la manière de voyager ont évolué. En ce qui concerne l’image, le point de départ et le fil conducteur sont des centaines d’estampes produites au XVIIIe siècle par un groupe d’artistes suisses connu sous le nom de « petits maîtres suisses ». Le corpus principal se constitue d’estampes suisses provenant de collections anglaises comme celles du National Trust, de la British Library et du British Museum. De plus, s’ajoute une analyse approfondie des récits de voyage. L’objectif premier de cette étude est de déceler les différentes fonctions qu’ont pu avoir les estampes pour les voyageurs ; puis, dans un second temps, de repérer les thèmes préférés de ces derniers La méthode « artefact studies » et le concept « biographie d’objet » sont utilisés pour pouvoir analyser les estampes dans un contexte non exclusivement artistique. L’étude de quelques voyageurs révèle un décalage de fonction : tandis que l’estampe était acquise comme souvenir de voyage au XVIIIe siècle, elle l’était comme objet d’art à partir du XIXe siècle. L’étude met en évidence que les voyageurs et les alpinistes avaient autant apprécié les estampes représentant des costumes que celles représentant des paysages. De plus une production parallèle anglaise de l’image de la Suisse sous forme de livres illustrés a été observée ainsi qu’une véritable popularisation de celle-ci sous forme de peintures panoramiques et de spectacles théâtraux, à Londres au XIXe siècle. Toutes ces images ont été créées par d’anciens voyageursThis thesis explores the relationship between English travellers and the image of Switzerland over 250 years (from the 18th to the 20thcentury). While the reasons for and the manner of travelling changed from the Grand Tour to more modern mountaineering, the interest in images has grown. The starting point and the central theme are the hundreds of prints produced by the so-called “Swiss Kleinmeister” artists in the 18th century. The focus is on prints from English collections such as the National Trust, the British Library and the British Museum. In addition, travel literature will be analysed. The aim of this study is, firstly, to trace the different meanings the print could have to the travellers and, secondly, to detect the travellers’ favourite subjects. The method “artefact studies” and the concept of “object biography” will be used in order to study the prints in a non-exclusively artistic context. Some travellers and their Swiss prints reveal that there was a shift in their meaning and function: while in the18th century the prints were considered as travel souvenirs, they were considered as works of art from the 19th century on. One surprising result is that Grand tourists and mountaineers purchased as many costume prints as landscape prints
12
Dupuy-Olivier, Anaïs. "Jacques Le Marquet (1927-2017), une conjonction de talents et de pratiques au service de la scénographie." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30047.
Анотація:
Né en 1927, Jacques Le Marquet a été, tour à tour, de 1950 à 2009, technicien et régisseur au Théâtre National Populaire (1952-1972), scénographe de théâtre (1956-1990), conseiller auprès d’architectes pour la construction de salles de spectacles (1963-2009), professeur à l’École nationale supérieure des Arts Décoratifs (1969-1992), tout en écrivant des textes de fiction, notamment théâtraux (1960-2015). Notre thèse poursuit deux objectifs : retracer la globalité de ce parcours en soulignant les liens et les interactions entre ces différentes activités ; montrer comment un parcours se construit en se diversifiant. Elle adoptera un plan en quatre parties, chacune représentant une des activités de Jacques Le Marquet : celle de régisseur, celle de scénographe tant de théâtre que d’architecture, celle d’enseignant et enfin celle d’écrivain. Pour mener à bien ce projet, notre thèse s’appuiera sur les archives de Jacques Le Marquet conservées au département des Arts du spectacle de la Bibliothèque nationale de France qui sont d’une grande exhaustivité. Cette étude de cas sur un scénographe et ses pratiques valorisera l’approche analytique, tout en reposant sur une dimension historique indispensable pour ancrer cette analyse. Il conviendra ainsi de replacer Jacques Le Marquet dans son contexte en montrant en quoi il est à la charnière d’une époque et en même temps le représentant d’une nouvelle vision de la scénographie. L’approche analytique, quant à elle, consistera à mettre en lumière le travail du concepteur et notamment celui du scénographe (cadres d’exercice, champs d’intervention, processus conceptuel, méthodologie de travail), et à montrer comment la méthode qu’il a mise au point donne vie à des œuvres plastiques et littéraires. Les archives de Jacques Le Marquet, complétées par d’autres sources (iconographie et coupures de presse), révèlent ce qui résulte de la phase de conception - décors, costumes et écrits -, et permettent ainsi de décrire son style de scénographe et d’écrivainBorn in 1927, Jacques Le Marquet served successively, from 1950 to 2009, as stage manager in the Théâtre national populaire (1952-1972), theatre set designer (1956-1990), consultant attached to architects for performance hall construction (1963-2009), scenography teacher in the École nationale supérieure des Arts Décoratifs (1969-1992), whilst writing fiction texts, particularly theatrical texts (1960-2015). Our thesis pursues two purposes : to retrace his career as a whole by emphasizing the connections and the interactions between these different activities ; and to show how a career is built whilst diversifying. It is composed of four chapters, each of them dealing with one of Jacques Le Marquet’s activities : stage manager, scenic designer as much of theatre sets as of architecture, teacher and finally that of a writer. In order to achieve these goals, our thesis will be based on Jacques le Marquet’s exhaustive archives, held at the Department of Performing Arts at the Bibliothèque nationale de France. This case study on a scenic designer and his practices will highlight the analytical approach, whilst embedding this analysis in a necessary historical dimension. Indeed, it is key to place Jacques Le Marquet in his context, showing how he is both at the turning point of an era, and at the same time how he bears the vision for a new perspective on scenography. On the other hand, the analytical approach will shed light on his work as a designer, notably as a scenic designer (scope of practices, fields of activity, design process, working methodology). It will show how his method brings life to plastic and literary works. Jacques Le Marquet’s archives, completed by other sources (iconography and press clippings) reveal the results of the design stage - scenery, costumes and writing -, and allow to describe his style as a scenic designer and as a writer
13
Acosta, Bianca Ramires. "O Maruí: presença literária na imprensa do século XIX (1880 – 1882)." reponame:Repositório Institucional da FURG, 2007. http://repositorio.furg.br/handle/1/2546.
Анотація:
Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2007.Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-09-17T15:04:35Z No. of bitstreams: 1 biancaacosta.pdf: 3263415 bytes, checksum: 3113c80a11c1df85cea4ec337c1d77e0 (MD5)
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A proposta dessa dissertação é a de verificar a atividade literária presente na imprensa do século XIX. Para tanto, como corpus, foi escolhido o jornal caricato rio-grandino Maruí (1880 – 1882) que realizou articulações entre literatura e imprensa, sobretudo através da poesia e da prosa. Nesse contexto o jornal optou por desenvolver uma linguagem de conteúdo contundente e moralizador, configurando assim a crítica de costumes. As mesmas giram em torno da vida política e social, discutindo os hábitos e preceitos morais, críticas essas que ganhavam ainda mais relevância com desenhos mordazes e incisivos. Objetiva-se resgatar textos publicados pelo periódico como forma de garantir o acesso dos mesmos ao estudo de pesquisadores interessados, uma vez que essas fontes primárias encontram-se praticamente inacessíveis ao público em geral. Nessa perspectiva, o foco dessa dissertação é a análise do produto literário veiculado no Maruí, observando e analisando como literatura e imprensa articulavam-se e expressavam a crítica de costumes através de textos satíricos e carregados de ironia, tema escolhido para esse estudo, levando em consideração o contexto histórico-literário em que o jornal estava inserido. Para se proceder a análise foi necessário realizar uma antologia que expressasse o tema escolhido a fim de se indexar o material de maior relevância. Muito embora os índices abordem todo o conteúdo do periódico, a transcrição do corpus para a pesquisa se deteve nas matérias literárias com cunho crítico e/ou humorístico.
The proposal of this dissertation is to verify the literary activity in the 19th century press. For this, it was chosen, as the corpus, the caricatural rio-grandino newspaper Maruí (1880-1882), which articulated literature and press, especially through poetry and prose. In this context, the newspaper chose to use an impacting and moralizing language, characterizing, the criticism of customs. The newspaper material also deals with the political and social life, discussing the habits and moral precepts, such criticism used to achieve much more significance with sarcastic and incisive drawings. The aims is to restore the newspaper published texts as a way of ensuring their access of the texts to researchers interested in studying them, considering that these primary sources are virtually inaccessible to the general public. From this perspective, the focus of this dissertation is the analysis of the literary product in Maruí, observing and analyzing how literature and press were articulated and used to express the criticism of customs through satirical and ironic, theme which was chosen for this study, taking into consideration the historical and literary context in which the newspaper was inserted. To carry the analysis on it was necessary to conduct an anthology that expressed the theme chosen in order to index the material of greater relevance. Although the indexes address the entire contents of the newspaper, the transcription of the corpus of the research focused on the literary field containing critic and/or humor.
14
Newell, Marilee. "The wyvern's tale : a thought experiment in Bakhtinian dual chronotope occupation." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/2154.
Анотація:
The non-fiction introduction to The Wyvern’s Tale: A Thought Experiment in Bakhtinian Dual Chronotope Occupation documents the evolution of the novel, The Wyvern’s Tale, from the ideas that inspired it to its current incarnation as a full-length novel intended for an adult audience. It comprises an explanation of the novel’s main concept, Bakhtinian dual chronotope occupation, as well as an idea-focused account of the creative-writing process. Detailed in the introduction’s theoretical premise is the relationship between Mikhail Bakhtin’s theories of chronotope and the carnivalesque and the ideal of the divided union in Chalcedonian Christology. This relationship revolves around the state of existing in two time-spaces at once. The novel, The Wyvern’s Tale, explores this dual existence imaginatively using the setting of parallel worlds – the every-day world and a fictional world called Wyvern – as well as a protagonist, who functions in the fictional world as a Christ-figure. Particular thematic emphasis is placed on differing perceptions of truth and reality, and on the transformative power of costumes. The novel’s outcome, dependent on the reader’s decision as to whether dual chronotope occupation is possible or impossible, is respectively either hopeful or tragic. It attempts to reflect the outcome of the life and death of Christ depending on whether his co-existence as God and man was real or imagined.
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Volpini, Javer Wilson. "Lucíola, na literatura e no cinema: a protagonista e a indumentária no contexto do século XIX." Centro de Ensino Superior de Juiz de Fora (CES/JF), 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/7030.
Анотація:
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PROQUALI (UFJF)
A partir do romance Lucíola, de José de Alencar, publicado em 1862, e do filme Lucíola, o anjo pecador, de Alfredo Sternheim, de 1975, propõe-se uma pesquisa com abordagem na caracterização da protagonista das obras, por meio da indumentária, no romance e, do figurino, no cinema. Não se trata de um estudo sobre a moda no século XIX por meio da literatura, mas de forma inversa, de um desejo de analisar as contribuições da moda para a literatura e de que forma podemos situar esse diálogo, a partir da narrativa literária. Com base nas descrições de vestuário presentes no romance de Alencar, direcionou-se o foco da pesquisa para uma sondagem da vestimenta como texto ( escrito e visual ), e como tal, a investigar a atenção dada pelo autor / diretor a esse componente da linguagem. Ao elaborar uma plataforma de estudo pautada na interface entre a literatura e o cinema, pretende-se, ainda, esboçar um panorama do desenvolvimento de figurino no processo de adaptação da obra literária, sondando a importância do texto como fonte de pesquisa e sua influência na construção desse figurino.
Studying the novel Lucíola, by José de Alencar, published in 1862, and the film Lucíola, o anjo pecador (The sinful angel), by Alfredo Sternheim, released in 1975, this dissertation proposes to research an approach to the characterization of the protagonist of the works through their clothing, in the novel, and through their costume, in the film. This is not a study about fashion in the nineteenth century through literature, but, on the contrary, it is a study about a desire to analyze the contributions of fashion to literature and how we situate this dialogue within the literary narrative. Anchored in the descriptions of clothing present in Alencar's novel, the focus of the research is directed to a survey of the garment as text (written and visual), and as such, to investigate the attention given by the author and the film director to this component of language . In developing a platform of study guided by the interface between literature and cinema, it is also intended to outline the development of costume in the process of adapting a literary work, examining the importance of the text as a source of research and its influence on the construction of the costumes used in the film.
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Nogueira, Maria Lúcia Porto Silva. "A norma dos "bons costumes" e as resistências femininas nas obras de João Gumes (Alto Sertão Baiano, 1897-1930)." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/12636.
Анотація:
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Previous issue date: 2010-12-01Conselho Nacional de Desenvolvimento Científico e Tecnológico
This research has as its object of analysis the gender representations in the Alto Sertão of Bahia, at the turn of the XIX century and the first decades of the XX century. It aims to evidence some cultural practices and social tensions that permeated the experiences of women and men in the society at that time. Based on João Gumes‟s literature, the intellectual backcountry man who described that region in his novelistic plots, it was possible to glimpse the details from the public-private in a dynamic full by the dominant moral values of that period and linked with a strong tradition. Gumes announced the backcountry reality, denounced social injustices and defended the residents from that region, but it wasn‟t his objective to release efforts in order to extinguish socio-cultural stereotypes from gender relationships or to criticize prejudices that existing about the feminine world. In the dialogue with these searches, the analysis focused on differentiated documents, emerging other visions from that same time. In a dialectic and dialogical posture this research aimed to focalized the experiences and women‟s daily actions, finding female identities in different rhythms permanencies, changes, resistances, transgressions despite the set of standards and beliefs that were imposed, at that time, in the context from the backcountry culture
Este trabalho tem como objeto de análise as representações de gênero no Alto Sertão da Bahia, na virada do século XIX e primeiras décadas do século XX, buscando evidenciar práticas culturais e tensões sociais que permeavam as vivências de homens e mulheres na sociedade da época. Partindo das obras literárias de João Gumes, o sertanejo intelectual que retratou a região em suas tramas romanescas, foi possível entrever os pormenores do público-privado numa dinâmica impregnada pelos valores morais dominantes no período e afinados com forte tradição conservadora. Gumes anunciou a realidade sertaneja, denunciou injustiças sociais e defendeu os moradores do sertão, mas não era seu objetivo desprender esforços para abolir estereótipos sócio-culturais das relações de gênero ou criticar preconceitos existentes sobre o mundo feminino. No contraponto com tais fontes, a análise debruçou-se sobre documentos diferenciados, fazendo emergir outras visões da mesma época. Numa postura dialética e dialógica, a pesquisa buscou focalizar as experiências e ações quotidianas das mulheres, encontrando identidades femininas em diferentes ritmos - permanências, mudanças, resistências, transgressões - a despeito de todo um conjunto de normas e crenças que lhes eram inculcadas, à época, no contexto da cultura sertaneja
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Nascimento, Patrício Alves do. "Uma costura de tempo: memória e utopia na poesia de Manuel Bandeira." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/14858.
Анотація:
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Previous issue date: 2008-05-21Secretaria da Educação do Estado de São Paulo
The purpose of that dissertation is to analyze as they are configured, in Manuel Bandeira's poetry, themes as the memory and the Utopia. For so much, the poems were selected Vou-me embora pra Pasárgada and Teresa, texts that are shown open to the analysis of those themes. In our analysis, we began by thinking what is the poetic and what characterizes it. We saw that it is born with the mythical thought and it is a type of permanence of the main characteristics of this thought: amalgam between the memory and the search of a truth or answer for the being. We related that subject of the search with the perception of the lack in the poetic bandeiriana; it lacks of a body and of a future, that is reflected in the construction of his poetry, deeply linked to the themes of the finiteness and of the memory. Starting from philosopher Henri Bérgson's theories and of novelist Marcel Proust, we passed to the analysis of the theme of the memory, defending it, in the poetry bandeiriana, as recovery possibility and of recriação of what it was. Like this, we noticed that the theme of the memory was directly linked to the theme of the Utopia, because in a poem as Vou-me embora pra Pasárgada, the recovery of an individual past goes directly by the tradition of a promised land to all, mythical, true. In Teresa, it happens the inverse process: of the collective memory, through the literary rereading, we pass to the individual longing of communion with the other, through the love. We concluded that the poetry banderiana is a rereading process and permanent recreation, a pendulum that keep going from one to the other to return full of new meaning for the first one. The poetry as a process of seam of a particular person, that borns starting from itself and that necessarily goes by the other
O propósito dessa dissertação é analisar como se configuram, na poesia de Manuel Bandeira, temas como a memória e a utopia. Para tanto, foram selecionados os poemas Vou-me embora pra Pasárgada e Teresa, textos que se mostram abertos à análise desses temas. Em nossa análise, começamos por pensar o que é o poético e o que o caracteriza. Vimos que ele nasce junto com o pensamento mítico e é uma espécie de permanência das principais características deste pensamento: amálgama entre a memória e a busca de uma verdade ou resposta para o ser. Relacionamos essa questão da busca com a percepção da falta na poética bandeiriana; falta de um corpo e de um futuro, que se reflete na construção de sua poesia, profundamente ligada aos temas da finitude e da memória. A partir das teorias do filósofo Henri Bérgson e do romancista Marcel Proust, passamos à análise do tema da memória propriamente dito, defendendo-o, na poesia bandeiriana, como possibilidade de recuperação e de recriação do que foi. Assim, percebemos que o tema da memória estava diretamente ligado ao tema da utopia, pois em um poema como Vou-me embora pra Pasárgada, a recuperação de um passado individual passa diretamente pela tradição de uma terra prometida a todos, mítica, verdadeira. Em Teresa, ocorre o processo inverso: da memória coletiva, através da releitura literária, passa-se ao anseio individual de comunhão com o outro, através do amor. Concluímos que a poesia banderiana é um processo de releitura e recriação permanente, um pêndulo que vai do eu ao outro para retornar cheia de novo significado para o eu. A poesia como um processo de costura de um eu, que nasce a partir de si e que passa necessariamente pelo outro
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Souza, Érica Fernanda Brasil Carosia Paulino de. "O traje medieval português e sua função alegórica no Auto da Barca do Inferno e no Auto da Alma de Gil Vicente." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/14665.
Анотація:
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Previous issue date: 2011-05-12Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation examines the role of the allegorical medieval costume Portuguese, Auto da Barca do Inferno (1517) and Auto da Alma (1518) Gil Vicente. As specific objectives, we demonstrate the relationship between clothing and the characters, explain the symbolism of each piece of clothing, and elucidate the Vincentian context, through the clothing, the conflict between the sacred and the profane, the ideological concepts of the sixteenth century Christians In two acts of religious playwright Portuguese. We point out relevant data from the clothing of the sixteenth century, as well as the theoretical background on allegory. We apply the concept, through clothing, to elucidate the conflict between salvation and damnation of the characters in the context of the pieces. We explain the issue from two allegorical modes stylistic or rhetorical allegory constructive (so to speak) and allegory interpretive or hermeneutic (way of understanding). Object of study by numerous researchers, the machine takes a critical look that demands a closer look. Establishes a visual language as relevant as verbal discourse. Reveals information. Expresses ideas. Represents the social and cultural changes. Allows interactions between society. It expresses identity and behavior. However, we observed that the clothing is not synonymous with acquittal or conviction, but joins the allegorical character of the works of playwright Portuguese, who always point to two conflicting realities: human and divine, the immanent and transcendent, individual ethics and social ethics
Esta dissertação de Mestrado analisa a função alegórica do traje medieval português, no Auto da Barca do Inferno (1517) e no Auto da Alma (1518) de Gil Vicente. Como objetivos específicos, buscamos demonstrar a relação entre a indumentária e as personagens; explicar a simbologia de cada peça de roupa, no contexto vicentino e elucidar, por meio do vestuário, o conflito entre o sagrado e o profano e os conceitos ideológicos cristãos do século XVI, nos dois autos religiosos do teatrólogo português. Apontamos dados relevantes do vestuário do século XVI, bem como o panorama teórico sobre alegoria. Aplicamos a conceituação, por meio da indumentária, para elucidar o conflito entre a salvação e a perdição das personagens no contexto das peças. Elucidamos a questão alegórica a partir de duas modalidades estilísticas: alegoria construtiva ou retórica (maneira de falar) e alegoria interpretativa ou hermenêutica (modo de entender). Objeto de estudo de inúmeros pesquisadores, a roupa propõe uma leitura crítica que demanda um olhar atento. Estabelece uma linguagem visual tão relevante quanto o discurso verbal. Revela informações. Exprime ideias. Representa as mudanças sociais e culturais. Permite interações entre a sociedade. Expressa identidade e comportamento. Contudo, observamos que a roupa não é sinônimo de absolvição ou condenação, mas antes alia-se ao caráter alegórico das obras do teatrólogo português, que apontam sempre para duas realidades em conflito: a humana e a divina, a imanente e a transcendente, a ética individual e a ética social
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Grüdtner, Carla Denise. "Sewing and quilting in alice walker the color purple "and everyday use"." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/129515.
Анотація:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2014Made available in DSpace on 2015-02-05T21:11:17Z (GMT). No. of bitstreams: 1 329137.pdf: 1103202 bytes, checksum: 76086ed233f11435bb9940ab47477983 (MD5) Previous issue date: 2014
Mulheres e escravos não tinham acesso à educação formal nos Estados Unidos no século XIX. Por outro lado, costurar era uma atividade obrigatória até mesmo para meninas da mais tenra infância. O exercício da costura proporcionava também resultados subjetivos, sendo prescrito para acalmar as mulheres quando se irritavam com os deveres domésticos. No entanto, as mulheres transformaram o peso das obrigações em oportunidade. Enquanto se encontravam para fazer quilts, elas se fortaleciam como grupo, discutindo tanto assuntos domésticos quanto públicos, como a confecção de uma colcha de núpcias ou o direito das mulheres ao voto. Assim, elas encontraram nas agulhas o meio de expressão negado na leitura e na escrita. À época do bicentenário da independência dos Estados Unidos, os quilts foram redescobertos pelos historiadores e pelo mundo da arte, e adquiriram o status de arte. O passo seguinte foi a descoberta da relação entre quilts e a escrita feminina, bem como a aplicabilidade dos quilts como metáfora da textualidade. Na segunda metade do século XX, o movimento feminista foi criticado por não contemplar as necessidades de todas as mulheres, mas dirigir-se a um grupo específico: mulheres brancas, da classe média e com educação formal. Em resposta, surgiu o conceito de interseccionalidade. Com relação à arte, Alice Walker tem abordado a questão da criatividade das mulheres negras nas gerações anteriores ao indagar como elas mantiveram viva a criatividade sem ler e escrever, e sem ter consciência da própria criatividade. As narrativas de Walker analisadas neste trabalho, The Color Purple e "Everyday Use", tratam a costura e o fazer quilts principalmente como atividades favoráveis ao fortalecimento dos relacionamentos interpessoais. Além disso, considera-se que essas atividades constituem instrumentos de expressão que contribuem para a descoberta da criatividade, das subjetividades e das identidades das personagens, e consequentemente, de seus respectivos processos de emancipação.
Abstract: Women and slaves had no access to writing or reading in the United States in the nineteenth century. However, sewing was a mandatory activity even for very young girls. More than bedcovers, sewing also provided subjective results, being prescribed to compose women when they got irritated with their duties in domestic life. However, women turned the burden of duty into opportunity. While they met to quilt, they grew stronger as a group. They discussed domestic as well as public issues, ranging from the confection of a bridal quilt to women's suffrage. Then, they found in their needles the medium for the expression they lacked in writing and reading. At the event of the Independence Bicentennial, quilts were rediscovered by historians and the art world, and acquired status of art. The next step was the discovery of the relationship between quilting and women's writing, as well as its applicability as a metaphor for textuality. Together with the rediscovery of quilts, the feminist movement in the second half of the twentieth century was criticized for not addressing all women's needs, being directed to a specific group: white, middle class, educated women. As a response, the concept of intersectionality emerged. Concerning art, Alice Walker has approached the issue of creativity of black women in the previous generations by asking how they could keep alive their creativity, once they could not read or write. Walker also states that these black women were not aware of their own creativity. Alice Walker's The Color Purple and "Everyday Use" analyzed in this research deal mainly with sewing and quilting as a favorable circumstance for the strengthening of interpersonal relationships. Also sewing and quilting act as instruments for the discovery and expression of the characters' own creativity and identity, and consequently, for their emancipation.
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Machit, Melissa Renee. "Bad Habits: Gender Made and Remade in Guillén de Castro's La fuerza de la costumbre." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11147.
Анотація:
Guillén de Castro's play La fuerza de la costumbre (1625) depicts the process of re-teaching gender to Hipólita and Félix, a sister and brother who have grown up performing the gender opposite to their physical sex. This dissertation provides the first edition of the play since 1927, and the first ever critical edition, which contains notes, critical apparatus and essays, and compiles information from all extant sources, including the manuscripts (not used in the 1927 edition). The 1625 print edition serves as the base text, with variants from the four manuscript witnesses compiled in an index. The critical apparatus includes a biography of the author, textual history, editorial methodology, metrical analysis, bibliography and notes on the text.Romance Languages and Literatures
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Souza, Filho Vinebaldo Aleixo de 1977. ""O Carro do Êxito" de Oswaldo de Camargo = a literatura de um negro em transição." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281964.
Анотація:
Orientador: Fernando Antônio LourençoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A dissertação tem como objetivo analisar a relação entre a vida e a obra de Oswaldo de Camargo, jornalista, músico, poeta, ficcionista e estudioso de literatura negra brasileira. Interessa-nos interpretar o modo como esse autor se inseriu em diferentes organizações negras, entre os anos de 1950 e 1980. Além disso, estudamos seu livro de contos O Carro do Êxito (1972). Essa obra de ficção é central para o desenvolvimento de projetos literários negros de grande importância, na segunda metade do século XX. Para compor nosso quadro analítico, nos referenciamos em autores como Pierre Bourdieu, Nobert Elias, Antonio Candido e Eric Auerbach, entre outros
Abstract: The dissertation has as an objective to examine the relationship between life and work of the Oswaldo de Camargo, a journalist, musician, poetry, fictionist and researcher of black Brazilian literature. We are interested in interpreting the way of the author had joined different black organizations between 1950 and 1980. In addition, we analyzed his short story book O Carro do Êxito (1972). This book is important to analyze the development of black Brazilian literary projects in the second half of the twentieth century. To compose our analytical framework, we dialogue with authors like Pierre Bourdieu, Norbert Elias and Eric Auerbach, Antonio Candido, among others
Mestrado
Sociologia
Mestre em Sociologia
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Gatty, Fiona K. A. "Ideal beauty in late eighteenth- and early nineteenth-century French art and art criticism with special reference to the role of drapery and costume." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9c3f5f9e-0a0c-4c1e-a7c1-62ed972cfd12.
Анотація:
Scholarly attention to late eighteenth- and early nineteenth-century French art has focused on the importance that Johann Joachim Winckelmann attributed to the male nude figure in his definition of ideal beauty, and the impact of his work on debates over the 'beau idéal' in French art and art criticism. In contrast, Winckelmann's extensive interest in the detail of ancient costume, the folds of drapery, and the teleological and aesthetic significance that he ascribed to them, has been underplayed. The role played by costume and drapery as components of the 'beau idéal' in French art and aesthetics has also not been fully explored. This thesis examines the way in which costume and drapery formed an important component and embodiment of ideal beauty in the work of Winckelmann and in late eighteenth- and early nineteenth-century French artistic circles, providing new insights into the arguments over the meanings of Truth, Beauty and Nature in this period. The thesis proposes that ideal beauty in late eighteenth- and early nineteenth- century France was conveyed in works of art through the accurate rendering of costume and the expressive qualities of drapery in combination with the perfect form and contour of the nude body. The first part of the thesis sets up a proposition that costume and drapery formed part of the definition of ideal beauty in the work of Winckelmann. Highlighting the significance of Winckelmann's work on costume and drapery in French art theory, it demonstrates how the definition of ideal beauty in France also incorporated the accurate rendering of costume and the aesthetic impact of drapery. In demonstrating the significance of costume and drapery to both Winckelmann and French theorists it is proposed that the application of a meta-historical approach of costume and drapery to French art theory can provide new understandings and readings of the definition of ideal beauty, the hierarchy of the genres and the broader aesthetic concerns of late eighteenth- and early nineteenth- century French art. The second part of the thesis applies the proposed hermeneutic of costume and drapery to a small selection of theoretical work on the nature of ideal beauty and on a significant collection of Salon criticism. With this approach to the primary material this thesis demonstrates how French artists were able to express the 'beau idéal' within the traditional academic conventions and hierarchies, and negotiate the sense of public unease over the use of nudity in contemporary art.
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Pereira, Marcos Paulo Torres. "Resíduos Culturais e Literários do Medievo Europeu Cristalizados na Identidade do Herói Sertanejo." http://www.teses.ufc.br, 2010. http://www.repositorio.ufc.br/handle/riufc/3467.
Анотація:
PEREIRA, Marcos Paulo Torres. Resíduos culturais e literários do medievo europeu cristalizados na identidade do herói sertanejo. 2010. 145 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2010.Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-07-09T12:05:06Z No. of bitstreams: 1 2010_DIS_MPTPEREIRA.pdf: 1330788 bytes, checksum: 5fba4716a5e2425e26f6ac5a58f3d46e (MD5)
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The Romance of the Stone Kingdom is narrated by the protagonist Pedro Dinis Ferreira Quaderni that after being arrested by authorities of the Estado Novo in Taperoá writes his epic, his memorial, from the stories of their ancestors. The imagery that colors the stone of the kingdom in a fantastic setting in which the transfiguration of the world backcountry is filtered through the eyes of the narrator Quaderni, from a remnant of the medieval mind thought Europe, presents the daily life of wilderness surrounded by what we call the Northeast Medieval To be understood in the work by the Theory of Literary and Cultural Waste. The theory seeks to prove the role of imagination, memory and culture of the peoples of literary production, bringing to light the mental substrates that have been absorbed by the author and who were employed in the production of literary texts, aesthetically recycled through crystallization. The crystallization of cultural and literary waste is the constant re-elaboration of the experiences, memory and tradition in a new imaginative context, the work that brings new creative possibilities that will become responsible for generating a speech act between reader and text by the process of identifying oneself and for others, besides allowing to enunciate a plan "openness of meaning" which establishes new relations between signifiers and their meaning, forged in the mind, consciously or unconsciously, creating a permanent waste reality, sediment (ethnic, cultural, historical, artistic, etc..), which will again create symbolic materials
O romance da Pedra do Reino é narrado pelo protagonista Pedro Dinis Ferreira Quaderna que, ao ser preso por autoridades do Estado Novo, em Taperoá, escreve sua epopéia, seu memorial, a partir das histórias de seus ancestrais. O imaginário que colore a Pedra do Reino, num fantástico cenário no qual a transfiguração do mundo sertanejo é filtrada pelos olhos do narrador Quaderna, a partir de um pensamento remanescente da mentalidade medieval européia, apresenta o cotidiano do sertão envolto pelo que denominamos de Nordeste Medieval, a ser compreendido na obra mediante a Teoria dos Resíduos Literários e Culturais. A teoria busca comprovar o papel do imaginário, da memória e da cultura dos povos na produção literária destes, trazendo à luz os substratos mentais que foram absorvidos pelo autor e que foram empregados na produção do texto literário, reciclados esteticamente através da cristalização. A cristalização de resíduos culturais e literários é a re-elaboração constante das experiências vividas, memória e tradição, em um novo contexto imaginativo, que traz à obra novas possibilidades criativas que se tornarão responsáveis pela geração de um ato discursivo entre leitor e texto, mediante o processo de identificação de si e do outro, além de possibilitar ao plano enunciativo uma “abertura da significação” na qual se estabelecem relações novas entre os significantes e seu sentido, forjados na mentalidade, de forma consciente ou inconsciente, gerando a permanência de resíduos de realidade, sedimentos (étnicos, culturais, históricos, artísticos etc.), que serão novamente materiais de criação simbólica
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Pires, Monica Kalil. "A tradução cultural em romances históricos : análise comparativa entre Léon, l'Africain, de Amin Maalouf, e A Incrível e Fascinante História do Capitão Mouro, de Georges Bourdoukan." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17654.
Анотація:
La traduction culturelle, indispensable pour la communication entre les peuples, est une tâche complexe en raison de la subjectivité de ceux qui sont impliqués et des différents aspects qu´interviennent à la présentation de la culture d'origine pour la culture de la réception. La littérature est un moyen privilégié de faire la médiation entre cultures. Léon, l'Africain et A incrível e fascinante história do Capitão Mouro, de Amin Maalouf et Georges Bourdoukan, respectivement, sont des romans historiques qui présentent la culture arabo-musulmane au lecteur occidental. À travers l'Histoire, la langue, la conception d'espace, les relations interpersonnelles, les coutumes et les rituels, ils donnent la parole à une culture traditionnellement étouffée dans l'Occident, et contribuent pour la médiation de conflits.A tradução cultural, fundamental para a comunicação entre os povos, é uma tarefa complexa, devido à subjetividade dos agentes envolvidos e aos vários aspectos que interferem na apresentação da cultura de origem para a cultura de recepção. A literatura é uma forma privilegiada de fazer esta mediação entre culturas. Léon, l´africain e A incrível e fascinante história do Capitão Mouro, de Amin Maalouf e Georges Bourdoukan, respectivamente, são romances históricos que apresentam a cultura árabe-muçulmana ao leitor ocidental. Exploram a História, a linguagem, a construção espacial, o relacionamento interpessoal, os costumes e os rituais, dando voz a uma cultura tradicionalmente sufocada no Ocidente, e com isso contribuindo para a mediação de conflitos.
The cultural translation, essential for communication between peoples, is a complex task due to the tranlator´s subjectivity and the various aspects involved in the presentation of the culture of origin for the culture of reception. The literature is a privileged way of doing this mediation between cultures. Léon, l'africain and A incrível e fascinante história do Capitão Mouro, from Amin Maalouf and Georges Bourdoukan, respectively, are historical novels that present the Arabic-Muslim culture to the Western reader. They explore the History, language, design space, interpersonal relationships, customs and rituals, giving voice to a culture traditionally smothered in the West, helping to mediate conflicts.
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Sousa, José Josberto Montenegro. "Culturas tradicionais no Ceará: nas dobras de narrativas em contendas sertanejas." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/13150.
Анотація:
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Previous issue date: 2009-06-08Conselho Nacional de Desenvolvimento Científico e Tecnológico
This work aimed to study traditional cultures of Ceará State, Brazil, with emphasis on the experiences and the way of being and living of poor backwoodsmen population. We agreed to discuss conceptions about the backwoods and backwoodsmen, disseminated by folklorits´ onset, the instance of literacy, of sciences, and public power, that reproduce equivocate apprehension about backwoodsmen s culture which its origin forwards significantly to indigenous and African cultural heritage. These affirmations are marked by persistent strategies kept as expressions of popular culture. We analyzed the dimension of their argument and point of views, giving privilege to the narratives produced about and by backwoodsmen, with the objective to evidence distinct perspectives of its statement s content
Neste estudo tratamos de culturas tradicionais no Ceará, com ênfase às experiências e modos de ser e viver de populações pobres sertanejas. Procuramos problematizar abordagens e concepções sobre o sertão e sertanejos, disseminadas por investidas de folcloristas, de instâncias do letramento, das ciências, e de poderes públicos, que reproduzem apreensões equivocadas acerca de culturas sertanejas cujas origens remetem, significativamente, a heranças culturais de povos indígenas e africanos. Estas asserções estão marcadas por persistentes estratégias de enfrentamento mantidas como expressões da chamada cultura popular. Analisamos pontos de vista e dimensões de seus argumentos, privilegiando narrativas produzidas sobre e por sertanejos, com o intuito de evidenciar distintas perspectivas quanto ao conteúdo de seus enunciados
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Andrade, Silvana Bento. "Caldeirão: Resíduos do Medievo na Guerra dos Beatos." http://www.teses.ufc.br, 2009. http://www.repositorio.ufc.br/handle/riufc/3449.
Анотація:
ANDRADE, Silvana Bento. Caldeirão: resíduos do medievo na guerra dos beatos. 2009. 270f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2009.Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-07-13T14:00:55Z No. of bitstreams: 1 2009_DIS_SBANDRADE.pdf: 12088275 bytes, checksum: 98ff436d6f017a33305ca5383d7edb6e (MD5)
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A presente pesquisa, vinculada à linha Literatura e História, tem como propósito apresentar as remanescências da mentalidade e da cultura medievais no romance Caldeirão (1982) do escritor cearense Cláudio Aguiar. Para focalizarmos as incorporações culturais da Idade Média na matéria social representada nesse romance histórico, empregamos o arcabouço teórico e metodológico da Teoria da Residualidade, desenvolvido pelo Prof. Dr. Roberto Pontes. Esse método investigativo está certificado junto à Universidade Federal do Ceará e ao CNPq, sob o título Estudos de Residualidade Cultural e Literária. Define-se como residual tudo aquilo que remanesce, que resta ou sobrevive de uma cultura passada para outro momento histórico, permanecendo como elemento ativo, pronto a ser resgatado, aprimorado e reutilizado, pois conserva sua força vigorante. Esse aprimoramento ou refinamento, em sua nova forma, Roberto Pontes chama de cristalização. Como o resíduo permanece em estado latente na mentalidade, em constante possibilidade de uso, infinita é sua potencialidade de cristalizações. Roberto Pontes também assinala que a residualidade abrange as noções de tempo e de espaço, o que proporciona a hibridação cultural relativa a crenças e costumes. Como manifestação estética situada em determinado período histórico, a obra literária contribui para a apreensão de sua conjuntura sócio-cultural. Este trabalho se divide em três momentos, respectivamente, a formação da comunidade messiânica com enfoque na religiosidade popular; o desenvolvimento socioeconômico fundamentado no sistema agrário familiar e no comunismo cristão primitivo; e a destruição da comunidade, com destaque para o imaginário da violência. Destacam-se, para análise, substratos mentais do modus vivendi, tais como a religiosidade popular manifesta no movimento messiânico-social, os usos e costumes da comuni-dade, as crenças e superstições, os valores e comportamentos tradicionais do sertão, recolhidos da oralidade e dos registros jornalísticos pelo autor de Caldeirão, os quais permanecem vigorantes na memória coletiva no Nordeste brasileiro. Depreende-se desse enfoque a residualidade cultural dos valores medievais, notadamente no universo sertanejo cearense, a fim de comprovar a hibridação cultural
Esta investigación está vinculada a la línea de pesquisa de Literatura e Historia y tiene por propuesta presentar los restos de la mentalidad y la cultura de la Edad Media en la novela Caldeirão (1982) del escritor cearense Claudio Aguiar. Para centrarse en las incorporaciones culturales de la Edad Media en la historia social representada en esta novela, se emplean los fundamentos teóricos y metodológicos de la Teoria de la Residualidad Cultural y Literaria, desarrollada por el Prof. Dr. Roberto Pontes. Este método de investigación está aprobado por la Universidade Federal de Ceará y por CNPq, con el título de Estudios de Residualidad Cultural y Literaria. Se define como residual de todo lo que queda, que sobrevive o resta de una cultura pasada en otro momento histórico, permaneciendo como un elemento activo, listo para ser restaurado, mejorado y reutilizado, pues conserva su fuerza vigorante. Este mejoramiento o refinamiento, en su nueva forma, Roberto Pontes llama cristalización. Como el residuo permanece latente en la mentalidad, en constante capacidad de aplicación, su potencial es infinito para las cristalizaciones. La residualidad también incluye las nociones de tiempo y espacio, que ofrece la hibridación cultural en las creencias y costumbres. Como una manifestación estética situada en de-terminado período de la historia, la obra literaria contribuye a la asimilación de su situación socio-cultural. Este trabajo se divide en tres etapas, respectivamente, la formación de la comunidad mesiánica con enfoque sobre la religión popular; el desarrollo socioeconómico basado en el sistema agrario de la familia y el comunismo cristiano primitivo; y la destrucción de la comunidad, especialmente el imaginario de la violencia. Se destacan, para el análisis, los substratos mentales del "modus vivendi", como la religiosidad popular que se manifiesta en el movimiento mesiánico-social, los hábitos y las costumbres sociales de la comunidad, las creencias y supersticiones, los valores y comportamientos tradi-cionales del interior, recogidos de los registros orales y periodísticos por el autor de Caldeirão, los cuales siguen siendo vigorantes en la memoria colectiva del nordeste de Brasil. Se inféren de este enfoque los resíduos culturales de los valores medievales, sobre todo en el universo sertanejo del Ceará, con el fin de demostrar la hibridación cultural
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Moura, Fabiana Silveira. "A rua e seus olhares: A Belle Époque Carioca nas Crônicas de João do Rio e de Machado de Assis." http://www.teses.ufc.br, 2007. http://www.repositorio.ufc.br/handle/riufc/3426.
Анотація:
MOURA, Fabiana Silveira. A rua e seus olhares: a belle époque carioca nas crônicas de João do Rio e de Machado de Assis. 2007. 132f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2007.Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-27T11:58:31Z No. of bitstreams: 1 2007_DIS_FSMOURA.pdf: 763555 bytes, checksum: 936bdf464e943c19ad69653e7b45e95e (MD5)
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This work intends to report not only the urban and literary transformations lived by the Carioca society during the period of the last two decades of the XIX century and the first two ones of the XX century, but also the social tensions in this period, trying to reconstruct the most relevant aspects of the social and intellectual history of Rio de Janeiro fin-de-siècle, through the chronicles of João do Rio and Machado de Assis.
Este trabalho pretende abordar não somente as transformações urbanas e literárias vividas pela sociedade carioca no período que compreende as duas últimas décadas do século XIX e as duas primeiras do século XX, como também as tensões sociais ocorridas neste período, numa tentativa de reconstruir os aspectos considerados mais relevantes da História social e intelectual do Rio de Janeiro fin-de-siècle, por meio das crônicas de João do Rio e de Machado de Assis.
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Costa, Luciana Cavalcanti. "A Mulher e a Cidade: Um Estudo das Relações entre as Personagens Femininas e o espaço Romanesco em José de Alencar e Machado de Assis." http://www.teses.ufc.br, 2010. http://www.repositorio.ufc.br/handle/riufc/3446.
Анотація:
COSTA, Luciana Cavalcanti. A mulher e a cidade: um estudo das relações entre as personagens femininas e o espaço romanesco em José de Alencar e Machado de Assis. 2010. 98f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2010.Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-07-03T13:19:23Z No. of bitstreams: 1 2010_DIS_LCCOSTA.pdf: 527985 bytes, checksum: f954af5a9128c3a95cc766cc5320f859 (MD5)
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A mulher e a cidade: um estudo das relações entre as personagens femininas e o espaço romanesco em José de Alencar e Machado de Assis concentra-se na investigação da representação do espaço nos romances Lucíola, Senhora e Dom Casmurro, a partir da movimentação das protagonistas pelos ambientes públicos e privados das narrativas. Através das análises, observa-se como ocorre o trânsito das mulheres de ficção no espaço romanesco, além de verificar como se constituem as relações de verossimilhança entre as personagens femininas e a realidade da mulher do século XIX, sempre tomando por base a movimentação espacial. Para o estudo proposto foram levadas em consideração a época dos autores e a contextualização histórico-social da cidade do Rio de Janeiro, palco dos três romances, além da condição feminina e sua atuação naquela sociedade. Embasam essa etapa as obras de Dante Moreira Leite, Lilia Moritz Schwarcz, Laurentino Gomes, Maria Ângela D’Incao e Peter Gay. As teorias relativas à personagem de ficção, de Antônio Candido e E.M. Forster, e ao espaço romanesco, de Osman Lins, Yves Reuter e Gaston Bachelard, sedimentam as análises das obras que, comparadas entre si, proporcionam um breve panorama do imaginário masculino do século XIX, sob a perspectiva das relações mulher/cidade e personagem/espaço, apoiadas ainda nas considerações de Luis Filipe Ribeiro. Os romances, apesar de pertencerem a movimentos literários diferentes representam, de forma complementar, a evolução do comportamento feminino e a forma como as personagens se relacionaram com os espaços públicos e privados.
29
Sadat, Schaffai Jasmin 1982. "The Bilingual cost in speech production : studies of phonological and articulatory processes." Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/128680.
Анотація:
The main objective of this dissertation is to examine the consequences of bilingualism on speech production. Previous research has shown that bilingual speakers experience a cost compared to monolinguals in a variety of linguistic experiments. We investigated the origins of the bilingual cost by exploring influences of particular variables such as phonological similarity. Moreover, we investigated the scope of the bilingual cost by assessing speech performance, focusing on articulatory durations and noun-phrase production. We provide evidence that increased phonological similarity among words within one language slows speech, whereas increased phonological similarity across translations helps bilinguals to overcome the bilingual cost. In addition, our results show that the bilingual cost generalizes to articulatory durations and noun-phrase production. The current dissertation provides a more specific understanding of speech processing at phonological and articulatory stages in mono- and bilinguals, and extends our knowledge on the bilingual cost in speech production.El objetivo principal de esta tesis es examinar las consecuencias del bilingüismo en la producción del habla. Estudios anteriores han demostrado que los hablantes bilingües presentan una mayor dificultad que los monolingües durante la realización de diferentes experimentos lingüísticos. Investigamos los orígenes del coste del bilingüismo, explorando los efectos de variables como la similitud fonológica. Además, investigamos el alcance del coste, evaluando las duraciones articulatorias durante el habla y la producción de sintagmas nominales. Mostramos que una mayor similitud fonológica entre palabras de una lengua ralentiza el habla, mientras que una mayor similitud entre traducciones ayudó a los bilingües a superar el coste. Finalmente, demostramos que el coste bilingüe se extiende a las duraciones articulatorias y a la producción de sintagmas nominales. Esta tesis aporta nuevas evidencias acerca del efecto que la similitud fonológica tiene sobre la producción del habla y proporciona un conocimiento más específico sobre cómo el bilingüismo influye durante las últimas fases del procesamiento del habla.
30
Almeida, Luciana Andrade de. "Francisca Clotilde e a palavra em ação (1884-1921)." www.teses.ufc.br, 2008. http://www.repositorio.ufc.br/handle/riufc/2911.
Анотація:
ALMEIDA, Luciana Andrade de. Francisca Clotilde e a palavra em ação (1884-1921). 2008. 262 f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2008.Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-27T15:41:44Z No. of bitstreams: 1 2008_Dis_LAAlmeida.pdf: 16283120 bytes, checksum: 1bc7a33df86c85cbf01b40203f27188e (MD5)
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O pensamento da escritora cearense Francisca Clotilde (1862-1935) foi registrado em panfletos, almanaques, brochuras, revistas, jornais e nos livros que publicou, em mais de cinco décadas dedicadas ao ensino, às lutas sociais, às causas políticas e à literatura. Este estudo recolhe e analisa o repertório escrito da autora, exercitado em contos, crônicas, artigos, crítica literária, teatro, traduções, charadas, anúncios. O percurso do presente trabalho encontra diálogo com a ambiência literária, social e urbana da província em fins do século XIX e início do século XX, em uma época pautada por questões ligadas à abolição, ao civismo, à pedagogia, à religiosidade. Diante dessa variedade de experiências e temáticas presentes na prosa e no verso da escritora, optou-se por uma marcação temporal que abrange o período entre 1884 a 1921, quando sua contribuição à imprensa, objeto de estudo deste trabalho, se torna numerosa e efetiva, e passa a ser reconhecida por seus pares intelectuais.
31
HODGES, LAURA F. "CHAUCER'S COSTUME RHETORIC IN HIS PORTRAIT OF THE PRIORESS (ENGLAND)." Thesis, 1985. http://hdl.handle.net/1911/15908.
Анотація:
In Chaucer's General Prologue there is a complex cultural code embodied in costume signs which, when decoded, enriches our perception of his portraits. Critics have never discussed the costume signs in Chaucer's portrait of the Prioress with consideration given, simultaneously, to contemporary historical records, literature, and visual arts that inform these signs. It is the purpose of this dissertation to begin a study of the Prioress with an examination of her costume and Chaucer's costume rhetoric, an approach opposite to the traditional approach that first assesses the Prioress' character as deserving mild satire and refers to her garments and accessories as supporting evidence. In contrast, this study demonstrates that Chaucer's costume rhetoric portrays the Prioress in appropriate costume according to late fourteenth-century standards.
To this end, Chapter I refutes the criticism of impropriety in the Prioress' headdress, providing the background for appraisal by examining convent rules, visitation records, wills, and Sumptuary Laws. In addition, an analysis of literary treatment of nuns' headdresses, with special attention to rhetorical traditions of the description of womanly beauty, traditions that parallel those of the visual arts in presenting depictions of beautiful ideals as lovely women, reveals that Chaucer's description of the Prioress' headdress conforms to these ideals.
Chapter II establishes the propriety of the Prioress' cloak with evidence from historical records, literature, and the visual arts. This cloak is bien fait, according to historical data; further analysis of the literary treatment of nuns' habits demonstrates that Chaucer follows the pattern of Le Roman de la Rose in its presentation of hypocrits whose actions belie their proper costumes. Evidence from medieval visual arts further supports the thesis of the Prioress' proper cloak.
The Prioress' rosary and brooch are analysed, in Chapter III, and found appropriate for a prioress and pilgrim, according to historical, scientific, literary, and religious data. Contemporary iconographic traditions support this interpretation of Chaucer's costume rhetoric. Chaucer's eclectic costume rhetoric places the Prioress within religious, artistic, literary, scientific, and historical traditions; analysis of this rhetoric enables us to separate her proper exterior from her actions, thus providing kaleidoscopic views of the Prioress.
32
(8774834), Cody W. Krumrie. "Dressing for the Part(s): Costume Transformations on the Early Modern English Stage." Thesis, 2020.
Анотація:
This dissertation brings together studies of early modern subjectivity, material culture, and dramatic performance in ways that address the myriad ways in which material objects—in this case, clothing and costumes—can act as catalysts for change in a work of the dramatic literature of the period. Literary studies of the twenty-first century has done little to examine the ways in which costumes on the early modern English stage functioned to convey relationships between outward expression and inner self. Despite critical agreement that staged objects in early modern England were significant for creating meaning in theatrical performances, the presentation of material objects in early modern English drama with respect to a performed selfhood continues to be underappreciated or misunderstood, if not entirely neglected.
In response to this problem, I argue that an examination of the history of costumes on the early modern English stage is necessary to discover how costumes functioned over time to indicate both complete and incomplete transformations in performance. On-stage clothing, particularly when it is removed from or placed upon an actor’s body, effectively added to the performed narrative. Within any given work of drama, of course, the act of changing costumes often coincides with the potential for a change of one’s character. Examining elements of identity including political alignment, social status, religion, gender, and sexuality as features that can be defined and redefined through costuming, it is possible to trace the ways in which costumes have the power to transform.
33
Putnam, Laura Katherine. "Surpassing loveliness and grace knitting culture in nineteenth-century New England /." 2010. http://hdl.handle.net/10090/15185.
34
Davie, Nicole Lynn. "Establishing roles and accuracy of historical costume references in select nineteenth century literature with a view to the establishment of a resource guide." 2002. http://hdl.handle.net/1993/18920.
35
Therriault, Isabelle. "'Oh! La Que Su Rostro Tapa/No Debe Valer Gran Cosa': Identidad Y Critica Social En La Cultura Transatlantica Hispanica (1520 - 1860) / 'Oh! The one who covers her face / surely is not worth much': Identity and Social Criticism in Transatlantic Hispanic Culture (1520-1860)." 2010. https://scholarworks.umass.edu/dissertations/AAI3412061.
Анотація:
In 1639, a law prohibiting women any head covering; veil, mantilla, manto for example, is promulgated for the fifth time in the Iberian Peninsula under the penalty of losing the garment, and subsequently incurring more severe punishments. Regardless of these edicts this social practice continued. My dissertation investigates the cultural representation of these covered women (tapadas) in Spain and the New World in a vast array of early modern literary, historical and legal documents (plays, prose, and regal laws, etc.). Overall, critics associate the use of the veil in the Spanish territories with religious tendencies and overlook the social component of women using the veil to simply explain it as a mere fashion practice. In my dissertation, I argue that it is more than just a garment; the veil was used by women to make political statements, thereby challenging the restrictive gender and identity boundaries of their epoch. A critical analysis of early modern historical and legal peninsular texts and close-readings of Golden Age literary works, together with colonial cultural productions, allow me to identify patterns in how the tapadas were represented both artistically and culturally. Accordingly, my project attempts to reassess the significance of the tapadas in Hispanic culture for 350 years and demonstrate how their resilience to stop using the veil publicly is symptomatic of the absolutist monarchy inefficiencies in imposing social control. I move away from the tendency to investigate works including tapadas exclusively, and I conclude by reconstructing more accurately their cultural impact on the social dynamics in Spain as well as the New World.
36
Falcon, ANA-JOEL. "The Orient Imagined, Experienced and Remembered in the Work of Alexandre Gabriel Decamps (1803-1860): A Study of the Artist’s Personal Orient." Thesis, 2008. http://hdl.handle.net/1974/1625.
Анотація:
Alexandre-Gabriel Decamps (1803-1863) set out on his only trip to Greece and Turkey in 1828 to return to France and produce visual images of the Orient at a time when no major European artist had traveled to the Near East and at a time when the Orient had yet to be experienced, understood, and interpreted. Decamps’ highly original and personal interpretation of the Orient in painting has been studied by present-day scholars exclusively within the context of Romantic Orientalist genre painting. Studying criticism written on his work throughout the 19th century and working closely with his paintings, certain issues in his Orientalist paintings question the longstanding categorization of his work as solely Romantic Orientalist genre paintings. The fact that the artist never returned to the Orient; the fact that he invested his Orientalist landscapes with a Rembrandesque rather than Oriental light; his constant inclusion of contrasting opposites in the ostensibly subdued compositions he produced; the striking differences between his Oriental visual expressions and those of his Romantic contemporaries; and his own sentiment of being a failed artist, reveal alternative, less settled, readings of his work. Studying Decamps’ Orientalist oeuvre in its social and political contexts and taking into account the artist’s personal ambitions demonstrates the lasting resonance of this work, of the artist’s highly original working methods, and of his innovative technique. This study provides an assessment of Decamps’ Oriental work; it also delineates its relevance and influence in movements beyond Romanticism and into trends that developed during the late 19th and early 20th centuries.Thesis (Master, Art History) -- Queen's University, 2008-12-11 20:43:05.08
37
Hollows, Emma. "Kofifi/Covfefe: How the Costumes of "Sophiatown" Bring 1950s South Africa to Western Massachusetts in 2020." 2020. https://scholarworks.umass.edu/masters_theses_2/933.
Анотація:
This thesis paper reflects upon the costume design process taken by Emma Hollows to produce a realist production of the Junction Avenue Theatre Company’s musical Sophiatown at the Augusta Savage Gallery at the University of Massachusetts in May 2020. Sophiatown follows a household forcibly removed from their homes by the Native Resettlement Act of 1954 amid apartheid in South Africa. The paper discusses her attempts as a costume designer to strike a balance between replicating history and making artistic changes for theatre, while always striving to create believable characters.
38
Amélio, Vasco Cassinda Evaristo. "Formas de saudação, tratamento e cortesia no grupo dos ovimbundos no centro e sul de Angola : contributo para análise." Master's thesis, 2017. http://hdl.handle.net/10400.2/7143.
Анотація:
A presente investigação tem como objetivo o estudo de um corpus sociolinguístico
constituído por diferentes formas de saudação, tratamento, cortesia, despedidas e desculpas
resultado de um estudo e inquérito feito junto da população umbundo de Angola que ocupa
maioritariamente as províncias do Bié, Huambo, Benguela, Huila e a parte Sul do Kwanza
Sul. Durante a nossa investigação fizemos referência a diferentes formas que nos levaram a
uma conclusão: este povo possui muitas semelhanças na sua maneira de viver e conviver
que também nos dá o sentido de uso dessas formas em Português, língua que nos une de
Cabinda ao Cunene e do mar ao leste. Com muitas interferências linguísticas e culturais
vindas do próprio umbundo como língua materna encontradas nas seguintes situações:
situação enquadramento familiar (S/E/F), situação enquadramento profissional (S/E/P),
situação enquadramento eclesiástica (S/E/E) e na situação enquadramento comercial
(S/E/C). Esta realidade foi alvo de investigação e posterior enquadramento nas teorizações
dos atos da fala fundamentadas nas teorias dos filósofos americanos Austin (1962) e depois
Searle (1969) quando desenvolveram investigação sobre os atos da fala e seu papel social na
filosofia da linguagem. Convocámos igualmente a teoria Kerbrat-Orecchioni sobre a
delicadeza linguística. Pretendemos evidenciar o valor sociocultural dessas formas nessas
sociedades do Huambo, Bié, Benguela e Huila que por vezes são interpretadas na hora da
sua aplicação no sentido cultural levando ao seu uso obrigatório de acordo o contexto
linguístico que se vive.
Após a descrição dessas formas, constatámos que, apesar da similitude de influências
etnolinguísticas, o seu uso depende da pessoa e das necessidades linguísticas para
selecionarem as corretas formas de saudação, de tratamento, de cortesia, de desculpas e de
despedida. É de realçar que, entre as situações analisadas, destacou-se a situação familiar,
profissional e eclesiástica em que se registaram formas que confirmam o grau de
proximidade existente entre os umbundos e o intercâmbio cultural desses povos, o que
comprova que os ovimbundos têm laços familiares, profissionais e religiosos mais fortesThis research has got as aim the study of sociolinguistic corpus builted with different ways of greeting, treatments, courtesy, how to say good bye and the excuses as result of studies and inquiries did at Umbundu’s people of Angola. Who in majority occupying Bié, Huambo, Benguela, Huila and south of Kwanza-Sul. During our research we make reference of different forms which brought us one conclusion: this people has got many similarities in its manner of living and sharing that also give us the sense how they use Portuguese as a language that unify us from Cabinda into Cunene and from the sea at east. It has much linguistic interferences and cultural believes which come from in Umbundu that we found in the following situations: situation in familiarity (S/E/F), situation in professional field (S/E/P), situation in ecclesiastic life (S/E/E) and situation in commercial areal (S/E/C). This reality was our field of investigation and after we engaged in the theories of speech acts developed by two Americans philosopher investigators Austin (1962), after by Searle in (1969). When they created capacities of understanding the speech acts its role in philosophy of the language. We invoqued in the same aspects the theories of Kerbrat-Orecchioni who described about communication acts in linguistic. We want to enfacing the sociocultural value of these forms in these societies of Huambo, Bié, Benguela and Huila which sometimes are understood at moment of its applications in the culture absorption, for their obligatory use according to the linguistic context lived. After a description of these forms we regarded that even they have an ethnolinguistic influence almost all they are the same and its use depend on the person who determines what linguistic necessities needed for in its shape. It is to enfacing that among situations analyzed, we remarked more family, professional and religious situations as more used which gave the mean of declaring the degree of nearing cultural of these people, its mean that, the relationship of Ovimbundu’s people is more powered in the family, professional and religion.
39
Fina, Rosa Maria Canarim Rodrigues. "Portugal nocturno e a ameaça do dia : a ideia de noite na cultura portuguesa : séculos XVIII a XX." Doctoral thesis, 2016. http://hdl.handle.net/10451/25043.
Анотація:
Esta dissertação tem como objectivo estudar a noite na cultura portuguesa entre os séculos XVIII e início do século XX. Tamanha amplitude temporal e conceptual exige um trabalho estruturado e bem argumentado.
Assim, movendo-nos no campo da história da cultura portuguesa, pretendemos numa primeira parte determinar o conceito de noite no seu carácter mais mitológico e fundacional, na cultura europeia em geral depois na portuguesa em particular, passando obrigatoriamente pelas tradições e superstições populares. Em seguida, acendemos o nosso enfoque histórico sobre a cidade de Lisboa setecentista e oitocentista e estudamos os ambientes sociais e culturais nocturnos bem como a forma como se foram metamorfizando ao longo dos séculos. Contemplamos, na cidade pós-terramoto, a influência europeia iluminista, a gesta pombalina, bem como as mudanças específicas urbanas como o policiamento e, mais tarde, o polémico surgimento da iluminação. Durante o século XIX, os modelos sociais foram-se esculpindo na sua diferença, assim como as vivências nocturnas, que, através de um número crescente de teatros e outras distracções, se reconciliam com a rua.
Noutra vereda, recuperamos na quarta parte o conceito simbólico e metafórico da noite e olhamos através desta lente para a literatura portuguesa do final do século XIX e início do século XX, tentando fazer o levantamento de alguns autores mais preponderantes. Na mesma linha, embora alargando mais uma vez o escopo à cultura europeia, reflectimos sobre o conceito de poder e de pessimismo característicos do século XX considerando um e outro conceito na sua relação com a noite.This thesis aims to study the night in the Portuguese culture between the eighteenth and early twentieth century. Such temporal and conceptual scope requires a structured and well-argued work. Thus moving us in the field of Portuguese cultural history, we intend to determine, in the first part, the concept of night at its mythological and foundational nature in general European culture then in particular the Portuguese, necessarily going through the popular traditions and superstitions. Then we light our historical focus on the eighteenth and nineteenth century Lisbon and study the nocturnal social and cultural environments and how they were changing over the centuries. We contemplate, in the city after the earthquake, the European Enlightenment influence, Pombal deed as well as specific urban changes such as law enforcement and later the controversial appearance of public lighting. During the nineteenth century, the social models were up carving in its difference as well as night time experiences, which, through a growing number of theaters and other distractions, are utterly reconciled with the street. In another path, we recovered in our dissertation fourth part the symbolic and metaphorical concept of the night and look through this lens at the Portuguese literature of the late nineteenth century and early twentieth century, trying to appraise some of the most important authors. In a similar vein, though once again extending the scope to European culture, we reflect on the concept of power and pessimism – which we consider a twentieth century characteristic – considering either concept in its correlation with the night.
Cette dissertation a comme but d’étudier la nuit dans la culture portugaise entre le dix-huitième et le vingtième siècle. Une telle amplitude temporelle et conceptuelle exige un travail structuré et suffisamment argumenté. De ce fait, en partant du domaine de l’histoire de la culture portugaise, nous désirons, dans une première partie, définir le concept de la nuit dans son caractère davantage mythologique et fondateur, concernant la culture européenne en général et la culture portugaise en particulier, faisant forcement appel aux traditions et superstitions populaires. De suite, nous dirigerons notre regard historique vers la ville de Lisbonne aux dix-septième et dix-huitième siècles et nous étudierons les environnements sociaux et culturels par rapport à la nuit, ainsi que la façon dont ils se sont métamorphosés au fil des siècles. Nous observerons, dans la Lisbonne post-séisme, l’influence européenne des Lumières, le travail de Pombal, ainsi que les changements urbains spécifiques comme la présence policière et, plus tard, l’arrivée controversée de l’illumination. Pendant le dix-neuvième siècle, les modèles sociaux se sont construits dans leur différence, de la même façon que les pratiques nocturnes, à travers un nombre grandissant de théâtres et d’autres distractions, se réconcilient avec la rue. Sur une autre voie, lors de la quatrième partie de ce travail, nous comptons nous réapproprier le concept symbolique et métaphorique de la nuit, à travers duquel nous regarderons la littérature portugaise de la fin du dix-neuvième et début vingtième siècle, en essayant de relever quelques uns des auteurs les plus prépondérants. Dans cette même optique, en élargissant à nouveau la portée de notre étude à la culture européenne, nous nous proposons de réfléchir sur le concept de pouvoir et de pessimisme, si propres au vingtième siècle, afin de montrer le rapport de ses deux notions avec celle de la nuit.
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Sá, Carla Maria Ribeiro. "Lendas sintrenses recolhidas e relatadas por Luiz da Cunha de Oliveira: divulgação e estudo da obra." Master's thesis, 2020. http://hdl.handle.net/10400.2/9456.
Анотація:
Este tema surgiu a partir da descoberta de um texto datilografado, ainda por editar, cedido por Eugénia Martins, viúva de Consiglieri Martins, à Biblioteca Municipal de Sintra. Pretende-se assim proceder à divulgação desta obra, complementada pelo respetivo estudo.
O trabalho que agora se apresenta, no que ao estudo se refere, centrou-se na apresentação dos Testemunhos Orais, recolhidos na obra em estudo, entendendo-os como forma de conhecimento, dado que se trata de textos que têm como característica comum a pesquisa de explicações para o enigma que envolve a vivência humana.
De índole fantástica e/ou fictícia, as lendas combinam factos reais e históricos com factos irreais que são meramente produto da imaginação humana. Um pouco por todos os países do mundo, as lendas frequentemente fornecem explicações plausíveis e, até certo ponto, aceitáveis para acontecimentos que não têm explicações científicas comprovadas, como eventos misteriosos ou sobrenaturais. É precisamente esse o caráter das lendas recolhidas por Luiz da Cunha de Oliveira, que aqui apresentamos e estudamos. Ao refletir sobre a recolha e relato das Lendas e Tradições recolhidas no concelho de Sintra, na década de sessenta do século passado, este trabalho procura também perceber as interseções entre a história e a literatura. Acreditamos que esta via de estudo possibilita uma maior flexibilidade para se pensar a história e os vários elementos que formam a sua representação, bem como possibilidades alternativas de produção de conhecimento, nomeadamente no quadro da história de um concelho. A pesquisa apoia-se numa abordagem metodológica qualitativa de análise literária e de procedimento histórico, incidindo o processo na pesquisa documental, no estudo do conteúdo da obra e numa entrevista exploratória.This theme arose from the discovery of an unpublished typed text, offered by Eugénia Martins, Consiglieri Martins’ widow, to the Sintra Municipal Library. We intend to disseminate and study this work. The work that is now presented, regarding the study, focused on the presentation of the Oral Testimonies, collected in the work under study, understanding them as a form of knowledge, since they are texts that have as common characteristic the research of explanations for the riddle surrounding human experience. Fantastic and / or fictional, legends combine real and historical facts with unrealistic facts that are merely the product of human imagination. Across the world, legends often provide plausible, and to some extent acceptable, explanations for events that have no proven scientific explanations, such as mysterious or supernatural events. This is precisely the character of the legends collected by Luiz da Cunha de Oliveira, that we now present and study. By reflecting on the collection and reporting of Legends and Traditions collected in the municipality of Sintra, in the sixties of the last century, this work also seeks to understand the intersections between history and literature. We believe that this way of study allows for a greater flexibility to think about history and the various elements that make up its representation, as well as alternative possibilities of knowledge production, namely in the context of the history of a municipality. The research is based on a qualitative methodological approach of literary analysis and historical procedure. The process focuses on documentary research, on the study of the content of the work and on an exploratory interview.
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Eduardo, Pacheco Quiesse Monteiro. "Visualismo narrativo de expressão portuguesa e angolana." Master's thesis, 2018. http://hdl.handle.net/10451/37243.
Анотація:
A presente dissertação tem por tema a poesia visual enquanto forma específica de produção poética e cultural. Ainda que se verifique, no caso da poesia visual, uma forte componente teórica, é também certo que a ela estão associadas ideias ou (pre)conceitos nem sempre compatíveis entre si. Assim, o nosso primeiro objetivo foi traçar um mapa crítico de referência que permitisse chegar a algumas conclusões sobre as particularidades da poesia visual portuguesa, bem como sobre a forma como esta se articula (ou pode ser integrada), não só na poesia em geral, mas também no contexto das novas artes visuais angolanas e, sobretudo, na chamada prática sona, ie, desenhos narrativos realizados na areia pelo povo Tshokwe, do nordeste de Angola.
Apresentamos um projeto que se diferencia de trabalhos desta natureza, sobretudo, devido ao facto de abordarmos a pesquisa teórica de uma forma prática, através da invocação das nossas próprias produções artísticas. Por outro lado, decorrendo esta dissertação no âmbito do Mestrado em Cultura e Comunicação, pareceu-nos plausível que a nossa investigação aliasse a vertente multimédia (em torno de um sítio eletrónico) e a vertente cultural (em torno da poesia). Esta opção foi motivada pela consciência de que, com a expansão dos meios de comunicação digital, substituímos cada vez mais os livros por uma leitura via computador, que nos conduz, inevitavelmente, a desenvolver mais competências tecnológicas.
O presente projeto culminará futuramente, temos esperança nisso, na criação de uma plataforma Web com vista à divulgação da poesia visual, constituindo idealmente um suporte difusor e promotor da prática visual realizada por nós próprios e pelos principais autores de poesia visual, incluindo a arte sona angolana.The present dissertation focuses on visual poetry as a specific form of poetic and cultural production. Although there is a strong theoretical component in the case of visual poetry, it is also true that visual poetry is associated with ideas or (pre)conceived concepts that are not always compatible with one another. Thus, our first objective was to draw a critical map of reference that would allow us to draw some conclusions on the particularities of Portuguese visual poetry, as well as on how it articulates with (or can be integrated in) not only poetry in general, but also the context of the new Angolan visual arts and, above all, the so-called sona practice, ie, the narrative drawings made in the sand by the Tshokwe people of northeastern Angola. We present a project that differs from other works of this nature, mainly due to the fact that we approach theoretical research in a practical way through the invocation of our own artistic productions. On the other hand, given the fact that we are part of a Master's Degree in Culture and Communication, it seems plausible that our research allies the multimedia dimension (around a website) and the cultural dimension (around poetry). This option is motivated by the awareness that, with the expansion of digital media we are increasingly replacing books with reading on computer screens, which inevitably leads us to develop more technological skills. In the future, the present project will culminate, we hope, in the creation of a web platform for the dissemination of visual poetry, ideally constituting a diffuser support and promoter of visual practice performed by ourselves and the main authors of visual poetry, including sona Angolan art.