Rondônia, uma memória em disputa

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A poesia de José Saramago: análise de Os poemas Possíveis, Provavelmente Alegria e O ano de 1993

Pós-graduação em Letras - FCLAS

A voz do silêncio na poesia de Max Martins

No presente trabalho interpreta-se a poesia de Max Martins, focando, principalmente, a abertura que ela oferece para o acontecer do silêncio da linguagem. Pensa-se, aqui, no silêncio como uma questão que fala e se confunde com a questão da essência da linguagem e, por conseguinte, também com a da essência do poético. Sendo assim, a dissertação desdobra-se em discussões poético-filosóficas, articulando essas duas esferas criativas nas várias dimensões em que a obra martiniana manifesta o silêncio: na linguagem, no diálogo com o pensamento e a poesia orientais, no erotismo e na verbivocovisualidade. Busca-se a escuta da “voz do silêncio”, como aparece no título do trabalho. Nessa travessia, importante dizer, as reflexões implementadas pelo filósofo alemão Martin Heidegger acerca da linguagem, assim como suas ideias sobre hermenêutica poética, são de grande valia. Certamente, além de Heidegger, há outros pensadores cujos nomes ecoam pelo trabalho, mas o do alemão merece destaque, pois a compreensão da essência da linguagem como fala silenciosa encontra abrigo tanto em sua filosofia como na obra poética de Max Martins. Realizando um diálogo entre poesia e filosofia no que elas têm em comum — o pensamento de questões —, aqui não se aplicou uma teoria prévia ao acontecer da arte. Procurou-se, ao contrário, empreender ao longo desta jornada interpretativa a escuta da poética que os próprios textos martinianos põe em obra.

A religião, a magia e o canto de Orfeu na Argonáutica de Apolônio de Rodes

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Trailer: análise da linguagem utilizada por esta peça publicitária cinematográfica

This final project intends to discourse about the cinematographic publicity piece that is the trailer and its main features. Its relation with the publicity is studied so we can understand how this relation occurs, once the trailer is found in between the cinema and the publicity. The trailer features are exposed, such as the persuasive features, so it becomes evident the importance of studying this advertising tool from a broad perspective. In addition, we seek to determine its aesthetics, its compositional characteristics and their relevance in movie marketing. The paper discusses briefly about the universe of the movie marketing, as a way of situating the trailer as a tool in a set of publicity techniques that help in selling movies. A case study is conducted, involving the analysis of 5 trailers from different categories of gender, in order to capture the essence of the overall trailer, such from the persuasive perspective as the audiovisual perspective. Finally the is the addition of a current universe of characteristics that can be found in the contemporary trailers, grounded by theorists and film scholars that accompanied the evolution of this advertising tool

A ideologia dos filmes utilizados na educação infantil: uma análise a partir da teoria crítica

This work has as purpose to show what are the influences of media in the education and in the shaping the thinking and understand that ideologies are present in the films used in the classroom in kindergarten. For this, I directed the discussion beginning by concepts as Ideology and its more different definitions by several thinkers over the years, the thinkers of Critical Theory of Frankfurt School, called “frankfurtians” of first and second generation of this school, also making an association between Cinema and Education, evidencing concepts involving this association as Cultural Industry, using films properly in classrooms in kindergarten, with the teacher as mediator and then discussed what amounts of movies on children's education, how they assist and deepen the knowledge developed by students in schools of infantile education. Additionally, they are exposed the different opinions about the subject Film and Education for students from kindergarten, what benefits and what disadvantages in the use of films, the different opinions on the subject. We also discuss, in this work, the ideologies present in three films produced by Walt Disney, they are Cinderella, Snow White and the Seven Dwarfs and Alice in Wonderland, relating them to how they can contribute to the development and learning students in kindergarten. I associated more as possible the previous discussions to analyze the ideologies present in these films, by summarizing these, and decomposing them through an analysis tool called frame. Finally, I completed everything that was discussed and analyzed, which students in kindergarten may develop with the use of films in schools, what they contribute, in some way, for the learning and education of students as viewers using the school as access to different cultures and the teacher as a mediator of this relationship

Video mapping: um estudo teórico e prático sobre projeção mapeada

The project presents an explanation of the technique of video mapping, resource use, origin and use of the strands. Also conducts multidisciplinary literature review of concepts that can be applied to the technique of video mapping: Augmented Reality, Spatiality in Virtual and Real Environments. The project also introduces aspects of the history of cinema and audiovisual narrative. In addition conducts an inventory of software and hardware required for the technique of video mapping, reports performing experiments with the use of the technique and discusses the results obtained. As a contribution to development area, proposes to use video mapping as an augmented reality tool at an immersive experimental film language

A Confluência de Gêneros em Dark Water, de Walter Salles Jr.

Dark Water is the title of the translation of a short story, ―Floating Water‖, from the book Honogurai mizu no soko kara by Koji Suzuki, originally published in Japan, that the Japanese director Hideo Nakata adapted for the cinema and that was remade by the Brazilian director Walter Salles Jr. The objective of this study is to analyse Walter Salles’ film to demonstrate how it resolved the problems of transcreation, whilst at the same time it fulfilled commercial and artistic functions and incorporated the traces of its aesthetic trajectory. In this case, attention is drawn to the types of relationship between literature and cinema, to the metalinguistic function as a generator of poetics and of an interesting dialogue between genres.

Memória e historiografia no documentário: o fim e o princípio de Eduardo Coutinho

Pós-graduação em Ciências Sociais - FFC

Identidades secretas: representações do negro nas Histórias em quadrinhos norte-americanas

Pós-graduação em Comunicação - FAAC

A reportagem-poema em Guilherme de Almeida: um estudo da série Cosmópolis

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O duelo dos pastores: um estudo sobre a figuratividade nas Bucólicas de Virgílio

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A crítica cultural do jovem Glauber Rocha no suplemento dominical do jornal do Brasil: impasses e estratégias adotados na chegada ao Rio de Janeiro

Glauber Rocha’s arrival at Rio de Janeiro can be considered a milestone for the Brazilian Cinema Novo movement in the early 1960s. In 1959, Glauber starts his collaborations in the Suplemento Dominical do Jornal do Brasil. This paper examines Rocha’s major contributions in this newspaper for the purpose of pointing out the strategies and formulations of the young intellectual from Bahia to promote a debate on the forms of modern Brazilian cinema and its relationship to other art forms in the 1960s.

Grace Beacham Freeman Papers - Accession 1339

The Grace Beacham Freeman Papers consist of newspaper articles, poems, poetry books, plays, photographs, and poetry in schools and places for therapy.

EMERSON AS A ROMANTICIST

It was the romanticists who tended to write poetry of “autobiography,” who inquired of themselves concerning themselves, and assumed that the world was interested in what they found. Nor was the habit of self-consciousness regarding the poetic office let drop by their successors. That the words poet and poetry were so often on Emerson’s lips would be evidence enough to students of literature, in its changing temper and shifting modes, of his probable localization in time. It is also evidence of his relation to certain European movements of thought to which he gave—comparatively late in their currency and much tempered —American expression. In his doctrine of the superiority and the aloofness of the poet, of the latter’s severance from others to whom he yet bears messages of light, in his self-sufficiency and his sovereignty, his belief in the intrinsic goodness of nature and of man, and his concern with poetic thought rather than poetic form, Emerson may be termed the American representative of ideas which already had had wide circulation in Europe. In great part they emanated from Rousseau, and some of them, especially the gospel of the rights and the supremacy of the individual, had metamorphosed the politics and the map of Europe as well as its literature.