Louren��o Filho e literatura infantil e juvenil

P��s-gradua����o em Educa����o - FFC

No limiar do desconhecido: reflex��es acerca do objeto no teatro de Tadeusz Kantor

P��s-gradua����o em Artes - IA

Erotismo e religiosidade: romances de Ant��nio da Fonseca Soares sobre mulheres

P��s-gradua����o em Letras - FCLAS

Nostra Signora del Mar Dolce: a (re) cria����o da viagem na narrativa de Gemma Ferruggia

Coordena����o de Aperfei��oamento de Pessoal de N��vel Superior (CAPES)

Semi��tica e po��tica na poesia pastoril de Virg��lio: o recurso da figuratividade

Funda����o de Amparo �� Pesquisa do Estado de S��o Paulo (FAPESP)

A import��ncia da arte-educa����o na educa����o infantil

O Trabalho de Conclus��o de Curso na ��rea de Arte e Educa����o ter�� por objetivo refletir sobre a tem��tica da ���Arte-educa����o��� tendo como problem��tica central ���A import��ncia da arte-educa����o na educa����o infantil���. A import��ncia arte no desenvolvimento infantil �� indiscut��vel, pois a experi��ncia art��stica �� um fator humanizador, cultural, que cria in��meras significa����es e produz em cada um a percep����o da pr��pria capacidade de transforma����o, al��m de proporcionar a oportunidade de desenvolvimentos de potenciais, comunica����o e intera����o. Portanto, a arte-educa����o, uma abordagem, influenciada pelo p��smodernismo, que tem como objetivo fundamental o desenvolvimento da habilidade crítica de interpretação das obras de arte, assim como dos elementos visuais que comp��em a vida contempor��nea, levando em conta o contexto social e cultural, faz com que as crian��as tenham, al��m do encorajamento de sua originalidade, liberdade e espontaneidade, um ensino que se sustenta na inter-rela����o entre hist��ria da arte, leitura da obra e o fazer art��stico. Para tal estudo ser�� tratada a hist��ria da arte no Brasil, a arte na escola brasileira desde os seus prim��rdios, a import��ncia desta para a forma����o do ser social infantil. A metodologia utilizada para a elabora����o e desenvolvimento deste trabalho se realizar�� atrav��s da abordagem qualitativa, feita por pesquisa bibliogr��fica para justificar a problem��tica em quest��o.

O amadurecimento da personagem em Mrs. Dalloway, de Virginia Woolf

The corpus of this study is the novel Mrs. Dalloway, by Virginia Woolf, published in 1925. According to the writer Harold Bloom, while writing Mrs. Dalloway, Woolf thought of an order structure such that each scene would establish the idea of the character of Clarissa. The heroine's subjective universe is constructed scene by scene through the hours that run in London one day apparently common. The day that begins at ten am and ends at 3 am the other, involves not only personal and important findings deepen the understanding of his own human condition. The objective of this paper is to show how, in Mrs. Dalloway, the progression of hours in the space of one day, get through the poetic narrative and the use of psychological and chronological time, clearing the mind of the characters - focusing on single Clarissa Dalloway's character - culminating in his personal growth and social, is to understand the reason for their existence or, after all, considered a key and important in the world, finding motivations for why they live

Villa Aurore, de J.-M Gustave Le Cl��zio: duplica����es liter��rias

Le conte ���Villa Aurore��� montre bien la mobilit�� et la duplicit�� qui caract��risent l���oeuvre de Le Cl��zio: en m��me temps que le titre de cet ouvrage, La ronde et autres faits divers, annonce la repr��sentation de la r��alit�� �� partir des faits divers, la pr��sence du mythe donne au r��cit un fort potentiel po��tique, qui peut ��tre constat�� surtout dans le lyrisme du langage et dans les proc��d��s po��tiques que l���auteur utilise dans la cr��ation de ses r��cits. Tel que dans d���autres textes de La ronde et autres faits divers, le conte ���Villa Aurore��� montre la force d���un r��cit r��aliste, attach�� �� la banalit�� quotidienne, mais qui se tourne vers le mythe, en configurant une structure circulaire, dont rel��ve le doublement des cat��gories narratives du temps, de l'espace et du narrateur. Ainsi, ce travail a l���objectif de montrer comment les repr��sentations du narrateur, du temps et de l���espace, doubl��es et oppos��es, contribuent-elles �� d��terminer cette structure et aussi comment semblent-elles converger pour l���expression du d��sir de l�����vocation d���une qu��te sur les origines dans le corpus ��tudi��

O eterno feminino: arqu��tipos liter��rios em Mujeres de Eduardo Galeano

Le champ litt��raire est plein d���oeuvres qui remettent �� des mythes. L���ensemble de r��cits Mujeres, de Eduardo Galeano, a comme th��matique la femme et il est compos�� par des micro-contes, genre narratif qui promeut une condensation maximale d���el��ments th��matiques et structuraux. Il s���agit des descriptions litt��raires o�� la synth��se est plac��e ou m��me niveau que le lyrisme. Ayant pour objectif d���analiser la nature arch��typique des mythes sur la f��minit��, nous avons travaill�� sp��cifiquement les contes de Mujeres o�� se reconstruisent po��tiquement des mythes de la f��minit��. M��thodologiquement, notre notre ��tude a pour base la mythocritique et la th��orie des structures anthropologiques de l���imaginaire ��d��alis��es par Gilbert Durand. En partant de ces bases, nous avons r��alis�� l���analyse des r��cits qui s���articulent en notre corpus, ayant pour but, celui d���identifier les divers artifices narratifs sp��cifiques qui y op��rent. Par le moyen des myth��mes pr��sents dans les r��cits, nous avons r��v��l�� les structures arch��typiques du texte et nous avons constat�� comment elles s�����difient litt��rairement. En outre, nous avons ��lucid�� la teneur de la repr��sentativit�� arch��typique de la feminit�� inh��rente aux r��cits et finalement, nous avons rassembl�� les situations et les combinatoires qui existent dans l���ensemble de micror��cits, tra��ant les connexions possibles qui y existent. Ainsi, nous avons fait une ��tude proprement dite, d��analyse mythocritique

A transitoriedade entre o mundo primitivo e o moderno nas obras The Sea-Wolf e White Fang de Jack London

The American author Jack London wrote the books The Sea-Wolf and White Fang in 1904 and 1906, respectively. The former portrays the life of a literary critic, Humphrey Van Weyden, who after the wreckage of the ship in which he was is rescued by a seal-hunting schooner, where he is obliged to work and to live with the brutal captain Wolf Larsen, and in doing so he develops a more primitive profile. The latter work portrays the life of the eponymous character, a wolf that leaves the wild world in which it was born to follow its last master in the city, thus developing features of the modern world. This paper aims to conduct an analysis of the aspects that allow the transition between the primitive and the modern world in those works

Tradu����o e adapta����o de The Fall of the House of Usher: um estudo comparativo

The aim of this work is to analyze the short-story The Fall of the House of Usher by Edgar Allan Poe, and two of its versions into Portuguese: A Queda da Casa de Uhser, a translation by Brenno Silveira, published in 1959 by Abril, and the adaptation by Clarice Lispector, with the same title, published in 1975 by Ediouro. The original short-story was first published in 1840, in Tales of the Grotesque and Arabesque, translated into Portuguese as Hist��rias Extraordin��rias. In this work, we will identify the differences between a translation and an adaptation, as well as the construction of the grotesque universe in those different texts. By means of a comparative analysis from the selected corpus, we will deploy the ways each one constructs the effect wanted by Poe, highlighting the main semantic and structural differences present in the translation and the adaptation of the short-story in relation with the original. Lastly, we will try to show the losses and gains of an adaptation

A narrativa de Primo Levi: um espa��o de mem��ria e testemunho

This monograph aims to analyze the work Se questo �� un uomo, in wich the author Primo Levi narrates his memories about the time when he used to be a prisoner of a concentration camp during World War II. The analysis will be done through theoretical interpretations upon Testimony Literature or Trauma Literature, that brings out a time of disaster, leading the reader to relive the Holocaust from questioning its relation with the commitment with the real

A ironia na pe��a O rei da velha, de Oswald de Andrade

Este trabalho tem como objetivo tra��ar um panorama art��stico liter��rio presente na produ����o do escritor modernista Oswald de Andrade, identificando a evolu����o est��tica ideol��gica do autor por meio do manifesto Pau-Brasil (1925) e o Antrop��fago (1928); de teses e artigos como ���Meu Testamento��� (1944) e ���A crise da filosofia Messi��nica��� (1945); de entrevistas presentes no livro Telefonema, parte integrante da cole����o: Obras Completas de Oswald de Andrade (Rio de janeiro, 1974); e de sua produ����o teatral. Toma como ponto de partida a antropofagia como um operador cultural, de modo que a caracter��stica mais marcante do escritor, a irrever��ncia, �� fomentada e trabalhada por meio da ironia, ferramenta de discurso que Oswald de Andrade utiliza com uma fun����o social, uma arma revolucion��ria e pol��tica. Para tal, tra��ou-se uma linha entre a produ����o modernista e a produ����o teatral de Oswald e desse levantamento bibliogr��fico, a pe��a que mais chamou a aten����o foi O rei da vela, primeira pe��a escrita na fase adulta, em 1933, e publicada em 1937 e que somente teve sua primeira encena����o 30 anos depois, em 1967, pelo grupo de Teatro Oficina com a dire����o de Jos�� Celso Martinez Corr��a. O grupo realizou um levantamento liter��rio e documental sobre o Oswald de Andrade, atrav��s de depoimentos dos atores que receberam a proposta de encena����o (em 1934), aos Manifestos, at�� encontrar a Antropofagia oswaldiana, e dela se utilizarem para concretizar O rei da vela, retomando e usando a antropofagia, essencialmente, como um operador cultural

Constru����es gramaticais e quest��es estil��sticas no livro Piccoli equivoci senza importanza, de Antonio Tabucchi

The translation project of some short stories of the book Piccoli equivoci senza importanza, written by the Italian writer Antonio Tabucchi, was performed during the academic years. This thesis target is to analyze grammatical and stylistic issues of the short stories; to achieve this goal, parts of the original texts and their respective translations were used. The grammar section approaches important aspects as idioms, false cognates and different verb regencies between Portuguese and Italian. The stylistic part focuses on Tabucchi��s choices regarding the narrator, focalization, types of speech and interior monologues in his texts; these options characterize the Italian writer��s style and make his stories plots intense. As a conclusion it can be noticed that this work is relevant to give a forward step in the Italian literature studies field, because it contributes to an important author style study and provides the analysis of which choices compound the text and the effects they cause

Intertextualidade entre Coraline e Alice's adventures in wonderland & Throught the looking-glass and what Alice found there

When writing Coraline, Neil Gaiman takes up some resources used by Lewis Carroll in his two major works, Alice's Adventures in Wonderland and Through the Looking-Glass and What Alice Found There, but still manages to write a unique novel, seemingly grim, filled with horror. In the 1960s, the theoretician Julia Kristeva conducted a study on the possible dialogue between the texts, concluding that every text contains parts of other texts, already written or that will be. Based on the theory of intertextuality she first proposed and which was subsequently discussed by several theoreticians, this paper aims to find points in the works in which this dialogue is present, as well as how Neil Gaiman appropriates these resources properly. It also tries to show elements where these points of intertextuality differ, proposing that this difference is because Gaiman resorted, directly, or indirectly, to insights drawn from the study of Freud���s psychoanalytic theory