Dilatando o corpo da arte: provocações de Um Crime Delicado na literatura e no cinema

A dissertação estuda o romance Um Crime Delicado, de Sérgio SantAnna (1996), ao filme quase homônimo, de Beto Brant (2005), tendo como principal questão a imagem do corpo no contexto sócio-cultural urbano e a sua representação na arte contemporânea. O romance de SantAnna acolhe, na urdidura ficcional, subtemas da maior relevância, tais como o lugar da deficiência física no horizonte de uma cultura hedonista, violência sexual (contra a mulher) e os poderes da crítica de arte (da autojustificação ao desvirtuamento de seus fins). A adaptação fílmica, por sua vez, introduz mudanças na obra de partida que complementam e enriquecem o romance e suas questões. No exercício comparativo, a tradicional discussão sobre as relações interartísticas (calcadas em Lessing), o culto à beleza e respectiva hostilização da feiura, os limites da exacerbação sensorial a partir do uso artístico da nudez provocaram a incorporação de outras obras de arte e de artistas à discussão de conceitos imprescindíveis: o abjeto, o contraditório, a intermidialidade. No primeiro capítulo, circunscrevemos historicamente nosso tema, focalizando a representação do corpo como lugar de multiplicação e relativização de significações; a seguir, apresentamos o painel de contradições que a sociedade excitada do século XX (Christoph Türcke, 2010) projeta sobre a questão corporal; e, para finalizar, propusemos a dilatação teórica do adágio horaciano ut pictura poesis /a poesia é como a pintura ao cinema poético (com suporte teórico de Claus Clüver, 2011, e Wolfgang Moser, 2006). Concluímos sugerindo que as intermidializações propõem novas interpretações aos textos literários, mas podem ser bem mais contundentes como formas de potenciação estética e de crítica social.

O novo por escrito: cinema, crítica, nacionalismo (196064)

Este trabalho teve dois objetivos fundamentais: definir a arquitetura conceitual do que chamamos discurso do Cinema Novo; e analisar as formas como o movimento foi recebido pela crítica, com o objetivo de compreender o que o Cinema Novo deve, em termos discursivos e de prestígio, a esse diálogo. Partindo do conceito de campo cultural tal como pensado pelo sociólogo Pierre Bourdieu, ou seja, como espaço de lutas simbólicas pelo controle de lugares de poder e dos índices de valor que definem uma determinada atividade cultural, conclui-se que o prestígio alcançado pelo Cinema Novo já em seus primeiros anos se deve fundamentalmente à capacidade do grupo em responder a demanda dos setores simbolicamente dominantes da crítica por um cinema que fosse ao mesmo tempo autêntico, com toda ambiguidade que guarda o termo, e moderno, segundo as convenções estabelecidas pelas cinematografias europeias, como o neorrealismo e a Nouvelle Vague. Assim, tal como compreendemos, o Cinema Novo foi uma estratégia de comunicação e de inserção no campo cinematográfico brasileiro. Nesse trabalho, não nos propusemos analisar os filmes, cuja descrição foi feita apenas quando acreditamos fundamental para a compreensão do discurso crítico. Nossas fontes foram fundamentalmente artigos da crítica cinematográfica publicados na imprensa cultural da época. Para análise desses artigos, nos valemos das reflexões teóricas de Mikhail Bakhtin sobre a linguagem e das ferramentas teóricas da análise do discurso tal como apresentada por Michel Pêcheux e alguns comentadores de sua obra, como Eni Orlandi e José Luiz Fiorin

Ensaio sobre as imagens. A criação do roteiro de Blindness de Fernando Meireles, adaptado do romance: Ensaio sobre a cegueira de José Saramago para as telas de cinema

A dissertação se propõe a investigar as diferentes formas de estruturas narrativas para o desenvolvimento em um roteiro cinematográfico, adaptado de uma obra literária. Para este trabalho, vamos usar como corpus o romance Ensaio sobre a cegueira de José Saramago que foi adaptado pelo roteirista Don Mckellar, originando o filme dirigido por Fernando Meirelles, em 2008. A finalidade deste recorte é mostrar o processo de construção narrativa no audiovisual, tendo como base o livro. Nessa investigação, o suporte para análise do audiovisual será realizado com conceituados especialistas em roteiros cinematográfico como Linda Hutcheon, Robert Mckee, Jean-Claude Carriére, Flávio de Campos e David Howard. As possibilidades da criação do roteiro seguirão o mote em quatro divisões: narrativa, estrutura, ensaio sobre imagens e da palavra para imagem, procurando responder como a linguagem intervém no sentido da palavra para imagem e como ocorre o conceito de autoria nessa vertente da adaptação. A trama de Ensaio sobre a cegueira, traz elementos clássicos da estrutura dramática e amplia sua dimensão em relação ao conteúdo da estória na roteirização de Don Mckellar. Com esta pesquisa, esperamos contribuir para um melhor entendimento na construção e organização de um roteiro no processo de adaptação em si

Building the single market with information technology - lessons from a transnational IT implementation

The subject company operates in a vigorously growing sector of the packaging market, with plants in most European countries. But could this disparate business function as a single company in a single (European) market? This article sets out some lessons learned from a pilot transnational implementation of a strategic management information system, designed to counter entrenched national business thinking in one European company and its subsidiaries.

La Dolce Morte: Vernacular Cinema and the Itallian Giallo Film

Koven, M. (2006). La Dolce Morte: Vernacular Cinema and the Itallian Giallo Film. Lanham: Scarecrow Press. RAE2008

Audiences and Receptions of Sexual Violence in Contemporary Cinema

Barkre, M.; Mathijs, E.; Sexton, J.; Egan, K.; Hunter, R. and Selfe, M. (2007). Audiences and Receptions of Sexual Violence in Contemporary Cinema. London: British Board of Film Classification. RAE2008

Lonely voices of the south: exploring the transnational dialogue of Flannery O'Connor and Frank O'Connor

Accepted Version

Claude McKay and the transnational novel

This thesis considers the three works of fiction of the Jamaican author Claude McKay (1889-1948) as a coherent transnational trilogy which dramatises the semi-autobiographical complexities of diasporic exile and return in the period of the 1920s and 1930s. Chapter One explores McKay’s urban North American novel, Home to Harlem (1928). I suggest that we need to ‘reworld’ conceptions of McKay’s writing in order to release him from his canonical confinement in the Harlem Renaissance. Querying the problematics of the city space, of sexuality and of race as they emerge in the novel, this chapter considers McKay’s percipient understanding of the need to reconfigure diasporic identity beyond the limits set by American nationalism. Chapter Two engages with McKay’s novel of portside Marseilles, Banjo (1929), and considers the homosocial interactions of the vagabond collective. A comparison of North America and France as supposed exemplars of individual liberty highlights the unsuitability of nationalistic prerogatives to an internally diverse black diaspora. Paul Gilroy’s Black Atlantic construct provides a suggestive space in which to re-imagine the possibilities of affiliation in the port. The latter section of the chapter examines McKay’s particular influence on, and relationship, to the Négritude movement and Pan-African philosophies. Chapter Three focuses on McKay’s third novel, Banana Bottom (1933). I suggest here that the three novels comprise a coherent New World Trilogy comparable to Edward (Kamau) Brathwaite’s trilogy, The Arrivants. This chapter considers both the Caribbean and the transnational dimensions to McKay’s work.

Perceptions of leadership in the public library: a transnational study

This study explores the topic of leadership as perceived and practised by public library leaders. Library leaders have a wide-ranging impact on society but have been largely overlooked as the subject of serious study. Prior to this study, only one small interview-based study and five survey-based studies have been undertaken on public library leaders/leadership — all in North America. No study on the topic has been researched and published outside of North America. The current study is the most in-depth study to date, drawing on face-to-face interviews with thirty public library leaders. As this study was undertaken in three national jurisdictions — Ireland, Britain, and America — it is also the first transnational study on the topic. The study investigates library leaders’ perceptions of leadership, and critically explores if head librarians distinguish classic leadership from management practices, both conceptually and in their work lives. In addition to exploring core leadership issues, such as positive or negative traits, the study also investigates the perceptions of library leaders on matters closely connected with their careers. The study investigates the impact of public library leaders on their followers and on the broader society they serve. This study of the perceptions of senior public library leaders, across national boundaries, makes a theoretical contribution not just to leadership in librarianship, but also to the broader theory of library and information science, and in a limited way to the broad corpus of literature on organizational leadership. The study aims to develop an understanding of the perceptions of current leaders in the field of public librarianship. The results of the study show that leadership is a relatively scarce quality in public libraries in Ireland, Britain, and America. Many public library leaders focus on management and administration issues rather than leadership. The study also illustrates that varying leadership styles are practised by the interviewed librarians, and that there are no universal or common traits, even within national boundaries, for effective public library leadership. The implications of the study for both practising librarians and research literatures in librarianship and organizational leadership are also explored and a future research agenda developed.

Religion, the study of religion and other products of transnational and colonial imaginings

The category of ‘religion’ as contemporary scholarship has demonstrated is a fairly recent innovation, dating back only a few hundred years in Western thought, and ‘world religions’ as we think of it and as we teach it is an even more recent category, emerging out of European colonialism. Thus the academic study of religion is both the product and, at times, the agent of colonial modes of knowledge. And yet, it is perhaps because ‘religion’ continues to be invented and reinvented through connections across cultures that investigating the work of religious ideas and practices offers such fruitful possibilities for understanding the work of culture and power. This article investigates religion and the study of religion as a mode of anti-colonial practice, seeking to understand how each have the potential to cross boundaries, build bridges and produce critical insights into assumptions and worldviews too often taken for granted.

The accountability of transnational armed groups under international law

Terrorist attacks by transnational armed groups cause on average 15,000 deaths every year worldwide, with the law enforcement agencies of some states facing many challenges in bringing those responsible to justice. Despite various attempts to codify the law on transnational terrorism since the 1930s, a crime of transnational terrorism under International Law remains contested, reflecting concerns regarding the relative importance of prosecuting members of transnational armed groups before the International Criminal Court. However, a study of the emerging jurisprudence of the International Criminal Court suggests that terrorist attacks cannot be classified as a war crime or a crime against humanity. Therefore, using organisational network theory, this thesis will probe the limits of international criminal law in bringing members of transnational armed groups to justice in the context of changing methods of warfare. Determining the organisational structure of transnational armed groups, provides a powerful analytical framework for examining the challenges in holding members of transnational armed groups accountable before the International Criminal Court, in the context of the relationship between the commanders and the subordinate members of the group.

The Transnational Geography of Sexual Rights

Among the signal developments of the last third of the twentieth century has been the emergence of a new politics of human rights. The transnational circulation of norms, networks, and representations has advanced human rights claims in ways that have reshaped global practices. Just as much as the transnational flow of capital, the new human rights politics are part of the phenomenon that has come to be termed globalization. Shifting the focus from the sovereignty of the nation to the rights of individuals, regardless of nationality, the interplay between the local and the global in these new human rights claims are fundamentally redrawing the boundaries between the rights of individuals, states, and the international community. Truth Claims brings together for the first time some of the best new work from a variety of disciplinary and geographic perspectives exploring the making of human rights claims and the cultural politics of their representations. All of the essays, whether dealing with the state and its victims, receptions of human rights claims, or the status of transnational rights claims in the era of globalization, explore the potentialities of an expansive humanistic framework. Here, the authors move beyond the terms -- and the limitations -- of the universalism/relativism debate that has so defined existing human rights literature.

Ghost/Machine: cinema in a digital age

Cinema, with its passive cinematic apparatus and linear narrative is often characterised as a contrast to new media narrative strategies, yet from Vertov’s Man with a Movie Camera to Mike Figgis’ TimeCode and Wong Kar Wei’s 2046 cinema provides narrative strategies and spatial conceptualisations which prefigure or are contiguous with new media environments. Both our perception of what cyberspace constitutes and the technology that actualises those perceptions arise out of and are driven by fantasy and desire. This paper will explore the metaphors used to represent and understand new media aesthetics through cinematic representations of new media environments. Two key themes relevant to new media aesthetics emerge. Irigaray, Haraway, and Grosz are used to explore the de-essentialising haptic and penetrative potential of new technologies and their ability to collapse the boundary between the body and the machine. The second fantasy, of new media as a liminal space that expresses the memorialising function of technology and its relation to mourning, is analysed using Benjamin, Burgin and Rutsky. These altered spaces and perceptions of the body and memory of the post-cinematic subject are illustrated through an analysis of Gondry’s Eternal Sunshine of the Spotless Mind and Jonze’s Being John Malkovich. [From the Author]