138 research outputs found
Maupassant contista traduzido em analogias brasileiras: paratextos
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2014O presente trabalho tem como objetivo principal analisar os elementos paratextuais presentes em doze antologias, dos séculos XX e XXI, traduzidas no Brasil, de Guy de Maupassant, autor francês do século XIX, pretendendo revelar como o autor e sua obra são apresentados ao leitor brasileiro, através dos paratextos. Foram analisadas somente as antologias traduzidas com contos do autor francês, não considerando as publicações mistas. O principal referencial teórico abordado foi fundamentado nas reflexões de Gérard Genette (2009) e Marie-Hèléne C. Torres (2011).Abstract: The main objective of this work is to examine the paratextual elements in twelve anthologies of the French author Guy de Maupassant's short stories, translated and published in the 20th and 21st centuries in Brazil, in order to disclose how the writer and his oeuvre are presented to the Brazilian reader, through the use of paratexts. I analysed only the translated anthologies with short stories from the author himself; anthologies that had other authors as well were not considered. The main theoretical framework was based on the reflections of Gérard Genette (2009) and Marie-Hèléne C. Torres (2011)
Validität der wissenschaftlichen Publikationen, die der S3-Leitlinie zum exokrinen Pankreaskarzinom zu Grunde liegen
No full textIn dieser Dissertation wird die Validität jener Studien überprüft, die den Empfehlungen der S3-Leitlinie zum exokrinen Pankreaskarzinom zu Grunde liegen
Retradução comentada de Corinne ou l'Italie de Mme de Staël
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2014.Esta tese, vinculada à linha da "Teoria, crítica e história da tradução" objetiva a retradução comentada de Corinne ou l'Italie (1807) de Madame de Staël. No primeiro capítulo, descrevem-se a vida e as obras da autora, com ênfase para Corinne ou l'Italie, que foi traduzida e retraduzida em outras línguas, principalmente o inglês, italiano e alemão. Em seguida, no capítulo 2, apresenta-se a primeira tradução para o português do Brasil Corina ou a Itália (1945, Edições Cultura). Como terceira etapa, comenta-se a retradução com base nas reflexões teóricas de Berman, Pym, Venuti, Gambier. Apresentam-se exemplos dos aspectos semânticos, culturais, estilísticos presentes ao longo dos XX livros, a partir do original e da retradução. Os comentários do processo de tradução permitem uma frutífera troca literária e cultural e a tradução, o estudo e conhecimento da obra de Madame de Staël, por consequência, enriquecem o cânone da literatura francesa traduzida no Brasil.Abstract : This thesis, linked to the research field "Theory, criticism and history of translation" attempts to do a commented retranslation of Mme de Staël's Corinne ou l'Italie (1807). The first chapter describes the life and the works of the author, with emphasis on Corinne ou l'Italie, which was translated and retranslated into other languages, mainly English, Italian and German. In Chapter 2, the first translation of Corinne ou l'Italie into Brazilina Portuguese (1945, Cultura Printings) is presented. In chapter 3 the retranslation is analyzed through comments based on theoretical reflections of Berman, Pym, Venuti and Gambier. Examples of semantic, cultural and stylistics aspects of the XX books (original and retranslated version) are presented. The comments of the translation process allow a rich literary and cultural exchange. As well as a deeper investigation about Madame de Staël's work enriches the standard of French literature in Brazil
Shadows and Lights in <i>O Senhor das Ilhas</i>, by Maria Isabel Barreno
No full textHalfway between a historical novel, a chronicle and a work of fiction, O Senhor das Ilhas recounts through the narrative and fictitious voices of two of his children, Manuel António Martins’s adventurous and hectic story. That man was the actual great-great grand-father of the author of this book. The novel conjures up from the past the story of several generations of a Portuguese colonial family settled in the Cape Verde Islands. The archipelago becomes an idyllic and often terrifying setting of a saga which spans from 1780 till 1840. Recollecting a colonial past which she denied during her youth, Maria Isabel Barreno achieves with this novel a form of reconciliation with her paternal ancestor, a settler and slave owner on the one hand, but also a man of the Enlightenment, a human and brave enterprising man. The shadows which surround this character are partially blurred by the light of the islands, unveilling a reality which is probably not exactly compliant with History but which seems to show that the condition of islander and of insularity are filled with paradoxes that should be envisaged considering a simultaneously religious and heathen sacredness.
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Original in French
“Escripto Em Mimoso Estylo E Fructo De Dedicado Estudo”: Isabel Gondim E A Recepção Da Obra Reflexões Às Minhas Alunas (1873-1910) :
No full textThis article seeks to analyze the context of production of the work “Reflections to my students” by professor Isabel Gondim (1839-1933). Through her teaching practice, the intellectual (Sirinelli, 2007) mobilized her practical knowledge, with the readings carried out throughout her training and dedicated herself to producing a manual aimed at female education. Thus, the aim of this work is to understand the context of production, reception in periodicals of the period and analysis of the work. Furthermore, compare with other books that the author used as a basis to think about her reflections, the books produced by Jeanne Marie Leprince de Beaumont (1711-1780), João Baptista da Silva Leitão de Almeida Garrett (1799-1854) and José Ignacio Roquette (1801-1870). Through writing, Isabel Gondim mobilized the narrative to produce readings related to female education in a way that became intelligible and sensitive to the students. This book promoted a reconfiguration of teaching methodology, in which the experiences of the period, the norms adopted by the Catholic Church and legislation seek to standardize female behavior.Este artículo busca analizar el contexto de producción de la obra “Reflexões aos minha alumni”, de la profesora Isabel Gondim (1839-1933). A través de su práctica docente, la intelectual (Sirinelli, 2007) movilizó sus conocimientos prácticos, con las lecturas realizadas a lo largo de su formación, y se dedicó a elaborar un manual dirigido a la educación femenina. Así, el objetivo, a través de este trabajo, es comprender el contexto de producción del mencionado libro analizar su recepción en publicaciones periódicas de la época. Además, se pretende compararlo con otras obras que la autora utilizó como base para pensar sus reflexiones, como los libros producidos por Jeanne Marie Leprince de Beaumont (1711-1780), João Baptista da Silva Leitão de Almeida Garrett (1799-1854) y José Ignacio Roquette (1801-1870). A través de este escrito, Isabel Gondim movilizó la narrativa para producir lecturas relacionadas con la educación femenina, de modo que se volviera inteligible y sensible para los estudiantes. Este libro promovió una reconfiguración de la metodología de la enseñanza, de acuerdo con las experiencias de la época, las normas adoptadas por la Iglesia católica y la legislación vigente, con miras a normalizar el comportamiento femenino.O presente artigo busca analisar o contexto de produção da obra “Reflexões às minhas alunas”, da professora Isabel Gondim (1839-1933). Por meio da prática docente, a intelectual (Sirinelli, 2007) mobilizou os conhecimentos da prática, com as leituras feitas ao longo da sua formação, e dedicou-se à produção de um manual voltado à educação feminina. Dessa forma, objetiva-se, por meio deste trabalho, compreender o contexto de produção do referido livro, bem como proceder à análise da sua recepção nos periódicos da época. Além disso, pretende-se cotejá-lo com outras obras que a autora utilizou como base para pensar as suas reflexões, a exemplo dos livros produzidos por Jeanne Marie Leprince de Beaumont (1711-1780), João Baptista da Silva Leitão de Almeida Garrett (1799-1854) e José Ignacio Roquette (1801- 1870). Por meio desse escrito, Isabel Gondim mobilizou a narrativa para a produção de leituras atinentes à educação feminina, de forma que se tornasse inteligível e sensível às alunas. Esse livro promoveu uma reconfiguração da metodologia do ensino, conforme as experiências do período, as normas adotadas pela Igreja Católica e pela legislação vigente, com vistas à normatização do comportamento feminino
Population structure and genetic diversity of Magnolia cubensis subsp. acunae (Magnoliaceae): Effects of habitat fragmentation and implications for conservation
No full textGenetic data on threatened plant populations can facilitate the development of adequate conservation strategies to reduce extinction risk. Such data are particularly important for species affected by habitat fragmentation such as Magnolia cubensis subsp. acunae, a Critically Endangered magnolia subspecies endemic to Cuba. Using genetic data from 67 individuals, we aimed to evaluate the effect of habitat fragmentation on two subpopulations in the Guamuhaya mountain range, in Topes de Collantes Protected Natural Landscape and Lomas de Banao Ecological Reserve. We characterize the structure and genetic diversity of these subpopulations, with the objective of managing their conservation more effectively. We used Landsat satellite images to determine land-cover types at the two locations and calculated indices of habitat fragmentation. For genetic analyses, we extracted DNA from the leaf tissue of individuals from the two subpopulations and used 11 microsatellite markers to genotype them. We calculated heterozygosity, allelic richness and the F-statistics, to evaluate genetic variability. The montane rainforest in Topes de Collantes was most affected by habitat fragmentation, with smaller patches of more irregular shapes, compared to submontane forest at this location and both montane and submontane forests in Lomas de Banao. Genetic diversity was higher in Topes de Collantes, but we found no genetic differentiation between subpopulations. Our findings suggest the two subpopulations can be considered a single evolutionary unit and conservation entity. We propose to use individuals from both subpopulations for reinforcement to increase the overall genetic diversity of the subspecies.[ABSTRACT FROM AUTHOR]Peer reviewedfinal article publishedCubasimple sequence repeats markersmicrosatellitesMagnolia cubensis subsp. acunae, magnoliasConservation geneticsfragmentation indice
La cultura popular y la represión de la élite en la Europa moderna temprana. Historias. Revista de la Dirección de Estudios Históricos. Num. 28 (1992) abril-septiembre
No full text1 Max Weber: La ética protestante y el espíritu del capitalismo, Barcelona, 1988; Henry Kamen: The Iron Century: Social Change in Europe, 1550-1660, Nueva York, 1971, pp. 84-89 (trad. El siglo de hierro. Cambio social en Europa, 1550-1660, Alianza editorial, Madrid, 1977).2 Arnold van Gennep: Les rites de passage, Mouton & Co y Maison des Sciences de l'Homme, Suiza, 1969 (1909, 1a. ed). Mijail Bajtin: La cultura popular en la Edad Media y Renacimiento, Barral editores, Barcelona, 1971.3 Michel Foucault: Vigilar y castigar: Nacimiento de la prisión, Siglo XXI editores, México, 1976.4 Robert Mandrou: De la culture populaire aux XVII et XVIII siècles. La bibliothèque bleue de Troyes, Stock, París, 1964.5 Ives-Marie Bercé: Fête et révolte. Des mentalités populaires du XVI au XVIII siècles, Librairie Hachette, París, 1976.6 Keith, Thomas: Religion & the Decline of Magic, Charles Scribner's Sons, Nueva York, 1971; Jean Delumeau: Le Catholicisme entre Luther et Voltaire, Presses Universitaires de France, París, 1971; John Bossy: "The Counter-Reformation and the People of Catholic Europe", en Past & Present, 47 (1970), pp. 51-70; Natalie Zemon Davis: "Some Tasks and Themes in the Study of Popular Religion", en Charles Trinkhaus, ed.: The Pursuit of Holiness in Late Medieval and Renaissance Religion, Leiden, 1974, pp. 307-336.Reseñas a Peter Burke: Popular Culture in Early Modern Europe, New York University Press, Nueva York, 1978, y a Robert Muchembled: Culture populaire et culture des élites dans la France modeme, XVe-XVIIIe siècles: essai, Flammarion, París, 1978. Tomado de Journal of Interdisciplinary History, XI (1), verano de 1980, pp. 97-103
Der Suizid des Autors: Texte und Reaktionen (am Beispiel von Édouard Levé, André Gorz und Heinrich von Kleist)
No full textAutorensuizide und damit einhergehende Fragen über die Beziehung zwischen Autor, Werk und Tod sind nicht nur in aktuellen akademischen Diskussionen ein immer wieder reflektiertes Thema; unfehlbar regen sie auch mediale sowie – v. a. im Fall historischer Suizide – literarische Formen der Rezeption an. Anhand von drei konkreten Fällen diskutiert der Beitrag derartige zeitgenössische Reaktionen. Dabei wird zunächst mit Blick auf Édouard Levé und André Gorz gezeigt, inwiefern Zeitungs- und Zeitschriftendiskurse althergebrachte Automatismen reproduzieren: Indem sie einfache Entsprechungsverhältnisse zwischen letzten, vom Autor verfassten Texten sowie dessen Suizid herstellen und den jeweiligen Fall in etablierte kulturhistorische bzw. mythologisierende Diskurse einordnen. Anhand literarisch-künstlerischer Darstellungen von Heinrich von Kleists Suizid wird schließlich eine gegenläufige Tendenz skizziert, die etablierte Rezeptionsweisen und Mythologisierungen auf spielerische Weise thematisiert und damit einen unverstellten Blick auf Autorensuizide anregt. Author suicides – and the questions they raise about the relationship between the author, his works, and his death – are not only a recurrent subject of scholarly reflection and discussion. They also inevitably provoke responses in the media and, especially when we think of historical suicides, literary forms of reception. Focusing on three specific examples, the article discusses contemporary reactions of both kinds. It begins by showing – with regard to Édouard Levé and André Gorz – to what extent newspaper and magazine discourses reproduce established, automated types of response: they create simple correlations between the last text composed by an author and his suicide, and they situate a particular case in the context of conventional culture-historical or mythologizing discourses. Finally – with regard to the suicide of Heinrich von Kleist – a tendency is described which runs counter to those outlined above: by thematizing, in a playful manner, established ways of reception and mythologization, literary works encourage us to look at author suicides with a fresh eye
Faith, feeling and gender in the writing of Hartley, Wollstonecraft and Blake
No full textThis thesis examines David Hartley’s Observations on Man (1749) and elucidates how Hartley’s mechanical approach to mind, his conception of emotion, and the religious status he awards the body were newly relevant after 1791. In this way it identifies a ‘Hartlean culture’ within the Romantic period and seeks to explore how such an intellectual climate influenced the radical writers William Blake (1757–1827) and Mary Wollstonecraft (1759–1797). Blake and Wollstonecraft were acquainted with the famous bookseller Joseph Johnson, who republished Observations on Man in various forms and versions between 1775 and 1801. They also had an association with Johnson’s circle; the Hartlean concepts found throughout their work evidence Hartley’s latent popularity within intellectual culture, as well as the writers’ engagement with contemporary philosophical ideas. I propose that the renewed curiosity in Hartley during the 1790s reveals a specific religious and revolutionary culture wherein non-conformist views about Christianity and new ideas about the body, emotion and women flourished. Such a cultural moment renders Hartley a particularly important figure for debate since he integrated progressive values about equality and faith alongside advancing understanding of anatomy and mind. Hartley identified how God and happiness could be found physically within each person. He did this by combining a complex theory of vibrations and theory of association, where the body and mind functioned mechanically through a person’s feelings of pleasure and pain. These feelings manifested as physical vibrations and eventually led every person to desire goodness until finally, they can become ‘Godlike’ themselves. Hartley’s amalgamation of Christian and new theoretical concepts appealed to Blake and Wollstonecraft, and was much unlike the approach of Joseph Priestley who abridged Observations in 1775 to promote a wholly ‘scientific’ text. In this way, we can see resonances between Hartley, Blake and Wollstonecraft, even if they existed in different cultural contexts. In rethinking Blake and Wollstonecraft through Hartley, I offer new insights into their feminism. In particular I attend to how Hartlean culture enabled these writers to re-imagine gender and emotion: Wollstonecraft reinstates the female experience back into Hartlean concepts in order to promote women’s emotional potential and what she understands as the special power of the female-female bond. Blake responds to both Wollstonecraft and Hartley with his elevation of the feminine, one that envisions new potential for both sexes, emotionally and spiritually. In both cases, the writers share a fascination for the image of the female saviour, and they use terminology and concepts found in Hartley’s work to communicate their views. In being attentive to the shared vocabulary and ideas of these three writers’ works, this thesis highlights the importance of David Hartley and Hartlean culture for the field of Romantic Studies. It also illuminates Observations on Man as a vital contribution to the intellectual context of the 1790s
Artes de canto (1492-1626) y mujeres en la cultura musical del mundo ibérico renacentista
No full text[spa] Esta Tesis Doctoral explora la cultura musical del mundo ibérico renacentista a través del estudio de artes de canto en lengua vernácula impresas entre 1492 y 1626 y de su relación con las mujeres de la época. La Tesis consta de siete capítulos, estructurados en dos partes (Vol. I), y de veinte apéndices (Vol. II). La primera parte (Capítulos I al IV) muestra que las características por las que estos libros que contenían los rudimentos de la música han sido infravalorados hasta ahora por la historiografía musical son precisamente las mismas que demuestran que respondían a una necesidad pedagógica y a la demanda de manuales asequibles, breves y prácticos por parte de un amplio mercado. Las artes de canto se imprimieron en tiradas de miles de ejemplares y eran vendidas a bajo precio, tuvieron una enorme circulación en la Península Ibérica y el Nuevo Mundo, y contribuyeron al incremento y la difusión de la educación musical en contextos educativos diferenciados (la iglesia, la universidad y el ámbito privado), así como entre grupos sociales hasta entonces excluidos del aprendizaje de los fundamentos de la música. El Arte de canto llano (Sevilla, 1530) de Juan Martínez emerge como el tratado de música del mundo hispánico más difundido geográfica y cronológicamente en el siglo XVI e inicios del XVII, pero del que casi nada se sabía. En la segunda parte (Capítulos V al VII), las conexiones entre estos libros de música y mujeres muestran que las áreas de superposición entre lo privado y lo público y entre lo oral y lo escrito permiten desafiar la invisibilidad de las mujeres en documentos históricos y vislumbrar trazas no sólo de la cultura musical de las mujeres de la época, sino también de la importancia de la música en la vida cotidiana. Se utiliza una diversidad de fuentes (artes de canto, libros de conducta, documentos inquisitoriales, literatura, correspondencia e inventarios de bienes, entre otras), a través de las cuales se ha podido documentar la relación con la música de, entre otras, Catalina de Zúñiga, VI Condesa de Lemos, Isabel de Plazaola, e Isabel de Aragón, IV Duquesa del Infantado. Empleando metodologías de la musicología tradicional junto a otras tomadas de los historiadores del libro y de la cultura popular, esta Tesis Doctoral presenta una panorámica de la vida musical de la época a través del prisma de doble alteridad que supone el estudio de las artes de canto, generalmente consideradas carentes de interés, y de su relación con las mujeres, insuficientemente representadas en la historiografía musical.[eng] This dissertation explores the musical culture of the Renaissance Iberian world through both the study of small-format treatises in the vernacular containing the rudiments of music –known as artes de canto– printed between 1492 and 1626, and the nexuses between them and women. The dissertation consists of seven chapters, structured into two parts (Volume I), and twenty appendixes (Volume II). Part I (Chapters I to IV) shows that the arte de canto, until now generally overlooked or undervalued in music historiography, was produced in print runs of thousands of copies and sold for a low price; it had a broad circulation in the Iberian Peninsula and the New World, contributing to the spread of musical literacy in distinct didactic contexts (churches, universities, private settings) and among social groups until then excluded from learning the rudiments of music. The little known Juan Martínez’s Arte de canto llano (Seville, 1530) emerges as the most circulated music book in the Hispanic world during the sixteenth and seventeenth centuries. The aim of Part II (Chapters V to VII) is to approach the musical life of the sixteenth-century Iberian world through the exploration of women’s contributions, thus broadening the field of historical research. The study of some connections between music books and women shows that the points of overlap between the private and the public spheres, on the one hand, and the written and the oral music transmission, on the other hand, not only make women’s musical practices visible, but also offer new vistas on the popular culture of the age. Through a variety of source materials (artes de canto, conduct manuals, Inquisition records, literature, letters and inventories of goods, among others) it has been possible to document the musical activities of women such as Catalina de Zúñiga, VI Countess of Lemos, Isabel de Plazaola, and Isabel de Aragón, IV Duchess of the Infantado. Combining methodologies from traditional musicology with those borrowed from book history and popular culture, this dissertation analyzes music in the culture of the Renaissance Iberian world through the prism of double Otherness involved in studying the ‘other’ music books –that is the undervalued artes de canto– and their connections to women of that period
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