Dissertations / Theses on the topic 'MURLLC'

L’évolution rapide des technologies de communication sans fil a introduit de nouveaux défis pour assurer une connectivité massive des dispositifs tout en garantissant une communication fiable et à faible latence. Les réseaux 5G ont introduit divers cas d’usage, notamment mMTC et URLLC. Cependant, avec la transition vers la 6G, la complexité croissante des exigences réseau devrait conduire à l’émergence de nouveaux cas d’usage dépassant ceux définis dans la 5G. L’un de ces cas d’usage nécessite l’intégration des capacités de mMTC et URLLC, donnant naissance à mURLLC, une catégorie de services combinant les exigences d’accès massif de mMTC aux contraintes strictes de latence et de fiabilité de URLLC. Répondre aux exigences de mMTC et mURLLC, qui nécessitent non seulement un accès massif mais aussi une latence ultra-faible et une fiabilité élevée, représente un défi majeur. Cela impose le développement de techniques d’allocation de ressources efficaces. Le travail de recherche commence par une analyse introductive de l’évolution des réseaux sans fil, mettant en évidence les exigences fondamentales de mMTC et mURLLC. Cette étude souligne les défis posés par l’accès massif ainsi que les contraintes strictes de latence et de fiabilité, mettant en avant la nécessité d’utiliser des technologies robustes. Ensuite, la thèse explore les technologies permettant de relever ces défis, notamment NOMA et l’accès GF. De plus, le rôle de l’apprentissage par renforcement dans l’allocation dynamique des ressources est examiné. Cette thèse explore également le potentiel de IRSA en tant que technologie clé pour répondre aux exigences strictes de mURLLC, en particulier lorsqu’il est combiné avec NOMA. L’objectif principal de cette thèse est de concevoir de nouvelles techniques d’allocation de ressources pour répondre aux défis de l’accès massif, en ciblant spécifiquement les exigences de mMTC et mURLLC. La première contribution majeure de cette thèse est le développement d’une technique d’allocation de ressources basée sur GF-NOMA, spécialement conçue pour mMTC. Cette technique, nommé LoCoNOMA, permet aux MTDs de choisir de manière autonome leurs niveaux de puissance et sous-porteuses, en se basant uniquement sur une feedback globale de la station de base gNB. Une borne supérieure analytique pour le taux de succès des paquets a été dérivée et validée en comparant les résultats analytiques et de simulation. Nous démontrons numériquement que la technique proposée surpasse les approches existantes en termes de taux de succès des paquets, de consommation énergétique et de délai de transmission. S’appuyant sur la technique LoCoNOMA, qui a prouvé son efficacité pour l’accès massif dans mMTC, la deuxième contribution majeure de la thèse l’étend afin de répondre aux exigences strictes de latence et de fiabilité de mURLLC, en intégrant l’apprentissage par renforcement. Nous introduisons ainsi QL-GF-NOMA, une approche basée sur Q-Learning, conçue pour minimiser la latence grâce à une fonction objective optimisée. Afin d’améliorer encore davantage les performances de la technique proposée, nous y intégrons IRSA-NOMA, reconnu pour sa robustesse dans la gestion des collisions de paquets. De plus, la fonction objective est encore améliorée pour prendre simultanément en compte les contraintes de latence et de fiabilité. La technique obtenue, nommée QL-IRSA-NOMA, ajuste la distribution des degrés de IRSA-NOMA, garantissant ainsi des performances optimales dans les scénarios mURLLC. Les résultats de simulation montrent que la technique proposée dépasse les approches existantes en termes de fiabilité, de faible latence et d’efficacité énergétique
The rapid evolution of wireless communication technologies has led to new challenges in supporting massive device connectivity while ensuring reliable and low-latency communication. Fifth Generation Mobile Radio (5G) networks have introduced diverse service use cases, including Massive Machine-Type Communications (mMTC) and Ultra-Reliable Low-Latency Communications (URLLC). However, as we transition to- ward the Sixth Generation Mobile Communication (6G), the increasing complexity of network requirements is expected to drive the emergence of new use cases beyond those previously defined in 5G. One such use case requires the integration of both mMTC and URLLC capabilities, giving rise to Massive Ultra-Reliable Low-Latency Communications (mURLLC), a service category that combines the massive access demands of mMTC with the stringent latency and reliability constraints of URLLC. Meeting the requirements of mMTC and mURLLC, which not only demands massive access but also demands stringent low-latency and high-reliability constraints, is a is a complex task. This necessitates efficient resource allocation frameworks. The research journey begins with an introductory overview of the evolution of wire- less networks, focusing on the fundamental requirements of mMTC and mURLLC. It highlights the challenges posed by massive access and the stringent constraints of low latency and high reliability, emphasizing the need for using strong key enablers. Subsequently, the thesis delves into the enabling technologies used to address these challenges, particularly Non-Orthogonal Multiple Access (NOMA) and Grant-Free (GF) access. Additionally, the role of Reinforcement Learning (RL) in dynamic resource allocation is examined.This thesis also explores the potential of Irregular Repetition Slotted ALOHA (IRSA) as a key enabler for achieving the stringent requirements of mURLLC, especially when combined with NOMA ( Irregular Repetition Slotted ALOHA with Non-Orthogonal Multiple Access (IRSA-NOMA)). The core of this thesis focuses on developing novel resource allocation frameworks to address massive access challenges, particularly targeting the requirements of both mMTC and mURLLC. The first major contribution of this thesis is the development of a novel GF-NOMA resource allocation technique specifically designed for mMTC. This framework, named LoCoNOMA, enables Machine-Type Devices (MTDs) to au- tonomously select power levels and sub-carriers while relying only on global feedback from the Next Generation Node B (gNB). An analytical upper bound for the packet success rate was derived, and its accuracy was validated by comparing it with simulation results. We numerically demonstrate that the proposed framework outperforms existing techniques in terms of packet success rate, energy consumption, and transmission delay. Building upon the LoCoNOMA framework, which demonstrated effectiveness in massive access for mMTC, the second contribution extends it to address not only massive access but also the stringent latency and reliability requirements of mURLLC by incorporating Q-Learning. We introduce a distributed multi-agent Q-Learning framework, referred to as QL-GF-NOMA, that prioritizes minimizing delay through a novel objective function. To further enhance the framework and balance both latency and reliability, we extend it further to develop a new framework, QL-IRSA-NOMA, by integrating IRSA-NOMA due to its robustness in mitigating packet collisions. Additionally, we redefine the Q-Learning objective function to jointly address latency and reliability constraints. The framework dynamically adjusts IRSA-NOMA’s degree distribution, ensuring optimal performance under mURLLC requirements. Simulation results demonstrate that the proposed framework outperforms existing techniques in terms of reliability, low latency, and energy consumption

Houve, durante meados do século vinte, diversos episódios de colaborações entre artistas e arquitetos no Uruguai, especialmente em Montevidéu, que contribuíram significativamente para a história da arquitetura e arte moderna no país. Estes episódios, marcados por alguns personagens em comum, porém de características distintas, se relacionaram à temática da integração plástica e culminaram em obras significativas dentro do panorama da arquitetura moderna Latino-americana. Diversos foram os arquitetos e artistas que de alguma forma ou outra colaboraram para estes episódios, porém se propõe analisar quatro obras de três arquitetos, que se aproximam, em alguns aspectos, através de determinadas características em comum: A Residência Mario Lorieto em Montevidéu, do arquiteto Ernesto Leborgne e colaborações dos artistas Francisco Matto, Manuel Pailós, Horácio Torres, Julio Alpuy, Edwin Studer e Manuel Otero (1964), a Residência do arquiteto Mario Payssé Reyes em Montevidéu e os murais de Edwin Studer, Julio Alpuy, Francisco Matto, Augusto Torres e Elsa Andrada (1954), o Seminário Arquidiocesano em Toledo (Zona rural de Montevidéu) do arquiteto Mario Payssé Reyes e os murais de Horácio Torres (1961) e, por último, o Urnário do Cemitério Norte de Montevidéu, do arquiteto Nelson Bayardo e mural de Edwin Studer (1959). Procura-se, através deste trabalho, melhor compreender as trajetórias de Leborgne, Payssé e Bayardo, a importância das obras destes arquitetos e suas contribuições à temática da integração plástica dentro da história da arquitetura moderna. Busca-se também entender as relações entre artes e arquitetura que integram suas obras e identificar as características que as aproximam.
There was, during the mid-twentieth century, numerous episodes of collaborations between artists and architects in Uruguay, especially in Montevideo, which contributed significantly to the history of architecture and modern art in the country. These episodes, defined by some characters in common, though of certain different features, were related to the theme of plastic integration and culminated in important works within the overview of Latin American modern architecture. Many were the architects and artists who in some way or another contributed to these episodes, though it is intended to analyze four works by three architects, which approximate, in some aspects, through certain characteristics in common: Mario Lorieto’s Residence in Montevideo, of the architect Ernesto Leborgne and collaborations of the artists Francisco Matto, Manuel Pailós, Horácio Torres, Julio Alpuy, Edwin Studer and Manuel Otero (1964), The Residence of the architect Mario Payssé Reyes in Montevideo and murals by Edwin Studer, Julio Alpuy, Francisco Matto Augusto Torres and Elsa Andrada (1954), The Archdiocesan Seminary in Toledo (Rural area of Montevideo) of the architect Mario Payssé Reyes and murals by Horácio Torres (1961) and, finally, The North Cemetery Ossuary in Montevideo, of the architect Nelson Bayardo and mural by Edwin Studer (1959). It is sought, throughout this work, to better comprehend the trajectories of Leborgne, Payssé and Bayardo, the importance of the works of these architects and their contribution towards the theme of plastic integration within the history of modern architecture. It is also pursued to understand the relations between arts and architecture which integrate their works and the characteristics which approximate them.

La muralla de Barcino va ser erigida, al voltant de les acaballes del segle I aC, com a part del mateix projecte fundacional de la nova colònia. No es limitava, per tant, a concretar la forma urbana, sinó que es tractava d’un element perfectament inserit i coordinat dins d’un mecanisme urbà estudiat amb gran atenció. D’una banda, el recorregut del traçat, l’emplaçament i les característiques estructurals van ser el producte d’una tradició militar que, encara que no fos portada a les últimes conseqüències, atès que la situació geopolítica plasmada per la pax Augusta no el requeria, assentava les bases per un projecte de llarga durada. De l’altra, la clara inspiració als models nord itàlics era una declaració de l’urbanitas que August havia integrat en el seu programa de reorganització – no només política i territorial, sinó també cultural – de l’Imperi. Finalment, es tractava d’una estructura que funcionava conjuntament a la quotidianitat dels habitants: a més de la funció de control dels accessos, per exemple, estava projectada per funcionar conjuntament al cicle de l’aigua: rebia l’aprovisionament de l’aqüeducte, i al seu interior estaven englobats els col·lectors que desaiguaven als fossats. La muralla urbana va ser, durant tres segles, el mirall de les aspiracions de la ciutat: nascuda com un element funcional de la vida civil, va ser inclosa en els programes urbanístics que valoritzaven, entre finals del segle I i l’inici del segle II dC, la façana marítima – el principal motor econòmic de la colònia – fins a quedar, al segle III dC., en un estat lamentable, possiblement víctima de l’èxit econòmic i demogràfic de la ciutat, que en feia una infraestructura obsoleta. Però els criteris fixats pels arquitectes i els enginyers augustals van ser rescatats, i potenciats des del punt de vista poliorcètic quan, cap a finals del segle III dC, el mon romà sencer s’estava fortificant, per enfrentar-se a una situació de malestar i perill generalitzat. En aquest moment, la muralla torna a ser la protagonista de la ciutat: amb un desdoblament del gruix, l’afegit d’un gran nombre de torres i l’adopció dels més avançats recursos militars, inspirats directament per l’enginyeria militar que s’estava posant en pràctica a Roma mateixa en aquests anys, va contribuir a començar una nova etapa de floridesa per a Barcino. La solidesa de les noves defenses va ser un dels elements que Ataülf, molt probablement, al començament del segle V dC va tenir en compte a l’hora de triar Barcelona com a sede regia. En aquest treball s’examina la muralla romana de Barcelona des del punt de vista estrictament arqueològic, actualitzant i homologant les nombroses contribucions anteriors, presentant nombroses noves dades i plantejant línies interpretatives inèdites.
The city wall of Barcino was build at the end of the 1st century BC as part of the same foundational project of a new colony. Not only, therefore, it set the urban forma of the city, but it was perfectly coordinated and embedded within a mechanism planned with great attention. On the one hand, the layout, the location and its structural features were the product of a military tradition that, although it was not brought to its extreme - as the geopolitical situation of the pax Augusta did not required a consistent defense – it settled the basis for a long-term project. On the other hand, it was clearly inspired by north Italic models, and as such it was a declaration of the urbanitas that Augustus included in his program of reorganization - not only political and territorial, but cultural as well - of the Empire. Finally, it was a structure that played a role in the everyday life of the inhabitants: besides the function of entry control, for example, it was designed to work together with the water cycle: it received the supply of the aqueduct and it incorporated the sewers that drained into the moats. The city wall has been for three centuries the mirror of the colony aspirations: it was born as a functional element of civilian life; it was included in urban programs that enhanced, between the late first century and the beginning of the second century AD, the waterfront of Barcino and its port, the latter being the economic driving force of the colony; and ending up, in the third century AD, in the degraded condition of an outdated infrastructure, probably due to the demographic and economic success of the city. But the criteria set by architects and engineers of Augustan era were rescued and strengthened from the point of view of poliorcetics when, in the late third century AD, the whole Roman world was getting fortifications in order face a situation of widespread distress and danger. At this time, once again, the wall became one of the main characters of the city: doubling the thickness of the stone curtain, adding a large number of towers and adopting the most advanced technology, directly inspired by the military engineering that was being implemented in Rome in those same years, Barcino entered into a new phase of prosperity. Furthermore, the strength of the new defenses was probably one of the elements that Ataülf, in the early fifth century AD, had in mind when choosing Barcelona as sede regia. This work examines the Roman wall of Barcelona from the strictly archaeological point of view, upgrading and standardizing the many previous papers, presenting unpublished data and raising new interpretations.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Nesta série de ensaios interdependentes sobre Murilo Mendes, buscamos iluminar diferentes aspectos de sua obra, em especial aquela produzida na Itália, onde o autor se fixou de 1957 até sua morte, em 1975. O fio implícito que liga estes ensaios é a indagação sobre a sua relação com o repertório da cultura ocidental, elemento destacado tanto em sua poesia quanto na prosa. Relação esta que o distingue de outros escritores modernistas, uma vez que, para Murilo Mendes, não se tratava de contrapor uma cultura à outra, mas de formar um conjunto único, em que as diferenças não assumem posição hierárquica, nos moldes, por exemplo, de uma equação centro-periferia. A metáfora do colecionador, que guia o primeiro ensaio, é utilizada como uma chave que permite analisar sua prosa-inventário da tradição ocidental. O surrealismo à brasileira do autor, tema de outro ensaio, mostra o modo peculiar como Murilo absorveu as vanguardas do início do século XX. E o seu projeto universalista é tratado no terceiro capítulo. Os textos que compõem este estudo procuram, assim, acercar-se dessa obra por meio de uma escrita ensaística, conforme definição de Adorno, em que os vários pontos se entrelaçam como em um bordado. Escrita marcada pelo experimento, mais do que pela busca de um pensamento sistêmico e conclusivo.
This is a series of interdependent essays on Murilo Mendes which focus on different aspects of his work, particularly the texts he wrote in Italy, where he lived from 1957 until his death in 1975. The thread that implicitly runs through these essays is his relationship with the Western cultural repertoire, an aspect that stands out in both his poetry and his prose. Indeed, it is this that differentiates him from other Modernist writers. Murilo Mendes was not interested in setting one culture against another, but in uniting them in such a way that their differences were not represented hierarchically, such as center versus periphery. The metaphor of the collector that appears in the first chapter serves as a key for analyzing his body of prose from the Western tradition. His Brazilian-style surrealism is the object of another essay that discusses the particular way he incorporated the European vanguards of the early twentieth century. The third chapter is about his universalism. Overall, this study seeks to address the work of Murilo Mendes using the essay form as defined by Adorno, where points in the different texts interweave like a tapestry. The style is more experimental than strictly systematic or conclusive in its thinking.

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Le sujet de cette étude est la comparaison entre la poétique de l’écrivain français Guillaume Apollinaire (1880-1918) et du poète brésilien Murilo Mendes (1901-1975). Le but de l’investigation c’est la vérification, à travers un recueil poétique des auteurs, la présence de traces qui caractérisent la modernité, depuis les innovations de Baudelaire, les yeux visionnaires d’Arthur Rimbaud et les reflexions linguistiques de Stéphane Mallarmé; jusqu’à la naissance des avants gardes au début du vingtième siècle. Parmi elles, celles qui ont plus de points de contact avec les poètes de cette étude, et qui y seront étudiées sont le Cubisme, le Futurisme et le Surréalisme. La recherche exprime la manière dont les deux auteurs établissent les images poétiques chez leurs oeuvres, et a l´intention de vérifier quelques thèmes et quelques techniques qu’ils utilisent. Les caractéristiques qui les approchent sont exemplifiées à travers les poèmes choisis parmi plusieurs oeuvres des deux poètes. Ainsi, la sphère interpretative peut être élargie.
O presente estudo tem por objeto a comparação entre a poética do autor francês Guillaume Apollinaire (1880-1918) e do poeta brasileiro Murilo Mendes (1901-1975). O objetivo da pesquisa é verificar, por meio de uma coletânea poética de ambos, a presença de traços característicos da modernidade, desde as inovações baudelairianas, passando pelo olhar visionário de Arthur Rimbaud e pela reflexão lingüística de Stéphane Mallarmé, até o surgimento das vanguardas artísticas do início do século XX. Entre estas, as que possuem ligação mais estreita com os poetas aqui estudados e que, por isso, serão mais aprofundadas são o Cubismo, o Futurismo, e o Surrealismo. O estudo reflete sobre o modo como os autores constroem as imagens poéticas em seus textos, além de verificar alguns temas e técnicas comuns a ambos. Exemplificamos as características que os aproximam por meio de poemas de diversas obras dos poetas, para, dessa forma, ampliar o escopo interpretativo.

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A tese explora o conceito da intertextualidade, um dos princípios básicos da teoria formulada por Roland Barthes, Julia Kristeva e da interdiscursividade de M. Bakhtin, a fim de identificar e analisar diálogos da poética de Murilo Mendes com a de outros artistas e poetas, desenvolvidos em três eixos: o sagrado, a arte e o mito. Começando pelo nome feminino Berenice, investiga como o tema do sagrado se revela a partir da musa, fio condutor da primeira parte da pesquisa, que retoma as relações do poeta com Ismael Nery e Adalgisa Nery. A seguir, volta-se ao adágio horaciano Ut pictura poesis para explorar processos intertextuais que englobam não apenas citação, mas ainda metalinguagem, paráfrase e encaixes (mise en abyme e ekphrasis). Nessa segunda parte, a reflexão voltada para a arte, por meio de imagens literárias e pictóricas de traços estilísticos e processos de composição, tem como corpus Murilo Mendes, Ismael Nery, Vieira da Silva e Arpad Szenes. Por fim, calcada na comparação da obra poética de Maria da Saudade Cortesão Mendes com a de Murilo Mendes, a última seção aborda a reescrita literária do mito, processo recorrente na literatura contemporânea, além de procurar dar visibilidade à poesia de Saudade Cortesão, deixada à sombra pela crítica atual. Em linhas gerais, a tese evidencia a intertextualidade como recurso teórico que afirma, acima de tudo, o caráter profuso da poesia de Murilo, que se quis carregada de referências culturais diversas.
The thesis explores the concept of intertextuality, one of the basic principles of theory formulated by Roland Barthes, Julia Kristeva and M. Bakhtin’s interdiscusivity, in order to identify and analyze dialogues of the poetics of Murilo Mendes with that of other artists and poets, developed in three axes: the sacred, art and myth. Beginning with the feminine name Berenice, it investigates how the theme of the sacred reveals itself from the muse, the guiding thread of the first part of the research, that resumes the relations of the poet with Ismael Nery and Adalgisa Nery. Next, it turns to the horacian adage Ut pictura poesis to explore intertextual processes that encompass not only citation, but still metalanguage, paraphrase, mise en abyme and ekphrasis. In this second part, the reflection directed towards the art through literary and pictorial images of stylistic traits and composition processes, has as corpus Murilo Mendes, Ismael Nery, Vieira da Silva and Arpad Szenes. Finally, based on the comparison of the poetic work of Maria da Saudade Cortesão Mendes with that of Murilo Mendes, the last section deals with the literary rewriting of the myth, to seek to give visibility to the poetry of Saudade Cortesão, left in the shade by the current critics. In general terms, the thesis highlights that intertextuality is a theoretical resource that affirms, above all, the profuse character of Murilo's poetry, which was loaded with diverse cultural references.

Murilo Rubião é visto como um caso raro na literatura brasileira: poucos autores produziram como ele uma ficção tão decididamente marcada por situações insólitas, eventos estranhos, cenas inusitadas. Não à toa, sua literatura é estudada a partir de discussões em torno do chamado fantástico contemporâneo (ou neofantástico, ou realismo fantástico, ou realismo mágico, ou realismo maravilhoso). Por agora, no entanto, a questão é outra: alguns engenhos em Rubião potencializam um horizonte de pensamento que promove reflexões sobre a noção de não-senso (não-significado). O não-senso é uma possibilidade, por assim dizer, transgenérica - ainda que por vezes possa ser decidido em melhores circunstâncias no que se convencionou chamar, genericamente, literatura nonsense, literatura do absurdo e mesmo literatura fantástica. A fim de fazer jus a este horizonte, esta dissertação cruza os contos, animada por uma lógica do acontecimento, buscada fora das tradições platônicas e aristotélicas, criando ao longo dos capítulos cenários e instâncias associativas que, por sua vez, solicitam algumas distinções: explicação laboratorial e experiência lógica, senso-significado e senso-sentido, imagem e imagem pura, ser e extra-ser. A discussão aqui travada visa contribuir para a prática de uma experiência na literatura de Rubião.
Murilo Rubião is seen as a rare case in Brazilian literature: few authors have produced a fiction so strongly marked by unusual situations, strange events, and unusual scenes. Not for nothing, his literature is studied starting by discussions on the so-called contemporary fantastic (or neo-fantastic, or fantastic realism, or magic realism, or marvelous realism). For now, however, the question is another one: some of Rubiãos pyrotechnics empower a horizon of thought that promotes reflections on the notion of nonsense (non-meaning). The nonsense is, so to speak, a transgender possibility - though sometimes it can be determined, in the best circumstances, in what is generically called nonsense literature, literature of the absurd, and even fantastic literature. In order to make justice to this horizon, this dissertation travels the tales, it animated by a logic of the event, outside of the Platonic and Aristotelian traditions, creating, throughout the chapters, sceneries and associative instances which, in turn, ask for some distinctions: laboratorial explanation and logic experience, sense-meaning and sense-sense, image and pure image, being and extra-being. The discussion promoted here aims to contribute to the practice of an experience in the literature of Rubião.

Orientador: Silvana Vieira da Silva
Banca: Guacira Marcondes Machado
Banca: Maria Celeste Tommasello Ramos
Resumo: O presente estudo tem por objeto a comparação entre a poética do autor francês Guillaume Apollinaire (1880-1918) e do poeta brasileiro Murilo Mendes (1901-1975). O objetivo da pesquisa é verificar, por meio de uma coletânea poética de ambos, a presença de traços característicos da modernidade, desde as inovações baudelairianas, passando pelo olhar visionário de Arthur Rimbaud e pela reflexão lingüística de Stéphane Mallarmé, até o surgimento das vanguardas artísticas do início do século XX. Entre estas, as que possuem ligação mais estreita com os poetas aqui estudados e que, por isso, serão mais aprofundadas são o Cubismo, o Futurismo, e o Surrealismo. O estudo reflete sobre o modo como os autores constroem as imagens poéticas em seus textos, além de verificar alguns temas e técnicas comuns a ambos. Exemplificamos as características que os aproximam por meio de poemas de diversas obras dos poetas, para, dessa forma, ampliar o escopo interpretativo.
Résumé: Le sujet de cette étude est la comparaison entre la poétique de l'écrivain français Guillaume Apollinaire (1880-1918) et du poète brésilien Murilo Mendes (1901-1975). Le but de l'investigation c'est la vérification, à travers un recueil poétique des auteurs, la présence de traces qui caractérisent la modernité, depuis les innovations de Baudelaire, les yeux visionnaires d'Arthur Rimbaud et les reflexions linguistiques de Stéphane Mallarmé; jusqu'à la naissance des avants gardes au début du vingtième siècle. Parmi elles, celles qui ont plus de points de contact avec les poètes de cette étude, et qui y seront étudiées sont le Cubisme, le Futurisme et le Surréalisme. La recherche exprime la manière dont les deux auteurs établissent les images poétiques chez leurs oeuvres, et a l'intention de vérifier quelques thèmes et quelques techniques qu'ils utilisent. Les caractéristiques qui les approchent sont exemplifiées à travers les poèmes choisis parmi plusieurs oeuvres des deux poètes. Ainsi, la sphère interpretative peut être élargie.
Mestre

L’objectif de ce projet est de développer des méthodes d’analyse et de caractérisation des défauts structurels des matériaux s’appuyant sur la thermographie infrarouge stimulée. Nous pouvons à l’aide d’une excitation photothermique distante et d’un outil d’analyse que nous avons développé en laboratoire, déterminer la structure sous jacente d’un matériau, repérer précisément ses défauts et les mesurer. L’application qui nous intéresse ici porte sur la prévention, le diagnostique et la restauration des oeuvres d’art, nous avons démontré par de précédents travaux, la pertinence de cette approche et son potentiel important dans de nombreux domaines, qu’ils soient industriels, culturels, médicales ou autres. Nous avons fait la démonstration qu’il était possible d’analyse des matériaux fragiles de façon fiable et sans contact et nous comptons généraliser cette approche en l’étendant dans ses domaines d’intervention et dans sa précision
The objective of this project is to develop analysis and characterization of structural defects in material methods based on photothermal radiometry,We can by means of a remote photothermal excitation and an analysis tool that we have developed in the laboratory to determine the underlying structure of a material, precisely locate its flaws and measure. The application of interest here focuses on the prevention, diagnosis and restoration of works of art, we have demonstrated by previous work, the relevance of this approach and its significant potential in many areas, such as industrial cultural, medical or other. We have demonstrated that it was possible to analyze fragile materials reliably and without contact and we intend to generalize this approach by extending its focal areas and its accuracy

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Para refletir sobre O erotismo na poesia de Murilo Mendes, flagrante na sua obra Poesia completa e prosa, este trabalho busca a distinção entre sensualidade, erotismo, amor e religiosidade (o sagrado e o profano). Detecta-se, em quaisquer leituras que se relacionem à sua obra, o vínculo entre erotismo, poesia e religiosidade. Destaca nos textos analisados a presença da mulher: as sensuais, as fatais, as misteriosas, as pitorescas, as espiritualizadas, as quais, desencadeando a conduta erótica do eu lírico, constitui-se em elementos que regem a poesia de Murilo. Movido pelo amor, desejo, paixão, sensualidade, religiosidade, solidariedade e senso de justiça, o poeta ramifica o erotismo em seus versos e transita dos prazeres da carne aos prazeres do espírito. A análise desenvolvida mostra que sua poesia é inebriada pelos sonhos, que excitam a energia libidinosa encontrada em seus versos, concretizada por meio de uma linguagem erotizada ou pela exposição de partes sensuais do corpo da mulher, que ganham relevo no olhar subjetivo do poeta. Um olhar que se estende para a contemplação erótica do mundo. Das formas femininas emergem mulheres com características surrealistas: sólidas ou insólidas, visíveis ou invisíveis, as quais entrecruzam seus versos desde a construção de seu primeiro livro, Poemas. Merecem destaque, ainda, os escritos memorialísticos A idade do serrote, essenciais para se compreenderem a formação intelectual do autor e a influência dessa formação em sua arquitetura poética. Ao conciliar elementos opostos Murilo, eclético, se distingue dos demais poetas do Modernismo brasileiro.
The aim of the present work is to reflect upon The eroticism in Murilo Mendes` Poetry in his book Poesia complete e prosa trying to distinguish between sensuousness and eroticism, love and religion, i.e., between sacredness and profanity. In fact, in any reading of his work a link between eroticism, poetry and religion can be detected. In the studied texts the presence of the woman is highlighted: the sensuous, fatal, mysterious, picturesque, the spiritual woman who triggers the erotic feeling of the lyric poet making up the elements of Murilo`s poetry. Driven by love, desire, passion, sensuality, religion, solidarity and the sense of justice, the poet develops eroticism in his poetry and goes from the pleasures of the flesh to the spiritual ones. The study shows that his poetry is embedded in dreams which excite the libidinous energy realized by the erotic language or the exhibition of the sensuous parts of the female body. This leads to an erotic contemplation of the world. Women with surrealistic characteristics either real or unreal, visible or invisible have been present in his poetry since his first book, Poems, Poemas. Also, his memory writings should be considered, The age of the saw , A idade do serrote, which are essencial to understand the author`s academic education as well as the influence of this education upon his poetic construction. Thus, by putting together opposite elements the eclectic writer has been distinguished from the other poets of the Brazilian Modern Movement.
Pour réfléchir sur l Érotisme dans la poésie de Murilo Mendes, évident dans son oeuvre Poesia Completa e Prosa ce travail cherche à établir une distinction entre la sensualité, l érotisme, l amour et la religiosité (le sacré et le profane). On détecte dans toutes les lectures ayant des rapports avec ses oeuvres, le lien entre l érotisme, la poésie et la religiosité. On remarque dans les textes analysés la présence des femmes: la sensuelle, la meurtrière, la mystérieuse, la pittoresque, la spiritualisée qui, déclenchant le comportement érotique du je lyrique, constituent des éléments qui régissent la poésie de Murilo. Poussé par l amour, le désir, la passion, la sensualité, la religiosité, la solidarité et le sens de la justice, le poète ramifie l’érotisme dans ses vers et transite des plaisirs de la chair aux plaisirs de l esprit. L analyse développée montre que sa poésie est enivrée par des rêves qui excitent l énergie libidineuse trouvée dans ses vers, concretisée par un langage érotisé ou par l exposition de certaines parties sensuelles du corps féminin, qui gagnent en importance dans le regard subjectif du poète. Un regard qui s étend vers la contemplation érotique du monde. Des formes féminines émergent des femmes avec des caractéristiques surréalistes: solides ou insolides, visibles ou invisibles, qui entre-croisent ses vers depuis la construction de son premier livre, Poemas. Il faut remarquer aussi les mémoires A idade do serrote, indispensable pour comprendre la formation intellectuelle de l auteur et l influence de cette formation dans son architecture poétique. En conciliant des éléments opposés Murilo, éclectique, se distingue des autres poetes du modernisme brésilien.

Orientador: Alexandre Soares Carneiro
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A presente dissertação tem como objeto de estudo a poesia de Murilo Mendes, mais especificamente sua poesia apocalíptica, da qual recortamos cinco livros: Poemas (1930), O visionário (1941), Tempo e eternidade (1935), Os quatro elementos (1945) e A poesia em pânico (1937). Para tanto elaboramos seis capítulos: "Estudo para um caos" introduz os pressupostos teóricos do tema que orienta nossa reflexão - o apocalipse. Em seguida, "O abalo cósmico do desejo" analisa as metáforas do fim do mundo que poetizam o amor erótico de Poemas e O visionário. O capítulo dedicado a Tempo e eternidade chama-se "A restauração da poesia do fim" e procura demonstrar as inter-relações entre o essencialismo de Ismael Nery, o surrealismo francês e o Apocalipse bíblico de João. "Um delírio divino" estuda Os quatro elementos, livro em que a poesia é concebida como o resultado da ação violenta de Deus no mundo. O último capítulo de análise, "Os círculos do inferno", trata de A poesia em pânico e observa a construção poética de um apocalipse pessoal. Concluindo, "Poeta futuro" tenta sistematizar a análise de quatro visões do fim criadas por Murilo Mendes que subverte o imaginário apocalíptico com o intuito de criar um universo próprio, com verdades pessoais traduzidas em imagens autênticas
Abstract: The purpose of the present dissertation is the study of the poetry of Murilo Mendes, more specifically, his apocalyptic poetry, from which we chose five books: Poemas (1930), O Visionário (1941), Tempo e Eternidade (1935), Os Quatro Elementos (1945) and A Poesia em Pânico (1937). Thus, to accomplish it, we prepared six chapters: "Study for a Chaos" which presents the theoretical foundations of the theme that guide our reflection - the apocalypse. Following, "The Cosmic Shock of Desire" analyses the end-of-the-world metaphors, which poetise the erotic love of Poemas and O Visionário. The chapter dedicated to Tempo e Eternidade is called "The Restauration of the Poetry of the End" and is aimed at evincing the inter-relations between Ismael Nery's "essencialismo", the French Surrealism, and John's biblical Apocalipse. "A Divine Delirium" studies Os Quatro Elementos, in which poetry is conceived as the result of God's violent action in the world. The last chapter of analysis, "The Circles of Hell", approaches A Poesia em Pânico and observes the poetic construction of a personal apocalypse. Concluding, "Future Poet" attempts at systemizing the analysis of four visions of the end created by Murilo Mendes, who overturns the apocalyptic imaginary with the intention of creating a universe of his own, with personal truths expressed in authentic images
Mestrado
Historia e Historiografia Literaria
Mestre em Teoria e História Literária

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Fundo Mackenzie de Pesquisa
Se sabe que el Modernismo se inicia en 1922, con la Semana de Arte Moderna. A partir de ese movimiento, la literatura brasileña es constituida, a través de los años, por una serie de corrientes ecléticas: generación de 45, concretismo, poesía marginal, regionalismo, nouveau roman, entre otros. Es en esta atmosfera contemporánea que surge en el âmbito ficcional el escritor originario de Minas Gerais, Murilo Rubião. Su obra intimista parte de una literatura fantástica humanizada para representar la angustia del hombre moderno frente a los problemas sociales y sicológicos. Para mejor entender la obra de Murilo Rubião, recorremos varios caminos. Para el estúdio de la literatura fantástica, investigamos sus vertientes entre extraño, maravilloso, mágico, sobrenatural y humanístico, así como innúmeras obras independientes de su estructura desde los textos de la Antigüedad Clásica hasta la actualidad, siempre buscando encontrar en el fantástico contemporáneo las respuestas para el universo muriliano: lo insólito, lo supra-real, lo no-real, lo irreal que aparece sin sorpresas, con el fin de representar el absurdo de la condición humana en confronto con la realidad represora.
Sabe-se que o Modernismo inicia em 1922, com a Semana de Arte Moderna. A partir desse movimento, a literatura brasileira é constituída, ao longo dos anos, por uma série de correntes ecléticas: geração de 45, concretismo, poesia marginal, regionalismo, nouveau roman, entre outros. É nesta atmosfera contemporânea que surge no âmbito ficcional o escritor mineiro Murilo Rubião. Sua obra intimista parte de uma literatura fantástica humanizada para representar a angústia do homem moderno diante dos problemas sociais e psicológicos. Para melhor entender a obra de Murilo Rubião, percorremos vários caminhos. Para o estudo da literatura fantástica, pesquisamos suas vertentes entre estranho, maravilhoso, mágico, sobrenatural e humanístico, bem como inúmeras obras independentes de sua estrutura desde os textos da Antiguidade Clássica até a atualidade, sempre buscando encontrar no fantástico contemporâneo as respostas para o universo muriliano: o insólito, o supra-real, o não-real, o irreal que aparece sem surpresas, a fim de representar o absurdo da condição humana em confronto com a realidade repressora.

Un premier volume présente le catalogue des peintures murales gothiques de l'ancien Poitou. La synthèse met ensuite en évidence, suivant une évolution chronologique, les deux périodes particulièrement fécondes de cette peinture, sous les angles du style, de l'iconographie et des programmes. La seconde moitié du XIIIe siècle et le début du XIVe siècle voient leur discours figuré se centrer sur les thèmes du Christ, de la Vierge et des saints. Les commandes sont en majorité issues d'un cadre collégial ou cathédral ou bien d'églises paroissiales. Les programmes s'élaborent avec un souci de pastorale et de retour aux sources du culte propre à ces institutions. Le XVe siècle montre un renouvellemnt des thèmes apporté par l'évolution de la sensibilité religieuse et des dévotions (Credo, Dit des trois morts et des trois vifs, Fontaine de vie, Messe de saint Grégoire, Cavalcade des sept Péchés capitaux) de même qu'un élargissement de la commande qui devient essentiellement privée.

Esta dissertação concentra-se no estudo da recepção da obra poética de Murilo Mendes, já que esta é fortemente marcada por uma série de divergências entre seus principais críticos. Estas divergências situam-se bem além da tradicional divisão da obra do poeta em duas fases, pois alguns críticos atribuem maior valor poético a uma destas fases em especial. Em nossa análise da recepção crítica procuramos demonstrar a não pertinência desta divisão rígida em termos de qualidade poética efetuada pela crítica. Assim, propomos demonstrar a existência de uma interligação entre estas possíveis fases' murilianas, seguindo a perspectiva postulada por Sebastião Uchôa Leite (2003) e para tal analisamos, através da elaboração de um inventário, alguns dos principais vetores da poesia muriliana como: o humor, a presença do feminino, a recorrência da questão do olhar/visualidade, a dimensão metalinguística. Este inventário foi realizado através da consideração do último livro muriliano, 'Convergência', por acreditarmos que ele representa um momento especial na trajetória de Murilo Mendes.

Murals have been the formal visual interpretation of the cultural, social and political life of all ages. Throughout they have been consistently combined with their architectural setting, for example, in ancient Egyptian tombs, in Renaissance churches and on the external walls of buildings in Mexico in the twentieth century. This is a central feature of mural painting. However many contemporary murals do not integrate with their architectural settings, in other words, do not fulfil the site-specificity of the architectural spaces for which they were made. This means that the most important aspect that distinguishes murals from other types of painting is absent. I studied and analysed a number of murals produced in the Italian Renaissance, Baroque and Rococo as this particular period is considered to be not only one of the most significant in the history of art but also a period in which painting and architecture were very closely allied as practices. In particular the radical developments in painting of pictorial space took place along side the developments in architecture. I argue that Renaissance murals could be described, using the terminology of contemporary art, as site-specific art. By identifying the relationship between pictorial space, architectural space and compositional structure I was able to test, through my own practice, the importance of these relationships in understanding the site-specificity of the compositional structure of murals. To address the issue of sitespecificity in murals, I investigated and developed a set of compositional structures through my mural practice that could be applied in the design, execution, and teaching of contemporary mural design. I have developed the notion of a deconstructive method of mural design in which the illusory space of the mural derives its compositional structure from the architectural space in which it sited. I have applied it, tested it and refined it through the execution of a number of hypothetical and live mural commissions. I believe that the approach to the study and practice of mural design I have developed from the perspective of a practice lead researcher contributes to the furtherance of mural design as both a profession and field of study. In particular the identification of compositional structures in mural design and the proposal of a deconstructive method contributes to our understanding of what a mural is as well as current notions of site-specificity in contemporary art.

Orientador: Vilma Sant'Anna Areas
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho é dividido em três partes. Na primeira, investigamos o percurso da obra do contista mineiro Murilo Eugênio Rubião (1916-1991), juntamente com a sua recepção crítica. Na segunda, partindo da afirmação de que Murilo seja o precursor do fantástico moderno em nossa prosa de ficção, realizamos um estudo teórico sobre este gênero literário. Na terceira parte, buscamos descrever todos os contos do autor, em função de um determinado conceito de fantástico. Por fim, levantamos uma hipótese geral sobre o sentido da obra muriliana, buscando relacionar tudo o que foi discutido
Abstract: This work is divided in three parts. On the first, it is investigated the work course of the storyteller, from Minas Gerais, Murilo Eugênio Rubião (1916 - 1991), together with the reviews he had received. On the second part, setting forth from the statement that Murilo is the predecessor of the modem fantastic stile in our fiction prose, we made a theoretical study about this literature genre. On the third part, we sought to describe all of the author's narratives, focusing on a specific concept of the fantastic. Finally, we raised a general hypothesis about the meaning of Murilo's work, trying to connect everything that had been discussed.
Mestrado
Mestre em Teoria e História Literária

Orientador: Maria Eugenia da Gama Alves Boaventura Dias
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta tese analisa os poemas e textos em prosa de Murilo Mendes dedicados à Espanha (à sua paisagem geográfica, econômica, política, cultural e religiosa) e a várias de suas personalidades culturais; procuro demonstrar como o catolicismo muriliano o leva a escolher o país ibérico como matéria poética em um momento de crise de sua fé, em um período em que o franquismo, um regime de inspiração fascista apoiado pelo papa Pio XII e pela maioria do clero católico espanhol, oprimia sua própria população sob o pretexto de defender o cristianismo contra o comunismo ateu de orientação russa. Analiso com vagar o uso retórico que Mendes faz da nostalgia por um passado cristão altamente idealizado, contrastando-o com um presente percebido como brutal e mesquinho, em duas de suas obras: Tempo Espanhol, um conjunto de poemas publicado em Lisboa, em 1959, e Espaço Espanhol, livro em prosa de publicação póstuma, escrito na segunda metade da década de 1960
Abstract: This thesis analyzes Murilo Mendes¿ poems and prose texts dedicated to Spain (to its geographic, economic, political, cultural, and religious landscapes) and to several of its cultural personalities; I try to demonstrate how Mendes¿ Catholicism drives him to choose the Iberian country as a poetic subject in a moment of crisis of his faith, and during a period when Franquism, a Fascist inspired regime supported by Pope Pius XII and the majority of the Spanish Catholic clergy, was oppressing its own population under the pretext of defending Christianity against Russian-oriented atheistic communism. I analyze at great length his rhetoric use of nostalgia for a highly idealized Christian past, contrasting it to a present seen as brutal and mean, in two specific titles: Tempo Espanhol, a book of poetry published in Lisbon, in 1959; and Espaço Espanhol, written in prose in the second half of the 1960s but never published during the author¿s lifetime
Doutorado
Teoria e Critica Literaria
Doutor em Teoria e História Literária

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Este trabalho examina aspectos da vida e da obra do contista mineiro Murilo Rubião, principalmente no período de 1956 a 1960, época em que ele residiu em Madrid. A investigação é feita a partir de um depoimento que o contista concedeu em entrevista, relembrando aquela fase de sua vida, quando, pela primeira vez, sofreu o problema do exílio. Tendo como hipótese que o exílio de Murilo Rubião apresenta não só o aspecto geográfico, observo outras particularidades no que diz respeito ao exílio deste escritor, o qual vai se refletir em toda a sua obra. A fundamentação teórica de Edward Said, Arthur Schopenhauer, Octavio Paz, Julia Kristeva e Stuart Hall possibilitam um diálogo com este estudo. O texto de Murilo que ilustra este trabalho é o conto “Teleco, O Coelhinho”, produto de seu tempo em Madrid, época que é detalhadamente examinada através de sua correspondência passiva.
This work examines some aspects of the life and work of Murilo Rubião, a short story writer from Minas Gerais, focusing mainly in the years he lived in Madrid, from 1956 to 1960. This study was triggered by some comments of the writer, in an interview, as to how much he had felt an exile at that time. Setting off with the idea that Murilo Rubião’s exile is a characteristic not only concerning his geographic absence, the work deals on different aspects of his sense of exile, which reflects on his written production. The work falls back on the thoughts of Edward Said, Arthur Schopenhauer, Octa vio Paz and Julia Kristeva as far as the questions of exile are concerned. The short story studied in depth is “Teleco, o coelhinho”, which was written during the time highlighted here. The mentioned period is studied in detail through an examination of the letters Rubião received in those years, available in the UFMG archive.

Modern cities architecture has become the basic street art medium, primarily regarding graffiti and mural. The themes and forms of murals, which are designed independently of architects, constitute visual interference in the architectural space of the city. Murals should be related both contextually and formally to the place in which they are created, so as to enrich the surrounding space in terms of esthetic and ideological values. The author is trying to illustrate the phenomenon painting of murals as contemporary architectural details on the example of selected architectural objects from Gdansk, Katowice, Krakow, Poznan and Kielce.

Este trabajo de investigación pretende, a través de las metodologías que apuntaremos, adentrarse en un proceso concreto de creación artística en el ámbito de la pintura mural al fresco, para deslindar con la mayor proximidad y precisión posibles, todos aquellos aspectos que lo configuran y permitir así dar paso a la obtención de los objetivos que nos hemos trazado. Por lo tanto, nuestra intención pretende analizar y clarificar la gestación del proceso, conocedores no obstante, de la dificultad que supone acometer una experiencia así, de difícil predicción en sus resultados. Para el estudio propuesto hemos elegido al pintor muralista Josep Minguell i Cardenyes, quien posee acreditada una amplia e intensa actividad en el ámbito de la pintura mural al fresco. Creemos que la mejor contribución al quehacer universitario, vendrá dada por el carácter innovador o diferenciador de sus producciones y en este sentido nuestro propósito esta bien encaminado o cuanto menos somos conscientes de la responsabilidad asumida. En la búsqueda de una complementariedad entre arte y erudición, que no oposición, recordemos no obstante las ¿Cartas Estéticas para la educación del hombre¿ que Schiller nos legara y donde ya se lamentaba de la ruptura entre el conocimiento especulativo y el conocimiento intuitivo - tan propio, este ultimo de la actividad artística - ; ruptura que consolida en definitiva, la división entre el arte y la erudición y que vendría a plantearnos en este sentido un reto añadido. Desde los preliminares del proyecto, incluyendo las imágenes mentales o proto-imágenes, hasta los últimos toques que el artista imprime a su obra, nos hemos propuesto dejar constancia de todo ello, tanto desde las sucesivas imágenes que hemos obtenido del proceso, como de las preguntas que el conjunto genera, concluyendo en una serie de consecuencias y conclusiones de todo orden: proyectuales, procesuales, técnicas y conceptuales, con la esperanza de que configuren un conjunto de conocimientos transmisibles. El pensamiento compartido de nuestro pintor estudiado, Josep Minguell , con el del artista Sol Lewitt, en el sentido de que una obra de arte coaliga el contenido conceptual con la materia y su proceso de ejecución, nos permite con mayor seguridad adentrarnos en su mundo interior. En esa concepción en la que la presencia de la obra (su forma) deviene su propia esencia (el contenido), nuestro proyecto resulta de mayor relieve y utilidad didáctica. Además coincide plenamente con nuestra posición al respecto: nuestro acercamiento a la idea, concepción, proyecto y proceso de ejecución del artista queda plenamente justificado.
Quílez Cepero, N. (2013). "Pintura Mural: Mirando un proceso" [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/31650
TESIS

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Partindo das práticas de escrita dos livros de viagem, propomos investigar os procedimentos encenados por Murilo Mendes em Carta Geográfica e, de modo concomitante, investir sobre as estratégias do poeta, no desenho dos mapas e cartas, diante do deslocamento de textos e suas relações com o corpo da obra. Entre os problemas colocados, ao lidarmos com a Carta Geográfica, temos o seu caráter de incompletude e imperfeição - no sentido português de inacabado, como indica Luciana Stegagno Picchio, em comentário nas notas e variantes da edição da poesia completa e prosa. Picchio afirma, ainda, que esta Carta Geográfica ficará como livro de recortes, de apontamentos, de sobras; o que, de imediato, renova o interesse pelo livro, por indicar estratégias de colagens e roteiros, tão caros a Murilo Mendes. Seguimos o significativo interesse pela obra em prosa do poeta, que é justificado, não sem razão, por conta da feição memorialista desses textos. Há uma proliferação de leituras amparadas por teorias do arquivo e das escritas de si; no entanto pretendemos, aqui, ler a Carta Geográfica como cartografia de desejos, compondo estratégias de navegação que, de certo modo, irão supor-se como garrafas de intertextos lançadas ao mar nas dinâmicas das visitas guiadas.
From the perspective of travel writing, we propose to investigate the procedures used by Murilo Mendes in Carta Geográfica (Geographic Letter), and along with this, study the strategies of the poet, his drawings of maps and letters, regarding the displacement of texts and their relations with the body of the work. Amongst other issues, when dealing with Carta Geográfica, we have to deal with its incompleteness and imperfections - in the Portuguese sense of inacabado/unfinished, as observed by Luciana Stegagno Picchio, in a comment to the notes and variants of the edition of his complete poetry and prose. Picchio also says that Carta geográfica will remain as a scrapbook, a book of notes and leftovers. An immediate effect of this is to renew interest for this book, because it indicates that collage and scripts were used as strategies, procedures so dear to Murilo Mendes. A significant interest for his work in prose can be explained by the memorialist character of these texts. Many readings have been made based on archive theories and self writings; however, our intention is to read Carta Geográfica as a cartography of desires, using navigation strategies that should, in a way, function as intertextual messages in bottles which are thrown out to the sea during the dynamics of guided tours.

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PROQUALI (UFJF)
Este estudo apresenta a metamorfose como elemento temático e metalinguístico nos contos de Murilo Rubião. Tem por finalidade abordar a representação da fragmentação da personalidade do indivíduo moderno nos contos: O ex-mágico da Taberna Minhota, O pirotécnico Zacarias, Os dragões, Teleco, o coelhinho e Alfredo cujas temáticas abordam a fabulação da metamorfose. Esses contos revelam, ainda, características internas da obra do escritor como a reescrita dos contos, a intertextualidade epigráfica e a escrita cíclica. Sob o véu da fantasticidade, os contos revelam reflexões existenciais com as quais os leitores podem se identificar. Por meio da indiferença e da estagnação de algumas personagens dos contos, revela-se o inconformismo dos indivíduos e a dificuldade dos relacionamentos sociais. Por fim, conclui-se que o Fantástico é um véu da literatura que pode permitir um posicionamento crítico diante dos acontecimentos. A fabulação natural do ser humano lhe dá capacidade, portanto, de construir realidades alternativas que espelhem novas significações para as relações entre o indivíduo e a sociedade.
This study presents metamorphosis as a thematic and metalinguistic element in the short stories of Murilo Rubião. It aims to demonstrate the fragmentation of personality of the modern man in the short stories: O ex-mágico da Taberna Minhota, O pirotécnico Zacarias, Os dragões, Teleco, o coelhinho e Alfredo whose themes manifest the fable of metamorphosis. These tales also reveal internal features of the work of the writer such as the rewriting of the tales, epigraphic intertextuality and cyclical writing. Under the veil of the fantastic, the short stories reveal existential reflections with which readers can identify. Through the indifference and stagnation of some characters of the tales, they reveal the reluctance of individuals and the difficulty of social relationships. Finally, it is concluded that the Fantastic is a type of literature that can allow for a critical stance towards events. The natural fabulation of human beings offers the ability, therefore, to build alternate realities that reflect new meanings in the relationship between man and society.

O presente trabalho tem por objetivo abordar as relações da história e da memória brasileira na obra de Murilo Mendes. Essa tarefa de interpretação engloba a releitura do País em chave satírica e chave religiosa, em duas do poeta, História do Brasil (1932) e Contemplação de Ouro Preto (1954). Nelas constataremos os usos que o poeta faz dos elementos acima, renovando o nosso entendimento sobre o passado. Demonstra-se no estudo que o poeta insere o Brasil em suas preocupações, dando destaque à memória histórica do País em sua produção, elaborando uma crítica à história sem deixar de lado a fatura poética. Assim, nosso estudo coloca o escritor em coordenadas mais específicas da tradição literária, o que tem sido tema de pouca presença nos estudos murilianos até o momento.
The aim of this study is to analyze the relations between History and Brazilian memory in Murilo Mendes´ poetry. This task of interpretation involves a revision of the country with a satiric and religious key in two books of the poet, History of Brasil (1932) and Contemplation of Ouro Preto (1954). The uses of History and memory done by the poet are considered very different in various ways promoting innovations in how we see images of the past. The intention is to show that Brazil is an important reference in the books analyzed emphasizing the reviews the poet does about our History and the poetical composition at the same time. Then, our study analyzes Murilo Mendes in a specific line of the Brazilian literary tradition considering a theme that few studies have contemplated so far.

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The following study investigates the presence of Surrealism in the book As metamorfoses, published in 1941. Firstly, this study presents a review of French Surrealism, whose ideology contains the senses of imagination, dream, wonderful, collection, etc. Thus, we seek to identify both the main features of the movement, as well as their limitations and contradictions. Secondly, the book As metamorfoses is analysed in its relationship with the surrealist poetry, especially the notion of fusion of opposites, present both in the French movement and the Brazilian poet. However, our goal is not to classify the poet as a Surrealist, but rather identify both the impact and consequences of the French movement in the work of Murillo, and the peculiarities and differences of a great poet.
O seguinte estudo investiga a presença do Surrealismo no livro As metamorfoses, publicado em 1941. Inicialmente, é feita uma revisão do Surrealismo francês, cujo ideário perpassa os sentidos de imaginação, sonho, maravilhoso, coleção, etc. Assim, busca-se identificar tanto as principais características do movimento, como também as suas limitações e contradições. Num segundo momento, o livro As metamorfoses é analisado em suas relações com a poética surrealista, em especial a noção de fusão dos contrários, presentes tanto no movimento francês, como no poeta mineiro. No entanto, a tarefa não é colocá-lo numa linhagem surrealista; pelo contrário, busca-se identificar tanto a repercussão e os desdobramentos do movimento francês na obra de Murilo, quanto as singularidades e as diferenças de um poeta pleno.

Groundswell, a New York-based nonprofit community arts organization, creates high quality public art with youth and artists throughout the five boroughs of the City. This study examines how the nonprofit utilizes mural making, a potentially democratic art form, to provide opportunities for individual and collective impact. I undertook key informant interviews and documents analysis to explore the complex model the nonprofit employs to create a collaborative and community-based art process for youth, while also developing a product that can both spark conversation and reflect resident's experiences. Overall the nonprofit's mural making process provided its youth participants with opportunities to reflect and develop personally and professionally. They worked collaboratively to accomplish a goal and learned to think critically about the role of gender and media as they considered their mural subjects. To create their art, youths needed to exercise empathetic understanding as well as creativity to craft a positive message and subsequently design a pictorial representation that reflected the experiences, interests and concerns of the community residents with whom they worked. Not only did Groundswell program participants undertake reflexive and developmental experiences, but the community of Coney Island also gained a mural that serves as a positive affirmation, a sounding board and a symbol of the community's resilience in the wake of Hurricane Sandy.
Master of Urban and Regional Planning

The purpose of this creative project was to research, build, and replicate portions of the history of the town of Bradford, Ohio in order to create a permanent community monument. Glazed tiles were mounted together to form an artpiece four feet by sixteen feet, preserved for future generations to appreciate and enjoy.Upon completion of research on the community, drawings of area business establishmentswere diligently developed for the clay bas relief tiles, which were sculptured by the artist and his Art I-IV students. Individual clay tiles, composed of terra-cotta stoneware, were bisque fired, underglazed, and refired. To mount the tiles, concrete was applied to sections of plywood (which had been covered with chicken wire). The stoneware tiles were then organized, arranged, and embedded in concrete to create a mosaic mural.The process of the mural forged an unmistakable bond between teacher, students, school, and community. The completed mosaic mural was framed and permanently mounted on location at the Bradford Public Library, 138 E. Main Street, Bradford, Ohio, involving the remodelling of the facility to accommodate the sculpture's size.
Department of Art

Many studies have been made of the 'Mexican Mural Renaissance', but these generally have not provided an integrated account of the philosophical and ideological beginnings, development and end of the Mexican government's 1920's programme. Also, recent studies dealing with aspects of the programme have brought new evidence forward which allows this study to provide an overview of the social, political and aesthetic context of the mural programme. This is helpful in the assessment of the muralists' artistic achievements both as individuals and as members of the artists' syndicate. Primary source material such as the artists' autobiographies and the newspapers such as 'La Vanguardia' and 'EI Machete' to which they frequently contributed have also been studied closely to provide new insights into their political thinking and aesthetic principles as they sought to create a 'revolutionary art for all.' Since the programme was government-sponsored as part of a national education policy, the ideology of the regimes which preceded and followed the Revolution of 1910-17 has been examined to ascertain how well the muralists' ideals and work matched the expectations of their official patrons. Accordingly an account is also given of the political life of Mexico, in particular during the dictatorship of Porfirio Diaz and the Revolution, and especially close attention is given to politics during the 1920's when the mural programme was underway. Concerning the muralists themselves, aspects of their experience which may have influenced their art are considered concurrently with their contemporary work. This is particularly important as a major question addressed in this study concerns the reduction of the muralists' programme from a group project, to the efforts of three noted muralists with assistance in some cases from others previously employed as muralists in their own right, to the final reduction of the programme to just Diego Rivera and several assistants.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro Tecnológico, Programa de Pós-Graduação em Arquitetura e Urbanismo, Florianópolis, 2014.
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Este trabalho é o resultado de uma pesquisa franco-brasileira que pretende estimular ações de preservação e valorização das pinturas murais como patrimônio cultural, tendo como foco a identificação das técnicas murais e seus materiais, com a finalidade de determinar procedimentos de restauro que contribuam na preservação dessas pinturas. Maior enfoque é dado à pintura mural da Sala do Telégrafo do Palácio Cruz e Sousa (edificada no séc. XVIII na Ilha de Santa Catarina- Florianópolis), como estudo de caso, por conter dois exemplares de pinturas sobrepostas com técnicas diferenciadas. Metodologicamente, iniciou-se com a pesquisa bibliográfica e documental referente ao tema, estruturando a fundamentação teórica que forneceu informações circunstanciais para a compreensão das técnicas murais. Em seguida, na Etapa Preliminar foi diagnosticado seu estado de conservação; mapeadas as áreas deterioradas e coletadas as amostras da camada pictórica (intonaco, pigmentos e ligantes). Logo, as amostras foram analisadas em laboratório através de ensaios fisico-químicos com a finalidade de identificar e caracterizar materiais, através de métodos analíticos de cortes estratigráficos, espectroscopia de absorção infravermelho, microscopia de luz polarizada, microquímica, microscopia eletrônica de varredura e espectroscopia por dispersão de energia - raio X. Estas análises possibilitaram a identificação da carga, predominando o carbonato de cálcio, bem como aglutinantes de base proteica dissolvida em água, que determinaram as técnicas pictóricas: uma têmpera (1898) sobreposta pela pintura a óleo 1986); quanto à caracterização química de pigmentos utilizados, destacam-se o azul ultramar, vermelho-ocre e branco litopônio. Após a Etapa Experimental- ensaios e experimentos laboratoriais (LabRestauro/UFSC), visou-se à recuperação das pinturas com produtos e materiais descritos em manuais técnicos antigos. Testaram-se materiais orgânicos naturais e sintéticos. Durante os ensaios laboratoriais, experimentos com argamassas de cal calcítica e magnesiana foram desenvolvidos para recompor as áreas faltantes (lacunas e fissuras) presentes no reboco (intonaco e arriccio). Testaram-se ainda fixadores para recuperação das áreas com craquelês em estado de desprendimento, os fixadores sintéticos (mowiol, primal e acetato de polivinila- cola PVA) e naturais: vegetal (goma arábica e carboximetilcelulose), animal( cola de coelho, cola de peixe, caseína e albumina) e mineral ( água de hidróxido de cálcio e magnésio). Receitas tradicionais de tintas foram testadas, aquelas designadas como "ecotintas" foram aplicadas com base em manuais técnicos antigos, a exemplo de Cennino Cennini (séc. XV) e outros. O resultado obtido a partir dos experimentos foi a composição da argamassa de cal similar e compatível para recompor argamassas históricas, com boa adesão e carbonatação. Esta argamassa é resultante da mistura de hidróxido de cálcio, hidróxido de magnésio e areia peneirada (granulometrias 0,30 mm e 0,15 mm) para recomposição de fissuras e lacunas, semelhante ao arriccio. A mesma composição de hidróxidos, no entanto, sem a mistura de areia, foi utilizada para fazer a massa de nivelamento (intonaco) para recuperar as áreas de perda superficial, que receberam, em seguida, a aplicação das eco-tintas (água de hidróxido de cálcio e magnésio + pigmento). Na elaboração e aplicação das ecotintas com água de hidróxido de cálcio e magnésio + pigmento, obteve-se resultado satisfatório, todavia, observou-se que a aplicação com a massa de nivelamento úmida, os pigmentos adentram mais na camada de substrato (o intonaco úmido), havendo melhor fixação que quando seco. O intonaco seco faz com que haja desprendimento de parte do pigmento. Objetivando que não houvesse este desprendimento de pigmento, foi adicionado um fixador a mistura das eco-tintas, optando por um dos produtos já testado na fixação dos craquelês; a cola de coelho. Quanto aos fixadores foram testados os mesmos utilizados em laboratório (naturais e sintéticos) para refixar os craquelês. Os fixadores que obtiveram resultado satisfatório quanto à adesão e ao tempo de fixação, foram: a cola de coelho, cola de peixe, metilcelulose, cola PVA, primal e mowiol; havendo divergência quanto ao resultado da goma arábica, em laboratório não houve aderência, e na área in loco umedecida com vapor de água morna fixou. Por fim, com base nos resultados obtidos, elaborou-se um conjunto de procedimentos de restauro, que poderão ser aplicados em outros exemplares de pinturas murais. A reversibilidade e a compatibilidade dos materiais foram os critérios que nortearam a escolha dos produtos a serem recomendados para a recomposição mural.

Abstract : For the purpose of ensuring heritage preservation and stimulating accurate practices of mural paintings restoration as cultural heritage; that doctoral thesis based on a Franco-brazilian research focuses on identifying material's samples, techniques of mural paintings restoration and application process by determining technical restoration process.The case study that has been chosen- the Telegraph room- situated in Cruz and Souza Palace- historic building from XVIII thcentury - as a result of two examples of murals, which were found and also were superimposed by different techniques. The methodological process started with bibliographic and documentary sources research about mural paintings. Then, theoretical foundations' structure permitted an overall comprehension about murals.In addition to prefatory phase, theconservation condition was studied, damaged areas were identified and samples of murals were collected ( intonaco, pigment and binder). Afterthat, those samples were analysed in the laboratory by physico-chemical and analytical studies and also the state of conservation of mural paintings the characterization of the original organic and inorganic materials used in painting preparation and plaster coat enables to determine ancient painting techniques. Besides, the nature and the extent of the deterioration causes and materials used in subsequent restorations have been identified and the poor state of conservation of the mural painting, due to quite severe deterioration processes, noticeable detachments calls for an immediate intervention by following technical restoration process and methodology. This doctoral study offered the possibility to compare results obtained by different techniques on the samples, in order to evaluate performance, advantages and limits of them. Physico-chemical and analytical studies of pictorial fragments collected from different areas of the wall painting were addressed toward the determination of the stratigraphy and the characterization of the original composition and the restoration materials, in order to define the state of conservation and the pictorial technique by using Crosssection of sample, EDS-X MEV, Raman Spectroscopy, Fourier Transform Infrared spectrometer FI IR 4100. The Components analysis of the examined samples indicated the presence of Calcium Carbonate, and water-soluble protein binder that ascertain techniques of mural paintings, to quote as an example tempera paintings dating back to the XIXth century, precisely in 1898 that was superimposed by a coat of oil paint in 1986. According to the doctoral studies- ultramarine, vermilion cinnabar, lithopone- were the main pigments analysed. After the experimental phase at the LabRestauro UFSC, aiming murals' recovery by material application and products described in ancient technical handbooks. In addition, during the doctoral studies, organic and inorganic materials were tested. Lime plaster experimental analysis indicated calcite and dolomite was used to repair damaged areas (intonaco and arriccio). Several fixative substances were testedmowiol, primal, PVA, casein, albumen, fish glue, rabbit glue; aiming cracked recovery on areas that were untying. Traditionals recipes were tested and those that appointed as eco-friendly paints were applied according to ancient technical handbooks; for instance Cennino Cennini's handbook (XV th century).The final experimental result was a lime plaster chemically compatible, presenting a good adherence and fast process of carbonation to salvage historical lime plaster. The ensuing lime plaster of a blending of Calcium Hydroxide, Magnesium Hydroxide and coarse fine sand (granulometric analysis- grain shapes analysed 0.15 mm and 0.30 mm) similar to arriccio. The same chemical composition used to make intonaco to repair superficial losses areas, owing to eco-friendly paints applied, summed water-soluble Calcium Hydroxide and Magnesium Hydroxide + pigment up.Therefore, a notable observation that has been done, when the pigment is applied on a fresh lime plaster it better fastened and integrated the dry plaster; even though, when the pigment is applied on dryied intonaco, the pigment comes off. The objective of not having cracking and detachment, problem that was solved by adding a fixative substance in a mixing of eco-friendly paints; rabbit glue. Lastly, fixative substances that bring in good results as for adherence and fastening time - rabbit glue, methylcellulose, fish glue, PVA, primal and mowiol; with the exception of arabic gum in loco that only with steam it fastened. In conclusion, based on doctoral studies, experimental analysis the outcome is proposing mural painting's technical restoration process and methodology by heading north as for intervention processes' revertibility and compatibility on mural paintings restoration.

Murals are a highly prominent aspect of Los Angeles present day. The purpose of this study is to investigate the history and cultural production of early murals in greater Los Angeles, many of which still exist within interiors of old commercial and public buildings, together with a few external political murals from the 1930's. Little of this period has been previously documented and the scope of the study includes a short general history of American mural painting preceding the main period of focus which presents a survey of mural painting in the city from origin c.1900, and develops on the patrons and artists aligned with the city's history and political unrest prevalent in the United States throughout this period. My main conclusions revealed that unlike other cities in the U.S., Los Angeles does not have a history of Beaux-Arts murals; rather the mural movement sprang from the rapid development, commercialization and capitalization of the city from c.1900 to the late 1920's. During the Great Depression, the federal government took over sponsorship of the arts, and because capitalism as an economic system appeared to have failed, many artists became politicized; furthermore Mexican artists Rivera, Siqueiros and Orozco strongly influenced many American artists during the 1920s and 30s, aesthetically and politically. Among the issues the thesis examines in some depth includes the development over these Los Angeles years of the methods by which mural art was integrated into particular locations and the identities of public and private architectural formations. This establishes the collaboration between artists and architects and the way that some architects decided to push hard for its continuation, with artists devising a wealth of contrasting images. There is the expansion of urbanism, together with huge commercialization and the examination of creative street art. With the roots of the Depression the role of the state is identified and discussed, together with its major effects on Los Angeles mural artists, the role of various artists also identified together with a deep exploration of political convictions and their problematic outcomes. This is a marker on the way this inner city and its suburbs formed, and is original in displaying the visual terms of Greater Los Angeles and its mural outcomes in the first half of the twentieth century.

Este trabalho analisa o livro As Metamorfoses, do poeta Murilo Mendes. A perspectiva escolhida é a da invenção por meio da linguagem desse poeta. Reconhecendo que a imagem tem valor inestimável na poesia de Murilo, nossa análise elucida a construção imagética atentando para o modo como a organização das palavras figura o efeito de desorganização semântica que lembra alguns quadros surrealistas. Nesse sentido, a pergunta que norteia este trabalho é: Como o poeta usa a forma para a construção da indeterminação de sentido? Para respondê-la, recorremos, além de textos poéticos e não poéticos de Murilo Mendes, a textos sobre o Surrealismo, o Essencialismo de Ismael Nery e sobre forma e indeterminação semântica, que nos ajudaram a entender melhor o código poético de Murilo Mendes, inclusive entrevendo nesse código um padrão compositivo. Sendo a junção de imagens descontínuas no poema a principal característica do trabalho de montagem em Murilo Mendes, julgamos coerente supor que esse procedimento de composição exige uma performance idiossincrática do leitor. Na condição de obra moderna, a poesia muriliana exige um leitor também moderno. Para constituí-lo textualmente, estudamos também alguns pré-requisitos de leitura que devem ser acionados para a compreensão da proposta artística de Murilo Mendes, recorrendo sistematicamente a textos da estética da recepção.
This dissertation analyzes the book As Metamorfoses, by the poet Murilo Mendes. The chosen perspective of analysis are his poetical procedures. Recognizing that images are central in Murilos poetry, our analysis elucidates his imagery construction, focusing on the ways the organization of words features the semantic disorganization effect which reminds Surrealistic paintings. In this sense, the question that guides this work is: How does the poet use the form to build the indeterminacy of meaning? In order to answer it, we use, besides Murilo Mendes poetic and non poetic texts, texts on Surrealism, the Essentialism of Ismael Nery and about form and semantic indeterminacy, that help us to understand Murilo Mendes poetic code, including glimpsing a compositional standard in such code. Since the main feature in Murilo Mendes work is the joining of discontinuous images in the poem, it seems coherent to assume that his composition model requires an idiosyncratic readers performance. Murilos poetry also requires a modern reader. With that in mind, we also studied some reading prerequisites that must be triggered for the understanding of Murilo Mendes artistic proposal, systematically resorting to aesthetics of receptions texts.

O objetivo deste trabalho é empreender uma leitura monográfica de Os Quatro Elementos, livro de Murilo Mendes de 1935. A motivação inicial foi o caráter original da obra e a inexistência de investigação crítica a respeito do volume, temas que são abordados mais extensivamente na introdução. A seguir, passa-se à análise detida de alguns poemas do livro, em que se busca identificar alguns dos temas principais da lírica de Murilo Mendes (a religiosidade, o erotismo, a visão mitológica, a influência surrealista, o humor); aborda-se também algumas questões de cunho mais filosófico, mas centrais para a compreensão do poeta, como as da relação entre História e Transcendência. Finalmente, a reflexão incide sobre o caráter original da obra de Murilo Mendes face seus contemporâneos do Modernismo, e intenta explicar o silêncio da crítica relativamente ao livro.
Our work aims at presenting a monographic study of 1935 Murilo Mendes´ book, Os Quatro Elementos. Picking that subject was motivated by original characteristics of the book, and also by the inexistence of critical inquiries regarding the piece. These particular aspects are analysed more extensively in the Introduction. Then, our study moves on to carefully analysing of some poems of the book, in which we try to identify some of the major themes of Murilo Mendes´s poetry (religion, eroticism, mythological aspects, the influence of Surrealism, humour). It also adresses philosophical aspects that are central to the understanding of the poet, such as the relationship between History and Transcendence. Finally, our analysis focuses on the unique character of Murilo Mendes´work in comparison to his Modernist contemporaries using that as means to explain the silence of our literary criticism about this specific masterpiece.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Many short stories of Murilo Rubião (1916-1991) bring actions and situations generally perceived as absurd, which analyzed thoroughly, can be considered representations of the feeling of estrangement of man in the world and the emptying of meaning of modern experience. The critics often associate the fantastic typical of the author to the category of absurd. But what characterizes the absurd universe created by Rubião? This research aims to investigate the construction of the absurd in work of Rubião, both thematically and discursive. The theoretical basis for this work is the absurd philosophy, present in the essay The myth of Sisyphus, by Albert Camus, and some ideas and concepts of Jean-Paul Sartre s existentialism. Considering this, we seek to demonstrate how is the dialogue between the short stories of Rubião and the absurd according thoughts of these philosophers of existence. Parallel to the study of this theme on construction of the absurd by Rubião, will seek to analyze the use of the tools of language to create this absurdity or, in other words, the creation of a poetic of the absurd in writing of the author. While the absurdity of Rubião dialogues with ideas of the philosophy of existence, it has also important differences in some points of the dramatic content of existential and existentialist literature, presenting ironic, comic and fantastic forms. Analyze how Murilo Rubião demarcates the peculiarities of its absurdity and the relations of this absurdity with the procedures of the modern fantastic are also motivations of this research
Muitos contos do escritor mineiro Murilo Rubião (1916-1991) trazem ações e situações entendidas, no geral, como absurdas que, analisadas de forma mais detida, são representações do sentimento de estranhamento do homem diante do mundo e do esvaziamento de sentido da experiência moderna. São narrativas que levam a crítica especializada a associar o fantástico típico do autor à adjetivação ou categoria do absurdo. Mas, o que caracteriza e para onde aponta o universo absurdo criado por Rubião? Esta dissertação visa investigar a construção do absurdo na obra muriliana, tanto no âmbito temático, quanto discursivo. Elegendo como base teórica a filosofia do absurdo de Albert Camus, presente no ensaio O mito de Sísifo, além de algumas ideias e conceitos existencialistas de Jean-Paul Sartre, buscaremos apontar um possível diálogo entre os contos de Rubião e o absurdo de Sartre. Paralelamente ao estudo dessa construção temática do absurdo em Rubião, realizamos uma análise da linguagem nesse processo criativo - ou, em outras palavras, como é construída uma poética do absurdo na escrita do autor. Ao mesmo tempo em que o absurdo de Rubião dialoga com ideias da filosofia da existência, também se afirma como componente de uma obra autêntica, que destoa em alguns pontos do teor dramático da literatura existencial e existencialista, apresentando-se como formas irônicas, cômicas e fantásticas. Analisar Murilo Rubião nas peculiaridades do absurdo poético bem como suas relações com os procedimentos do fantástico moderno serão também motivações de nossa pesquisa

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The following dissertation has as an objective to contribute to the theological thinking on the already existing dialogue between Theology and Literature. It sought to promote a relation between Murilo Mendes s poetry and Christian mystical, focusing in an interpretive reading of his poetry, where are affirmed not just the quality of it, but also his reading of the human and the divine. Murilo Mendes s poetry, which abundantly talks about God, God s words, religiosity, Christianity and about the Person of Jesus, marked the human theme from the approach through the literary universe. We found the urgency of the mystical rediscovery for an experience more compromised with the Reign of God, to come out of the inertia and dive into mystery, acknowledge that we need the loving presence of Christ in our days to face with tenderness, but also with firmness, the challenges that modernity imposes to us
A presente dissertação tem como objetivo contribuir com a reflexão teológica a partir do diálogo já existente entre Teologia e Literatura. Buscou promover uma relação entre a poesia de Murilo Mendes e mística cristã, focando em uma leitura interpretativa da sua poesia onde se afirmam não apenas a qualidade da sua poesia, mas sua leitura do humano e do divino. A poesia de Murilo Mendes que abundantemente trata de Deus, da Palavra de Deus, da religiosidade, do cristianismo e da Pessoa de Jesus marcou a temática humana a partir da abordagem pelo universo literário. Constatamos a urgência da redescoberta da mística para uma vivência mais comprometida com o Reino de Deus para sair da inércia e mergulhar no mistério, tomar consciência que precisamos da presença amorosa do Cristo no nosso no cotidiano para enfrentar com ternura, porém, com firmeza, os desafios que a modernidade nos impõe

Les plantes hyperaccumulatrices pourraient constituer une alternative ou un complément aux méthodes physico-chimiques pour le traitement des sols pollués par les métaux. L’efficacité de cette phytoextraction repose en grande partie sur la biodisponibilité des métaux présents dans les sols. La thèse était destinée à comprendre les processus de fourniture des métaux du sol aux hyperaccumulateurs. Dans ce but, une prospection de terrain a d'abord été effectuée en Albanie pour déterminer la flore métallicole présente sur des sites de serpentines présentant des teneurs élevées en Cd, Co, Cr et Ni et sur d'anciens sites industriels pollués par Cd, Cu, Pb et Zn. Puis, ayant focalisé sur l'hyperaccumulateur de Ni Alyssum murale, des cultures en vases de végétation ont été conduites afin de tester l'influence de la fertilisation phosphatée sur la biodisponibilité du Ni. Enfin, le Ni assimilable du sol par A. Murale a été caractérisé à l'aide des méthodes isotopiques, i. E. Cinétiques de dilution isotopique et marquage avec culture en vases de végétation, et les compositions isotopiques du Ni dans la solution du sol et dans la plante hyperaccumulatrice ont été comparées. Les résultats montrent que co-existent de nombreuses espèces végétales sur les sites métallifères et confirment l'abondance sur les sites de serpentine et sites industriels d'espèces du genre Alyssum ayant la propriété d'hyperaccumuler le Ni à des concentrations supérieures à 1% dans la matière sèche. La fertilité phosphorique n'est pas apparue comme un facteur limitant la croissance de A. Murale mais a occasionné une légère augmentation du prélèvement du Ni par la plante. La comparaison des compositions isotopiques du Ni dans la solution du sol et dans la plante a permis de démontrer que l'hyperaccumulateur prélève son Ni dans le pool des ions isotopiquement échangeables, c'est à dire dans le même pool que les plantes non hyperaccumulatrices. Le métal biodisponible parait ainsi être représenté par un seul compartiment dans lequel l'ensemble des plantes puisent en fonction de leur capacité de prélèvement. Après une culture de plantes hyperaccumulatrices, ce compartiment est fortement diminué.

Aux limites septentrionales des terres languedociennes, le Quercy, qui géographiquement se confond avec le diocèse primitif de Cahors, appartient jusqu'au XIIIe siècle à la sphère d'influence de la maison comtale de Toulouse. Cette position de frontière a fait du Quercy un carrefour largement ouvert aux influences stylistiques comme en témoigne la production picturale, riche de cinquante ensembles - dont 28% inédits - conservés aussi bien dans les édifices cultuels que civils. Cette étude a révélé une tradition picturale de sept siècles, depuis les vestiges de décor peint d'un autel carolingien jusqu'aux ensembles du deuxième quart du XVIe siècle qui relèvent encore de la sphère médiévale. La cathédrale de Cahors témoigne à elle seule de l'importance accordée à la couleur avec une campagne picturale réalisée dans les années 1300, qui a concerné la totalité de l'édifice, jusqu'au portail extérieur. Si la production picturale romane traduit les échanges artistiques auxquels le pays était ouvert, les peintures des XIIIe et XIVe siècles soulignent un ascendant septentrional unilatéral tandis que les décors de la fin du Moyen Âge trahissent, par leur disparité stylistique, l'impulsion de création suscitée par l'interruption du conflit franco-anglais auquel le Quercy fut particulièrement exposé
In the northerly limits of lands from the Languedoc, Quercy, which geographically becomes confused with the primitive diocese of Cahors, belongs until XIIIth century to the sphere of influence of the house comtale of Toulouse. This position of border made of Quercy a crossroads widely opened to the influences stylistic as shows the pictorial production of it, rich in fifty sets - among which unpublished 28 % - preserved as well in the religious buildings as the civilians. This study revealed a pictorial tradition of seven centuries, since the vestiges of decoration painted by a Carolingian altar until the whole second quarter of the XVIth century which still recover from the medieval sphere. The cathedral of Cahors testifies to her only of the importance granted to the colour with a pictorial campaign realized in the 1300s, which concerned the totality of the building, up to the outside portal. If the Romanic pictorial production translates the artistic exchanges to which the country was opened, the paintings of the XIIIth and XIVth centuries underline an one-sided northerly influence whereas the decorations of the end of the Middle Age betray, by their stylistic disparity, the impulse of creation aroused by the interruption of the French-English conflict to which Quercy was particularly exposed

Art History
M.A.
Thomas Hart Benton was commissioned to paint murals depicting Indiana history for the Indiana state pavilion at the 1933 Century of Progress Exposition in Chicago. The completed Indiana murals were twelve feet high and over two hundred feet long, wrapping around the entire exhibition hall. Visitors to the Indiana pavilion experienced Indiana’s history through a continuous stream of narrative imitating the flow of time. After several years of storage following the fair, the panels were given to Indiana University in Bloomington in 1938, where they currently reside. While most scholarship has focused on the original message and context of the Indiana murals, the murals’ nearly seventy-five year display at IU necessitates a more thorough analysis of the murals at the university, with specific attention to the contextual changes since the time of the fair. The relocation of the murals to IU and the resultant restructuring of their historical narrative have altered perceptions of their imagery and attributed new meanings to the historical scenes Benton depicted. The aim of this study it to better understand the complex nature of Benton’s Indiana murals by exploring the ways in which changes in context result in alteration of the original message and the viewers’ reception of the murals. My research explores the murals’ role in university politics, reactions to the murals by their university audience, and recent controversies. A study of the Indiana murals in terms of the fluidity of historical construction and the effects of collective memory on their reception is significant because it leads to a greater understanding of the present’s cultural ideals, and begins to explain why the murals continue to elicit such strong reactions from viewers—whether to protest against their presence at the university or promote their preservation for the benefit of future generations.
Temple University--Theses

Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.
Title from PDF t.p. (viewed on May 14, 2009). Source: Dissertation Abstracts International, Volume: 69-09, Section: A, page: 3690. Adviser: Henry Glassie.

A impressionante inventividade de Murilo Mendes configura-se, na poesia e na prosa, a partir de uma grande obra. Seu espírito crítico requintado aparece em publicações e contribuições em jornais e revistas, todos dedicados às artes. O poeta que afirmou ser um minúsculo animal inserido no corpo do enorme Animal, que é o universo, escreveu poemas, fragmentos e capítulos inteiros dedicados a animais e a seres imaginários. Esta dissertação é dedicada ao estudo e à análise desses seres em especial em 'Poliedro', no qual além de variadas memórias e citações de outros autores, o poeta se reinventa biograficamente por meio de seus animais.

A tese tem como objeto os pontos de contato entre a obra de Franz Kafka e a produção de dois autores brasileiros, Murilo Rubião e Aníbal Machado. Além de tentar assinalar em linhas gerais o que a crítica já salientou como essencial sobre as relações entre o universo de cada um dos escritores, o trabalho procura levantar aspectos novos que até certo ponto contrariam consensos, como, por exemplo, a suposta ausência do lirismo de Kafka, o recurso a uma linguagem rebuscada e ao fantástico por parte de Murilo Rubião, o surrealismo de Aníbal Machado. Destacam-se, ainda as convergências biográfico-sociais existentes entre os três. Tendo como eixo a figura do prosador tcheco, propõe-se que a literatura comparada é um exercício importante de análise, porém relativo, donde sua potência, necessidade e, paradoxalmente, sua fragilidade. Os três autores, a despeito de terem sido objeto de diversos estudos (em graus distintos de aprofundamento), suscitam no pesquisador de suas obras relativo cansaço frente ao volume de formulações repetidas a respeito deles, de modo que a comparação entre eles pode elucidar características isoladas. Defende-se, por fim, elegendo como ferramenta indispensável os textos literários, que uma compreensão da literatura como sistema que interage com outros sistemas é uma solução metodológica que legitima a comparação de quaisquer autores.

La tesis “Presencia de arquetipos «mexicanos» en la pintura mural de Diego Rivera”, expone cómo el pintor concibió la idea de pintar a México, transfigurándola en proyecto para una pintura mural de la escalera del Palacio Nacional, en donde representarála historia de los mexicanos.Al final de su aventura vanguardista de Montparnasse y retornado a México, Diego ha tomado la decisión de romper con la pintura burguesa, a la que ha identificado con la pintura de las academias y con el “arte puro”; posición que le lleva a encaminar sus pinceles ysus colores, hacia las técnicas del primitivismo italiano, el arte precolombino y el arte popular. Combinación que el pintor sintetiza en el concepto plástico pictórico que describe como “arte útil” o arte del pueblo y para el pueblo o arte revolucionario. Un realismo social que deviene en el más popular e internacionalmente conocido Muralismo Mexicano.Encaminado en las técnicas de la encáustica y del fresco, acepta la invitación de las nuevas autoridades culturales que le permiten hacer uso de las paredes de edificios públicos, para “decorarlas” con motivos mexicanos. A contrapelo de un arteacadémico y complaciente, y luego de pintar alegorías medio bizantinas que aún conservan rasgoscubistas, el pintor decide explorar los tipos del pueblo mexicano, los cuales van a ser directamente seleccionados de todos los puntos cardinales del país mexicano, escenas del trabajo, de la fiesta y de la lucha del pueblo.Diego va fraguando y abocetando una pintura para las paredes del cubo de la escalera del Palacio Nacional, lo cual lo lleva a desplazar sus tipos de trabajadores del pueblo mexicano, a un gran escenario en el cual ha decidido representarlo, no sólo en la cotidianidad, sino ahora también en la gesta histórica que lo conducirá a su liberación final.Es en los muros de un edificio que para los mexicanos simboliza el máximo poder, en donde Diego Rivera, autonombrado pintor revolucionario, decide acomodar su visión particular del patriotismomexicano. Mediante la representación de un gran escenario, que tiene mucho de teatral, Diego reúne una multitud de figuras, muchas de las cualeseran del dominio común de cien años del imaginario de héroes y contra héroes de la historia nacional. Desde la mítica figura del sabio Quetzalcóatl,hasta las figuras de burgueses codiciosos y de eclesiásticos y políticos corruptos, “la trinidad reaccionaria”. Pero ahora, el pintor, ha decidido incrustar en la gran galería a la nueva figura heroica del pueblo, los indios, los campesinos y los obreros mexicanos, a los cuales intenta representar como hombres y mujeres decididos a tomar las riendas de su historia. Un pueblorepresentado como “trinidad revolucionaria” que ya no cabe en los marcos de un mundo burgués y corrupto, y que ahora se reconoce en la figura redentora de Marx–Quetzalcóatl. Por lo tanto, la figura de una historia que el pintor está convencido que es revolucionaria y que él ha pintado en elmuro público del poder corrupto, en un especie de desafío de un arte revolucionario.El gran escenario del mural y sus figuras, se transforman en imágenes que en arremolinada combinación, se van a convertir en los arquetipos “mexicanos”,complejo histórico y antropológico que nosotros hemos queridoanalizar a lo largo de los capítulos de esta tesis.
The thesis “Presence of Mexican Archetypesin the Mural Painting of Diego Rivera” shows how the painter conceived the idea of painting Mexico’s and the Mexican people’s History, transforming it into a project of amural painting on the staircase of Palacio Nacional. At the end of his vanguardist adventure in Montparnasse, and back in his country, Diego arrived to the decision of breaking up with bourgeois painting, the painting of the Academy and of “Pure Art”. This posture took him, his brushes and his palette, to the techniques of Italian Primitivism, Precolumbian Art and Folk Art. This combination was termed by the painter himself as “Useful Art”, art for the people by the people, or Revolutionary Art. This Social Realism became internationally known andpopularized as “Muralismo mexicano”. Keen on the techniques of al fresco painting and encaustic, he readily accepted the invitations of the new cultural authorities to use the walls of public buildings, to embellish them with Mexican motifs. Going against the grain, far from academic and complacent forms, after painting byzantine allegories that still show some cubist elements, the painter decides to explore the “types” of the Mexican people, types that will be selected from all the corners of the land. Scenes from labouring, from celebration and the struggle of the people. Diego will make the first drafts for the walls of the stairwell of Palacio Nacional and he will take his “types” to a greater stage, where they will be portrayed not only in daily life, but also in the greatest battle, the one that finally would lead them to freedom. It is there, in the walls of a building that for Mexicans is the ultimate seat of power, where Diego Rivera, self-proclaimed “revolutionary painter” decides to capture his personal vision of the patriotic Mexican ideal. In this enormous stage, with its theatrical qualities, Diego gathers a multitude of shapes, many of them a part of a common heritage, part of a hundred years of imagining heroes and villains of national History. From the mythical figure of wise Quetzalcoatl to the figures of greedy bourgeoisies, power hungry priests and corrupt politicians, the “Reactionary Trinity”. But now the painter has decided to frame the heroic figures of the people, the Indians, the peasants, the Mexican workers, portrayed as men and women ready to hold the reins of History. A people represented by the “Revolutionary Trinity”, which the frames of a bourgeois and corrupt world can’t contain that recognizes itself in the saviour Marx-Quetzalcoatl. It is thus that in the portrayal of this History that he conceives as Revolutionary, and that has been created on the walls of a public building, in the very seat of corrupt power, that Rivera manifests his defiance, his revolutionary stance. In this great stage, the mural and its figures will be transformed in images that swirl in a whirlwind of combinations. These will become the Mexican Archetypes, an anthropological and historical complex that we have tried to analyse in the chapters of the thesis that follows.