Dissertations / Theses on the topic '1903-1977'

Thesis (Ph. D.)--University of Maryland, College Park, 2004.
Thesis research directed by: Chemistry. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

Etude de la croissance personnelle et artistique d'Anaïs Nin à Paris entre 1931 et 1939 à travers ses relations avec Joaquin Nin, son père, Henry Miller et ses deux psychanalystes parisiens, René Allendy et Otto Rank. Évaluation de l'influence de ces quatre hommes sur sa vie et sa production littéraire. La naissance d'une artiste dans un monde d'hommes
Study of Anais Nin's personal and creative growth in Paris between 1931 and 1939 through her relationships with her father, Joaquin Nin, Henry Miller and her two Parisian psychoanalysts, René Allendy and Otto Rank. Evaluation of the four men's influence on her life and literary production. The birth of an artist in a man-made world

Ouvrage capital dans l'œuvre romanesque d'Anaïs Nin, le recueil des "Cités intérieures", composé de cinq livres (Les miroirs dans le jardin, Les enfants de l'albatros, Les chambres du cœur, Une espionne dans la maison de l'amour, Ma séduction du Minotaure) publiés en 1961, met en scène trois femmes représentatives de la pensée de cet écrivain : Djuna, Lillian et Sabina. L'étude de "La vision du féminin" dans cette œuvre s'est organisée à la manière d'un triptyque : la première partie, "L'essence du féminin", dévoile les silhouettes kaléidoscopiques de ces héroïnes que répercutent indéfiniment miroirs et regards, dans un émiettement bariolé de détails physiques et un tournoiement d'objets ; constate les affinités que ces femmes, en quête de leur être substantiel instaurent avec les éléments naturels (eau, air, feu, terre) ; révèle la plasticité d'un espace conquis et adapté à leur féminité. Dans la seconde partie, "La femme, être sociable", est analysé l'aspect social de femmes attachées au monde des arts et elles-mêmes artistes (Lillian se consacre au piano, Djuna à la danse, Sabina au théâtre) : notamment, les rapports d'identification et de rivalité que les femmes établissent entre elles, et les liens qui unissent hommes et femmes, confrontés, par leur éducation, à une certaine codification des comportements. Enfin, la troisième partie, "Une écriture féminine", éclaire les interférences unissant le journal, monde de l'intériorité, aux romans, lieux de l'extériorité; présente les procédés stylistiques utilisés par Anaïs Nin pour traduire la complexité d'une conscience - figures métaphoriques, références esthétiques, principe ludique de la mémoire et de l'onirisme -; et souligne l'état conflictuel ressenti par des héroïnes, projections autobiographiques d'un auteur, dans leur souhait d'abandonner un rôle représentatif de personnage pour acquérir un statut de personne
A major work in the fiction of Anais Nin, the collection of "The cities of the interior3, composed of five books (Ladders to fire, Children of the albatross, The four-chambered heart, A spy in the house of love, Seduction of the Minotaur) was published in 1961 and introduces three women who represent the ideas of this writer: Djuna, Lillian and Sabina. The study of "The perception of womanhood" in this work is arranged like a triptych: the first part, "The quintessence of womanhood", unveils the kaleidoscopic silhouettes of these characters which are reflected indefinitely by mirrors and glances in a motley patchwork of physical details and in whirl of objects. It shows the affinities which grow between these women, searching for their essential being, and the natural elements (water, air, fire, earth) and reveals the plasticity of a conquered space adapted to their femininity. In the second part, "woman, a social being", the social side of women attached to the world of the arts and themselves artists (Lillian a pianist, Djuna a dancer and Sabina an actress) is analyzed: especially the relationships of identification and rivalry which the women create between themselves and the ties which unite men and women who, through their education, are faced with a certain code of behaviour. The third part, "A feminine writing" highlights the interferences linking the diary, the interior world, with the novels, the outside world. It shows the stylistic procedure used by Anais Nin to translate the complexity of a consciousness - metaphors, aesthetic references, the playful working of the memory and dreams -. It also underlines the state of conflict felt by the characters, the autobiographical projections of an author, in their desire to abandon a role of a character in order to acquire the status of a person

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Programa de Pós-Graduação em Literatura, 2016.
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O universo ficcional da escritora Anaïs Nin se destaca no cenário literário pela sua poeticidade e lirismo bem como pela sua preocupação em desvendar o mundo da subjetividade humana por meio da criação de imagens e símbolos. Em sua vasta obra, a autora se dedicou à escrita de diários, romances experimentais, poema em prosa, contos, contos eróticos, cartas, crítica literária e ensaios. O objetivo da presente tese é analisar o tema da criação artística e da personalidade criadora no poema em prosa A casa do incesto. A abordagem estética do poema está centrada em dois aspectos: primeiramente realiza um estudo de suas influências - fortemente marcadas pelo movimento Surrealista, pelas ideias psicanalíticas, pela poesia Simbolista, sobretudo Rimbaud – e, em um segundo momento, explora a relação que o poema mantém com a escrita dos diários. _______________________________________________________________________________________________ ABSTRACT
The fictional universe created by Anaïs Nin is celebrated for its highly poetical and lyrical form, abounding with images and symbols through which the world of human subjectivity is revealed. Nin was a prolific writer and throughout her life published diaries, experimental novels, a prose poem, short-stories, erotica, letters, literary criticism and essays. The present thesis aims at analyzing the theme of artistic creation and the creative personality in the prose poem House of Incest. The aesthetic approach of the poem is focused on two different aspects: Firstly, it explores the influences of the Surrealist movement, psychoanalysis and Symbolism - especially Rimbaud. Secondly, it investigates the connections between the poem and the diaries.

Barnes's Vagaries Malicieux, and Nin's Delta of Venus, are examples the developing vision of female sex, and both authors use their literary techniques to accomplish their aesthetic vision of amorality. Nin's visions are based on her and her friends' extreme experiences. Her primary concern was expressing her erotic and amorally aesthetic gaze, and the results of her efforts are found in her aesthetic vision of Paris and the amoral lifestyle. Barnes uses metaphor and linguistics to fashion her aesthetic vision. Her technique in "Run, Girls, Run!" both subverts any sense of morality, and offers an interesting and challenging read for its audience. In "Vagaries Malicieux" Barnes's Paris is dark while bright, and creates a sense of nothingness, indicated only by Barnes's aesthetic appreciation.

Orientador: Osmar Ribeiro Thomaz
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A nação e a nacionalidade cultural, tendo-se como destaque o Estado de Moçambique, são temas complexos, porque reúnem uma série de aspectos políticos, históricos e culturais do país e de sua população. Para desenvolver esta pesquisa, escolheu-se como objeto de análise a categoria de canto e dança enunciada por estudiosos dos nativos de Moçambique, presente em monografias antropológicas do período colonial. Canto e dança são unidos numa categoria ocidental de pesquisa, não nativa. Assim, a princípio, questiona-se: como os autores retiram certos aspectos da vida social para escrever sobre canto e dança? Quais temáticas são criadas e delimitadas? Como, numa vida social ampla, definem-se certas categorias de canto e dança? Com isso, procura-se destacar quais representações são constituídas pelos autores da antropologia sobre o contexto da vida no império e sobre qual base material os autores constroem o conhecimento sobre seus pesquisados, fundamentando suas próprias relações de alteridade
Abstract: The nation and cultural nationality, specially in the state of Mozambique, are complex themes, because they take together a series of political, historical and cultural aspects of the country and its population. For this research, the analitical object chosen was the category of chant and dance made by researchers of the natives of Mozambique, present in anthropological monographs made at the colonial period. Chant and dance are taken together in an ocidental category of research, non-native. So, first of all, we may question: how the authors extract some social life aspects to write about chant and dance? Which thematics are created and delimited? How, in a wide social life, are set certain categories of chant and dance? Taking this point, we hope to know more about which representations are constituted by these anthropology authors in the context of imperial life, and what constitutes their own alterity relationships
Mestrado
Mestre em Antropologia Social

Les femmes ont pour particularité de transmettre la vie, de la continuer en en gardant l'empreinte dans le creux de ce corps. Qu'en est-il de l'écriture des femmes lorsqu'elle vient se heurter à ce corps à corps qu'est la maternité qui devra composer avec la passion maternelle ? J'ai voulu, par ma recherche, mettre en évidence la difficulté qu'a notre civilisation à construire un discours autour de ce creux maternel, à partir des textes d'écrivaines du début du XXe siècle à nos jours (Colette, Anaïs Nin, Duras, Huston, Kristeva, Angot, Darrieussecq. . . ). La littérature propose un espace où chaque texte est transformé par l'autre et vice versa. Ces écrivaines parviennent alors à utiliser leur art afin de dépassionner en transmettant le langage, la capacité de penser et de créer, à cet autre qu'est l'enfant. Elles tentent de tisser une toile sur le clivage de la passion maternelle entre emprise et sublimation. Dans la traversée de cette expérience intérieure, l'amour de ces mères et la sublimation des femmes s'entremêlent dans leurs écrits et proposent à l'enfant de sortir de ce creux féminin
Women have that particular characteristic of being able to bringing forth life, of living it, and, all the while, of keeping a trace of it within their bodies. What happens to women's writing when it collides with the physical demands of motherhood and makes it so necessary for them to come to terms with their maternal passion? I decided to study the works of women writers such as Colette, Anais Nin, Marguerite Duras, Nancy Huston, Julia Kristeva, Christine Angot, Marie Darrieussecq and others, from the beginning of the 20th century to the present in order to follow as closely as possible the construction of a maternal discourse within their writing. These writers manage to use their art to go beyond the passion while passing on the language, the ability to think and to create to that other being, their child. They try to bridge the cleavage of maternal passion to avoid choosing between submission or sublimation. Traversing their inner experience, we are able to discover the love of these mothers as well as the sublimation of women

Pour camoufler son passé, dissimuler ses relations adultères, un inceste consenti avec son père et des mensonges peu avouables, les « morceaux choisis » qu’Anaïs Nin livre au lecteur comme son Journal, à partir de 1966, s’affranchissent de toute fidélité aux manuscrits. Le journal posthume, dit « non expurgé » et basé sur les transcriptions dactylographiées que la diariste réalisait de ses journaux, n’est pas non plus exempt de réécritures et d’amendements conséquents. Parmi les quelque cent dix volumes d’un journal manuscrit protéiforme, cette étude tente de mettre au jour ce qui reste, mais surtout ce qui s’ajoute et remet en cause l’appellation de « journal ». Tentant de saisir un moi sans cesse en fuite, la diariste compose sa vie dont l’imaginaire, même dans les manuscrits, fait pleinement partie. Au sein d’un corpus imposant consulté à UCLA et à l’université de Northwestern, cette étude se concentre sur la période du début du Journal (par opposition au Journal de Jeunesse) jusqu’à la publication par Nin de The Winter of Artifice (1939 et 1942), fictionnalisation de sa vie à une époque où publier le journal est inenvisageable. Ce recueil est aussi une tentative de maîtrise d’une œuvre achevée afin de vaincre l’éternel conflit du journal avec le temps et celui de la femme avec son père. Comparer les manuscrits de ces fictions, lues et corrigées par Henry Miller, les journaux manuscrits, les journaux publiés de façon anthume et posthume permet de saisir l’enjeu des réécritures, de l’autocensure ainsi que la démarche créative de Nin qui relève de mises en scène que la diariste légitime plus tard en s’appropriant les principes psychanalytiques d’Otto Rank
To camouflage her past, dissemble about her adulterous affairs, and conceal consensual incest with her father and a lifetime of brazen lies, the « selected pieces » that Anaïs Nin offers to readers as her Diary, as of 1966, bear only a tangential relationship to the manuscripts. Even the so-called unexpurgated diary, published posthumously and based on the typescripts that Nin made of her diaries, contains significant revisions and emendations. Among the hundred and ten-odd volumes of a protean, handwritten diary, this study brings to the fore what remains, but also what was added, leading us to question whether the resulting document can truly be called a « diary ». In attempting to capture her ever-elusive self, Nin composed her life, and even in the manuscripts, the imaginary played a great part in that process. From a vast corpus examined at UCLA and Northwestern university, this study focuses on the period from the beginning of The Diary (as distinct from The Early Diary), till Nin publishes The Winter of Artifice (1939, and 1942), a fictionalization of her life at a time when publishing the diary was impossible. This piece is also an attempt to deal with—and, Nin hoped, vanquish—the lingering conflict of the diary with time and that of the woman with her father. Comparing the drafts of this work, revised by Henry Miller, with the handwritten diaries and the anthumously and posthumously published versions enables us to fully seize the extent of Nin’s rewriting and self-censorship, as well as the scope of a creative approach which amounts to many stagings of the self that the diarist would later legitimatize by making Otto Rank’s psychoanalytical principles her own

Dans les années trente, Ella Maillart et Annemarie Schwarzenbach quittent la Suisse pour l'Afghanistan. Deux décennies plus tard, L. Pestelli et N. Bouvier s'embarquent à leur tour sur les routes d'Orient. Filles et fils de grands industriels, d'universitaires ou de diplomates, ces quatre écrivains-voyageurs mettent un point d'honneur à s'éloigner d'une conception bourgeoise du voyage en présentant leur départ comme un moyen de se définir dans l'ailleurs, c'est-à-dire en dehors de leur héritage social, familial, national et occidental. L'Orient leur semble le lieu des possibles. Or, malgré leur désir de table rase, ils s'aperçoivent vite que, quoi qu'ils fassent, leur corps porte les stigmates de l'Occident. Ils vont donc tenter de le modifier. Si le but du voyage n'est pas de faire totalement disparaître le corps, ce n'est qu'en le risquant, en l'offrant au monde, pour le meilleur et souvent pour le pire, que les voyageurs croient pouvoir goûter aux délices du dehors. Mais ce bonheur charnel, physique, sensuel voire érotique, comment le dire ? Et quelle langue adopter pour rendre compte de sa présence physique au monde ? La réunion de ces quatre auteurs d'époques, de genres et de plumes différents, nous permet d'observer l'évolution des représentations du corps dans le récit de voyage au vingtième siècle tout en questionnant nos habitudes de lecture. Quelle représentation attendons-nous du corps dans un récit de voyage ? Celui-ci est-il vraiment le lieu privilégié pour remettre le corps à l'ouvrage ?
In the 1930s, Ella Maillart and Annemarie Schwarzenbach left Switzerland for Afghanistan. Two decades later, Lorenzo Pestelli and Nicolas Bouvier set out on the routes to the East. Daughters and sons of prominent industrialists, academics or diplomats, these four writer-travellers made a point of straying away from the bourgeois conception of travel by presenting their departure as a way of defining the self away from social, family, national and Western inheritance. The East appears to them as the location of many possibilities. Yet, in spite of their desire for a clean slate, they soon realise that, no matter what they do, their body carries the stigma of the West. They will thus try to modify it. If the aim of their travelling is not to make the body disappear completely, it is only by putting it at risk and by offering it to the world, for better and often for worse, that the travellers believe they can taste the delights from the outside. But how to put in words this carnal, physical, sensual and even erotic pleasure ? And what language can be chosen to account for one’s presence in the world? Working jointly on four writers, from different eras, genres and styles, helps us to observe the evolution of the representations of the body in travel literature in the 20th century and at the same time it questions our reading habits. What representations of the body do we expect in travel literature ? Is travel literature really the privileged location to put the body back to work ?

The Deobandi `Ulama' of Jami`at al-`Ulum al-Islamiyya located in the largest city of Pakistan, Karachi, began publishing an Urdu, monthly journal by the name of Bayyinat in 1962 for the expressed purpose of refuting the views and arguments of their opponents, and hence as a vehicle for asserting their religious identity and authority. The case of Bayyinat provides us with an opportunity to study an important and hitherto little considered phenomenon in Islamic modernity, namely, the intervention by the `ulama' to assert traditional claims to religious authority through the modern medium of print journalism in the context of the post-colonial nation state of Pakistan. The present work seeks to examine how the journal was utilized by the `ulama' in constructing their religious authority and to engage in the refutation of the two most prominent twentieth century personalities, Fazlur Rahman and Sayyid Abu'l `Ala Mawdudi.

La thèse examine l'utilisation de l'écriture dans deux types de poésies visuelles, les poésies calligrammatiques et les poésies spatialistes, qui illustrent les deux pôles constitutifs de l'écriture comme de l'image : la figure et l'espace. Ces deux tendances de la poésie visuelle, qui existent aussi bien en France et au Japon, forment les deux grandes parties de la thèse. A l'intérieur de la première partie, l'auteur examine d'abord quelques exemples historiques d'écritures figurées attestées dans les deux pays, avant d'aborder la période moderne et contemporaine en France avec Guillaume Apollinaire, Pierre Albert-Birot, Jean Tardieu puis Jean-François Bory. Elle étudie comment chaque poète investit la notion d'idéogramme de valeurs différentes: choisi par Apollinaire pour désigner l'une des formes de cette poésie nouvelle qu'il explore dans les années 1914-1918 avant d'être abandonné au profit de << calligramme >>, le terme apparaît chez ses successeurs tantôt comme une terminologie provisoire, tantôt comme un modèle fédérateur unifiant littérature et peinture, tantôt enfin comme un élément entrant dans la composition de poèmes mixtes. La deuxième partie est consacrée aux poésies de l'espace et en particulier au spatialisme, mouvement créé par le poète Pierre Garnier au début des années soixante, ainsi qu'à ses ramifications au Japon. L'auteur y défend la thèse que la poésie spatialiste, qui, dans ses discours théoriques se veut une poésie de la langue en général, est en réalité très précisément une poésie de l'écriture. Elle analyse les métamorphoses qu'y connaît la lettre alphabétique, et étudie les poèmes supranationaux élaborés en commun par Pierre Garnier et Niikuni Seiichi dans les années soixante et soixante-dix. Le dernier chapitre est consacre au travail de Niikuni Seiichi au Japon, et à la poésie visuelle japonaise dans son ensemble.

Ce mémoire cherche à illustrer les transformations de la pensée politique à travers l'expérience du XXe siècle, particulièrement en Allemagne. Pour ce faire, nous avons choisi d'analyser la pensée de Ernst Bloch et Hans Jonas, deux auteurs qui sont liés par leur tentative semblable de renouveler la conception des projets politiques en adoptant une posture critique par rapport à la philosophie de leur époque, spécifiquement à propos du concept d'utopie. Dans les deux premiers chapitres, nous insistons sur les fondements philosophiques de ce renouvellement critique. Pour Bloch, un tel renouvellement implique de refonder le matérialisme dialectique sur le principe de puissance, concept tiré d'une interprétation « de gauche » d'Aristote. Il élabore donc une ontologie de l'utopie-concrète qui cherche à ouvrir sur le futur, sur l'Être en puissance et sur le non-encore-être ; ontologie traversée par l'affect d'espérance qui selon lui doit être puisé à même une compréhension athée des mouvements religieux judéo-chrétiens hérétiques. Pour Jonas, renouveler la perception philosophique des projets d'avenir c'est d'abord fonder une éthique anti-utopique visant la préservation de l'humanité de la menace que l'agir technologique fait peser sur elle. Cela implique de lier l'être de l'homme à la nature, elle-même liée à la divinité à travers la création et l'évolution, et ainsi retrouver dans l'être un principe éthique transcendant. Bref, Jonas pense une ontologie de la clôture : fin de l'indétermination éthique, voire du nihilisme, pour la fin de la crise engendrée par l'imminente menace à la survie humaine. Dans le troisième chapitre, nous examinons comment ces positions ontologiques radicales concernant l'utopie se traduisent sur le plan politique en une opposition ferme entre espérance et responsabilité, comment encore une telle opposition est à la fois symptomatique du contexte de son apparition et révélatrice, voire inquiétante, pour la société du futur. Il apparaît que malgré les limitations de l'anti-utopisme intransigeant et les failles de l'utopisme naïf, le débat entre Bloch et Jonas est porteur d'un questionnement qui est en soi important. Au final donc, la radicalité de l'opposition entre espérance et responsabilité renvoie aussi à la similarité des questionnements qui font naître ces positions et à l'importance d'une telle réflexion. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Utopie, ontologie, principe espérance, principe responsabilité, politique.

Informed by feminist interpretations of birth and maternity, this thesis offers a re-reading and scholarly reappraisal of Anaϊs Nin’s recently published diaries, supplemented by other evidence from her fiction. Maternity offers a site of ambivalence that has always been problematic to feminists. It became particularly unfashionable during the second wave of feminism, due to the female biological potential being exploited as a reason to subjugate women and limit their participation in non-domestic spheres. However, as Luce Irigaray considers sexual difference “one of the major philosophical issues … in our time” maternity is an unavoidable example of sexual difference that requires exploration and re-consideration. The cultural coding of maternity is a live political issue and therefore worthy of close philosophical scrutiny. This issue is particularly relevant to a critical reappraisal of the work of Anaϊs Nin, who can offer interesting and provocative contributions to the discussion. Within a literary context, accounts of motherhood from the perspective of the mother are less than typical, yet this is the space within which a diverse maternal imaginary might be represented as fundamental, rather than marginal. In what Luce Irigaray refers to as the phallogocentric order, the Western literary, and in turn, philosophical, psychoanalytical, linguistic, and cultural tradition has only one history, built on the paradigmatic father-son relationship, or Oedipal drama, and necessitating symbolic and psychic matricide. As Alison Stone writes, “in the West, the self has often been understood in opposition to the maternal body.” This is a cultural model of production that would seek to eclipse the mother’s experience of reproduction. It is not a model that is born from the original relationship to the maternal, nor does it allow for the contribution of the mother’s or the daughter’s voice. Laura Green outlines the importance of Irigaray’s discussion of cultural matricide in order to argue “for the importance of constructing a non-matricidal account of female subjectivity.” If the father and son are dominant figures of a literary narrative under which we understand ourselves, what is lost, excluded, or silenced has implications for the way that things are now. What is required is a literary and philosophical tradition based on the mother’s continuation and a feminine genealogy. Who are the mothers of the literary canon, and who or what may be considered their offspring? This thesis finds that Anaϊs Nin is a problematic but significant literary mother who developed an alternative subjective model for maternity, not only in the birth of creative accomplishments but also through creating a space for identity formation and intersubjective relationships forged in relation to the feminine. This analysis uses three stages of pregnancy: the womb as conception, the umbilical in gestation, and birth to structure an analysis of Nin’s maternal discourse and embodiment that chronologically maps her development and articulation of a new kind of motherhood. Sadly, the contributions that mothers make to their daughters’ maternal memories, and in turn, their own experiences of motherhood, are not always positively acknowledged or acknowledged at all. Those who deem Nin’s work significant usually attribute her creative remaking of identity to a recovery from paternal trauma or to her intellectual and romantic relationships with psychoanalysts such as Otto Rank or artists such as Henry Miller. However, Nin’s model is based on her inherited understanding of maternity from her mother, Rosa Culmell, combined with experiments in cultural, maternal, bodily, and symbolic imaginary that allowed Nin to reconceptualise the maternal body in relationship to another. Nin’s innovative act of self-birth and reconceptualising of motherhood is heavily influenced by an ambivalent, yet creative relationship to her own maternal past. Nin asserted the need for women to transform themselves and society in order to achieve liberation, but she knew that “to become man or like man is no solution.” Nin believed that the power women could utilise in their relationship with others would also be made up of individual expressions of the personal rather than a single, collective voice or movement. Nin’s works, especially her diaries, have expressed this different maternal discourse as a model instigated from her own experience of maternity as a way of exploring self-birth, subjectivity, creativity, and encounters between two sexed subjects. This allowed Nin to express her own experience of maternity as it diverged from typical institutional or socio-historic representations. Her self-mythologising through the diaries was a significant feminist practice which, I will argue, has allowed her to establish her own work as her offspring and a significant literary heritage. ACCESS RESTRICTED TO ABSTRACT ONLY UNTIL 28/02/2021